Join Rayce Bird for an in-depth discussion in this video Add scars and tribal designs, part of Photoshop: Create a Satyr Using Layer Styles.
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- [Voiceover] Let's give our creation a little extra character, by adding some tribal pattern scarification. Using a similar technique as in the previous movie, we can better define our satyr's story. I think this part can be very special and story-inspiring. This is kind of a fun part for me. Let's go ahead and open up a new layer, and we've got a color in here, it's kind of a brownish-mauve. And we're gonna use our airbrush that we've been using, just our standard soft brush.
Let's add just a little tribal design right here on the front of the brow. Nothing too difficult for someone to just carve into their head. Let's double-click off to the right, pull up Bevel and Emboss, and let's make sure that this is set to Inner Bevel, so we can just focus on what's happening on the inside.
And let's also drop in a drop shadow. This time we're gonna choose a very reddish color, and we want it to feel a little irritated right outside of the scarification, as if the skin hasn't fully healed. You can kind of play around with the intensity of that, and you want to have it fairly red to start off with. And let's go ahead and switch this blend mode over to Overlay.
It's still gonna allow some of that information to bleed through, but it's a little bit stronger than the soft light that we have been using. And we can use kind of a pink color for the Screen, as well as Multiply, we'll still stick to our dark burgundy and we can kind of adjust that to make it look like it's popping out. We'll make this a little bit more intense than it has been.
And we can also play around with the depth. Notice that when we adjust this, we get a little bit more of an intense shine, which looks pretty realistic. If you had something popping out of your skin, these scars, they tend to pick up a little bit more lighting information. Another thing we can do is make sure Use Global Light is turned off, and we can adjust where this light is sitting. We do kind of want to match it up to our key light, and the closer we pull it to the center, the tighter that hot spot's gonna be on top of that scar.
So it's trying to find the nice, kind of in-between, where we're getting as much information as we can on there. And it's just kind a little bit of a back-and-forth, playing with the depth, the size, and the angle. Try to find the right kind of specularity that we're looking for. So that's looking pretty good. Now it's just a matter of putting in some other tribal elements and seeing how these all kind of work together.
So this satyr might be some kind of a high priest in his tribe. We're kind of adding a little bit of freelance to the mythology of the satyr, but I think if we imagine them being kind of being more of a tribal, a little more primal, I think that's kind a cool take. And just by adding these scars, really adds that story element to it. So we can kind of make these look like they were carved in a little bit. You'll notice how the specularity of the Bevel and Emboss kind of changes based off of the size of the stroke.
So that's something to pay attention to. So a lot of these may need to stay about the same size, just so they can use the Bevel and Emboss the way it's supposed to be used. And once again, the nice thing about this is I can just erase them. We'll kind of go for that triangle, or that little arrow look that we've been playing with on the forehead. Looks kind of neat.
And maybe we'll bring some scars up from the eye. That's always a, a classic move, character design. The old Scarface. Okay so that's looking pretty neat. Let's go ahead and some of those triangles to the neck. And if you do want to have varying size of scars, it's really not that big of a deal, you can always go in and make a new layer with a little tighter Bevel and Emboss and have different line work for each layer.
And you can always go into the layer styles and do more adjustments and try to get the right kind of look. You can also go into the opacity slider and drop them down, make them a little less noticeable if you feel like it's overpowering. I think for this character though, having something like this be a little more prominent and kind of creating a focal point really does actually pull off a neat, cool look to this guy. The textures are really popping now, and looking well-defined. Now we can move on to the finishing touches.
- Importing a sketch into Photoshop
- Adding gray shades and smudging
- Introducing color, shadows, and highlights
- Adding texture with layer styles
- Using blur to concentrate the viewer's eye
- Color correcting the final image