Synthesis of cool fashion music posters in Photoshop

This is an advanced course, not only the ultimate effect of fashion gorgeous, with a strong impact. Moreover, the design idea elaborated, explained detailed but the system, the technique is numerous and practical. Among them, the creation of perspective, vertical deep, visual impact of the skills are mentioned, but also involved in some of the author's personal skills. In addition, the use of a number of software platforms, but also embodies the strength as a senior designer! Of course, as the author himself has said, many of the effects in other software can be achieved in Photoshop, but may be troublesome. So, don't be intimidated by the illustrate and Modo in the tutorial.

I know that the number of words in this tutorial may make you tired, but I promise patience will eventually bring a lot of results. Please be like the author, not afraid of difficulties and trouble, try again, stick to the end. This will certainly make good works!

Final effect:

1. Prepare

Before we begin, there are things to be aware of. All of the photos used in this tutorial are copyrighted by author Pirosca Marcel. They are not collected from online image sites, and their main characters are taken from my photo studio.

First, I opened the shot of the source photo, which was mainly taken for separating the characters from the Shadows on the ground (this is to say, the author needs a photo that is easy to pick up the characters and their shadows--translator note). The first thing I noticed about this picture was that his face didn't fit my expectations.

Before we get the character button out, I need to replace the head with the one that looks better in another picture. I always take a lot of pictures in every shot, so I have a lot of options when the situation is better for my head to lift. And, most importantly, the light source of the two photos must be the same so that the head and body can be truly and credibly synthesized together.

Around the head, use the Polygon lasso tool to create a constituency (using this method requires a continuous click of the mouse to ensure that the selection is smooth and accurate--the translator note). Because the background color of the photo is single, so the constituency is very easy to establish. As shown in the following picture, I select my head from a selection and paste it into a new layer on the original.

I scaled and rotated my new head so that it matched the body as well as the old head.

(Emoticons: Moving to the old head)

As you can see, there needs to be some synthesis to make your head fit perfectly into the body. First, remove the old head from the background so that we can make better adjustments to the new head. Use the Polygonal Lasso tool to select and delete the old head. Now, the effect should be similar to the following figure.

Notice that the neck is the most important cosmetic area. To get a nice transition between the new head and the body, we need to make a transparent mask on our new head and then start wiping out some rough edges of the neck with a softer brush (hardness 50%) until you get a satisfactory result. At this stage, we need to try to change it over and over again, and using the mask will help us recover the parts we accidentally erased. In the end, you should have the same effect as the image below.

(Emoticons: ① on the left: because the old head was removed, his sweatshirt here was truncated; ② thought it was too dark to see the light behind him.)

As we can see, we need to do some detail modification. We need to fix the shirts and the light around our necks to make him seem authentic. As shown in the figure below, I mix the Dodge tool and sponge tool around the neck.

(Emoticons: Add a high light to the neck of this side with a Dodge tool.) Unfortunately, however, this will make the color transition saturated.

(Emoticons: Use sponge tools to reduce the saturation of the area and make it better fused)

To fix the sweatshirt, I copied and pasted part of his sweatshirt and then fused it with the correction section (using curves and transparent masks).

(Emoticons: Copy and paste part of his sweatshirt)

(Emoticons: Moving to the appropriate position to make the line continuous)

(Emoticons: Use a curve to make this area brighter because it's a bit dark before)

(Emoticons: Blending with a soft brush to make it edge)

(Emoticons: Final effect)

Now, we're going to isolate our characters and shadows from the pictures. As opposed to a single background, he has a distinct edge appearance, so using the Polygon lasso tool to select him is very easy. I personally prefer to use this tool instead of converting the path to a selection, because I don't need to adjust the control points and tangents, although the method means more tapping of the mouse. Next, copy and paste him into a new layer.

Next, we want to extract the shadow from a different layer. As you can see, the floor of the photo studio is a bit dirty, so in order to remove the stain, I used some surface blur. I found that this blur filter works well for this kind of removal of noise and preserves details.

Once we get to this step, we can use the color range to select the shadow. Please refer to the following parameters.

Of course, there will be unwanted areas in the selection. Click Confirm, and then enter the quick mask mode after selection. Start erasing unwanted parts, as shown in the following figure.

To get the extra shadow of the selection, now we want to subtract the figure from the existing selection. Keep the quick mask mode, while in the layers panel, hold down the CTRL key and click the thumbnail that contains the extracted characters. This will read the selection of that layer. Press the DELETE key to delete the quick mask in the selection.

Exit the quick Mask mode, we get the shadow of the selection. Paste shadow copy into a new layer.

(Emoticons: Once the shadow is detached, the background color will make the shadow appear clearer)

Now, we have separated the character and his shadow on different layers, ready to start making the final image!

2. Synthetic

This is a huge piece of work, I mean a large size work. In order to get the final image, we will build a 3613x5000 canvas. In order to figure out what I really want, I move the characters around on the canvas. In the end, I decided to submit to his body's tendency to put it in the middle of the image. Using a separate layer means that I can put all kinds of details behind him. The first thing we have to do is to distinguish him from the gray background.

Use a white soft brush with opacity 20% to create some light behind the characters.

Then it's time to decide how the lines in the image will flow. To do this, I used my digital board so that I could control the thickness of the line using a pressure-sensing pen. In addition, you want to set the opacity to about 30%. I started drawing the line that the character was riding, holding down the SHIFT key while drawing (so you can draw a straight line), and increasing the pressure when drawing to the character's feet (so that the lines are more thick) and drawing to the end to reduce the pressure.

This rendering method gives the line a sense of perspective and helps me to create a sense of depth. I have to say that this is a process that requires repeated attempts to revise, so I'm afraid it will take some time before you are satisfied.

Now, the production begins to become interesting. To be able to replicate all the vanishing planes, and to maintain the correct perspective relationship, I used the vanishing point filter to observe the plane of the person's ride. In this step we need to be fully considered, because you have no reference to determine what the plane is in reality. After several attempts, I set the following figure, which I think should be feasible. To do this step, you want to perform the filter > Vanishing point.

By using vanishing point to process these planes, the plane can be extended at 90° or at any angle. In this way, I've built more planes to help me maintain perspective relationships as much as possible to match the lines.

Using vanishing points to configure the location of each plane allows me to add elements along the trend of plane changes. But before that, I have one more thing to prepare.

Because Grey looks a little stiff, I add color changes in some places where the lines are. I like color, and use it to bring some impact to the screen. Category:

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