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Home  ›  How To Draw Metal Out Of Skin

How To Draw Metal Out Of Skin

Written By Monday 21 February 2022 Add Comment Edit

As our 10-Men calendar week continues, we honor everybody's favorite Steel-Skinned Russian with a look at how to transform skin into metal in Photoshop.

i. Prepare the Depth Map

Piotr Rasputin, otherwise known as the super-strong, steel-skinned X-Man Colossus, is large and very well muscled. So an prototype of a very big, well-muscled male person is required for the image to have any resemblance to our favorite impenetrable member of the classic X-Men team. The prototype will be used to create a Depth Map that can be turned into a type of 3D topography of his course.

Step 1

This technique will work with almost whatever prototype of a bare-chested body architect. I opted for this paradigm. Download the paradigm and then open it in Photoshop.

Bodybuilder stock image Bodybuilder stock image Bodybuilder stock image
Strong and handsome immature bodybuilder

Step 2

Duplicate the background layer with Layer > New > Layer Via Copy (Command-J) and and then go to Epitome > Adjustments > Desaturate to turn the duplicate layer into black and white.

duplicate and desaturate duplicate and desaturate duplicate and desaturate

Step three

The depth map technique reads low-cal areas as high and dark areas equally deep. That ways the shiny parts of his peel would translate as unnatural bumps and ridges. To eliminate the consequence, go to Image > Adjustments > Curves (Control-One thousand). Adapt the bend equally shown here to flatten out the highlight areas.

Flatten out the highlights with Curves Flatten out the highlights with Curves Flatten out the highlights with Curves

Step iv

Hide the groundwork layer and create a Selection effectually the model. In that location are various tools that can accomplish this; my preferred method is with the Pen Tool (P), but the Quick Selection Tool (Q) is a feasible culling. Use the selection to create a Layer Mask with Layer > Layer Mask > Reveal Selection.

Create a selection around the model Create a selection around the model Create a selection around the model

Step 5

Utilise theBrush Tool (B) with the Soft Round preset and Blackness paint. Reduce the brush Opacity to 50% and make sure to click on the layer thumbnail to modify Photoshop's focus to the layer and non the mask. Then employ the brush to darken the exterior edge of the model—this will ensure the depth map creates a curve forth the outside edge of the model.

Darken the outer edge Darken the outer edge Darken the outer edge

Step 6

The details in his skin will create a very rough surface, then to help smooth things out, reduce the number of colors in the epitome with Image > Adjustments > Posterize. Gear up the Levels to 8.

Posterize the image Posterize the image Posterize the image

Step 7

Temporarily unlink the layer mask past clicking on the concatenation-link icon between the layer thumbnail and the mask thumbnail. (This is so the Blur filter doesn't blur the mask too.) Then go to Filter > Blur > Gaussian Blur and use a Radius of ten px.

Blur the layer but not the mask Blur the layer but not the mask Blur the layer but not the mask

Step viii

Using the Brush Tool (B) while alternating between black and white paint, envision how the surface should be shaped. The brighter the pixels, the closer the surface will exist to the viewpoint; the darker, the further away. Then areas like the middle socket and the cleavage between his pectoral muscles should be nice and night, while the rounded area of his bicep, pectorals, and head should be gradually lighter. Use the brush to gradually shape the form of his torso.

Form the depth map with the brush tool Form the depth map with the brush tool Form the depth map with the brush tool

ii. Add a City Scene Background

Before moving forward with the metallic figure, it's helpful to accept a sense of the background image. Afterwards all, whatever shiny metallic surface will reflect the environs.

Step 1

I selected a city groundwork to place behind Colossus. The fisheye warping of this epitome will be peculiarly interesting when using it as a reflection on the metallic surface.

city stock image city stock image city stock image
Urban center

Footstep ii

Get to File > Place Linked and select the urban center image. Photoshop adds the image as a Smart Object. Scale and Position the image to fill up the frame.

Place the city background into the project Place the city background into the project Place the city background into the project

Step iii

The background is way too sharp and clear to be believable as a background paradigm. Become to Filter > Blur > Gaussian Mistiness and apply a Radius of two px.

Blur the background image Blur the background image Blur the background image

Pace 4

Go to Filter > Lens Correction and switch to the Custom tab. Increase the Remove Baloney slider to about +18 to help even out some of the fisheye distortions. Then fix the Vignette Amount to -56.

