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ISSUE 107 CONTENTS
Welcome to the latest issue of Advanced Photoshop. We value regular feedback, so recently asked what you would like to see more of in the magazine, via our social media sites.
You answered in your droves and here it is – an issue that’s dedicated to our reader demands. Typography and type effects are very important subjects that are often overlooked in design magazines in favour of better or more impactive artwork, but this month we have given it centre stage. Our 20 type secrets feature delves into the world of commercial type effects in the industry today. If that wasn’t enough, we also show you how to take a 3D text render from CINEMA 4D into Photoshop. One of your other requests was to see more photomanipulation. From our feature on product retouching, to our underwater effects and displacement tutorials, we’ve got it covered. I couldn’t end without mentioning what we have on our amazing disc this month. Our Advanced Creative Collection is bigger than ever, with 95 premium images, 25 textures, ten Photoshop brushes and much much more!
ANNA LISA SAYWELL Deputy Editor
IN THIS ISSUE:
PHOTOMANIPULATION PHOTO EDITING GRAPHICS DIGITAL PAINTING TYPOGRAPHY
Use brushes, drawn elements and other tools to build an inspired editorial illustration
COVER ARTIST ADAM SMITH
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CONTENTS ISSUE 107 CONTENTS EYE ON DESIGN What’s hot. who’s in and the latest art & design happenings PRO PANEL: Our contributors share Photoshop secrets PORTFOLIO INTERVIEW: Cinematic illustration with Neal Hanson PROJECT FOCUS: Creating a Gothic poster STUDIO INTERVIEW: Hugo & Marie ISSUE 107 06 08 14 16 34 16 PROFESSIONAL RETOUCHING STUDIO INTERVIEW 92 CREATE SMOKE EFFECTS 64 CINEMA 4D & PHOTOSHOP 004 .
books and apps to the test FEATURE: SpectraView Reference 271 monitor REVIEWS: Filterstorm 4. 20 Photoshop brushes and a plug-in SPECIAL CREATIVE COLLECTION PLUS: • Tutorial project files • Exclusive wallpapers for mobile and desktop • Fonts worth $30 . 25 textures.ISSUE 107 CONTENTS Professional artists reveal their high-end skills in our easy-tofollow workshops TECHNIQUES 20 type secrets Professional retouching FEATURE FEATURE REVIEWS We put the latest creative kit. Creative Photography ideas using Adobe Photoshop 24 34 40 46 52 54 Expert automotive retouching Work with displacement Pillars of life HOW I MADE WORKSHOP WORKSHOP WORKSHOP Underwater effects 60 64 68 74 88 92 Imaginarium HOW I MADE WORKSHOP CINEMA 4D & Photoshop Blending mixed media Paint a landscape Fantasy lighting effects Create smoke effects RESOURCE PROJECT READER INTERVIEW WORKSHOP WORKSHOP 80 84 SUBSCRIBE TODAY! SEE PAGE 22 FOR THE LATEST OFFER 52 PILLARS OF LIFE 54 WATER EFFECTS Free with issue 107 of Advanced Photoshop 96 ON YOUR DISC EXCLUSIVE CREATIVE VIDEO TUTORIALS Master retouching techniques and learn how to composite multiple elements to create a vibrant mixed-media image 74 PAINT A LANDSCAPE Featuring 95 premium stock images.
so I adjusted the Midtones and Highlights sliders in my applied Levels layer. This artwork shows how the tablet was used to brush over what would have otherwise ended as an ordinary composite. ■ Find Theo’s How I Made image on page 52 Here you can see a clear difference between the original and edited textures Scott dukes www. bushes and other shrubbery.deviantart.com When stripping in a cloudy sky on top of a clear blue sky. you can also apply the Dodge tool.com Apart from using various colour and Levels adjustments to increase texture detail in Photoshop. The mixed-media style wouldn’t have been possible without a drawing tablet.dukesphotography. such as trees.grungetv. The original texture in this 3D render was quite flat.eye on design pro panel pro panel theo aartsma http://cargocollective. giving a more realistic blend of both. ■ Scott’s Expert Automotive Retouching tutorial is on page 40 Drawing tablets provide you with realistic application when using Photoshop brushes In this image you can make a clear comparison of how successful effects can be when used with blending modes 006 . I also added a textured Dodge brush with Control set to Pen Pressure in my Shape Dynamics brush settings. It also helps to bring through tough-to-mask objects on the horizon. ■ James’ CINEMA 4D and Photoshop tutorial is on page 64 If you’re serious about your Photoshop work you should really consider buying a Wacom tablet. always use a Soft Light or Overlay blending mode. This enables the tonality of the real sky to bleed through from below.com/theoaartsma eye on design Our contributors share some of their essential techniques and advise us how to improve our images JAMES KNOWLES www. This created rich and vibrant textures. This opens up a whole range of new possibilities to experiment with.
This magazine is fully independent and not affiliated in any way with the companies mentioned herein.farrell@imagine-publishing. so I applied Motion Blur and Radial Blur filters to the trees. All text and layout is the copyright of Imagine Publishing Ltd. Lynette Clee. prices and availability may change. All $ prices are US Dollars unless otherwise stated.co.uk Account Manager Becky Palmer ☎ 01202 586438 becky.uk For all subscription enquiries: adphotoshop@servicehelpline. Most of my colourcorrecting work is fine-tuned using each channel in the dialog box.jimlind. London. Contact the International department to discuss partnership opportunities. EC1A 9PT Distributed in Australia by: Gordon & Gotch. one of the quickest hacks for this tool is creating an empty Curves adjustment layer. 110 Southwark Street. applying presets and improving this by changing the blending mode of that layer. NSW 2086 + 61 299 728 800 Distributed to the rest of the world by: Marketforce.co.imagine-publishing. Head of International Licensing Cathy Blackman ☎ +44 (0) 1202 586401 licensing@imagine-publishing. All copyrights are recognised and used specifically for the purpose of criticism and review. ■ Our Pro Retouching feature begins on page 34 Cover disc Head of Digital Mat Toor Digital Projects Coordinator Steve Litton apxtrahelp@imagine-publishing. West Midlands.mydeadpony. Although the magazine has endeavoured to ensure all information is correct at time of print. Blue Fin Building.co. Multiply. Parts of these textures were removed with layer masks until the result looked painterly. Devin Schoeffler and Raphaël Vicenzi. Matt Henry. 26 Planetary Road.advancedphotoshop. Jo Cole. there was a better interaction between all the objects that created the realism needed.com I find Curves to be one of the most powerful options in Photoshop. London. WV13 3XT Distributed in the UK & Eire by: Seymour Distribution.30 13-issue subscription (Europe) – £70 13-issue subscription (ROW) – £80 www.COM ARTEM KOLOMEICHUK http://positivepictures.co. Dorset. including hand-made textures. James Knowles. Chris McMahon. then applied different blending modes to these Realistically overlap and integrate mixed-media effects with blending modes Advertising Digital or printed media packs are available on request. However. sheep and the automobile. 33 Richmond Hill.net Any final image must always include authentic lighting and other effects to create better realism. Once the effects were combined.co. ■ Find Jim’s tips for creating smoke textures in our Resource Feature starting on page 92 JIM LIND Circulation Head of Circulation Darren Pearce ☎ 01202 586200 Production Production Director Jane Hawkins ☎ 01202 586200 Founders Group Managing Director Damian Butt Group Finance & Commercial Director Steven Boyd Group Creative Director Mark Kendrick Printed by: William Gibbons & Sons Ltd.uk Subscriptions Don’t be afraid to experiment with the strength of effects to create different looks Head of Subscriptions Lucy Nash subscriptions@imagine-publishing. Head of Sales Hang Deretz ☎ 01202 586442 hang. then applied different blending modes to these – such as Linear Burn and Multiply.co. Kirk Nelson.APPS REVIEWS The magazine for Adobe® Photoshop® professionals Imagine Publishing Ltd Richmond House. Screen and Soft Light.firstname.lastname@example.org ☎ UK: 0844 848 8402 ☎ Overseas: +44 (0) 1795 592 880 13-issue subscription (UK) – £62.com To create this personal illustration called Megaton. Frenchs Forest. I composed my image by using various elements.co.saywell@imagine-publishing. Bournemouth. © Imagine Publishing Ltd 2013 ISSN 1748-7277 007 .uk International Advanced Photoshop is available for licensing. anna-lisa. Darius Davis. Angelica Jopson.co. BH2 6EZ ☎ +44 (0) 1202 586200 Web: www. I drew the face directly in Photoshop. ■ Find Raphaël’s tutorial on page 68 Magazine team Deputy Editor Anna-lisa Saywell Editor in Chief Dan Hutchinson Reviews Editor Adam Smith Designer Marcus Faint Sub Editor Tim Williamson Photographer James Sheppard Head of Publishing Aaron Asadi Head of Design Ross Andrews Contributors Andrew Brooks.uk www.com RAPHAËL VICENZI www. SE1 0SU 0203 148 8105 Printing & Distribution ☎ ☎ ☎ Disclaimer Rich cyans have been applied to this image through the use of Curves The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post.palmer@imagine-publishing. This image is a good example.uk www.uk RAPHAEL VICENZI / WWW.co. The modes that I find most useful are Overlay. Equinox Centre.uk ☎ 01202 586243 I composed my image by using various elements. Willenhall. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher.uk Advertising Manager Jen Farrell ☎ 01202 586430 jennifer. 2 East 0207 429 4000 Poultry Avenue. Takumer Homma.MYDEADPONY.greatdigitalmags. Scott Dukes. road. None of the elements was shot in 3D or in-motion. including hand-made textures.co. 18 Rodborough Road. Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/ or other countries and is used with express permission.
” Guardians: This personal piece was created in a fantasy setting. to 3D packages. mood pieces and prop designs. Landing a role at Sucker Punch didn’t just fall from the sky. Dedicated to the cause. camera moves and transitions – helped him to design and illustrate compelling shots. his real education began after attending a Massive Black workshop in Seattle. With art and storytelling running through his blood. When I can. Hanson grew up in an artistic family – including a grandmother that has been playing videogames for as long as he can remember. though. These are essential references for the 3D crew to take and re-create for future videogames. way out in the woods. “After a year of community college I enrolled in [DigiPen’s] Production Animation program and studied everything from storytelling. “The talent outside the classroom was shocking and I realised that I needed to devote myself to my work if I wanted to survive as an artist.com Neal Hanson gives insight into a career already spanning ArenaNet and Sucker Punch Productions Here Hanson reveals his creative secrets. It’s great being able to walk to just about anywhere from work.eye on design portfolio Interview A CINEMATIC ILLUSTRATION Hanson reveals. It’s a nice change relative to the city. portfolio interview http://nealhanson.” he adds. does being based in seattle influence your work at all? My position at Sucker Punch has been my first working experience in a major metropolitan area. How does the pace at ArenaNet compare to that at Sucker Punch? The main difference between Sucker Punch and ArenaNet is the amount of time needed to complete concept artist at Sucker Punch Productions can receive requests for just about anything a 3D artist or animator needs visualising. joining as a motion graphics artist before being promoted to cinematic illustrator. animation. Hanson found himself taken on board the ArenaNet team. I go out with my laptop and [paint] the rivers and forests around my house. traditional and digital art. His experience in motion graphics – taking illustrations painted by the cinematic artists and adding particle effects. However. when it came to choosing an education it was DigiPen that stood out as the place to go. Neal Hanson. explains how he has manoeuvred through the videogames industry and offers advice for those wishing to follow in his footsteps. steps up to this awesome challenge by forging paint-overs of screenshots.blogspot.” While his time at DigiPen certainly laid the groundwork for Hanson’s career in videogames. previously a cinematic illustrator at ArenaNet on Guild Wars 2. I currently live outside of the city. “My education at DigiPen turned getting a job in the videogames industry – something that I knew as little about as joining the circus – into a reality. Hanson wonders whether this could be an entrance to some abandoned mountainside fortress? © Neal Hanson 008 .
Hanson suggests that this was inspired by Disney’s Magic Kingdom theme park © All Guild Wars materials are property of ArenaNet/ NCSOFT and are used with permission 009 .portfolio interview eye on design Divinity Reach Celebration: A vibrant celebration piece made for the end of Guild Wars 2.
This particular one started out as a paint-over © ArenaNet/NCSOFT 003 010 040 .eye on design portfolio Interview 001 002 003 001 Sylvari Grove: This concept features another market-like scene for a load screen in Guild Wars 2 © ArenaNet/NCSOFT 002 Sleeping Tree: This concept piece was painted for the end of the Guild Wars 2 Sylvari intro cinematic © ArenaNet/NCSOFT 003 Lions Arch Celebration: Another colourful finale piece created for Guild Wars 2.
I heard about the position at Sucker Punch through some connections. your take or your unique vision on any given subject is extremely important as an artist. At ArenaNet the illustrations are essentially videogame assets and naturally call for a higher level of finish. which I look up to [even now]. so I do more drawings/paintings with little polish – if any at all. It’s important to resist getting too comfortable with your work. It’s also a lost opportunity to discover new ideas. The internet is a great and accessible place to explore and broaden your repertoire. Try looking at other artists’ work for inspiration. Don’t leave it for too long. your art will reflect that. I think it’s good for me to explore and challenge myself as often as I can. the primary goal is to simply get an idea across clearly. making it difficult to point out individual problems and remove them. or your progression as an artist will falter. I learned a ton from the team and my mind was opened up to a lot of new techniques. I really can’t thank the guys in the cinematic room enough for critiquing and painting over my work. If you live and experience an interesting life. I saw it as a good opportunity in my career to experience a new project… The shift has forced me out of my comfort zone and [made me] tackle things I’m not used to. which inherently involves some ambiguity or the unknown. though. but the characteristic that generally makes pieces feel adventurous is the sense of exploration. How did the move from ArenaNet to Sucker Punch come about? As a relative newcomer to the industry. What characteristics do you need to produce what’s expected (or even unexpected) of you? Someone [gave me a piece of advice] that I really agree with. Your imagination is really what sets you apart and what you imagine is fuelled by your experiences. reading. Once Guild Wars 2 shipped. this impressive digital painting was the first full illustration Hanson created in his role at ArenaNet © ArenaNet/ NCSOFT each piece. Who most inspired you from the ArenaNet crew? [The concept art team’s] work served as the foundation of ArenaNet’s high artistic standard. Use it! ■ refresh your perspective It always surprises me how different my work looks when I come back to it after walking away for a few minutes. copying a movie still. or you’ll never finish the piece. Things that make the viewer question the story beyond the image and stimulate their 011 . These days so many people can draw and paint… There are tons of free resources and tutorials at your fingertips that can teach you just about anything. or even just gazing out the window! 005 Sky Gunner: This beautifully serene personal piece was primarily inspired by Final Fantasy’s World of Ivalice © Neal Hanson 004 005 Arctic Underwater: Used in one of Guild War 2’s many limited cinematics.’ What are the key skills for depicting adventure in still imagery? There is a lot to juggle when making an image feel impactful.portfolio interview eye on design 004 Top Concept Design tips Neal Hanson reveals his three best pieces of advice for those looking to get into concept work for videogames ■ use references Jumping into a concept without research is a bad plan if you intend to be innovative with it. At Sucker Punch. It’s easy to get lost in your work when you’re investing hours at a time. so I will just repeat it here as best I can: ‘More than anything. I try to recognise when I have run out and move to something that doesn’t require the same kind of thinking. ■ spend energy wisely You only have so much creative juice in you to spend every day and you need it when creating original designs. My own proximity to that energy positively affected my art and forced me to hold my new work up to a much higher standard than I did when I was going through school.
eye on design portfolio Interview
Ratasum Market: This load screen for Ratasum was particularly fun for Hanson as he enjoys creating busy market scenes. Lots of opportunities for little Easter eggs in this one! © ArenaNet/NCSOFT
imagination are key to capturing that feeling. In a way, it allows the viewer to do some of the painting themselves and enriches their experience. In terms of artistic elements, the composition of a piece is one of the most important devices to consider. For me, the images that feel adventurous and exciting feature big open environments and the composition of the piece can do a lot to make or break this effect. Do you have any advice for combating creative challenges? How do you prepare yourself for a project? Usually when I’m stumped on something it’s because I don’t know enough about the subject, so I do research to better prepare myself. Another set of eyes is always helpful [too]. I did get a piece of advice that pertains specifically to design and I think it’s a great way to combat design problems: ‘You can apply dissimilar subjects to one another, bringing new ideas to mind that you otherwise would have never found’. Let’s say you’re trying to design an interesting cottage. Using this method, you can apply the alphabet (as an example) to your cottage, then try making an A-shaped cottage, a B-shaped cottage and so on. You could apply shapes of fruits, animals, office furniture and so on. This is a super-helpful way to come up with new design solutions when you find yourself stuck or slipping into autopilot.
Creating concepts for videogames is a much-envied job, with many talented artists competing in the field. What’s the competition like? The demand for concept artists is less than for other artistic jobs in the industry, so it’s naturally a competitive field. That said, I’ve never had any experiences where I’ve been competing neck-andneck with another artist for a job, so I guess I have been pretty fortunate so far. Who knows what’s to come, though! I’m always checking out the work of other artists and trying to figure out what they are doing that makes their art tick. Do you find time to be creative in your spare time? I think it’s very important to explore personal pieces outside of the job. I feel my best work is personal – or at least it comes when I have the opportunity to just mess around. I find myself going back to mostly fantastical art in my free time. Worlds from Studio Ghibli films and the Final Fantasy games are incredibly inspiring to me and are a large part of what drove me towards this career in the first place, so I tend to lean towards that genre. I don’t really do any finished work outside of digital painting but I do like to draw with pen, pencils and ink brushes when I can, if only because it just feels good. Because digital
is such a forgiving medium, I tend to take it for granted and work too chaotically. The nature of working with pen and paper forces me to think before I put something down, which in return helps me solve problems before I bring it to a digital stage. Can you reveal some creative secrets? I don’t have any major staples in my workflow but there are some that are particularly helpful. [For instance], I find myself using the Navigator all the time. I make it really tiny and have it hovering right above my working canvas. As they say, if it works tiny it will work big, so this is a nice way to constantly keep tabs on the overall effect. Color Balance and Color Replacement are huge timesavers when experimenting with your colours. The Surface Blur filter is a great one when studying another image and figuring out which elements are essential to the piece without losing the edges. How does it feel seeing the results of your hard work in the end product? Guild Wars 2 was the first game I had the privilege to work on. It’s an encouraging indicator that I’m progressing and hopefully heading in the right direction. To be honest, it’s hard not to cringe when I see my work in a game – I can’t help but see lazy mistakes and wonder what I was thinking!
