In this photo manipulation tutorial we are going to create a paranormal scene where a girl awakes from her bed with a candle in her hand and finds to her surprise a ghost in front of her. In the course of creating this scene we will be covering topics like:

• Creating a night scene
• Creating candle light effect in the room
• and much more interesting stuff related to photo manipulation

Final Result Preview:

Credit to these people for resources:

• Girl Pieceofmestock
• Room: sxc.hu
• Table: quiet-stock
• Ghost: Mizzd-stock
• Photo-Frame: Ro-stock
• Photo: Mizzd-stock
• Curtains: linzee777
• Creepy Font: urbanfonts.com
• Smoke Brushes: falln-stock

Let’s Get the Tutorial Started

Step1: Create a new canvas in Photoshop with the dimensions Width=2098px and Height=2264px.

Step2: 1) Now select a mask around the woman with candle, and make a rough mask around the hair part.

2) Now using the Lasso Tool (L) create a rough mask around the inner part of the hair as shown. Then go to Select>Refine Edge and grace the complex edges of the hair using the Refine Radius Tool. Once you are done with it press OK to get the detailed cut of the complex hair edges.

Step3: Now import the image of the haunted room onto the canvas and place it behind the woman to illustrate that the woman is in the haunted room.

Step4: As we know a room cannot be completed without the properties like table a flask or cup on it etc. Hence we are going to add a table with a cup and a tea pot on it.

- Cut the image of the table and the groceries on it using the Pen Tool (P) and separate it into a new layer and import it on to the working canvas and place it as shown in the scene.

Step5: Since we are creating a night scene, we need the room to be dark. Hence we are going to create some dark shadows in the corners of the room.

- Using the Soft Round Brush Paint black shadows in the room as shown.

Step6: In this step we are going to color correct the woman to blend her with the environment of the scene we are creating.

1) With the woman layer selected go to Image>Adjustments>Exposure and set the Exposure= -0.46, Offset=0.0102 and Gamma Correction=0.72.

2) Then by using the Curves set the RGB curves as shown to get the following effect.

Step7: In this step we are going to darken the table as it is very bright for our scene.

1) With the Table layer selected go to Image >Adjustments>Exposure and set the Exposure=-1.28, Offset=+0.0061 and Gamma Correction=0.68.

2) Now by using the Brightness/Contrast reduce the Brightness=-28 and set the contrast=77.

3) Now create dark shadows covering the table as shown using the Soft Round Brush.

Step8: In this step we are going to create the candle glow using the Blending Options. We can observe that the glow of the candle starts from white and slowly diminishes with orange color.

1) Using the Brush Tool paint the diminishing orange color around the candle flame as shown. Then set the Blending Mode of the layer to Multiply and lower the Opacity of the layer to 85%.

2) Now paint a brighter glow around the flame as shown.

Step9: In this step we are going to create a blue shade on the woman to illustrate the moonlight from behind window, which is not shown in the scene.

1) Using the Brush Tool paint the blue color as shown on the woman and on the table.

2) Then set the Blending Mode of the layer to Multiply to get the following effect.

3) Then similarly create the blue shade on the window in the scene as shown.

Step10: In this step we are going to color correct the whole scene evenly using the Adjustments layer.

- Create a Curves Adjustments layer and set the curves as shown to darken the shadows and to increase the contrast of the colors in the scene.

Step11: Since candle is the only source of light in the scene it’s light shade will be casted on the teapot. Hence we are going to create the candle light shade on the teapot in this step.

- Using the Brush Tool (B) paint the orange color on the edges of the teapot as shown.

Step12: In this step we are going to paint shadow under the sleeves of the arm holding the candle.

-Create a new layer above the woman layer and paint the shadow under the right hand sleeve as shown.

Step13: In this step we are going to reduce the brightness from the window. Using the Brush Tool paint the windows with the color #384653 then set the Blending Mode of the layer to Multiply to get the following effect.

Step14: In this step we are going to create the ghost in the scene.

1) Import the image of the pirate woman onto the working canvas and place it in front of the woman with candle as shown.

2) Usually ghosts look pale in color, as they don’t have blood in them. Well that is how ghosts were portrayed in movies since our childhood. Hence with the pirate woman layer selected go to Image>Hue/Saturation and reduce the Saturation to -49.

3) Now using the curves set the curves as shown to make the pirate woman look pale in color.

Step15: Ghosts don’t have a physical body and they don’t have a fine skin texture, they seem to look smooth and glowing with the aura power. Hence we are going to create the same effect here.

1) With the pirate woman layer selected go to Filter>Distort>Diffuse Glow and add a Glow Amount=8 and Clear Amount=15.

2) Then by using the Eraser Tool (E) erase some part of the pirate woman as shown and lower the Opacity of the layer to 78%.

Step16: Ghosts haunt only in those places that belong to them. Hence we are going to create a photo frame of the pirate woman on the wall to show that the room once belonged to her. In this step we are going to create a frame on the wall.

1) Cut the image of the frame using the Magic Wand Tool (W) and import it onto the working canvas and transform it to fit the prospective using the Move Tool (V).

2) Now color correct the frame using the Curves and Hue/Saturation to blend with the lighting of the scene.

Step17: Now import another image of the pirate woman into Photoshop. Then import it onto the working canvas and place it in the frame as shown and erase the excess part of the image coming out of the frame.

Step18: Using the grunge brushes paint some grunge on the photo frame to make the frame look worn out.

Step19: Since the old images are shot in black and white we need to convert the photo in the frame to gray scale. With the photo layer selected go to Hue/Saturation and reduce the Saturation=-100 and Lightness=-10.

Step20: In this step we are going to create a shadow to the frame to create a natural depth.

1) Duplicate the frame layer and convert it into silhouette using the Levels.

2) Then place it behind the main frame and add a Gaussian Blur of Radius 2.5px.

Step21: In this step we will be creating curtains in the scene.

1) Import the image of the curtains on to the working canvas and place them on the top as shown.

2) To create the moon light on the curtains paint the blue color on them and set the Blending Mode to Multiply and reduce the Opacity to 13%.

3) To create a spooky effect cut the edges of the curtain as shown using the Lasso Tool (L) to create a torn effect to the curtains.

Step22: In this step we are going to create a ghostly title to match the theme of the scene.

1) Using the spooky font type in the title ‘GHOST’. Then by using smoke brush paint the smoke along the shape of the font.

Below image shows the procedural approach to create the title.

Final Image of Paranormal Photo Manipulation Tutorial:

Intro: Photo manipulation is always a fun to work on and also has the scope to explore more interesting techniques to get and interesting and unique output. In this tutorial we are going to cover important topics like:

• Creating advanced and realistic shadow effect.
• Digital painting.
• Discussing Depth of Field (DOF), how to add and create objects in the scene matching the DOF of the original image.

And many more interesting techniques of photo manipulation.

Preview of Final Result:

Resources:

• Widow – xn3ctz
• Red Rose – sxc.hu
• Planets - kuschelirmel-stock
• Dead Tree – Wicasa Stock
• Apple – sxc.hu
• Black Bird – Fairiegoodmother
• Canvas Texture – powerpuffjazz
• Wall Texture – Texturepack
• Frame – chop-stock
• Cracks Brush – Funeralsong
• Grunge Brush – KeReN-R
• Metal Texture – Tigg-Stock
• Water Brushes – redhead stock

Step 1: Import Image of the Widow into Photoshop

Let the dimensions of the canvas remain same as the dimensions of the image.

Step 2: Create Objects Behind Woman

In this image we will be creating few objects behind the woman, hence we need to separate the widow into a new layer.

- Now select a mask around the woman as shown and separate the selection into a new layer.

Step 3: Add Magic Ball to Scene

It is said that our surroundings also play a major role in shaping our character. So we are going to create a magic ball closer to the scene that constantly oozes out black venom onto a red rose to depict this saying.

1)   Create a black spherical sphere as shown.

