100 TUTORIALS, TRICKS & SECRETS FOR PHOTOSHOP ilals si GUIDE TO PHOTOSHOP z peu ua? tutorial collection ia ey LS ort Cet 0 Peuts eAward-winning photographer Tim Flach doesn’t compromise. He's driven to brave extremes of temperature, wind and altitude, Winner: MacWorld Best Consumer Storage 2010 waiting patiently until the conditions are just so. Then there are the ‘animals to contend with. Known particularly for his conceptual fine art portraits of horses, Tim's subjects ae skittish and uncooperative, so his window of opportunity is often tiny Getting the perfect shot is only half the story. Getting it home and keeping it safe is the other, He uses a USB-powered G-DRIVE mini to store his images on location, and a fast ltra-eliable 278 G-DRIVE in ‘the studio to backup his work during the painstaking retouching process. Tim Flachs ceive doesn't compromise SG CCN CO eC U a Gh ee>= WELCOME «jm 1 \y c elcome to the first in our brand-new series of Atis’s Guides ~ unlocking th owertul cools ofthe ereative suites you use and helping you to produce your hest arc ever ion, youl disco niques for wotoshop application that will ow arskills into new area and leara tricks that will enable you to get ative faster and with beter results, ‘Brought to you by the same superb creative team: soe ereeeteetnteh Dest digital artists from acound the world reveals how they have created the incredible artworks you sroughout this edition, Follow step-by-step as 5 producing art illustrations wich a wealth of different loo these eworial, you also find inspiring guides to the latest hot styles in areas +b as digital painting and photomanipulation — plus wealth of dips as artists across wide ra traditions diselose the succes of how they come up with their best idea to ahandy resource ~ ming stock image ind Pho aining. There's far more than could possibly fiton a CD, so we've created page 162 for decals digital artist CUT anor>O0 AA. sssbe HE ITS GUDETO PHOTOSHOP 4 THE ARTIST'S GUIDE TO PHOTOSHOPCHAPTER 1 LIGHTING EFFECTS 8 Create dynamic backdrop lighting 12 Create a euphoric abstract haze 16 Lighting effects 20 Create a children's book illustration CHAPTER 2 TEXTURE EFFECTS 24 Learn gorgeous new shading skills Texture effects for beautiful compositions Organic smoke and spatter P60 VINTAGE-LOOK COLLAGE CHAPTER 3 LAYERS & BLENDING MODES. 36 Masters of collage 44. Master Photoshop's layer effects 48 Mosier the Liguify filter 52 Fashion-inspired illustrations 56 Immersion in an underwater world 60 Vintage-look collage techniques 64 Composite photos and vectors 68 Create a stunning pin-up collage CHAPTER 4 DIGITAL PAINTING 74 Elegant strokes 78 80s airbrush effects 82 Master Adjustment Layers and blending 86 Paint and layer a distressed damsel 90 Draw inspiration from Chinese propaganda posters 94 Brushes with genius Cea THE ARTIST'S GUIDE TO PHO’Bx FR wa ARTIST'S GUIDE TO oTOSHOP wy CHAPTER 5. Y, CLASSIC EFFECTS REIMAGINED 102 Vintage halfiones 106 Stylish light effects in Photoshop. 110 Create an abstract cube mosaic 114 The cyborg revealed 118 The lens flare reborn CHAPTER 6 COMBINING PHOTOSHOP & ILLUSTRATOR 122 Back-to-basics photo illustration 126 Tum portraits into stylish vector art 132 Retro poster style 136 Digital art remixed 140 Learn pro-level masking skills 144 Add vector flair to model shots CHAPTER 7 PHOTOSHOP SECRETS 148 Secrets of the world’s best designers 156 20 tips for better art in Photoshop. 160 Read our magazines on your iPad 162 Download Zone> LIGHTING EFFECTS Ji MASTER LIGHT AND ILLUMINATE YOUR IMAGES“P & _THEAeTIsT’s GUIDETQ PHOTOSHOP oeLIGHTING EFFECTS LMARM LIGHTING EFFECTS, eT Create dynamic backdrop lighting Take your lighting effects to the next level, creating a deep, rich background for this fantastic rising sumo wrestler image small character ex tell a big story — but traditional character art can be rather flat In this tacoral, Ricardo Ajeivinae shows how recreate our brilliant ‘cover image, and how to give your araeter art extra punch by using lighting and layer tyes. ‘The principle of this cutorial is 10 ‘create a complex background with a focal point chat hints ata story behind character, Once you've mastered it, ies a highly versatile cechnique (Coto bitly/412V0 and download the lghinng brushes crected by "Adoae- stock. Lead tho Light effects are very trendy these brushes and point lighting forks cround days but you can avoid clichés by tive areo where you oe going fo sel your inixing them with something different Downlood the cloud brushes choracter, Double-click onthe layer in and interesting; the result wil rooted by JoverZhX on the Loyrs ale to open the Loyer Sle: ‘always be an amazing image that deviontAt ot bit/SU9¢HV then load clog box. In the Drop Shadow menu, gets everybody's attention. them. Create 0 new loyer ond use the set the blending mode's epociy to 65%, brushes to stort erating some clouds in the angle © 120%, ond tk both the Use shite end vorous tones of grey. Global Light end the LoyerKnecks Out Drop Shadow bores. nthe Outer Glow menu, se the blending mode to Seren, the opacity to 75%, the colour te solid, ‘andthe renge to 50%. The drop shodew should be #87814, and the over glow should be #flece. (Creole © Photoshop document meceuring 934 x 1,280 pels Crecte « new layer ond | ‘ond fil he background layer with download the nebule brshes < ae lreerish grey (Fbec7bb) Point his with erected by Matrcken from deviontAt Crete e naw layer end st the Clarge yellowish grey brush (FePe3ad), ot bitl/6Biaw. blending mede 1 Sof Light then eeote o new lay Lood the brushes 0 shown onthe ‘hen usa round brush Yo add some Sei the blending mede to Sof Light plete ond use the diferent setings to block inthe corners In-© new layer, use ‘ond point wih @ back brush arcond —_-moke same stars inthe 2iy, Nest eat fon offwhite brush 0 add some dots the top right comer, and white brush for sofog around the central area where ‘around the ighning then copy the leyer ‘the mide ond bet, well ba placing tha chorecte, stves you apple in ten 4 THE ARTIST'S GUIDETO PHOTOSHOPCevate @ new layer and make some white lines ot 6 145° engle, using the Line tol (U} 21 mote 2 selection ike the one you see Jo two pinch wide, Asin step 8, hold here —with one side steoight ot 45°, To Shift 0 make 0 sight Ine. Now the do this, hold Shift ond! move the ersorto | a background is completed. creote@ perecy angled line. Now pice « round white brush and brush a lie ‘around the sight fin. Create © new leer end, using the polygonal lest to! (k] Ceeole a new layer ond, sing ‘the Pelygen tool {U} sotto ‘hree-sided shapes, recte« tional. Sette layer fil fo 0% ard is blending ‘mode to Overay Inthe Layer Styles palate set the values to those shown in the screengreb. Repect his three times to ‘gt three triongles in separa layers, [iy BePee! Se 6 unt you hove ‘numberof striking diagonal lines going aco the image like the fecample shown obove. Open the Lyer Sle cialeg and in the Outer Giow men, st the blending Now open the Rise of Sumo chorocer from the project Sls, copy i and place itwhere the ‘abstract ines ote 30 thot its obove el ‘he previous loyrs. With the Magic Wane rmede fe Screen, the opocily to 77%, (Open obstrae lines pd from tol (W) make © selection around the the colour to cli, the techniaue to the prec les, and [Link] charecer ond invert the selection (Cmal/ Softy, ond the range to 30%. paste these inl the are where the figure el + Shift + 1, create o new layer The glows colour should be #0000, will bo, Set the Iyer opaciy to 17% ‘ond Fil the selection with blac. 10. THEARTIST'S GUIDE TO PHOTOSHOPtare, == == Sel th layer fill to 0% ond ‘pen the Layer Sie clog. In the Outer Glow menu, sat the biending mode to Serean, the opacity to 75%, the colour to solid the fachnique to Softer, the size to 16 pines, ond the range to 500, The colour should be #ebfof, Set the Inner Glow polete's stings as ‘Shown immaditaly above, in #efecc. SS ee E fe ntrler Nb bese wou se rer pod Sowers Abe styles shown in these screengrabs op shadow #570, eutr glow # Ffec) Create 0 new layer ond set ‘he blending mods te Colo. ‘Add come red and blve around the characters heod ond the fop ighhring with @ round broth, In.© new lover set the blonding modo fe Sef Light, and pint «litle around the top right corner with black. Create another layer ond do the some, this ime acing more bloc’ around all the cemers and some ‘around the charactor. HG teers with block, Add some noise (Filter > Noise > Add Noise) cn cot ite opociy to 40%, then erose sme oreae ‘round the choracter andthe top ond bottom lightning, Now go o Fle ond ove your image oe © JPEG document LIGHTING EFFECTS BEES Scere ‘reatee ond download the free Actions sot 50 Photoshop Postwork ‘Actions by Maniche from bitliZ6700W2. Experiment with tase to ge differant coleur resus: when you've found one you like, you've Fished. or seem, bine Photos cee oe Pere . era Rites COMPLETE SOFIWA\ “Adobe Photoshop PROIECT FILES . "Download the files fro THE ARTIST'S GUIDE TO PHOTOSHOP 1> ult MASTERCLASS cs ‘mami OveRLay Create euphoric abstract haze Inject a depth of emotion into simple photography dct tea wel f graph completo oO price wn age cared wth meaning, nk Ag, sleplje arom Sarees acl coer apes ad nth ses cen el nine hour ‘ecilely Sompe plre=he rg pcgaph dos Iowa he wart bu prop cerro enone he Groton hai hinted an theo “he teingus nthe wl ach you how tosibiy se Ovty ees an elt Calor change themoodel yur nage Yl alolenrs he pace Shapes ol vil abst desi owe ses ‘euphoric image with a hint of che ft oaid movement through the composition, and how to ‘add depth ro the foreground, We'll also throw ina great trick co mask hair. Firs ff, owniood the tn The Moment bnvsh st from the Download Zone and double-click o instal it. Youll need o model sho, preferably one wih limited tonal pole, ve gone wih a nude from Stockphoto tha! you can buy here: bit y/BXssu Double-click the photo to Unlock it I Photoshop, cate 1 new layer beneath it Fil this loyer with white, Simple 12 THE ARTIST'S GUIDE TO PHOTOSHOP art csc teotutars pera ry acerca oe en roan} eters Poet ddownioods Pe res geing 10 eu out our model ond peste her onto a new layer but clo keep her bockground beneth, Select the photo, zoom in |eme/etel + +) to 300% then hit (P) to select he Pen to Carefully eeote © path ‘round the wornen, ignoring ony wayward fronds of hoi be ruthless, os we will de them back in Ite.LIGHTING EFFECTS ‘Once yourve created 6 path around the woman, Right-click in the middle of her, then choore Make Now we can edd ony hairs beck othe model's hood, Selection, Hit OK. This seporotes the two imager, Hold Cmdl/ Tum of al loyers except for our cutout model, Select trl + Ko cu, ond Emd/Ctel + Vio pose info @ new layer: the Smudge tool, use brush sizes 1 oF 2, set the strength to Roduce the opociy ofthe photo background to 64%. 95% and select Somple Al Layers in the Oprions bar. THE ARTIST'S GUIDE TO PHOTOSHOPLIGHTING EFFECTS BOS Beers eso i cot be a ‘out with the Ben teal. Geing withthe feof her hair lik your mouse or pen ocross the severed tps to recdraw hats (he more the belte:). Once this done, tuen the other layers Bock on. Nox! we'e going fe edé colour fo the design using the Overlay Blend Mode selec hs either in the Layers poe drop-down menu or by going to Layer > Layer Style > Blending Options. Create « now layer, fil it with yellow (#0), reduce tho epeciy o 16% ond set the Blend Mode to Overlay. Mmm, yelowy. CCerate © new loyer ond use the Brush fool to toil seater pink (#He0261} around the imege. Reduce the opociy to 37% and se Blend Mode to Oxerley Repeat the abowe procest over the mode's body wih @ blood red, adiusing the opecity accordingly, Set te Overlay. Group theze layers and keep them of the top of your document 14 THE ARTIST'S GUIDE TO PHOTOSHOP Now we've set the scene ond added the colour overlays, we can sor fo add the abslrect brushes ‘ond shopes othe design. Instead of giving you precise instructions a8 to where 1 place these eet, the fellowing slops ond fps will give you the basis rom which Yo work using your own ortstieieence Locote one ofthe paint spatter bushes provided in the Davinload Zone. Crecta« new loyer abewe the model ond ade a couple of splttrs eround her back. I've used white for ths but you can use any colour you lke. Using the brushes provided, ploce mere splatters ‘and shapes ercund the mode! in on eesthetically pleasing woy. Alter ther colour, duplicate or otale them, or warp the opplied brush to meke the shoper ft the contoure ofthe model's boc, Make sure you create © new layer for ‘each brush as this will give you total contol also allows you fo remove any brush layer lotar on.BD 2 28 pees lot ret he cbove, experimenting wih the brushes provided Tiy net ta ga aver the top with elects, less is mare. The main point of focus isthe mede!, so make sure your effects dont drown her oul Dor! worry abou! geling on excc likeness te my example, just experiment and hove fun, FER) tres seratbapos sp, Tk o bre, hove think come beck tothe pice leer ond experiment with i nfl you er. | find listening rloxing music helps me get inthe right frome of mind. Ty and make your brushwork Tid, os iis really thare in the image. BREE] Ne 2 oe the ctu and te shoes, we cen create the orbs of light thet leo ke lens fare. Create @ new leyer above the mode! and se its Blend Mode {0 Overly. Locale one ofthe orbs brushes, tthe size quite lerge, then jst ck the brush avound the poge. Repeat the above with a smollr size brush, This i very simple ye elective ond iso greet brush for adding depth to on imoge. A lot of cea like this are very easy 1 ep, but ed so mach tothe design, Se you've odded everyhing nov andi’ loaking gract, but you wen! the imoge te pop just tha ile bit more. You may be thinking that the colours could be brighter or some don't ‘werk otal In this ease, navigets to the ‘Adjusiment Layor pane! ond ot the top of you stack, edd a Selective Color loyer (Layer > New Adjustment Layer > Selective Color a) Set the Selective Color loyer to HEA sk cl the ayers beneath 4. This allews you 1 eter each eolour in your design eosiy = go through all the colons end ods her uni you get ‘he look you want Then you're done, Export end send the imoge 1 everyone 490 know jneuging me), uploed it 10 6 west, or send tin to Digital As, ‘TOM STARLEY een oe eee eee ee ea ee eee ers Paoninpes conte sound cee eee feonirad THE ARTIST'S GUIDE TO PHOTOSHOP> un eva el aay erry > MARK COMPOSITE IMAC pitateor tard ue Lighting effects Rens a Sorat fe rvceactid Work with layered photographs and simple effects to create @ textured graphic compilation numberof less into c In this tutorial comake phiccompiled Photoshop and illustratorors) my >faro gel oaiee errs yt ert etd rea erly ete poate In Photoshep, ston with © a nd that has ‘rungy textures, Download the image: ephant (bi.L/9SZAD 1), «frog (bi l/PYoxOa}, bongos (hit y/o0dLBd) ond e tiger (bit lyelyWHT). You will alte need « model shot, Poste them into the image ond desolurate using Image > Adjustments > Desaturate Begin to edd more detail, Make some shores in Ph ch 1. The purpose the object fond copy them to the pro LIGHTING EFFECTS Ty adding some small potiles behind each objec, to create move unity Here ve used two difecent parieles. One withthe Lasso too (Un Photoshop, im which you grab the Losso 100! ond select tiny particles ond py on poste them elsewhere, The oth Cinema 4D using in FX effet, sv light eects to odd o the project o fo Layer > Layer Style > Blending Opt and set eoth ight effec’ Blend Mocle ould hove © nice effect on the col 3 shopes in Mhstrator and pice lvsroter components in the work HE ARTIST'S GUIDE TO PHOTO‘Work coloured nuances 1rd oronge. For ont with cond specked effects into Gpociier and blending modes the imoge to give i texture 2 ond blending modes. nth Coir peel rsh hue to 7 ihe a ees Not, ade rae in oma placa by going ‘Filter > Render > Se the Blend Mode ofthis love by going te Layer > lending Options. Jn you can ae el kinds le ond star effect J Use the Shorpen too! (Filter > Sharpen > Sharpen) the design in specie pl lke the eyes ofthe model, the elephant andthe tiger Then check if more ean be done using the brightness, contrast and colour eplions, found in Image > Adjustments. this cose sd the colour uting VibroTHE WORLD’S GREATEST CREATIVE MAGAZINE Be inspired any time and anywhere Venu = Mt eeboty,Se PR eS LoreCreate a children’s book illustration Sasso shows how to give a soft edge to composited images Py, 22sborming cun-of the mill Before you start you'll need to G PD svocrpnocosincodrenmy, download your stock images ~ Sasso Ine new ayer, place the DP ssssstical compositions is has bought images from Shutterstock photo of the moon thal you easy when you know how: ([Link]), although you can dowiooded at the st. Chenge the In this brilliant tutorial, Photoshop also use similae images of your own, ayers blending mode to Screen. Go wluad Fabio Sasso puts layer masks The gel image is a bie. iy/01 84K te Image > Adjustment > Hue/ and Photoshop's built-in filters to good the moon isa [Link]/7Nfwehs some of Saturation, selec Colorze, end mol use to create a beautiful, enchanting the clouds are at bity/SaJMe, Youll the moon bluer Also goto Image > image that wouldn't be out of place in also need a star flares NASA (nasa.ga0) Adjustment > Brightness/Contras. a children's book ie good source for these Inereae BO Milgrom wih ik S) (43086), then witha big sof brush, point o light blur (615%) where the moon will b- Change tho lover's blending mode to Sof Light, This loye wil be on top ofthe others ‘Open Photoshop and cree @ new Ad decursen Fil the background layer wth © very dor grey (#0d0010}. Inport thoi wnloaded fi of a gid ono ladder you ov Shutestock(bit.y/21S4K3). Eto the backround using the Less L) or any other methed Then remove the bork srut ofthe ladder as shown here TiYe) Ail elope ot the op ofthe EF ayer stock ond go to Layer > Create Clipping Mask, Using « oige sol black brush (8) paint over the gi. Duplicate the mocn lov She will be elmost touching the moon, and go te Filter > Blur > Goussion Blur, siting the rodivs te wile the bottom helf of her body i 10. thi wl give the mosn o nice glow. J Duplicate the gi’ layer ond be almost enfrly in dorknes [Now import the star fle. Chonge FE oii Somers nigh" tebeosna tones got Layer > the blending mode to Sereen end go Pass. Set the rodivs to 5, ond chenge New Adjustment Layer > Gradient to Image > Adjustment > Levels. the bloncing mede to Vivid Light. Then Map. Change the blending mode 49 Increase the black input to 15, With the «010 Layer > Create Clipping Mask. Sot igh. This adjustment layer w! Eroser Too! [E) delete all of he imoge This wl ineroose tha amount of do ood fo be a clipping mack xcept the fore‘Open iMG_1466.pg from the cover CO = this is coud photo taken by Fabio Sesto. Goto Image > Adjustments > Brightness/ Contrast, Reduce the Brightness 10 5 cond increose the contras to 80. Also 906 Image > Adjustments > Hue ‘and Saturation, Select Celorze, then ‘move the Hue to 270, reduce the soluraion fo 4 ond th lightness to - 12, ‘Add more clouds to your composition the ideo sto create © fly horizon. You con vse the cloud image you downloeded from Shutterstock et the stom or any sinilor ‘ones af your own ~ just be careful fo rmeke tute the coloues ft in, Import the imoge and place in the document. Then withthe Frese too! [E) delete the edges ofthe imoge unt is well blended with the other clouds Goto Image > Adjustments > Hue/Saturation. Selec Colariza then inereate the hue to 2 reduce the Soturation to 12, ond keep the lightness ot 0. The idea i to match the colour ofthe clouds a] _ ‘Open [Link] from the cover CD, impor the imege and place beneath the other layers but in front of the background. Change the blending made to Color Dodge and the ‘opecity to BOM, Alo select the lens flare lover and go to Image > Adjustments > Hue/Saturation. Reduce the saturation 0-60, Now let's add glow effet Select ol the layers and duplicate them, then merge the duplicated layers. Goto Filter > Blur > Gaussian Blur, cating 0 rode of 20 pines. Change the biencing mode to Seven. With the Frazer tool () delete most of the imoge, leaving only the ‘oreo thot a1 illuminated by the moon LIGHTING EFFECTS ‘Add o loyer ot the top of the leyer sock ond vse o large, soft black brush to pei the edges of the image, The idea is to erste © subtle froming effec forthe image BER] 2 er 24 20r o loge or pattern on top ofthe image. A nice tp for pattern overlay is to opply the Liauy iter and distor the pattem according te the image beneath this creates a great effect. Petia et ae ee erst eo Ea ee Prose vee eer rn Cees ee ery cece aeee ee Ma ane Sako percr Sad Somos ee ra pectic> TEXTURE EFFECTS Ji USE TEXTURES TO ADD DEPTH TO YOUR ART> LEARN SHADING TECHNIQUES Learn gorgeous new shading skills Take your shading to the next level using masks ond selections, with Yuta Onoda ne of the hardest parts of blending mods. You'l also leara how Photoshop art — or indeed to add realism t0 your artwork by much other art—is creating faking print offsets and paint spatters. suibele, detailed shading, However: Yout can use any skerch for this layer masks make che process muc trial, although you may find ie easier, allowing you to select and easier to follow some oft eps i modify certain areas without affecting you use one that's as detailed as the rest of your canvas ‘nods’, Nore hovr in Onoda’ sketch In this ratorial, Yuta Onoda shows the face has fair amoune of subsle how you can transform a pencil sketch shading, while the hair and the into a gorgeous, textured digital celements in che air are made up of artwork using layer masks and straightforward linework eto be quite defined, atthe levels of (Image > Adjustments > Levels TEXTURE EFFECTS TD) res tebe newerk to blue. With the inework layer selected, click on the CChonnels fob in the Layers palette, A the bettom of called ‘Lead Channel ot Selection. Click this, thon return tothe Laye create © new layer, Now you con drow with ony colours you wont, Nex! goto Select > Save Selection. Then invert the mosk (€md/Ctel + Shift + 1) Start seporating ut the hopes —in this cove, the te objects ond the figure with masks. You'll need to use the some method os in p2i0¢ fill the shope wih block, food Chonnel ae selection ond then create cl Again, ke sure you sove cach mosk [Select > Save Selection 28 youl need them lotr on >1opes ofthe objects Ifyou ‘90 boced of just using bial to fil the space, you Now we need fo fl lous insteod. Once you've finished the fling in, go > Adjustments > Hue/Saturation, then chonge the soturation ond lightness to -100. This wll make al he colours you've used instead block ‘Once you've eeatad all the mosks, stort colouring your shapes using the mosk layer thet you erected forthe detolieg background fin his cose the waves of hele) in step 3. To load the saved selection, goto Select > Load Selection. 