Der ZoomifyViewer navigiert nahtlos zwischen JPEGs, die unterschiedliche Bildausschnitte zeigen

Das Verfahren ist denkbar einfach. Öffnen Sie ein Bild in Photoshop, gehen Sie auf den Dialog „Datei/Exportieren/Zoomify“ und definieren Sie dort die Parameter. Im oberen Bereich ändern Sie die Hintergrundfarbe und die Sichtbarkeit des Navigators. Letzteres ist ein verkleinertes Vorschaufenster in der linken oberen Ecke. Vermutlich stört er mehr, als er nutzt.

Sodann definieren Sie einen Ordner für den Export, eine Qualitätsstufe für die JPEGs (ein weiterer Kopierschutz) und zu guter Letzt die Größe der Flash-Datei, die sich ja nach den Möglichkeiten Ihres Layouts richtet.

Der Exportdialog gibt dem Photoshoper einige wenige Anpassungsmöglichkeiten

Bestätigen Sie den Dialog und Photoshop errechnet blitzschnell die JPEG-Dateien und eine korrespondierende HTML-Seite. Aus letzterer schneiden Sie den gesamten Code zwischen <Object> und </Object> aus und fügen ihn in ihr eigenes Seitendesign wieder ein.

Mehr Optionen bei Bedarf
Und auch wenn Sie kein Photoshop CS3 zur Verfügung haben, können Sie die Technik einsetzen. Zoomify bietet jedermann auf seinen Webseiten eine kostenlose Lite-Version zum Einsatz an. Nach dem Download starten Sie eine ausführbare Datei (WIN oder MAC). Damit zeigen Sie auf das Bild ihrer Wahl und das Tool baut im gleichen Ordner Ihre Bilderpyramide. Nun müssen Sie nur noch aus dem Zoomify-Originalverzeichnis die Dateien Template.htm und ZoomifyViewer.swf nehmen, in den gleichen Ordner kopieren, in dem auch das Ausgangsbild liegt und die Variable zoomifyImagePath mit dem Nehmen des soeben erzeugten Ordners füllen. (einmal im Object-Tag und einmal im Embed-Tag).

Die kostenlose Lite-Version hinkt in der Qualität des dargestellten Viewers aber etwas hinterher. Sie hat ein paar recht grobschlächtige Navigationselemente im unteren Bereich des Bildes. Macht gar nichts. Zoomify bietet den Photoshopern ein Update an, das man auch für die Lite-Version nutzen kann. In der Zip-Datei enthalten ist der ZoomifyViewer in der Version 4. Löschen Sie die Endung V4 aus dem Dateinamen und überschreiben Sie damit den alten Viewer. Schon arbeitet die Vorschauseite mit dem schickeren Player-Skin.

Freilich gibt es noch eine ganze Reihe anderer Parameter, mit denen sich der Viewer steuern lässt.

Für den alten Viewer gelten folgende Möglichkeiten:

• zoomifyMinZoom: 1 bis 100 als Prozentwert, -1 zur Anpassung an die Viewer-Fläche
• zoomifyMaxZoom: 1 bis 100 als Prozentwert, -1 zur Anpassung an die Viewer-Fläche
• zoomifyNavWindow: 1 zum Zeigen, 0 zum Verstecken des kleinen Vorschaufensters (Anmerkung: Tag funktionierte im Test nicht. Lassen Sie ihn weg, ist der Navigator sichtbar, ist irgendein Wert definiert, verschwindet das Fenster)
• zoomifyToolbar: 1 zum Zeigen, 0 zum Verstecken der Werkzeugleiste
• zoomifyX: X-Position der Startansicht, -1 bis 1, 0 zentriert das Bild (Anmerkung: „1“ verschiebt um eine komplette Bildbreite, das Bild ist unsichtbar. Kleine Werte sind mit Punkt getrennt, also „0.5“)
• zoomifyY: X-Position der Startansicht, -1 bis 1, 0 zentriert das Bild
• zoomifyZoom: 1 bis 100 als Prozentwert, -1 zur Anpassung an die Viewer-Fläche
• zoomifySlider: 1 zum Zeigen, 0 zum Verstecken des Schiebereglers

Die Variablen werden direkt aneinander gehängt und durch das kaufmännische „&“ getrennt. Zwischen der Variablenbezeichnung und deren Wert steht ein Gleichheitszeichen.

Der Player, der aus Photoshop benutzt wird, und der neue Player Version 4 kann mit diesen Parametern nicht arbeiten. Statt dessen erlaubt er nur das An- und Abschalten des Navigationsfensters:

• zoomifyNavigatorVisible=false/true

Weitere Anpassungsmöglichkeiten erhält der geneigte Bilder-Zoomer, wenn er eine kostenpflichtige Version erwirbt. Insbesondere das Modul für Flash ist interessant, weil es zum Beispiel einen Overlay-Layer ermöglicht, der dazu geeignet ist, Hotspots zu definieren, so dass mit Zoomify ein Rundgang von Raum zu Raum möglich wird und sich sogar interaktive Anwendungen wie zum Beispiel eine Schatzsuche realisieren lassen. ™

Quelle: Drweb.de

STEP 1: Creating 3d text

I created a new document in C4d and added some text with the built in text tool.

I typed the word COLLIDE in the Attributes manager.

I applied Extrude Nurbs by making it a parent of my text.

Parent/child relationship shown above in my Objects Manager.

There’s a small problem at this point: The word “collide” is treated as one object and I want to manipulate the individual letters. In order to do that I need to Explode Segments from the Function menu.

Now each part of each letter is broken into individual splines and I can extrude them separately as well as manipulate them.

On a couple of the letters I need to Connect the inside spline and outside spline together. The “O” and the “D” need to be connected because they are 2 individual splines as a result of the Explode Segments function I applied. I selected the 2 splines and right clicked to pull up a menu. I chose Connect. Once I’ve connected them I am ready to extrude each individual letter and place them where I want in my composition.

I have applied an Extrude nurbs to each letter now. See my object window for clarity.

And now I’ve named each nurb so that I know what letter it is.

Next I will click on each letter’s Extrude Nurbs and adjust the cap to be a Fillet Cap. I chose 3 Steps with a Radius of 3. This gives a nice looking edge to each letter.

Next I selected each letter and changed it’s position and rotation into a random spot that I felt would work for this composition.

STEP TWO: Creating reflective material for my 3d text

I created a new material that I will plan to tweak a bit later to get better results. But for now I know I will want to add reflection, environment, and a color.

My reflection is set to 35% and I did the same for environment as well. These are just settings I am randomly choosing and require some tweaking as the project progresses.