2)   Now to match the lighting of the scene, create a white shade on the black ball on the left side as shown.

3)   Import the image of the Red Rose onto the canvas and place it in the bottom left corner as shown under the magic sphere.

4)   Now by using the Brush Tool (B) paint some venom falling from the magic sphere onto the rose.

5)   Select the water splash brush and paint the splash using black color on the rose to show the intensity of the venom falling on the rose.

Step 4: Maintain Image Depth of Field

We can observe that the focus in that main image is completely focused on the woman, so in order to maintain Depth Of Field we need to add a Gaussian Blur to the Magic sphere and the rose.

- Merge all the layers of Magic sphere, Dripping Venom and the Red Rose and name the layer as ‘poisoned rose’. Then with the ‘poisoned rose’ layer selected go to Filter>Blur>Gaussian Blur and add a Gaussian Blur of Radius 22.3px.

Step 5: Make Magic Sphere Look Solid

In this step we are going to add a planet texture to the magic sphere to make it look solid.

1)   Import the image of the blue planet onto the working canvas and re-size it to the exact size of the black magic sphere.

2)   Now in-order to maintain the depth of field in the scene add a Gaussian blur of radius 22.3px.

Step 6: Two More Balls with Gaussian Blur

Now similarly create two more magic spheres around the woman. Place the second magic sphere behind the woman layer that we separated in the step 2. Since the focus is on the woman and the magic spheres are flying around her by some distance, we need to add a Gaussian Blur to both magic spheres assuming the distance of the spheres from the woman.

Step 7: Texture of Magic Spheres

Similar to the step 5 add the planet texture to the two magic spheres we created in the previous step. Then to match the planet texture to brightness of the scene go to Image>Adjustments> Brightness/Contrast and increase the Brightness=103 and set the Contrast level to 25.

Step 8: Add Spooky Dry Tree into the Scene

In this step we are going to create a dry spooky tree in the scene. To create the tree we are going to cut different branches from a dry tree image and join them together to form the shape we require.

1)   Import the image of the dead tree into Photoshop and cut the branches we require into different layers.

2)   Now import a branch layer onto the working canvas and place it on the right side as shown.

3)   Then arrange the different branch layers as shown to form a complete tree.

Step 9: Apple Hanging from the Tree

In this step we are going to create an apple hanging from the dead tree. This concept is inspired from the Adam and Eve story.

1)   Import the image of the apple on to the working canvas and place it as shown above the head of the woman.

2)   Since the light source is from the left side we need to create a shadow on the right side of the apple.

3)   Then similarly create another apple on the right side just beside the woman.

Step 10: Evil Black Bird on Her Shoulder

In this step we are going to create a black bird representing the evil resting on the shoulder of the woman.

1)   Import the image of the bird onto the working canvas and place it on the shoulder of the woman as shown.

2)   Now create a shadow of the bird on the shoulder of the woman using the soft round brush.

3)   Using the soft round brush paint the shadows in the highlighted areas on the bird.

Step 11: Create Title Text ‘VENOM’ to Background

Here we are going to create the title ‘VENOM’ in the background.

1)   Type the title VENOM using the default Times New Roman font and place the layer behind the beneath the tree and woman layer.

2)   Then add a Gaussian Blur of Radius 28px to match with the depth of field of the scene.

3)   Then reduce the opacity of the title layer to 68% because we don’t require the title to be very dark.

Step 12: Make it Look Like Canvas Painting

In this step we are going to add a canvas texture on the image to make it look as if it was printed on a canvas.

Before we can proceed with this step we need to merge all the layers that we created till now. Then name the layer as venom.

-       Import the image of the canvas onto the working area and reduce it’s opacity to 69%, then set the Blending mode of the layer to Overlay.

Step 13:

1) With the venom layer selected go to Image>Adjustments>Hue/Saturation and set the Saturation level to -43.

2) Now create a Curves Adjustments layer above all the layers and set the curves as shown to get the following output.

Step 14: Frame Around the Image

In this step we are going to create a frame around the image we created. Before proceeding to the step we need to resize the canvas to Width=3234px and Height=4701px.

2) Cut one corner of the frame and place it as shown on the image.

3)  Then duplicate the frame multiple times to complete the whole frame.

Step 15: Desaturate Frame Colors

Since we are creating a moody scene we don’t want the frame to be bright in color.

1) Desaturate the colors of the frame using the Curves.

2) Then by using the Exposure set the Offset value to -0.0551 and Gamma Correction to 0.82.

Step 16: Frame Shadows

In this step we will be creating the shadow to the frame.

1) Duplicate the image of the frame and turn the frame image into sehlloete using the Levels.

2) Now place the shadow layer under the main frame layer and move it slightly towards the bottom right corner as shown.

3)  As we know that the shadows don’t have sharp edges, we need to add a Gaussian Bur of Radius 25.1px.

4) Then similarly create a shadow in the inner frame to create a natural depth comparing to the lighting of the scene.

Step 17: Make it Look Old with Torn Canvas Effect

In this step we are going to create the canvas torn effect to make it look old and worn out.

1)   With the Eraser Tool(E) selected go to the brushes pallet and select the cracks brush and erase the venom layer as shown.

2)   Follow step 16 to create the shadow under the torn edges of the canvas.

3)   Now by using the grunge brushes paint the grunge around the torn edges as shown with the black color.

Step 18: Dark Wall Behind Portrait

The wall area behind the portrait has to be dark since it receives less light.

1) With the wall layer selected created a mask in the size of the frame using the Mask Tool (M).

2) Then by using the Brightness/Contrast reduce the Brightness to -106 and increase the Brightness to 31.

Step 19: Nameplate Under Frame

In this step we will be creating a nameplate under the portrait frame.

1)   Import the image of the antique metal and mask out a portion of the metal required for the nameplate.

2)   Then by using the Times New Roman font type in Mrs.VENOM on the nameplate and then with the nameplate layer selected, select the mask in shape of the font and separate the selection into new layer and the using the same mask erase the selection on the nameplate.

3)    To show the depth of the name impression on the plate we need to darken the separated metal layer.

-       Now by using the Brightness/Contrast reduce the brightness of the separated metal layer to -79 and set the contrast to 20.

-       The by using the Exposure set the Exposure level to -0.57 and Gamma Correction to 0.94.

Step 20: Shadow Inside Edges

Follow the step 16 to create the shadow to the inside edges of the name impression we are creating.

Step 21: Water Flowing from Frame

In this step we are going to create water flowing from the frame.

1)   Select the water fall brush and paint as shown using the black color.

2)   Then by using the same brush paint with white color exactly on the black color we painted previously.

Step 22: Bird Flying from Frame

In this step we will be creating bird flying away from the frame.

1)   Import the image of the bird onto the working canvas and place it as shown.

2)   The by using Exposure set the Offset to -0.0061 and Gamma Correction to 0.82.

3)   Since the bird is in motion we need to add Motion Blur to the edges of the wings and tail to create a natural depth. With the bird layer selected mask the edges of the wings and tail as shown using the Lasso Tool (L).

4)   Then go to Filter>Blur>Motion Blur and change the Angle to 10 and set the Distance to 44px.

5)   Then with the bird layer selected add a Gaussian Blur of Radius 1.0px.

Final Result of Surreal Fantasy Photomanipulation:

Description: Creating a fantasy photo-manipulation is always a fun to work on. We put all our crazy and inventory thoughts in it. In this tutorial we are going to create a fantasy scene where a Priestess will be standing on a rock during the night holding a lantern in one hand and a golden lotus in other hand which creates a smoke ball, and there will be bunch of small rocks flying around the Priestess. The scene will be covered slightly with with fog, and few temple shrines  stand tall above the fog in the background among the small hills.

With this fantasy photomanipulation tutorial we will be covering few important techniques of matte painting, using Adjustment Layers and Understanding the nature of elements in the scene to apply appropriate element effects to make the scene more natural.