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eye on design Building a gothic poster
Building a gothic poster
Illustrator Ludovic Cordelières discusses making a grim Gothic image that’s nevertheless pleasing to the eye
hen you hear the term Gothic, a certain set of visual touchstones will likely jump to mind: gargoyles looming from cathedral buttresses; skulking figures concealed in spectral forests and Nosferatu’s ominous silhouette lurching up an eerie staircase. This arguably isn’t the most visually spectacular aesthetic, to say the least. It shies away from the bright colours of a lot of contemporary art, more often dwelling in the shadows and the darker end of the spectrum. When tackling a poster for a South American horror film festival, artist Ludovic Cordelières was challenged with taking this grim, uninviting, rather sombre mien and turning it into something entirely more striking. The result is Temple Ov Depression, a charcoal frieze featuring skulls, demons and a menagerie of other horrifying creatures. With a background in illustration and design within the metal music genre, Cordelières was truly well placed to take up this task. The key to this image is its clever use of composition, a careful managing of layers and a subtle sense of restraint. We spoke to Cordelières to learn exactly how he harnessed these techniques to capture our morbid curiosity. Can you discuss how you went about creating this image? I started with a photo of an Indian statue, then modified its design to become an ancient god at the centre of the canvas. I wanted to build something majestic, both architectural and organic, hence the name Temple Ov Depression. Once the main figure was placed, I added two gate keepers to escort him. I tried out a few different heads for the main character (which was eventually built from vegetable stock images) and then added an organic door to the temple. I tweaked the image by playing with the head of the main character, then worked on colours and spotlights to enhance the two sentinels, the temple god and eventually the festival logo. Which Photoshop tools were particularly useful for the creation of this project? I didn’t use any special tools to build this image. Most of time I use Photoshop’s core set, such as the Pen, Lasso, Fusion Mask and Eraser, because they enabled me to create a quick mock-up of what I had in mind. They are very simple to use and enable uncomplicated photomanipulation, for example with the work done on the demon’s head. Are there any tools the software doesn’t yet have that you would like to see implemented? For me, no, definitely not. Photoshop is an amazing creative tool, which does the job it’s designed for incredibly well. Everything is possible, it’s just a matter of time, patience and learning. There are some tools and plug-ins that are pretty cool but they’re often too expensive. You can usually obtain the same effect by making it by yourself… but if everything were easy, the work wouldn’t be half as rewarding as it is!
About the artist ludovic cordelières
Ludovic Cordelières, aka Rusalkadesign, is an illustrator and art director with a background in drawing. He’s currently employed as a graphic designer and works in the music industry. He creates tutorials and freelances in his spare time.
name of project temple ov depression
Select a centrepiece © Ludovic Cordelières
Arrange the layout © Ludovic Cordelières
Add dark effects © Ludovic Cordelières
Inject colour © Ludovic Cordelières
Fusion Mask is another powerful tool as it enables you to keep the layer you’re working on intact. Tell a story in your design that’s fresh and engages attention. As such. I drew some organic shapes on the orb outline to increase its volume. You can use the tool to modify a character’s appearance.” Can you discuss layout in your work? How do you avoid overcrowding in an image such as this? The most important thing for me is to tell a story. even if you include a vampire or a demon. I worked on the aforementioned light and contrasts to highlight them. however. then I built the back and foreground and added the details in last.” © Ludovic Cordelières “Deformation filters such as Spherize are pretty cool to create a planet or add volume to a flat texture. for me) to stimulate the mind. try to always work with high-definition elements (using your own stock or buying some from image banks). so one of the best tips I could give is to be original. don’t use free brushes or other filters available on the internet. Try to make things for yourself! 015 . In this case. I hid some of the demon’s head to put in a Spartan helmet. Pay particular attention to the composition and framing of your creation to focus on lights and colours. I first put the important elements in my working area. In fact. music (metal music. I used it for this demon to make it more skeletal and creepy but still dynamic. blood and overused colours. Which photoshop tips and tricks would you offer to others looking to create Gothic artwork? Using a graphic tablet is essential to make clean and precise designs. There’s so much inspiration in videogames. This is the main foundation of my job: to illustrate.” “Simple but truly essential. Forcing myself not to overload my picture was a huge challenge. but don’t overuse it or you’ll damage your photo. Try to manipulate elements as much as you can. Concerning Photoshop. I worked hard on light and contrast and brought out aspects I wanted to be noticed with various spotlights. even if they weren’t clean and finished.Building a gothic poster eye on design “Liquify is one of the most powerful tools in Photoshop. the Pen tool enables you to nicely isolate a subject. Most of the time Gothic images look very similar to one another. I made sure to choose the right composition for the image by using the golden ratio most of the time. Once the main pieces were in place. while avoiding typical figures such as nude girls with crows. for this kind of piece. it’s very important to work on every element at the same time in order to get a well-balanced result. Here I used the tool to build a demonic orb. Also. vampires. books. whatever colour my design is.
bringing all manner of creative projects to life. they just have to be right. As founding members.” Like many other agencies. “We definitely feel each of the artists we represent share things in common. Fanny Nordmark 4. This is due in no small part to the reputation for quality and reliability that has be nurtured by the agency’s creative team. so we formed the agency out of a desire to collaborate with talented friends and individuals. Mario Hugo • 3. across all disciplines. Masha Spaic • 5. We feel strongly about a variety of work we’ve done that is suited to the web.” explains Gonzalez. but I think that Hugo & Marie is made of equal parts graphically – both masculine iconography and feminine nuance and gesture. but we really pride ourselves on telling beautiful stories befitting each of the agencies or brands we work with. for nearly half a decade. We like the language of fashion and music. the duo are stumped.” However. “I’d been working at a design agency called Syrup NYC. Hugo & Marie began working fairly exclusively in print and illustration and many of its artists still do. The team of artists worked for a length of time producing and publishing http://hugoandmarie. “Jennifer was working in fashion. when asked which visual qualities Hugo & Marie is renowned for. “We can’t always speak for one another. Sam Hodges • 2.” The agency has managed to gradually build a strong network of commercial clients off the back of a period of calculated inertia. We weren’t really interested in operating under any one roof. but we’ve never really put our finger on what those qualities are. Mario Hugo and Jennifer Gonzalez founded the company together early on in 2008. Working digitally has offered our team the opportunity to experiment and expand into new territories. “Some of our internal team has since evolved to working digitally. both bring a recognisable male and female influence to the agency’s style. Its team is dedicated to direction. “We still love print projects. Jennifer Gonzalez 6 016 .” says Hugo. illustration and interactive design. then as a freelance illustrator. Their work manages to successfully amalgamate a variety of looks. @hugoandmarie 1 2 3 4 5 1. Ania Nowak • 6.” reveals Hugo.EYE ON DESIGN STUDIO INTERVIEW WE MEET THIS IMAGINATIVE AGENCY TO FIND OUT HOW THEY’VE UTILISED THE INTERNET TO GARNER SUCCESS THEIR OWN WAY HUGO & MARIE STUDIO INTERVIEW H ugo & Marie is an agency that has been working with a number of leading creative talents.com ABOUT THE STUDIO HUGO & MARIE Hugo & Marie is a full-service creative agency that specialises in artist management and interactive services.
studio interview eye on design 017 .
” Hugo & Marie aimed to curate a group of designers that it believed in. What I can say is that I spend about 95 per cent of my creative time in Photoshop and the other five per cent in Illustrator. We’ve also got a TV and a PlayStation for out of hours. iPhones. iPhones. We enjoy working with diverse new clients with different goals. I play with the Refine Edge filter a lot. “Finding commercial clients isn’t always easy. The software is applied in such a manner that it’s once again hard for the team to relay all the specifics.” admits Hugo. “We keep our website active. I also feel like anything I say here may misrepresent the other artists on the Hugo & Marie roster. that curation is the currency of the internet. promoting work and creatives through the standard social platforms such as Twitter. schedule meet-and-greets when appropriate and we just ran our first print ad in the beautiful Port Magazine late last year.” Continuing these relationships is crucial to Hugo & Marie’s long-term business plan and they’ve built a reputation for quality that returning clients have come to expect. Facebook. but we do believe the key to being discovered is to make things you believe in. is most commonly used. “The projects are pretty diverse. iPads and so on” © Hugo & Marie 018 040 . SRP Hugo & Marie “We’re definitely in the Apple camp – iMacs. Sam Hodges and our friends at Def Jam records for their late-night teamwork © Def Jam. “Variety is the spice of life though. MacBook Pros. and still does. showing the strengths of the creatives operating at the agency and attracting clients through these talents on show. We never cared much for white-box office spaces. with the team now having to take on specific roles and functions to continue to prosper.” This philosophy certainly applies to the agency’s use of Photoshop. “We send books.eye on design studio interview work independently.” Hugo tells us. Instagram and Tumblr.” explains Gonzalez.” Gonzalez explains. but full of white noise. Hugo & Marie felt. “We’re definitely in the Apple camp – iMacs. However.” The reliance on stout creativity and being technologically savvy has seen exponential growth. iPads and so on. making prospective and existing clients fully aware of the agency’s wonderful projects.” One thing that’s consistent is the agency’s technological preference. MacBook Pros. for the disc art. “I’m actually not too well versed in names and shortcuts. “The in-house team use Wacom Intuos pen tablets more or less exclusively. Gonzalez explains further: “Our thought was pretty simple – that the internet is an invaluable tool. The agency persists in utilising the web to its full potential as a means of actively seeking the public’s attention. I also like being able to tweak some of the subtler qualities of an image by gently softening things.” adds Hugo. Gonzalez and MVM’s beautiful Rihanna illustration was remixed by Mario Hugo. The only hardware that you might not see everywhere else is an office swing and a Polaroid camera. we’re mostly an online business. “Being reliable in as fickle and fast-paced a business as the creative industry is a good way to ensure growth. Special thanks goes to Fanny Nordmark. so it’s hard to say what. if anything. before actively seeking wider commercial success.
He informed me his team would be happy to receive vectors.labour-ny.1 phillip lim holiday card Mario Hugo explores the making of this fashion branding project I spoke with the client at length about the general tone of the video. The video begins with a toy crank and moving textures of Phillip's textiles.studio interview eye on design 3. These were something that really characterised the collection. Sometimes there are pieces to play with © Hugo & Marie 019 . I’d never worked in motion before.com) about the best way to proceed. Over the course of the video the viewer is climbing up a dream-like story where festive toys meet fashion ephemera. so stars and angels were a no. These images were sent to 3. with a set of pencil sketches preceding the painted mockups. so after initial approval I spoke with Wyeth Hanson over at motion studio Labour (www. Hugo & Marie A rotating selection of reading materials and scented candles. moody tone. which is right up my alley. Music is another major theme for the video and the narrative is punctuated with a dark. We thought for a while about what to end on – we didn't want to stick any holiday clichés at the top. Textures from the garments were also used throughout.1 Phillip Lim and ensured the mood fitted the brand’s ‘Holiday’ collection. There’s no one around in this photo. so we created what were essentially illustration wireframes. so they were included from Day One. but usually there is something going on back here © Mario Hugo. Our conference table.
but the aesthetic qualities that speak to Jennifer and I can be pretty elusive – even to us. After a big job we ritualistically tuck files away into folders and toss out unnecessary clutter. we’ve worked with clients such as Stella McCartney. ■ TIP 5 Take breaks. including Fanny Nordmark. Gucci. “Don’t worry so much about commercial viability. speak up. who say something different. 3. but the common lesson learnt and to always remember is good things rarely come easy. They’ve all been unique learning experiences. and Ania Nowak.” explains Hugo. who focus on art direction. illustration and design. “We’ve worked with agencies including BBH. We can’t speak for all agencies. the benchmark is understandably set high. but there really is so much talent out there that it can be difficult to stand out. If you believe in something. BBDO and Yadda.” muses Hugo. ■ TIP 3 We realise it can take time to acclimatise to a drawing tablet for absolutely everything. Hugo gives us one last bit of advice.” he says. ■ TIP 2 When we’re working in teams. Sam Hodges. Creative direction and all internal projects are handled by Hugo and the other agency staff. argue its merit. ■ TIP 4 Argue politely. both creatively and in terms of management. “As an agency. Microsoft and Nike. but we’re really attracted to people with a fresh perspective. Apple. we use Basecamp software with clients. but we really like Kickoff’s simpler task management with the design team. “Our team of twelve artists includes talent such as Deanne Cheuk. It’s almost a rite of passage. I don’t care if a designer has been with us three years or three days. If you believe in something. We realise designers are pretty accustomed to an unsung social martyrdom. Mike Perry and Tom Darracott. we will generally spend less time pouring over portfolios of people with an overwhelming variety of work. Rihanna. a little weird is good. With creatives working around the clock on so many exciting and high-profile projects. The one-to-one ratio of a tablet means you develop an instinct for navigating your screen space.1 Phillip Lim.” TOP five PRODUCTION TIPS ■ TIP 1 Clean up your desktop. This and Dropbox are essential for our workflow. then continue to improve and do them even better. “Quality and consistency are clearly important in your work. 020 . but you’re more efficient when you take some time out. Going forward. When reviewing work. Hugo & Marie actively seeks to evolve and rejuvenate itself.” he adds.” He advises you to find a few things you do well. “We tend to approach artists we’re interested in representing.eye on design studio interview Masha Spaic manage both agency and commercial project productions.
Coffee quickly becomes the lifeblood of our creative day. including video conferencing. Mario took the opportunity to take out his iPhone and document office events A DAY IN THE LIFE OF MARIO HUGO 8:12 HEADING TO WORK EARLY Lately I’ve been coming in earlier to have some quiet work time. 021 . Sam murders me. 14:00 TORO Y MOI AND OTHER CURRENT MUSICIANS Music drowns out some noise and energises the whole office. 17:00 BROOKLYN LIBRARY We try to photograph any and all inspiration. 10:08 TAKING ON THE morning MEETING We have a meeting every Monday. usually. It’s great when used as a time-out device and as a stress-reliever. Everyone gets a shot at DJing.studio interview eye on design A black-and-white Monday at Hugo & Marie. This was my view when I tilted my head back. particularly when we’re out from behind our monitors for meetings in the city. debates and catching up on weekend activities. It’s a great way to unwind after work. 16:13 MAGAZINES ON MARIO’S DESK I keep a number of magazines around. I flip through all kinds of print material throughout the day. 18:23 FIFA TIME Obligatory FIFA 13 rounds. The banter can get a bit aggressive. 17:57 A STRESS-RELIEVING SWING Our swing is home to plenty of informal business planning. We’re going on an office field trip to see Toro Y Moi this week.
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It was important that this wouldn’t be specific to one place in Boston or preferential to any particular sub-section of the feature. ■ Custom type All the type was completely drawn from scratch and no fonts were used. ■ The inspiration The style is a play on vintage signage that pays tribute to the rich history of the city. ■ Creating shadows The shadows cast by the lettering were all done in vector with a combination of a few techniques. DPS and various sub-section headers of the magazine. ■ Gradient Map I used a Gradient Map adjustment layer in Photoshop to get the subtle muted colours consistent throughout the toolkit. 024 . 1.com To create a toolkit for Boston Magazine. VINTAGE SHADOWS JORDAN METCALF ■ The brief I was tasked with building a visually striking typographic treatment that would work across a contents page. artist Jordan Metcalf decided to go for a clean bespoke type that he refined and completed in Photoshop. ■ Getting grainy Photoshop was used for the final grain and highlight effects on the type.20 TECHNIQUES 20 TYPE SECRETS © Jordan Metcalf WE BRING YOU AN INSPIRING COLLECTION OF TYPE PROJECTS ALONG WITH INSIDE INFO AND PRACTICAL TIPS FROM THE ARTISTS WHO CREATED THEM www.jordan-metcalf.
just to stay organised and keep things in order… After I finished the letters. I applied some of the bristle brushes with my Wacom tablet to add the slight vignetting around the top edges and then toned it down a bit with some blending modes. The logo for the Hairy Bikers combines a spanner.heredesign. Textures can improve and lend a realistic effect to your artwork. it came down to building a background texture.toddfooshee.” ■ Next place the texture inside the mask. We used Photoshop to create the impression… of old letterpress-printed type that’s a bit battered and careworn… We mixed some of the Effects Gallery styles with scanned textures we found to create a unique set of textures to be used with the type. as long as they are of a good quality. Coming up with a concept to sell snacks on behalf of two unorthodox TV chefs was a unique challenge. it quickly became obvious that this would work well and help the packs stand out against the competition. but really just placed them at random to build the words. Inside that mask you can add some shadows and create a 3D depth effect.20 TYPE SECRETS TECHNIQUES www.com With a bold font from the Avant Garde family as a base. The team started by developing copy lines for each unusual flavour and sensation. There is also a lot of copy-andpasting work at the heart of this piece. for example the Keralan King Prawns pack is pink both for the colour of the prawns and the Indian feel. In terms of the specific tools for this project.net/marceloschultz When he was commissioned to create a T-shirt design for Nike that would fuse trainers with a slogan. sturdy look to it [that’s perfect for rebuilding] the forms with birds. which I did by combining a few images using different blending modes then erasing [areas] and using some texture brushes. The colours were derived from the flavours. We were inspired by the sort of graphic style associated with packaging that has to travel. 4. I used a pen and paper. located at the bottom of the Layers panel. I did some adjusting to the kerning and from there began to place birds all around the letters. as director Caz Hildebrand explains: “Once we started looking at using just type. Todd Fooshee set about building up a graphic type by adding hundreds of very small birds to his project. COMMERCIAL PACKAGING HERE DESIGN © Here Design www. a scanner and some basic features inside Photoshop. LEATHER AND TREAD MARCELO SCHULTZ ■ Create a mask to apply the texture you're using. easily readable and has a really thick. “The font is clean. © Todd Fooshee 3. ■ This image uses different textures. BUILDING LETTERS TODD FOOSHEE www. Marcelo Schultz immediately reached for the textures.behance. like cardboard boxes containing fragile items reading ‘This Way Up’ or food packaging date stamps that read ‘Best Before’ and so on. to achieve the final effect. Keeping the selection active. which should fit to the exact shape. [I kept] balance in mind.uk The multi-disciplinary team at Here Design decided to let their type do the talking when creating the packaging for the Hairy Bikers crisps brand.co.” 2. Select the type that you would like to apply the texture to by holding Cmd/Ctrl and clicking over the tiny image of the shape on the Layers panel. Each pack has relevant language for the flavour as well as Si and Dave’s seal of approval and signatures. as you can see marked in green. Without the Invert adjustment I would have probably had to go a different route… The layer groups were what really helped me out the most. a pepper pot and a fork inside a wheel to evoke both the motorbikes and the cooking of the duo. such as leather and tread. 025 . create a layer folder and select Add Layer Mask.
