@ZapGirl Thank you! We don't have all the tutorials up anyways (working on them now) so we don't have a set date yet. I'll tag you when I make the announcement for the due date, and even then you have 3 weeks to do it. xD I know everyone is busy so I'm trying to make this as unstressful as possible.
I'm so sorry this isn't up yet. You guys must think badly of me. I've just been going back and forth between this, schoolwork when it comes up, family, and my latest assignment which took freakin' forever. >_< I'm almost done, just need to finish a few more things. These tutorials are really big. @_@
For now, here's the assignment I was talking about. xD
This one is for Mythos. It was really hard because there was no armor available, so I had to take an image apart and put it back together, then make the skirt and the sleeves of the outfit. Wings and hair are stock before anyone asks. xD
Also, the background I am using is in the tutorials. I explain how to fix them, especially large ones like this one. I am also explaining how to use the clone stamp (which helped make the skirt and sleeves) and a few other things. Soooo yeah, this edit is basically your tutorials in a nutshell. Lol
Wheee! Done with all of my normal exams, cleared my schedule a bit (had to move some classes around), and just need to do one more assignment tonight and then the tutorials will be up. Sorry this took so long guys!
Edit: Okay, I think I caught up with everything. xD Had to take a break from forums to study. Lol
Tutorial 20: iWarp Tool (Gimp) (By Mhamilton0911) Level: Beginner If you are still having trouble with something in this tutorial, or need more help, please post here or contact me. Click here for more tutorials
Tutorial 20: Liquefy Tool (Photoshop) Level: Beginner If you are still having trouble with something in this tutorial, or need more help, please post here or contact me. Click here for more tutorials
If you are still having trouble with something in this guide, or need more help, please post here or contact me.
One of the main ways to fix edges in your image is through the liquefy tool, and if you’re not fixing something with the liquefy tool you’re probably doing an effect with it. Basically, the liquefy tool can be used in many ways and is an extremely helpful tool, so it is important to know how to use it. (This will not be going into every detail, like meshes, just the ones we need to know. Feel free to do more research.)
To get to Liquify, go to your “Filter” tab, then down to “Liquify”.
When you first open Liquify in PS it should either look like picture 1 or 2. We want number 2’s layout though, so if you’re stuck on 1 tick the “Advanced Mode” box.
Now we’re going to go over our main tools really quickly. Area 1 – Brushes (Copied and pasted the information from here since they explain it better. My notes are in italics) Brush Size - Sets the width of the brush you’ll use to distort the image. You want to keep this larger than the area, depending on what you are working on. More information below. Brush Density - Controls how a brush feathers at the edge. An effect is strongest in the center of the brush and lighter at the edge. I keep this at 100, but you can go lower. Brush Pressure - Sets the speed at which distortions are made when you drag a tool in the preview image. Using a low brush pressure makes changes occur more slowly, so it’s easier to stop them at exactly the right moment. I normally have this at 100, but it’s probably best to keep it at 50 since it gives you control when working. Brush Rate - Sets the speed at which distortions are applied when you keep a tool (such as the Twirl tool) stationary in the preview image. The higher the setting, the greater the speed at which distortions are applied. Usually turned off, so ignore it. Stylus Pressure - Uses pressure readings from a stylus tablet. (This option is available only when you are working with a stylus tablet.) When selected, the brush pressure for the tools is the stylus pressure multiplied by the Brush Pressure value. Only applies to tablets so ignore it. Pin Edges – Not listed and unable to figure out what it does.
Area 2 Reconstruct… – Allows you to return your image to normal through percentages. 0% is completely normal. Restore All – Restores the entire image to normal with just a click.
Area 3
(Skipping the other areas as they aren’t needed. Mask section only applies if you have a selection going on.) Show Mask (and color) – We need this on when using the Freeze Mask tool. Feel free to change the color. What it does is it allows you to see the mask, which is basically a colored area that is protected.
Area 4
This is a very important area because it allows you to see what you are doing when working with layers. If you are trying to blend something or mix items together, being able to see them while working is very handy. Show Backdrop – Make sure to have this ticked so you can see the background/other layers. Use – This allows you to make certain layers visible. Best to keep it on “All Layers” most of the time. Mode – Allows you to see your working layer in certain ways. Not sure what Blend does, but keeping it on “Behind” allows you to see the working layer clearly because it places the other layers behind it. Keeping it on “In front” makes it hard to see the working layer if something is over it, but then we can just use the opacity to see it better. Opacity – Changes the opacity of the other layers, not your working layer. Keeping it at 100% opacity makes the layers all perfectly visible.
Area 5
These are your actual brushes/tools you will be using to manipulate your image. Also, your brush sizes can be changed using the [ and ] buttons. Forward Warp Tool (W) – This is your main brush that warps the image. Pull and push on the areas you want to change.
Reconstruct Tool (R) – Does the same thing as in area 2, it fixes your image, but this time it is a brush. Drag the brush over the areas you want fixed. Smooth Tool (E) – Helps make objects look normal after you liquefy them, as using the brush can cause damage and make things look odd. Use this brush to give objects some of their shape back while still retaining the warp.
(The rest of these won’t really be used most of the time) Twirl Clockwise Tool (C) – Self-explanatory, but it twirls the object instead of just pushing and pulling. Pucker Tool (S) – “Pinches” the areas closer together. Bloat Tool (B) – Expands the areas. Push Left Tool (O) – Moving the mouse/pen upward forces it to move to the left, moving it down forces it to the right. Freeze Mask Tool (F) – This is what you use to “freeze” an area from being affected. If you’re working with close together areas, you should be using this to protect the other area while you work on the area next to it. To select an area, just draw over it. Freeze Mask Tool (D) – This unfreezes your area. It acts like an eraser. Hand Tool (H) – Allows you to move the image around while zoomed in. Zoom Tool (Z) – Allows you to zoom in. You can also use the area located at the bottom, the one with the percentage, and use that to zoom in or out.
Now that we’ve covered that we can move on to our examples.
We’ll start with the most common issue you’ll be using liquefy to fix. A common problem with the Sims 3 (not really Sims 4, but it can still happen) is that the edges of the elbows are “sharp”, meaning they look unrealistic and have pointy edges. We obviously don’t want that, so we need to fix them. Fixing them is actually quite easy, but sometimes it does take a bit to get them nice and rounded.
Here is an example of the problem. Her elbows are pretty bad, so let’s get started.
I’m going to make sure my settings are right, then take my brush and zoom in just a bit for a bit more accuracy. I then place my brush slightly on the outside of the elbow, not directly on it since that limits our control and we could easily make a mistake that way. Remember, the power of the brush is greater near the center, so we need to make sure we use the outside of the brush to control our strokes.