Preview of Final Result:

Details of this Fantasy Photomanipulation Tutorial

Program: Adobe Photoshop CS5

Difficulty: Beginners, Intermediate.

Estimated Completion Time: 1 hour

Resources:

• Priestess
• Rock
• Night Sky
• Temple
• Distant Landscape
• Bell
• Ribbon
• Asteroid field
• Smoke Brush
• Fog Brush
• Hair Brush
• Snow Texture
• Lantern
• Rusty Chain

Step 1 – Mask-out the Model

Open the image of the Model in Photoshop and separate then mask-out the model from its background into a new layer using the Magic Wand Tool(W).

Step 2 – Create a Gradient

Now create a Gradient with Black and Grey combination which serves as primary reference in further step for color correction purpose.

Step 3 – Create a Rock Base for Priestess

In this step we will be creating a Rock base to illustrate that the Priestess is standing on it.

3.1) Import the image of the rock into Photoshop and create a mask around the rock using the Pen Tool (P) and separate it into a new layer.

3.2) Now import the rock on to the working canvas and place it under the priestess as shown. Since we are creating a night scene, we need to color correct the rock in-order to blend with the scene.

-With the rock layer selected go to Image>Adjustments>Curves and set the curves as shown.

3.3) Now De-saturate the rock using Hue/Saturation, Set the Saturation=-22 and Lightness=-40.

3.4) Darken the rock using the Exposure (Image>Adjustments>Exposure). Set Exposure=-0.57 and Gamma Correction=0.66.

Step 4 – Paint Shadows at Her Feet

Using the Soft Brush (B) paint a shadow at the feet of the priestess as shown.

Step 5 – Color Correct the Priestess

Now color correct the priestess as shown using the Curves and Hue/Saturation.

Step 6 – Dark Clouds to Background

Now create dark clouds behind the priestess as shown using the clouds stock provided.

Step 7 – Color Correct Her Skin Tone

In this step we will be color correcting the skin tone using Adjustment Layers.

7.1) Mask the part of the skin as shown using the Pen Tool(P) and select the Brightness/Contrast Adjustment layer from the bottom of the layers pallet. Then set the Brightness=-35 and Contrast=21.

7.2) Similarly repeat the previous step in color correcting the skin tone of hands.

Step 8 – Temple into the Background

In this step we are going to create a temple in the background.

8.1) Mask-out the temple from the original image and place it as shown.

8.2) Put your creative skill to test in color correcting the temple to match the environment.

8.3) Now select the mask in shape of the temple and fill in the selection with the color #363b48. Then change the Blending Mode of the layer to ‘Overlay’ and reduce the Opacity=64%.

8.4) Merge all the layers related to temple into a single layer and reduce the Saturation=-51 and Lightness=-11 using Hue/Saturation (Mac=Command+U , Windows=Ctrl+U).

Step 9 – Adding Background Landscape

In this step we will be creating the background landscape in the scene.

9.1) Separate the landscape from its original image and import it onto the working canvas and place it as shown.

9.2) Now color correct the landscape to blend with the scene perfectly.

Step 10 – Distant Temples to Background

In this step we will create some distantly located temples.

10.1) Follow the step 8 in creating a new temple. Then by using the Move Tool(V) re-size the temple as shown to make it look far.

10.2) Again we will be following the step8 here in coloring the temple. Fill the color #363b48 in a new layer with the mask selected in the shape of the second temple. But since this temple is located at a distance we want it to look dull hence we wont be using Layer Blending Mode. With the temple color layer selected reduce the Opacity=70%.

10.3) Similarly create another temple located in-between the first temple and the second temple as shown.

Step 11 – Create the Smoke Ball

In this step we will be creating the smoke ball formed from the smoke coming out of the golden lotus in the right hand of the priestess.

11.1) Create a round mask as shown using the Mask Tool(M) and set its edge Feather Radius=25px and then paint the inner diameter of the mask with smoke using the Smoke Brush with white color.

11.2) Again by using the smoke brush paint some smoke as shown to illustrate that the smoke is releasing from the Golden lotus.

11.3) As we know that the smoke travels in a random directions, paint some smoke around the smoke ball we previously created to get the following effect.

Step 12 – Makeup Treatment

In this step we will be giving some makeup retouches to the priestess.

12.1) Using the hair brush paint some hair near the left cheek of the priestess as shown using the black color.

12.2) Now by using the soft brush paint the eye lashes and darken the mole on the upper lip as shown using the black color.

Step 13 – Make it Foggy

Now paint some fog as shown using the fog brushes with the white color selected.

Step 14 – Maintain Depth of Field by Blurring

As we know the objects far from the focused area appears blurred with the increase in the distance. Since the second and third temples are located by some distance they must blurred to maintain the Depth Of Field (DOF).

14.1) With the second temple layer selected go to Filter>Blur>Gaussian Blur and add a Gaussian Blur of Radius=0.8px.

14.2) Similarly add a Gaussian Blur of Radius=0.5px to the third temple.

Step 15 – Snow is Flying

In this step we will be creating snow flying around in the scene.

15.1) Import the snow texture onto the working canvas and place it on the right side bottom corner of the scene as shown.

15.2) Now change the Blending mode of the Snow Texture to Lighten.

15.3) Now by using the Hue/Saturation change the color of the texture to blend with the environment we are creating. Set the Hue=210 and Saturation-10 to get the desired output.

15.4) To illustrate that the light particles are moving by some speed we need to add Motion Blur to them. With the texture layer selected go to Filter>Blur>Motion Blur and set the Angle=-28 and Distance=29px.

Step 16 – Dazzling Light Particles

Similarly add few more magical light particles in the scene.

Step 17 – She Will Carry a Lantern

From this step we will be creating a lantern hanging from the left hand of the priestess.

17.1) Import the image of the lantern onto the working canvas and place it as shown.

17.2) Using the Soft Brush paint shadow on the lantern as shown with black color.

Step 18 – Light Up the Lantern

In this step we will be creating the light illuminating from inside the lantern.

18.1) Select the mask of the lantern by holding “Command and clicking on Lantern Layer Thumbnail” (Mac), Hold “Ctrl and click on Layer Thumbnail” (Windows). With the mask selected create a new layer under the lantern layer and paint the color #fca000 as shown.

18.2) Now reduce the size of the brush and paint white color at the center.

18.3) Create a glow effect to the edges of the lantern’s designer frame as shown to represent the intensity of light illuminating from the lantern.

18.4) Since the main light source is at the middle of the lantern the upper end and the lower end of the lantern receives only partial light. Hence paint some partial light in the top and bottom ends as shown using the previous technique.

Step 19 – Lantern is Glowing

In-order to create the glow effect around the lantern, paint #fca000 color around the lantern as shown and reduce its Opacity to 15%.

Step 20 – Chains for Lantern

Now we are going to create the chains by which the lantern is hanging from.

20.1) Import the image of the chain onto the canvas and place it in all three corners as shown.

20.2) Duplicate the chain and then warp it using the Move Tool(V) in such a way that it is in the grip of the hands.

Step 21 – Shadows for Chain

Since the hand is covering some part of the chain we need to create a shadow to the chain as shown near the hand.

21.1) Create a black shadow on the chains as shown.

21.2) Using the previous steps create the fourth chain for the fourth corner of the lantern.

Step 22

Now by using the Gradient Tool(G) paint the gradient in a new layer with a combination of Black and #8492a7 colors. Then change the Blending Mode of the Gradient layer to Multiply and reduce its Opacity to 43%.

Step 23 – Add a Bell

In this step we will be creating a Bell close to the scene flying with the wind.

23.1) Mask-out the image of the bell from its original image using the Magic Wand Tool(W).

23.2) Import the image of the bell onto the working canvas and place it as shown. Then by using the Curves [Ctrl+M (Windows), Command+M (Mac)] color correct the bell to blend with the environment.

