Zombifying Mandy Moore
Bymolf Paginated View
I've made a mini-tutorial to show you how I chopped Mandy Moore into a Zombie a while ago. Page 1 : Skulls and bones
After I found myself a suitable source pic (1), I first used Hue/Saturation, to decrease the overall saturation and make the colours greener, and did this especially near the lips (2). For the head, I looked for a picture of a skull which was taken from roughly the same angle (3), and used a layer mask to make it seem as if her eye had been taken out (4).
Page 2: Adding details
In the neck area (1), I used source pictures of a leg with spider veins (2), a mummy and a war victim (3). Source pictures which are usable for such a contest aren't always pleasant to look at... I experimented a lot with different blend modes, till it looked right. I finally decided the features of her body wheren't clear enough, so I did some masking adjustments to bring them back (4).
Page 3: Dirty Laundry
The clothes (1) were soiled with a soft brush in red and greenish black colours, while using the overlay layer mode (2).
Page 4: Finished
Finally it was time for some more detailed work. I took the image from (1) to (2) by, among other things:
- drawing little zits and such
- using hue/saturation very selectively to tone down the saturation and make some skin extremely green
- desaturating the hair completely
- using overlay, soft light and color burn layers and soft red and black brushes to add more shadow and bloody parts
By clOckwOrk Paginated View
I've been saying I'd get around to posting something about perspective for awhile cuz I dunno how often I see pictures where things are matched up very nicely but the perspective is off, which makes object look tilted. Page 1
Well here's an example of how to figure out perspective and what it might look like if I hadn't. It all starts with the orginal
I wanted to make it look dangerous and tall so skippin through the cloning and making a piece of slide i could duplicate here is what it might have looked like if I were to do the normal cut and paste of pieces.
So I'm sure you see how off things are as this is an extreme example. Here is how to find the right way to do it and how I figured out the form for the top part of the slide(incidentally the bottom was brushed and the top I used liquify to distort)
The green is the horizon, the points where things connect are vanishing points. I didn't do everything perfect because i was losing details in the bars but the idea is there. Page 3
Here is what it looks like corrected.
By CCZ Paginated View
A few people had asked me how I did some of the work on Reese Witherspoon in Gender Bending 3. For those of you who are interested, I've put together a little step by step to show some of my nasty little secrets. Page 1
For the haircut, I picked my lasso tool with a good feather on it and selected bits of the hair around the circumference of her head
Then I copied it into its own layer..
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...and repeated the process all around the head until the hair was looking about as short as I wanted it.
For 5 O' Clock shadow, I used my lasso to select the area where my scruff would be built...
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...and chose to "Fade" the Noise filter to "Darken" mode.
By arsidubu Paginated View
Find out how to face swap!
The following are some observations I have made regarding the art of "faceswapping", a skill that is used primarily in ModRen and mating type contests. A seamless faceswap should give a viewer the uncomfortable feeling of "Oh God! He's so pretty!" instead of, "Oh God! He's a mutant!" I feel the key to a quality image is recognition of the subject. Recognition relies on the proper matching of your source images, using correct alignment, scaling and masking.
At the top are my 2 source images, Marilyn Monroe and Cary Grant, two of my favorites. Notice that the head angle is already close, and unless you are dealing with subjects that only have a few good images, I see no reason to make more work for yourself trying to tweak the images to make the angle look right. Image A is what I would consider a decent match. The position and scale of the face are appropriate for the underlying head.
Image B, bigface. The face is just too large for the head. To make it fit, the cheeks and chin of the face are masked out, and to some extent the face becomes unrecognizable as Cary. When adjusting the face size, set the transparency of the face to 50% or so. At 50% transparency it is possible to compare the face scale to the face on the underlying head. I use the eyes as a guide for scale.
Image C, benthead. My example is a little extreme, but you get the point. The head is pointing in one direction, and the face another. When positioning the face, look at the head. If you can only see one ear, this is the side of the nose you should see. It is a simple task to mirror the face to match the angle. Most faces can be mirrored and nobody would notice. A word of advice about benthead images...Avoid using base source images that have the head at odd angles relative to the body. It is guaranteed that even with the best blending, the resulting image will look odd when you are done. Image D, mutantface. Again, to improve recognition, I don't advise mixing and matching eyes, nose and mouth. It's all or nothing. As in my example, the subjects are unrecognizable.
Image E, ET-head. This is when the face is scaled correctly, the head angle is correct, but the face is sitting too far forward on the head. Kinda like ET. If you find yourself doing a lot of cloning between the ears and eyes, there is a good chance you are gonna end up with an ET-head. Set the face transparency to 50% and use the eyes as a guide to align the images. Avoid these common mistakes, and you will do fine.
