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The magazine for Adobe® Photoshop® professionals
EDIT VIDEOS IN CS6
Use the new tools in Photoshop to replicate 8mm vintage movies
CREATE STRIKING GRAPHICS
Work with shapes, colour and type to design a poster with impact
Industry experts reveal their top tips on beauty retouching
• Produce emotive images with Viaframe • Build layers to create a distinct pattern • Use automated lens correction
ISSUE 103 £5.99
PAINT A LANDSCAPE
Build unique environments using a mix of standard and custom brushes
DESIGN NEON TYPE
Create dramatic text by adding vibrant detail to images
Combine CINEMA 4D and Photoshop to shape a geometric landscape
WORK WITH POLYGONS
ISSUE 103 CONTENTS
Welcome to the latest issue of Advanced Photoshop. And what an issue it is! This is the first month we are displaying our new masthead throughout the magazine. We hope you like it!
Our main feature this month covers commercial retouching, where we bring you top tips from industry professionals and in our Spotlight we also discuss whether good photo-editing software can compensate for bad photography. You can have your say at www.facebook.com/advancedphotoshop. Elsewhere in this issue you can learn how to replicate Super 8mm movie looks by editing videos in Photoshop CS6, use symbolic and geometric shapes under a grid system to create a poster in our striking graphics tutorial and build unique sci-fi environments using a mix of standard and custom brushes in our digital painting tutorial. Once you have mastered these new skills, we bring you our second industryled feature where we explore how to develop a coherent personal brand to present yourself or your design business. See you next month…
ANNA LISA SAYWELL Deputy Editor
IN EVERY ISSUE:
PHOTOMANIPULATION PHOTO EDITING TYPOGRAPHY GRAPHICS NEW MEDIA DIGITAL PAINTING
54 WORK WITH POLYGONS
Combine CINEMA 4D and Photoshop to create a landscape
COVER IMAGE CLAIRE HARRISON
High-end retoucher Guilherme Strecht www.gstrecht.com, make-up and hair Margo Holder www.margoholder.com, Sleek MakeUP Raj Maher www.sleekmakeup.com Rio Debolla, Models 1
78 DIGITAL SURREALISM
Artists challenge our perspective with spectacular imagery
FIND US ONLINE:
The Luminarium ISSUE 103 06 08 18 24 36 WORKSHOP 26 FEATURE 90 74 FEATURE WORKSHOP 004 WorldMags. Michael Pedro EXHIBITION: The Dark Side of the Mind. who’s in and the latest art & design happenings SPOTLIGHT: Are photo skills being replaced? GALLERY: Great images from the online community INTERVIEW: Commercial concept art.net CONTENTS EYE ON DESIGN What’s hot.CONTENTS ISSUE 103 WorldMags.net .
net . 100 Photoshop brushes and 40 free vectors SPECIAL RESOURCE PACK PLUS: • Tutorial project files • Exclusive wallpapers for mobile and desktop • 25 free textures WorldMags.WorldMags. books and apps to the test FEATURE: Portrait Professional Studio 64 APP & BOOK REVIEWS: 123D Sculpt and Voxel 26 36 42 48 52 54 60 Work with polygons Automated lens correction TOOL FOCUS 62 68 70 72 74 78 Create striking graphics Laser dancer II Add mass and volume Design emotive images with Viaframe Manga lighting effects Digital surrealism TREND FOCUS WORKSHOP PROJECT FOCUS QUICK TRICK HOW I MADE WORKSHOP 82 86 SUBSCRIBE TODAY! SEE PAGE 88 FOR THE LATEST OFFER RESOURCES Equip yourself with the most essential advice FEATURE: How do I build a personal brand? 62 WORKSHOP 68 HOW I MADE 90 96 Free with issue 103 of Advanced Photoshop ON YOUR DISC TWO CREATIVE VIDEO TUTORIALS Create breakfast-themed text eﬀects in Photoshop and master hair retouching with three diﬀerent tutorials 72 PROJECT FOCUS 20 photo reference images.net ISSUE 103 CONTENTS Professional artists reveal their high-end skills in our easy-tofollow workshops TECHNIQUES Commercial retouching Paint a sci-fi scene Design Neon type Edit videos in CS6 Our Kingdom WORKSHOP HOW I MADE WORKSHOP WORKSHOP WORKSHOP FEATURE REVIEWS We put the latest creative kit.
helping create a landscape from my own imagination.com The most important thing for a photographer is to understand what functions they specifically need in Photoshop. from image capture through to post-production. I prefer to apply photographs that I have taken personally in my compositions.com As a Photoshop World instructor and a retoucher.glyndewis. Photoshop is an incredible piece of software. that first and foremost great images start life in the camera. finding the right view or feature.com capturing enough material to shape into this imagined scene As a photographer whose work has slowly evolved towards digital art. and nor should anyone else be.net ARE PHOTO SKILLS BEING REPLACED? Speaker at Adobe Creative Week’s The Daily Debate www. We’re in exciting times and the release of Photoshop CS6 has been the upgrade we’ve been waiting for. This really connects me creatively to the final image and also means that my work is a mix of desktop work and having fun getting out there in the world. colour and form. is a big advantage and a massive help to any digital artist. DAVID BENOLIEL Even when shooting you can plan the image adjustments you will later make in Photoshop Credit: Model . Every other tool is merely a means to extend my creativity. Despite the incredible rate Photoshop advances at.Eliut Tarin 006 WorldMags.EYE ON DESIGN SPOTLIGHT WorldMags. ASKING THEM IF THEY BELIEVE PHOTO EDITING SOFTWARE MAKES CERTAIN CAMERA SKILLS OBSOLETE GLYN DEWIS ANDREW BROOKS www. SPOTLIGHT WE ROUND UP A GROUP OF PROFESSIONAL DIGITAL PHOTOGRAPHERS. composition and communication are still extremely necessary skills as a photographer www. I’m under no illusion.Courtney O’Connor. Understanding light. Makeup . my work relies heavily on the use of Photoshop. This means I control every image applied.davidbenolielphotography.net . allowing more people to embrace creativity. It’s going to keep getting better and better. but it can’t replace the other vital skills a photographer must possess. such as composition. understanding light and how to interact to get the very best from people. As a fashion and beauty photographer I’ve had to master precise tools that allow me to improve skin. Andrew travelled the UK looking at castles and rock formations. all producing pictures with mood and character. having strong photographic skills is really important when achieving unique and compelling imagery. I’m also a photographer who works with large companies from Air New Zealand through to Physique Athletes. I feel that as a photographer and retoucher. A good understanding of the whole process. Elite.andrewbrooksphotography. However.
Speaker at Adobe Creative Week’s The Daily Debate ERIN MORONEY www. chris crisman Butterfly Girl is an impossible photograph in the traditional sense 007 WorldMags.com Model Jessica Ellis Select Model Management. If any one piece of mine is better classified as illustration that’s fine by me. followed by my camera. Photoshop can enhance a good image. You are the person in charge of the shoot.Renda Attia. but it won’t create one Erin Maroney. I am now working as a consultant at a new photographic gallery in London.claireharrisonphotography. Hair . www. posing and styling. Makeup .claireharrisonphotography. so photographers had to be technically proficient. but it won’t create one. You have to possess a vision and know how to interpret this. But the greatest tool is my mind. You’re responsible for getting everyone to do their job well through your instruction. everyone shot on 100 ISO slide film. Photoshop being applied by a talented digital artist helps me complete my vision. My background is in stock photography.WorldMags. you still need to have something good to work with initially.crismanphoto. But I don’t think Photoshop will make a poor photographer a good image-maker.net .net spotlight eye on design www. Margaret Street Gallery. Even with Photoshop being as good as it is now.com do good photo-editing skills compensate for poor photography skills? A resounding 95% of you say no and that a good understanding of traditional skills is essential for successful photo editing Credit: Photography .erinmoroney. Mansy Coakley represents An underwhelming amount of you said yes.com Photoshop is just one tool in my arsenal used to help illustrate my personal vision. But you either have the ability to compose great images or you don’t. claire harrison You either have the ability to compose great images or you don’t. It’s really refreshing to see a return to film and more traditional techniques. When I started working in the industry 15 years ago.com I think that with all of the advances in Photoshop.Claire Harrison. believing editing software substitutes traditional photography skills www.Celia Burton. through the use of lighting. There was no exposure latitude in slide film. Photoshop can enhance a good image. There are still many things Photoshop can’t cheat. There are some images that just can’t be captured through the means of traditional photography.com Being a photographer is not just about taking the image. it is easier for technically challenged photographers to pass as average. Now that most photographers shoot on digital it’s much easier to fake the technical side. www.erinmoroney.
net READERS’ GALLERY WE SHOWCASE THE VERY BEST OF YOUR ARTWORK EVERY MONTH Search for gian1082 on .net .uk and click on the Create Account option to follow the simple registration process.EYE ON DESIGN GALLERY WorldMags.co. 02 Upload your artwork /AdvancedPhotoshop @advancedpshop I used tools such as Smudge.advancedphotoshop. and have been working on Photoshop for four years. 008 WorldMags. Dodge and Burn to emphasise the athlete’s attitude in his pose. We’ll select the best each month to appear on these pages.facebook. south-west Italy.co. I worked carefully through the use of colour to create the best representation Gianfranco Gallo.uk SHOWCASE HOW TO SUBMIT 01 Create a gallery UPLOAD YOUR IMAGES TO OUR WEBSITE OR SOCIAL NETWORKS Visit www.com/Gian1082 I am a freelance artist living in Salerno. I usually join painting techniques and digital devices together to create strong visual impact. Upload your favourite images to the gallery for others to view and comment on. Goodbye London ABOUT THE ARTIST GIANFRANCO GALLO www.
co.com I am a 25-year-old graphic designer and illustrator based in Oslo. I am currently working at a Norwegian advertising agency and have been using Photoshop for about eight years.WorldMags. Norway.net .uk 009 WorldMags.jasperwiese.net GALLERY EYE ON DESIGN ABOUT THE ARTIST JASPER HAFT WIESE www. Search for jasperw on .
as I wanted them to be really mad and insane Ludovic Cordeliëres.co.EYE ON DESIGN GALLERY WorldMags.net Inferno is a personal work. I took a lot of time on these monsters. which is literally uprooted by two sick monsters from Hell.net .uk WorldMags. Inferno Search for Rusalkadesign on 010 . I wanted to create a dark advertising image for this 4X4 Mercedes.
rusalkadesign.net . ABOUT THE ARTIST LUDOVIC CORDELIËRES AKA RUSALKADESIGN 011 WorldMags. also known as Rusalka Design. I work as a graphic designer.com I’m an illustrator and art director with a background in drawing.net GALLERY EYE ON DESIGN www.WorldMags. mainly on metal music artwork.
EYE ON DESIGN GALLERY
ABOUT THE ARTIST DIEGO CASTELLO BRANCO PANNONI MARICATO
www.diegomaricato.com.br I’m a 29-year-old graphic designer, art director and illustrator from Campinas/SP Brazil. I’ve been working in advertising agencies for the last eight years always trying to use creativity to make things look and work better.
I focused on the fur, made with masks and brushes, using Scattering, Transfer and Shape Dynamics with my tablet. The aviator glasses were a challenge and fully created in Photoshop using Shapes, only the leather is a photograph
Diego Castello Branco Pannoni Maricato, Astro Cow
Search for diegomaricato on
Photoshop was used for compositing the renders into the canvas with the stars and lighting effects. Highlights and glows were brushed in with my trusty Wacom tablet. Colour correction via Colour Panels as well as Sharpening… was then used
Joseph Nicklo, Sic Transit Gloria Mundi
GALLERY EYE ON DESIGN
ABOUT THE ARTIST JOSEPH NICKLO
www.behance.net/josephnicklo Entirely self-taught, I’ve been working with Photoshop for over ten years. I’ve recently begun working with CINEMA 4D and am slowly but surely learning other tools such as After Effects and Final Cut Pro.
Search for josephnicklo on
EYE ON DESIGN GALLERY
ABOUT THE ARTIST SEBASTIAN ANDAUR
www.andaurstudios.com I am 18 and a self-taught digital artist / designer located in Santiago, Chile, and I’ve been playing with colours and shapes since I was 12. In the last few years I’ve been working with clients such as HBO, PUMA and Nestlé.
I used Photoshop CS5 and worked with stock images as well as a few renders of CINEMA 4D to create this unreal image
Sebastien Andaur, Beyond the Frame
jefflangevin.com I love creating imagery that is imaginative and emotional. Forest 015 WorldMags. Much of Forest was painted using custom brushes made from a variety of source photographs I have taken.net gallery eye on design about the artist jeff langevin www. My work attempts to convey a sense of sadness and longing for a connection to the natural world that may have been lost.net . which I scanned and then painted over in Photoshop Jeff Langevin. It began as a simple pencil drawing.WorldMags. with a fantastical or surreal edge.
EYE ON DESIGN GALLERY WorldMags.uk WorldMags. Search for LukasIDS on 016 . I fell in love with digital art and computer graphics four years ago after finishing my university studies.net . tablet painting and 3D modelled rock formations Lukas Lancko.co. I started as completely self-taught but shortly landed a job as a junior graphic designer. Sole Method ABOUT THE ARTIST LUKAS LANCKO www.isisdesignstudio.com I was born in 1984 in Slovakia. The whole scene was built from scratch using textures.net The brief for this matte painting was to create super-natural dark lava landscape with kind of a fantasy-illustrative feeling.
WorldMags.net .net WorldMags.
ultra-prime.” he reveals. Due to his notable amount of commercial experience.co. Texas and it was there that I was given the chance to finally move into full-time concept design. as his primary focus was 3D. 004 I like to keep a rotation of inspirational material handy. the world around us really is at the root of successful design. we were keen to ask Pedro where he pools his inspiration from to help him fashion his various concepts and projects. Photography is especially valuable when conceptualising mechanical designs. Pedro admits Our expert MICHAEL PEDRO 001 www. 001 002 003 004 018 WorldMags. Grounding your designs in reality is key to creating believability. 24-inch and 22-inch. “I began rabidly searching for whatever training materials I could find in the hope of improving my skillset. It dawned on him midway through his junior year that concept art was where he really wanted to be. 003 My iPad is used to play all the Netflix I can handle while working. This. using Photoshop tool sets answered: “When you think about it. hooked up to an Alienware Aurora-R3. offering authentic brushwork. in conjunction with photography. However. you can’t go wrong referencing plant life and the animal kingdom. especially on the go. Pedro advises you to keep a drawing pad handy at all times.” he says. he ended up landing an environment artist job at EA Tiburon. He immediately interview Professional concept artist Michael Pedro explains the importance of detailing images. especially when designing creatures. “After about a year I moved to Sony Online Entertainment in Austin.” If you are pursuing a career in concept design.uk Dell UltraSharp monitors. I’m also a die-hard advocate of life drawing.eye on design interview WorldMags. Concerning organics. builds and reinforces observational skills that are invaluable.blogspot. especially for a concept artist. This is the best method for honing anatomy skills.net M commercial concept art ichael Pedro is a professional concept artist with eight years of experience. 002 An essential Wacom Intuos4 large pen tablet. Traditional sketching is invaluable for staying loose and creative.net . who majored in Computer Animation.
net . I was going through a skimpy-spacemarine phase.” Pedro explains © Michael Pedro 019 WorldMags.WorldMags.net article name article type Lumina I: “A personal character piece. most likely brought on by my affinity for Heavy Metal Magazine.
article type article name WorldMags.net 001 002 020 040 WorldMags.net .
eat3d.” As a concept artist.com “These guys are a formidable force in the world of high-end conceptual art and speed painting – a critical skill in our industry. I’d like to go back and add indications of a larger ship crew. These guys are basically my ZBrush gurus. Once visualising your ideas. as well as heavy-duty construction machinery. The Gnomon Workshop currently provides some great tutorial videos on this subject.steambotstudios. “A successful application of texture within an image.” Pedro further explains © Michael Pedro 002 Avatar of Tech: Boss design for DC Universe Online © DC Comics 003 Ice Dragon Avatar: “Illustration for the Legends of Norrath TCG. for anyone interested in tips and tricks for surviving in the concept art industry. These subsequently inform lighting and material attributes. any skill that improves your ability to communicate an idea within imagery is invaluable.” he explains. There’s a certain elegance to these systems. Pedro continues: “Lighting is a tool we use to describe forms. The studio’s book Steampainting: Spark is a really handy resource. as any artist knows. “Or you can make it easy for yourselves and visit http://cgtextures. Pedro is among these ranks. texturing can make your concept art more believable.fzdschool.” eat 3d www. to suggest the mass and weight of an object. When it comes to lighting and atmosphere nobody does it better. perhaps more debris. Pedro honed this while working as a 3D production artist. check out any film by Ridley Scott or David Fincher as reference. “Also. but I had a lot of fun with this one. This is now a principal element in his illustrative style. published in Spectrum 17 and Art Of The Dragon: The Definitive Collection of Contemporary Dragon Paintings.” Many concept artists appreciate the advantages Photoshop options provide. conveys the surface breakup and tactile details. a rhythm in the shape that can really elevate mechanical design when done well. LLC he loves checking out photo references of motorcycles.” ridley scott www.com “Ridley Scott is my favourite visual director. or on a 3D model for that matter. drama is how you really sell an image.” It has to be said that without a thorough.net interview eye on design 003 001 Stranded: “ This image was a speed painting for a personal project. These guys are masters of believable texture in illustration.cghub.” 021 WorldMags. when compositing lighting and texture. “After roughing in some simple lighting I’ll pedro’s inspirations and resources cghub www. Lighting and colour are also primary tools in conveying drama and. Take a camera with you wherever you go and shoot anything intriguing you may happen to find.WorldMags. Anyone interested in learning ZBrush should check out the library as soon as possible. engines and exhaust systems. He tells us: “I guess I’ve always been interested in the visual complexity of working machinery and assembled parts. The most effective way to understand the physical properties of any texture again involves photography.” fzd design cinema www. especially texturing.com “One of my favourite CG-training sites.com “I frequent this website at least twice a day.” steambot studios www. “One of my most applied techniques involves the Lighten and Darken layer blending modes. Fantasy has never been my forte. practical understanding of how lighting attributes work together.” explains Pedro © Sony Online Entertainment. check out the art of Stephan Martinière and Khang Le. your career can severely suffer.html “Feng Zhu’s Design Cinema tutorials are some of the best on the net. In short.” Pedro adds. Eventually.com/programs_design_cinema. detailing becomes essential. New and popular images are updated in real-time and the social tools make for a streamlined sharing experience.rsafilms. applied to both 2D and 3D. Go watch Alien and Blade Runner if you don’t believe me.” he reveals. Also.com.net .
