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Magazine team
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Advanced Photoshop
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Head of Design Ross Andrews
paintings to bright, funky graphics. As Contributors
James Davies, Natalie Johnson, Magnus Kjäll, Radim Malinic,
such, we’ve put together a varied Roberto Marras, Kirk Nelson, Josie Reavely & Andreas Rocha
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4
Advanced Photoshop TORS
004_AVP_56_EdIntro.indd 4 1/4/09 15:21:14
Cover
Cover image
“I have been fascinated by other worlds and space in
general forever. The universe gives you endless
possibilities and I really enjoy creating new worlds.
Recently, I started combining my own photos with
Imageer:
my digital elements and enjoy the possibilities. The
TOBIAS ROETSCH
cover image is a mixture of 3D, 2D, photos and
painting. I wanted a cold look combined with the
beauty of the first snow. If you look carefully, you will
notice the little guys walking on the chine.” “This image is a mixture of
/ www.gt-graphics.de
3D, 2D, photos and painting”
5
Advanced Photoshop
ISSUE #56
inside... 36
Fashion images with
the Pen tool
INSIGHT
News and showcases from around the globe
News
08
08
Showcase: Craig Shields 12
Showcase: Jonathan Wilkins 14
Showcase: Kode Abdo 16
Showcase: Alex Popescu 18
COMMUNITY 22
Our readers’ comments, feedback and images
from our mailbox, email, website and forum
Mailbox 22
THE COVER On the web 24
The cover image is provided by Tobias Roetsch Web challenge winners 28
(www.gt-graphics.de). Find out more about the artist
and how he creates his images in our matte-painting
feature, starting on page 44
HELP 74
Tips, techniques and problems solved
Helpdesk 74
RESOURCES 90
Vital assets to improve your Photoshop work
6
Advanced Photoshop
FEATURES/REGULAR TECHNIQUES
Insightful interviews and in-depth articles Essential guides to professional Photoshop skills
7
Advanced Photoshop
file history is instantly accessible, so you can easily revert to any drive. Routinely use multiple applications to craft your projects?
previous file version and make it your present version by simply Have several projects going on at the same time? Flow won’t just
clicking on it. You can also track versions on local, network and streamline your workflow, it’ll save your sanity.”
removable storage devices. The apparent power of its administrative sciences was a big
Time Tracking is another advanced feature, which factor for its late release. President of GridIron Software, Steve
automatically records how much time you spend on a file, a Forde, explains: “Flow took longer to develop than we thought it
series of files or an entire project. This is great when having to would, but we are committed to doing whatever it takes to
juggle numerous projects and designate strict time deliver a tool that will really make a difference in the way
management. This feature is built right into the Map, so it’s easy creative professionals work. With Flow, users will spend less time
to see as part of your project. looking for files and have more time to focus on what they do
Professionals have been anxiously awaiting GridIron Flow best, which is creating excellent work.”
since it was first disclosed. Leading Photoshop expert Deke So to get going with the beta of GridIron Flow, visit the link
McClelland is one notable example, as he reveals: “Utterly unlike below and get downloading. It’s a real time-saver. Look out for
anything out there, Flow is one of those rare products that’s our review in a future issue.
www.gridironsoftware.com/download
et
LF: Real-Time Ass
ON YOUR BEHA con nections
ly tra cks the
Tracking invisib s as changes are
between project file
the Wo rkf low Map even if
made, updating Flow is not runnin
g
8
Advanced Photoshop
News
If you’re looking for a bit of freelance
where to start, log on to www
crowdSPRING, foun
Mike Samson, help s
ded by
creat
Ross
ives
.crow
Kimb
acro ss
but don’t know
dspr
the
ive
ing.com.
arov sky and
glob
emp
e find
loyee s.
bites
new clients or clients find new creat
for
To get in on this action, all
a post ed
you
job.
need
Crea
to do
tives
is
can
join
uplo ad
KUBOTA WORKSHOP
free then search for Kubota Image Tools is returning to
Italy for its fifth creative photography
“Join for free then workshop for professional and
advanced amateur photographers (2-
search for a posted job” 8 May). The seven-day course includes
photo excursions, classroom
can post their brief instruction, photography critiquing
and submit there and then. Clients
and then choose the and the opportunity for participants
and watch the world submit,
to apply fine-art Photoshop skills. See
best design. www.kubotaimagetools.com.
from logos to
There are all kinds of commissions,
n. Payment COAST TO
web design and everything in-betwee COAST: By
, up to $4,00 0 (that ’s
ranges from $200, around £140 helping
creat ives have full own ership of buyers reach
about £2,850). Also,
t emp loys the countless
their final desig n up until the clien
creatives
to read the
design and states otherwise – be sure across the
chos en cont est. globe,
terms and conditions of your crowdSPRING
is trying to
change the
game for the
little guy
www.crowdspring.com
9
Advanced Photoshop
PASTORE
We interview Wolda president and co-
modes and Special Scene modes, including
dedicated Underwater, Snow and Beach
founder Mauro Pastore, finding out If you want a camera suited for all on-
why the Wolda awards have become location occasions, then the PowerShot
such a phenomenon in the graphic D10 is for you. This waterproof digital compact, a first for BLUR FREE: Even the most active situations can be
design arena Canon, delivers richly detailed images with its 12.1 photographed blur-free thanks to Canon’s built-in Motion
megapixels and new Smart Auto mode. This uses Scene Detection technology
Q: HOW HAS WOLDA LEARNT Detection technology in order to analyse the shooting
FROM THE PREVIOUS scene in detail. Checking subject brightness, contrast,
snorkelling or on safari, this camera demonstrates some
distance and overall hue, this camera selects the optimum
SUCCESSES OF EULDA? mode from 18 possible choices, ensuring perfect settings
extreme levels of toughness, making it a take-anywhere
A: “Three years after Eulda, we know piece of hardware. First of all, it’s waterproof up to ten
for your scene.
we’ve done something special. metres, can withstand the shock of a drop onto a hard
The PowerShot D10 is also great for those with an active
We’ve received so many enthusiastic surface from 1.22 metres and is extremely dustproof,
lifestyle. Whether taking photos when mountaineering,
comments. However, we received with EC/JIS IP Protection. It also functions at
1,100 logos in total, which is simply temperatures as low as -10 centigrade. It also
not enough when representing the accommodates some powerful current science, including
best logo design worldwide. But that’s a 3x zoom lens and Image Stabilizer so camera shake is
www.canon.co.uk
our goal and that is our promise. The prevented from causing unwanted blur. The PowerShot
‘08 awards were the first edition as a D10 is available from end of April, priced at £379/$330.
worldwide contest. Wolda still
needs to gain visibility and respect,
but our goal remains a goal.”
NoiseFive from ATTIK
Q: HOW DO WOLDA’S MAKING MORE NOISE (LEFT):
PARTNERSHIPS HELP “We have NoiseFive, the latest printed colle
condensed our experimentation ction
into a book from ATTIK, is now available to buy.
PROMOTE VISIBILITY? and believe this lets us grow. That
’s the ultimate The
reason for creating a Noise book overall content is the main diffe
A: “We have two sponsors: Sappi, the ” – James rence in
Somerville, co-founder and creat
leading global coated fine paper ive director this edition, which includes a
company, and Fontegrafica, recent retrospective telling of ATTIK’s stor
y in
winner of the Gold Ink Awards. detail from the last 20 years.
Simply, our sponsors are the best James Somerville, co-founder and
printer of the world and the best creative director, attributes the
papers of the world. What more could printing
process of the new book as part
we desire to present the best logos in of what
makes it so special: “The notion
the world?” of self-
publishing in today’s economy is
unthinkable, especially when you
add
Q: WHAT CAN YOU TELL US up the number of processes (ove
r 40)
OF THE ANNUAL’S APPROACH? and number of paper stocks (nine
A: “We decided to keep the design ) in
NoiseFive. NoiseFour was CMYK
very clear and clean, as not to disturb BACK DATED AND UPDATED throughout on one single stock,
: “Some of the content may start
the real stars of the book, the logos. feel dated, whereas at the time it to so we believe we have
was created it wasn’t. But we surpassed that
leave it in there as it’s part of our edition with this new book.”
There’s a Best of the World and many process” – James Somerville
This tangibility makes NoiseFive
Best of Continent and Nation designs. a precious resource. The
title provides a loose order of work
All are graphically treated as the s and mainly these are
www.attik.com driven through shape and colour,
winners they are. rather than what the
works’ theme is. All this makes for
an informative and
Find out more about the Wolda emotive design book.
awards at www.wolda.org
10
Advanced Photoshop
Iron Maide
n: “Exploring Fra
black-and-whit nk Miller’s
e world and ins
girls of Sin City. pired by the
Sexual imagery
surreal twist” with a
12
Advanced Photoshop
Craig Shields is a next-generation artist who has obtained a stunning digital style
through extensive practice with creative software. Going online back in 2000, he
stumbled across the online art community experience. Immersing himself in
depthCORE and deviantART, he soon realised that becoming a designer, and not
an animator, was his main objective.
He explains: “I managed to get myself a copy of Photoshop 7 from a friend and
began clicking away, trying to mimic the work that I had seen. A constant flow of
inspirational websites and artists kept me going. All these years later, here I am.
Practice really does make perfect.”
Shields considers himself a photomanipulator, incorporating photography and
textures, making his lavish designs ‘pop’ by throwing in bright, vivid accent
colours: “My work is often Photoshop-intensive, but I always try and get some
hand-drawn or handmade elements into my design. Whether it’s doodles I’ve just
scanned or some textures that I’ve made, this gives my work that personal touch,’
he explains.
Shields thinks that all great images should have a sound starting point, as he
reveals: “I spend hours and good money on looking for the perfect stock image.
After I’ve found it, I just let my imagination fly. A lot of the time I just improvise,
eventually getting great results.”
