It’s been a while! I realise that things have been a little quiet here, and today I wanted to share exactly what I’ve been working on.

As you may know in addition to PSDFAN I also run Design Cuts, which has established a reputation for being one of the most active and friendly communities for creatives online. This really followed on from the incredible audience right here at PSDFAN.

For the past 3 years I’ve been super busy building up Design Cuts, and I’m so incredibly proud of all we’ve achieved there. Recently, we launched a new marketplace for designers. This has been a massive project, and I’m so excited as this isn’t simply ‘just another marketplace’, it’s something much more special than that.

Today, I just wanted to share what’s so unique and incredible about this new marketplace, and give you some insight into what I’ve been working on these past few months.

I Wanted to Create The Most Quality-Focused Marketplace in the World

As a creative, I have always found that other design marketplaces simply had too many items – making it difficult to find the truly great resources. After all, who needs to trawl through 5000 near-identical packs to find the one that’s right for them?

At the Design Cuts marketplace, I’ve hand-selected and carefully curated every single product, to ensure that you only need to browse through the very best products in the world. This features top products from the likes of Ian Barnard, Latinotype, Retro Supply Co, Yellow Design Studio, Lisa Glanz, 2 Lil Owls and many more world famous designers. You don’t have to second guess the quality of resources as every single product in the marketplace is at the top of its field.

Here’s a look at just some of the awesome products you can find in this new marketplace:

I Wanted to Give Creatives a Unique Way to Save

The most unique feature of this new marketplace is the ability to create your own bundles. The more products you grab, the more you save! As you add products to your cart, you can see your savings increasing, and our recommendations ensure that you find the best and most relevant products for your needs.

This is the only place that you can save on these items, which otherwise are only available at their regular full price.

I Wanted to Provide Crystal Clear, Super Flexible Licensing

Licensing can be a tricky issue, and many of the main marketplaces impose needless restrictions, such as only using items for a single project (meaning that you need to purchase additional licenses each time you use the resources for a new project!). That just didn’t sit well with me.

At Design Cuts we have the most clear and generous license that we’ve seen anywhere. This means that you can use your items within wider designs available for sale and merchandise. All of this means less worrying about licensing, and more time spent creating amazing work!

Join the 85,000 Designers Already There

I’m so proud of what we’re building at Design Cuts, and I’d love for you to join us. You can visit our new marketplace via the link below, and I’d love it if you dropped us a line to say hi. I’m now leading an amazing, incredibly friendly team, and our sole aim is to give you the maximum possible support and guidance on your creative projects.

Click here to check out the new Design Cuts marketplace

In this tutorial I’ll show you how to create a dark night hunter scene. You’ll learn how to combine different stock images together, turn a scene from day to night, add a moonlight, create a dark atmosphere as well as make some special effects. Along with this tutorial, you’ll also learn how to work with groups, manage your layers and pay attention to the details.

Final Image

As always, this is the final image that we’ll be creating:

Step 1

Create a new document with the given settings:

Step

Open the street image. Isolate it from the background and drag it into the white canvas using the Move Tool (V):

Step 3

Open the sky image. Select the sky part using the Retangular Marquee Tool (M):

Drag this selected sky into our main document using the Move Tool. Set this layer under the street one.

Step 4

Create an adjustment layer and set it as Clipping Mask to change the sky color. Go to Layer > New Adjustment Layer > Color Balance:

Step 5

Create a Curves adjustment layer to darken the sky:

Step 6

Come back to the street layer. Make a Color Balance adjustment layer (set as Clipping Mask) to change its color:

Step 7

Use a Curves adjustment layer to darken the street:

On this layer mask, use a soft black brush with a very low opacity (about 5-10%) to reduce the Curves effect on the parts below:

Step 8

Make another Color Balance adjustment layer to change the street color a little:

Step 9

Create a new layer, change the mode to Overlay and fill with 50% gray:

Active the Burn Tool (O) with Midtones Range, Exposure about 10% to daken a detail below. You can see how I did it with Normal mode and the result with Overlay mode:

Step 10

Make a Curves adjustment layer on the top and darken the whole scene:

On this layer mask, use a soft black brush with the opacity about 10-15% to erase the pavement and other parts to give them some light there:

Step 11

Create a Gradient Map adjustment layer to change the light and color of the scene:

Change this layer mode to Exclusion 90%.

Step 12

Use another Curves adjustment layer to darken the scene. On this layer mask, use a soft black brush to refine the light and contrast of the image.

Step 13

Open the model image and isolate her from the background using your familliar method.

Make two new layers on the top. On the first, use a brush with the color #8a6454 to paint some missing hair for the model:

On the second, use a brush with the color #d2bba9 to paint some lighter flying hair for her head.

Hide the background and the fill layer and hit Cmd/Ctrl+Option/Alt+Shift+E to merge all transparent layers into a new one.

Step 14

Place the merged model layer onto the street.

Use a Curves adjustment layer (set as Clipping Mask) to darken the model. On this layer mask, use a soft black brush to reduce the effect on the arm, shirt and gloves.

Step 15

Use a Hue/Saturation adjustment layer to reduce the model saturation:

Step 16

Make a Gradient Map adjustment layer with the colors #494996 and #f7e68a. Change this layer mode to Soft Light 100%.

Step 17

Make a Photo Filter adjustment layer and pick the color #f3e784.

Step 18

Create a new layer with the same settings in the step 9. Use the Dodge and Burn Tool to give more light to the hat and gloves, also create more details for them.

Step 19

Create a new layer, use a soft brush with the color #0d0b19, the opacity avout 20-22% to reduce the highlight on her trousers:

Step 20

Open the sword image. Select a sword using the Polygonal Lasso Tool (L).

Place the sword under the lower arm of the model:

Add a mask to this layer and use a hard black brush to make the sword look like being held inside the hand:

Step 21

Make a Hue/Saturation adjustment layer (set as Clipping Mask) to change to sword color:

Step 22

Use a Curves adjustment layer to darken the sword. On this layer mask, use a soft black brush to erase the top of the sword blade:

Step 23

Create a new layer with the same settings in the step 9. Use the Dodge and Burn Tool to refine the light and shade of the sword:

Step 24

Create a Curves adjustment layer on the top of the layers and reduce the lightness.

On this layer mask, use a soft black brush to erase some parts of the model, the street and some of the houses:

Step 25

Make a new layer, hold Cmd/Ctrl and click the sword thumbnail layer to load its selection. Fill this selection with the color #c2f1f2:

Add a mask to this layer and use a soft black brush to erase the bottom and make the color faded out into the sword.

Step 26

Double click this layer, choose Outer Glow:

Step 27

Make a new layer and fill in the sword with the color #fd83df, also paint on her trousers with the same color. Apply a layer mask to erase any unwanted parts then change this layer mode to Overlay 100%:

Apply an Outer Glow effect to this layer:

Step 28

Create a new layer under two sword effect layers. Use a soft brush with the color #c2f1f2 to paint around the sword area. Change this layer mode to Soft Light 100%:

On a new layer, change the brush color to #fd83df and paint the light on the trousers part around the sword. Change this layer mode to Overlay 100%:

Step 29

Cut out the devil woman 1 from the background and place her on the top of a left house:

Create a new fill layer (set as Clipping Mask) to change the contrast of this woman. Lower the opacity of this layer to 70%. On this layer mask, use a soft black brush to reveal the woman and reduce the effect as shown below:

Step 30

Use a Curves adjustment layer to darken the woman a little. On this layer mask, use a soft black brush to erase the model head and a hand one.

Step 31

Add the devil woman 2 after isolating to the roof of the right house:

To make the shadow for her on the roof, create a new layer under this one. Hold Cmd/Ctrl and click the devil woman layer to load her selection and fill with black. Flip it vertically (Edit > Transform > Flip Vertical):

Lower the opacity to 50%. Go to Filter > Blur > Gaussian Blur and set the radius to 4 px:

Add a mask to this layer and reduce the intensity of the top of the shadow:

Step 32

Use a new fill layer with the color #8a8f9f (set as Clipping Mask) and lower the opacity to 30%. On this layer mask, use a soft black brush to erase the lower part of the head to keep the shade there:

Step 33

Select all the devil woman layers and press Cmd/Ctrl+G to make a group for them. Change the mode of this group from Pass Through (default group mode) to Normal 100%. Create a Hue/Saturation adjustment layer within this group to desaturate these women:

Step 34

Use a Color Balance adjustment layer to match the devil women with the background:

Step 35

Open the horns image. Select the horns and add them to the women’s head. Add a mask to each of these layers and blend them with the heads using a soft black brush:

Step 36

Make a group for the horn layers. Use a Hue/Saturation adjustment layer to desaturate the horns a bit:

Step 37

Use a Curves adjustment layer to brighten the horns:

Step 38

Add the smoke image to our working document and use a layer mask to reduce its intensity:

Use a Curves adjustment layer (set as Clipping Mask) to make the effect more subtle. On this layer mask, use a soft black brush to keep some smoke areas more visible:

Step 39

Add the moon after cutting it out to the top of the scene:

Double click the moon layer, choose Outer Glow and Inner Glow:

Step 40

Use a Color Balance adjustment layer to change the moon color a little:

Step 41

Create a new layer on the top, use a soft brush with the color #cecfd6 to paint more glowing light for the moon and the area around it. Change this layer mode to Soft Light 100%.

Step 42

Make a Gradient Map adjustment layer on the top of the layers.

Lower the opacity of this layer to 20%:

Step 43

Make a Color Balance adjustment layer to change the whole color a bit. On this layer mask, use a soft black brush to reduce the light on the moon and the model.

Step 44

Time to add another light and color to the scene. Use the Lasso Tool to select the bottom right of the street and set the feather to 60:

Go to Layer > New Adjustment Layer > Channel Mixer:

Step 45

Load the mask selection of this Channel Mixer layer and go to Layer > New Adjustment Layer > Color Balance:

Step 46

Use a Curves adjustment layer to brighten the effect at the bottom right and some details of the model and sword. On this layer mask, use a soft black brush to erase the rest as I don’t want it to be affected by this adjustment layer:

Step 47

Time to take of the model shadow. First make a new layer under the model one and use a soft black brush with the opacity about 40% to paint the shadow under the model shoes:

Step 48

As you see we’re having two light sources, one from the moon and one from the blue effect at the right corner of the street. Make two new layers under the model one. Use the same method as done with the devil woman 2 shadow to create two shadows with the approriate directions as indicated in the previous sentence. I lowered the opacity of the shadow created by the street light to 50% and the one created by the moon to 40% (as it’s further). Apply a Gaussian Blur of 4 px to each of these layers.

Step 49

Make a Vibrance adjustment layer to enhance the final effect. On its layer mask, use a soft black brush to erase some parts of the shirt to reduce the effect there:

And We’re Done!

You can view the final outcome below. I hope that you enjoyed the tutorial.

Congratulations ,You’re all done!

You can view the final outcome below. I hope that you enjoyed this tutorial and would love to hear your feedback on the techniques and outcome.

Hey PSDFANs!

In this tutorial, I’ll show how you can combine different stock images to create this cohesive and unified scene of an aquatic Giant tortoise. You’ll also learn how to manipulate trees, stones, waterfalls and textures to create an island on the tortoise. Finally, we’ll add lighting effects and adjust the colour of our entire scene.

Let’s get started

What you will be creating

Here’s look at the outcome you’ll be able to produce by the end of this lesson.

Step 1

Create a new document by selecting File > New and set the setting as shown in the image below.

Step 2

Now, place the underwater image by selecting File > Place. Place it as shown in the image below.