net/mobdesign Marcus Byrne created this striking lighting typography for Cricket Australia/George Patterson Y&R in Melbourne. enhanced by light effects and futuristic elements. ILLIUMINATE IT MARCUS BYRNE www. We utilised blending modes such as Screen and Overlay when playing with stocks and other elements to create some unique effects. we added more atmosphere and light emitting from the top.richardroberts. as when you extrude a font you introduce a lot of new surfaces that can confuse the eye. The first elements to frame each piece were the pumps and drinks. decorative 3D elements and sections built in Photoshop. I brought all of these together with a heavy dose of retouching and editing.TECHNIQUES 20 TYPE SECRETS www. The smooth flow from the pump to the glass was an important part of the concept and helped to give each illustration a shape. images captured for the project. Bold 3D lettering takes centre-stage. such as the figure on the right and some foreground shapes to add depth and dimension. From experience I knew that a fairly simple font was needed. was involved heavily in this part of the process. the piece consisted of many layers that enabled me to continue tweaking it as I went.com Drinks giant Diageo enlisted Nik Ainley to give a typographic treatment to promote a line of cocktail drinks. The type was used in extensive applications across the range of marketing materials for T20 cricket. Marcelo Jr. as the team explains: “For this piece we started with a base in CINEMA 4D to make the 3D type. From there it was a case of creating all the other aspects that consisted of stock photos. “They wanted something with plenty of abstract and photographic items related to each drink and centred around 3D typography.com) to create an other-worldly type project for the Intrinsic Nature art collective.agiaco. FLOWING EFFECTS NIK AINLEY 026 . 3D TYPE ANTHONY GIACOMINO www. almost 40 for the first image I seem to remember. After this I discussed with the art director what sort of typography would work. The 3D letters were then built in 3ds Max and positioned. “The piece needed some more colour. The illuminated fluorescent design includes detailed light effects and bright colours and was reproduced in all hues across the colour palette. The final design went through many iterations. Even after the 3D elements were brought into Photoshop. An excellent 3D artist and friend. For the final details we added a few other points of interest.” © Anthony Giacomino and Richard Roberts 5.net Anthony Giacomino teamed up with Richard Roberts (www. in addition to some light effects. so that’s what I went for.behance. Using a simple chunky font minimises the confusing effect. lighting and also an assortment of geometric shapes. Here you can see some of the stages in Byrne’s process.” 7.shinybinary. so we sampled pinks and oranges to complement the cool blue and navy tones. which came from specially taken photos. In the middle of complex © Nik Ainley illustrations like these you need to keep things as legible as possible. After importing this into Photoshop. 6.
he sees shapes.20 TYPE SECRETS TECHNIQUES www. namely Northern Lights. brush-star effects and colour adjustments.eugenelvovsky. respecting and being true to its unique shape. Cycle like the Pros.” © Andre Beato. USE A NEW PERSPECTIVE EUGENE LVOVSKY www. 8. glows. into something that was more dynamic and relative to the theme. overlap or italicise) with the header title text. every shoulder. “The inspiration for the series is the immense beauty of typographic forms. I always try to create something legible but appealing at the same time. combining the four stories related to the article. ‘Can I make this into a flower?’ I take this step further by creating a visually pleasing © Eugene Lvovsky relationship between every single character.lukelucas. ■ Copy layers I added in some hair highlight layers using fine paths. The idea was to play (bastardise. where I added all the little details like shadows. Ryan McCabe 10. ■ Base text The client wanted to evolve the illustration from their standard condensed sans serif. I started the illustration process in the vector program FreeHand MX and tried to find the best way to combine the text block – I used the magazine house font called Benton – then drew the elements to adapt and join them with the text. every character. “The brief behind this project was to create a main type header for an article called ‘The Next Big Thing’. Instead of seeing letters. Simply spotting a beautiful descender on a typographic character could easily grow into the question. com/typeis.com André Beato created a playful type for easyJet. stem and serif.eugenelvovsky. PLAY WITH TYPE ANDRÉ BEATO 027 . and has used this approach to create his series of ‘Type Is’ posters. I then copied both the base hair and highlights into Photoshop in separate layers. This brought more variation to overall design. Everything is thoughtfully interconnected. You can see the full series here www. ■ Initial brief I was asked to create a type illustration and some hairy graphical elements.” 9. The process concluded in Photoshop.andrebeato. I then made some slight distortions using the Mesh Warp tool. Ice Climbing and Sleep-Inducing Machines. GRAPHICAL HAIR LUKE LUCAS © Luke Lucas www. ■ Making hair brushes I created several hair brushes and applied them to paths in the shapes that I felt would work the best on the different letters. There are no letters accidentally placed together in my images and the accessibility of Photoshop helps enormously when working on made-to-order prints. Everything from a Gradient Map to Hue/ Saturation adjustment layers save time when I’m perfecting a bespoke colour combination for a client. ■ Creating hair I next built up all the hair elements using very fine strokes drawn with the Pen Path tool in Illustrator.com The team at Esquire magazine required an innovative and stylish headline treatment for a grooming section of the publication. merging bold letters with different elements.com If you’ve ever thought that standard type options are incredibly boring – and if you’re reading this I bet you have – try looking at them through Eugene Lvovsky’s eyes. ■ Add highlights I hid and made a selection of the highlight layers and brushed them within the selected shape on a separate layer. Here Luke Lucas runs through how he approached this task.
TECHNIQUES 20 TYPE SECRETS
www.extra-oomph.com Linda Zacks usually originates her elements with real-world media, but here shares her tips on how to marry these perfectly in Photoshop. “RPA in Santa Monica asked me to create an artful interpretation of the Newport Beach Film Festival name. This typographic collage was born from a stack of city shots taken while zooming around at night… I went through heaps of photos, picking out awesome shapes and colours. In Photoshop I had a zillion windows open simultaneously and pasted stuff into a giant master file with a billion layers. Slowly but surely the letters came to life from several bits and pieces of photos as I sized, resized and transformed them. I also added some watercolour textures over the top that I had scanned in one rainy day. Nothing originated in Photoshop, but I used it as a virtual gluestick. For this project I used lots of layer functions as well as Multiply, Screen and Overlay blending modes. To finish I punched up the colour to add the last burst of zing.”
11. REAL WORLD ELEMENTS LINDA ZACKS
© Linda Zacks
www.linziehunter.co.uk Skinny Cow and JWT New York were in need of a fresh interpretation of their campaign copy, so they got illustrator Linzie Hunter to apply her unique style. “Sometimes I’ll create my lettering on paper, while other times I play about with colours and styles directly in Photoshop. For this series of ads I worked fully in Photoshop using a Wacom tablet and pen. I concentrated on creating lettering that looked and felt hand-rendered and more in-keeping with my personal style. I like to mix and match typefaces with upper- and lower-case characters, as I feel this lends energy to my work and I prefer everything to not feel too neat or perfect. Sometimes it’s obvious which words need greater emphasis, but for me it’s usually just more of a hunch when it comes to developing or picking lettering styles… I used a variety of custom brushes in order to achieve a more painterly or hand-rendered effect and also used my own textures, either scanned, photographed or hand-drawn. I also tend to have a lot of layers set to Multiply or Overlay in order to create textural effects and backgrounds. Sometimes with these hand-lettering assignments, the arrangement of words and letters just don’t fit the space you’ve got in the way you’d like.”
12. DIGITAL HAND LETTERING LINZIE HUNTER
All images © Lizzie Hunter/JWT New York
www.lukelucas.com Freelance creative Luke Lucas was asked to design this sweet and savoury graphic for the dining section of The New York Times, using Poplar as a secondary typeface. “This illustration began with defining the main glass shape and the stylised wine pouring inside it in loose vector shapes. The main type was then created using Vector Paths in Illustrator, while the secondary type was set in the Poplar typeface and distorted to fit using the Mesh Warp tool. In terms of the creative process, the wine shapes were brought into Photoshop as separate objects and colour, highlights and shadows were applied to enhance the depth of tone. The main type was then filled with colour and the shadow details within the letters were masked and brushed to define overlapping elements. The warped secondary type objects were overlayed using layer effects, then it came to building the glass. The background of the image was to be white, so in order to define highlights on a white background I first needed to add a slight grey tint to the whole glass shape. This was placed on the bottom layer so as not to tint the actual wine itself. Next I brushed in the highlights and shadows in separate layers above the wine and type shape layers. Some faint reflection shapes were also masked and brushed in. Once the main type and glass objects were rendered to a fairly polished level I placed all of the wine and type elements into a layer group. To finish, I duplicated and applied masks to the groups, separating the objects between those inside and those outside the glass.”
13. POPLAR IN A GLASS LUKE LUCAS
© Luke Lucas
■ Refracted effect By separating and shifting elements in the glass, Lucas could imitate a slightly refracted distortion to create a realistic finish.
■ Two typefaces Lucas mixed two typefaces, placing one centre-stage as Sweet and Savoury and the other to spell out associated words in the glass.
■ Main idea The brief was to incorporate various flavours and descriptors associated with wine in an artistic way.
■ Highlights and Shadows Painted highlights and shadows gave definition to the type and the wine background, adding depth and interest.
All images © Steve Goodin
www.behance.net/demen1 Steve Goodin gave a funky yet classy edge to this piece of marketing material for a Reno electronic music event. “The initial idea stemmed from the title of the event. I was given creative control over the theme and style of the poster so I really wanted to set the tone and the vibe based on that title. This poster was created using some 3D type elements as well as some other stock photography and illustrated graphics. For example, the lightbulb images and vintage flowery wallpaper pattern came from a deviantART member.”
14. VINTAGE 3D STEVE GOODIN
TECHNIQUES 20 TYPE SECRETS
www.juri-zaech.com Starting with an initially rough sketch, Juri Zaech gave these quirky personalised bicycles all their touching character using Photoshop’s toolset.
15. FROM HAND DRAWN TO 3D JURI ZAECH
■The ‘Write a Bike’ series started with my own wish to create a personalised bicycle, so using the name of the owner seemed a logical and interesting way to demonstrate this. The process started with sketching up a rough shape of the bike and the name, to see how tight the letters needed to be spaced to maintain a somewhat natural proportion.
www.siscottstudio.com Working to a brief for Nike, full-time artist, designer and creative consultant Si Scott built a unique typography-lead image. The design fuses the kit of a well-known football team with the words its fans sing at matches. “The brief was to make the footballers from famous chants that the Paris Saint-Germain fans sing at their beloved team’s games. The piece was used as three-storey-high banners on the side of the Nike store in Paris for the launch of that season’s kit,” he says. The result © Nike/ Simon Scott shows the famous kit, complete with Nike swoosh, worn by a man built purely from type. To create the image, Scott fused his well-known style of hand-crafted work with his Photoshop expertise. “The image was drawn by hand in separate parts, scanned into Photoshop and pieced together in the program. The Magic Wand tool was used as a selection tool to get rid of the negative space. It was also helpful to remove marks left on the paper from the drawing process, which can’t be seen by the naked eye. From there a mask layer was added to the type so the colour could be added.”
16. TYPE FOR TALL BUILDINGS SI SCOTT
■ I drew the bike in Illustrator, starting with the basic elements and the lettering of the chosen name. It took a lot of adjustments to get to the even structure of the bike’s frame. Once all the vector work was finished, I took the different elements to Photoshop to render the 3D effect.
www.joeycamacho.com Inspired by a period of his life when he wanted to slow down and appreciate the simpler things, Joey Camacho created a typographic poster series to echo his ideas. “My process with this project, as with all my typographic work, started with word-pairing or putting together the concept for a series of images. I used Burgues Script for this as it has thousands of glyphs and alternative characters. Balancing out the words and using the flourishes sparingly was important. Some people don’t spend the time required to understand the entire font, which I think is really important. When I get the images into Photoshop I use the Alpha channels and layer masks to tweak the colours, enhance the lighting and give them a tactile feel. The textured background is made up of quite a few different layers, reduced in opacity and overlaid. This often gives more depth than just one texture layer. I use custom dust and scratch brushes, while also using the Dual Brush feature to add some randomness and inconsistencies to the final result. I spend quite a bit of time dodging and burning the reflections and shadows, which helps make them pop. I also often use Color Balance and Curves adjustments to finesse the final product.”
17. EXPERIMENT WITH TONES JOEY CAMACHO
■ I mainly used simple Bevel and Emboss layer effects. It was important to pay attention to the details like the colour of the shades and obviously the amount of embossing. The reflection elements needed to be blurred, have their opacity reduced and other partial adjustments. The background, shadows, reflections and textures were all finishing touches.
© Joey Camacho
bloody and sort of raw-meat-looking texture! Since I’m a big comedy junkie and not at all a horror fan. cracked. Stefan Chinof turned the Helvetica typeface into a fun take on a terrifying texture.” 20. “I was inspired by a poster for a horror movie that had a very organic. He worked across CINEMA 4D. as this sat well with the gymnast figures above. For the concrete effect I used two photographs: a macro shot of basic concrete for the texture and a macro shot of dry. The tools I applied the most for this project were the blending options as well as the Bevel and Emboss adjustment. Using negative space always has great power but is rarely used in this way. “Once I’d put together a rough layout I started building the vector design in Illustrator.behance. I built the type in Illustrator then added depth and a soft 3D feel in Photoshop using Bevel and Emboss. Helvetica isn’t a font that’s usually seen in such an abstraction. muddy earth. REPLICATE CRACKED CONCRETE BEN DOWNARD www. “For the aesthetic of the project I wanted something stark. This prevented the bevels from bleeding into one another and distorting. The brief specified that only the portrait had to be recognisable and include the athletes’ names.net/chin2off Inspired by horror films and a love of candy. The result is a solid graphic that portrays the destruction.org The Church of London commissioned different artists to depict various Olympic athletes for the cover of the Metro newspaper during the games.madeup. then added detail in Photoshop.” 18.com/downard Ben Downard created a concrete type graphic to raise awareness of the events in Haiti. Charles Williams depicted Louis Smith with a combination of hard-edged and soft flowing shapes. Shapes were quite useful too and a great addition.20 TYPE SECRETS TECHNIQUES © Ben Downard www.” © Charles Williams 19. I thought of how I could make this effect a bit more fun and juicy. This achieved a painterly and illustrative effect for the remnants of a building left standing after the earthquake. I based the type on the shapes I used to build the portrait – flowing organic shapes – then gave it a bit of a circus feel. so it was an interesting challenge on top of using the negative space around the font. RETHINK HELVETICA STEFAN CHINOF 031 . From that point on I applied with masks and lighting effects used as layer styles. Illustrator and of course Photoshop to add texture and bring together the final effect. but drawing the idea out to start was the base of it all. To get this effect I set the Bevel and Emboss adjustment’s Highlight Mode to Overlay and created individual layers for each letter’s bevel. TWIST VECTORS CHARLES WILLIAMS © Stefan Chinof www. sterile and in a duo tone to illustrate the idea of devastation and its impact on a clean environment. in reference to the strength and graceful movement required of gymnasts.cargocollective.
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Retouching: Craig Minchington.PRO RETOUCHING DISCOVER THE PERSONAL TECHNIQUES SUPPLIED BY OUR EXPERTS TO CREATE FLAWLESS IMAGES AND ADVANCE YOUR PHOTOSHOP RETOUCH SKILLS 034 © The Fletcher Project/Ballantine’s Whisky. Photography: James King .
” Minchington applies a mixture of Curves and Levels adjustment layers to establish these moods. using Channel Mixer adjustment layers to achieve the desired tones. but here Advanced Photoshop blows the lid off commercial effects once more. 20 years ago Angela Carlson fell in love with Photoshop while working on her high-school yearbook. achieving professional looks using the power of Photoshop. www. In this feature our industry experts show you how to achieve images that will rouse viewers. Both the liquid colour and the label artwork need to be exact. but you don’t want to have to fake [these] too much. jewellery. He’s worked on a lot of retouching projects.com sarah barker www. “Applying a mixture of gradients and brushing in colour can be a very effective way of [doing this]. Avenues into product retouching are varied and should be taken full advantage of. In this feature we show you how to apply professional product-retouch techniques. This left me with one well-lit shot. while areas such as the neck were shot using extra light. your portfolio needs to demonstrate aesthetic detail.au Sarah Barker fell into retouching after starting a career in design and later moving into pre-media. in an arena preoccupied with beauty examples. Admittedly. The pre-production shoot is an essential phase. Image editors can find a number of unique fields to operate within. One shot was used to get an overall tone.com. whereas for a whisky brand you may want to portray smoothness and class. she now works as a retoucher. as Minchington explains further: “For fruit drinks you want the product to look really refreshing.net Kolomeichuk is a designer born and raised in Ukraine. “I also experiment with the Dodge and Burn tools to really bring out contrast. Adding highlights [later] is one thing. 03 correct with channel mixer Once I’d cleaned the image.uk) agrees.dariusdavis.uk Minchington is a Welsh digital artist living in Bristol who works under the alias Adora.com All of Davis’ skills are self-taught through trial-and-error. which works really well when dealing with liquids. However. “I will generally supply CMYK breakdowns then colour-pick areas. After studying Graphic Design and Photography. He feels you have to explore Photoshop’s menus and blending modes to find your own style. I overlaid each section in layers.angelacarlson. A mixture of applied colour brushing (hold Opt/Alt to pick neighbouring tones) and applying the Clone Stamp got rid of blemishes. 035 . His primary goal in life is to make a living out of doing something he loves.” he says. Digital artist Craig Minchington (www. Effects will need probing and can be repeated a few times until the desired effect is achieved.pro RETOUCHING techniques ■ meet the experts craig minchington www. 02 work out blemishes I added layer masks to each photograph using a soft black brush to integrate edges. Minchington explains how he used Photoshop to retouch this latest promotional Key Visual retouching ballantine’s whisky 01 composite the image Six photos were combined to achieve the final image.” Lighting also plays an important part in successfully presenting the theme of an image. accentuating the shadows and enhancing highlights. Your initial images will determine how much detail is available to work with and this influences the quality of your final image. in-keeping with the brand’s ethics. even when working with everyday products. both at home and in the Epoch Design studio. “I tend to use these effects for soft highlights. as the shots you begin with need to be as high-resolution as possible.co. Despite this.adoradesign. However. which is extremely valuable for this type of retouch. retouching commercial products may not be at the top of your agenda. Currently he’s working at Positive Pictures studio.” Minchington reveals.co. R etouching is a secretive trade at the best of times. controlling colour is essential.pocketrocket. such as apparel. darius davis artem kolomeichuk http://positivepictures. I colour-picked areas then applied Channel Mixer adjustment layers to correct these. To finish I used a Color Balance adjustment layer to add a hint of blue to the shadows as well as to match the background. We’ll also explore CG retouching and reveal how this trend is rapidly evolving. videos and publications. beverages and technology. if you are looking to make a living from your skills. adding: “You’ll want your shot to be lit well. automotive. She is completely self-taught in Photoshop and is the director of Pocket Rocket Productions. Therefore. so they strive to present a perfect portrayal for print and online campaigns. This means they regularly employ retouchers to ensure quality is always at a high standard. Beverage retouching When retouching any beverage product your starting point is a strong photograph.adoradesign. shining through to show the golden colour of the whisky.” he adds. mastering this type of retouching will add a vital string to your creative bow. he does have one effective routine for smoothing glass surfaces. As many beverage products have recognisable branding. Minchington admits that there is no exact science applied to every project. Commercial clients know their products are a gateway to the world of consumers. angela carlson www.
