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Discover how to use Adobe Photoshop, without any added fine art skills, to modify artwork and turn the ordinary into extraordinary. Author and illustrator Bert Monroy takes an unexciting photo and transforms it into an amazing dream sequence by combining it with other photos and techniques. His process touches on compositing, digital painting, masking, and other key image editing techniques. All you need is Photoshop, some images that could use a boost, and your imagination!
Now we could look at our plane, and it's starting to look like it's crashed, but now we got to make it look like it crashed a long, long time ago. So we have got to do a couple of little adjustments here and there. Now right off the bat, I see that the propellor is a little blue. So I am going to take this area back here where I broke it which is right there, a little prop tip, and I am going to go into Hue/ Saturation and kind of bring down the Saturation, so it starts to become a little more like a gray just like that. And in fact, I am going to do that to the entire plane. So I am going to go down to the plane here, and I go into the Hue/Saturation, and we will tone it down a little bit.
I want to see the effect it is having on low. I'm just going to bring it down just to kind of unblue it a little bit. Click OK, and that's starting to look a little better. So now the lighting in this scene. If we look at it, overall scene, we have seen that these, all these little blotches of light coming through it, kind of working on a plane, but not quite as defined as you see it here. So what I am going to do is let's get close around the plane here. What I am going to do here is I am going to-- on top of all these right here, right there on the top of the scratches, I am going to create another layer, one more layer, and I got black and white selected here.
So I am going to go in there, and I am just going to give it a filter. I am going to hold on my Option key to increase the contrast and just add the Clouds filter to that area right there. And then we see the propeller, which are in front and the broken glass, so we see that, right there like that. So what I am going to do is I am going to set that into Screen mode just like that and trap it with the plane like everything else, right there. So now we are seeing it only inside the plane. I am going to bring down the Opacity for it considerably, right there like that.
And I am going to give it a mask so that I can now start to paint away the parts I don't want it to show, which is right in this-- down here, I don't want that highlights to show. So I am going to kind of paint them out from the wings and certain parts of the plane that I don't want them. I just want them along the top just like that, so there is where my little highlights are. Then I got all these nice little highlights happening through there, see? There they are gone. There they are on top, so now we got these little highlights, and I might go even-- want to go in there and maybe hide a couple of little other areas, so I'll just set this up and maybe erase a couple of little spots just to add more of that sense of blotchiness.
Now, we are going to add some moss. Let's get real close, and this is going to be all the way on top. So way up here, we are going to create another layer, I'm going to call it moss. Now we are going to use our favorite brush, one of the Spatter brushes. I'm going to go down here and get the Spatter brush, and we are going to use one of the clunky ones like this one here, it's got little kind of a cluster in the center there. That's going to be perfect. We are going to go in there, modify it as we have done in the past, so we are going to give this a spacing, so we the individual tips right there, and we're going to Shape Dynamics where we turn this off, give it a Size Jitter, and we are going to set up a minimum size so they don't get too small, and we are going to bring that angle all the way around to 100%, right there.
Okay, and then we are going to go in there, and we are going to do the Color Dynamics so that we can go in there Foreground/ Background just a little bit of Hue shift and a lot of Saturation shift and Jitter. Then I am going to pick some colors for the moss. So I am going to pick them right for the image. Close this up, and I am going to pick this nice deep green here for the Foreground, and for the Background I'll pick this lighter green right there. So now that we have that I am going to go in here and start to draw my moss. So I am going to just kind of very loosely start to just paint right on top.
Right on top of the plane, I am just going along the edge and creating this ridge of moss, right through here and a little on the glass along the edges of the glass. Then I am going to start to make my brush a little smaller and start to kind of make them drop down, so we are just having the moss kind of hanging down, a little build up here and just kind of fall down, so we are starting to get all this moss. Here I'll make the brush a little bigger. So we start getting big at clumps of moss, right through here, right at the tip. Make it smaller, and I start to drag them down.
All the little moss coming down along the edge through there, and we are going to put some moss along the top here, a little bigger, and there, and then there is--right along the edge of the engine right here. We just create some moss along the top of the plane, along these edges, and definitely right here because that's too clean looking. So we are going to just kind of cover that up with our moss, and this edge here, it's part of the motor.
Let's make the brush a little smaller and the propellor right there gets covered, that little wedge right there where the wing comes in and along the top, and let's undo that part, I just want to go back here and start adding the moss, and then it starts to come down just kind of curving it around the edge of the engine here in all these little things. And they could kind of fall down a little bit, and there I just noticed that our highlights are right there.
We don't want those highlights in there from the lights, so we'll get rid of those in a minute. So we go in there, and we start adding some more moss and here under wing, we are going to put a whole bunch of moss, let's make it bigger, and I have the moss going right after this edge of the page, down along the edge here, and then it starts dripping down. It's just growing all through here, along the top, and then we are going to have some more coming down right through here. I am going to have little moss build up in these areas in here, little moss there and all kinds of moss inside there, tons of moss which is then dripping out all over the place, along the propeller, that stuff just goes all over the place, doesn't it? Just mossed everywhere, and this plane has been here for a long time, so we are just going to add all kinds of moss.
I am making a bigger brush here, and I'm just going to fill those areas up with a lot of moss, make that brush smaller, and there we go, so now we are starting to cover our plane with all this moss that's been invading it for years. Now go to that highlight that we created a minute ago, and it's right there, and we make sure we go to its mask where I can go in and just make sure I get a regular brush, I am going to paint in to get rid of that highlight inside the engine.
We don't want that highlight in there, we don't, there we go. Make sure it's gone, and in here I don't want it in there. Okay, so that makes our engine nice and messy again. And there we see that now we have all this moss in place and our plane is starting to really look like it has been there for a while. In the next movie, we are going to add another touch, a little pool of water with a reflection of our plane in it. So that's going to be one of the final touches that we are going to add a little pool and some additional foliage.
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