23.3) Since during the night the colors appear desaturated, we need to create the same effect to the bell. With the bell layer selected go to Image>Adjustments>Hue/Saturation and set the Saturation=-75.

23.4) As we already said that the bell is closer to the scene, it must appear blurred since it is out of focus as the main focus is on the priestess. Hence add a Gaussian Blur of Radius=6.6px to the bell.

23.5) Now create the light shade on the bell caused by the light from the lantern. Set the Opacity of the layer to 20% after painting the light shade.

23.6) Paint a black shade on the left side of the bell as shown, since the light is focused from the right side.

Step 24 – Red Ribbon to Bell

In this step we will create a red ribbon to the bell. To achieve a quality cut of the ribbon from its background we are going to use an advanced cutting technique.

24.1) Import the image of the ribbon into Photoshop and select the Blue layer from the Channels Pallet.

24.2) Then go to Image>Calculations and select Blue from the Channels drop-down list.

24.3) With the Alpha 1 layer selected make sure that the ribbon is made completely black and the background into white.

Note: If the black and white contrast is not achieved by Levels, then use the Brush Tool to achieve the prefect silhouette.

24.4) Now go to Select>Load Selection and select Alpha 1 from the Channel drop down list to generate the mask around the ribbon. Then separate the selection into a new layer.

24.5) Import the ribbon onto the working canvas and place it as shown near the bell. Then De-saturate the ribbon to -61 using Hue/Saturation.

24.6) Since the ribbon is placed out of focus and moving with the wind we need to add some blur to it. Hence select the ribbon and add a Gaussian Blur of Radius=7.4px.

Step 25 – Light Shades on Her Dress

Since the lantern is very close to the priestess we need to create the light shade on the dress of the priestess.

Using the Brush Tool paint the light shade on the dress of the priestess as shown with the color #fca000.

Step 26 – Rocks Flying Around

In this step we will be creating rocks flying around in the scene.

26.1) Import the image of the rocks onto the working canvas and place it as shown using the Move Tool(V).

26.2) Now duplicate the rocks layer multiple times and place them as shown in such a way as if they are flying due some kind of cosmic power from the priestess.

26.3) Since the rocks are moving by some speed we need to add some Motion Blur to create a natural depth. But before adding the Motion Blur we must also consider DOF, since we already said that we are focusing the scene on the priestess, the rocks in focus near the priestess will appear clear and get blurred as they move away from the focus.

Merge all the rock layers and create a mask as shown and add a Feather of Radius 35px, then add a Motion Blur of Distance 27px with the Angle set to 10.

Step 27 – Light Shade on Rocks

As we previously said that the rocks are flying near the priestess we need to create the light shade on the rocks flying near the lantern.
Using the color #fca000 paint the light shade on the rocks as shown to create a natural depth.

Final Result of the Fantasy Photo Manipulation

Being a designer means that you will constantly need to come up with new concepts and ideas. The way we present them is of crucial importance.

In the following tutorial, I will show you how I have modeled a new packaging concept for Doritos inside 3DS Max. You can see the whole concept and read more about it at my Behance profile.

However, I will offer you more than just a regular tutorial in this post. I will also talk and present ways how to use 3D software as a tool for generating and exploring new ideas.

Step 1

Since the base of the packaging is a hexagon, the best way to start is by creating a cylinder with only 6 sides.

If you try to render it now, even though there are only 6 sides, the edges will still look soft which is something we don’t need. In order to sort this out, turn off the “Smooth” option.

Step 2

Now it’s time to start editing the primitive. In order to work non-destructively, instead of converting the cylinder to Editable Poly, we will add a modifier.
Go to the Modifier tab and from the Modifier List, pick Edit Poly (notice that after this action the soft edges will appear again in the viewport).

Pick the Polygon Selection Mode [4] and select all faces [Ctrl+A]. Then scroll down to the bottom of the Modify Tab, and under Polygon: Smooting Groups, click the Clear All button. The edges will become sharp again.

Step 3

Now since we have the base, it’s time to work on the triangular sides.

Switch to Vertex Selection Mode [1] and select the middle vertices. The easiest way to do this is to go to the front viewport and drag a selection around the middle row.

Now we need to rotate those vertices  by 30°   (doesn’t matter whether it’s clockwise or counter-clockwise)

Few edges need to be added in order to divide the shape on triangles. For that purpose we will use the Cut tool (Modify tab > Edit Geometry > Cut, or use the shortcut Alt+C). After we active this tool, a crossbar will appear which we can use to draw the missing edges by clicking over the vertices that need to be connected.

After that, right mouse click to exit the Cut Tool and activate it again by using the shortcut Alt+C in order to draw another edge.

Step 4

When you’re done, check your model for extra vertices. Sometimes when you’re using the Cut Tool,  it happens to click near a vertex instead of over it, which creates additional points that we don’t need, so we have to fix this.

If there are no obsolete vertices in your model, feel free to skip this step.

Make sure you’re still in Vertex Selection Mode, and under Edit Vertices, choose Target Weld.

First, click over the additional vertex, and then over the original one. This will automatically weld them together, without affecting the position of the original vertex.

Step 5

Now we will work on the proportions of this packaging until we come to a satisfying result.

1. Exit out of the Vertex Selection mode by clicking over the yellow icon.

2. Take the Select and Non-Uniform Scale tool [R] (notice that you might need to click the shortcut a few times in order to pick the proper Scale Tool, or if you’re using your mouse, click and hold over the Scale icon until you can see all tools available underneath it).

In the Perspective Viewport, drag the Z axis until you get to 80.

Now the triangular sides look better since their sides are equilateral.  However the top and the bottom part of the packaging look pretty big. Let’s narrow them down.

Go to Vertex Selection Mode [1] again. In the Front Viewport select the top and bottom row of vertices. Take the Scale Tool [R] and in the Front Viewport and drag the Y Axis until you get to 85.

Now the proportions are much better.

Exploring new ideas through experimentation

Since we are very close to the end result, I would like to talk about how to use 3DS Max (or any other 3D software)  for testing a concept or coming up with new ones.

The most important thing is to question everything.

These are all questions that I ask myself regularly when developing a new idea. It helps me drift away in unknown directions where interesting things can happen :)

Stackability is a very important aspect of every packaging. By making copies of the same model, I can easily test it. In this case, the hexagonal base works perfectly for stacking as well as fitting more product into a smaller space. The design is also extremely strong for withstanding vertical pressure and is less likely to be damaged during transport and handling.

I isolated one triangular row and multiplied it. Although the resulting form looks interesting, it’s not the most suitable solution for a packaging. Maybe for another kind of object?

Chips and dips always go together. By splitting the 3D model in half, I developed a form that can be easily used as a dip container. Then I made different variations of the bottom row.

Step 6

Rendering the model

I will be using VRay for rendering the final image. From my experience, It’s the best and easiest-to-use software for creating realistic visualizations. However, the same result can be achieved with other renderers as well.

I won’t go in too much detail since you can find an abundance of tutorials for creating studio lightning and adjusting the render settings in VRay.

CREATING THE BACKDROP

Start with a line, assign Fillet and turn on rendering visibility.

MATERIAL SETTINGS (used for the backdrop and the packaging)

Vray Standard Material with lighter Diffuse Color (R225 G225 B225).

RENDERING SETTINGS

Turn on Indirect Illumination. Use Irradiance map as an engine for Primary Bounces and Light Cache for Secondary Bounces.

If you try to render it now, you will get a result similar to this:

Although it looks pretty realistic, there’s something that doesn’t quite sell it. We will fix this in the following last step.

Step 7

The problem with the current 3D model are the edges of the packaging. If you take a paper and fold it, creases will appear.  So we also need to simulate those creases here.

Start by selecting the packaging and making a copy of it [Ctrl+V].

We will use the Lattice Modifier in order to accentuate the edges. This modifier basically transforms every object into a wireframe.

You will find it under Modifier Tab > Modifier List > Lattice. Make sure you copy the same parameters as below.