” Carlson reveals. retouchers often apply Adjustments>Shadows/ Highlights>Shadow Amount and Tonal Width sliders to enhance the detail further. Shadows/Highlights can help bring out and emphasise details in darker areas. 004 Brush low-opacity white reflections onto the faces of the watches to produce a shine. Also. as they enable image editors the ability to create stunning looks.” A photo with multiple watches made of different materials may require several different exposures. sharpness and clarity are key. colour and clarity in Camera Raw. Pen Path an outline around the watch then save feathered selections as Alpha channels. Sometimes you will have platinum. but when I’m unable to obtain them I open my file in Camera Raw. With most watch shots looking more sleek and smooth. Sharpen these by applying the High Pass filter to the faces and stone layers. Convert all the layers to Smart Objects and make adjustments for colour shifting when converting to CMYK. placing these over any poor-quality ones. which actually makes them one of the most satisfying to retouch. make sure knob stems are pressed in fully. “I use a combination of Curves.Techniques pro RETOUCHING apparel retouching Working with apparel can include a whole host of garments. “Lighting. The Clarity slider adds contrast to the midtones. angela carson / www. silver and white gold all in a single shot. 002 Select with your Alpha channel masks and apply Curves adjustment layers. I add noise at a low opacity. while keeping true to the actual merchandise.” Carlson advises you to always work in RGB at full size. Add a white-filled layer that’s masked using a gradient. but when I’m unable to obtain them I open my file in Camera Raw Colour accuracy is as important as ever.” Once in Photoshop.angelacarlson. revealing only the product. Use Channel Mixer and Selective Color to correct tones. It’s important to make the visual distinction between each one. balancing lighting across all products. in order to properly represent each specific material.” reveals Carlson. Set High Pass layers to Soft or Vivid Light blending modes. Clean dirt then smudge or clone out shadows and reflections. This is why professional artists like Angela Carlson (www. Put all the layers in a masked Group file. the only time a retoucher adds texture is when they’ve brushed in highlights and have lost the original photograph’s grain. Clone or paste higher-quality stones from one image into another. “My goal is to create a soft glow.com I prefer working with multiple exposures. “I prefer working with multiple exposures.angelacarson. Watches are one of the most detailed subjects to tackle. 003 Correct all watches so they are set to the same time and date.com) value the tools Photoshop and Camera Raw supply. which I add a very slight Gaussian Blur to in order to reintroduce [lost] grain texture. but still maintain a crisp overall appearance – portraying the best possible quality with snappy colour.” she explains. then convert your final layered file to a Smart Object before switching to CMYK mode or resizing. cotton clothes and even metallic watches all fall under this one category. I use Fill Light to open up shadows and Recovery to bring back highlights that may have been blown. “This enables you to maintain consistent quality when repurposing. 005 036 . Channel Mixer and Selective Color adjustment layers to reach my desired results. Create alluring commercial retouch images using simple Photoshop and Camera Raw techniques sears canada holiday catalogue watches © Schawk! 001 Make global moves to improve contrast. Carlson tells us: “When this is the case. “It can be difficult to capture a group of watches with black leather and silver textures in just one shot. Canvas shoes.” she explains.
per-ericson. Curves. Making sure the product is as clean as possible when it’s shot is just as important. These are the first stages towards producing what creative retoucher Sarah Barker (www. The duplicate layer’s blending mode is set to either Soft Light or Hard Light depending on the sharpening required.com 037 . Surfaces must be free from blemishes. I create a dense primary shadow and a softer secondary shadow. desirable and resonates with the consumer”. SOME EXAMPLES OF THE COMMERCIAL RESULTS FROM SARAH BARKER’S RETOUCH COMPANY PORTFOLIO WORK FROM POCKET ROCKET Gemstones are made detailed by combining adjustment layers © Per Ericson Photography www. Channel Mixer and Hue/Saturation layers. Barker uses a combination of Clone Stamp and brushes to clean up and perfect surfaces. with reflections removed or blended.” Lighting is often controlled manually.PRO RETOUCHING TECHNIQUES JEWELLERY RETOUCHING Preparing jewellery for a shoot is the first step towards obtaining a choice retouch image. “These are built up in a series of layers to achieve authentic results. pocketrocket. and gemstones must appear crisp and detailed. I often stack several of these adjustments on top of one another to create the desired effects.0 pixels is then added.com Remove any blemishes with the Clone Stamp and Brush tools © Per Ericson Photography www.per-ericson.” Sharpening is applied by duplicating the final image into a new layer and a High Pass filter at a Radius of 3. in order to achieve the best starting point.” she tells us. using values from the original image as a guideline. Items need to be polished by the jeweller prior to the shoot. “This can be achieved using Levels. with Barker wielding the Brush tool to create shadows from scratch. sometimes neutralised.com.au) describes as a “flawless image” that “looks covetable. Great care must be taken when lighting the product. “The precious metal colour must be adjusted.
Path the screen and add a layer mask to eliminate everything except for the screen itself. 02 FIT TO THE PRODUCT Use Free Transform to resize and shape the screen to match the orientation. Professional photographer Darius Davis (www. I truly believe that there’s a texture of light that can’t be achieved outside of the capture. hiding any imperfections via the lighting or camera angle. Davis believes that if you must use Photoshop tricks extensively. Davis will turn to Photoshop adjustments where necessary to create gloss effects. I fill my feathered selection with a light grey (approximately 210 RGB values in Color Picker). and apply the Brush tool set to Lighten in increments of three per cent. a screen burn-in shot. model lights off and a slow shutter speed. The larger the Feather radius. with the blending mode set to Overlay. “I’ll create a new layer. Distort or Perspective to make the image look natural.dariusdavis. photo editors will focus on creating bright highlights. such as shadows or where strobe lights have been added or removed. the subtler the gradient is. I prefer to composite parts rather than create pixels. labelling the layer ‘Screen’. He adds: “My standards begin in-camera. Ctrl/ right-click and select Warp. then duplicate the layer.TECHNIQUES PRO RETOUCHING TECHNOLOGY RETOUCHING When shooting and retouching technology products. which also begins with a new layer. this will ultimately “degrade pixels and become evident”. RATHER THAN WITH SCREEN BURN-IN SHOTS COMPOSITE YOUR SCREENS 01 ADDING THE SCREEN Import your screen burn-in image into your layered retouch image. select a 5% Eraser tool and refine the shape and intensity of the highlight.” he explains. His go-to tools are Curves and blending modes. With this active. 03 038 ADD A BLENDING MODE Duplicate your screen layer and place the copy behind any highlight effect layers. These include a bracketed shot as a base image.” Davis uses up to ten images when compositing. “ I then select the Elliptical Marquee tool and create a circle twice the size of the area I want to highlight. .” Davis explains. I make adjustments in small percentages and often find myself pulling back the Opacity to between 10% and 30%. “Bracketing provides real pixels and textures for necessary lighting adjustments in post.com) explains further: “I focus on using subtle gradients to bring attention to a product’s strengths.” If the initial photo is poor quality then it will rarely become a commercial-standard image in the end. Set Opacity of the copy layer to 50% and set the blending mode to Screen. “I shoot burned-in screens with strobes on. “I choose Select>Refine Edge and apply a Feather to the selection between 50px and 125px. add a layer mask. I apply Multiply [blending mode] for dark areas and Divide [blending mode] for light areas.” He also reveals how he quickly applies highlights. printable blacks and sharpness. the background without the product and shots made for special instances.” This produces realistic and manageable screenshots for compositing.” DARIUS DAVIS SHOWS US HOW TO ACHIEVE THIS EFFECT IN PHOTOSHOP.
net/kason) believes that one of the most important criteria for commercial retouching at Positive Pictures (www. "This gave us the ability to precisely tune and correct the image. For colour correction. "For example. positivepictures." Sophisticated compositing meant each layered image had its own mood. were corrected separately. The Add Noise filter is often used for realism. We worked separately with the wheels.PRO RETOUCHING TECHNIQUES ARTEM KOLOMEICHUK. interior and the body." Kolomeichuk tells us." The application of textures helps a lot in this sort of image.behance. creating a dynamic image. Vasyl Shulga (Positive Pictures Ltd) NEXT ISSUE. in this project for Chevrolet’s brand-new Aveo. this was assembled from a variety of individually rendered elements inside Photoshop. Dirt. "Every image goes through this and Photoshop features [especially adjustment layers] enable us to get perfect results. we only use Photoshop. "A specific example would be in the car's different parts. composition. "Each element has specific individual light and volume information applied. Colour correction became essential when finishing the image. 039 . where there are apparent weather conditions. we implemented a building by inventing fully 3D architecture." For more on automotive retouching." Kolomeichuk reveals.net) is achieving realism in a final result. water and even snow textures can be added to induce an atmosphere. the team created a clear model composition © Vasyl Shulga The final rendering of the car © Vasyl Shulga Here you can clearly see how the team produced the object rendering © Vasyl Shulga The final piece as it appeared in Chevrolet’s new Aveo advert © Chevrolet. "This meant we had to draw flares and shadow mainly using the Paths and Brush tools. but that wasn't always the same as the original render or photo material. check out photographer Scott Dukes’ dedicated feature tutorial over the next few pages." he adds.. We often applied the Motion Blur filter. both the photo and 3D layer. Understanding the physics of light. where he reveals how to professionally enhance two luxury cars. perspective and layout of objects in the frame was essential. glass. "By correctly assembling all these sections together we obtained a result that closely matched the requirements of our customer." he explains.. NEW CHEVROLET AVEO ADVERT Using renders. as with any work of art including photography. A POST-PRODUCTION DESIGNER AT POSITIVE PICTURES. EXPERTS SHARE THEIR TECHNIQUES ON HOW PHOTOSHOP IS APPLIED TO ARCHITECTURE IN THE COMMERCIAL INDUSTRY. Each element. OUR RETOUCHING FEATURE CONTINUES. Referring to the car specifically. TAKES US THROUGH THE AUTOMOTIVE RETOUCH TECHNIQUES THAT WERE APPLIED TO THIS COMMERCIAL PROJECT Artem Kolomeichuk (www. Skills used to produce these effects are used often by the Positive Pictures team ." explains Kolomeichuk. "It's the colour that gives the general perception of the image.
Make a selection of the elements in each folder then apply a layer mask to the folder itself. then package each in a Group folder. 02 break down the image It’s always best to divide your elements. or the retouching of a specific image turns out to be an afterthought. Our expert SCOTT DUKES www. the Dodge Viper and the Mercedes SLS. Scion.dukesphotography. All this will be completed in Photoshop without any additional applications or plug-ins. This enables you to include effects but isolate them to individual areas. In general it’s a good idea to start off by doing the bulk of any retouching before moving into the creative work. we can find ourselves at the mercy of one lonely file. Playboy and RIDES Magazine. digitally painting the cars and creating a dust-kicking burnout effect. so we only need to process once to get a good starting file. then wielding Photoshop to finalise the results. His client list includes Lexus.com Scott is a commercial and editorial photographer born. Automobile Magazine. This means we could be left with having to make a whole lot of something from a whole lot of nothing. Harley Davidson. Start with the basics Break down the image into multiple sections to give yourself the utmost control @scottdukes Retouching from RAW file to sharp result Work in Progress Progress 1: Open your shot 01 03 process the raw file Start with a RAW file or files that offer the most flexibility for retouching. Everything from camera angle and height to the direction of the light needs to be consistent if we’re to achieve realistic results. Utilising the Dynamic Range option is key. Whether there are constraints while shooting. Vitamin Water. This is where we’d want to complete any obvious work with the Clone Stamp or Healing Brush tools. even lighting in this image. because if you’re stuck with only one file you can process it multiple times for various elements. Here a good starting point for us is the background. especially when each and every one combines into one final image.Techniques Expert AUTOMOTIVE RETOUCHING EXPERT AUTOMOTIVE RETOUCHING PHOTO EDITING W Creative and technical tips for enhancing a commercial photo hen retouching you’ll find yourself in a much better place if you have multiple files to pull from. including the processing of the RAW file. From the foreground to the background we’ll go over everything you need to complete the retouch. starting from a single RAW base file. raised and living in Los Angeles. which usually means the removal of all distracting artefacts. Progress 2: New background addition by subtraction The saying ‘work before play’ holds a lot of weight here. It’s fortunate we have soft. Unfortunately this isn’t the case most of the time. Toyota. Here we’ll be exploring the creative and technical possibilities of retouching a photograph of a vehicle. Progress 3: Burnout smoke 040 . California.
COMMERCIAL AUTOMOTIVE RETOUCHING techniques start image 041 .
make a heavily feathered selection where the vignette will be and apply a Levels adjustment layer to control the effect. 042 040 . the Selective Color tool can provide great control when we start to dial in the colour and tonality. we can move our focus towards the cars. 08 Apply selective color With the background set for now. Everything is non-committal and non-destructive to pixels. as well as alleviate the tension from the horizon line cutting through the roof of the SLS. Plant the back plate farther into the distance by applying a slight Motion Blur filter to it. as they offer endless flexibility. such as skies. we can increase the contrast in the sky by adding blacks to cyans and blues but removing them from whites. we create a Global folder to keep everything in place. As we isolate the rest of the background from the road surface. we can move to the fun stuff. for example. As with any other layer. 07 replace the sky As we started off with only one RAW file. we can quickly add a feathered selection along the outside of the road then apply the mask. saturation. Curves and Hue/Saturation. Picking a specific sky image will minimise any distractions. hue. While enhancing the feel of the road surface. As there isn’t a clear-cut line in the pixels. comes in handy. the Polygonal Lasso tool works best. 06 add layer masks As we’re breaking down the image more and more. This new sky works great. We can integrate the skyline by applying to a layer mask manually. To avoid committing to anything.Techniques Expert AUTOMOTIVE RETOUCHING 04 set the tone With the layer masks in place and the bulk of the work on the pixels done. we’ll come across situations where certain tools work better than others. blacks and reds of the car. To add a quick vignette. Starting with overall adjustments. these can be toggled on and off as needed and can be set to any desired blending mode. quick tip Use adjustment layers such as Levels. this is where having a library of random images. we can use a Channel Mixer adjustment layer – with Monochrome checked and a Blue Channel – set to either an Overlay or Soft Light blending mode. This can be controlled manually using soft-edged black and white brushes. By applying Selective Color. 05 emphasise the subject To pull more texture and contrast out of the road. The CMYK sliders for every tone enable us to adjust contrast. colour balance and more in the whites. As the Dodge Viper has three dominant colours in its paint. we can also help direct more attention to our subjects. as the direction of the light is close enough and the mountains nicely frame the cars. it’s best to work in a non-destructive manner by using adjustment layers.
set Saturation at 40 and Lightness at 20. we can create the desired radiance with the slider options.Expert AUTOMOTIVE RETOUCHING techniques Believably alter reality Use focused effects to achieve a dynamic result tie up the loose ends 09 001 Starting with the background enables us to set the stage first. This is where our second additional file comes into play. To create the flare. 002 Using various Selection tools for layer masking. we are able to independently work on elements of the image. Applying both Outer and Inner Glow. 002 003 10 apply window reflections With the basic retouching finished. Change this layer’s blending mode to Color and apply any adjustments needed to alter the settings. in this case a sample of the factory red. so with a few global and specific adjustment layers we’re able to fine-tune the overall tonality of the vehicle to match the rest of the image. 12 the digital paint booth As the SLS’s paint is a silver we can easily change it. then clean things up as we move forward. 11 add headlight reflections Make a feathered selection of the headlights and add a Hue/Saturation layer. apply with a star-shaped brush and apply a slight Blur filter to soften the edges. 13 replicate burnout dust Looking to add a bit more action to the image. Cmd/Ctrl-click the layer thumbnail. we can create the effect of burnout dust in a few quick steps. 043 . With a photo of smoke against a black background. From here you can double-click the layer to open the Layer Styles options. Add a layer and fill it with the new colour. then create duplicate layers for each so as not to affect the pixels below. Use the correct Group mask to make your selection and edit out anything that isn’t going to change colour – namely the windscreen and lights. drag the file into the correct position and change the blending mode to Screen to leave only the smoke. Use the Pen tool to apply precise selections of the windows. At a quick glance the windows of both vehicles could use a little more detail. Apply a mask to the layer and manually brush out any unnecessary smoke to achieve the desired look. we can now sit back and survey the creative potential of the image. 001 Completing colour and tonal work with the background first helps direct us where to go with the vehicles. The Hue settings depend on the vehicle. First we need to create a new selection with the paint isolated. Set a white-totransparent Gradient Style at 60% Opacity to achieve a reflective effect. 003 We’ll create various realistic-looking lighting and motion effects to enhance the overall dynamics of the image. make a selection of your copy layer and apply the Gradient tool to this window layer. Not much work is needed for the Mercedes SLS at this point. Activate the Colorize option.
