To build an apocalypse scene start with: First stage of project is to find and refine source photos of destruction references connected with our subject … search key word is destroyed, rubble, bombed and etc. you can find very nice pics for free, just look around! Now we select finded materials and search useful areas of destrucion on photos and composite it with our source. But first we must correct the perspective with standard transform tools in Photoshop like scale, rotate, skew and etc. Next step is to do a ground from green grass. This process its very easy to do, i use some changes in Hue and Saturation value and sharpness of image to expose mud. As you know in Net you can find very nice pics for free and composite them in to our image like this hole. Sometimes image not have only one element to composite, like this below shows the birds and clouds. In this case I use clouds to make smoke from factory shaft. This is the end stage of project with glass shattered window frame. Final Photoshop compositing have 32 different layers with various blending types. Almost whole work is done in Photoshop except, color correction and sun lens effect which I create in Eyeon Digital Fusion a full-featured, node-based compositing system with Knoll Light Factory plugin.
Pictures are made up of many things, editing requires knowledge of all 3: 1) Contrasts adjustments (the highlights and the shadows) 2) Neutral tones balance (color cast on grey) 3) Increasing or decreasing the saturation The work flow of the photographic post production can be performed with many adjustment tools as: Brightness/contrast - Color Balance - Hue/Saturation, or Levels - Hue/Saturation, or Auto-Adjustments - Sponge. This tutorial is very brief and introduces a new method to decrease color cast on neutral tones. The picture has a really intense orange color cast. I took this picture of Christopher Columbus’ statue along the “lower pavement” in Funchal (Madeira Island). No need to be a colorimetric expert to understand that, the light effect due to the night orange lights is to much. The goal is to decrease color cast, of course, without changing the “meaning” of the picture.First of all we duplicate the background layer. Then we apply Filter>Blur>Average, that will transform the picture’s layer into a colored “stain” by the average pixels’ color. Then we have to invert (ctrl+i) the obtained color in order to see the opposite color.Now we change blending mode to Color (read also Blending modes tutorial) and decrease master opacity until we obtain our goal. And that’s all!
Gradient maps can help your coloring on Photo manipulations a lot. They can be used to help blend things in and to make the colors in things the same. So you should have the same picture from the section Textures open. Okay now looking at you textures picture. You might think. My textures dont really blend in well with my face. So I am going to show you how to blend those in better using gradient maps. So I want you to decide what you want your face to look like (mainly color wise). So to make my textures blend in more I start off by going to Image> Adjustments> Gradient Map. Since I want a green picture I am going to pick a green/yellow gradient map. Then I am going to set it on soft light. After I put the opacity down a bit. Then I added a black and white gradient map. I did this because I wanted to make the picture a bit darker. I left the black and white gradient map on normal and set it on around 50% opacity. It will get rid of a bit of the color but thats what the green and yellow gradient maps were for (they were to add color so it didnt look really bland when we added the black and white one). Here is my picture after adding gradient maps.
There is only two things you have too know about the ExtendScript Toolkit program right now: Select target application, ExtendScript must know which application you are writing the script for. In the top left dropdown menu select Adobe Photoshop CS2 and if asked if you want top start it choose yes. Running script, to run a script you have written you press the button that looks like a play button. Reference documentsAll objects have different properties that can be set and methods that can be executed and right now you probably don’t know any of these, this is where the reference documents come in. The reference document for JavaScript contains information about all objects available in your scripts.
From the murky depths of the deepest forests to the frosty desolation of the Siberian wilderness, camouflage is invaluable for breaking up the human silhouette, allowing stealthy approaches towards your prey. It is, however, also deceptively simple to make in Photoshop using only a couple of filters and a basic sense of style. Create a blank document of any size with a single active layer (this can be filled with anything you desire). Using the colour swatches, select #D0C577 as the foreground colour, and #BAAD4A as the background colour. Then choose Edit > Fill from the main menu and fill the background layer with the new BG colour. Now create that camouflage by selecting Filter > Artistic > Sponge, and running it with the following settings: Brush Size - 8; Definition - 25; Smoothness - 15; Repeat the filter a second time with exactly the same settings to bring out highlights. To smooth out the result, go to Filter > Noise > Median and enter a value of 3. And that’s it! See, I said it was easy! Of course, at this point you can brighten things up a little with the Image > Adjust > Brightness / Contrast tools, and/or add a little cloth texture with Filter > Texture > Texturizer, but I’ll leave that up to you… Of course, these colours wont work for every environment, so feel free to play around a little. Take a look below to see a few quick colour variations. Have fun experimenting.
This section describes how to use some of the basic tools that you will need to use in the tutorials. This section in particular will be added to over time.The airbrush is the favourite tool of most digital artists. The tool options (just below the drop down menus) can be altered very subtly to achieve a range of effects - this is the most creative aspect of many of these tutorials. The tool shape selection menu at the left of the tool bar can alter the brush’s shape - soft to hard edges, as well as special shapes such as blades of grass. The size can also be altered with obvious effects. The layer style for the brush can be altered - for more information see the section on blending layers elsewhere in the tutorial. The opacity slider will affect the opacity of the paint that is applied. The flow slider effects the speed at which the paint is applied.
A way to make a whole pallette from the three colors is not extremely difficult. Open a new canvas, does not really matter the size, but keep it no smaller than 468×60. Click on the gradiant tool on the left tool bar. Go into the Gradient Editor, by clicking on the colored gradient on the top toolbar. Place the darkest of the three colors on one side, the lightest on the other, and the midtone in the middle. Keep the opacity at 100%. Press Ok, then click-drag a horizontal line across the canvas. You can use the eyedrop tool to take the color from this canvas and color the skin of your project. Now that we have a pallet of color, we have to understand the effects of lighting on skin. It’s a very simple concept, but understanding it is necessary to shading skin. As any matter, the brighter the light, the lighter the highlight and the darker the shadow. The dimmer the light, the difference between the light and the shadow decreases. The shadow cast by it is also affected by the light and darkness. The color of light affects it in the same way. If the light is green, it will have a green tint to the skin. If it is a small light, such as a lamp, a smaller portion of the skin will be that color, instead of affecting the whole skin. As stated before, most matter is affected the same way as this.