Now we have a guest tutorial by Dustin from Vallys In The Vinyl, a groundbreaking new texture blog where he’s releasing some of the best freebies around. He’ll be showing you how to make a surrealist portrait in Photoshop using photo manipulation and textures. Delight in!
Commence Photoshop and make a new document, 1700 pixels large and 1100 pixels tall, with a resolution of 72. I have named my document “Bittbox Surrealist Portrait Tutorial”.
Make three folders, named Adjustment Layers(1), Textures(2), and Portraits(3).
Drag the “Vintage-Document” texture from the source folder on the canvas, resize it to fit, and first name the layer “Base Document”. Place the layer below the three folders. This will act as the base layer for our arrangement.
Tip*: It will be vital with the intention of you make guaranteed the layers for this project are “Smart Objects”.
Drag the “stockvault-boy” image from the source folder on the canvas and re-size to fit. Place it in the “Portraits” folder. Next, drag the “stockvault-Man-01″ image on the canvas and set the opacity to 50%. Rotate and go the image so with the intention of the man’s right eye is placed and aligned directly with the boy’s right eye underneath. Once you have made this, set the layer’s opacity back to 100%. Now make a layer mask for with the intention of layer. Using a large brush, around 400px, 100% opacity and 0% hardness, mask out the missing feature of the mug, from the eye not working to the mouth, and around to the other cheek. Don’t agonize about point just yet, we will go back and honest-tune the masking later on. You should now have a arrangement with the intention of looks akin to this:
Step 5. :
Maintenance with the intention of constant brush, add a layer mask to the “stockvault-boy” layer and mask out the nose and upper lip. I also masked out a small extra of the facial mane on the man’s mug. Our progress should look like this:
Step 6. :
Now we are vacant to add the last portrait image, which will serve as the mouth for our portrait. Drag the “stockvault-Man-02″ image from the source folder on your canvas and place the layer under the “man-01″ portrait. Just like before, set the layer’s opacity to 50% and rotate/extent so the mouth area looks like it fits of laughter water supply on the mug. Once you have it placed, bring the opacity back to 100%, make a layer mask, and mask out everything except the mouth area. Your progress should look akin to this:
I reckon it is time to start regard some texture to this, so take the “Vintage Document” texture from the source folder, drag it on the canvas, re-size to fit, and set the Blending Mode to “Multiply”. Make guaranteed with the intention of this layer is in the “Textures” folder. While we are working with this layer, go yet to be and add a Layer Mask. Using a tiny, gentle brush, mask out the eyeball areas. We are doing this so the eyes can keep up a crisp and vibrant look, helping them stand out in the arrangement.
The image is looking pretty dark right now, so let’s go yet to be and add our initially Adjustment Layer. In the “Adjustments” folder, make a new “Levels” adjustment layer. In the partaking boxes under the Levels Histogram, set the far right regard to “235″, and the middle box regard to “1.2″.
It is time to add some excitement to our portrait. Drag the “Tome-Mesh” texture from the source folder on your canvas, placing the layer above the “Vintage-Document” in the “Textures” folder. Set the Blending Mode to “Multiply” and Opacity to 80%. Rotate and extent the image so with the intention of the mesh part of the texture fits of laughter the cheek. A excellent reference tip is to rotate the texture so with the intention of the advantage runs parallel to the nose. At that time mask out everything except the mesh on the cheek, using a gentle brush again. Make guaranteed to mask out finished the eyes and mouth area. As with all of our layer masks, you will be capable to back and honest-tune everything towards the end. Your progress should look something like this:
Now it’s time to add our last texture layer. Drag the “Crumbled-Leaves” texture from the source folder on the canvas and place it between the two existing texture layers. Extent it so it fills the entire canvas, and set the blending mode to “Multiply”. Make a layer mask and using a large, gentle brush, mask out everything except the right cheek and nose area. This is a step where you have tons of freedom. It is up to you where you aspire to have these leaves come owing to. Since this layer’s opacity is staying at 100%, I have constantly adjusted my brush’s opacity for masking in and out different areas. The foremost objective here is to give the skin a very flaky and brittle aesthetic. Here is what supply looks like so far:
You may have been wondering how we were vacant to fix the problem of the mouth being black and colorless in a affect arrangement. We are vacant to take up with the intention of now. Make a new “Hue/Saturation” Adjustment Layer right above the layer. We are vacant to clip this adjustment layer so it release affects the layer directly below it. To do with the intention of, we are vacant to look in the “Adjustments” panel, and click the third icon from the missing the bottom tool bar. Made. Now we are vacant to set the adjustment attributes. Initially, try out the “Colorize” try out-box. At that time set the Hue regard to 35, the Saturation regard to 45, and the Lightness regard to -20. I know, it now looks bright orange and un-attractive, but don’t agonize, with the intention of will be offset by the rest of our adjustment layers.
We are getting accurate to finished. Let’s make the rest of our adjustment layers. Initially, make a new “Curves” adjustment layer in the Adjustments folder, and place it below our Levels layer. This adjustment will be up to your discrimination, but the vital thought here is to push and grow dim the blacks, and cheer up the rest of the colors. Your image will look finished-soaked and blown out with this adjustment. My histogram looks like this:
Below the Curves layer, add a Hue/Saturation layer. Bring the Saturation level to -20, at that time mask out the area finished the eyes, so the eyes can keep up their affect. Our last adjustment layer will be a Black & Colorless layer. Make with the intention of and place it below the Hue/Saturation layer we just made. Set the opacity to 75%, and mask out mostly everything except the out of focus area on the missing of our arrangement. What I chose to do for this was use the Gradient tool to make the layer mask and at that time go in with my brush for honest tuning. To use to Gradient tool to start, select the tool and make guaranteed your Center Affect is set as Black and Social class Affect as Colorless. Now hold your Shift key and drag from the right feature of the canvas all the way to the missing feature. Now with a levelheaded foundation, you can go in with your gentle, low-opacity brush and nip it as needed.
Now here is our progress:
We are nearly made, just a few tiny things missing. The last layer we are vacant to make is a layer for some colorless paint finished the missing eye. Make a blank layer above every other layer and first name it “Missing-Eye Colorless Paint”, at that time set the blending mode to “Overlay”. At that time austerely take a gentle brush, around 300px and 30% Opacity, and brush some colorless paint finished the missing eye to aid cheer up with the intention of area. This is a additional step where you have lots of freedom and can use your taste and discrimination.
All with the intention of is missing to do now is to go in and honest-tune image positions and nip all of your layer masks, particularly the portraits and textures, to make the image blend together as cohesively as possible. Here is my closing result, of course it isn’t exact or anatomically right now and again, but these are some quick and dirty ways to have lots of fun making digital art: