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starting at $199/month or as |ow as $0.14/image

cover artist – interview
José-Paulo Reis
José-Paulo Reis has 3 years of experience in digital arts. His passion
is fashion photography, creativity, advertising, photomanipulation
and digital art. Devoted to Photoshop, José-Paulo is trying to
improve his skills everyday.
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Dearest Readers!
Summer is still on! Enjoy your holidays but don’t forget that it is also a good time to
look for an inspiration and to be creative. I would like to encourage you to find some
time and take a look at the August issue of our magazine. You might find here some
ideas to use as an inspiration to your future works.
In this issue, José Paulo Reis and Dwayne Ferguson are telling us about their digi-
tal arts experience. I also have a pleasure to present you some great tutorials: you can
learn how to be a master in multi-layering with Olly Howe, Natalia Voloshyn explains
how to prepare a beautiful book illustration , Tina Foster - how to make a professional
photo retouch... & it’s not all!
Have a great read!
Magdalena Mojska
magdalena.mojska@psdmag.org
Editor in Chief
photomanipulation
Mastering Multi – Layering in
Photoshop
Olly Howe
Please don’t go tonight
Julia Trotti
interview
Inverview with Dwayne Ferguson
creative class
Lullaby
Natalia Voloshyn
Making of a Retro Building at Dawn
Jomar Machado
Editor’s Choice
Gallery of Ricardo Nobre
digital painting
The Skeleton Knight
Dwayne Ferguson
workshop
Writing with paint on a rock wall
Adeel Naseer
Retouching
Tina Foster
interview
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.pas Photoshop
ways interested in learning how to achieve the degree of perfection
that I saw in the works of so many talented digital artists. The entire
process caught my attention all along, the persistence, the artistry
behind every decision, and the final result.
Interview with
José Paulo Reis
Why have you decided to become a digital artist?
Having my background in design, it became natural for me to start
expressing myself through digital tools, especially Photoshop.The
manipulated images have always been my fascination and I was al-
I’m a digital artist with 3 years of
experience. My passion is fashion
photography, creativity, advertising,
photomanipulation and digital art.
Currently I’m working as a digital
artist in Lalaland Studios as a
fashion photographer. I love fashion
and beauty photography and
everything related with digital art. I
am devoted to Photoshop and I try
to improve my skills everyday. Enjoy
my works by visiting my blog: www.
zepaulocreation.blogspot.com
interview with jose paulo
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.psd Photoshop
What are the main sources of your inspiration?
My main source of inspiration is the work of some amazing art-
ists that I had the pleasure to come across with in the web.
interview
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.pas Photoshop
Some names like Michaelo, Zach Bush, Peter Jaworowski, Jerico
Santander, Pete Harrison, Javier Alvarado and some other amazing
artists in the whole world. Their artwork gave me the light I needed
to explore my world and to create my own images.
interview with jose paulo
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.psd Photoshop
What do you like the most about your profession?
I’ve never thought that today I would have the pleasure to do what
I’m doing. Due to my persistence (for the last three years) i reached
the goal. Finally I was hired recently by a fantastic fashion/advertis-
ing photographer Frederico Martins (also Portuguese) which is giv-
ing me the opportunity and the freedom to implement the knowledge
I acquired over the years. The studio in which I work, the Lalaland
Studios, allows me to explore many techniques and improve daily
the level of knowledge I have. They have great facilities that allow me
to work on the highest level, I’m improving my retouching skills due
to their focus on high-end retouching, and mixing it up with my cre-
ative approach. We are now preparing a new website where people
will be able to see the merge of both worlds, fashion/advertising and
digital art. For now you can visit separately our personal websites:
www.fredericomartins.net and www.zepaulocreation.blogspot.com.
Are there any difficulties and disadvantages of your work?
I do not consider that there are many difficulties or disadvantages,
because when you do what you love, only good things can happen.
Probably the only disadvantage is the many hours I spend in front of
a screen, but this is the only way to archieve the level of perfection
I want.
Would you have any tips to those who would also like to be
digital artists?
Never give up your dreams to achieve your goals.
Hard work and dedication are the key words to anyone who wants to
be a digital artist.
advanced | 90 min.
adobe photoshop CS3
mastering multi-layering in photoshop
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.psd Photoshop
STEP 1
Open the image entitled ZARA01.jpg. The first thing
to do is to remove the photo from the background
as we will be layering many elements behind the
model. Using the Pen tool slowly map around the
edges of the image, once finished [Ctrl] + click
on the page and click Make selection. Make sure
feather selection is set to 0 and hit [Ok].
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STEP 2
Now click Add layer mask at the bottom of the
layers palette and the background will disappear.
You can now go over the hair selecting areas
where the background still shows through, create
selections and then mask out any unwanted
areas using a Brush tool. There will still be small
bits of the background showing through on parts
of the hair, for these use the Burn and Sponge
tools to darken areas and blend them in with the
natural hair colour.
Mastering Multi-Layering
in Photoshop
The following tutorial gives you a broad look at some of the fundamental techniques that
i use when creating detailed multi-layered illustrations. You will see as you read that my
work process is quite loose, its good to work without limitations as this allows you to
experiment with the image as you go along. Multi-layering is a fun style to work with as
the possibilities are endless and quite often the way you visualize the design at the start
does not reflect the direction it takes. It is important to learn the key Photoshop shortcuts
when working with this kind of style as it allows you to work quickly and efficiently. In this
tutorial i have included most of the important shortcuts that will help to speed up your
workflow.
photomanipulation
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.psd Photoshop
STEP 4
Now click Add Layer mask to the arm and model
layer, select the Brush tool then [Ctrl] + click on
the screen to bring up the brush settings. Take
the Hardness to 0% and Master Diameter to about
112px. Using the Brush tool begin to mask out
areas of the arm and the model to blend the two
together. This step requires a lot of attention to de-
tail and patience. For areas where you need more
accuracy, use the Pen tool to create selections and
mask out these areas. For areas that are missing,
like the red banding on the top by model’s thumb
select and duplicate areas of the existing top then
Copy, Paste and Blend where required.
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STEP 5
Once you are happy with how the arm looks,
merge the arm with any other layers you have cre-
ated until you are left with just the arm and model
layer only. Now click Create new fill or Adjustment
layer above the arms and lighten up the right arm.
Click [Ok] and then [Alt] + click between the arm
and Adjustment layer. This will apply the levels
adjustment to the right arm only. Finally, the very
ends of the model’s elbows are missing. Draw
a selection where the elbows should be and then
use the Clone Stamp and Brush tools to add in the
missing areas.
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STEP 3
Create a new canvas 280mm wide by 365mm
high with resolution 300dpi, Colour mode CMYK
with a white background and drag in the masked
image. We will use this canvas to edit the model
before we start the illustration. If you are totally
happy with how the photo is masked out then
[Ctrl] + click on the layer mask and click Add
layer mask. Next we want to remove the model’s
left arm that is incomplete and replace it with
a copy of her right arm. First, using the Pen tool
draw around the model’s left arm, make sure you
leave plenty of skin around the hands as this will
be used to blend the arm in on her right hand side,
[Ctrl] + click and then make selection with feather
Radius set to 0. Now hit [Ctrl] + [C] followed by
[Ctrl] + [V] to duplicate her arm. [Ctrl] + [T] to
transform the arm, [Ctrl] + click on the arm and
click Flip Horizontal. Now scale the arm slightly
so it roughly fits over her existing right arm and
the top of the shoulders link well together. Double
click the arm to accept the transformation.
mastering multi-layering in photoshop
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.psd Photoshop
STEP 7
Create a background gradient colour, this will
change a lot throughout the design process
but for now create a gradient from CMYK values
50,35,25,18 at the top to 14,6,5,0 at the bottom.
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STEP 8
Now you need to remove model’s legs. Create
a Layer mask on the photo layer and then with
the Pen tool draw a selection around the area you
want to remove. Use the Brush tool to remove the
legs. I like the way the model’s lower half tapers
away to the bottom but to add more effect, we
want to make it look more fragmented. Click on the
model’s layer mask and with the Pen tool begin to
draw angular shapes. Remove the selected areas
using the Brush tool on the layer mask. I create
these selections one by one so you can look at the
overall composition as you work.
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STEP 6
Create a new canvas 270mm wide by 365mm
high with resolution 300dpi, colour mode CMYK
with a white background. This will now be our
main illustration canvas. Drag in all the layers
from the previous canvas and merge them to-
gether. Using the Pen or Lasso tools, draw a selec-
tion across half of the model's body. Create new
layer and fill the selection with black, [Ctrl] + click
the model layer icon in the layers palette to cre-
ate a selection around the girl and then with the
black colour fill layer selected hit the Add Layer
mask button. Now click the little chain link sym-
bol next to the mask so it disappears and then go
to Filter>Gaussian blur> 200 pixels. Now set the
layer blending mode to Soft Light and knock the
Opacity of the entire layer to 50%. Next, drag the
model layer to the new layer icon at the bottom of
the layers palette and set the duplicated layer to
Overlay blending mode, hit [Ctrl] + [U] and make
the Saturation 0. Then take entire layer Opacity to
50%. Once you are happy with the lighting, select
all layers apart from the background and hit [Ctrl]
+ [E] to merge layers into one.
photomanipulation
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.psd Photoshop
STEP 10
I decided to introduce some wings which i down-
loaded. The wings were cut with the Pen tool from
a picture of a dove. I then brought them into the il-
lustration. I cleaned them up using the Dodge tool
and scaled them using [Ctrl] + [T].
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STEP 11
Once happy with the composition, create a new
layer and using the Brush tool create a black
shadow, [Ctrl] + click and make sure the hardness
is set to 0%. [Ctrl] + click on one of the wings and
then [Ctrl] + click on the other wing, this creates
a selection of both wings. On the shadow layer,
hit Add layer mask. You can adjust and move the
shadow within the mask but make sure that the
little link icon between layer and mask is un-
checked.
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STEP 9
Now click on the model icon next to the mask,
draw more selections and hit [Ctrl] + [C] and then
[Ctrl] + [V], this will paste a shape into a new
layer. Now press [Ctrl] + [T] to move and scale the
shape as you see fit. Repeat these steps over and
over again to create the fragmented look and feel.
mastering multi-layering in photoshop
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.psd Photoshop
STEP 13
Now create a moon using the same gradient tech-
nique as above but with the Elliptical Marquee
tool. Then click the Add Layer Style button on the
layers palette and add a white Outer Glow to the
moon. I also added in some birds flying across the
moon.
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STEP 14
Now we need to add the flowers on the model’s
body. I downloaded an old floral wallpaper. It is im-
portant that the background colour of this image
is a similar colour to the skin of the model, other-
wise the effect will not work. Drag the wallpaper
onto our image and place it just above the model’s
layer, now hide the layer by clicking the Eye icon
next to the layer. Use the Pen tool and draw a se-
lection around the model’s skin. Don’t worry about
following the outside edges of the model exactly.
Once done hit [Ctrl] + click and make selection.
Now [Ctrl] + click on the model’s layer icon and
choose Intersect Transparency Mask. This will
now make the selection snap to the model’s out-
line. Now reveal the wallpaper layer set the Blend-
ing Mode to Linear Burn and take the Saturation of
the layer to 0.
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STEP 12
To create the light streaks, select the Rectangu-
