In this Photoshop tutorial, we’re going to walk through the many different ways to create this pixel dispersion fragmenting effect to make your model or object look like it is bursting into little particles and pieces. We’ll look at quickly cutting out the subject of the photo (whether it’s a person, a car, a building, or anything,) masking to create the effect, adding elements to fake a depth and give the image a 3D look, adding the spinning tornado effect (mine in this video didn’t turn out too well, but you’ll get the point when you see me do it,) and doing all the color effect work to make this image look really, really cool.
Monitor is a Samsung 28-Inch Ultra High Definition LED Monitor (U28D590D)
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Hey everybody welcome into this Photoshop tutorial brought to you by Tut vidcom today we're going to take a look at this pretty cool pixel dispersion effect it's really neat we're gonna add like a 3d element to it by sort of faking depth in our photo and it's a really versatile effect it's an effect that once you know how to do it you can apply to anything not just people we're going to do it to a model you can apply this to cars buildings any kind of environmental effect you want or even like text or graphical elements if you're working in a strictly graphic design type application uh Before we jump into the tutorial I want to remind you guys I'm selling a course over on top vidcom a link just appeared I don't know somewhere over there go check it out uh you don't have to buy it if you don't want asking to go check it out just checking it out to help support the site and if you pick it up of course that helps support the site even more and for that I would be greatly appreciative but let's go ahead and get into this tutorial and get started with this thing sooner rather than later alright so this is the finished effect right here as as we look at this we can see that it's kind of like her dress completely fragmenting and spinning around you're cool it's composed all these layers in this layer group I'm not going to go through them now because it'll just get complicated but like I said this is not something that we only can apply to people it can be applied to other effects we can apply blurs and make it look like either the car is exploding or maybe all these bits and pieces are shooting together to you know reform this car from the mere vapors of the air or whatever and we also have here an athlete who's leaping through the air and you can see the ball is kind of fragmenting and so is he and just so much you can do with this it's such a versatile effect so let's jump over here to our image and get started with this now the first thing I want to do once you have your photo and by the way this particular effect seems to work best when you have a solid color background however you can apply it to other types of images as I did with the car photo and as I did with the football or soccer player the key is going to be we need to cut the person out of the background and then be able to fill in behind where they were so you're going to see we're going to do this with her in just a second where we actually fill in the background and that's kind of important so just know that whatever background or whatever image you're using it doesn't necessarily have to be a photo shot in studio but the photo shot in studio is certainly are the easiest to do because there's a less kind of patching and healing and cloning that would have to go on behind where the was let's get back to the video and I'll explain in more detail all right so we're going to double click our background layer it's going to unlock it hit OK there we go great we want to extend the image out to the right so we're going to go ahead and choose image canvas size and I'm going to change the width from 48 72 to a straight 8,000 now the other thing we want to do is set our center point over here to the left so all of the image gets pushed out to the right hit OK you can see voila everything is pushed out to the right now I think what we're going to try first is using content aware scale and see how that does for us and if it's even reasonably good we're just going to keep it so I'm going to grab the rectangular marquee tool I'm going to make a selection like this maybe I'll shift it over just a smidge and there we go just like that and then we'll go edit but we'll go edit there we go content aware scale and then I'm just going to pull this over this way you can see it's definitely stretching the pixels I mean quite a bit but I think this is going to be covered up well enough that you're not really going to be able to notice if it's really really bugging us one of the things we could do is reselect or reload that selection by the way that's this command shift or ctrl shift D hotkey really useful and then we'll go select modify feather and we'll feather our selection by like I don't know 40 pixels and we can just throw some noise over this go filter noise add noise and we're adding it right to the background layer so you only want to add like maybe 2 or 3% if that well you know maybe more maybe let's try like 5 what not 35 5 yeah there we go so just adds a little bit of noise it's going to help just kind of break up some of the pixelation but you can still definitely tell there's a difference between the original background in that don't worry you can spend as much time fussing with the background as you want in fact maybe once we cut her out we'll just replace the side of the background that she's on with something similar to this so at least the background looks somewhat consistent again it's totally up to do what you do it's totally up to you what you do with the background so we're going to go ahead and make a selection of her we really want to cut out her the little watering can she has the flowers and maybe even a little bit of the shadow as beneath the bottom of the dress here so the way I'm going to do this and I'm going to speed this up the hyper speed while I shoot through this but I'm simply going to use the quick selection tool and we could even enter into the new Select and mask workspace an attempt to make our selection that way again this is all going to depend just on the type of object you're selecting but something with a lot of long straight edges maybe using the pen tool would be easiest and then you can just convert that path to a selection if it's something like this where there's a lot of intricate detail all these flowers or hair everything may be selected mask using kind of those refine edge options in in conjunction with your quick mask tool would be the best you know it's gonna be up to you the more you use Photoshop the more you become familiar with making these selections the easier it's going to be to say ah here's we're going to do I think the best thing to do is just going to be use the quick selection tool and then refine this selection later so I'm just going to go ahead and start painting over her and getting the best selection possible and I'm going to go ahead and speed this up and I will be back with a full selection in just a moment.
