Good evening everyone, friends. I’m Max Asabin During 7 years I have been engaged in graphic design of different directions on a commercial basis and for the last 2.5 years I have been paying attention to artistic photo editing All this time, I was often asked to do my own video tutorials. And, I think I’m ready for this In my first tutorial, I decided to analyze in detail the creation of one of the most interesting of my works But I must immediately warn that, without mistakes, it could not be The process of creating a work that you will observe was recorded six months ago, exclusively for speedart video Then I could not think that sooner or later I would make a video tutroial from it From here, and got out a lot of nuances that are not typical of the classic video tutorials But I will try to fill it all out with a fairly detailed description of my actions In general, this is my first experience in this matter, and I myself understand that he himself went far from ideal But I need it to find out how people generally take such videos, in what direction should I move and what mistakes to avoid in the future In general, I look forward to your understanding and wish you a pleasant viewing So, let’s begin. Here is our source. First of all, I make a clipping I note that most often I erase the background manually, but here it is uniform, so I use the Magic Wand tool It’s more convenient to use a quick selection, but I took what came first as a hand. Moreover, I will still modify everything manually With holding down the Alt key, I click on the mask icon in the layers panel, thereby hiding the highlighted background And a layer below I fill in with a dark gray color Now I need to work out the edges a little and, after getting a little closer, I select the smudge tool and with a soft brush I gently walk through it all along the perimeter, getting rid of the pixel background remnants While I’m doing this, I will mention why I chose this color. And I chose it in accordance with the approximate brightness and tone in which I plan to later collect the tone and the work itself In the meantime, there is no background, this approximate color will help us avoid mistakes and inaccuracies on the edges and in general, it is always worthwhile to consider the general mood and tone of the work Let’s return to our native lands – to our edges. These corners can not be smeared with a finger so I take out my brush and rub it on the mask Further, the whole process of cleansing the edges goes according to the same principle On the direct spaces we smear with smudge tool, and we rub the corners with a brush We are still destroying the hair safely, erasing all the small hairs that can not be saved anymore – then we will finish them all the same manually Where we have straight lines – use a rectangular lasso and where the magic wand bitten off our model piece of hand – restore with the brush on the mask So, frame the document in my favorite 16:9 I located the model in the center and left a gap on the edge To do nothing, I just pull out the staff with a free transformation Then we correct the mask a little. Similarly, proceed from the other side of the staff. We removed the background, but there was something on the subatomic level Automatic clipping methods do not work perfectly Therefore, we will check what went unnoticed I make such an indicator by adding a bright stroke to the layer I hope you do not need to say how it’s done. But still double click on the Layer and there’s the Stroke Now just erase them from our mask and remove the stroke So, finished with the routine. What’s next? We have here unnecessary edges at the arms on the chest Now I will paint over them. But, in order not to do it stupidly with one color, I select a texture that I will pre-apply on top of the layer on which I will draw The texture is unevenly illuminated and that it does not spoil the original volume of armor – I roughly approximate the light and brightness on it And then using the levels, I stretch the average value to the center of the indicators on the histogram This will allow us to maximize its approach to a neutral gray color and leave only scratches with the desired blending mode With the alt clamped, I click between the texture layer and the empty layer, and then put the texture in Soft light mode, but it’s better to use Overlay Then you have to draw, you need to get used to it. In good artistic photo editing, you need to draw a lot and diligently I choose the brush tool. Example settings you can see in the screenshot We select the necessary colors by eyedropper tool To quickly call it while drawing, you can simply clamp and hold alt After I hid the edges of the attached coat of arms, I decided to make this piece of armor plunge There is nothing complicated, I just take the metal texture and in free transform mode I make the texture a bit convex This time I use the multiply mode, in this mode neutral color is white Therefore, I brighten the texture with curves, and then simply remove the extra edges with a mask You’ll notice that I duplicated the texture layer, but in overlay mode I just experimented and do it not necessarily, but the texture of the straps should be edited. On the video, it’s hard to see how I sort the layers, so I made a small chart Clipping mask I apply not to the layer with the photo, but to the layers folder, at the bottom of which is our source In this