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 on the finished products), I really tried my best.
The finished product drawing is as follows ~ ~
The materials used are these:
Some of these materials have been buttoned up, and some need to dig their own pictures.
About the matting skills, I used to watch a PS network class that was particularly detailed and good, but because it is a video that needs to be used every time I think about it, it is particularly troublesome to find it. I think it will be more convenient to find it when I have time to organize it into an article 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 adjust the size.
Then add a mask to the distant mountain layer, and use a brush to erase the redundant part at the lower part.
Add the sea of clouds material and adjust the position and size.
Then add a mask to the sea of clouds, wipe off the excess with a big brush with lower hardness, and 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, darken the clouds, and add it as layer mask.
Use a big brush with low hardness to adjust the mask on the curve of the sea of clouds and erase the place that should be bright.
Then add cliff materials, adjust the size and position, 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 curve of the cliff and erase the place 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, lower the opacity of the layer, add a sense of fog to the cliff, and add the layer as the layer mask of the cliff layer.
Create a new layer, draw a blue brush on the dark part of the cliff, change the layer mode to positive overlay, lower the opacity of the layer, add light and shade 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 deduct the stone from the material.
Add the buckled stone material, adjust the size and position, add a mask to erase the unnecessary places, and the transition is natural.
Add a color balance adjustment layer to the stone layer, color the stone, and add it as layer mask.
Create a new layer, draw a white stroke on the bright part of the stone, change the layer mode to overlay, lower 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 on the dark part of the stone with a dark blue brush (which can absorb the dark cloud color), change the layer mode to positive overlay, lower the opacity of the layer, add a shadow 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, lower the opacity of the layer, add a sense of fog to the stone, and add the layer as the layer mask of the stone layer.
Add the buckled boat material, adjust the size and position, add a mask to erase the unnecessary places, and the transition is natural.
Create a new layer, draw a gray brush on the boat, lower the opacity of the layer, add a sense of fog to the boat, and add the layer as the layer mask of the boat layer.
Add a color balance adjustment layer to the boat layer, color the boat, and add it as layer mask.
Then create a new layer, add shadows and projections on the sea of clouds to the boat with a gray brush, change the layer mode to positive overlay and lower the opacity of the layer.
Add the buckled hot air balloon material and adjust the size and position.
Then adjust the saturation and color scale of the hot air balloon, and adjust the light and shade of the hot air balloon with the deepening tool and the dimming tool.
Then create a new layer, draw a gray brush on the hot air balloon, reduce the opacity of the layer, add a sense of fog to the hot air balloon, and add the layer as the layer mask of the hot air balloon layer.
Add other hot air balloon materials, adjust the size and position, and pay attention to the change of distance. The color matching method is the same as that of the hot air heater just now.
Add the buckled human material, adjust the size and position, and add a mask to erase the unnecessary places.
Then add a curve adjustment layer to the people layer, dim the people and add it as layer mask.
Create a new layer, draw a blue brush on people, lower the opacity of the layer to give people a sense of fog, and add the layer as the layer mask of people's layer.
Then add hue saturation adjustment layer to people's layer, color people, and add it as layer mask.
Add the buttoned bird material, adjust the size and position, reduce the opacity of the layer, and make the transition natural.
Create a new layer, brush out the dark parts of clouds and sunlight with a big brush to reduce the opacity of the layer.
Dangdang dang ~
Done!
This case is not difficult technically, but the most painful part of the whole process is the material part. All the materials found on the Internet are not clear enough, and it is really hard to handle. 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 a free online class. The materials given by that teacher were all high-definition to the point. It was so conscience.
But at that time, I forgot to save it when I followed the class. I have time to turn it out and do it again in the future. It's a rare HD material. .
Who knows how to cut a picture? . Help me. . Urgent need. . . Just clouds? Is that the cloud with no words under about enough? Will this do?
How to add clouds to pictures with ps;
First, after looking for the cloud picture, cut the picture, remove the things outside the cloud with lasso and rubber, feather it, copy it and paste it into the picture you want.
Second,
1, open the original material, then open a landscape picture with clouds, and drag it onto the background layer with the mobile tool. The landscape photo is smaller than the original one. Press Ctrl+T to enlarge it appropriately to make it the same size as the picture we want to adjust.
2. Press Ctrl+J to copy the background layer for two layers and drag it onto the cloud layer for later use. Close your eyes in front of background copy 2, and process the background copy first.
3. Open the layer blending option.
4. In the layer style dialog box that pops up again, press and hold the Alt key to separate the slider to the right of this layer in the mixed color band below into two pieces. Then drag the slider to the left while looking at the layer until the clouds below are displayed. It means to hide the highlight part of this layer. If you drag the black slider on the right, it hides the dark part of this layer. This is a technique often used in layer synthesis.
5. Now we can see that although the sky is hidden in the original film, some people and highlights in the sea are also hidden. Next, we should use the background copy 2 to restore the hidden parts of the sea water and people.
6. Select partial copy 2, which is above the background copy and blocks the layers below, and all the layers seem to be restored. Click the "Add layer mask" button on the layer panel to mask the background copy 2.
7. Put the foreground color behind it as black, and smear 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 edge of the character, and be careful not to erase the character. In the mask, black is the shielding part and white is the revealing part. Cover the sky on this floor with black, and the sky with clouds on the next floor will be displayed.
8. I feel that the colors of the sky and the sea are not coordinated 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 function of clipping mask is only to the white area of the lower mask, and it will not affect other areas.