I then begin pushing towards the body with my brush. I want to make the elbow smooth while still giving it a slight shape to represent realism (elbows in real life are slightly pointy, yet with a round point! Check your elbow to see what I mean). My first stroke does pretty well, but we still have a “pinch” that needs to be corrected. Remember, we adjust the brush for different sized areas, so for this one I can either adjust my brush or gently tap at it until it smooths out with the rest of the elbow.
There we go. One side is technically done, so let’s switch over to the other side.
Our last part to deal with is the middle. The elbow shouldn’t be caving in, so we need to fix it by instead pulling from the body now. To protect my work I’m going to use the freeze masks, and I’m also going to adjust my brush as a just in case.
Now I’m going to unfreeze the areas and check my handiwork. Seems pretty good, but it could obviously use more work.
To work on a broader area I’m going to change the size of my brush so it covers the most of the edge of the elbow. I still want it to look realistic, so now I’m going to go from smooth round to slightly pointed and add just the slightest curve. Also, if you’re wondering why I can suddenly see the elbow clearly, it’s because I changed the opacity on the layers.
And now we’re done! The elbow is fixed and now looks more realistic. We of course have the other elbow to fix, so now you just repeat but with different settings. When you’re done, make sure to hit “Ok” to save your work.
Take note that there are other areas in the body that can use some adjusting. Other common areas are the ankles, areas around the neck and chin (the game can’t make proper curves so likes to “cave in” parts), and sometimes other areas on the arm.
The next thing we are going to look at is correcting odd formations. Here is an example. It looks fine at a first glance, but if you look closer you realize the sim looks pregnant! The combination of the dress and the pose creates this odd look, so to fix it we’re going to morph the edge of the body to make it less of a problem.
We’re working with a much broader area this time, so make sure to make your brush larger than the area, and make sure to zoom in just a bit for more control. We’re now going to start adjusting the areas.
Much better! The odd formation is fixed.
Now we’re going to do something a bit more complicated with the liquefy tool, and that is using it to create flow. Here is an example of one of my past edits. The veil she has is stiff and pretty much useless to us because of it, but with the liquefy tool we can create a flow and make it realistic. You can also use the Warp tool outside of Liquify, or you can combine both to get what you want.
The first thing I want to do is place the veil over the sim. You erase parts of the veil after manipulating it, so don’t do that first. Then we begin manipulating the veil by pushing in certain area and pulling the rest (I pushed the bottom in, then pulled the top, and then did a combo with the edge). You should probably research fabric movement (or test it yourself) before manipulating the object. Eventually I get something like this.
Definitely not the best, but it can be fixed or improved. I keep working on it and get this, which is a bit better, but we’re going to stop there. You can use the liquefy tool to fix quite a few things, and even adjust things like the eyebrow height, make your sim smile or frown, and even use it to create effects like the veil.
Tutorial 21: Correcting Errors with Layers Level: Beginner If you are still having trouble with something in this tutorial, or need more help, please post here or contact me. Click here for more tutorials
We’re starting with something super basic here to help you understand how easy it is to correct small errors with just a second image.
Here I have my Wonder Woman before picture. You can see that her hair is glitching into her shoulder. There are several ways I can fix this, like the clone stamp tool, drawing, the healing brushes, etc., but the easiest method is to just take a picture of the same pose but with a different hair style.
Here is what I mean. This is my second picture that I will be using to correct the error. Now, there are several ways I can go about this as well. The first thing we want to make sure of is that the images are aligned and in the same workspace, so make sure to do that first. Then, we need to erase the areas we don’t want. We can either actually erase the image, or we can use the layer masks method I taught in the new cutting method. I’m going to use the layer masks to show you how to use them for something like this.
To begin, make sure you have your two images, the original and the second one that fixes the error. For example, I am dealing with glitching hair into the shoulder, so the way to fix this is to take a second picture with the same pose and style of outfit (so something sleeveless and low on the chest), but with a shorter hair so the glitch doesn’t occur. This method can also be used with glitching fingers, other body parts, clothes, hair, etc. Then open them in your program and make sure the fixing image is on top of the original image, and you may or may not cut them out depending on what you prefer. Then, add a layer mask to the fixing image. For PS: click the circle in the rectangle under the layer box, or go up through the “Layer > Layer Mask” tab. For Gimp: Go through the “Layer > Mask” tab, or right click on the layer and select “Add layer mask”.
The next step is to remove parts of the fixing image we don’t want. I only want the fixed shoulder, so I’m going to “erase” the parts I don’t want. Take your paint brush, set it to hard brush (fuzzy is good for blending edges though), make sure you are on your layer mask and not the image, and then begin to paint. We’re going to start big and then slow down and be more careful when we get near the shoulder. Also, if you make an error you can use the eraser or the color white to bring the areas back.
We’re done! See how incredibly easy that was? No struggling with color palettes or the other tools. Just a simple layer mask solved our problems. Feel free to merge the layers if you want. This method can be used to solve many other errors.
Tutorial 23: Correcting Errors with Healing Tools (Photoshop) Level: Beginner If you are still having trouble with something in this tutorial, or need more help, please post here or contact me. Click here for more tutorials
(The fill method is only available for CS5 and above. Use the healing/clone stamp tools if you use an older program). The one thing I hate when searching for backgrounds is that there is always something or someone in the freakin’ way. You know that image where it’s absolutely perfect in every way, but there’s already a person in it, or there’s an object that just doesn’t fit or takes up the image? Well we finally found a way to fix these problems, and it’s super easy!
We’ll be covering several methods on how to correct this, but the easiest method will be through the “Content-Aware Fill” option!
Part 1: Content-Aware Fill
Let’s start with my most recent background for an assignment. Here you can see that this girl is in the way and ruins a potentially good background. I’m going to teach you how to go from the original image to the new background.
We’re going to start with her sword and work our way down in sections. The reason we do this is because the program looks at the surroundings of the selection and then builds a new image on top of your selection. This means that if the selection is too large the program will create weird affects. Here’s an example of what I mean. If I just did a selection of his entire body, the program will do this funky thing. While it’s not bad, we don’t want there to be floating undead above the rock, so we avoid this situation by doing it in sections. Also, when doing selections with different textures/colors, like the sky and the rock, we want to do them separately. The program can sometimes glitch when you select differing areas all at once. Sections just make the image cleaner in the end.
(Don’t forget to duplicate your image for safe keeping) Take your lasso tool and then begin making selections. Don’t go too far out, just surround the areas you need to correct. Once you’ve made your selection, go to “Edit” then all the way down to “Fill”.
This pop-up will appear. You want the options to be on “Content-Aware”, so if they aren’t already make sure to click the drop down menu and select it. When you’re done hit ok.
Your image should now be missing that section, and should look as if nothing was ever there. If there are glitches, like pieces of something were dragged over, etc., you will need to undo and then do a smaller selection or just select the broken area and fill it again. If you don’t like how it looks, just redo the selection and fill it again until you like it!
Now you just keep doing this until the object or person is gone. Eventually you get this!
