Scene synthesis, use PS to create a beautiful science fiction scene – photo synthesis

This tutorial uses PS to create a photo with the effect of a science fiction movie. We must have seen such high-tech scenes in science fiction movies. The production of this film does not need to spend huge sums of money to complete. Students only need to follow the steps. Complete, the tutorial is translated, the translation in the text is detailed, and the steps are clear. What are you waiting for? Let’s make it together, classmates.

Rendering:

Operation steps:

Step 1

Open Photoshop and let’s start creating a new document. Go to File > New or use the hotkey Cmd/Ctrl + N. Set the width to 3300 pixels, the height to 1800 pixels, and the resolution to 300 pixels/inch.

Step 2

First I made a basic background to see the volume and choose a suitable color. When you’re working on painting or detail, don’t use pure white or black pieces. Create a new layer (Layer > New > New or Command/Ctrl + Shift + N) and take the Gradient Tool (G). Set the gradient style: Radial, then go to the gradient editor and make the gradient #ffffff – #3a82a9 – #041d30. Move the gradient midpoint (the two small dots between the bottom sliders) a little to the left to make the color transition harder.

Step 3

Now draw the gradient as shown in the image below. Start in the middle of the document and move horizontally downward. For accurate and precise alignment, hold down the Shift key on your keyboard.

Now draw another radial gradient with the same settings in a new layer (Cmd/Ctrl + Shift + N), with the light blue part extending slightly beyond the boundaries of the working area. This time, draw a gradient from the center to any corner of the work area. Set the layer opacity to around 25%.

Step 4

Add another gradient on a new layer (Cmd/Ctrl + Shift + N). With this we will darken the bottom of the image. Set the background color – black (D to restore the default color, X to toggle them) and the foreground color – #015890, set the gradient style: Linear. Hold down the Shift key and draw from the top to the bottom edge of the document. Lower the layer opacity to 15%.

On a new layer, gradient the left, right and bottom edges of the image using the gradient preset “Foreground to Transparent” (black) as shown in the image below. Lower the layer opacity to 90%.

Add a little green to the bottom of the image. Everything remains the same, just use the foreground color – #b3ed87. Draw a gradient starting from the bottom and slightly smaller than the middle of the image. Change the blending mode to “Overlay”. I strongly recommend that you hide the background layers in a group so they won’t interfere with you in the future (select the layer and click the folder icon on the layers panel or Cmd/Ctrl + G).

Step 5

Now comes a very interesting part. I’m going to introduce you to the basics of grooming. First, add the model to your working document. Do File > Place and select the image “Days_go_by_III_by_almudena_stock”. Use the Free Transform tool (Ctrl/Cmd + T or Edit > Free Transform) to adjust and rotate the model as shown in the image below.

Use the Pen Tool (P) to circle the model and get a selection. Using other tools in this situation may damage the model. With the curve not bending after the last bend, hold down Opt/Alt and click on the active anchor point. When creating a model path, click��Make selection� button to make a selection. Set Feather Radius: 0px. When you make a selection you need to remove the background from the hair. To do this we use the option �Refine Edges� (Cmd/Ctrl+Opt/Alt+R or go to Select >Optimize edges).

Look at “White” and “Toggle Edges: -40%” in the “Optimize Edges” collection. I didn’t change the outline, your job is to take the brush out of the window and carefully paint the model’s hair to remove any residue from the background. Click OK to apply the settings. Add a layer mask to this layer to remove the background (use the Add Layer Mask button in the Layers panel or Layer > Layer Mask > Reveal Selection).

Step 6

Now for the retouching. First, create a copy of the model layer (Cmd/Ctrl + J or Layer > Duplicate Layer…) (just in case you don’t have the next step, delete it if not in use) and rasterize it ( Right click on the layer > Rasterize Layer).

Use the Clone Stamp Tool(S) (Size: 25px, Opacity: 40%, Hardness: 0%, Sample: Current Layer) to remove skin blemishes (some of which are shown in the image below). Once done, duplicate the layer (Cmd/Ctrl + J or Layer > Duplicate Layer…) and apply a layer mask (right-click on mask > Apply Layer Mask). In the next paragraph, I strongly recommend that you do not move any of the following layers. Otherwise, you will have to start over.

To the duplicated layer, add a layer mask (Add Layer Mask button in the Layers Panel or Layer > Layer Mask > Show All…). Select the layer mask, use the Brush Tool (B) (Size: 20-30px, Opacity: 100%, Hardness: 0%) and paint all the dark areas. By “dark places” I mean there are a lot of hard shadows on the model’s body, as well as on the eyes, eyebrows, hair, etc. (but I don’t recommend you to remove them), so you don’t interfere with the lower layers Temporarily close layers by clicking on the eye icon next to them.

Step 7

Add some filters to smooth the skin and make it beautiful and youthful. Go to Filter > Noise > Dust & Scratches. Set Radius: 15px and Threshold: 0. There is also such an action filter “Gaussian Blur” (Filter>Blur>Gaussian Blur). In the window that appears, set the Radius: 15px.

Everything will look pretty blurry, but lower the layer opacity to 70% and clip it to a lower layer (Cmd/Ctrl+Opt/Alt+G or right-click on the layer > Create Clipping Mask ) before adding a layer mask and removing excess blur (B) (size: 70px, opacity: 30%, soft round brush). It is important to find the right balance and softening of the skin’s physical relief, i.e. reducing the edges and details (bone relief) to keep them a bit sharp. Duplicate this layer (Cmd/Ctrl + J).

