tutorial index categories halloween photoshop: skull

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Kiren’s Digital Scream: September 2012
Halloween Photoshop: Evil Eyes
Tutorial
HALLOWEEN PHOTOSHOP: SKULL FACE TUTORIAL
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As the mystic season approaches, we celebrate communion
with the dead in grisly style.. 4 Weeks of Terror!! This is the
first walkthrough in our Halloween Photomanipulation mini-
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series; a ghoulish skullface effect created using layer masks
and blend modes. Terrify friends and family with your reversemakeover (or an amusing ‘before and after’ crystal meth
poster..) Read on for the skinny..
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I WAS A TEENAGE GHOUL..
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articles in order from Beginner to Advanced:
This composite is put together using a primary figure image, a selection of skulls and some ‘flesh’
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textures:
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KIREN'S DIGITAL SCREAM
LIGHTING
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PREPPING THE FACE
SCI FI TUTORIALS
STOCK CORNER
The first step is to find a suitable stock image for base figure; it’s worth selecting a portrait style pose,
TUTORIALS
facing straight on; this will make life easier when matching the skull stocks. For the example piece, Ive
TYPE EFFECTS
used an image by MinorphicPhoto (DeviantArt).
Start off by removing the background from your base figure – I used a Layer Mask and the Pen Tool.
Check out our Pen Tool Background Removal article if your not familiar with this technique. You may
want to pull in a new background to start adding a sense of mood, I used some film textures from
Lost&Taken.com.
LOSE THE EYEBROWS
Eyebrows usually get in the way with this type of work, so it’s a good idea to get rid of them! This
process is very straightforward, simply use the Patch Tool (J) to draw a rough selection around the
eyebrow, and then click and drag to a clear area of skin – this will ‘content-aware’ fill the eyebrow area
and usually works quite well. Repeat for the second eyebrow.
EVIL EYES
You may want to tweak the stock model’s eyes to ramp up that evil aesthetic. I used a little technique
here involving duplicate layers and Screen Layer Mode. I’ll be doing a seperate tutorial on this style of
eyes in the near future – so stay tuned for that one!!
MUTE SKIN TONES
Chances are your stock model will have a healthy skintone like our example gentleman.. A tweak of
the skintones will help match the muted colours of the bone and also contribute to the macabre nature
of the work. Create a new Layer Group (Ctrl/Cmd+G), and within the group use Adjustment Layers to
work with the skin tones.
I used a couple; Curves, Colour Balance and Hue/Saturation. For your own piece, use your preferred
method to drain some of the life out of those cheeks! Once you are happy with the overall skintone,
add a Layer Mask to the group that contains your Adjustment Layers and Invert the mask to Black
(Ctrl/Cmd + I).
Create a selection based on your stock model base layer (Ctrl/Cmd + click layer icon) and fill that
selection with white on the skintone Layer Group Mask. This will apply all your adjustments to the
figure only, and not the background. Your layer stack may look something like this:
Before and after our skin muting adventures:
DEM BONES
Now it’s time for a bit of ‘bone work.. If your lucky, you may find just one skull image that fits nicely with
your base stock – that wasn’t the case with me!! Here are the skull stocks that I used to construct the
example piece.
Skull1 from my HD, Skull2 by Aleuranthropy (DeviantArt), Skull3 by TheManface (DeviantArt)
Whatever skulls you are working with, perform a background removal on each stock image so you are
left with the skull only.
CONTORTING THE SKULL
Place your skull over the stock base layer; you may want to temporarily switch your skull to Overlay
Layer Mode, so you can see how it ‘fits’ the face. Use the Distort Transform (Edit > Transform > Distort)
to contort the skull stock to fit the model’s face. Once happy with the position, you may switch the
Layer Mode back to Normal.
BLENDING ELEMENTS
This step arguably represents the true ‘art’ of the walkthrough. Add a Layer Mask to your skull layer(s)
– invert the mask to black (Ctrl/Cmd + I) and then paint the skull elements back into the image using a
large Soft-Edged Brush (B) set to white. In the screenshot below, all skull layers are set to Normal
Layer Mode:
SOFT LIGHT / OVERLAY
Aside from using Normal Layer Mode, Soft-Light and Overlay are also used for more subtle bone
effects. Using the techniques outlined above, ‘paint-in’ skull elements over your composite – but try
using Soft-Light and Overlay modes to achieve a more restrained look. A new Layer Group for your
skull elements is always helpful to keep things organised. Here’s the layer stack showing all the skull
elements and their respective Layer Modes / Opacity:
SLAUGHTER SKIN
A selection of gore stocks were used for the decomposing skin effects, these elements were sourced
from the Resurgere Slaughter Pack (DeviantArt)
These flesh elements were blended using Layer Masks and set to Soft Light Layer Mode. Each of the
gore layers were desaturated (Shift, Ctrl/Cmd + U), the desaturation basically stops the red tones
overpowering the composite – but this is down to personal preference. The Layer Group containing the
flesh elements:
FINAL ADJUSTMENTS
To darken / accentuate contours and recesses – use Levels Adjustment Layers to reduce brightness,
set the mode to Soft Light and selectively paint in using the masks. In the example I also created a
new layer (set to Soft Light), and painted with a dirty yellow colour to take the greys out of the
cheekbones. Little touches, but well worth the effort:
THE RESULT..
For the final version, I ran our new ‘HD-Raagghh’ Photoshop Action through it, and it spat out this
beast:
REVIEW