By MaxManti Paginated View
Having had a bit of success applying tattoos to celebrities I'll explain the tricks and tweaks I used to create realistic tattoos. This tutorial uses a few basic photoshop techniques, masking, colour adjustment, liquify and the resize and transformation tools. Page 1 : Geri Halliwell
We'll use my recent Geri Halliwell image as the template for this tutorial. Bikini clad, light skinned people are the easiest to make this rather simple but very effective bodyart.
Page 2: Flash Sources
The source artwork I use for tattoos is the "flash" artwork that real tattoo artists design and use as a templates for their work. Walk into most tattoo parlours and hanging on the wall or in their design books you'll see a huge selection of artwork you might want to have a tattoo of.
So just Google Image Search with the keywords tattoo + flash and you'll find ample sources to use. Be sure to use an image that is public domain (or ask the author first). It's possible to cut and paste tattoos off the body or image of a person and use different blending methods to achieve a similar effect, but it is very time consuming and much more difficult to get good results. For Geri's arms, legs and torso I used just 3 pieces of flash artwork.
Page 3: Position and Multiply
Let's start with Geri's abdomen and the skulls artwork, just drag the image over her abdomen and apply a mask to the skulls layer. Using the Move tool roughly place the artwork where you want it to sit, using the Transform option stretch/perspective, etc. to get better placement. Mask out the areas where you have any overlap, return to the Move tool if need be and Transform it to your liking using its different settings, I ended up with this. Some people have used displacement maps to align tattoos, not once have I required them.
Page 4: Joining patterns
The same process was used on Geri's arms and legs a single piece of flash artwork was duplicated and used on 4 or 5 layers, masking, resizing and using the Multiply on each layer Because the arms and legs had the The image below shows the 3 layers used with some masking and a pretty good flowing pattern was achieved Seems a little messy but remember once the Multiply blend is applied all the white instantly disappears
Page 5: Transformation
For Geri's shoulders and chest area, again a repeat of the previous process, just a different piece or artwork was used and it was duplicated onto 2 layers, then one was horizontally flipped for left and right
For some body parts you might consider using the liquify tool in moderation if the Move/TransforrrY Distort option is not achieving the desired "fit" I also mask certain areas with a low opacity brush to achieve a feathered
:e background to instantly disappear,leaving you with the coloured or in this case black artwork blended to Geri's abdomen Tattos are never a solid black so tweaking the layers, colour balance and lowering the opacity m ne pattern I just placed the lower arm and the upper arm layer over the top of each other and masked out any overlap creating a smooth pattern
100th flowing ink effect You wouldn't want a solid colour to apply to areas in a body cavity or around the edge of a shoulder
Page 6: Coloured tattoos
Finally, for coloured tattoos pretty much the same techniques are used as for black ink work. A little extra work is involved adjusting the opacity of the layer to get that blurrei So basically there you have it, there is nothing too difficult to creating bodyart.
2. Use Multiply for your layers
3. Use the Transform option to position and distort the tattoo.
4. Be a little creative and play with the colour and opacity settings.
j well worn effect, you dont want too vibrant a colour or you will not get that see-through ink applied to skin look I sometimes use Adjustment layers and the Replace Colour option to lessen a red or to make a green more vibrant
Displacement Maps and Textures
Making a wooden banana in photoshop
Bv Maestro Calhoun Paginated View
a of how to apply a texture to an object through the use of displac
Through general information and practical application, this tutorial will give you a b Page 1 : What is a displacement map and how does it work?
I had some free time and energy to burn, so I figured I would take what I know about displacement maps and the use of displacement maps to apply texture to an object, put tt The displacement map filter in photoshop warps and distorts images by moving pixels according to the guidelines set out by a predefined "map." You can find the displacemen If you've never used them before, displacement maps probably seem like a complicated and foreign concept. However, they're actually very simple if you think about them in ti
5 m in to this tut and teach you, the general wo map filter under filter>distort>displace rms of black and white. Like masking, black a ut displacement maps through general information and practical application
Once you understand how black and white effect displaced images, then you can start th Below is an example of how the different values effect a displaced image with a simple v erms of b of grey. The shades of grey, depending on what end of th le they're on, will m white are the ba iic that of black ar s of a proper displacement map. Black moves 1 white in a displacement map, only to a pixels to the right and/or di degree. Fifty percent (mid own. White moved pixels left and/or up. grey) makes absolutely no difference on th
Page 2: Wooden Banana: Getting Started
Now for an example of how to apply a texture to an object with the displace filte I am going to use the filter to help me put a wood texture on on a banana peel.
This is the kind of thing you >
ten for you general photoshopping n
Now on to the really good stuff.
