Hello Alien Art community, today I present this technique and my use of layer masks. For this, I bring two images that I would like you to observe the fusion process between both. The dark background gives it a certain style as it is composed of lights between the eye and its neck. The image is composed and it gives a design set to a transformation with certain details that show parts of it. So let's move on to the explanation of how the process went.
Hola comunidad de Alien Art, hoy les presento esta t茅cnica y mi modo de uso de la m谩scara de capa. Para ello, traigo 2 im谩genes que me gustar铆a que observen el proceso de fusi贸n entre ambas. El fondo oscuro le da un estilo ya que se compone de luces entre el ojo y su cuello. La imagen se compone y se da un dise帽o ambientado a una transformaci贸n con ciertos detalles que muestran partes de ella. As铆 que pasemos a la explicaci贸n de c贸mo fue el proceso.
Starting from the generated model, I began by erasing its background. The issue? The amount of loose hair. To solve this, I used a level layer in multiply blending mode. Then, I added a solid color (to my liking) and merged the image with the color to show the loose hairs without having to erase them and waste time. Later on, I wanted to give it a cybernetic look and ended up completely changing it. Let's continue!
Partiendo de la modelo generada, empec茅 por borrar su fondo. 驴El problema? La cantidad de pelo suelto. Para resolverlo, utilic茅 una capa de nivel en modo de fusi贸n multiplicar. Luego, coloqu茅 un color s贸lido (a mi gusto) y adjunt茅 la imagen al color para as铆 mostrar los pelos sueltos sin tener que borrarlos y perder tiempo en ello. Despu茅s, quise darle un aspecto cibern茅tico y termin茅 cambi谩ndolo por completo. 隆Sigamos adelante!
I placed the dragon on top, adjusting it to an ideal rotation to form part of the helmet or head of the woman, and also added the fangs in her mouth. More details, even if they are minute, add to the design. We are providing a context of transformation, and the more we follow these details, the better we can appreciate the design from top to bottom.
Coloqu茅 el drag贸n encima, ajust谩ndolo a una rotaci贸n ideal para formar parte del casco o la cabeza de la mujer, y tambi茅n agregu茅 los colmillos en su boca. M谩s detalles, aunque sean m铆nimos, suman al dise帽o. Estamos dando un contexto de transformaci贸n, y mientras m谩s sigamos estos detalles, mejor podemos apreciar el dise帽o de principio a fin.
When applying the exposure layer divided into two parts, I used it for the woman and for the dragon's head, so I could work neatly and focus on each one without overlapping and removing shadows. As you can see, the woman's image had a lot of light on her face, so we focused the brightness and attention on her face, ideal for details and spreading it on her body. Then I added red light in the dragon's eye, also painting with light and an inverted mask on the scales and crests that protruded from the face, allowing for a more realistic light reflection.
Al aplicar la capa de exposici贸n dividida en dos partes, la us茅 para la mujer y para la cabeza del drag贸n, de modo que pudiera trabajar ordenadamente y enfocarme en cada una sin superponerme ni eliminar sombras. Como se puede ver, la imagen de la mujer ten铆a mucha luz en su rostro, as铆 que adjudicamos el brillo y la atenci贸n en su cara, ideal para detalles y esparcirlo en su cuerpo. Luego agregu茅 luz roja en el ojo del drag贸n, tambi茅n pintando con luz y una m谩scara invertida en las escamas y crestas que sobresal铆an de la cara, permitiendo un reflejo de luz m谩s realista.
With the layer mask and white color, these parts that protrude from her face, along with some horns, were highlighted. Then,continued with the neck by applying a smoke texture to achieve the effect of torn skin.
. Con la m谩scara de capa y el color blanco, se resaltaron estas partes que sobresalen de su rostro, junto con algunos cuernos (se me olvid贸 el nombre de esas partes jaja). Luego continue con el cuello aplicando una textura de humo para lograr el efecto de piel desgarrada.
For the shoulder, I continued to use more ridges and scales, applied with a layer mask and using the same tearing texture, as the round brush didn't work because it created a uniformity that didn't fit the idea. As you will see below, I also show you a variety of complementary colours that were devised along the way. I hope you liked the design as a whole, and don't hesitate to ask me any questions you may have. SEE YOU.
Para el hombro, continu茅 utilizando m谩s crestas y escamas, aplicadas con una m谩scara de capa y usando la misma textura de desgarro, ya que el pincel redondo no funcionaba porque creaba una uniformidad que no encajaba con la idea. Como ver谩s a continuaci贸n, tambi茅n te muestro una variedad de colores complementarios que se fueron ideando en el camino. Espero que te haya gustado el dise帽o en su totalidad, y no dudes en consultarme cualquier duda. NOS VEMOS.
FINAL
Tools Used :
Photoshop
WACOM CTL 472
Font AI Style Cinematic