2009 is an exciting year for him project-wise, as he reveals to Advanced
Photoshop: “I’m working on a project called Vacanthree. Made up of three
illustrators – myself, Max Spencer and established by Mike Harrison (http://destill.
net/) – Vacanthree is a place where we can experiment and go crazy with
anything and everything from motion work, drawing on furniture and designing
our own clothes.” It’s in the making and a new site with new works is due to be
released this summer, so watch out for that.
13
Advanced Photoshop
Jonathan Wilkins
Website: www.studioblup.com
Clients: MTV, Nike UK, Junk Club
Specialising in web and print design, Jonathan Wilkins has creativity coursing
through his veins. His mother, an accomplished artist, inspired him with her advanced
illustration techniques from an early age. He says: “When I was around 13, I watched
my cousin redesign a logo for Björk. The whole process amazed me, and I was totally
in awe of his style and technique. I got straight into Microsoft Paint at the first chance
I could, improvising and trying to imitate what he did. It looked ridiculous at the time
but you need to start somewhere.”
Advancing his skills at Southampton Solent University, Wilkins graduated and
formed Studio Blup. He has since gone on to produce works for top clients, such as
MTV and Nike UK, with Photoshop acting as his finishing tool within his projects. He
explains: “I often use Overlay and Multiply blending modes to create a contemporary
vibe. Using the Blur and Motion Blur filters, I add another dimension to my art and, if
it’s not overused, this gives me some amazing results. The key is to create something
that speaks with clarity. Anything too complicated or irrelevant really doesn’t work.”
A traditional ‘less is more’ attitude is firmly adopted by Wilkins, as he reveals: “I like
to keep my work vibrant and slightly abstract.” This is also an attitude that flows into
his influences and nothing is too intangible to inspire his designs. He explains: “I like
to look at everything around me. If I see a flyer or advert I like, I look to see who has
produced or designed it and I get straight onto their website or blog to explore.”
14
Advanced Photoshop
Wonderla
n
Year’s Eve 20 d Junk: “This was for Ne
08, w
surreal world with the brief to create a
. Th ru
drawn, vector is is a mixed media of ha stic,
and light over nd-
lays”
16
Advanced Photoshop
17
Advanced Photoshop
18
Advanced Photoshop
Alex Popescu
combines elements from several
European buildings”
Websites: www.alexpopescu.net
Clients: MediaPro Magic, Digital Dimension, The Syndicate,
Atomic Arts, MTV Movie Awards, xyBlue Design, HotShots
Alex Popescu is a matte painter for MediaPro Magic, the biggest visual effects studio
in Romania (his home country) and one of the biggest in Eastern Europe. “This
means I often get to do most of the steps of an environment (the concept art, the
matte painting, the camera mapping and even compositing the shot),” he explains.
In high school, he discovered Photoshop and 3ds Max: “The first thing I did in
Photoshop was so-called ‘space art’. I learned the basic techniques by creating
planets, star fields and nebulae. Later on I wanted to create more complex things, so
by combining my 3D skills, photographic references and blending them together by
painting, I started doing my first matte paintings.”
Popescu’s first job was a series of three illustrations for a Romanian publishing
house that were used as book covers. But things really picked up when he won the
first CGTalk Matte Painting challenge: “It led to me meeting some great people
working in VFX in Romania. So I got in this great team, one thing led to another and
now I am working in feature films.”
These films include Fire & Ice: The Dragon Chronicles (for the Sci Fi Channel), The
Escapist and Martin Scorsese’s Shine A Light. He was also the cover artist for
Advanced Photoshop: The Premium Collection Volume 2, a very relevant place for him
to be, given that Photoshop is core to his work: “Photoshop is the centre of the
equation for me. It’s my primary tool and I use it extensively. From doing the
concept to the finished matte paintings, I am very comfortable working with it.”
19
Advanced Photoshop
Mailbox
Do you have a question about the magazine? Email your
thoughts to advancedpshop@imagine-publishing.co.uk or
visit www.advancedphotoshop.co.uk/forum
it is still a lot cheaper than buying on an issue-by-
issue basis in the US. A World subscription costs
£80, which at the time of writing is equivalent to
around $114. This covers you for a whole year,
which is 13 issues, meaning that you pay around
Dummies, etc, and so am not bothering you $8.80 per issue and that includes the postage
without serious effort on my behalf beforehand! costs. Also, your subscription copy is sent out
Thanks for any pointers you can offer. when it comes on sale in the UK, meaning that
you get it earlier than the stores that import it.
Editor replies: Hi Don, thank for writing in. I have to Bear in mind that the conversion rate may change,
admit that you have me stumped too, as it’s not a and you’ll be charged at the equivalent US dollar
filter that I have heard of! ‘Angel eye’ is not a filter cost at the time of purchase.
built into Photoshop by default, and I can’t see one
coming up on a search through the internet. I
have found a few tutorials based on creating an SUBJECT: Showcase art
‘Angel eye’ effect on car headlamps, but I’m not FROM: Ciro W Romero
sure if this is what you are looking for. Can anyone I’m a frequent reader of Advanced Photoshop,
out there help Don with his query? Write in and let constantly referencing it for tutorials, articles
us know! and keeping up with what’s new in the digital
art world.
SAVE AND SUBSCRIBE: US readers can
subscribe online. The costs is in pounds, but you will Since the day I first opened up a copy of
still save a lot each issue SUBJECT: Counting the cost Advanced Photoshop, I always wanted to have
FROM: Yvonne Campbell my artwork featured in it but never felt I had
SUBJECT: Find my filter! I just started learning Photoshop last August, what it took. Today, thanks to your magazine
FROM: Don Moroney first with PSE5 and PSE7, but was lucky enough and others like it, I think I can finally say my work
Before I go completely insane, can I ask a to inherit a laptop with PSCS2 and just bought is on par with other artists I see featured and I
beginner’s question about Photoshop? I’m PSCS3 Premium Web. I have learned so much would greatly appreciate it if you’d review my
looking for a filter effect called ‘Angel eye’, which from your magazine… it is much better than a portfolio. Getting published in Advanced
I discovered a while ago before forgetting its book, and being an older student I am a little Photoshop would be an honour as well as look
location! As usual, now I want to use it, I can’t wary of ‘experimenting’, but am actually working great on my résumé! My online portfolio can be
find it. I have trawled through lots of tutorial on this, as with your lessons I now can see how viewed at www.ciroart.com.
sites, read the complete Photoshop For to do things and am beginning to let go.
I try to get each issue from our warehouse
Back in issue 53 we ran a feature called store (Costco) and started buying it about three
‘Shoot your own stock’. We’d like to to four issues ago. My reason for contacting you
apologise to Ben Goode who was featured is that I pay $15.50 and was wondering what the
in the article. We wrongly printed his cost of a subscription would be. It is listed in
website address as www.bengoode.com, pounds on the website and in the magazine,
which is that of another photographer and I wondered if you know the conversion rate.
called Ben Goode. To check out the work of I can’t seem to find this type of magazine here
the Ben Goode that we featured in our in the States; maybe I am not looking in the right
article, please take a look at his website, places, but I know I love your magazine and the
www.kwestart.com.au for a selection of CD you include with the freebies, stock photos
great stock photography. and lessons. So if you don’t mind helping out a
Yank, I would really appreciate knowing the cost
in US dollars. I am really hoping it isn’t too high,
as I am sure you are well aware of what is going
on here in the States and I am actually adding
Photoshop and web design to my résumé to
help me find new employment.
READERS’ ARTWORK: Send us your gallery sites
so we can see what you’re up to, or enter our
Editor replies: Hi Yvonne, and thanks for writing in. Readers’ gallery and see your work in print
All our subscription prices are listed in pounds, but
22
Advanced Photoshop
On the
forum
SUBJECT: Golden section and the
rule of thirds
FROM: Illustrator
How much attention do you give to the
golden section and how much do you
work out your compositions using the rule
of thirds? I’d be interested to know if it has
as much relevance on today’s
compositions as it has been held to have
in the past?
FROM: Belic
I use the rule of thirds in 90 per cent of my
designs. I don’t adhere to it strictly, but I
guess after years of it being drilled into me,
it’s nearly an automated response when
setting up a basic composition. I find it
exceptionally practical in advertising
design for print, especially in magazines.
However, I don’t often pay a huge
amount of attention to the golden section.
It’s in the back of my mind, and if my
composition looks a little off I’ll throw a
grid over to check it, however, I find that
the golden section occurs on somewhat of
a subconscious level. It’s a universal metric
Editor replies: Hi Ciro, thanks for your kind words. I
think that your artwork is great, so why not try “[A subscription] is that has occurred for thousands of years in
all forms of art, architecture and even
your luck at entering our new ‘Reader’s gallery’
section (replacing Peer Pressure, with a great new
a lot cheaper than nature. Which leads me to believe that
subconsciously we develop and design
prize from ohfolio.com)? I personally select the buying on an issue- based loosely around this principle. That’s
four best artists that submit to me each month to
be showcased on these pages, so email julie.
by-issue basis” not to say that there is no merit in it – Da
Vinci utilised the golden section, as did the
easton@imagine-publishing.co.uk to be in with a architects of Rome.
chance. There’s also a post on our forum for but I was so thrilled to see that tutorial because it In my line of work (print media and
Reader’s gallery entries so you can post on there, was so similar to something I was working on at advertising), the rule of thirds is far more
and I check it regularly for artists to feature in the the time – how cool! important than the golden section. It’s a
magazine. Good luck! Anyway, I’m attaching it for you to have a design strategy that can be mapped out
look… maybe you’ll like it. Many thanks and I on a page in front of a client and explained
appreciate the incredible stuff you guys are in a way that’s easy to understand.
SUBJECT: Inspired effects doing in the mag.
