Viewers: in countries Watching now:
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!
So in this movie, we're going to bust up the plane to make it look like it really went through a massive crash. So I'm going to go in here, and let's start doing some stuff to it. Now, right now it's still kind of smooth all along here, so what we're going to start to do is to add some scratches, all kinds of scratches like it just when through all those trees in that jungle, and I'm going put it in a separate layer. Let's start naming these layers so we know what they are. So we're going to call this one dirt, and this one we're going to call scratches.
And it's also going to be clipped to the actual layer of the plane. Now for this, I'm going to take my paintbrush. I'm going to use a very small brush. Let's just use a hard-edge brush like that and make it pretty small. I'm going way down, and I'm going to start to draw some lines. Now the color that I use isn't really that important. So I'm just going to use a black. In fact, we'll go with a nice kind of a medium gray. I'm going to start drawing a bunch of lines through here. Now these, all these lines are just going to be, as you can see just a whole bunch of different lines going through here and just scratches.
So they are all just scratch. Now some of them you're not even going to see just yet, but you will in a minute, a couple of long scratches. We're just getting all of these scratches going through here, a bunch of scratches in here, bringing all of these scratches and more scratches down here, all these little dents. Now what's going to happen is I'm going to go into my layer Styles for this. I'm going to start giving them a little Bevel & Emboss, right there. So I am going to give it a little Bevel & Emboss, and I'm going to give it an Outer Bevel, see, right there, something started to happen already.
Now I'm going to change my light source to come from above, that gives me the lights on top and below, well, I want it the other way. So I'm going to go to bottom, see now it starts to look like they are dented into the scene here. And they are a little big, so I'm going to bring them down, I'm going to bring them down to about a 1, just really small, and I want the Depth to be really strong. These lines, you can see how they are starting to happen there. So I'm starting to get a nice effect for them. And then I'm going to go in there and just kind of lighten up that white a little bit and the black just a little so that it's not so strong. All right! Well, that's good, right the way it is. Now I can start to continue these scratches.
I am going to start to draw a whole bunch more. I'm going to start getting scratches all over the place, all these little scratches, and some more in this area here, all these scratches. Now, in certain areas, they are not going to look that good, they are not going to look good, they are not going to look like a series of scratches just like that. So what I'm going to do now, I'm in that layer and what I want to do is I want to separate those effects. So what I want to do is I'm going to go over here to layer and go to Layer Style and say Create Layers.
Create Layers is going to allow me to separate those scratches into separate layers. So there we see that we have the lights, and we have the darks. So I'm going to take the lights and the lights, what I'm going to do is I'm going to give them mask, I am going to give the lights a mask so I can start to hide parts of them. So I'm going to get a soft-edged brush, make it a little bigger, nice and big, and my Opacity is lowered, so I'm going to go in here and just kind of lighten those scratches at the bottom, the lights of the scratches at the bottom so that they are not so pronounced, see? So now those start to have more of a realistic look of being the scratches on our plane.
There we go through there, see? So we're just lightening--or rather making the lighter tones start to disappear along the bottoms of the plane--so that the scratches along top will be fine. Now we're going to go in there, and this propeller, well, that propeller went through hell. So what we're going to do is I'm going to actually go in here and select my Lasso tool, and I'm going to go in here and figure out how this thing cracked. Let's say we're going to crack it this way, came around, and it cracked like this, like that, all right! Then I'm going to go in there, and I'm just going to surround the whole thing just like that. All right! So now, what's going to happen here and--in fact, let's just add a little bit to this edge of the--I'm going to go in here and start to clone in some of my dirt.
So I'm going to just take the Clone tool, make it a little bigger. I'm going to clone from right here, right there, I'm going to start cloning from there into the area of my plane. Let's go to the plane here, right there. I'm going to start to clone in, not the scratches, but I want to actually clone in everything. So let's just say this layer only just the Current layer. So it's this layer, the layer of the plane, and I'm going to start to clone in all these little scratches that we have here, there is a dark of the plane. So now you can see where it's just getting pretty much rid of that whole part of my plane down there.
Let's get some of this stuff up here. I'm just cloning from different parts to get different tones happening, right through here like that. Now we can deselect, and I can go in and darken this. Let's just darken that whole piece. And you know what I'm going to come back and bring back that selection, because what I want to do here is I actually want to darken right up in here. So let's go in here, make that a little smaller and just burn in right under there, make it really dark.
Now we'll deselect. Now I can start to darken the rest. Make it really dark. Underneath there you can that our propeller has now broken off. Now I can go and erase this section of my propeller because that's no longer visible. Now we don't have to worry about under here because we're going to add a whole bunch of more stuff, but now we see that that part the propeller has broken off. Now we're going to come up here, and take this part of the propeller and break it. Now what I'm going to do just like I did before is I'm going to go in here and start to just figure out how this thing broke off, right through there, like that. Okay.
And I'm going to go in there and send that to a new Layer Via Cut. Now this one is I'm going to bring this up, because you saw what happened, since I cut a layer in-between there, all my dirt and dusts and scratches were all of a sudden trapped by this one. So I'm going to go in there and reestablish those clips, all those little clips right through there, so there's all my dirt back. There's my propeller that I just broke off, and let's just do this and call it the prop tip.
So now that I have the prop tip, I can go in there and say, rotate it a little bit, put it in position, right there, maybe rotate it just a little more, let's rotate it quite a bit. And move it down, so it's just along the tip of my propeller so it's just broke off right there. Click OK, and there is a break. So now I'm going to go in here and break it again, right there like that. I'm going to go in there and tip that, and bring it down in position, maybe rotate it some more and bring it down.
So now we can see that our propeller has broken off--and maybe that's too much of a tip there. Okay, so now our propeller has broken off in a couple of spots. Now we got to go in there and do stuff to this. Now, I'm going to grab this little section right here. Just going to grab this little tiny piece of my propeller, and I'm going into warp. Remember warp, we've used before, I'm going to go in there and start to warp this edge of the plane just this little piece right in here, so it starts to look like it got bent, it got bent along the way, there we go, click OK, and now we see that we've just bent that little piece there.
I'm going to do the same thing to this guy. I grab the end of it, and we'll go in there to Warp, I'm just going to kind of twist this edge, so it starts to look like it got really bent up just like that. Now that we added this extra stress to these guys, I'm going to go in there and start to darken those a little bit, so they got pretty messed up and add a little highlight because we're going to bend it right there, and this guy got bent, right in there. So it's going to pick up that little extra light in that little area right there.
So now we see that our propeller has broken off and the other one down below is completely gone. In the next movie, what we're going to do is we're going to break the glass, got to have broken glass after that kind of an accident. So we'll see what happens in the next movie.
There are currently no FAQs about Bert Monroy: Dreamscapes Volume 1.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.