26 THE ARTIST'S GUIDE TO PHOTOSHOP FI Now we need 1 give more S] gst end some rich, subtle colourto the background fhe, the woes). One f th simplest wos Yo do thief duplicate the wave layer severl times, and st each duplicate layer's blending mode to Muli SBI, ‘edsing colour on each of these layers The cim isto cecte © shina, deep backdrop with subtly voried colourNow tun your atention tothe os invisible, then add 9 new obje the forth fr the objects thot you created in stop 3 [Select > Load Selection), Define the shopes by filing thom with rd. love 3d the mas rected forthe background the layers you there, the woves) for the objects slighty lo crate that rep 2 New oe gradient to fil the shope — here ve sed colour #5b818b. Then se the ayers binclng mode to Mutiply and Finally, combine the green ané vite eplosh layers and impor them inte your canvas to finish ‘At this stoge the colour en my praetar igure is too right; to knock idan Col V1. Add a naw layer ond i f « gradient (colour #849db ). Set layers blencing mode to Multiply and the opociy to 4% By ct the spe tee, FIZ | ccloshed black ink onto ‘the file method poper ond sconned the image «in our projet files. Using # from step 2, chang the block to green ‘and seve it hen use the some method ‘292m to crnote a white spach eed>a Stee eo 28 THE ARTIST'S GUIDE TO PHOTOSHOP> RMARN DEPTH CONTROL Texture effects for beautiful compositions Use textures, layers and masking to add depth fo your images rachis cutorial we will be takeing a loole ar masking and how you can give your work a sense of depth using this technique, aswell as lyering textures and elements co help life your piece — inthis ease using paper to create rock and mountain-like elements, example of how a few simple techniques ean be us tocreate more elaborate illustrations using multiple layers, masking, the Pen tool, some basic lighting and one simple texture, Using the processes This eurorial is becoons scored pee teh neice Seabee poo hg atid con bosons cararene tet ote on fo ee Photoshop, Desakrae the | image using Cmd/Crt + | 2 Shift + [Link] | contrat if yu fel your tere needs i, Now wert the texture by pressing Cre +1. Once you're sted select the Fen too) ane trace around te paper bal here, you will be able to apply the same ceelniques to your work, hopefully giving you the confidence [Link] masks and create your own textures to give greater scope ro your work For this masterclass you'll need ‘headshot ofa model. Max Spencer hhas sed a shor by Pasi Lehtinen ([Link]). You'l also need aceess 0 a digital camera and some paper, though we've included Max's photos of scrunched-up tissue paper in ‘ur projece files, TEXTURE EFFECTS (nee you hove itd ring ‘he poper bal select the ergs ool ond rate + lick the ouina youve cried in ea comer EEE walling up he EO cutie yeu ec [Sw ce olen, lek tek one lope cite ge od Sing copy (Gm rd + ons peste Emden + Viend yur pope tell nom be on ole of (Open vp the imoge oF your ‘model. Sold! the Pen tool) y s J) I) ond trace the outine ofthe imoge. t tnd be es accurate as you can; in this case I've purposely cvcided cuting out her pone, oking inte consideration the composition ofthe piece. Using the some lechnique o8 Step 3, put the cu fut af the model onto sou lye Creote a new At document ot 300dpi, This i whore we use the Elipe tool} 0 eecte our bese composition | find circles eoser to work with when laying out the diferent recs. 9 THE ARTI GUIDE TO PHOTOSHOP 29BEALE O20 imcce oF he mode you et out envi ‘ond drag the cout layer into your new document ‘ontop ofthe circles you've created Postion the model where you want her test wihin your piece. layer on your new docirnent Click Ade layer smosk on the model Select background shape the some wey you selected ‘the pape bell in Stop 3. Perform @ right elie > Select Inverse, Selec tho Frater to! (E) with o white foreground and block bockaround ond erase the shoulders ‘and any ether pore you don! want to find in the fine pecs (0 PHOTOSHOP etry feud bn i DE) cer sire crea oe ge leyer inte your main document, Inver the pope texture cond postion the layer ot the botlom, Select he Marquee too (M) ‘nd on the popar boll right eek > Free Transform. Poston the boll «ot peeks out behind the model, Creote addtional ball Using copy ond paste and ploce them on the corwos unl you hove a texture like the one shown above, we) ® Rea DEL i ere entra cin oS 8 yu can odd texture onthe layers behind your model ve vied the some circle fo mosk inthe pape ball texture Using masks in this way is @ qrect woy to adel depth to 20 pieces you've crectd DEER) U3, Pro ce some shops complement the flow ofthe piece, This ie © get ‘opportunity to odd 2 splosh oF colour as o he moment the piece is prety much biack ond white. Move the layer so Hs vet below the cries you ected of the beginning,| oe i m | i pe end change 1 shope the brush roughly foreground colour is back D Here is where your piece will come logelher. Using the techniques learned in this novel, you wll be ‘odd smoller deals, Here, Ive used masking {echniques fo add smal bits of poper oround the edges o wel os some larger cccles which have hod parts erased awoy. thse located in the Sop left-hand corner of the Lovers in places that you w highlight or bring some coleurtoTEXTURE EFFECTS > RMLARN SPECIAL EFFECTS MASKING: Organic smoke and spatter Create stunning images ond compositions filled with movement cond realistic textures with just a few easy tools and techniques {does cke mucho mnke opportune: yeu ean ue them co Oo pret looting pec yu create asene of orem in out Taveactronginitalsoampt compotion oceate allt ts ant eomenity otto cometh snl taare at toad a spec seae fechnial ede Inths url Aruas ofclourcoyourtnalconposiion, EL Petkeviius shows you quick and easy Best ofall these techniques are techniques ranging from the Warp tool flexible and easy to leat, Binh /2bK5K2 ond bit.y/coBSLE, Use them to add to clipping masks and adjustment ‘Arcuras has provided a selEshot smoke to the left sie ofthe photo. Erase parts ofthe lags ond layers to create a stunning inal image. phaco that forms the basis ofthis add smoke in-bebween for @ more dynamic elect. Use the Downlaod Fallo-Stock’s Smoke Brushes sels from While che techniques seem simple at cutorial, You can find this image in Brushes window (FB) fo oct the angle of the brush stroke firs glance they offer many ‘our project files to fi withthe flow ofthe photo. od ean Ensure you put ecch brush sroke on ts own leer. To smoke the smoke more realistic, selec the strokes close tothe orm ond use the Warp too! (Edit > Transform > Warp) te ploy oround with the pestoning ofthe smoke. Use the Erser ‘00 [E) to delete parts ofthe smoke orcund the arm to give the ‘composition more depth ‘Aa © large leierfrr in front of he igure to odd vinuol interest 'e used © Kina font comprised Ft we will ned! te Find the right image to werk with, Try ecting on image that hae some sort of e story in i this olveys edd othe effec. 've used « photo thot | sho, ‘which you con find in the proj les if you went fo fellow his ‘completely, or you cen use one of your own, Mosk out with the Fen toe! in Photoshop ~ although | eso used Verus’ Fd Mosk 3 plugin to moke the job earie. ‘of straight ines to contrat withthe ergonie movement of the ‘other elements Now wl do the point effects, Downed the tock image ‘of ore bird by onl: stock from bit /[Link] it into Photeshop ond math out the backatounel Copy and poste the image on the righ se ofthe stock and rotate ito on ineresting angie thot werks wth the compositon, erase the ret. THE ARTIST'S GUIDE TO PHOTOSHOP 334 , § | 05 ietaceuaderelea comineing enough, Use the Liquify files Filter > Liquify ‘nd ploy oround wih the image by ceding swils ond dlectons, This wil a ing tin different rote flow to the imone. BTS st retn h ne pon lel, begin by creating holes withthe Ereser tool |B) eround the arm, 7 feeling ofthe arm This wl erect coming through the point! and thus ove ‘move inleres Io the imoge. The imoge fl looks prety fl To change this, selete splatter brush from the Erorer fool and odd a few brush sot hi TEXTURE EFFECTS “Add a letterform for interest rr — straight lines will contrast ras well with organic movement” | [aan [Nest we wont fo ede some splash effets a the top, Do this by cresting @ new loyer ond, using 1 aploter brush, point with white inthe top otea, Not load the image we ured for the red point, copy ond pase it os © new layer on top ofthe splat, right click ond create a clipping mosk (Layer > Create Clipping Mask) ome more eipeing ks ond using the Move ool (V) ploy around with the positioning, You ean also use Free Transform (Edit > Free Transform) smotk, When I'm firished, ike 1 use lote ond distor the cipping 19 coleur oajvstment lover (Layer > New Adjustment Layer > Colour Bolanee) to odd unity tothe image 34 THEARTIST'S GUIDE TO PHOTOSHOP>= AYERS & fi BLENDING MODES MASTER PHOTOSHOP’S COMPOSITING TOOLSETThere are myriad ways to exploit Photoshop’s incredible power. Here four experts tell Graeme Aymer their techniques for outstanding compositions Sed | tens CE eee) nero tetas Popular among the Russian constructivist, Picatinny collage enabled its exponents co make ther Pore eee es See ee eee ees ever eee nent Photoshop revolutionised collage and photomontage, and i's easy to see why. "ie rege sence collage on my studio floor,” says London- Perron es ee ee eer ns Sete acres Pee eer eee ee eas perry ake Peed nape ieaa rca ery ico atch poy Pat iepistesenpcsi ieee eee een Pee an ote Se ae ee ee ee Ce eee erat a irre eset earn ce Se ac Peery oa Express Yoursetr ‘This doesn't mean eschewing Phocoshop's tools, as the well-considered use of effects ere eae ee se Paynter tttete meres Pete itn cay Set eee Pee ee tere perenne en etre artists. For some, including Andrew Wiliams Ce eC the day, while others, such as Rob, create Se es Paris-based artist Brice Chaplet, beter Re cee ee et the absurdists to ereace finely blended work See ee eve oer aero tee ed eee te ee emacs mete tg these elements and mix it cogether Sen ee eee erect Pec eenereare Sct ate is Pee eee nee ed eee i ee eee perer caer te ete erga See eee et es een ner etCeres q Perea , aes _ eames Pera neaes aedPY 1s cl about Peter Bloke, os for os Caroline HG Tomlinson is concerned. He is "the king of collage!” she efuses. She is equally Pl enthusiastic about early 20th-century Russian constructivism and surrealism _ Following uncergcedvote anc master's degrees ct Nomwich School of Art and Design (nove Norwich University College of the Acs) ond Centeal St Martins respectively, Caroline has been working in London 3 booth designer and illustrator, The Royal Mails one of her most important clens Colleges make up most of her work, and for these 3 she uses photographs bought from antiques markets Supertiat a \. —— or ones she has token herself This, ond her love of wingman otro to ows scanned hend-crawn elements, odd a tote element be “dey te her work. “I didn’t do that, it would feel to me. 65 if i lacked emotion” she explains, “Sometimes | J con get a litle t00 porticular about siraight lines ond compositions, Once | edd @ scribble or @ point splodge, itfeels less sterile” Coroline begins by making notes on the job ot hand, highlighting any keywords thot appear. This is 0 Woy to set the tone of the work. Then she will skelch “a very scribbly scamp of an ideo”, which helps creole © shopping lis! of images to seek from her collection ‘As her work hos an almost pre-computer-ora feel, she is not thal concerned about the pixel-precision cf cukouts. “A couple of yeors ago | considered it really important,” she says. “Now I don’t mind the imperfection of an inaceurale cut-out. | actualy prefer [Link] wan! to push this further, elmost to see how For | can go before it starts to look unfinished. 'm moving towards © slighty looser and more surreel approach.” 5 Top tips Caroline Tomlinson TCS Lea Ca eee ea eae eae nied TOR Make sure you have © central ides. A computer epee ee eee eat) is) Sree nay CeCe Cc eos aioe acc) 5, Hove fun. If you don't enjoy creating your work, Pen eeaee aeen 38 THE ARTIST'S GUIDE TO PHOTOSHOP“Mine is @ Cinderelle story of sorts," says Toronto. based Andrew Willioms, before recounting his onveluled route into © design career. In summery: schoolboy goes fram sketches to graffi, branches off at anime, prepares lo do a film degree but gels seduced by computer graphics and interactive design. Nowadays he produces collages that ave pretty much totally Photoshop-based for the likes of BMW, Mercedes-Benz and Calvin Klein, though he says he ail gots @ kick out of film, particularly from the output of producers Jerry Bruckheimer ond JJ Abrams. is work typically begins with on idee and some research into what's hot on design sites. Ii, he soys, o matter of being discerning in order to figure aut how to remain current and not oppear derivative. ‘Andrew is 0 fan of tradiional design rules, though he will 1. Now Andrew began introducing more colour tothe ene, adding a bronae hese es wel a cracks en ered for an Stockphote competion ‘2dded ems on he ground ond hoa them sinking iy to denote re crumbling ort oO SONS ge BS oe SOF LY Peet > Js = thon extended his apocalyptic vision tothe 5 Top tips Andrew Williams Teer a aes ener Sere Ce Coe ees 1ugslpimportant. Take some anes Se eed Cee ee Seay Pee oe ec aey ht. But don’t overdo the feathering eee ee aed arene lta ere hea ae a Poe THE ffrisr's Quine 10Ae celloge Far You bagen ie asa poser for ends Holloween por The pony as canceled, bu he mege dovsloped o fe of is own. The stange goings-on depiciod ware ‘tiembled fem the elements shown cbeve lop, and take ploce {room that was Heel composted fom a couple of tock images. Poris-based designer Brice Choplet, better known as Me Xerty to his fons, started out tudying geography, which he describes as “not @ big love affair’. It was graffiti and poster design for electro rave parties thot gave rise to his passion for computer-based design Big on surreal and dystopian visions — he cites Aldous Huxley, George Orvel, Tim Burton, Salvador Dali and René Magritte as influences - he hes worked for Sony and the French magazine Science & Vie, fomang ethers He considers most of his work to be mixed medio, lern callage”, involving both which he calls “mo Photoshop and Illustotor-derived vector images. “I feel free with this creative process because I'm not a perfect drawer,” he explains. "With collage or mixed media I can express whet | want by playing with a picture cedding colour vector shapes or poper textures to add fon old-fashioned touch, Brice hos 0 very open-ended approach to working in Photoshop. “V’m not @ purist,” he declares, “The most important thing for me is to have © good, well-executed ‘ond balonced composition. Technique is important in ‘order to be of ease withthe types of dient demands He olso advises toking time over mixing lextures ‘ond colours s0 that your final result doesn't look like “a bosic Photoshop exercise All his work starts out in a small book, where he ke stock libraries or his personal collection of photographs for images, 8 notes and sketches. Thereafter, he consults "There are no rules in perticula,” he says. “Fee free and crazy! But mainly, you have fo choose the right photos. [Link] > EaCre aout cer eee er Ten peet ener ens 9) iN coon poe Geese ee eee eee erratic eee ye ee een eiteetees i eae oa ere Be creative, ond a litle crazy. Moke sure you oonIn his career os © montage erfst, one event proved definitive for Rob Shields. "I watched a film, How To Draw A Bunny, ‘abou! @ 1960s collage ertst called Ray Johnson,” he ‘explains. "He seemed really sirange, ond | thought, I'm reelly strange loo; maybe I'm supposed to be an aris.” Based in Philadelphia, Rob studied psychology and philosophy, and alco did a stint as @ writer before teaching himeelf design a few years ago. ‘Most of his ime is now spent on creating ortworks for a range of clients, prarficlerly in the cigital design realm - this megazine among them. Rob believes collage enables budding artists to find their creative voice auickly, though he concedes that wha! was once liberating has become someihat limiting. “If have an idea now, I have to find a photograph,” he says. “Fm trying fo move away from thet.” But his creations ere anything bout limited. They ore snapshots of Photoshop at is most powerful | usually stort off by sketching really loosely in Photoshop, just the basic shopes or composition,” he soys. “I use a tablet and I drow right into lover.” Rob places great emphasis on the precision of his cut-outs. “H you see something that's poorly cut out, your expectations instantly go down. If you Con fell the person's spent fime on it ond didn’ just throw itfogether, | think that’s really a big thing for moking @ good collage." [Link] . 