I added a light and and a sky to my scene.

I created a material to apply to my sky. I used a picture of a sky. There is definitely a lot of experimenting that can be done with what you can place in the sky and how it will look in the reflections of the material on the text.

I applied the new material to my sky and experimented with the Projection method. Cubic ended up being what I chose based on the way it looked as it reacted with my text.

Here is the result of my sky being reflected on my text. You can load the same image of a sky into your reflection and environment materials but the results will look different than using a sky in c4d to be reflected. I’ve found that I have more control over the reflections this way. I can rotate the sky. I can change the projection method of the material on my sky. Ultimately, it allowed me to get the results I wanted with ease.

My text material wasn’t quite colorful enough so I added a tint of blue to the original material.

Here is the result of adding the tint of blue. Much better for what I am looking to accomplish.

STEP THREE: Using a displacement map to create my collision effect

I copied several of my letter from the word “collide” and will apply a displacement map to those to create the collision.

I copied my reflective material that I created for the word “collide” and then I checked the “displacement” box and loaded a texture. Cinema 4d has built in textures you can experiment with for the displacement. Usually something black and white will work best but it is not completely necessary. I chose “brick” from the preset surfaces. I’ve also used black and white jpegs of stripes or other patterns that I’ve created in Illustrator.

Here you can see I set the Height to 500m and kept the strength at 100%. This is definitely a step that I could get lost in time experimenting with different heights, textures, and even projection methods for this material. Each tweak will give you amazing new results to choose from.

Here is the result of my current settings on the displacement material.

STEP FOUR: Adding exploding bits and pieces to my collision

I added a pyramid to my scene that will be used as the object to explode. I increased the Segments to 5. The more segments you have, the more bits and pieces to explode.

For this step I added an Explosion FX. I will use the Explosion later. (notice the difference above)

In order for the Explosion FX to work, it must be a child of the parent (the object to be exploded being the parent). I adjusted the Thickness until I found a setting I liked.

Here is the what my exploding pyramid looks like after playing with the Time and Strength of the explosion.

Next I copied my pyramid twice. On one of them I left the settings but moved the position of the pyramid to quickly double the amount of exploding segments. Then on my 3rd copy of the pyramid I added an Explosion rather than Explosion FX. This gave me a bunch of tiny specs of metal flying through the air rather than the large chunks created from my other 2 pyramids.

You can see the addition of the tiny explosion particles in this render above.

STEP FIVE: Adding the final effects in Photoshop

In my Render Settings, I made sure Alpha Channel is checked. Then I make my final render by choosing Render to Picture Viewer from the C4d Render menu.

When I open the rendered .tif in Photoshop it contains the alpha channel I included from C4d.

I selected the Alpha Channel, deleted the background and added a solid black background on a new layer below my collide artwork.

I wanted a feeling of air & space around my artwork rather than just solid black, so I added clouds from the Photoshop Filter menu.

Next I made a selection around a portion of the clouds and feathered the edge using the Refine Edge button.

I deleted the extra part of the clouds with my selection and adjusted the Levels of the layer.

I found a picture of smoke to really give this collision illustration some convincing touches. Almost like a car wreck and the engine is over heated.

Next I copied and pasted the image then inverted it (command, “I”) and set it to Screen Mode.

I added a layer mask and revealed all. Then I went in with an airbrush on the layer mask and started erasing different areas of the smoke to make it look like it was interacting with the “collide” rather than just placed on top.

Here is what my smoke looks like after erasing bits of it. Next, I copied that layer and repeated the same steps to add some more smoke toward the bottom of my composition.

I felt the piece needed some more color to make it pop so I added a layer and airbrushed pink onto the layer with a large brush size. The layer was set to Soft Light and placed below my “collide” artwork so that it would effect the colors of my background but not my 3d collision.

I wanted to spice things up a bit and throw some lighting into my collision.

I copied and pasted the lighting into my composition, desaturated, and set the layer mode to screen.

Then I copied my layer of lighting and added a gaussian blur to the copied layer. I set both layers to Add and moved them below the layer I airbrushed with color earlier. This created some nice color through my lightning streaks.

The final result in Photoshop with all the layers displayed.

CONCLUSION:

I created 3d text in Cinema 4d. Then I created an explosion using displacement maps and exploding 3 different copies of my pyramid. Once I saved with an Alpha Channel for PHotoshop, I created a background for my 3d artwork by using the cloud filter and then using layer modes to create color and lighting effects. The most challenging part of this is getting the displacement the way you like it. Experiment with different patterns and different projection methods for the material.

Quelle: www.gomediazine.com

Final Product What You’ll Be Creating

As designers we are often asked to create fictitious landscapes for whatever project we are working on. Creating an image such as this usually takes a combination of careful image selection and knowledge of Photoshop’s tools and techniques. In today’s tutorial we will demonstrate how to create a nuclear disaster landscape using a dozen or stock photos.

Resources

The following images and resources were used in this tutorial. They can be seen in the image below.

• Road
• Car Stock
• Nuclear Reactor
• Plane
• Skeleton
• Panel
• Skull Heap
• Pool of Gasoline
• Nuke
• Explosion
• Right Waves
• Left Waves
• Grungy Stock
• Brushes

Step 1 – Adjust the Background

First, Open of the Road image.

Use a gradient map by going to Layer > Adjustement Layer > Gradient Map to darken this photo a bit. Use the settings below:

The resulting image should look something like this.

Step 2 – Add the Car

Now, open the Car Stock Image and copy and paste it into your working document. Name the layer “Car.” Use any method to remove the Car/Truck from its background.

At this point we also need to adjust the “Car” layer’s Brightness/Contrast. Go to Image > Adjust > Brightness/Contrast and set to -10/+5.

Step 3 – Add a Shadow Under the Car

To create a shadow for the car, Duplicate the “Car” layer and place the layer under the “Car” layer. Name the new layer “Shadow Car.” Cmd-click to select the pixels of the “Shadow Car” layer and fill it with black by going to Edit > Fill > Black with 100% Opacity. Set this layer’s blending mode to Soft Light and move it slightly under the car as shown.

Step 4 – Adjust the Car Windows

In this step we will make sure that we can see the background through the windows of the car. To do this, take the Rectangular Marquee tool and make a selection of the background layer directly behind the windows. If you need to, feel free to lower the opacity of the Truck to ensure that you are selecting the right spot. Paste this selection directly above the “Car” layer and hide it.

Make a selection of the windows of the car as shown below. Once your selection has been made unhide the selection of the background that you just made, make an inverse selection of the windows and press Delete. This should remove the excess area from your new windows.