Step 3

Add a layer mask to it by clicking on the second button on the layer panel at bottom right side. Grab the brush tool by pressing (B) on the keyboard. Use a soft round basic black brush to hide the upper part of underwater as shown in the image below. You can see the result below.

Step 4

Duplicate the underwater layer and move it to the right as shown in the image below.

Step 5

Place the underwater image again but this time in the center of the main document as shown in the image below.

Add a layer mask to it and use a soft round basic black brush to hide it’s parts to blend it properly to the scene. Here are the results. Now select all the underwater layer then press (Ctrl+E) on keyboard to merge all three layer into a single layer.

Step 6

Now, add a Brightness/Contrast adjustment layer as clipping mask to the underwater layer (see the image below for New Adjustment layer button and clipping mask button). Set the setting as shown in the image below.

On the layer mask of Brightness/Contrast Adjustment layer I hided the selected effect as shown in the image below.

Here are the results so far.

Step 7

Now, add a Curves adjustment layer to the underwater layer as shown in the image below.

Here are the results.

Step 8

Now, place the sky below the underwater layer.

Step 9

Now, add a Curves and Exposure adjustment layer to the sky image. Set the setting as shown in the image.

Here are the results.

Step 10

On the layer mask of Exposure adjustment layer I hided the selected effect as shown in the image below.

Here are the results.

Step 11

Add a Color Balance adjustment layer to the sky as shown in the image below.

Here are the results.

Step 12

Add a Brightness/Contrast adjustment layer to the sky. On the layer mask of Brightness I hided the selected effect as shown in the image below.

Here are the results so far.

Step 13

Now, place the underwater 1 image above the underwater layer and activate the Free Transform tool by pressing (CTRL + T) on keyboard. Resize it, so it can cover the entire scene.

Step 14

Add a layer mask to it and using a soft round basic black brush hide the selected part as shown in the image below.

Change the blend mode of underwater 1 to soft light. Here are the results.

Step 15

Add a Gradient Map adjustment layer above the underwater 1 without clipping it. Set the setting as shown in the image below.

Change the blend mode of Gradient Map to soft light and reduce the opacity to 69%. Here are the results.

Step 16

Extract the tortoise using your favorite selection tool then place it to the main document as shown in the image below.

Step 17

Add a layer mask to tortoise and partially hide the underwater area of the tortoise by painting in the layer mask about 30% opacity and flow with soft round basic black brush.

Step 18

Add a Hue/Saturation and Brightness/Contrast Adjustment layer to the tortoise to blend it the scene.

Here are the results.

On the layer mask of both adjustment layers I hided the selected effect.

Here are the results.

Step 19

Add a Photo Filter adjustment layer to the tortoise and set the setting as shown in the image below.

Reduce the opacity of Photo Filter to 80% and here are the results.

Step 20

In this step, we’ll add water waves to the scene. Place the water waves image to the main document as shown in the image below.

Step 21

Add a layer mask to the water waves and hide the parts of water waves as shown in the image below using a soft round basic black brush.

Now, change the blend mode of water waves to hard light and reduce the opacity to 50%. Here are the results.

Step 22

To blend the water waves to the scene I added the Brightness/Contrast and Curves adjustment layer to it.

Here are the results.

Step 23

Now, duplicate the water waves layer two times including Brightness/Contrast and Curves adjustments layer. Position it in different places like shown in the image below to get more water waves inside the underwater. Here are the results.

Step 24

Add the Volcano image to the main document as indicated below. We only need the selected parts (see the image below) of volcano not the rest of.

Add a layer mask to it and hide the unwanted part to blend it to the tortoise.

Step 25

Set the blend mode of volcano to hard light. Here are the results.

Step 26

Now, duplicate the volcano layer two times and place it to left and right to cover the tortoise parts (don’t forget to use the layer mask) as shown in the image below.

Step 27

Now, select all the valcano layer and then press (Ctrl+G) to group them. Name this group ‘Island’. Then add a Hue/Saturation adjustments layer to the Island group. Set the setting as shown in the image below. You can see the results below.

Step 28

Place the tree image to the main canvas.

Step 29

Add a Brightness/Contrast and Photo Filter to the tree. Set the setting as indicated by below image.

Here are the results.

On the layer mask of Brightness/Contrast adjustments layer I hided the selected part as shown in the image below to brighten the right part of the tree.

Step 30

Place the stone image to the main document as shown in the image below.

Add a layer mask to the stone. Use a soft round brush tool to hide the unwanted parts as shown in the image below.

Step 31

Add Moss texture to the stone. Clip it to the stone layer then change the blend mode to Multiply. Reduce the opacity to 70%. Here are the results.

Step 32

Add the following adjustment layer to the stone.

Reduce the opacity of 2nd Brightness/Contrast adjustments layers to 53%. Here are the results. Now, select all the stone layers and group them then name this group ‘Stone’.

Step 33

Duplicate the stone group and move it to the right as shown in the image below. Here are the results.

Step 34

In this step we’ll extract the tree 1 using Calculation technique. Open the tree 2 image in Photoshop. Goto Window > Channel. Choose the blue channel duplicate it by right clicking on it then choose duplicate channel. After that Goto Image > Calculation (Make sure that duplicated blue channel is selected). Then set the setting as shown in the image below. You can experiment with any blend mode but most of the situation the Overlay and Multiply blend mode works best.

After using the Calculation, there will be an Alpha channel below the Blue Copy channel. Choose the Alpha Channel then load the selection by holding the Ctrl/Cmd key and then click on the thumbnail of Alpha channel. Go back to the RGB layer and add a layer mask to the tree 1.

Here are the results after extracting the tree 1.

Step 35

Now, place the extracted tree 1 to the main document. Add a layer mask to it and hide the unwanted part using soft round black brush. Here are the results.

As you can see we have so many rough edges on tree 1. We need to fix this. To fix it I added a blending option effect to the tree. Here are the values for blending options.

As you can see by applying a blending option effect all the hard and rough edges have gone. We have pretty much decent results.

Step 36

I reduced the saturation of tree 1 by applying Hue/Saturation adjustment layer to it.

Step 37

Duplicate the tree 1 layer and move it to the left as shown in the image below. Don’t forget to hide the unwanted parts.

Add a Blending Options effect to this layer again. Note that I have used same color for Inner Shadow used in previous step only the angle, distance, opacity are slightly different. Here are the setting.

Add Brightness/Contrast adjusment layer to it. Here are the values.

Here are the results.

Step 38

Duplicate the tree 1 again and place it, with the same Blending Option setting in previous step, as indicated by below. Here are the results.

I added a Brightness/Contrast adjustment layer to it. Set the setting as shown in the image below and here are the results.

Step 39

Duplicate the tree 1 layer again and place it, with the same blending option effect in previous step, as shown in the image below.

I added again a Brightness/Contrast adjustment layer to it. Here are the results.

Step 40

Duplicate it again and place it as shown in the image below. I have used the same color for inner shadow but this time I have changed the Opacity to 49%, Distance to 0, choke to 9 and size to 6.

Here are the results.

Add a Brightness/Contrast adjustment layer and set the setting as shown in the image.

Step 41

Now, extract the tree 1 again for last time. Use the free tranform tool by pressing (Ctrl+T) on keyboard to resize it then place it as shown in the image below. Don’t forget to hide the unwanted parts using layer mask. Here are the results.

Step 42

Add a blending options effect to it and this time overall setting are changed. You can see it below.

Here are the results.

Step 43

Add a Brightness/Contrast adjustments layer to it. Set the values as shown in the image below.

Here are the results.

Step 44

On the layer mask of Brightness/Contrast adjustment layer I hided the selected effect as shown in the image below.

Here are the results. Select all the tree 1 layer and group them then name this group ‘Tree 1′.

Step 45

Add the Waterfall to the main document and place it as shown in the image below. Don’t forget to resize it using free transform tool.

Step 46

Add a layer mask to the waterfall and hide the unwanted parts of waterfall using soft round basic black brush. Here are the results.

Step 47

Add a Brightness/Contrast adjustment layer to the waterfall. Set the setting as shown in the image below.

Reduce the opacity of Photo Filter to 60%. Here are the results.

Step 48

On the layer mask of Brightness/Contrast adjustment layer I hided the selected effect as shown in the image below.

On the layer mask of Photo Filter adjustment layer I hided the selected effect as shown in the image below.

Here are the results.

Step 49

Add a Color Balance and Photo Filter Adjustment layer to the waterfall. Here are the values of these adjustment layers.

On the layer mask of Photo Filter I hided the selected effect.

Here are the results. Select all the waterfall layers and group them. Name this group ‘Waterfall’.

Step 50

Select all the tree 1, stone and waterfall groups. Group them into a new group and name it ‘Created Island’.

Add a Brightness/Contrast adjustment to the Created Island group. Set the setting as shown in the image below.

Here are the results.

Step 51

Hide the selected the effect on layer mask of Brightness/Contrast adjustment as shown in the image below.

Here are the results.

Step 52

Load the Water Splash brush in Photoshop. Use the water 07 brush to create a waterline like shown in the image below. I have used 7 layers to create this waterline.

Step 53

Below the waterfall I created another waterline. Then use warp tool to alter the shape of waterline as shown in the image below.

Here are the results.

Step 54

I added some more water splashes as shown in the image below using water splash brushes.

Step 55

Now, we’ll add the lighting effects to the scene. I created a new layer by pressing (Ctrl+Shift+N) on keyboard then grab the brush tool and change your foreground color to #412b15. Set the opacity and flow to 100% with the size to 900 pixels then paint a big stroke as shown in the image below.

Change the blend mode of this layer to Color Dodge and reduce the opacity to 50%. Here are the results.

Step 56

Now, again create a new layer then fill it with black color. Add a Lens Flare Filter to it by selecting Filter > Render > Lens Flare. Then set the setting as shown in the image below. .

Here are the results on layer.

Move it as shown in the image below.

Step 57

Set the blend mode of Lens Flare to screen. Don’t forget to hide the unwanted parts using layer mask because we’ll only need the Lens Flare as a light source. Here are the results.

Step 58

Add a Level and Hue/Saturation adjustment layer to lens flare as shown in the image below.

Here are the results.

Step 59

Cut out fishes and place them as shown in the image below and use blend modes to blend them inside the underwater. I have used 7 layer to arrange them with different blend mode and opacity.

Step 60

Group all fish layer and name this group ‘Fish’. Add a Hue/Saturation to this group as shown in the image below.

Step 61

Load the Bubbles brush in Photoshop. Paint some bubble as shown in the image below.

Step 62

We need to paint some more lights on island. To do this, create a new layer and pick the brush tool with 30% opacity and flow. Change your foreground color to #634b11 and paint as shown in the image below.

Change the blend mode to Color Dodge. Here are the results.

Step 63

We are almost done but still short of Final Adjustments. Add a Gradient Map adjustment layer to the scene and set the setting as shown in the image below.

Change the blend mode of Gradient Map to soft light and reduce the opacity to 60%. Here are the results.

Step 64

On the layer mask of Gradient Map I hided the selected effect as shown in the image below.

Here are the results.

Step 65

Now, add a Color Balance adjustment layer and set the setting as indicated below.

Here are the results.

Step 66

Add a Brightness/Contrast adjustment layer.

Here are the results.

Step 67

On the layer mask of Brightness/Contrast adjustment layer I hided the selected effect.

Here are the results.

Step 68

Add the last final adjustment layers to the scene which is Selective Color adjustment layer.

Here are the results.

Congratulations ,You’re all done!

You can view the final outcome below. I hope that you enjoyed this tutorial and would love to hear your feedback on the techniques and outcome.

In this tutorial I’ll show you how to create a misty landscape matte painting with a dark castle. We’ll create a misty scene with the layered mountains and the light from afar. The main technique here is blending with adjustment layers, masking and brushes. There are something basic you should know about contrast, distance, intensity etc, and we’ll dive into all of those in today’s lesson!