Now we will erase the accentuated edges at the top and the bottom. Without them, it looks more natural.

First, while the object  is still selected, click the right mouse button and choose Convert to Editable Poly.

Pick the Edge Selection Mode [2], select the top and the bottom row of edges and hit the [Delete] button.

Hit the Render Button [F9] and you will get the final Doritos Packaging rendering:

Hope you found this tutorial useful. The second part will be published soon where I will cover the texturing process.

And remember, 3DS Max is not just a visualization tool, it’s a tool for generating new ideas.

——————

Please write in the comments below what kind of other nontraditional methods  you use in your daily work for coming up with new ideas.

Intro

In this Photoshop tutorial I am going to show you how to combine different photos to create an Urban Wasteland composition. We will do some background removal by masking images and then composite them together into our scene. We will use adjustment layers to manipulate the colors and hues of our image to achieve the dark and grungy final result. These techniques are essential for photo effects and photo manipulation when using Adobe Photoshop.

Final Result

Tutorial Details

Program: Adobe Photoshop CS5

Difficulty: Beginners, Intermediate.

Estimated Completion Time: 1 hour

Resources

• Apocalyptic Sky by MattTheSamurai
• Coquina Fort, 16th Century by PaintressEye
• Autumn Road 6 by F3rd4
• Cityscape Stock by VampyricCadenceStock
• Marysville Ghost Town 2 by Falln-Stock

Download the PSD

Step 1

Create a new document. I chose 1000 x 707 px for this design. First download Autumn Road 6 and bring it into your newly created document. Re-size and position it.

Step 2

On this photo, the sky is ok, however I prefer Apocalyptic Sky. So let’s change it. First we want to mask out the sky. Choose the Autumn Road layer, click layer mask and start painting out the unwanted parts with black. The key to successful masking is to first use a large brush with 100% hardness to erase large areas, then use a smaller brush with zero hardness to erase the detailed parts. Here is the final result after masking.

Step 3

We are ready to add our new sky. Download Apocalyptic Sky, bring it out to Photoshop in a new layer placed under our road photo layer. Re-size and position our new sky.

Step 4

I prefer to adjust the colors and lighting after laying out the composition. Download Cityscape Stock, bring it to our composition and place it between the road layer and sky layer. As usual re-size and position it. Finally mask out the unwanted parts using a layer mask.

Step 5

Next we have our wrecked car. Download Marysville Ghost Town 2, and bring it into our Photoshop file. Place it on top of the layer stack, position and re-size it as usual. Finally, mask out unwanted parts.

Step 6

Now we are going to bring in the bunker. Download Coquina Fort and import it into our Photoshop composition on top of the layer stack. Re-size and position the bunker, then mask out the unwanted parts.

Our composition elements are now in place, and your image should look like this:

Step 7

First of all congratulations! There will be no masking (I know sometimes it gets really boring) after step 6. We will start adjusting the colors, lighting, shadows etc. to give our image a dark and grungy look. First add a levels adjustment layer to road layer with the following settings, making sure to clip it to the road layer):

Step 8

Now let’s add a curves adjustment layer to our road, and again clip it to the road layer. Here are the settings:

Step 9

Now it’s time to play with the sky. First let’s change the color balance. Add a color balance adjustment layer to sky and apply these settings.

And here is the final result after adjustment:

Step 10

Next let’s differentiate the color balance. Select the layer mask of the Color Balance adjustment layer. Choose Filter –> Render –> Difference Clouds. This will ease the effect of color balance adjustment layer. Here is what I get after applying filter:

Step 11

Our last step for the sky is to apply a curves adjustment layer and clip it to the sky layer. Here are the settings:

Step 12

Now it’s time to make adjustments to the Cityscape layer. First of all it’s too bright. To change it, apply levels adjustment layer to this layer with the following settings (clip this to the Cityscape layer):

Step 13

Now apply a curves adjustment layer to the Cityscape with the following settings (clip this to the Cityscape layer):

Step 14

Now we will make some adjustments to the bunker. Start with adding a curves adjustment layer (clip to bunker layer). Here are the settings:

Step 15

Now apply a levels adjustment layer (clip to bunker layer) with the following settings:

Step 16

Now it’s time to play with our rusty car. It’s way too bright for our composition. Therefore we will start by adding a brightness/contrast adjustment layer to it (clip this to the car layer). Here are the settings:

Step 17

Next apply a levels adjustment layer and clip it to our beloved car layer:

Step 18

Lastly add a curves adjustment layer and clip it to our car layer, here are the settings;

Conclusion

And we are done. I generally add a gradient map or a warming filters to my manipulations, however for this one i like it better as-is. You can try and achieve different results by experimenting with the adjustment layer settings.

I hope that you enjoyed this tutorial and would love to hear your feedback on the techniques and outcome. If you have any questions don’t hesitate to ask.

Preview:

Tutorial Details:

Program: Adobe Photoshop CS5

Difficulty: Beginners, Intermediate.

Estimated Completion Time: 1 hour

Resources:

• City: City
• Model: Spy
• Texture: Texture 1 , Texture 2 , Wooden Wall , Old Paper
• Brushes: Rough Edges , plaster , grunge brush

Step 1:

Create a new canvas in Photoshop with resolution of Width=3840, Height=2160px.

Step 2:

1) Now import the image of the city which we will be working on.

2) For this image we need to draw a two point prospective to match the prospective of the ‘city                                           image’

-First take a building as reference on both sides and locate the vanishing points. Then complete the drawing of the prospective frame as shown using the Line Tool(U).

Step 3:

To create the flying effect for buildings, cut the buildings in the center as shown using the prospective lines as reference to get the perfect cut.

Step 4:

To create the base to the building select mask following the prospective and fill the selection with the colour #434142.

Step 5:

1)Now by using the Clone Stamp Tool(S) clone the sky to represent the sky behind the building which is being visible through the gap created in the building.

2) Similarly follow the steps 3,4,5 for the other buildings in the image as shown.

Step 6:

Now by using the prospective lines outline the boxes as shown to represent the flying geometrical blocks.

Step 7:

In this step we will be coloring the boxes matching the lighting in the image.

1)To make the job easy use the Eyedropper Tool(I) and select the colours on three sides of the first flying building to paint three sides of the box. i.e Paint the light source side with the colour #dbd4cc , side with #60686b and the bottom with colour #434142.

2)Similarly follow the above step to complete the coloring of the other blocks.

Step 8:

In this step we will create the shadow casting by the blocks on the buildings.

1)Naturally the shadow get smaller as the opaque surface move away from the casting surface, hence we need to draw two lines from the block as shown following the prospective to determine the height of the shadow ,then complete the mask for the shadow using the prospective lines and fill the selection with black colour.

2)Shadows have low opacity and blurred edges due to slight interference of light into the shadow.

-With the shadow layer selected reduce its Opacity  to 56%. Then add a Gaussian Blur of Radius 6.3px from Filter>Blur>Gaussian Blur.

3)Similarly create shadows for other blocks as shown.

Step 9:

In this step we will create the depth of field.

1)Usually the objects that are far from the focus from the lens appear blurred. Since the flying triangular pyramid is assumed to be far from the current scene hence we need to add a Gaussian Blur of Radius 2.2px to maintain the depth of field in the image.

2)Similarly add a Gaussian Blur of Radius 0.9 to the flying block 2.

Step 10:

Using the previous steps create a block very close to the scene as shown.

Step 11:

Now since the city layout is completed ,we now proceed to complete the poster.

-Open a new canvas with Width=2169 and Height=2412px. And import the image we previously created onto the canvas and place it as shown.

Step 12:

Now create a Black and white Adjustment layer on top of all the layers to turn the image into black and white.

Step 13:

In this step we will be adding the character to the poster.

1)Cut the image of the spy from it’s background and place it on the poster as shown.

2)Now hide all the layers and save only the spy in .PNG format.