Part 2: Healing Brush
Now, if you’re using an older program the content-aware option is probably not available. This is where we use our other tools, but unfortunately it takes more work since these tools like to glitch a bit more easily. They also, unfortunately, do not do well with large areas like my first example picture. This means that some of you probably won’t be able to fix large problems on your background.
The tools we are going to look at are the “Healing Brush Tool”, the “Spot-Healing Brush Tool” and the “Patch Tool”. The healing brush tool acts like a paint brush, or if you have used it, the clone stamp tool. I honestly don’t see that much difference between the heal brush and the clone tool, except the healing tool is aware of its surroundings. We will be covering the clone stamp in another error guide, but be aware that it can be used to fix these issues as well.
Anyways, we begin by creating a new layer, then selecting the brush. Make sure you are selecting the Healing Brush and not the Spot-Healing brush since we’ll be covering the Spot-Healing last. Now, to actually start painting we need to grab a “sampled source”. This means that you select an area on your image for your brush to read, and then when you paint the brush reads that section and basically copies that section onto the painted section. Before you try to sample the image, make sure to change the settings so you are on “Current and below” or “All layers” if you only have the background visible. Or start on the background layer, sample the area you want, then go back to your new layer (sampling all layers copies all of the layers, so those options only work if you make the other layers invisible first). To select a spot on your image, move the mouse over to the desired location and hit “Alt + Left click” to select the area you want and don’t forget to use your [ and ] to adjust the brush size. Your brush should now be mimicking the selection you just did.
Now you begin painting. The first thing you’ll notice is that when you paint too far things like this can happen. The brush painted the sword on a new area after we just tried covering it up! We now either have to select a new area and try again, or don’t go too far next time.
Another thing you want to keep in mind is the “Aligned” button at the top. Keeping it ticked makes the brush repeat in the same area, so no matter how many times you move the brush to another section, the brush will not change/move over to another section. This error in this example picture is due to me placing the “sampled” area directly at the top. Now when I paint the brush can’t go past the line it made, but it can keep painting below it. If I untick the aligned button I can now paint with more freedom, though the brush is still limited somewhat on where it can go. Unticking also allows me to repeat sections while keeping “Aligned” ticked usually forces me to continue the section.
The last thing you need to know about when painting is that sometimes the brush causes the image to become blurred. We can stop this from happening in certain areas by going to “Mode” and then “Replace”, which helps protect the textures. The problem with this mode is that it doesn’t blend well with the background, so you’ll get chunks as if you were using a hard brush instead of a fuzzy brush.
You can fix this by going to your brush options and then dragging your “Hardness” setting down so it still protects the textures but is no longer solid paint.
Then you just continue painting, and though it may take a bit it should still work out. Here is how my image turned out while using this brush. Not bad, but a lot more effort than with the content-aware fill (I highly suggest upgrading when you can!)
Part 3: Spot Healing Brush
The next tool we’re covering in this tutorial is the spot healing brush. This brush is different from the rest because you only have to click on your selection, you don’t actually have to draw or anything. The sad part about this tool though is that it doesn’t handle large areas very well, at all. You’ll probably have to mix and match with the other Healing brush to get good results. There’s also not much to cover since it’s a pretty simple tool. The modes “Normal” and “Replace” don’t really change anything, and using the “Proximity match” and the “Create Texture” options don’t really help us either. Either way, begin by selecting your brush, then click and drag over an area you want to change. The selection looks like a transparent black mark.
You get some pretty good results, but once you start doing the other areas it becomes a mess, which is where I said the other tools come in handy. The second image shows what happens when I select the person entirely.
Part 4: Patch Tool
I’m not very familiar with this tool, but this is the closest thing to the content-aware tool I have seen, and it’s pretty cool. It comes with two modes, “Normal” and “Content Aware”, and so far the normal mode is working the best at the moment. The “Source” and “Destination” buttons are completely different from each other. Source allows you to correct a spot, destination allows you to duplicate a spot.
Grab the tool and then make a selection over an area you want to fix. The next part you want to do is drag the selection over to an area you want to copy!
You should now get something like this. You can keep doing this in individual parts, but I believe that some images, not my example though, can do whole selections and get good results. I was able to do this earlier with my example with only a few errors, but I suddenly can’t figure out how to repeat it. Either way, it’s a pretty good method for removing something from the background!
Tutorial 22: Correcting Errors with Clone Stamp & Drawing Level: Beginner If you are still having trouble with something in this tutorial, or need more help, please post here or contact me. Click here for more tutorials
In this tutorial we’re covering the last part on how to fix backgrounds and then how to fix fingers, plus a little bit of drawing for correcting body parts.
Part 1:
Let’s start with the backgrounds (and something else). The next tool we are learning about is the clone stamp, which you’ll be using quite often in your modeling career. It can be used to fix a number of things, and it can even be used to make stuff. It’s a very versatile tool, so it’s important to learn how to use it. Let’s start with your tool options. Obviously you’ll want to click on the clone stamp tool to get started.
Gimp:
The first half of our tool options are the same as our other brush tools. We aren’t covering them since they’ve been covered before, but keep in mind that the fuzzy brush (the one before the hard brush) is the best option when trying to blend whatever you are copying.
Our second half is what we are interested in. Some of these options, like the “Apply jitter” are in the tools of other brushes.
Apply jitter – When you paint it basically makes it splotchy.
Smooth stroke – Makes the paint lag behind the brush. So the “weight” setting you chose determines how slow the paint forms, but the brush moves ahead of it.
Hard edge – Makes the paint pixelated/hard on the edges.
So far these settings don’t really have a use, but feel free to experiment with them when creating effects.
Source: Image or Pattern – This allows you to use an image or a pattern in the program to read from when painting.
Alignment: None – You can paint anywhere and keep going, except when the brush hits the end of the source image. Then you have to start painting again, but then the image you have as your source will repeat.
Aligned – Follows the source image exactly, so you can’t repeat the image or go further than the border.
Registered – Paints the source image but aligns it with your main image. It doesn’t repeat either. So it’s basically “None” and “Aligned” put together, minus the flaws. Note that it only works with images outside your main image, so that means if you try to “source” the main image it won’t work.
Fixed – No idea what the real purpose is, but it basically creates a weird swirl effect.
Photoshop:
Most of our tool options are the same as our other brush tools. We aren’t covering them since they’ve been covered before, but keep in mind that the fuzzy brush (the one before the hard brush) is the best option when trying to blend whatever you are copying. Hardness (located above the brush when you are in the brush menu) also affects the edges of the brush, so feel free to move it up and down for better blending. Remember that aligned forces the brush to paint the same image nonstop, but when it is unticked you can paint as many times as you want. Sample controls what the brush reads when making selections.
Now that we have that covered, let’s move on to fixing our errors.