FROM: Thomas Ciccone
You probably get a ton of emails, but I wanted Editor replies: Hi Tom, I like your enthusiasm! It’s so
to send this image to you hoping that it may be great to see how the tutorials we publish each
included in your magazine. I got really inspired month are helping out in your personal projects,
by the workshop in issue 54 (‘Dynamic photo and this is a great example. While it’s fun to follow
effects’) because it basically outlined a the tutorials through from start to finish, often you
technique that I was using to build this image – can pluck out the bits you need to apply to other
it’s a composite of tons of miniature slices of images and that’s when you can create something Can you help fellow readers?
about four or so stock images that I used to truly unique, like your image, which is featured www.advancedphotoshop.co.uk
create a complete piece. It’s incredibly layered, here. I hope to see more of your work!
23
Advanced Photoshop
On the web
www.advancedphotoshop.co.uk
Our website and readers’ forum is perfect for showing off Photoshop creations. We present a selection of Picture
of the Week winners here. Log on and upload to get your images on this page next issue!
DECEMBER MORNING
ARTIST: Dominic Davison
WEB: www.advancedphotoshop.co.uk/user/DOM1
“I have been a digital artist for around five years, mostly creating
landscapes and environments. I primarily use Vue and Photoshop to
create the scenes, but also take inspiration from landscapes and rural
photography. December Morning was an idea I had for a Christmas
card, and although most of the scene was built in Vue, Photoshop was
vital in painting in the snow covering the houses and ground. I also
used Photoshop to change the overall hue to a colder blue but keeping
the luminosity intact. I am currently putting together a gallery of work
that I intend to sell as prints.”
WOMEN
DESIGN THE DEW ARTIST: Ariel Ratajczak
ARTIST: Angel Rivera WEB: www.advancedphotoshop.co.uk/user/ariel
WEB: www.advancedphotoshop.co.uk/user/
TheLRD “I am a 23-year-old designer from Poland. On a day-to-day
basis, I am employed at a creative agency based in the city of
“I am 14 years old and I was born in Poznan as a 2D artist, and I have been working in graphics
Tampa, Florida. I first discovered and professionally for over three years now. This piece was
started doing graphic design three years created using Photoshop and Illustrator, with a little help from
ago and have never looked back. In the my graphics tablet. At first I had no defined vision for Women;
future, I hope to go to a university I began by inserting the photograph of the woman and then
specialising in the arts. This image was started developing the world around her, experimenting with
created using the simple technique of various motives in order to make the final effect original and
using soft pixel brushing. If you would like creative. When I am designing, I try very hard to make each
to see more of my work, take a trip to piece unique and distinguishable from ones that I have
www.thelrd.com.” created before.”
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Advanced Photoshop
Web challenge
The winners T
HI
Challenge reference: AP 055
MO S
On our website, www.advancedphotoshop.co.uk/competitions.php, we run a web
P NTRI H’
challenge where you are asked to create an image in Photoshop using at least one
of three images provided. These challenges are updated monthly and they are
ZE S
becoming increasingly popular, so get your entries in for a chance to win.
Check out the website for details of our latest challenge and how to enter. The
winner will collect a special prize for that month (prizes change frequently) and will
also have their design printed in the magazine, along with two runners-up.
Our prize this month is a copy of the latest
Advanced Photoshop: The Premium
Challenge start images
Collection Volume 3. This contains our
pick of the very best tutorials, interviews,
profiles and features from the last year of
Advanced Photoshop magazine.
BUBBLE GIRL
ARTIST: Pedro Manuel Costa Ferreira
WEB: http://peter-design.blogspot.com/
STEP TO INFINITY
ARTIST: Jacek Rudowski
WEB: http://q2jacek.deviantart.com/
“I am a science fiction fan and I often like to touch upon this theme.
Composing the picture, I used two of the proposed photos. I also frequently
use photos of people in my photomanipulations, which allowed me to meet
the challenge.
Apart from the supplied photos, I used a NASA photo of a hurricane and I
scanned my coffee spoon to create the armour for the girl.
Technically, the original file contains 50 layers out of which there are five
adjustments and five textures. To the most important adjustment layer (Soft
Light), I manually added lights and shadows to achieve depth. Here, I
applied black, white and light blue colours, as well as varying the intensity
of my brush.”
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Advanced Photoshop
B E R
E
W I NN
W
BLUE LIGHT
ARTIST: José Paulo Amorim Reis
WEB: www.zepaulocreation.blogspot.com
“Conceptually, the girl is introduced in outer space, represented by the deep black, and as a supernova, exploding in light blue and white.
This energy is introduced around the girl as an aura, emanating feelings like ecstasy, delight, bliss and elation, entering a state of
intensified or heightened being. In order to enhance the girl’s natural beauty, some floral vectors resembling tribal tattoos were introduced
on her skin, giving more complex details to the global composition. To achieve the light effects, the chosen Photoshop CS3 tools were
several shapes and brushes. The vectors were designed on Illustrator CS3 and, subsequently, introduced and mixed with Photoshop.”
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Advanced Photoshop
MASSIVE BLACK
STUDIO We discuss the Massive Black experience
with its president and leading industry
concept artist, Jason Manley
S
an Francisco-based concept design just a few that can be ticked off of its impressive His own creative account begins back in 1999.
studio Massive Black has spread its list of around 160 major corporations, including 19 Working out of Boston for a less-than-inspirational
creative net far and wide. Now of the top 20 videogame publishers. But if you games company, he went on to work at Black Isle
achieving mass global recognition in the look back to Massive Black’s humble beginnings, Studios. Producing paintings for titles such as
commercial arena, it works with premier clientele you’ll discover that this project was born of one Icewind Dale, the Baldur’s Gate series and Fallout 3
in the entertainment industries. Sony, Nintendo, man’s bleak frustrations. And that man’s name is led to him meeting Coro Kaufman (www.
Capcom, Microsoft and Blizzard Entertainment are Jason Manley. coro36ink.com) and convincing Andrew Jones
30
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31
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mainstream worldwide brand it is today, the early visual design for the videogames
TRANSIENT © spreading across continents with teams working industry was all done at the developers making
birth of Massive Black was an indirect MASSIVE in Shanghai and Bangkok. the projects. Concept art was not being created
occurrence. Manley reveals: “When I started BLACK 2008: outside of the core teams who made the games,
“This is a concept
ConceptArt.org, I had been lucky to have already illustration Creative pioneers except in occasional circumstances. We formed
become fairly well known within the small circle showing the main Ironically, it’s culture that has played a major part the very first art studio to offer concept art, 3D
character Bob with
of the games industry. In time I had more work one of the oracle- in shaping Massive Black, as Manley explains: “It modelling, texturing, animation, marketing kits,
than I could possibly do, so I began farming it out like beings who was a key factor for us from the very beginning, green-light pitch development and asset
to my friends I met on ConceptArt.org. The first help guide his considering I had come from a games company in development to the games industry. Basically,
journey. When I
project we produced together was for Microsoft. said extra- Boston that had none. I’m glad I have had even Massive Black creates every aspect of art needed
We then did a pitch for a game company hoping dimensional, I these poor experiences, as they led me to know for a videogame. I had been in a great learning
meant it. There are
to work with Sony. what I wanted to build. How to do it right, so to culture at Black Isle, and building ConceptArt.org
a ton of awesome
“By the time we completed this, other major art creatures made for speak.” Manley set out to change the face of and Massive Black were, in a way, part of my
talents asked to come on board, like Chris Hatala this world” concept art, which Massive Black has certainly attempt to bring learning and creative growth
(www.linkedin.com/pub/4/b57/235), who was at achieved. He reveals: “Years ago, concept art and back into my life.”
Weta Digital doing animation at the time and is
now animation director at Massive Black. We used
the $6,000 we made from our first project to fund “We are doing this all to better
the starting of Massive Black.” The rest is history, as
they say. Spending many more late nights and ourselves, our art and our abilities to
long hours over the year that followed, Massive
Black finally became a fully functional and funded
communicate. By teaching, you learn
studio. Eventually, it expanded into the very quickly”
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Advanced Photoshop
Although Massive Black invents and presents GOLDEN AXE © SEGA 2007: “A pitch package
fantasy, imagining and realising parallel and image used to help Secret Level Games get Sega to fund
its Golden Axe project. This image is funny because when
alternative worlds never seen before, it’s a studio the president of Sega Japan came to Massive Black, he
firmly grounded in practicality. Education is at its had absolutely no idea we did its greenlight work. This is
also by NoXizMad”
core. “We are the only videogames company with
a vibrant social network, full-production capability,
a school, training events and a downloadable create from life and imagination equally well. The
educational library on http://media. only solution was for ConceptArt.org to form its
massiveblack.com,” explains Manley. “The games own school and for Massive Black to support it.”
industry developers and publishers are concerned Most in the industry would see that as a
predominantly with profit and their own products. distraction from making money. But for Manley
Massive Black was formed from within and the Massive Black team, it has never been
ConceptArt.org and that business has its solely about collateral: “We are doing this all to
foundation in education, learning, volunteering better ourselves, our art and our abilities to
and sharing since the day it launched. My partners communicate,” he reveals. “By teaching, you learn
and I simply believe that creative people should very quickly. Learning is very important here.”
have the information on making art into a career Sharing too, by the looks of things.
or even to improve their lives. We all had to work
for years to learn what we have.” Nurture and grow TRANSIENT © 2009 MASSIVE BLACK:
He adds: “The art schools we went to did not Appreciating the appeal of Massive Black’s “Transient is a world we are creating for Massive Black
offer the necessary information for us to succeed. designs, Manley was in turn able to fulfil another Entertainment by Coro Kaufman. It’s really a story of a
man who is forced by his own calling to seek rock bottom,
Every single one of us had to scrap and scrape, to goal of his: “We were looking at doing a book for destroy his life and find the necessary truth to save the
learn to apply visual grammar and technique to www.massiveblack.com for a long time,” he universe. This is the cover of the graphic novel”
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Advanced Photoshop
reveals. “We have so much work here, more IRON MAN © just a drop in the Massive Black creative ocean. All as much pleasure producing and promoting their
than 30,000 illustrations and pieces of concept art, SEGA 2007: have notably shaped the company’s persona. personal ventures: “Our own projects are the ones
“This is an example
as well as thousands of 3D goodies and of a marketing
Working on dedicated titles as well as providing I am most happy to see make progress,” he
animations.” Enticed by the pulling power of the rough, which was enthusiasm and motivation sees it getting the explains, “whether that be Coro Kaufman’s
Ballistic book range, they both gladly worked used for the Iron pick of the bunch, having recently worked on Transient, Degenesis, Impulse, MothHead, Zombie
Man project at
together to produce the first Massive Black Sega. We did a anticipated games such as Killzone 2, BioShock 2 Playground or any of the others. We are building a
catalogue of work: “We were impressed with the number of these and God of War 3. Manley reveals: “Personally, right library of entertainment worlds. Watching them
quality of Ballistic’s previous titles and felt like they and always enjoy now I am working on building our game grow is very inspiring. As far as the work we do for
working with the
fully understood our needs. We did the entire guys over there” development group, as we have moved into our clients, I enjoy all that work equally as well,” he
book in-house and then sent it to them for doing full titles as well as designing worlds for the continues. “Watch for our graphic novel Transient
printing and distribution. It turned out beautifully.” entire entertainment market of film, games, toys, later this year. It’s mind-blowing.”
