The process of making the expression picture is also more complex, first of all to conceive a unique image, you can refer to some material, and then draw the draft and part of the details, before the completion of these to paint and depict details.
Final effect
1, the collection of reference material (this is his favorite expression, to the original people salute).
2, the pen draws the basic path (the dark part and the bright part all uses the pen to check out the path, the back facilitates adjusts at any time).
3, Hair processing steps:
A, hide the upper part of the light and the dark layer. Add a layer style to the face path layer and then move to a smart object, which will be used to make a lot of smart filters later.
b, add noise. Radial blur-scale, the number of experiments themselves, here with 10. Blur again radially, then sharpen.
c, here I do a few more steps, a new transparent layer to try, with the way of the brush instead of adding noise, and then radial blur, there is a distribution of uneven, different thickness of the hair layer. Soft light overlay. Here you can get a more diverse layer of hair with different brush thicknesses and shades of color.
D, the face of a few dark and high light layer, into a smart object, and then Gaussian blur, the value of about 4-12.
4, Eye Treatment: The basic full use of layer style, the whites, dark orbit, two orbital, a total of three layers. The eyeballs are about 5 floors.
A, layer style, to the whites of the shadow, the eye with hair on the way, make floc. The whole adds inside the shadow, heightening the light.
B, the dark part of the orbit to the intelligent object, and then Gaussian blur, the value of about 2.
C, the bright part of the orbital Turn smart objects, and then Gaussian blur, the value of about 2. Adjust the path more, eyebrow bow a little more, the eyelid is rounded point.
5, Mouth Treatment:
A, and orbital practices consistent with the path to smart objects, Gaussian Blur 2. The bright part staggered the level, the lip thickness came out.
b, adjust the dark and bright part of the gradient, to the mouth Riga overall shadow relationship.
6, the surrounding hair treatment:
A, the head several layers merge, selects the selection-the election, then feather 10 or so. Hide the surroundings in a mask way.
B, the back of the head layer, placed on the ground floor, and then use liquefaction or smear the surrounding hairs. And, I used a brush around the painted circle, a little bit of hair silk.
C, through multi-layer hair overlay, adjust perspective, adjust the overall dark, to the whites of the inner shadow, get a hint of evil but very cute green hair ball.
Final effect:
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