Alright so that was pretty quick I went ahead I made the selection got her all selected I even cleaned up the edges a little bit I went in a little bit with refine the kind of the refining edge tools in selected masks but I also like with some of the straight edges on the watering can i straight-up went in with the polygonal lasso tool and just added to the selection cleaned up the edges that needed to be cleaned up and then what I did was I right clicked on the selection and choose to save the selection and you can see over here my channels panel I now have that selection saved as model so I can always bring the selection up later if I need to now that we've done that let's pop her up onto her own layer by hitting command or control J you see that she's up on her own layer now there she has cut out it does not and I should emphasize this it does not need to be an absolute pixel perfect selection for this effect it really really doesn't as long as it's pretty close I mean obviously the closer the better pixel perfect doesn't hurt but you know don't kill yourself spending a huge amount of time making this perfect selection because you really don't need to be perfect you know the better you can make the selection good but it doesn't by a long shot need to be a perfect selection so all right so we've got our up here on our own layer I'm going to name this um stretch and then I'm going to duplicate this layer command or control J and I'm going to name this model alright and our background layer let's turn that back on let's hide her and maybe what we should do is just try flipping the background that we created and put it over on this side just to create one kind of large continuous background that's just there so let's grab our rectangular marquee tool make a selection over this you know what actually I'm going to grab my clone stamp tool I'll just get rid of these couple flowers real quick just so they're not in the way of our of us being able to create this background and make it as you know kind of close to perfect as we can boom there we go hide that and I'm just going to hide that as well again it's not perfect but we're going to cover it up here in just a second so we're going to make this selection bring it out to about there cool we're going to go select modify feather let's feather it again about a 40 50 pixels something like that now we take command or control J we're popping that background up onto its own layer then hit command or ctrl T and we're going to right click within the transform handles and choose flip horizontal and then I'm going to drag it over to the side and what I'll do is I'll just drag it until it kind of meets up with the new background there we go and then we can it command or control e to just merge those layers together so again it's a very pixelated background we might want to desaturate it because I don't know if you can see it looks like we're getting some like color noise in there so if we hit command shift or ctrl shift u it's going to help neutralize any of that color that's appearing to give us a black and white image and then we can bring her back and she's still kind of on this background so we've really kind of affected and changed the way this image looks already and we haven't even actually started with the effect so here's how the effect begins there are a bunch of different ways that you can go about stretching or making an object in an image larger I think with this image I'm going to use the clone stamp tool because we we don't just have a bunch of colors they're actually flowers this isn't like a flowing dress or just a black suit jacket that we're stretching out I think I want to actually copy the flowers outward and create like this huge pattern of flowers so let's grab the clone stamp tool right here and I'm going to I want a pretty large not quite hard edged brush hardness of 80% is probably great and now we're going to do is hold down our alt or option key and we're going to select up here around this part of the image and I'll just begin painting out here now again we're just looking to have a transfer of color and these flowers it does not at all it doesn't need to look you know incredibly amazing it just needs to sort of be in place whoops that's a little bit too too much let's begin down here there we go and then paint this up and we're just looking at this point to start building out our pattern and the bigger we build the pattern the more we'll be able to sample from it later on alright great let's go down here to this part of the dress and just paint out extend this out and I know we're just we're literally copying the dress over that's fine and you could one of the things you could do is to actually copy her right over but again this allows me to kind of create and place dress elements exactly where I want them to be allows me to kind of flip you know where some flowers are and and all of that what I want to paint there keep messing this up there we go let's bring this right over here all right I'm going to speed this up and just finish this off.
Oh hey you know what I actually wanna take a quick break from this tutorial uh you follow me on Instagram you should definitely check me out on Instagram I post all kinds of like pre lewd tutorials like hey here's the next video coming up that I'm working on or here's some other crazy thing that's going on make sure you follow me on instagram at Tut vid so easy tu TV ID the question isn't why are you following me the question is why aren't you following me let's get back to the tutorial alright so now we're back you can see that I've sort of recreated this entire pattern now some of the other ways that you can do this if you don't feel like sitting here with clone stamp are well if I go to the car a version of what I've created here and I shut off all of the masks you can see here there we go.