lar Marquee tool and on a new layer create a long
rectangle selection. Using the Colour Picker tool
select a red from the model. Now select the Gradi-
ent tool and click on the gradient bar in the tool-
bar at the top of the screen, choose the second
gradient option which will run from the chosen red
colour to 0% Opacity. Now create a gradient inside
the rectangular selection from left to right. [Ctrl]
+ [D] to deselect and then select Filter>Gaussian
Blur and set to about 700 pixels. You can then du-
plicate these layers and transform them to fit the
image. Using [Ctrl] + [U] play around with differ-
ent Hue options. Now download a textured layer
and add this above the background colour layer.
Set this above the background colour layer and
set the Blending mode to Overlay, hit [Ctrl] + [U]
and take the Saturation to 0.
photomanipulation
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.psd Photoshop
STEP 16
Now create a new layer that sits behind the back-
ground texture layer and using the Brush tool,
brush in a dark red colour. I used CMYK values
of 48,91,60,64. Do this using the brush at a low
Opacity. Opacity can be changed quickly by using
the numerical pad on your keyboard.
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STEP 17
Now we want to start building the multi-layered
textured feel to the background. For this, I have
downloaded a paint panel and also some paint
splats isolated on white. Use the Magic Wand tool
to delete and isolate all the paint splats from their
backgrounds. Now drag the resulting layers onto
the paint panel. [Ctrl] + click each splat to turn
it into a selection and then with the paint panel
layer selected hit [Ctrl] + [C] and then [Ctrl] +
[V]. Repeat the process for all the splats to create
a uniform set of paint elements. Now bring these
elements into the background of our image, set-
ting the blending modes to Overlay at different
opacities and hues. Where unwanted colour ap-
pears on the paint splats, [Ctrl] + click the layer
to create a selection and then create new layer,
fill this layer with a colour of choice and then set
the Blending Mode to Colour. You can then merge
these 2 layers to create a splat with a more uni-
form colouring.
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STEP 15
We want to begin to add some details to the back-
ground. First i downloaded a photo of a castle and
a random fabric pattern. Cut out the castle with
the Pen tool, and then drag it into our image. Set
the layer Blending Mode to Overlay and take the
Saturation down to 0. Mask out unwanted areas
and then duplicate and transform the layers so
that they work well with the image. Experiment
with different layer opacities. Again cut out the
fabric with the Pen tool and bring it into our im-
age.Set the Blending Mode to Multiply and again
transform and duplicate until you are happy. Hit
[Ctrl] + [U] and experiment with different Hues for
the fabric. Next I changed the background colour
and also decided to take all the colour out of the
light strips. To do this, hit [Ctrl] + [U] and take the
Lightness to +100.
mastering multi-layering in photoshop
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.psd Photoshop
STEP 19
Now I want to get some clouds into the back-
ground so i downloaded a sky image, dragged it
into the background of our illustration and then
set the blending mode to Soft Light and Saturation
to 0. Hit [Ctrl] + [L] and play around with the Lev-
els to get the desired effect. I then added a layer
mask and used the Gradient tool and Brush tool
to mask out the grass creating a blended smooth
edge. The background colour wasn’t dramatic
enough for me so I added a gradient background
layer running from a deep red at the top of the
page down to black at the bottom.
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STEP 20
Next I duplicated some of the fragmented shapes
and placed them over the model’s eyes, masking
out areas and setting different opacities until i got
the desired look and feel. I added the Halo above
her head by creating a selection with the Elliptical
Marquee tool and then [Ctrl] + click and choose
Stroke>Width 6px and choose a very light yellow
colour. Add a Gaussian Blur and then with a soft
setting brush in some small white light details on
the Halo. At this stage of the illustration I am mov-
ing around elements and playing with colours con-
stantly, making sure that everything looks correct
and works well together. Create a new layer be-
hind the model and brush in some more colour, I
used a deep purple here.
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STEP 18
Next make a selection out of the wings, create
a new layer and set the blending mode to Co-
lour. Now using a soft Brush create highlights
on the wings, choose a red colour picked from
the model’s clothes to do this with. Create a new
layer behind the model and select the Brush tool,
[Ctrl] + click and set Master diameter to 1px and
Hardness to 75%. Start drawing line detail into the
image to give a scratched effect. I do this using
my Graphics tablet but the mouse is fine to use.
Experiment with different brush opacities and siz-
es, making the brush larger and smaller with the
[and] buttons on your keyboard.
photomanipulation
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.psd Photoshop
STEP 22
The bottom of the illustration is looking a little
bare and dark, I have brought in the floral wallpa-
per that I used on the model’s skin and placed it
in the lower section of the background. Again set
the blending mode to Luminosity and layer Opac-
ity 20%. Now using the Gradient tool set a gradient
running from a bright red to zero Opacity like we
used for the light streaks and then create a gra-
dient running from the bottom of the image up-
wards.
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STEP 23
Because we want to mess around with the back-
ground colours constantly, the next thing to do is
click on the top gradient background colour and
then at the bottom of the layers palette. Click Add
new fill or Adjustment layer and choose Hue &
Saturation from the drop down menu. By double
clicking on this layer it is now possible to change
the whole background colour in one easy step.
Now create a new layer above the model and set
the Blending Mode to Colour , use the Brush tool to
paint a purple over the eye make-up of the model
to transform the colour.
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STEP 21
I’ve now taken the whole paint panel that I used
earlier on in the image and placed this into my
background. Set the Blending Mode to Luminos-
ity and set the layer Opacity to 20%. I have also
changed the Hue to fit the image. You can experi-
ment with where you place this layer, remember
that this multi-layering style is not an exact sci-
ence but more like trial and error. Create a new
layer and again brush in some scratched line ef-
fects. Do this using much lighter colours this time
for a more dramatic effect.
mastering multi-layering in photoshop
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.psd Photoshop
STEP 25
Now you can have a bit of fun experimenting
with different elements set to different blending
modes, opacities and hues. The layer opacity is
important here as you don’t want the image to
look totally cluttered. The trick is to use a lot of
different elements in a subtle way. I have also
duplicated the wings and enlarged them, setting
the blending mode to Colour Burn to give them
a ghosted out feel behind the model.
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STEP 26
Now it’s time to finish the image. There are still some imperfections on
the model’s hair, use the Burn tool to darken these areas so they ap-
pear black. Now [Ctrl] + click the model’s layer icon to create a selection
around her, create new layer and then with a soft brush and a red colour
that matched the model’s clothing. Brush in over the outline highlights
that don’t match the image all the way around the model’s clothing
where necessary. Now zoom in on the model’s hands, the thumbs and
fingers have quite a few imperfections that need addressing, using the
Clone Stamp tool, clone areas of the skin and smooth out the areas that
need attention. Now add in any other details you want, I have added
some birds, using [Ctrl] + [L] to adjust colour and lighting. The very final
thing that I always do is to add a Brightness & Contrast adjustment lay-
er at the top of all the layers, set the Brightness to +5 and the Contrast
to +20 to really bring out the colours.
by Olly Howe
The photo used in the tutorial was taken by a good friend of mine called
Sarah (www.glowphotography.co.uk) using a Nikon D300 camera and
Elinchrom Flash DLite. All the stock images that i have used in support
for this tutorial were downloaded from www.shutterstock.com, you can
use your own images though.
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STEP 24
Now to really add some detail to the background.
I downloaded a selection of paint splats and
random paint patterns to add to our image. Iso-
late all of the elements from their backgrounds
using the Magic Wand tool. Where the selec-
tion is much more difficult, it can help to use
Select>Colour range and pick out a colour to iso-
late it. Here you have more control of you selec-
tion, it works well for paint and also things like
trees.
In this tutorial, you are going to learn how to put together three different images to create
one final artwork. You will learn how to use layer masks, layer blending options, using the
Colour Range selection tool and editing colours in Bridge or Lightroom. With this tutorial, you
can go ahead and add clouds and birds to your own landscape images, to create surreal and
dreamlike worlds.
Please
Don’t Go Tonight
intermediate | 1 h.
adobe photoshop CS5 | adobe bridge CS5
please don’t go tonight
19
.psd Photoshop
Step 1
Open the original grass image in Photoshop. Press
[C] for the Crop Tool, and hold [Shift] down to crop
the image into a square.
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Step 2
Open the clouds image and drag it on to the grass
file in a new layer. Change the layer style to Dark-
en.
Step 3
With the clouds layer selected, press the Add
layer mask in the bottom of the layers box. Zoom
the image up to 100% by pressing [Start] + [Alt]
+ [0]. Grab a brush of about 60% opacity, 15px
in diameter, and 75% hardness and press [d] to
reset your colour palette, and [x] to switch the
colours around, so white is in the foreground and
black is in the background. With your layer mask
selected for the cloud picture, start painting away
the clouds that are on top of the grass. This takes
a lot of time and patience to get the clouds to sit
right on the landscape. It also helps if you are us-
ing a tablet rather than a mouse. Zoom back out so
the entire image fits your screen by pressing [Alt]
+ [0].
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photomanipulation
20
.psd Photoshop
Step 4
The tree now looks a little blended into the back-
ground so we are going to fix it. Select your first
layer which should be the grass image. Then with
the Lasso Tool, roughly outline the tree. Copy this
selection and place it into a new layer, on top of
all the other layers. Set the layer style for the tree
to Lighter Colour. Add a new layer mask to it and
zoom up to 100%. This time grab a brush of 20%
opacity, 6px diameter and 50% hardness. Care-
fully get rid of the majority of white around the
tree, not worrying about anything other than the
edges. Once you are happy with what you’ve got,
pull the layer down to 70% opacity. Zoom back out
by pressing [Alt] + [0].
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Step 5
Open the birds image and drag it to the file you
are working on. Make sure it is in a new layer, all
the way at the top. We need to get rid of the back-
ground of the birds image so it looks like they are
flying in the other background. To do this, go to
Select>Colour Range and take samples (holding
down the [Shift] key) from the top left corner, the
middle and the bottom right corner of the white
background.
Step 6
Change the fuzziness to about 25, and press [Ok].
Everything but the birds should be selected now,
so you can go ahead and press [Del]. The next
thing you need to do is change the layer style to
Multiply, to make it look better.
please don’t go tonight
21
.psd Photoshop
Step 7
Add a layer mask and with a fairly large brush at
opacity 100%, get rid of the last few bits of black
left at either corner. Now you’re completely done
with putting together the different images!
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Step 8
In this step we have to edit the colours. Save a .psd version of the file with all the layers, then press [Alt] + [Shift] + [e] to merge all the layers and save it as
a .jpeg. You can edit the colours either in Photoshop Bridge or Lightroom, it depends on your preference and what you’re most comfortable using. In the end, they
will both get the job done the same. I’m going to use Bridge to edit my colours. This basically takes a lot of moving levers around and getting it to look just right
to your own preference, but these are some of the main things that I have done: move the Temperature to the right to make it warmer, and the Tint to the left to
add more green to the image. Move up the Blacks to about 6 to make the darker parts of the image even darker. I pulled my Contrast all the way up to +41 so the
image really pops. Bring the Vibrance up to about +17 simply to make the colours brighter. The Highlights should be yellow and the Shadows should be green, it is
up to you how saturated you want them to be. In Lens Vignetting, bring the Amount all the way to -100 and the Midpoint to about 28. In Post Crop Vignetting, have
