Painting clothes in Photoshop - step five

Above, among other changes, you'll notice the overall color of the blouse has gotten darker. I know I originally stated "cream colored", but I have a fascination with golden hues. There are many ways to do this. Sometimes, it's just because you've painted all the changes... and other times (hint) it's because you've duplicated the blouse layer, perhaps colorized it, played with the color balance, and then set the layer attibute to "multiply" or "overlay" or "soft light".

When I work on a picture, I'll take breaks from painting to see what Photoshop can do. I'll duplicate the layer, change the color, and then overlay using different layer modes just to see what happens. If I see something I like, I'll keep it; sometimes hitting CTL-U to play with the hue and saturation while the layer is in that different mode. It's fun, and a great way to experiment.

Yes, it may seem that I work somewhat haphazard, but I have fun. Isn't that the point? I know I'll get there sooner or later.

In this picture, there are also a few refinements in the folds and one of the sleeves. Just a bit more time working with the same tools mentioned in the previous step.

I will vary the mode of the layer, to sometimes preserve transparency, and to sometimes not. If I am changing the borders of where the blouse is, then not. But if I'm airbrushing, it certainly helps to make sure I don't paint beyond the edges. Again, you can change the transparency mode by checking the box on the layer palette.

Have you noticed one very large change? Yes, I've airbrushed a few shadows on her skin created by the blouse. To do this, I first create a new layer between her body and the blouse. Then using an airbrush set to 3-5% opacity, I gradually work shadows in, using a combination of black, a dark skin color, and a very dark blue. Why blue? Two reasons: The color blue can be found in all shadows, and secondly, the blue sky around her (the environment) will find itself reflected in all kinds of places you would never think to look. And since we are digital painters, we will most definitely look.

For the shadows created by the laces in her cleavage, I used a smaller airbrush and painted with a consistent opacity (4% or so), being careful to follow the curves of her form. I found myself ever so drawn to the CTL-Z combination at this time. Don't worry if it takes time. Getting the brushstrokes right is what makes it believable. If not believeable, then hopefully at least acceptable within the appearance of the total scene. There will be another change to those shadows later....