By shift-clicking I can shut off the mask or right-click and just choose disable mask which might be a little easier for me in this particular instance you can see all I did was I took free transform and just distorted the living daylights out of the car so I stretched it that way so that's a little bit of a different way to stretch I'm just going to go ahead and enable these masks once more let's turn those layers back on great and then with the the football player what I did was if I disable the mask I'm going to shut him off I disabled this mask I went and just used liquify so I converted it to a smart object and I used liquify and just stretch the living daylights out of him this is one of the probably the easier ways to do this just go ahead and stretch all the colors out and one of the reasons I did it in this case but not the flower dress is because you can see he has a lot of solid color now one of the things I probably should have done was made a conscientious effort to get the greenish yellow color from his cleat stretched out with him so when sort of we had the color exploding off of his foot you had some green down there as well be the one thing I would go back and redo when I redid this image but you can see solid color so makes it just a slam-dunk go ahead and use liquify with the car there are a lot of straight lines so I thought oh maybe just transforming it distorting it out would be great and now with the woman in the floral dress it seems like cloning might be the best option for us we'll get kind of the most detail on all of our little broken pieces alright so now that we've done that we need to hide this entire layer so we're going to go layer layer mask and hide all so it's going to hide everything we turn on our original layer and now we have our model and we need to mask her we need to start making it look like part of her is disappearing now before we do this we need to find some brushes so let's go over to Google Chrome and I'm going to show you my favorite website for finding brushes all right so here I am on this website brush easy calm and I've just searched for fragment and sure enough we have seven different brush packs that have appeared all of these are kind of purchase graphics through Shutterstock you don't you don't probably don't want to mess around with them plus they're just not brush packs but what what you can do is just go ahead and download virtually any of these I like to stick with brush packs that kind of look a little bit more organic than just being a straight bunch of circles and squares but the reality is a lot of the desintegration brushes you're going to find are going to be circles and squares you can mess around you can create your own brush packs using textures things like that and also one of the things you might want to look for our brush packs where the fragments are kind of kind of spaced out and and these kind of very fine sort of grungy disintegration brushes are one thing but this effect also looks great if you use smoke brushes if you use water brushes if you use clouds brushes and even use like a shattered glass kind of thing we're kind of the persons in the edge of the person shattering and then you get sort of this shattered effect where their body is coming back together all of those types of brushes work amazingly with this effect and look really really cool again as we proceed through the tutorial you're going to see one of the things you're going to want to watch out for is having too much graphic in one place so if you have a brush that's not kind of spread out you know like if there's tons of pieces of glass when you create this effect you keep painting and moving around eventually it becomes very very difficult to distinguish all the different bits of like let's say it's broken glass or whatever because it starts just like a solid dress again so that's the one thing you want to just be aware of and I'm sure will have to deal with it here when we're when we're working on our image so brush easy calm I just the key word I searched for was fragment I'm sure there's a bajillion other keywords that you could search for as well so I'm going to load up my brushes once you download your brushes you can load them into Photoshop I'm going to place a mask on model so I'm going to go layer layer mask reveal also it's going to be a white layer mask of grey and I'm going to bring up my brush tool so the brush tool is right over here in the tool bar and I'm going to right click and from this flyout menu I'm going choose replace brushes on replace all the brushes that are in there and I'm gonna load disintegration brushes vol.2 so that's the one that I'm gonna work with again you don't have to work with this exact brush pack um again any brushes that you're going to load as long as they're decently grungy or fragment II or glassy or smoky or liquidy or whatever they're probably going to work also having big brushes helps as well so here we go we've got our brushes loaded and we can just choose the first brush let's go with this one right here now what I like to do you can see this is a relatively large brush what I like to do before I begin working on anything especially I mean she's very slender so if we go ahead and just start like clicking this she's going to start disappearing very quickly I'm going to undo what I just did number one make sure the opacity of your brush tool opacity and flow are both set to 100% that's fairly important there we go the other thing I want to do is bring up my brushes panel I like to keep this up because one of the things that we're going to be doing is not only selecting other brushes but we're also going to be rotating the brush tip resizing the brush tip we might change the hardness a little bit and we'll also be just straight-up switching the the brush itself and maybe even loading other brush packs depending what we're doing all right so let's just size this down a little bit cool and then I'm gonna grab this Arrowhead and rotate this brush so it's a little bit more yep like that and I'm going to tick on shape dynamics here I'm going to increase size jitter size jitter what would any of these jitters do is it basically is going to make Photoshop allow Photoshop to make the brush head vary in size every each time you click and apply a brush pattern so it's going to sort of automatically make this shatter effect look a little bit more organic that's what I like I also want to turn the angle jitter and really crank that well I'll crank it up a little bit maybe 20 25 percent in this case alright let's go ahead we're going to start painting we're painting with black opacity the brush tool is at 100% and I'm going to start just painting away and making kind of this edge of her dress appear shattered we're going to make this entire right edge appear like it's kind of shattered I'm going to make the brush tip shape I'm gonna click on brush tip shape I'm going to make the size a little bit larger maybe take it up to 1500 1600 something like that and I'm going to apply some of those into her body a little bit further all right something like that I'll probably end up painting away the little bits that appear on her skin I'm not sure how much I really like that all right let's go ahead there I'm not going to mess around too much with her