more traditional-looking brushes on a daily basis.eye on design interview WorldMags. once perfecting these core skills the commercial arena is ripe with working opportunities and budding concept artists should stay positive and eager. The brief involved a female warrior… guarding the opening to a cave. This is the best method for honing anatomy skills 022 environments. “You have to be effective within the production environment. while maintaining the high visual quality established in the campaign missions. My favourite subject matter of late seems to involve bizarre. I’m also a diehard advocate of life drawing. Halo 4.” Pedro urges. painting. published in EXOTIQUE 6. I tend to use palettes that are somewhat drab and desaturated. He continues: “Similarly when designing multiplayer maps for my most recent project. He found this an interesting experience. such as those crafted by the Hudson River School artists. while also preserving the aesthetic styling that fans have come to enjoy in the comic book medium. which employ a certain 006 amount of depth to enrich each scene and shot. he admits his styles are multifaceted. The reality is that the best product comes from teamwork. it’s easy to think you can conquer everything by yourself. I used to do this a lot. as the team of concept artists were encouraged to create believable worlds. It’s just so much more immersive. Pedro adds: “In a production setting.net . landscapes. such as robotics. such as Alien and Blade Runner. time is money. Concept art is essential to the visual direction of any project… It establishes consistency and quality if done correctly and provides the framework for the entire visual experience. passionate and new to the industry. LLC 005 005 Kronis: “A buddy and I were reminiscing about the Eighties cartoon series Masters of the Universe. He once again refers back to his biggest inspiration: “This is a product of the films I grew up watching.” Pedro explains © Sony Online Entertainment. cybernetic creatures.” he says © DC Comics 004 often bring in photo elements to superimpose over the forms. although certain cinematography has played a major part in fashioning the looks in his work. focusing on the entry hall of the Fortress of Solitude. you can minimise time wasted on importing sets and creating new brushes you don’t really need. so in that case I’m forced to be stylistically agile.net 004 Black Widow Stance: “Illustration for the Legends of Norrath TCG. artificial structures and ships.” However. so workflow must always be shifted accordingly. I use a fairly small number of textured.” Pedro fully displayed all his creative skills and talent in his commercial work developed for DC Universe Online. Pedro elaborates: “That way. regardless of the project’s subject matter. paintings and sculptures are created [and] iterated upon as the defining style emerges and is refined. instantly achieving the complex breakup of light and colour across all surfaces. and by studying older painted works. which I can use for sketching. each with a defining theme. Sketches.” What Pedro has learnt from his commercial experience is that being a talented artist isn’t enough. “My personal illustrations tend to be fairly moody in terms of both subject matter and colour. “Also. concept art completed during the pre-vis period is arguably [the] most important because this is where the trial and error happens. everything comes down to quality versus speed.” WorldMags. you name it.” Pedro says © Michael Pedro 006 Solitude: Pedro explains: “This image is an environment concept from the DC Universe Online project. It’s something that can take years to master. I also have a few specialised sets of shape brushes I’ll import for rendering different subjects. “When you’re young. Many will rely on a core set of styles to render effectively. However. The challenge for me then is to hone a workflow that enables me to be more creative yet faster in execution.” Also. actually. the biggest challenge was crafting Grounding your designs in reality is key to creating believability. which prompted this original creation. it takes something further. This was the first pass.” Photoshop brushes also feature heavily in any concept artist’s workflow. as a huge fan of Tim Burton’s early work. Pedro reinforces this point. revealing: “This may sound like hyperbole but it’s true.” However. I continue to hone methods through my observation of dramatic film and photography.” he explains. Commercial work tends to incorporate very specific requirements of colour and mood. he does admit that lighting plays a very specific role in producing the dynamism and atmosphere.” Pedro shows the same diligence to detail with every project he creates.
net .1&1 DOMAINS WorldMags.net SECURE YOUR DOMAIN AND SAVE! TRUST THE UK’s NO. terms and conditions. 5000 employees.com .uk * Offers apply to ﬁrst year of registration.1and1.co.co. we are one of the world’s largest web hosts and a leading domain registrar.99 ﬁrst year* 0 Included with all 1&1 Domains: ■ Subdomain creation and redirection ■ Masked URL Forwarding SUPPORT 24/7 phone and e-mail support DOMAINS | E-MAIL | WEB HOSTING | eCOMMERCE | SERVERS Call 0844 335 1211 or buy online www.co.info . Second year and subsequent years will be charged at the regular price. WorldMags. 1 With more than 11 million customer contracts.uk for full offer details.1and1. Visit www.uk .org .co Starting at £ . FULL DNS CONTROL Complete DNS and Contact Management via our easy-to-use 1&1 Control Panel 1&1 DOMAIN APP Check and register domains on-the-go .net . 18 million registered domains and 5 high-performance data centres. Prices exclude VAT. over £2 billion in annual turnover.
When you have a theme such as this. The use of dark imagery has been part of social conscience for some time now and it has once again proved a highly popular entry into The Luminarium’s substantial repertoire. what are you waiting for? If you’d like to see your collective featured. Darkness can be interpreted in many different ways. Fresh from an impressive back catalogue of exhibitions. so I think for somebody to be interested in something that revolves around a dark theme you need to be able to put something unique in there. Previous exhibitions include ‘A Soldier’ and ‘Genesis’. bobby myers Interview with The Luminarium is an impressive collection of super-talented digital artists with a keen eye for producing stunning artwork Timeline of chapters A Soldier – December 2010 www. Florida currently studying visual effects. “We at The Luminarium appreciate the support we get from everyone. The Luminarium’s Bobby Myers gives us the low-down on ‘The Dark Side of the Mind’ AP: Tell us more about ‘The Dark Side of the Mind’ theme… Bobby Myers: The theme is about finding the darkness within yourself and the world around you. As you can see for yourself. the community responded with some truly captivating pieces. and I think he did it very well.” says contributor Bobby Myers. So. from artists like us to everyday people who just happen to visit our site.net and apply to become a member of the team by filling in a form found on the website. but to see the world.kaioshen.net exhibition N The Luminarium’s latest exhibition explores deep into the dark arts The dark side of the mind We’ve been astounded by The Luminarium for a while now and many of its exhibitions have featured here before. “We’re always on the look out for talent and if we spot someone that we think really has it we will send them an invite to join us. It’s a place where an artist can come in and be a part of a tight community. Not necessarily to bring out evil or anything of the kind. co. “We love sharing our work with others around the globe and hope to continue doing so and providing inspiration to those who enjoy our work. and yourself. it’s often hard to think of what you can do that would be refreshing for an audience to see.” If you have been inspired by the exhibition and wish to take part in a future exhibition from The Luminarium. It’s about finding new definitions and ways to interpret the message. ‘The Dark Side of the Mind’ does nothing to change our mind – The Luminarium is an impressive collection of super-talented digital artists with a keen eye for producing stunning artwork.uk ew exhibition ‘The Dark Side of the Mind’ is the latest show-stopping project from modern. If it’s one thing I hope to hear out of those already in the group is how The Luminarium has helped them grow. theluminarium. email advancedpshop@imagine-publishing. with ‘The Dark Side of the Mind’ the collective asked digital artists to explore a theme that has produced a number of eye-catching entries.net . AP: Why do you think it’s such a popular theme? Bobby Myers: I think it is popular because it can be something that we don’t see every day. you can register on www. a self-taught digital artist from Orlando. as if they were engineering a monster. AP: Some of the artwork is stunning – could you pick a favourite and explain why? Bobby Myers: One piece that really stood out to me was Creating a Nightmarish Creature by Vincent Lefèvre.eye on design exhibition WorldMags.” confirmed Myers. The Luminarium means more than just being in an art group. AP: What is the secret to The Luminarium’s success? Bobby Myers: For me. Its exhibits aim to give artists the freedom to interpret the theme and produce organic and exciting artwork.com Energy – March 2011 Asylum – December 2011 © Thor Johannessen © Tobias Roetsch © Chris Cold 024 WorldMags. international art collective. The Luminarium release a fresh exhibit with a new theme every few months.deviantart. The Luminarium. from a different perspective. It was great to see how he took the mechanical aspects of the piece and shifted them towards a more organic creature. It is fun to explore and create new ideas based off older themes and concepts.
kuldarleement.ptitvinc.deviantart.net exhibition eye on design THE scream Richard Davies (www.uk) creating a nightmarish creature Vincent Lefèvre (www.leandrobordoni.turksworks.co.com) Illuminate IV – February 2012 Gaia – June 2012 where children have to go Kuldar Leement (www.eu) three sides of me Leandro Bordoni (www.WorldMags.com) © Christian Hecker © Matthew Attard 025 WorldMags.net .
com Sleek MakeUP caters for all skin tones.sleekmakeup.com Rio Debolla. High-end retoucher Guilherme Strecht www.com.gstrecht. Fresh and trend-led products have forged an iconic following among make-up professionals and beauty enthusiasts worldwide. make-up and hair Margo Holder www.net .net © Claire Harrison www.margoholder.sleekmakeup.com. Models 1 COMMERCIAL Sleek Branding COVER IMAGE AND OPENING IMAGE COURTESY OF COMPANY BIO SLEEK MAKEUP www. 026 WorldMags. Sleek MakeUP Raj Maher www. with fashion-forward and innovative products at truly aﬀordable prices.claireharrisonphotography.WorldMags.com.
many of the tutorials supplied online yield unconvincing effects. As beauty images are usually close-up head shots with softer. exploring plenty of techniques that will ultimately transform your beauty retouching for the better.” explains professional retoucher Oliver Ingrouille (www. it’s important to understand what defines a beauty image. Commercial retouchers know what it takes to work efficiently and in this feature several of them share their secrets. with a spotlight behind the head. flatter lighting. “It’s about creating pristine skin. Composition is also a key signifier of a successful beauty image. which I prefer to do to obtain DOF. Another way to add contrast to the skin is to use black poly-boards or deflectors either side of the model. I enjoy using a 70-200mm lens for hair. However. This spreads out evenly to the bigger round dish around the light. perfect lashes and flawless make-up. ENVIRONMENT CHOICES We shot against a dark-blue background. It reflects light back on itself from a small dish. However. there will always be a huge amount of skin and hair detail to work with. which is directly in front of the light bulb. so it’s vital to have a make-up artist who knows how much to apply. It’s also important to hide blemishes. Where fashion is energised. REVEALING HOW TO CORRECTLY WIELD PHOTOSHOP’S TOOLS B eauty retouching is one of the more common processes practised by Photoshop users.net . but not totally conceal detail. which won’t suffice if you want to show off your skills in the professional arena. PRE PRODUCTION SHOOT PREFERRED CAMERA LENS With beauty photography it’s important to shoot close up. Beauty images have significant styling – separating them from fashion photography – and images are more natural with both clean light and colour.CLAIREHARRISONPHOTOGRAPHY. before we dive in and start discussing these effects. WE DISCUSS COMMERCIAL EFFECTS WITH PROFESSIONAL RETOUCHERS AND PHOTOGRAPHERS.net COMMERCIAL RETOUCHING TECHNIQUES PROFESSIONAL PHOTOGRAPHER CLAIRE HARRISON EXPLAINS THE IMPORTANCE OF A GREAT SHOT BEFORE YOU BEGIN TO RETOUCH WWW. ensuring it shows up. PERFECT SKIN CONDITIONS I prefer to use a model with naturally clear skin. so you can capture as much detail as possible. creating a direct but evenly spread source of light. “This type of photo editing is more about perfecting the model. in turn prompting many applicable effects. Facial retouching in fashion photography is less invasive than beauty.WorldMags.ingrouille.” 027 WorldMags.COM HAIR AND MAKE-UP Studio light can be harsh. THE CORRECT LIGHTING SETUP The most common way to light a beauty shoot is to use a beauty dish.com). beauty is subtle and sophisticated. which needs to be absolutely flawless. as it gives me the option to crop in-camera while shooting. keeping retouching to a minimum and retaining as much detail in the pores as possible. This is an attachment for a flash or strobe photographic light.
TECHNIQUES COMMERCIAL RETOUCHING
DANNY MEADOWS (WWW. DMD-DIGITAL-RETOUCHING.COM) EXPLAINS WHY IT’S GOOD TO SHARE
SHOWCASE YOUR SKILLS
Marketing has changed and the world seems a much smaller place thanks to the internet. Jobs once confined to the world’s capitals are open to anyone with the talent and drive to find them. Make good use of the tools available to you so you can showcase your skills to the world. Start a blog, develop a portfolio page to go with it and update as often as you can, especially while you’re starting out. Your readers may be potential clients. It’d be disingenuous to pretend that retouching is a secret art. We’re using updated decades-old techniques with a lot of new tricks, but above all else we love the challenges each new brief brings. I’ve always been more than happy to share that excitement with my readers and in turn other bloggers have become friends, clients and advisors over the years.
CLEAR SKIN Skin is the foundation of every professional beauty retouch image, with great make-up and hair supporting this. Photoshop supplies a host of photo-editing tools, all geared towards improving, enhancing and ultimately perfecting these elements. Many beauty retouchers will apply tools rapidly, as freelance photographer Joanna Kustra (www. joannakustra.com) admits: “I always work in a loose way, not focusing too long on a single area. I move around quite freely and remove the worst spots. I use the Patch tool to replace blemishes, by selecting and dragging them into nearby areas of clear skin with a similar texture.” This is standard application. Many find it a relatively quick fix, but Ingrouille warns: “There should be no cursory method when correcting skin,
only time and patience coupled with experience and professional techniques.” He often ventures into this stage by applying a combination of the Spot Healing tool, Selective Color adjustments, with Dodge and Burn application to clean and smooth. SMOOTHING On rare occasions Ingrouille will vary his technique to smooth out particularly porous or downy skin. He explains: “This consists of two layers, the original below and a duplicate above with Gaussian Blur applied. I blend this layer using the split control in the Layer Style>Blend Options>Blend If sliders. This brings back skin details where needed. I then invert this top layer and use a layer mask to lightly paint effects back in where applicable.” Once clearing skin this softening phase often automatically begins.
There should be no cursory method when correcting skin, only
coupled with experience and professional techniques
SEE THE DIFFERENCE
OLIVER INGROUILLE / WWW.INGROUILLE.COM
BEFORE AND AFTERS SHOWING SKIN SMOOTHING, DETAILING, DODGING AND BURNING
Merge into a blending mode layer. Apply Gaussian Blur and High Pass to soften skin © Joanna Kustra Credit: Model - Liza Serepova at Premier Model Management/Make-up: Kate O’Reilly
Splitting Blending Options>Blend If sliders in your smoothing layer allows pore texture to show through © Oliver Ingrouille/Photo Credit: Rhys Frampton
These two images show the retouching layer structure before and after Dodge and Burn application © Joanna Kustra
COMMERCIAL RETOUCHING TECHNIQUES
Many photographers will not go near a retoucher who produces synthetic looks, but that’s not to say subtle skin smoothing is entirely objectionable, as Ingrouille has shown. Kustra concurs, as she reveals: “I create a new layer, change the Blend Mode to Vivid Light, invert it (Cmd/Ctrl+I) then convert to a Smart Object. I apply Filter>Gaussian Blur until I see skin pores break through. Then I apply Filter>Other>High Pass. I add a mask to this layer and apply a soft brush, targeting skin areas I want to soften, tweaking opacity to determine effect strength.” REINTRODUCE PORES Over application will more than likely obscure pores entirely, totally destroying authenticity. However, several remedies present themselves, with the High Pass filter a solution once more. Retouchers will duplicate their image, applying Filter>Other>High Pass to sharpen. A Soft Light blending mode is applied to this layer, as is a layer mask that is then inverted and applied to with a soft brush, reintroducing distinct pore texture. Others will apply pore maps, which Ingrouille explains as a base image of pores taken and applied from other model photos. “I personally wouldn't use this method, as images I work on are of a very high resolution and have all the detail I need,” he explains. “If part of the skin does feel too soft I would either sample and then heal, or cut and paste from another part of the existing skin with detail.” COLOUR CORRECTION Colour correction, not to be confused with grading (discussed later), is also a subjective process. Many will apply this in pre-production phases even before applying retouch effects. Others apply after or during retouching, believing it helps visualise the finished image. Much of this process will be completed using a combination of Photoshop’s numerous colour adjustment controls, specifically Color Range, Hue/ Saturation and Color Balance.
Use colour adjustments. Selective Color was applied to the shadows to add tone back into these and enhance exposure © Joanna Kustra Credit: Milk Model Management/Make-up: Marina Keri
HOW TO APPLY PORE MAPS
HIGH-END RETOUCHER GINA HERNANDEZ (WWW.GINAHDEZ.COM) SHOWS US HOW SHE REINTRODUCES SKIN TEXTURES AFTER APPLIED SMOOTHING EFFECTS
PREPARE TO REPLACE PORES
Duplicate your image, naming it ‘Low’. Duplicate your Low layer and name this ‘High’. Apply a 10px Gaussian Blur to your Low layer. Activate your High layer and select Image>Apply Image. Set Layer to Low, Scale to 2, Offset to 0, check the Inverted box and set the Blend Mode to Linear Light.
Low now holds the colour and High the texture in your image. Apply the Clone Stamp Tool with Sample set to Current Layer to a section of pores in your High layer. Replace bad pores or add where the image doesn’t have them. We can also use it to remove wrinkles and facial hair.
ADD PORES TO A LARGE SECTION
For adding pore texture to a large section of the skin, use the Lasso tool to select the pores you want to use from the High layer. Hit Cmd/Ctrl+J to duplicate that part. Hit Cmd/Ctrl+T to place and rotate the pores. Adjust the opacity to determine the texture’s strength.
TECHNIQUES COMMERCIAL RETOUCHING
MIKHAIL MALYUGIN ENHANCES SPECIFIC FACIAL ELEMENTS AND CREATES STUNNING BEAUTY IMAGES WWW.MALYUGINPHOTO.RU 001 APPLY LIQUIFY
I start by applying the Liquify tool with Brush Density set to 50-100 and Brush Pressure to 100 to reshape the facial structure. I recommend doing this first. Apply this tool correctly just the once, or you’ll experience distortion.
PERFECT FINE DETAILS
002 RETOUCH MAKE-UP
If you use a competent make-up artist, editing make-up becomes easier. Simply correct and enhance tonality in these areas by dodging and burning, reinforcing the shadows and highlights. Apply to hair, eyes and lips.
003 DETAILED HEALING
Follow Liquify treatment with some healing and cloning. I perform this by creating a low layer (beneath) with a 25px Gaussian Blur applied, then a high layer (on top). I add Apply Image, with Layer set to Low, blending mode to Subtract, Offset at 128 and Scale at -2. Apply the Healing Brush and Clone Stamp tools, set to Current Layer.