5 Top tips Rob Shields oe eae naa * elements than you think you will need. H will CeCe ee es Pee eke eae eens aor like the rule of thieds in Pees eee? Cee ee eos IF what it adds to the overall piece. Ifthe oC Te ee eee pene anne eee ee ats Cea eer ee ees ete the te tat eube 42. THE ARTIST'S GUIDETOARTIST'S GUIDE TO PHOTOSHOP THE> LEARN [Link] GRAPHICS LAYERS & BLENDING MODES LA Pepe Master Photoshop's Raa layer effects Si Give your images o boost with James White's slick pop style reating vibrant, eye-catching Images like this one needn't be a complex or time-consuming affair, In this tutorial, James White shows how to add a vivid retro flair to ‘ascriking model shot kindly provided by [Link]. (which you can download from projectiles) You'll earn to hone your skis with the layers palette and useful ps fa applying masking, Blending Modes and Hue/Saturation. You also learn hhow layers react with one another ‘when overlayed in certain ways, and how selective colour ean be added :0 all design Don't be afraid co leave yourself ‘open to experimentation. ry different ‘things as you go along co see what results you may come up with enhance the o BOLT Set thes ofth ew sees to gat sent ‘deo ef whet the final compostion might look Ree These make for useful guidelines when you stant warking on the elements in Photoshop. I've included some inspiration regerding form and shyle wih the end two images. Dowload end open the file i_ledyipg. Using the Clone Stomp tool with 2 soft brush, lone out the neckloce end ony other obvious blemishes or soy hairs, Toyo keep the skin-tone even throughout ond watch for shifts in highlghls ond shadows. BOR Seer ce ts teed une the Polygonal Loto tool. Click around the hed ond neck 1o select, then hit the Layer Mosk burton Yo knock out the boelground. You eon then the Brush tool rund off and ihe mori as needed With the headshot selected, ‘pen the Hue/Soturaton plete ond slide the Hue to 187 ond the Saturation fo 9. This will drop all natural color ou and lsave @ hint of blue. Then, to add o bit of contro, slide the shadow arrow in Levels to 21 and the highlight to 247 Now we need o odd o bit of sofiness to thot greiny skin Doplicate the heaelshot layer, goto Filters > Gaussian Blur ond opply 0 4.7 blurto the new loyes then drop i's opacity 10 51%, You may need 19 0 some ealectve motking to retain shorpness in some orees, ike the sunglasses. THE ARTIST'S GUIDE TO PHOTOSHOP 45Dieses Bold use ofo hard-edged brush gives a marker pen cffoch It's cleo usnul for ‘evering up ony ough edges letfrom where the image was ci ot Create @ new layer. Click oround the edges of the lenses withthe Polygenel Las tool unl they are selected, and Til with black. | added a bit of¢ subtle str: field to mine for added interest, Apply the seme elect to both lenses select he Brush tool wih o herd-edged brush ond ‘odd some serbles tothe back potion of the model's head, Switch tothe thie! lye, ond with the Polygon Lasso to) round off end fil ony fat ereos where the phote wos cut of PF aa Peel / Ih otder to add more deta othe lanes, | addad o seconé lover of sors ond shifted them fo © blue hue sing the Hue/Soturation poete. You can find plenty of sar shots onthe web fr this eff, BET “ists one ron st te Blending Mode ta Multiply. Select the Polygonal Lasso Tool ond ee click 10 outline the lip are, ign ing the teth, Then ill he selected oreo with @ hot pink to racy odd o splash of colour to the Face cc ere een Pecreg a Pheer no Cerca cons For the mereury tears, | used 9 picture of woter drops, turned them 10 greyscale using Hue Soturotion, then vied the Levels polete fe omp up the controst Ure the Folygone! Lasso Tool to eelet the drops one! hit the Layer Mask buiton to drop out the boekground. Apply subtle Drop Shadow layer tye Yo add depth to your drops.cd Us and Levels to add bit move control>m MeeeLAYERS & BLENDING MODES > LEARN CREATIVE IMAGE WARPING ed Master the Liquify filter Fabio Sasso dives down the rabbit hole to create Alice in Wonderland poster art QO: Wonderland al of ok ke hey been nated dreamt, sotesquels ising the Boa tol or ish up Fable Sasochowsyou how hone Arwkhall Potoshop fer, he your use of the Liquify fer to make Liquify tools are usually best used BLD Ses terer > New an image inspired by the film’ sinister sparingly. However, for this naorial Adjustment Layer > Hue Cheshire Cat Sasso whacks al the setcngs up high ‘and Saturation, Pic the new lave The Liquify palewe offers all sorts and gets scuck in with ereating ‘bove the cat’ in the Layers plete of ways to discorcan image: you can disturbing and distorted Liquify Select Layer > Crete Clipping tristan pull specific sections through — filer effects ‘Mask. When you create clipping motk the loyer is wsble only over the coree of he layer belo in this case the A ce cot, So select Colovize then increase the ‘M4 document in We to 235, reduce the Saturtion 1 23 Photoshop, then import cond the Lightness to -15. suitable photo of o cot : i's quite important that FLL) Sins ever > New it's ine sinter pore to Adjustment Layer > Hue ne and tho! the face and Saturs 1 ond extrac is > Create background. The anoge usiment layer on tom, then go o Layer ipping Mask, Floce this | used wor bought rom Shutterstock; you con cone. Changs sdovlzed from it Hue to 85, the = udavAU Soturetion to 60. ond ee) the Lighiness to -35. | = ee she eco — green coleu his ee OS petennbree select the mask ef the Hue era” Liquify. In this plete, use the Boot toe! (B) fo bloat 4 Soturation layer over the Loyer the eyes, thon the Forward too! (W) fo mow things pole. I wil be write, co fil wih around: push the ears down ond eheich the mouth in black to hie the green. With the Brush preporation forthe big teth we'll put thor lor. Ploy toc! (B), select o soft white brush ond withthe brush sizes, density ond pressure wit these white, then point over the eyes ond tools te get the sil leo eracte green oreas on the cot, >T OSpaneepersora image ond place them. To adv the form ofthe teeth to follow the cat's mouth impression of depth. Use Malliply fr the blending mods. BO Sorece ter > New Adjustment Layers > Gradient Map. Ths layer ison top of he other adjustment layers, ond once agcin create © dipping mask, Change the blending mode to Sof Light. Set the ayer’ blending mode to So Light Rotate end try to find the best engl the branch the tiguity Shuttarstock (bith the Lase mouth 0LAYERS & BLENDING MODES Serres nearer ates Recent aan lec the sky imege ond move it below the other in the Layers pel th the loyer selected, goto Image > Adjustments > Brightness tond Contrast. Redice the Brightness to 135 end increase the Contrast to 10) ‘ter tho! goto Image > Adjustment > Hue and Saturation, Select Colvize thon inereese the Hue to 262, change the Sotuation to 43 ane the Lightness to -15. This wil give you o very purple bockground vhf ete tothe de lors end duplicate them, with Layer > Merge Layers (Cmd/Ctrl + All/Opt + Shift + E) the me 1nd goto Filter > Blur > Gaussian Blur. Set the pisels a een. The whole image will get shine Then with the Eraser to isa the foce the ca Pe eRe) oer) ore best-known Phorasto een eee Becra ert eae! Relat sy TIME TO COMPLETE cee eons\ Pe L AS. Wind 52. THE ARTIST'S GUIDETO PHOTOSHOPLAYERS & BLENDING MODES > RMARN COMPOSITING Fashion-inspired illustrations Keep things edgy with Bram Vanhaeren’s fresh, spontaneous style ake one alluring fashion image seamlessly blend elements, and to ind add to ks mystery using sample parts of your madet’s elothing. Crennrany some clever photomontage ‘Youll liven up your image's subtle techniques. In this tutorial, up-and- colour palette with dynamic lashes. ‘coming creative Bram Vanhaeren ‘The effec is on-trend but distinctive shows how you can cransform fashion and the techniques youl learn ean photography into edgy, enigmatic bbe used for other photomontages. illustrations in just afew steps. “The model shot was created by Youll create and layer cexrures, __Katanaz-Stock and can be downloaded vector elements and litte doodles t for free from DeviantArt at bitly/ draw the viewer's attention and keep ckltua@. The paper texture is by them noticing litle details. Bram bashcorpo and can be downloaded for shows how to use the Warp cool fre from DeviancAre at bic /cSaR43, ‘Al the moment the 3D shape docs fit in with the piece ot all: to integrate it more smocthly wel » m . Fashion-related ood Yo ve the Wop too! Fist marge the light end saw layers, ht models tend to have tach 39 shape is ingle eye n ‘Choose o para shape ond think good poses cf a ploce you want to blond no whee howe he oper eps. Now go to Edi > taetorm > Werp ond dog WA those pot nto poo Re . Choose « bclgiound and model. |ke to use 0 pope tere ose . occu esi gives you etc optans to werk wth lookout fr > fesiomreced models, os they tend t ave good poses wh so ee, hs & | Desoturate some parts of ‘he model. Go te Image > ‘Adjustments > Brightness & Contrast ‘Wee going fo use the interesting poten from ‘he model's clothing, Fist, tke the ‘ond set both Brightness ond Contest to coloured model layer ond duplicate it +125, Duplicate the medel layer (Crma/ Creote some 30 shopes. ‘a92in, Cut out the checked pattern from Ciel + 4) ond desaturote the duplicate Using the Poygonol Losso her shoulder and arm withthe Loco (€md/Ctl + U}, With the Loseo tool tool and w sot ound brush st 10 20% tool. Goto Edt > Transform > Warp ft10.6 100p% fether, make ozeletion opeety, eeote on abstroct scogonal ‘299in ond plece # around her leg o¢ ‘round the medel's shoulder and delete selection, on flit In @ new layer, add frm as an oimband ~ oF ery other use thie port om the desolate layer, dapth with ight and shedows, you eon think of THE ARTIST'S GUIDE TO PHOTOSHOP 53L101 7 Yj Wy ee har with he Lo your jewellery patter. 0THE ULTIMATE GUIDE TO THE MOST EXCITING GADGET OF 2011 evel e aM iV AA\e) 21M mel>| 7 will change your life 160 pages of essential information for just £5.99 Also available from Tesco, Sainsbury's & WH Smith Travel outlets> un i) N ol ol ee, | IMMERSIONLAYERS & BLENDING MODES Luann PHOTOMONTA ECHNIQUES A PPT Immersion in an underwater world Panay Sein ra RH oy Discover how Flan att Voip competed thi tuning orwork for the cover of the Pendulum’s Number 1 album det ooes fort f the Pend: Number 1 alt eee ‘he Number 1 album bear on the cover. It was created in paelisiaale rrdulum Gaus ashe. Som Thon, bt asa atswaesery Pitan toes icing Dk oD Macy Hah kava whch Soften Boner ing Seaeviy terion st chr erga posers anda neh of sod nrc ecaro need fren a yore Te cednige pwn, outansee ti deged retouching and editing he brought to hypnotize and immerse the viewer: The clbum's tile immersion brought sinister deep ocean to mind, with strange creatures, corals tnd euch rected in Photoshop ot only 1400 x 1400 piel (One thing to remembor here = ‘ond throughout the compostion — i thot while album covers ore great fo experiment wih, the orf needs to be viewable beth ot © 30cm sleeve for ‘he vny| and o thumbnail ct on Tha orginal sketch woe online sore. SeRee aT Inony war okenerd en cubd, Mong ede ig ence pees crosang eyo auc Theale Obie! Wapor > Sort Objes > Convert te Smart NG SREATEEMMMM Sores ie icduoecucelio Object seth Wop tol eau > Twonstr > Werp) = Meorworksomochtme wes ten tomlinson oxhshpe wh he a conng com, F wean ho i pom Talos Song Moc ws va Oo THE ARTIST'S GUIDE TOBE] Neeru corecten I preter to werk wih sever! wee FO te te can en Humed off el of he glowing loyers. This scion was very fe consuming butt adjustment loyers with different blending modes. Here, | detotrated ond dorkened the orginal image by moving the sliders othe left Te) ‘wos imperton to blend cll he photo well. | used very soft brush for ave ‘marking ond the Curves ediustment leyers to darken images. The geo! is keep original underwater colours, so | ocusted on blues ond greens hardness sft ond th ferent epacities one vorious angles ane roundness, ‘of which con be changed inthe Brveh panel ‘lo added some mare light inthe centre, both behind and in front of the two main figures. For the jlifish, | chose basic bush with sof edges Bg) tetova and created « new layer with an Outer I worked from o stock shot of Glow effect (Layer > Layer Style > Outer Glow), Using 2 bright eolou gently ond set the Blending mode fe}, | set the Opty to 64% to Luminosity, s0 would match the croon ond painted them with guile Brad tire sent clin ia colour from loyer below. There imoge a loge-sized brosh slements on ether side ofthe cin imoge ond needed 10 be rather dork silhouettes, 0 ot adding some perfoimed 2 group merge (Layer > Merge Group) ofthese everything in front wil tond 0 woter bubbles all around the ce layers. | made a new lyer ond copied the outer glow eff in contros To do this, | righ-clicked on o loyer and chose Copy Layer Style, then right-clicked on © newly added loyer ond ‘ore Paste Layer Style, | used o small sized brush to paint ghosting on the edges ~ 0 it looks like th ling with electricLAYERS & BLENDING MODES cereal proeaiontnce ML Perera tienes hewn (ig ee Maciej has produced work for Warner Music, Odeon Film Studio, be recline the small fh below the couple, os they will edd eo depth othe vinyl ortwork without detracting when Deanne noe aero ed Penne eee contact |: 12 anaes hod to moke sure ‘hat all he loyers ore tracted simdarly 50 whole artwork ng (Layer > Create Clipping Mask) ond used a soft brush to paint above i | created a selection rom the Layer Style to it Now point on fet onthe top edge ofthe tile, Ml ielbfich, were erected with block backgrounds end comped in. Using the Sereen blending mode means no 8 necestory. Fer some more | added some ebstroct shopes of wel placing them on @ layer wih the an Outer Glow Layer Sle applied os before, Cte are ee acer per imecat ea renner se) parece A ere eared [shes ieadtrepeoese ite UIDE TO> un > REAR ANTIQUE STYLE MONTAGE Vintage-look collage techniques Achieve an aged look with very madern Photoshop techniques here's lots to love about shifting the channels to create a litho collage—the elements you _ printed effect ~a very useful echnique seleet enable you te ereate ta learn asc can be applied co imagery whimsical contrasts. I'salso currendy you have sourced yourself, making it very trendy, cropping up on posters, appear to be from a 1950s journal flyers and album covers. ‘This gives you flexibly wich the Here, illustrator Ciara Phe images you ean use, saving you hours shows you how co hone your cutout of trawling through old magazines and skills to prepare images for collaging. encyclopedias. Ths tutorial focuses on 2 image ofthe sog in Photoshop, As he slog You'll also learn some handy cricks © transforming the photograph of the will be used in @ collage you need to colts a from te aive your imaj age look stag in the above example, bur these cundings - see he Pen tool, ond on the toolbar along the You will learn how to adjust the techniques have been used on all top seletFoths,Zeom into the image end use the Fen too fo contrast and colour levels as well as elements in this artwork, raw @ path oround the tog 60. THEARTIST'S GUIDE TO PHOTOSHOP‘Once you hove erected & cutout path selec Window > Paths. In the dropdown men of the path dislog box, click Moke Selection In the box thot appeors, change the Feather radius tO ond fick New Selection; dick OK ro create © marquee selection eround the imoge. [Now thot ust he sto is ‘lected, copy ond pate i into ‘onew Ad CMYK document, withthe resolution soto 300dpi. (Edt > Copy, then File > New, then Edit > Poste, ‘or Ema/Ctel + €, Cmd/Ctrl +N, ‘cmd/Ctel + Vi Vintoge imagery tend to have higher contos thon digit. To creole this fect click Image > Adjustments > Curves. Change the cure line from straight fo aight 5, This brings out the while ond makes the shadows devker. To edd more contast ye con cleo edjva the levels to bring ‘out the block ond whites, Select Image > Adjustments > Levels, Slide the ‘orrows inwords to add more contre LAYERS & BLENDING MODES ‘Adding this omount of convost hos increosed the cyan levels, which makes the image oppear unnaturally blue, To od thi, select lo lmage > Adjustments > Curves. Select Cyen in the Chonne! dropdown menu and decrease the cyon level. The imoge sill has @ song 990 tnt To adja this forthor 9010 Image > Adjustments > Selective Color, Select Neutal in the Colors dropdown menu ond decreose the eyon percentage. In general, vinloge imeogery hos 9 yellow tnt due to oge so Ute the Selective Color te! to add some Yellow tothe neutrals ond take some {yen ond magenta out ofthe whites THE ARTIST'S GUIDETO PHOTOSHOP 6L101 7 LAYERS & BLENDING MODES Y Sera eee Cece ae ay Siena een ces The lho printing process layers up CMYK ink ing ples, Invintoge photograph tis commen f on T le his effect selec! Window 0 it's slightly fg f > Deselect, ond in lage imagery every view the f vivid. To cored this you need fo Image > Adjustments > Hue/Saturotion ond docrease the soturation levels. ees TIME TO COMPLETEF , In — iy PUTMTASLUCRUOMPALE OOM CLG | )MMUIAC CUA CCRIPAGL0 (OU The world's best-selling Apple magazine Any time, Any place, Anywhere \ THE APPLE EXPERTS ld Online | Print | Mobile | DigitalLAYERS & BLENDING MODES > LEARN VECTOR EFFECTS 8 Composite photos and vectors Give your images a dynamic twist with vector interventions creating colourful, 1980s- your model to integrate her fully into Fil @ simple shope like © syle graphics isnt hard—the dhe image. ‘rele with the gradient you're tricky bitis updating them for You'll learn to vary your vecor ‘adiusting colou's on. This wey you the 2ist century In this tutorial, Karan elements using Laer Styles, adding can see the results more clearly. Once Singh shows how to add a 1980s nvist glows, drop shadows and other variants you sotisied with eoch gradient you tosstock or specially taken model shocs, Youll also learn cps sue a adding a rect, sve i 49 Swotehes by dragging to jazz up your photos. vignetce behind other layers to subtiy the gradient fill square on the Grodient ‘You! master vector gradients, direct the atention towards your model. ponel into the Swatches pole including useful tips for successflly Karan Singh has provided a working with gradients, Youll also use selection of vector elements for you pre-prepared elements that you can couse; you can find these in our scatter both in front of and behind projectiles a > s ° ° ! pocket soioe eon ‘on the shape by selecting the Gradient shepetn ce pater SSS Se bere ha i oo a. ———— a er Dowiood ond open he vedo elements en luster: wa going ‘ apoly some clour schemes he che. ve ndvded some of re colours | used here inthe Swetchas pelete for you to use f you lice. Open the Grociont ponol (Window > Gradient or Cmd/Cl + F9) dn oi (Open Photoshop ond set up your decumment with © beelgound colour end grodient to compliment the colours you oppled te the vectors (ve used #F79D86 ond You can edd more sliders fo the gradient by clicking enywhere elong #FCCOBI ino racial grodieni). Lock the tack, Use the top and botors aides 1o create a combination shot ‘this loyer by pressing the Lock Al leon you Tike. You cam ast the gracient’s colours by selecting them inthe ponel inthe Loyers polete ond sove it. ‘ond than edjusting thei volune in the Color palate (Window > Color, THE ARTIST'S GUIDE TO PHOTOSHOP 65‘Next, open up your model shot. 've Used en image from my photographer buddy Christian Herel ([Link]. Click the Create New Path con et the beter oF he Paths ponel (Window > Paths) ond, Using the Pen tol, earehully cut eut the made! from the background, Right-click on the poth ond select Moke Selection. Feather the radius by Ipx. Tip] $207 2 poste the model inte your saved Photoshop document end celust the Curves (Image > Adjustments > Curves) 198 well os the Color Bclonee (Image > Adjustments > Color Balance) This is 20 thot the image doesn't look out of pice in comparison tothe bbockgreund. Ty to moich the fonoe ofthe bockground colours you have choten, then sove the fl. Bofore you str introducing vector, i's @ good ideo te set your curio to Auto-Select « layer. Click on the Move oc! (V1 and then in the top ponel, ick ‘Auto-Selact ond choote Layer fram the drop-down men. This makes working with multiple objects easier, ‘8 you can select them just by clicking them on the coneas, rather than locating their layer ‘ir tnoh 38 | ot —<—<2— Can Osun Oman Oman Shere uamsciy “Organising and arranging is time-consuming but important, so take your time transforming and positioning the objects” 66 THE ARTIST'S GUIDE TO PHOTOSHOP ‘Open your coloured objects in ilstater Copy thern from Hustetor and paste them inte your Photoshop document, You'l be asked how you'd like 10 impor the objet as; selec Vector Smart Object, Import one fof eoch objec. You can clveys duplicate ‘them ence they're in the document Name the Vector Smart ‘Object layers os you ge, ‘9s things eon quieKy get confusing ‘Organising and arranging is ime- ‘consuming but important, s0 take your time tronsforming ond positioning the ‘objects. Use aterative colours to raw ‘attention ta certain shops. To odd depth tothe piece, bring some vectors of voying coe infront of the model foo, Less ie mere for this pe, but odding 2 couple ‘of elements in front of her is an effective oy of adding © dimonsion fo the piece.hy Xx ‘Once you're sotsied with the errangement youve erecied, you ean odd eects using the Layer Styles ponel. I've chosen to add a glow {o the specks and also to some ofthe bruth strokes I've imported. Double-click inthe space nex! tothe nome ofthe layer you'd lke to ‘xstomise and the Layer Syles pone will appear. Tick the desired effect ond adjust the seings eccorcnghy ve alto used the Lover Styles ponel to edd drop shadows to some of the vector ebjeds. In his case I'm using blac forthe shodow cast on the mode's top but I recommend using diferant coloured shadows forthe cbjecs behind her. t's a subtle woy of adding more colour - BEE os es cae sre nose. cient co ew layer a op of the layer stack ond fil ee it with ite. Click Select > Filler > Add Noise. ve added 5% monechromatc Noise on withthe dlstibuteon sete Goussen, Select OK, change the Noise layer’ blending mode to Multiply, and atthe ‘opacity to 40%. Lock this layer a sa the very top and iflefl unlocked, oule-selet wil keep choosing ee BBS) 2228 vont. set your ‘ aren ond bogus cles to defo (Ch the Credit a(n sett BY toda Seth nite sop te OXLons he lek ‘top 100% Set the wi’ epecy wo Ok ond Bleu 10%, On ene layer cst thegrodent by king ‘ond dreoging from the centre tothe op eae oF the canvas, Set the layers blending mede to Viid ght, Lock his lover too. LAYERS & BLENDING MODES BEGG oh ction layer to tighten up the overall lock ofthe dlstation, Select Create [New Fill or Adjustment Loyer fs ot the beitom ofthe Layers pale). You can add multiple edjustment layers if you fee! you need them. Here, I've faded « Brightness/Contrest odjusiment layer, beoting the Brightness by 5 end Contest by 25 To further intagrate the model wth the bockground, edd a shadow behind het, We've posoned this to moteh the studio fighting of the model shot. Peon crates) ei 7 en ere eae er es and the Keystone Design Union, h THE ARTIST'S GUIDE TO PHOTOSHOP> um 68 THEARTIST'S GUIDE TO PHOTOSHOPLAYERS & BLENDING MODES > RMARN WARP EFFECTS Create a stunning pin-up collage Use Photoshop CS5’s new Puppet Warp and Repossé tools to give a fresh look to vintage-style images et n this cuorial, Maaysian design maven Ee Venn Sob shows you how to recreate this vibraneillistration chae putsa modern spin on the classe pin-up style Youll discover how to make the ‘most of Photoshop CSS's latest Fearures, such as the Refine Mask, Puppee Warp andl Repaussé tole You als learn how to sharpen your