hair this is mainly about the dress fragmenting disappearing appearing whatever whatever you want to happen down there so I'm going to just paint away all right so we've done the first part of that and that is making her begin to disappear and we've got a pretty intense intense job of that so let's now go down to the stretch layer and we're going to paint with white to bring some of this dress back now before I do that I'm going to set my foreground color to white just hit that little arrow to flip the foreground and background colors I am going to choose a different brush I'll choose like this one here and I'm going to go to shape dynamics you can see size jitter and angle jitter are still there I'm going to increase angle jitter to 100% and what I like to do and you can choose how you want to work this particular part of your brushing but typically I like to start with small fragments this is just generally speaking I like to start with small fragments close to my subject so we'd have very use a smaller brush close to her and then the brushes are kind of the fragments excuse me we get a little bit larger as they got away from her you can flip that make the fragments very large that are close to right like big pieces are breaking off of her dress and they get smaller as they drift away that certainly would make a lot of sense either one looks good the key is you probably want to pick one and stick to it so you're getting more kind of natural look specifically when it comes to this kind of fragmentation effect so I'm going to stick with what I just said I'm going to go with small fragments and kind of fade them out to larger fragments so I'm gonna make this brush size small under brush tip shape just scale this guy down maybe I'll make it like five six seven I know it won't you know what I'm just going to I'm just going to manually punch in 850 let's go eight fifty there we go and now I'm just going to paint here alright so you can see we've got all these fragments coming in and now this is going to harken back to kind of exactly what I was talking about just a moment ago where we have way too much graphic being laid down on the image you can't I mean you're almost able to see the flower pattern like like right down here right you can almost see those flowers appearing again we're going to take care of that in a moment let's make this brush bigger I'm just going to use the hot key the bracket keys I'm going to bring it up to an almost 2,000 pixels and I'm going to press a couple times out here right so we've got kind of a big fragments exploding off of her and shooting way out over here now what I need to do is kind of lighten this up there's too much graphic being poured into it we're seeing too much of that effect underneath so now all we need to do is flip our foreground and background color we're painting with black and just click through here a few times with black it's going to kind of chop things up it's going to make things a little bit more transparent it's going to start getting rid of some of those little bits and pieces that we've created and give us a very fine effect now once you've done this obviously you may want to go back in with a large brush and just reiterate where you have some of your biggest your biggest bits of fragmentation happening and you know what maybe what I'll do is I think I will switch up what I was saying and bring big fragmentation over here closer to the dress and then it's just going to be smaller fragmentation that's happening way out here so I'm going to include that and now I'm again get a paint with black make this brush a little bit smaller let me take it down to about 1500 and I'm just going to loosen up and lighten up what I seen here anywhere where I'm starting to kind of see the pattern of flowers coming back in I really want to make sure I get rid of that because that's going to be a problem for us so I'm going to go back up here to her layer I'm going to do away with some of the dress that's still kind of hanging out down there and there we've kind of completed the first part of the effect you know what I'm going to grab this 35 pixel brush when I make it a bit larger before I say that I'm going to paint with the foreign color of white I'm going to paint here over her skin you can see we're just getting rid of those bits that are taking chunks out of stuff that we don't want chunks coming out of all right so we're scanning her hair they're in good shape but you can see we've completed kind of you could finish the effect right here but we're going to go on and do something else with it as well and that something else is going to be adding some depth so like I said you could essentially wrap your image up right here and be done with it we've created a fragmenting effect her dress is kind of blowing off in the outer space or you know materializing around her which or whichever you allow your imagination to play with but let's go ahead and kind of create some some larger chunks that are going to sort of try to appear like they're coming out of the middle of her around her we're going to begin first by kind of fragmenting a little bit of the right side of her dress so I'm going to again bring up my brushes panel I'm going to grab any one of these brushes I can always if the brush isn't quite the correct angle I can always rotate the angle like we saw earlier I'm going to make it quite a bit smaller here I'm going to paint with the foreground colour of black and I'm going to come into here and I'm just going to paint away some of the dress that's kind of going on down in here all right so it's going to be kind of a subtle effect but it's definitely happening it's fragmenting and which which means there's going to be some kind of fragmentation action happening over here on this side of her as well now what I'm going to do actually going to move the brushes panel over here might be a little bit more out of our way I'm going to duplicate this stretch layer so I'm going to hit command or control J and I'm going to move this up above the model layer now I'm going to call this middle graphics or something I just give it a name it's just mid stuff we're going to fill the mask with black so I'm going to hold down alt or option and then backspace or delete depending on whether or not you are Mac or PC and what I want to do is grab one of these brush it's got to be a pretty large brush we're going to rotate it so it's it's a fairly flat graphic like this well make sure my foreground color is set to white so it's a little arrow and then I'm going to click once here alright you can see it's going to bring some color graphic back in on that side you know it also I might - I might get rid of the angle jitter for a second go back to brush tip shape just rotate this