004 PERFECT EXPOSURE
Work carefully with dodge and burning, painting shadows and highlights in the hair by applying to a 50% grey (808080) layer set to Soft Light. On a Color blending mode layer, sample colour from your image and brush those areas that need to be corrected, for example red spots on the skin and different shades.
005 HAIR SMOOTHING
Create two layers, low and high. Use a Gaussian Blur at 30-50px to your low layer. Add Apply Image to the high (top) layer, with Layer set to your low layer, Blending Add and Invert active. Blur your high layer by a third of the blur amount, invert your layer, add a Linear Light blending mode and a layer mask. Apply a 100% white brush to your layer mask.
© Mikhail Malyugin, Anna Nerezova, Credit: Photographer - Mikhail Malyugin, Model - Alina Efremova, Make-up and hair - Anna Nerezova (Nerezova.com)
Perhaps even more so than with other elements. with its ability to alter process colours (CMYK) in each of the primary colour components – reds. The answer is to pull the magenta out of the greens. particularly with dry.COM/ADVANCEDPHOTOSHOP DAVID FAJARDO When the retouching doesn’t add value… HAVE YOUR SAY JULIE ROHWEDDER When you can’t see any facial structure and natural wrinkles. Work on a new layer and reduce the opacity where necessary. use a harder brush for edging Credit: Tim Johnson A good part of the fringe was copied onto a new layer and used to fill gaps in the hair © Oliver Ingrouille/ Credit: Elisabeth Hoff 031 WorldMags. aligning and strand-by-strand retouching.” Selective Color is particularly useful when targeting specific areas. explaining: “Perhaps you have decided a green dress isn't quite green enough. OK. Their use of manipulation tools isn’t right or wrong. No one berates Picasso for his work. ESSENTIAL COLOURING Commercial retoucher Danny Meadows (www. Hair and lips are always particular problem areas. so make life easier and download one. Colour relationships come into play once again.com) puts the importance of colour correction into perspective. Sample slightly above the lip line and use your tool to paint a more pleasing line below. Clone these in where necessary and remove them where they don't follow the flow. at a 100% zoom level. Working with the highest-resolution files you can get. This is the real difference between a competent retouch and a great one. maybe they do. working with hair becomes a question of patience. DETAILING LIPS Many retouchers believe that true skill lies beyond these corrective phases. pushing blue into the shadows to remove a yellow cast for example. When working up-close and personal you’ll be less likely to miss imperfections. I can’t stand an unnatural look. TOMÁŠ BOJKO There is no such thing as too much or too little retouching. dmd-digital-retouching. cracked lips. These can be reduced. This is a bit of a tricky one for beginners who haven’t mastered the Selective Color dialog box. the artist is presented with a whole new set of issues.FACEBOOK.net COMMERCIAL RETOUCHING TECHNIQUES HOW MUCH IS TOO MUCH? WWW.” DETAILING HAIR When retouching hair. using this as a reference when editing. If it’s a more generic colour correction. but in a natural dose. Colours have an opposite partner on the colour wheel. saying it doesn’t look realistic.WorldMags. Procedures can consist of fixing a few stray edge hairs to a full head retouch – reshaping. But it’s art. greens and so on. just like any painting or sculpture. You can also make lips fuller by dodging the lighter central line of the lip and burning the darker areas that recede from the camera. such as fixing colour casts. AI IMAGE EDITING Retouching people is not good in my eyes. Stray lipstick can be remedied using a hard-edged Clone Stamp Tool. but practise and learning from professional blogs makes perfect. existing in the perfection of details. Perfect lip definition is complete with specular highlights. and the point is to convey your view of the world and elicit some kind of reaction from the viewer. REBECCA OLSEN It depends what the purpose of the image is… It’s the artist’s impression of the world. yellows. then the Color Balance adjustment is perfect. A white brush on a new layer set to Overlay is great for bringing life to a model’s iris Credit: Adam Browning Hill Use the Clone Stamp Tool to clean up any lipstick that isn’t where it should be. Meadows explains: “You might find one or two missing or a couple in places they shouldn't be. There is only good and bad retouching. such as smeared lip lines.net . is the only way to truly appreciate the complexity of these areas.
Kustra will even work with the most obscure details.” Retouchers will also apply a dodge and burning technique of sorts. using two Curves layers. such as eyeliner. To fill gaps in the hair. improving tonality by dragging sliders towards reds. Even redefining or creating make-up where none existed before is common.” Enhancing blusher is similar. Once again. invert the mask to black and paint to the lips. Dissimilar to colour correcting. retouchers look to enhance existing tonality. JOANNA KUSTRA / WWW. tweaking opacity and reshaping the line with a hard Eraser. “Then I will blend these using layer masks and Dodge and Burn techniques. Ingrouille will comp from good parts of existing hair when possible. It’s this attention that really pays off in commercial projects. The attached layer masks are now effectively Dodge and Burn masks. “I create a new empty layer on top of my photo and draw a rough black line in place with a small brush. I do the same with eye-shadow make-up. “If nothing is available I will look at other images from the shoot or sometimes a different shoot to use as donor shots. Set this layer’s blending mode to either Overlay or Soft Light © Joanna Kustra/ Credit: Virginia Kiss . edited layer masks and tweaked opacity. set to either Soft Light or Hard Light blending modes.” she reveals.net Cross or stray hairs can be tidied using the Clone Stamp Tool once more. These layers can then be controlled and manipulated in various ways. including an applied Gaussian Blur to soften. set to Normal. with little left to chance or half measures. practise makes perfect.IMG Models. Ingrouille explains: “There is always going to be a time when you need to add or change the lighting and shadows in an image. this is a definite post-production phase. adjusting colour controls to achieve the look I want. another pulled down to burn shadows. magentas or yellows. to ensure everything is of a uniform high standard. with Blend Mode set to Overlay.” he reveals. invert the mask to black and paint the lips. as she explains: “I apply a Selective Color layer.COM 032 WorldMags.” APPLYING MAKE UP Detailing is taken to the very extremes in commercial beauty retouching. Kustra demonstrates this perfectly. Darken or Lighten blending modes accordingly. using Color Balance adjustment instead. where colour grading comes to the fore. adding hairs is more difficult. “I set the blending mode to Color and apply a black Color Overlay layer style. While it’s easy to use the latest Content-Aware Spot Healing Brush settings. the key is getting your brush shape and properties right.TECHNIQUES COMMERCIAL RETOUCHING WorldMags. However. BEFORE AFTER To create blusher. Part of this involves boosting exposure and lighting. Make-up: Yuka Hirata I apply a Selective Color layer. Instead of changing colours.JOANNAKUSTRA. retain defined edges and straighten fringes. One curve is pulled up to increase highlights. matching the natural tapered shapes of hair.” COLOUR GRADING All the levels of perfection mentioned are applicable until the last stages. You can paint these to a new layer using a low-opacity brush. paint your colour to a new layer using a soft brush.net . adjusting colour controls to I do the same with eye-shadow make-up .
preset colour ranges can be added and tweaked using Hue and Saturation sliders.CONTRAST Hit Cmd/Ctrl+Opt/Alt+Shift+E. Tweak the opacity of your adjustment layer to get the right strength. A Hue/Saturation adjustment layer is a great finishing device. merging all into a new layer. 03 ADDING DIMENSION . setting Opacity at 30%. layer Opacity at around 40% and Fill at 50%. used to target and enhance your final colours. select the Brush tool. Make-up: Simona Vankova HOW TO COLOUR GRADE SKIN AND HAIR PROFESSIONAL RETOUCHER GINA HERNANDEZ (WWW. set the brush’s Hardness to 0%. 02 HAIR HIGHLIGHTS Add a Curves adjustment layer and pull the middle of the RGB curve up. unless favourable of course. Then you can simply paint the shadows with black and lights with white to enhance the exposure. showing through enhanced exposure. with the blending mode set to Overlay. However. beware of excessive increases in saturation. Color Balance has been added to brighten shadow and correct skin tones. which will need to be corrected. Go to Add Image>Adjustments> Desaturate to this new layer. From here. Set Amount between 35-90%. 033 WorldMags. Opacity at around 5% and Fill at 50%. Retouchers will simply apply one on top of all other layers. effectively boosting vibrancy and contrast.net . particularly in the hair. Change the blending mode to Soft Light.COM) EXPLAINS HOW TO TARGET THESE AREAS USING PHOTOSHOP USING CURVES AND BLENDING MODES 01 DODGE AND BURN Add a new layer and set the bending mode to Soft Light. Selective Color is applied to enhance hair and lipstick To achieve this lighting effect. transform bokeh stock to fit around your model then apply a Screen blending mode to this layer.net COMMERCIAL RETOUCHING TECHNIQUES applied to subtly with a 3-5% Opacity white soft brush. carefully managing light and colour information in multiple areas.WorldMags. With these techniques you can add drama to your image. Credit: Milk Management. Select Image>Adjustments> Shadows/Highlights. setting a Multiply blending mode. Fill this layer with 50% grey. Hit Cmd/Ctrl+I and paint with a soft white brush to areas where you want to enhance highlights. Select Image>Apply Image. © Joanna Kustra.GINAHDEZ.
However. but do not sell a winning smile. Apply Image and blending mode techniques to effectively lighten shadows and flatten contour. using just one Photoshop Hue/Saturation adjustment layer. Fixing colour here is easy when you know how. Beautifying can be as easy as simply boosting in colour vibrancy and this Action will let you achieve this. apply this finishing effect to smooth out the hair element. You can also use the same layer to improve eye whiteness. 034 WorldMags. You’ll also need to resize accordingly to fit the lips and obtain detail. Admittedly. if you have no option but to remove.TECHNIQUES COMMERCIAL RETOUCHING WorldMags.hu. use this handy brush to reintroduce fresh freckles. LOAD THE FREE ACTIONS AND BRUSH SET ON THE DISC TO HELP WITH RETOUCHING SMOOTHING HAIR Once you’ve cleaned all the stray hairs. Sometimes these elements should stay to ensure authenticity. giving the impression of silky-smooth hair. this effect works best with Caucasian models. RESTORE NATURAL FRECKLE EFFECTS WITH THIS FREE TOOL FRECKLE BRUSH It’s harder to work around naturally occurring skin artefacts like clustered freckles. but still look natural.net . CLEAN UP Sometimes you’ll want your model to pop.net RETOUCHING RESOURCES LIP CANDY ACTION Find a starter and stock image from the royalty-free examples available at sxc. WHITER WHITES Yellow-tinted teeth are normal. Combine Gaussian Blur.
net .net WorldMags.WorldMags.
using the default Erodible Tip brushes.net I PAINT A SCI FI SCENE ADD COLOUR AND DETAIL TO A SKETCH USING THE TOOLS IN CS6 n this tutorial we will create a feeling of distance. adjustments and brushes.djahalland.outtheredesign.com My artwork blends an interest in natural environments and structures with science fiction to create on. This attention to detail is a key aspect of our painting. Then. @OutThereDesign For this tutorial we will be using one free downloaded brush pack by Geoffroy found at www. fading the shades. com in the Goodies section. we will improve the realism and detail of our quadruped and its surroundings. flowers and highlights. Initially we will apply the colours in block form. We’ll Finish off with a spree of fine detailing. At stages you will need to source your own textures from stock websites. some free brush packs and some photographic textures (that you will need to source yourself).TECHNIQUES PAINT A SCI FI SCENE WorldMags. space and atmosphere in the background and focus on a central. I am a self-taught artist. adding wires. detailed subject. DIGITAL PAINTING OUR EXPERT CALLUM LEWIS www. Next we will make use of the latest Gradient Maps. For this work we will be using Photoshop CS6 Extended for its diverse array of tools. This will be firmly planted into the foreground with the use of shadow. texture and an assortment of overall image adjustments.and off-world scenarios with unique habitations and concept vehicles. which like the Erodible Tip brushes come with CS6 to improve the mood and overall temperature of the scene. dry and dusty. which is hot. adding realism and immersion. SOURCE FILES WorldMags. using lighter tones for distant objects and more saturated colours for our quadruped in the foreground.net .
037 WorldMags. we’ll begin our initial drawing. the quadruped (four-legged) vehicle and figures. create a simple. using the default Erodible Tip Pencil brush.net . landscape and distant structure. blue-tinted tone for the metallic body of the vehicle. lighter tones of paint to the vehicle’s armoured plates to add a sense of depth and variation. Create a new top layer and. filling each selection with the Paint Bucket tool. Add subtle. using the default brushes Round Watercolour and Round Point Stiff.net PAINT A SCI FI SCENE TECHNIQUES 01 MAKE AN INITIAL SKETCH On a new layer. First. 02 BRING IN BASE COLOURS On a new layer behind your initial sketch. 03 MERGE ELEMENTS WITH BRUSHES Using the same technique as with the terrain. We’re going for beige/tan sandy colours for our desert-like terrain and a higher-contrast.WorldMags. blend the layers of distance on the terrain layer. use the Polygonal Lasso tool to select different levels of distance (starting with the furthest away). sketchy background of the skyline. defining the hard edges of vegetation. adding a higher level of detail to our main foreground subject. apply a shadow beneath the vehicle.
leaving us with a natural transition. Keeping the midtones at the same level. 08 add some texture to the ground Locate a ground texture of your choice and repeat the process. use the Circular Marquee tool to make a selection the same diameter as the dome.net 04 paint more texture On a new layer use two brushes from the Rock Brush pack. 05 detail the vehicle Now. desaturating and bringing it into your document. With the Foliage small leaves brush. We’ll use this technique but with the Forme Echantillonnee brush for the mountain range. Use the Paint Bucket and mask black using the chalk-textured brush. 06 focus on the environment Using the same brush. 038 WorldMags. Add a new top layer. add foliage at different distance levels. 07 add texture to the vehicle Now you need to locate a suitable texture for your vehicle.techniques Paint a sci-fi scene WorldMags. A great feature of Photoshop is you can temporarily use a tool by simply holding its hot key rather than tapping it. on a new top layer using the hard round pressure default brush. Blend the terrain distance layers with the Rocky 1 brush. Go over the entire vehicle again. then align and transform it to the bottom of the document with the top at the horizon. Desaturate it. using the hard round pressure brush.net . This brush uses both the Background and Foreground colours selected to add variation. resize it to roughly the vehicle’s size and set the blending mode to Overlay. making it more three-dimensional. sampling neighbouring tones and applying one layer’s tone to the next. raise the dark tones until the texture appears to blend more naturally. we’ll sample the neighbouring colours. applying a linear gradient to mask away. resetting the Background/ Foreground colour by tapping D and swapping Background/ Foreground colours by tapping X. This is great for blending colours introduced earlier when painting the different distance levels. apply detail to the environment using adjacent tones. Add some rough details using the Rocky 1 brush. Add a layer and. Reposition this layer below the terrain texture layer and set this to Overlay. set the blending mode to Overlay and begin adding lighter tones to the vehicle armour. using the same colour-sampling technique. Work on the grass and reduce the size of the brush the further away the vegetation is. defining the edges and cleaning up details. zooming and panning over each part. This is quite a lengthy stage. To perfect the shape of the radar dome. reset the Foreground/Background before masking away the texture overlapping the vehicle. for instance. Now we’ll edit the curves of the texture. Try Opt/ Alt and H. drag it into the painting document. Repeat this technique with the texture file you used for the vehicle. Start painting back in white where you wish the ground texture to appear. Use the Dodge tool with a soft round brush to highlight the dome. quick tip A number of keyboard shortcuts to use on a regular basis include desaturating with Cmd/Ctrl+Shift+U. Resize this texture to the same width as the entire document.
001 001 You’ll need to find a couple of effective textures to add a realistic grunge to the vehicle’s armour and the sparse desert that surrounds it. 11 work on colour toning and the wider environment Now we’re going to work on the environment colour and vapour in the atmosphere. Using a soft. Place both paint layers in a folder and. sample neighbouring colours and start applying dust to the scene. Choose Photographic Toning from the Gradient presets and. We will then be using both the Gradient tool and a large soft round brush to add shadows to the vehicle.WorldMags. authentically placing the figures in their environment. dust and other details bring in lighting and shadows 09 For this stage we’re going to be using the Polygonal Lasso tool to select areas. A favourite of mine is using Gradient Maps. low-density. Using the Square Selection Marquee tool. using selections. 039 WorldMags. soft brushes and choice gradients. where we add a substantial amount of colour to the scene using a single layer set to Overlay. set the layer to Overlay and fill with the Paint Bucket tool. apply colouring to the scene with a very large soft round brush. bringing the Opacity down to 70%. Using a blend of greens and blues at a high saturation.net . During the lighting and shadows stage the vehicle will really take shape and look far more three-dimensional and clearly defined 002 003 004 10 apply dust and paint Focus on the overall feeling of the picture by adding dust and some paintwork. Create a new layer set to Overlay. 003 We’ve put noticeably less texture and detail in the distant structure to make the foreground subject far more prominent and stand out better. 12 add in figures On a new layer. use a Gradient Map to apply contrast and toning. set that layer to Soft Light. grainy airbrush.net Paint a sci-fi scene techniques final touches Enhance results with shadows. Duplicate the paint layer to brighten it further. using Gold-Copper. Aim to maintain the theme of the durable. Erasing some of the unwanted pencil sketch layer will refine the edges. 004 For the later stages we’ll be going through a process of adding overall colouring to various areas of the image. using a mask. paint away the dust with the airbrush. Sample neighbouring colours from the vehicle and surroundings. work on the human figures with a small hard-pressure brush. add mood and lighting Any subtle change in the colour ranges used for the lighting will alter the mood in a big way and there are a number of ways to achieve this. but about 50% Brightness. pick strips to paint. After dusting things up. Layer blending modes are another feature to experiment with. 002 We’ve applied shadows using the Overlay layer blending mode to preserve texture highlights. let’s work on the paint. armoured vehicle and build on the armoured outfits before working on the specular highlights and details such as wiring between the helmets and equipment. Next. You’ll notice the big change from Stage 10 onwards. During this stage the vehicle will really take shape and look far more three dimensional.