Step 5 – Add a Skeleton Inside the Car

To add the skeleton, extract it from its background and then copy and paste the end result into your working document. Resize and position it as shown below. Place it above the “Car” Layer and Delete the excess areas. Lower the Opacity a bit and name this layer “Skeleton.”

Step 6 – Add a Pool of Gasoline

Paste the Gasoline photo into your working document. Resize, position and transform as shown below. Use a soft brush to erase the parts that you do not need. Now adjust the Brightness/Contrast. Name this layer “Pool of Oil.”

Step 7 – Add the Dead End Sign

Paste the Dead End Sign into your working document and extract it from its background. Place it as shown below. Use the Burn Tool to darken the right side of the sign. Name this layer “Panel.”

Step 8 – Add a Skull Heap

Paste the Skull Heap image into the document. Extract it from its background as shown below, flip, and position it appropriately. Use the Burn tool to darken it a bit and name the layer “Skull Heap.”

Step 9 – Add Shadowing Under the Skull Heap

Add a shadow to the heap using the same technique that we used in Step 3. Name the shadow layer “Shadow Heap.”

Step 10 – Add Cracks to Road

We want our road to look a bit less pristine. To break up the pavement we will use these Brushes. Select a black brush and place a crack as shown below.

Step 11 – Add Color and Contrast

To add some color to add a new adjustment layer by going to Layer > New Adjustment Layer > Color Balance > -15/+10/+10.

Now add some Contrast by going to Layer > New Adjustment Layer > Brightness/Contrast > 0/+15.

Step 12 – Add a Nuke

Copy and Paste the Nuclear Missile into your working document and extract it from its background as best as you can. Resize and place it as shown below. Name this layer “Nuke.”

Step 13 – Add an Explosion Under the Nuke

Now copy and paste the Explosion photo into your working document. Use a soft eraser to remove the unwanted areas of the explosion and place it as shown below. Name this layer “Explosion.”

Step 14 – Add the Shockwaves

As you know an explosion would cause some shockwaves. You can add the shockwaves by copy and pasting a photo with some nice waves into the document and by erasing the unwanted areas. First do this on the left side and then do it on the right as well. Name each side “Left Water” and “Right Water” respectively.

Step 15 – Adjust the Shockwaves

Adjust the color of the waves using the Color Balance Adjustment under Image > Adjust > Color Balance and set to +19/-16/-8. Do the same for the “Right Water” layer.

Step 16 – Add a Nuclear Reactor

Now extract the Reactor from its background and paste it into place. Name it “Nuclear Reactor.”

Step 17 – Adjust Shading on Reactor

Use the settings below to adjust the lighting of the reactor using the Burn and Dodge tool.

Step 18 – Add Cracks on the Nuclear Reactor and Darken Vegetation

Using the same technique you used in Step 10, use the crack brushes that you downloaded earlier to apply some cracks to the reactor.

Now grab a black brush, lower the opacity to 76% and change the brushes blending mode to Color. Use the brush to darken the vegetation.

Step 19 – Add Lights and Smoke to the Roof

Find a photo of fire similar to the one placed on the roof below. Use a soft eraser to remove unneeded areas.

Next go to Filter > Distort > Motion Blur > set the Angle in the direction of your fire (in my case > 0), and the Distance to 24.

Next, take the Eraser Tool (E) and use a soft brush with low Opacity to erase all except the source of light, like this :

Name this layer “Roof Light 1″, duplicate it, then go in Filter > Distort > Motion Blur, same Angle as before, but this time enter a Distance of 144. Replace it and lower the Opacity to 70%.

Duplicate “Roof Light 1” and name the new layer “Roof Light 2″, set Opacity to 100%, place it next to “Roof Light 1” as shown.

Step 20 – Add Lights and Smoke on the Hood and Bumper

Use the same technique outlined in Step 19 to place some lights on the hood and bumper as shown below.

Step 21 – Add the Plane

Copy and paste the plane photo into your working document and extract it from its background. Resize the image and place it as shown below. Now apply a Brightness/Contrast adjustment to this layer using the following settings -20/+10.

Apply some shading to the plane using the Burn and Dodge Tools. Name this layer “Plane.”

Step 22 – Add Flames to the Plane

On a new layer, brush a strong yellow color using a soft brush over the smoke. Lower the Opacity to 36%. Name the new layer “Flames Plane.”

Step 23 – Add Nuclear Detonation

Create a new layer and fill it with black. Name the new layer “Halo,” and set the opacity to 40% . No go to Filter > Render > Lens Flare and use the settings below.

Step 24 – Touch Up the Detonation

Take a large soft white brush and paint over the flare that we created in Step 23.

Step 25 – Darken the Edges

To darken the edges of the image create a new Levels Adjustment by going to Layer > Levels. Use the settings below. After that add a layer mask to the adjustment layer and take a soft black brush and paint the middle as shown. Set the layer’s opacity to 66% and its blending mode to Soft Light.

Step 26 – Add Grungy Effect

Now let’s add a layer of grunge to our composition. To do this, find a grungy texture and place it on the topmost layer. Set it to Overlay and lower the opacity to 10%. Name it “Grungy.”

Step 27 – Final Adjustment

Now add one last final adjustment layer. Go to Layer > Adjustment Layer > Color Balance and set to -10/5/+10.

Final Image

Take a look at the final image below.

Um diese Technik zu erklären wird bewusst auf ein anspruchsvolles Bild verzichtet da sich diese Technik so leichter und verständlich erklären lässt. Bei den meisten Bildern ist sie auf die selbe Art und Weise anwendbar.

Zum Bild: Die Bildelemente sind klar voneinander abgegrenzt und gut erkennbar, was eine ideale Basis für das Freistellen über die Kanäle bietet. Ziel wird sein den Sensenmann mit seinem Rasenschneider vom Hintergrund zu lösen und ihn in ein anderes Bild zu importieren.

Das Bild für das Freistellen optimieren Zuerst gehen wir in das “Kanäle” – Fenster und finden dort im RGB-Modus 4 Felder vor. Ziel wird jetzt sein den Kanal zu finden der den besten Kontrast zwischen den gewünschten Bildelementen bietet, sprich wir möchten die Bildelemente so gut wie möglich vom Hintergrund abkapseln. Dazu testen wir den “Rot”-, “Grün”- und “Blau”- Kanal durch und stellen fest das Blau den besten Kontrast bietet. Um nichts am Originalbild zu zerstören wird der Blau-Kanal dupliziert. Jetzt wird über die Gradationskurven (Bild>Anpassen/Korrekuren>Gradationskurven) versucht das Bild für unsere Zwecke zu optimieren. Dazu werden die Anfasser in der linken Ecke unten und in der rechten Ecke oben jeweils nach rechts bzw. nach links gerückt bis ein akzeptables Ergebniss erreicht wird. Achtung: werden die Anfasser zu weit gezogen erfolgt am Bild eine unschöne Treppchenbildung. Der Unterschied ist in diesem Fall kaum sichtbar da keine große Veränderung der Gradation notwendig ist. Generell können auch andere Korrekturen oder Filter angewandt werden, Hauptsache die Bildelemente werden herausgefiltert.

