I couldn't see, I couldn't see anything and in about, I would say about a week and a half on the job there came a day where I started retouching on the next image and I was like, "Oh, my God, I can see them." It was the craziest thing, they were there the whole time, I just didn't understand and I couldn't visually see them, so you might find that in this process. When I started retouching, this is just a quick little sample cover, I worked for a man who, just a brilliant, brilliant illustrator, painter, and he kept saying, "Oh, you gotta handle those nuggets "on the side of the nose." And I couldn't see what he was talking about, so I was using the Clone tool and I was just cloning, cloning. You've got your hands that need to start working for you, but then you've got your eyes, what am I seeing? And let me illustrate that. A lot of what I'm gonna show you, it's a feel or a pressure or a vibe process and visual decision-making process, so you've got two things. So, tablet, practice, practice, practice. I think right now you can get a refurbished small one for 65 bucks, so it's well worth, well, well, well worth the investment. And I gotta tell you, they're making them smaller and smaller, they're really inexpensive. And seriously, he's very good, but one out of everybody I know, so a tablet's kind of a necessity. One and he's abnormal, and he's very good, but he's a freak of nature. I think I could say this still, in my industry, I know one retoucher who retouches with a mouse. I cannot imagine anybody doing this process with a mouse or a touchpad, period paragraph. You're gonna be a retoucher, you need some kind of pressure-sensitive tablet. That means you're gonna take the practice steps and do them, and then you're gonna have to do it again and again and figure out, because it's often a subtly move, do you see? Tablet, let's talk about tablet. And what I mean by that, this is definitely what I like to call a hand skill class. This course is not designed that you sit down and in your first pass, you're gonna have this handled in any way, shape, or form. What else would I like to tell you? Practice, practice, practice on all the stuff that I'm gonna show you. You can come back to it another time, your brain will be ready to absorb it or to do it or your hands, your skills will be better adept at passing that test, if you will. And in fact, what I think you'll find is, let's say you're in step one or step two and then a few of the steps go over your head, let it go over your head, that's fine. So, I'm saying this is not a one-pass course, this is a course you're gonna wanna watch, come back to it another time, wanna watch it again. And I will tell you, I know this from personal experience, doing this for well over 25 years, I will sit with another retoucher and they'll be doing a process that I've been doing, they'll do it ever so slightly different and I'm like oh, my God, I never thought of that one little tweak and it can change your complete workflow. We have bonus materials for this course and most of the courses I teach here at CreativeLive because I'd like you to be able to follow along and there's a lot of information, and I would certainly not expect any of y'all to get it in one round. It might even help you decide how you shoot, which I think is a really important point, so please pay attention in that eye view, if you will, to think about that. For photographers, whether you're doing the retouching or directing the retouching, again, this is a re.Īlly good course because it gives you some idea of what the process is, what the limitations are. Photographers, designers, art directors and creative directors, even if you're not the ones who have your hands actually in the pie, but you're directing the maker of the pie, I think this is a really good course to see how the process is done. My mom does retouching if she's needs to do retouching. Who's this for? Retouching, well, gosh, everyone can do retouching if you need to do retouching. Do you want A, do you want B, do you want C, or do you want D? With no judgment, so I just wanna start the course out letting you know that. During this class, I'm gonna say, look, here's a roadmap, here's some ways to go. So, portrait retouching is really, really, really, really subjective and there is no right answer, there's no one way, there's no right, there's no wrong, there's taste, so I'm gonna continually refer to that here. I wanna talk a little bit about what we're gonna cover here.
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