Create in Photoshop fashion illustration with shattered glass

In this tutorial you will learn how to create a surreal fashion collage with fragments of glass framing a model. In the course of work, we will cut the fur, paint with standard brushes, and also study the work with blending modes.

Note: The source of the lesson is missing some images. The author also used paid materials. In the archive you will find an alternative version of the images to perform the lesson.

1. Create a background

Start by creating a simple background.

Step 1

Create a new document of 2000 x 3130 pixels.

Next, fill the new layer (Shift + Ctrl + N) with dark purple # 080609.

Above we create another new layer using Paint Bucket Tool (G) (Fill) fill it with black # 000000 and switch the blending mode to Screen (Lightening).

Using filter Filter – Noise – Add Noise (Filter – Noise – Add Noise) add a little noise to the black fill layer. Thanks to this simple trick, we will hide the color bars!

Step 2

Next we draw light on the background. To do this, add a new layer and switch its blending mode to Soft Light (Soft light).

Using a large soft brush (B) with Flow (Press) with 5% white (#ffffff) we put spots in the center of the canvas. This will be the light source.

Step 3

Create a new layer and switch its blending mode to Screen (Lightening).

Take the brush with the settings from the previous step, select the purple color # 130c17 and draw light spots above the previous ones. This will not only improve the lighting, but also add new tones.

Step 4

Next, create a new layer in the blend mode. Soft Light (Soft light).

Again we draw white in the center of the canvas. To create something similar to fog or smoke, during operation, adjust the diameter of the brush with the [and] keys. If you have a brush in the form of fog or smoke, you can use them, but a regular round brush with soft edges will also work.

With the Ctrl key pressed, select all the current layers and group them (Ctrl + G). We call the group “Background”.

Below you can see how your background should look like at this stage. But you don’t have to do everything in private, don’t be afraid to experiment!

2. Cut the model

Next we will cut and paste the model onto our background. This can be done in several ways, but I will use Pen Tool (P) (Feather).

Step 1

Place the model in the center of the working canvas.

To start with Pen Tool (P) (Feather) we select a woman. In this case, we have identified almost the entire model, except for the fur jacket.

Step 2

Click the right button on the contour and select Make Selection (Create selection). Then we add a mask to the layer with the model by clicking the button Add layer mask (Add layer mask) at the bottom of the layers panel.

Step 3

We neatly cut out the body and head, and now we go to the fur!

Take Quick Selection Tool (W) (Quick selection) and select the remaining background around the jacket. Do not try hard, rough selection will be enough.

Step 4

Add a mask on the layer with the model.

Double-click on the mask mask on the layers panel or press Ctrl + Alt + R to open the settings. Refine Edge (Specify edge). Install Radius (Radius) 6 pixels, put a tick opposite Smart Radius (Smart radius) and increase Feather (Feather) to 0.5 pixels.

Via Quick Selection Tool (W) (Fast selection) we spend on the edge of the fur. Due to this, individual hairs will stand out.

If the result will be allocated too much fur or part of the background, hold down the Alt key and again hold the places that need to be finalized. If necessary, adjust the diameter of the brush. Also, at any time you can undo the last action with the key combination Ctrl + Alt + Z.

We continue to highlight the edges of the jacket, while watching the direction of the fur, until the result does not satisfy us.

Step 5

After that, take a hard round brush (B) in black and remove all the excess that remains. You can also restore individual hairs of a fur with a small brush of medium hardness.

Step 6

In this step, we will work with contrast and shading.

Create a new layer (Ctrl + Shift + N) and convert it to a clipping mask for the “Model” layer. After that, switch the blending mode to Overlay (Overlap).

Soft round brush (B) with Flow (Press) 10% white color draw light on the model, and black we increase the saturation of the shadows. Depending on the detail, in the process of work, adjust the diameter of the brush. A low level of brush pressure will help us slowly and gently apply light and shade.

Step 7

Above the model we create another new layer and convert it into a clipping mask (Ctrl + Alt + G). Switch overlay mode to Soft Light (Soft light).

With a big soft brush (B) of white color we hold along the edges of the jacket and model’s hair.

Step 8

Below the layer with the model add a new layer in the overlay mode. Normal (Normal).

With an average soft brush we draw a white contour glow on the hair and jacket.

Create a new group and call it “Model”. Move to this group all the new layers created at the moment. The screenshot below shows the current result of the work with the layers.

3. Add cracked glass

Now go to the main effect of the lesson – glass!