Jetzt folgt die Handarbeit: Dazu wählen wir das Pinselwerkzeug und stellen folgende Werte ein: Modus: Ineinanderkopieren Hauptdurchmesser: 200 (richtet sich je nach Notwendigkeit) Härte: 0% Deckkraft: 100% Wir werden jetzt mit den Farben schwarz und weiß arbeiten. Da der Pinsel auf Ineinanderkopieren gesetzt ist werden alle dunklen Farben schwarz wenn man mit der schwarzen Farbe darüber fährt und alle hellen Farben weiß bei einem weißen Pinsel. Diese Tatsache werden wir uns zu Nutze machen um den Hintergrund komplett abzutrennen. Ab dieser Stelle ist Fingerspitzengefühl und Übung gefragt. Es kann natürlich sein das an kritischen Stellen Mischtöne vorkommen und der Pinsel in Elemente zeichnet die eigentlich eine andere Farbe bekommen sollen. Das kann man vorbeugen indem man Hauptdurchmesser, Härte und Deckkraft des Pinsels ändert bzw. auf andere Methoden des Freistellens (wie etwa die Auswahlwerkzeuge) zurückgreift. Zeichnet man zu oft mit dem Pinsel über eine Schwarz/Weiß- kante entsteht wieder ein unschöner Treppeneffekt. Tipp: Blendet man alle vorhanden Kanäle ein, sieht man welche Stellen bereits “ausgemalt” wurden und hat eine gute Orientierung. Am Ende sollten nur noch Flächen mit 100% schwarz und 100% weiß übrig bleiben. Exestieren Mischtöne, wird später an dieser Stelle eine weiche Kante entstehen (was man sich auch zu Nutze machen kann).

Nachdem der schwierige Teil gemeistert ist müssen wir nun für unser Objekt eine Auswahl treffen. Dazu die Maus auf das Bild des duplizierten Blaukanales ziehen und strg/apfel + linke Maustaste drücken. Es wird automatisch eine Auswahl erstellt. Jetzt werden die ursprünglichen RGB-Kanäle wieder eingeblendet und dafür der duplizierte Blaukanal ausgeblendet. Nun können wir das Kanalfenster hinter uns lassen und widmen uns dafür dem Ebenenfenster. Hier wird zuerst überprüft ob das Bild auf einer Ebene liegt oder noch mit dem Hintergrund verbunden ist. Liegt es auf einer Ebene, wird im Ebenenfenster auf “Ebenenmaske hinzufügen” geklickt. Unser Sensenmann ist jetzt verschwunden und es ist nur der Hintergrund sichtbar. Weil wir genau das Gegenteil wollen wird strg/apfel + i gedrückt um die Ebenenmaske umzukehren.

Da es sich um eine Ebenenmaske handelt, ist es uns möglich das Bild für weitere Zwecke non-destruktiv zu bearbeiten. Das bedeutet das keine Bildinhalte des Bildes verändert oder gelöscht werden. Wichtig ist das die Ebenenmaske beim bearbeiten aktiviert ist. Zeichnet man mit der Farbe schwarz hat es den Effekt das an dieser Stelle Transparenz entseht, bei weiß ist das Bild sichtbar. Mischtöne führen zu einer jeweils mehr oder weniger ausgeprägten Transparenz. Durch diese Technik ist es nun möglich die letzten kleinen Fehler, die beim Freistellen über die Kanäle übrig blieben, auszubessern. In diesem Fall würde ich dem Sensenmann eine weiche Kontur mit Hilfe des Weichzeichnungsfilters geben und Beleuchtungseffekte einbauen damit er sich besser in den neuen Hintergrund einfügt. Wie ein Ergebniss aussehen könnte seht ihr hier. Ich wünsche euch viel Spaß beim ausprobieren und dazulernen. Stockbilder: The Grim Weedwhacker – 6 by mjranum-stock Early Morning-Stock by Kelly63

Preview of Final Results

Decorating Text Photoshop Tutorial

Step 1

Before we start on the actual image, we first need to create a simple pattern which we will use later. Create a new document with dimensions 20×20px then go edit>preferences>grid… and use these settings. Create a new layer (Shift+Ctrl+N), hide the background layer then set the foreground color to #808080. Now recreate the image shown here using whatever method you feel comfortable with, the polygonal lasso tool is a good choice for what we want to achieve. Now save the pattern by going edit>define pattern, after saving, close this document. When making patterns like this one it is important to make sure that they will repeat when tiled, there are various methods of achieving this like the offset filter, however with a pattern this simple it easy enough just to visualize it.

Step 2

Create a new document, this time with dimensions of 1024×768px then select the gradient tool (G) and open the gradient editor. Click the arrow in the presets box and choose pastels, select the first gradient in this set. Using a linear gradient drag from the bottom of the page to the top, holding Shift to keep it vertical. Lastly change the opacity of this layer to 75%. A gradient is always a strong way to begin a piece like this but does require a texture over it.

Step 3

Here we will create our background texture, first find a simple image of clouds, the one I used can be found here. Copy and paste this image then resize it to fit the page. Next invert the colors (Ctrl+I) and set the blending mode to screen. Now add a bit more depth to the background by doing exactly the same with another image of clouds like this one. When adding a texture to any piece on Photoshop, always experiment with all the blending modes as some will look better than others depending on the texture you use.

Step 4

Before you start on the foreground, a good idea is to set up some swatches that you will use regularly throughout this piece. Double click on the foreground color and create a swatch of these three colors; #b5005e, #39d336, #00baff.

Step 5

Okay now for the text, start by creating a new layer group named ‘foreground’, it will become clear why we did this later on. Select the text tool (T) and draw a text box that goes from the left of the page to the right. Type your text in then highlight it all and go window>character to bring up the character settings. Use all the same settings as shown here. The reason for the wide character spacing is to allow enough space for the borders we will add.

Step 6

Right click on the text layer and select blending options and add a drop shadow, outer glow, bevel and emboss, color overlay, pattern overlay and a stroke. Use the settings shown below. You will notice that, although we used the drop shadow and the outer glow, we just mimicked the effect produced by a stroke. The blending options can be very powerful when used in this way so take words like drop shadow as a guideline rather than an instruction.