Once again, this collaboration was not exclusively television and graphic novels.”
swayed by money, as Manley adds: “We just But Manley explains that creativity is all- Unity equals prosperity
wanted people to see what we do. Folks don’t encompassing at Massive Black, and the team get Delivering quality end results time and time again
know that we are responsible for many of the
coolest projects out there, on the visual side, and
this was a great way to do that.” “On the concept side, you need to
So what notable projects has Massive Black
contributed to? Marketing imagery for the cross- practise your butt off. These guys draw
platform videogame Iron Man, redesigning Quake
4 monsters, concept work for PC game Hellgate:
and paint 60 hours a week at least. You
London and PlayStation 3 game Army of Two are need to be doing the same thing”
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needs inspiration. It needs motivation. So where Practice, practice and more practice seems to be SECRET PROJECT © MASSIVE BLACK 2009
do Manley and the Massive Black team get theirs? the case, as Manley explains: “On the concept side (TOP): “This is an image by Kemp Remillard. Kemp is
one of our tech gurus and creates some of the cleanest
How do they stay so devoted and focused in such you need to practise your butt off. These guys production concepts I have seen in games. If we need
a competitive industry? Manley reveals: “We have draw and paint 60 hours a week at least. You need someone who knows how mechanical things actually
exceptional creators here. The reality is we are a to be doing the same thing. The easiest path is to can work in real life, Kemp is one of the best”
35
Advanced Photoshop
Stri k in
fashion images
g
We speak to Radim Malinic about his unique style,
then the digital artist himself breaks down his
Photoshop process in a five-page tutorial
Radim Malinic (Brand Nu)
Radim has a long history with Advanced Photoshop magazine,
dating back to an Insight profile piece in issue 23 (November
2006) where we first showcased his talent. This issue, we have yet
another contemporary illustration tutorial courtesy of Brand Nu,
who is best known for his work with Fuze/Coca Cola, O2, BBC,
Heineken and Harrods. You can see more dazzling Brand Nu
trademark colours, as well as check out his latest portfolio book,
at www.brandnu.co.uk.
R
adim Malinic, aka Brand Nu, has a unique
style that has graced the cover of Advanced
Photoshop three times to date, and he’s
compiled some great tutorials in the meantime.
With a list of notable clients that includes O2, the BBC,
The National Lottery, Lynx, Smirnoff and more, he
knows what works in commercial advertising. Here, he
gives an insight into his working life, then, over the next
five pages, re-create his popular style with our step-by-
step tutorial.
commission? How did it come about? mammoth project” Brand Nu: I like to tell stories, directly or indirectly. In
my earlier work, I was trying to layer my work to
Brand Nu: My first household name commission came being used all over the print, TV and online media. achieve the fuller look; nonetheless, since then I have
from BBC South in 2006, however, the first huge Last May, I went to Berlin to see the results first-hand. put the emphasis on the overall feeling in a rather
commission was from O2 in December 2007. What It was quite surreal to walk into an O2 shop where simpler process. There’s no point in dropping an extra
was supposed to be a one-off five-piece everything was covered with my work! hundred layers in your design to make up for the lack
36
Advanced Photoshop
MTV: Abstrac
t
range of bran artwork for the 2009
ded products
© BRAND N
U
of initial idea. In recent months, I have tended to sway Advanced Photoshop: We remember your My New the middle of, my tongue is tied with confidentiality
towards more ‘classical’ illustration. I’m self-taught and Book Of Colours as a visual feast. How successful was agreements. Admittedly, I made a mistake earlier in
that dimension brings in a whole new perspective. the publication in opening new doors for you within the year when I mentioned an ongoing project on my
the industry? blog and almost ended up with a storm of
Advanced Photoshop: Do you have to chase for consequences. However, let me give you a little hint.
commercial work, or does it tend to come to you? Brand Nu: It is an invaluable tool, enlightening any I’m working on an ad campaign for a men’s fragrance
new ‘visitor’ to concise images of what I’m about as an with BBH New York, digital cross-platform artwork for a
Brand Nu: I’m not afraid to self-promote at any artist right now. It’s an amazing reaction going to a fibre optic business broadband network, multimedia
possible opportunity. My website is constantly client meeting with the best of my work in a neat little illustration for a gaming device, finishing off Terry
updated, an irregular newsletter works well, I keep in package, getting their attention and seeing their Callier’s album artwork, doing vector interface and
touch with countless bloggers and I release showcase reactions. Sometimes people can easily overlook illustration for a family magazine network on top of
books to get people off their screens to enjoy the certain aspects of my style. This way, I leave no chance regular editorial illustration work and other bits and
printed media. Nonetheless, I strive to produce great for them to miss anything. pieces. I believe success lies in diversity; I guess I might
work for current clients. When potential clients see a have the mix just right.
billboard of your work first-hand, they know Advanced Photoshop: Have you got anything in the
something is right. It’s a great feeling when you meet a pipeline that you can reveal to us?
high-end client and they have got 15 pages of A3 with Turn the page now to
all your work, giving you compliments on your Brand Nu: As much as I’d like to scream from the learn how Brand Nu
accomplished results. rooftops about the amazing projects I’m currently in creates his unique style…
37
Advanced Photoshop
38
Advanced Photoshop
T
here’s more than one way to skin a cat. Well, colour. Continue until you have all the colours you want
at least that’s how the old saying goes. In to use on your canvas for reference. Position them out of
this tutorial, we’ll explore the slightly the way in the top right.
deviated ways of creating a fashion wonderland
image by using new methods of working. So it’s out
with the old and in with the new.
Photoshop is an endless well of options, sometimes
making it easier to run with what’s easy and
established to you, rather than pushing yourself
further. This may be due to either a lack of time or
curiosity – or both.
Over the next 21 steps, we’ll take our model and put
her into a completely different crafted setting to where
she found herself in the front of the camera. Fashion
digital illustration is always an exciting and profound
mission to embark upon, so let’s see if we can tell a
little narrative by experimenting with the Pen and
Warp tools, allowing us to end up with new and
unpredictable discoveries.
3 Basic retouching
Since our cutout has produced a few little
problems, now’s the time to retouch and fix them. Hit
Cmd/Ctrl+Shift+N to create a new layer and tick the Use Selective Color
Previous Layer to Create Clipping Mask box. The new
layer will copy the shape of the model below it, making it
adjustment layer
much easier to clean up the edges using the Clone It’s easy to overlook many of Photoshop’s
Stamp tool set to Sample All Layers. Tidy up your model features. We were introduced to Selective Color
as needed. last year, and since then it’s been an invaluable
feature that’s called upon in most of our day-to-
day work. The complexity of the feature is
39
Advanced Photoshop
5
New Layer dialog box so you can once again select Use
Previous Layer to Create Clipping Mask. We’ve mainly Simple background
pushed the reds and yellows to bring out clearer tones in Next up is quite a simple
the face. The model now looks clearer and more positive. step, which will give the whole
composition a better sense of
perspective in the long run.
First, select your Background
layer. Reset your default colours
by pressing D and then hit X to
bring white in as the
Foreground Color. Now press
G for the Gradient tool. Ensure
your settings are set to
Foreground to Transparent and
then draw a line going
vertically up the middle of the
image, from the bottom to
about halfway.
6 Cast a shadow
Sometimes shadows can be quite tricky.
Occasionally, there’s the option to borrow the original 7 Add flowers
Get a vector mask by
shadow depending on what colour background was tracing over a flower
used during the shoot. This time, we decided to create image. (see the boxout).
our own shadows on the model layer. Select a 400px soft Create a new layer below
brush with Shape Dynamics and Smoothing ticked, with the model and paste in the
Opacity and Flow set to 10%. Having a Wacom tablet is mask. Go to the Paths
quite handy at this stage, as the shadow is created with a palette, Ctrl/right-click on
few little strokes, building up the intensity. the Work Path and hit
Make Selection. Pick a
white soft brush and paint
the selection in various
opacities. For darker
elements, set the brush’s
blending mode to
Exclusion, otherwise use
Normal. Duplicate this to
build up floral elements,
holding Opt/Alt and
dragging the shape.
8 Get drawing
On a new layer, use the Pen tool to
draw a simple leaf-like shape, then Ctrl/right- Make vector shapes
click and hit Make Selection. Colour using a
magenta tone with a soft round brush set to
from photos
Linear Dodge. Copy the layer by dragging the Here is our method for creating our flower
layer while holding the Opt/Alt key. Select shapes used in Step 7. First, open a photo of a
Free Transform (Cmd/Ctrl+T) and then the flower (this can be your own or from a stock site).
Warp option (from the pop-up menu if you Add a new blank layer and select the Pen tool.
Ctrl/right-click). Experiment with the shape by Trace around the shape of the flower, using the
dragging the corners to achieve similar results background image as a reference. When you’re
happy with the shape, Ctrl/right-click, then pick
to ours. When finished, go Cmd/Ctrl+U to
Create Vector Mask. Copy and paste this into your
change the colour to green or whatever you
model image and it will show up as a Work Path
feel works well. Keep adding shapes in the in the Paths palette.
same way.