guy around alright and maybe throw a little bit more on that side something like that and then of course what I need to do is come in here and flip my before we run a background color again because I want to break these graphics up a little bit so I'm going to break these up make them a little bit smaller certainly as they fade away from her dress I want them to be smaller so it kind of matches the other side right so just have a little bit of like an explosion of of stuff from that side of her dress as well now what I want to do is flip my brush so I'm going to hit flip X and it was going to bring me back up right because that's just the way this brush is let's turn this down a little bit more there we go I kind of want it to look like it's coming out of this side of her now I'm going to paint with white so my foreground color a the letter X by the way to quickly switch your foreground and background colors I'm just going to click once over here it's going to give me kind of this explosion of color and at this point we could make this layer a little bit bigger a little bit smaller I still think there's a little bit too much color in here in the middle I really don't want to see too much of the pattern coming through there so I just want to make sure I break that up nicely this whole point is just to almost add a very subtle swing of the fragmentation. In like this area of the shot as if it's like a ring of fragmentation going around or so once we've done that great we've created our middle graphics and what we need to do next is duplicate this and create some blurred graphics we're going to begin sort of faking depth and then we're going to do our color treatment work and we're also going to do sort of that swirling blur effects I'm going to show you all that some hit command or control J to just duplicate this again we're going to select the mask and fill it with black now that I've done that what I want to do is grab holding on my Alt key I don't want to do that I keep I keep clicking it there we go we want to select our mask we want to grab our brush tool once more and I want a large rug actually want it to be larger than this so I'm going to select actually want it to be a different brush all together yeah maybe this one we're to make it as big as we can make it a 5,000 pixel brush now this is just the case for this image your image you might not be able to you might not need a 5,000 pixel brush but this is a huge remember this pixel this this image excuse me is 8,000 pixels wide so I'm going to set my foreground color to white and I'm going to just click once and it's going to bring back a bunch of like you know big chunks of the dress what I'm going to do now is I'm going to blur this layer you could set you could convert to a smart object I'm not going to because I'm not going to be that picky about it I don't want to lock my mask within the smart object or maybe I do now I'm just going to keep things simple for the most part you usually want to convert to a smart object but I don't want to I want I still want access to my mask right here very quickly so I'm going to go blur Gaussian blur and we're gonna I'm going to zoom in because I really want to get a good look at this I don't want it to be too blurred 15 is too blurred maybe 4 that's decent I still want these blocks to appear like they're fairly close to her let's go with 4 and then we're also going to blur so we just blurred the contents of the layer not the mask if I alter option-click the mask you can see that you know what that has actually blurred a little bit I take that back maybe I did blur that a little bit I want to blur the mask a little bit more so I'm going to select the masking it commander ctrl F again it's just going to blur the edges a little bit more so that's great and at this point you could you could go ahead and just either reduce the opacity of this layer if that looks like it would kind of make it look like they're fading away you can go into your mask at this point with the brush tool again right and you could whoops you could paint with black and just kind of break up a little bit of these a little bit of these these shapes that are blurred and and floating around again once you do that you can see it's going to create this really nasty edged see like right in the middle of a blurred object there's very hard-edged stuff so in order to get rid of that command or control F it's going to reapply your blur and it's going to specifically apply the blur to that layer mask and it's just going to help blend that stuff together so now even those fragments like this big chunk of fragment here it looks like that's even breaking apart alright so we've added our first sort of I'm going to call this mid blur and now we need to do is we're going to add sort of like a brightening blur and then one last blurred layer that's going to be like stuff that's way up in the foreground close to us so let's duplicate our original layer I'm just going to hold down my alt or option key and drag it right up there I'm going to select the mask and I'm going to fill it with black alt or I'm sorry alt backspace option delete and now that we have this I'm going to I'm actually going to zoom I'm going to temporarily disable the masks I'm going to right click disable mask and I want to make this flowery stuff as big as the entire image so command or ctrl T and let's just go ahead I want to click any any control command option keys we're going to drag it out don't even worry if it's proportionate we still kind of have our flowers intact all right that's probably good enough and we can just right click and enable our layer mask once more and what I want to do is again invoke the let's bring up the brush panel again but I want to use a huge brush once more so I'm just going to tilt this brush any brush will probably work any of these fragmentation brushes certainly will work so I'm going to go ahead make this 5,000 pixels I'm going to click once I want to make sure my foreground colors white though again we want to reveal we're looking to reveal the stuff on this layer so click once we reveal it great at this point what I want to do is right click on my layer mask and choose to apply the layer mask this is going to do is it's just going to apply the mask to the layer there for erasing everything else it's kind of like applying a layer mask it's kind of like saying hey layer mask I don't want you to be editable anymore I want this to be applied to the graphics of this layer this is going to allow us to do things like just blur this layer straight up right there and do all kinds of cool things with the layer in terms of you know you're spinning blurs and any other blurs that we want to do in this case I'm doing it because I just want kind of a