the Amount at -43 and Midpoint at 66. You don’t need to have all these settings exactly as I have them, you can play around with it as much as you like! Last but
not least is the Camera Calibrations tab. There are the settings as I have them: Shadows: Tint +20, Red Primary: Hue +29, Saturation +33, Green Primary: Hue +18,
Saturation -26, Blue Primary: Hue -5, Saturation +18. Press [Done] and you’re completely finished! You should have a lovely looking image.
by Julia Trotti
www.juliatrotti.com
The grass image is a stock photo from mordoc@sxc.hu
Clouds (own image): http://lh5.ggpht.com/_3sobgb-5eS4/TEwNn7HVdqI/AAAAAAAAAWg/jS1eRqS9jHU/resize.jpg
Birds (own image): http://lh5.ggpht.com/_3sobgb-5eS4/TEwNDe5Pe5I/AAAAAAAAAWc/Js1I6bzipWc/s720/all%20day%20all%20day.jpg
interview
22
.pas Photoshop
me into this profession. Like many kids, I enjoyed these films and
read tons of books and comics. Unlike many kids, I preferred to stay
in my room drawing and writing. I had to be locked out of the house
to encourage me to ride my bike or to go outside.
Interview with
Dwayne Ferguson
Why have you decided to become a digital artist and how did it
happen?
I think it all started with watching Star Wars, Godzilla, Clash of the Ti-
tans and the rest of amazing Ray Harryhausen movies that nudged
Dwayne Ferguson is the creator of the
comic book series Hamster Vice, the
art director of the cult hit animated
television series Mutant League and
writer of several technology books.
He has written books and created
illustrations for Macmillan Publishing,
Marvel Entertainment, Johnson &
Johnson and more. Dwayne also
teaches video tutorials on how to use
several popular software applications
at Virtual Training Company (www.
vtc.com). His personal website is
www.diehardstudio.com.
interview with dwayne ferguson
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.psd Photoshop
Tell our readers about your profession, its advantages and
difficulties.
My profession is actually split into a few sections: writer, illustrator,
animator and coffee maker. I started my career in college with my
comic book series Hamster Vice as author and artist and have kept
rolling that way every since. I’ve also created a children’s paperback
novel series called Kid Caramel: Private Investigator. It’s fun being
able to write and create art because it’s difficult for me to get bored.
If I don’t feel like writing, I draw and vice versa. The major difficulties
are constantly juggling so many roles from business executive to art
director. There’s little time for much else, but I kinda like it that way.
What are your most important creations?
That’s a tough question since I love all the wacky characters that climb
out of my head. I guess I’d have to say Hamster Vice above them all
though, since they started my career. Hamster Vice is a comic book
series about animal cops versus criminal insects. It’s a fun series that
will make you laugh and scratch your head at my brand of humor. I
collected the first four issues of the series into a graphic novel called
Hamster Vice: Collected Mayhem. In a different venue from comics, I
also art directed the animated television series Mutant League. Even
though I don’t own that license, I am proud that I had a hand in design-
ing many of the characters, props, environments and uniforms in the
show. I put up a few clips of the show on my YouTube channel. I wrote
a book on what my creative process on the show was like. The book is
called Art Directing Mutant League: From Sketchbook to Television.
Which one of them are you particularly proud of and why?
Besides Hamster Vice I’m proud of my newest character Black Zero:
Mercenary Ant. He’s my first character to star in his own animated
adventure. It’s a 20 minute film called Operation Seahammer, in
which Zero has to prevent a madman from using a powerful weapon
to destroy entire countries. I created the short film a few years ago,
my friends and I did all the voices. It traveled the country in many
film festivals. I’m currently in preproduction on a new short film.
Where do you look for inspiration to your works?
Inspiration for me can come from literally anywhere. It can be
shapes I see in clouds to my favorite books and movies. I also read
tons of magazines like .psd Photoshop and other design and illus-
tration magazines to motivate me. I’m a fan of video games and find
inspiration and relaxation there. When I create new art or paintings,
sometimes the ideas can be years old in my mind, and I just now
find that it’s time to bring those ideas to life.
interview
24
.pas Photoshop
What do you think is the most important in your profession?
A few things: attention to detail as far as giving the client what he
or she asks for, and also the quality of the finished work. And a big
one for me, I never miss a deadline. Be dependable, personable and
professional.
Any tips to those who would like to follow your steps?
This may sound very cliche but in all honesty: never give up. I’ll give
you a quick example based on how I choose a goal and go after it.
When I was 15 my friend Corey and I went to a comic book show in
New York. We went around to get autographs from our favorite ar-
tists and writers. I told Corey that one day I’d be sitting on the other
side of the table signing comic books. I practiced storytelling and
creating exciting characters. In college I told my professor that I
planned on becoming a comic book artist and he told me not to be-
cause there was “too much competition”. Six months later Hamster
Vice was picked up by a publisher. I never gave up my goal and did
what I could to make sure that preparation was ready when oppor-
tunity presented itself. Nothing is easy so work hard to make your
dream reality. Envision it every day. Imagine what it would be like
to be what you want to be and take the steps to learn your craft,
no matter how long it takes. If no one believes in your dreams, do it
anyway. It’s your life, not theirs. Many people know what they want
to do in life, but aren’t willing to make sacrifices to achieve those
goals.
beginer | 30 min.
adobe photoshop CS4
lullaby
27
.psd Photoshop
Step 1
You will need a bluish glittery texture, two images
of sky and clouds, a picture of a little girl, a beau-
tiful image of the moon and an image of hanging
stars.
0
1
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2
Step 2
Open the texture as a background image. Paste
the image of the moon as a new layer and remove
the white background using Magic Wand tool.
Lullaby
A little girl slept soundly, with nothing but the vast blue sheet of sky above
her, wrapped up cozily in a duvet-like cloud. The moon softly whispered his
never-ending fairytales into her ear, and the stars carefully guarded her sleep.
Sounds like a bedtime story for kids, doesn’t it? This tutorial will teach you how
to create a beautiful illustration for a storybook in ten simple steps.
creative class
28
.psd Photoshop
Step 4
I decided to change the colour of the girl’s hair to
make it stand out more and add a colourful detail
to the overall picture. I painted her hair over with
the reddish-brown colour. It is really easy to do
– no need to use hair brushes; use any of default
Photoshop brushes with medium hardness and
paint the hair strands in 2-3 shades of red. Set
different Opacity for different hair strands, from
15% to 40% maximum. To make hair look natural,
use Smudge tool.
0
4
0
5
Step 5
To make the girl blend in with the background
better, I added a little bit of yellow in the
colour balance. Image>Adjustments>Color
balance>Midtones 0/0/-18.
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3
Step 3
Open the image of a girl and remove the unwanted
background using soft Eraser brush. Paste the
image onto the main piece as a new layer.
lullaby
29
.psd Photoshop
Step 7
Paste the stars image as a new layer. Duplicate
it if you want to use more than two stars. Move
the layer to the top of the moon and remove the
unwanted parts with the Eraser tool, making the
stars look as if they’re hanging right from the
moon. To add shining, paint the stars over with
a soft brush set to medium Opacity and using
yellowish colour. You can do the same with the
moon.
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7
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Step 8
Open the cloud image as a new layer. Remove
the unwanted parts of the background with the
Eraser. To make the cloud blend in better, go to
Image>Adjustments>Color balance>Midtones 0/0/-
51. Set the layer to 62% Opacity.
0
6
Step 6
Paste the sky image as a new layer over the
picture and set it to soft light, 100% Opacity.
creative class
30
.psd Photoshop
Step 10
To add a nice touch to the image, use a vignette.
Go to Filters>Distort>Lens Correction>Vignette,
set the amount due to your own preferences.
by Natalia Voloshyn
Stock credits:
Texture http://cloaks.deviantart.com/
Sky http://alegion-stock.deviantart.com/
Moon http://lill-stock.deviantart.com/
Girl http://dawnallynnstock.deviantart.com/
Cloud http://www.sxc.hu/ , ID: 99072488
Stars http://bellezaartstock.deviantart.com/
1
0
0
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Step 9
Merge visible layers.
Making of
a Retro Building at Dawn.
I wanted to portrait an observatory bulding at the time of dawn.
making of a retro building at dawn
33
.psd Photoshop
The firsts steps:
I looked in the internet for references of the building and acessories I wanted for the scene.
Modeling Steps:
The modeling was made by the polygonal method. That makes 3DMax so versatile to work with. The photos of the plants are taken from different Internet
websides.
creative class
34
.psd Photoshop
Textures and render steps:
The material was the Arch&Design.
Photographic Exposure Control:
The renderer was the Mental Ray with Final Gather with a Medium preset and 4 bounces. The image above was a straight render from 3D Max, but
I wanted a more dramatic scenery.
I like the rays of sun shinning through the building, so I placed the two images in Photoshop CS3 and composed them.
This is my universal brush. It’s very good to put dirt in the scene...
Two ambient occlusion renders to bring more details in the building.
Textures:
• Bricks: diffuse and bump
• Sidewalk stone
• Background Sky
• Street diffuse map
Photoshop CS3 steps:
I used Dodge and Burn tools to bring contrast, worked with the
Dirt brush and painted a comet on the sky (background).
There is a lot of layers to help me bring the image I wanted.
I used the Lens correction filter with Chromatic Aberration, Vi-
gnette and Grain.
by Jomar Machado
53
02/2008
contributing writers
Editor in Chief:
Magdalena Mojska magdalena.mojska@psdmag.org
Copy Editor: Ed Werzyn, Robert Coppa
Art Director: Agnieszka Marchocka
DTP: Przemysław Banasiewicz
Senior Consultant/Publisher/President:
Paweł Marciniak
Managing Director: Ewa Łozowicka
Marketing Director:
Magdalena Mojska magdalena.mojska@psdmag.org
Production Director:
Andrzej Kuca andrzej.kuca@psdmag.org
Postal address:
Publisher: Software Press Sp.z.o.o SK
02-682 Warszawa, ul. Bokserska 1
worldwide publishing
www.psdmag.org/en
All trade marks presented in the magazine were used only for informa-
tive purposes. All rights to trade marks presented in the magazine are
reserved by the companies which own them.
Mathematical formulas created by Design Science MathType™.
The editors use automatic DTP system
Editorial contributions should be sent to:
editors@psdmag.org
Customer Service +1 917 338 3631
The Software Press Sp.z.o.o SK works individually from Adobe. The psd
Photoshop team reserves the right not to be responsible for the topical-
ity, correctness, completeness or quality of the information provided by
contributors.
Special thanks to Jomar Machado and Adeel Naseer
Dwayne Ferguson
Dwayne Ferguson is the creator of the comic book series Ham-
ster Vice, the art director of the cult hit animated television se-
ries Mutant League and writer of several technology books. He
has written books and created illustrations for Macmillan Pub-
lishing, Marvel Entertainment, Johnson & Johnson and more.
Dwayne also teaches video tutorials on how to use several pop-
ular software applications at Virtual Training Company (www.vtc.
com). His personal website is www.diehardstudio.com. Dwayne
is in need of coffee and a nice nap.
When I was a kid, things like the Sinbad movies, Clash of the
Titans, Star Wars and Godzilla etched themselves on my young
brain. Several decades later, I still give those early experiences
credit for the things I create in my own career. In this tutorial
we’ll cover how to go from concept sketch to a finished fantasy
painting using Photoshop. You should be able to follow along us-
ing similar software, as this tutorial focuses on technique, rather
than particular tools and brushes.
Natalia Voloshyn
I’m a 21 years old master student from a beautiful city of Lviv,
Ukraine. Though my occupation (I’m a linguist) can hardly be
called arty, I’ve been madly in love with Photoshop and photog-
raphy for nearly 3 years. Being an artist is an amazing feeling.
You can find more of my work at
http://voloschka-photo.deviantart.com/
http://voloschka.deviantart.com/
José Paulo Reis
I’m a digital artist with 3 years of experience. My passion is fash-
ion photography, creativity, advertising, photomanipulation and
digital art. Currently I’m working as a digital artist in Lalaland
Studios (fashion photography). I love fashion and beauty photog-
raphy and everything related with digital art. I’m devoted to Pho-
toshop, and everyday I’m trying to improve my skills.
Enjoy my works by visiting my blog: www.zepaulocreation.
blogspot.com
c o v e r a r t i s t
Julia Trotti