Step 8

Now I use the filter “Plastic Packaging” to create the effect of artificial materials (plastic) on the skin. Go to Filter > Filter Library (Artistic) > Plastic Wrap. Set there: Highlight Strength: 10/(Strength: 10), Detail: 10, Smoothing: 15 and press OK. Try changing the filter settings to get more interesting results. Set the layer opacity to 50% and clip it to the previous layer (Cmd/Ctrl + Opt/Alt + G). This pastThe renderer is not completely converted to a plastic skin and only gives a small glow, which makes the model more realistic.

Add a layer mask and use the black Brush Tool (B) to remove the influence of unwanted parts.

Duplicate the layer using the “Plastic Wrap” filter (Cmd/Ctrl + J), clip it and change the Opacity to 15% and the Blending Mode to “Color Burn”. This layer returns the natural color of the skin and removes excess white tones after applying the filter. Now you can merge (Cmd/Ctrl + E) or combine (Cmd/Ctrl + G) all the layers with the model. Finished with model retouching.

Step 9

Let’s get to the more boring and important part. The next few hours you spend on a career – the creation of robot parts. In principle it’s simple! Create a new group (Layer > New > Group or icon on the layers panel) on the model layer (you will have many layers) and follow the process. Create some supports and a large ellipse. I fill it with black using the Ellipse Tool (U) (or use a large hard brush). This will be our main part.

Set Size: 3 px, Opacity: 100% and black hard brush, take the Pen Tool (P) and draw the path you need it, do right click – Stroke Path – Brush, don’t forget to delete the path – Delete with keyboard or right click Click – to delete the path. (B) is also popular for stand-alone use of the brush tool. A bit of advice, you’ll do this easier and faster if you start with the center line. So you quickly realized you wanted to draw. The most important rule in this activity is to create a new layer for each stroke.

If you need to fix a certain point in the path, use the Direct Selection Tool (A) to quickly switch to this tool, holding down the Cmd/Ctrl key. Keep up the good work and you’ll get a great result! The main thing is not to doubt. Here are my results. When you’re sure you want to draw accurately and content, then merge all detail layers into one (Cmd/Ctrl + E or Layer > Merge Layers).

Step 10

Now let the line there be real. Add the style “Bevel & Emboss” on the layer with the mechanical parts, double-click on the layer or go to Layer > Layer Styles > “Bevel & Emboss”. In the window that appears, set the settings as shown below. As you can see, the effects of the internal circuitry make the part realistic, but not enough.

Also, if the effect will be where it is not needed, just convert the layer to a Smart Object (right click on the layer > Convert to Smart Object), add a layer mask and delete the unwanted ones Effect. Cut this layer on the model layer (Cmd/Ctrl + Opt/Alt + G) to hide the exposed parts of the circle.

Duplicate the model layer (Cmd/Ctrl + J) and place it above the curves layer, hold Cmd/Ctrl and click on the curves thumbnail to select them. Go to the top model layer and delete (Delete on keyboard or Edit > Clear) the selection. Deselect using Cmd/Ctrl + D or Select > Deselect. Add a “Bevel and Emboss” style. Set the settings as shown in the image below. Cut this layer to the previous one.

Now I added a texture to fill the space in the model. Do File>Place and add the image “cables_01_by_ribot02-d55feku”. Use the cyborg effect to move this layer between the two layers. Hold down the Cmd/Ctrl key and click on the curve thumbnail to add a layer mask to remove all texture on the curve. Be sure to cut this layer (Cmd/Ctrl + Opt/Alt + G). Use a 35px Soft Circle Brush to remove some of the texture on the layer mask from the edges of the large circle.

Step 11

Now create a large bubble where we will place our model. There’s nothing to search for and download, I’ll tell you how to do it yourself. First, we need a new file (Cmd/Ctrl + N or File > New) 600 pixels wide, 600 pixels high, resolution 300 pixels/inch, background color: Other (black). Merge all model layers into one (Cmd/Ctrl + E).

Go to Filter > Render > Lens Flare… Set Lens Type: 105mm Prime, Brightness: 100%. Highlight in the box that its edges have been cut off and that all parts of the flare are not light sources and click OK.

Go to Filter > Distort > Polar… change “Polar to Rectangular” and OK. Rotate the image 180 degrees (Image > Image Rotation > 180 Degrees).

Add a filter “Polar” again, but this time set “Rectangular Polar” and your bubble is complete! It’s just going to cut it. Create a proportional circle from the center of the image using the Elliptical Marquee Tool (M) and holding Cmd/Ctrl + Opt/Alt. Be careful and attentive. Make sure you have circled the entire foam and there is no excess. To make it easier to use – right click > Transform selection. Take the Move Tool (V) and enter the bubble into File and Photo Actions.

Step 12

Now continue working on the document. Change the blending mode to “Screen”. Place the layer above the model layer and use the Free Transform tool (Ctrl/Cmd + T or Edit > Free Transform) to resize the layer slightly larger than the model.

Add some texture to the bubbles. Load the “Hexagon Texture” brush in Photoshop and use the Brush Tool (B) (Size: 300 – 500 px, Opacity: 70 – 100%) to paint a new layer with the texture you like (I used “Sampled Brush…” and 17). Use white and a sandwich texture (Cmd/Ctrl + Opt/Alt + G) on the bubbles.

Now, create a textured volume as it cannot be flat. Hold Cmd/Ctrl and click on the bubble thumbnail and return to the texture layer. Go to Filter > Distort > Spherize… and set Amount: 100%. This is the volume to make realistic bubbles.