composition skills to create the perfect, detailed photomoncage After following the steps here, youl A enew Ad document in Photoshop ‘0 300i ond in ROB, Got the Fle 18885776, [pg ond thon drop it into Photoshop. Notice with C55, when you drag an imoge into Photoshop, i cutomatcally becomes ‘9 emon object. tee perce ina valuable insight into the Importance of creating balanced arrangements and paying more attention to derail; spending erucial ‘imme on those lle finishing touches ‘to. piece using simple filters soften the difference berween good arswork and great artwork ‘Most of the images youll need ‘co teate this ean be found on our projectfiles, The anchor shot can be freely downloaded from stock xehng a bic ly/bO2KSh rs con re oa a Solec the On Slack (B) ‘option from the View Options menu. From the Edge Detection, chonge the radius fo 25 and tick Smort Rodivs. Chose 30 for Smooth Redius 0 for Feather, 25 for Contrast ond 0 for Shit Edge, The edges of the hoi will become more defines However, notice tha the mesl round the body and limbs gets blury. Use the Erose Refinements tool (E) te peint around the pers you don't want the geting to interfere with your previous Pon Poth. To clear the holo, click on Decontominate Colors and set the ‘amount Yo 100%. Select Output to 2 Now Loyor with Layer Mosk. L Now we wll crea bockground. Fit with o light grey (#FOFOFO then od! sore [Noise withthe defcult Photoshop values (Filter > Noise > Add Noize), New, ‘don o Fibre Filer on o new black colovied loys Sa the opaeily to 15% and the blending mode to Sof ight feature (Select > Refine Mask) to create 0 Sears THE ARTIST'S GUIDE TO PHOTOSHOP 69Using the Pen Too {P} ond Refine Mosk (Select > Refine Mask), cu ou! he lost and ingore from files 19174483. jng one 2414721 ,jg ond the anchor Dplicte the onchor imoge end Free Tonsform the loyer (Edit > Froe Transform or Ciel + T), Sethe reference pia fo the far right and start eotating it clockwise ond scale it down, BG Scr tse in ier nt st i oncety indvidvally. | normally follow on even number order of 100% > 808 > 6086 for he epaciy end place the 100% layer on to. Net, forthe layer thot are at fll opocy, odd on Outer low eect vsing 0 50%opociy white with © Dissolve blending mode. Then set he Spreed to 20 and Sie to 250, 70 THEARTIST’S GUIDE TO PHOTOSHOP UT: Penner e cartes ee er a een ee ee ee oe ee eee tee ane rr] ears Task er Ti] = theme composton done, we wl sot by edding the small dels. This i the most poinsioking part ofthe process and i fakes time. Find some images of leaves fabove| end petals top} and trace orounet thom with the Fen tool (P). Try ond ue inages that hove lois of diferent peels and leoves of ther to ganerote 0 sense of Nt randomness and veretionhy LAYERS & BLENDING MODES Y BU TZ The new CS5 Puppet Warp can precisely reposition or wrap any image element” Ay peice r eee Pree ce eee ees en eee eae ee etc Tt eee ee cna oot ee eee ee cna) See con the mesh to add resus FRE) ores ol poe comptes bis ono be existing artwork. Use Levels (Ctl + L) ond Hue/ Saturation (Ctrl + U} to odjvst the lighting, shedow end colour of cll the individual elemants to make them blend as 0 whole Peet eee eer 10 pee e THE ARTIST'S GUIDE TO PHOTOSHOPlh LAYERS & BLENDING MODES errr meremen caer eee Creo slic olor loyer ond seca mid rey. Then selec Fer > Noise > Add Noise one! Sungei ee | setthe omaunt to 400 and the dsbuton to Uniform, suena nna Nath | Apply Brush stokes Spat iter to the Noise layer wih the default setings, Chonge te opacity o 15% and the 2) blencing mede 1 Overiay Now porn Mg Vble xen on € new ver Lash’ Crt an + Blond ope Sov Clr BE) reset pre cle iho ean fone pre fe tromformoton oe ith Repouseé, stort by eating a shape loyer ond edd texture to. Next, ‘paly Repouseé on the layer mask. Folly, change the loyer’s Materials to No Tostre BEE] te peston your obit using the 30 Object Rell rool (K). Notice the depth gets thicker 198 1 proceeds, This is done by using the 3D Object Rotote tool (K). You To fiish your ertwork, creste Cnuteize ond Monee @ 6 1e IDE TO PHOTOSHOF>® DIGITAL PAINTING Wf BRUSH UP ON YOUR SKILLS AND PAINT LIKE A MASTER> um \/ “LASS 77 wrong eR TECHNIG ( ¢tinny ‘ e 2010> RMARN BRUSH SkLLS Elegant strokes Ise details how she combines quirky elements with beautiful brushwork fo produce groundbreaking artworks detailed in our feature on age 94, artists are pushing digital painting in innovacive new directions inspired by a range of creative traditions. One artist who's leading the charge is Ratinan Tiger Translate event in Thailand, an ‘Thaljarcorn — aka Ise~a Thai painter exhibition and concert organised by whose aer draws on fine arcana ‘he beer brand ca showease the work fashion, as well as symbolism. of up-and-coming musical and visual Here she takes you through the artists. Ise's work was displayed on process of how she creates her work, banners in the event's chillout zone. first roughly comping the arrangement of elements using reference photos and then applying layers of brushwork ‘above them to produce the final piece “This artwork was created for a BOD 2 sts fede pete. pts 0 moges om variety of soures. Then ence I've found them, roughy merge them info one picture so | can see wht they'd look like combined and get a sons ofthe compestion. | then Used these elements to crete o line drawing ofa fig, ‘Once I irished the Tin seth, | begon the painting process, starting wth the tiger's had. At every soge, I compored it withthe photo of real ger to make sure | dirt creole @ poor repracentlion of DIGITAL PAINTING Belore | begin pointing, | aivoye carefully select the Fight brush te use, For example, eve | used the dry media brush se, becouse these brushes achieve very similar effect to what you con ge fom 6 rel, hhondmade brush | use a Wacom tablet sothat lean paint layer by ayer ac #1 were pointing oils or watercolours = Sy — hy a Using ost of brushes hat Imad pelt Mone Dioreter of 12 pl | shlched the fgg fae with ee, nova and mouth hee soring wih dark oy, dng igh ayers on fo “Here | used the dry media brush set, because they achieve a similar effect to a real, handmade brush” ‘Adding © fine line of tiger fur between loyers makes i lock more realistic. | sed white-oronge thode fo ge it @ deaper colour tons, THE ARTIST'S GUIDE TO PHOTOSHOP 75‘Once I ished pointing the tiger face, forthe nent step | ‘moved on fo point the hond. I chase «2 boige colour and painted e gradient of shaces, using the Airbrsh tol, Ht, following the contours ofthe hand ond fingers. This tools great way to creole fonel gradients between the ight ‘nd dork colour ores, in 6 way that looks more appealing BS ete 2 coca tre Mose Diomer of 100 pinels to opply © grodient tothe coloured stroker to give them more tone ond volume. Colour adjustments were easy fo eckieve using image edjustments such as Color Boionce or Hue and Seturation 76 THEARTIST’S GUIDE TO PHOTOSHOP HL iste eva te lino ort element, | began pointing @ bose layer of each ef the pointed elements. | sepercted each objec layer-by-layer te moke painting them eosier Agoin | used the Airush to creo tonal gradient. HED) 25 ios come such of the musical notes drew ane cirbrthed these in 2 separate document ~ before copying ond posting ‘ham ito the main compositionL177, DIGITAL " “You can often further enhance compositions by adding more highlights and shadows” ry Cra ED eset: Color Bum blending mode, ‘nd used ths to ede mere highlight: ‘ond shodows, | used on auburn SROs) ‘coloured brush to edd shadows that fined with the colour scherne of the whole composition. As theve are on 6 separote lay, if he effect is too song BRE 12 ote yeu con modify # using Photoshop’ ‘compositions by oddh slonderd fools Image > Adjustments, highlights ond shodows, ond ‘or through the Adjustments pane!) ight blur tothe lemest aye for more complex pieces. Her, | used o Goussion Bur flor to moke the plonete ‘ond giomene appeor lest prominent BD) itm roves pollen, drogged it on on image os a new layer using the Dorken Bending mede to create o tiger eeth pattem on the jacket. 2010 2070 snip 2010 Passion Passion Wing & Winning a < Passion Passion eC Winning Winning Passion = AWinning #DID paint ther on o new layer, and then the tight font for this wos © mater oF applied the Gaussian Blur fiero this trol and erat The final loge wos to lover to make it saem more recite, odd the client's logo, HE ARTIST'S GUIDE TO PHOTOSHOPEWVawd 1 Ol SS) {> LEARN DIGITAL PORTRAITURE : 80s airbrush effects Combine multiple brush types for vibrant results 88 colour scheme? Design duo KitcoZucto show you how in chs, tutorial on creating an airbrushed portrait tapping the glory days of ‘Athena posters. Youl learn how to improve your brush skills, working with a variety of diferent brush heads for varying You will need FO Scars ‘rough guide forthe portal, can be really rough line work, justo ‘ive you enough indication on the overall composition cof the elements, ke the placement of the eyes ond nose and the shope and ‘movement of hair effects and you'll earn how to get the ‘most out of colouring, masking and layer blending modes. Youll also leara the benefic of working wich las of layers in a digical painting, as this allows you to work on elements separately and quickly adjust derail and colouring Alayered version ofthe final composition, for referenee, can be found on our project files, With the rough steleh done, we con stort brushing in the shagings. Using the Fen tool (P, crecte © path ‘round the face shope ond use the shops os a mos for your shedings. Using a soft brush, stort lo Brush out the dark oreos ‘ofthe face, Do the same forthe ree of the eactons DIGITAL PAINTING Preceed onto the hai. The lighter the hot the moll: your brush needs fo be. Creole 6 pot ‘round the sunglasses using the Pen tool ~ meke sure you include the frame as well athe lane. Using the shopes ot masks, vse sof black brush to shode in the veo. Silo, use 0 white brush to apply the ight reflections. TEE Norte ye ove fred sk, we can sto colouring the image. By having o completed sketch, holf the work is already dene. Begin by creating a new conves with o gradient background. Use a grean to brown gracient es shown. Nest, impor the black and shite shadings ino the convas Sor! conweting the shadings to colour using the fue end saturation cetings es showm. Set the dark shodings layer fo Mulialy to blend againe the skin tone ‘Ad tnt othe face by brushing different colours near the ‘edge ofthe face. They wil be meosked within the face chop, THE ARTIST'S GUIDE TO PHOTOSHOP 79BD eee cg ce tne. th ak shadows’ blending mode set to Multiply, apply e CGovssian blur wth « Rodius of 2 pines to soten the nest poth, Using @ soft bush, add some shine onthe fp ofthe ose wall os the bottom. Bloc the eye with light grey bose colous. Apply shadins wth © Matiply blending mode ond highlights with Overlay. Flin the pupil wth details ond light reflections. Add sublle deta tothe eye such os glitering shadows by using a white bush. rea Cou! Using 0 sof brush, fil inthe fps with pinkish base colour Build up details such os o lipgloss effect by brushing over white colour and carefully erasing lines using the Erater ool Set this layer to Overlay, Adal some fins to the lips by experimenting wth different coloured brushes ond set their layors 0 Mallipy, Sof Light ” Overlay. HELE 27 et the fe, ch a kin tedures, by using a white brush. Turn on the Airbrush setting and set the Opacity to 70% and the Flew 10-70%, Select Scattering in the Brushes panel ond set the Scoter to 398%. Set these layers to Soft Light with the Opociy ot 60%. BEES 2224 20 rote by bing pin. gor ond ‘green on the side ofthe eye ond se he layer mode to (Overlay, Duplicate this whole group ond flip #o form the right te. Toke note of detcils such os the erection of light cefletion to ovoid being too symmetrico 80 THEARTIST’S GUIDE TO PHO Block out the hoir with base colour, then ereote shadows vsing @ Iyer set to Overlay ond highlights loyer using Overioy one SoM Light, Ade! some fit to the outer hic by brushing in some orenge and the inner heir with dork {r90n, Se he blendings of theee layers to Sof Light‘Creole the eorings using the Pen Eshance them by apphing on ker Shadow elect. Set the cele to white, the blending mede to Color Dodge, the Opaciyt0 100%, the 20. Mosk off unwaned creas uting o soft brush Distance to Spx ond the Si Ned, cee the sunglasses by blocking them with a base Blend in the highlights ond shodows using blending modes such 19 Overy 0” Soft Light. Create the shedow ofthe sunglasses on the face by applying @ Drop Shadow alle (right cick the loyarond select > Blending ‘options > Drop Shadow). Set the 100%, the Distonce to 2, the Size to 11 and mosk off urwonted shode BE] or ctor nets the sunglosses. Use 0 colour agredient os the lens eoleur Set #0 Pin Light, Opocty BS, Darken the lens area nly Nex, create rectanguia-shoped ‘one one bor them using the Goursian Bur fle. Disort them slighty Luring the Worp tool. Experiment with loyer moder to blend in the refections ‘ply some tnt by everoying magento onto both the frome cond lens. Adjust the overll colours of the pestait by using the fllewing Layer ‘Adjustments: Saturation -20, Levels 38, 1.00, 212, Add a Cooling Fie 1m top. Creole © gradient with the loyer mode sel to Soft Light end Opacity 50%. | Add subtle details to the eye such as glittering shadows by using a white brush BEE Fite «beck rom your nok ‘and revit i late with fre eyes, You'l begin to 90 some of he things thot were! visible to you before and other ways to improve your creation, for example, odding other elements ike the bor te syise the portal, Ml HE ARTIST'S GUIDE TO P> RMARN FLAME crs is Master Adjustment Layers and blending Ignite your imagery with techniques that will create fiery forms spitting, crackling beacon of ire. Using some of the most common Photoshop cools (ike Smudge, Dodge and Bura) Neville Dsouza shows Thow to create a complicated arcwork without relying on third-party plug ins, This lesson wil also give you good practice with Photoshop's Levels and ‘Adjustment Layers - which can be extremely powerful if used properly — as well a layer Masks and Blend Modes to create stunning, and yet sometimes quite subele, effects BELT 220 255690 rm he roe es and vai color pti (Cick Edit > Assign Profile ond select Adobe RGB (1998 from the Profle drop-down lst. This woy, colours oppear me vibront end controstng Nos, creote the bockground, Fil layer ith colouy ot R127 C:53 BT, Crecte 1 second lay wth @ Rodial Gradient (6) then seis Blene Mocs to Muli PP Select the Megic Wand tool 1W) and click on the imoge’s ‘emply oreo. Right-click ond pick Select Inverse, Then go to Edit > Stroke ond This is the interesting port = even if you make a mistake here, # can be tumed into something arts On the 'Stoke" layer, se the Smudge tol ih Hordes (on the Bish polete) set to TODF. Don't go too high in size, or may toke up foo much memory Sraadge swirling wisps in on Upward direction. Keep the reference image ot on Opeciy of 2080 help shope flames along the contours of the body. select a Stoke Width of Sp, set the locaton to Inside and a Stoke Color oF R128 G:128 8.128, This stoke shope will bein o seperate layer DIGITAL PAINTING irs aca peered Cerny then Ee Eyre to era cena comet racer) er ost euro ee (Once thats done, set the Blond Mace of the stoke leyer 10 Color Dodge. You con soe how t tokes effec, van inthis nto stoge Next, use the Dodge and Burn teas (0) to fghten the effec. BG] are tomes et lowing, For tht, Ltura off the ‘Grodient” layer, sleet the ‘Color? layer and highlight few areas with the Dodge too, followed by dupliceting the ‘Colo’ leyer, Go to Image > Adjustments > Levels ond se! the blec slider to 115. Then, using the HyeySoluration edjvstment, chit Hue to 18, Finally set the Opecty of he new colour layer to 50%, ensuring this layer is right under the ‘Stoke layer for the effect to be prominent, > HE ARTIST'S GUIDE TO PHOTOSHOP 63HDG Bee st nee be rhoend een mer This i where the Stoke’ layer comes in. Duplicate i three times and add @ Goussian lur wth a value of 0 to two ofthese. Nex, odd © Layer Mask with 9 Rail Grodient for the three newiy duplicated layers. Look a the screenshot to se the loyer order ond whet the image now looks like. Using the some smudge technique os explained in Step 3, create more flame shapes in diferent Leyes this sso yeu con have on extra lave ef contol in ease ony ‘of thern need olleraion, The Bland Mode of all the Fame layers should beset to Color Dodge, fllowed by the Dodge cand Burn healment. W's bes! 10 keep these layers inside «layer group to avoid any complications Using © hard brs sports, point blobs of diferent sizes on separate layer Dodge ond Bu them end switch the Blend Mode te Color Dedge alt the focal region needed ‘more flames, so drt | pointed ond ‘ smudged an extro ‘ batch of fame diesen shapes on to the at imoge. These cre slighlly mere stretchy ond wary, te follow the or md > divs tne coer stem ft be contours of the made!’ face. HD sing the sroke shope in Stop 2 but his fie without the flemes, devon cond highlight Using the Dodge and Burn tole This i forthe subse lining cof the shoulders and neck ove. [Now comes the ricky part: blending the mode'’s Fece ond abit of her han inta the ames while beeping it subtle, On the reference image, use the Dodge tool to highlight recs of har Foce, hands, shoulders and $0 on. Ned, keeping the layer selected, dlc the Create New Fill ar Adjustment Layer button. Select Curves frm the Ist then odd pein, edjusting the eure fo La get the desired look. You can see how the curve droaiealy ler the imege © . Vey a= to combine the model shot withthe ~ REN omc. Sele the image : = com Step 13, copy the = merged layers, and poste inte your main arwore ile under 9 new Layer E Group called “Color Ea’, - ‘above the other lovers 2 Apaly Gousson lur y rede facial deta Duplizate twice ‘On the original pau, renome the <4 image layer ‘Blue X. Switch on Color in Selec the entre image, Hue/Scturction and st the Hus fo 25, Solution to 100, then Copy Merged (Shift the Blend Mode to Lighten and Opocty to 15%, + Cr/Ema + €) Pose the lvoe Copy ‘Ble X ond renome i Blue BY. Chonge the Opacity onto @ new oye, then click Image > 10 35%. Rename the second desalted image ow [Adjustments > Desaturate, Agcin, Move i on tp of “Be B, Set the some options for hea ick Create New Fil or Adjustment “Blue A except Opeciy, whi should be 25%, Copy this Leyer, select Level fem the lit ond layer end call "Yellow B. Clee Create New Fil or Adjustment Layer select Levels and move the grey slider te 0,88, Duplicate ‘noming them ‘Lovle 1" and “Loves 2 Duplicete the “Yellow B layer onl rename it “allow C". Move i obove the ‘Lavale 2” ley Sal the Blond Mode to Color Dodge end the opacity to 25% Rename the third derolurated image layer ‘BW image ond move it en top of Yellow C'S the Bland Mode to Calor Dedge ond the Opeciy to 75% ‘Add Loyar Masks forall layers except “Yellow C’. Alo add «@ Layer Mosk fo the Group ’Coler Eto ide the eyaball Select the ene image ogein, section, so the eyes remain looking ofthe viewer ick Copy Merged ond paste the image onto a new layer. Then, using 2 soft brush, pint the white area with © block colour end finely using the Burs teal, darken cenin pars of her face andl aime (the burn value een be experimented wit), Nest, use the some “Curves! Adjustment Layer from Slep 17 and place it ontop ofthe "mee" layer DEE 22 esr od set omy ners Paste it into 2 new layer group called ‘Color Tweat’ ‘ame the loyer‘CT-hue’ then cick Image > Adjustments > Hue/Saturation ond sel the hue to 8, Click OK ond se! ‘Opociy fo 25% Duplicate ‘Thue’ and nome itCT-bor Mole sure Blond Mode is se! Sereen end Opacity i of 15%, Add Lover Masks fo both layers you wont to odd ‘ony more sparks or ames, recte extra layer groupe DIGITAL PAINTING PROFILE NEVILLE D'SOUZ, » Digital painting eras Neville D me See etn ee says le channels lot of emotion int eee ing a mouse and Photoshop CS: Serer reer ceed CONTACT Ceres much ute of Blend Mi ee comet acy HE ARTIST'S GUIDE TO PHOTOSHOP 85TS > LEARN WIKED MEDIA TECHNIQUES Paint and layer a distressed damsel Blend watercolour and textures from old textiles and photos to create « mixed media artwork, explains Murilo Maciel ining media ie ue aet form, Brazilian illustrator Murilo Maciel demonstrates this in wo new series of experimental artworks, Distressed Beauly and Moon. These mixed media pieces combine high-fashion phorography with watercolours and tactile textile textures, The handmade felis further emphasised by replicating the handmade look of screen printing In chiscucoral, Murilo reveals how the composes these pieces. You'll learn not only how to mix watereolour with photos, and use blending modes effectively, but also how to marry ‘hem together, harmoniously The model shot and scanned watercolour washes can be found in four project files; these are Murilo's files for use inthe turorial only. They should not be used in other projects Firs, paint some black wotercelour washes. Ty t2 do FOND orrrcstusue sou noe certs pcp stinger er hae wees ae Sennaneth det pops eneoh madre pane