As an artist, Julia Trotti tries to capture the ‘other’, those spaces
and places that evoke a memory. The detail fascinates her, colour,
light, reflection, the atmosphere of the artwork that evokes a mood
and presence and explains something of her. Wandering through
veils of life, meandering through the paths that she chooses, ev-
erywhere there are choices. These choices are what makes Julia’s
practice. She senses the world through her photography. Time,
space and emotion become the narrative of her subjects. Julia’s
works are her signature of life and how she feels. She is from Syd-
ney, Australia. Visit her website: www.juliatrotti.com
Olly Howe
Olly Howe is an Illustrator form the UK. His client list spans the
globe and his work can frequently be found in magazines such
as Advanced Photoshop and Computer Arts. Olly sells limited
edition prints and pillows through www.clickforart.com. For more
of Ollys work checkout his website: www.4playgraphix.com.
Tina Foster
Tina Foster is a graphic artist who has worked in the publishing
and packaging industry for over 25 years. She can be contacted at:
beachtree.foster@gmail.com
.psd Photoshop
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These are buildings from the famous NoMad area of NYC. In the 1880’s this was the furniture capital of the world. Today,
its mostly t-shirt companies and custom jewelry.
37
.psd Photoshop
My name is Ricardo, I’m a 33
year old digital artist from Bra-
zil (I live in Rio de Janeiro). I
love digital art and everything
about this wonderful area of
design. I have two years expe-
rience working with Photoshop
and Illustrator. My favorite art
style is lights effects.
Since my childhood, I al-
ways liked to draw but I didn’t
know digital art back then. When it happened two years
ago, I fell in love with the possibilities of Photoshop and
dedicated my free time to learn a little more on this field
but still it is not my professional practice. I like almost
everything related to this area but there are some difficul-
ties when you want to make digital arts your proffession.
What I find most difficult is to get your own place in this
area, because clients always look for the best artists with
a lot of experience and professional skills. This may dis-
courage the young talents who have to work very hard to
get noticed. For that reason, the young artists who want
to start their digital arts career, need to have persistence
and practice a lot. I think the best way to look for the new
commissions is the internet. If I could say a few words to
those who would like to become digital artists as well, I
would say: never give up my friends, never, never, never!
Believe in yourself and in your talent, one day people will
notice you!
Having a story for your pieces can really help you think about how you're going to tackle the
painting. The more you know about your character or setting, the more interested you'll be
in painting a fun and exciting piece. My style is typically cartoonish, as opposed to realistic
so I make sure to add a sense of that whimsy to this piece. A more realistic style would make
this subject matter pretty scary but mine is bright and cheery. Well, as bright and cheery as
we can make a dead guy with a sword be!
The
Skeleton Knight
advanced | 45 min.
adobe photoshop CS5
the skeleton knight
39
.psd Photoshop
Step 1
The pencil sketch depicts a cartoony and whimsical skeleton warrior who has been
summoned back to duty by some unknown, nefarious necromancer. To show how old
this guy is, I make sure to disfigure the skull, particularly his jawbone. He also drags
his sword behind him, due to his great age and failing strength. But if you get in his
way, say goodbye to your favorite head! His armor, however, has withstood the test of
time to tell the story that he had once been quite formidable in battle. There is no se-
vere damage to his armor, which indicates that he may have died a natural death. He
was so good at what he did, he has been denied eternal rest. The small circle to the
right of the warrior is the light source. I always draw something like this because it can
keep you focused on where the shadows and highlights should be. Because I like being
spontaneous when I work, I decide to move the light source to the left instead. Now that
you have the sketch in Photoshop, set the Blend Mode of the sketch layer to Multiply.
Add a layer under the sketch layer and set the color to a medium gray. This allows you
to focus on the values and colors more easily. White backdrops can make seeing sublet
changes in contrast difficult and can be distracting. I tend to leave the gray layer alone
and paint on a new layer between the gray and the sketch layers.
0
2
0
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Step 2
Every artist has a preferred visual style and that
includes the brushes they like to use. I typically
don't make a ton of brushes and just tweak the
brushes that are included with Photoshop. Here
are my brush settings for this piece. When I want
to power the paint onto the canvas, my Opacity
and Flow are set to 100% each. When I want to
slowly build up color and texture I will drop Opac-
ity to 50% or lower and the flow even lower to 20
or 30%.
Step 3
Typically I work from dark to light, but for this
piece, because the armor is such an important
part of the painting, I start with the highlights.
I use a brush with a 50% Opacity and a 30% Flow.
Choose a light gray tone and build up the areas
that would be affected by the light source. As you
work, decide which parts of the painting are the
most important and focus on the detail there. An
overly detailed painting can actually be distract-
ing to the eye so I focus on the torso, the upper
legs and the sword. The lower legs will be allowed
to fade into fog in the later stages of the painting.
0
1
digital painting
40
.psd Photoshop
Step 4
After getting the basic highlights in, I start add-
ing shadows. I also have pictures of metal on
my desk. Armor, because it curves to conform
around a person, seems to shine in bands that
form creases where the plates of the armor meet
at seams. Metal also has very sharp contrasting
areas in distinct bands, in other words, you'll find
that dark areas butt up against very bright areas
in many places. I tend not to use Dodge or Burn
tools while painting, preferring instead to steadily
build my own highlights and shadows.
0
4
0
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0
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Step 5
Still using a 50% Opacity with a 30% Flow brush
start adding in some contrast to bring out the
definition of the forms. Squint your eyes occa-
sionally to see if the value gives you a silhouette
that makes the art readable. Many people place
the color priority above the value in a painting.
The value (grays) are what give the eye the abil-
ity to see the distinctions and details in an object
or creature. Don't overdo the shadows as they can
detract from the image by calling attention away
from the art as a whole.
Step 6
Take some time to build more detail in both the
shadow and highlight quality, careful not to let
one overpower the other. Take a look at objects in
your surroundings and take note on how light and
shadow interact. In very few places will you see
extreme darks or lights on real objects.
the skeleton knight
41
.psd Photoshop
Step 7
When working, try not to have your view zoomed
in too close so you can keep your eye on the
painting as a whole. I like to use the Navigator
pane (you will find this under the Window menu,
if you don't see it) for my smaller view of the art.
Be careful not to focus on one part of it at a time,
instead working the whole painting over. If you
spend an hour working on the arm, for example,
you may find that it can be difficult to bring the
rest of the painting up to that level.
0
7
0
8
0
9
Step 8
Photoshop CS5 has a new Puppet Warp feature,
similar to the Puppet Pins in Adobe After Effects. It
allows you to add manipulation points to various
parts of your artwork. You can then move those
points and literally repose your art. I used the tool
to repose the skeleton knight to make his walk
more pronounced. If you don't have Photoshop
CS5, you could draw selections around parts of the
model you want to repose and use the Free Trans-
form tool to rotate your model's body parts. You
could also use the Warp tool and even the Liquify
filter to achieve similar results. They require more
work but it can be done with patience.
Step 9
I create a new layer, above all the others, and set
it to Overlay. It's on this layer that I begin to add
color. Because the value was really given the at-
tention it needed, the colors will now have much
of the impact they need on the first pass. I always
start off with somewhat muted colors and slowly
build them up. I choose a crimson color for the
armor as opposed to black. We tend to use black
to depict evil or undead things. This warrior was
proud in life and wanted to make his presence on
the battlefield known so he wants you to see him
coming!
digital painting
42
.psd Photoshop
Step 10
I create a new layer and paint in bright hotspots
for the shiny parts of the armor (specularity) and
another layer to emphasize the shadows. You'll
notice that I am not emphasizing the same detail
on the lower legs or the rear arm. This helps to
focus the eye of the audience on the action and
prevents the piece from becoming too heavy with
detail.
1
0
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1
1
2
Step 11
Now I add some rough color to the background and
some fog. This really helps to push the character
out towards the audience. I add some glowing
runes using the Type tool to the sword. This could
actually be the point when the Skeleton Knight is
actually being summoned by his dark master. As
I work, the story keeps building in my mind. This
keeps me excited and interested in working on the
art. If you're bored, your audience will be bored.
Keep it fun!
Step 12
After lots of tweaking, I get the fog the way I want
it, dark and brooding. I make it very dark behind
the sword to emphasize the runes on his sword.
I also add some color correction to the whole piece
using a Hue and Saturation adjustment layer to
really make him pop out of the fog. At this point,
I think I'm done. This too, can be a hard thing to
decide. When does one consider a piece finished?
This is an age old riddle that only the artist can
decide so make sure to not overdo your art but
don't undercook it either. A painting is like cooking
bar-b-que ribs. Slow cook your art so it so it tastes
good to the eyes by the time it's done!
by Dwayne Ferguson
beginer | 20 min.
adobe photoshop CS3
Writing with paint
on the rock wall
In this tutorial I will show you how to create a realistic looking painting on the
rock background.
wirting with paint on a rock wall
45
.psd Photoshop
STEP 1:
Choose a rock image open it
(in my case I opened one of the
photos I took in my village, the
image is called Rock.jpg). Go to
the Channels panel and choose
the channel that has the best
contrast (I used the red chan-
nel). With the RMB duplicate
the channel and choose new
from the choices. Save the new
created file as new psd file.
I named it displace - we will use
it later for the Displace filter.
0
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0
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STEP 2:
Write whatever you want by using the Type tool
from the tools bar, then with the MMB rasterize the
type layer to convert it to normal file.You can place
any kind of drawing instead if you like.
0
3
STEP 3:
Go to Filters>Distort>Displace, accept all the de-
fault settings and click [Ok].That will make the
text take partially the shape of the rock.
workshop
46
.psd Photoshop
STEP 4:
Duplicate now the rock layer and move the new
copy to the top of the layer stack. You will have
now the text in the middle, between the two rock
layers.
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STEP 5:
Now let the fun begin. Double click on the upper
rock layer, that will bring the layer style options,
choose the blending options from the left side
bar and in the Blend box make changes on slide
bar by holding and dragging the white arrow from
the left to the right. It will separate the two sides
of the arrow and allow you to move them until you
find the white paint appearing on the top of the
highest parts of the rock. I applied on them these
values: 50,157. That’s it; you got a nice realistic
painted text on a rock wall.
by Adeel Naseer
This is an exercise in cleaning up a photo - retouching and color correction.
Retouching
retouching
49
.psd Photoshop
Step 1
We open the original, copy and convert to CMYK.
0
2
0
3
Step 2
Next, we do a curves adjustment: Layer>New Ad-
justment Layer>Curves
Step 3
Then, we can straighten and start cleaning up.
I removed some of the debris from the stop sign
and sharpened selectively around the white area
of the sign and the flag.
0
1
workshop
50
.psd Photoshop
Step 4
Next we’re going to clone out the curve sign. Zoom
in closely and pick out areas to clone in that are
similar in texture and tone.
0
4
0
5
0
6
Step 5
Next we can start working on the terrain and the
flag: Filter>Sharpen>Unsharp masking. Lasso the
area to be worked on and Select>Modify>Feather
then increase the contrast: Layer>New adjust-
ment layer>Levels.
Step 6
So that brings us to the final file, cleaned and re-
touched. Save as a CMYK, 300dpi, .eps for print
and 100dpi .jpg, profile sRGB for web work. Im-
age Size>File>Save as. This exercise can be used
to improve most all photos. You always want to
brighten, clean, convert and sharpen your photos
for web or print to make them look better and now
you know how.
by Tina Foster