18 sharpen the result To finish we want to sharpen the flattened and cropped image before saving. Using a large soft-edged brush. Duplicate the final flattened layer and go to Filter>Other>High Pass. We can adjust the light flare as needed with the Free Transform tool. again ensuring we only affect specific layers. The precision of the Pen tool is great for clipping things out such as a car. so test them out to see which suits best. we can add some more light play towards the front of the image to bring balance.Techniques Expert AUTOMOTIVE RETOUCHING Use large brushstrokes and the Free Transform tool boost the environmental lighting bleed the light 14 Now that we’ve created the dusty smoke trail coming from the vehicles. we can run a High Pass filter. 15 light the vehicle edges With the light flare added. We’ll create two new layers for painting in each car group. such as the road surface or clouds. create a new layer at the top of the Group layer stack to ensure your light will only affect the background elements. we’ll apply along the edges of both vehicles to create the effect. we can easily use the Lens Flare filter to add this effect. 17 make global adjustments Now we’ve come full circle and will once again complete a round of global adjustments. Change this layer’s blending mode to either Soft Light. This gives us an invisible layer that we can apply the Lens Filter to without altering any pixels below. In addition to the Unsharp Mask filter. Using a soft-edged white brush. As we’re looking to finish the entire image. ensure these are made on top of all the other layers and groups. Making a Group at the top of everything. while a large soft-edged brush or heavily feathered selection is perfect for creating vignettes. All three slightly vary. quick tip When using layer masks. look at the surrounding pixels to help decide which tools to use. apply a single white brushstroke. then tweak the opacity or change the blending mode to either Overlay or Soft Light for increased contrast. 16 add lens flares Lens flaring will often occur when light bleeds into a lens directly from a light source. Hard Light. 044 040 . We can also reduce the opacity of the layer to soften the image if necessary. we now have to create the bleeding-light effect on both the vehicles to tie things together. or Vivid Light. With the added light flare in the upper-right of the image. or simply the desired effect. add a new layer filled with 50% grey (Shift+F5) and change the blending mode to Overlay. We can transform and warp the paint. We can use Selective Color to complete the bulk of the work. Removing black from white is a good method for pulling out textures. The Radius used is relative to the file size. Add contrast in the sky by applying black to the blues and cyans. Revisiting the background folder.
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Techniques WORK WITH DISPLACEMENT 046 040 .
taking inspiration from some of the contemporary work being produced. 047 . Set this layer’s Opacity to 20% and duplicate. setting Input at 105 and Output at 135. ou’ll find many different interpretations of the displacement effect online when poring over numerous digital art portfolios. 02 EDIT THE LIGHTING Duplicate the model copy layer and select Image>Adjustments>Shadows/Highlights. SUCH AS COMBINING LAYER MASKS AND SMART OBJECTS TO CREATE THIS BRILLIANT IMAGE Photoshop users the ability to cut and customise layer shapes at any point during the workflow. This may seem a convoluted process but it will save you bags of time when making edits later.co. especially when combined with a vibrant colour scheme. Everything is capped off with some lavish lighting effects to complete a truly exciting piece. as well as examples of model head shots. Also set a solid black layer behind the model. Click and invert the layer mask. He reveals techniques that will give you a foundation to build exciting results.advancedphotoshop. Alberto Seveso (http://burdu976. enabling us to produce effects that simulate depth of field.uk Adam loves to test his Photoshop skills. Layer Style options also play a huge part. setting Feather to 2px in the Properties>Masks panel. Cmd/Ctrl-click the new path layer to make an active selection. then paint highlights back into the centre of the face using a 50% Opacity soft black brush. Here reviews editor and Photoshop artist Adam Smith puts his own slant on this creative effect. Layer masks and Smart Objects are an essential part of our creative arsenal. Coloured shape layers are purposefully thrown into the mix and will be applied with the Pen Shape tool. Trace around the model (Dreamstime image number 10869704) and activate the Paths panel. Ensure you follow this and the next step carefully as well as continuing to follow the exact technique throughout the workflow. You’ll be placing these shapes to enhance the 3D effects while simultaneously improving the realism of the final image. 03 MERGE THE LAYERS Start by merging the model and lighting layers into one whole layer (Cmd/Ctrl+Opt/ Alt+Shift+E). Set Shadows>Amount at 35%.com) has really championed this style and recently Adobe adopted it to promote its software products. Apply all Highlight values at 0 and add a Curves layer with an upward curve. These layers will have a huge aesthetic impact on the design. so creating this surreal effect while managing a mammoth layer count was the perfect challenge. @advancedpshop SOURCE FILES WORK WITH LAYER MASKS AND SMART OBJECTS PREPARE THE MODEL Tutorial resources provided on the disc include bokeh and ink splat brush sets. Reactivate the model layer and apply a layer mask. 01 LIFT THE MODEL Select the Pen Path tool and activate Rubber Band from the tool’s options.WORK WITH DISPLACEMENT TECHNIQUES WORK WITH DISPLACEMENT PHOTOMANIPULATION Y USE SIMPLE PHOTOSHOP LAYERING TECHNIQUES. Tonal Width at 50% and Radius at 30px. These tools offer OUR EXPERT ADAM SMITH www.
Combining these styles creates a believable depth of field. be patient and don’t be afraid to delete shapes and start again. Everything is geared towards improving this 3D outcome. make selections with the Pen Path tool and apply layer masks to create displacement effects. but it can be enhanced using Smart Objects. from red to yellow ochre to green. Try adding shapes to the edges of the displacement layers to replicate a drip effect. alter the opacity and position to suit. Use the Pen Shape tool to personalise a form that corresponds and interweaves with displacement layer edges. 048 040 . merge the copy layer and set Opacity at 100%. Hit Apply Angle. 06 edit lighting You can apply Drop Shadow effects (from the Layer Style options) to the displaced layers in order to replicate a 3D effect. Carefully layer these and replicate a depth-of-field effect through applied layer styles. including lips. we’ll continue to detail the elements. 09 apply smaller shapes With all the main shapes in place. 07 add colour shapes We’ll continue to push depth-of-field effects by adding Pen Shape layers. To make the image look a lot more vibrant. so persevere. This process ensures lighting is consistent throughout the image. we’ve created a spectrum colour scheme. 08 create 3d shapes Continue to apply these shapes. placing these behind to create a warped 3D result. These shapes can always be customised. as well as edit shapes using the original mask. acting as a reference for further selections and displaced elements. open the initial layer state and then apply Levels and Brightness/Contrast to affect the lighting on the shapes. tweaking the settings to achieve the looks you want. Work with bright colours.Techniques WORK WITH DISPLACEMENT 04 cut out more elements Select the Pen Path tool once more and use this to draw out a section of the model’s face. Scatter smaller shapes in and among the larger examples as well as away from the model while also applying coloured lines. activate the Paths panel and Cmd/Ctrl-click the new Path layer to make an active selection. There’s a lot of trial and error with this technique. 05 gradient overlay Continue to duplicate the model layer. keeping all the vibrant elements and unified. as these make placement much easier to comprehend. You can also colour-tag the layers (Cmd/Ctrl-click the layer) in relation to each shape’s colour. Swap in and out of Smart Objects to assess and tweak effects. To save time we can select Layer Style>Styles and save initial settings as a New Style. Even smaller details require our attention and the application of Styles presets. This can instantly be applied to a layer and adjusted any time. We now have our first displaced element. Add a layer mask to the model. The low-opacity model merge layer lies beneath. eyes and nose. We’ll now add a black-to-transparent Gradient Overlay set to either Overlay or Linear Burn. Don’t forget to revisit the Layer Style> Styles presets and add them to coloured shapes. Apply flowing edges. Double-click the Smart Object layer. All of these small effects improve the sense of direction and movement in the image.
Simply open one up then use the layer mask inside to edit the shape.WORK WITH DISPLACEMENT techniques Take the image to the next level in three simple steps pay attention to detail ■ Get the mixed-Media effect Duplicate the model merge layer and place this at the top of the stack. Simply Cmd/Ctrl-click the layers that need to be altered. as these Smart Objects will really come in handy.abr’ brush set and choose a style. import the ‘PDaily ink splats. Edits will update live in the image once you exit the Smart Object interface. ■ amend the shapes If you want to amend the shape of any of your displacement layers. placed and selected them and then changed all of them to purple. now is the time to do so. activate the Shape tool and set a new colour in the Fill option. Opt/Alt-click the Add Layer Mask icon in the Layers panel. Here we’ve duplicated several shape layers. 049 . ■ Make simultaneous tonal changes If you are using CS6 you can save time by editing the colour of multiple layers. Set the brush to white and apply ink splat effects.
Add Filter>Render>Clouds to this layer. save a selection It’s really easy to transfer displacement selections between images by having two open with the same pixel dimensions – one you want to copy from and the other you want to copy to. but we don’t want to sharpen the textured surfaces too much. instead of using Sharpen filters. 0 and 0 then Neutrals at -40. dropped and applied to any other image. 0. setting the colour options to Neutrals at 20. In this case. -100 and 10. To boost the lighting on the chin we’ll create a solid black layer at the top of the stack and apply a Movie Prime Lens Flare. Activate Shape Dynamics. -10. Make an active selection of a displacement layer shape in the first image then choose Select>Save Selection. Press Cmd/Ctrl+Opt/Alt+Shift+E to merge all layers into a new layer then apply Filter>Other>High Pass. create a selection and add a layer mask to the new layer to re-create the same displacement effect. Finally add Gaussian Blur and Motion Blur to create some authentic bokeh effects. Invert the mask and apply a soft white brush to the lips. Clicking OK will add an Alpha channel to the second (new) image. apply Gaussian Blur and set the blending mode to Overlay at 40% Opacity. Invert the mask and paint to the eyes with a soft white brush. Cmd/Ctrl-click the Alpha channel layer. 12 Use a bokeh effect Create a new layer on top of the clouds layer then load and apply the supplied ‘Bokeh brush. You can add either Linear Dodge (Add) or Screen modes to these blurred layers. 15. Apply the brush using yellow ochres and magentas and then set the layer’s Opacity between 45% and 50%. You can tweak the opacity to determine the strength. setting a high Distance amount. click OK then add an Overlay blending mode. -40 and 5. Also add a Motion Blur and set it to Screen blending mode. apply a High Pass layer. Create a new solid black layer on top of this then set its Foreground colour to orange and the Background to magenta.Techniques WORK WITH DISPLACEMENT Create new image lighting and add vibrancy add special effects Bring in lighting effects 10 One way to achieve the lighting effects is to duplicate an existing shape layer then apply Motion Blur. 14 sharpen things up All that’s left to do is sharpen the edges in the image. Place this layer in the top-right corner but towards the centre of the workspace and set its Opacity at 50%. Scattering and Transfer in the Brush Preset options then set Spacing up to 100% in the Brush Tip settings. 11 work with clouds Add a new layer to the backdrop and apply a purple-to-transparent gradient to it. We can now duplicate this layer and apply Hue/Saturation. 13 retouch the model Add a Selective Color adjustment layer. Alternatively you can save a set of Alpha channels to a new document. Set the Radius between 4 and 8 pixels. ready to be dragged. Add another Selective Color layer and set the colour options to Red at -55.abr’. Inside the Save Selection dialog box set your second (new) image as the destination from the Document options. 050 040 .
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ADD A MASK I added a layer mask.” he reveals. then removed the lock icon between the layer and the applied mask. I applied Select>Color Range and used the Eyedropper tool to select a good texture. Artist Theo Aartsma (http:// cargocollective. I used Photoshop options to even the lighting and manually brushed in the highlights and shadows. I washed out the colours and contrasting lines in some parts of the image. Aartsma has developed his own specific techniques.” Aartsma began by texturing his elements. then refined the artwork and improved its aesthetics. used predominantly to enhance existing image contours and edit colour.com/theoaartsma) explains: “I created four blocks in 3ds Max. 040 052 .TECHNIQUES HOW I MADE HOW I MADE T THEO AARTSMA DISCOVER HOW 3D ELEMENTS AND PHOTO TEXTURES WERE BLENDED TOGETHER IN THIS DIGITAL ARTWORK PILLARS OF LIFE he root of this image is a set of simple 3D elements. setting Fuzziness to 200. ADJUST THE TONES After importing a watercolour texture. but I still wanted to apply a photo. “For example. “When [the lighting] didn’t quite match. With the mask activated I moved and transformed the scale to position the texture accordingly. while matching the existing lighting in his photos to that of his 3D objects. “[I] followed the flow and contrast of the photographic elements and used them to blend areas together. rendered them out and started working on top of them inside Photoshop.” I used Photoshop options to even the lighting and manually brushed in the highlights and shadows APPLY A BASE TEXTURE I imported a texture from my library into a new layer and then used the Transform tool to make sure it was covering the places I wanted it to show.” he says.
how i made techniques 053 .
so make sure you pay attention to the quality of the resolution. Once the right stock files have been found. Here we’ll show you how to tone images separately to give them a cohesive look. begin by cutting them out with the Pen Path tool and quickly adding them to your scene. For instance. You’ll learn how to manually draw shadows and OUR EXPERT DEVIN SCHOEFFLER www. To create a sunlight effect.com Devin is an art director with more than eight years of professional experience and an extensive list of clients from all around the world. on our bridge we can use the Pen Path tool to cut it out and the Magic Wand tool to remove the background from between the individual struts of the structure. layer masks and blending options are also all essential to replicate the following results. which you can easily draw inspiration from yourself with a quick search online. We’ve supplied you with lots of water-related stock.and below-water motif. which you can use to create your own interpretation of the effects achieved in this tutorial. apply a large soft brush to lay down a spot of yellow (#ffeeaa5) to a new layer then set this to Lighten blending mode. PHOTOMANIPULATION C reating an authentic underwater scene is all about effectively combining a large number of elements. Sometimes it helps to employ a number of different methods when separating stock images from their backgrounds. as well as how to create an image with greater impact.ds9creations. Note that we’ll want to use this Sun effect as our light source as we create our scene.TECHNIQUES UNDERWATER EFFECTS UNDERWATER EFFECTS CREATE A BELIEVABLE SUBMERGED STREET USING MULTIPLE STOCK IMAGES AND PHOTOMANIPULATION TECHNIQUES highlights in your photographic pieces. Progress 3: Layer in details 054 040 . Blending modes will have a major impact on the lighting effects applied and will alter the colours drastically. These types of projects are a great way to fine-tune your Photoshop compositing skills and are an ideal opportunity to test your imagination. This is achieved by carefully blending stock imagery together using a variety of Photoshop tools and techniques. a firm grasp of the Photoshop interface and a sound knowledge of its basic features are necessary. Locating photos that will work together is key. Apply Layer>Matting>Defringe to each object cutout and use a Defringe amount of 1 pixel. Adjustments such as Color Balance and High Pass filters will be used to boost the aesthetics. then placed them in separate layer groups. SOURCE FILES COMPOSITE A SCENE THEN SHADE THE DETAIL WORK IN PROGRESS 01 HUNT FOR PHOTOS We’ll begin by sourcing images we want to use in the piece. The Transform tool. light source and perspective. This workshop is inspired by several popular designs that showcase an above. then move these two layers and position them above the bridge. so keep in mind this element’s position at all times as we shade our photos. 03 FOCUS ON THE SKY Progress 2: Add highlights Now add in a dramatic sky image but make sure it’s one that will give the final image a dramatic look. Add in a slightly smaller white spot on top of this in a similar new layer. If you are to succeed in replicating these effects. In this case we’ve removed the buildings. 02 COMPOSITE YOUR IMAGES Progress 1: Source your photos Start with the street photo and cut out the individual elements. tone. This will get rid of any white or oddly coloured edges. bridge and street from the background.
UNDERWATER EFFECTS TECHNIQUES 055 .
You can draw out smaller shadows that sit beneath the car wheels to give the scene more depth.Techniques UNDERWATER EFFECTS 04 adjust the earth below Now add in the elements you’ll find beneath the waves and carefully move. this time we’ll apply a soft black brush to accentuate the shadows in the building and bridge. as you can always decrease the layer’s opacity to balance them later. Make a selection below the water line that will represent the underwater section. However. The grey tones will help accentuate the highlights and shadows of the original image further. we can now make a new layer and set it to Soft Light. Reduce the opacity of this shadow layer if necessary. Try to think objectively about how to place your objects and where you want the viewer to look. repeat Steps 6 and 7 for each individual car and integrate these. 07 blend in shadows Just as in the previous step. insert a new layer on top of your buildings and set it to Overlay. Slightly adjust the opacity for each layer to create authentic shadow effects and achieve a unified look. Apply a soft white brush and lay down highlights over the structures. then apply shading and highlights to each car following the techniques in Steps 6 and 7. We can place a manhole cover at the centre of the underwater section and position the wrecked cars around it in such a way that will draw the viewer’s attention to the fish swimming out of it. After you’ve completed this. To bring about a little extra magic. Use the existing contrasts as a guide to lay down more highlights. Lower the Brightness setting slightly and then increase the Contrast. select Image>Adjustments> Desaturate and set this desaturated layer to Soft Light. inserting a shape to mimic the outline of the vehicles where hard shadows would exist. insert a stock image that will represent the water’s surface and then use Edit>Transform>Distort to match the perspective of your buildings. Next go to Filter>Blur>Gaussian Blur and apply a very slight blur to soften your shape edges. then create a new layer and fill it with a bright blue (#5ea4b5). 05 replicate a water line Cut and place a water line image using either the Pen Path or Magic Wand tool. but reduce the opacity of this layer where needed. 09 layer on more details Create a new layer. 056 040 . Don’t be afraid to lay down a lot of shadows initially. transform and skew them to fit the angle of your scene. duplicate one of the cars. then place it into the scene to submerge the street. To speed up this process. Set this layer to Overlay. 08 continue to shade Now we’ll add shadow under the cars using the Pen Shape tool. but keep in mind where the light source is and work from that. 06 use toning and highlights Select your buildings and go to Image> Adjustments> Brightness/Contrast.
select Layer>Matting>Defringe. 12 sound the depths The further away your scene disappears into the distance underwater. The goal here is to increase the brightness of the bubbles and darken the background. set the layer’s blending mode to Screen. 14 add bubbles and details Now find a stock image of some good bubbles and place them into your scene. Here we’ve added a layer of black between the two main cars and the truck that’s slightly further down the road. another shadows. Once these are gone. After this is done. This will ensure that only the white bubbles show. Once you achieve a good balance. use the Lasso tool to remove some of the bubbles and reveal a few of the fish. the less you will see. This will give the illusion of fish swimming in front of the bubbles. You can add similar black layers in front and behind the bridge struts. Drag out a perfect square with the Marquee tool. use a black brush to add shadow and obscure select parts from view. Quality to Best and Amount at around 70. we can also use separate Levels adjustment layers – one adding highlights. Go to Image> Adjustments>Desaturate then select Image>Adjustments>Brightness/Contrast. but not the reflections currently in the photo. Set Blur to Zoom. We can use the Sun effect created in Step 3 as a guide to where our shadows and highlights will come from.UNDERWATER EFFECTS techniques 10 remove the car windows Removing the windows on the cars presents a bit of a challenge. 11 unify the elements Now we’ll continue adding sections to the scene and carefully adjust the shadows and highlights to suit. quick tip If your cutout images have faintly white pixelated lines or artefacts (purple halos) around them. add layers of black between some of the elements that fade off into the distance. Set Width to 1 and click OK to take pixels from the interior of your photo and wrap them around the edges. Once you’ve done this. Tweak the black layer’s opacity to determine the depth of field and strength of the effects. This will give us complete control over every stock asset and we can match them well to one another. Use an Eraser with a soft edge to fade out any hard corners left by the blur effect. which can be hidden with shadows. For every new stock image added into the scene. use Selection tools to grab the interior portions of the car and apply Brightness>Contrast to darken these elements. To achieve a depth effect in the water. 057 . First remove the car windows while keeping the interior elements intact. 13 insert rays of light Add a new layer on top of your blue water layer and set its blending mode to Color Dodge. Position this layer in the centre of the water where the Sun’s light would shine through. select Filter>Render>Clouds then go to Filter>Blur>Radial Blur. We need to show the interior elements of the car.