tesdures and shapes. \ SP , J a Let's paint some coloured washes. The key here i 0 keep experimenting, not only with tools and pope, but oko with material lodized table salt and Isopropy! olcohel give © reoly nize teste, Use different amounts; mie them up, or whatever you haw in ming Pye & DR risers ei some decorotve elements, ike ‘ornaments ond patterns. Once Fished, wit uni dry and scan in, IF you dont wan! fo gel your honds diy, use the imoges on the project files. | highty recommend you create you" own as i's fun ond you'll have more control over ‘he final piece DIGITAL PAINTING nd Casi (Open [Link] end adjust the levels ofthe photo to inerease the contas. Select this loye, then Image > Adjustments > Levels (Cmd/Ctel +L}. Change the lefthond shadow input to 14 ond the Fighlhand highlight input to 199, ‘Moke 0 selection from the photo leyer by holding down Cmd/Ctel ond clicking an the layer in the Lovers pane “Create mask by clicking on Vector Mask button. Set blending mode to Screen” / Create © leyer group under the photo in the lyer stock. Using the previous selection, create © mas by clicking the Vocor Mask button athe bottom ofthe Layer ponel Select the photo ogcin, ond sot the blending rede to Screen, You'll noice tha the photo wil disoppecr‘Open blackweshes og and select each wash with ‘the Losso tool then copy ond poste them into our imoge. For eoch, hi Cmd/Clel + L fo open the Levee dialog td adjust the levels 074, 1, 209 respectively to increase the contrast of each wath, Pick one of the wethes ané turn i ino o black-ond white imege by selacing Image > Adjustments > Desaturate |Cmd/Ctel + Shift + U) Sharpening will emphasise tecture, hich i very important te get o great looking image. Goto Filer > Sharpen > Unsharp Mask ond ze te amount 0.106% ond racvs to (0.8, Repeat for each wash, BEES 7 © re th oer re: yo nae ou image will begin to appecr over the black areos ‘of our point, This isthe main concept ofthis she, x0 t's iemportont that you've mastered this creative process, Make this leyer 60% smaller and place it whore you wich 88 THE ARTIST'S GUIDE TO PHOTOSHOP Pia Bs ~ DE Beiter ond amsterni een insteed of jst larger ones, te give for greeter contal ‘over aur image, M wil alo look richer ond more defiled, oo. Copy 6 few more washes indo the folder, bu change the blending mode ofeach layer to Muliply. BH Sein Becton sacle ‘lerens to odd deta. Keep bulding the image Luntl you're hopay with the rests. Roy special ateton tothe borders of your moge; try o leave a lt of whitespace, too. Incorporate some ofthe painted pattems you crected before, This will make the imoge more interesting Open coloredpoint jpg and copy ond poste into the layer group. Resize i 40 50% of its orignal size, fond set the blending rode to Multiply Move #0 the leftnond side ofthe artwork, Duplicate @, then move this eopy to the top of your image.Open oldwallpaperipg. Go te Image > Adjustments > Desoturate (Cmd/Ciel + Shift + U) then select Image > Adjustments > Threshold ond sot the Level to 144 This wil simulate a seen print eect Copy this into the layer group, sting the blending mode te Muliply, and duplicate i. Move one copy tothe bottomleft pact end the other to the Fight — 08 shown, HERD Tires street done: Ws time to work on the otal. Open we_crlajpg and make o rounded selection around it, using the Elipical Morquee tool. Copy the layer ‘obove the photo and move ite her Fight holder Go to this layers Loyer She by double-clicking i inthe Loyer pone Select the Stroke box ond set the Colour to whe and the Size to 4 let's add some more decorative elements. Open the file brarch og, Copy it the lover ‘bove the photo; se the blending mode fo Mullipy, Duplicate this @ few times, cond ploce the copies around the imoge, fenturing seme sit next 1 the mode's eye and ha Cie clement. Soften the edges wsing @ soft rounded brush with 40% opecty to botter blend with ond colour match the rest ofthe compston ‘mask around each broneh PROFILE MURILO MACIEL Coe cere ee cee mn won ree a tad Koop working en the detail, You could edd more ‘watercolour elements tothe beckground fend over the image, foo ~ to crecte & ‘more appecing looking competion, This alse helps to blend the elements Aegother batter Tiesto nev layer above the photo. Drew e cie with the Elliptical Marquee tol. Using the Gradient tol, ilit wih colour volves of ‘AS 90 ¥50 KAD ond el md y60 KO forthe ends of the grodient, ond set the blending mede to Herd Light For on obstract fee, use the Lasse too! (Lo dete pars of your eivce ‘Add on additonal lighting effec by uplicating the cio, retoting it about 45 degrees, and setting its blending mode to Screen, Now you're dene. THE ARTIST'S GUIDE TO PHOTOSHOP 89> LMARW CUSTOM BRUSHWORK Draw inspiration from Chinese propaganda posters David and Sarah Cousens give a guide to the techniques of the rousing political images from years past irre pce regu, chinese propaganda poses athe 2h wee gored ogee adhe fers vaso heok rer chars ong fora ARTIST'S GUIDE TO PHOTOSHOP This cutorial takes you through how to make a subversive pastiche of Chinese propaganda posters using Photoshop. To emulate the motivational cone ofthese posters we'll be worldng on 2 theme of inepiration’. To help ve recommend colleting a ses and viewing them al in one place, side by side (whether on arable or in Photoshop) so chat you can easily compare them to each other and identity recurring elementDIGITAL PAINTING BE Petts eines nal chine propaganda posters to vse es inspiration, Cele @ ew Ad landtcape document. Select 9 colour of R123, 8161 G 184, Poss Shift + Backspace to bring up the Fil dialog bor, Inthe Contents section, select Use: Foreground Color to fill Fe Taran EES] TIME TO COMPLETE = Peat 5 4 the cores wth 0 pole be. CCrecte « new layer called ‘White Border, selact o pure white colour ond fl using Shift + Backspace. Sole the Square Marquee tool (M) and daw 2 widescreen/letarbor-tye rectangle selection ecross your image, then odd 1 loyar mask the cirie-inthe-equore bation inthe Loyers pone. Prass Cmd/ (tel + 1 invert the mask. nce te beck ond liek on reg the green! from the bettom right towards the op le to ceate the ight ‘rey gradient transition ofthe shy THE ARTI Create © new layer called Roughe’ and sketch in your layout with a light blue bruh, Your chorocers should be dynamic ond optiminc-looking, Lac the lover's tronsparency clek on the padlock icon in the Loyers panel) then press Shift + Backspace ond fil the layer with black, Lower the leyer’s opacity 0 6a BLOG act lorcet Land” undecnecth the ought’ layer Use a hard-edged brush with Opociy Jer set to Pen Pressure fo point in 9 red landecope. To simulete perspective, make the reds in the foreground darker and more sotvroted, wth more muted colours foc the distant lond, The Opacity ite ‘option con be found in the Brush parel, inthe 2ection nomed Transfer in Photoshop CS5, or Other Dynamics in ‘older versione, 'S GUIDETOcrt Er BES Screener oe ates to ond “Nomen epee Postion the ‘Men’ layer above the ‘Women’ layer, end block the characters in with flat colours. Create naw layer, ‘Cy’, and pint in @ retro-furisic cy skyline wth a mistre of blues and greens, The Chinese potters we'e referencing often Focused on bright now ures, ao include @ recket 08 par ofthe narrative Create @ new Highlight layer abave ‘Rough. Use « hord-edged bresh to vender i ight yellow highlight on the chorocers, The human eye is drewn te contest; using ce bright colour will drew the viewer's eye to the focel points. Change the bending made of the ‘Roughs’ layer to ‘Overlay ond erose ony unneccessory conttetion lines SERS FERTRENSESESEESEET (Ceace © new layer ‘Man ‘Overlay’. Inthe Now Layer box tik ‘Uso previous leer to create Clipping Mase’ and sot the blending mode fo Overoy. Crete « “Woman ‘Overlay’ layer with the some stings. Use the Radial Gradient with the yellow highlight colour to odd highlights to the charoctrs’ skin, for example Create 6 ‘Clues ayer and point some sised clouds using worieus pinks end greys to keep with the colour scheme, Use the clouds ax pins; subtly angle them fo lead your eyes back fo the main focal points (he choracers. Using the Magik custom brush, adda flowing red sosh on the woman's arm; moke sure it pints bock towards the characters. Lock the ironsporent pels of the ‘City’ layer, then point in some darker end lighter details, Just use simple brushstrokes to imply detail ‘Open ‘Cioud Texture from [Link]. Itinyurlcom/2u46360), press Crmd/Ctel +R Emd/Cre + Ct Select All one Copy the contents of the imoge. Start fo add basic shoding to the “Woman layer, using a light souree ‘coming from the right. When you've extblished the boric shading you con switch your tention tothe ‘Man’ leyer end do the some. Use local colours (eolours fram elsewhere inthe imege! in your shoding os colours are bvoye effected by their environment 92 THEARTIST'S GUIDE TO PHOTOSHOPey DAVID & SARAH Tena eer BD 2 9 ne int clude above ro the beciground layer Free Tensor (€md/Ctl + 7) ee the photo tof your istration, then se the blending made to : Soll Light ot 92% opociy. Creole a ‘Sky Datos layer ond vse the Macmillan Mogik brush hibition 9 edd some more vapour tails socring ino the sky ta BER) fe ation oe cond slot paining over the linework ving the Meogik brush, When you've finished, hid the wally of the white bord ayer. Now hit Cma/tr + Alt + 2 to sole! the image's lumi (i's Cmdsctel + alt + Shift + clder versions of Photoshop) FEE fee ements stn ce 4 copy from all ofthe visible layers ond pate the contents into @ new layer Seti Overlay of 67%, 9010 Filter > Blur > Gaussian Blur ond copply a blur of 1.4 pines, Moke the "White Border leer visible ogain by clicking the eyeball in the loers pl Go to [Link]. type in on inspirational phrase nd translte it Chinese (Tradition, Copy the trontlation, ge beck inte Photoshop ond select the Iypa tool () to peste in your Chinese tonsltion. Free Trensform info place (€md/Ctrl + 1) cand chonge the tei colour red. BEES Soi ores com te ‘ond copy ond poste the poperfexre heed t tiny com/2ram7 m8 there onl the fop ofthe layer stock, Set the blending mode to Multiply ot 36% epee. Hi Cmd/Cte + U ond desolate by ee ing the Saturation wider al the way to the ll. Finally, prose Cmd/Ctel + Lond lighten the fesdure sing the white Le slider 0 shown inthe sereenshot, Ml GUIDE TO Pleagues. Al Digital painting is stepping into the big ice Ross meets the creatives poised to create a stir with their work F you though digital painting ‘was purely the preserve of dodgy fantasy art involving clichéd depictions of elves and THE ARTIST'S GUIDE TO PHOTOSHOP 95“I never touched o computer until about ten years ago,” says Bath-based artist Tom Bagshaw. “Up until that point | was still very much a traditional artist set in my woys with ecrylic, pen, pencil ond airbrush. Then he encountered Painter and Wacom tablet “That chonge my whele outlook en using computers in your workflow,” he says. “It allowed me to create ware in 6 familiar way while cutting out the mess, shertening the time-spon and easing delivery to clients.” The graphics tablet is key, he says: “You can kind of get away with not using one for some types of work but for painting i's such an intuitive way of working that if didn’t exist | just wouldn't be working digitally Tom divides his work into two categories: ‘pure’ digital paintings, created almost entiely in Painter and others with painted elements but more graphic lements, However, he'll also dip into AriRage, Ilystrater and 3D software “when the need arises In his pure digital pointings, the Gothic colour schemes end solemn poses of his exquisite, sensvel porteails are undercut with wit. Floshes of colour ond extremely contemporary character design sometimes ‘make it seem as though toys have escaped from a Japenese toyshop ond are hiding out in a collection of Vietorian photographs. “My favourite tool in Painter isthe oil brushes,” says Tom. “Painter's brushes are quite omazing and |have a lot of custom brushes that | employ, but | do come back 0.0 small selection of ol brushes which I've soved with quite minimel custom settings and use them for pretty much everything | do.” His mastery of digital brushes is indisputoble, but he's currently contemplating experimenting with older forms again, “I hadn't even touched a paintbrush since I started working digitally,” he says, “but | created a traditional painting for my solo show recently and I'm looking at getting back into it agai -[Link]. Re) ae Po ee CA ed Painter (2 more iutuctive for me coming from a traditional ting background” bien ( Fine data ving the ail brushes Poin. Then td brat Photoshop, bf most, forthe Photoshop.> tener blocked in cous one and baceground working one lever orignal ne drawing Bight Another pce for he Stondon Caling feted Below & promotional poster for Bangkok Haunt spooky themed Tourism company. ‘Wallove tne colorants one” says OlRory Kurtz's images combine the delicacy of watercolour with rich hues that are closer to oils or ‘acrylics, scuffed-up finishes and @ precision that is purely digital I pointed a bit with watercolour ~ | loved how watercolour and ink washes let the lines of the drawing show through,” says Rory. “However, watercolour doesn't allow for much reworking once it’s dried, and it con't effectively be painted over either. Painting digitally ollows me to endlessly make adjustments” Rory recreates the feel of traditional painting alongside using effects that are hard to achieve by classical means. "There's a potine and texture to traditional paint thet | bring into the work to keep it from looking too processed and soulless,” he explains "At the seme time, working digitely allows adjustments thet you just can’t get with paint. Depth of field, tonel shifts ond layer mosks are techniques thet would be laborious with physical paint, and yield spotty results, [bul] are a blast to experiment with digitally.” Basic artistry is key. “I still labour more than anything ever the drawings that come before the paint. I's prety difficult to badly paint a well thought- out drawing, but nearly impossible to save a terrible drawing with digital paints.” ‘Working from these skeiches, he uses Photoshop for colouring. “Along with the tools Photoshop offers for ‘painting’, its photographic tools offer solutions thot dive the art a mixed-media fee,” he explains. “I've ‘ried Corel Painter, but the results look... oo generically digital. But that’s just my knowledge of i.” Rory’s trademark precision isthe result of painstaking attention to detail: “You don't paint digitally by inches, but by pixels.” He soys thot digital painting is sil in its infancy: “Right now, is such a new medium with unlimited possibilities.” Looking at Rory’s work, that’s an ex [Link] ing praspect Re ne ee Lt AI Ce MT Cee OM Lee MCA Cae one a eR! 98 THEARTIST'S GUIDE TO PHO Pers saig Ym spare “ott evn ig on ih ho lines, loving forthe 4 the voy top of tha Lays lin Mulily mode exaline Rory. “From this colour fo geil tones ond dimension” He redraws imoges dozens ofimes io get he pint on, al the igi point wil be done pertpedtive and proportions right ‘0 clipping mask to the ialaed layers” He crested en underpanting Rory’: pon drawing el on the 4. hile each element ic til ‘wing contrasting colours, toying 1p layer, hich s st to Multi Aatiberstely loose to “see what hoppy accident” crop up. Heol dacded on tustom brushes for hefner detating. them individual Rony used > the Color Balance layers o weak the overall hes, ond edded highlas, for i The final estwork wor ned for the cover of "he New BeyeA] Marta stored by blocking out shapes ote low oped Marta Dahlig nilding up the colour graduoly 2 a rodiional poner doet. Poying attention tthe dracon of light, Marta coughed cul the fase contours ond features with 9 round brush aud Switching between the Regged Hard 6 Round brush and He Arkh a low opacies, Marthe plied shadows ond Highights, and defined the eye, nose and fis Using efi brush, Maria eoetes ‘oyolshes and textures the lin then added subtle pink ond yllow hues to rmoke the skin dion, She worked up the hoirusing euston brashes Lush, pleyful and exaggeratedly detailed, Marta Dahlia’s images are in © category of their own. “I think of my characters as real people, and therefore | naver strive for perfect looks. | like my women to have bigger noses of stronger jawlines and s0 on,” she says. This realism is enhanced by minutely detailed, almost photorealistic digital peinting ski. A self-taught artist, Marta has painted since eorly childhood. She discovered digital painting at 15: “Soon after, | got my frst table. It didn’t take long for me to get truly sucked in. These days all her work is digital; she loves the freedom it gives her to experiment. “Ihave quite a messy workflow,” she admits. “In traditionel painting, experimenting can be very pricay —if you put @ brushstroke ‘wrong oF use the wrong colour, it fakes « lot of effort to make up for your mistakes. Digital painting is extremely forgiving.” Like many digital painters, Marta cherrypicks from Painter and Photoshop, appreciating Painter's traditional media feel and Photoshop's custom brushes. Her key tool is her Wacom Intuos4: “There are no substitutes for ¢ tablet: a mouse does not offer pen-pressure sensitivity and © lock of eny natural control. I's 0 necessity.” ‘Morte admits digital painting isn’t perfect: “It mokes you hardware- dependent." she says, pointing to the cos! of equipment, The other drawback is loss tangible: “Digital art is less romantic than traditional at. Looking ot the monitor simply does not offer you the some feeling as using ‘eal paints on a rough canvas.” But she flourishes in the medium, creating art for computer gomes and book covers; her work has even been featured in the Core! X bundle, She s0ys the key fo success is refusing fo be pigeenholed. “Staying within your comfort zone will block your artistic development. I's important to always, be aware of the box you are classified under and broaden your limits with now elements, [Link] > HE ARTIST'S GUIDE TO Poughly sketching stated by beck and white on 222 nine del 0 she won, 2 eded layers of scannedhin watercolour blotches, sting each ane 6 woe happy with he tone 4 pointed in some hohe, ch 05 the bet buckles Gem Mattened the lave ond pointed ever the op, adaing| sverything From to dla nthe See ed ee ee en? eee Seas Peter es eens ee Ee Meisan Mui Yr 7 A degree in architecture isn't the most obvious qualification for a manga artist 1 have on her CV, but that’s what Thai-Chinese artist Meisan Mui has. Actually, ‘manga artis” isn't o fair description of Meison’s enigmatic lustrations, combining Jopanese mango-like characters with motifs inspired by traditional Thai art.” works: as she puts it: “My style is watercolour-based I's on intriguing blend: wide-eyed, trianguler-faced characters ore surrounded by semi-abstractcurlicues ond striking, orobesque-shoped clouds, all rendered in jewel-bright colours straight from Thai art, or noisy candy shades sampled from manga. She often works by loyering washes of watercolour for a spletchy, tactile backdrop, and then painting over the top. “Lwas already using watercolours and markers as an architecture student, but | was loaking at a lot of manga online, and saw that they used 1a Wacom to create their work,” she says, This inspired her to try her hand at digital painting, which soon lured her away from architecture completely. Now an estoblished digital painter, Meisan con see beth pros and cons to the medium: she points out that it makes it easy to knock off works that are samey - either to other pieces of your own art or, more dangerously, including me sometimes,” she cautions. “With some artists’ work, you can tell who for what wos inspiring them af that point, so the artis lacks @ unique style other people's: “I see a lot of artists getting trapped by style of their own For her, the key is endless I get bored easily and experiment @ lo,” she u exploration s0ys, Her odvice? Stay true to yourself fe draw,” she recommends, ‘Don't try to satisfy everybody in the world bocause you con't Draw what you want ‘meisanmuicom ® Right: Maison Mui experiments with @ ~*~ That ful profile = rather thon the am, eee tree rn) pen ee ng oe ere cae around £200, sters by Joseph Sheppard ~ Aimed at traditional ee ee ee rey it eee eee of input devices, this graphics tablet Oe ned anthology of breathtaking digital ey ee ee 1a relevant to mar painters een eee er ees Seer ar>® CLASSIC EFFECTS po REIMAGINED TRADITIONAL TECHNIQUES GET A MODERN MAKEOVER> uu 7. sone vour desiGn sis wh BERT TECHNIQUES Halton ste reprosraphic technique that simulates cominuous tone ager trough the use of ots, varying ether in size or spacing, "Halone” can leo be used ta elo spoctieaty tothe mage that pro ‘cod by te process Winer cortinous tone imagory contains an nteite range of coer or ge, the hattone process reduces sua reproduction to a Bray inage that i pod twin only ene cla of nk. Tvs nary eproducton tals on 8 basic optical tsion~hat these ty Rat tone dots ate bended into smooth tones bythe human eye. At a microscopic level, Gevelone black and wha photographic fim aso consist of only two ober, and not an nfiite ange of continuous tones. ri pMiaeteon tard RoryCLASSIC EFFECTS REIMAGINED > RMARN_HALFTONES Vintage halftones Fabio Sasso shows you how you can put a stylish spin on one of Photoshop's most hackneyed effects, Color Halfiones Cencury to allow newspapers to show by using it sparingly around a 50s- shades of grey, and have been popular style photograph, you can achieve ever since. Currently, halftones are stylish results. ‘Open Photoshop ond create o new Ad document 61 300¢pi. Then import o stock photo ef © medem pinup, the one | used was courtesy f Shuterstock and you con get to it y/bS¥YP5, ‘Altes thot with the Magic Word tool (W) select he white bockground, and with the new Refine tool n Photoshop CSS, frac preczey H would be exactly neceseory to delete the background because thal wil be done lala inthe fuera, but 1 is will be necessary ‘Add © new layer, change its name te ‘Brown’ ond J secreate the mask Filit with o dork brownish grey (#505055). Put this swe wll wea, Dupe new layer behind ‘Git |". Sect the white area ofthe “Girl 1 this layer, chonging layer and delate i. Yeu will have just he block dos. Then go theirnomas to ‘Gi to Image > Adjustments > Invert. Nev you will hove only and, below it, “Gi white dats en yeur imoge. 