more compact graphic that I can transform and scale and make large and I'm going to blur it anyway so I don't mind if I lose a little bit detail and I and it's I kind of like where it is so I'm gonna hit command or control T and what we're going to do is we're going to just scale this way up you can see how I'm just stretching the daylights out of it here there we go and we go stretch it out this way stretch it out that way cool and we want to blur this so I'm going to zoom in a little bit and we're going to go filter blur Gaussian blur and four is not enough we probably want to go like ten or twelve maybe twelve again this stuff would in theory be a little bit further away from her so going okay that's great we're going to apply that and we're going to set this to a layer blend mode of tri screen yeah I kind of like that I'm going to reduce the opacity down to like 75 80 85 somewhere right around there that's great and now to this layer we want to apply a layer mask so we're going to choose the new layer mask icon and I want to just hide some of the the bits of this that are here in the middle so you could use any brush you like I'm going to use another one of these kind of fragmentation brushes which means I'm going to have to blur the mask a little bit because again we're going to have very hard edges to this but I just want to start revealing her dress and that stuff again so I'm going to set my foreground color to black just flip them nice and easy alright we're going to go ahead and just open up the middle of our image once more again these these fragments are meant to be fragments that are kind of like swirling all around or not necessarily covering her up alright so now that we've done that let's go filter blur Gaussian blur we're applying this blur to our mask go ahead okay great so now we just kind of blur away some of that masking but you can see very clearly her and her dress are coming through the middle kind of loud and clear so that's great okay so now that we've done that we're going to go ahead and we're going to duplicate the stretch err once more while we can duplicate the mid blur layer actually uh no you don't know we can't blurred what am I thinking hold on the altar option key let's just drag this layer up we're going to get rid of the mask off altogether and I'm going to hit delete note we don't want to apply it and we're going to free transform this command or ctrl T and we're going to just stretch this out make it kind of as big as the image we're going to end up stretching and blurring what we get out of this in just a second anyway button it enter return to commit that change we're going to apply a layer mask layer layer mask and hide all just a full black layer mask now we're going to grab any of these brushes I'm actually going to use I kind of like this brush that I have now as you can see it's kind of like long and thin right such wide I want something why this image is wide so I'm going to make it 5,000 pixels in size again I need a huge brush foreground color is set to white I'm going to click once right in the middle it's revealing just a chunk of graphics to me a chunk of this fragmented color II mess I'm going to right click on this layer mask and choose to apply this layer mask right great now we've applied the layer mask we're going to command or control you know what I'm going to name this foreground blurred that way I kind of know what this is I'm going to hit command or control T and I'm going to blow this up and I need this to be big so I'm going to really stretch this out something like that maybe I'll search for just the right just the right amount maybe something like that so it's maybe only blurring the edges you see how kind of like the top portion of the frame is pretty empty it's going to be fairly devoid of blurred graphics I think that'll even more make this look three-dimensional go ahead and hit the check icon now there's a ton of wasted graphics all around you can see it's going to even take a second for the transform to happen because it's a huge graphic we just created remember this is only 8,000 pixels wide so in order to quickly get this cleaned up I'm hit command or ctrl a to select all and then just command or control J to pop that up onto its new layer and the original foreground blurred I'm going to select and just delete it and I'll rename this layer just foreground blurred there we go so. Now this layer is just this little bit and what we're going to do now is we're going to blur this layer of course you could convert this to a smart object we could do that because we don't have a mask applied to it for the sake of just staying uniform with what we're doing I'm not going to do that we're going to go filter blur Gaussian blur and now we use 12 I was in blur for the stuff that's in theory behind her so this stuff is super close to us so should I be like 65 something like that maybe even more maybe 85 something like that okay you can see very very blurred in the foreground we can reduce the opacity a little bit because the stuff would appear some semi-transparent at the very least so now we have kind of her dressed fragmenting and we have all this stuff kind of collapsing around her how do we go ahead and create that swirling effect and then how do we do the color treatment to this image so obviously at any point along the way here you can stop with this effect I'm going to kind of go over and above I'm going to do a ton to this photo but you can stop anywhere you like and call it a day with the effect I want to show you how to do everything here so you can pick and choose and do it your own special way to each and every one of your images or all the images that you want to apply this effect to so we're going to go ahead and apply the color treatment and we're going to do this kind of swirl effects so let's take a look I should actually mention before we go any further you can create sort of a second one of these blurred foreground layers just to further reinforce you know this depth so if we were like duplicate this layer command or ctrl T make it even larger maybe right click and choose flip horizontal and drag it you know up over here or something maybe even tilt it and just really shade in the areas that need to be filled in a little bit just to really sell the idea of this depth and once again because we free transform it so much commander control a commander control J pop it up onto its own new layer what we selected both layers I didn't want to do that there we go select the original one delete it and we're going to name this one foregrounds blurred oh - this is why my tutorials always take so long because I'm always free freelancing freestyling off of what I should be doing alright so we've got our foreground now that I'm looking