folder, on top of the photo there should be everything that concerns the model – retouching, light and shade painting, color correction layers and so on. Let’s return to work. I add the texture to the other metal elements of the armor All again under the same scheme – I transform a little on the necessary prospect, I edit the contrast a little with the help of curves and levels I remove a little extra mask. We have here an extra orange light on the staff I create a layer in the Color mode and paint it in gray Here I decided to highlight the color on the armor, for this I create a layer with curves where I adjust them so that the eagle darkens, but I try not to affect the main color of the metal much Now I completely hide the layer with the curves, filling the mask with black, and draw on it in white so that I can restore the contrast in the parts of the picture I need The contrast places have got a slightly blue color so again apply the layer in the Color mode, with which we normalize the hue. It’s time to work on the background I have prepared all the material in advance and put it on the sly Alas, there are no lifes for all occasions To properly arrange, you need knowledge about the composition, focal length, etc Next, I use masks, Magic Wand and hand-painted, I separate the superfluous from the frame with the Castle On the sides, I do it rather casually, since I will put a dense forest there Naturally, you need to check the location of the model The layer with the sky is highlighted in places with the help of curves and the layer with the Castle is still slightly cleaned to fit into the desired composition. From the same photo I take the forest I need In order not to bother with the clipping – I just decolorize and maximize the sky I lift the red channel into the Channel Mixer and draw it all in curves Now you can set the multiply mode and arrange the forest as required by the composition Then darken around the edges and add the middle plan with the help of pebbles Clipping with the help of polygonal lasso is quite enough, since further we will still blur the background The stone is slightly out of the general environment so I take the color of the sky from the background layer with a eyedropper tool and apply it on the stone in the Color mode I make it more contrasting and darker with the help of curves The last main detail of the composition is the forest on the right We act according to the same scheme, but since it is from another source, then we raise the blue, and not the red channel, in this case it will give more lightening. Again, expose, again overwrite excess – it’s ready. Further on the video are all sorts of experiments, they are not important for the work – I will miss them To better convey the perspective of the background, I add a fog between the stone and the background I draw it very simply – a large soft translucent brush with a light gray color, such as it hovers around the castle Add a little haze around the stone to put it away in perspective Now is the time to look carefully and discover a few inconsistencies Firstly, the stone looks too detached – I slightly increase it and add shadows to the right and shadows to the left Secondly, the girl is too inclined and in general came out a little too low so we turn the girl, select all the layers with the background and drop them a bit I accidentally moved the layers with the photo correction and fog and fixed it. We add depth of field to the work Temporarily turn off the folder with the model, select the top layer of the background and burn the short-cut – ctrl + alt + shift + E to merge the entire background into one layer I’m doing the blur with the Alien Skin Bokeh 2 plug-in adjusting the blur perspective and exposing the Bokeh Amount to my taste Then again I select the non-blurred background and repeat, but with a smaller value This layer I need to reduce the blur on the stone, because it is close enough We move the less blurred layer upward, fill it with a layer of black mask and restore it in the area of the stone Although the plug-in blurs well, Bokeh itself goes out mediocrely So I draw them myself. For a long time I made myself a brush in the shape of a bokeh which I use most often, but I will not share it with you>:) For starters, you can use a simple round brush with similar transparency settings. Now I will paint a lot on the model, and to make it more or less realistic I create a neutral gray color, as shown in the screenshot add noise to it and increase it slightly to make it look like the noise of a photo Above, I add a little more noise from personal blanks I rasterize it and hang it over an empty layer, on which I will draw everything I put the Overlay mode on noise and start sketching unnecessary orange reflexes In parallel with the painting, I create a layer with black out curves to add the volume where it is needed Some kind of incomprehensible mistake, do not pay attention ;[ While I’m doing all this, I’ll explain. The model was photographed in a bright orange room Therefore, on the edges of almost everywhere there are lights We do not need other reflexes; we will make our own And I’ll start with the fact that through the layer in the Color mode, I will recolor the remaining shadows and shadows in a close to the background shade A little later in these places I will draw reflexes from the moon and background. The frontal sanctification of