Page 3: Wooden Banana: Making a Map
First, we make the map. Start by desaturating your
■e as big of an impact on an image as blacks and whites do. So, in order to get those blacks and whites we're going to adjust the brightness/contrast on th
w you probably notice that the different v;
d a bit too harsly where they meet. This will make oi n it should (kind of like how the candid example looked above). Therefore we want to add a bit of blur to smooth this out. Typically one or two pixels of bl of the imag p over a at worth1000
the of grey to what we get the job
What we have now is essentially our displacement map. Save the image you have now as a PSD and remember where you put it. We will need it later. Page 4: Wooden Banana: Applying the Texture
Now you can revert your image back to its original state so we can go back to apply the texture.
Now, open your texture. In this case, I chose a fun wood bark with lots of ripples great texturing. Don't mask your texture just yet, we need to displace it first.
Page 5: Wooden Banana: Finishing Up
Now we can go ahead a move on to something that is a different tutorial altogether. Making the banana actually like the wood texture is a part of it. I'm not really going to go in depth into this part. I suggest looking at some of the fine statue making tutorials on the site for more information on this. Once you start playing with this, however, you'll notice how the map really made the texture fit, and made it look very natural.
There you have it. Now, you all have the essence of what displacement maps are and how they work. Remember that this tutorial is just a guideline, and applying it to some images may require a slight alteration of what has been presented. If you have any questions about the things I've talked about here, you can reach me through a site message on worth1 000.com. Now, go ye thereforth, and texture stuff.
Animal Crossbreed Example
By variant2 Pag inated View
Using the transform, liquify filter and some shading, were going to effectively dress up a rhino in zebra fur. Page 1 : Source Images
In this tutorial, we're going to combine 2 animals:
In this tutorial, we're going to combine 2 animals:
First and most important is to find the proper source images. I chose these 2 since the angles and stances are very similar.
Since I liked the high contrast color of the zebra, I decided to use the actual fur and "mold" it over the rhino's body. So with that said, I extracted the zebra from its background and pasted it into the rhino file on a new layer. NOTE: It's a good idea to use a hi-res image because when you're stretching pixels, a low resolution file is going to lose its realism.
Page 2: Test Fit
Okay, let's see how similar or different these two images are.
Lower the opacity of Zebra and compare it to the Rhino background. Using the Transform tool, stretch and compact the image as needed so that you could get the best fit possible. The better match now means less work later. I found it important to match up the legs first and then the head for this image. Page 3: Liquify is your friend
Since my goal is to cover the rhino's body completely with the zebra, I decided to use the Liquify filter to make the rest of the adjustments.
You need to have quite a bit of patience with the Liquify filter to get the best results. I'm going to assume that you have some experience with this filter so I'm gonna get to the point.
1. Decreased the the Zebra's opacity to about 70% This will help you get better results matching up the two animals.
2. Start off by using a fairly large brush (about 1/3 the size of the animal) and with small strokes, pull the Zebra's main torso to match the rhino. Try to avoid making looong pulls because you won't get desired results. Using the large brush, I basically stretched out the top, buttocks, belly, chest and then I repositioned the head.
3. Once you're happy with those results, you're then going to fine tune the rest of the body using smaller sized brushes. For the Zebra's head, I used small, even strokes to match the shape of the underlying Rhino. Since the legs are so close together, I had to use the Liquify filter's built in mask tool to protect one leg as I shaped the adjacent one.
Once you have matched the entire silhouette of the Rhino, save your adjustments and get ready for the next step.
Page 4: Shading
Okay, the shaping looks ok but our new animal friend is looking a bit flat. We're going to add more depth to this image by adding shadows. I'm not going to be using any blending modes because I want to keep as much detail and contrast as I can -- so with that said: Make a new layer atop the Zebra and select a soft brush set a 15-30% opacity.
TIP: Hold down the OPTION key and move the cursor in between new blank layer and the Zebra layer. When the cursor changes it's shape, click the mouse button and you have now effectivley made a clipping mask. All your shadows will now be contained inside the zebra.
To get the best shading, I occasionally turned the visibility of the Zebra layer on and off used the Rhino background as a reference as to where to add new shadows. Yeah, that looks better. Now for the head:
If you look at the original rhino picture, you'll see that the head has a distinct shape under the horns. It looks like its beefed up. Okay, add a new layer
Using a smaller, soft brush at around 30% opacity, draw out the distinct lines under the horns (again, use the rhino background image as a reference). With some patience you should get the desired results. If you find that the shading is a bit too dark, you could adjust the layer opacity of your shadows. Good Luck and I hope this helps.
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Adobe Photoshop can be a complex tool only because you can do so much with it, however for in this video series, we're going to keep it as simple as possible. In fact, in this video you'll see an overview of the few tools and Adobe Photoshop features we will use. When you see this video, you'll see how you can do so much with so few features, but you'll learn how to use them in depth in the future videos.