DEPTH Using black and white smooth brushes. Brun took inspiration from others. adding little details to make it relevant. Working as one of the art directors. She also talks about composition being the main theme of this image. stating that she wanted to make “eyes focus on the centre and then slide to the left or right to create a panoramic feeling”.net . and used this to develop the image into what you see today. Brun does just that.net NEOBLEU HOW I MADE M THIS DIGITAL ARTIST SHOWS US HOW TO USE STOCK IMAGES ALONG WITH LIGHTING TO CREATE A BEAUTIFUL COMPOSITE aquarium design company “that needed a poetical and aesthetic way of branding. with different opacities and settings. This added a sense of depth. I built the water landscape around that focus. MUTE arie Brun founded the creative agency Mute (www. This image in particular was a brief for an COMPOSITION The image composition is based on the centre white circle. MARIE BRUN. such as Takashi Amano. I designed an aquatic landscape that could inspire serenity and grace”. she conceives creative and digital strategies. Using a mix of online stock photos and elements created directly in Photoshop. HARMONY To achieve the image’s harmony I applied different blue and orange colour layers. I created shadows and lights.fr) with three partners. As with all digital artists. ensuring that projects are consistent.agence-mute. 040 WorldMags.TECHNIQUES HOW I MADE WorldMags. with the blending mode set to Screen.
Eyes focus on the centre and then slide to the left or right to create a panoramic feeling 041 WorldMags.net HOW I MADE TECHNIQUES This image is really about composition.net .WorldMags.
set the blending to Linear Dodge and drop the Opacity to 80%. Our expert François hoang www. I’ve been designing for the last five years and have a huge passion for creative work that makes an active difference in our community. Now fill this new shape layer with a darker purple.net H design neon type ere you’ll discover how to create an attractive typography piece using light effects.psd’.advancedphotoshop. Combine shapes and lighting effects for a vibrant result Work in Progress use shapes and light to start creating build your background set your scene 01 Start up Photoshop and create a new document of about 235mm x 302mm.com/v4 I am a self-taught freelance designer from Montreal. copy and paste it into your piece. You need to download the file ‘Shapes. we’ll be creating a piece with layered effects typography Learn how to create Glowing Light Effects using Shapes and Blending Modes in Photoshop while experimenting with creativity. Set the layer blending of the texture to Screen and put the Opacity to 60%. then either copy and paste this into your piece or duplicate the layer to your original canvas.uk/tutorial-files. Play with the different settings. This texture will ensure a better support in lighting to our upcoming shapes and background. Add a new layer and use the Gradient tool set to Linear Gradient mode (Foreground to Background). co. it’s always been a true influence to designers from an old-fashioned future perspective from the Sixties.uk/tutorial-files. then select. glowing effects and blending modes to try to see what works better for you in terms of your imagination. Fill the first colour stop to black and the second to a navy blue. lighting and glowing effects. 042 WorldMags.techniques design neon type WorldMags. As Retro Futurism is a trend in the creative arts.co. @AoiroStudio source files You need to download all files from http://blog.aoirostudio. shapes and blending modes inspired and based on art from the past.advancedphotoshop. All the files you’ll need that are referenced in the steps are hosted online for free download via http:// blog.jpg’ file. Canada.net . 02 Place a space texture Download the ‘Space-Texture. This step-by-step guide will help you master layers. opacities. Step 5: Set up your background Step 10: Create your striking central element 03 add the shapes Step 17: Overlap your piece Now we’ll begin placing scene elements. With very simple shapes. gradients and effectively use blending modes.
net .WorldMags.net neon lighting tricks in cs6 techniques 043 WorldMags.
This is an easy tip to keep your workspace clean. When you’re totally happy with the result. With this new setup. as sometimes you’ll get better results. It’s always a good thing to save them into groups from your Layers panel. the second with a black (#000000). Fill the first colour stop with orange (#f35c3e). 08 add the shapes Insert your text. At this point the effects of playing around with blending modes are starting to show. The angle is set at 120 degrees and Distance at 36px. use different colours and progress into the unexpected. set it to Linear Dodge blending mode and set the Opacity to 60%. you can either include all the lines into one single layer or make and duplicate the layer. 06 overlay gradients for effect Create a new layer and pick the Gradient tool. Create a new layer.and medium-sized gradients all around the area just like the image shown. Fill it with a beige and a light yellow. create small. 04 define the shapes Duplicate the shape layer you’ve just created several times and start placing these around the canvas to cover most of the areas. Start placing the orange shape just like Step 4. with the Radial Gradient active. In this case. Filling that line with a Cyan colour. setting it to Foreground to Transparent. leave the blending to Normal and drop the Opacity to 100%. Fill the first colour stop with orange and the second with black. You can also place them randomly and go with your own instincts. tagline or anything that will be the central element of your piece. Use the corner of one of the shapes as reference and angle it accordingly down to the bottom.techniques design neon type WorldMags. 07 play with the opacity Now we’ll repeat the process of Step 6. As you can see from the image shown.psd’ file again. use the Gradient tool with Radial Gradient and set it to Foreground to Transparent.net quick tip While working with a large quantity of layers and duplicate layers. organised and accessible. set the layer blending mode to Overlay. 05 bring more definition to the background Download the ‘Shapes. the two orange shapes of the middle are slightly darker because the Opacity is set to 30%. 044 WorldMags. Type the word ‘Neon’ with the font size set to about 136pt. In the Drop Shadow set Blend to Multiply with an Opacity of 50%. we added text and used the font called ECHELON by Samuel Mensah. Now fill this new shape layer with an orange.net . Don’t be afraid to play with the layers. We’ll need to keep them all in the same layer. Now go into your layer’s options and give it some shadow. duplicating the same layer and playing with the opacity. Create a new layer and use the Line tool to make some thin lines for adding depth.
choose your method for importing it into your canvas. Create a new layer. Fill the Stroke with a light orange and set the Fill Type to Color. Here we’ve chosen pink. Don’t be afraid to duplicate the layer and place it all around. naming it ‘Light’. Once again.net design neon type techniques Unify all your elements.WorldMags. for instance. it’s time to add some shadow. As you’ll eventually put the ensemble on Overlay or Soft Light from the blending options. Order this new layer behind your main text layer and place it accordingly to create some kind of an extension to your central element. focusing on your main point of interest develop your central object Reflect on your progress 09 001 At this point you’re halfway through completing this piece. Don’t be shy to let loose with the blending options and opacity 11 Enhance the lighting This is the part where you’ll give the vibrant look to your canvas. This is where you can make the last changes before continuing the steps to add more glow and apply the details that will pretty much produce your final result. If you’re not happy with your canvas. is clearly an essential element and will be undergoing more changes as we continue. Repeat Step 11 for speed but now instead of white. select Stroke and set the Size to 18px. It’s an ensemble of elements taken and put together to give an edge to your piece. Make sure you’re satisfied with the form you’ve opted for and the direction the piece is going in. this is where you can make things happen. The central focus of the piece. you’ll use black and put the blending options to Normal. 045 WorldMags. Now you’ll set the layer to Overlay blending mode and place it where you want to give a little touch of lighting to your piece. you’ll see the variation of colours and how your background elements will react. Play with the opacity and see what works better for your canvas. create a circle and fill it with white. but obviously you can opt for anything you feel suits. 002 We used different tones of gradients to create a cool variation of colours. Go to the Layer Options. download the ‘Shapes-2. Rasterise this and give it a Gaussian Blur of about 50px. 002 003 10 add a focus factor Duplicate your main text layer and the Neon text layer and rasterise. Duplicate the layer that you’ve just created and repeat the process but with another colour. 001 We placed shapes all around this piece to give a base to your main focal point. 13 detail your canvas Going back a few steps. 12 set the shadow After giving so much lighting to your piece. You need to add fade and create a contrast so your colours and flares will come up more smooth and subtle. 003 Here we’ve put our focus on the central type element.net . Take the Ellipse tool.psd’ file. Here we’ve set the Opacity at 80%.
As you progress in your work. keep practising on your skills and always be passionate. Set an Overlay blending mode and put the Opacity to 20%.net edit the finishing touches. 17 use one last overlay Select all your layers and every element except your central one. You’ll be surprised how randomly you can achieve a better. make an oval of about 20 x 130mm and fill it with cyan.psd’. There’s nothing more educative than learning from your own mistakes and sometimes making mistakes is excellent. Both together never die hard with time. more unexpected result. 16 apply the sparkles This is where you get to add everything you think will contribute well to your canvas. Duplicate it all and merge the layers. Now use the Gaussian Blur at 50px and place it where you want to give a blue atmosphere to your canvas. those are the key to leading your piece into something more subtle and complex. You can either copy and paste into the piece or duplicate the layer to your original. 046 WorldMags. As you progress. The result will always depend on how you adjust the colours.techniques design neon type WorldMags. creativity is your boss With the randomness of overlapping layers with gradients and modes. Go with your own techniques. Here we set it to Screen. inserting more lighting effects and details make final adjustments bring out the flares 14 Now for the fun part. it’s hard to guide into creating glowing light effects. so take a little time to find the best blend for you. take the Ellipse tool. Duplicate your new layer and don’t be shy to let loose with the blending and opacity.net . Here there were some particles following the lines created with the mix of layers and overlays. quick tip When working with either a creative or commercial work. Overall. play with your components and elements. don’t be afraid to experiment with your blending modes and layer order. Import the file ‘Flares. it’s always a challenge to get the right effect. If using a different colour scheme and/or central element. your colours and your creativity. Don’t be afraid to place around your text or central element but make sure to put it underneath your main text layer in the layer order. We also added a texture for the corners to give a grunge look. Now you can play with the blending options and you’ll see how it merges within your canvas and the background you created earlier. You’ll find you have one layer with all your work except for the piece of resistance. there are numerous ways you can approach this! 15 place some more overlays Add a new layer.
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TECHNIQUES edit videos in cs6 WorldMags.net edit videos in cs6 NEW MEDIA Use Photoshop CS6 video tools to replicate Super 8mm movie looks 048 WorldMags.net .
then Feather by 25px.stockfootageforfree. Use the Rectangular Marquee tool with a fixed ratio of 4:3 to create a selection around the girl.com. start with Hue/Saturation with Saturation set to -40 and a Lightness of +16.com Kirk is an all-round graphics geek in the Washington DC area. To replicate this. fill with black. 4:3 aspect ratio and clouded edges. Step 12: Add dust and scratches 02 COLOUR CORRECTION Vintage film lacked the depth of colour seen in today’s technology. We will show you how to achieve an authentic aged-film look with desaturated colours. Once you’ve found the clip. then cancel the selection and use the Filter Brush Strokes>Spatter with a Spray Radius and Smoothness set at 10. but there’s no denying that there’s a certain charm to the old Super 8mm film with its shaky camera focus and visible film grain. lacking much of the character and personality of old film. Use an S-shaped Curves adjustment to increase contrast then add a Photo Filter adjustment. with Density just below 50%. More of his tutorials can be found in our sister magazine.stockfootageforfree. we fully encourage you to apply this technique to your own video clips. However. The file ‘VerticalGrain. This may simply be our nostalgia calling. not in it. 03 AUTHENTIC FRAMING Add a Frame layer on top. fill it with white and set to Multiply. Finally add a Gaussian Blur. The starter video for this project is freely available on the website www.thepixelpro. @thepixelpro SOURCE FILES On the disc is a video file to use as reference for the final effect. fully equipped with image stabilisation and high-resolution sensors. our modern video is very clear. 049 WorldMags.com. Add Select>Modify>Smooth>50px. so to simulate this effect adjust the video speed by Ctrl/right-clicking on the Video layer in the Timeline and set the speed to 125%. FROM HD TO SUPER 8 WORK IN PROGRESS CREATE A VINTAGE VIDEO EFFECT FROM A MODERN HD CLIP AGE A VIDEO CLIP Step 4: Round the frame corners Step 9: Animate film grain 01 FREE VIDEO CLIP The video can be found at www. open it in Photoshop and ensure the Timeline panel is visible.net . Inverse.WorldMags. complete with dust and scratch textures. set to a deep sepia. However. OUR EXPERT KIRK NELSON www. Old Super 8 video playback was always a little quicker than reality. feel free to grab the file supplied and use that. Photoshop Creative. This project does require Photoshop CS6 and assumes your video card is capable of performing video work.jpg’ is also included to assist with the steps at the end of the tutorial. If you’ve ever wanted to send your video clips back in time you now can.net I EDIT VIDEOS IN CS6 TECHNIQUES n this era of handheld devices capable of capturing HD video. some see this as sterilised video. We’ll even show you how to create your very own animated film grain. Alternatively. by simply following the steps in this tutorial you’ll be able to simulate an aged appearance in Photoshop. The clip is named ‘Young Woman in Wheat Field’ and is free to use. He routinely annoys those around him with inane knowledge of visual design tools. crisp and pristine. Make sure these adjustment layers are stacked above the Video Group.
set the layer to Multiply and continue to add Gaussian Blur filters until the green bleeds into the view from the borders. Next add several more Transform keyframes to slightly move and rotate the clip. Add a keyframe between each pair with the Opacity set at 100%. Set several pairs of keyframes along the span of the project. crisp focus is another modern element that needs to be eliminated if the effect is to be believable. Threshold of 7 and set Quality to High. To get the film movement. the more pronounced the grain appears. so the top of the grain layer aligns with the top of the project canvas. In the Timeline. Follow this with a Gaussian Blur of 2px. so it appears to be handheld. 07 the tell-tale flicker Another rich aspect of old film is the bright flickering. with the bottoms aligned.net 04 colour bleed Another aspect of aged film is that the edges tend to discolour faster than the central area. Open up the Layer Properties in the Timeline and adjust the Transform keyframes so the zoom happens just before the girl looks up and smiles. solid and not at all reminiscent of an old shaky Super 8mm film effect. Repeat this behaviour until the motion fills the Timeline. Reduce the Opacity to 0% then go to the Timeline and engage the animation for the adjustment layer’s opacity. quick tip An issue with editing video in Photoshop is that halfway through a playback one or more layers will seem to disappear. If the performance is an issue. 06 drop the detail The clear. This is caused when a new layer is created and it doesn’t have time to span the entire project. Use a Radius of 5.TECHNIQUES edit videos in cs6 WorldMags. 09 grain movement Drag the grain file over onto the main project file. set Intensity at 75 and Contrast at 66. hide the Blur filters until the project is ready for exporting. Open the Filter Gallery and browse the Texture folder. Use the same selection process as the previous step. 050 WorldMags. Photoshop actually has a built-in grain texture that looks very similar to the real thing. Drop it as a layer just below the frame layers. Select the Grain filter and set the Grain Type to Clumped.net .500px with a white Background. added above the other adjustments. this long grain layer needs to move quickly upwards. 05 handheld motion The clip is currently stable. 08 Add film noise One of the most noticeable characteristics of this vintage effect is the film grain.900 x 6. First convert the Video layer to a Smart Object. Add a Smart Blur filter to the video Smart Object. The older the film is. Set the blending mode to Overlay and reduce the Opacity to 75%. Set the Brightness to around 70 and drop the Contrast to around -5. Check the Timeline to make sure layers go from start to end. Ctrl/right-click on the video and choose Zoom from the Motion presets. This can be mimicked by animating the opacity of a Brightness/Contrast layer. Set a starting position keyframe. Start by creating a new file at 1. To finish the effect. Set another keyframe about a quarter of the way through the video. Create another new layer for a coloured frame. but this time fill the frame with a deep green (#194715). These blurs are added as Smart Filters and will greatly slow preview playback.
net . which includes your animated properties. When you’re totally happy with how everything looks. it’s time to export the movie. which define the setting for that property at that exact time. Next. the hairs can be softened with a slight Gaussian Blur applied. 051 WorldMags. The sub-layers display properties of a layer that can be animated. simply place the keyframes closer together. Go to File>Export>Render Video. drag the Vertical grain layer down to the New Layer icon to create a duplicate. The Timeline resembles the Layers panel. While these elements are the most unique and interesting of the entire effect. 14 easily replicate looping In the Layers panel. drop it just over the previous grain layer and set it to Multiply. with Monochromatic activated. Adjust the start and end times to cover the first quarter of the Timeline. Use Levels to drastically squeeze the contrast until only a sprinkling of dots is visible. Switch to the Paths panel and select Stroke Path from the Panel menu. between keyframes.net edit videos in cs6 teCHNIQUES working with the timeline Working with the Timeline in Photoshop can be a daunting task if you’ve never tried keyframe animation before. Remember to turn the Smart Blur filters back on. curled and twisted paths for the hairs. Fill it with white and add Vertical Grain from the Grain filter.WorldMags. with a middle keyframe set so the Opacity drops to around 75%. Apply a central keyframe and shift the texture. Begin with another new file sized the same as the previous grain texture file. To create a sudden change. This effect gives vintage films even more character and personality. We’ve supplied our end result as reference and inspiration. Apply the settings as you want them and launch the render. 13 The final aspect of the process is adding dust and scratches. Afterwards. 15 export the movie Preview the clip and look for any obvious issues or problems that need troubleshooting. they’re also the most challenging to get right add some character Flatten the layers of the vertical grain texture file. 12 hair and scratches Individual hairs and scratches need to be drawn by hand to be convincing. The property then changes to meet the next keyframe definition over that span of time. Add a new layer and set your brush at a 1px width. Place keyframes at each end for the opacity. they’re also the most challenging to get right. This is possible when assigning keyframes. adjust the middle keyframes for lateral movement and opacity to prevent obvious repetition in the animation. For the best results use the Pen tool to create several short. 11 a fair dusting Add a new layer and select roughly half the canvas. Fill with white and run the Noise>Add Noise filter at 3%. Add a Gaussian Blur to soften this noise. but includes the element of time flowing from left to right. The longer the time span between the keyframes the more gradual the change. Drag it onto the project file. but keep it on its own layer. Make two more copies in the same way to fill out the Timeline. 10 vertical grain The final aspect of the process is adding dust and scratches. Add a layer mask and run the Render>Clouds filter on the mask to create an uneven dust dispersion. then set the mode to Multiply and scale the layer up to cover the entire canvas. Add keyframes to the position to create the same vertical motion. While these elements are the most unique and interesting of the entire effect. Be warned. setting both Intensity and Contrast at 50. then a few elongated straight paths for the scratches. this could take a while. In the Timeline slide this copy to the right until it begins where the first one ends.
with brushwork. tonality and light direction in the stock images.TECHNIQUES HOW I MADE WorldMags. cut and paste parts into different areas. strength and courage. I treated 3D elements in this image like salt and pepper in a soup – a pinch adds a bit of extra flavour. Vibrance and Curves adjustments.” explains artist Mateusz Chojnowski (www. but doesn’t necessarily hold it all together To create each horse I duplicated the original image layer. I used Color Balance to merge the overall tonality of these different stock images. adding several other images of water splashes around it. applying the Glowing Edges filter to one.net OUR KINGDOM HOW I MADE T Mateusz Chojnowski MASTER VIBRANT LIGHTING EFFECTS WITH TYPE AND PHOTOS. “All the main elements were equally sharpened. I repeated this several times around the lion’s head. For edges I used the same colour. but that’s not the case. The whirlpool is created from a stock image. To get the type-shatter effect I used the Polygon Lasso tool to select. as Chojnowski reveals: “Only the text is 3D. the Chrome filter to the other.” The special effects were achieved by matching the contrast. The two horses embody freedom. but a smaller and harder brush at 50% Opacity and Flow. I added a clipping mask on the layer and used the Brush tool to add colour to the type.ikaami. USING COLOUR ADJUSTMENTS. Chojnowski used Color Balance. I added a golden colour using Color Balance and Curves. To look at this image you would think 3D elements had been applied throughout.net .” he adds.com). I treated 3D elements in this image like salt and pepper in a soup – a pinch adds a bit of extra flavour. 052 WorldMags. I applied the Warp Transform tool to shape it and applied a Screen blending mode. applied brushes and layer blending modes. To achieve the light effects on the rocks I applied a soft brush. copy. with Opacity and Flow set at 20%. his image was influenced by both the natural and the man-made worlds. The broken type symbolises how the former world destroys the latter. LAYER MASKING AND BLENDING MODES Everything else is made out of stock photography. but doesn’t necessarily hold it all together. spirit and gentleness. A golden gradient that fades to transparency created most of the lion’s aura. “The lion embodies valour.
net HOW I MADE TECHNIQUES 053 WorldMags.WorldMags.net .
net .net 054 WorldMags.techniques WORK WITH POLYGONS WorldMags.
