Learn to use various displacement effects on a model to change their appearance dramatically.
In this tutorial we will take a stock photo of a dancer and make it appear as if she is breaking apart; as if she is being eroded and shattered in places, while some of her body will be displaced.
We will first isolate the model using the Pen tool and then add in the background and retouch the model a little bit. We will then go through a couple of techniques to displace the model and make parts of her body shift and become torn apart.
You can use any photo for these effects, we are just demonstrating on a female model shot. We will use a custom displacement map and also some paint stock effects. As always, it’s a good idea to experiment with a variety of stock photos and also to make your own displacement maps for lots of different dynamic effects.
This guide will look at a few lighting techniques to add energy to the image, using stock photography and also the Brush tool. We’ll look at masking a little and finally pull everything together with a gradient map.
Finished Product
Step 1: To Begin
Open Photoshop and create a new canvas, then grab the model photo (‘Fotolia_12719428_S.jpg’) and drag it in. First we need to isolate the model from the background by selecting the Pen tool and creating an anchor point somewhere on the image. Trace around the model creating new anchor points. Once the path is closed, Ctrl/right-click and choose Make Selection.
Step 1: To Begin
Step 2: Isolation and Background
Copy the selection and paste, making the model its own layer. Create a new layer under the model and select the Gradient tool. With the Eyedropper, colour-pick the grey hue from the original model photo’s background. Set up a gradient that uses this colour to transparent and, holding Shift, drag down from the top of the image to about halfway down the canvas.
Step 2: Isolation and Background
Step 3: Cleanup
On a new layer below the grey gradient, select the Gradient tool again, but using a black colour and from the bottom of the canvas up. Use the Magic Wand to remove the white between the legs and hands, and around the hair. Select the grey gradient layer and use a soft brush at 20% to start brushing away the white of the hair to allow the background strands to show through.
Step 3: Cleanup
Step 4: Extra Cleanup and Glows
Next we need to create a new layer underneath the gradients and fill with white. Erase this layer around the hair areas you can see that are still showing through, then use the same Eraser tool, but make the brush smaller and erase some of the sharper edges where there may still be white near the legs, for instance. Create a new layer underneath the model layer, but above the gradient layers, and select a soft round brush and a white colour. Click on the canvas and arrange this behind the model. You should do this a couple of times to create some white glows behind her, until you are happy with the effect.
Step 4: Extra Cleanup and Glows
Step 5: Adjust the Model
Go to the model layer and then Image>Adjustments>Brightness and Contrast and up the Contrast to +44. Select the Burn tool with a Soft Round tip and brush the darker areas of the model to give it even more contrast. Vary the size of the brush to make some of the smaller areas darker and bring out the lighter parts of the model.
Step 5: Adjust the Model
Step 6: Displacement
Now we will insert a displacement layer. Click on the model layer and duplicate it, then go to Filter>Distort>Displace. Make the Horizontal and Vertical scales both 100, have the Stretch To Fit option selected and click OK. Open your chosen displacement map file and click OK; you should be able to see the effect it creates straight away. Move the new displaced layer you just created up and to the left so it’s not in exactly the same position you displaced it at.
Step 6: Displacement
Step 7: Edit the First Displacement
We will edit some of this displacement so the original model layer still shows through and the effect will be on just some parts of her, not all over. Go to the displacement layer and then Layer>Layer Mask>Reveal All. Choose a black Soft Round brush and, with the mask selected, start painting to mask out parts of the displacement layer. We masked out more of the right side, so it appears the effect is coming from the left.
Step 7: Edit the First Displacement
Step 8: Splat
Put the two model layers in their own folder and name this ‘Model’. Grab a paint splatter stock image, then go to Select>Color Range and set the Fuzziness to 200. Click on the black colour with the tool. Go to Edit>Copy and then paste this into your main canvas underneath the model folder. Arrange this on the canvas, duplicate the layer, scale it smaller and place this too. You might want to erase some of the splats if you find that they are seriously overcrowding the model.