2 moginetve, huh) ; because we will ned era copies to layer the efiet er the “ medi! shot Group the ‘Gi 1 loyer [cmd/Ctel + 6) fo crects Select ‘il ths and goto Filter iss a folder with ane layer imide ond > Plaelate > Color Haltione, Ue | se = ree SED) Change he flder’s Blending mode ‘0 Mox Redius of 12, and for a 100° Angle. heey —— =D to Color Dedge. You will now have o Notice the Color Halon fiter works wall for) SS Feldoc wih one layer nse it, Select the lorge imoges, if you ore working with © conto “Gir lover and go to Filter > Blur tmellimoge I sugges! you should ty the ets > Gaussian Blur. Use o rosive of Image > Mode > Bitmap with Halfene vue 2.5 pinels here, Becouse ofthe Color ‘ond Roun forthe eating I ho prety much Dedge, you wil get alight affect the some effec THE ARTIST'S GUIDE TO PHOTOSHOP. 103BEIT Sint tte ‘eo leer ond the fle ith he ‘Girl 1" loyer end select Layer > Merge Layers [Now you wil be lft with just one layer. Go to Image > Adjustment > Levels, Inciease the Slack inp triongle to 140 and change the White Input to 215. Why we ed allo ths? With the Blur ond Color Dodge, we ‘moke the dos thot were closes Yo one another get bended, Then wih the levels here we moke them sold again. These create © more orgenic effec, «litle bit ike molecules, fp res : some white : Well now use mosis co otto epply he elled speving: AIEEE) dots vile, then a Cider the layers os shown (lt). For the "Block Dots imoke some blo ‘ond ‘White Dok loyers, vlec he crea ofthe gil using the “Gi doe vale, olwoys pointing 2’ loyer for celerence (0s detoed in Step 1) and select Layer > over the mosh. After Layer Mask > Hide Selection, Nov everytime you wont to that with the pels make a part ofthe Iyer visible, you can point over the mask selected, hide some to coveal ‘oreos ofthe girs | recommen thot you make pitel selection o he dots photo ogein using before painting the masks of well, To de thi, right-click withthe otk mouse over the thumbnail ofthe loyer wit the halfene girl and hit Select Pele, 4 THE ARTIST'S GUIDE TO PHOTO:HE Bore eee oe, im going fo ute @ peer texture, The one | used can be found ot bitly/eUKEGz, Import the teu, jploce i tthe bots ofthe lover tock tnd lobe "Tedure 1, Wih this layer selected, ceote 0 selection ofthe gi. doesnt need 19 be perlect. Go to Layer > Layer Mask > Reveol Selection, ‘ond make jus the ereo you selcted visible, Selec the mask ofthis layer ond o¢ to Filter > Blur > Goussian Blur. Use 0 odivs of 50 pixels With the “Texuro 1 layer selecied, ge agoin fo Filter > Color Halitone, Use 0 Hiax Rosivs of 12 psels and on Angle of 100 for «ll channels. Than, go to Image > Adjustments > Desoturate, ond Imoge > Adjustments > Levels the Black Input tiongle ond reduce tho Whit Input to got rid ofthe midtones, FRB) et crtterinese te lone | sed con be found of bitle/dodkSn. Pot this texture on top of all the other layers. Change the Blend mode to Multiply with 30% Opec. ‘Nis that go fo Image > Adjustments > Hue and Saturation, Reduce the Soturoton 19-79, the go te Image > Adjustments > Levels. Change the Block input 10 120 ond the White to 212, and tho Greys input to 1.18. LiL CLASSIC EFFECTS REIMAGINED “To make the Color Halftone filter work with text, you have to merge it with a white background” [Now just edd some text In order to create sylith ‘composition, | placed the word Halfone withthe top lf using Helvetica forthe font and the bottom holf using Times, then | applied the Coler Holfione tothe bottom part Peo eset his Photoshop eee ee eee aeneresees eee CONTACT THE ARTIST'S GUIDE TO PHOTOSHOP. 105TVG enc WyCLASSIC EFFECTS REIMAGINED > AMARM TRICKS FOR MODEL SHOTS Ae Stylish light effects in Photoshop Lighting effects are often used cheesily, but here Fabio Sasso turns the spotlight on techniques to achieve an original look toplcton of Porrhop but sopltted fe not en patch, thomph porpacitcandomrueof Olena someting at ots dl Shove youhon pura esha” troughshe flee sadete and ‘Pinon pincer Hoang sal rng chsy FLY] Mee temo lovsto oe 4 n0¥ lever sl celled ‘Git 2, then duplcete to creole 9 ‘Girl 3 layer Select it crd ge to Image > Adjustment > Desaturate. Se! the blending mode to Hard Light and the ‘pacity to 50%. Duplicte “Girl 2” again to crecte © ‘Girl 4” layer and ploce it at the top ofthe ler stack, Select Filter > Other > High Pass wih o radius of 10 pines. As bolore, set thot loyer's blending mode to Hord Light and the opacity to SOR, (Open Phetoshop cond reate © new [Ad portcit document at 300d. Now import @ photo thot you wil ue forthe tutorial onto layer ealee ‘Gil. Tha ona Im using i courtesy of Shuterstoc ond ie ovelable ot bity/eQOu BO Wicd the areas ofthe ‘Git 4" layer blured loyer to smooth thet show skin, Now edd © layer called this layer subjed's ckn without losing del int 1" on top and with the Brush to! Surface Blur. Use 10 psels for the With the Eraser tool (E}, #0 hicing B), use 0 soft brush with block to hide Rodis and 15 forthe Threshold creas such as the eyes, mouth and heir the boekroune ond the shoulders ‘We're going to use this all of which conten impotent detail Leave jst © port of tha neck HE ARTIST'S GUIDE TO PHOTOSHOPders odd « bit of lens fare Go to Layer > New ken from an image at bitdv/dclpb. Adjustments Layer > re Screen forthe blending mode Gradient Map. Use Black ond White fond go lo Image > Adjustments > for he gredient colour, then change the Levels, then increase the block input so blending mode of this adjustment ler you only got the lens love 1° Soft Light. Col this layer “GMop” Now goo Layer > New ‘Adding a subi tment bayer » Hue) oronge spot Adiustment Layer > Hue/ the let helps J Ald cnothorlayar on top ofthe others called ights2" and fill twith block, then change is blending made to Color Dodge Point ‘over the orange eres withthe same Saturation, Rostce the Sotrction eee 12 60 and cal thie loyer‘HueSot lighting, sotering ‘orange fe creoteo sor o ight leok in Adjustment layers clvays hove masks, thessntest thot area 10-wth the Brush focl [B), select a very between the. soit brush ond paint with block over the ighipikand brush ond point wih block over tho | BRGRN subject's mouth. This excludes thot area uealefae sll rom the Hue/Soturation effet ‘more natura (ill Nef aight ese. The one I'm sing, of pink and blue spolights, is from Shulerstock ond cam be found af Bitdy/dBUUCk, Pur this image on a lye change the blending mode to Sof Light RY) Now odd c layer on top ofthe Add yet oncther lyer, called “bok Duplicote the ‘HueSet”loye others called lights” ond fil fll twith block one! hen, with the Brosh to create ‘HueSat 2. Select inwith block. Change its blending mods Teo! (8), sleet «rounded brush one! the layer mask of his new layer and go to Sereen and then, with the Brush fool create o few ctl of diferent sizes in Image > Adjustment > Invert tnd a vory soft brush, paint © big pink white, The ides isto creo o simple Increase the Sotorotion to 55. Thet spot inthe upper right of the imoge. _bokeh-syle background bor effect Set woy you wll apply the solution 4 the Then select © dark oronge and point othe blending mode ofthe layer to Color ‘mouth only, he ideo being to make it very subtle orange spot atthe top and Dodge really ed bottom le‘Add another loyer called "Grogiant’, then with the Gradient to! (6), click on the gradient somple to opan the Grodien Editor. Chonge the ype to Noise, the Roughness fo 100% and selec Restrict Colors ond Adel Transparency. Now choose the Angle Gradient style ond create © ray of light effect coming from the mid/top right ofthe image. Alter that go to Image > Adjustments > Desaturate ond then to Filter > Blur > Gaussian Blur, Use 15 pels for the Radius ‘Chonge the blending mode of the ‘Grogien” layer SJ 12 Color Dodge, duplicate this layer te ‘Gradient? cand move i down a litia bt, Pu i behind the ‘Gradient2 loves than change is blonding mode to Lint Burn and the ‘epaciy to 50%. Fora ite extra tye, you can LET einer edd a paper texture on {op oF simply merge al the layers on 010 Filer > Noise > Add Noise to ‘add some noize tothe image. The whole eff is now complete though i's upto yeu te keep experimenting wih diferent combinations and colous. lio fr the Fier with 50 Srveanm Invoniy, Coll his over “Dep Yollow’. Aer tha, creole © new i loyer with ell the other layers merged inte i (Crd /Ctel + Alt + Shift +E) Then use Filter > Blur > Gaussian Blur, with 15 piel fr the Reus. Change the blending mode of 5 this layer to Screen and the opel fo 60%, HE ARTIST'S GUIDE TO PHOTOSHOPCreate an abstract cube mosaic In chistucoral,Babio will show you how to create a deconstructed image using a pattern made out of cubes. ‘The idea istry to simulate a mosaic osiaes generally make you CC) puink oF tie Roman villas you NooF visited on school trips, oF those picrures-within-pictures that appeaced on every sudent’s bedroom uc with a more abstract and up-to wall after the eraze for Magic Eye da c interpretation. ‘The technique is prety simple and the whole tutorial ean be done in less images died. They don't automatically conjure visions of stylish artwork, but Fabio Sasso has found a way to create than ane hour ~ though fe! free to ry keep experimenting in order co create your own realisation truly seriking visuals with 3 simple, swift process. (Open Photoshop and create 6 new document FRYE Fen wsing Ad for the document Sze. J mpor © photo thet you went to ue fr the abstract mosoie efet, The one | used at bit yer Eb. is cvelible from Shu To erate the base for our mos ‘open new document in Phetoshap ond then wrth the Pelygan tool [U} create © hexagon. Duplicate the hexogon and move it up so the base of # matches the lop ofthe ether hexogon. ‘Then with the Direct Selection too (Al, delete vertices 1 ond 2. Now meve dwn vertice 2 0 create the top pat of the cube. 2D polygons grouped edge o-edge oreo perfec woy to edd ‘ep ond volume plus ‘high evel of deta, ‘dapencing on thelr ize Repect the procest to create the EYEE inal sie ofthe cube. As you can se, I've used diferent shades of grey 40 ‘encte the 3D effect, Ey Group the cube slements and duplicate them twice to slot fo create the pater. Siow duplicating them unt you fled the screen with cubes. HE ARTIST'S GUIDE TO PRepect the process for the d ether side of the cube 4 Corehlly select on area that reference, Once you have selected the ibe used to define your ote, select Edt > Define Pattern, potter. Boar in mind that it hos to be Noma your potarn ond go bock to fleoble, co use the imoge above for the design, FET i) foe the fll pote ofthe gid wp FEY ircugh the lyer stock 50 i sis recy bareth the ve ayers you cored in Sop 7 0 9. Yul hove o prety erany offec, ming miro end deconskucson ‘Add o new leyer ond flit the ongle of the cubes ~ fr this imoge wih the cube pattem you've used the lef sides fr reference. Alter ls erected. Duplicate the gil layer that go to Filter > Blur > Gaussian ‘ond apply Edit > Transform > Skew Blur. Use IOpx for he Rodis. Seal lve ond dpticte fo this, Distr the image +0 i follows i them. Selec the uppecmest set ‘of lovers, and go to Layer > Merge Layers. With the merged layer eolectad 9910 Filer > Blur > Goussian Blur Use a Rocivs of 20pm CChonge this layers blencing mode to Screen, wth ot 80% epaciy, After ‘hot go to Layer > New Adjustment Layer > Gradient Map. Use the defoukt black ond white gradient, but change the blending mode to Sof Light Goto Layer > New Adjustment Layer > Hue ond Saturation Reduce the Sotvrcton to -30. RPT] Fo: the net step, youl wont BAYLE select the let sides of el the cubes. To do ths, select one withthe Megie Wand too! (W), and go to Select > Similar, Wilh the morauee selection adtve, click onthe dstrted ie lover ond go to Layer > Layer ‘Mask> Reveal SelectionCLASSIC EFFECTS REIMAGINED Duplicote the layer and reerrange i 0 thot i's ight on top ofthe cube patiem laye ‘nd beneoth oll the other loves, Then chonge the blending mode of the cube {Group el the layers except the cube pottern r ‘background. Using thot beckground loye for ‘ference, select some ere0s to hide, Once you have selected the orecs, ensure yeu hove the grouped loyes selected a: wel cond goto Layer > Layer Mask > Hide Selection. pottern leer to Color Bun BRIS) “ic me ven tp ote ‘others ond flit wih black, CChonge is blending made to Multi th the Brush tal (8), select o very soft brush, and choose white for is colou Sort painting in the cane of the imoge so the white will be ronspavent. The aim crete e vignette efect. Peer) eo eer con top of ering fo {gue reo fel 0 the Siac: | EARRarer aise ‘ond yu can gett rom oe a bidibéceris, Poce he = icc imoge on top of he otbers ae cond chonge the blending RCC artworks and mode to Maliphy HE ARTIST'S GUIDE TO PHOTOSHOP 11> LEARN PHOTOMONTAGE The cyborg revealed Fabio Sasso injects some class into a frightening scifi image he traditional eyborg,a mix of human and machine, has che to unsettle viewers in a way that robots or other synthetic humanoids can't possibly march Tere’sa visceral quality about che transplanting of flesh and meral in iconic Figures such as The Terminator or Star Treks Borg. It conjures up Visions ofthe horror of Vecorian ‘medical practices, and frightens us ‘more thai ee completely synthetic Replicants of Blade Runner, or the Cylons from Batlestar Galactica In this tutorial, Fabio Sasso shows you some techniques for creating a cyborg from photographie sources in Phocoshop, capping into the movie heritage of the eyborg, but mixing i swith the glossy ‘Bleach-Bypase’look of ITV shows stch as Vand The Event. You wil use seme stack modern s photos and lots of adjustment layers, in order to achieve a convincing res. (Open Photoshop and ereote fnew Mt pert document Innpod o photo of 2 peison that wil be your eyborg You con cell hie loyer Heodshouléen’. To obtoin the slik look we're going er, choose an imege with bright highlgh's one dork shodows, and with fashion sings, The one Fm using is courtesy of Sheterstock ond con be found a bit IyfaZesue “Using the Lasso tool (L), select the area of the face you want to | e cut out” a ~ f ~_ Uring the Lszo oo (elect the area of te face you war! fot cu. Go te Layer > New > Layer ia Cu. Col hs ayer Foc'. Move the fce fo the top ight You con hide the Foc layer for now CLASSIC EFFECTS REIMAGINED Be er a Pisacehele loyer and goo Leyer > Loyer Styles > Drop Shadow. Select 2 Mutiply blending mode with 689% Opocity, 120" Angle, 0 Distonce, 31% Spread end a Size of 114p, Go tothe Bevel and Emboss tb ond selec Sie of Inner Bevel, 0 Technique of Smocth, 241% Depth, 10px S26, ond lépx Sefton. For the Shading use on Angle of 90% and (on Altude of 21%, Select Lighter Color for the Highlight Meda with o white, cond a black ot 60% Opacity wih Linear Buin for the Shadow Mode. Ler all ound ot Bi iy/bciHxm, Place iin your design in @ layer called ‘Skull, ond move it s it's benecth the face. ‘Add 0 new layer and filth black, then change the import another image. This one is of @ metalic blending mede to Sereen. With the Brush too (sort painting over the foeth, in order to make thom white. >> THE ARTIST'S GUIDE TO PHOTOSHOP. 115Select the ‘Shull layer and go to Image > Adjustments > Levels. Use 0, 1.40 ond 255 forthe Inputs. Theve’s huge highlight spot on tho forshood thal we want fo remove, Add a new layer called "Gray" tnd select a grey calor ef the sll wih the ColorPicker, hen point ever the highlighted ‘rea withthe Brush too!) ‘Make the ‘Face’ layer visible ‘once more, ond go fo Layer > Layer Style > Drop Shadow. (On this fab and the Bevel ond Emboss one, modify the setings to meth those above, Please note thet the blending rede colour for the drop shadove ie [ip ct 2 anaes ace ete ose, hs tne of «computer 2 dark brown, power supply fon. You can find i a itly/@UuiGr. Name the layer ‘For, place it over the nore, and withthe Polygonal Loree tool (Ll, selec! the nore ores and mask the “For loye. Goo Layer ‘With the ‘Fon’ loyer selected, go te Image > Adjustments > > New Levels. Increase the ble input fo 25, change the grey input to 95, Adjustment Loyer > and forthe white output, change this to 174, Photo Filter. Uze on ‘orange for the color wth 20% Dentin. * ™ | . | Lets ure onother image Add layer on top end ill forthe eyes, his time of 2 in with Black, Chenge webcam. The one | ved is om bith blending made to Seren, With the Go to Layer > New 1515. Select ust the certal port of he Brush eo (B) seco very sof brush Adjustment Layer > Hue twebcom, ond posion it over the whole. ond rd forthe colour then paint over ‘end Saturation. Rocio tho Solution ot the oes the eyes 1 cect a red glow efect 40.50. Nex, goto Layer > New Adjustment Layer > Gradient Mop. Use block an white forthe eolour end ‘blending mode of Sof Light. 6. THE ARTIST'S GUIDE TO PHOTOSHOF‘Add o now loyer to the top of the layer stock ane flit ith blue (#12497e}. Chonae the opal to 60% and the blend mode fo Sof Light ‘Add onother ler and fit wih green (#257940), Chonge is opociy to 60% and the blending mode to Sof Light Te odd o glow effet fist select al the lovers LEED ond right click > Duplicate Layers. With the uplcoted layers sil elected, go fo Layer > Merge Layers (Cmd/Ctel + Alt + Shift +E). Next, 90 10 Filer > Blur > Goussian Blur, Use 20 pixels forthe Rodius. Change the blending made o Sereen ond reduce the Opecty to 80% A] We wont to odd 2 simple vignette cect. Add a layer on top. Filit wih block, Chenge the blending mode te ‘Multiply Select the Brash too! (B) and 0 very big soft brush, sith white For the colout Paint over the git's foce and other ores, looving jut the edger. ‘want to bring in @ more traditionel sci-fi look, eltern of scanlines on top and e red spot lor Dodge blending mode at the bottom le light lack effect.cio Ror eres ery ‘mami LGHTING EFFECTS Se The lens flare reborn Fabio Sasso sho to put of this much used (and abu: hotoshop's Lens Fla tap an effect that's been long over: isan effect that exposed to achieve the resule you used ove ant. You'll learn how to present exciting variations on an old theme throuigh changing the position of inthe right situation, he lens flares and ereacive use of Je a poweriul lighting the blending modes, brush cool enhancement to a piece. Luckily, and colour. So get ready to become Fabio Sasso has provided us with a reacquainced with one of digital cutorial that shows you thar ifyou imaging software's strongest effets. have a strong idea and unique Just stay away from those default execution, it doesn't matter i sett Open Photoshop ond credo G new decom then 9 wh ony colo Lae! thie layer os yer > Layer Style > Gradient the dor‘Wilke Recongle el U) dd a white ectongle the wich fhe page ond place i in the ent, Selec this layer ond goto Layer > Group Loyers. The ‘actongle layer wil be inside o folder. Change the blending mode ef he folder to Color Dedge, ‘Add a neve layer ond fil with block, Ned, go to Filter > Render > Lens Flare ond selec the 105mm Prime Lene Type with 100% Brightness, Then select Filter > Blur > Gaussian Blur and use 30 pisee forthe FIVE] Seect the cactangle layer tnd go to Filter > Blur > Goustion Blur. Use 20 piss forthe —— Rodivs. As this layer is inside a folder “ with Color Dodge, the blury edgas wil craote © really interesting lighting ec Rodis. The lat thing to do with this layer iso change its banding mede to Color Dodge. Combining rmuliple Lens Fore sffecs gives the mos! reais resus ‘Add anothe”loyer ond again oO 1 iit with block, Then go to Filter > Render > Lens Flare and chooee the 50-300mm Zoom Lens Type With TOOK Brighiness. Repeat the some processes for the Gaussian Blur ond blending mode os in Stop 2 J fds 0 new layor inside the BALE, alder with the rectangle Select the Brush too! (B) with o wory soft brush ond, using stile For the colour paint a second light sure, THE ARTI GUIDE TO PHOTOSHOP 119Bip] Reveetie some process with BUA tne Rectangle tol (U) an the Brush tool (B10 odd more elemens 0 your desig. For the ight in the cane, create @ few vertical nes ond then go to Filter > Blur > Motion Blur. Use 90° for the Angle ond se he Disonee to 90. This wl reole © eylsh refiacion ele. FH] Now go te BUS window > Brush. Select basic rounded bash one set the Hordness 0 0% ond the Spacing to 80%. Then add cnother layer inside the folder with he other ight fects. Cliek on an area else to the contre end, helding the Shif key, cee on the bottom lft 10 cect a line of dot the efedis too skong, ge to Filter > Blur > Gaussian Blur and soien i e litle bit. Change the Opacity to 70%. 