Construct Dynamic Layer Effects

 BEGIN CUTTING OUT

Download image 36860996 from www.dreamstime.com and cut the model’s entire figure out from the background. Using the Pen tool, create a vector shape that you can refer to in the future if anything goes awry. Once your cutout is complete, Cmd/Ctrl-click the vector shape to select and apply a mask on a duplicate (Cmd/Ctrl+J) of the Model (Original) layer.

GET PARTICLE SMOKE BRUSHES

Now that she’s cut out, create a group with that layer selected and name it ‘Face’. This group will act as the main source for the model’s face detail in the image. Before moving on to the next step, you’ll need Particle brushes. Head to www.photoshoptutorials.ws and download the Particle Smoke Photoshop Brushes set.

CUT OUT THE FACE

Once you’ve got the Particle Smoke brushes loaded into Photoshop, it’s time to put them to use. Within the Face group, apply an inverted (black) mask to the model cut-out layer by Opt/Alt-clicking on the Add Layer Mask icon. Select a Particle Smoke brush and click once on the black mask, so that you start painting it white over the model’s face.

♦ QUICK TIP
Use multiple masks on your layers using groups. Group an individual layer – or layers – that already have a mask attached to them that you don’t want to compromise, or that you aren’t sure you want to manipulate, then apply a second mask over that group, enabling you to edit non-destructively.

TRANSFORM UNLINKED MASKS

This step involves a very tedious and monotonous technique that will need to be repeated to carve the flowing shape to frame the face. On your Model (Original) layer, unlink the mask from the layer by clicking the chain link between them. With the mask selected, use Cmd/Ctrl+T to rotate and move the mask to illuminate a part of the model’s face and neck you want visible. Relink when placed. Repeat this step as many times as necessary in the Face group until you’ve revealed as much as you want.

DISPLACED ARM AND HAND

Make another vector cutout of your model’s arm and hand. Create another group below your Face group with a copy of your Model (Original) layer and name it ‘Arm’. Apply a mask of the arm cutout to the layer, so that there’s nothing but the arm on that layer. Repeat step 4, as you did within the Face group, to the layers within the Arm group. Leave the edges fading away, such as the tips of her fingers. Paint her skin colour in the areas that her arm does not reach under your masks.

BLEND THE DISPLACEMENT

Create a new group between your Arm and Face groups and title it ‘Hair Hint’, with another copy of your Model (Original) layer accompanied by an inverted mask. Use a Particle brush and paint in a hint of the model’s hairline close to her face and above her ear, and change the blending mode to Darken. Duplicate that layer and change the blending mode of the duplicate layer to Luminosity. Feel free to repaint the luminosity mask with a differing Particle brush for a more blended effect.

FINGERTIP DISPLACEMENT

Create two new groups and place one above the Arm group and the second below. Title each respectively as ‘Particle Front’ and ‘Particle Behind’. With your brush selected, Opt/Alt-click to quickly select the model’s skin with the eyedropper. In each group, use several Particle Smoke brushes and paint a couple of layers’ worth around the model’s fingertips. Do this within both the Front and Behind Particle groups you just created to emphasise her displacement effect. Aim to have each Particle brush section flowing in the same direction to simulate wind. Always keep in mind that less is more.

COMPRESS WITHOUT COMPROMISE

Once you’re satisfied with the initial displaced model you’ve created, feel free to simplify your layers within each group by compressing them. Depending on the machine you’re working on, you might want to save space by flattening each group with the Cmd/ Ctrl+E function, depending on how may layers you have within them. Alternatively, turn each group into a Smart Object, which enables you to revisit your initial displacement layers for revision. You’ll still want to keep each group separate from each other, as you’ll want to edit layers in between.

STEP BACK AND ADMIRE

It might not feel like it, but a lot has been done. Getting this far is tedious, time-consuming and it’s not always easy, but it’s rewarding to see the results. If you haven’t already, stand up, stretch your arms out, shake them all about and then buckle down, because there’s a lot further to go before the work is complete. Take this time to recap on what has been accomplished so far.