The first image we are going to look at is one with a small error. It’s relatively easy to fix, but most people miss it. In this photo we have her dress glitching through the hair. It’s a pretty ugly glitch. Instead of drawing and making a mess of things, we are instead going to use her hair provided to cover the glitch. Note that you can also use this method to cover up leftover background and such.
I’m going to make a new layer then go back to my original image, take my clone stamp, keep it at the soft brush I recommended to you, leave my jitter, hard, etc. settings off, and then use my “none” alignment. Note that sometimes your source can move around, and you can even accidentally move the source if you paint too closely and accidentally click on it (none of that applies to PS. Untick “Aligned” instead). Anyways, I am going to select the area right above the glitch by hitting “Ctrl + Left click” for Gimp, or “Alt + Left click” for PS, to get my source. I am then going to make the brush size about the width of the hair strand, and then I’m going to gently paint. You don’t want to go too far, just enough to fix it. The results aren’t too bad, but the hair color difference is slightly noticeable. That’s not really a problem at the moment.
I now need to do the other areas. Using the same source spot doesn’t work, so I need to move it over to the spot directly above it. If you were using “Aligned” mode you could technically just keep painting since it stays in the same spot, but that brings in all kinds of issues. And now the second half looks really good! It is barely noticeable, but the first half is still iffy. We can fix this by redoing it, burning that area to make it darker, draw, or even erasing.
A little bit of erasing and it turned out good as new! It’s not perfectly fixed since this was just an example, but you get the idea of what the tool can accomplish.
Part 2:
The next thing we are going to look at is fixing backgrounds/removing objects, like we covered before with the healing tools. We’ll start with the background. In my recent edit for Miss World I needed to use a park for my idea. The background I found wasn’t really the right size, and it looked odd after placing everything in, as seen below.
You can see that the bench and the sim are halfway into the walkway! This is certainly a problem, but a surprisingly easy one to fix. The first thing you should be aware of is that this is not my full background, the image is actually cropped. After expanding my image, either with the canvas or reversing with my crop tool, you can see the original image.
My goal was to make this walkway disappear so my sim and the bench looked like they belonged in the background. The first thing I did was focus on removing the entrance of the walkway in the background. I chose a side next to the entrance that I thought best, made a new layer, then began painting. One thing you should be aware of is that you will always redo something like this a lot. It took me quite a bit to get it how I wanted, and then I had to make sure I blended the edges properly. The first thing I noticed after doing this is that the very bottom was not working with the rest of the surroundings, so I took my grass from the right side and began painting with that sample to make it seem as if the grass kept going and made the other painted area seem more natural.
After painting my grass, I then needed to make the rest of the walkway disappear. This time I focused on the leaves in my environment. At first I used the right side as my main source, but after struggling to make it look better I decided to work with the leaves on the left. It was a better decision because it made it look more natural.
After quite a bit of painting I felt that I was done, but then I thought to add just a tiny bit of sidewalk onto my new background. My end result is this new background. My point for this image is that you can build new backgrounds or change existing ones (or even fix issues) to suit your needs with the clone tool.
Part 3:
The next thing we are looking at is removing objects, which is basically the same as what we did before. In this image you can see that there is an annoying boat behind my sim. It doesn’t really fit what I need, and I’d hate to be docked points for it staying in the image.
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I could use the previous methods, like content aware, to get rid of the boat as well. The first thing we want to do is begin removing the boat. I need to grab parts near the boat to blend it in, so that’s my first step. I begin slowly painting and cover most of the boat, but now I need to switch to a different section and continue blending from there. There’s not much left though, so I could instead start using the sky to cover the last part and go back and forth between the other sources. I am now pretty much finished, and it’s not bad for a quick a touch up.
Part 4:
The last thing we are covering for the clone stamp is fixing fingers. As long as you have at least one finger that matches the hand direction and shape (besides manipulating them to a certain extent), you can fix gliching fingers. We’ll start with my old peppermint edit. Here you can see that her hands glitch into her hips. We want the hand to be normal, so we’ll begin by taking the clone stamp and selecting the pointer finger on her other hand resting normally.
I then take this new source and paint out the hand, then I begin rotating the entire hand I made so it faces in the proper direction for the other hand. After rotating I erase the hand but keep the pointer finger intact.
I then make several copies of it for the other fingers and then hide them, then begin manipulating the original finger to fit correctly on the hand. So far it looks good! I continue this for the other fingers, making sure to make them each slightly shorter so they are realistic. After that I will then have to draw some details like shadows and other things to make the fingers look realistic and like they belong there.
Even though we didn’t cover every detail, hopefully these ideas on how to fix your sims hands can help you later down the road. Here is my sims hand all fixed up!
Part 5:
Last but not least, drawing fingers. This is sometimes unavoidable, so it’s important to know how to do this. It’s honestly not that hard, we just have to remember our basics.
Always zoom in closely to the area you are working on.
Make sure to have a reference image of the hand going into the hip, or at least have some idea in your mind as to how it looks.. So maybe using a skinnier sim, etc. to figure out what the hand is doing. (If you do that though, you could just use the hand and the “Layers” tutorial to combine them instead to fix the glitch.)
Use multiple colors. If you just use one color the sims hand is going to look weird. You will always be using at least 3 colors on your fingers when working. I suggest using the color picker to pick the colors from the hand where you can. Don’t forget to add shadows where you need to.
Make sure to use your layers instead of drawing on the original image.
Once you remember those, it’s fairly easy. Here is an example of me drawing fingers. Though they aren’t perfect, they have several varying shades where needed and follow the direction of the glitched hand.
Everything but that one Gimp tutorial I told you about is up! I will decide the due date tomorrow. If you see any errors or something doesn't make sense, please tell me!
Due date for the assignment and challenge is October 26th. That's 3 weeks, so that is plenty of time to get it done. Our current schedule predicts the finale to finish before Christmas.
awesome tutorials mizzie! honestly I just use content aware because I haven't experience too much problems with just using it (my sim usually gets placed over anything that looks odd) but I will defintellly keep these in minds for more complex fixing, and maybe play around with clone stamp and stuff =D
also i didnt know what half that liquify stuff did haha! ijust used the first tool always xD ^^; (then when I would mess up i woud cancel liquifyuing then just reopen v.v) thank you bby
@Eliavah Lol! Eli! I did the same thing when I first started using liquify. xD Glad I could help! And I included the other options because everything past...CS5 I think...doesn't have content-aware, so to make sure everyone learned how I wrote about the other methods. It would be unfair to not include them, but this also allows people to learn what these tools do and use them to their advantage later on.