We’ll use the low-poly constraint to drive our design process throughout the tutorial. He does believe in extraterrestrial life.cargocollective. the techniques covered are fine for any 3D software. but not to the extent that it distracts him from thinking about pixels and polygons. these techniques arose from the need to converse processing power.com/jrschmidt J. While we will be using CINEMA 4D for the modelling. That means it will be easier to fine-tune our image without having to re-render.net . he inspiration for this illustration comes from low-poly modelling techniques used in videogames by 3D artists.net CREATE A POLYGONAL LANDSCAPE TECHNIQUES T OUR EXPERT J. WORK WITH POLYGONS NEW MEDIA COMBINE CINEMA 4D AND PHOTOSHOP TO CREATE GEOMETRIC LANDSCAPES software as well as general 3D modelling practises is required. but enforcing constraints on your work is an excellent way to inspire creative thinking. old castles and nostalgia. We will also use the software to apply useful colourcorrection techniques.R. When videogame designers were first beginning to break into the third dimension. Photoshop is essential for keeping our workflow non-destructive. SCHMIDT www. Photoshop becomes essential in compositing and colour correcting the elements rendered in CINEMA 4D. is a 3D artist and motion designer based in New York. By using Photoshop to assemble the image pieces we retain far greater creative control than if we try to do everything in the 3D software.R. texturing and rendering. A basic understanding of the 055 WorldMags.WorldMags. Today those limitations are less of a problem. His favourite things are bad weather. Here we’ll be using CINEMA 4D and Photoshop.
Once you’re happy with your look. 056 WorldMags. Progress 1: Reduce polygons Progress 2: Apply the materials Progress 3: The final piece We need to create more variation within the mesh itself. so click on the Shading tab in the Displacer properties and add a Noise map. in turn forming the mountains and carving the river.TECHNIQUES WORK WITH POLYGONS WorldMags. In order for it to affect the geometry. extrude the edges around the border straight down. To add more complexity. The problem now is that this has greatly reduced the level of detail. above Polygon Reduction deformer 02 POLYGON REDUCTION Select Create>Deformer>Polygon Reduction.net . Create a Displacer deformer on the landscape group. above Polygon Reduction deformer. 03 DEFORMATION Next we need to create more variation within the mesh itself. This deformer automatically triangulates the mesh and reduces the number of polygons. revealing the layers of earth underneath. by merging the points that are closest to one another. we need to give it a shade that tells the mesh how to deform. Select Create>Object>Landscape and activate Soft Selection to manipulate geometry. Create a Displacer deformer on the landscape group. select Create>NURBS>HyperNURBS.net FROM MODEL TO FINAL 3D ILLUSTRATION WORK IN PROGRESS 01 GET STARTED Begin by modelling your base terrain.
In the Render Settings. The Fresnel shader uses the angle a polygon faces the camera and remaps it across a gradient. In order to create the polygonal mist at the bottom. use a Physical Sky object. symmetrical process of cutting faces and welding points personally. don’t be afraid to use the Knife tool and start making a few random cuts.net WORK WITH POLYGONS TECHNIQUES 04 MAKE THE WATERFALL Start with a long vertical Plane positioned where the river ends. Ambient occlusion Global illumination Save 057 WorldMags. using this with a Compositing Tag. All materials Grass Rock Snow Water 07 LIGHT THE SPACE To simulate sunlight. Create a basic material. By default the Effector will affect all polygons in the geometry. When modelling non-organic objects. Also add an Object Buffer for each element we isolated. then add a Random Effector by going to Mograph>Effectors>Random. Shadow and Diffuse. enable Global Illumination and Ambient Occlusion. Do this for the Sky object first. be sure to enable Area Shadows. plants and trees. In the Sun tab.net . In the Render Settings enable Multi-Pass. Under Time and Location. change the Shape to Linear. under Multi-Pass Image. Sometimes it’s best to scrap the deformers and just do this by hand. Add a Compositing Tag and assign a number to the Buffer. adjust the time of day to change the position of the sun. Keep your Global Illumination settings low to speed up the render times. Go to the Falloff tab. Keeping the topology on your base mesh clean and manageable will save you headaches later. we’ll use a PolyFx deformer. like the huts in this scene. If you find that you can’t achieve desired effects. 08 SEPARATE RENDER PASSES We want to be able to control some of the objects in our scene separately once we get into Photoshop. by adding the Displacer and Polygon Reduction deformers. huts. QUICK TIP Always try to work non-destructively. Especially if you decide you need to change something. Global Illumination. Use HyperNURBS objects instead of the Subdivide command. We can give geometry the same treatment we gave the landscape. you may want to use a more calculated. then rotate the effector so that it’s only displacing the bottom portion of the geometry. adding channels for Ambient Occlusion. In addition to emphasising the faceted look.WorldMags. 05 POPULATE THE SCENE Use the modelling techniques discussed so far and continue to create the items that will add detail to your scene – for example clouds. 06 CREATE MATERIALS All of our materials will share the same simple structure. Go to Mograph>PolyFX. In the Save tab. Avoid converting your objects to editable meshes until it’s absolutely necessary. leaving only the Color channel enabled then add a Fresnel shader to it and adjust the colours on the ramp. specify your preferred file format and uncheck Multi-Layer File. it also enables us to use a variety of colours in a way that is less uniform than if we had used a Gradient shader.
pleasing results can easily be achieved by manipulating the RGB channels separately. Specular. It is very much a process of trial and error.4px and decrease Shift Edge to -60%.net . and Ambient should be set to Screen. Try this on a black-andwhite gradient to see the full effect. shifting to lighter blue further up. 11 CLEAN UP THE EDGES Sometimes Alpha channels leave traces of the original background around the edge of your image. Set Feather to 0. creating a transparent background. make a selection then delete the mask.net BRING TOGETHER 3D ELEMENTS USING LAYER MASKS AND STYLES COMPOSITE IN PHOTOSHOP ASSEMBLE THE RENDER PASSES 09 001 In Photoshop go to File>Script >Load Files into Stack. Refer to our example for the correct layer order. Do the same for your Ambient Occlusion layer. so apply a blue Solid Color adjustment layer. select the Marquee tool then activate Refine Edge. 058 WorldMags. this appears as a thin dark line. set its blending mode to Screen and clip it to your shadow layer. but using a dark-brown or rust colour instead. This will enable us to isolate our adjustment layers to specific portions of the image. Increase with the selection still active. Now we can render. Cmd/Ctrl-click the RGB channel to make a selection. This treatment creates a wider range of colours and adds more life to your scene. texturing and lighting the landscape.TECHNIQUES WORK WITH POLYGONS WorldMags. 001 FINALISE THE MODEL So far we have finished modelling. Specular and Diffuse) to the Sky object’s group. 002 GET THE RIGHT RENDER Be patient when rendering and take time to experiment. Repeat this procedure for the other object buffers we rendered. 12 ADD COLOUR TO SHADOWS Now we’ll take advantage of the individual render passes. The Ambient Occlusion and Shadow layers should be set to Multiply. Global Illumination. Shadow. Now we will set the correct Blend Modes to each of our render passes. To get ride of it. The difference these colours make is subtle yet very important. Invert the mask by pressing Cmd/Ctrl+I. create an empty group and apply a mask to it. Browse to the images we rendered and hit OK. 003 PUT IT ALL TOGETHER Next we will take the render passes and composite these into one image. In our case. Add the image layers (Ambient Occlusion. then finally a clear cyan. We can now continue to adjust our render passes. Cmd/Ctrl-click the landscape group mask. Shadows are almost never black and we should avoid using solid colour. 13 COLOUR CORRECTION When using a Curves adjustment layer. Click OK and reapply a mask to the landscape group. Use a Gradient adjustment layer for the background. Global Illumination. 002 003 10 PREPARE THE MASKS Opt/Alt-click the eye icon on one of the black-and-white object buffer layers to make it the only layer visible. to complete the final effect. then add a pink near the horizon.
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then the model and then lens model. Auto Correction and Custom. It then makes the appropriate corrections. use the custom vignette control in the Lens Correction filter 060 Photoshop’s Automated Lens Correction can automatically detect an image’s lens profile and correct common lens errors. Along the right side of the dialog box you’ll see two tabs. The former tab enables you to specify which issue you wish the auto correction to address by simply enabling that topic with a checkbox. Long. despite the obvious irony of printing that statement in a magazine about Photoshop. there’s a Search capability so you can find the proper profile yourself. If the image is missing the EXIF data or the assigned profile doesn’t match. The Auto Scale Image feature counters any edge distortion and provides a I t’s commonly accepted that pictures never lie. flat horizontal or vertical lines tend to bow when viewed through a lens. after Manual settings While you’ll find the automated response is moderately adequate. with little to no input from the user WorldMags. The left side of the dialog box houses tools that provide intuitive on-canvas adjustments. aperture and camera body to a profile in its library. Lenses are round.net . or the corners of the image may appear darker due to a lens vignette. The Remove Distortion tool lets you drag the centre in or out to compensate for barrel or pincushion distortion. The Straighten tool enables you to draw a line to create a new horizontal or before vertical axis. The Lens Profile Library Each make and model of lens produces a nearly unique combination of these issues and Adobe has produced a library covering the majority of lenses available on the market today. Now. This is most noticeable near the outside edge of images from wide-angled lenses. Most raw photos contain the camera’s EXIF data and Photoshop automatically reads this and matches the lens. However. Edges of opposing colours might display a fringe of tones. additional adjustments are If you prefer an enhanced vignette. the manner in which these issues are created can be calculated and predicted. The search narrows down the potential profiles by beginning with the camera make. Each of these issues is the result of how the rounded camera lens broadcasts light onto a flat image. one of the truths about photography is that lenses don’t truly depict reality. These settings can be made in addition to the auto-corrected settings.TECHNIQUES AUTOMATED LENS CORRECTION WorldMags. There’s even a Search Online button that provides access to a broader database. so light travelling through them bends with their curvature.net TOOL FOCUS AUTOMATED LENS CORRECTION Use Photoshop’s library of camera lenses to quickly correct lens distortion in your photographs desirable for either artistic reasons or because the automated response doesn’t quite match the expected results. Architecture provides the best means of highlighting this skewed reality.
003 EDGE APPARITION When the distortion of an image is corrected. To address the hole at the bottom of the image. You can remove distortion simply by clicking and dragging the centre of the image. then go to Edit>Fill and set the Use to Content-Aware. These manual controls should be used if the lens profile is unknown. Photoshop will automatically assign one according to the EXIF data in the image. These corrections will push the top of the structure out of frame. 004 CHOOSE YOUR CORRECTION The three major categories of lens flaws are listed here. if the automated results are unsatisfactory. See how to use this powerful tool to correct this cathedral image Work with auto correction begin with auto correction 01 Retrieve the ‘Cathedral. Adaptive Wide Angle It’s certainly worth noting that Photoshop CS6 pushes the automated-lens-correction technology even further with the handy Adaptive Wide Angle filter. you can run the Lens Correction filter again to refine further. colour fringing. it gives you the opportunity to specify one of your own choice. This removes the exaggerated vertical perspective in the image. Invert the selection. Then set the Vignette amount to -45 for a more artistic appearance. To see the effect of the lens correction toggle the Preview checkbox. set the top Remove Distortion slider to -2. If there are further visible lens distortion issues. Just check the ones you want Auto Correction to address. Usefully. reduce the Scale to 93%. The Custom tab gives further control over the lens issues through an assortment of sliders. This feature processes the lens profile in a similar way to the Lens Correction filter. Engage the Auto Scale Image box and set the Edge to Transparency. or to add some other personalised effect.advancedphotoshop. The Custom tab also provides an additional control to correct keystoning and remove any exaggerated perspective from an image.net . 061 WorldMags. vignette and so on. REMoVE LENS distortion 001 002 003 004 005 dropdown menu. Many photographers prefer the appearance of an enhanced vignette and will use the Custom Vignette control in the Lens Correction filter. but it also enables you to override this assignment by searching and choosing a profile. These provide you the means of correcting issues. The lower portion of the tab displays which lens profile is being used. 03 corner treatment Click OK and Photoshop applies the correction.WorldMags. but leave the Vignette box. Photoshop fills in the hole with resampled pixels from the rest of the image. The filter then gradually works the image to flatten these lines and removes any of the lens distortion. Go to Filter>Lens Correction and in the Auto Correction tab ensure that the Lens Profiles box is populated with at least one lens profile. Hit Cmd/Ctrl+D to cancel the selection. 005 LENS PROFILES If Photoshop can’t automatically detect the lens data from the image. To compensate for some of the other distortions introduced. 02 manual adjustments Switch to the Custom tab for additional adjustments to set by hand. making for added flexibility. To recover it. setting the Vertical Perspective to -40. In the Correction area check the Geometric Distortion and Chromatic Abberation checkboxes. This is frequently the case with adding an artificial vignette to an image. 002 PREVIEW This checkbox enables you to quickly toggle back and forth between the original image and the newly corrected one.uk/ tutorial-files. With this menu you can specify how to treat those edges.jpg’ image supplied online at http://blog. Begin with the Transform area. the edges are frequently misaligned and will need to be dealt with. by dialing in settings manually to correct the distortion.net AUTOMATED LENS CORRECTION TECHNIQUES Use these Auto correction options to undo camera lens distortions 001 MANUAL TOOLS These tools provide an intuitive way of making adjustments on the canvas. The main advantage of the Adaptive Wide Angle filter is its intuitive ability to draw polygonal constraints that follow the curves of the edges.co. first create a selection of the layer by Cmd/ Ctrl-clicking on the layer thumbnail.
net 062 WorldMags.WorldMags.net .
02 03 DETERMINE DIRECTION You can see the grid study dictates shape weights. Please remember. We will also apply an adapted version with the golden ratio to the top of our layout. imagination and preferred methods. which will help us place balanced graphical elements. This poster was in fact inspired by quotes about one of science’s latest discoveries – the Higgs Boson. which will dictate the balance of your graphic patterns. exploring each element’s weight according to its position and angle. Also. while creating minimalist graphic expressions. with a standard weight applied to all fonts. The hierarchy established by our initial grid determines the position of this text. in order to provide us with new spatial references that we will see applied in the final design. which in this case is Avenir Lt Std. In this case the direction of our shapes will be set to diagonals with an inclination of 61 degrees. Layer options are applied to achieve quick results and generate multiple effects. These give rise to the visual metaphor linking with the main concept of the poster. We have selected a font suited to the style of our intended design. We'll show you how to achieve great balance in your design. meaning this project is subject to your own creative vision. constructive or innovative. PLACE TEXT Step 20: Develop looks with diagrams and textures We will make an initial placement of text. Treatment in Photoshop enables us to illuminate the scene correctly and also texture the image. SOURCE FILES Advanced Photoshop magazine has supplied a selection of basic objects created in Illustrator and a couple of vector groups applied throughout this tutorial. we will determine the direction that we want our shapes and texts to adopt. 063 WorldMags. So we have also applied effects and other visual cues inspired by this theme. Using similar techniques you’ll actually be able to achieve very different graphic expressions and therefore support a wide variety of concepts. which will be evenly distributed between the text and applied shapes.metric72. Many steps in this tutorial can be made by alternative design modes.net . these assets are to be used in non-commercial projects only. These support concepts related to all kinds of data that he considers outstanding. FROM GRID TO FINISHED GRAPHIC ARTWORK WORK IN PROGRESS CREATE SPECIFIC SPACES FOR DIFFERENT DESIGN ELEMENTS BALANCE BETWEEN TEXT AND GRAPHICS Step 2: Establish symmetry and layout with a grid 01 Step 12: Layer shapes and place CREATE YOUR LAYOUT in text We will start by applying a grid or squared pattern.com Jorge is a graphic designer who allied himself with geometry. GRAPHICS OUR EXPERT JORGE MARÍN GISPERT AKA METRIC72 www. using the universe as inspiration to create personal artworks.net CREATE STRIKING GRAPHICS TECHNIQUES I CREATE STRIKING GRAPHICS CREATE SYMBOLIC AND GEOMETRICAL SHAPES UNDER A GRID SYSTEM THAT DEFINES TEXT LAYOUT n this tutorial we will learn how to use a grid to determine the placement and hierarchy of text. We will explore how to set abstract shapes from some simple patterns using a geometric and conceptual approach.WorldMags. however.