content
Olly Howe Julia Trotti

issue 07/2010
cover artist – interview
José-Paulo Reis José-Paulo Reis has 3 years of experience in digital arts. His passion is fashion photography, creativity, advertising, photomanipulation and digital art. Devoted to Photoshop, José-Paulo is trying to improve his skills everyday.

photomanipulation
Mastering Multi – Layering in Photoshop Please don’t go tonight

workshop
Writing with paint on a rock wall
Adeel Naseer

Retouching
Tina Foster

interview
Inverview with Dwayne Ferguson

Dearest Readers!
Summer is still on! Enjoy your holidays but don’t forget that it is also a good time to look for an inspiration and to be creative. I would like to encourage you to find some time and take a look at the August issue of our magazine. You might find here some ideas to use as an inspiration to your future works. In this issue, José Paulo Reis and Dwayne Ferguson are telling us about their digital arts experience. I also have a pleasure to present you some great tutorials: you can learn how to be a master in multi-layering with Olly Howe, Natalia Voloshyn explains how to prepare a beautiful book illustration , Tina Foster - how to make a professional photo retouch... & it’s not all! Have a great read! Magdalena Mojska magdalena.mojska@psdmag.org Editor in Chief

creative class
Lullaby
Natalia Voloshyn

Making of a Retro Building at Dawn
Jomar Machado

Editor’s Choice
Gallery of Ricardo Nobre

digital painting
The Skeleton Knight
Dwayne Ferguson

interview

Interview with

José Paulo Reis
I’m a digital artist with 3 years of experience. My passion is fashion photography, creativity, advertising, photomanipulation and digital art. Currently I’m working as a digital artist in Lalaland Studios as a fashion photographer. I love fashion and beauty photography and everything related with digital art. I am devoted to Photoshop and I try to improve my skills everyday. Enjoy my works by visiting my blog: www. zepaulocreation.blogspot.com

Why have you decided to become a digital artist?
Having my background in design, it became natural for me to start expressing myself through digital tools, especially Photoshop.The manipulated images have always been my fascination and I was al-

ways interested in learning how to achieve the degree of perfection that I saw in the works of so many talented digital artists. The entire process caught my attention all along, the persistence, the artistry behind every decision, and the final result.

4

.pas Photoshop

interview with jose paulo

What are the main sources of your inspiration?
My main source of inspiration is the work of some amazing artists that I had the pleasure to come across with in the web.

.psd Photoshop

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Pete Harrison. Their artwork gave me the light I needed to explore my world and to create my own images. Peter Jaworowski. Jerico Santander. Zach Bush. 6 .pas Photoshop .interview Some names like Michaelo. Javier Alvarado and some other amazing artists in the whole world.

the Lalaland Studios. fashion/advertising and digital art. because when you do what you love. Would you have any tips to those who would also like to be digital artists? Never give up your dreams to achieve your goals.net and www.com.zepaulocreation.fredericomartins. The studio in which I work. . Finally I was hired recently by a fantastic fashion/advertising photographer Frederico Martins (also Portuguese) which is giving me the opportunity and the freedom to implement the knowledge I acquired over the years. For now you can visit separately our personal websites: www. but this is the only way to archieve the level of perfection I want. allows me to explore many techniques and improve daily the level of knowledge I have. only good things can happen. and mixing it up with my creative approach. Due to my persistence (for the last three years) i reached the goal.interview with jose paulo What do you like the most about your profession? I’ve never thought that today I would have the pleasure to do what I’m doing. I’m improving my retouching skills due to their focus on high-end retouching. Hard work and dedication are the key words to anyone who wants to be a digital artist.blogspot. They have great facilities that allow me to work on the highest level. Are there any difficulties and disadvantages of your work? I do not consider that there are many difficulties or disadvantages. We are now preparing a new website where people will be able to see the merge of both worlds. Probably the only disadvantage is the many hours I spend in front of a screen.psd Photoshop 7 .

adobe photoshop CS3 .advanced | 90 min.

Make sure feather selection is set to 0 and hit [Ok]. The first thing to do is to remove the photo from the background as we will be layering many elements behind the model. its good to work without limitations as this allows you to experiment with the image as you go along. 01 STEP 1 Open the image entitled ZARA01. Multi-layering is a fun style to work with as the possibilities are endless and quite often the way you visualize the design at the start does not reflect the direction it takes. It is important to learn the key Photoshop shortcuts when working with this kind of style as it allows you to work quickly and efficiently. once finished [Ctrl] + click on the page and click Make selection.mastering multi-layering in photoshop Mastering Multi-Layering in Photoshop The following tutorial gives you a broad look at some of the fundamental techniques that i use when creating detailed multi-layered illustrations.psd Photoshop 9 . Using the Pen tool slowly map around the edges of the image. You will see as you read that my work process is quite loose. . You can now go over the hair selecting areas where the background still shows through.jpg. 02 STEP 2 Now click Add layer mask at the bottom of the layers palette and the background will disappear. There will still be small bits of the background showing through on parts of the hair. In this tutorial i have included most of the important shortcuts that will help to speed up your workflow. for these use the Burn and Sponge tools to darken areas and blend them in with the natural hair colour. create selections and then mask out any unwanted areas using a Brush tool.

the very ends of the model’s elbows are missing. This step requires a lot of attention to detail and patience. make sure you leave plenty of skin around the hands as this will be used to blend the arm in on her right hand side. For areas where you need more accuracy. Now scale the arm slightly so it roughly fits over her existing right arm and the top of the shoulders link well together. [Ctrl] + [T] to transform the arm. select the Brush tool then [Ctrl] + click on the screen to bring up the brush settings. 10 . Double click the arm to accept the transformation. First. [Ctrl] + click on the arm and click Flip Horizontal. 05 STEP 5 Once you are happy with how the arm looks. [Ctrl] + click and then make selection with feather Radius set to 0. 04 STEP 4 Now click Add Layer mask to the arm and model layer. This will apply the levels adjustment to the right arm only. Now click Create new fill or Adjustment layer above the arms and lighten up the right arm. Draw a selection where the elbows should be and then use the Clone Stamp and Brush tools to add in the missing areas. For areas that are missing. Finally. Colour mode CMYK with a white background and drag in the masked image. Now hit [Ctrl] + [C] followed by [Ctrl] + [V] to duplicate her arm. We will use this canvas to edit the model before we start the illustration. using the Pen tool draw around the model’s left arm. like the red banding on the top by model’s thumb select and duplicate areas of the existing top then Copy. use the Pen tool to create selections and mask out these areas. Click [Ok] and then [Alt] + click between the arm and Adjustment layer. merge the arm with any other layers you have created until you are left with just the arm and model layer only. Take the Hardness to 0% and Master Diameter to about 112px. Using the Brush tool begin to mask out areas of the arm and the model to blend the two together. If you are totally happy with how the photo is masked out then [Ctrl] + click on the layer mask and click Add layer mask.psd Photoshop . Paste and Blend where required.photomanipulation 03 STEP 3 Create a new canvas 280mm wide by 365mm high with resolution 300dpi. Next we want to remove the model’s left arm that is incomplete and replace it with a copy of her right arm.

6. Now set the layer blending mode to Soft Light and knock the Opacity of the entire layer to 50%. draw a selection across half of the model's body. we want to make it look more fragmented. Create new layer and fill the selection with black. [Ctrl] + click the model layer icon in the layers palette to create a selection around the girl and then with the black colour fill layer selected hit the Add Layer mask button.5.25. Drag in all the layers from the previous canvas and merge them together. select all layers apart from the background and hit [Ctrl] + [E] to merge layers into one. drag the model layer to the new layer icon at the bottom of the layers palette and set the duplicated layer to Overlay blending mode. Then take entire layer Opacity to 50%.mastering multi-layering in photoshop 06 STEP 6 Create a new canvas 270mm wide by 365mm high with resolution 300dpi. Click on the model’s layer mask and with the Pen tool begin to draw angular shapes. Using the Pen or Lasso tools.18 at the top to 14. Next.psd Photoshop 11 . Once you are happy with the lighting. 07 STEP 7 Create a background gradient colour. This will now be our main illustration canvas. I create these selections one by one so you can look at the overall composition as you work. colour mode CMYK with a white background. hit [Ctrl] + [U] and make the Saturation 0. 08 STEP 8 Now you need to remove model’s legs. Use the Brush tool to remove the legs. Remove the selected areas using the Brush tool on the layer mask. . Now click the little chain link symbol next to the mask so it disappears and then go to Filter>Gaussian blur> 200 pixels.0 at the bottom. this will change a lot throughout the design process but for now create a gradient from CMYK values 50. I like the way the model’s lower half tapers away to the bottom but to add more effect.35. Create a Layer mask on the photo layer and then with the Pen tool draw a selection around the area you want to remove.

You can adjust and move the shadow within the mask but make sure that the little link icon between layer and mask is unchecked.psd Photoshop . [Ctrl] + click on one of the wings and then [Ctrl] + click on the other wing. hit Add layer mask. 12 . Repeat these steps over and over again to create the fragmented look and feel. 11 STEP 11 Once happy with the composition. draw more selections and hit [Ctrl] + [C] and then [Ctrl] + [V]. Now press [Ctrl] + [T] to move and scale the shape as you see fit. this creates a selection of both wings. [Ctrl] + click and make sure the hardness is set to 0%. I cleaned them up using the Dodge tool and scaled them using [Ctrl] + [T].photomanipulation 09 STEP 9 Now click on the model icon next to the mask. On the shadow layer. 10 STEP 10 I decided to introduce some wings which i downloaded. I then brought them into the illustration. The wings were cut with the Pen tool from a picture of a dove. this will paste a shape into a new layer. create a new layer and using the Brush tool create a black shadow.