Step 13

So, part of the central sphere is ready, but now my focus is on using the cyborg arm to create small spheres to revitalize a small tableau and change the background. I will be able to create more harmonious other elements (wires from the central sphere, bubbles, etc.). Start by grouping (Cmd/Ctrl + G) all the layers of the central sphere and duplicating them (Cmd/Ctrl + J). Duplicate groups are merged in a single layer (Cmd/Ctrl+E).

Use the Move Tool (V) + Opt/Alt to make more copies of the sphere. You need a depth of field, so first start filling the image with a few larger spheres. Use the Free Transform tool (Ctrl/Cmd + T or Edit > Free Transform) to resize and rotate the sphere. Rotate the sphere considering that bright flares should be oriented towards the central sphere. Don’t worry about the sphere getting darker, just change the blending mode to “Screen”. When you have the sphere in the correct position, merge these layers into a Smart Object by converting the layers (right click on the layer > Convert to Smart Object).

Duplicate the resulting layer (Cmd/Ctrl + J) and shrink it to get a small sphere. Repeat the tip from the previous paragraph, just consider that you have a lot of fields and they don’t need much overlap.

You have two layers – small and large spheres. Make sure the layer with the small sphere is below the layer with the large sphere and convert both layers to Smart Objects. Go to Filter > Blur > Gaussian Blur… Make Radius: 10px. Remove some blur on the filter mask to create depth of field. Use the Brush Tool (B) with settings – Form: Soft Round Brush, Size: 200px, Opacity: 30%.

Step 14

So we’ve added some details to the background, now it’s time to add a little color. All the following steps will be on a new layer, so don’t forget it. Go back to the “Background” group and with a large soft round brush (size: 600px, opacity: 30%, color: #00aeef), make some nice spots in the middle of the image. Set layer opacity: 50%. Create two large spots on the sides of the image, using color #406618 and brush size: 1300px.

Using brush: Size: 2000, Opacity: 100%, Color: #fff200, make the light in the middle of the bottom of the image. Layer Blending Mode “Difference” and Opacity: 70%. On the second layer use the same color, but a smaller brush size: 1200px. Layer Blending Mode “Overlay” and Opacity: 32%.

Add the main light source. Brush Size: 1500, Opacity: 100%, Color: White. A ray of light slightly above the central sphere. Layer Opacity: 40%. Select the center sphere (hold Cmd/Ctrl and click on the sphere thumbnail) and create a point below the sphere. Use color – #fff468 and lower the layer opacity to 15%.

Finishing the background work in this step, we don’t go back to that point. Here are my results. Colors may vary. You can add purple or cool blue tones. All to your taste! I made the structural layer like this because later, when I added the color effects, the colors blended to give a very beautiful tone.

Step 15

Let’s go back to our model and add some effects to the sphere and create an evil line :). First, add some texture to the half-human sphere. Load “Z-DESIGN Tech Brush Set v6” in Photoshop. It’s entirely your choice what brushes to use (I use them all). Select the sphere (Command/Ctrl + click on the layer thumbnail) and create a new layer (as a clipping mask). Use white to draw the hologram on the sphere. Try not to place the circle clearly in the center of the sphere. Arrange them around the edges and you’ll get a better result.

Squeeze the circle with the filter “Spherize” (Filter>Distort>Spherize…). Set Amount: 100% and OK. I slightly reduced the layer opacity to 60%. Deselect using Cmd/Ctrl + D or Select > Deselect. So you have a nice futuristic texture on the sphere. To make the hologram more natural, add the style “Outer Glow” (double click on the layer) and set the settings as shown in the image below.

Now repeat with the remaining balls. You cannot add styles to the hologram on the ball. Reduce the effect on the sphere by lowering the layer opacity to 85%, and use a layer mask to reduce the effect on the bright areas. Also I grouped the orbs together with the orbs in a group “Other Robots”.

Step 16

I decided to add the final piece to the central sphere. I want to create the effect of updating fields. For this I used a brush “Sample Brush 27” (size: 150 – 30px, opacity: 50%) with some specific settings. Go to the Brush Controls tab (F5) and set – Spacing: 70% to turn down the density of the brush. There, in the Shape Dynamics tab set Size Jitter: 100% and Angle Jitter: 40% (each new piece has a different size and angle).

Now, on a new layer, draw falling particles on either side of the central sphere. Change the size to brush the volume of the particles. Use a layer mask to remove duplicate debris and make the particles less dense. Double-click the layer and add a setting of style “Outer Glow” as shown in the image below.

Step 17

Time for the wire! Open the picture “Metal_Squiddy_Spread_by_Della_Stock” (Cmd/Ctrl + O). Use the Magic Wand Tool (W) and the Shift key to select the background. Make an inverse selection by using Cmd/Ctrl + Shift + I or Select > Inverse. Hold Cmd/Ctrl (Move Tool (V)) and move the wire into the working document.

Convert the wires in the smart object (right click > Convert to Smart Object) so that image quality is not lost. Use the Transform Tool (Cmd/Ctrl + T, right click > Transform), then extrude the wire and stretch it vertically so that it is proportional to the picture (in this mode you can move the mesh and edges). Now, keep up the good work and use different parts of the wires to connect the model to the system :). If you need to change the shape of the wire again, just convert the layer to a Smart Object. Use a layer mask to remove lines outside the model.