08 initial placement of patterns Later we will start defining the order of our elements more accurately. as it now has the same shape engine. 064 WorldMags.net 04 define text styles Once we have placed our starter text we can define text styles. We will start by ordering and grouping the biggest elements and continue expanding graphics by incorporating the rest of the smallest or subtle shapes. and after modifying the position. Continue to duplicate imported elements.techniques create striking graphics WorldMags. Open Illustrator and create a document to construct the first parallelogram. 06 import vectors Once we have created a sufficiently diverse gallery of vectors. we will alter the colours of the texts to make them heavier or lighter. quick tip To continue expanding the image you can duplicate the major vector groups and modify them to your taste. We will clone this first piece multiple times to create different elements by changing size. You can easily do this by directly copy and pasting them. This game of contrast is defined by the results we envisage for the design. You can get great effects by duplicating and flipping horizontally. due to the vector nature of its tools. which create your gradient effects. which we will displace horizontally by shifting the top two vertexes right. colour and transparency. we will have to import these into Photoshop. It’s advisable to merge the layers to exercise control over your graphics. make sure you create a visual balance of sorts through the applied Multiply blending modes to your red and blue shapes. but name each one according to the order it’s placed. Experiment with size. 05 create vector patterns Here you can see the kinds of shapes we’ve created using Illustrator. Using any of these two techniques will support the ability to rescale these shapes without losing any quality. inclination and colours. as it helps you establish a new balance between the boxes of text and the space reserved for our graphics. We can construct it from a rectangle. trying to simulate the illusion of a collision between particles. unless you have CS6 that is. 07 begin cloning and inserting your graphic elements Now we will begin to duplicate the shapes and start defining the volume that will occupy our design. thickness. To obtain the effect that is observed in the supplied example we will have to apply the Multiply layer mode to each one of the layers that contain the imported vector elements.net . In the case of the header we will choose a dark colour and a clearer tone for the smallest text. What we achieve here is simply a study of space. Also we will be able to import them as a Path and then define styles by adding a new Gradient Fill adjustment layer. Initially we don’t have to conform to any specific structure or template. Once applying your styles to the text. Resizing and applying gradients and outlines becomes much simpler. Pay attention to the grid. When overlapping layers.
13 EXTEND AXES TO INCREASE SYMMETRY To signify the geometry and direction of the collision that we are portraying. Consider points where the new axes should cross at the centre of the shapes and other general points of balance. start applying smaller white elements. These extend the possibility of creating minimalist yet complex design. While applying this new graphic we will make visible and use the golden ratio grid as before to respect the key areas of the design. Again import more shapes from Illustrator and start covering the design space with these.net . Modify the size and transparency of the parallelograms to obtain subtler effects in the graph. used once again to create empty spaces and further complexity on a minimalist design. trying to simulate the illusion of a collision between particles 065 WorldMags. 11 CREATE A SECOND PATTERN GROUP Once we have obtained a group of graphical elements that we like. which moves only in one direction on the same axis.WorldMags. ensuring that none of these shapes break away from our defined graphic layout. Once again we will begin to duplicate dense and dark elements first. Instead of masking the design with these shapes you can use alternatives. denser shape layering. we will merge (Cmd/Ctrl+E) and lock these layers. Making the axes of co-ordinates visible and projecting them on the canvas enables you to obtain solidity and balance. MAKE GROUPS AND MASK THEM USING WHITE SHAPES PLACE AND COVER DESIGN PATTERNS CLONE AND PLACE COLOURED SHAPES 001 002 003 001 BUILD IN LAYERS We’ve simply layered our shapes with blending modes. 002 BALANCING SHAPES Applying solid colour shapes with outlines creates visual dynamism. due to the great quantity of vector pieces that we will incorporate and juxtapose. so take your time with this step. Add to areas you think will benefit most. 12 FIND NEW SHAPES AND ANGLES We’ll place white parallelograms. we’ll add grey lines (2px Stroke) that will lengthen existing angles making three axes. one fitting yet contrasting the other 003 NEGATIVE SPACE In the following steps we will create the illusion of cutouts in our graphic by applying white shapes 10 ADD WHITE PARALLELOGRAMS Now we’ll import white parallelograms to create the illusion of empty spaces in our graphics. We’ll respect the angles of the initial parallelogram and pay attention to the grids when creating these new hollows in our graphics. Initially we don’t have to conform to any specific structure or template. applying Multiply blending modes. The placement of these smaller graphics generates a certain amount of complexity and movement in the piece. placed at points of interest. What we achieve here is simply a study of space. yet the amount of duplicate layers can determine the complexity of your graphic 09 After obtaining balance in our larger.net CREATE STRIKING GRAPHICS TECHNIQUES CLONE ELEMENTS. at the same time reducing the weightlessness of shapes. Merging this group of elements becomes an effective way to create visual dynamism. In this case we’re happy with the direction of our graphic.
Continue applying the grid pattern and the crossing points that this generates. 15 be critical Erase all those small details that break the symmetry or differ from the geometric criterion. 17 text style and location Now we will decide the styles of the texts applied and place where they best affect the balance of our design. change the background colour and create texture illuminate and detail group graphic layers to modify 14 We’ll edit our shapes and make small modifications to any of the groups containing graphical elements. create a grey line of 2px in the bottom-right part of the canvas. 16 balance design and add more text Place smaller text in the bottom-right corner of your canvas. You can also include new parallelograms or clear colour outline layers set to Soft Light or Overlay blending modes.net . 066 WorldMags.techniques create striking graphics WorldMags. type scale and weight. using a layout justified to the margins of the workspace offers a comfortable reading experience. Before establishing the style of this new text we will study the space that has been allocated to house this design element. which generates new geometry in the empty spaces of the design. and respecting the grid. referring to Fibonacci’s sequence. we will set our different texts styles as such: Header1: Font: Avenir LTstd Black 150px Header2: Font: Avenir LTstd Book 133px Subtitle: Font: Avenir LTstd Light 86px Emphasized Header: Font: Avenir LTstd Heavy 51px Emphasized: Font: Avenir LTstd Light 37px Copy: Font: Avenir LTstd Light 24px quick tip To enrich your graphics you can incorporate additional effects such as small soft lights and contrasts. For more rapid and concrete editing it is advisable to group all the layers in each set of vectors that we have designed. This will balance all existing boxes of copy. One of the most visible modifications is the placement of a new hexagonal white element at the ends of our white parallelogram shapes. We have decided to reserve a space in this area to incorporate a minimalist graph. establish your layout The styles and the layout that we choose for our text content will have a great influence on the style of a design. Ensure the image is balanced correctly.net Apply white gradient lights. The size of the graphic and its colour will determine visual weight and therefore the presence this will have on the design in general. It’s important to create a visual hierarchy with text. 18 apply triangles Having reserved certain space for the minimalist graphic. over the existing graphics. This will support future graphics and text placement by creating an imaginary grounding. This ensures all of the text aligns to the grid and so is cohesive with the whole design. Thanks to the previous step it will be simple to determine placement. On the basis of this criterion. create a small triangle in a new layer by applying the Polygon tool. set to 3 Sides and a #d3cbbd tone. we can once more duplicate and look for new graphical alternatives. In this case. This will improve the areas that remained too dark before. with graphical physics that easily relate to the weight of the text. Duplicate this shape and construct the rest of the graph. Once we have grouped all the existing shape layers that compose this version of our graphic. To balance text effectively.
net CREATE STRIKING GRAPHICS TECHNIQUES 19 INSERT SOME DATA Now we’ll incorporate some relevant information through graphic elements. Now we need to adapt these diagrams to our own design and provide complementary details. Once your selection is set. Give a new value of opaqueness of 1 % to each of the two caps. only this time we use a darker colour.WorldMags. Y=11. M=20. Repeat this process and once you have illuminated the graph internally. much like we have in previous steps. Repeat the process in other areas of the graphic structure to add further interest. Duplicate this layer and place one over the entire design and another just over background layer. 21 SHADOW PLACEMENT Once we have incorporated small shades inside the graphical structure. We’ll add this to our image margins (edges).net . preserving the contrast obtained. Merge all these new layers to create your texture. Make a selection of an existing parallelogram shape (Cmd/Ctrl-click the layer thumbnail) and place it where you want to incorporate a drop shadow. Also it will enable us to refill those empty zones in our design. applied to angles that coincide with those present in our shapes.psd’ supplied. We create diagrams using the Pen tool. 24 INCLUDE TEXTURE AND BORDERS Create a selection of 21 x 9px and fill this with a solid colour (C=22. but without overcrowding the piece. based on information about the Higgs Boson. In this case we will use the Polygonal Lasso tool to select six areas. 23 APPLY A VIGNETTE Now we apply gradients to each side of our workspace. M=7. based on the perspectives that we’ve created in our design. as generating focal lighting draws the viewer’s gaze to the spaces with major contrast inside the most illuminated zones. This will create the effect of a backlight in your design. we can clone and place the new cap below the lights created for the backlight. The look of these was inspired by a network of equations for infography. Y=19. K=37). We’ll create a new layer and apply a grey-to-transparent gradient (#e7e4e4). apply the gradient from the previous step and edit opaqueness until the obtained contrast is convincing. we will proceed to create major ones in order to force the general perspective of our graphics and create a general environment. bearing in mind that these are the spaces that offer relief and a clean finish to frame our various elements. Finally add a solid white frame. setting layer Opacity at 1% and the blending mode to Multiply. 067 WorldMags. on a new layer. Duplicate this. We’re using four Feynman diagrams for Higgs production that serves our intentions. applying a white-to-transparent gradient to these on a new layer. Add a group of lights to your graphics by making a selection of a parallelogram layer. simply apply a new white-to-transparent gradient over your background layer. forming a pattern that resembles a chess table occupying the whole canvas – or apply the ‘texture_bg. 20 ACHIEVE SHADOWS We will start creating discreet shades to be able to give our design an almost third dimension and more movement. K=0) to your background. First apply a darker colour (C=9. QUICK TIP To illuminate. 22 INJECT ILLUMINATION It’s time to proceed to create more intense lighting.
but with a modernised look.” explains Soini. moving it to a new position. adding more detail. hence the cool laser effects.net I copied a part of the original image. “First there is a white line with an outer glow set to Linear Dodge blending mode. sakkesoini. I finished the effect by using a custom small particle brush. Finally there is a noise layer consisting of white particles again set to Linear Dodge…” The displacement effects are the result of two combined techniques. Soini reveals: “I used various paint splatter images. These lasers consist of three layers each. adding more detail . Artist Sakke Soini (www.net WorldMags.” WorldMags. hid visibility and made a selection.com) wanted to create a similar work. Then I copied a part of the original image. “On top of that there is a blurred light-blue laser set to Screen blending mode to apply depth. moving it to a new position. I placed these into position. I finished the effect by using a custom small particles brush.068 LASER DANCER II HOW I MADE Sakke Soini TECHNIQUES HOW I MADE T DIGITAL ARTIST SAKKE SOINI TELLS US HOW HE CREATES DISPLACEMENT AND LIGHTING EFFECTS his image is in fact a redux of an earlier existing piece with massive Eighties influences.
ADD MARKINGS HOW I MADE TECHNIQUES The markings on her body were created in Illustrator and then imported into Photoshop. SKETCH WITH THE PEN TOOL WorldMags. 069 . I then added and experimented until I had the desired layout. lips and eyes. hair.net I applied the main design elements into the image with the Pen tool.PREPARE THE SUBJECT First I set up the model image. separating it from the background with the Pen tool and then making small adjustments to the skin.net WorldMags. I used the Transform>Warp tool to place these around her body.
we implement the very simple strategy of adding a shadow and bounce light to our form.net H Add mass and volume QUICK Learn to apply weight and form to a flat shape digital painting TRICK start image ere we will teach you how to take an otherwise flat shape or texture and quickly turn it into an object that looks 3D. we’ll select some colour from the ground plane and paint it softly into the lower half of our shadow. The easiest way to achieve this is to fully paint the object. 01 define the shape Here we have created an enormous rock by painting a flat shape and locking it with the Lock Layer button. Set the layer to Multiply and begin to paint in a shadow. This helps ground an object in the entire image. Make sure that you lock the layer so you can paint close to the edges of the piece without ruining the background. create a new layer that only affects the Multiply layer (Opt/ Alt-click between the layers). painted flat-grey. Using a photo reference. paint your shape to your liking. We’ll start with our big shape. Within the shadow. Anything you paint will now only show up on what’s painted on the layer below.techniques add mass and volume WorldMags. This enables us to paint freely within a shape without having to worry about coming too close to its edges. hover your cursor in between the new layer and previous layer and hit Opt/Alt to tie them together. 02 Multiply the shadow Now it’s time to add a shadow. 03 pull it all together Using the same method as before. Once the shadow is in place.net . adding texture and brushstrokes while keeping its local colour (in this case grey) very uniform. After creating a new layer. so as to show the ground being reflected into the shadow. Once the shape is painted and finished. and then lock the layer. carefully begin adding in sky colour near the top of the rock (ensuring you stay close to our shadow colour) and ground colour near the bottom. 070 WorldMags.
call the number below and quote the offer code ‘USA3’ +44 (0) 1795 592 880 WorldMags. Imagine Publishing reserves the right to limit this type of oﬀer to one per household. Your subscription will start from the next available issue and will run for 13 issues.net .uk/aps To order securely online.co. Advanced Photoshop delivers all the Photoshop inspiration and advice you need WorldMags.50 on the newsstand) • Free content-packed CD with EVERY issue • Receive the magazine at least three weeks before it goes on sale in stores • Guaranteed to never miss an issue • Money-back guarantee on unmailed issues Non-US readers turn to page 88 Terms and conditions * This is a US subscription oﬀer for new subscribers only. although the exchange rate may vary.SPECIAL OFFER * e e fr s e u s is 6 t e g d n a 4 0 Subscribe today for only $1 Each issue.net FOR USA READERS! Exclusive subscriber benefits • Subscribe today for just $104* for 13 issues – a massive 48% saving compared to newsstand • Pay as little as $8 per issue (usually $15. Subscribers will actually be charged £65 which is equivalent to $104 at the time of writing. www.imaginesubs. visit the website below and enter the offer code ‘USA3’ To order by phone. This oﬀer expires 28 February 2013.
Germany. specifically directed to the [target market]. The company’s clients include Ferrari. We spend a lot of time concepting with our customers and try to focus on approved layouts. CGI and post-production studio located in Nuremberg. Can you tell us about Viaframe? Viaframe is a creative photography. These campaigns capitalise on our well-rounded knowledge in almost every aspect necessary for conceptualising and realising a successful production.TECHNIQUES emotive images with viaframe WorldMags. droplets of rain and soft billowing clouds.net project FOCUS design emotive images with viaframe We talk to German studio Viaframe about creating emotive images that convey both a fashion line and a season O Sebastian Mildenberger and Steffen Kirschner About the studio viaframe www. Netherlands. we combine powerful [digital] techniques and develop innovative and unique aesthetics for the image.de Viaframe is a creative studio located in Nuremberg. One was the Spring campaign 2011 and we also had the pleasure to produce the Winter campaign in the same year. How did you obtain this commission and what ideas were discussed? Actually the Autumn campaign was our third campaign for the Swiss fashion store Charles Vögele. Whether it’s CGI. German photography and post-production studio Viaframe has worked with Swiss fashion chain Charles Vögele on both its Spring and Winter collections. creating fluorescent oil swirl flowers and a frozen winter wonderland respectively. We organise our Photoshop files as open as we can to offer the possibility to enhance our work using additional elements during the production stage. clouds and rain shapes that are placed into autumn landscapes. Austria.net .viaframe. 072 WorldMags. It then filled these late-season scenes with animal outlines created by those elements we associate with nature – fallen leaves. Germany. The motifs we created were used in different formats at the Point of Sale of over 850 stores located in Switzerland. Viaframe had to utilise its photography. Back on board for this year’s Autumn campaign. highlighting the autumnal colours and crafting a cosy ambience with careful utilisation of contrast. This transparency during the collaboration with the customer and the pinpoint adjustment on their ideas guarantees quality. photography or photo-processing. The fact that the entire production cycle is integrated within Viaframe allows us to give our customers insight on the ongoing design process on a regular basis. Using moodboards helps a lot to communicate the desired look. Siemens and Olympus among others. Belgium. CGI and Photoshop skillset in order to represent the season’s darker hues. Slovenia and Hungary. Viaframe needed to capture the atmosphere of this season without instilling any depressing or miserable sentiment – something autumn can often be associated with when beautiful summer days give way to longer and colder nights! Viaframe achieved this by using inviting autumn photography. Depending on the client we usually offer about three to five concepts with moodboards and first layouts. with services ranging from planning and concept development right through to compositing and post-production. Being designers. How did your ideas evolve throughout the production stage? The campaign motifs were partly realised with photographs and then completed computergenerated images. How did you develop the piece? After the approval through the client we started experimenting with different techniques in our 3D software and Photoshop. We embed this in a clearly defined communication purpose. How did you achieve your goal? We developed a total of five motifs for the Autumn advertising campaign: animals in leaves. In this case we chose a mixture between both solutions. The final decision made depends a lot on the target group. name of project charles vögele autumn campaign 2012 @Viaframe ver the past two years. The result is a selection of manipulated photography that conveys all the positive aspects of autumn – its warmth and tenderness – without also recalling the somewhat depressing loss of those long summer days. with projects that range from stylish reinterpretations of fairy tales to imaginative 3D experiments with shape. In this case the goal was to reach the core clientele of customers aged 40 and over. Germany. We predominantly work for advertising agencies but also develop concepts and campaigns for our clients directly. With Viaframe’s workflow we plan as much as possible in the pre-production process. Viaframe can excel at it. We had completed two successful collaborations before.
How would you advise someone wanting to create a similar image? As most of our work is created for advertising agencies we find it important to produce targetoriented imagery and within deadlines. The splash layer was combined with the background using the Screen blending mode. all images © www. © Charles Vögele 073 WorldMags. rising sun on a rainy day. The Puppet Warp is also a nice tool to work with in this context. Even before the Photoshop manipulation these are beautiful scenes.net . What Photoshop tools proved pivotal in the creation of this piece? We worked a lot with the Liquify tool to connect the single splashes or clouds to shape the fish. the rabbit and the eagle.WorldMags. Viaframe took 002 There is a high contrast between the beautiful golden glow emanating from the right of the image and the dark surrounding the left.de How did you create The fish image? The fish was created using photographed water splashes. The biggest challenge was to find a natural shape that illustrated the fish without looking too detailed. the use of landscape Although it’s less prominent in this image than in photography is striking in and of itself.viaframe. This use of contrast creates the impression of a warm. This ensures that every person involved has the desired result in mind. giving the sense that it’s been shaped out of nature. For two other images in the series we used external 3D software to generate particle clouds and formed the animals in 3D space. This was then manipulated into the outline of an animal. To create this image of a jumping fish. We use scribbles to get an idea and discuss it with the client before we start producing the final image. Additional sprinkles and drops were added afterwards to integrate the animal even more into the background. 003 others throughout the campaign.net emotive images with viaframe TECHNIQUES 001 photos of splashing water in a variety of shapes.
net .net 074 WorldMags.techniques manga lighting effects WorldMags.