20 THE ARTIST'S GUIDETO ‘Add oncther layer fond point © Few light spots with the Brush {ool (B) sing white forthe colour near the big lens flare. Ned, go to Filter > Blur > Radial Blur. Use 15 for the Amount, Zoom for the Blur Method ond Bes for the Quelity, For the best results, point your spots before chonging the blending ‘ede and ‘oppiing opociy Alar ontop ole ch Brush too (B) wth o big so# brush, pointe large pink spot ond 2 large blue spots. Chenge the blending mode 4a Hord Light end tha Opacity to 50%, clipes. Go t Layer > Layer Styles > Blending Options. Chonge the Fil ‘Opoeiy to 0, then select Inner Shadow. Use Pink for the colour an Lingo Dodge forthe blending mode. Sethe ‘Angle to 902, the Distance to 0, the ‘Choke 10 14% and the Sie 1 250 piers HOTOSHOP fond then, using the Bp) Gr ths layer ino enather felder and make i invisible (Layer > Layer Mask > Hide All) Select the Brush toc! [B) end with mediumsized rounded brush, point with white over the layer mas just 26 ‘litle bit ofthe left ond right oreos ofthe elipse ote visible. Repect the some technique to cate another lens reflection, but this time smaller. HE] going fo puto yellow filer eect over the Uahole thing. Go to Layer | > New Adjustment Loyer > Photo Filter Select Yellow for the Fite ‘and 908 for the Density, FRET See avers ond cupticate t them, then merge ell the uplicated layers into a single lover You con also do this using a keyboard shovteu (€md/Cirl + Alt + Shift + E. Ned, go te Filler > Blur > Gaussian Blur. ove this layer 50 it will be beneath the Photo Filler layer, then chonge the blending mode to Screen wih the Opacity st to 50%, Ml> COMBINING PHOTOSHOP & ILLUSTRATOR Me UNITE THESE TOOLS AND EXPAND YOUR HORIZONSiS iff VddCOMBINING PHOTOSHOP & ILLUSTRATOR > LMLARN FASHION ILLUSTRATION Back-to-basics photo illustration Get sophisticated results from simple techniques in C35 “Create images from scratch so you build up an archive for future projects” Iuh che recent release of Adobe (35, it’s easy to get eartied away with the new tools and presers. They might he designed t0 ‘maximise workflow efficlency, but an ‘over reliance on these can give your ‘work a generic fee! To keep your style fresh, you need co get back ro basics. In this tacoral, Markle Dare shows you how ro create a stunning, Color Swatches vr} Download and cpan the ‘Goometic Design Elomenis ‘fle in lutte. You con use tas © reference or resource fa fo ths proiat Newt, lik the View fob ond tenable Smet Guides ond Snap to Point, This wl allow you to ‘lign peths ond points wth eose. Use the space inside the deshed box os your work area, Using the Selection phoromontage. You'll master repetition and layering of shapes, efficient use of simple colour paletes with che aid of Layer Style elects, ora file of vecor elements ‘The vector templace for this tutorial {s available from the project files, but youl also learn how to crente your ‘own design elements that you ean use ‘on future projects, biie blie @ce @ce Creating imoges from scratch s useful ~ ol enly doar it save you soorching fer stock image fies, you oso build up a valuable orchive for ture proiact {ool (V, seleet Shope 1, creole « copy cond change i to Colour Swatch 2 sing the Eyedropper too! (I). Right Click on the cited poth ond select Tramsform > Reflect, Then set he oventation to Vertical and ongle to 90 BOR crest ne patna lke © pyramid, sleet both and hit €md/€tet + 6 to group the selection 126 one objed. You now have a bose 20 > Revolve to bring up the 3D Revolve Options Window. Press OK and the defoult Of Ais Fron pheres by using the Eyedropper tol (ond selecting diferent colour swotches 127 Photoshop ond hit €md/Che + N to create ‘nvr. Sec tha size and rasltin ofthe le. normally ge with on Ad size proj. Poss F7 bocke: 1d 300dpi for alot of design ring up the Lovers Panel and change the to bleck using the Point Bucket fal (6) SPT Place the model shot on the centre of you D folder by hitting te ANew bution on the boom section of the Loyers nel, Rename it as ‘Foreground Elements ond ploc ofthe an rename i “Background Elements and ploce ths under the model shot sy Th wil help you cess layer when you ste plocing multiple design shoe's > ising the desi eles you made in llvtrator. This can be achieved by aligning and redistributing lem! the Align ‘0 [Shift +F7) in illustrator or ust by rondomly grouping them. pater in 4 oriboard. This image hat been kindly provided by them on your aboard in Photoshop photographer Kate Frankfurt but you con vse stock photo Lock your main image in You con vary the sizes ond orientation to rom ovr use your own pictures, your model Wow loyerlotneiie (AOENTBED cicke the pattems interesting, con 0 background, make sure you cut them out so you can Med Up WihiheBSRRSIOURIENE, i olours to odd some conte! wrop slements around ther. doregaunl loess betwen d ner >COMBINING PHOTOSHOP & ILLUSTRATOR foo) es . Pesci rete i BB at set les eet pater yore creoled, Place them inside the ‘Foreground Elements! folder if you went them to appecr on top af other design elements, oF in the “Background Elements flder if you wont them to appear on the background. This technique wil ‘cece visuol depth when you apply Loyers Siyles such os Drop Shadow and Outer Glow on selected design elements BEE Site oe med tat you can wee teahonce the rele and 30 quai of your wore ‘You can adjust opacity on certin ereos by masking your layers. To epply a loyar mask, clk the Ad Layee Mook ob on the bottom ofthe Layers Pon. Use The Brush tool (B) with © Block colour swetch to mask lovers. Adjust the brush softness, size and opecity according to your preference |= ' Te halp dafine your foreground layess, apply Drop Shodow and Outer Glow inthe Layer Styles palate, The default setings are good encugh but fel fre to ‘experiment and change the cpaciy, engl, cstonce, spread and size ofthe layer syle you want to use, Fish up with move details, textes ond visual elements using the some layering ond styling techniques. Alenia to detail is very important if you want to ‘make your werk stond out. might be time-consuming but your potience wll definitely py off once you see the fut of your artsc labour I Pena cns Pe eras BEES Siro ne eh er vlame by ensting Papen eer i the epaciy of he beckground layers to between eee eae Tage este 80-40% on the upper right section ofthe Layers Fone. This Cee ea ket will fade the boekground leyer litle, giving the eatire ae Ree ee 0 3D-like quality. vvaval compos ees HE ARTIS GUIDE TO PHOTOSCOMBINING PHOTOSHOP & ILLUSTRATOR > LEARN TRACING TECHNIQUES Turn portraits into stylish vector art Eelco van den Berg explains the secrets of his vectorised style through an easy step-by-step guide nehiscucora elcovan den new vector arto, You wl lscover oO Berglesyoubehind he how ocreate the fectingof ight and curtain tosce how hecreates shadow, build a simple brush to work aE his increible veetar portraits by ‘with and use the Pen too! for more turning a phow into a‘poppy’veecor geometrical shapes. You'l also illustration. You will earn quick and discover the possibilities of che easy Photoshop adjustments chat Pathfinder tol, and how to draw with prepare artwork for translation into the brush to ereate a looser fel. We'll veetor shapes. He shows you how ra also show you how to play around trace the basic shapes using the main with elements ofthe portrait ro bui tools in Mlustrator, and how wo use up the background and how to use a layers ro organise the phocos and your simple raster to give it some texcure Use the Polygonel Lasso fool Ly to separate the subject from the beckg‘ound in the duplicated layer. This con be done quite roughly. (Once the subiec is seleded, go back to the originel love, invert your selection (€md/Ct + Shift + 1) and delete the bckground. Now you con delete the uplicoted layer: In Photoshop, open photo pg from the BOR rere cer eet project files ond select Duplicate Layer from tnd select ust the subject's the meng in the Loyers pone, Use Crme/Ctel + Lto fece and o it of her chest, Set the bring up the Levels daleg, then uz the midele sider Crop Guide Overlay fo None inthe te moue the new layer abit light; sothe subiet Options bor te help you see whet you're stor out better from the background deing, For nov, well keep the imoge’s resolution unchonged, THE ARTIST'S GUIDE TO PHOTOSHOP. 12Make a new layer and call it ‘Front’. This is the layer we are going to work in. Put this layer on top of your other layers. Lock the other layers. Duplicate the layer, nome it'Contas’, then ease the contrast on this layer Duplicate this Ject Image > Adjustments > Pesterize with yet "osterize! Nowe chonge the imege Jian to 150d and the this brush, using black forthe 3 ‘ond ne filPrd ANEW PALETTE BR) cree Bockground’ ond draw 0 Mh reclngle the size ofthe document; Ive made mine dork blue to moke the foce HEL tne se rcsna te poe ogee oe the bri for ston out more. Also drow some simple ivegular shapes ond the Pe tool for more geemetscal shapes. Stor off liquid shopes wih the Bosie Brush to bby mapping out the bosic shapes. wll lok a bit messy once you'e finished, but make the composition more dynamic. trust me, that’s Fine for now [slot off by trocing from the Posterze layer ond turn ‘Open the raster file ond place {o the other layers later if wont te edd more dete the object over he green cap. Seleet both cap ond roster element, duplicate them ond drag the resul beyond the document edge. Bring tothe front (Cmd/Ctel + Shift +) with the raster lover the cap. Hit the Crop butlon in ‘he Pathfinder panel, Align the result ‘over the fit roster element [use Smart Guides to help you, then delete the fist clement, Now you have a roserized fil Giving the cop mora texture, BED ses eet ce ni ema 4, New po an star fling them, using the Eyedropper tool to pick colours Fem the ostrize layer {you may ol want to stare them in the Swatchas pone. H some shopes overlap, copy and selec the shopes that need tobe divided, hen goto the Fothfinder pone (Cmd/Cte + Shift + F9) and hit the Divide button. Ungroup them (€md/Ctel + Shift + G) and celete the ports you den't need. Remember to rou them again afterwards (Cmd/tl + 6) HEE] ope ret ee a new lever called ‘Mask’ to use 08 a 901 of picture frame. With the Reclengle tel, drag © selection over the triboord. Drag enother rectengle bigger then your enlboorl Select beth ond right click > Compound Path, Hake this vie ond lock the loys. Selec! Object > Path > Offset Path to accentuate the sunglosses {2 volue of Imm should do, Choose Now reluen to the "Contos layer fand the ‘Level’ layer to, if you ‘eoted this) 10 pie out more details. Mer this, ty ploying around with the colours, Using Preview to 260 whos! works. To odd on rodients mokes the results corte line neice, create anther with 1 offet of Ime, Note tht it’s not on ui, but an extre shop, Do the some For the ecart, ruber and gives a pleasing painterly elec THE ARTIST'S GUIDE TOCOMBINING PHOTOSHOP & ILLUSTRATOR BE ree ne ete sot wc shold a rest more abstract. Fist, reduce the scorf area to just blue and block by deleting somethings you've drawn. Now use the Basic Brsh to create © stipe pattern using colours from the Swatches pone, then Use the Pethindar pene’s Divide teal of he shop in the scart. New, draw 0 shope wih your brush to suggest shadow. Open the Tonsparency pponel |Cmd/€trl + Shift + F10) ond select © Multiply blending mode With an opaciy of 30%. Do the same forthe beckground end BEE) 7 oe ihe uhiply blending mode ond poste ito number of mes. Ploce them Under the clothing to give it more depth Copy one part of the scar potern croup the elements (€md/Ctrl + 6), cele them up slighty and place ther in the bockground, Agoin ute copy-ond prose versions ofthe layers with Muli hing blending modesto edd more depth to the compesiion. BBE os ese ever od te yr yo bough rm Photoshop. In the Layers ponel menu, selec Flaten Artwork Select oll your elomonts (Ema/Ctel + A ond group thers (Cme/Che + 6G), Drog recengle prectely over your ertboord and moke sure itis on top of your grouped ortwork, Select oll egoin (Cemd/Ctr + A) and hit (Emd/Ctel + 7. Now you've mede a cpping mask of your work, showing ‘only what is within he ortboard, Your vector portrait is now compote. (0 PHOTOSHOP Pe eka) gl: sL 1: ae eSrercty ary oie cd er artist based in Se ey ere eae eis See eee ees Pes tony use of colours and outlines, combined ea Peco een eens ‘his work and clientele, ranging from Ce eee err are Io pet eo Above This port of legendary Deir Kevin Saunderson woe crated for he oning ‘olor Horoes On Concas . Below A Vieger& Vandom bos ring ene of Eele's pits.Ice e LL TABLET REVOLUTIO 160 PAGES OF ESSENTIAL INFORMATION FORJUST, £9.99 Tabet al Available from larger Tesco, Sainsbury's & WH Smith Travel outlets fi] You can also purchase a digital download now from [Link]/tabletworldae ETCOMBINING PHOTOSHOP & ILLUSTRATOR > EARN PHOTOSHOP COUAGE Sd Retro poster style Update the styles of the 1950s and 1960s with artist Middle Boop hae retro aesthetic of the 1950s with digital technology to create this and 1960sis currently back month's stunning cover image, in vogue, wich the trend He walks you step-by-step through expected to gather pace over the the process of preparing stock images Let’ toke the aged effec course of the year for composting, lighting, colouring futher by adeing a slight 1s not hard to see why retro design and texturing the design - as well as reture to the three imoges. In the isso enduringly popular: the bold, providing afew sneaky keyboard computer leyer, goto Filter > Noise blocky colours, simple imagery and shortcuts to speed things up. > Add Noise, set the omount te vivid eypography make this a sii The stock images that Reid has anjwhere benveen & end 8 forthe ra of design, used are all available from iStock, computer ond set the cistibution to In this ravoral, Gordon Reid — You can buy them from bity/4V21MR, Goussion. Do the some process for who works under the ereative handle bic ly/7rdMRZ, and bicy/4P2ki0 — both ofthe other leyers ur use the Middle Boop shows how he blended ar if you prefer, you can substitute filer @ lot more light retroimagery and colourschemes __similarimages of your own, cao HE Neher ie ts point fo work rom, its time to work out ome vibrant colours fo make the design velly eye-coiching. | wont to ure colours thot emphasise the oe choo! fee! but can ola be combined te look contemporary. Put « cream coloured loyer such as #fdA over the top of he image and se the blending rede to Muhipy then play cbeut with colour snatches to find some great colour combination. LER FREESE REE ees ert { BEEEEE EERE SESE LE + AE t RERT SECERRERERE EEE EDS EEREE Et THE ARTI GUIDE TO PHOTOSHOP 133Bock in Photoshop, we wont 1 give the impression thet light is exploding from the eomper screen. Toke 6 loge soft-edged brush withthe hardness eet ot, then using & ‘One way of achieving bright white colour dick over the screen, intersting eects is by Double-click on the layer inthe Loy creating your own brushes in luster, Palette to open vp the blending options Py about wih some ideas that might ond solact Outer Giow, sling the size work wall as 0 brush - such os o dotled to 51%, range to 58% one opacity line = then go to Brushes > Now 10.61%. Repeat this en @ new layer, Brush > Now Art Brush. changing the contour's press 10 Cove = Deep end the opacity to 70%. Add some vibront shapes underneath the Blured lovers HEE trite ko comeing eng tom te compule seen, take 2 fedured stock imoge such asthe one | downloaded from Pholoe To. Go ot bitW/857 Ee, Press Shift + Crd/Ctel + Ute desoturoe the imoge. Now, selec Filter > Blur > Radial Blur, ‘etting the methed to Zeom, the emount to TO0 ond the quoliy to Best Erose the edges with a large soft brush, set the opacity to 47% and so the imoge inthe cenve of the eerean, 134 THE ARTIST'S GUIDE TO PHOTOSHOP Let's add some depth to the image. Grob o lage, sft edged bruth pick one of the colours, ‘ond ina new leer behind the main image, dick a fee fines to ereate some coloured patches Take the opacity down 0 40% and st the layer’ blending mode fo Fin Light. In 6 new loys, sleet ‘oncther colour and point some move blotches, this ime seting the layers blending mede to Satin, the distance 4033, ste o 250, andthe contour to Gavstion, Set the epaciy to 63%, ‘One tal thot con be really ‘eet # used wall isthe Blend tool. Return to liletrotor and import your image from Photoshop to vse a= {0 guide. On 0 new layer use the Fer tool and create two separcte wovy ines, ‘hen go to Object > Blend > Blend ‘Options, select the specified steps and selec around 70, hold Cmd/Ciel + Al/Opt + B and see the results This technique can be oko be epplied te shapes ot wel, such os the tongles. You use the some pocess but ploy about with the emount 4 get the desired effec, Don't be ofcid to experiment; if you need to oer ‘omthing hold Shift > Crnd/Ctel + AW/ ‘Opt + Bo relaaz0 the blondL117 COMBINING PHOTOSHOP & ILLUSTRATOR - A BG Sooo cae 0 sone shoting oroend BRESEIE ie top ond sce of tne moge, Coc PARERYI iter > Noise > Add Noise sching L ia the distribution to Uniform and the " ‘amount anywhere from 50% to 60%, As. ths ony for bockround Here, se the epacy end il ight down o 20. 35s Ath ep 14 se i lye over the op oe mage The illustrotion ot this point sil looks litle empty cond coulel de with a spruce-up. Choose @ few more vibrant colours frm your swolehes ond bring few simple shopes to life using tadhsiques such os gradient overlays Select the Gracien! too! ond customise your rodent by Clcking the Gradient eaitor in the top let hand earner. For the final addition of texture set © naw layer on top of the rest. Chonge the background ond fereground colours to the cream and yellow alreody used, go to > Render > Cloude, then Filter > Slur > Gavssion Blur ond set the rods to 20 pixels. Change the opecty to 9% and the fil to 70%, Teed eid ers eee Freeecsener con Powers eee ae BER) rie re proms FP Nerve od shopes con relly Bring ome more texture to the the design out. To ereote these green shopes, for example, I've simply used the Pon tool to create © teardrop effect ‘ond merged the Wve layers, Then while holding AlY/Ope I've duplccted the image o numberof times and lined them vp. bockground. Use a yellow safredged brush of 500-600 pixels ond ge nuts! (Once you're hoppy goto Filer > Pixelate > Colour Holftene, ond set the moximum rac 4 Four Set the ‘opacity to 37% ane the fll 10 71%, Place ‘his loyerovor the top ofthe image. eee ae is eee ee Centar’ ere THE ARTIST'S GUIDE TO PHOTOSHOP. 135> LEARN COLLABORATION Digital art remixed ff coor een Discover how Stephen Chan ond Andriana Katsiki combined their skills to create something that was a synthesis of their styles alcytale Asylum is a collaboration that has been Waiting to happen since artists Stephen Onan and Andria Karsiki (AKA Wundercloud) metin 2007. ‘They instantly loved each other's work and soon realised that chey share alot ‘of the same inspeations, even chough their syles are quite different. Eventually they decided to property join forces and stare experimenting by ‘combining che styles inco something new and unique. Both love working with characters, especially ones that have some weird or ewisted aspects: Andiiane began by fist seleaing on image fom her personal ibrar of character, frm ‘which oll ofthe Foirytle Asylum project's kadai wil oke inepreion fom, “The image | chose is fom e series cf anthropomerphie charoeers thot combine fshion photography with surreal animal hoods” she says. To begin the project, Andcone eut out the imege in Photoshop end placed it on ‘obockground colour of #03948, COMBINING PHOTOSHOP & ILLUSTRATOR A Pres orn ee poe ‘heir personalities, and that became hand fone ofthe main themes in theit collaborations “When creating a new piece, we sive the freedom to each other to ‘express themselves how they lke,” ws Andriana. "The harmony of finished piece comes naruslly from ‘he love and respect we have for each ‘other's work.” ‘The piece thar Ande Seephen have ereated isa journey ito ‘he world of Fairytale Asylum — where chacacters live, play and kill together ‘They Rope you enjoy the trip. wa and ‘Androne started o build up the character by doing a colour corection poss using Hus/ Saturation, She shied the skintones down to an unnatural blve colour os the cortist wonted to cecantuate the dynamic pose af he choracter. These cours further edded to the surreal, clmost ctherwerialy fal of i A sight gcadient fll inoduced more depth tothe imege. ‘Andvone began to introduce some hond-drawn elements She printed out the eherecter at around 15-20% opaciy ond began sketching Cover the top. She had-draws a lot of elements in her work, sing them to extend other ports ofthe imoge in onganie ways ~ in this cove, the phologrephy. (Once she wos heppy with the shetches, Andsione scenned the image beck inte Phetathap and, using Levels she removed the guide chorocer, leaving just the drawing. She then cleened them vp end pleced them over the exginal inoge. FG Sih ee sone {eemetric shopes into the compesiion to contrst withthe sketched elements Stephen could use these eldtional shopes starting points for his own illustrations. At this ‘oge, Ancona looked ot the image {28 stood ond, after o few tweaks to the composition, she porsed i over to Stephen to stort experimenting Her fellow ast wasted! no time puting his own mark on the work. Slophen roughly etobliched a way of working hoving collaboreted on few ilutetions before (one of them would find a nize phote ond add some raphical elements before possing te the nex perso. Stephen opened Up the file ond sow the imagery, the strange pose of the model end the sketches — and loved A THE ARTIST'S GUIDE TO PHOTOSHOP. 