Step 1

To begin with, in the center of the working canvas, under the model, insert a picture with cracked glass. Switch its blending mode to Screen (Lightening).

At the bottom of the layers panel, press the button Create new fill or adjustment layer (Create a new fill or adjustment layer) and select Gradient Map (Gradient map). You can remove chromaticity using any method, but I prefer to use the gradient map, as it additionally increases the contrast slightly.

Merge layer with glass and gradient map together (Ctrl + E). After that, switch the blending mode of the black and white glass texture to Screen (Lightening).

Step 2

Next, using Magnetic Lasso Tool (L) (Magnetic Lasso), we will remove individual pieces of glass.

We hide the group with the model in order to fully see the background texture of the glass.

Choose Magnetic Lasso Tool (L) (Magnetic Lasso), set Width (Width) – 5 pixels, Contrast (Contrast) – by 10% and Frequency (Frequency) – 57.

We find a suitable piece of glass and select it with a lasso.

Then go Edit – Copy (Editing – Copy) and Edit – Paste (Edit – Paste) to paste a piece of glass onto a new layer. Each piece of glass should be on a separate layer so that it would be easier for us to adjust their location later.

Step 3

Switch the layer blending mode with a piece of glass to Normal (Normal) so that it does not get lost among the other fragments that we will cut further.

You can also temporarily turn off the glass texture layer to examine the carved fragments.

We continue to cut the fragments and do not forget that everyone should be on their own layer!

As a result, we should have a large number of fragments of different shapes and sizes. The more, the better the result! As you can see below, I got 19 fragments.

Step 4

Again make the group visible with the model.

Now we have to distribute the fragments diagonally, starting with the upper left corner and ending with the lower right.

We rotate, reflect and scale each piece of glass to get the most natural result. Try to alternate small and large fragments.

You can also duplicate and transform individual pieces to fill empty spaces with them. However, if the effect consists of identical fragments, it will not look very nice and realistic!

Step 5

Group all layers with shards (Ctrl + G). Call it “Glass” and switch the blending mode to Screen (Lightening).

Duplicate the group “Glass”, place a copy under the original and merge it into one layer (Ctrl + E).

Apply style to the resulting layer. Layer – Layer Style – Color Overlay (Style – Layer Style – Overlay Color) and fill with a dark purple hue # 0b030b. Reduce the layer opacity to 70%. This will reduce the transparency of the glass and add a light tint.

Step 6

Create a new layer and transform it into a clipping mask for the Glass group (Ctrl + Alt + G). Leave the blend mode Normal (Normal).

Apply white highlights on some fragments with a small stiff brush (B), but not at all! On some fragments of glass, the edges are rough and uneven – this is exactly the effect we are trying to create with the help of white.

Step 7

Create another new layer and convert it to a clipping mask for the model layer. Blend mode leave on Normal (Normal).

With a large soft brush (B) of a round shape in white, we draw along the fragments in the left upper part of the canvas.

Reduce the opacity of this layer to 40%. This will add a little glow to the top of the shards.

Step 8

Create another new layer and convert it to a clipping mask for the model layer. Blending mode switch to Overlay (Overlap).

Soft brush (B) medium diameter with Flow (Press) 5% paint over the top of each fragment with white, and the bottom with black. This will add shading and contrast. You can not try hard and carefully not to draw. Most of the white falls on the left side of the fragments, and the black color will be mainly behind the model and on the bottom of the fragments.

Group all the layers with glass and call the group “Big Fragments”.

Step 9

Let’s go back to the Glass group and copy (Ctrl + J) several layers with small fragments.

We transfer these copies above the layer with the model and distribute them around the legs and body of the model. If you place the fragments in the background and in the foreground, the result will be more interesting.

Group the copies of the fragments together and name the group “Little Fragments”. Below you can learn more about the order of the layers at this stage:

4. Add highlights and particles

To make the fragments look more dynamic, we add the effect of smoke and particles. To draw particles, use the standard Photoshop CC brushes. However, any brushes with the effects of dust, dots or spots will also work.

Step 1

Create a new layer. On the standard panel with swatch patterns, select the Kyle’s Splatter Brushes brush in the Special Effect Paint Brushes section. Next, around the fragments add very small dots of white.