the model in my work means soft enough – we do not need sharp shadows, glare, etc Therefore, returning to the layer where I draw with noisy – I paint the shadows so that they soften Then I again tint and darken the right places and … Quite by chance I’m aware of my mistake… From the very beginning I understood that I needed to straighten my staff but I remembered only about this in the middle of the process Over the masks, layers with the painting, textures and so on were already ready I will not talk about how I corrected this mistake for half an hour I will only advise you to work with the transformation and the plastic at the very beginning of the work Do not repeat my mistakes – think about children… Let’s return to processing Then I decided to bring the blue color closer to the original color of the armor from the game First I worked with Selective Color, with blue and light-blue colors Then a bit of hue and saturation in the color correction tool and masks drawn so that the latter acted only on the area with a blue color. Then there was an interesting task – to hide glare on gloves To do this, I add a layer of curves and adjust the channels on them so that they not only darken the glare but also return the native shade of the skin to them I lift the red and green channels, and lower the blue The result is not perfect – but it suits me, I go through all the highlights It does not help everywhere, and we return to the layer with dyes and soften the glare Hair, like the whole girl, looks too bright Therefore, with the help of curves and masks, I paint light shadows on hair, face and whole body with a soft brush I do not need any dark spots, so I reduce the transparency of the curve layer and edit it a bit The most difficult moment of editing has come – competent hair dyeing and back light on them I will paint on a new layer, located on top of the folder with the model the brush settings are the same as in the beginning To hair lying realistically, it is worth checking with the original photo the rest depends on your skill and experience. Again I create a darkening layer of curves, hide under a black mask and draw a shadow stronger on my hair so that on the right side the backlight is well visible which we will further draw Drawing shadows, I try to follow the original relief I could draw on another layer of curves created earlier, but I did not I do not remember why, I always mess in projects, I advise you to do everything in order. So, I decide to get rid of this piece of hair, I erase it in the layer mask I continue to draw, I darken my hair again on the next unnecessary layer of curves Don’t do this at home 🙂 So I slightly darkened the other parts of my body and staff and went to the last stop of drawing hair Sometimes hair lines in some directions are more convenient to draw by turning the canvas under the desired slope It is done after pressing R, and it is easier to recover C. While I’m drawing, there’s really nothing to say I can only advise to google a photo with a rimlight and try to understand how the light highlights the hair I believe that this is an infinite space for self-education, and in this respect there is always room for growth Until you become an artist-hyperrealist It is worth noting that I always hypertrophy light, reflexes, etc in my works. In the real world, all this glows less brightly But actually the reflexes I draw them around the perimeter of the girl, mentally imagining where and on which edges in principle the reflection of the background light is possible Perhaps I will shorten the moments of reflexes Even with acceleration, this lasts too long At the end of this stage, I will finish a bunch of fine hairs to give liveliness Let’s move on to the usual retouching Namely to the technique of dodge’n’burn and to the frequency decomposition I will not go into details, they need to devote a separate lesson, and there are a lot of such lessons. In general, the girl’s face looks and so more than neat but we, the retouchers, like dodge’n’ burn With the help of Channel Mixer and curves and twist everything so wildly to find at least microscopic flaws and retouch them With the help of frequency decomposition, I smooth the skin tone and finish the soft volume In the framework of this tutorial, it is impossible to teach these techniques I advise you to look for detailed tutorials on them.
I return to my hair to also highlight the volume And at the same time I make them soft, tinting them on an ordinary layer, without blending modes The only thing is that we hang on it a prepared layer with noise Here I softened the chiaroscuro on the face as a whole So, I sketch out the hue and saturation layer and add saturation to the picture Now let’s take up magic, remember the order of actions I create a black layer with a Screen mode, then on top of it I create a Gradient Map with the necessary settings and cling to the black layer as a clipping mask Now between these two I could create an unlimited number of layers on which, I will create magic And I will create it all with the same soft brush the settings of which I have already shown. Exceptionally white color. Now I’m experimenting with the tone of magic changing her tone and continuing to draw, playing with the size and softness of the brush Do shots and stuff, do not limit the imagination I darken the staff to make the highlight look more interesting In the case