137“When creating a new piece, we give the freedom to each other to express themselves” ANDRIANA KATSIKI BLYA “Serta nthe pace ‘os great, but | ust wasn't too hoppy with the composition, the positioning of the main focl point” sys Stephen, He moved things round unl they seemed right, ond making adjustments to the composition afer a few quick emrils with Andviane. Stephen ended up duplicaing the model for mere impoet iNest) femerren the moniker coer eet ee ee een cornet cen Ses eee ery eee See contact ere 138 THE ARTIST'S GUIDE TO PHOTOSHOP Stephen started with his usual technique for oppreaching 6 piece of work ~ stored et for cbout half @ doy unt something suddenly sporked in his bin, He decided to ‘ompwiate the og, fly masking off the section in Photoshop, end then saving ‘low-resolution version to toke in to ‘Adobe illustrator, "Curing off mb i ol the coge,” he quips ‘With Stephen being quite heavily influenced by surreal and weied orsts, Mango ond Asian cullure, massive worm ceolues spewing fromthe thigh seemed quite pecect. He ‘quickly vectored up some new worms and found some old worms, then quite convenienly copied end pasted them in to Phetoshop, ‘when Andriona received the work back, she had lo spend let of time considering her ned move, 108 Stephen's duplication ef the central iguie hod chonged the dynomic of the ortwork 0 lot, “Teecly liked how it gave © completely eth fea othe piece, 20 it inspired me to think about he story thot wos forming between these choractes >My chellenge now wes fo develop the relotionship between the new elements ‘ond continue to build the stony.” Stephen received the piece back, with afew elements moved ond a faxure background added. the pink citle thot wos atthe top wos now at the bottom. The heavy shape ot the betorn seemed ike it wanted to drag lf of the page, hich lead him to create the drippy chorocer (even the lightest change in compesiion con spark ff inspiration)Stephen wanted fo blend ‘he photographic elements ‘ond the vectors litle more, ond alter toring a he drippy charader for © wil, it lead to the crection ofthe meling leg. He drew it up in Mlstrotor cain, using © bright colour, which he found heipe when tracing oF ‘on op of dark cbjcts. This have been done in Ph BEB) eitescton ox sang to neo compli eding iusto few more elements tighten i,” faye Stephen. “Leoking around ogein | thought maybe on image of a dicmond being grasped on to by those clow lin the midele ofthe diomond shopes) would be fing, And ne illustration would be finished without my ove \sielcing lit ge. COMBINING PHOTOSHOP & ILLUSTRATOR Pee rere ee raat Pere Senne Serre: eee en eee cee anette ee ra mney ints re eens ea eee Tete eo c ai e Pesan eet ening ‘Andriana's response to Stephen's work was, “Wow! The new chevaclers ond vectors relly begin to make the piece look sold nove, ond wos inspired lo do some more coving, [feel Ie the litle norrative hed developed nicely, ond my new drowings would pull he whole thing together” Andsone then toned down the illustration taking out the pinks so tho the ether elements were stronger ‘and ro it worn’ fo busy. She ond Stephen decided the composition wos looking litle dul, so bringing bock some ofthe pink would drew the viewer in tothe piece nicely. This finished the piece tobe "There were some compromi¢es te be hod clang the wey” says Andrane, “wih tweaks tothe composition and individual Sse clomente being sent beck ond forth, But in the end the overall Ayres look wos achieved by working clase together ond fine-tuning RRRGameaN aa Reaeea ‘he composition unl seth happy.”COMBINING PHOTOSHOP & ILLUSTRATOR > LEARN BURLESQUE ILLUSTRATION Learn pro-level masking skills Put your masking and colouring talents to the test creating this sumptuous image with Radim Malinic ley, fancy, and defiantly old. as incutive as posible. The software ‘Open your feathers image the moment. Ieveles on thoughts racherthan making you EN of Magic Ect [Eo separate the teasing and subvle deals ores fino aslave and ellingyourouse Teather rm the background, Inevtbly sexiness, rather than resorting to aeres his car filter. We willexplore Awont be perfect Hi forte Levels ‘of exposed flesh meaning that you simple techniques that emphasise pole, selec the Black channel ond ‘canbe seductive withouchaving t go colour shifts, quick masking, and drag the sider fo the le Then using alout enc. adjustment layers” en edjusiment ayer ond 2 lpping Tn thiscucorial, Radimn Malinie lets The images that Radim has used ‘oak hueok the hue ond sturaton, his imagination go for a wander, ‘ean be bought for a small cost from ‘ond lighten up comes ofthe feathers. ‘creating a unique image by blending a [Link], ot you can use burlesque-style central figure with similar images of your own. Download ‘other exuberant, whimsical elements che images from: bitdexduer (the ~ineluding adream catcher anda model), bitlv/9JNckm (the Feathers) merry-go-round. and bit/cl4K4C (ae lipstick), Malinic says: K's imperative that ‘you learn hove co make your workflow Were aiming foro strong contrast in our imoge we and reed to introduce os mony burlesque laments ot possible. Open the lipsic imoge. We're going to extrac the colourful feather-Ike leaves. Cut hem (ut withthe Pen to! [P) ond put on seperate layers. Crete a new lever with oclpping mask ond use the Clone Stomp (held down AR/Opt to copy on trea, then click to stamp i) build up ‘nice, smooth ond! even texture — a8 if they had never overlpped, You've been here before cond you roy net like this part at ol, Separating on imoge from ite backgroud can be a chore, but i's woth doing propery — and you'll ‘obeys find new woys 1 improve your cut-outs, For some quick tps ‘see steps 1-3 of Ciera Phelan's tutore| (page 40) ‘Open your madel shot — we need te get id ofthe bike stan! ond lose the white reflections on the model's body ‘and bike frame, Add a new layer with clipping mosk, sample ond brush colour around the edges W Will make the final layer leak mare “natural in the fino! compesition, ‘Although the previous few eps moy fe! tedious ond Yime-contuming, getting them right is exalt the auecets ofthe pice. Now, the fun port begins. Create ew document, sting the background colour to C32, M- 29, Y 29, K=0, HitG ond build up o gradient colour by setting the blending mode to Muli, ‘The spokes will be for too fiddly 1 eut out = itl be ‘quicker to ignore therm ond then drew new spokes onthe bike. When your cut ‘ou is comple, hit U ond set the line thickness fo Spe. Using the model imoge 1380 reference, draw irom the oukide in. Group oll the spokes (€md/Ctel + 6) to eave space in the Layers poet THE ARTIST'S GUIDE TO PHOTOSHOP 14Fring your buiesaue oycist inte the mein document os @ fotenad single layer, with @ Levels adjustment leyeratfched using @ ciipping [Link] it inthe middle of your decument, ald on eronge gradient from the bottom of the bike, ond drave simple shadows to give the right perspective. Scale the gl down te about third of the size ofthe conves ing inthe Feathers, placing ‘each on a separate layer with its Hue/Soturation adjustment loyer. You be able to tweok any dork edges by brushing on on extra white mosk For eony navigation, create group for teach layer, then group al the groups together, copy them for back-up and flotien each feother when you're hoppy with the colour and white balance, BS sce eos tom te lipstick image. Yeu con fleten the axa retouch oye in the oigine! document for on easier worl, To change the leave’ colour, use 0 Sold Colour adjustment lyer st to Hord ght, Select laf, held down AI/Opt and click Now Adjustment Layer icon al the botiom ef cur Lovers poate. Select Solié Colour end somple © bos orenge from the Swatches. Set ita Hord Light and you will see how all ofthe originel texture remains with vibrant cesu Repeat forall the separate let layers “Many creatives store a bank of vector elements they've previously new vectors for each image.” =e pee ieee eng ere: 142 THE ARTIST'S GUIDE TO PHOTOSHOP created — or you might prefer to draw 7 eae) fe) be aren pier fein [Nowe group the origina! leaves 1 moke them quicker to work wit, flotening each incviduel group [Shift +2), Distibute them oround the model and between the feathers. To moke colour tweaks, hit €md/Ctel + U to bring up the Hue/Saturation palette, then adjust the colour as you like. Now let's edd some vectors. ‘Many crotives store © bank ‘of oder elemans they've previously created ~ or you might prefer to drow new vecors for each imege, aI do ve ‘worked up some simple shapes thot wil ‘dé entre depth te the imoge, and give i ‘9 more intriguing look ~ the images ave on the projed files, soved os [Link] oN PT Although the vectors hove nice ‘redient colours in lustratr, heve we'll use them os bese shapes in ingle colours in the mein Photozhop window. Paste each object onto the convos 08 0 Shape Layer ond fill wth red or maroon. Setting some objects! banding mades to Multiply and Overly boils up vibrancy in your mage.L117 COMBINING PHOTOSHOP & ILLUSTRATOR BB eee Conran ccsentone shore So your Socroon yee oon mse oe Ol Scot go stl, ih : on : woretcun, morn inh oe Poet . She eloner ve ot be eo as Wah he smrcton 25 od he a a | vgnmen wns eae mer Pope ae arms npn onthe eee ctyou manor soon Hea cut mat + 0) [aemims | eee hole image end to figure out what Sees ‘lacking. Aad simple shops to the ep ond bottom af the image (dsewn with a U set o Elise} to Eas tive the piece a careusel-type look. eeaBE cea _| Pana ‘Add extra vector elements for = TIME TO COMPLETE ‘eoch edge and quickly mask out eas 7" th by eecig Hom Seater round layers. Someta is nce to give on oe ilatraion on overall ere. Cer) ‘ou could find on mege and overly it a ‘onthe top of your Background layer but | a es ‘wel dit @ erent way, Open new document the rome Sze os the main nwo, but in Groyscale mode. Sela ‘gredion (6) 0 that the colour builds Up nicely ofthe fop and bottom. Go to ieeeer Edit > Mode > Bitmap ond selec Reed Holftone screen (Diamond 25 / 42). Ss The outcome will be on uneven dotty _ tedue, von seems just idea or he pace. Cmnd/Cirl + A'> md/Ctet + {> €ma/Ctel + V to copy-nd-poste i ino the main pice, seting the blending mode 1 Ove. HS eee much done, Fel {ree to copy some more vedlor elements and use them more oround the ® PHOTOSHOP SECRETS Yi GLEAN INSIDER TIPS FROM OUR TEAM OF EXPERTSSONS SS BES he, ed SSS SAeen eee ee ey Perera rites karte Se Roe ee racecar cece ae Peon ee eed eee Se mine, I spent an hour this morning anaes cover, and finally had to ask the client to Pomerania re tae Cree erence ey ‘Ryan Hughes’ in California, but with all Cee acer somewhere.” Coa eee ea eee ree Sr arses Pere tr ened et pres eet ee ny your Mac. I never let my Mac control me ~ ce ee ee eon eerste roa een eee ees eee |” eccleeerecenoanl Peentees eesncceitany Perr ene e ee eer ee Cee eed Ce Ponaneteicer | peepee tpreerran Borsa eso) ee nee oe oe ee ee ees ee an ee ideas that work and those that don't. Cem Ren ee tec rae Ree ee Cenc pineeel (epee perme nS Pe ea es eee ce “Carry a notebook and pencil for sketching out ideas, and use basie storyboards to test out ideas as.a sequence, Sree Serene ear eat nny and editing decisions.” Ce eesiesior! “Create seminal pieces that tell 7 Eocene rent ast ten Reece tere eT RL) attract a dream client or collaborators you errant katt Set) attract clients needing something nature- Cee ears Se Sea aa [tee eee pete eget ee onsen r ure tt iy or reflections ~ the pictures are just ee eT at the Bristol Museum, Its unnaturally arched spine and placid face are beautiful. rece ten a Se eee ent eerste eer erat neat eee eer) [> ney emer a reer hee nen tet tn i Vector elements pasted into Photoshop Pees eem tc T Ty subjected to treatments like adjustment ee eee ee Corre mere tee ors Ce Coca ng pean PE est tte astrseions ones as ‘new email’ alerts, and play your et Seca ate ce reso ars eee eee eee eee “Aim to spend a day entirely focused eo aie ent eee aan sLt) make this possible ~ avoid distractions in your schedule, and ensure you've had or eee eee ee ad eee tentSe eee pe een re sek Ree a es Gistoreaeetnaa single-minded worker, so take a side-step Uo ee Src Go for a walk, head ina new direction, Pen eset Cece eos Perens! om Sree is Pee eee ett Grey, Lady Grey, Breakfast and Ceylon, and Tir anya eee Ts Dit of creativity. Re erage rere Raed “To work as an illustrator, don’t Peete rey a ete re Ree our eu Poteet “Know yourself, work hard, and understand your weaknesses but also Preteen ey eee ere pee eho = Ca ee ere eet Doe Lo ie ecaras Sec eee One co Re eee spot colours, and for rescaling. 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I'll then pull colour ideas from ree ees eee ts pean “To get inspired and think of fun new ideas, half an hour hula-hooping in the garden usualy does the trick.” eee ee aa eee eed Peon poe rit ts Pe eer ees ‘communicate effectively. Visual art and Pee ee re eee eed eee ett ‘communication problem. Learn how to use Sian reenter tae tn that is simple and smart.” Caer ene een) designer for Kiss Kiss Borg Bong end Iron Man sxtgentwvennyty erent ern concern Deportes reer he aT ey Hue/Saturation adjustment layer topmost fee ear ete a anaes to each layer image and invert the mask, Pee eC ney Cun ee! parts of hidden images, moving through the layers until something takes shape. Paneer ec Deane een a eect un a re et ern) refine masks, resize or reposition images Peet ect ce Re ieee ana Pee ee) Piece rarity reer ty Pertiete costes ts culture of artistic individuals and their eee ee ee aT) it inspiring to go off and make their own ates em perce treat Boerne eee feitecaPeery Ce eed eee aT Sore Cee eee ne pre “Don't spend much time looking at Cea eee Cones going on and be aware of it, but do what See eC Oey ‘worry about who else is doing it later.” Cea eee Ls Depot ere ith loads of soft-edged airbrush-type Pee ree ae ee eee cee nn ce ee eee eee peeremeere ron et eae of itat different sizes. This will give your oe cE eT ra Renee poets eons 27] built or purchased. This enables us pecan re Coe Steet) Bera Cun eee aces Pepe cere eee eee ate PPeerr eecene rs Serer ag Baers Porreern ns tree Cog eer nat ot es One for inspiration and accumulated stuff Soe Ecsta s ee rec reenter ett Perr eee ey reg es aos So Seer ay Pennies Te al eee er eee eer Ponte ree eeeaeFO RAR Maone aie aaa Preece or ne spend so much time in front of the computer that I need to give my eyes, mind eee ones oneness |: eaten cee nr Pee tener CaN een ee cr out the trembling chromosomes that determined the shape of my current body eae arin Fe CON ane eR cree ner een Pee eee Cee escent Rater eerie nara ne at “sometimes walk the streets arene eet oor ert ns Be nye erent Feeney rnp try one day and tok a picture, returned tothe Pere peers poerrnpeerenenryirnnn TE very |: Reresine anerre tes Make it new by doing itona tablet in onary phoseaor ener eanerend Renee erreenirrest Trine een ee en ee rene erat Do pekeee ere Prrairestment netic start with an outlined letter and apply all ea acs Duplicate combinations of tools to create ce err Rca eer cee eee Ce een eC ne coed penetios for better art in Photoshop Photoshop gurus Mark Mayers and Fabio Sasso reveal 20 techniques that will make you a better artist longside ourin-depth guides favourites. Some will help you achieve to creative techniques in results faster - so you can concentrate Photoshop, here aze 20 quick on fine-cuning your compositions tips that wl help you produce even hile others unlock the possibies better artworkin thisenormously of whaccan be achieved in Adobe's povettlapoiecion Aagship to Photashop includes. huge number Many of tet ps will wrk in oftools, and here we expose some of | Photeshop CS. later though some ta its less well-known features and reveal require newer versions. We've noted new ways co we some familiar these in thetps concerned, Brush up on clouds The best way to create realistic clouds in Photoshop ting brushes isto selec he Tenure tab in the Brushes panel (P), hen, fr the pattern, use Clouds 128x128 (is inthe predefined lit named Patter). Alo make the Scale much bigger than the brush size and use Color Burn forthe blending mode Lighten up Z smart Objects * "> To create a streaming light-ray Introduced in C52, Smart | Lil effec, nee radient Editor, set the Gr se the Gradient Tool: in ‘Objects are layers that can be the edited on-the-fly simply by double “Type co Noise wich 100% roughness, licking their layer ion. Once changes chen use the Angle Gradient have been saved, che objects updae automaticaly along with any ‘duplicates (or instances), To paste rework from Mlustator as a Smart ‘Objeet, check the relevant option.Bitmap it Convert images to Bitmap mode (Image > Mode > Bitmap) to Talk to your printer create superssish halftone and woodeut effects. Colour images ‘When creating Phocoshop files will need tobe turned ineo greyscale first (Image > Mode > Grayscale), for screenprinting, tlle o che Be a better selector Creating selections accurately is an essential Photoshop sil if 1 Edge ‘command and its cousin, Refine Maske (both introduced in C5), make the process less tedious and enable you to extract dficulr subjects sueh as wispy hai. printer for adviee on the limitations of ‘he process, I's good to find out where might need to expand or contract to allow for slight misalignment e garment is printed. | - Use layer comps Recycle it Layer compe camure che rte of We know is important ta recycle —and with one the Layers panel and area neat kind of retro sensibly or other always in vogue, why way to show clients variations of a not do the same in your artwork by incorporating imagery design without having to save multiple from vintage magazines? They can often be picked up for documents. The other great feacuce is ‘hext-t0-nothing at ear boot sales and junk shops. ‘the ability to add annotations With layer comps you can show variations of a design to clients without having to save out multiple versions > THE ARTIST'S GUIDE TO PHOTOSHOP 15Aes we Create textures with actual ] 38 brushes, digitise them and blend to add a gritty lookNoise is neat 17: Mesh it up shades when you v Create super cool mesh effects using Transform > gradients-so apply ‘Warp. and then selecting Fisheye from the Opions bar men, The example was created by Pablo for uate cm, avers mans ams norwat Ta) Onec we OS be efx) > tite ae a Cloud the picture - oof: 19% revmmrore i A jour eesguinsuneen >> oof. A little noise 18 New layers will smooth from old eye * mmacretiereaes transitions in su very subtle gradients Glow with succes Aneasy way oad ag all other layers mera apply Rada Bur of 1020 pe Hendin mode Drop the opty 15% until you get the desized 20: Channel y Ghannels are beyond the capbliis of fourcolour ri escent spot colours. With a litle pr lectively ad inks to the CMYK set sicS DOWNLOAD NEW WAY TO GET YOUR HANDS ON YOU Read our magazines on your iPad Eni iPad, tablet, Mac, PC and iPhone with pus 3 Combine digital and crafetoots create incredible artworks tees Meta att reborn Join the digital revolution at [Link]/zinioDIGITAL EDITIONS 3 EOS Wie " os te iF ee [Link]/zinio [Link]/zinio [Link]/zinio _peadvisor.[Link]/zinioFree resources on the Download Zone EXPERT VIDEO TUTORIALS ) STOCK IMAGES FROM photosto: Go.: 2,000 x 2,500 pixel PROJECT FILES or OUR MASTERCLASSES 1d ZonMacworld WTA Awards 2011 HOT sponsored by G-Technology —- ot Py = RS ce Be Ur)THE ARTIST’S GUIDE ire} PHOTOSHOP The ultimate tutorial collection (er Ma ro RL AO aol MR YCoLAT CoL MCONCOATo ocelot oe oR RS CCRC a TRU en URCUMe teem tie Lier Te OMe Col A MoT UaTiaTO PL Ue aoTel La Ty special edition gives you exciting tips and tricks across a huge range of styles including photomontage, illustration, painting and graphics. eee Recent ee eek ede aki ee) eee aie athe ea ten ets) from our Download Zone wherever you are and whenever you wont. OT eter La De eR a> aia LAYERS & BLENDING MODES DIGITAL PAINTING TECHNIQUES this edition ed 50 pro-quality stock images ean ad