much like the bubbles in Step 14. which will oversaturate the piece. but try not to overcrowd the scene too much. Set this layer to Overlay and adjust the opacity to establish how strong you would like the reflection to be. 19 unify and make final adjustments Here we’ve added a Color Balance adjustment layer on top of the scene and carefully increased the amount of red in the Midtones. This will help return delineation and sharpness to some of the finer aspects of the scene. This simple edit helps to make the image feel more like one unified composite. Follow this by setting the new High Pass layer’s blending mode to Overlay or Soft Light. Next. but keep the corrections subtle at this stage. First locate an image of reflected water. taking time to review the result each time to finish the step. 20 use a high pass filter To finish. position it in your scene and then use Edit>Transform>Distort to match the perspective. Repeat this step for where you can imagine pockets of air escaping. Gradually add or remove the elements. 17 keep adjusting the details Continue to refine the water level to build the overall realism of the piece. This will show through the important elements. Set this to an orange. You may also wish to use a large soft Eraser to remove the edges of the photo and integrate it with other elements a lot better. with a Density value of 27 to help control the tone of the water and make it look a little more realistic. you can find a stock image of some dust on a black background. You should experiment with filters and see what works best. This should make the sky really stand out and even phase out some of the colour tones between the aboveand below-water areas. 18 refine the tones Once you’re happy with the elements in the scene. 058 040 . select Filter>Other>High Pass and set the Radius between 2 and 3 pixels to really pick out the image’s edges. paste this into your scene and position it so it’s emerging out of the diver’s mask. as it’s very easy and tempting to add too much.Techniques UNDERWATER EFFECTS 15 insert more assets Copy a portion of the bubble stock image from the current asset. Depending on how dirty you want the water to appear. Select Edit>Transform>Warp and distort this new bubble layer towards the surface. 16 replicate a reflection This step is similar to how we established the water line in Step 5. copy and paste the entire scene into a new layer on top of all the other layers. go to Layer>New Adjustment Layer>Photo Filter and add it to the top of the stack. apply it and set the layer’s blending mode to Screen. This edit will also provide you with some nice orbs and details that will help the water look even more believable. but leave the surfaces untargeted. even though it is split between two distinct motifs.
END IMAGE 02 ADD A HIGHLIGHT LAYER Create a new layer and name it ‘Highlight’. such as using the Dodge and Burn tools. Activate the Brush tool and set the Foreground to white.com. Try to imagine where your light source would fall on the image and dab white highlights on top of the picture. This type of technique works best after you’ve already applied an image adjustment. such as Curves or Levels. To get the best results possible we should take direct control of them by applying effects manually and specifying the look. Pick up the Brush tool again. as it can be very easy to go overboard and blow the lighting. one layer effect just won’t do. Be careful. You can apply dynamic shadows to the image depending on the light source. ■ Dreamstime //27149151 //2598956 //25226785 //13719887 //11688103 //2028404 //7402308 // 28630015 // 23625088 // 26123095 // 19046563 // 22806546 // 10795837 // 9217268 ■ sxc. There are several ways to achieve this quality. Set this layer’s blending mode to Soft Light and also decrease the opacity to determine the strength.dreamstime.hu //1341532 059 . This enables us to quickly add in detail. but this time set your Foreground to black. Adjust the Midtones slider accordingly to bring out the contrast in the image.hu. head over to www. Set the Highlight layer’s blending mode to Overlay and decrease its opacity. It’s also worth noting that it’s best to start by applying subtle effects. 03 INSERT A SHADOW LAYER Make a new layer and name it ‘Shadow’. layer highlights and shadows where necessary. along with one from http://sxc. ORIGINAL TUTORIAL FILES USED For those interested in applying the exact stock images Devin is using. START IMAGE 01 TONE THE ORIGINAL IMAGE Adjust the image to match the scene as best you can. but adding separate highlight and shadow layers using Photoshop brushes is the most preferred method. Below are the image IDs for you to search for. while still maintaining a great degree of control when shading.UNDERWATER EFFECTS TECHNIQUES W LEARN HOW TO EASILY ADD DRAMATIC SHADOWS AND HIGHLIGHTS TO YOUR PHOTOS BY CREATING DYNAMIC LIGHTING SHADE WITH BLENDING MODES hen you really want to boost highlights and shadows in your photo composites and create dynamic lighting. Select Image>Adjustments Levels and pull in your black and white point sliders towards the centre of the Histogram.
The future holds very diverse projects for the duo. effects. then overlaying it with the same texture in the sky. don’t copy We begin by putting together existing elements from our library. For this we change details on either side. “We live to inspire and are inspired to live. bits and pieces are being churned and distilled into materialised expressions of imagination. but Angi Sullins and Silas Toball (www.” says Toball.robinsullins.” he says.com) as well as eBay auctions of artwork donated by artists such as John Howe and Brian Froud. Toball is working on a classical orchestral score while Sullins is writing her third book. textures. . which led them to write the Digital Art Wonderland. this is what it would look like. Toball is keen to sing its praises. Imaginarium (shown here). We frame the entrance with two tents but want to avoid exact mirrored replicas at all costs. who had to have her legs and fingers amputated. 01 060 040 Assemble the elements 03 duplicate. Photoshop’s blending modes are a favourite feature of Toball’s. “The 02 Gather the layers Next we paste every element in separate layers so they can be shifted or removed as the project progresses. select different curtains and add a little Buddha sculpture.” When asked what role Photoshop plays in the creation of their images.duirwaigh. “Photoshop acts as the cauldron in which photos. The floor is also distorted with the Warp tool to add a topsy-turvy perspective. The texture for the sky is used to establish mood. By using a silhouette of some grass in the foreground. scans. Having just finished illustrating a 2014 calendar for Amber Lotus. This is in the form of a special website (www. “If our studio could match our internal wonderland. we can achieve a strong composition for future consideration.” Over the years the duo have been asked to share how their art is created.” As is the case for most mixedmedia artists.Techniques how i made how i made A angi sullins and silas toball Angi Sullins and Silas Toball reveal how they create magic from mixed media Imaginarium is where we live. in our heads. imaginarium rtists should be champions of creative innovation. The couple also have a personal aim to help raise money for Sullins’ sister.com) have dedicated their lives to it. “It’s just the most versatile image-editing tool and over the years has become like a natural extension of my mouse/ graphics tablet. sums up their ethos perfectly.” Toball explains. The cover image of the book. fully. “Our professional work is our personal work. an inspirational instruction manual for using Photoshop as a mixed-media tool.
effects. scans. bits and pieces are being churned and distilled into materialised expressions of imagination 061 .HOW I MADE TECHNIQUES © Silas Toball / Duirwaigh Studios Photoshop acts as the cauldron in which photos. textures.
because it can drastically alter the shadows and lights of your image. This makes the stars appear to fade into the background. 08 tidy the edges As up to this point many of the elements have been roughly applied. It also pays to experiment by rotating this layer then flipping or otherwise displacing it. We add stars on the darkest part of the sky. We place this over the entire image and set it to Overlay. For instance. 05 hold it together In a collage of this nature. Small drop shadows need to be added and hues must be shifted in order to blend all the elements into an organic whole. but so as not to compromise the extra depth we achieved we’ll use the Transform tool. 07 decorative touches A large and completely black blob of swirls is now applied against a transparent background. We now disable the previous layer and choose the Difference blending mode to unify it into the piece. The stairs and fairground-like balustrade are perfect for this purpose. When using this effect we can control its strength with the Opacity slider. This blob is made into a selection. inverted and then a new layer filled with black is added.Techniques how i made 04 build up more effects Now we’ll add elements that will extend the pavilion to the sides. Any parts of the piece you prefer not to be affected can be controlled with a soft-edged Eraser. quick tip Lighting is almost always our last step. 062 040 . To alter this we use an abstract image file that contains marbled grey tones on a transparent background. 06 play with perspective Note how the clouds become smaller and more detailed towards the horizon to create depth and dimension. we’ll add little flowers between the curtain and the stairs. This is a long but vital step in the process. making it look longer and more elaborate. there are now many edges that require cleaning up. All the different sections need to blend in a natural way. One easy way to accomplish this is to add detail in places where objects meet. At this point. we want to avoid any element looking isolated. the light is distributed equally over the entire image.
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Set Anti-Aliasing to Best. Make sure you create both words at 40cm in thickness and then carefully position them in your scene. Also. Choose your document save path and remember to include an Alpha channel. OUR EXPERT JAMES KNOWLES www. semi-abstract. FROM BASIC 3D TO THE FINISHED SCENE WORK IN PROGRESS Progress 1: C4D main elements 03 ADD THE MATERIAL Next. During the process we’ll be using Photoshop’s blending modes. then set Min and Max Levels to 4x4.com James is a self-taught digital artist/ illustrator and has been producing a broad range of digital art for over ten years. We’ll aim to create and then convert a standard 3D render into a much more dynamic image. Don’t worry if you don’t own 3D software yet.668px and 300dpi. 02 CREATE THE TEXT Using the Text Spline tool. add the words ‘Level’ and ‘Up’ as separate objects. However. as well as trial versions of CINEMA 4D. Creating the 3D text is fairly straightforward. adjustment layers and then finish with over-painting. or alternatively create one in Photoshop. We’ll cover the basic stages of creating the 3D text. He is currently freelancing. We’ll also look at ways of unifying the colour between the render and the background to help give a more natural appearance to the whole piece. which will help you get started in 3D design. resulting in a much cleaner and smoother outline.TECHNIQUES CINEMA 4D AND PHOTOSHOP CINEMA 4D AND PHOTOSHOP TYPOGRAPHY T INCORPORATE A 3D TEXT RENDER INTO PHOTOSHOP TO PRODUCE A STRIKING POSTER he image we’ll be re-creating here. Try to use a tile texture. Level Up. 3ds Max and so on). Progress 2: Levels adjustment We’ll cover the basic stages of creating the 3D text. find a subtle texture to use as a material to add to the 3D elements. However. png’. ensure the material is projected in Cubic form.180 x 2. This asset is provided for the purposes of this tutorial and other non-commercial projects only. Use a Bump map on the texture and set some touches of specularity to the material. then place both of these into their own Extrude NURBS objects to create the 3D text. is my own experimental. The original 3D render is included on the disc entitled ‘LevelUp-Render. as there are several free and open-source 3D packages (for instance Blender. @GrungeTV SOURCE FILES 01 START WITH CINEMA 4D Set up the CINEMA 4D document at 1.grungetv. This will aid in the removal of unwanted artefacts when importing an image that has an Alpha channel attached. the 3D asset is already prepared so you can jump straight into the editing 040 064 Progress 3: Final touches . During the tutorial we will touch on the Select>Modify function. the 3D asset is already prepared so you can jump straight into the editing. interpretation of the common phrase used for reaching the next stage of a videogame.deviantart. For the best results use Global Illumination and Ambient Occlusion.
CREATE DRAMATIC TYPOGRAPHY techniques 065 .
Use Color Balance to add some red and yellow. Color to black and Location to Inside. setting the Width to 150px.com/APClouds and place it below the render. By applying a Random Effector you can adjust the settings and parameters to create an interesting abstract sculpture. Make copies of the Cloner object and adjust the settings in each to add variety. You should now see a big improvement in the range of light and shadow. Too much bunching in the Histogram suggests there’s an imbalance in your scene.Techniques cinema 4d and photoshop 04 include more elements Begin building the blocks from a basic cube then place them into a Cloner object. Duplicate the 3D render layer (Cmd/Ctrl+J) and simply set the blending mode to Hard Light at 35%. 066 040 . set the layer to Soft Light blending mode at 55%. You can use the same material as the text on these objects to give the impression of unity. You can use the Compositing tab to prevent the sky from being seen by the camera. position the blocks so that some of the text is obscured but so it still remains very legible. Next. This will then display whether highlight or shadow clipping is occurring. 06 import into photoshop Open the render in Photoshop as a layer. 07 boost the contrast Now let’s add a little more contrast. as we’ll be importing a dramatic sky photo later on. then clear the background by selecting the Alpha channel. position it beneath the render and apply a simple pale-orange Luminance material. set the layer to Hard Light and create a Radial gradient layer below this using soft-blue or green tones to adjust the colour scheme. This will immediately give the tones some much needed definition. 05 set up the lighting Add a plane. import the cloud stock from: http://tinyurl. Select all (Cmd/Ctrl+A) and go to Edit>Stroke. quick tip When using the Levels adjustment layer. Next. Mid-May) and use Hard Shadows. inverting and trimming it (or use the PNG file supplied). holding Opt/Alt while dragging the adjustment point sliders will replace your main image with a white or black image. Now go to Filter>Blur>Gaussian Blur and set Radius to 250 pixels. so drag the small point sliders at either end of the Levels adjustment layer ever so slightly towards the centre. This will cast a secondary light from below. 08 use a levels adjustment At this point it’s a good idea to check how our levels are looking. Reduce the size of the sky and hold Shift to constrain the dimensions. add a blank layer on top of this and name it ‘Vignette’. insert a standard sky to the scene (approximately 12 o’clock Noon. Consulting the Histogram (on the Menu bar. Next. We only need a slight adjustment layer here. To finish. This will produce a graphic result in the shade to keep the render looking fresh. go to Window>Histogram) will indicate how your lights and darks are spread throughout the image. It’s useful to check if your changes are potentially detrimental to your image. Next. Now we’re ready to render the scene.
001 By adjusting the settings and parameters of the Random Effector you can achieve a truly chaotic but effective result. build up some foreground cloud on a new layer to add more depth to the scene. using a small hard round brush set to about 80% Opacity. 13 make a final colour adjustment Tweak the tones by adding a Color Balance adjustment layer. Try not to get carried away here. Now go to Filter>Distort>Lens Correction and add a chromatic aberration effect. then Highlights: 0. 002 When selecting a stock image for the background. 0 and -15. using a small hard round brush set to about 80% Opacity. but changing the mode to Soft Light and adjusting the Opacity to 40% will act as a final contrast adjustment. keep the painting to a minimum and restrict it to the lower portion of the canvas. The first thing you’ll notice is the whole image has changed to an ugly reddish hue.cinema 4d and photoshop techniques Use Distortive lens correction and a spot of painting the next level achieve semi-realism 09 So far we have taken an average 3D render. At this point. adjust its Curves slightly and boost the contrast a little (Image>Adjustments>Curves). Under the Chromatic Aberration tab. so to liven it up we can paint some snowflakes. reduce the layer Opacity to about 22%. -27 and 0. Starting with Shadows. 12 let it snow The image is looking a bit static. If used sensibly (and subtly) this fix will give a near-photographic quality to enhance the overall believability of the image. you can experiment with blending modes or Opacity settings to achieve other interesting results. with a subtle colour enhancement thrown in. then duplicate the layer (Cmd/ Ctrl+J) and set it to Luminosity at 100%. for Midtones input: +38. tweak the Fix Fringe sliders slightly to separate the colours of the render. we can paint some snowflakes of various sizes. placed it in an appropriate environment. enter the numeric values: -19. 11 add painted clouds Using a soft brush (100px) set to low opacity. 0 and +2. 003 Boosting the contrast between the light and shaded areas of the render will enhance the overall definition. On a new layer. Now go to Filter>Blur>Motion Blur. This will flesh out the highlights and shadows a little more. set the Direction to about 30 degrees and the Distance to 25-35 pixels. Try not to use pure white for the colour. For the final stages we’ll attempt to inject some realism into the image to give it yet more appeal. so to liven it up we can paint some snowflakes. The image is looking a bit static. When you’re happy with the clouds. 001 002 003 10 apply chromatic aberration Make another duplicate layer of the render (Cmd/Ctrl+J). we can paint some snowflakes 067 . make sure that the light source complements the 3D render. then enhanced its definition using adjustment layers and blending modes. but more of a light grey. On a new layer.
colours and shapes.mydeadpony. Progress 2: Brush on elements ENHANCE COLOURS Select the top portrait image and create a new layer beneath it. the Lasso tool. Next. change the layer mode to Multiply for the second copy. OUR EXPERT RAPHAËL VICENZI www. modify it and add different elements such as hand-drawn make-up tools. FROM BASIC PORTRAIT TO VIBRANT RESULT WORK IN PROGRESS Progress 1: Build the base 01 START WITH A STOCK PHOTO We start by creating a new canvas of 235 x 302mm at 300dpi and drag the model onto the canvas. Use a soft brush set to white (Opacity at around 40 %) to reveal the darker skin beneath.TECHNIQUES BLENDING MIXED MEDIA O BLENDING MIXED MEDIA ver the next few steps you’ll learn how to use different techniques to build this inspired digital collage. gradients and masks. We’ll also place coloured brushstrokes on top of the model and then remove aspects we don’t need. brushes. select the two bottom layers and merge them. Photoshop enables us to build up colours and effects that would be near impossible to create rapidly with real-world media.com Raphaël Vicenzi. We’ll start with a model portrait. DRAWN ELEMENTS AND OTHER TOOLS TO BUILD AN INSPIRED EDITORIAL ILLUSTRATION matter of finishing the illustration with type and then distressing the image slightly. 02 03 TRANSFORM THE FEATURES Duplicate the image twice. the illustration can be made with a few back-and-forth adjustments. He is represented by Colagene. Once the main features have been created and set in place it’s only a GRAPHICS USE PHOTOSHOP BRUSHES. Add a new layer beneath this. Although the process seems linear. Now use the Eraser tool (E) to remove any parts covering the face. You will need your own model image. THE FOUNDATIONS IMPORT A PORTRAIT IMAGE INTO YOUR CANVAS SOURCE FILES On the disc you will find textures and brushes used to create this image. detour the original image with the Pen tool (P) and desaturate it (Cmd/Ctrl+Shift+U). You can slightly boost up the blacks and whites with the Curves panel. is a Belgian illustrator whose creations are often used for magazine editorials. The key here is to experiment and take a hand-made approach to achieve a nice balance. aka mydeadpony. Fill this with a gradient (G) and set it to Soft Light. as well as experiments. We’ll mainly be using hand-made textures. fill it with another gradient but reduce its Opacity to around 85%. Add a layer mask and fill the Foreground with black on the first layer to hide the image. to find the final composition. Progress 3: Add final effects 068 040 .
mixed-media illustration techniques 069 .