Then click the Add Layer Style button on the layers palette and add a white Outer Glow to the moon. Now reveal the wallpaper layer set the Blending Mode to Linear Burn and take the Saturation of the layer to 0. now hide the layer by clicking the Eye icon next to the layer. Now [Ctrl] + click on the model’s layer icon and choose Intersect Transparency Mask. I also added in some birds flying across the moon. You can then duplicate these layers and transform them to fit the image. Use the Pen tool and draw a selection around the model’s skin.psd Photoshop 13 . I downloaded an old floral wallpaper. select the Rectangular Marquee tool and on a new layer create a long rectangle selection. otherwise the effect will not work. It is important that the background colour of this image is a similar colour to the skin of the model. choose the second gradient option which will run from the chosen red colour to 0% Opacity. Once done hit [Ctrl] + click and make selection. Don’t worry about following the outside edges of the model exactly. Using the Colour Picker tool select a red from the model. Now create a gradient inside the rectangular selection from left to right. hit [Ctrl] + [U] and take the Saturation to 0. This will now make the selection snap to the model’s outline. Now select the Gradient tool and click on the gradient bar in the toolbar at the top of the screen. Now download a textured layer and add this above the background colour layer. [Ctrl] + [D] to deselect and then select Filter>Gaussian Blur and set to about 700 pixels. Drag the wallpaper onto our image and place it just above the model’s layer. Set this above the background colour layer and set the Blending mode to Overlay. 13 STEP 13 Now create a moon using the same gradient technique as above but with the Elliptical Marquee tool. Using [Ctrl] + [U] play around with different Hue options. 14 STEP 14 Now we need to add the flowers on the model’s body. .mastering multi-layering in photoshop 12 STEP 12 To create the light streaks.

hit [Ctrl] + [U] and take the Lightness to +100. [Ctrl] + click each splat to turn it into a selection and then with the paint panel layer selected hit [Ctrl] + [C] and then [Ctrl] + [V]. Use the Magic Wand tool to delete and isolate all the paint splats from their backgrounds. Where unwanted colour appears on the paint splats.photomanipulation 15 STEP 15 We want to begin to add some details to the background. For this. You can then merge these 2 layers to create a splat with a more uniform colouring.91. 16 STEP 16 Now create a new layer that sits behind the background texture layer and using the Brush tool. [Ctrl] + click the layer to create a selection and then create new layer.60. Set the layer Blending Mode to Overlay and take the Saturation down to 0. Next I changed the background colour and also decided to take all the colour out of the light strips.64. and then drag it into our image. Hit [Ctrl] + [U] and experiment with different Hues for the fabric. Repeat the process for all the splats to create a uniform set of paint elements. Experiment with different layer opacities. Do this using the brush at a low Opacity. 17 STEP 17 Now we want to start building the multi-layered textured feel to the background. First i downloaded a photo of a castle and a random fabric pattern. Mask out unwanted areas and then duplicate and transform the layers so that they work well with the image. I used CMYK values of 48. Now bring these elements into the background of our image. To do this. Opacity can be changed quickly by using the numerical pad on your keyboard. brush in a dark red colour. I have downloaded a paint panel and also some paint splats isolated on white.psd Photoshop . setting the blending modes to Overlay at different opacities and hues. 14 . Now drag the resulting layers onto the paint panel.Set the Blending Mode to Multiply and again transform and duplicate until you are happy. fill this layer with a colour of choice and then set the Blending Mode to Colour. Cut out the castle with the Pen tool. Again cut out the fabric with the Pen tool and bring it into our image.

mastering multi-layering in photoshop 18 STEP 18 Next make a selection out of the wings. . 19 STEP 19 Now I want to get some clouds into the background so i downloaded a sky image. At this stage of the illustration I am moving around elements and playing with colours constantly. dragged it into the background of our illustration and then set the blending mode to Soft Light and Saturation to 0. I then added a layer mask and used the Gradient tool and Brush tool to mask out the grass creating a blended smooth edge. Create a new layer behind the model and select the Brush tool. I used a deep purple here. choose a red colour picked from the model’s clothes to do this with. create a new layer and set the blending mode to Colour. Now using a soft Brush create highlights on the wings. [Ctrl] + click and set Master diameter to 1px and Hardness to 75%.psd Photoshop 15 . Experiment with different brush opacities and sizes. The background colour wasn’t dramatic enough for me so I added a gradient background layer running from a deep red at the top of the page down to black at the bottom. I added the Halo above her head by creating a selection with the Elliptical Marquee tool and then [Ctrl] + click and choose Stroke>Width 6px and choose a very light yellow colour. Add a Gaussian Blur and then with a soft setting brush in some small white light details on the Halo. Create a new layer behind the model and brush in some more colour. Hit [Ctrl] + [L] and play around with the Levels to get the desired effect. Start drawing line detail into the image to give a scratched effect. 20 STEP 20 Next I duplicated some of the fragmented shapes and placed them over the model’s eyes. making the brush larger and smaller with the [and] buttons on your keyboard. I do this using my Graphics tablet but the mouse is fine to use. masking out areas and setting different opacities until i got the desired look and feel. making sure that everything looks correct and works well together.

Now using the Gradient tool set a gradient running from a bright red to zero Opacity like we used for the light streaks and then create a gradient running from the bottom of the image upwards. Now create a new layer above the model and set the Blending Mode to Colour . I have also changed the Hue to fit the image. use the Brush tool to paint a purple over the eye make-up of the model to transform the colour. 23 STEP 23 Because we want to mess around with the background colours constantly. remember that this multi-layering style is not an exact science but more like trial and error. By double clicking on this layer it is now possible to change the whole background colour in one easy step. You can experiment with where you place this layer. 22 STEP 22 The bottom of the illustration is looking a little bare and dark. the next thing to do is click on the top gradient background colour and then at the bottom of the layers palette. Click Add new fill or Adjustment layer and choose Hue & Saturation from the drop down menu. Do this using much lighter colours this time for a more dramatic effect.photomanipulation 21 STEP 21 I’ve now taken the whole paint panel that I used earlier on in the image and placed this into my background. 16 . Again set the blending mode to Luminosity and layer Opacity 20%. Set the Blending Mode to Luminosity and set the layer Opacity to 20%. Create a new layer and again brush in some scratched line effects.psd Photoshop . I have brought in the floral wallpaper that I used on the model’s skin and placed it in the lower section of the background.

com. The layer opacity is important here as you don’t want the image to look totally cluttered.glowphotography. 26 STEP 26 Now it’s time to finish the image. There are still some imperfections on the model’s hair. Where the selection is much more difficult. by Olly Howe The photo used in the tutorial was taken by a good friend of mine called Sarah (www. the thumbs and fingers have quite a few imperfections that need addressing. it can help to use Select>Colour range and pick out a colour to isolate it. I downloaded a selection of paint splats and random paint patterns to add to our image.uk) using a Nikon D300 camera and Elinchrom Flash DLite.psd Photoshop 17 . you can use your own images though. Now zoom in on the model’s hands. Isolate all of the elements from their backgrounds using the Magic Wand tool.shutterstock. Here you have more control of you selection. clone areas of the skin and smooth out the areas that need attention. The very final thing that I always do is to add a Brightness & Contrast adjustment layer at the top of all the layers. Now [Ctrl] + click the model’s layer icon to create a selection around her.co. using [Ctrl] + [L] to adjust colour and lighting. . Now add in any other details you want. I have added some birds. The trick is to use a lot of different elements in a subtle way. setting the blending mode to Colour Burn to give them a ghosted out feel behind the model. 25 STEP 25 Now you can have a bit of fun experimenting with different elements set to different blending modes. it works well for paint and also things like trees. set the Brightness to +5 and the Contrast to +20 to really bring out the colours.mastering multi-layering in photoshop 24 STEP 24 Now to really add some detail to the background. opacities and hues. Brush in over the outline highlights that don’t match the image all the way around the model’s clothing where necessary. create new layer and then with a soft brush and a red colour that matched the model’s clothing. use the Burn tool to darken these areas so they appear black. using the Clone Stamp tool. I have also duplicated the wings and enlarged them. All the stock images that i have used in support for this tutorial were downloaded from www.

to create surreal and dreamlike worlds. You will learn how to use layer masks. you can go ahead and add clouds and birds to your own landscape images.Please Don’t Go Tonight In this tutorial. using the Colour Range selection tool and editing colours in Bridge or Lightroom. adobe photoshop CS5 | adobe bridge CS5 . layer blending options. intermediate | 1 h. With this tutorial. you are going to learn how to put together three different images to create one final artwork.

and 75% hardness and press [d] to reset your colour palette. Zoom the image up to 100% by pressing [Start] + [Alt] + [0]. Grab a brush of about 60% opacity. . and hold [Shift] down to crop the image into a square. 02 Step 2 Open the clouds image and drag it on to the grass file in a new layer. press the Add layer mask in the bottom of the layers box. Press [C] for the Crop Tool. It also helps if you are using a tablet rather than a mouse. 15px in diameter. Change the layer style to Darken. Zoom back out so the entire image fits your screen by pressing [Alt] + [0]. 03 Step 3 With the clouds layer selected. so white is in the foreground and black is in the background. This takes a lot of time and patience to get the clouds to sit right on the landscape. With your layer mask selected for the cloud picture.please don’t go tonight 01 Step 1 Open the original grass image in Photoshop.psd Photoshop 19 . and [x] to switch the colours around. start painting away the clouds that are on top of the grass.

Set the layer style for the tree to Lighter Colour. Copy this selection and place it into a new layer. Select your first layer which should be the grass image. Add a new layer mask to it and zoom up to 100%. not worrying about anything other than the edges. 6px diameter and 50% hardness. Zoom back out by pressing [Alt] + [0]. roughly outline the tree. Carefully get rid of the majority of white around the tree.photomanipulation 04 Step 4 The tree now looks a little blended into the background so we are going to fix it. We need to get rid of the background of the birds image so it looks like they are flying in the other background. 05 Step 5 Open the birds image and drag it to the file you are working on. This time grab a brush of 20% opacity.psd Photoshop . Everything but the birds should be selected now. Once you are happy with what you’ve got. To do this. The next thing you need to do is change the layer style to Multiply. 06 Step 6 Change the fuzziness to about 25. Then with the Lasso Tool. all the way at the top. on top of all the other layers. and press [Ok]. to make it look better. so you can go ahead and press [Del]. go to Select>Colour Range and take samples (holding down the [Shift] key) from the top left corner. Make sure it is in a new layer. pull the layer down to 70% opacity. the middle and the bottom right corner of the white background. 20 .

and the Tint to the left to add more green to the image. then press [Alt] + [Shift] + [e] to merge all the layers and save it as a . Save a .ggpht.com/_3sobgb-5eS4/TEwNDe5Pe5I/AAAAAAAAAWc/Js1I6bzipWc/s720/all%20day%20all%20day. In the end.com The grass image is a stock photo from mordoc@sxc. it depends on your preference and what you’re most comfortable using. You don’t need to have all these settings exactly as I have them.com/_3sobgb-5eS4/TEwNn7HVdqI/AAAAAAAAAWg/jS1eRqS9jHU/resize. The Highlights should be yellow and the Shadows should be green. Red Primary: Hue +29. I pulled my Contrast all the way up to +41 so the image really pops. This basically takes a lot of moving levers around and getting it to look just right to your own preference.ggpht. but these are some of the main things that I have done: move the Temperature to the right to make it warmer. get rid of the last few bits of black left at either corner. Saturation +18.jpeg.hu Clouds (own image): http://lh5. There are the settings as I have them: Shadows: Tint +20. Saturation +33.jpg .jpg Birds (own image): http://lh5. In Lens Vignetting. they will both get the job done the same. Move up the Blacks to about 6 to make the darker parts of the image even darker. you can play around with it as much as you like! Last but not least is the Camera Calibrations tab.psd Photoshop 21 . Press [Done] and you’re completely finished! You should have a lovely looking image.please don’t go tonight 07 Step 7 Add a layer mask and with a fairly large brush at opacity 100%. by Julia Trotti www. Now you’re completely done with putting together the different images! 08 Step 8 In this step we have to edit the colours. I’m going to use Bridge to edit my colours. it is up to you how saturated you want them to be. Blue Primary: Hue -5. Saturation -26.psd version of the file with all the layers. In Post Crop Vignetting. You can edit the colours either in Photoshop Bridge or Lightroom. Bring the Vibrance up to about +17 simply to make the colours brighter. have the Amount at -43 and Midpoint at 66. Green Primary: Hue +18.juliatrotti. bring the Amount all the way to -100 and the Midpoint to about 28.