Final Image

As always, this is the final image that we’ll be creating:

Step 1

Create a new document in Photoshop with the given settings:

Step 2

Open the sky image. Use the Move Tool (V) to drag it into our white canvas, use the Free Transform Tool (Cmd/Ctrl+T) to enlarge it as shown below:

Step 3

I used an adjustment layer to darken the sky. Go to Layer > New Adjustment Layer > Curves:

Step 4

Drag the mountains 1 image into our main document and place it as shown below:

Click the second button at the bottom of the Layers Panel to add a mask to this layer. Use a basic, soft brush with black color to erase its sky and mountain part as the screenshot below shows:

Step 5

I used an adjustment layer with Clipping Mask to reduce the mountains saturation a little:

Step 6

I used Curves (Clipping Mask) to darken the mountains:

On this layer mask use a soft black brush with a very low opacity (10-15%) to reduce the effect on the top of the mountains:

Step 7

Isolate the mountains 2 image and place it in the foreground:

Add a layer mask and use a soft black brush with a very low opacity (10-15%) to erase the top of the mountains as shown below:

Step 8

I used Hue/Saturation for these mountains:

Step 9

I used Color Balance to add some cyan/blue to these mountains:

Step 10

You can see that the mountains contrast does not fit the dark background. I used a Curves adjustment layer to solve it:

Step 11

Make a new layer, change the mode to Overlay 100% and fill with 50% gray:

Active the Burn Tool (O) with Midtones Range, Exposure about 15-20% to darken a part on the top of a mountain. You can see how I did it with Normal mode and the result with Overlay mode:

Step 12

Open the mountains 3 image. Place it over the working document as shown below:

Use a layer mask to blend it with another mountains, we need the layered mountains on the left:

Step 13

I used Hue/Saturation for these mountains:

Step 14

I used Curves to darken them:

Step 15

Add the mountains 4 image to our main document:

Mask off some parts of the image to get a similar result like below:

Step 16

I used Curves to increase the contrast of these mountains.

Step 17

Make a Color Balance adjustment layer to match their color with the background:

Step 18

We’ll make some mist to add some depth to the scene. Open the sky image. Use the Retangular Marquee Tool (M) to choose a sky part:

Place it at the right edge of the image, also set this layer between the mountains 1 and 2 ones:

Add a layer mask and use a soft black brush to remove the hard edges and leaves some smoke/mist between the mountains layers.

Step 19

Duplicate this layer and move it to the left. Use a layer mask to reduce the clouds opacity and make the mist effect more subtle:

Step 20

Duplicate this layer again and place it between the mountains 2 and 3 ones. Use a layer mask to create some mist between these layers:

Step 21

Take another sky part and place it in the foreground, also set this layer above the mountains ones:

Add a mask to this layer and use a soft black brush to create some subtle mist effect for the foreground:

Step 22

Isolate the castle from its background and place it on the top of the mountain near the middle.

Add a mask to this layer and use a soft black brush to blend the castle with the mountain:

Step 23

I used Hue/Saturation for this castle:

Step 24

I used Photo Filter to add some subtle cyan to the castle:

Step 25

The castle looks too bright so I used Curves to decrease its lightness:

Step 26

The castle does not look blended well with the misty mountains so I used a Color Fill layer to fix it. Go to Layer > New Fill Layer > Solid Color and pick a dark brown color (#343c45):

Lower this layer opacity to 70%:

Step 27

Make a new layer on the top. Use the Retangular Marquee Tool to select a window of the castle and set the feather radius to 2:

Fill it (Shift+F5) with a red color (ff0000):

Duplicate it several times and arrange them randomly on the windows, transform them if needed:

Step 28

Apply the Outer Glow effect for each red light layer:

Step 29

Make two new layers on the top. Change the brush to the birds ones and the color to #010b15. Choose the birds you like and paint them on the top of the mountains, around the castle top:

Step 30

It’s time for coloring the whole scene. Make a Color Balance adjustment layer on the top:

Step 31

I used Curves to increase the contrast a little:

On this layer mask use a soft black brush with the opacity about 20-30% to reduce the dark of the middle:

Step 32

Final step : Make a Vibrance adjustment layer to boost the whole color:

And We’re Done!

You can view the final outcome below. I hope that you enjoyed the tutorial.

Today’s tutorial will walk you through some essential manipulation, blending and colour matching techniques.

In this lesson I’ll show you how you can convert a forest into a dark, foggy, ominous scene. You’ll learn how to work with shadows, lighting, adjustment layers, layer masks, dodge & burning and much more.

Let’s get started

What you will be creating

Here’s look at the outcome you’ll be able to produce by the end of this lesson:

Step 1

Create a New document by selecting file>new and use the settings shown in the image below.

Step 2

Now, place the forest image by selecting file>place then select the forest image to place it.

Step 3

I added a layer mask to forest layer by clicking second button on the layer panel then choose Gradient tool by pressing (G) on the keyboard. Choose the black and white gradient and apply it vertically from top to bottom. You can see the results on layer mask how I apply it.

Step 4

Now, I added a curves adjustment layer (settings below), and clipping it to my forest layer using a clipping mask.

Choose a soft round black brush by pressing (B) on the keyboard then paint on the layer mask of curves adjustment layer to hide the selected effect.

Step 5

Now, place the sky image below your forest layer as shown in the image below:

Step 6

I added a solid color adjustment layer to the sky. Here are the values for this layer.

Step 7

Reduce the opacity of the solid color adjustment layer to 25% and also paint black on the layer mask of the solid color adjustment layer to hide effect (see the bottom right of the below image to see where I’ve applied this mask):

Step 8

I added Photo filter and Gradient Map Adjustment layers to the sky. I also painted on the layer mask of both adjustment layer to hide the effect in certain places. See the image below for the setting and layer mask results.

Here are the results.

Step 9

Change the blend mode of Gradient map to Multiply and reduce the opacity to 70%.

Step 10

I added a color balance adjustment layer top of all the layer and painted on the layer mask of it with soft round black brush to hide the effect a bit. Use the settings shown in the image below:

Step 11

Add a Gradient map adjustment layer and paint on the layer mask to hide the effect of gradient map adjustment layer. Use the settings shown in the image below.

Step 12

Change the blend mode of the Gradient adjustment layer to soft light and reduce the opacity to 53%. Here are the results on our image:

Step 13

Create a New layer by pressing Ctrl+Shift+N on your keyboard then Grab the brush tool and change the color to #25344d. Then paint it with opacity and flow to 30% as shown in the image below.

Step 14

Now, change the blend mode to multiply and reduce the opacity to 50%.

Step 15

Create a new layer to make a light source then name it ‘Light source’.

Pick the soft round brush tool with opacity and flow to 100%, set the color to #286fbe and size to 2000 pixels. Paint two big strokes on the center and reduce the size of the brush to 700 pixels, change the color to #65aeff then again paint it on the mid. The results should be similar to this.

Step 16

I added a layer mask to the light source layer and paint it with soft round black brush to hide it a bit not too much. You can see the results below how I have done it.

Step 17

Now, change the blend mode to Linear Dodge and reduce the opacity to 63%. The results should be similar to the below image.

Step 18

Extract the grave with your favourite selection tool then place it here:

Step 19

I applied a blending options effect to the grave. To apply it right click on the grave layer then choose blending options. Here are the values for blending options effect.

Here are the results after applying the Gradient Overlay effect.

Step 20

Next, I added curves and gradient map adjustment layer to the grave to blend it to the scene. Here are the values for the both adjustment layer.

Then change the blend mode of Gradient Map Adjustment layer to Color and reduce the opacity to 71%. Here are the results.

Step 21

In this step we’ll use the Dodge tool to dodge the part of the grave which reflected by our light source. Before using it, create a new layer and then go to Edit>fill and fill it 50% gray then change the blend mode of this layer to overlay.

Now Select the Dodge tool by pressing (O) on the keyboard and set the exposure to 12% and range to midtones. Then dodge the part of the grave as shown in the image below.You can see the results in overlay and normal mode.

Step 22

Now, place the bush 1 image to the left bottom corner as shown in the image below.

Step 23

Now, Go to Filter>Blur>Gaussian Blur and set the values as shown in the image.

Step 24

To blend the bush to the scene I applied a Hue/Saturation adjustment layer to the bush.

Step 25

Now, place bush 2 image to the scene as shown in the image below.

Add a layer mask to bush 2 and Hide the selected part as shown in the image by painting it with soft round black brush.

Step 26

I applied the Gaussian Blur filter and Hue/Saturation adjustment layer to bush 2 with same setting as applied in 24 & 23 Step.

Step 27

Let’s create some fog. To do this, create a new layer and fill it with black. Then change your foreground colour to #5b5a5a and background colour to #000000. Now, go to Filter>Render>Clouds and when you done it. You should achieve the results shown below. Name this layer ‘fog’.

Change the blend mode of fog layer to screen and reduce the opacity to 15%. Add a layer mask to fog layer and hide the effect of fog as shown in the image below.

Step 28

Extract the model and place it here. The white arrow indicates that I kept the some leaves on the model layer, but don’t worry about it we’ll fix this in next couple of steps:

Step 29

I applied a blending option effect to the model.

I created a new layer below the model layer and used a soft round black brush with opacity and flow to 30% to paint some shadows as shown in the image below:

Create a new layer again below the model layer and paint some more shadows as shown in the image below.

Step 30

Reduce the lightness of the model by applying a Hue/Saturation adjustment layer. As you can see by reducing the lightness the leaves which I kept on model are now blended properly.

The result should be similar to this.

Step 31

Continue blending the model to the scene by applying a Exposure and Gradient Map adjustment. See the image below for values:

I changed the blend mode of Gradient Map adjustment layer to ‘Color’ and reduce the opacity to 50%. See the results below:

Step 32

I applied the dodge and burn effect to the model. Create new layer and fill it with 50% gray. Change the blend mode to overlay. Now, select the Dodge and Burn tool then set the exposure to 12% and range to midtones. Then start dodge and burning as shown in the image below:

Step 33

I painted some light on the model. To do this create a new layer and select the brush tool then set to opacity and flow to 30%. Now the change your foreground color to #173737 and paint some light on model as shown in the image below:

Set the blend mode to color dodge and here are the results:

Step 34

I painted some more light rays with the same settings as in previous steps but changed the color to #0a1826:

Then set the blend mode to color dodge and reduce the opacity to 60%;

Step 35

Extract the crow and place it on the the grave:

Step 36

Apply the following blending options to the crow:

Here are the results.

Step 37

I painted shadows for the crow like I painted the shadows for the model:

Step 38

Then, I applied a Gradient Map adjustment layer to the crow to match it color to the scene.

Step 39

We’ve completed our main blending and it’s time for final adjustments.

We’ll apply a series of adjustment layer to the entire scene. Add the Photo filter and Gradient Map adjustment layer to the scene first and see the image below for values. Change the blend mode of Gradient Map to color dodge then I painted with soft round black brush on the layer mask of Gradient Map adjustment layer.

The results should be similar to this.

Step 40

Now, I added a color balance adjustment layer to the scene and see the below image for the values.

Here are the results:

Step 41

I added two more adjustment layer to the scene which is a Color Lookup and a Curves adjustment layer. I changed the blend mode Color Lookup to soft light then reduced the opacity to 30%.

Here are the results:

Step 42

For the final step, we’ll apply a lighting filter to the scene. First of all create a new layer then press Ctrl+Shift+Alt+E to stamp all the layers in one layer. Now, go to Filter>Render>Lighting Effect then set the Hotspot as shown in the image below.