Omg so much stuffs to learn! *Feels overwhelmed* Not that I'm complaining though XD Awesome and helpful tutorials as always @MizoreYukii ! I have to go trough the tutorials slowly, I hope I can pull this off. I've found several poses I think would fit with the theme I'm going for, now I just have to try the poses out in game and see if I there are any weird angles. There are possibilities that the hands will clip trough ballerina tutu lol. Not sure how I'm going to fix that though
@BabyCarrotz Thank you! I think I'm going to go through and add more details (I wrote the last half of the clone stamp tutorial when I was falling asleep), and put up an example tutorial (not a full on tutorial) that goes through several of the edits I did in the past and how I fixed them with the available tools. That way you guys can see how you can not only combine the different methods, but you can also get creative on how you fix things. xD
For the hands, you can use the layers method by taking a picture of the hands at a different angle but similar pose (so I need her hands clutching something, I can take a picture of that one pose with the clutched hand and then flip her hand around and fix it that way), if you feel confident you can draw the fingers (honestly not that hard), or you can build it through the clone stamp tool. There's plenty of ways to fix it. xD
Or if the poses don't have issues you can try searching for a background with objects or people you don't want.
Oh yea I agree having multiple options is best. I just never thought to use anything besides content aware , but then again ive never taken out something tooo dramatic. Clone stamp and the other tools seem super useful, and I always click it by accident in photoshop so it must be a sign to use it! Lmaoo
And I feel like no onet read my tutorials xD ^^; its ohkayy ;u;
@Eliavah I avoided clone stamp for the longest time. LOL
And I received a "awesomes" on it, so someone did. xD I wish more people talked about the tutorials, even if it was just a question or pointing out a typo (I have found a few, but no one ever points them out o-o).
We'll know who did when everyone submits though. xD
Comments
For now, here's the assignment I was talking about. xD
This one is for Mythos. It was really hard because there was no armor available, so I had to take an image apart and put it back together, then make the skirt and the sleeves of the outfit. Wings and hair are stock before anyone asks. xD
Also, the background I am using is in the tutorials. I explain how to fix them, especially large ones like this one. I am also explaining how to use the clone stamp (which helped make the skirt and sleeves) and a few other things. Soooo yeah, this edit is basically your tutorials in a nutshell. Lol
Before:
After:
http://lesliem25.tumblr.com/
*.:.* My Simblr *.:.* Rebuild Willow Creek *.:.* The Bachelor of Newcrest *.:.* SIMply Living Magazine *.:.*
@Issabella14 Thank you!
Wheee! Done with all of my normal exams, cleared my schedule a bit (had to move some classes around), and just need to do one more assignment tonight and then the tutorials will be up. Sorry this took so long guys!
Edit: Okay, I think I caught up with everything. xD Had to take a break from forums to study. Lol
Level: Beginner
If you are still having trouble with something in this tutorial, or need more help, please post here or contact me.
Click here for more tutorials
Level: Beginner
If you are still having trouble with something in this tutorial, or need more help, please post here or contact me.
Click here for more tutorials
If you are still having trouble with something in this guide, or need more help, please post here or contact me.
One of the main ways to fix edges in your image is through the liquefy tool, and if you’re not fixing something with the liquefy tool you’re probably doing an effect with it. Basically, the liquefy tool can be used in many ways and is an extremely helpful tool, so it is important to know how to use it. (This will not be going into every detail, like meshes, just the ones we need to know. Feel free to do more research.)
To get to Liquify, go to your “Filter” tab, then down to “Liquify”.
When you first open Liquify in PS it should either look like picture 1 or 2. We want number 2’s layout though, so if you’re stuck on 1 tick the “Advanced Mode” box.
Now we’re going to go over our main tools really quickly.
Area 1 – Brushes (Copied and pasted the information from here since they explain it better. My notes are in italics)
Brush Size - Sets the width of the brush you’ll use to distort the image. You want to keep this larger than the area, depending on what you are working on. More information below.
Brush Density - Controls how a brush feathers at the edge. An effect is strongest in the center of the brush and lighter at the edge. I keep this at 100, but you can go lower.
Brush Pressure - Sets the speed at which distortions are made when you drag a tool in the preview image. Using a low brush pressure makes changes occur more slowly, so it’s easier to stop them at exactly the right moment. I normally have this at 100, but it’s probably best to keep it at 50 since it gives you control when working.
Brush Rate - Sets the speed at which distortions are applied when you keep a tool (such as the Twirl tool) stationary in the preview image. The higher the setting, the greater the speed at which distortions are applied. Usually turned off, so ignore it.
Stylus Pressure - Uses pressure readings from a stylus tablet. (This option is available only when you are working with a stylus tablet.) When selected, the brush pressure for the tools is the stylus pressure multiplied by the Brush Pressure value. Only applies to tablets so ignore it.
Pin Edges – Not listed and unable to figure out what it does.
Area 2
Reconstruct… – Allows you to return your image to normal through percentages. 0% is completely normal.
Restore All – Restores the entire image to normal with just a click.
Area 3
(Skipping the other areas as they aren’t needed. Mask section only applies if you have a selection going on.)
Show Mask (and color) – We need this on when using the Freeze Mask tool. Feel free to change the color. What it does is it allows you to see the mask, which is basically a colored area that is protected.
Area 4
This is a very important area because it allows you to see what you are doing when working with layers. If you are trying to blend something or mix items together, being able to see them while working is very handy.
Show Backdrop – Make sure to have this ticked so you can see the background/other layers.
Use – This allows you to make certain layers visible. Best to keep it on “All Layers” most of the time.
Mode – Allows you to see your working layer in certain ways. Not sure what Blend does, but keeping it on “Behind” allows you to see the working layer clearly because it places the other layers behind it. Keeping it on “In front” makes it hard to see the working layer if something is over it, but then we can just use the opacity to see it better.
Opacity – Changes the opacity of the other layers, not your working layer. Keeping it at 100% opacity makes the layers all perfectly visible.
Area 5
These are your actual brushes/tools you will be using to manipulate your image. Also, your brush sizes can be changed using the [ and ] buttons.
Forward Warp Tool (W) – This is your main brush that warps the image. Pull and push on the areas you want to change.
Reconstruct Tool (R) – Does the same thing as in area 2, it fixes your image, but this time it is a brush. Drag the brush over the areas you want fixed.
Smooth Tool (E) – Helps make objects look normal after you liquefy them, as using the brush can cause damage and make things look odd. Use this brush to give objects some of their shape back while still retaining the warp.
(The rest of these won’t really be used most of the time) Twirl Clockwise Tool (C) – Self-explanatory, but it twirls the object instead of just pushing and pulling.
Pucker Tool (S) – “Pinches” the areas closer together.
Bloat Tool (B) – Expands the areas.
Push Left Tool (O) – Moving the mouse/pen upward forces it to move to the left, moving it down forces it to the right.
Freeze Mask Tool (F) – This is what you use to “freeze” an area from being affected. If you’re working with close together areas, you should be using this to protect the other area while you work on the area next to it. To select an area, just draw over it.
Freeze Mask Tool (D) – This unfreezes your area. It acts like an eraser.
Hand Tool (H) – Allows you to move the image around while zoomed in.