40
Advanced Photoshop
9
We’re going to create abstract tree-like
Halftone textures shapes that will encourage further perspective in the
Now the colours are piece. First up, though, similar to Step 8, we’re going layer
nicely fitting together, we’ll up trees from easy shapes. Hit U for the Rectangular tool
put in extra textures to and apply the Warp tool set to Flag, with Bend and
make the elements more Height set to 100 and Width at 0. For extra perspective,
intriguing. Select one of Free Transform again.
your shape layers next to
the model, hit Cmd/Ctrl+J
to copy the layer and go
Filter>Pixelate>
Color Halftone. Change the
default main setting to 25.
Desaturate the result with
Cmd/Ctrl+Shift+U and set
the layer to Overlay.
11 Movement
Take some of the vector tree shapes and 12 Change colours
Our main model’s cast shadow, which we
13
rescale them to suit the movement of the central figure. drew earlier, suggests the direction in which we’ll place
Feel free to remove and rearrange each of the shoots, our trees. Each shape in each of the trees can easily be More Pen tool work
exploring the perspective options as you wish. changed in colour by sampling from our original colours Our bottom tree edges are a bit harsh, so let’s
(the ones we put in the top right), then hit Opt/Alt+ see if it can be helped with a simple shape. Now we’ve
Backspace to fill the shape. used the Pen tool countless times, this should be an easy
step! Draw a zigzag shape, like grass, along the bottom of
the trees. Fill with colour and then, on a new layer, draw
in shadows as you did before.
19 Extra texture
The whole concept is taking very solid shape,
but still a few areas can benefit from a little extra texture.
Take any image in your library and apply Motion Blur at
90 degrees. Transform the perspective and mask out any
unwanted parts. Sent the layer to Linear Dodge to make
it shine through.
20 More lines
to finish
The last little touch could be
done with a few lines created
in Illustrator. Again pasted in
as a Shape layer, the lines are
filled with white and set to
Overlay. Duplicate objects by
dragging aside while holding
down the Opt/Alt key. You
could still make more shapes
with the Pen tool in
Photoshop if preferred.
21 Final Levels
adjustment
Select the very top layer and Meet the
add a Levels adjustment
layer. Move the middle slider
photographer
to -91. The whole image gets Bram Timmer is an award-winning director who
a slightly more dramatic feel, specialises in innovative new media design. In
however, it does lose a bit of addition to his freelancing career under the alias
clarity. Add a layer mask, Beside (www.beside.ca), photography under the
then select a brush and use alias Aside (www.aside.ca), Bram is also creative
white to remove the effect director at SplitElement, Inc. (www.splitelement.
com) where he works on campaigns for high-
from the face and arms. After
profile clientele. The photo used in the tutorial is
that, you are done! All the
of the up-and-coming R&B/hip-hop musician
hard work that’s gone in to Sara G (www.ilovesarag.com). Make-up by
the composition will now Amelia James and styling by Roy Mckay.
seem worthwhile.
42
Advanced Photoshop
MATTE-PAINTING
om
TECHNIQUES
Learenxpfrerts
t h e ow t o :
h m brushes
usto We explore everything that you’ll need to succeed in
• Create c rs effectively
• Use laye mosphere creating professional matte paintings, with advice
• Add at
from the industry’s leading lights
M
Swiss artist Thomas Crausaz has atte painters have been supplying
Thomas Crausaz
immersed himself in the games the world of entertainment with
industry. Starting out back in 1995, he stunning images, bringing the big
has since gone on to work for top clients screen to life for over 100 years. The first known
such as Ubisoft, THQ and a load of example was way back in 1907 by Norman Dawn,
independent filmmakers. who restored the crumbling California missions
www.tharmine.com for the movie Missions of California. He did this by
using an innovative technique of painting on
Cover artist matte painter Tobias glass. This method stood the test of time up until
Tobias Roetsch
Roetsch is the co-founder of www. the late Nineties. Then began new innovations
gt-graphics.de. Still exploring his with the dawn of the digital era. Matte painting
creative potential, he stays inspired has never been the same since.
by peers such as Dylan Cole and Not to be confused with concept art, matte
Andrée Wallin. painting is a style that creates the illusion of a
www.gt-graphics.de realistic environment that otherwise may or may
American matte painter Patrick Jensen not exist. Creating such spectacular and
Patrick Jensen
has worked on many movies, including expansive scenes has become wholly accessible
DreamWorks Animation’s Madagascar 2, using digital software and hardware. Devices
Shrek the Third and Monsters vs. Aliens. It’s such as Adobe Photoshop, 3D programs and
his job to help create believable spaces camera mapping have dramatically sped up the
for these stories and characters. application process in what are demanding and
www.metavisuals.com fast-paced design and film industries. Now
images can be produced, edited and amended
Milan Schere Matte painter Milan Schere is far quicker.
motivated by cinema, graphic novels However, with such accessibility, has the genre
and other popular culture material. His lost its uniqueness? Not when you consider the
client list includes Sony Entertainment, quality of the images being invented currently.
Expert panel
Evolution Studios, Escape Studios and This seems to be a far more important factor, as
Alchemist Pictures. present artists constantly deliver high standards.
www.proconpictures.com But just how do they take full advantage of digital
French freelance artist Marc Simonetti capabilities to create such vivid artworks? What
Marc Simonetti
chose a life as a matte painter after specific tools and devices do they apply and why?
seeing his beloved books adapted for What general rules apply throughout the
the big screen. He has since worked with application process to get the best effects?
on-screen projects for mainstream Advanced Photoshop questions some of the
clients such as Akama Studio and EA. finest matte painters around, and provides
www.marcsimonetti.com creative insight so you know just what it takes to
create stunning masterpieces of matte painting.
44
Advanced Photoshop
SOU
CE R
M
I
AG
E
IMAGE
R CE U
SO
Dubrovnik
A series of photographic references and source
images were used to build up this scene and to
help lend a sense of realism. It’s a personal
piece and there’s an in-progress breakdown on
Patrick Jensen’s website
© Patrick Jensen
45
Advanced Photoshop
used
Stoauywafnot cthe vieweterrs,
“If y arac
on the ch
Create a custom brush for matte painting
pa Jensen
photography – Patrick
1: Snap the skies 3: Isolate shape Get the right setup
Source cloud images with your own Invert the image, hit Cmd/Ctrl+I and paint white Hardware and software complement one another
camera, photographing fluffy clouds in the surrounding area to isolate the dark cloud. when it comes to digital matte painting. Each artist
overhead, or use a free site like www.sxc.hu will have a personal preference for what they use, but
to find a good image. there are some ideal types if you want to get the right
results. For starters, your choice of monitor can make
a big difference when scrutinising your design in this
results-based business.
A current talent in matte painting, Tobias
Roetsch (www.gt-graphics.de)
E S
SH thinks that best effects come in
4: Add to Presets
U
46
Advanced Photoshop
I CE
A DVBasic
T
R
b lay
” M y n e r e a kd o e r
PE
are buwn
EX
diffe bu lae
t rent la
o ge y e rs ilt fr
detailtina vague fo: one base lom
a
dark ag, a layer from, a layer fyer
r
textur eas and bright a or
r
Smudg ing. But I a layer f nd
e tool also u or
vibranto achieve se the
– Tobia t feeling” a more
s Roet
sch
and brighter whites, you can really make the most of the largest graphics tablet you can afford. This will Thomas Crausaz (www.tharmine.com), a Swiss
your colours in your images. The Dell 2407WFP, Dell allow a more accurate 1:1 ratio from your tablet to the matte painter for clients such as THQ and Ubisoft,
1970FP and Samsung Syncmaster 2232BW are some screen.” The 9 x 12-inch or 12 x 12-inch Wacom explains: “Reference is vital if you want to create
of the preferred choices by our artists. Cinema HD Intuos4 styles are good examples. But Simonetti something that is believable, so I browse the internet
screens are also recommended, but are a bit pricey. differs as he reveals: “I’ve got a Wacom Cintiq 12WX. It and Flickr.com for hours to find all the images I need
French painter Marc Simonetti (www. offers a sense of painting in the workspace, and at the to cover my subject.” Simonetti adds: “For references
marcsimonetti.com), who has worked on projects for same time a painting zone small enough to allow that can’t be found by myself, there’s great sites like
Activision, Dark Horse Comics and EA, explains: “Dell’s strength in my applied lines and strokes.” www.cgtextures.com or http://3d.sk/ that truly help.”
2407WFP is a big 24-inch model. It gives me a really However, matte painters should expect to source
good rendering of colours when used with a “Reference is vital if their own resources at any given time, using their own
47
Advanced Photoshop
RT
example of what this device looks like. But how Milan Schere (www.proconpictures.com), matte without the use of digital
The golden rectangle
STA
does it work? The golden rectangle is first divided painter for Sony Entertainment and Evolution Studios, brushes. Varying types
into a smaller square and rectangle. This second uses nothing more than Photoshop’s Line tool as he are used to simulate
rectangle can again be divided into a smaller explains: “With my images, I create bright parallel lighting, form and
square and rectangle, and so on and so on, until lines with strong colours that stand out from one realistic details. With
you achieve a vanishing point. By connecting the another. I usually create these in separate groups as the internet saturated
corresponding corners of these similar rectangles, well as on their own layers, establishing each with available styles,
you achieve a spiral effect, which creates the vanishing point by selecting Edit>Transform and matte painters still
illusion of depth perception and thus perspective. skewing them into perspective.” find that a hands-on
Roetsch creates his perspective through more approach works best, as
traditional means, as he reveals: “I try to work with the Crausaz reveals: ” I do
golden ratio or at least eye-leading concepts. I think occasionally download
it’s important to lead the observer’s eye through the brushes created by Photoshop
image and not present chaos. You can get that with users when I think they can help me, but
the help of outstanding contrasts or different element they rarely fit my purposes entirely so I always tweak
sizes. To achieve depth, it’s important to work my own.”
carefully with the size of the different objects.” But it’s Matte painters take full advantage of Photoshop’s
not just perspective that needs addressing when Brush palette settings, as Simonetti explains: “One of
bringing your images together. most important features in Photoshop is the Other
Dynamics submenu in the Brush editing menu. It
3ds Max allow you to create perspective-perfect
starting points, as Crausaz explains: “As I am using 3D
“It is important to designates the pen pressure and how Opacity and
Flow interact with the applied brush. You can also try
a lot, I start with my basic 3D render and block the lead the observer’s to experiment with Scattering, Shape Dynamics and
shapes in black and white to define the light and
mood of the piece. Using a lot of 3D blocking helps eye through the Spacing in the Brush Shape menu.”