Lens Correction settings Lens Correction settings Lens Correction settings

three. Create the Seams

One of the about recognizable characteristics of Colossus's metallic form is the series of horizontal seams that piece his metal together. Before the 3D class is created, those seams should be incorporated into the Depth Map.

Stride 1

Utilise the Pen Tool (P) set to Path and begin creating horizontal lines that follow the curvature of his body. Practice not include lines for his head or hand nonetheless. At the cease of each path, Command-click to finish that path before beginning another ane. It's OK for the paths to extend beyond the edge of the body; sometimes that makes it much easier to get a adept angle at the edge.

Create paths for the seams Create paths for the seams Create paths for the seams

Step ii

Create a New Layer over the painted figure layer. Prune it to the figure layer with Layer > Create Clipping Mask (Alt-Command-G). Set the Brush Tool (B) to the Hard Round preset with a size of iv px.

setup the layer and brush size setup the layer and brush size setup the layer and brush size

Footstep 3

Become to the Paths console, right-click on the path thumbnail and select Stroke Path. Select the Castor as the tool to use to stroke the path. Then prepare the blending mode to Multiply and the Opacity to 50%.

Stroke the paths Stroke the paths Stroke the paths

Stride 4

Add another layer and some other set of paths for the finger seams. Set the brush Width to 2 px and stroke the finger paths. Set the blending mode to Multiply and the Opacity to 50%.

Create seam lines for the fingers Create seam lines for the fingers Create seam lines for the fingers

Step five

Select the figure layer and both seam layers. Then hold down the Alt key while going to Layer > Merge Layers (Control-Due east) to create a merged layer of the figure and seam lines. Name this layer Depth Map. Hibernate the figure layer and the seam layers.

Create a Merged Layer Create a Merged Layer Create a Merged Layer

4. Apply the Depth Map to Create a 3D Form

As unintuitive equally it seems, this strange greyness effigy will generate a 3D form that will provide a very convincing metallic render. The depth map feature in Photoshop is rarely used, just in instances like this, information technology can be surprisingly helpful.

Stride ane

Make sure the Depth Map layer is the actively selected layer and go to 3D > New Mesh From Layer > Depth Map to > Plane. Photoshop switches to the 3D workspace and extrudes the layer into a 3D form depending on the grayscale values.

Create a 3D layer based on depth map Create a 3D layer based on depth map Create a 3D layer based on depth map

Step ii

In the 3D panel select the Depth Map mesh. In the Properties console, select the Coordinates icon and change the Z Scale value to be significantly smaller, something effectually 40.

Scale the mesh down in the Z direction Scale the mesh down in the Z direction Scale the mesh down in the Z direction

Footstep 3

Select the Electric current View and use the Motion Tool (V) with the Slide 3D Camera icon in the Properties Bar. Adjust the camera view to friction match the limerick of the original image.

Change the Camera View Change the Camera View Change the Camera View

Step iv

The next step requires a metal material. If you haven't installed the added materials from Adobe, they are available here. Download and install the Versatile Materials to add together a ready of metallic shaders to your 3D library.

Install the added shaders from Adobe Install the added shaders from Adobe Install the added shaders from Adobe

Step 5

In the 3D panel, select the Materials tab; there should only exist 1 material in the list. In the Properties console, use the Shader drop-down card to select a metal shader like the Metal Steel2 (Stainless)shader.

Assign a metallic shader Assign a metallic shader Assign a metallic shader

Step 6

The same link that contained the additional shaders also offers additional Epitome-Based Lights for HDRI lighting. Download the Creative IBLs set and unzip the download parcel.

Download additional Image Based Lights from Adobe Download additional Image Based Lights from Adobe Download additional Image Based Lights from Adobe

Footstep vii

In the 3D panel, select the Surround line. In the Properties panel, click on the document icon next to the IBL thumbnail. Select Replace Texture and select one of the new Creative IBLs to light the scene. I'm particularly addicted of theCreative IBL-07-LightRigB. So spin the HDRI widget effectually to reposition the angle of the texture.

Use a new HDRI texture to light the scene Use a new HDRI texture to light the scene Use a new HDRI texture to light the scene

Pace viii

Go to 3D > Return 3D Layer (Alt-Shift-Control-R) to render the scene. The render may take a while, and then just be certain to requite Photoshop time to piece of work.

