Create a new layer, and repeat the process from step 7 with the same brush, making random spray marks – this time concentrate on just behind the right-hand side of the model. Keep the brush’s opacity low – around 20% - and slowly build up the colour. Set the blending mode to Overlay. Repeat this twice more on new layers, with a white brush layer’s blending mode set to Screen, rather than Overlay. Make sure these layers are all below the ‘summer model’ layer.
Create a new layer, and using the same leaf brush as before, start painting leaves, choosing an orange (I used #ff8f07). Again, take care to vary the brush size and opacity levels – use the larger brush sizes nearest to the headdress, and smaller ones further into the distance. Then add a Gaussian blur to the flowers (see step 5), with a radius of 10.1 pixels, setting the blending mode to Screen. Again, make sure this layer is below the ‘summer model’ layer.
Return to the original ‘summer model’ layer, then right-click (Ctrl + click) on the layer mask and select Disable Layer Mask. This will show you the full headdress, as before. Using the rectangular Marquee tool (M), click and drag a selection similar to that shown here. Copy and paste your selection into a new layer. You can now enable the layer mask for the ‘summer model’ layer that we disabled at the start of the step.
Using the Distort tool (Edit > Transform > Distort), stretch the new layer until it resembles this screenshot by pulling at the vertices. Remember to cover the model’s body slightly, as this will be important in the next step.
Now we’re going to give the impression that parts of the model’s headdress are breaking away and becoming leaves. Repeat the same technique described in step 4: add a layer mask (Layer > Layer Mask > Hide All) to the layer, and paint in the mask area using the same leaf brush. Vary the brush size between 20 and 70 pixels. Again, don’t forget to use a white brush in order to see anything in the mask area. You may need to experiment a little with the brush size to get the precise effect. Match the parameters in this screenshot – you can also add jitter to the size and angle. Adding scattering also breaks up the regularity. It’s crucial that you don’t interfere with the actual layer – only work on the mask.