We’ll use the Gradient tool to fill these with different gradients of our choice. 05 import your elements Now it’s time to bring the new elements into the original illustration. 08 layer on more make-up You can draw even more elements using different brushes on a layer. Playing with the effects is key to finding balance. then softly erase the parts that aren’t needed with the Eraser tool at around 40%. but applying and finding the right place for them within the illustration will help build something more interesting for the final result. 06 create make-up On a layer above the portrait we’ll use brushes from the Brush Preset palette (B) made from scanned textures. Create a copy of this and resize it accordingly. You can also add a circle filled with a pattern in the same way. quick tip The various elements used for an illustration don’t need to be complicated in themselves. paint the lips in red on a new layer and set this to Linear Burn. Experiment with what works best for you. We’ll also tone down the left and right side of the lips by softly removing the colour with the Eraser tool set at around 30%. These can be placed and resized (Edit>Transform/Scale) accordingly until we’re happy with the composition. Drag them with the Selection tool (V) in the original document and place them behind the portrait layers. You can click on the Add icon to avoid holding Shift while making a few of these. Pick a tone. so keep adding more features to further refine the distribution and don’t hesitate to move them around if needed. Set this layer to Divide. Two more layers can be added in this way (dropping the previous selection each time) with different-sized blobs. Ctrl/right-click. Create various layers (in this case we need to place them in different areas) then add swirling black lines next to the eye with a small brush. We’ll also add a few painted strokes (using varying opacity) to bring some blue make-up around the eyes.Techniques blending mixed media 04 add in new features On a new canvas we’ll create a circle with the Ellipse tool (U+Shift-drag to constrain the circle) without a Stroke. 070 040 . bring down the Opacity to around 50% and merge. Next we’ll draw two circles for the cheeks and a brushstroke set to Darken placed next to the head. select Rasterize then place a texture on top of the circle and create a clipping mask with the texture layer (Cmd/ Ctrl+Opt/Alt+G). 07 apply coloured shapes On a new layer we’ll roughly create different-sized blobs by hand using the Lasso tool. Apply around the eyes to create some original make-up. We’ll also add a new circle on another layer filled with an off-white colour behind the portrait. Also.
then softly erase the parts that aren’t needed with the Eraser tool at around 40%. then rasterise this layer.blending mixed media techniques Apply strokes with your brushes and tweak the composition build layers and elements use brushstrokes 09 On a new layer we’ll add a few coloured brushstrokes to bring more colours to the illustration. we can experiment and find effective combinations. Paint the lips in red on a new layer and set this to Linear Burn 11 include more assets We’ll now add other scanned elements into the illustration. A bit of trial and error is required. so it’s best to play around and see if something worth keeping appears. Lighten and Luminosity. We add in blobs of vivid colour with the Lasso tool and then fill these selections with a gradient. You can place these new additions behind existing elements if needed. Ctrl/right-click the layer mask and choose Apply Layer Mask. 001 002 Layer on strokes over the eyes to create the make-up and then add a few more hand-made doodles. We’ll add splatters by selecting another brush and applying blues and oranges. Create three circles using the same method and fill them with a grey gradient. Create a layer mask for the texture by clicking the icon at the bottom of the Layers palette and then set this texture layer to Linear Burn. Pick different brushes. select a gradient and then rasterise it. 12 place the media Add the new elements then move them around to find places they’ll fit. By rotating. Always remain flexible and try not to overwhelm the result. create a gradient fill set to Hard Light and then merge these layers. place it on top of a black-and-white scanned texture. Next select the shape of the plant. reducing and using different blending modes such as Multiply. vary their size via the Brush Preset palette and choose vivid tones from the Color palette. Choose a red Fill without adding a Stroke in the Ellipse tool palette. 13 inject small details Create a line with the Line tool. input a Weight of 2 pixels. 003 Paint random brushstrokes with brushes of various sizes to find an interesting look for the illustration. Select the shape of the wing. 071 . 001 002 003 10 bring in texture Open the scanned watercolour texture then drag and drop it on top of all the layers. Apply around the eyes to create some original makeup. such as a wing and plant shape. With a brush picked from the Brush Preset palette we can mask selected areas while varying the size and Opacity (between 80% and 30%). We can add a small circle using the Ellipse tool and constrain it with Shift.
select the face of the model with the Elliptical Marquee tool. Write the words on a new layer using a simple brush. 072 040 . A scanned texture can be drastically changed with the help of adjustment layers such as Hue/Saturation or Brightness/Contrast to give them a sharper look and feel. on a new layer placed on top of the coloured strokes. Bring down the Opacity to around 25% so it only slightly enhances the image without overdoing it. then add a new layer and select Current & Below under the Sample dropdown menu. so just loosely draw them to maintain a hand-made look. Opt/Alt-click to copy sections of the image and then position them where required using the Selection tool (V). The powder case object can be colourised with pink and blue tones using a simple brush. We are now ready to save the image at a high resolution. flip them horizontally and place them accordingly. As we’ve kept most of the layers intact we are able to rework the illustration if needed. You can also add different textures on top of one another then play with different layer modes and opacities to add depth. These are drawn directly into Photoshop with different brushes. acrylic paints or hand-drawn doodles and then use them in your illustration when brought in at a high resolution. 18 finalise the illustration To finish. 15 apply more assets Now we’ll open a separate document to bring in new elements. We can then use an old mirror illustration from a source book and place it on the canvas. we can write something that suits the piece. Next. textures It’s more rewarding to create your own textures from watercolours. import these objects back into the original image and position them. create a copy on a new layer then choose Edit>Transform/Scale to reduce it to around 16%. bring up the Curves panel in the Properties palette and slightly boost the dark and light areas. 16 include typography Applying your own handwriting to add typographic elements will continue the unique hand-made aesthetic we’re developing. This may not be necessary if the illustration is already quite vivid. Make a copy of these layers. We’ll create some lines with a simple black brush from the mirror to the face and then merge these layers. while observing reference material. Alternatively you can easily turn these scanned textures into Photoshop brushes to reuse in your projects. Place this layer underneath the coloured brushstrokes and other elements so we can still see them and read the words more clearly. When you’re done. We don’t want these to look realistic. vary the size to achieve some authentic inconsistencies and set the layer to Screen. in this case ‘Mixed Media’. Using the same colour as the background. 17 Slightly distress the image Use the Clone Stamp tool (S) with a large brush to distress the image.Techniques blending mixed media Refine your media and complete the stylised effects finalise the image reuse and recycle 14 On the portrait layer.
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074 . create custom brushes and apply image adjustments. Look up ‘Angel Falls’ online to kick-start your research. as this is where you want to sit back. This way the colours won’t distract you. This is important for constantly checking the values. Another frequently used feature is the Hue/ Saturation adjustment. we’ll find some inspiration. A quick tip is to squash the circle in the brush settings to create an ellipse. by desaturating the whole image and sliding the Saturation to -100. Before we jump into the process. With just a basic knowledge of the program you’ll be able to produce convincing artwork in no time. In the following steps you will learn some of the tools used in digital painting and what Photoshop has to offer. Play around with the settings of the brush and familiarise yourself with its effects. relax and be open to what you see. as this is a fantastic example to use as reference. Try not to rush this step. Some of the advantages of using Photoshop include being able to layer your work.paint a landscape Create an illusion of detail and apply group tonal values digital painting H ere you’ll learn how to create a landscape painting in Photoshop. Throughout the tutorial we’ll mostly be applying default hard and soft round brushes with Pen Pressure active.
advancedphotoshop.paint a landscape techniques Our expert takumer homma www. co. This will speed up the process and help you understand how they are used.uk/tutorial-files. who made a transition from the automotive industry in 2012. http://blog. source files The brush file you will need for this tutorial is included on the website. He dreams and aims to work in films.com Takumer Homma is a freelance concept artist and a digital illustrator for videogames.takumer. 075 .
from light to dark. Be careful not to overdo this effect. You can refer back to the initial values from Step 2 for this. this is where your research pays off. then use the Brush and Smudge tools to move the paint until the tones interact with one another. Focus on the three major masses and pick some interesting dull instead of bright colours. We’ll determine the direction of the light that will complement the main focus point. Mix these as though you’re mixing on the palette. We can zoom out and mark with big strokes to keep away from details and then focus on composition and shapes. Here we’ve added a cave that suggests erosion and composited in a focal image to set the overall scene. From the Adjustment menu. so go crazy with the colour variations but be mindful of the tonal values. grab a big brush and block in masses of greys with a variety of tonal values. the last remains of what used to stand. middle and right. the arch. This will also guide the placement of the image’s focus and detailed elements. a medium grey for the mid-ground and a dark grey for the foreground. so grab some of the reference images you’ve gathered. We now need to add a secondary focus to suggest the finding of the remains. 076 . 06 add a silhouette Clarity is important. middle and dark values and then reapply with the brighter colours on the highlights. in this case just around the arch. but in this case we need the light to enter from the top-left corner. 02 establish a story We need to quickly conceive a story that will evoke something more in the artwork and garner some interest. There are multiple ways to light a scene. The trick here is to keep a nice mix of looseness and sharpness. where we are trying to retain the fine edges. 04 Layer on colours It’s now time to splash some colours on the canvas. open the Levels adjustment and slide the Output Levels to group the values closer together for each of the three main masses. 05 group the values Extract the three masses on the canvas. Maintain the light. direct the light At this stage we should spend some time further developing the image to provide better focus. It’s important to keep in mind that we need at least three values: a light grey for the background.Techniques paint a landscape 01 03 block in the main features After completing a lot of research to better understand the subject matter. Later on we’ll also add a boat to give a better sense of scale and a secondary focus point in the image. as things can quickly look artificial. one each on the left. The Lasso tool is very useful in a situation like this. Try to maintain the most contrast on the main focus point. This scene takes us on a journey to discover what is left of the lost arch. If you’re unsure which colours to pick. so constantly check the Navigator window to ensure that the image is readable. With a soft round brush we will be using mist and atmospheric perspective as an excuse to push and pull the masses while controlling the edges.
09 use a highlight Now we’ll refine the highlights. The foreground elements and the highlight areas deserve a few stamps. 08 mimic a water ripple We have provided a ripple custom brush for use in this project. It’s key to pay attention to these areas because our eyes are naturally drawn to the bright sides of a canvas. These textures aim to add some overall noise and depth to the painting. apply further details Paint over most of the textures to clean them up. We’ll now very subtly highlight the water ripple towards the arrow-shaped cave. as we are only after subtle suggestions at this stage. At this point we’ll be focusing on areas where we want some intricate details to draw in the viewer’s eye. but leave some as dark shades and try to let some of the details bleed through. 077 . while warm ones often do the opposite. We’ll want to achieve a transition between the warmer and cooler tones. especially when the light is against the dark. but don’t be concerned about making these accurate at this point. 11 10 layer on some texture From the custom brushes provided. Add some colour variations and indications of yellowgreen tones to represent the leaves. It can also be useful for adding some noise to your image. Keep the background loose and lightly apply a cool tone to it with a Color Balance adjustment layer. This helps direct the viewer towards the arch and develops the overall composition of the painting. quick tip With a brush active. in fact you’ll probably have to in order to achieve the best result. Use the brushes wisely. Try to avoid including too many details. Fill the water with dark cyan and stamp the bright ripple brush a few times with different values. If you have a tendency to draw every detail. We will be adding colour temperature and a slight shift from yellow to orange. hold Opt/Alt+Shift and click to bring up the Color Picker around the cursor. which was created using a few different photographs.paint a landscape techniques 07 refine the background Now we’ll pay some attention to the background as well as the edges of the three main masses. You can also include some small rocks to add some interest and refine the arch some more. This will save you that extra time going back and forth to the tool menu. sparingly and always with a considered outcome. using a bigger brush will usually help. We can also start cleaning up the water ripple and add some mist to blend the values closer together. Don’t be afraid to paint over it. These cool colours will tend to recede. we’ll go ahead and stamp the rock and arch brushes with different dark colours.
this is the secondary focus point. 14 blend in the boat Once we have the overall shape of the boat. so give it a decent amount of time and attention. copy and flip the boat vertically and cut into it with the ripple effect. quick tip Hit Cmd/Ctrl+Opt/Alt+Shift to merge all the visible layers on a separate new layer. instead of selecting all the layers. we can now concentrate on blending it into the environment. To save time. paste and flatten them. grass and thin branches then let them poke out slightly. Not forgetting the reflection on the water.Techniques paint a landscape 12 focus on the edges Now we can apply further detail to the edges of the masses and scribble in some interesting elements. With the boat in place. As mentioned in Step 3. so let’s open the Color Balance adjustments and inject some life. The colours are looking a little dull. The tonal value should be close to the value on the rock beside it. Include some silhouettes of roots. we can start refining the arch and its surroundings. Since this arch is a man-made structure we will define it with simple hard edges. 13 get a sense of scale We’ll now add a boat to give the piece more of a sense of scale and life. Open the Levels adjustment and alter the values to match the surroundings. This helps to create a sense of scale and detail. you can simply copy. as they are shapes we are familiar with and can instantly relate to. This is a great opportunity to bring a unique feel to your composition. Paint over some of the textures to further define the form of the structure and rocks. You can desaturate the image to check the values by using a Hue/Saturation adjustment. 078 . Stay attuned to its tonal value and don’t worry too much about it looking out of place for now. we can add a few spots of highlight to bring in some dimension. 15 use a focus point Zooming right in on the focus point. adding some cool tones to the shadows and warm ones to the highlights. Also select the soft round brush and add some mist. as we can fix this later.
Go to Filter> Sharpen> Unsharp Mask and adjust the settings to your liking. set it to Overlay or Soft Light and paint in some more warm tones. which by this stage should seem close to finished. Add in some of the grass with a few thin strokes of highlights. but now we can bring it back. sketching in horizontal and vertical lines to indicate some of the open cracks. as we want to avoid the viewer being drawn to these areas. Take your time and look over the entire piece again. but be careful not to overdo this and avoid adding too much contrast. 20 final tweaks Take your time and look over the entire piece again. Bring up the Color Balance adjustment and add some warmth to the Shadow and Midtones settings. You can also use the Curves adjustment to do the job. just to enhance the details. 18 sharpen things up If you’ve accumulated multiple layers. simply take care of it and keep zooming out to see the bigger picture. If you’re really desperate for more control. If an area is bothering you. 17 tweak the depth and background Now some of the background elements need attending to. From here onwards we’ll only be conducting very small tweaks. Remember to keep things loose. The main rocks deserve a little more attention. We can subtly add some highlights and atmospheric perspectives to break up the masses. Are you happy with it? Check for anything that pops out 19 adjust the tones We may have lost some of the warmth in the image along the way. Are you happy with it? Check for anything that pops out. Try squinting your eyes to maintain control of the overall values. you can add a new layer on top.paint a landscape techniques 16 apply highlights Now it’s time to look over the entire piece. By revisiting some of the highlighted areas we can add colour vibrancy with some brighter and saturated colours. If there is anything bothering you it’s not too late to fix. you can now flatten these. Shift the values ever so slightly when doing this. In this case we’ve applied an Amount of 50% and a Radius of 8 pixels. don’t rush it and maintain a steady rhythm. This process will add more crispness to the right areas of the painting. 079 .
justifying its hefty price tag.859 / $1.449 s digital photographers and Photoshop users. you have the option to fully adjust the monitor with NEC’s dedicated SpectraView Profiler.859 the SpectraView Reference 271 (known to US customers as the PA271W with SpectraView. it’s vital that artists can discern every detail of the image they’re working on.com £1. For an artist to be truly creative. before you zoom in and work on the finer details.449) is clearly aimed at professional users who require a high-quality screen.spectraview reference 271 reviews spectraview reference 271 A We explore the intuitive functionality of this high-end monitor and question whether this is enough to justify its hefty price tag www. This dedicated profiler is designed to get the most out of your monitor and should produce better results than using software calibration on your computer (SpectraView Colorimeter needs to be bought separately). there’s a regular feature we look for in every device. There are only so many hours in a day. so we must consider how colour calibration factors into our workflow – whether the process is disruptive or easily integrated – to enable us to focus on creating brilliant new work. The SpectraView Reference 271 is a monitor that ticks all these boxes and more. With regards to monitors. With an impressive 081 . At £1.440 resolution enable wonderfully clear overviews of an image.nec-display-solutions. To help with the colour setup. The Reference 271 not only delivers a crystal-clear image but also provides total control over calibration. costing $1. Its 27-inch screen and a super-sharp 2. composition and the image as it’s brought to fruition. which enables very fine 14-bit calibration.560 x 1. Once the monitor is adjusted you can then add profiles for your computer that will help maintain a consistent workflow. there should be no barriers between his or her ideas and the equipment used to create colours. Noticing subtle information in low light as well as the very brightest areas is as critical as presenting a smooth range of colours.
plus view your timeline and the many other windows that are needed when working with the moving image. A versatile secondary monitor 082 .reviews spectraview reference 271 Double up and streamline your workflow The gap between photography and filmmaking is narrowing all the time due to the arrival of HD filming on digital SLRs. then raised. The SpectraView Reference 271 can be easily and quickly rotated through 90 degrees. Both of these functions make the Reference 271 a great display monitor for showcasing your finished work to clients and the public. spun and repositioned to make working with motion footage quick and convenient. A versatile secondary monitor provides enough screen space to scrutinise your motion footage. This enables a versatile desktop that you can change rapidly to suit your needs when switching between different applications. With the P-IPS panel the image can be viewed clearly from many angles. comprehensive animation features in Photoshop and better integration with After Effects. retaining vivid colours and detail while being evenly lit.
with enough control over the different colour channels and brightness to set up a few presets. The whole process – from the shutter click. These can roughly match the output of the different printers you use. which unfortunately would not cater for the SpectraView Reference 271’s 2. This means investing in the right one is as vital as having a super-quick computer or the most up-to-date camera. which is capable of 10-bit colour depth when used with a high-end graphics cards on a PC or with Apple’s Thunderbolt interface. the SpectraView Reference 271 is a fine monitor for producing beautiful and creative work across all digital formats and styles. Your monitor is the last step in the creative process and enables you to clearly see what your image is doing.751) and the Reference model that we tested. which helps to make the final prints of all the more impressive. This came with the addition of a six-month zero-pixel-defect warranty. forgotten spaces that are usually very dark. a monitor hood with a sensor cover (so you can fix your Colorimeter to the screen without removing the hood) and a certified high level of light uniformity across the screen. the feature can be used in simpler ways.spectraview reference 271 reviews 99 per cent Adobe RGB colour space you can see truly representative colours. We tested this monitor using a dual-screen 27-inch iMac.com) As a photographer and digital artist I’m very fussy about the monitor I use to create my final images. However. if time is tight. so you can anticipate the output with a decent degree of accuracy. NEC offers two options with this monitor: the standard SV271 (priced at £1. which gave a good feeling for the sharp detail at full resolution. The SpectraView Reference 271 is suited to high-end photography and retouching.440 screen resolution. With all the technical specifications available. You can spend limitless time precisely setting up the screen’s calibration in super-fine detail. through to my digital pipeline. I need the best feedback from my equipment and a good feeling for how the final image will be rendered by the many printers I use. It shows the smallest change in tone. One of the key things I obsess over – but have found disappointing with all flat-screen displays I’ve used – is the amount of detail that’s visible in the very dark or low-lit areas of an image. we were able to see the image unexpanded.andrewbrooksphotography. The monitor also features NEC’s P-IPS panel. This means if you have the system in place the monitor can show a palette of 1. As part of my photography I do a lot of urban exploring and visiting strange. get a feel for lowlight photography Final Score: 9/10 You can drop your Colorimeter directly onto the screen using a handy sensor cover and keep the hood on as you calibrate With the new DisplayPort input you can make good use of the monitor’s 10-bit colour depth 083 . It works well in an environment where clients demand accurate colour across the whole creative process. Having a clear idea of what is going on in these shady parts is really important and this is one of the things that the Reference 271 does really well.560 x 1. with key features such as light uniformity across the screen and very subtle calibration control. Verdict Features: 8/10 Ease of use: 9/10 Value for money: 9/10 Quality of results: 8/10 Andrew brooks explains why a professional monitor is essential for quality results (www. then onto the feel of the final print – is my responsibility.07 billion colours. However.