Step 14:

During the late 70’s and 80’s the movie poster used to be designed in vector format. Hence in this step we will be using Adobe Illustrator for turning the spy into vector.

1)Import the image spy.PNG into Illustrator and select ‘Detailed Illustration’ from ‘Live Trace’ drop down list.

2)After selecting the Detailed Illustration option set its Threshold=74 and Min Area=4px to get the following effect.

3)Then save the spy vector in .EPS format.

Step 15:

1)Now import the spy.EPS into photoshop and place it exactly on the spy image as shown.

2)Now select the mask in shape of the spy by holding the Ctrl key and clicking on the thumbnail of the original spy layer. After the mask is selected create a new layer under the vector spy layer and fill the mask with white colour to get the following effect.

Step 16:

In this step we will be creating a tie for the spy which is being blowed backwards.

1)Using the Brush Tool(B) draw a rough sketch of the tie as shown.

2)Now by using the Pen Tool(P) select the mask in shape of the tie and fill the selection with red coloour.

3)Now create some shadows on the tie in a new layer as shown to generate the fold effect.

4)With the red tie layer selected goto Image>Adjustments>Hue/Saturation and set the Saturation Level=-30.

We had to do this because we are trying to create an old movie poster, so we need the colours to be desaturated.

Step 17:

In this step we are going to create an old and aged look to the poster.

1)Import the texture onto the poster we are creating and set its Blending Mode of the layer to Multiply and reduce the Opacity to 54%.

2) Similarly import another texture onto the poster and set its Blending Mode to Multiply and Opacity to 49%. Then using the Brightness/Contrast (Image>Adjustments>Brightness) increase the Brightness=77 and Contrast=29.

Step 18:

Using the Type Tool(T) with the Cortesia Font selected type the title ‘CITY SPY’ and arrange it as shown.

Step 19:

1) To create a retro look to the poster add a gradient with yellow and blue colours to the poster.

2)Now set the Blending Mode of the Gradient layer to Soft Light and reduce the Opacity to 33%.

Step 20:

Import the image of the wooden wall onto the canvas to represent the wall on which the poster is stuck.

Step 21:

1)Resize the poster using the Move Tool (V) to reveal some part of the wooden wall.

2)Create a slight shadow under the poster as shown to create the depth that the poster is really on the wall.

Step 22:

Using the Sticky Tape Brush add four tapes as shown to show that the tapes are holding the poster stuck on the wall.

Step 23:

Usually old and aged papers or posters doesn’t have good borders, hence we need to create rough and slightly torn edges to the poster.

1)Import the image of the Old paper with bad edges and place it on the poster as shown.

2)Then select the mask in the shape of the texture and cut the edges of the poster to get the required effect.

Final Output:

In this tutorial I will show you how to draw a very simple but awesome twitter bird vector. I’ve used photoshop to create this but you could just as easily use illustrator as we’re mainly using the pen tool.

This is a fairly basic tutorial and all you’ll need is a very basic knowledge of the pen tool. Have fun!

Step 1: Base

Create a new document, I’ve created mine 575 x 680, but it doesn’t really matter what size it is, you can resize later if need be as it is a vector we are creating. Now select the pen tool and begin to draw the basic body shape of the bird, I based mine on a sketch I had drawn previously. You can copy the shape from a photo or drawing or you can just use your imagination.

When drawing with the pen tool I usually will turn off visibility of the layer in the layers menu so I can see what I am doing better. Once you’ve finished drawing you can turn it back on.

Now we have the basic shape of the body, I used #33ccff as the color, but again you can choose whatever you like. Next I added a slight gradient to the shape just to add a bit of depth.

Step 2: Features

Now we have the basic bird shape, the next step is to add the birds features (eye, beak, legs). The beak is a faily simple triangle-ish shape and is coloured #0f0f0f, again drawn with the pen tool, and with a slight gradient added to give it depth.

The eye is just layers of different coloured circles ontop of eachother to create a ‘beady’ looking eye.

Now the legs. First we need to create the thigh shape, this layer needs to be underneath the body layer and I coloured it with #DBDBDB. This way any overlap will be hidden underneath the body layer. The actual legs again are underneath the thigh and body layers and are positioned to look like they are gripping something and I used #0F0F0F.

Step 3: Shading

The final step is to add a bit of detail and shading, I have kept it fairly simple but you could really go for it and add as much shading as you like. I started by adding a lighter area (#7AD6F5) covering the breast of the bird.

Instead of drawing a whole new shape, I duplicated the body shape layer and adjusted it to how I wanted it, this way the edges will match the body shape.
Then I added the darker areas (#2AB7E6), again by duplicating the body shape and adjusting it by deleting a couple of vertices and adjusting others.

Conclusion

The final result is a fairly simple, but good looking twitteresque bird. Hopefully your will have had fun following this tutorial and will have learnt something along the way. The pen tool is a great tool to know how to use, so practice with it as much as you can as it can be trick at first, but once you know what your doing you can do alot with it.

Download the Twitter Bird Photoshop PSD File:

In case you want to compare your results or just tweak my design, here is the finished PSD file of the twitter bird: twitterbird.psd

Introduction

In this tutorial I will show you how to create a lovely floral style 3D text effect using only Photoshop and Illustrator. The idea is to add the elements we like while keeping the design subtle, pleasing to the eye, and having some fun along the way.

We’ll be using Illustrator for the 3D effect because it’s more user friendly than other 3D programs like 3ds Max, and it can do an equally good job for what we require.

Resources

If you’re following along, you’ll want to grab these resources.

• Levenim MT Bold
• Flower Pack
• Nebula 1
• Nebula 2
• Nebula 3
• Elephant
• Flowersn’swirls
• Parrot
• Butterfly Brushes III

Thanks to the artists who provided these. Please remember to follow their rules and credit them where it is appropriate. Let’s get started.

Step 1

To start, create a new document sized at 1200 x 770, and fill the canvas with a radial gradient that goes from #a1dbff to #f0f9ff, transitioning from dark in the center to light at the edges.

Step 2

Download this font, Levenim MT Bold. Load the font, then open up Illustrator, and type out ‘MYINKBLOG’.

Step 3

In Illustrator, select the text and choose effect 3D, extrude and bevel. Proceed by choosing the settings shown below. At this stage it is a good idea to play with the different 3D settings and see what results you like, but for now the following are a good selection.

Step 4

Copy and paste the text into your Photoshop document as a smart object, this allows you to resize the text as much as you like without losing quality.

Step 5

The next step is my favorite part, we need to cut out the faces of the letters with the pen tool. Make sure you save your path, and cut out the letters on the same work path too. Now select the faces of the letters, inverse the selection, and  fill them with a gradient from #ffd24e to #ecb207, leave the gradient defaults as they are. Finally, add a stroke of yellow set to 2 pixels and an opacity of 38%. These will blend in subtly with the addition of other elements.

Step 6

Select the text , Ctrl + Shift + D should reselect it, fill with any color and reduce the fill to zero. Then, add an outer glow set to white  with the settings shown below. This will add a nice glow to the edges of the text, subtly increasing the overall energy.

Step 7

Download this flower pack, I used 7 on the right, and 8 on the left. Arrange them to face upwards on one side and down on the other, so they balance each other. Change the blend mode to multiply to eliminate the white areas.

Step 8

Next download nebula 1, 2 and 3. Place them into your document and change the blend mode to either hard light or screen and lower the opacity to around 30%. As you can see it’s a delicate effect. If it needs further reducing, add a layer mask and brush over areas so the whole image blends in better.

Step 9

Download this image of an elephant, and extract it. Place the extracted elephant in the image, underneath the nebula, and the text layers. Reduce the size to approximately twice the height of the letters.

Step 10

Now, for the flowery part download these amazing brushes. Using the first brush in the pack make a shape on the top left hand side. Here we can see the composition really beginning to take effect, keeping the design simple and refined.

Step 11

Now, we’ll add a gradient overlay. Double click the layer to get to the layer styles, and use a light pastel green gradient. We use a layer style because it’s a lot easier to change at a later stage.