Here are the values of Lighting effect filter:

Congratulations, You’re All Done!

Awesome job making it this far! You should be proud of what you’ve created. Show it off to your friends and colleagues and get some feedback.

You can also comment here with your version, or any questions you had about the techniques used. We love to see what you guys create and we’re always here to give helpful feedback and tips to help you to improve.

In this tutorial I’ll show you how to paint a fantasy woman portrait with Photoshop. You’ll learn how to use brush to paint properly as well as take care of details. A graphic tablet is highly recommended for this tutorial.

Let’s get started!

What You’ll Be Creating:

Here’s a look at the outcome you’ll be able to produce by the end of this lesson:

Step 1

Create a new document in Photoshop with the settings below:

The background color should be black.

Step 2

Press Cmd/Ctrl+Shift+N to make a new layer. Active the Brush Tool (B) and paint with the color #2d0f02 on the black canvas:

Step 3

Make a new layer and use a hard brush with the color #ddbeb1 to paint a shape of a woman so you can know where to paint the details.. You can look at your reference to know how to form it but there is a very important rule : don’t trace your reference and copy every detail of it. Reference is for you to learn about anatomy, perspective, lighting, shadow, etc,..and from it you can paint your own. It might be very hard and needs practice, especially if you’re a beginner but trust me, it’s worth.

Create a new layer and use a soft brush with the color #c99b89 to paint behind the head, shoulder and neck for a basic shading:

Step 4

Make a new layer and use a soft brush with the color #7b6055 to paint on the nose part.

Click the second button at the bottom of the Layers Panel to add a mask to this layer. Use a black brush to form a nose for the face, remember to increase the brush hardness with the nostril and lower the hardness for other details. Also determine the light source so you can paint the light/shade properly later. In this case I am to make the light from the front of the model.

I made a new layer, changed the mode to Multiply 100% and used the same brush to darken inside the nostril:

Step 5

Create a new layer and use a hard brush with the color #ddbeb1 (same with the skin) to paint a shape of the ear.

Add a mask to this layer and use a soft black brush to blend the ear with the head:

I made a new layer, changed the mode to Overlay 100% and filled with 50% gray:

Active the Dodge and Burn Tool (O) with Midtones Range, Exposure about 20-30% to create the details of the ear. Look at the references to see how the ear formed. You can see the result of mine with Normal mode and Overlay mode:

I used a layer mask to reduce the highlight on some parts below:

Step 6

Make a new layer with Clipping Mask and use a soft brush with the color #7b6055 to strengthen the shade inside the ear and make it more realistic:

Step 7

Make a new layer under the ear layer, use a soft brush with the color #7a432c to make a shadow for the ear. Don’t worry if it does not look neat, it will be mostly covered by the hair later:

Step 8

Make a new layer and use a hard brush with the color #e8b5bb to paint a lips base:

Create a new layer under the lips one and use a soft brush with the color #7a432c, the opacity and flow about 20-30% to paint the shade under the lips and on the chin:

I used a new layer with the same settings like in the step 5 and used the Dodge and Burn Tool to create light/shade on the lips, Notice that the light come from infront so the front of the lips must be brighter and the edges darker:

Step 9

Make a new layer above the lips one, use a hard brush with the color #fbf3f4, the size about 10-15 px (it depends on the size of your document) to paint the lips texture:

I used a new layer, took a hard brush with the color #452c2e to paint the thin shade between two lips:

Step 10

I made two new layer and used the Dodge and Burn Tool to create more details, add lighting/shade to the face and body. Now the reference is necessary to know where to paint properly.

Step 11

It’s time for the eye. Make a new layer on the top and use a soft brush with the color #8e5b46 to paint on the eye part. Use a layer mask to form an eye base:

I used another with the same brush to paint some wrinkles under the eye, remember to lower the brush size :

Step 12

Make a new layer under the eye one and use a hard brush with the color #d8d6d6 to paint the sclera. Don’t use white color for it as it would look flat and unatural:

I used the Dodge Tool to brighten the edge of the sclera more:

Step 13

Make a new layer and use a hard brush with the color #231917 to paint a shape of the iris (feel free to choose the color you like but it should be a dark one):

I used a new layer and a soft brush with the color #ced0d0 to paint the details inside the iris and make the pupil visible:

Make another layer, use a hard brush with the color #f1f7fb to paint a reflection for the eye. The reflection can be anything so you’re free to paint as you see fit:

Step 14

On a new layer, use a hard brush with the color #231917 to paint the eye contour and the eyelid:

I used a new layer and a brush with the color #e9e4e2 to paint a line inside the lower eye contour:

Step 15

Create a new layer and use a hard brush with the color #231917 to paint the eyelashes, remember to make the lower eyelash thinner:

Step 16

On a new layer use a brush with the hardness about 40%, the color #6c4e49 to paint the eyebrow shape. Don’t make it solid to avoid a rigid look:

Create a new layer and use a hard brush with the color #5e483f to paint the eyebrow hairs following the shape:

Step 17

Make a new layer under the eye group ( you should group your layers). Use a brush with the color #7a432c to paint more shade under the chin and the face contour:

I used a new layer and a soft brush with the color #c99883 to paint more shade on the head and body. Change this layer mode to Multiply 100%:

Create another layer and use a soft brush with the color #e9e4e2 to make more light on the face and body, especially around the eye, on the chin, cheek and shoulder:

Step 18

To make the skin more realistic, I created a new layer on the top and used a hard black brush with the settings below:

Paint some freckles on the nose, cheek, chin, forehead then use a layer mask to reduce their opacity:

Change this layer mode to Soft Light 100%:

Step 19

I use two adjustment layers to change the model color. Go to Layer > New Adjustment Layer > Hue/Saturation:

I used Photo Filter to add some cool tone to the model:

Step 20

It’s time for my favorite stage: painting the hair. Make a new layer on the top and use a brush with the color #3a1f27, the hardness about 60-65% to paint the hair base. I want to paint a long flying one but you can paint in the style you like.

Step 21

Make a new layer and use a brush with the color #5e334c to paint the basic strands for the hair:

Step 22

On a new layer use a lighter brush (#784262) to paint more smaller strands for the hair:

Step 23

I used a new layer and a brush with the color #9d5981 to paint smaller, flying hair strands and make the hair more detailed:

Step 24

Make a group for all the hair layers and change the mode of this group to Normal 100%. Make a Hue/Saturation adjustment layer to change the hair color:

Step 25

To make a depth for the hair I made a new layer and used the Dodge and Burn Tool for the light and shade, try to create a smooth look:

Step 26

In this step I used a hard brush with the color #fff0bd to make the light inside the eye stronger. Alter this layer mode to Hard Light 100%:

Step 27

On a new layer, use a soft brush with the color #d1ff74 to paint a green light effect on the left of the model and on the contour of the face and body:

Step 28

Make a new layer, use a hard brush with the color #481b07 to paint some curly lines at the eye edge:

I used another color for the brush (#74f4ff) to paint some lighter lines around the eyes, eyelashes, eyebrow:

Step 29

Create a new layer, use a hard brush with the color #e47361 to spot randomly around the eye:

Step 30

Make a new layer on the top. Use a hard brush with the color #e47361 to paint randomly around the model, remember to vary its size. Change the mode of this layer to Color Dodge 100%:

Add a mask to this layer and reduce the dots opacity:

Double click this layer, choose Outer Glow:

Go to Filter > Blur > Gaussian Blur and set the radius to 1 px:

Make a group for this layer and change its layer mode to Color Dodge 100%.

Step 31

Create another layer (within this group) and use the same brush to spot on the hair and model body:

On a new layer, use a hard brush with the color #74f4ff to paint some little sparks on the model:

Step 32

Make a new layer (within this group) and use a hard brush with the color #ff642a to paint over the picture (except the model), remember to vary its size and opacity:

Apply Gaussian Blur with 15 px:

Step 33

Make a new layer, use a hard brush with the color #bcff00 to paint some curly lines as shown below:

Duplicate it several times, transform and arrange them around the model. I applied Gaussian Blur with 2 px to the one at the bottom right of the pic:

Step 34

I used Hue/Saturation to change the color of some of them:

Step 35

I used a soft brush with the color #bcff00 to paint on the left side of the picture to make some glowing green light there:

Step 36

It’s time for coloring the scene. Make a Color Fill layer on the top and change its layer mode to Exclusion 100%:

Step 37

I used Color Balance to continue coloring:

Step 38

I used Curves to increase the picture contrast:

Step 39

I used Selective Color and adjust the Reds and Yellows settings:

On this layer mask use a soft black brush to erase the parts I don’t want to be affected by this adjustment layer:

Step 40

I used Levels to increase the contrast a little:

Step 41

In this step I used a hard brush with the color #bcff00 to paint some green hair strands on the top of the head (reflected from the green light on the background):

Congratulations, You’re All Done!

Awesome job making it this far! You should be proud of what you’ve created. Show it off to your friends and colleagues and get some feedback.

You can also comment here with your version, or any questions you had about the techniques used. We love to see what you guys create and we’re always here to give helpful feedback and tips to help you to improve.

In this tutorial I’ll show you how to create a dark and emotional fallen angel scene using a variety of photo manipulation techniques. You’ll work with blending techniques, adjusting colour, practice retouching, painting and more.

By the end of this lesson you should mastered some practical new skills to improve your digital art!

What You’ll Be Creating:

Here’s a look at the outcome you’ll be able to produce by the end of this lesson:

Step 1

Create a new document in Photoshop with the settings below:

Step 2

Open the sky image. Use the Retangular Marquee Tool to select a sky part then drag it into our white canvas using the Move Tool (V):

Click the second button at the bottom of the Layers Panel to add a mask to this layer. Use a basic, soft brush with black color to soften the hard edges of this sky part:

Step 3

To change the color of the sky, I used an adjustment layer with Clipping Mask. Go to Layer > New Adjustment Layer > Hue/Saturation:

Step 4

I used a Curves adjustment layer to darken this sky:

Step 5

Place the landscape image over the our main document and change its layer mode to Multiply 100%:

Step 6

Go to Filter > Blur > Gassian Blur and set the radius to 4 px:

On the Filter Mask use a soft black brush to remove the effect on the midground and create a depth to the scene:

Step 7

To reduce the sunlight on the landscape I used Hue/Saturation (Clipping Mask):

On this layer mask use a soft black brush to reduce the effect at the left edge of the sky :

Step 8

To darken the whole scene I created a Curves adjustment layer on the top:

On this layer mask use a soft black brush with the opacity from 10 to 30% to decrease the dark effect on some parts of the sky and ground:

Step 9

I used a Color Fill layer to reduce the dark contrast of the horizon area. Go to Layer > New Fill Layer > Solid Color:

Lower the opacity of this layer to 50%, and use a soft black brush to clear the effect around the horizon:

Step 10

Open the rock image. Take this one and place it near the foreground:

Add a mask to this layer. Use a soft black brush to blend the rock bottom with the ground:

Step 11

I used a Curves adjustment layer to darken the rock:

On its layer mask use a soft black brush to reduce the dark on the right side of the rock:

Step 12

I used Hue/Saturation to reduce the rock saturation:

Step 13

I added a Photo Filter adjustment layer to change the color of the rock a little:

Step 14

Make a new layer on the top, change the mode to Overlay 100% and fill with 50% gray:

Take the Dodge and Burn Tool (O) with Midtones Range, Exposure about 15-20% to refine the light on the rock. You can see how I did it with Normal mode and the result with Overlay mode:

Step 15

Extract the model from the background:

Step 16

In this step we’ll add more hair to the model using a tablet pen (you can use hair brushes instead). Make a new layer, use a hard brush with the color #291d0f and the size about 10-12 px to paint more hair from the head top to the back:

Create another layer and change the brush color to #715c3d. Paint some lighter hair strands :

Step 17

Hide the background and the fill layers (under the model one) and hit Cmd/Ctrl+Option/Alt+Shift+E to merge all transparent layers (the extracted model and hair ones). Place the merged layer above the rock:

Create a new layer under the model one. Use a soft black brush to paint the shadow under the feet and the body (look at the original photo to see how the shadow formed).