Like many kids. Dwayne also teaches video tutorials on how to use several popular software applications at Virtual Training Company (www. Unlike many kids.com. Marvel Entertainment. Godzilla.com). His personal website is www.diehardstudio. Johnson & Johnson and more. Why have you decided to become a digital artist and how did it happen? I think it all started with watching Star Wars. vtc. I had to be locked out of the house to encourage me to ride my bike or to go outside. I enjoyed these films and read tons of books and comics.pas Photoshop . 22 . He has written books and created illustrations for Macmillan Publishing. Clash of the Titans and the rest of amazing Ray Harryhausen movies that nudged me into this profession. the art director of the cult hit animated television series Mutant League and writer of several technology books. I preferred to stay in my room drawing and writing.interview Interview with Dwayne Ferguson Dwayne Ferguson is the creator of the comic book series Hamster Vice.

What are your most important creations? That’s a tough question since I love all the wacky characters that climb out of my head. It’s fun being able to write and create art because it’s difficult for me to get bored. There’s little time for much else. If I don’t feel like writing. Which one of them are you particularly proud of and why? Besides Hamster Vice I’m proud of my newest character Black Zero: Mercenary Ant. . my friends and I did all the voices. Even though I don’t own that license. environments and uniforms in the show. I put up a few clips of the show on my YouTube channel. Hamster Vice is a comic book series about animal cops versus criminal insects. ing many of the characters. I’ve also created a children’s paperback novel series called Kid Caramel: Private Investigator.psd Photoshop and other design and illustration magazines to motivate me. It’s a fun series that will make you laugh and scratch your head at my brand of humor. sometimes the ideas can be years old in my mind. When I create new art or paintings. I am proud that I had a hand in design- Where do you look for inspiration to your works? Inspiration for me can come from literally anywhere. I also art directed the animated television series Mutant League. I collected the first four issues of the series into a graphic novel called Hamster Vice: Collected Mayhem. I started my career in college with my comic book series Hamster Vice as author and artist and have kept rolling that way every since. I also read tons of magazines like . My profession is actually split into a few sections: writer. illustrator. I’m currently in preproduction on a new short film.interview with dwayne ferguson Tell our readers about your profession. but I kinda like it that way. The book is called Art Directing Mutant League: From Sketchbook to Television. I’m a fan of video games and find inspiration and relaxation there. I draw and vice versa. The major difficulties are constantly juggling so many roles from business executive to art director. and I just now find that it’s time to bring those ideas to life. It traveled the country in many film festivals. I created the short film a few years ago. He’s my first character to star in his own animated adventure. in which Zero has to prevent a madman from using a powerful weapon to destroy entire countries. In a different venue from comics.psd Photoshop 23 . props. It can be shapes I see in clouds to my favorite books and movies. animator and coffee maker. I guess I’d have to say Hamster Vice above them all though. since they started my career. its advantages and difficulties. I wrote a book on what my creative process on the show was like. It’s a 20 minute film called Operation Seahammer.

not theirs. I never miss a deadline. And a big one for me. In college I told my professor that I planned on becoming a comic book artist and he told me not to because there was “too much competition”. Many people know what they want to do in life. Imagine what it would be like to be what you want to be and take the steps to learn your craft.pas Photoshop . Any tips to those who would like to follow your steps? This may sound very cliche but in all honesty: never give up. I practiced storytelling and creating exciting characters. Be dependable.interview What do you think is the most important in your profession? A few things: attention to detail as far as giving the client what he or she asks for. but aren’t willing to make sacrifices to achieve those goals. If no one believes in your dreams. I told Corey that one day I’d be sitting on the other side of the table signing comic books. It’s your life. When I was 15 my friend Corey and I went to a comic book show in New York. personable and professional. Six months later Hamster Vice was picked up by a publisher. and also the quality of the finished work. no matter how long it takes. Envision it every day. 24 . do it anyway. I’ll give you a quick example based on how I choose a goal and go after it. Nothing is easy so work hard to make your dream reality. I never gave up my goal and did what I could to make sure that preparation was ready when opportunity presented itself. We went around to get autographs from our favorite artists and writers.

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adobe photoshop CS4 .beginer | 30 min.

02 Step 2 Open the texture as a background image. doesn’t it? This tutorial will teach you how to create a beautiful illustration for a storybook in ten simple steps. a picture of a little girl. Paste the image of the moon as a new layer and remove the white background using Magic Wand tool. The moon softly whispered his never-ending fairytales into her ear. Sounds like a bedtime story for kids. wrapped up cozily in a duvet-like cloud. two images of sky and clouds. with nothing but the vast blue sheet of sky above her.psd Photoshop 27 . . a beautiful image of the moon and an image of hanging stars.lullaby Lullaby A little girl slept soundly. and the stars carefully guarded her sleep. 01 Step 1 You will need a bluish glittery texture.

from 15% to 40% maximum.psd Photoshop . use any of default Photoshop brushes with medium hardness and paint the hair strands in 2-3 shades of red. Set different Opacity for different hair strands. Paste the image onto the main piece as a new layer. To make hair look natural. I painted her hair over with the reddish-brown colour. 28 . I added a little bit of yellow in the colour balance. Image>Adjustments>Color balance>Midtones 0/0/-18. It is really easy to do – no need to use hair brushes. 05 Step 5 To make the girl blend in with the background better. use Smudge tool. 04 Step 4 I decided to change the colour of the girl’s hair to make it stand out more and add a colourful detail to the overall picture.creative class 03 Step 3 Open the image of a girl and remove the unwanted background using soft Eraser brush.

go to Image>Adjustments>Color balance>Midtones 0/0/51. You can do the same with the moon. making the stars look as if they’re hanging right from the moon.psd Photoshop 29 . 100% Opacity. To make the cloud blend in better.lullaby 06 Step 6 Paste the sky image as a new layer over the picture and set it to soft light. Move the layer to the top of the moon and remove the unwanted parts with the Eraser tool. . Set the layer to 62% Opacity. Duplicate it if you want to use more than two stars. 08 Step 8 Open the cloud image as a new layer. paint the stars over with a soft brush set to medium Opacity and using yellowish colour. Remove the unwanted parts of the background with the Eraser. 07 Step 7 Paste the stars image as a new layer. To add shining.

hu/ .deviantart. 10 Step 10 To add a nice touch to the image.com/ Cloud http://www.com/ Girl http://dawnallynnstock.com/ Sky http://alegion-stock.deviantart. by Natalia Voloshyn Stock credits: Texture http://cloaks.sxc. Go to Filters>Distort>Lens Correction>Vignette. ID: 99072488 Stars http://bellezaartstock. set the amount due to your own preferences. use a vignette.psd Photoshop .deviantart.deviantart.com/ 30 .creative class 09 Step 9 Merge visible layers.deviantart.com/ Moon http://lill-stock.

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. I wanted to portrait an observatory bulding at the time of dawn.Making of a Retro Building at Dawn.

Modeling Steps: The modeling was made by the polygonal method. The photos of the plants are taken from different Internet websides. That makes 3DMax so versatile to work with.making of a retro building at dawn The firsts steps: I looked in the internet for references of the building and acessories I wanted for the scene.psd Photoshop 33 . .

but I wanted a more dramatic scenery. Two ambient occlusion renders to bring more details in the building. so I placed the two images in Photoshop CS3 and composed them. There is a lot of layers to help me bring the image I wanted. The image above was a straight render from 3D Max. It’s very good to put dirt in the scene. This is my universal brush. I like the rays of sun shinning through the building. Photographic Exposure Control: The renderer was the Mental Ray with Final Gather with a Medium preset and 4 bounces..psd Photoshop .creative class Textures and render steps: The material was the Arch&Design. by Jomar Machado 34 . Vignette and Grain. Textures: • Bricks: diffuse and bump • Sidewalk stone • Background Sky • Street diffuse map Photoshop CS3 steps: I used Dodge and Burn tools to bring contrast. I used the Lens correction filter with Chromatic Aberration.. worked with the Dirt brush and painted a comet on the sky (background).

foster@gmail.com Natalia Voloshyn I’m a 21 years old master student from a beautiful city of Lviv. I’m devoted to Photoshop.diehardstudio.com/ Dwayne Ferguson Dwayne Ferguson is the creator of the comic book series Hamster Vice. as this tutorial focuses on technique. meandering through the paths that she chooses. She can be contacted at: beachtree. Several decades later. Bokserska 1 worldwide publishing www. Ukraine. Being an artist is an amazing feeling.o SK 02-682 Warszawa. She is from Sydney. His personal website is www.org Production Director: Andrzej Kuca andrzej. Tina Foster Tina Foster is a graphic artist who has worked in the publishing and packaging industry for over 25 years. Star Wars and Godzilla etched themselves on my young brain. things like the Sinbad movies.com. Marvel Entertainment. Dwayne also teaches video tutorials on how to use several popular software applications at Virtual Training Company (www.deviantart. Special thanks to Jomar Machado and Adeel Naseer Editor in Chief: Magdalena Mojska magdalena.deviantart. Currently I’m working as a digital artist in Lalaland Studios (fashion photography). com).com. When I was a kid. Australia. I still give those early experiences credit for the things I create in my own career. Wandering through veils of life.org Copy Editor: Ed Werzyn.com. In this tutorial we’ll cover how to go from concept sketch to a finished fantasy painting using Photoshop.4playgraphix. My passion is fashion photography.com Olly Howe Olly Howe is an Illustrator form the UK. and everyday I’m trying to improve my skills.o. These choices are what makes Julia’s practice.o SK works individually from Adobe. The psd Photoshop team reserves the right not to be responsible for the topicality. Julia’s works are her signature of life and how she feels.o.z. Clash of the Titans. He has written books and created illustrations for Macmillan Publishing.contributing writers José Paulo Reis cover artist Julia Trotti As an artist. Olly sells limited edition prints and pillows through www. His client list spans the globe and his work can frequently be found in magazines such as Advanced Photoshop and Computer Arts.org/en All trade marks presented in the magazine were used only for informative purposes. You should be able to follow along using similar software. space and emotion become the narrative of her subjects.zepaulocreation. The editors use automatic DTP system Editorial contributions should be sent to: editors@psdmag. Robert Coppa Art Director: Agnieszka Marchocka DTP: Przemysław Banasiewicz Senior Consultant/Publisher/President: Paweł Marciniak Managing Director: Ewa Łozowicka Marketing Director: Magdalena Mojska magdalena.vtc. advertising.org Customer Service +1 917 338 3631 The Software Press Sp. reflection. Time.com I’m a digital artist with 3 years of experience.clickforart. completeness or quality of the information provided by contributors. The detail fascinates her. She senses the world through her photography. correctness. ul. creativity. the art director of the cult hit animated television series Mutant League and writer of several technology books. Enjoy my works by visiting my blog: www.juliatrotti. I love fashion and beauty photography and everything related with digital art. blogspot. Dwayne is in need of coffee and a nice nap. For more of Ollys work checkout his website: www. photomanipulation and digital art. You can find more of my work at http://voloschka-photo. the atmosphere of the artwork that evokes a mood and presence and explains something of her. I’ve been madly in love with Photoshop and photography for nearly 3 years. colour. All rights to trade marks presented in the magazine are reserved by the companies which own them.mojska@psdmag. light. those spaces and places that evoke a memory. Visit her website: www.org Postal address: Publisher: Software Press Sp.mojska@psdmag.com/ http://voloschka. everywhere there are choices. Julia Trotti tries to capture the ‘other’. rather than particular tools and brushes.kuca@psdmag. Mathematical formulas created by Design Science MathType™. Johnson & Johnson and more. 02/2008 53 .psdmag.z. Though my occupation (I’m a linguist) can hardly be called arty.