Our expert schin loong www. expressed through their pose. opacity and shapes. lighting. Have her looking directly at the viewer while holding her hands up. slowly building or ready to strike. The magic itself should look and feel tactile. 075 WorldMags. So communicate the level of effort your character is making through their stance to express it effectively. Schin is an illustrator and tries to draw more when she has time. We’ve left the hair and eyebrows alone as they are meant to be fine and free flowing Choose one of the sketches and expand on it a little more. Here we reveal how to create this mysterious blue sorceress casting beautiful lightning from her hands. Step 2: Establish model form 02 clean it up Step 6: Fill in colour Step 8: Apply image lighting Clean up the line art with neater lines so it will be easier to paint over.net Paint manga lighting effects techniques Paint manga lighting effects Master magical lighting in your manga-style digital paintings digital painting T he clean. simple lines of manga lend themselves well to magical effects. If your character is hurling fireballs.net .com Based in Las Vegas. This character is a mysterious blue sorceress who may or may not be evil. Her paintings of pretty female characters started after watching Sailor Moon as a child. providing a strong foundation for you to build on with colour. Consider that the magic your character is using is a form of energy. that’s going to take more exertion than if they’re swirling cosmic smoke. We’ve left the hair and eyebrows alone as they are meant to be fine and free flowing. gentle or aggressive.schin-art. All of these hints are useful for the viewer to understand the context of the painting and should be fully utilised by the artist.WorldMags. but we want her to be beautiful and deliberate in her spell casting. building up where to place the hair and the hands and adding details. from sketch to finished artwork Work in Progress 01 sketch a pose First come up with some simple sketches for how you want your figure to pose. being dramatic and hinting at the arcane powers that your character possesses. Clean up the line art with neater lines so it’s easier to paint over. Tones and values are key factors in a magically themed piece. The viewer should have a sense of whether it’s hot or cold. for example. You can manage all of these effects through your use of colour.
greens and mysterious hues that will help strengthen her personality. Centre your character more and embellish the flowing scarves around her to give a kind of frame. to brush presets and image adjustments to get as familiar as you can with the different features available. To add to the unique appearance. 04 block out the skin Block out the skin colour but keep as much of the underlying blue as possible so you can keep her inside her surroundings instead of floating up over them. 07 tweak textures Try making her larger for more impact and play with the colours. Play around with her surroundings. Be careful not to overdo this. Experiment with everything Photoshop has to offer. We want the light source to come from her hands so her face is lit from underneath. for example changing the colour of her hair to white to contrast with the dark background. This will largely dictate the mood of the painting. Keep her lips nude so they don’t distract from her eyes too much. from filters to layer styles. Spend a little time researching these to build up your arsenal of techniques.net 03 set the mood Set the line art layer to Multiply and place a layer under it to be the background. Brighten up her hands where her magic will be strongest. shading in the eyes and nose. 05 finish the face Little white highlights in the eyes are all that’s needed to bring life to her face. as you don’t want her to look too sparkly. If you get stumped there are tons of resources and tutorials that will help you form the perfect painting. Start with the face first. so choose a gradient of suitable blues. Lay a smoky texture over the painting to create movement and finally paint bright points of highlights to give her an eerie light. lighten up her dress and scarves and experiment with lighter hair.net . another trick to make her look imposing and mysterious. Also. quick tip Layer styles are your friend.techniques Paint manga lighting effects WorldMags. give her white eyelashes over dark eyeliner. 076 WorldMags. and painting on very dark eye make-up. Make other adjustments at this point. add a bit of an expressive blush to her eyes and lips. 06 erase line art Add some points of light on the canvas to remind yourself where the light source will be coming from. Saturating the tones and highlighting the hands can show more clearly where the magic is coming from. If you find that the thick line art is getting distracting you can erase the majority of it. We want to make it so dark that you can barely see her eyes. We want this sorceress to be ice cold and mysterious.
A chubby face with rounded cheeks and chin suggests a clumsy but cute character. Using Outer Glow on the layer preset. large eyes are innocent and cute. 077 WorldMags. Just keep working until you feel you’ve finished. For the final touches. Arching eyebrows can present a sweet and cheerful face. shiny. Mouth and expression: When smiling mysteriously. Our sorceress has a perky. Bright. but this doesn’t mean they can’t be part of the visual narrative. Also play some more with the background and change the colours to enhance the sense of a magical environment. This really contrasts with the dark painting to stand out. This really contrasts with the dark painting to stand out Noses: These tend to be very small and don’t evoke much expression. If laughing. Add white lightning streaks coming out of her hands to seal her sorcery. tweak the details. with only a few lines to suggest full lips and a little smirk. A few strands of really saturated glowing white hair finish off the effect. enhance her eyes even more and make some compositional adjustments. darker and longer eyes suggest a sultry attitude.net . paint dots swarming out of her hands. 09 touching up Now for the fun part. Full.WorldMags. Using Outer Glow on the layer preset. Create a new layer. Add glow and special effects Create some highlights and experiment with various Blend Modes for the layers – here we settled on Color Dodge and Overlay. long nose that fits her slender face. paint dots swarming out of her hands.net Paint manga lighting effects techniques manga facial expressions discover how every line has a meaning and evokes a different feeling Apply effects using blending modes and layer styles lighting in photoshop Facial shapes: The shape of a face can mean different things. mouths are small and demure. A longer face with smaller cheekbones and a sharper chin is more mature or feminine. a manga mouth can form a perfect triangle. Erase some of the lightning too. 08 Eyes: Smaller. long eyebrows can be manipulated for all kinds of expressions. if you feel it’s detracting from the effect. set it to Outer Glow and apply to your heart’s content.
especially with compositing.flickr.” explains fashion and beauty retoucher Paul Snyder (www. compelling images by the likes of René Magritte and Salvador Dalí changed the face of art forever. but you’ll save yourself a ton of frustration if you take your time and do things with focus and precision… There’s a common misconception that there are all these really complex techniques that experts are hiding away. and bring them all together realistically Paul Snyder. www. how others perceive them. Turning the world on its head.” Digital art has empowered a revival of Surrealism. I want [the viewer to] understand that they can apply the same thought [to] their lives”. teaching viewers to strip the ordinary and question the expected.net . but… to me surrealism is a paradox of simplicity and complexity.” While techniques have evolved. beauty retoucher.” top tips from www. com/photos/metabolico). to give soul and meaning to… imaginary worlds. in different lighting circumstances. Snyder continues: “Compositing is most important to me. how they perceive themselves. “Surrealists wanted to make people think. “Technology [has given] You have to be able to take… images that could have come from a different day. “Messages about the reality of how we perceive time or even how we as humans perceive our own thoughts and dreams are recurring themes throughout the genre. a different camera. “Something’s still gonna grow. “I like to show how things could be and not how they are. a different camera.paul-snyder.paul-snyder. You have to be able to take a bunch of different pieces of images that could have come from a different day. and bring them all together realistically and convincingly… These skills are equally as imperative for my work as a retoucher… Understanding how light works. AP: What different messages do you try to convey to the people viewing your work? Paul Snyder: I like to make people… think about identity. uncanny.techniques digital surrealism WorldMags. how they’d like to perceived… Self-discovery is a major theme in my personal artwork… I like for people who view my work to walk away a little contemplative. in different lighting circumstances. she ‘aint leaving till it does.net). or how to work non-destructively with colour. explaining that his ultimate goal is “to make people realise that reality is just a matter of perspective… If you reorganise some aspects of life [it] can result in something completely new and meaningful. “The desire to transform what is around is inherent to the human being and art has always been an important part of our soul. ideas and expressions are still critical.” says psychology student and photographer Felipe Morin Godoy (www. wild dreamscapes a reality.com). he Surrealism movement of the Twenties saw artists define a new visual language. so I sometimes like to use dark. or even maybe slightly sexual imagery and context to spark those thoughts. AP: Can you offer any tips for seamless results? Paul Snyder: The most important tip I can give is to have patience.” says Snyder © Paul Snyder 078 WorldMags. It’s just about knowing how to use all of the simple ones together in an efficient way.” says digital artist Teodoru Badiu (www.apocryph.com paul snyder AP: What do you recognise as the key symbols of a surrealist image? Paul Snyder: I wouldn’t necessarily consider myself an art historian. It’s easy to want to be in a rush when you’re excited to get the image completed. helps tremendously when making an image seamless.paul-snyder. but there really aren’t many at all. what their’s is. It’s a similar story for Godoy. There’s also nothing wrong with a little provocation.” But creating surrealist images in the context of Photoshop requires skill.net Trend FOCUS digital surrealism T Artists challenge our perspective and make way for the spectacular with imagery that lures viewers out of monotony us the opportunity to make those crazy.com > paul snyder: crows & locusts Inspired by the song of the same title by New Zealand singersongwriter Brooke Fraser.
This portrays keeping your eyes on the future and the self-discovery you find on the way © Paul Snyder Things like shadows and edges will be noticeable to the viewer. anyone can create meticulous artwork with impeccable detail © Felipe Morin Godoy 079 WorldMags. incorporating other media such as 3D. drawings and scanned images to create truly unique visions © Teoduru Badiu www.com paul snyder: going north www.WorldMags.com paul snyder: Spring awakening www. with enough practise. this time by the Australian songwriter Missy Higgins.net . and enjoys feeling proud of the results and effort. Snyder says that spring usually brings a surge of inspiration and life back to his artistry © Paul Snyder Badiu uses Photoshop and a digital camera to create his surreal illustrations.flickr. it’s all in the details © Felipe Morin Godoy www. For him.com/photos/metabolico felipe morin godoy: I dreamed of another world > Also inspired by song lyrics.apocryph. Godoy advises that. He’ll spend up to 32 hours getting an image just right.net digital surrealism techniques www.paul-snyder.com/photos/metabolico felipe morin godoy: to dream or not to dream > Godoy is quite the perfectionist.paul-synder.net teoduru badiu: cloud scraper > > > This image symbolises an artistic rebirth and the rush of creativity that can come after a long winter.flickr.
but you’ll save yourself a ton of frustration if you take your time and do things with focus and precision… There’s a common misconception that there are all these really complex techniques that experts are hiding away.com > Paul snyder: CrOWS & lOCUSTS www.com things could be and not how they are.co.” says psychology student and photographer Felipe Morin Godoy (www. to give soul and meaning to… imaginary worlds.flickr. textures and more 103 The magazine for Adobe® Photoshop® professionals 103 Commercial retouching | Work with polygons | Edit videos in CS6 | Create striking graphics | Design neon type www.net). how they perceive themselves.com Paul snyder: gOing nOrTh www.paul-snyder. Godoy advises that.paul-synder.paul-snyder. what their’s is. beauty retoucher.net . she ‘aint leaving till it does. colour and type to design a poster with impact TECHNIQUES RETOUCHI TOUCHING Industry experts reveal their top tips on beauty retouching HOW TO: • Produce emotive images with Viaframe • Build layers to create a distinct pattern • Use automated lens correction ISSUE 103 ISSN 1748-7277 9 771748 727009 COMMERCIAL INDUSTRY INSPIRATION £5. especially with compositing. or even maybe slightly sexual imagery and context to spark those thoughts. There’s also nothing wrong with a little provocation.” says digital artist Teodoru Badiu (www. uncanny. with enough practise. www. It’s a lighting circumstances. how others perceive them. but there really aren’t many at all. aP: What different messages do you try to convey to the people viewing your work? Paul snyder: I like to make people… think about identity.com Paul snyder: Spring aWakening > This image symbolises an artistic rebirth and the rush of creativity that can come after a long winter. anyone can create meticulous artwork with impeccable detail © Felipe Morin Godoy 078 Text effects and FREE DISC retouching videos Plus brushes. but… to me surrealism is a paradox of simplicity and complexity.uk EDIT VIDEOS IN CS6 Use the new tools in Photoshop to replicate 8mm vintage movies Enhance details NEW MEDIA CREATE STRIKING GRAPHICS Work with shapes.com/photos/metabolico feliPe e morin godoy: her WOrld i dreamed OF anOTher > > Inspired by the song of the same title by New Zealand singersongwriter Brooke Fraser. so I sometimes like to use dark.advancedphotoshop.apocryph.important part of our soul.indd 1 WorldMags. “Something’s still gonna grow.” www. this time by the Australian songwriter Missy Higgins. “Technology [has given] WorldMags. how they’d like to perceived… Self-discovery is a major theme in my personal artwork… I like for people who view my work to walk away a little contemplative. It’s just about knowing how to use all of the simple ones together in an efficient way.paul-snyder. www. Snyd spring usually brings a surge of inspiration and life back to his artistry © Paul Snyder aP: Can you offer any tips for seamless results? Paul snyder: The most important tip I can give is to have patience. This portrays keeping your eyes on the future and the self-discovery you find on the way © Paul Snyder Things like shadows and edges will be noticeable to the viewer. and bring them all together realistically Paul snyder top tips from aP: What do you recognise as the key symbols of a surrealist image? Paul snyder: I wouldn’t necessarily consider myself an art historian.99 03 > PAINT A LANDSCAPE DIGITAL PAINTING Build unique environments using a mix of standard and custom brushes DESIGN DES E IGN NEON ES NEO E N TYPE EO T PE TY TYPOGRAPHY Create dramatic text by adding vibrant detail to images Combine CINEMA 4D and Photoshop to shape a geometric landscape WORK WITH POLYGONS 07/11/2012 16:07 GRAPHICS 001_AVP_103. It’s easy to want to be in a rush when you’re excited to get the image completed.net Paul Snyder. com/photos/metabolico).flickr.” says Snyder © Paul Snyder Also inspired by song lyrics.
net teoduru badiu: ClOUd SCraper > der says that Badiu uses Photoshop and a digital camera to create his surreal illustrations.apocryph.net . drawings and scanned images to create truly unique visions © Teoduru Badiu 079 WorldMags.WorldMags.net www. incorporating other media such as 3D.
portraitprofessional.com Operating system: • Windows 7 or Vista.net . 64-bit editions only • 64-bit Mac running OSX 10. what it offers both enthusiast and professional retouchers www.reviews portrait professional studio 64 WorldMags.5 or later £61/ $90 082 WorldMags.8.net Portrait Professional Studio 64 We explore the capabilities of software version 10.2.
this software is a great asset when looking to colour grade images. Applied in the post phase. Portrait Professional Studio 64 will ask you to map out your model’s face in the Locate Features options – easily done by quickly dragging and dropping selectors onto key facial areas. Even better. the latest History Browser lets you compare previous edits and different looks intuitively. easy photo-editing experience with the highest-quality touchup. These can be saved into the associated folder. Sticking with the plug-in theme. when cleaning images for further editing in Photoshop. Favourites such as High Key. another that can be used in accordance with your workflow is Color Efex Pro 4 (www. Low Key and Tonal Contrast have seen significant improvements in both imaging algorithms and new controls systems. and more importantly. Portrait Professional Studio 64 seems like a great investment.com). it is that time equals money. which ultimately speeds up the entire retouch process. pondering the question: ‘should I invest in plug-in software?’ First. some types are more cost-effective than others. through the Visual Presets. so from this point of view.WorldMags. Clicking on the stacked window icon to the right of your filter opens single-click starting points. When encountering software like Portrait Professional Studio 64. but startup capital isn’t always readily available. letting you stack effects to create what the software describes as Recipes.net . Here the plug-in works its magic. Filters can still be applied in multiples.niksoftware. your interest is bound to peak. effectively determining improvements automatically. letting you master your own presets to apply to future projects. RESOURCES Controlling effect strength in specific areas is easy using the Touch Up brushes and editable layer masks (in Skin and Hair controls) Portrait Professional Studio 64’s effects are all applicable through easy-to-use sliders. namely how a plug-in enhances the quality of the images you produce. Second. Upon firing up the plug-in you’re asked to open your start image and are then prompted to determine the gender of your model. Color Efex Pro 4 provides filter parameters that are inviting for new users. there’s the matter of money. making comparison in your edits easy f you’re an aspiring professional retoucher you’ve most likely been left scratching your head. there’s the matter of production. which ultimately speeds up the entire retouch process 083 WorldMags. preferable to those used to editing in RAW I The work area takes up two-thirds of your onscreen real estate. AUTOMATED FACE RECOGNITION What you get for your buck with Portrait Professional Studio 64 is an easily acclimatised interface and functionality.net PORTRAIT PROFESSIONAL STUDIO 64 REVIEWS POST WORK IN COLOR EFEX PRO 4 Portrait Professional Studio 64 is useful in pre-production phases. Subsequent options continue in the same vein. What you get for your buck with Portrait Professional Studio 64 is an easily acclimatised interface and functionality. And if there is one constant in the retouch business. which promises an ultimately fast. making it possible to explore creative options quickly.
most importantly the Skin Controls.net . Spot removal was also highly intuitive. Left: Eye controls are so detailed they even provide the option to take out reflections. Skin Lighting and Picture. They shouldn’t worry. Selections are manipulated through point controls. Here’s a great way to achieve improved commercial effects in Photoshop Working with photoshop Targeting faults 01 Recording imperfections can be troublesome. controlled through simple sliders. 02 Use the healing brush Copy and paste this duplicate channel into your Layer panel. 084 WorldMags. Hair. Customise with sliders Each dropdown menu provides specific option sets. as Portrait Professional Studio 64 has already isolated affected areas. Target these easily by selecting and copying the channel that shows distinct exposure.net We will warn you not to take too long deliberating over the following Adjust Outline options. so editing becomes meticulous. just tweak regions that are drastically out of sync. as Portrait Professional Studio 64 has already isolated affected areas. They shouldn’t worry though. Seven categories are made available. while increased Skin Smoothing augmented default settings. so editing becomes meticulous Smooth skin doesn’t need to be as literal as you see in most external software and plug-ins. such as shadows and highlights.reviews portrait professional studio 64 WorldMags. Dedicated Photoshop users may be apprehensive. There were several categories that really grabbed our attention. Portrait Professional Studio 64 operates here much like Photoshop Paths. but for the best results. We also found customisation to be abundant in Portrait Professional Studio 64 – more than we thought. perhaps preferring hands-on application. Skin. working out more noticeable artefacts with the responsive Touch Up Brush tools. eyebrow and mouth regions. perhaps preferring hands-on application. Mouth & Nose. the default settings will return impressive results. These will appeal to photographers and retouchers who work extensively in Camera RAW. so the subtle application of sliders was key. as many hide among your midtones and shadows. You can trust the plug-in to automate skin refinement and tweak facial contour. we discovered that it was easy to over-egg edits here. We recommend setting to 6 Medium Sensitivity. applying the Healing Brush and Patch tool to the original layer. Combining the Remove Pores slider and Texture controls produced commercial looks. targeting eye. Deactivate your channel layer to make comparisons. Eye. with Portrait Professional Studio 64 applying effects through strength levels – from 1 Only Prominent Spots up to 10 Maximum Sensitivity. increase pupil size and brighten the whites of an eye Dedicated Photoshop users may be apprehensive. Apply a Levels adjustment (Cmd/Ctrl+L) to further enhance these. above your original photo layer. Use the pasted channel layer as a guide to target blemishes you want to work out. including Face Sculpt.