Render the Layer Render the Layer Render the Layer

Step nine

When the return is finished, go to Select > All (Control-A) and so Layer > New > Layer Via Re-create (Control-J) to copy the render information into a new layer.

Make a copy of the render layer Make a copy of the render layer Make a copy of the render layer

Stride 10

Hide the copied render layer for now, and get back to the 3D layer. Change the IBL texture to be the background stock image. Rotate the texture around until it appears the model is lit by the sky of the background. This texture will as well show upward in the rendered reflection.

Change the IBL to match the background stock image Change the IBL to match the background stock image Change the IBL to match the background stock image

Step eleven

Render out the model once again with the new reflections and copy the rendered data to another new layer with Select > All (Control-A) and Layer > New > Layer Via Copy (Control-J).

Render out the reflection pass Render out the reflection pass Render out the reflection pass

Step 12

Hide the 3D layer and reveal the Render layer again. Add a Curves adjustment layer and clip information technology to the Render layer with Layer > Create Clipping Mask  (Alt-Control-G). Pull the lesser point of the curves well-nigh one grid space to the right to securely darken the shadow areas of the render.

Use curves to darken the render layer Use curves to darken the render layer Use curves to darken the render layer

Step 13

Move the reflections return layer higher up the curves adjustment layer and add together a clipping mask for it too. Then set the blending mode to Soft Light.

move the reflections render to the top and set to Soft Light move the reflections render to the top and set to Soft Light move the reflections render to the top and set to Soft Light

Step fourteen

Make a duplicate (Layer > Duplicate Layer) of the original stock image groundwork layer of the muscled model. Move this copy to the summit of the layer stack clip it to the others. Go to Prototype > Adjustments > Desaturate (Shift-Control-U) and change the blending manner to Overlay.

five. Metallic Effects

Using the 3D tools to return the metallic shader is a clever method, and you may experience that the consequence is already metal enough. Simply there are a few other techniques that tin be used to really enhance this metallic appearance.

Footstep 1

Make a copy of the desaturated stock image layer. Proceed this i unclipped and with a Normal blending mode. Go to Filter > Mistiness > Gaussian Mistiness. Use a mistiness Radius of 5 px.

Create a blurred copy of the model Create a blurred copy of the model Create a blurred copy of the model

Stride 2

If you still have the paths originally used to create a mask for the model layer, load that selection again. If not, Control-Click on one of the rendered layers to create a selection from those. And so use the option to create a mask for the blurred layer with Layer > Layer Mask > Reveal Selection.

Mask the layer Mask the layer Mask the layer

Step 3

Add a Curves adjustment layer and Prune it to the blur layer. Then arrange the Curve so the leftmost bespeak is at the very top of the grid and create several peaks and valleys throughout the middle of the curve. The effect on the model volition look pretty strange right now.

Add a Curves adjustment layer with several peaks and valleys Add a Curves adjustment layer with several peaks and valleys Add a Curves adjustment layer with several peaks and valleys

Step 4

Select the Curves adjustment layer and the Blur layer and Group them together with Layer > Group Layers (Control-Chiliad). So set up the grouping's blending mode to Difference and reduce the Opacity to 47%.

Create a group and set the blending mode to difference and opacity to 47 Create a group and set the blending mode to difference and opacity to 47 Create a group and set the blending mode to difference and opacity to 47

Pace 5

Brand some other re-create of the blur layer and move the copy to the pinnacle of the layer stack, outside the previously created group. So go to Filter > Filter Gallery and open up the Sketch set up. Cull the Chrome filter and set the Particular to 0 and Smoothness to 10.

Use the Chrome filter Use the Chrome filter Use the Chrome filter

Step 6

Prepare the chrome layer'due south blending manner to Soft Low-cal and reduce the Opacity to 40%.

Set the chrome layers blending mode and opacity Set the chrome layers blending mode and opacity Set the chrome layers blending mode and opacity

vi. Finishing Effects

Our Colossus is certainly looking metallic, but there are a few more effects that volition help put some polish on the piece and terminate it off. That includes a few custom reflections, some painted touch-ups, and some bright glints of lite on his metal skin.

Footstep 1

Nosotros will start with some custom reflections. Insert the city stock prototype again through File > Identify Linked. Prepare the smart object's blending mode to Soft Light and reduce the Opacity to 50%. Go to Edit > Transform > Warp and arrange the warp cage to form the image roughly around the curves of his figure.