Jensen gets a little more specific as he reveals how
me get the right perspective, which I expand in
Photoshop using the Vanishing Point tool.”
image and not he creates a brush that replicates realistic rock detail:
“In a separate document I will create various
present chaos” splotches, dots and textured circles to see which one
Composition advice works the best. After defining a brush preset, I
Perspective is important in any design, but in matte Uniform exposure across your stock is also crucial. increase the angle rotation and turn on Flip X and Y
painting it’s necessary to define this before fleshing This helps apply consistent lighting and colour in your Jitter, randomising each stroke. Then I set the Color
out your images. “It’s almost impossible to correct a images at later production stages. Simonetti achieves Dynamics Hue, Value and Saturation Jitter settings
bad perspective once you’ve started painting,” this using Photoshop’s Adjustment options, as he somewhere between 2% and 8%. This puts just
explains Crausaz. Photoshop provides some great reveals: “Each photo has its own contrast and light enough colour variation into the stroke to add a
tools that let you establish a viewpoint in your balance. Using Levels is useful to adjust the overall subtle texture. I go back to the photo, colour-pick
images, including the Vanishing Point filter that was contrast of your photographic base. Then I adjust the from the area I want to expand and start painting new
previously mentioned. shadowed and highlighted areas separately with forms and structures.”
Crausaz explains just how he uses this tool: “I can different Levels Adjustment layers.” However, sometimes creative solutions are far
create a perspective grid, placing four points to the Photoshop’s Channels can also be valuable when simpler, as Roetsch explains: “I work with the standard
four angles of my reference object. I can then expand integrating important image elements and sections. soft-edged brush at different opacities and different
using Cmd/Ctrl+Opt/Alt and dragging the handles to Jensen adds: “If there’s a blue sky with white clouds, grades of hardness. It‘s the best of all the brushes
vertical or horizontal planes. I can render this to a we’ll shoot a few photos and extract the cloud using a because you are able to draw lines, fill areas and use it
layer using the Render Grid to Photoshop option in colour channel, get it onto our sky gradient and then for lightening and colouring. I use it for clouds,
the settings and commands for the Vanishing Point paint on top of it to adjust any lighting or shapes.” landscapes or to get a general form.”
Build your composition
Patrick Jensen
reveals ways
to use layers in
your matte
painting
48
Advanced Photoshop
2: Pen Pressure
and Angles
Next up, activate Shape
Dynamics and set Control
Harbour to Pen Pressure. Your
“The computer allows the artist to see the end result
immediately; it is more flexible to amend and Angle Jitter and
correct, and it saves time by reusing direct stock Roundness Jitter Controls
images into the composition,” explains Crausaz should be set to Off. Now
© Thomas Crausaz select Color Dynamics.
3: Setting
Color Dynamics
In these options, set
Hue Jitter to 8% and
Saturation Jitter to 9%.
Set the Brightness
Jitter to 8% and Purity
to +1%.
4: Finishing touch
4: Clipping mask 5: Amalgamate Finally, activate Other Dynamics and set the
Apply layers and adjustment layers to integrate Further painting is applied on new Control to Pen Pressure for both Opacity and Flow
the photo. To clip a layer to the one below it, unclipped layers to help integrate Jitter. This kind of Color Dynamics brush allows
select the layer and press Cmd/Ctrl+Opt/Alt+G. the photo with areas around it. you to apply convincing details for a distant
background in a matter of minutes.
49
Advanced Photoshop
fantastical elements, which are important Add the castle, the mount and the
to the scene’s theme tower to create an eye-catching
element, dominating the horizon.
This also changes the time period of
this piece
CE
I
i mage
DV
Distindcgt es es to
TA
e dged brush d
ER
hard-e y har
E XP
50
Advanced Photoshop
h o tos oshop t d
P ain Phot rush an
DV
use a tch tool. Yo en give the over 13 years, having worked on projects such as
the Pa nd there, tha more Star Wars: Episode III – Revenge of the Sith, The Da
here apaint daubs look by Vinci Code and The Golden Compass. He’s also the
ealistic tures founder of the renowned studio Matte Painting UK
photor existing texrts on (www.mattepaintinguk.com), which provides
g a
patchinother image cphere consultancy, concept design and both 2D and 3D
from p” – Milan S digital matte paintings for clients such as The
to Sante VFX and The Mill NY.
With such vast experience in the commercial
arena, Dennison is only too happy to share his own
steps to change the darkness or brightness. For tremendously helpful to catch the train and then insights into the matte-painting industry. When
example, I select a red set at C = 0, M = 100, Y = 100 paint nature and real landscapes from scratch, asked what it takes for an artist to go pro, he
and K = 0 in the Photoshop Color Picker palette. When either with your laptop and drawing tablet or in a explains: “A budding matte painter ought to have a
I next brighten the colour, I change the values to C = traditional way with traditional materials.“ Exploring great eye for the world around them and be able
0, M = 90, Y = 90, K = 0. This is a simple method to get online is as equally beneficial, as he adds: “On many to paint and draw competently. At the end of the
a varied spectrum.” Each grade can be saved in your forums, such as CGTalk.com and ConceptArt.org, day, Photoshop, and indeed any other paint
own palettes, instantly accessible in later projects. you will get objective opinions from professionals, package, is merely a tool.”
Photoshop’s layer options, especially layer masks advanced painters and peers.” He also explains that making it is one thing,
and blending modes, have also become a big Digital educational resources are highly staying there is a completely different ball game:
advantage when working with colour and enhancing recommended by Schere, as he adds: “The Gnomon “Anyone hoping to join a matte-painting team
realism in matte paintings. Jensen explains: “If an Workshop instructional DVDs for professionals must be able to work well under stress and be able
image area feels ‘chalky’, create a new layer set to an (www.thegnomonworkshop.com) are the best to work really easily alongside a lot of other
Overlay or Soft Light blending mode and paint a bold, tutorials available. If you are still at high school and people. Like all disciplines in the VFX industry, it is
dark colour to punch it up a bit. If an area is too cool want to take it seriously, go study fine arts and do a all about collaboration and there are often many
compared to another, you could try Layer>New Masters in Visual Effects. Otherwise, buy all the individuals working on your big shot.
Adjustment Layer>Photo Filter and adjust the whole Gnomon tutorials you can afford.” But whatever you “The other thing to bear in mind is that matte
image towards a warmer orange. Then I would hit painting requires a lot of dedication. The hours are
Cmd/Ctrl+I to invert the mask so it’s not affecting any
of the image. Then paint white in the layer mask,
“A budding matte often long, the deadlines short and the clients,
well, they can be incredibly picky and sometimes
exposing areas that need warming up.” painter really ought very demanding. Practice is what makes you good,
Crausaz adds: “Layers are definitely why it is so easy
and fun to paint using Photoshop. They can save you to have a great eye and strangely, lots and lots of criticism.”
But what does he expect when an artist
time by trying things without ruining your image, and
help you blend painting and textures naturally. I
for the world approaches him, looking to fill a vacancy at Matte
Painting UK? “What I like to see when any applicant
usually start in black and white to block the light then around them” approaches us is real enthusiasm to be a matte
add a colour layer. Coloured textures and texture painter and a sound understanding of what matte
brushes are usually applied on Overlay layers.” do to improve your skills in matte painting, be painting actually is,” he reveals. “Next, it’s all about
aware that this is an opportunist’s market and your work. You should have a showreel ideally, or if
Taking it further competition is fierce. you have never produced one before, then a
Industry advice
Having a better technical understanding of matte With the resources we’ve supplied, you should portfolio, digital stills or just good-quality
painting will improve your compositions and, in turn, have a good head start. However, sacrifices are at examples of your work.”
your chances of entertaining clients. However, a little times necessary, as Crausaz leaves us with this final
extra goes a long way. The matte-painting industry thought: “The only way to progress is to work. If
demands exciting ideas and compositions on a day- you are not in the industry yet, try collaborating
to-day basis. So how do you stay creatively with others to produce matte paintings for short
stimulated? Schere explains: “I find my inspiration in movies or independent films. I have done a lot of
fantasy novels, Japanese animation, comic books and painting for no money, just for the pleasure of
observing my surroundings while travelling the working with other guys and to create something
world. I also listen to audio books while working.” fun. This applies practice and creates confidence.
The great outdoors is a great source of inspiration, Publish your work on the net and get feedback.
as Simonetti reveals: “Get outside and keep a sharp Just remember that all artwork is done to be seen, © 2008 Matte Painting UK Ltd
eye on the lights and colours you see. It can be so don’t be shy and get it out there.”
51
Advanced Photoshop
52
Advanced Photoshop
M
atte painting is a lengthy process; throughout. However, not all of the steps are
although it makes heavy use of documented as this would make the tutorial
photographs, don’t let that fool too long and tedious. Take into account that
you into thinking it is a quick process. A each technique is used multiple times in
successful collage of elements to achieve a different areas of the painting.
believable scene takes patience and discipline. The initial sketch phase will also be dealt
Since a matte painting should represent reality, with briefly, as this is one of the key aspects to
you have to take extra care because the human achieve a balanced and interesting
eye is a master of pointing out flaws in composition. This step will also help us in the
perspective, depth, texture, etc, so take your gathering of photographs that follows to
time to reach your goal and be a constant critic compose our final image. We would also like to
of the work already done, always asking underline that there is a lot of painting
yourself how it can be improved. involved, especially to avoid a cut-and-paste
The following tutorial will show you the look and in order to bring all the elements
most important steps and techniques used together harmoniously.