Step 8: Splat
Step 8: Splat Incorporated
Step 9: More Displacement
Open an image of a splash and go to Select>Color Range and click on an orange colour in the paint with Fuzziness set to 100. Click on the Eyedropper tool with the + next to it and reclick on the paint, but on a different tone of orange until it’s picked up all the orange parts you want, then hit OK. Copy this layer and paste it into the main canvas.
Step 9: More Displacement
Step 10: Paint it on
Duplicate the model folder and then make the old one invisible. Merge the folder (Cmd/Ctrl+E) so that the model and displaced model become one on the same layer. Place the paint layer over the top of this and then give it a bright Color Overlay, maybe green or red. Go to Select>Color Range and with Fuzziness at 200, click on the green/red colour.
Step 10: Paint it on
Step 11: Erode Some of the Model
Make the paint splat layer invisible and click back on the model layer, then with the selection still going just simply go to Edit>Cut. We duplicated this process and played around with the position of the paint a bit to get the best result possible. The background should show through parts of the model now. Next we will add some of the leg areas back in using the same paint stock in a different position.
Step 11: Erode Some of the Model
Step 11: Erode Some of the Model II
Step 12: Replace the Model
Use the paint stock you made before and instead of the Color Overlay being a bright colour, make it black. Place this layer underneath the model’s and arrange it so that it looks like some of it is forming part of her, but just eroded and displaced. We duplicated the layer, scaled it and rotated it to fit other parts of her leg that we cut out. We also cut the paint out, left lots of dots and scaled them to add more atmosphere.
Step 12: Replace the Model
Step 13: Start the Background
We now need a concrete texture. Bring this into the canvas, go to Edit>Scale and make it the size of the background. Place this behind the black layer and make the light grey gradient invisible, then Desaturate it. Add a Brightness and Contrast adjustment layer, making it a bit brighter and increase the contrast. Duplicate this layer, invert it, set to Lighten and place it above the black layer.
Step 13: Start the Background
Step 14: Light Effects
We added a vignette effect by using the Gradient tool set to black to transparent on a new layer in the four corners. Find some cool lighting effects stock photos. Set the blending mode to Lighten, place this on the canvas above the background, then use a Soft Round eraser at 15%. We also added red-orange colour behind her in the top corners.
Step 14: Light Effects
Step 15: More Lighting
We sourced some more lighting imagery. Set the blending mode to Screen and place above the model layer. Create a new layer, use a soft white round brush and click on the canvas, placing this just above her hip. Repeat this process, using different colours around the canvas, setting them to Screen or Overlay.
Step 15: More Lighting
Step 16: Brush the Canvas
We grouped the lighting layers in a folder and then created a new layer. Use the Soft Round brush we have been, set to white. Under the Brush Tip Shape settings change the Spacing to 100% and lower the Diameter. Turn the Scatter up to around 800% and the Size Jitter to around 80%. Start brushing onto areas of the canvas. Play around with the brush settings; maybe make some different colours and Warp or Transform some for dynamic effects.
Step 16: Brush the Canvas
Step 17: More Elements and Atmosphere
We imported a nebulae image and brought that into the canvas under the model and lighting layers. Desaturate it and set the blending mode to Lighten. We also added some smoke into the background, desaturating it first. We also placed smoke over the top of the model and set the blending mode to Screen for a lift draining effect over the lighting.
Step 17: More Elements and Atmosphere
Step 18: Finish up
At this stage you should go through all the previous steps and find anything to change or add. For the finishing touch we went to Image>Adjustments>Gradient Map. We placed this at the top of the layer stack, then selected the standard purple-to-yellow gradient and hit Reverse. We lowered the Opacity to around 30-40%. You could add another Gradient Map on top. This pulled everything together and added a warmer look, and we then added a final border.
Step 18: Finish Up
Finished Product