Place teh city image again and warp it Place teh city image again and warp it Place teh city image again and warp it

Step 2

The reflection shouldn't be nearly that sharp. Go to Filter > Mistiness > Gaussian Blur and use a blur Radius of 5 pixels.

Blur the reflection Blur the reflection Blur the reflection

Stride 3

Copy the Layer Mask from the chrome layer to the new reflections layer past property downward the Alt primal while dragging the Mask Thumbnail from one layer to the other.

copy the layer mask to the new reflections layer copy the layer mask to the new reflections layer copy the layer mask to the new reflections layer

Step 4

The rendered form created a merged appearance between the fingers on his fist. At that place needs to be some visual separation there. Add a New Layer for Fingers Touch Upwardly, and use the Castor Tool (B) with a pocket-sized, soft circular castor to pigment in some darker lines between the fingers of his fist.

Touch up the lines between his fingers Touch up the lines between his fingers Touch up the lines between his fingers

Step 5

Add a new layer for Dodge and Burn down. Get to Edit > Fill and set the Contents to fifty% Gray. Then set the layer'due south blending way to Overlay. Use the Dodge Tool (O) set to midtones and viii%Exposure to manually add brilliant spots to the metallic surface.

Then switch to the Fire Tool (O) to darken the shadow areas too. This is a very versatile method of mitt-painting the brights and darks of the metal surface.

use a custom dodge and burn layer use a custom dodge and burn layer use a custom dodge and burn layer

Step 6

Create a merged layer at the top of the stack by holding down the Alt key while going to Layer > Merge Visible. Proper noun the merged layer "Highlights" and plow it into a Smart Object with Layer > Smart Objects > Convert to Smart Objects.

Create a merged layer as a Smart Object Create a merged layer as a Smart Object Create a merged layer as a Smart Object

Footstep vii

Become to Epitome > Adjustments > Threshold. Adjust the Threshold Level until merely the very brightest portions of the image are filled with white, somewhere effectually 225.

Use threshold to isolate the brightest parts Use threshold to isolate the brightest parts Use threshold to isolate the brightest parts

Stride 8

Set the blending mode to Screen to see how the highlights return onto the image. The threshold adjustment does tend to make them too sharp and the edges besides noticeable. So add a Gaussian Mistiness (Filter > Blur > Gaussian Blur) to smoothen out the edges. A Radius of4 Pixels should work only fine.

Use a Gaussian Blur to soften the highlights Use a Gaussian Blur to soften the highlights Use a Gaussian Blur to soften the highlights

Step 9

Add a new layer at the height named Flares and fill it with Blackness. Catechumen it to a Smart Object with Layer > Smart Objects > Catechumen to Smart Object and prepare the blending fashion to Screen. And so go to Filter > Render > Lens Flare. Utilise the 105mm Prime at a Brightness of 64%. Endeavor to position the flare well-nigh where his knuckle is.

Add a layer for a lens flare Add a layer for a lens flare Add a layer for a lens flare

Step 10

The great affair near using the flare as a Smart Filter is that it'due south very like shooting fish in a barrel to reposition. Merely reopen the Lens Flare settings under the Smart Filter and move the flare center until it sits at the right point. Then add a secondary flare with lower Brightness, about 51%, and place information technology onto his collarbone.

Adjust flare center and add a second flare too Adjust flare center and add a second flare too Adjust flare center and add a second flare too

Pace 11

Equally a last consequence, add together a new layer over the background city image. Set the blending style to Multiply and Opacity to fifty%. Utilize the Gradient Tool (G) to add together a few radial gradients of dark blue to tint the groundwork prototype so Colossus stands out more from the background.

Adding a gradient Adding a gradient Adding a gradient

And You lot Are Done!

Behold our X-Human Colossus!

In this tutorial we went over several unlike techniques for creating a metallic effect out of pare. Fifty-fifty though this project used them all in conjunction with each other, you lot tin can still accomplish good results with just a single technique too. Post your skin to metal in the comments beneath so we can all meet how you implemented these techniques!

Final Image Final Image Final Image

Source: https://design.tutsplus.com/tutorials/colossus-how-to-turn-skin-to-metal-in-adobe-photoshop--cms-26106

Posted by: carmichaelnower1967.blogspot.com

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