the plug-in provides the Touch Up brush for manual amendments Example 2 Much like the hair type. size and density of the pupil and much more. New face-slimming controls are also presented. It does. We were especially impressed with the way these interacted with hair – targeting is quicker than we’d experienced with Alpha Channel and Refine Edge application. determined through Brush Size and Detector (density) Size Area Brushes. If you’re trying to fill in the blanks left behind in your technical skills. struggle with more extreme alterations. with applied masks holding up pretty well throughout any changes. lacking the complexity of working entirely in Photoshop. So. Founder of DM High-End Photo Retouching. This fully automated process impressed. Portrait Professional Studio 64 takes customisation further by supplying masking options with Skin and Hair controls. it will complement the pre-production workflow of those who understand the requirements of a good retouch. the essential question is should you invest in this plug-in software? This is a tricky question to answer. this beta could be a great timesaver once released. so it’d be straight into Photoshop with the result. However. but if you’re looking to remove these.WorldMags. Portrait Professional Studio 64 is also a wonderful solution for commercial photographers who want to simply push fantastic photo visuals that extra mile. which are standard practise with Photoshop users. I did find myself wanting to make changes the sliders didn’t enable. However. This software is simple to apply. The plug-in certainly improves on the benefits in Version 10 for beginners and busy professionals. eye size and redefine jaw outlines to create a slim or full look – and you’ve got an entire gamut of essential edits. Danny Meadows takes an exclusive look at the Beta version of this yet-to-be-released software. The software now makes far faster and more intelligent facial selections for you (see Example 1). The new Hair Recolor tool yields impressive enough results for subtle changes. the sliders will once again prove useful. the addition of some automated light carving would be welcome. we’d say educate yourself further and keep practising. like black to blond. you can target and affect colour.net portrait professional studio 64 reviews Mask controls Admittedly the plug-in isn’t particularly frecklefriendly. along with spots and wrinkles you’ll find results extremely satisfying. Skin Selection tools make targeting facial and additional skin areas super-easy with the intuitive tools 085 WorldMags. which may still seem restrictively ‘on rails’ for the experienced Liquify tool user. As an essential focal area of any portrait. Example 1 portrait professional 11 Verdict Features: 9/10 Ease of use: 9/10 Quality of results: 7/10 Value for Money: 8/10 Final Score: 8/10 If by chance default retouching doesn’t quite fix everything. but easy to abuse. but again the mask holds up well (see Example 2). with the click of a button rendering a new hair colour from a preset selection. Version 11 includes a host of new and improved controls. we have to once again question the target group. Here you can extend or cut back applied-to regions. In many respects Version 11 still has the same flaws as previous versions. intensity. exploring improved functionality For the busy portrait photographer without the time to dedicate to learning retouching. New Plump Lips sliders extend the upper and lower line of the lips. Throw in the ability to reshape facial contour – increase neck size for added elegance.net . quite understandably. but for those without the time or familiarity with Photoshop. Those who love to work with detail will also be impressed with the Eye controls.
iOS 5. you can continue to work on your model in 3D desktop applications. not just export 3D objects is added VERDICT: 8/10 Because you can export OBJ files from 123D Sculpt. you can daub your choice of colours.99 to export OBJ $9.99 to export OBJ • iPad. or smooth out rough areas. users can paint a model head with textures from a photo to create a virtual look-alike. use the Image Rub tool to pick a texture and simply rub it onto your model. 086 WorldMags. you can use basic paint application to colour your model. This app provides basic starting model presets.REVIEWS APPS WorldMags. The iPad’s interface lends itself perfectly to this kind of modelling work. but more impressive is the ability to rub in textures from a still image. For example. then 123D Sculpt would be a far more productive tool. then moving to the Pull and Push brushes to create finer detail. This enables you to reposition. For authentic looks. so you can begin quickly.0 or later utodesk’s 123D Sculpt is a great way to create detailed 3D models on the iPad. We started with the Grab tool and a large brush. repaint and light it inside Photoshop. then take them into Photoshop either as 3D objects or rasterised flat images.net .123dapp. but it’s only useful for broad strokes or cartoon characters.com/sculpt • £6. including human heads. The app’s main limitation is that you have to start from one of the built-in models. Here you can use in-app-supplied textures or any image on your iPad to paint from. you can apply intuitive strokes to push. A useful study app. If you could import your own 3D models from another program. you can also save the model itself in standard OBJ format. adding lighting and further material options HOW TO MODEL FOR PHOTOSHOP IN THIS 3D-SCULPTING APP WORK WITH 123D SCULPT SCULPT YOUR MODEL 01 Choose a model from the app’s presets and pick a brush. create creases. pulling to reshape the model into roughly the right proportions. shoes and various animals. Stroke gestures add bumps. pull and mould the model as though working with clay. However. 03 MOVE TO PHOTOSHOP You can import your model into Photoshop by emailing it to yourself and it will arrive with a handy transparent background. which can only get better when the ability to import.net 123D SCULPT A MASTER MODELS WITH THIS HANDS ON 3D SCULPTING TOOL FOR IPAD USERS www. using standard and 3D option sets. Switching to the supplied paint options. The Symmetry button in the top toolbar keeps alterations from looking lop-sided. spheres. with Autodesk’s welldesigned tools reinforcing application. 02 PAINT IN COLOUR Switching to the Paintbrush tool. When creating. These are established in the app through visual diagrams.
from photorealistic rigged animated creatures costing hundreds of dollars. but CGTextures is perfect for creating realistic surfaces and materials.2 oxel is a fun tool for creating a very specific 3D look.99 • iPad. or as slightly bevelled cubes. You can even animate your cube designs using simple Timeline and Keyframe options.cgtextures. Voxel images can be displayed in three different ways – as a single connected object.flatbackfilms. It’s a bit on the complex side. 004 The Timeline enables you to create animations by setting keyframes for movement. you’ll find the answers here from some of the world’s leading 3D artists. which is pretty cool. much like that seen in Eighties videogame graphics. you can buy anything here.shapeways. 002 Simply tap here to import or export models and snapshots. Finished models can be saved as PNG files. down to free low-res models designed especially for games.com Voxel models can be a little difficult to manipulate. but is capable of producing work right up to the standard of the top 3D packages. iOS 3.net APPS REVIEWS VOXEL V www.org Blender is a free. ceramics or even solid silver.69 $0.turbosquid. you can upload your model and have it produced using plastic. Users can also export images as 3D OBJ files. If you’ve got questions about 3D. 003 The 3D display is responsive and works with standard iPad gestures. as a series of separated boxes. giving the image a more polished look.cgsociety. You can tap to create a cube then pick one of its faces to add another attached to that side. 087 WorldMags. iPhone. Users simply build 3D objects. 001 There are intuitive tools for adding. open-source 3D application. The premise is simple. which can then be imported into Photoshop for texturing TURBOSQUID www. move them around or change their colour. glass.com If you fancy turning your 3D work into real objects. BLENDER www. which Photoshop can also import for further editing with 3D options. You can even send designs to a 3D-printing service that creates your model in plastic.WorldMags. TOP 5… • £0.com A library with hundreds of high-res images of brickwork and tarmac might not be for everyone.com CREATE COOL RETRO LOOKING GRAPHICS ON THE GO WITH THIS 3D APP and colour editing. but you can quickly build up complex models by switching tools to delete cubes. However. 3D MODELLING RESOURCES CGSOCIETY www. using identically sized coloured cubes to create some retro pixelated styles. removing. colouring and positioning blocks. their distinctive style will make it a worthwhile download for lovers of retro VERDICT: 7/10 If you need 3D models. CGTEXTURES www.org A great forum for all things 3D and a place to show your work. which is slightly more complex.net . SHAPEWAYS 001 002 003 004 www.blender.
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net 090 WorldMags.feature how do i build a personal brand WorldMags.net .
She explains what personal branding means.” Dan Schawbel (www. “Your personal brand includes the subjective attributes that make you who you are: your core values.com) consults with businesses and individuals.danschawbel. “I think. It's what someone will think about you when they find you online. we look at the design industry to see if it’s done. Be consistent yet flexible. “Branding is perhaps one of the most misunderstood business practises out there. as a creative business. He’s created striking visuals that cleverly blend his motto into his identity © Tom Jaeger and that being consistent when putting it into practise is key.tom-j. For Jefferson Perky.WorldMags. If you're planning to set in stone your personal brand.” Designer Tom Jaeger (www.” Digital is a blessing in that it's inexpensive to access. Especially in the sense we were a simple startup. the direction he found himself moving in was something a little nostalgic. where to begin? Chances are that if you know something about design you probably come across a thing or two about branding along the way too. hardy and honest. however. We wanted to keep the studio's identity simple. Perky Bros (www. do the same principles apply? John Clifford. It's a business practise that isn't just applicable to companies. “90 per cent of communication will be digital. Jaeger’s advice to anyone starting out is to put strong emphasis on digital.com) believes that knowing who you are is the first step Jaeger builds his brand on the principles he applies to all his client work. you can take more risks than a huge corporation. the impression you leave when you hand over a card and the idea they'll have of the email you send back when they get in touch. An identity based on a concept for a printed piece of stationery isn't going to do such a great job when you hardly get to use it.com) has put a lot of thought into his approach to design and has translated this into an intriguing concept.liveyourmessage. your personality. [This is] in addition to how you represent yourself through your signature photo. “Ideally it illustrates who you are and how you work – it's a conversation starter. “Myself and a friend Mihae Mukaida. “You should think about your colours.com) is a Nashville-based design studio that oozes old-fashioned values.net how do i build a personal brand? feature How do I build a personal brand? Y Developing a coherent personal way to present yourself is seen by experts as the key to success.net .” she says. as well as photo-sharing sites like Flickr and prominent social networks like Facebook and Twitter. Here we look at how personal branding translates into the design industry and whether you should be putting pen to paper to develop your own unique brand.” he says.” He's taken five terms that lie at the heart of what he does and shaped them to represent his own identity. When most people think about branding. A blog. as it also encompasses freelancers and individuals in the marketplace looking to make an impression. So. Your brand on these sites should be consistent with your website and leave the same impression for your customers. fonts. believes it does to an extent. and the overall visual appeal of your brand as it relates to the impression you want to create for your customers. shapes. creative director at Think Studio (http://thinkstudionyc. beat our heads against a wall for a few weeks. “Your brand should be managed on your own website. The Perky Bros name is steeped in history and founder Perky wanted to pay homage to that. Personal branding has been toted as a must-have for anyone. how it’s done and whether you should be doing it too our personal brand is the face that you put forward into the working world. anywhere as a way to stand out whatever industry you're in.” says Jaeger. “Having a unique visual identity is essential.com). “We wanted to be 091 WorldMags. but the core principles are the same. they think of logos and catchphrases.perkybros. your physical appearance or style and your portfolio. Do a lot with a little. Personal branding expert Marisa Murgatroyd (www. But things like this are just visual representations of a brand. Twitter presence and Facebook page are all easy to set up and maintain once you've got a direction to move in.” The heading ‘Established in 1883 & 2009’ is a unique addition to a logo and gives the brand some weight and longevity. your personal story.” Being clear about who you are and what you do is a way to attract clients and make impact. how you show up in the world. who was working with me at the time.
While for Perky building a personal brand is a strategy that has worked very well for him. It's a brand decision too and says something about your company. A brand that speaks to old-fashioned value.” says Perky.” A glance at Lee Mason Designs’ web presence (www.” John Clifford at Think Studio has also picked a simple visual approach to the way he presents his brand.liveyourmessage. “Your work better be good though. logo. He took time to develop a design that looked just as good on stationary as it did online.net to that point and totally transparent. But it does mean stepping into and sharing the best version of yourself or that part that you find is uniquely you. then it also includes your company name.com How important is it for designers and studios to spend time developing a personal brand? Marisa Murgatroyd: The most successful designers in the new economy are creating businesses and jobs around who they are. he says. and the fourth. I don't want to be seen as a specific type or style of designer by doing too much styling of my own brand. but something focused and crystal clear that can claim a unique space in your clients' minds.” Freelance designer Lee Mason wholeheartedly agrees with this way of thinking. What is the starting point for thinking about and developing a personal brand? Marisa Murgatroyd: The biggest achievement and the single biggest hurdle of any branding process is getting to [simplicity]. You may notice that white is a popular tonal choice and that a logo is often non-existent. business card and all the materials you put out into the world. No Steak category. For him.com) and you'll see what he means. I’m not talking about vague universal concepts such as innovation or contribution. whether it's clear or not.feature how do i build a personal brand? WorldMags. what they love and what they know. Perky Bros logo and stationary matches an online presence that gives clients a sense of value and personal touch © Jefferson Perky 092 WorldMags. there's more to it than just creating a brand that acts as a shell for your work. or show up on camera. This approach is what you can call my brand. their business and their market. Perky says. I’m not suggesting you be something that you’re not – because you’ll exhaust yourself trying to maintain an image that isn’t you and people are smart enough to sniff out a fake. write an email. “No amount of fluffy or glossy branding changes this or makes up for a lack of work. Developing their personal brand enables them to take charge of their career. “It would be Expert Interview A leader in the field. he says. “I want people to see the brands I have made – not a brand I have made for myself. “The most important aspects of selling yourself as a designer are your skills and experience. “I suppose one popular school of thought among design studios/designers is that it isn't critical”. But you'll also notice that the whole website is built around one thing – client work. Marisa Murgatroyd tells us why having a personal brand is vital for designers too Job title: Founder and lead web strategist. having something good to show is vital. It’s also the second impression. URL. and every single impression you make every day.net . If you are the face of your business brand. If you adopt this strategy. he recognises that others in the design industry see otherwise. “A lot of studios prefer to allow their work to speak for them. Everyone wants to hire someone who understands them. Your portfolio will always be the most powerful pulling tool when it comes to clients. and the third. Nobody is looking for a generalist designer. The key to branding is making a consistent impression.” he adds. Live Your Message Website: www. And to be honest. Getting to that core idea that encapsulates what really makes you different in a way that actually means something to your ideal client. I think this approach is valid. leemasondesign. fonts. or you'll find yourself in the No Sizzle. colours. “I believe in letting my work speak for itself”.” You can see what Perky means by taking a quick tour in your browser across some of the biggest names in the design industry. tagline. I don't package myself as a product because my interests change from day to day. and the fifth. If you have a portfolio of strong projects then you don't need any sort of personal brand to help you win projects. So the key to success in this economy is branding you as different from everyone else out there. What different elements make up a personal brand? Marisa Murgatroyd: Your personal brand is the first impression you make when you walk into a room.
this book will give you a good overview of the current thinking on personal branding as a way to get ahead of the game.net .” Alex Colley is the creative director at Karnatarka (http://karnatarka. the About Us section says: ‘We love making something out of nothing.WorldMags. that's not reality. the dumb smart. Not just to stand out. “For example. Along with the great work. don't hide it. me 2. Along with the great work. but to help you connect with the right clients – the clients that are best for you. Think Studio builds a seamless online presence with imagery echoing the same message across web platforms and wherever clients may encounter it. With his 20% he's crafted a simple design that reflects things that are personal to him. clear and simple. this offering has a lot to say about brands moving from static beings into ones filled with personality.magmabooks. a lot of horrific work as well).net how do i build a personal brand? feature nice if it could be all about the work and we could just sit back and let the work speak for itself. That is a key part of a successful working relationship.uk brand thinking and other nobel pursuits Think out of the box for this one.com branding identity: the A collection of great visuals from some heavy hitters in the industry. the complex clear and the average exceptional.magmabooks. not best for the designer next door.’ We make things better through design. “But. this book is sure to give you something to turn your creative mind on. you need a point of view and a personality. let's be honest. “If you're a designer with a twisted sense of humour.” Clifford explains that by building a personality into your brand you'll attract clients that fit the way you think and work.co.com A big bold dive into the pond of branding. “This is a very special place for Top 5… branding books by jurgen salenbacher £17 www.uk creative personal branding One aimed directly at creatives. We also love making the ugly beautiful. There's a lot of quality work out there (and.” At Think Studio. not best for the designer next door John Clifford. but to help you connect with the right clients – the clients that are best for you. Not just to stand out. A client with a similar sense of humour will enjoy spending time with you.co. “I like my wording very clear…” Clifford continues. clarity is one of the most important values.” he says.com importance of a good corporate logo £32 www.danschawbel.amazon.amazon.” he says.com) and he thinks the right ratio of client work to personal branding sits at about 80-20%. It’s punchy.com While not solely aimed at designers. it’s a collection of views and insights about why humans have branded the world just so. coherent and very importantly it’s designed well. by debbie millman £19 www. “The name comes from the Indian state Karnataka. you need a point of view and a personality. new super identity: the new era of creative branding £35 www. on our site. creative director and founder.0: 4 steps to building your future by dan schawbel £11 www. http://thinkstudionyc. this book bypasses the boring business lingo that threatens to turn you off. Founder and creative director John Clifford believes that maintaining a consistent brand across all your outputs helps ensure you interest the right clients © Think Studio With a simplistic look and feel Lee Mason takes the view that it’s better to build a brand that focuses on highlighting client work than overshadowing it with a bulky design © Lee Mason 093 WorldMags. You might learn a little something.
Not be a cover for a lack of it.” No matter if you're drawn to the idea of developing a unique identity that shows off your personality.feature how do i build a personal brand? WorldMags. you should know where you stand and reflect this in the way you present yourself.” says Jeff Perky.” 094 WorldMags. so I stand by the principle that less is more. which is a very powerful colour and is generally used to market luxury products. typographic. I believe you can tell a story through strong imagery whether that be graphical. “I’ve also combined it with black.net Colley built his brand on a place that he loved and crafted simple visuals to place heavy emphasis on the work that he produces © Alex Colley me and coupled with my love for India it seemed to fit. so making a conscious choice about exactly what that is will be the next logical step to take. “As with my website.” he explains. or you too think that less is more. “A good identity should complement it. Finding the time to think about who you are and what you want to achieve can only focus your mind and is never a bad thing. It can't be denied that you are judged on what you put in front of people every day. illustrative or photographic. The colour red symbolises energy and happens to be my favourite.” Besides grabbing the attention of potential clients.net . Colley also uses his branding to show how he works. One of the most important elements was researching colour psychology to ensure my brand portrayed the right message. “In the end though nothing substitutes for thoughtful work. there is a strong visual focus with minimal use of text that is something a client can expect when working with Karnatarka.
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