Zoom Tool (Z) – Allows you to zoom in. You can also use the area located at the bottom, the one with the percentage, and use that to zoom in or out.
Now that we’ve covered that we can move on to our examples.
We’ll start with the most common issue you’ll be using liquefy to fix. A common problem with the Sims 3 (not really Sims 4, but it can still happen) is that the edges of the elbows are “sharp”, meaning they look unrealistic and have pointy edges. We obviously don’t want that, so we need to fix them. Fixing them is actually quite easy, but sometimes it does take a bit to get them nice and rounded.
Here is an example of the problem. Her elbows are pretty bad, so let’s get started.
I’m going to make sure my settings are right, then take my brush and zoom in just a bit for a bit more accuracy. I then place my brush slightly on the outside of the elbow, not directly on it since that limits our control and we could easily make a mistake that way. Remember, the power of the brush is greater near the center, so we need to make sure we use the outside of the brush to control our strokes.
I then begin pushing towards the body with my brush. I want to make the elbow smooth while still giving it a slight shape to represent realism (elbows in real life are slightly pointy, yet with a round point! Check your elbow to see what I mean). My first stroke does pretty well, but we still have a “pinch” that needs to be corrected. Remember, we adjust the brush for different sized areas, so for this one I can either adjust my brush or gently tap at it until it smooths out with the rest of the elbow.
There we go. One side is technically done, so let’s switch over to the other side.
Our last part to deal with is the middle. The elbow shouldn’t be caving in, so we need to fix it by instead pulling from the body now. To protect my work I’m going to use the freeze masks, and I’m also going to adjust my brush as a just in case.
Now I’m going to unfreeze the areas and check my handiwork. Seems pretty good, but it could obviously use more work.
To work on a broader area I’m going to change the size of my brush so it covers the most of the edge of the elbow. I still want it to look realistic, so now I’m going to go from smooth round to slightly pointed and add just the slightest curve. Also, if you’re wondering why I can suddenly see the elbow clearly, it’s because I changed the opacity on the layers.
And now we’re done! The elbow is fixed and now looks more realistic. We of course have the other elbow to fix, so now you just repeat but with different settings. When you’re done, make sure to hit “Ok” to save your work.
Take note that there are other areas in the body that can use some adjusting. Other common areas are the ankles, areas around the neck and chin (the game can’t make proper curves so likes to “cave in” parts), and sometimes other areas on the arm.
The next thing we are going to look at is correcting odd formations. Here is an example. It looks fine at a first glance, but if you look closer you realize the sim looks pregnant! The combination of the dress and the pose creates this odd look, so to fix it we’re going to morph the edge of the body to make it less of a problem.
We’re working with a much broader area this time, so make sure to make your brush larger than the area, and make sure to zoom in just a bit for more control. We’re now going to start adjusting the areas.
Much better! The odd formation is fixed.
Now we’re going to do something a bit more complicated with the liquefy tool, and that is using it to create flow. Here is an example of one of my past edits. The veil she has is stiff and pretty much useless to us because of it, but with the liquefy tool we can create a flow and make it realistic. You can also use the Warp tool outside of Liquify, or you can combine both to get what you want.
The first thing I want to do is place the veil over the sim. You erase parts of the veil after manipulating it, so don’t do that first. Then we begin manipulating the veil by pushing in certain area and pulling the rest (I pushed the bottom in, then pulled the top, and then did a combo with the edge). You should probably research fabric movement (or test it yourself) before manipulating the object. Eventually I get something like this.
Definitely not the best, but it can be fixed or improved. I keep working on it and get this, which is a bit better, but we’re going to stop there. You can use the liquefy tool to fix quite a few things, and even adjust things like the eyebrow height, make your sim smile or frown, and even use it to create effects like the veil.
Level: Beginner
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We’re starting with something super basic here to help you understand how easy it is to correct small errors with just a second image.
Here I have my Wonder Woman before picture. You can see that her hair is glitching into her shoulder. There are several ways I can fix this, like the clone stamp tool, drawing, the healing brushes, etc., but the easiest method is to just take a picture of the same pose but with a different hair style.
Here is what I mean. This is my second picture that I will be using to correct the error. Now, there are several ways I can go about this as well. The first thing we want to make sure of is that the images are aligned and in the same workspace, so make sure to do that first. Then, we need to erase the areas we don’t want. We can either actually erase the image, or we can use the layer masks method I taught in the new cutting method. I’m going to use the layer masks to show you how to use them for something like this.
To begin, make sure you have your two images, the original and the second one that fixes the error. For example, I am dealing with glitching hair into the shoulder, so the way to fix this is to take a second picture with the same pose and style of outfit (so something sleeveless and low on the chest), but with a shorter hair so the glitch doesn’t occur. This method can also be used with glitching fingers, other body parts, clothes, hair, etc. Then open them in your program and make sure the fixing image is on top of the original image, and you may or may not cut them out depending on what you prefer. Then, add a layer mask to the fixing image. For PS: click the circle in the rectangle under the layer box, or go up through the “Layer > Layer Mask” tab. For Gimp: Go through the “Layer > Mask” tab, or right click on the layer and select “Add layer mask”.
The next step is to remove parts of the fixing image we don’t want. I only want the fixed shoulder, so I’m going to “erase” the parts I don’t want. Take your paint brush, set it to hard brush (fuzzy is good for blending edges though), make sure you are on your layer mask and not the image, and then begin to paint. We’re going to start big and then slow down and be more careful when we get near the shoulder. Also, if you make an error you can use the eraser or the color white to bring the areas back.
We’re done! See how incredibly easy that was? No struggling with color palettes or the other tools. Just a simple layer mask solved our problems. Feel free to merge the layers if you want. This method can be used to solve many other errors.
Level: Beginner
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(The fill method is only available for CS5 and above. Use the healing/clone stamp tools if you use an older program). The one thing I hate when searching for backgrounds is that there is always something or someone in the freakin’ way. You know that image where it’s absolutely perfect in every way, but there’s already a person in it, or there’s an object that just doesn’t fit or takes up the image? Well we finally found a way to fix these problems, and it’s super easy!
We’ll be covering several methods on how to correct this, but the easiest method will be through the “Content-Aware Fill” option!
Part 1: Content-Aware Fill
Let’s start with my most recent background for an assignment. Here you can see that this girl is in the way and ruins a potentially good background. I’m going to teach you how to go from the original image to the new background.
We’re going to start with her sword and work our way down in sections. The reason we do this is because the program looks at the surroundings of the selection and then builds a new image on top of your selection. This means that if the selection is too large the program will create weird affects. Here’s an example of what I mean. If I just did a selection of his entire body, the program will do this funky thing. While it’s not bad, we don’t want there to be floating undead above the rock, so we avoid this situation by doing it in sections. Also, when doing selections with different textures/colors, like the sky and the rock, we want to do them separately. The program can sometimes glitch when you select differing areas all at once. Sections just make the image cleaner in the end.
