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I'm a graphic and interactive designer. I live in New York City, but frequent Los Angeles. This is where I toss my ridiculous ideas, conversations, inspirations, etc. I can be reached at info@ashleysimko.com
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Jan 31
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The Robot Girl collaboration shot by Tamar Levine and edited for special effects by Rob Sheridan. Sheridan has included an explanation of the process on his blog…

1. Photograph the model in position, wearing a bald cap. Our makeup artist gave the girl fake eyelashes, and put a balm on her body to give it an unnatural shine. The head sitting on the table in the foreground was a mannequin head.
2. Photograph the scene with no model in it from the exact same spot, so I have a clean background to work with, allowing me to easily move and remove parts of the girl.
3. Photograph various tubes and wires and mechanical parts in roughly the position they would be in the final image, so I have materials to use that are already in the proper lighting.4. Photograph the model’s face in roughly the same place as where the mannequin head was, so the girl’s face could easily be inserted onto the mannequin head.
5. Bring all those elements together as layers in Photoshop, and begin piecing them together, carefully hand-painting elements that never existed, like the seams on her face and body, and the smooth edges of her detached shoulder, and smoothing out the transition between her skin and the bald cap.

The Robot Girl collaboration shot by Tamar Levine and edited for special effects by Rob Sheridan. Sheridan has included an explanation of the process on his blog

1. Photograph the model in position, wearing a bald cap. Our makeup artist gave the girl fake eyelashes, and put a balm on her body to give it an unnatural shine. The head sitting on the table in the foreground was a mannequin head.

2. Photograph the scene with no model in it from the exact same spot, so I have a clean background to work with, allowing me to easily move and remove parts of the girl.

3. Photograph various tubes and wires and mechanical parts in roughly the position they would be in the final image, so I have materials to use that are already in the proper lighting.
4. Photograph the model’s face in roughly the same place as where the mannequin head was, so the girl’s face could easily be inserted onto the mannequin head.

5. Bring all those elements together as layers in Photoshop, and begin piecing them together, carefully hand-painting elements that never existed, like the seams on her face and body, and the smooth edges of her detached shoulder, and smoothing out the transition between her skin and the bald cap.