Step 7

The next few steps will show how to add some goo and drips to the text. Set the foreground color to the purple swatch then create a new layer group named goo directly below the text, still within the foreground group. Create a new layer within this group (Shift+Ctrl+N). Use the line shape tool (U) and create lines like the ones shown here, make some with the weight set at 2px and some with weight at 3px to add some variety.

Step 8

Create a new layer within the goo group. Select the brush tool (B) and use a round brush with a size of 3px and a hardness of 100%. Zoom in to about 400% and draw some droplets at the bottom of each line, also draw some beads of liquid on the line.

Step 9

Create another new layer within the goo group. Using the same brush, decorate the text a little more to achieve a result similar to below. This step can take a few tries to get right but is quite enjoyable at the same time.

Step 10

If you try Ctrl+clicking on the text layer you will notice that the selection will not include the border around the text, this will become a problem in the next few steps as you will see. The easiest way to overcome this is to first duplicate the text layer then drag it below the original text, now create a new layer directly below the new text layer then select the new text layer and merge it down (Ctrl+E) then name it ’selection’. Now if you Ctrl+click this layer you will notice the selection covers the border of the text and we also still have our original text which can be edited easily.

Step 11

Create a new layer group named lines, this time above the text layer although still in the foreground group. Create a new layer then select the pen tool and draw path, making sure to hold and drag after each point to ensure the path is smooth. Next right click on the path and select stroke path and don’t check simulate pressure. The result should be similar to below. On these brushes, using simulate pressure will blend out both ends of the line which is not what we want here.

Step 12

Now select the eraser (E) and use a 100px diameter, 0% hardness and 30% opacity to fade out the end of the line. Also use the blur tool (R) with a similar brush to blur some parts of the line.

Step 13

Now we will use that layer we created back in step 10 to remove parts of this line accurately. The concept behind this method is to use our selection layer to select all our text then create a new selection manually and intersect these selections, let’s see how it works.

First Ctrl+click on the selection layer then select the polygonal lasso tool (L) and in the main toolbar change it to intersect mode. Choose a part of the line that you want behind the text then draw round that part of the text then select the layer with the line in it and hit Delete. So in the image here, I want the line to go behind the left part of the ‘H’, note that I didn’t draw accurately around the ‘H’ this is because only the parts included in both selections will become our final selection. Continue using this method for other parts of the line to give the impression it weaving in and out of the text.

Step 14

Try adding some more lines using the same method shown in the last three steps. Try also changing the brush size to either 2px or 1px or switching on simulate pressure.

In this example I used a 1px brush with simulate pressure on.

Here I used our green swatch, again with 1px and simulate pressure on.

For this effect I used a 2px brush with simulate pressure on and when creating the path, held Shift to get a straight line.

Step 15

A quick way to make some random dots is to first select the brush tool, using a 2px hard brush then hit F5 to open the brush editor. Use the same settings as shown here and use the blue swatch we created earlier. For this brush we can drag it, note how the dots will be random and will give different effects depending on how fast you move the cursor.

Step 16

For this step you will need to have a floral brush set, lots of these can be found here, download one and install it, note that you may need to restart Photoshop after installing it. Create a new group behind the text and in a new layer; use the purple swatch and go wild with these brushes, making them flow from the letters and the lines. My set included some leaves which I dotted around using the green swatch. Using the floral brushes was just an idea, other vector style brushes can give good results too, one which is worth trying is using tree brushes on the top half of the letters.

Step 17

Another nice detail that is simple to make is these blue lines. First create a new layer then select the blue swatch then the brush tool and use an 8px hard brush. Use the pen tool to create a large arc, mine went roughly from the ‘H’ to the ‘O’, now stroke the path and make sure simulate pressure is checked. Use the eraser tool to get rid of half of the line and to blend it slightly. I created three of these.

Step 18

Duplicate this layer, with all three lines in it then hit Ctrl+T and rotate the lines roughly 180° then move them to below the text as shown here.

Step 19

The text is looking nice now however the foreground and background are like to separate images at the moment so we will learn a few ways to make them harmonize better. A good way to approach this problem would be to create an in between layer which is kind of half and half and can bridge the gap between foreground and background. Start by creating a new group within the foreground group but below everything else in that group. Create a new layer in this group then go image>apply image then edit>transform>warp and drag only the boxes here to warp the image, make sure that when your warping the image it still covers the entire document or else you will be left with sharp edges.

Step 20

Now select this layer then go layer>layer mask>hide all, change the foreground color to white then use a few of the following brushes with medium opacity to unhide some of the content on this layer, make sure the layer mask is selected rather than the layer itself.

1. A grungy brush of any size, this can be a brush you have downloaded or one that comes with Photoshop like the spatter, charcoal or chalk brushes, these work well when used at a larges size and dotted rather than dragged.

2. A floral brush of medium to large size. This looks good on a slightly higher opacity brush as well as on low. Never drag these brushes, it just doesn’t work.

3. A really good effect can be created when using the pattern stamp tool (s), although it requires a few tries to get it right. Try using the pattern we created earlier and also some of Photoshop’s like the checkered one.

Optionally you can repeat these two steps again to add more detail as you are trying to get a fine balance between the foreground and background.

Step 21

You will notice with the image we have at the moment, the clouds are only in the background. Let’s solve this problem; we have to choices here, we either add more in front of the foreground group or we can take something away from the foreground. I’ve found that the taking away method produces a more realistic result. However if you have some cloud brushes kicking about feel free to use them but in this image I didn’t. First let’s check where we are at in terms of layers; at the moment you should only have a foreground group, a background group and the white background layer, everything else should be contained within these. In the background group duplicate one of the cloud layers then drag it out of this group and to the very top of the layer stack. Change the blending mode to normal then go select>color range and pick the very darkest part of the image and use the settings shown below, OK. Now you should have a rough selection around the clouds, hide this layer then select the foreground group and in the layers panel click the layer mask button at the bottom.

Step 22

The last step is to add some color adjustments to the whole image. Start by creating a new layer above the foreground group then select the gradient tool and create a gradient like shown here. Use a radial gradient setting an create a blurry circle, go back to the gradient editor and change the color and do this again until you have something that resembles below. Lastly change the opacity of this layer to 50% and the blending mode to color. One last adjust that I save until last is to move that cloud layer that we duplicated to the top of the layer stack, unhide it then change the blend mode to soft light; I’ll let you decide on the opacity this layer should be.

Step 4 – Create an inverse selection of the model

Hide the layer with the clouds then select the background layer.