001   Complex cutout
Make use of the Pen tool to cut out a detailed vector of the model’s face, creating the perfect base for the next steps
002   Master masks
Manipulate unlinked masks tethered to the subject for complete creative control over what will be illustrated and shown later on in the final composition
003   Dynamic displacement
Use Particle brushes to enhance the displacement effect, rendering the subject into a beauty that fades into her surroundings

DOWNLOAD THE TEXTURE

In order to keep the stock cost down, try to use only one image for the ink texture. This may be a more difficult and much more intricate process, but it can be done effectively. Go to www.shutterstock.com and download image 89277448. Open it in Photoshop in its own window. Go to Select>Color Range and click somewhere in the white space, then hit OK. Invert your selection (Shift+Cmd/Ctrl+I) and then add a new mask over the top

"Getting this far is tedious, timeconsuming and it’s not always easy, but it’s rewarding to see the results"

 

INTRODUCE THE INK

Now that you’ve got a mask, feel free to use Mask Edge or Refine Edge with your selection still active to adjust the mask’s edge around the ink cloud if it’s not currently to your liking. The main thing is to avoid a white edge around the ink in order for the multiple layers blend to go smoothly. Apply a mask to the Ink layer and name it. Go to Window>Arrange>Tile Vertically and with the Move tool, click and drag the Ink layer over to the main composition.

MAKE MULTIPLE DUPLICATES

Create a new group with the Ink layer selected and place it under your model groups, naming it ‘Ink/
Cloud’. This will be the home of all your ink textures that reside behind the model’s face and arm. Within this new group, duplicate your Ink layer (Cmd/Ctrl+J) and leave the initial Ink layer’s visibility turned off and in a place you may continually draw from so you don’t have to keep going back to the initial cutout. To quickly duplicate, Opt/Alt+click on the layer in the layer window and drag to its destination.

TRANSFORM THE INK LAYERS

In preparation for the next phase, it’s a good idea to create an individual group for each Ink layer duplicate that has been created. As a lot of clipping masks are going to be used, having groups set for each main layer will make for easy organisation. Transform (Cmd/Ctrl+T) a duplicate of the Ink layer that has just been pulled over and scale it up a bit (not so big that you lose resolution). Place the up-scaled Ink layer flowing into or out of the model’s neck. Pay attention to direction and attempt to simulate a flow

EXPERIMENT WITH INK

This is the point in which this tutorial requires you to be experimental with you placement of ink flow and splotches. Repeat step 13 multiple times, varying the Ink layer size and orientation. Keep an eye out for repeating lines and shapes as you will be using the same Ink layer for the whole composition (or feel free to purchase more from ShutterStock). Use masks to blend and combine multiple Ink layers together to create new shapes and paths and to vary the flow of the entire image.

USE CLIPPING MASKS

At this point you should have a decent spread of ink surrounding and emanating from your model, and the image is becoming increasingly colourful and exciting. Now it’s time to pull the whole composition together. Based on where your colour lies in the shape you’ve created, add a new blank layer directly above an Ink layer that needs colour adjusting. Set the blending mode of your blank layer to Color and clip that layer to the Ink layer it rests above by Ctrl/right-clicking>Clipping Mask or Opt/Alt-click the dividing line between the layers in the layer window.

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ADD COLOUR CASTS

With a soft, round brush selected and your ideal colour chosen, begin brushing at 50% Opacity on the newly created Color layer, now clipped to your Ink layer. The goal is to match or transition colour and tones evenly between each Ink layer around the model. Create a new layer and drag the layer to again rest above the Ink layer you’ll want to transition your tones on. To lighten, set the blending mode to Screen and paint in the same colour used to transition. To darken the tones, set it to Multiply.

WORK ON THE TRANSITION

Now that the colour and ink shape have been set, select your entire Ink/Cloud group, duplicate (Cmd/Ctrl+J), flatten (Cmd/Ctrl+E) and move to above all other layers and invert the mask by pressing Cmd/Ctrl+I. Paint in with a soft brush where you’d like the ink clouds to transition into the model, but keep the transition smooth. Another way to add the ink transition would be to use a duplicate of the Ink layer in place of the flattened Ink/Cloud group, and place it over the model’s face in an area you see fit for great transition.

The last and one of the most important final steps in any composition is to blend everything together with global adjustment layers. Create a group above every other group and title it ‘Adjustments’. This final step will also task you with being experimental and creative. Use combinations of varying adjustment layers toalter colour, contrast and tone value. Take advantage of your masks to control where the adjustments are visible. If you’re not sure what a specific adjustment layer’s effect is, play around – this is one of the beauties of non-destructive editing.

COLOUR GAMUT
While working with drastic colour in any
composition, it’s important to be aware of your
gamut (the accuracy in the range of colours a
colour system can display). Without a properly
calibrated screen it’s easy to fall prey to an
unbalanced image. To test the colour gamut of
your images within Photoshop, simply go to
View>Gamut Warning. If your image is suddenly
covered with grey splotches everywhere, don’t
panic – that’s just a visual representation of the
colours that are out of gamut in your image. To
quick fix this, add and edit with a few adjustment
layers until all of the grey is gone.