Once all the wires were in place, I merged all the layers into one by converting them to smart objects. To give the wires its final shape I used Puppet Warp (Edit > Puppet Warp), I made a curved wire and a more natural view. Drag the points of each wire to the desired location and press Enter when finished.

We embedded wires underwater to make it look realistic. To do this, create a new layer and clip it to the wire layer. Take the Brush Tool (B) with size 1100px, Opacity: 100% and Color: #0e4368. existDraw a point on the upper line, but make sure the color doesn’t reach the sphere. Don’t do this for the lower wires. I’ll add other effects to them.

Step 18

You already have the knowledge and experience to make the same wire for the ball. The principles remain the same. You can use existing wires from your job, but you’ll need to remove unnecessary sections. At this time, the tone of the thread is a little different. Go to Layer > New Fill Layer > Solid Color… In the window that appears, set the blending mode to “Color Dodge” and in the next window set the color #a6c8df. Use this layer as a clipping mask to the small sphere. Additionally, add some blur (Filter > Blur > Gaussian Blur) to create depth of field on the wire layer. Blur Radius: 5.0px.

Let’s go back to the center field and create an entry point into the sphere. Go to the foam layer and take the smudge tool (yup! Surprisingly, this round of events :)). Gently pull the edges of the bubble over the wire. Don’t make the connection too long or too long. Choose the size of the brush to the thickness of the wire, and use a stiff brush. To quickly increase or decrease the brush size, press “]” or “[” respectively.

The base is ready, now you can add the bubbles. Next I’ll show you how to do it, but for now look at my results.

Step 19

First load the “Underwater Bubbles Brush” in Photoshop, be sure to add the style in Photoshop, as the instructions write, create a new “Bubbles” group and add the style in the brush pack. Then, everything is simple – create new layers for each type of bubble – using the Brush Tool (B) with white color and different sizes. First, create the base with the brush “Thin Light Shaft (Tilt Spray)” and change the brush angle to 0 degrees (to get a vertical orientation). Spread the texture throughout the area and highlight it in certain places.

Create a first layer of medium-sized bubbles over the entire area of ​​the work area. Brush “Underwater Bubbles (Scattering)” and “Flat Underwater Bubbles (Scattering)”, Size: 70 – 150px, Opacity: 50%, Color: White. Not just scattered throughout. Try to make a variety of textures – foam crowded or lack thereof. Add the filter “Gaussian Blur” (Filter > Blur > Gaussian Blur), set Radius: 2.0px. I’ve transformed each layer with bubbles in smart objects, but you don’t need to do this.

Make small bubbles near the sphere to create depth (size: 35px, opacity: 50%). Apply this filter “Gaussian Blur”, Radius: 5.0px, and add a final bubble, large size (Size: 900px, Opacity: 100%), carefully placed throughout the working area. To undo the last action, use Cmd/Ctrl + Opt/Alt + Z or Edit > Undo. Add filter “Gaussian Blur”, Radius: 13.0px.

Step 20

With all the foam done, we come to a very interesting part – creating color effects and color corrections. At first I did lighting to darken the background and make the image clearer. Create a new lossless layer using Cmd/Ctrl + Shift + N or go to Layer > New > Layer. In the dialog box, specify the following settings for the layer: Mode: Overlay, Fill in the “Fill with neutral color (50% gray)” checkbox. Use the Burn Tool (O) to create a shadow and the Dodge Tool (O) to create a light as shown below,�The beauty of this level is that you can create perfect lighting without worrying about damaging the image.

Set the Brush Tool (B) (Size: 1400 px, Opacity: 100%, Hardness: 0%, Color: #fff200) and paint three large dots on a new layer: larger in the middle, a little smaller on the left, and right. Reduce the layer opacity to 67% and return to the Gradient Tool (G). Set up the form: Linear Gradient, Preset “Foreground Transparent” and Color #00aeef (on a new layer) Draw the gradient from the bottom border of the document, up to 1/3 of the center sphere. Change the layer blending mode to “Subtract”.

Step 21

Now I go into the adjustment layer. Go to Layer > New Adjustment Layer > Curves… Set the coordinates of each point and channel as shown in the image below. I made this layer darker, the whole image (dark), and the blues and greens. So I can enhance color effects and create contrast.

The next adjustment layer is “Brightness/Contrast” (Layer > New Adjustment Layer > Brightness/Contrast…). Set Brightness: 1, Contrast: 10. This layer is all understood I wanted to make a very saturated color to emphasize the atmospheric mystery and scare the viewer a bit.

The last adjustment layer is “Selective Color” (Layer > New Adjustment Layer > Selective Color…), use the image below to set the settings for red, yellow, cyan, blue and neutral tones. A certain range, but most importantly, I wanted to boost the red, and that’s it! The screen is ready.

Step 22

Now a little bonus. I didn’t use it in the original, but I thought it would be fun to add glass to the image. This step is optional, so it’s up to you. So create a new layer and using a rectangular shape with the Rectangle Tool (M), circle the middle of the image to make a small frame. Go to Select > Modify > Feathers… (Shift + F6). Set Feather Radius: 60px.

Inverse selection (Cmd/Ctrl + Shift + I). Create a new layer, press Q key on the keyboard to enter quick mask mode, and add the filter “Colored Halftone” (Filter>Pixel>Colored Halftone…), the settings are as shown in the image below (you can try Use these values ​​to get interesting effects).

Deselect again and fill it with black (Cmd/Ctrl + Del). That’s all!

Completed:

Many students like high-tech and unknown things like the picture in the picture, but we can’t realize them in reality. As long as you have the will and the scene you like, PS will help you realize your dream.