53
Advanced Photoshop
2
compare all your
Introducing colour ideas. Use a
Create a new layer in the Overlay mode, middle-sized
and with a large soft brush, introduce large areas textured brush
of colour. Try to vary them over the four sketches and a large,
and be sure to keep them at low saturation. soft circular
Afterwards, create a new layer in the Color brush to establish
Dodge mode and introduce the light source values first.
using dark saturated colours.
3 Sketch detailing
We’re going to go for the sketch in the lower right, but use the
colour palette of the sketch in the lower left. Before developing the
4 Photo hunting
Print the sketch and find your photo
material. For this example, a trip to the Marine
sketch further, separate the main elements of ‘Pier+Ship’, ‘Ships’, Museum in Lisbon proved very useful to gather
‘Land+Sea’ and ‘Sky’. This early separation will make it easier to develop ship photos and references. Near the museum
the concept before starting the actual matte painting. there were also photo opportunities of the
Tower of Belem and the Tagus River, as well as
some palm trees.
5 Preparation
After resizing the image to the final
6
resolution of 5,492 x 3,567 pixels, develop the
forms of the structures in the back with a hard- Introduce the ship
edged brush. The sea is also softened with soft- on the right
edged brushstrokes to soften its texture, which Use the Pen tool to make a
will later be developed with photographs. selection of the ship from
‘DSC04315.jpg’ included on the
CD. Load the selection, then copy
and paste this into the main
painting. Reduce the contrast
with Brightness/Contrast (in
legacy mode) and colourise it
with Hue/Saturation (check
Colorize) to achieve a seamless
integration. The light on the sails
is painted on a layer above with
an Overlay blending mode.
54
Advanced Photoshop
9
For the sea, make a large feathered
Pier detailing selection with the Lasso tool from the river
Picking the tabletop photos, copy/paste the selection on top of the
wood photo, copy and mid-ground layer and match the scale of the
paste a selection over the waves with Free Transform. Using Brightness/
pier layer. Using Free Contrast (in legacy mode) and Hue/Saturation
Transform, adjust the size (Colorize option), match the colour and value as
and perspective to match close as you can to the sketch. Reduce the
the planks from the Opacity slightly and then merge down. Repeat
previous step, then this procedure several times.
desaturate and increase
the contrast. Next, choose
Create Clipping Mask from
the Layer menu, change
the blending mode to
Overlay, reduce the
Opacity and merge down.
11 Atmospheric effects
For added realism, create haze layers
that will mimic the interaction of light with the
atmosphere. Create a new layer over the ship layer
(on the right) and create a clipping mask. Use a
large, soft brush at a low opacity and colour-pick a
colour near the sun to paint in the haze. Do the
same for the haze over the fortress in the back.
55
Advanced Photoshop
14 15
paintings. Learn everything you can
about them. Try to keep them organised Main ship (sails) Darken the side
with groups; try to keep their numbers Paint a shape for the sail with a hard-edged brush, then Darken the left side of the image
down for the sake of both organisation create a new layer over it followed by a clipping mask. With a soft- using the Gradient tool on a new layer. Pick
and memory efficiency. When using edged brush at a low opacity, paint in the light hitting the sails from black as the Foreground Color and use the
overall adjustment layers, try to keep
below to give it volume. The sail is then copied above and transformed second preset in the Gradient menu. You can
them in a group above all other layers,
to fit the correct perspective. adjust the effect controlling the layer’s opacity.
and turn this group off when painting in
the layers below. Avoid painting over this Then use the same technique to darken the sea
layer as it will complicate things later on. near the pier.
Use the Lock Transparent Pixels option
often and make the Create Clipping Mask
option your new best friend (shortcut:
clicking with Cmd+Opt on a Mac or
Ctrl+Alt on a PC between layers).
56
Advanced Photoshop
18
the composition looks complete, it’s time to
Introduce lights leave the image alone for a day so we can come
The presence of small back to it with fresh eyes. As well as seeing that
lights in the dark part of the ship to the clouds need some softening, the white
the left was planned from the reflection near the ship on the left and the
beginning. To achieve believability, yellow lights in the back were distracting so
be sure to place the lights between they were removed.
the correct layers inside the ship or
erase selections like the ropes.
Furthermore, create a layer over the
pier layer and paint large, soft areas
of yellow reflection. Afterwards,
erase small portions to simulate the
irregularity of the boards.
57
Advanced Photoshop
58
Advanced Photoshop
B
uilding a collage involves cutting out composition, you can create a striking piece
various items in different materials of artwork that looks much more complex ON THE DISC
and sticking them together to form a than it really is. All the stock photos used in this
piece of art. It’s no different in the digital world. A lot of this is repeating what you have tutorial are available on the CD, as
well as all the 2D elements that we
Digital mixed-media techniques use tools like the already learned, so use your own photos and have used (‘Extras.psd’). They’re
Pen tool, the selection tools and copy-and-paste textures instead and copy the techniques free to use for all your
noncommercial endeavours.
actions to build the collage effect without the here to come up with your own personal
messy glue! works. The tutorial files are on the disc, Magnus Kjäll
OUR EXPERT
In this tutorial, we will be taking a look at though, if you want to try your hand at re-
Magnus is a Swedish illustrator based in Stockholm. His
how you can make your own collage creation creating this image first. work blends lots of different photographic, vector and
using a blend of stock photos, custom brushes, Collect all the images that you want to use custom brush stock to create unique mixed-media
creations. Find out more about him and his work on
two-dimensional shapes and various textures. together into one folder so that it is easy to
deviantART at http://moodswing08.deviantart.com/.
By cutting out the bits you need and find them as you go along. Once you’ve done
combining them into a pretty simple that, let’s get started!
starting point. You can find it on the CD – it’s brush then determines how much of that area will be cloned. We’ve When shooting textures with your
camera, there are a few important things
called ‘Mangobay1.jpg’. It has the same three- fixed the sun reflection in the middle and cloned over the tree branch
to bear in mind.
segment composition we want for our image, so sticking in from the right side.
we’ve slightly rotated and positioned it so that it Zoom in all the way
divides our workspace into three roughly equal Zoom in up close to avoid rounded
horizontal segments. corners caused by the lens.
Perspective
Shoot with the intention of maintaining a
straight 90-degree angle from the surface
that you are capturing.
Light
If you have a separate flash, you should
turn it off. Textures are best shot when lit
well, preferably in daylight on a cloudy
day. But if you’re shooting inside with the
flash turned off, you should use a tripod
3
or rig the camera somehow in order to
Pocketing keep it steady.
To make it easier for us mixing in
mountains, trees and other things later on, we’ve ISO
If you can adjust the ISO levels on your
traced, copied and pasted back some areas of
camera, which you should be able to with
the jungle. We’ve used the Magnetic Lasso this
most cameras above and including basic
time to get a quick but irregular selection, then entry-level compacts, it should be set low
added layer masks to the copies and erased any to avoid noise, at around 100.
major inconsistencies.
59
Advanced Photoshop
7 A couple of textures
We’ve used the cardboard texture to cover
up the beach, which was stealing too much
8 Patchwork
Open ‘Mangobay2.jpg’ and copy the
jungle part into your image. We can use this part
“Working with
layer masks and
attention. No blending modes are changed, but
we’ve adjusted the Hue/Saturation and Levels
to patch up the jungle or to top off the
mountains. Use a layer mask and the Eraser tool
the Eraser tool set
into a dark, lush green tone to accompany our to integrate it with, or patch it over, the to a soft brush,
jungle. A cement-like texture is added over the
whole image and placed just under the colour
transitions between mountain and jungle to
make them smoother.
you can mix
layers, set to Soft Light with 30% Opacity. different parts of
mountains
together, making
them fit the image
better. Try to keep
a light source in
mind, too”
60
Advanced Photoshop
15 Make a grungy
shape layer
Import a photo of an irregular
object or shape. We’ve used this
awesome pancake. Make a
16
selection in the middle with the
Magic Wand tool, Tolerance set Blending it in
to about 30, and from the Drag-and-drop the two-dimensional
selection make a Work Path with elements you’ve made into your image and
0.8 pixels tolerance. Now create start placing them behind or in-between the
a Solid Color Fill layer and buildings and jungle. We’ve placed halftone
replace its layer mask with a patterns in some of the darker parts of the
vector mask (Layer>Vector jungle with a low opacity to blend in a little bit.
Mask>Reveal All). Copy and You can also use gradients and brushstrokes to
paste the path you’ve created make the transitions smoother. For this, pick
into the vector mask. nearby colours.