at her I think we need to kind of fade away some of the dress down here a little bit more it looks a little strange having so much of her fragmenting and then just as part of the dress down here still hanging on so let's grab the brush tool let's open up the brush panel once more we'll choose any one of these brushes but I don't think we've used this one yet and we're going to make sure under shape dynamics we've got some angle jitter happening size jitter is fine uh maybe it needs to be a little bit smaller than 2500 pixels let's make it like 1600 or so there we go something like that alright I'm painting with black I'm down here on the model layer on the mask of that layer so I'm just going to click a few times in here we're really going to try to make this up I'm painting with white so that's of course not going to do me any good there we go now I'm painting with black and I'm just going to really paint a way to make this kind of you know fragment and now it's almost like as soon as we get rid of her connection to the ground it's almost like she's floating in mid-air in this virtual world with her dress fragmenting and spiraling all around her so speaking of spiral let's create the spiral effect we're going to merge all of our layers to a new layer so command or control I'm sorry command option shift that we control alt shift + the letter E it's going to merge everything to a new layer now you may be thinking oh no this is so terrible this is such a destructive effect it is kind of destructive but we're going to convert this to a smart object and apply a filter gallery blur to this so we can always go and tweak and adjust it as much as we want later and I'm going to show you how this interacts with our image it's kind of cool right click on this layer we're going to call this spinning or something like that and right click again and choose convert to smart object you see it gets a little smart object icon great okay so like I said we've got our smart object here we need to apply this a particular spinning blur but before we do that I don't want it to be applied to her necessarily so I want to go over to the channels panel and command or control click on my model channel here that's going to load that as a selection I just straight clicked on it I want to command or control click on it you can see it loads it as a selection go back to the layers panel we actually want to invert this selection though because we want the blur to be applied to everything except her so go select inverse and it's going to invert our selection great we're up here on our spinning layer we're going to go filter blur gallery path blur we're not using the spin blur though the reason we're using the path blur is because we have a lot more control over you know kind of the way our paths are spinning blur will look using these paths so I'm going to take this end of the path and put it like right here and I'm going take this end of the path and put it you know like right here and then we have this middle point and we're going to drag that and pull it way over here okay so you can see this is going to give us some some pretty serious spin now that I've done that I'm going create a second path so I'm going to click here and then I'm going to click over here and then I need to click this ending point once more to kind of place the point and lock it in I'm going to grab the center point and drag it way over as well all right so we can really really tell you know Photoshop look we want this thing to spin quite quite rapidly out from the center here now part of the reason they should say that I'm using path blur not spin blur and part of the reason I'm laying the paths in like this is because I don't want this blur to look like a blur that's on screen like this I want it to look like a blur that's spinning this way right as if it's like a hula hoop going around her so we don't want it to look like a wheel turning in front of her so we need to lay those paths down flat to give that illusion of that depth you know what I mean so that's that's why I'm laying these paths down we could apply another path and by the way it looks like it's blurring her now it's not don't worry I'm going to apply a path right here and I know this looks crazy I'm just going to click to apply that and then I'm going to drag this point way over here so this is just going to kind of pull pull our blur up and around and you can click on your path by the way at any point and just apply another point so I'm going to just pull this out I'm going to pull this over and if things start to look too crazy you can just get rid of a line in fact if this if this looks too bizarre here I'm just going to ditch this line I think it is I might hit the Delete key just get rid of that whole path delete once more and there we go we've gotten rid of the path there's even a little bit of kind of discrepancy between the two paths here that I don't necessarily love but I can live with so there we go we're going to go ahead and hit the ok button and what's going to happen is Photoshop is going to take a second it's processing a very CPU intensive a blur to remember an image that's 8,000 pixels wide so I'm gonna give it a second here to just process and then we're going to jump into talking about color grading and then we're finally going to be done with this effect and actually by the way um this whole tutorial at any point along the way like I think I mentioned earlier in the video you can stop so if this is way too much for you and you think this is ridiculous we'll just stop at the very first step where you just get the fragmenting effect and it's amazing you'll still get a really cool effect alright so here we are back in Photoshop we have our image it looks like just a mess though what we need to do is drag this all the way down to the bottom just above our background so all of our new you know fragment D stuff can appear above this and then one of the things I even like to do is go ahead and just maybe reduce the opacity of that layer whatever it takes so you still have kind of the influence of the spin without having like that weird haloing effect that you can see kind of happening so you might need to play around with it a little bit maybe toya around with the path blur remember it is a Smart Objects we can go into that blur gallery and really play with our path blur get the exact blur that we need for the effect that we're going for in this case I don't necessarily like the spin that we got so I'm just going to shut that layer off maybe I'll tweak it and play around with it later but let's not spend too much time on that that is how I would apply the spin um but I'm not necessarily digging how it's working with the pattern of you know all the fragments that we created