This tutorial uses PS to create a photo with the effect of a science fiction movie. We must have seen such high-tech scenes in science fiction movies. The production of this film does not need to spend huge sums of money to complete. Students only need to follow the steps. Complete, the tutorial is translated, the translation in the text is detailed, and the steps are clear. What are you waiting for? Let’s make it together, classmates.

Rendering:

Operation steps:

Step 1

Open Photoshop and let’s start creating a new document. Go to File > New or use the hotkey Cmd/Ctrl + N. Set the width to 3300 pixels, the height to 1800 pixels, and the resolution to 300 pixels/inch.

Step 2

First I made a basic background to see the volume and choose a suitable color. When you’re working on painting or detail, don’t use pure white or black pieces. Create a new layer (Layer > New > New or Command/Ctrl + Shift + N) and take the Gradient Tool (G). Set the gradient style: Radial, then go to the gradient editor and make the gradient #ffffff – #3a82a9 – #041d30. Move the gradient midpoint (the two small dots between the bottom sliders) a little to the left to make the color transition harder.

Step 3

Now draw the gradient as shown in the image below. Start in the middle of the document and move horizontally downward. For accurate and precise alignment, hold down the Shift key on your keyboard.

Now draw another radial gradient with the same settings in a new layer (Cmd/Ctrl + Shift + N), with the light blue part extending slightly beyond the boundaries of the working area. This time, draw a gradient from the center to any corner of the work area. Set the layer opacity to around 25%.

Step 4

Add another gradient on a new layer (Cmd/Ctrl + Shift + N). With this we will darken the bottom of the image. Set the background color – black (D to restore the default color, X to toggle them) and the foreground color – #015890, set the gradient style: Linear. Hold down the Shift key and draw from the top to the bottom edge of the document. Lower the layer opacity to 15%.

On a new layer, gradient the left, right and bottom edges of the image using the gradient preset “Foreground to Transparent” (black) as shown in the image below. Lower the layer opacity to 90%.

Add a little green to the bottom of the image. Everything remains the same, just use the foreground color – #b3ed87. Draw a gradient starting from the bottom and slightly smaller than the middle of the image. Change the blending mode to “Overlay”. I strongly recommend that you hide the background layers in a group so they won’t interfere with you in the future (select the layer and click the folder icon on the layers panel or Cmd/Ctrl + G).

Step 5

Now comes a very interesting part. I’m going to introduce you to the basics of grooming. First, add the model to your working document. Do File > Place and select the image “Days_go_by_III_by_almudena_stock”. Use the Free Transform tool (Ctrl/Cmd + T or Edit > Free Transform) to adjust and rotate the model as shown in the image below.

Use the Pen Tool (P) to circle the model and get a selection. Using other tools in this situation may damage the model. With the curve not bending after the last bend, hold down Opt/Alt and click on the active anchor point. When creating a model path, make a selection by clicking the Make Selection button on the Properties pane. Set Feather Radius: 0px. When you make the selection you need to remove the background from the hair. To do this we use the option “Optimize Edges” (Cmd/Ctrl + Opt/Alt + R or go to Select > Refine Edges).

Look at “White” and “Toggle Edges: -40%” in the “Optimize Edges” collection. I didn’t change the outline, your job is to take the brush out of the window and carefully paint the model’s hair to remove any residue from the background. Click OK to apply the settings. Add a layer mask to this layer to remove the background (use the Add Layer Mask button in the Layers panel or Layer > Layer Mask > Reveal Selection).

Step 6

Now for the retouching. First, create a copy of the model layer (Cmd/Ctrl + J or Layer > Duplicate Layer…) (just in case you don’t have the next step, delete it if not in use) and rasterize it ( Right click on the layer > Rasterize Layer).

Use the Clone Stamp Tool(S) (Size: 25px, Opacity: 40%, Hardness: 0%, Sample: Current Layer) to remove skin blemishes (some of which are shown in the image below). Once done, duplicate the layer (Cmd/Ctrl + J or Layer > Duplicate Layer…) and apply a layer mask (right-click on mask > Apply Layer Mask). In the next paragraph, I strongly recommend that you do not move any of the following layers. Otherwise, you will have to start over.

To the duplicated layer, add a layer mask (Add Layer Mask button in the Layers Panel or Layer > Layer Mask > Show All…). Select the layer mask, use the Brush Tool (B) (Size: 20-30px, Opacity: 100%, Hardness: 0%) and paint all the dark areas. By “dark places” I mean there are a lot of hard shadows on the model’s body, as well as on the eyes, eyebrows, hair, etc. (but I don’t recommend you to remove them), so you don’t interfere with the lower layers Temporarily close layers by clicking on the eye icon next to them.

Step 7

Add some filters to smooth the skin and make it beautiful and youthful. Go to Filter > Noise > Dust & Scratches. Set Radius: 15px and Threshold: 0. There is also such an action filter “Gaussian Blur” (Filter>Blur>Gaussian Blur). In the window that appears, set the Radius: 15px.

Everything will look pretty blurry, but lower the layer opacity to 70% and clip it to a lower layer (Cmd/Ctrl+Opt/Alt+G or right-click on the layer > Create Clipping Mask ) before adding a layer mask and removing excess blur (B) (size: 70px, opacity: 30%, soft round brush). It is important to find the right balance and softening of the skin’s physical relief, i.e. reducing the edges and details (bone relief) to keep them a bit sharp. Duplicate this layer (Cmd/Ctrl + J).

