This lesson is intended for advanced users of Adobe Photoshop.
I like light translucent flying fabrics, flowing long hair, shimmering cold metal and glitter of precious stones. Therefore, I try to pay enough attention to these details in my photo manipulations. In this lesson I will talk about the simplest and fastest way of my work with a light dark cloth on the example of a tight thin women’s glove. In fact, this method is applicable to the creation of any element of the dress for the character.
For example, I chose a fragment of a photograph with the image of a hand. I will work with him. I will not touch on the processing of leather and clothing – this is a separate and more capacious topic for consideration.
To start using the filter “Plastic” (Liquify) some lines on the hands for artistic purposes were slightly corrected. Among other things, on the original image, more precisely on its fragment, it is worth paying attention to the nails, which are thickly painted with white varnish. Natural nails without a flesh-colored lacquer will ultimately look more organic under a black thin mesh fabric.
Using tool “Lasso” (Lasso) I carefully selected each nail and corrected this defect in two steps: I picked up a warmer color, lowered the contrast and brightness of the nails.
Then she started creating the glove itself.
Using tool “Lasso” (Lasso) the hand and part of the forearm were precisely pointed out to the border where the glove is supposed to end. I optimized the selected area: Selection – Modification – Smooth (Select – Modify – Smooth), radius – 5 pixels. Then I expanded the selection border by 1 pixel: Selection – Modification – Expand (Select – Modify – Expand). After creating a new layer on top of the source and flooded the selected area with black color (# 000000). For convenience, she gave the layer the name “contrast.” Without removing the selection, made a duplicate of the “contrast” layer, renamed the duplicate to “glove”. I temporarily turned off the visibility of the “glove” layer without removing the selection.
I need a layer of “contrast” to enhance the contrast and deepen the shadows on the arm in the area of the selected area. For this, I transferred it to the mode “Overlap” (Overlay) (Opacity: 30%, Fill: 100%).
After I turned on the visibility of the “glove” layer. The “glove” layer remained in mode. “Normal” (Normal) (Opacity: 30%, Fill: 100%). In the area of the most lighted spots of the hand, I wiped a layer of “glove” with a soft Eraser (Eraser, 35%, Pressure: 30%). I give an example of how this layer looks in the photo and separately on a white background. Selection remains on.
Next, I created on top of all layers a new layer in the mode “Normal” (Normal). On the new layer, with a brush, the seams, folds of matter on the folds and the missing shadows were drawn. I took a drawing color sample from the darkest place in the original photo – it is close to black. After strokes were fluently shaded tool “Finger” (Smudge Tool). Using thin strokes with a gray brush over the seam, I added volume to the seams. Selection is enabled.
The next stage of work is drawing a pattern on a new layer on top in the mode “Normal” (Normal) using the finished brush print. The basis of the brush I took random lines that mimic the web. I applied them with a color taken from the darkest place in the original photo (# 171719). Selection has been disabled after this step.
In order to give the glove additional volume, I’m on a new layer created in the top mode “Overlap” (Overlay) soft brush (Brush) sketched gloss. The color was used white (# ffffff), the brush settings (Opacity: 35%, Pressure: 30%). Below is an example of the result and the layer with traced light on a black background for clarity.
A small digression. In the course of the manipulations, the finger tips turned out to be too red. I corrected this flaw with a new layer in the mode “Color” (Color), on which the redness was muted with a soft brush of a more neutral color.
With the resulting pattern on matter, you can experiment endlessly, inventing all sorts of patterns of the ornament, applying stamping, tinting and additional photo-texture to them as fantasy tells. I want to give as an example two ready-made options for working with a pattern on fabric and its texture.
In the first case, I used the texture taken from the dress in the photo from the same series as the hand. I duplicated the plots with rhinestones several times and put them in a clipping mask on the layer with a small web pattern. Working with the texture itself also involves a lot of experiments. For an additional effect, I applied an achromatic aberration to the layer with rhinestones, slightly offsetting just one channel.
In the second version, I used a monochrome pattern (you can take as a basis prints of the finished brush pattern) with additional noise settings and with an elementary drawing of light and shadow. The gold of the pattern began to play after a single glare was applied to the most lighted areas of the drawing with a soft white brush on a separate layer on top in the mode “Overlap” (Overlay).
As a final touch, I decorated the glove with a ribbon and a bow taken from the model’s dress, added shadows and light effects.
The result of the lesson:
I wish you creative success.
Sincerely, Olga Fomina.