Step 2

Now we will create our own brushes with the effect of smoke, using only standard settings. Go to the panel Window – Brush (Window – Brush) and customize:

one. Brush Tip Shape (Brush print form)

  • Hardness (Hardness): 0%
  • Spacing (Interval): 42%

2 Shape Dynamics (Dynamics of the form)

  • Size Jitter (Size fluctuation): 100%
  • Roundness Jitter (Shape oscillation): 45%

3 Scattering (Scattering)

  • Scatter (Scattering)): 44%
  • Count (Counter): 2

On the top panel with the parameters of the brush set Flow (Push) by 1%. The size of the brush, we will adjust the course of work, using the keys [and].

Step 3

Create a new layer and with our new brush paint white smoke on the fragments. We start work in the upper left corner and smoothly descend to the lower right, adjusting the size of the brush.

Group all the layers with smoke and particles and call the group “Smoke and Particles”.

Step 4

Next we will add bright highlights on the fragments, using Pen Tool (P) (Feather). Activating the tool on the top panel, switch its mode to Path (Circuit).

Create a new layer and place it above the Big Shards group. Switch the layer blending mode to Screen (Lightening).

We will not add glare on all the fragments. With a pen we draw a line on the left side of the fragment, since this is where the light source is located.

Step 5

Take Brush Tool (B) (Brush), select a small soft brush and set the color to pale blue (# 8484c3).

Again take Pen Tool (P) (Pen), right-click on the line created above and select Stroke Path. In the window that opens, select Brush (Brush), activate Simulate Pressure (Simulate pressing) and click OK. This will add glowing lines in all the places where we draw the same outline.

Step 6

To make the glow more saturated, we create a new layer above and leave its blending mode on Normal (Normal).

Activate Brush Tool (B) (Brush), set the small diameter of the brush and select the white color.

Go to the layer created above, right click again on the contour and select Stroke Path (Run the outline of the contour). As a result, blurry white lines will appear that will make the glow more saturated and add accents to the fragments.

Again, right click on the contour and select Delete Path (Delete contour).

Step 7

Next we will add some final highlights on the shards. Create a new layer and leave its blend mode to Normal (Normal).

With a small soft brush (B) we draw a simple white six-pointed star. Pressing the brush set to 1%. You can also find ready-made brushes in the shape of stars.

Duplicate the star and distribute copies at the tips of the fragments with the glow. We rotate, reflect and scale each copy to get an interesting result.

Group all the layers with highlights and glow and call the group “Light”.

5. Add reflection on shards.

In this step we will finish the work with the fragments and add a reflection of the model on them.

Step 1

Duplicate the group with the model and merge the copy together (Ctrl + E). Name the resulting layer “Reflection”.

Place the “Reflection” layer over the “Big Fragments” group and transform it into a clipping mask (Ctrl + Alt + G).

Switch the blending mode of the “Reflection” layer to Lighten (Replacing light) and reduce Opacity (opacity) up to 60%.

Step 2

Now we shift the reflection to the left relative to the original model, so that the fragment can be seen part of the jacket.

Duplicate the “Reflection” layer and move the copy to the right.

You can re-duplicate the layer and move the copy down to add reflection from the legs.

6. Color correction

In this section, we will perform the final color correction of the work, which harmoniously combines all the elements of the composition.

Step 1

To start, at the very top of the layers panel, add a new layer.

Using a combination of a very large soft brush (B) and a brush to create a smoke effect from the step, we draw white in color from the top left corner down through the middle of the canvas.

Step 2

Now we will add the final adjustment layers. In total there will be six of them, below is a list from the first to the last added, and each new layer will be above the previous one.

  1. Create Color Lookup (Search color). Settings: 3DLUT File (3DLUT file) – Crisp Warm with an opacity of 20%.
  2. Create Color Lookup (Search color). Settings: 3DLUT File (3DLUT file) – Crisp Winter with an opacity of 24%.
  3. Create Color Lookup (Search color). Settings: 3DLUT File (3DLUT file) – EdgyAmber with 10% opacity.
  4. Create Color Lookup (Search color). Settings: 3DLUT File (3DLUT file) – FoggyNight with an opacity of 25%.
  5. Create Color Lookup (Search color). Settings: 3DLUT File (3DLUT file) – HorrorBlue with an opacity of 29%.
  6. Create Curves (Curves) and customizable as below:

Group the very first layer with the light effect and all the adjustment layers together and call the group “Color Correction”.

We are done!

Congratulations, you learned how to use blending modes, masks, pen and textures. Do not be afraid to experiment! Virtually any action in Photoshop can be done in several ways and none of them can be called wrong. So do not hold back your creative potential and develop!

Feel free to ask any questions and share your results in the comments below!

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