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PAINT™ X6/X7
by Stefan Lindblad
One of the most important things many users
wish to learn and master when photo editing is
probably how to mask hair. If you can master
masking hair, then you'll able to master most
masking techniques. Using Corel PHOTO-PAINT
X7 I will be showing you a method of masking
hair in an image. This technique, in which I use
the Grayscale Lens Object, will also work with
versions X5 and X6 as well. If you are using a
version older than X5 you won't be able to use
the Grayscale Lens Object.
If you are a photographer, working with image
retouch, or you are in a position to decide the
background against which the person being
photographed will be placed, I would suggest
using a neutral, flat background. This way the
hair will really stand out. But as we all know too
well, this is not always possible. In this example I
will be using a photo with a neutral background.
And I will use a high quality image of at least 300
dpi. Be it RAW, TIFF, or JPEG, you need a high
resolution image to get the best result if you are
intending to do this professionally. I always save
the image as a .CPT file before doing anything
else.
Step 1.
For this exercise I will be creating a mask of the
entire person in the photo by turning the person
into a black silhouette object against a white
background. But before I can do this, I need to
make the person in the photo as solid black as
possible. And when I later invert black to white,
the white background will become black. This will
make it easier to catch all the hair I intend to
keep. Yes, I know it is starting to sound a bit
contradictory. But it will all become clear in the
end. So let's start by making our subject black.
The quality of the image is crucial for the end
result and why having a great, sharp photo is so
important. But if all steps are followed properly,
this works quite fast and the end result will be
excellent.
Step 2.
I have both my Objects Docker ( Window >
Dockers > Object Manager or CTRL+F7 ), and my
Channels Docker ( Window > Dockers > Channel or
CTRL+F9 ), activated.
I begin by using the Channels docker as a
contrast guide, and click on the red, green and
blue object layers in turn to see which one will
offer the best contrast. And for this image it is
the blue channel object.
Because I won't be using the Channels Docker
anymore, I turn it off via the Quick Customizing
button on the Dockers panel.
In the Objects docker I first create a Grayscale
Lens object ( Object > Create > New Lens >
Grayscale), and choosing the Blue slider-bar, I
drag this all the way to the left to make it as
dark as possible.
And if I need to add even more contrast, I can
adjust any of the other color sliders.
What I don't want to do is to destroy the finest
strands of hair therefore I move the sliders slowly,
setting the values of the sliders as dark as
possible until I reach the point just before they
start to destroy the details of the hair. It won't
make it fully black, but the contrast will make it
darker.
Step 3.
When this is done, I use the Contrast
Enhancement Lens Object ( Object > Create > New
Lens > Contrast Enhancement), equally gently,
dragging the sliders to make the image darker
and always keeping an eye on the finer hair
details – make sure you leave this intact. For this
particular image I managed to drag the Input
Value Clipping on the left to about 158. And
clicked OK.
Before we move further I recommend duplicating
the photograph Background object. ( Right-click
the Background Object > Duplicate ).
Step 4.
Moving forward I use other tools that are very
good at making the image either brighter or
darker, but always making sure that the finer hair
details are not destroyed.
In the Toolbox I choose the Effect Tool > Brush
Selector Category > Dodge and Burn , and start
with Dodge > Dodge Highlights .
By using the tool on the white areas I can move
very close to the contour of the person without
damaging it too much. And because the
background itself is pretty bright already, it is
even easier and I don't have to work on the
background too much. If I use too much of the
Dodge effect I might affect the hair a bit too
much. So therefore I recommend dabbing softly
with the tool instead of painting in strokes ‒
preferably with a graphic tablet and pen ‒ when
you work the dodge tool over the strands of hair.
Additionally I check to see if the default tool
setting is ok for the job. If I need more sensitive
result I choose a nib and setting I feel is most
suitable. Most of the time though the default
setting works just fine. Also remember that when
you work with Dodge and Burn tools, each stroke
you make (when overlapping previous strokes),
will affect those strokes as well.
Step 5.
When I am done with the highlights, I use the
Dodge > Burn Shadow effect to darken the dark
areas and make the person more of a silhouette.