Step 18

I used Curves to darken the model:

On this layer mask use a soft black brush to erase the upper part of the model as I don’t want it to be affected by this adjustment layer:

Step 19

I used another Curves adjustment layer to brighten the upper part a little:

Apply brush masking on the lower parts:

Step 20

I used Hue/Saturation to decrease the saturation on the model:

Step 21

Create a new layer with the same settings in the step 14. Use the Dodge and Burn tool to refine the light and shade of the model:

Step 22

Open the wings image and drag them onto the model back:

Add a mask to the wings layer. Use a tablet pen to work on the mask to reveal some hair on the model back as shown below:

Step 23

Make a new layer on the top. Active the Clone Tool and remove an unwanted detail on the wings:

Step 24

I used Color Balance to change the wings color. On this layer mask erase the upper part of the wings with a soft black brush:

Step 25

I used Curves to darken the wings and apply brush masking on their upper part:

Step 26

I used the Burn Tool on a new layer to darken the intersection of the model back and wings:

Step 27

Take the feathers and arrange some around the model, use the transform tools to tweak them if needed.

Step 28

Add more feathers to the background and apply Gassian Blur with 12 px to them:

Step 29

Arrange many more feathers over the picture, place the bigger ones at the edges. Apply Gassian Blur with 6 px to them:

Step 30

Selected all the feather layers and press Cmd/Ctrl+G to make a group for them. Change the mode of this group from Pass Through (default group mode) to Normal 100%. Make an Invert adjustment layer on the top of the layers within this group to invert the feathers color:

Step 31

Use Color Balance to change the feathers color:

Step 32

I used Curves to darken the feathers:

On this layer mask use a soft black brush to remove the dark effect on the feathers at the middle section where is illuminated by the light:

Step 33

I used Levels to darken the feathers more and apply brush masking on the following parts:

Step 34

Create a new layer on the top. Use a soft brush with the color #7f0101 to paint on some of the feathers and the wings to make a bloody effect there.

Step 35

Make a new layer and use the same brush to paint the wounds on the model arm and legs, beside the lips corner and blood on the rock. I highly recommend you to use a tablet pen in this case:

Step 36

Make a new layer, use the Burn Tool to make the wounds look more realistic:

Step 37

I use the same brush on a new layer to paint some bloody lines falling from the wings:

Step 38

Create a new layer on the top. Use a hard brush with the color #e3e0e0 to paint a broken circle above the model head:

Step 39

On a new layer, use a soft brush with the same color, lower the opacity to 20-30% to paint a glowing effect at the edges of this circle:

Step 40

Create a new layer and use a hard brush with the same color to paint some light hair strands on the head top where is affected by the glowing light from the circle:

Step 41

Make a new layer on the top of all layers. Change the foreground and background color to #7d645a and #808080. Go to Filter > Render > Clouds:

Lower the opacity of this layer to 15%.

Step 42

It’s time for coloring the picture. Make a Gradient Map adjustment layer on the top:

Lower this layer opacity to 20%:

Step 43

I used Color Balance to add some cold tone to the picture:

Step 44

I made three Photo Filter adjustment layers on the top:

Step 45

Create a Vibrance adjustment layer to boost the color:

Step 46

I used Levels to brighten the upper part of the scene a little:

On this layer mask use a soft black brush to erase the lower part of the picture:

Congratulations, You’re All Done!

Awesome job making it this far! You should be proud of what you’ve created. Show it off to your friends and colleagues and get some feedback.

You can also comment here with your version, or any questions you had about the techniques used. We love to see what you guys create and we’re always here to give helpful feedback and tips to help you to improve.

Moreover we will look into the process of using layer masks and how effectively they can control your artwork in a non-destructive way. You’ll also learn how to manage your project when working with many layers and many more time saving tricks. So let’s start!

What You’ll Be Creating:

Here’s a look at the outcome you’ll be able to produce by the end of this lesson:

Step 1

Open a new file in Photoshop with the following settings and save as Retro Rocket.psd. During work always remember to frequently press Control + S to save and update the file.

Step 2

First let’s take a look at the concept image of this tutorial. It’s is a very rough sketch, but the purpose is to have a basic idea. There is a strong light source from left. So the highlights of the rocket are mostly left facing. But at right side we also create some subtle highlights due to diffuse light.

Step 3

Back in the Retro Rocket.psd file select the Polygon tool from the Toolbox. Then in the Options Bar select Shapes and at the right end in the Sides Field type 3. Now drag a triangle with the color red (RGB 255, 0, 0), using the following settings:

Step 4

Select the Direct Selection Tool (White arrow), then select and drag the top anchor point of the triangle upwardly making the triangle taller. Now we have to change the sides of the triangle from straight lines to curves. We will do this with Convert Anchor Point Tool.

Step 5

Select the Convert Anchor Point Tool from the Path Creation Tools group (looks like an inverted “V”). Then click and drag on the top anchor point to extend the Direction Points. To move the handles (i.e. Direction Lines) individually, press the ALT key and drag the Direction Points. Direction Points are the solid circles or dots at the end of the Direction Lines. This will create the pointed looking rocket shape. Rename this shape layer to “rocket body top”.

Step 6

Select the Rectangle Tool and create a rectangle below the previous shape. This will create a new shape layer below the “rocket body top” shape layer. Name this layer as “rocket body dn”. Following the previous process select the Convert Anchor Point Tool and change the rectangle to match the below screenshot. We are basically dividing the rocket body into two shape layers, i.e. “rocket body top” and “rocket body dn”. We are working this way, because there is a groove in the middle of our rocket design. Notice there are three straight lines. One straight line in the “rocket body top” layer and two in the “rocket body dn” layer. Change them into curves by using the same techniques. Make sure that their curve amount is equal. This will give the rocket a more 3d perspective.

Step 7

Create one more triangle with the Polygon Tool on top of the “rocket body top” layer and name it “rocket nose”. The color will be black with a slight red tint (RGB 25, 0, 0). Match the size of the triangle to the top of the rocket body by moving the Anchor Points with the Direct Selection tool. Then bend the lower straight line with the Convert Anchor Point Tool. The direction of the curve should be upwards.

Step 8

It’s time to create the wings or the three stand like structures on top of which our rocket stands. They are also used for direction and balance during flight. We will start with a rectangle shape layer and edit the Anchor Points to change the shape into a wing shape. For this we will use the same Direct Selection Tool and Convert Anchor Point Tool based process. Let’s review the process once more.

We create the shape either with shape tool like rectangle or with the Pen tool. Then edit Anchor Points with Direct Selection tool. For creating curves we change the Anchor Point type from corner to smooth with the Convert Anchor Point Tool. Smooth points are those with extended lines (i.e. Direction Points) from both sides of the Anchor Points. The Direction Points controlling the height and direction of the curves. To add Anchor Point, click on any empty portion of the path with Pen Tool. To delete, click on any existing Anchor Point with the Pen Tool. Working with Pen Tool or editing paths are itself complicated subjects, which is beyond the scope of this tutorial. But the above discussion should help you to start your journey with path editing. I hope that the process of shape editing as well as Anchor Point editing is clear now.

Follow the screenshot below for a basic idea of how you can change a rectangular shape to the wing shape. As this is a trial and error process, expect to spend some time here. When you are satisfied with the wing shape then change the layer name to “wing left” by double clicking on the text of the shape layer.

Step 9

Right click on the “wing left” layer and select Duplicate Layer. Then change the position to the right side of the rocket and rename the layer to “wing right”. Now select the Path Selection tool (black arrow) and click on the path to select it. Then press Control + T to get the bounding box around the selected path. Now right click within the bounding box and select Flip Horizontal from the menu.

Layer “wing right” after flipped and positioned.

Step 10

Duplicate the “wing right” layer and rename the new layer to “wing mid”. Now edit the Anchor Points to create the middle wing just like before.

Step 11

Follow the same technique and create a yellow (RGB 255, 242, 0) color rectangle shape layer below the “rocket body dn” layer. Change the shape like the screenshot below. Name this layer as “engine mid”. Let’s create two more parts of this engine.

Step 12

Create another rectangle shape layer (RGB 0, 0, 0) with upper and lower sides curved on top of “engine mid” layer and name it to “engine upper”. Position this shape on top of the middle part of the engine.

Step 13

Duplicate the “engine upper” layer and position it on the lower part of “engine mid” layer. Name this layer to “engine lower”. What we have done basically is to create the three parts of the engine. Think of the middle part of the engine as it is fitted within two rings. The Top ring is “engine upper” and bottom one is “engine lower”. Both “engine upper” and “engine lower” are black in color, while the middle part is yellow in color.

Step 14

Now we will create the left side of the engine. This is actually an extended part of the rocket body (“rocket body dn” layer). So create another red (RGB 255, 0, 0) color rectangle position like the screenshot below. Name it to “engine left side”. Change the position of this layer below “rocket body dn” layer. You can always change the layer order by dragging up or down in the Layers Panel.

Step 15

Now change the Foreground color to RGB (149, 149, 149) from below the Toolbox. Select the Ellipse Tool and create a circle like the screenshot. You can create a perfect circle by pressing the Shift key while dragging.

Step 16

Select the circle with the Path Selection Tool, then Edit > Copy and Edit > Paste. So we have now two shapes within the same shape layer. Select these two circles with the Path Selection Tool by Shift clicking method i.e. select one path and Shift click on another. When any path is selected then Shape Options appear in the Options Bar on top. Select the option Exclude Overlapping Shapes.

Step 17

This will produce a ring shape. Rename this layer to “outer ring”.

Step 18

Create another circle layer on top of the “outer ring” layer with the name “glass”. Match the size of “glass” layer circle with the inner circle of the “outer ring” layer.

Step 19

Layers are increasing in the Layers Panel. So it’s time to Group the layers in the Layers Panel. This is a good habit for a project when you are working with many layers. Select the “rocket nose”, “rocket body top” and “rocket body dn” layers. Then click on the panel option of the Layers Panel at the upper right corner. Then select New Group from Layers option.

In the next New Group from Layers Option Box type “rocket body” in the name field and click OK to accept. This will create a Layer Group with the selected layers.

Step 20

Similarly, create three more groups namely; “rocket engine”, “rocket wings” and “rocket cockpit”. Follow below arrangements:

Step 21

Now select the “rocket cockpit” group and move a little towards the left side of it. This will give more 3d perspective look.

Step 22

Expand the “rocket body” group by clicking the arrow at the left side of the folder icon. Create a new rectangle shape (RGB 25, 0, 0). Adjust the shape according to the screenshot. With this shape we complete the rocket shape. It’s time for shading and creating the look of the rocket surface.

Step 23

About Shading

Before starting with the shading part lets discuss our general shading workflow for this tutorial. Remember, the shading part is going to be a repetitive process, as we apply the same steps again and again.

Creating Highlights

The technique will be a little different for users of old and new versions of Photoshop. For users of old versions of Photoshop where there is no Properties Panel as well as no Mask Feather option, the process is: create the highlight shape with pen tool; Rasterize it; then apply Gaussian Blur filter and finally create a mask, as well as adjust the layer opacity to control the strength of the effect.