These are buildings from the famous NoMad area of NYC. In the 1880’s this was the furniture capital of the world. Today. Editor’s Choice Ricardo Nobre .psd Photoshop . its mostly t-shirt companies and custom jewelry.

I have two years experience working with Photoshop and Illustrator. because clients always look for the best artists with a lot of experience and professional skills. I fell in love with the possibilities of Photoshop and dedicated my free time to learn a little more on this field but still it is not my professional practice. never. one day people will notice you! . never. I like almost everything related to this area but there are some difficulties when you want to make digital arts your proffession. If I could say a few words to those who would like to become digital artists as well. Since my childhood. When it happened two years ago. need to have persistence and practice a lot. I’m a 33 year old digital artist from Brazil (I live in Rio de Janeiro).My name is Ricardo. I would say: never give up my friends. never! Believe in yourself and in your talent. This may discourage the young talents who have to work very hard to get noticed. My favorite art style is lights effects. For that reason. What I find most difficult is to get your own place in this area. I love digital art and everything about this wonderful area of design.psd Photoshop 37 . I think the best way to look for the new commissions is the internet. I always liked to draw but I didn’t know digital art back then. the young artists who want to start their digital arts career.

The more you know about your character or setting. as bright and cheery as we can make a dead guy with a sword be! advanced | 45 min. My style is typically cartoonish. the more interested you'll be in painting a fun and exciting piece.The Skeleton Knight Having a story for your pieces can really help you think about how you're going to tackle the painting. as opposed to realistic so I make sure to add a sense of that whimsy to this piece. adobe photoshop CS5 . Well. A more realistic style would make this subject matter pretty scary but mine is bright and cheery.

I tend to leave the gray layer alone and paint on a new layer between the gray and the sketch layers. my Opacity and Flow are set to 100% each. 02 Step 2 Every artist has a preferred visual style and that includes the brushes they like to use. . which indicates that he may have died a natural death. There is no severe damage to his armor. I start with the highlights. But if you get in his way. An overly detailed painting can actually be distracting to the eye so I focus on the torso. Now that you have the sketch in Photoshop. Here are my brush settings for this piece. because the armor is such an important part of the painting. particularly his jawbone. Add a layer under the sketch layer and set the color to a medium gray. has withstood the test of time to tell the story that he had once been quite formidable in battle. I use a brush with a 50% Opacity and a 30% Flow. As you work. White backdrops can make seeing sublet changes in contrast difficult and can be distracting. the upper legs and the sword. I decide to move the light source to the left instead. I typically don't make a ton of brushes and just tweak the brushes that are included with Photoshop. He was so good at what he did. nefarious necromancer. I make sure to disfigure the skull. he has been denied eternal rest. I always draw something like this because it can keep you focused on where the shadows and highlights should be. When I want to power the paint onto the canvas. but for this piece. This allows you to focus on the values and colors more easily. decide which parts of the painting are the most important and focus on the detail there. however.the skeleton knight 01 Step 1 The pencil sketch depicts a cartoony and whimsical skeleton warrior who has been summoned back to duty by some unknown. say goodbye to your favorite head! His armor. Because I like being spontaneous when I work. set the Blend Mode of the sketch layer to Multiply. To show how old this guy is. 03 Step 3 Typically I work from dark to light. The small circle to the right of the warrior is the light source. When I want to slowly build up color and texture I will drop Opacity to 50% or lower and the flow even lower to 20 or 30%. Choose a light gray tone and build up the areas that would be affected by the light source. due to his great age and failing strength. He also drags his sword behind him. The lower legs will be allowed to fade into fog in the later stages of the painting.psd Photoshop 39 .

you'll find that dark areas butt up against very bright areas in many places. I tend not to use Dodge or Burn tools while painting. careful not to let one overpower the other. Metal also has very sharp contrasting areas in distinct bands. 06 Step 6 Take some time to build more detail in both the shadow and highlight quality. Armor. Take a look at objects in your surroundings and take note on how light and shadow interact. 05 Step 5 Still using a 50% Opacity with a 30% Flow brush start adding in some contrast to bring out the definition of the forms. I also have pictures of metal on my desk. 40 . preferring instead to steadily build my own highlights and shadows. I start adding shadows.psd Photoshop . Squint your eyes occasionally to see if the value gives you a silhouette that makes the art readable.digital painting 04 Step 4 After getting the basic highlights in. seems to shine in bands that form creases where the plates of the armor meet at seams. in other words. Many people place the color priority above the value in a painting. Don't overdo the shadows as they can detract from the image by calling attention away from the art as a whole. In very few places will you see extreme darks or lights on real objects. because it curves to conform around a person. The value (grays) are what give the eye the ability to see the distinctions and details in an object or creature.

We tend to use black to depict evil or undead things. instead working the whole painting over. and set it to Overlay. I used the tool to repose the skeleton knight to make his walk more pronounced. You could also use the Warp tool and even the Liquify filter to achieve similar results. if you don't see it) for my smaller view of the art. It's on this layer that I begin to add color. It allows you to add manipulation points to various parts of your artwork. I choose a crimson color for the armor as opposed to black. You can then move those points and literally repose your art. I like to use the Navigator pane (you will find this under the Window menu. They require more work but it can be done with patience.the skeleton knight 07 Step 7 When working. 09 Step 9 I create a new layer. If you don't have Photoshop CS5. This warrior was proud in life and wanted to make his presence on the battlefield known so he wants you to see him coming! . Be careful not to focus on one part of it at a time. If you spend an hour working on the arm. try not to have your view zoomed in too close so you can keep your eye on the painting as a whole. I always start off with somewhat muted colors and slowly build them up. Because the value was really given the attention it needed. you may find that it can be difficult to bring the rest of the painting up to that level. above all the others. 08 Step 8 Photoshop CS5 has a new Puppet Warp feature. you could draw selections around parts of the model you want to repose and use the Free Transform tool to rotate your model's body parts. for example.psd Photoshop 41 . the colors will now have much of the impact they need on the first pass. similar to the Puppet Pins in Adobe After Effects.

As I work. I make it very dark behind the sword to emphasize the runes on his sword. Keep it fun! 12 Step 12 After lots of tweaking. You'll notice that I am not emphasizing the same detail on the lower legs or the rear arm. I also add some color correction to the whole piece using a Hue and Saturation adjustment layer to really make him pop out of the fog. your audience will be bored. This could actually be the point when the Skeleton Knight is actually being summoned by his dark master. can be a hard thing to decide. When does one consider a piece finished? This is an age old riddle that only the artist can decide so make sure to not overdo your art but don't undercook it either. 11 Step 11 Now I add some rough color to the background and some fog. If you're bored. This really helps to push the character out towards the audience. This keeps me excited and interested in working on the art. I get the fog the way I want it. I add some glowing runes using the Type tool to the sword. I think I'm done. dark and brooding. At this point. This too. the story keeps building in my mind.psd Photoshop . A painting is like cooking bar-b-que ribs. This helps to focus the eye of the audience on the action and prevents the piece from becoming too heavy with detail. Slow cook your art so it so it tastes good to the eyes by the time it's done! by Dwayne Ferguson 42 .digital painting 10 Step 10 I create a new layer and paint in bright hotspots for the shiny parts of the armor (specularity) and another layer to emphasize the shadows.

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Writing with paint on the rock wall In this tutorial I will show you how to create a realistic looking painting on the rock background. beginer | 20 min. adobe photoshop CS3 .

I named it displace . Go to the Channels panel and choose the channel that has the best contrast (I used the red channel). Save the new created file as new psd file.jpg). then with the MMB rasterize the type layer to convert it to normal file. .we will use it later for the Displace filter. With the RMB duplicate the channel and choose new from the choices.That will make the text take partially the shape of the rock.You can place any kind of drawing instead if you like. the image is called Rock.wirting with paint on a rock wall 01 STEP 1: Choose a rock image open it (in my case I opened one of the photos I took in my village.psd Photoshop 45 . 03 STEP 3: Go to Filters>Distort>Displace. accept all the default settings and click [Ok]. 02 STEP 2: Write whatever you want by using the Type tool from the tools bar.

That’s it. 05 STEP 5: Now let the fun begin. by Adeel Naseer 46 . choose the blending options from the left side bar and in the Blend box make changes on slide bar by holding and dragging the white arrow from the left to the right. between the two rock layers.psd Photoshop .workshop 04 STEP 4: Duplicate now the rock layer and move the new copy to the top of the layer stack. I applied on them these values: 50. that will bring the layer style options. You will have now the text in the middle. Double click on the upper rock layer.157. you got a nice realistic painted text on a rock wall. It will separate the two sides of the arrow and allow you to move them until you find the white paint appearing on the top of the highest parts of the rock.

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Retouching This is an exercise in cleaning up a photo . .retouching and color correction.

we can straighten and start cleaning up. I removed some of the debris from the stop sign and sharpened selectively around the white area of the sign and the flag.retouching 01 Step 1 We open the original. . 02 Step 2 Next. copy and convert to CMYK. we do a curves adjustment: Layer>New Adjustment Layer>Curves 03 Step 3 Then.psd Photoshop 49 .

Lasso the area to be worked on and Select>Modify>Feather then increase the contrast: Layer>New adjustment layer>Levels. Image Size>File>Save as. Zoom in closely and pick out areas to clone in that are similar in texture and tone. 05 Step 5 Next we can start working on the terrain and the flag: Filter>Sharpen>Unsharp masking.eps for print and 100dpi . 300dpi.workshop 04 Step 4 Next we’re going to clone out the curve sign. convert and sharpen your photos for web or print to make them look better and now you know how. by Tina Foster 50 . cleaned and retouched. profile sRGB for web work. 06 Step 6 So that brings us to the final file. Save as a CMYK.jpg. . This exercise can be used to improve most all photos. You always want to brighten. clean.psd Photoshop .

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