Select the magic wand tool then set the tolerance to 0 so that the black sweater won’t be included in the selection.

Click on the black area to create a selection of the background. You’ll get most of the background selected.

You can continue to add to the selection using the lasso tool. Or, if you’re using Photoshop CS3 or newer, switch to the quick selection tool, to easily add the bottom of the background into the selection.

If you’re using Photoshop CS3 or newer, you can use the refine edge tool to enhance the selection. Simply select any one of the selection tools then click on the “Refine Edge” button on the option bar.

Step 5 – Create a layer mask of the selection on a group

By applying the mask in a group instead of a layer, we can simply place any layer we want in this group and it will only be visible behind the model. This saves us from having unnecessary layer masks.

Select the layer of the clouds then click on the button in the layers palette.

With the group selected, click on the button to add a layer mask. It will automatically apply your selected area into the layer mask. Anything we put inside this group will appear around the model.

Now we’ll check to see if there are any flaws to the mask. Add a color fill layer with a contrasting color such a red. To do this, select the layer with the clouds then choose Layer > New Fill Layer > Solid Color.

Step 6 – Refine the layer mask

Zoom into 100% view to find any flaws such as this one on the shoe.

Select the layer mask in the layer palette then use the brush and eraser to refine the edges. Use the brush tool to erase the background or the eraser tool to add. In the option bar of the brush and eraser tool, you can change the brush hardness. Use a hardness of 50% or more for sharper edges.

When you’re done refining the mask, you can delete the color fill layer and make the layer with the clouds visible.

Step 7 – Complete the blending of the clouds

Add a layer mask to the layer with the clouds. To do this, select the layer then choose Layer > Layer Mask > Reveal All.

Select the eraser tool. Right click anywhere in the document window to bring up the brush options. Use a very large brush size with a hardness of 0%.

Make sure that the layer mask of the cloud layer is selected. To select the layer mask, click on the layer mask thumbnail in the layers palette. It should have a border around the layer mask to indicate that it is selected. With the eraser tool, erase the bottom of the clouds so that it fades gradually.

Select the move tool then move the clouds lower so that it is just above the spotlight.

Step 8 – Place the city background

Before you can use the place command, you need to have the layer mask deselected. Click on the layer thumbnail of the clouds layer to deselect the layer mask.

Choose File > Place. Browse for the photo of the city then click OK. Scale and position the image like shown below then press enter on your keyboard to apply the changes.

Move the layer with the city background below the layer with the clouds.

Step 9 – Desaturate the city background

First, we’ll make the layer grayscale using the same technique we used earlier with the clouds layer. Right click on the layer of the city background then choose blending options.

Apply the settings as shown below then click OK.

Step 10 – Fade the bottom edge of the layer with the city background

If you look closely at the bottom of the city edge layer there is a hard edge. To fix this, we’ll fade the edge with a layer mask.

With the layer of the city background selected, click on the to add a layer mask.

Select the eraser tool then right click anywhere in the document window. Use a large brush with a hardness of 0%.

Make sure that your layer mask is selected. It should have a white border around the layer mask thumbnail to indicate that it is selected. With the eraser tool, erase the bottom of the edge so that the hard edge is gone.

Here’s the before and after of fading the bottom edge.

Here’s what our image looks like so far.

Step 11 – Add abstract colors to the background

Create a new layer above the clouds layer then set the blending mode to color. Now we can paint in this layer with any color and it will only affect the color of the layers below.

In the swatches palette (Window > Swatches), click on the menu then choose any one of the PANTONE CMYK swatches.

Now you have the yellow, magenta, and cyan colors easily accessible form your swatches palette.

Select the brush tool. On the option bar at the top, you can select the brush size, hardness, and opacity. I recommend starting with a 50% opacity to paint.

Select any of the first three colors in the swatches palette then begin painting.

You can overlap two colors to create other colors such as teal. Remember that you can adjust the size, hardness, and opacity of your brush for different results. Here is what we ended up with and how we got the results.

Step 12 – Add a swirling beam of light

Create a new layer inside a new group. This group will be used to store all the special effects we’ll be adding on later. Select Group 1 then click on the button to create a new group above it. Then, click on the button to add a new layer inside Group 2.

Select the pen tool then apply the settings in the option bar as shown in the image below.

Create a curved path similar to the image below.

Select the brush tool and adjust the settings. Use the settings as shown below but adjust the master diameter setting to change the size of the brush. The size of this brush will determine the thickness of the beam of light. We used a brush size of 30 px on the high resolution file used for this tutorial. But if you are working on a low resolution file (ex. 800 x 600 pixels), then you should use a smaller brush size such as 7 pixels.

Make sure that you have the new layer in Group 2 selected. In the paths palette (Window > Paths), right click on the work path then choose stroke path.

In the stroke path dialog, select brush from the drop down menu and enable simulate pressure.

This is what our image looks like so far with the swirling beam of light. However, it doesn’t look like it is swirling around the model. In the next step, we’ll mask out certain areas to make it look like it is swirling around the model.

Step 13 – Create a mask for the swirling beam of light

Hold down the Ctrl key on your keyboard then click on the layer mask of group one.

Select the layer with the beam of light then click on the button to add a layer mask. It should apply the selected area as the layer mask.

Make sure that you have the new layer mask selected. Select the brush tool the paint in white over the areas shown in the image below. This will make the beam of light look like it is swirling around the model.

Step 14 – Create a lens flare

Create a new layer as the top layer in Group 2 then fill it with black.

Choose Filter > Render > Lens Flare. Set the brightness to 100% and choose movie prime as the lens type. Adjust the flare center to get a flare that you like then click OK.

Choose Image > Adjustments > Hue/Saturation then apply the settings as shown below. If you are using Photoshop CS3 or older, enable the colorize option first then adjust the hue and saturation settings.

Step 14 – Duplicate and position the lens flare

First, change the blend mode of the lens flare layer to screen.

Select the move tool then reposition the lens flare to models right top hand.

While holding down the Alt key on your keyboard, drag the lens flare to the models left hand. This will create a duplicate of the lens flare.

Step 15 – Mask the lens flare

We want to make the second lens flare appear as behind the models hand. To do this, we’ll mask it out using a layer mask. Click on the button to add a layer mask.

Select the eraser tool then use a large brush with 0% hardness.

Erase over the hand and arm so that the lens flare looks like it is behind the hand.

Here’s the before and after results.

Step 16 – Merge the lens flare layers

Because we will not need to reposition the lens flare anymore, we can merge them together. If you simply merge the two layers right now, the layer mask will be lost. To preserve the layer mask, move the layer without the layer mask up so that it is on the top. Then, choose Layer > Merge Down or Ctrl+E.