For users of Photoshop CS6 , the steps are: create the highlight shape with pen tool like before but then instead of applying Gaussian Blur filter open the Window > Properties. In the Properties Panel adjust Feather amount, which will produce similar effects like Gaussian Blur. The difference is you can again open the Properties Panel and adjust the previously applied Feather amount. Then adjust the layer opacity as before.

For those, who are using Photoshop CS5, you have to open Window > Mask after selecting the vector mask thumbnail of the shape layer. Then we will add another mask on that layer (i.e. either it is a rasterize layer or a shape layer) to further control the visibility or appearance of the highlight shape.

Another simple technique is: go to the Paths Panel and create a New Path by clicking the New Path Icon from the status bar below. Then create shape with the Pen Tool here and Control on the Path in the Paths Panel to load as a selection. Selection is still active, go back to the Layers Panel and create a new layer. Then fill that selection with a color and deselect. Then apply Gaussian Blur to soften the shape and use mask and layer opacity to control the visibility of the shape.

Yes, I know. A lot of information here! But what I want is you to try all of them then select the process you feel most comfortable with. Then use the same process again and again throughout the tutorial to master it.

Creating Edge Highlights

Edge highlights are a little different than the general highlights. They are the thin or narrow streaks of bright white areas visible on the edges only. For this, we will create a path (open not closed) running along the edges with the Pen tool and then stroke that path with a small brush. Then use a mask to control the visibility as well as reduce the opacity of that layer to adjust the layer further.

Creating Shadows

Shadows are fairly simple here, as comparing to highlights we don’t have that much amount of shadows to deal with. First we Control click to select the layer. Then we create a new layer on top of that layer and paint with a black brush within the active selection. After that we reduce the opacity of the layer and if needed add a mask to further control the shadow amount.

Step 24

So let’s go back to where we left our rocket project. Expand the “rocket body” group and Control click on the mask thumbnail of the “rocket body top” layer to load the shape as a selection.

Step 25

Create a new layer named “top shadow” on top of it. Then paint both sides of the selection with a large soft brush with black color. Position the brush in such a way that more or less half of the circle of the brush is outside the selection edge. Check screenshot for reference. Now position this “top shadow” layer in between the “rocket cockpit” and “rocket wings” group.

Step 26

Then create a new shape layer with a white color shape like the below screenshot with the Pen Tool. Rasterize it by right clicking on it and then apply two to three pixel Gaussian Blur. You should have something like the below screenshot.

Step 27

Rename the layer as “rocket body top highlight mid” and reduce the layer opacity to 70%. Then apply a mask by clicking the Add Layer Mask icon from below the Layers Panel. Now with soft black color brush, paint within the mask. First, I paint the top and bottom area to hide some part with a soft brush with opacity 100%. Then with a 50% opaque brush, slightly reduce the opacity of the white shape at both top and bottom edges.

Step 28

Now create seven more highlight layers on top of “rocket body top highlight mid” layer. Then apply a Gaussian Blur of 6 pixels on all of them.

Six layer names and their corresponding positions.

Step 29

Next change their layer opacity by following the screenshot below. Also check the screenshot for the number of masks I applied on them. Mostly, I painted at the edges and create a gradual opacity reduction by painting with a low opacity brush (30-50%). Remember the exact placement and look is not important. The objective here is to create a series of highlight shapes with variable opacity to show the glossy and reflective nature of the painted surface of the rocket.

Step 30

Similarly create three more white color highlight layers for the rocket nose area. Check screenshot for the layer placements and their opacity values.

Step 31

Let’s create our first edge highlight of the rocket body. Create a new layer on top of our last layer, which is “rocket nose highlight right side up” layer. Name this layer as “rocket body top edge highlight dn”. Now select a soft white brush with 1 to 2 pixels radius. Then take the Pen Tool and create an open path along the lower edge of the rocket body top shape. Go to the Paths Panel, target the newly created path and click Stroke Path with Brush icon (second from left) below the Paths Panel. Click any empty area within the Paths palette to deselect the path. Go back to the Layers Panel and add a mask to that “rocket body top edge highlight dn” layer. Paint within the mask with a black brush to hide some portion of the edge highlight. Change the opacity of this layer to 70%.

Step 32

Create a new layer on top of this, named “rocket nose highlight edge dn”. Follow similar process to create a thin highlight on the lower edge of the rocket nose. Here use 1 pixel brush for adding the stroke to the path. After that change the layer opacity to 70%.

Step 33

Now we will create two thin shadow lines for rocket body top shape. Later we will place some bolts on top of them. Let’s create the shadow line of the rocket body top upper edge. Create a new layer with the name “rocket body top edge up shadow” on top of “rocket nose highlight edge dn” layer. Select the Elliptical Marquee Tool and drag a large ellipse by matching the lower edge curve line of rocket nose shape.

Then add a 2 pixels black stroke from Edit > Stroke.

Add a layer mask to the “rocket body top edge up shadow” layer and follow the previous adjustment process like the “rocket nose highlight edge dn” layer mask. Finally, change the opacity of the layer to 50%.

Step 34

Below this layer create similarly “rocket body top edge dn shadow” layer. Opacity of this layer will be 50%.

Step 35

Now on top this two edge shadow layers, we will create two more highlight layer with small white oval shape. Select a white color soft brush, then pres F5 key to open the Brush Panel (or, Window > Brush). Use screenshot for brush settings.

Step 36

Create two new layer with the names “rocket body top highlight edge up mid” and “rocket body top highlight edge dn mid” respectively. Basically we are going to create two small oval highlights on top and bottom of previously created “rocket body top highlight mid” layer. Name of these two layers will be “rocket body top highlight edge up mid” and “rocket body top highlight edge dn mid” respectively. Check screenshot for reference what will be the opacity of both layers.

Step 37

Next select all the highlight layers and create a new layer group with the name “highlights”. Another thing you should do is select all highlight layers from within “highlights” group and change the Layer Blend Mode from top of the Layers Panel to Screen. This will make the highlights look a little brighter.

Step 38

Following the same process create a “shadows” layer group with all the shadow layers within it. All shadow layers blend modes will be Multiply.

Step 39

Target the “rocket body dn” layer and double click on the shape layer thumbnail (left side of mask thumbnail) to open the Pick a solid color window. Then change the color to RGB (25, 0, 0) and click OK. Now the color of the rocket body down shape is black with a red tint.

Step 40

Create a new layer with the name “rocket body dn ring” on top of “rocket body dn” layer. Then Control click on the mask thumbnail of the “rocket body dn” layer to load as a selection. Fill this selection with red (RGB 255, 0, 0) color.

Step 41

Selection still active, change your current tool into any selection tool (example: Rectangular Marquee tool). Then right click within the selection and select Transform Selection.

Move the selection down to match the screenshot below.

Then apply the selection by pressing ENTER key. Then from Menu > Select > Inverse to inverse the selection. Press DELETE key to delete the area. So now we have a new red color ring on top of the rocket body down shape. So why didn’t we create another shape layer for this? Actually we are creating shape layers for only major shapes. Because we could edit them in future if needed. But the rocket body down ring layer is not a major shape. So a normal pixel based layer is sufficient for this.

Step 42

Now we will create some text, which will serve the purpose of logo on the rocket body down portion. Select the Type Tool and type some red (RGB 255, 0, 0) color text vertically. I first typed the letter “P” with Impact font and then duplicate the layer three times. You can press Control + J to duplicate layer. Then double click on the type thumbnail and change the letter. After that arrange the “S” and “D” layer vertically. Then select all three layers and rasterize them by right clicking on the selected layers. Then again right click on the selected rasterize layers and select Merge Layers. Press Control + T on this merge layer to get a bounding box around the merge layers. Now if you right click within the bounding box we will get the distort option.

Distort by dragging the six handles (square shape) around the box to give the “PSD” a slightly perspective look. Press ENTER key when you are happy with the distortion. Similarly scale the “PSD” if needed. Change the opacity of this layer to 60%. Check screenshot for position and size.

Step 43

Now Control click on the mask thumbnail of “rocket body dn” layer to load selection. Then within the “highlights” layer group create a new “rocket body dn highlight mid” layer. Select a soft brush and paint a straight line from top edge to bottom edge. You can press Shift key for straight lines while using brush. Size of the brush should match to the lower edge of the white highlight shape of the “rocket body top highlight mid” layer.

Step 44

Add a layer mask to this layer and paint within the mask to match look of the below screenshot.

Step 45

Now turn of the “wings” group visibility by click on the Visibility Toggle icon (i.e. eye icon) at the left side of the layer group. Create a new layer with the name “rocket body dn red glow” within the “highlights” group. Then load the selection of the “rocket body dn” layer by Control clicking . Then back in the “rocket body dn red glow” layer with soft red (RGB 255, 0, 0) color brush with 30 – 50% opacity paint some red color glow using the screenshot below. This is basically the reflected red color from the wings and top body.

Step 46

We have a problem. Our rocket right wing is on top of the rocket body down shape. We have to hide the visible portion on top of the rocket body down shape with a mask. So go to “wing right” layer from within the “wings” layer group and add a layer mask. Yes we add another pixel mask on shape layer where there is already a vector mask (i.e. the vector shape). This is a great advantage of the Shape Layer. After applying the mask go back to “rocket body dn” layer and load the selection from it by Control clicking. Then come back to the “wing right” layer and click newly added mask thumbnail to activate it. Then with a black brush paint within the selection to hide the portion of the right wing, which is visible on top of the rocket body down shape. Below is the screenshot of the process.

Step 47

Next Control click to load the selection from the “wing left” layer from within the “wings” layer group.

Step 48

Then Menu > select > Contract. Use 6 pixels as the contract value.

Step 49

Then create a new layer “rocket wing left shadow” within the “shadows” layer group and fill the selection with black (RGB 0, 0, 0) color.

Step 50

Then add a layer mask to this layer and use screenshot as a guide to paint within the mask. Change opacity of this layer to 30%.

Step 51

Next we will create a highlight on the edge of the wing. First we will create a new highlight layer with name “rocket wing left edge highlight” within the “highlights” layer group. Create the white highlight shape with the Pen tool and rasterize it. Then apply Gaussian Blur (2 radius).

Step 52

Then add a mask on this layer and adjust like before. At last reduce the opacity of this layer to 50%.

Step 53

Duplicate this “rocket wing left edge highlight” layer twice with the names “rocket wing left edge highlight 2” and “rocket wing left edge highlight 3”. Opacity of these two layers will be 50% and 30%. Check screenshot for reference. The idea is to gradually build the highlight from low to strong effect.

Step 54

Let’s create a spot highlight on top of our previous left wing highlights. Create new layer named “rocket wing left edge highlight spot” on top of “rocket wing left edge highlight 3” layer. Take a small elliptical soft white brush. Remember in the Brush Panel, we can squash and rotate the brush tip shape, which we did previously. Click on center of the upper bended edge of the left wing one or two times. Check screenshot below. After that reduce the opacity of the layer to 70%.

Step 55

Follow the same process and create rocket mid wing highlight layers.

Step 56

Now create rocket right wing highlight layers with same process.

Step 57

Create a new layer on top of “rocket body dn highlight mid” layer with the name “rocket body dn highlight mid 2”. Follow the screenshot and create a highlight with the same brush based technique like before. Adjust opacity of layer.

Step 58

Now within the “shadows” group create a new layer at the top named, “rocket body dn ring shadow”. Then load the selection of the “rocket body dn ring” layer by Control clicking. Back in the “rocket body dn ring shadow” layer select a soft brush with black color and 50% opacity. Then paint to gradually build the shadow below the left wing and middle wing portions. Check screenshot for reference.

Step 59

Load selection form “rocket engine upper” layer. Then in the “highlights” group create a new layer named “rocket engine mid highlight”. Use same brush based technique and creates a highlight there. Change the opacity of layer to 50%.