(Don’t forget to duplicate your image for safe keeping) Take your lasso tool and then begin making selections. Don’t go too far out, just surround the areas you need to correct. Once you’ve made your selection, go to “Edit” then all the way down to “Fill”.
This pop-up will appear. You want the options to be on “Content-Aware”, so if they aren’t already make sure to click the drop down menu and select it. When you’re done hit ok.
Your image should now be missing that section, and should look as if nothing was ever there. If there are glitches, like pieces of something were dragged over, etc., you will need to undo and then do a smaller selection or just select the broken area and fill it again. If you don’t like how it looks, just redo the selection and fill it again until you like it!
Now you just keep doing this until the object or person is gone. Eventually you get this!
Part 2: Healing Brush
Now, if you’re using an older program the content-aware option is probably not available. This is where we use our other tools, but unfortunately it takes more work since these tools like to glitch a bit more easily. They also, unfortunately, do not do well with large areas like my first example picture. This means that some of you probably won’t be able to fix large problems on your background.
The tools we are going to look at are the “Healing Brush Tool”, the “Spot-Healing Brush Tool” and the “Patch Tool”. The healing brush tool acts like a paint brush, or if you have used it, the clone stamp tool. I honestly don’t see that much difference between the heal brush and the clone tool, except the healing tool is aware of its surroundings. We will be covering the clone stamp in another error guide, but be aware that it can be used to fix these issues as well.
Anyways, we begin by creating a new layer, then selecting the brush. Make sure you are selecting the Healing Brush and not the Spot-Healing brush since we’ll be covering the Spot-Healing last. Now, to actually start painting we need to grab a “sampled source”. This means that you select an area on your image for your brush to read, and then when you paint the brush reads that section and basically copies that section onto the painted section. Before you try to sample the image, make sure to change the settings so you are on “Current and below” or “All layers” if you only have the background visible. Or start on the background layer, sample the area you want, then go back to your new layer (sampling all layers copies all of the layers, so those options only work if you make the other layers invisible first). To select a spot on your image, move the mouse over to the desired location and hit “Alt + Left click” to select the area you want and don’t forget to use your [ and ] to adjust the brush size. Your brush should now be mimicking the selection you just did.
Now you begin painting. The first thing you’ll notice is that when you paint too far things like this can happen. The brush painted the sword on a new area after we just tried covering it up! We now either have to select a new area and try again, or don’t go too far next time.
Another thing you want to keep in mind is the “Aligned” button at the top. Keeping it ticked makes the brush repeat in the same area, so no matter how many times you move the brush to another section, the brush will not change/move over to another section. This error in this example picture is due to me placing the “sampled” area directly at the top. Now when I paint the brush can’t go past the line it made, but it can keep painting below it. If I untick the aligned button I can now paint with more freedom, though the brush is still limited somewhat on where it can go. Unticking also allows me to repeat sections while keeping “Aligned” ticked usually forces me to continue the section.
The last thing you need to know about when painting is that sometimes the brush causes the image to become blurred. We can stop this from happening in certain areas by going to “Mode” and then “Replace”, which helps protect the textures. The problem with this mode is that it doesn’t blend well with the background, so you’ll get chunks as if you were using a hard brush instead of a fuzzy brush.
You can fix this by going to your brush options and then dragging your “Hardness” setting down so it still protects the textures but is no longer solid paint.
Then you just continue painting, and though it may take a bit it should still work out. Here is how my image turned out while using this brush. Not bad, but a lot more effort than with the content-aware fill (I highly suggest upgrading when you can!)
Part 3: Spot Healing Brush
The next tool we’re covering in this tutorial is the spot healing brush. This brush is different from the rest because you only have to click on your selection, you don’t actually have to draw or anything. The sad part about this tool though is that it doesn’t handle large areas very well, at all. You’ll probably have to mix and match with the other Healing brush to get good results. There’s also not much to cover since it’s a pretty simple tool. The modes “Normal” and “Replace” don’t really change anything, and using the “Proximity match” and the “Create Texture” options don’t really help us either. Either way, begin by selecting your brush, then click and drag over an area you want to change. The selection looks like a transparent black mark.
You get some pretty good results, but once you start doing the other areas it becomes a mess, which is where I said the other tools come in handy. The second image shows what happens when I select the person entirely.
Part 4: Patch Tool
I’m not very familiar with this tool, but this is the closest thing to the content-aware tool I have seen, and it’s pretty cool. It comes with two modes, “Normal” and “Content Aware”, and so far the normal mode is working the best at the moment. The “Source” and “Destination” buttons are completely different from each other. Source allows you to correct a spot, destination allows you to duplicate a spot.
Grab the tool and then make a selection over an area you want to fix. The next part you want to do is drag the selection over to an area you want to copy!
You should now get something like this. You can keep doing this in individual parts, but I believe that some images, not my example though, can do whole selections and get good results. I was able to do this earlier with my example with only a few errors, but I suddenly can’t figure out how to repeat it. Either way, it’s a pretty good method for removing something from the background!
Level: Beginner
If you are still having trouble with something in this tutorial, or need more help, please post here or contact me.
Click here for more tutorials
In this tutorial we’re covering the last part on how to fix backgrounds and then how to fix fingers, plus a little bit of drawing for correcting body parts.
Part 1:
Let’s start with the backgrounds (and something else). The next tool we are learning about is the clone stamp, which you’ll be using quite often in your modeling career. It can be used to fix a number of things, and it can even be used to make stuff. It’s a very versatile tool, so it’s important to learn how to use it. Let’s start with your tool options. Obviously you’ll want to click on the clone stamp tool to get started.
Gimp:
The first half of our tool options are the same as our other brush tools. We aren’t covering them since they’ve been covered before, but keep in mind that the fuzzy brush (the one before the hard brush) is the best option when trying to blend whatever you are copying.
Our second half is what we are interested in. Some of these options, like the “Apply jitter” are in the tools of other brushes.
Apply jitter – When you paint it basically makes it splotchy.
Smooth stroke – Makes the paint lag behind the brush. So the “weight” setting you chose determines how slow the paint forms, but the brush moves ahead of it.
Hard edge – Makes the paint pixelated/hard on the edges.
So far these settings don’t really have a use, but feel free to experiment with them when creating effects.
Source: Image or Pattern – This allows you to use an image or a pattern in the program to read from when painting.
Alignment: None – You can paint anywhere and keep going, except when the brush hits the end of the source image. Then you have to start painting again, but then the image you have as your source will repeat.
Aligned – Follows the source image exactly, so you can’t repeat the image or go further than the border.
Registered – Paints the source image but aligns it with your main image. It doesn’t repeat either. So it’s basically “None” and “Aligned” put together, minus the flaws. Note that it only works with images outside your main image, so that means if you try to “source” the main image it won’t work.