A dialog will appear asking if you want to apply or preserve the layer mask. Select preserve.

Now the two layers are merged and the layer mask is still there.

Step 17 – Import the image of the shattered glass

Choose File > Place, browse for the image of the shattered glass, then click OK. Press enter on your keyboard to exit out of the transform tool.

Step 18 – Add transparency to the glass layer

Using the same technique used earlier, we’ll make the dark area of the layer transparent so that it blends into the photo. Right click on the layer with the glass then choose Blending Options.

At the bottom of the window in the blend if options, drag the black input sliders towards the right until the background disappears.

Hold the Alt key on your keyboard then drag the right black input slider towards the right until the edges are softened.

Change the blending mode of the current layer to luminosity. This will allow the color from the layers below to be seen through the glass.

Step 19 – Prepare the layers

Duplicate the layer with the glass (Layer > Duplicate Layer)

Hide the other layer by clicking on the icon.

Step 20 – Distort the first glass layer

With the current glass layer selected, choose Edit > Free Transform to use the transform tool. Hold down your left mouse button anywhere inside the boundary border then drag it to the models left ankle.

While holding down the Alt key on your keyboard, drag the upper middle handle downwards so that your shattered glass looks like the image below.

Rotate the layer like shown below. To rotate, position your cursor outside the bounding border then drag to rotate.

While holding down the Ctrl key on your keyboard, drag the bottom left handle towards the bottom left like shown below.

While holding down the Ctrl key, drag the bottom right handle towards the upper left like shown below. Press enter on your keyboard to apply the changes.

Step 21 – Distort the second glass layer

Select the other shattered glass layer then enable back the visibility by clicking where the icon should be.

Like before, we’ll use the transform tool to distort the layer. Choose Edit > Free Transform then position the center of the shattered glass at the models other ankle.

While holding down the alt key, drag the upper middle handle towards the bottom to shrink the layer like shown in the image below.

Rotate the layer like shown below by clicking anywhere outside the boundary border and dragging.

While holding down the Ctrl key on your keyboard, drag the top left corner downwards. Press enter on your keyboard to apply the changes.

Step 22 – Swap the layers

Switch the position of the two shattered glass layers. Move the bottom one above the top one. This is because the shattered glass on the models left ankle is supposed to appear in front of his left ankle.

Here’s a before and after comparison of switching the layers. You can see that the shattered glass doesn’t appear to be wrapping around the models legs. We’ll fix this with a layer mask in the next step.

Step 23 – Add masks to the shattered glass layers

Select the second layer with the shattered glass then click on the button to add a layer mask.

Zoom in to 100% and use the move tool to position the center of the shattered glass on the leg.

Select the eraser tool, right click anywhere in the document window, then set the hardness to 100%.

Erase the upper part of the shattered glass that touches the leg and the beam of light like shown below. Now it looks like the shattered glass is wrapped around the leg but not in front of the beam of light.

We’ll repeat this for the other leg. Select the other layer then click on the to add a layer mask.

Like before, erase the upper area of the shattered glass that touches the leg as shown below.

Step 24 – Make the beam of light glow

To finish this photo manipulation, we’ll make the swirling beam of light glow. Right click on the layer with the beam of light then choose blending options.

Select the outer glow layer style then adjust the size until you see a glow on the beam of light.

Select a color that you like for the glow.

Next, enable the inner glow layer style and zoom in so that you can see the beam of light. Press Ctrl+ to zoom in and drag in the document window to reposition. Set the blend mode to normal.

Set the color to the same or similar color you used in your outer glow layer style then adjust the size so that the inner glow is more visible.

Final Results

Download the PSD file

• High resolution JPG image (2.58 MB)
• Low resolution watermarked Photoshop document (4.58MB)
• High resolution watermarked Photoshop document (112 MB)

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Required Resources

In this tutorial we will be using some resources you will want to download before starting:

(Optional) Cinema 4d material
note: you will have to make an account to be able to download this material, it is well worth the effort though since it is one of the biggest c4d material providers on the web!

Final Image Preview

Step 1: Creating the basic text

Open up Cinema 4D and make a text object

Write “Media Militia” in the text object

Now rotate your text object: 90* on the X axis and -90* on the Y axis

Create an Extrude NURBS object

And drop your text in it

Change the object properties of the Extrude NURBS to 0 / 0 / 35

Now take your ExtrudeNURBS object and hit “C” (this makes your object editable)

Open this object and select everything (Ctrl+A) then right click your object and press “Connect”

You can now delete your old object that you just “Connected”

Rename your object “Media Militia”

Take the polygon tool and the Rectangle Selection tool, make sure to un check the “only select visible elements” box

Now with the scroll button of your mouse click on your “canvas” and you will see that four different views just opened up, we will be using the top view

So middle click on the top view to make that view bigger, and select the first “M” letter of Media Militia right click on it and press “Split”

This creates a new object with just the “M” now delete the selection you have selected, this will delete the “M” from Media which leaves you with an “M” object and a “edia Milita” object. Rename the object you just split to “M”

Now go back to your “Media Militia” object and select and split the “t”, just as we did with the “M”. Delete the “t” from your Media Militia object and rename the “t” you just split to “t”

Middle click on your screen and go back to perspective view. Take the Live Selection tool and on your “M” object select the shown polygon:

Right click on your screen and select “Extrude”

Add 350 to the offset

Go into Top View and select your “t” object, press Ctrl+A (to select all the polygons) then take your Scale Tool and scale up the X axis (or the red axis) to 220

Go back to Perspective View and select the shown polygon with the Live Selection tool

Right click on your screen and select Extrude and add 1000 m in the Offset

Take your Use Model tool and the Live Selection tool

Make a floor

Go into Right View, select your three text objects and move them right on top of your floor

Now make two copies of each text object, and place each copy underneath it’s original, name each object as shown below

Create a Shatter Object and copy it, name one shatter object “Shatter 1” and the other one “Shatter 2”

Change the strength of the “Shatter 1” object to 20 %, and the strength of the “Shatter 2” object to 10%

Select both Shatter objects and copy them twice, now place a Shatter object in each copied text object (match them up according to their number as shown)

Now select all of your text objects ending with either a 1 or a 2 and take the Live Selection tool

And move the “green axis” up 14.3 points, so that it is on top of the original text object

Go into top view, take your Polygon tool and select all your text objects ending with “1”

Make sure you have no polygons selected (left click anywhere on your canvas to de-select any polygons you might have selected)

Right click on your canvas and select “Knife” (make sure the visible only is checked)