Step 12

Continue adding floral elements until you are pleased with the look, just remember less really is more, and subtle is more effective than having too many patterns. The gradients and the positioning of the flowers give the peaceful sense of movement.

Step 13

Download this image of a parrot. Then extract it using your favorite extraction method and paste it into the composition. Next, add some adjustment layers with the follow settings.

Step 14

Add a butterfly or two with these brushes. You can continue to add additional butterflies, or other creatures, just be sure to keep it simple.

Step 15

Add another layer, select the text, and add an outer glow with the following settings, remember to reduce the fill to “0″.

In Conclusion

This is a good tutorial to practice combining elements to create a well-rounded composition. You should now have a firm understanding of 3D text, and how to blend objects together in Photoshop.

Hey everyone! I’m back with the second half of this two part series about using Photoshop as a means of extracting a subject from its background, and am very sorry that it took this long to get it done. In Part 1, we undertook a basic review of what channels are, and how they work. If you haven’t read that article already, I suggest that you review it before proceeding here.

Part 2 is (as promised) going to be more of a tutorial type article, in which I am going to guide you step by step through the process of extracting a lovely model from a photograph, and placing her into a relatively simple design. There are quite a few screenshots, but it’s really nothing to worry about.

Before getting started, I would like to thank my 2 awesome sisters-in-law for allowing me to use this awesome photograph as my working example.

The model is of my sister in law. The photographer is another one of my sisters in law. They are both awesome and crazy, and I love them to death. So, thanks ladies for being willing to be a part of this tutorial!

Now, let’s get started with the extraction.

Step 1

First, it’s important to note that our image is in RGB mode, and that we will be sticking in this mode throughout the course of this tutorial. If you read Part 1 of this series (or if you are already familiar with channel basics), you will recall that every RGB image contains a Red, Green and Blue channel. Let’s start by analyzing the 3 channels to determine which one will provide the best starting point for extracting the model from the photograph. Here are the greyscale representations of each channel.

Since the hair is going to be the most challenging part of the extraction, what we are really looking for is the channel where we have the best contrast between the hair and the background. The red channel would probably work, but it’s a bit lighter than is really ideal, so we’ll scratch that one.

The blue and the green channels are pretty similar in terms of the contrast between the hair and the background, so either of those would probably work. However, I think that the green channel is probably the better option, so let’s go ahead and duplicate it. You can do this by either right-clicking and selecting Duplicate Channel from the menu, or by dragging the green channel down to the new icon in the layers palette.

Step 2

Now, with our duplicate green channel selected, we are going to adjust the brightness and contrast. Select Image » Adjustments » Brightness/Contrast from the menu. For this image, I set the brightness to 16 and the contrast to 48.

These numbers will vary drastically from photograph to photograph, but the basic idea is to adjust these values to the point where the background is white and most of the hair is black. The thin strands, however, should retain a certain amount of grey, as you can see in the screenshot above. Also, try to increase the contrast to the necessary minimum, since too much contrast can cause some of the finer details to vanish, and for some of the softer edges to become jagged and rasterized.

Now, while we’ve adjusted our contrast sufficiently on the left side of the woman’s face, the contrast above her head and to the right is not quite good enough. To fix this, use the Rectangle Marquee tool to make a selection around the area in question, and adjust the brightness and contrast again.

Doing so will only apply the adjustment to the selected part of the channel. This may look a bit odd, as it breaks the continuity of the image, but that’s fine. You’ll see why in a bit.

Step 3

In this step, we want to turn the RGB channel back on so that we can see everything in full colour again. Now, with the the main image layer active, select the Pen Tool from the Toolbox. Use this tool to begin tracing the rest of the model’s jacket. I would recommend starting at the bottom left of the image, as shown here:

Then, just trace the rest of the shape. Later, we will use this shape to establish the layer mask that we will use to extract the woman from the background. If you get to a part of clothing that is a bit softer, like this woolen collar, you can draw your line back a bit and then return later to blend it all together.

In this image, we also have a break in the model’s arm, which we will want to account for.

We want to make sure that we draw in the shapes for any enclosed areas, like these two spaces between her arm and her body.

If you forget to trace this part, the background here will not get extracted. While it’s possible to go back and fix this kind of mistake, it’s always better to take care of it the first time. Also, you can actually create this extra shape right within the same path object, so there’s no need to create two separate path objects!

Step 4

Next, select the Brush Tool from the toolbox, along with a medium sized, soft brush. What we want to do now is start brushing away all the darker spots in the background, and even some of the edges of the woman herself (but not her hair). This screenshot shows the first stages of this process:

This next shot shows that I have painted away all the darker areas on the top part of the canvas, including the defining lines around her jacket.

Repeat this same process on the bottom half of the image. Again, you can see exactly what I mean in this screenshot, in which I have made the entire background white, and also painted over the edges of the model.

It may seem counter productive to be painting away these edges, but it will actually help us to get a nice, crisp extraction in the next step.

Step 5

Now, open the Paths Palette. There should only be one path there – the one you created when you traced the woman with the Pen Tool. Command-Click (PC: Ctrl-Click) the preview of that path to create a selection.

Next, making sure that you are still working on the duplicated green channel, fill the selection with black. This will give us back the basic shape of the woman that we brushed away (I told you we’d get it back easily).

Select the Brush Tool again, this time with a slightly smaller size. Set the foreground colour to black, and start painting over the parts of the model’s face that are still visible.

Reduce the brush size, and very carefully start filling in the highlights on her hair, being sure not to paint away any of the finer details around the edges.

Step 6

Now it’s extraction time. Your duplicated green channel should now look something like this:

The parts of the image that we want to keep (the model) are in black. The parts that we want to discard are in white. Start by revealing the RGB channel again to get all of the original colour back. With the channels palette still open, Command-Click (PC: Ctrl-Click) on the duplicated green channel. This will create a selection based on all of the work we have done so far. Choose Select » Modify » Feather from the menu, and when the dialogue box comes up, set the feather radius to 2px.

This will soften the edges just a little. Next, press Shift-Command-I (PC: Shift-Ctrl-I) to invert the selection. Lastly, with the model layer selected, create a new Layer Mask. You can do this by simply pressing the Layer Mask button at the bottom of the Layers palette (ignoring that it says Add vector mask – trust me this will add a layer mask – the vector mask option appears after you have already added the layer mask, and is an entirely different topic all on its own):

Once you add the layer mask, the model will be completely extracted from the background.

Step 7

From this point on, the steps are all about taking the extracted figure and placing her into the the context of a simple design. First, we’re going to start by adding some texture into the background. For this, I am going to be using one of my own watercolour textures, which you can find here.

Open up the image file and immediately select Image » Image Size from the menu, to determine the exact dimensions of the texture.

As it turns out, our working document is actually a bit larger than this, so flip back to it and select Image » Image Size again, and resample the image so that the entire watercolour texture will fit into the background.

In this case, that means setting the height to 3450 pixels. The width should automatically shrink down to 2249 (narrower than our texture), as long as you have the Constrain Proportions option selected.

Switch back to the texture document. Press Command-A (PC: Ctrl-A) to select the entire image. Copy it to the clipboard, flip back to our working document and paste the texture in as a new layer. Finally, drag this layer behind the model. The document should look something like this:

Step 8

Let’s work on the background just a little bit more here. To start, we’ll add another layer of texture. If you want to use the exact one that I will be using, head out and pick up my Mega Texture Pack and open this image:

Alternatively, you can use any similar grunge texture that you might have in your repertoire. Copy and paste the texture, just like we did before, and place it at the back of the document (the grunge texture I am using is larger than our working document, so no resizing is necessary). Then, set the blending mode of the watercolour texture to Soft Light.

This gives some extra roughness to the background, which I really like, but ends up muting the colours from the watercolours. To fix this, duplicate the watercolour layer, move the duplicate above the original, set the blending mode to Overlay and the opacity to 50%:

This will bring some of the colour back into the design.