Step 8

Now I use the filter “Plastic Packaging” to create the effect of artificial materials (plastic) on the skin. Go to Filter > Filter Library (Artistic) > Plastic Wrap. Set there: Highlight Strength: 10/(Strength: 10), Detail: 10, Smoothing: 15 and press OK. Try changing the filter settings to get more interesting results. Set the layer opacity to 50% and clip it to the previous layer (Cmd/Ctrl + Opt/Alt + G). This filter does not completely convert to plastic skin, only gives a small glow, which makes the model more realistic.

Add a layer mask and use the black Brush Tool (B) to remove the influence of unwanted parts.

Duplicate the layer using the “Plastic Wrap” filter (Cmd/Ctrl + J), clip it and change the Opacity to 15% and the Blending Mode to “Color Burn”. This layer returns the natural color of the skin and removes excess white tones after applying the filter. Now you can merge (Cmd/Ctrl + E) or combine (Cmd/Ctrl + G) all the layers with the model. Finished with model retouching.

Step 9

Let’s get to the more boring and important part. The next few hours you spend on a career – the creation of robot parts. In principle it’s simple! Create a new group (Layer > New > Group or icon on the layers panel) on the model layer (you will have many layers) and follow the process. Create some supports and a large ellipse. I fill it with black using the Ellipse Tool (U) (or use a large hard brush). This will be our main part.

Set Size: 3 px, Opacity: 100% and black hard brush, take the Pen Tool (P) and draw the path you need it, do right click – Stroke Path – Brush, don’t forget to delete the path – Delete with keyboard or right click Click – to delete the path. (B) is also popular for stand-alone use of the brush tool. A bit of advice, you’ll do this easier and faster if you start with the center line. So you quickly realized you wanted to draw. The most important rule in this activity is to create a new layer for each stroke.

If you need to fix a certain point in the path, use the Direct Selection Tool (A) to quickly switch to this tool, holding down the Cmd/Ctrl key. Keep up the good work and you’ll get a great result! The main thing is not to doubt. Here are my results. When you’re sure you want to draw accurately and content, then merge all detail layers into one (Cmd/Ctrl + E or Layer > Merge Layers).

Step 10

Now let the line there be real. Add the style “Bevel & Emboss” on the layer with the mechanical parts, double-click on the layer or go to Layer > Layer Styles > “Bevel & Emboss”. In the window that appears, set the settings as shown below. As you can see, the effects of the internal circuitry make the part realistic, but not enough.

Also, if the effect will be where it is not needed, just convert the layer to a Smart Object (right click on the layer > Convert to Smart Object), add a layer mask and delete the unwanted ones Effect. Cut this layer on the model layer (Cmd/Ctrl + Opt/Alt + G) to hide the exposed parts of the circle.

Duplicate the model layer (Cmd/Ctrl + J) and place it above the curves layer, hold Cmd/Ctrl and click on the curves thumbnail to select them. Go to the top model layer and delete (Delete on keyboard or Edit > Clear) the selection. Deselect using Cmd/Ctrl + D or Select > Deselect. Add a “Bevel and Emboss” style. Set the settings as shown in the image below. Cut this layer to the previous one.

Now I added a texture to fill the space in the model. Do File>Place and add the image “cables_01_by_ribot02-d55feku”. Use the cyborg effect to move this layer between the two layers. Hold down the Cmd/Ctrl key���Then click on the curves thumbnail and add a layer mask to remove all texture on the curves. Be sure to cut this layer (Cmd/Ctrl + Opt/Alt + G). Use a 35px Soft Circle Brush to remove some of the texture on the layer mask from the edges of the large circle.

Step 11

Now create a large bubble where we will place our model. There’s nothing to search for and download, I’ll tell you how to do it yourself. First, we need a new file (Cmd/Ctrl + N or File > New) 600 pixels wide, 600 pixels high, resolution 300 pixels/inch, background color: Other (black). Merge all model layers into one (Cmd/Ctrl + E).

Go to Filter > Render > Lens Flare… Set Lens Type: 105mm Prime, Brightness: 100%. Highlight in the box that its edges have been cut off and that all parts of the flare are not light sources and click OK.

Go to Filter > Distort > Polar… change “Polar to Rectangular” and OK. Rotate the image 180 degrees (Image > Image Rotation > 180 Degrees).

Add a filter “Polar” again, but this time set “Rectangular Polar” and your bubble is complete! It’s just going to cut it. Create a proportional circle from the center of the image using the Elliptical Marquee Tool (M) and holding Cmd/Ctrl + Opt/Alt. Be careful and attentive. Make sure you have circled the entire foam and there is no excess. To make it easier to use – right click > Transform selection. Take the Move Tool (V) and enter the bubble into File and Photo Actions.

Step 12

Now continue working on the document. Change the blending mode to “Screen”. Place the layer above the model layer and use the Free Transform tool (Ctrl/Cmd + T or Edit > Free Transform) to resize the layer slightly larger than the model.

Add some texture to the bubbles. Load the “Hexagon Texture” brush in Photoshop and use the Brush Tool (B) (Size: 300 – 500 px, Opacity: 70 – 100%) to paint a new layer with the texture you like (I used “Sampled Brush…” and 17). Use white and a sandwich texture (Cmd/Ctrl + Opt/Alt + G) on the bubbles.

Now, create a textured volume as it cannot be flat. Hold Cmd/Ctrl and click on the bubble thumbnail and return to the texture layer. Go to Filter > Distort > Spherize… and set Amount: 100%. This is the volume to make realistic bubbles.

