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Create
visual was to create a
graphic and dynamic
montage, with a photo
turning into/being made out
dynamic
of paint. The first step is to
find the right photo, and
here I used a little bit of a
cliché – a basketball player.
distortion
The whole visual effect rests
on the photo used, so make
sure you choose wisely.
effects
Bring velocity and
meltdown to your
subjects with a little
Photoshop magic. Doucin
Pierre, aka Soemone,
shows you how…
I like to create dynamic work that conveys a sense of
velocity in its subjects, and the visual featured in this tutorial is a
prime example of that style. In the following steps, I’ll let you in on
one of the most effective and easily mastered techniques that I use
to make striking, dynamic distortions of subjects – in this case I’ve
used a model, although the technique can be adapted to any
objects that you wish to feature in your work, such as cars or trees.
In this tutorial we’ll use brushes to create what look like stains of 02 Open the photo (photo-original.jpg) from the disc. There are numerous ways
paint, but in your future work you can use similar techniques with to select and isolate the person. I chose the Pen tool (making sure Paths is selected in
any number of style forms to dissect and distort your subject. the Tool Options bar) as it enables you to isolate the curves of the body. Draw around
the person, then create a selection from the path and choose Select>Modify>Feather
and enter a value of 1. Remove the background using Delete.
VisualguCideVto
In pictures: a
rk of
the career and wo
iters
our Technique wr
Doucin
Pierre
Factory 311’s artistic
Jump Up – 2007
director demonstrates the Manchester United Soccer School – 2007 Tor Kristensen took the photo for this self-
power of his paint effect… This illustration was commissioned by Factory 311 (London). initiated piece.
Balance
Once the image is just about finished, all that
you need to do is check thoroughly that everything is
balanced and that there aren’t too many paint splats on
the arm or leg in relation to the other parts. Check that
you’ve not made too many lines of paint – it’s an important
part of your work to be self-critical.
15 Once you’ve finished ‘decomposing’ all the parts you want, all that remains
is to create the wispy traces of paint that detach from the body. These were made by
14 Now that you understand the technique, do the same painting with custom brushes, sampling colours from the basketball player and trying
to distort the ball, head, legs and feet, always placing the layers to create a sense of dynamism and movement.
in the designated Layer Groups so that you can find them
quickly if you decide to make changes. These steps can take
some time, especially at the beginning, but it’s the most
important part of this visual, so take all the time you need.