with this image some images it works some images looks amazing some it's just not quite there but that's part of the beauty this effect it's literally different totally different just about every single time you do it in fact we'll compare this image to the image that I showed you at the very beginning of the tutorial just to see two different versions of me even doing it how different it looks alright let's talk about all of the kind of changing color so we're going to go ahead with vibrance we're going to use a vibrance adjustment layer and I'm going to pump the vibrance like + 85 I mean I want a ton of color pumped into this so there's before there's after so it's already looking so much more vibrant and rich and colorful that's great we're also going to go and apply a selective color adjustment layer I'm going to work from the drop-down menu first in the blacks I'm going to remove maybe just a tiny bit of the blacks well it's way too much maybe just like negative 1 negative 2 I'm going to remove some of the yellows which is going to pump blue into that area I'm going to introduce more magenta not too much so be careful there and I'm also going to introduce just a little bit of red so you can see two layers and we've dramatically changed the color already and we're not even done here with selective color now in selective color go up to neutrals let's again portal is just a couple more drips of blue into there a couple more drips of magenta into there and maybe I don't know I think actually like a little bit of cyan again this is all just a personal taste and let's go up to yellow White's excuse me we're gonna throw more yellows into the whites to try make her skin look a little more golden and rich maybe magenta green and maybe a maybe a little bit of green actually and then cyan versus red I think I want to put red red by the way is the opposite of science when you drag out cyan it's going to give you red when you dragged away magenta it's going to give you green when you drag away yellow it's going to give you blue that's why I'm kind of talking like that to myself all right now that we've done that we need to just increase contrast we can do this with a simple curves layer simple s curves or adds just bump and bump all right just a nice s curve on a curves layer before after it's a nice little kick of contrast and I think let's let's go with another let's go to color balance adjustment layer here let's work with the shadows first we can increase the Blues and the shadows this is really going to give us intense and rich color whoa that's way too much took a second to catch up with me there all right let's go magenta is a little bit cyan red I kind of like the red in the shadows that's kind of cool mid-tones let's go with a little blue again a little bit magenta I think I'll go a little cyan there in the mid-tones highlights again let's try with yellow yeah I definitely like yellow in the highlights more maybe just a kiss of green and highlights and I'm probably just a touch of red and the highlights as well so you can see color balance is really kind of blowing things out of the water we could reduce the opacity of that layer if we like and if it's still not colorful enough where you can always throw another vibrance saturation adjustment layer and pump the vibrance up even more I think that's maybe a little bit too much for this image in fact I'm just going to delete that vibrance adjustment layer altogether but you can see here we've we've created this you know kind of crazy effect that began with just that girl standing there with that flower dress on now let's take a quick look at the before image and then the after image and you'll really see how much difference we made and again remember for the third time I want to stress you don't have to go this far that's the beauty of these adjustment layers and breaking everything down into the layers do it as far as you want to do it do it as far as it looks good for your project that's why you're the designer and I'm just the guy who sits here and talks about Photoshop all right so here's this one that we just did on the video here is the image before oh hello me zoom out so you can see how matically different this one looks from the one that we just did I mean literally like totally different images there's way more blue in this image there's way more red and pink in this image this swirl is very well defined in this image we didn't do any swirl in fact let's see what happens if I turn the swirl on you can see it kind of just makes it look like there's motion which actually isn't too bad it kind of makes it look like everything's blowing by her and sticking to her dress almost but I kind of still think I'd prefer it without that now that I'm looking at the other image I really think we need to pump up the magenta and the red in the mid-tones and really give us more of a pink look I really dig that that pink magenta look you can see two totally different images I mean I just did this one a couple hours before starting to record and now this one here while we were recording so you truly truly can get very very different effects using this particular technique but the whole point and the whole like quick rundown of what you want to do separate your subject from the background and fill in the background where the subject was remember when I first got on camera and said you eat its easiest to do people over studio backgrounds but you can do people over more complex backgrounds you just want to be able to fill in behind them so when you start masking them away when you start fragmenting their body it's not showing through the transparency but instead it's showing through to true blue background and then of course you mask and reveal fragmented parts of the stretched image which you stretch over that's the basic concept at the heart of this whole effect after that adding blurred layers and additional layers and spinning layers all of that is totally up to you and your taste and how far you want to take the effects so for spinning blurred 3d pixel dispersion explosion effects and Photoshop boy was that a mouthful that's it get it got it good Nathaniel Dodson Tut vidcom I'll catch you in the next one well I have nothing more to say I'm literally out of words after that tutorial the only thing I guess a couple more words a couple more words please go ahead and hit the like button smash the like button crush the like button subscribe to this channel as well you'll never miss another one of these video tutorials ever and if you sign up to my newsletter boom a link just appeared there on the top of the screen you sign up for that not only will I send you a course 30 free tips and tricks on how to work 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