Step 13

So, part of the central sphere is ready, but now my focus is on using the cyborg arm to create small spheres to revitalize a small tableau and change the background. I will be able to create more harmonious other elements (wires from the central sphere, bubbles, etc.). Start by grouping (Cmd/Ctrl + G) all the layers of the central sphere and duplicating them (Cmd/Ctrl + J). Duplicate groups are merged in a single layer (Cmd/Ctrl+E).

Use the Move Tool (V) + Opt/Alt to make more copies of the sphere. You need a depth of field, so first start filling the image with a few larger spheres. Use the Free Transform tool (Ctrl/Cmd + T or Edit > AutoTransform) to resize and rotate the sphere. Rotate the sphere considering that bright flares should be oriented towards the central sphere. Don’t worry about the sphere getting darker, just change the blending mode to “Screen”. When you have the sphere in the correct position, merge these layers into a Smart Object by converting the layers (right click on the layer > Convert to Smart Object).

Duplicate the resulting layer (Cmd/Ctrl + J) and shrink it to get a small sphere. Repeat the tip from the previous paragraph, just consider that you have a lot of fields and they don’t need much overlap.

You have two layers – small and large spheres. Make sure the layer with the small sphere is below the layer with the large sphere and convert both layers to Smart Objects. Go to Filter > Blur > Gaussian Blur… Make Radius: 10px. Remove some blur on the filter mask to create depth of field. Use the Brush Tool (B) with settings – Form: Soft Round Brush, Size: 200px, Opacity: 30%.

Step 14

So we’ve added some details to the background, now it’s time to add a little color. All the following steps will be on a new layer, so don’t forget it. Go back to the “Background” group and with a large soft round brush (size: 600px, opacity: 30%, color: #00aeef), make some nice spots in the middle of the image. Set layer opacity: 50%. Create two large spots on the sides of the image, using color #406618 and brush size: 1300px.

Using brush: Size: 2000, Opacity: 100%, Color: #fff200, make the light in the middle of the bottom of the image. Layer Blending Mode “Difference” and Opacity: 70%. On the second layer use the same color, but a smaller brush size: 1200px. Layer Blending Mode “Overlay” and Opacity: 32%.

Add the main light source. Brush Size: 1500, Opacity: 100%, Color: White. A ray of light slightly above the central sphere. Layer Opacity: 40%. Select the center sphere (hold Cmd/Ctrl and click on the sphere thumbnail) and create a point below the sphere. Use color – #fff468 and lower the layer opacity to 15%.

Finishing the background work in this step, we don’t go back to that point. Here are my results. Colors may vary. You can add purple or cool blue tones. All to your taste! I made the structural layer like this because later, when I added the color effects, the colors blended to give a very beautiful tone.

Step 15

Let’s go back to our model and add some effects to the sphere and create an evil line :). First, add some texture to the half-human sphere. Load “Z-DESIGN Tech Brush Set v6” in Photoshop. It’s entirely your choice what brushes to use (I use them all). Select the sphere (Command/Ctrl + click on the layer thumbnail) and create a new layer (as a clipping mask). Use white to draw the hologram on the sphere. Try not to place the circle clearly in the center of the sphere. Arrange them around the edges and you’ll get a better result.

Squeeze the circle with the filter “Spherize” (Filter>Distort>Spherize…). Set Amount: 100% and OK. I slightly reduced the layer opacity to 60%. Deselect using Cmd/Ctrl + D or Select > Deselect. So you have a nice futuristic texture on the sphere. To make the hologram more natural, add styles &”Outer Glow” (double-click the layer) and set the settings as shown below.

Now repeat with the remaining balls. You cannot add styles to the hologram on the ball. Reduce the effect on the sphere by lowering the layer opacity to 85%, and use a layer mask to reduce the effect on the bright areas. Also I grouped the orbs together with the orbs in a group “Other Robots”.

Step 16

I decided to add the final piece to the central sphere. I want to create the effect of updating fields. For this I used a brush “Sample Brush 27” (size: 150 – 30px, opacity: 50%) with some specific settings. Go to the Brush Controls tab (F5) and set – Spacing: 70% to turn down the density of the brush. There, in the Shape Dynamics tab set Size Jitter: 100% and Angle Jitter: 40% (each new piece has a different size and angle).

Now, on a new layer, draw falling particles on either side of the central sphere. Change the size to brush the volume of the particles. Use a layer mask to remove duplicate debris and make the particles less dense. Double-click the layer and add a setting of style “Outer Glow” as shown in the image below.

Step 17

Time for the wire! Open the picture “Metal_Squiddy_Spread_by_Della_Stock” (Cmd/Ctrl + O). Use the Magic Wand Tool (W) and the Shift key to select the background. Make an inverse selection by using Cmd/Ctrl + Shift + I or Select > Inverse. Hold Cmd/Ctrl (Move Tool (V)) and move the wire into the working document.

Convert the wires in the smart object (right click > Convert to Smart Object) so that image quality is not lost. Use the Transform Tool (Cmd/Ctrl + T, right click > Transform), then extrude the wire and stretch it vertically so that it is proportional to the picture (in this mode you can move the mesh and edges). Now, keep up the good work and use different parts of the wires to connect the model to the system :). If you need to change the shape of the wire again, just convert the layer to a Smart Object. Use a layer mask to remove lines outside the model.

Once all the wires were in place, I merged all the layers into one by converting them to smart objects. To give the wires its final shape I used Puppet Warp (Edit > Puppet Warp), I made a curved wire and a more natural view. Drag the points of each wire to the desired location and press Enter when finished.