comes the brush with the new settings, they can be seen in the screenshot It is still soft, but now flat and changes its size from the force of pressing the pen Do not hesitate and paint magic there. Where the soul will please To say there is nothing special, – there are many variants of such coloring be sure to play the Gradient map settings I add more extensive soft glow from magic And there was the final touch – small magical particles We proceed to the general color correction I’m adding a layer of curves and that’s how I set it up The girl looks overexposed, so I slightly darken it and make the color of her face less saturated Not by that much. :[ And also add a layer of curves below the layers with the model to make the background contrast I’m editing the top layer of color correction a little more to make the image softer The moon on the photo is worth highlighting and making the mist brighter I do it just a white brush on the layer with the normal Overlay mode The face and hair are made even darker, and the hair highlighted in the moon on the right side is made more transparent highlighting the outline of the head itself Everything that is in front of the moon, I make a bright-bright outline Let’s return to color correction. On a new layer of curves, I’ll squeeze a little down the middle of the blue channel and in the layers of retouching I clean up, returning my hair a more luminous appearance Well, it’s never too late to add a raven I cut out parts of a crow from different sources and unite them first fitting them up to size. Now you can tackle the clipping this time I do everything manually, although you could use Quick Selection I make the transition between the head and the body softer I find a place convenient for crow and transform its paw On the second leg we apply a flexible mode of transformation. With the mask I hide the tail of the crow by the hand of the girl and I edit the paw a little using Puppet warp Where you are not satisfied, you can always draw the necessary elements I brighten the crow with curves and remove stains, glare, etc. I do it all on a layer with overlay Under the crow I draw a small shadow from the feet, but no more Since the consecration on the model falls in front, and not from above And again, my favorite back light. I paint it on the right side and give it a more blue hue A little more, and more. And … ready It is necessary to illuminate the eyes of a crow, and also add it to the belly glow from magic Then, I loosen it a bit, erasing it a little After that I decided that magic doesn’t happen much and boldly painted even more glow on staff I draw light on clothes, paws of a raven and the top part of clothes. Magic is everywhere! Do not forget about the face, hair and staff It is metallic and must reflect light well Six months after the creation of the work, I realized that it was necessary to add more reflexes to the metal parts of the staff I add a little red glow from the eyes of the crow. Well, why not? Do not complicate it, just with red light in Screen mode Add volume by drawing accurate front lighting On a layer with an overlay mode I paint simply with white colour Someone will say that it would be more convenient to use curves or Soft Light mode. Maybe, but I have my own views on this particular case I again highlight the hair a little and tint them in this place, making them cleaner and tidy As you understand, at the end of the work, I just checked everything that I could miss and those moments were corrected For example, I decided to add the volume to the coat of arms. I poured everything into a new layer with the help of that shortcut I left only a piece with the coat of arms and curves from the layer, I made it look like it was black on white Using the selection on the color range, I selected a white color hid it with a mask and wiped it off It’s difficult to explain, but as a result I just removed the background from the coat of arms and put a banal Bevel on it This seemed to me insufficient, so I drew more volume by hand Taking advantage of the moments, I paint the volume of the whole suit This is all done with a normal white soft brush without blending modes The main thing is to carefully and correctly draw so that the light was barely visible. So we went to the home stretch I make color correction to my taste and my mood The main thing I use is curves and Selective Color The last one I mostly work in blue, removing purple shades from it Yellow and red for changing face tone and gray for adjusting the overall tone And now a huge soft gray brush, I add light on some edges of the work plus I add a light flare from the moon Well, and by tradition – the imposition of particles of dust, which I created, and which I also will not share Yes, I’m greedy>:) They are on a black background, so I’m using the Screen mode I expose the greater transparency and remove the unnecessary In the end, I decide to highlight the coat of arms on my shoulder, finish some reflexes and finish my work on this Thank you all for attention, I hope that you were interested I understand that with this video editing, not everyone can understand one or another of my actions Therefore, in the comments under the video leave questions with timing I’ll try to answer everyone Also, I will be grateful if you like and subscribe to the channel to follow the future videos for artistic photo editing and not only See you.