Step 9

This step is really quick. Select the extracted woman layer and add a choose Layer » Layer Style » Outer Glow. In the dialogue box, select a medium grey colour, set the blend mode to multiply, the opacity to 55%, the spread to 0 and the size to 125.

This will create a nice, soft shadow around the model, adding just a bit of visual interest to the composition and helping to blend her with the background.

Step 10

Now, the original image had some subtle shadows in it. Unfortunately, when we extracted the model, we also extracted the shadows. We could probably have tried to do some subtle work to extract the shadow too, but I prefer to just add it back in after the fact. This also has the added benefit of keeping the shadow and the model on separate layers.

Let’s start by duplicating the model layer, dragging it above the original, and deleting the layer mask. Then, set the blending mode to Multiply. This will now be our shadow layer.

Next, head back to the Channels Palette, and create the same selection that we did before, by Command-Clicking (PC: Ctrl-Click) the channel preview. This time, chose Select » Modify » Contract from the menu, and set the number of pixels to 2.

Return to the Layers Palette, and select the new shadow layer, then apply a new Layer Mask based on the current selection (which we have not inverted). This will knock out all of the shadow on the woman herself, leaving it only on the background.

Now the shadows look a little too dark, so reduce the opacity of the shadow layer. I found that 65% worked well for this image.

Step 11

We just have a little bit more to do to the model herself. First, start by duplicating her layer again, and drag this one to above both the original, but beneath the shadow layer. Temporarily disable the layer mask by Shift-Clicking on it. Now, add a new Hue/Saturation adjustment layer. Check the Colorize option, then set the hue to 335 and the saturation to 13.

You will also want to create a clipping mask, so that the adjustment will only be applied to a single layer. To make sure that the Hue/Saturation layer is directly above this duplicated model layer, right click on the adjustment layer and select Create Clipping Mask from the contextual menu.

Next, add a basic Gradient Overlay layer style. Use a plain, black and white gradient reducing the opacity to about 44% and setting the blending mode to Multiply. Also, set the angle to 128.

This will add a soft, simulated shadow effect, which will darken the areas toward the bottom right of the image, as you can see here:

Finally, turn the layer mask back on (Shift-Click again), so that the Hue/Saturation is only applied to the model. Set the blending mode to Overlay, and reduce the opacity down to 55%. Altogether, this should give you an image that looks something like this:

Conclusion

That pretty much wraps up this tutorial! Of course, you would probably add a bit more to the design to round it out a little – maybe some simple boxes and text to create a poster kind of like this:

Still, the 11 steps above pretty much cover everything you need to know to extract the woman from her background and build up a simple but interesting design around her. That being said, I want to note that every extraction is somewhat different. This tutorial should help you with a fair number of your complex extraction projects, but the techniques outlined here may not be appropriate for every instance that you need to perform an extraction.

You’ll really have to weight it on a project-by-project basis.

I hope that this article (and Part 1) was valuable to you, and that you learned a thing or two about extracting with channels! And again, thanks to my one sister in law for providing the photo, and to the other for letting me use her face for thus tutorial!

Inspiration For This Tutorial

Note From MyInkBlog: It’s been brought to my attention that this tutorial was largely inspired by Sabbath (THE COMMANDMENTS) by loswl. Thanks to loswl and Grapixia for pointing this out. Credit should always be given to the original designer.

Intro

In this photo manipulation tutorial we are going to digitally create a dream land using Photoshop. Along the way we will analyze lighting, incorporate a shattering effect, and use some brush tool properties.

Resources

This is a collage of images, so not surprisingly we’ll need to gather a lot of elements to make it work. If you are following along, you’ll want to grab the following.

Step 1

Import Cloud Images 1 into your canvas, and name the layer ‘clouds 1′. Pay close attention to the light source. In this image the sun light is coming from the right side, which is depicted in the image by arrows. We will consider this the primary light source throughout the tutorial.

Step 2

Import Cloud Images 2, and name it ‘clouds 2′. Then, select the Soft Eraser Tool (E), and erase the edges of the ‘clouds 2′ layer.

Step 3

Having the ‘clouds 2′ layer selected, go to Image -> Adjustments -> Curves, and slightly adjust the curves as shown.

Step 4

Now import Cloud Image 3, and name it ‘cloud 3′. Just like the last step, erase the edges of the layer with the Eraser Tool (E).

Step 5

With the ‘cloud 3′ layer still selected adjust the curves as shown.

Step 6

Now open up Hammock 1, and extract it. To do so, draw a shape around the guy and the hammock image using the Pen Tool (P). Once the shape is finished, right click on it, and select ‘Make Selection’. Then, hold ‘Ctrl’ + click ‘J’ (Ctrl+J) to make the selection a new layer.

Step 7

Import the previously made layer into your Dream Land document, and name it ‘Hammock 1′. Then resize the image to fit the composition, using the Move Tool (V). Continue by going to Image -> Adjustments -> Exposure, and change the settings to: Exposure +1.06, Offset -0.0020, Gamma Correction 1.12.

Step 8

In the same way as the first hammock, extract Hammock 2 and place it in the work space. Then, move the image to the position as shown. Afterwards, go to Image -> Adjustments -> Exposure, and change the settings to Exposure +0.63, Offset 0, Gamma Correction 1.14.

Step 9

Now, select the ‘hammock 1′ layer, and extract the rope using the Lasso Tool (L) and pressing Ctrl+J to turn the selection into a new layer. Place the rope on the ‘hammock 2′ layer. Duplicate the rope layer, and drag it upwards using the Move Tool (V). Erase the knot in the duplicated layer, then merge both of the ropes layers, and name it ‘rope 1′. Now, duplicate the ‘rope 1′ layer, and place it on the other side of the hammock as shown.

Step 10

Having the ‘cloud 3′ layer selected, extract part of the cloud, and make it a new layer named ‘c3-1′. Now place the ‘c3-1′ layer above the ‘hammock 2′ layer.

Step 11

Using the Pen Tool (P) extract the Bruj Khalifa Building (which, by the way is the world’s tallest tower at this time). As mentioned in the first step, the light factor should be taken into consideration. The direction of light in the ‘Bruj Khalifa’ layer is from the left side, so flip it horizontally by selecting the layer with the Move Tool (V), then right click and select ‘Flip Horizontal’.

Step 12

Now import Bird 1, and place it on the left shoe of the man resting on the hammock 1, and flip it horizontally to match the light.

Step 13

At this point you can let your creative juices flow by adding additional elements throughout the composition. To give you an idea, I used elements such as hot air balloons, the Taj Mahal, pigeon, butterfly, and another bird near the hammock 2. Make sure that all these elements match the light.

Step 14

Use the pen tool to make a selection of the book like what is pictured below. Then make the selection a new layer, and name it ’shatter’. Transform the ‘shatter’ layer by choosing the Move Tool (V), then right click and choose ‘Wrap’.

Step 15

Mask the ‘shatter’ layer using the Magic Wand Tool (W), and add a layer mask. Now fill the layer mask with black. Paint the layer mask white with a grunge brush to get the shatter effect.

Step16

Now use the Moon Brushes 1 and Moon Brushes 2 to add some stars and moons throughout the composition. Be wary not to go overboard with this effect.

Step 17

Select a soft white brush sized at 3px, and go to Window -> Brushes (F5). Select the Scattering option, set it to 100%. Now brush on some white magic particles coming from the bird.

Step 18

Use the Bubbles Brushes, to subtley add a few bubbles where you desire. If the effect looks to intense, drop the opacity a bit.

Step 19

To complete the effect, I used a soft white brush along the edges of the composition. I also added the text ‘Dream Land’ and dropped it below the ‘cloud 3′ layer in the layers pallet. This is my finished artwork.

That’s A Wrap

That’s if for this tutorial. I’d love to hear what you think, drop me a comment using the below.