And by doing this I will affect the dark areas
instead of the bright, white areas. Because I don't
have to be so sensitive in the main areas of the
silhouette I can simply switch tools and use the
ordinary Paint tool ( Toolbox > Paint Tool ), and
paint black. And then back again to the Dodge
and Burn tools. To be extra careful, change the
value of the intensity of the shadow effect in the
Property bar so that the shadow isn't too hard.
The default setting is -50. So try set the intensity
around -23 . This value of course depends on the
quality and type of your photo.
It is better to paint the Burn Shadow on top of
itself in multiple strokes on the sensitive areas,
and that way work yourself forward to a great
silhouette. It's otherwise easy to damage the fine
areas, such as the hair. Simply put: don't stress
it. Be gentle and it will give you the best results.
Step 6.
Now when I am almost finished, I like to double
check to make sure that there is nothing left over
that I missed using dodge and burn and which
could later cause problems. Or, I can further
enhance details by using more dodge and burn.
For this I use the old trick of inverting the image
colors, by choosing an Invert Lens Object ( Object
> Create > New Lens > Invert). It will reveal any
significant errors most of the time. And if needed,
I dodge and burn once again while in Invert Lens
mode.
Step 7.
Finishing off. When all this is done I simply create
a Mask of the silhouette ( Toolbox > Magic Wand
Mask tool). I created the mask for this image by
choosing a Mask tool and in the Property bar I
chose Additive Mode (the green + icon), and set
the tolerance level to 30, which works for my
image.
Finally, copy and paste the Mask on top of the
original photo ( Paste > Paste as New Selection),
and cut out the person in the original photo, and
paste it into another image.
Finished.
Important reminder
Always remember, the better the quality of your
original photo, and the more carefully you follow
all steps to create the silhouette, the better the
end result will be. Especially when you finally use
the Mask to capture the fine hair details. All this
might sound obvious but it so easy to make
mistakes by stressing. And a bad or low
resolution image will most definitely dodge and
burn too much of the finest hair and result in a
poor mask. With patience and a steady hand
you'll get a fantastic result.
PAINT™ X6/X7
by Stefan Lindblad
One of the most important things many users
wish to learn and master when photo editing is
probably how to mask hair. If you can master
masking hair, then you'll able to master most
masking techniques. Using Corel PHOTO-PAINT
X7 I will be showing you a method of masking
hair in an image. This technique, in which I use
the Grayscale Lens Object, will also work with
versions X5 and X6 as well. If you are using a
version older than X5 you won't be able to use
the Grayscale Lens Object.
If you are a photographer, working with image
retouch, or you are in a position to decide the
background against which the person being
photographed will be placed, I would suggest
using a neutral, flat background. This way the
hair will really stand out. But as we all know too
well, this is not always possible. In this example I
will be using a photo with a neutral background.
And I will use a high quality image of at least 300
dpi. Be it RAW, TIFF, or JPEG, you need a high
resolution image to get the best result if you are
intending to do this professionally. I always save
the image as a .CPT file before doing anything
else.
Step 1.
For this exercise I will be creating a mask of the
entire person in the photo by turning the person
into a black silhouette object against a white
background. But before I can do this, I need to
make the person in the photo as solid black as
possible. And when I later invert black to white,
the white background will become black. This will
make it easier to catch all the hair I intend to
keep. Yes, I know it is starting to sound a bit
contradictory. But it will all become clear in the
end. So let's start by making our subject black.
The quality of the image is crucial for the end
result and why having a great, sharp photo is so
important. But if all steps are followed properly,
this works quite fast and the end result will be
excellent.
Step 2.
I have both my Objects Docker ( Window >
Dockers > Object Manager or CTRL+F7 ), and my
Channels Docker ( Window > Dockers > Channel or
CTRL+F9 ), activated.
I begin by using the Channels docker as a
contrast guide, and click on the red, green and
blue object layers in turn to see which one will
offer the best contrast. And for this image it is
the blue channel object.
Because I won't be using the Channels Docker
anymore, I turn it off via the Quick Customizing
button on the Dockers panel.
