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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!
In this movie, we're going to take our little plane, and we're going to put it in position and age it a bit. So right here what I'm going to do is I'm going to merge down the logo that we created in the last movie so that the plane is complete, and I'm going to take that layer and drag it into our scene, right here. There is the plane. Now I want to put it right in this position here, so let's go in there and size it down, so I call Command+T, and there. I'm going to drag the plane down to the size that I want it be and put it in position right where I want it, right about there.
There is our plane in position, where it's going to have landed after a long flight and ill-fated. It enters, so there is a plane in position. So now, we have to actually pull it there. So the first thing I'm going to do is give it a mask. And in that mask I'm going to go in here and get real close. I'm going to reduce the opacity, so I can see the tree in back. That way I can see where I'm going to mask. So with a black, hard-edged brush, and we can soften it up just a little bit.
I'm going to go in there, and I'm in the mask, I'm going to start to paint, so we don't see that part of the plane behind the tree. I'm going to go in here and turn that Shape Dynamics off, which is on by default so that I'm not going to get a pressure sensitivity happening, and I'm going to go in there and start painting away the tree to expose it. Now if you're using a mouse, you don't have to worry about pressure sensitivity, but I'm using a Wacom tablet which is pressure sensitive, so therefore I had to go in there and turn that off, and I'm going to go in there and start painting away, right there, we can see that I'm--and let's bring the opacity all the way up.
Now we're really erasing, there we go. Now we're just going to get all this part of the plane to disappear behind the tree. I can bring the Opacity back up, and there we can see that now the plane is in fact behind the tree right there. Now we want to start aging it a bit. So I'm going to go in here and in a layer on top of the plane, let's press the F key here to bring us to full screen. In a layer on top of the plane, I'm going to start to add some dirt. Now what I'm going to do is I'm going to take my paintbrush, and I'm going to use one of the spatter brushes. I love those brushes. They are so versatile for so many things.
I'm going to use the largest one right here, which right now is just going to do that. So what I want do is go into my Brushes engine and modify it by giving it some space. Shape Dynamics where I'll turn off that Pen Pressure, set up the Size Jitter and the Angle to 100%, so now we have this nice little variety going on there. I'm going to say Color Dynamics as well. Between Foreground and Background give me 100% change between them, and add a little bit of Hue and some Saturation and a little Brightness Jitter.
Now what's going to happen here is that each tip is going to jump between the foreground and background colors, as it applies them, because each tip is here, these are all individual tips that are close together. Hue, I kept that low, because right now I have like a dark brown and a white. If the Hue Jitter is pushed all the way up, I'm going to have greens and purples. I don't want any of that stuff. I just want to just a little variance and same thing with Saturation and Brightness, just a little bit. So now that I have that, I'm going to go in here, and let's make the brush a little bigger, and I'm going to bring down the Opacity for it.
I like to work with low opacities in situations like these. Let's change this to a deep gray, like that, and we'll change this to a lighter gray, like that. Now I'm going to start to paint, and my brush is a little too big here, right into these areas, and you can see that I'm starting to add all this grime to our plane. So I'm just going to go in here, and let's close down, and we'll start adding grime in all kinds of places where we're just starting to add some grime.
Now I'm going to change these colors. I'm going to change this to kind of a slightly orange, maybe a little more on the yellow side, slightly kind a beigy color like that, and I'm going to take my Background Color and make that more of a brownish color, somewhere in this area here and continue to paint. So now you notice that I'm starting to add the sense of some rust. Some rust starting to happen around our plane. Now it doesn't matter that I've gone over, because of the fact that we're going to mask this all up in a few minutes.
So it's just adding rust in all of these little areas like that. Okay, now we're going to go in there and add some greens, little bit of green, a little soft green like that and a darker version of it, but kind of a muted green, kind of grayish green, and I'm just going to add a couple of little touches of little moss in a couple of spots. Now in the next movie, we're going to create some serious moss, but right now we're just adding little touches here and there. Now that we have all that stuff happening in there, I'm going to go in there and clip it.
Holding down my Option key, I can clip that so that you can see that right there, it just locked everything into the area of the plane itself, so we don't see the stuff beyond. And in certain areas, I want to erase that, so I don't want it inside here. So I'm going to go in there and just erase that moss, that's right inside the area and the rust. We don't want it in there. We're going to put other things in there later. So there we can see where we're starting to get that plane kind of dirty. And I'm going to pull back a little bit just to see the overall scene, and now we need to darken this down here.
So what I'm going to do is I'm going to take my Burn tool, I have it set to Midtones, I'm going to go to the plane layer itself, and I'm going to start to darken the bottom of the plane. I'm going to darken that quite a bit down in there. Now I'm going to take my dirt that I created, I'm going to darken that as well, because we want that to be pretty dark down there, and we're going to do this even more so later, once we add a whole new foreground to our scene here. So there we see that we have started to age our plane, and in the next movie we're going to bust it up a little bit. We're going to break some propellers, break some glass, and add the moss, like I said.
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