Fixed – No idea what the real purpose is, but it basically creates a weird swirl effect.
Photoshop:
Most of our tool options are the same as our other brush tools. We aren’t covering them since they’ve been covered before, but keep in mind that the fuzzy brush (the one before the hard brush) is the best option when trying to blend whatever you are copying. Hardness (located above the brush when you are in the brush menu) also affects the edges of the brush, so feel free to move it up and down for better blending. Remember that aligned forces the brush to paint the same image nonstop, but when it is unticked you can paint as many times as you want. Sample controls what the brush reads when making selections.
Now that we have that covered, let’s move on to fixing our errors.
The first image we are going to look at is one with a small error. It’s relatively easy to fix, but most people miss it. In this photo we have her dress glitching through the hair. It’s a pretty ugly glitch. Instead of drawing and making a mess of things, we are instead going to use her hair provided to cover the glitch. Note that you can also use this method to cover up leftover background and such.
I’m going to make a new layer then go back to my original image, take my clone stamp, keep it at the soft brush I recommended to you, leave my jitter, hard, etc. settings off, and then use my “none” alignment. Note that sometimes your source can move around, and you can even accidentally move the source if you paint too closely and accidentally click on it (none of that applies to PS. Untick “Aligned” instead). Anyways, I am going to select the area right above the glitch by hitting “Ctrl + Left click” for Gimp, or “Alt + Left click” for PS, to get my source. I am then going to make the brush size about the width of the hair strand, and then I’m going to gently paint. You don’t want to go too far, just enough to fix it. The results aren’t too bad, but the hair color difference is slightly noticeable. That’s not really a problem at the moment.
I now need to do the other areas. Using the same source spot doesn’t work, so I need to move it over to the spot directly above it. If you were using “Aligned” mode you could technically just keep painting since it stays in the same spot, but that brings in all kinds of issues. And now the second half looks really good! It is barely noticeable, but the first half is still iffy. We can fix this by redoing it, burning that area to make it darker, draw, or even erasing.
A little bit of erasing and it turned out good as new! It’s not perfectly fixed since this was just an example, but you get the idea of what the tool can accomplish.
Part 2:
The next thing we are going to look at is fixing backgrounds/removing objects, like we covered before with the healing tools. We’ll start with the background. In my recent edit for Miss World I needed to use a park for my idea. The background I found wasn’t really the right size, and it looked odd after placing everything in, as seen below.
You can see that the bench and the sim are halfway into the walkway! This is certainly a problem, but a surprisingly easy one to fix. The first thing you should be aware of is that this is not my full background, the image is actually cropped. After expanding my image, either with the canvas or reversing with my crop tool, you can see the original image.
My goal was to make this walkway disappear so my sim and the bench looked like they belonged in the background. The first thing I did was focus on removing the entrance of the walkway in the background. I chose a side next to the entrance that I thought best, made a new layer, then began painting. One thing you should be aware of is that you will always redo something like this a lot. It took me quite a bit to get it how I wanted, and then I had to make sure I blended the edges properly. The first thing I noticed after doing this is that the very bottom was not working with the rest of the surroundings, so I took my grass from the right side and began painting with that sample to make it seem as if the grass kept going and made the other painted area seem more natural.
After painting my grass, I then needed to make the rest of the walkway disappear. This time I focused on the leaves in my environment. At first I used the right side as my main source, but after struggling to make it look better I decided to work with the leaves on the left. It was a better decision because it made it look more natural.
After quite a bit of painting I felt that I was done, but then I thought to add just a tiny bit of sidewalk onto my new background. My end result is this new background. My point for this image is that you can build new backgrounds or change existing ones (or even fix issues) to suit your needs with the clone tool.
Part 3:
The next thing we are looking at is removing objects, which is basically the same as what we did before. In this image you can see that there is an annoying boat behind my sim. It doesn’t really fit what I need, and I’d hate to be docked points for it staying in the image.
]
I could use the previous methods, like content aware, to get rid of the boat as well. The first thing we want to do is begin removing the boat. I need to grab parts near the boat to blend it in, so that’s my first step. I begin slowly painting and cover most of the boat, but now I need to switch to a different section and continue blending from there. There’s not much left though, so I could instead start using the sky to cover the last part and go back and forth between the other sources. I am now pretty much finished, and it’s not bad for a quick a touch up.
Part 4:
The last thing we are covering for the clone stamp is fixing fingers. As long as you have at least one finger that matches the hand direction and shape (besides manipulating them to a certain extent), you can fix gliching fingers. We’ll start with my old peppermint edit. Here you can see that her hands glitch into her hips. We want the hand to be normal, so we’ll begin by taking the clone stamp and selecting the pointer finger on her other hand resting normally.
I then take this new source and paint out the hand, then I begin rotating the entire hand I made so it faces in the proper direction for the other hand. After rotating I erase the hand but keep the pointer finger intact.
I then make several copies of it for the other fingers and then hide them, then begin manipulating the original finger to fit correctly on the hand. So far it looks good! I continue this for the other fingers, making sure to make them each slightly shorter so they are realistic. After that I will then have to draw some details like shadows and other things to make the fingers look realistic and like they belong there.
Even though we didn’t cover every detail, hopefully these ideas on how to fix your sims hands can help you later down the road. Here is my sims hand all fixed up!
Part 5:
Last but not least, drawing fingers. This is sometimes unavoidable, so it’s important to know how to do this. It’s honestly not that hard, we just have to remember our basics.
@ayeden @PeaceSign101 @Minstrel @Amazingamphy @Gemmabubbles @BabyCarrotz @PurpleKenzie19 @CazzTregurtha @Meeshelby @ZapGirl
@PeaceSign101 @BabyCarrotz @Amazingamphy @Minstrel @ayeden @Gemmabubbles @PurpleKenzie19 @CazzTregurtha @ZapGirl
also i didnt know what half that liquify stuff did haha! ijust used the first tool always xD ^^; (then when I would mess up i woud cancel liquifyuing then just reopen v.v) thank you bby
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For the hands, you can use the layers method by taking a picture of the hands at a different angle but similar pose (so I need her hands clutching something, I can take a picture of that one pose with the clutched hand and then flip her hand around and fix it that way), if you feel confident you can draw the fingers (honestly not that hard), or you can build it through the clone stamp tool. There's plenty of ways to fix it. xD
Or if the poses don't have issues you can try searching for a background with objects or people you don't want.
And I feel like no onet read my tutorials xD ^^; its ohkayy ;u;
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And I received a "awesomes" on it, so someone did. xD I wish more people talked about the tutorials, even if it was just a question or pointing out a typo (I have found a few, but no one ever points them out o-o).
We'll know who did when everyone submits though. xD
And truee
I'm bad at proofreading i just leave it to word or something ;;
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And I proofread it before submitting, so it's fine.