A 10MB installation is comparatively economic on memory. Its operation is slightly different to Photoshop’s.1 or later. which further reinforces its use as a proofing app ready to share concepts instantly.39 / $3. You get bang for your buck from Filterstorm 4’s advanced toolset and first-class functionality VERDICT: 10/10 PHOTOSHOP USERS WILL LOVE FILTERSTORM 4’S FAMILIAR INTERFACE AND TOOLSET UNPACKING THE FEATURES HUD BRUSH HUD brush functionality makes all the difference when cloning and editing layer masks with manual brushes in Filterstorm 4. Filterstorm 4 provides many Undo stages. just as you would inside Photoshop. but there are plenty of apps that short-change you in the Undo department – some no more than three steps back. FTP. iPod touch and iPad. Curves. HISTORY This may seem an innocuous option to get excited about. The app’s swish carbon-coloured interface is littered with options that will be familiar to Photoshop users. You can then take your work into Photoshop to apply further edits and work with larger files. you can make the most of your layered effects by saving them as presets under Automations for use in future projects Despite the similarities. You can simply place your marker to map what you want to clone. However. but rather as a paired software. Filterstorm 4 shouldn’t be seen as a portable replacement for Photoshop. Dropbox. feathered edge and opacity before applying that style to your mask. Hue/Saturation. there’s little to no lagging and the degree of control available is comparable to desktop software. SFTP.99 • iPhone. Requires iOS 5. CLONE TOOL We were truly impressed with this tool. Optimised for iPhone5 ilterstorm 4 is a serious app for serious photo editors that strips away the fat to supply only the core toolsets for achieving professional looks – all for under £5! Until now we’ve not seen many apps that include advanced functionality at this price. 084 . Effects (filters) can be applied like adjustment layers and then edited using blending modes and allocated layer masks. used to proof postproduction effects. so you can continue to edit at your leisure. Even better. through flexible sliders and control points.REVIEWS FILTERSTORM 4 FILTERSTORM 4 F • £2.com/fs4 WE EXPLORE THE IMPRESSIVE AND VERY FAMILIAR FEATURES OF THIS PHOTO EDITING APP The price ultimately matches the performance. Filterstorm 4 only supports a stack of five layers but adding a sixth will prompt it to merge the bottom two. Blur and Sharpening adjustments can be applied in real-time. Flickr. Levels. These enable you to visually confirm a brush’s size. but is just as comprehensible. hold and move your finger over the image element you want to remove. http://filterstorm. Twitter and Facebook. White Balance. You can also affect the latter manually with a brush or by using gradients. The app can also share images via email. leaving plenty of space for library photos to experiment with. then press.
These include ways to smooth realistically. which is vital when addressing tonal and lighting techniques. Creative Photography Ideas Using Adobe Photoshop fulfils these requirements. www.fwmedia.creative photography ideas using adobe photoshop reviews creative photography ideas using adobe photoshop W http://books. such as the Shadows/Highlights command. These will undoubtedly improve your retouch and photo-editing workflows.uk/creative-photoshop-for-photographers and quote promo code R3158 at the checkout. manageable through a format that is easy to interpret. as well as significantly enhance or perfect the reader’s existing skills. maps and features that you can edit using simple slider controls and mask functionality. Verdict: 7/10 http://digitalphotoshop retouching.99. but the good outweighs the bad. smooth skin. but it still provides the means to learn expert techniques ■ Get your copy of Creative Photography Ideas for less. The images also come in full colour.co. You can adjust eye detail. These techniques are especially useful for those looking to work with flat images.portraitprofessional. 085 . to make local colour adjustments. duel toning and solarisation. enhancing and finishing your portraits. With well over 50 industry topics covered in a detailed.com/dvds/ beauty-retouching-dvd. Just visit www. Derivative compositing techniques include adding a rainbow or lightning. This DVD series could possibly be the ultimate tool aimed at Photoshop retouchers. but it also provides the RAW content to practise with in your spare time for your personal projects. at £11. This book hits the ground running.thehobbywarehouse. co.com/retouchingtutorials Not only does this website supply you with some secret tips and tricks.amazon.com $50 (approx £32) Professional Portrait Retouching Techniques for Photographers Using Photoshop Photo-editing expert Scott Kelby reveals essential tips and tricks through step-by-step methods for fixing.ononesoftware. digitalphotoshop retouching. you’ll be free to improve your retouch skills at your own pace. change hair colour and even sculpt features. one-to-one with expert Gry Garness.htm beauty retouching techniques in photoshop e believe the prerequisite for a successful Photoshop guide is the ability to deliver practical advice.com) We find out if this creative manual delivers advice that will greatly enhance your skills Top 5… retouch resources www.com Free http://kelbytraining.grygarness.uk • £15 / $25 (via www. Techniques must be presented clearly. For the most part. This does slightly tarnish what is otherwise a practical Photoshop manual. making the steps far easier to follow. The majority of this resource supplies you with necessary photo editing skills. 13-hour. presenting photo-editing enthusiasts with ways to create precise contemporary styles such as HDR photography. remove blemishes fast and much more. while the thumbnails are of a far lower quality and seem like an after-thought. Sadly when we reached the token ‘Special Effects’ chapter we found this book undoes all its good work. £99 (approx $154 US) We were disappointed the book went out with a whimper.com/ products/suite7 $80 (approx £52) OnOne Perfect Photo Suite 7 Author: Tony Worobiec Each of the seven pieces of software is geared towards creating contemporary effects through one-click options and sliders. The thumbnail images accompanying the tutorials all feature the Photoshop interface.com Portrait Professional 11 automatically finds faces. Portrait Professional 11 £40 (approx $62 US) www.
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as I tend to chop and change from one thing to another quite a bit. I’m actually a front-end web designer by day and a freelance digital artist in my spare time. I would probably aving started out using Deluxe Paint on the Amiga. Since then reader interview http://be.uk/user/ danmax Our reader Dan maxwell @maxi_dan Alice Lands: Most of the elements on this image were created on completely separate canvases and then put together using Warp and Transform tools to get the final composition © Dan Maxwell Time: Blurring a few parts of an image that are in the foreground can give a great sense of depth to your artwork © Dan Maxwell Bunni Crusha: The characters were created in Illustrator then imported into Photoshop. but that’s not necessarily how I intended it to look. who is a front-end web designer by day and freelance digital artist in his spare time. Dan Maxwell. How did you get into digital art? From as far back as I can remember I was always painting.co. so art has always been my passion. I concentrated on the colour scheme for this image and it took several iterations to get right © Dan Maxwell 088 . My very first piece of digital art took me about three weeks to finish. sketching and just generally doodling.net/danmax www. explains the importance of personal development during his creative process. It just happens. It was a combination of having absolutely no idea how to use the program and the fact that each brushstroke took ten minutes to render on the screen.advancedphotoshop.reader interview fantasy lighting effects H fantasy lighting effects Dan Maxwell discusses how lighting and knowing when to finish are key to producing digital art my appetite to experiment and learn new digital techniques has continued to grow. Do you believe your art has a definitive and recognisable style? I’m not sure I do. but some of the stuff I see other artists do online is amazing and never fails to inspire me to keep developing. Somewhere between coming up with the idea for an image in my head and translating it across to the screen I end up with a fantasy aesthetic.
It’s a combination of vector images and photos.Yin & Yang: This originally started out as two separate pieces. The hardest part was actually finding the right combination of crows and doves to merge together © Dan Maxwell Wildflower: This was another of my earlier pieces. The leaves were all created from one shape that I warped using the Transfer tool and then painted over © Dan Maxwell 089 .
A Bevel and Emboss layer style was then added. The green and red shapes were created in Illustrator.READER INTERVIEW FANTASY LIGHTING EFFECTS The lighting effects were completed by painting with a soft-edged brush on a separate layer set to Linear Dodge or Linear Add blending mode. Vines and bracelets were drawn with the Pen tool and a hard-edged brushstroke was applied to the path. Dragon Orchid © Dan Maxwell 090 . The flowers were made from the same shapes using the Transform and Warp tools.
The majority of the lighting already existed on the main image and I just added extra bits here and there. as well as one of my first Photoshop pieces. These elements were painted 300-per-cent larger than the rest of the canvas and then scaled down to blend in. maybe a few hours. rodneymatthews. Another favourite of mine is Radim Malinic’s graphic style (www. only to end up scrapping hours of additional work for a much simpler. I always try to keep my lighting effects on separate layers so they can be easily changed or removed.FANTASY LIGHTING EFFECTS READER INTERVIEW THEN AND NOW TAKE A LOOK AT HOW MAXWELL’S WORK HAS DEVELOPED OVER TIME The Tree House was one of my very first attempts at adding more lighting to an image. The fairy snag was made using similar methods. I start by creating everything in greyscale. HOW WOULD YOU DESCRIBE YOUR PROCESS? Unless I have a very clear idea of what it is that I want to do. Shoot for a new career 20 new courses now available Learn Photography in Central London Day . If I already have the idea. The other things I use a lot of are customised brushes. it was the starting point of my fascination with lighting and Photoshop © Dan Maxwell The fairy snag: This image took me about two weeks in total to complete and is currently one of my personal favourites © Dan Maxwell say the most common theme across my images comes down to my use of lighting and glow effects. painting random shapes on a page and hoping for a result is a commonly used method. At this point I also have to walk away [to get a fresh perspective].Evening . I colour the image. WHICH ARTISTS HAVE INFLUENCED YOU? I think Rodney Matthews’ style (www.com) is so unique.com 020 7138 2909 091 .media-courses. I painted in most of the details and lighting myself. Though not very technical. The Tree House: This didn’t take long to create. Admittedly these were applied quite heavily and are visible where all the highlight areas have been completely blown out. It can be quite easy to overdo these. WHICH PHOTOSHOP TECHNIQUES AND TOOLS DO YOU USE? Well. but it’s always fun trying. however. you can never have too many. so you have to be careful. The background was created using a mix of custom brushes and blurred to add depth. It was 98-per-cent photomanipulation and there were very few elements that hadn’t come from some sort of stock photography. then bring in a few more lights and some glows. WHAT IS THE HARDEST THING YOU HAVE HAD TO LEARN CREATIVELY? Apart from the initial sitting down and learning an application (manuals are never my strong point). Also.Weekend Beginners welcome • Portrait • Lighting • Black + White • Re-touch advanced • Fashion • Wedding • Still Life 25% discount if you book early London Academy of Media Film and TV www.uk). instead of relying purely on photographs. the biggest struggle I have is knowing when to stop. It’s an atmosphere I like to think I re-create in my images. The particular shapes he uses to create his landscapes and characters have a real other-worldly magic to them and no one else quite captures that feeling in my opinion. most of which are achieved by simply painting areas and then applying a layer style such as Color Dodge or Linear Light.co. This helps me to concentrate on the composition rather than jumping ahead and becoming too focused on little details. I try not to be too critical about my own work. It doesn’t always work and sometimes I just end up with one big mess. cleaner version. I have hoarded hundreds of these over the years and although I do have a standard set that I fall back on. I love glow effects. I’m a total sucker for these. add highlights and shadows.brandnu. On more than one occasion I have overworked an image. Walking away for a while then coming back with a fresh set of eyes always works. It’s sometimes too easy to lose sight of what I’m trying to create when I get really involved in an image.
03 ADJUST THE FOCUS The lens will try to search for focus using the camera’s Auto functions. 02 092 CAMERA SETTINGS Use a macro or close-focusing lens. but you can tweak this manually. . injecting water into water. Set your f-stop at f32. 04 RUN A TEST Check your light and camera settings are optimal by running an ambient test. ISO at 200 and shoot at 1/160th of a second.ON THE DISC WORK WITH WOODEN TEXTURES THE BEST SETUP FOR CAPTURING SMOKE TEXTURES THE SHOOT 01 PICK THE BACKDROP Always shoot against a completely white backdrop to enable light to reflect back into the container with your texture.
fill your syringe with up to five millimeters of milk. this issue we’re giving away 45 highresolution photos that can be used to produce bespoke brushes or composited into images. We’ll also explain how best to apply the media during the shoot to ensure the best possible results are achieved. a vial of ink.CREATE SMOKE EFFECTS ON THE DISC E CREATE SMOKE EFFECTS ver wanted to make your own smoke stock.jimlind. f-stop at f5. Adjust the camera to manage optimum low-light conditions. making separation of the two harder. then touch the surface of the water with this to create the illusion of ground level as before. He’ll show how to comp in the smoke photos using little more than Curves adjustments and blending modes. This will soften the backdrop through depth of field. full-fat milk and joss sticks. Tap the pump to apply three drops to the water’s surface. THREE DIFFERENT WAYS TO ACHIEVE BESPOKE TEXTURE EFFECTS SIMULATE SMOKE PLUMES CAPTURE SMOKE Shoot a joss stick with a black backdrop in an interior setting to minimise reflection and avoid smoke dissipation. Full-fat milk is less dilute and will create a better outcome. a syringe. Also. SHOOT THE INK As ink is more concentrated than milk. we’ll only need to apply around three millimetres into the water. Now insert the syringe tip into the water. 1/200th of a second and ISO at 800. but just don’t have the space? Here we’ll explore how you can easily simulate smoke textures. then apply the results digitally to your images in Photoshop. inject a sharp burst of milk then shoot it. 093 . Photographer and retoucher Jim Lind (www. so the ambient flash will illuminate more of the smoke. Lightly tap the pump to create a hanging droplet. Next. This will react with the water’s horizon line. Once again we’ll reveal the perfect studio setup and essential camera settings for shooting the RESOURCE PROJECT RESOU ON RCE FILES THE D ISC LEARN HOW TO SHOOT YOUR OWN SMOKE TEXTURES AND APPLY THEM AS CUSTOM BRUSHES textures. A Speedlight is perfect for this shot. while the fast shutter speed will minimise any blurring. you can inject three millimeters of milk to your water and ink solution to vary the effects.6. WORK WITH MILK Begin by filling up your transparent container with water up to an inch away from the lip. Position the Speedlight head to reflect off the wall. as it has a tilting head and an in-built bounce board. setting the flash to ETTL.com) will then explain how to transform these materials into Photoshop brush styles to be applied to any digital artwork. Afterwards. All you’ll need to complete this exercise is a transparent container. creating the illusion of ground level when the image is flipped. Direct light cuts through the smoke and illuminates the backdrop. Next insert the syringe and smoothly inject into the water while slowly pulling away.
Finally. set this to greyscale. 02 boost contrast To split the element from the backdrop. 094 040 . invert and choose Edit>Define Brush Preset and name your brush accordingly. You can also control contrast by using the Dodge tool set to Highlights and the Burn tool set to Shadows. make a selection of your layer.on the disc Create smoke effects Bring your results into Photoshop and transform them into brushes build your smoke brush 01 prepare your image Begin by importing your photo. This is now saved as a brush style. 03 create your brush Edit your element further by applying Filter>Blur>Gaussian Blur if it looks too sharp. Reorientate this into the correct position. boost the contrast using Levels. using the Edit>Transform and/or Image>Image Rotation options. then crop and isolate the element you want to work with.
istockphoto. Scattering and Transfer settings to suit your needs. choose examples shot on a light backdrop. 02 APPLY BLENDING MODES Edit both the Shadow and Highlight controls in the Curves option to build contrast between the smoke and the backdrop. so ended up with plenty of photos. There are many quality micro-stock websites that offer great images such as www. use dark smoke on a white background or light on a black background.com. or vice versa if you’re looking to use white smoke. which you can use in your own projects to replicate realistic smoke effects. If working with black smoke. Enjoy! SMOKE STOCK 095 . Integrate black smoke using Multiply blending mode and Screen blending mode for light smoke. ON THE DISC FIND HIGH-RESOLUTION PHOTOS THAT YOU CAN USE TO CREATE BRUSHES We really enjoyed experimenting with real-world media in our shoot. Again. By colour sampling areas near to where you’re be painting. mixing milk into ink as well as joss stick smoke plumes.COM) SHOWS YOU HOW TO COMPOSITE SMOKE STOCK WORK WITH PHOTOS 01 GRAB A STOCK IMAGE Always begin with high-resolution photos for realistic results. 03 USE CUSTOM BRUSHES Now you can improve and personalise effects using a smoke brush. you can realistically add and blend smoke to create a realistic look. Here we’ve selected 45 of the very best. Adjust Shape Dynamics.JIMLIND. These include examples of injecting milk and ink into water.CREATE SMOKE EFFECTS ON THE DISC PHOTOGRAPHER AND RETOUCHER JIM LIND (WWW.
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