Step 60

Control click on “engine mid” layer to select. Then create a new layer with the name “engine bars” within the “shadows” group. Select a 2 pixels soft black brush with 50% opacity and paint some horizontal lines. Again paint on top of these lines with the same 50% opacity brush. But this time not all the way from top to bottom. Stop painting at the approximate midway. So the lines are coming down from top strongly and then slowly reduce their strength. You can do this in another way also. First paint lines with 100% opacity brush and then fade with a soft Eraser with 50% opacity from the bottom to top strokes .These line will serve the purpose of some ridges. Below is the screenshot.

Step 61

Next we will add a Outer Glow layer style to this “engine bars” layer. Double click on the “engine bars” layer to open the Layer Style window. Check screenshot for Outer Glow settings.

Reduce the opacity of this layer to 30%.

Step 62

Select “engine mid” layer by Control clicking.

But we want to paint within the visible portion of the “engine mid” layer. So we have to exclude some portions from this active selection. You can add or subtract areas from an active selection by pressing Shift (add) or ALT (subtract). Here we want to subtract areas from the active selection of “engine mid” layer. Selection of layer “engine mid” still active, Select the Elliptical Marquee Tool. Then press ALT key and drag a selection covering the upper portion of “engine mid” selection. Notice the minus (“-”) sign below the Elliptical Marquee Tool icon, indicating that you are in subtract from selection mode.

Then Control + ALT click on the “engine left side” shape layer’s mask thumbnail.

Next Control + ALT click on the “engine lower” shape layer’s mask thumbnail.

Next Control + ALT click on the “wing mid” shape layer’s mask thumbnail.

So only the visible area of “engine mid” is now selected. Now within the “shadows” group create a new layer named “rocket engine bright” below the “engine bars” layer. Paint in the middle of the area with RGB (253, 232, 0) and around the top and side edges with RGB (74, 61, 0). The objective is to create a bright lower middle part and darker sides. Take a look at the screenshot below but exact match is not important here.

Step 63

It’s time to start with the cockpit portion of the rocket. The good news is, cockpit is the easiest part. Mostly we will use Layer Styles and then a little manual adjustment. We will start with the “outer ring” layer. Double click on the “outer ring” layer to open the Layer Style. First, is the Bevel and Emboss settings.

Gradient Overlay settings. Click on the Gradient Bar at the right side to open the Gradient Editor.

Drop Shadow settings. This completes the outer ring.

Step 64

Next is the “glass” layer. Here is the Bevel and Emboss settings.

Bevel and Emboss Contour setting. Click on thumbnail besides Contour text to open Contour picker and select Linear.

Inner Shadow settings.

Color Overlay settings.

Gradient Overlay settings. This completes the glass.

Step 65

We will keep all cockpit related layers within the “cockpit” group. So on top of “glass” layer create a new shape layer named “glass highlight left blur”. This will be a crescent shape filled with white (RGB 255, 255, 255) color. Then Rasterize it, apply Gaussian blur and finally select a soft Eraser with 50% Opacity to erase and blend some part. No need to create mask here as we will never need any further edit on this one. Even if you want, you can create the highlight shape with a low opacity soft white brush also. Feel free to experiment with it.

Step 66

Create a new layer named “glass highlight left soft spot” on top of “glass highlight left blur” layer. Select a soft white brush with small radius and paint the small soft highlight on top the previous blur shape. Reduce layer opacity to 80%. Check screenshot for reference.

Step 67

Now create “glass highlight left spot bright” on top of the previous layer. This will be the bright highlight spot visible on very shiny surfaces like glass. You can change the brush bigger or smaller by pressing the “[” and “]” keys. Change your brush size to smaller than the previous soft spot size. Hardness should be 50 – 70% not 0%. Then create the brightest of the glass highlights. Below is the screenshot.

Step 68

Now look at the glass. The inner portion of right side of the outer ring should have a reflection on the right side of the glass. First Control click on the “glass” layer to select, then create a new layer named “glass refl right” on top of “glass highlight left spot bright” layer. Then press “D” key to change foreground and background colors to default black and white. Now press “X” to make white as your foreground color and fill the selection with ALT + BACKSPACE keys. So we have a white circle now. Again Control click on the “glass refl right” layer to select. Select any selection tool and RT click within the selection to get the Transform Selection option. Scale up the selection by clicking and dragging on any corner handle. You can also press Shift and ALT while you are dragging to constrain the selection shape. Press ENTER to apply selection. Now move the selection towards the left side a little by pressing the left arrow key. Change your tool into the Move Tool (V) and then press DELETE key to delete the left side. So we end up with a crescent shape.

Apply 2 pixels Gaussian Bur and reduce the opacity of the layer to 20%. Glass reflection complete.

Step 69

Next we will create a series of screws for the outer rings. Create a new layer on top of “glass refl right” layer. Select the Elliptical Marquee Tool (M) and drag a small perfect circle by pressing Shift in this layer. Then fill the selection with black color and deselect by pressing Control + D. Position the circle in the middle of the width of the top part of the outer ring. Then duplicate this layer and position the new circle similarly in the lower part of the outer ring. Then Shift click to select both screw layers and duplicate these two layers together. Now press Control + T while this two duplicated layers still selected. Then RT click within the bounding box and select rotate. Press Shift while rotating to rotate 45 degree incrementally. Now we have four screw layers. Select all of them then duplicate all four layers. Four newly duplicated layers still selected, rotate 45 degree by Shift rotate. We have perfect circle of screws.

Select and merge all these layers and rename the merged layer to “outer ring screws”.

Step 70

RT click on the “outer ring screws” layer to open the Layer Style window. Apply the following Drop Shadow settings:

Outer ring screws after layer style.

Step 71

Double click on the Background layer and in the next New Layer window type “bg grd”.

Then apply the Gradient Overlay settings.

Layer “bg grd” after layer style.

Step 72

Change your Foreground and Background colors to RGB (122, 28, 31) and RGB (25, 0, 25) respectively. Then create a new layer on top of “bg grd” layer. From Filter > Render > Clouds. Apply then press Control + F to reapply couple more times. Clouds filter generates random cloud pattern with each application. Stop when you like one particular pattern.

Then change the layer blend mode of this layer to Color Dodge. So cloud pattern is now prominently visible in the lighter parts only. Change layer opacity to 70%.

Step 73

Select “rocket mid” by Control clicking and then create a new layer within the “highlights” group with the name “rocket mid highlight”. Select a soft white brush with low opacity. Then create three subtle highlights like the screenshot below. Change layer opacity to 70%.

Step 74

We will create the engine blast now. We will create the engine blast from brush. Select a large yellow color soft brush. Then reduce the Roundness value from Brush Options (F5) to make it look more elliptical. Click once to create a large elliptical shape. Then Edit > Transform > Warp or press Control + T and click Warp from the Options Bar on top. Check screenshot.

Expand the “rocket engine” group and create new layer named “engine blast yellow” below “engine mid” layer. The width of the brush after roundness reduction should match the width of the lower portion of the “engine lower” layer shape. Click on the “engine blast yellow” layer to create the engine blast. More or less half of the brush should be hidden below engine part.

Step 75

Create another layer on top of “engine blast yellow” named “engine blast white”. Change the color of the brush to white and reduce the size by pressing “]” key. Then click to create white elliptical shape on top of the previous yellow shape. Use Warp mode to stretch the lower portion of the white brush below the yellow brush shape.

Step 76

Let’s create the engine glow now. Within the “highlights” group create a new layer named “rocket engine glow mid”. Select a 30% opacity soft brush with a pale yellow color. While you are using brush, if you press ALT key then Brush Tool will temporarily change into Eyedropper Tool. In this temp mode you can also select color from the bright colors of the engine blasts. Basically you click more with the brush right on top of the blast area, but click less when you are going away from the blast area. Below is the screenshot for reference.

Step 77

Now create three more layers on top of “rocket engine glow mid” layer, namely; “rocket wing left glow”, “rocket wing mid glow” and “rocket wing right glow”. Use same technique like “rocket engine glow mid” layer and complete them. Just remember that the glow amount of three wings will be little less than the “rocket engine glow mid”. Check screenshot below.

Step 78

We need to adjust the opacity of “rocket nose highlight right side up” a little. Now surrounded by dark background its looking somewhat strong. So reduce the opacity of this layer to 15%. So what’s the point of coming back and do this now? I just want to show you that things will look different based on their changed surroundings. So feel free to adjust here and there if you want. But before that let’s complete what we are doing. Because we are almost there!

Step 79

Let’s check the lower part of the engine. In the blast area if you check “engine left side” closely you will probably find it a little flat looking. Though the bright glow is there, but still we need to add a little shadow here. So Control click to select “engine left side” layer and then within “shadows” group create a new layer on top named “rocket engine left side shadow”. Select a small soft black brush with 30% opacity and paint a little shadow closer to the upper portion of the below the “rocket body dn” shape. You can exclude the “rocket body dn” layer before painting to help you more with the previous subtract from selection technique.

Step 80

We have to create the bolts on rocket body top now. But here we will create the “rocket body bolts” layer group first then create the layer within it. You can create layer group before layer also. So create the new “rocket body bolts” group below the “rocket cockpit” group. Then “rocket body bolts” group selected create a new layer by pressing Control + Shift + N. In the New Layer window type “bolt 1” in the name field. With the Elliptical Marquee tool create a small circle on the middle portion of the lower edge of the rocket body top shape. Fill the selection with red color.

Step 81

We will create two Layer Styles: Inner Shadow and Drop Shadow for the bolt. Below is the Inner Shadow settings.

Drop Shadow settings.

Step 82

Now duplicate this “bolt 1” layer multiple times and arrange like the screenshot below. We will create two series of bolts: one upper and one lower.

Step 83

Then create a new layer within the “highlights” group with the name “rocket body bolt highlights”. Then resize a soft brush matching a bolt size and select white as brush color. Then click on top of each bolts to create the highlights.

Then reduce the layer opacity to 40%.

Step 84

Now the white highlight of the “rocket body top highlight mid” layer is hiding one lower row bolt. So go to “rocket body top highlight mid” layer and take a soft 30% opacity black brush to paint within the mask of that layer to reveal some portion of that hidden bolt. Check screenshot below.

Step 85

Rename the layer with the clouds pattern on top of “bg grd” layer to “cloud”. That’s it! Below is the final layer order.

Congratulations, You’re All Done!

Awesome job making it this far! You should be proud of what you’ve created. Show it off to your friends and colleagues and get some feedback.

You can also comment here with your version, or any questions you had about the techniques used. We love to see what you guys create and we’re always here to give helpful feedback and tips to help you to improve.

In today’s tutorial you’ll be brushing up on your photo manipulation skills, by creating a mystical tribal warrior. This tutorial is packed full of useful techniques, from blending tactics, to digital painting, lighting, layout sketching and much more.

We hope you love the final outcome, and get a lot from today’s lesson.

What You’ll Be Creating:

Here’s a look at the outcome you’ll be able to produce by the end of this lesson:

Step 1

In this step we are going to create the background scene.

1) Import the riverside image on to the canvas and place it as shown, then erase the top end of the image with a soft eraser.

2) Now import the image of clouds on to the canvas and place it behind the previous image.

Step 2

In this step we are going to color correct both the riverside image.

1) Select the riverside image and open the Exposure adjustment layer and set the Gamma Correction level to 0.81.

2) Now open the Hue/Saturation adjustment layer and reduce the Saturation level to -47. Since this is a cloudy scene we don’t want the scene to be colorful and bright, on the contrary we want it to be dramatic with low saturated colors.

3) Now by using the Curves adjustment layer set the RGB curves as shown.

Step 3

In this step we are going to color correct the sky and blend it with the riverside image.