Now start randomly cutting from one side of your text to another, do this around 30-60 times (this will make the shattered pieces smaller)

Make sure you don’t leave any long polygons like the extruded M and T uncut

Keep cutting until you have something like this

Now do the same for the text objects ending with “2”

After that go into side view and start cutting up the text objects ending with 1 and 2 just as we did earlier (make sure to un check the “Visible Only” box)

Now select all your “2” text objects and scale up the green axis using the scale tool

Then move it down, so that the top of the letters are slightly on top of your original text

Now take all the “1” text objects and scale them up as well

Then as we did before move them down, so that the top is a little higher then the original text

Step 2: Adding Light and textures to our image

Make a basic light

Make three copies of it, and name them 1, 2, 3, 4 accordingly

Change the Intensity of the first three light objects to 45% and change the intensity of the 4^th light to 70%

Now select the 2^nd 3^rd and 4^th light objects and change the shadow to “Shadow Maps (Soft)”

Now go into top view and move each light as shown below

Go into side view, select all your lights and move them up a bit as shown

Now we are going to make the materials for our floor and for our text

Start by making a new material

Double click on the material (to open the material editor) and change the color to the following

Now check the boxes for Luminance, Bump, Specular, and Displacement

Change the settings to the settings shown in the screen shots below (In the bump and displacement options you will have to load in the metal texture image)

Now close the material editor, and drop the material onto the floor

This next part isn’t necessary but it gives your text a nice touch, it does take longer to render though.

We are going to load our downloaded material and place it on all of our text objects

Go into the render settings, and change the Output to the following

Then we are going to put on Global Illumination and Ambient Occlusion (just click the check box on the top, leave all the other settings on default)

Before we render our scene we are going to set our perspective view on a nice angle, I put my picture on this angle

Now hit the render button

This can take quite a while, depending on how strong your computer is, but after that we are done with Cinema 4d and we will go play in photoshop

Once it is finished rendering save it as a jpg format, and 300 dpi (dots per inch)

Step 3: Editing the picture in photoshop

Open your image in photoshop

Double click your layer and name it “Base”

Make a new layer under your base layer and fill it with white

Now add a white mask to your “Base” and with a large soft black brush (bring the opacity of your brush down to 50%) start masking out the colored edges

Now import your metal texture and resize it so that I covers the entire media militia text, desaturate the texture and change the blending mode to overlay.

Take your eraser tool and delete any harsh exteriors

Take your base layer and go to Image>Adjustment>Curves and change the settings to something like the following

Now import your ink texture, rasterize it, and name it Ink. Make sure you place it underneath the metal texture

Change the blending mode to multiply

Add a mask to the layer and get rid of all the dark areas surrounding the actual ink

Now duplicate this layer and hide the original, rotate and move your copy so that it is on top of the text, then with a very soft brush mask out the parts that stick out from the text.

Then after that change the transparency to 5%-50% (change it around so that you get a random look) and with a small brush start brushing the edges of the ink that is on top of your text

Duplicate your original ink texture and cover another part of the text and repeat the same process as with the other ink texture. Do this until all your text is covered with ink textures.

Now select all your ink layers and add them to a group, name the group Ink.

Change the opacity of your ink group to 40%

Now make a new layer, name it Shadow, and with a black color and a soft, big brush add a line around the text as shown:

Add a Gaussian Blur, 17 px, and bring down the opacity to 30 percent. Now delete any parts of the shadow that you don’t like with a big soft brush

And we are pretty much finished

Step 1
Create a new document sized 1200 * 800px, fill the background with black colour. On the background type, use the font we’ve just downloaded to type some texts onto it.

Step 2
On the text layer, apply the following layer blending options:
Outer Glow

Inner Glow

Bevel and Emboss

Contour

Stroke

And you will have the following effect:

Step 3
Duplicate this text layer FIVE TIMES. For each duplicate layer, slightly adjust each layer’s position on the canvas, also alter the opacity of each duplicated layer for creating more depth. Here is what I have after adjusting each layer:

Step 4
Duplicate all preview text layer ONCE. Rasterize those duplicated text layers and merge the duplicated layers together. On the merged layer, apply the following Gaussian Blur Settings:

Change the blending mode of this merged layer to “Hard Light”, you will have the following effect:

Rename this merged layer to “Glow”, we will continue to use this layer for the next step.

Step 5
Duplicate this “Glow” layer THREE TIMES. From bottom to top, adjust each layer’s blending mode and opacity according to the following settings:
Duplicated layer 1:
Blending mode: vivid light
Opacity: 90%
Duplicated layer 2:
Blending mode: overlay
Opacity: 80%
Duplicated layer 3:
Blending mode: soft light
Opacity: 70%
And you will have the following effect:

Step 6
Load the “Soft Smoke texture” into Photoshop, use the Lasso Tool with a 20px feather setting, select a portion of the smoke texture, copy and paste it onto our text document.
Use the Free Transform tool (Ctrl +T) to rotate the texture until reaching the effect as follows:

Name this new layer as “Flame”, duplicate it a few time. Again on each duplicated layer, use the Free Transform tool to rotate and resize, so that the shape of each layer differs from each other. Also make sure the Smoke Texture covers the whole text. Here is what I have after the Free Transformation:

Step 7
Merge those duplicated layers from the previous step and keep its name as “Flame”. Change the blending mode of the merged layer to “Hard Light”. You will have the following effect:

On this layer, hit Ctrl + U and apply the following Hue and Saturation adjustments:

And you will have the following effect:

Step 8
Still on the “Flame” layer, add the following layer mask to it: (Hint: use a soft round brush with different flow and opacity settings to create depth)

Here is the effect after applying the mask:

Then we duplicate this “Flame” layer three times. Set the layer blending mode of the duplicated layers (from bottom to top) as “Hard Light”, “Overlay”, “Overlay”. You will have the following effect:

Step 9
Now we can add some smoke around the text so it doesn’t look too isolated. To do this, duplicate the “Flame” layer one more time and remove the mask. Desaturate this duplicate layer, change the blending mode to “Screen” and decrease the opacity to around 30%. Here is what I have so far:

Step 10
For some final adjustments, I added the following image adjustment layers on top of all previous layers:
Curves

Brightness and Contrast

Hue and Saturation

And here is the final effect:

OK, that’s it for this tutorial! You can of course add some of your own texture or filter effect and see what the end results are! Remember to always keep your own creativity! Here is an alternative version I have: (adjusted the colour balance a bit)

Hope you enjoy this tutorial, drop me a comment if you have any question, I will try my best to help you out. Cheers and have a nice day!

Quelle: photoshoplady.com