In the Objects docker I first create a Grayscale
Lens object ( Object > Create > New Lens >
Grayscale), and choosing the Blue slider-bar, I
drag this all the way to the left to make it as
dark as possible.
And if I need to add even more contrast, I can
adjust any of the other color sliders.
What I don't want to do is to destroy the finest
strands of hair therefore I move the sliders slowly,
setting the values of the sliders as dark as
possible until I reach the point just before they
start to destroy the details of the hair. It won't
make it fully black, but the contrast will make it
darker.
Step 3.
When this is done, I use the Contrast
Enhancement Lens Object ( Object > Create > New
Lens > Contrast Enhancement), equally gently,
dragging the sliders to make the image darker
and always keeping an eye on the finer hair
details – make sure you leave this intact. For this
particular image I managed to drag the Input
Value Clipping on the left to about 158. And
clicked OK.
Before we move further I recommend duplicating
the photograph Background object. ( Right-click
the Background Object > Duplicate ).
Step 4.
Moving forward I use other tools that are very
good at making the image either brighter or
darker, but always making sure that the finer hair
details are not destroyed.
In the Toolbox I choose the Effect Tool > Brush
Selector Category > Dodge and Burn , and start
with Dodge > Dodge Highlights .
By using the tool on the white areas I can move
very close to the contour of the person without
damaging it too much. And because the
background itself is pretty bright already, it is
even easier and I don't have to work on the
background too much. If I use too much of the
Dodge effect I might affect the hair a bit too
much. So therefore I recommend dabbing softly
with the tool instead of painting in strokes ‒
preferably with a graphic tablet and pen ‒ when
you work the dodge tool over the strands of hair.
Additionally I check to see if the default tool
setting is ok for the job. If I need more sensitive
result I choose a nib and setting I feel is most
suitable. Most of the time though the default
setting works just fine. Also remember that when
you work with Dodge and Burn tools, each stroke
you make (when overlapping previous strokes),
will affect those strokes as well.
Step 5.
When I am done with the highlights, I use the
Dodge > Burn Shadow effect to darken the dark
areas and make the person more of a silhouette.
And by doing this I will affect the dark areas
instead of the bright, white areas. Because I don't
have to be so sensitive in the main areas of the
silhouette I can simply switch tools and use the
ordinary Paint tool ( Toolbox > Paint Tool ), and
paint black. And then back again to the Dodge
and Burn tools. To be extra careful, change the
value of the intensity of the shadow effect in the
Property bar so that the shadow isn't too hard.
The default setting is -50. So try set the intensity
around -23 . This value of course depends on the
quality and type of your photo.
It is better to paint the Burn Shadow on top of
itself in multiple strokes on the sensitive areas,
and that way work yourself forward to a great
silhouette. It's otherwise easy to damage the fine
areas, such as the hair. Simply put: don't stress
it. Be gentle and it will give you the best results.
Step 6.
Now when I am almost finished, I like to double
check to make sure that there is nothing left over
that I missed using dodge and burn and which
could later cause problems. Or, I can further
enhance details by using more dodge and burn.
For this I use the old trick of inverting the image
colors, by choosing an Invert Lens Object ( Object
> Create > New Lens > Invert). It will reveal any
significant errors most of the time. And if needed,
I dodge and burn once again while in Invert Lens
mode.
Step 7.
Finishing off. When all this is done I simply create
a Mask of the silhouette ( Toolbox > Magic Wand
Mask tool). I created the mask for this image by
choosing a Mask tool and in the Property bar I
chose Additive Mode (the green + icon), and set
the tolerance level to 30, which works for my
image.
Finally, copy and paste the Mask on top of the
original photo ( Paste > Paste as New Selection),
and cut out the person in the original photo, and
paste it into another image.
Finished.
Important reminder
Always remember, the better the quality of your
original photo, and the more carefully you follow
all steps to create the silhouette, the better the
end result will be. Especially when you finally use
the Mask to capture the fine hair details. All this
might sound obvious but it so easy to make
mistakes by stressing. And a bad or low
resolution image will most definitely dodge and
burn too much of the finest hair and result in a
poor mask. With patience and a steady hand
you'll get a fantastic result.
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