1) With the sky layer selected open the Curves adjustment layer and set the RGB curves as shown.

2) Now by using the Hue/Saturation adjustment layer set the Saturation level to -61.

3) Now to enhance the shadows of the cloud layer open the Exposure settings and set the Gamma Correction level to 0.81.

Step 4

In this step we are going to extract the model from the source image without compromising any details.

1) Import the image of the model into Photoshop and cut the image as shown using the Pen Tool (P) or Lasso Tool (L). Leave the complex areas of the image to Refine Edge option.

2) Now select a mask around the model and open the Refine Edge option and set the Adjust Edge settings as shown. Then by using the Refine Radius Tool, paint the complex areas of the image and let the Refine Edge option work its magic. Once you are satisfied with the result, export it into a new layer.

Step 5

In this step we are going to integrate the model image in the scene.

1) Import the image of the model on to the working canvas and place it as shown.

2) Reduce the brightness of the model by decreasing the brightness of the layer to -92 using the Brightness/Contrast adjustment layer.

3) Now by using the Hue/Saturation adjustment layer set the Saturation level to -65.

4) To enhance the shadows on the model, open the Exposure settings and set the Exposure level to -0.02 and Gamma Correction level to 0.75.

5) With the model layer selected open Curves and set the RGB curves as shown.

Step 6

In this step we will be working on painting the shadows digitally. Use of a digital pen tablet is highly recommended.

1) Create a new layer on the top of the Layers palette and paint dark edges around the scene as shown.

2) Now create a new layer above the model layer and select the soft brush and make sure the pen pressure option is ON. Then gently paint the shadows as shown.

Step 7

In this step we are going to add bushes in the scene, which are placed closer to the lens view in order to create a depth of field to the scene and make it look natural.

1) Import the image of the bushes on to the working canvas and place the bushes at the bottom of the scene as shown.

2) With the bushes layer selected go to Filters>Blur>Gaussian Blur and set the blur Radius level to 9.1px.

3) Similarly add few more bushes in the scene as shown.

4) Now create a new layer under the bushes layers and paint thin fog as shown at the bottom of the scene.

5) Now import image of tall grass and place it in the scene as shown. Make sure to place this layer under the previously created fog layer.

6) Now add Gaussian blur of Radius 1.5px to the tall grass layer.

Step 8

In this step we will be color correcting the previously added grass and plants.

1) Group all the bushes and grass layers into a single folder and add a Hue/Saturation adjustment layer to it. Then set the Saturation level to -35.

2) Now add an Exposure adjustment layer to the folder and set the Gamma Correction level to 0.69.

Step 9

In this step we will be creating distant hills in the scene.

1) Import the image of distant hills on to the working canvas and place the image on the horizon of our scene as shown. Then by using the Magic wand and Eraser tool erase the sky and other unwanted part of the image.

2) With the distant hills layer selected open Hue/Saturation and set the Saturation level to -73.

3) Now by using the Curves adjustment layer set the RGB curves as shown.

4) Since the scene is filled with fog and clouds the distant hills should be almost mixed with the fog in the scene. Hence add an Exposure adjustment layer and set the Offset level to +0.1589 and Gamma Correction level to 1.25.

Step 10

In the following steps we will be creating few vertical tower hills in the scene. So, it’s always better to have a blueprint of the concept before proceeding with it. Hence by using the Line tool draw the prospective lines and draw a rough sketch of the tower hills in a new layer as shown.

Step 11

In this step we are going to create the tower hill based on the concept created in the previous step.

1) Cut a rough patch of the distant hill from the source image and import it on to the working canvas and then trim it in the shape of the concept outline.

2) Create a new layer over the hill layer and paint dark shadow on the left side of the hill as shown.

Step 12

In this step we are going to create a reflection of the hill on the water surface.

1) Duplicate the previously created hill and flip it vertically and place it as shown.

2) Now erase the inverted hill image as shown. The reflection might not be very clear in the scene, but every small detail covered can lead to a more believable outcome.

3) Now merge all the hill layers and add an Exposure adjustment layer to it and set the Offset level to +0.0346 and Gamma Correction level to 1.06.

4) To add depth to the scene and hill, add a Gaussian Blur of Radius 1.6px.

Step 13

Similarly create a couple more of the tower hills as shown based on the concept sketch.

Step 14

Now create a new layer above the hills layers and paint thick fog as shown in the scene, using the fog brush.

Step 15

In this step we are going to create another tower hill with an operating base on the top of the hill.

1) Draw a rough sketch of the new tower hill in a new layer as shown.

2) Now import the roughly cut texture of a hill and place it as shown in the scene.

3) Using the Lasso Tool (L) cut the hill texture in the shape of the tower hill as per the sketch.

4) Create a new shadow layer on the top of the hill layer and paint the shadow as shown on the left side of the hill.

5) To make it blend with the environment create an Exposure adjustment layer to the tower hill and set the Offset level to +0.0161 and Gamma Correction level to 1.17.

Step 16

In this step we are going to create a dome on the top of the previously created tower hill.

1) Cut the image of the dome from the source image using the Magic Wand Tool (W) and place it on the tower hill as shown.

2) Now create a new layer over the dome layer and paint dark shadow on the left side of the dome as shown.

Step 17

In this step we are going to color correct the dome to blend it with the environment.

1) With the dome layer selected open the Exposure settings and set the Offset level to +0.0483 and the Gamma Correction level to 1.24.

2) Using the Hue/Saturation de-saturate the dome by -55.

3) Also we don’t do not want the dome to be too bright, hence reduce the Brightness of the dome to -46 using Brightness/Contrast.

Step 18

In this step we are going to paint the base structure of the dome. Which supports the dome on the top of the hill.

1) Using the color #4d4d4d paint the base structure on a new layer as shown.

2) Now create another layer on top of the dome layer and paint few randomly placed box as shown. (The dome is actually a storage dock that collects supplies from the trade ships and stores there, till its necessary.).

Step 19

In this step we are going to add final details to the dome and the hill.

1) Now paint some random bushes on the hill using the color # 50524f.

2) Now merge all the dome and hill layers together and add a Gaussian Blur of Radius 1.0px.

Step 20

In this step we are going to create a leaf ball floating just above the left hand of the model.

1) Create a new layer over the model layer and paint a rough sketch of the leaf ball as shown.

2) Now create another new layer under the sketch layer and paint the leaves of the ball as shown. This is a slight
time consuming process but worth it.

3) By using a soft round brush paint dark shadow on the left side of the ball as shown.

Step 21

In this step we are going to add texture to every leaf of the ball individually. This is the most time consuming process, but the out of it will make you forget of the time spent.

1) Import the image of a leaf texture and place it on the leaf ball as shown.

2) Now cut the leaf texture in the shape of the leaf of the ball.

3) Follow the same procedure on every leaf and complete the texturing.

4) Group all the leaf ball layers including the textures into a folder and add an Exposure adjustment layer to it. Then set the Exposure level to -0.57 and Gamma Correction to 0.70.

5) Now add Hue/Saturation adjustment layer to the folder and set the Saturation level to -35.

Step 22

Slightly reduce the intensity of the black in the scene by increasing the Offset value to +0.0023. It’s just a minor unseen detailing, which adds to a dramatic outcome in the end.

Step 23

In this step we are going to create leaves flying towards the leaf ball. To create an illusion, that the leaf ball is being formed by random leaves from the surrounds. Just like the Goku creates his energy ball in Dragonball Z.

1) Import an image of a leaf on to the working canvas and place it on the left side of the scene as shown.

2) Since the leaf is flying towards the leaf ball, add a Motion Blur with Angle 60 and Distance 31px.

3) Now by using the Exposure settings set the Offset value to +0.0299. This will blend the leaf perfectly with the environment.

4) Similarly add few more leaves in the scene.

Congratulations, You’re All Done!

Awesome job making it this far! You should be proud of what you’ve created. Show it off to your friends and colleagues and get some feedback.

You can also comment here with your version, or any questions you had about the techniques used. We love to see what you guys create and we’re always here to give helpful feedback and tips to help you to improve.

The other more sensible option, which we’ll cover here, is to solve it in post, in this case using Adobe Photoshop. It isn’t difficult of course to clone out the odd scuff mark, but when you have hundreds of dirt marks or creases you need a slightly more heavy duty solution, and simply blurring can bring its own problems.

In this case I’ve already tidied up the floor, now it’s time to clean up the background.

Image copyright: Simon Newlyn

In some cases, a Crop will solve the edge problems, but in the interest of completeness I’m going to cover a method of extending the background over the problem areas when there are shadows and gradients to consider.

Make a selection along the edge, keeping close to the model to give us plenty of background to work with. We’re going to extend this piece to cover the problem area to the left.

Hit Cmd/Ctrl+C to copy the area and Cmd/Ctrl+V to paste the selection onto a new layer;

Now choose Edit>Free Transform (Cmd/Ctrl+T) and stretch the selection out to the left to cover the problem area. This will pull the right side of the selection with it a little so you may need to pull the right side back a touch.

Add a black Mask to the layer and we’re ready to brush in the areas we need.

With a large, very soft white Brush (0% hardness) paint over the problem area. This should blend nicely into the existing background. When you’re done, select the next part to cover and repeat the process.
Here I’ve selected the top, I’ll Edit>Copy Merged (Shift+Cmd/Ctrl+C), then paste the selection into a new layer (Create New Layer, Cmd/Ctrl+V), stretch it mask it and brush it in as before.

Here’s the result so far with each side carefully brushed in. You’ll note that this particular shot demonstrates a common problem well, sometimes an object or part of the model is too close to the edge as with her hair, and this gives us a hole. we have a similar problem around the legs.

There’s a really simple solution for this, just start a new layer and with Clone Stamp and/or Healing Brush set to Current & Below, clone out the problems. On this same layer, with a large healing brush, you can remove the larger wrinkles;

Now here’s the part where we remove the dirt and creases, if we get in close to this example you can see there are many;

To combat this we’ll need to stamp a new merged layer (Shift+Cmd/Ctrl+Opt/Alt+E) and run Filter>Surface Blur. Experiment with the settings with a high enough radius to remove the creases, but not too high as to blur the edges of the model;

Add a black mask to this layer as before, and using a white brush on the mask paint to bring back the blur where needed, getting close to the edges of the model;

Now the eagle-eyed amongst you will have spotted that the grain no longer matches when viewed closely. There’s noise in the foreground model and none at all in the background. This is always a worthy consideration if you want your retouching to stand up to scrutiny, so we’re going to click on the layer tab (instead of the mask) and select Filter>Noise>Add Noise. In this case we’re only going to add 0.6 percent Uniform Monochromatic, but this may be more or less depending on circumstance.

If we zoom out look at the shot now it’s a lot neater than when we started, and as we’ve cleared up the background close to the model we can afford a slightly heavier handed method towards evening out the edges, so we’re about to use Filter>Gaussian Blur.

Stamp a new merged layer (Shift+Cmd/Ctrl+Opt/Alt+E), and select the Gaussian Blur Radius according to how much you want to smooth out the surrounding background. In this case I’ve used a Radius of 80;   Don’t forget to add the same Noise to this layer, using the steps as before.

Note on the mask, I’ve kept a good distance from the model to avoid colour bleed. I think we’d benefit in this instance from blurring the areas closer to to her a little more so I then stamped another merged layer, and added a lower Gaussian Blur of 20 and repeated the mask painting, this time note on the mask that I’ve just painted over remaining problem areas and been able to get a bit closer to the model;

Not bad right? As a finishing touch I’m just going to add a vignette and I think we’re done!

Today’s tutorial is courtesy of Daniel Meadows, a professional photo retoucher. You can see more of his retouching work at his website.