We embedded wires underwater to make it look realistic. To do this, create a new layer and clip it to the wire layer. Take the Brush Tool (B) with size 1100px, Opacity: 100% and Color: #0e4368. Draw a point on the upper line, but make sure the color doesn’t reach the sphere. Don’t do this for the lower wires. I’ll add other effects to them.

Step 18

You already have the knowledge and experience to make the same wire for the ball. original�Remain unchanged. You can use existing wires from your job, but you’ll need to remove unnecessary sections. At this time, the tone of the thread is a little different. Go to Layer > New Fill Layer > Solid Color… In the window that appears, set the blending mode to “Color Dodge” and in the next window set the color #a6c8df. Use this layer as a clipping mask to the small sphere. Additionally, add some blur (Filter > Blur > Gaussian Blur) to create depth of field on the wire layer. Blur Radius: 5.0px.

Let’s go back to the center field and create an entry point into the sphere. Go to the foam layer and take the smudge tool (yup! Surprisingly, this round of events :)). Gently pull the edges of the bubble over the wire. Don’t make the connection too long or too long. Choose the size of the brush to the thickness of the wire, and use a stiff brush. To quickly increase or decrease the brush size, press “]” or “[” respectively.

The base is ready, now you can add the bubbles. Next I’ll show you how to do it, but for now look at my results.

Step 19

First load the “Underwater Bubbles Brush” in Photoshop, be sure to add the style in Photoshop, as the instructions write, create a new “Bubbles” group and add the style in the brush pack. Then, everything is simple – create new layers for each type of bubble – using the Brush Tool (B) with white color and different sizes. First, create the base with the brush “Thin Light Shaft (Tilt Spray)” and change the brush angle to 0 degrees (to get a vertical orientation). Spread the texture throughout the area and highlight it in certain places.

Create a first layer of medium-sized bubbles over the entire area of ​​the work area. Brush “Underwater Bubbles (Scattering)” and “Flat Underwater Bubbles (Scattering)”, Size: 70 – 150px, Opacity: 50%, Color: White. Not just scattered throughout. Try to make a variety of textures – foam crowded or lack thereof. Add the filter “Gaussian Blur” (Filter > Blur > Gaussian Blur), set Radius: 2.0px. I’ve transformed each layer with bubbles in smart objects, but you don’t need to do this.

Make small bubbles near the sphere to create depth (size: 35px, opacity: 50%). Apply this filter “Gaussian Blur”, Radius: 5.0px, and add a final bubble, large size (Size: 900px, Opacity: 100%), carefully placed throughout the working area. To undo the last action, use Cmd/Ctrl + Opt/Alt + Z or Edit > Undo. Add filter “Gaussian Blur”, Radius: 13.0px.

Step 20

With all the foam done, we come to a very interesting part – creating color effects and color corrections. At first I did lighting to darken the background and make the image clearer. Create a new lossless layer using Cmd/Ctrl + Shift + N or go to Layer > New > Layer. In the dialog box, specify the following settings for the layer: Mode: Overlay, Fill in the “Fill with neutral color (50% gray)” checkbox. Use the Burn Tool (O) to create a shadow and the Dodge Tool (O) to create a light as shown in the image below. The beauty of this layering is that you can create perfect lighting without worrying about damaging the image.

Set the Brush Tool (B) (Size: 1400 px, Opacity: 100%, Hardness: 0%, Color: #fff200) and paint three large dots on a new layer: larger in the middle, a little smaller on the left, and right. Reduce the layer opacity to 67% and return to the Gradient Tool (G). Set up the form: Linear Gradient, Preset “Foreground Transparent” and Color #00aeef (on a new layer) Draw the gradient from the bottom border of the document, up to 1/3 of the center sphere. Change the layer blending mode to “Subtract”.

Step 21

Now I go into the adjustment layer. Go to Layer > New Adjustment Layer > Curves… Set the coordinates of each point and channel as shown in the image below. I made this layer darker, the whole image (dark), and the blues and greens. So I can enhance color effects and create contrast.

The next adjustment layer is “Brightness/Contrast” (Layer > New Adjustment Layer > Brightness/Contrast…). Set Brightness: 1, Contrast: 10. This layer is all understood I wanted to make a very saturated color to emphasize the atmospheric mystery and scare the viewer a bit.

The last adjustment layer is “Selective Color” (Layer > New Adjustment Layer > Selective Color…), use the image below to set the settings for red, yellow, cyan, blue and neutral tones. A certain range, but most importantly, I wanted to boost the red, and that’s it! The screen is ready.

Step 22

Now a little bonus. I didn’t use it in the original, but I thought it would be fun to add glass to the image. This step is optional, so it’s up to you. So create a new layer and using a rectangular shape with the Rectangle Tool (M), circle the middle of the image to make a small frame. Go to Select > Modify > Feathers… (Shift + F6). Set Feather Radius: 60px.

Inverse selection (Cmd/Ctrl + Shift + I). Create a new layer, press Q key on the keyboard to enter quick mask mode, and add the filter “Colored Halftone” (Filter>Pixel>Colored Halftone…), the settings are as shown in the image below (you can try Use these values ​​to get interesting effects).

Deselect again and fill it with black (Cmd/Ctrl + Del). That’s all!

Completed:

Many students like high-tech and unknown things like the picture in the picture, but we can’t realize them in reality. As long as you have the will and the scene you like, PS will help you realize your dream.