This case is a typical synthesis case of matting+splicing+color matching.
Although due to a series of reasons, such as limited time, hard to find materials, and average level, the final product is not particularly perfect (the little H children's boots next door spit out the finished product), but I really tried my best.
The finished product drawing is as follows ~ ~
The materials used are as follows:
Some of these materials have been buckled, and some need to make their own drawings.
As for the matting skills, I have seen a PS network class that was very detailed and good, but because it is a video that I have to use every time I think about it, it is particularly troublesome to find. I think it will be more convenient to find an article when I have time in the future.
PhotoshopCC20 17 is used here.
The following text begins ~
First, create a new blank canvas, open the map of the distant mountain, and cut and resize it.
Then add a mask to the distant mountain layer and erase the redundant part of the lower part with a brush.
Add the sea of clouds material and adjust the position and size.
Then add a mask on the sea of clouds, wipe off the excess with a big brush with low hardness, and then make a natural transition.
Add a solid color tone layer to the background to adjust the overall tone.
Then add a color balance adjustment layer to the distant mountain layer, and then add it as layer mask.
Also add a color balance adjustment layer to the Sea of Clouds layer, and then add it as layer mask.
Add a curve adjustment layer to the sea of clouds layer to darken the clouds and add it as layer mask.
Use a large brush with low hardness to adjust the mask on the curve of the sea of clouds and erase the places that should be bright.
Then add cliff materials, resize and position them, and add masks to erase unnecessary places.
Add a curve adjustment layer to the cliff layer, darken the cliff and add it as layer mask.
Use a brush with lower hardness to adjust the mask on the cliff curve and erase the places that should be bright.
Then add a color balance adjustment layer to the cliff layer, color the cliff, and add it as layer mask.
Create a new layer, draw a blue brush on the cliff, reduce the opacity of the layer, add fog to the cliff, and add the layer as the layer mask of the cliff layer.
Create a new layer, draw a blue brush in the dark part of the cliff, change the layer mode to positive overlay, reduce the opacity of the layer, add shading effect to the cliff, and add the layer as the layer mask of the cliff layer.
Then open the stone material in a new canvas and subtract the stone from the material.
Add buckled stones, adjust the size and position, add masks to erase unnecessary places, and make the transition natural.
Add the color balance adjustment layer to the stone layer, color the stone, and add it as layer mask.
Create a new layer, draw white strokes in the bright part of the stone, change the layer mode to overlay, reduce the opacity of the layer, polish the stone, and add the layer as the layer mask of the stone layer.
In the same way, create a new layer, draw it in the dark part of the stone with a dark blue brush (which can absorb dark clouds), change the layer mode to positive overlay, reduce the opacity of the layer, add shadows to the stone, and add the layer as the layer mask of the stone layer.
Create a new layer, draw a blue brush on the stone, reduce the opacity of the layer, add fog to the stone, and add the layer as the layer mask of the stone layer.
Add the material of arresting the ship, adjust the size and position, add a mask to erase unnecessary places, and the transition is natural.
Create a new layer, draw a gray brush on the boat, reduce the opacity of the layer, add fog to the boat, and add the layer as the layer mask of the boat layer.
Add the color balance adjustment layer to the boat layer, color the boat, and add it as layer mask.
Then create a new layer, add the shadows and projections on the sea of clouds to the ship with a gray brush, change the layer mode to positive overlay and reduce the opacity of the layer.
Add the buckled balloon material and adjust the size and position.
Then adjust the saturation and color level of the hot air balloon, and adjust the light and shade of the hot air balloon with deepening tools and dimming tools.
Then create a new layer, draw a gray brush on the hot air balloon, reduce the opacity of the layer, add fog to the hot air balloon, and add this layer as the layer mask of the hot air balloon layer.
Add other balloon materials, adjust the size and position, and pay attention to the change of distance. The color matching method is the same as the hot air heater just now.
Add the buckled human body material, adjust the size and position, and add a mask to erase unnecessary places.
Then add a curve adjustment layer to the character layer, darken the character and add it as layer mask.
Create a new layer, draw a blue brush on the figure, reduce the opacity of the layer to give people a foggy feeling, and add the layer as the layer mask of the figure layer.
Then add the hue saturation adjustment layer to the person layer, color the person, and add it as layer mask.
Add button bird material, adjust the size and position, reduce the opacity of the layer and make the transition natural.
Create a new layer and brush out the dark parts of clouds and sunlight with a big brush to reduce the opacity of the layer.
Dangdang Dangdang ~
It's done.
This case is not difficult technically, but the most painful part of the whole process is the material part. The materials found online are not clear enough, which is really difficult to deal with. Well, it is said that all the good materials are taken by ourselves. . .
I can't help but think of the time when I took classes online for free. The materials given by that teacher are very clear. Too conscience.
But I forgot to save it when I was following the class. I'll do it later when I have time to dig it out. This is a rare high-definition material. .
Who knows how to cut photos? . Help me. . Urgently needed. . . Just clouds? Is that a cloud without words? Is this all right?
How to add clouds to pictures with ps;
First, after finding the picture of the cloud, cut the picture, remove the things outside the cloud with lasso and rubber, feather it, copy and paste it into the picture you want.
Second,
1, open the original material, then open a cloudy landscape picture, and drag it to the background layer with the mobile tool. The landscape photo is smaller than the original photo. Press Ctrl+T to enlarge it appropriately, so that it is the same size as the picture we want to adjust.
2. Press Ctrl+J to copy the background layers of the two layers and drag them to the clouds for later use. Close your eyes before background copy 2, and deal with background copy first.
3. Turn on the layer blending option.
4. In the layer style dialog box that pops up again, hold down the Alt key to divide the slider on the right side of the layer in the mixed ribbon below into two parts. Then drag the slider to the left when viewing the layer until the cloud below appears. It means hiding the highlights of this layer. If you drag the black slider on the right, it will hide the black part of the layer. This is a technique often used in layer synthesis.
Now we can see that although the sky was hidden in the original film, some people and highlights in the sea were also hidden. Next, we should use background copy 2 to restore the hidden parts of seawater and people.
6. Select partial copy 2, which is above the background copy and blocks the layers below. All layers seem to have been restored. Click the Add layer mask button on the Layers panel to mask background copy 2.
7. Set the foreground behind it to black, and paint it on the sky with a black brush, and the sky appears again. Note: Adjust the opacity and hardness of the brush when wiping the edges of characters, and be careful not to erase the characters. In the mask, black is the shielding part and white is the exposed part. Cover this layer of sky with black, and the next layer of cloudy sky will be displayed.
8. I feel that the colors of the sky and the sea are not harmonious enough. Create a new curve adjustment layer, appropriately reduce red and green, and increase blue. On the dividing line between the background copy 2 and the curve layer, hold down the Alt key and click with the mouse to change the curve layer into a clipping mask. Then erase the characters with a black brush. The effect of cutting the mask is only on the white area of the lower mask, and it will not affect other areas.