61
Advanced Photoshop
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Tu togra lphoto
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62
Advanced Photoshop
U
nderstanding Andrzej Dragan’s through some techniques and tricks using
ON THE DISC
technique is the key to getting it Photoshop’s standard features to re-create
right. Try to break down the key Dragan’s style. There are various third-party On the disc this issue you will find
elements to what makes a Dragan image and plug-ins and filters out there that do the same the start image for this tutorial,
however the technique can be
you’ll begin to understand its craft. His work, at things, some to better effect, some not. applied to any portrait
first glance, could be likened to HDRI. But it’s However, we are confident that the Dragan photograph, so that you can give it
Dragan’s much more personal approach to effect can be re-created without these. the personal touch.
image editing that compels the viewer and Through use of colour treatments and
makes his work resonate so deeply. This is working with tonal variations, you’ll create a OUR EXPERT James Davies
achieved through careful application of shadows solid foundation on which to apply more James is an experienced designer and Photoshop users
with years of experience under his belt. His tutorials have
and highlights around the areas of the face that intricate work. Sharpening details can be
featured in Photoshop Creative and Digital Photographer.
possess the most character. Indeed, his work has achieved through Photoshop’s basic filters
many characteristics of HDR imaging, but it’s the alongside some more involving tricks, such as
way he engages with the subject that involves Dodge and Burn as well as using masks. There
his audience to great effect. are some finishing touches that are key to
Load up Dragan’s website (find details on adding the atmosphere and tone that makes Dodge and Burn
page 65) and take Sailor, for example. This the images so engaging. The masterstrokes
work, a portrait from the personal section of are applied through care, patience and Creating harshly contrasting edges using
his online portfolio, is a straightforward portrait understanding the use of the Burn and Dodge the Burn tool is something that requires
shot. The Dragan effect lies within the wrinkles, tools. You will need to spend time with an a lot of practice. Similarly, mastery of the
the pores, every hair that is distinct and vies for image to make it perfect. Dodge tool is important; experiment
our attention. The eyes, although benevolent This tutorial serves as a starting point for with brush sizes, range and exposures.
in expression, seem so piercing, almost cruel this technique. You ought to appreciate that Building up the Burns and Dodges on
by treatment. The care taken to perfectly the pixel information differs vastly dependent separate layers is the best way of doing
it. It allows you greater control over
realise each surface imperfection is what on so many variables, both inside the camera
smaller portions of an image, masking
separates his work from other artists. and out. Therefore, once you have mastered
off areas that you want to expose. This
This can be achieved, in part, using and understood the tutorial using the way you can overdo it and simply reduce
Photoshop. Of course, though, you need a supplied source image, you will then be able the layer Opacity, but it comes at a cost
fairly decent starting point to get anywhere to adapt and tweak the finer settings to suit of being a lot more time-consuming.
close to Dragan’s work. We’ll guide you your own images. Masking gives you much more control
over Dodge and Burn. Although not
covered here, you can apply this to your
1 Humble beginnings
Open ‘portrait.jpg’ from the CD, go to
Layer>Duplicate Layer and name it Editable Layer.
2 Levelling up
Select the layer called Editable Layer on the Layers palette and go
to Layers>New Adjustment Layer>Levels and click OK. Enter the input
finished image to enhance it further.
Simply use the Path tool to mask an area
that requires a harsh edge gradating out
to a soft edge (the cheek, for example).
It’s best to keep the background as an untainted levels as 0, 0.61, 180 and click OK. This will look too harsh so bring the
Draw a path, turn it into a selection and
original in case you need to access it. Go to layer Opacity down to 50%. then use the Burn tool against the edge
Layer>New>Layer and name the layer ‘Shadows’. of the selection out into the cheek.
63
Advanced Photoshop
6 Desaturate
Add a Hue/Saturation adjustment layer
between the Levels and Curves layers created
“The Dragan effect lies within the
wrinkles, the pores, every hair that is
earlier, set Saturation to -60 and click OK. Set the
layer Opacity to 50% and set the Curves layer distinct and vies for our attention”
Opacity to 60%.
7 Smart Sharpen
Select Editable Layer on the Layers palette
and go to Filter>Sharpen>Smart Sharpen. Select
8 Variations on a theme
Still on the Editable Layer, go to Image>
Adjustments>Variations and click the Original
Lens Blur from the Remove drop-down menu, thumbnail. Select Midtones and click the More
then apply a two-pixel radius and set the Yellow and Darker thumbnails. Hit Highlights and
Sharpen Amount to 125%. click the Darker thumbnail, then click OK.
9 Burn
Duplicate Editable Layer and select the Burn tool from the Tools
palette. Select a soft-edged brush at five pixels and set the range to
Midtones with an exposure of between 15-25%. Zoom in and carefully
apply Burn to every wrinkle. Go over each one a few times.
10 Burning deeper
Select a soft-edged brush with a
160-pixel diameter. Change the range to
11 Dodge
We’re repeating the process using
the Dodge tool. Set to Highlights with an
Shadows and Exposure to 10%. Burn detail exposure of 15%. Zoom in and apply Dodge to
over anywhere with shadow. Give each area the brightest parts of the image. Select a much
one hit, but two for face edges and ears. Avoid bigger brush with a lower exposure (10%) and
the eyes at this stage. apply Dodge over the entire image.
64
Advanced Photoshop
Further inspiration:
Andrzej Dragan 18 Eye colour
Turn the Hue/Saturation layer
visibility off and select the Eyedropper tool
19 Final exposure
Set the blending mode of your eye
colour layer to Color. Turn the Hue/Saturation
We strongly recommend that you look at from the Tools palette. Sample a colour from layer visibility back on and flatten the image. Go
Dragan’s own website thoroughly to fully the iris. Create a new layer above the Hue/ to Image>Adjustments>Exposure and set an
familiarise yourself with his work and Saturation layer and draw over the iris. exposure of +0.47 with Gamma set at 1.14.
style. A passing glance won’t do; really
scrutinise and engage with each of his
works. The advertising section of his site
showcases his ability in Photoshop, while
the Personal section is interesting to read
from a photographic perspective. It can
be found at http://andrzejdragan.com/.
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MASTER LAYER
MASK EFFECTS
Learn how to emulate the futurist masters in the digital age with
heavy use of layer masks, the Transform tools and one photo
I
t is amazing what you can do with just a photo of a lily. For this, we will not use filters but
ON THE DISC
single image, whether it’s one of your we will use a brush as well as making the most of
You will find the original photo
own or one chosen from a stock site. masks. We will use the flower as our ‘paint’ and
that was used to create this
abstract artwork, which was taken Throughout this tutorial, we will be showing with this we will create a sense of speed.
by Roberto. Or you can try the you how to design your own abstract creation To better understand what we will create, you
tutorial on any flower photo of
using just a single photo of a flower. The idea for might be interested to learn more about the
your own.
the tutorial’s artwork is a tribute to this year’s futurist movement: http://en.wikipedia.org/
OUR EXPERT Roberto Marras 100th anniversary for Marinetti’s The Futurist wiki/Futurism_(art). You can also take a closer
Roberto Marras is an artist/designer living in London. After Manifesto. Therefore, inspired by a 1913 bronze look at the inspirational artwork behind the
working for a few years as an art director for some top statue by Umberto Boccioni, Unique Forms of tutorial at http://en.wikipedia.org/wiki/
advertising agencies, he is now freelancing, splitting his
time between exhibitions and his commercial work. Continuity in Space, we wanted to re-create the Umberto_Boccioni. It is always good to read
Check out his images at www.robertomarras.com. artwork using the most contemporary tool we about other artists and to be aware of the various
have today – Photoshop – as well as a single art movements – history is our best teacher.
68
Advanced Photoshop
Flatten layers
To flatten the image layers used to create
the background, select all the layers you
want to merge and go to Layers>Merge
Layers. It’s always a good idea to keep a
copy of your original layer before merging.
By no means is it unheard of to merge
layers, change your mind afterwards but
for it to be too late as you’ve lost the
original because you haven’t kept a copy
of it! So be very careful when deciding to
5 Completed background
Repeat as many times as needed in order
to fill the canvas with a series of flower shapes
6 Desaturate the background
With the background in place, the image is starting to take
shape now. Next of all, select all the layers that have made up your
merge layers.
in various positions and angles. After background, except for the hidden cutout layer, and merge them into
duplicating, rotating and moving around our one (see the boxout to the right for more information). We want to
layers, we should then have a completely filled create a grey background so that when we create the main element
canvas. Thanks to the shades and shapes of our we have more depth, using the blacks for the shadows. Now
flower, there is now a sense of movement in desaturate your background by following Image>Adjustments>
our background. Desaturate from the toolbar.
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Advanced Photoshop
“Delete any
unnecessary
layers, as the file
size could get
very big”
12 Almost finished
After a bit of work, you will finally see
our figure emerging. At this point you may think 13 Finished
Now our artwork is
it is finished, but if you’re anything like us you generally finished. You may
will have some hidden layers that you have wish to merge all the layers
decided not to use along the way. Now is the (except the background that
time to tidy things up and delete these. you created earlier) as we did
before, and use a layer mask to
smooth away any rough edges.
70
Advanced Photoshop
£9 .99
ly
FREE UK
OverseaP&P
s + £4
EU + £2
EXPERT STEP-BY-STEPS
ARTISTS’ PORTFOrsoLInaOl S
INSIGHTFUL FEATyoUuRES
nals by sio
pe Tutorials written for profes many of
Be inspired for your ownselection professionals. You ca n follow
talk
The team at iLoveDust their design this finish using
up
projects by viewing
work from the projects from start to on this CD or
through how they se t
tory and of Photoshop-based art c artists in the files that are included
studio, we explore the hisPh otoshop, some of the most pro lifi
your own stock images
development of Adob e the industry
and much more
Helpdesk
Our expert Kirk Nelson
Kirk has been a graphic artist for over 11 years
in the Washington DC Metro area. He writes
tutorials for our sister publication Photoshop
Creative, and opens letters, checks emails and
hangs around the AP forum online, all for the
good of our Helpdesk. If you’re having
quibbles with Photoshop, Kirk’s your man with
the plan!
This month our Helpdesk expert digs up some hidden gems among brushes, filters
and layer styles. Come and see what he’s uncovered!
A
Elizabeth, thanks for writing in; you can stop
A
Put off your stroke: Customising styles is the searching, as we’ve got the answer for you! Alias, you are absolutely one hundred per cent
closest thing you are going to find to being able to change
the default stroke colour The key to achieving this effect is in using the correct. Being able to send screenshots instead
Fill setting. That’s the option found just under the Opacity of vague directions by email is very beneficial.
No stroke without fire setting in the Layers palette, which is inputted as a Especially when you are dealing with instructions for a
Q
Can somebody please tell me how to change percentage, just like the Opacity setting. specific interface.
the default stroke colour in the Layer Style The Fill setting reduces the visibility of the layer without Photoshop doesn’t have a screen-capture feature per
dialog? Why is it assumed I always want it to impacting the layer styles. So first set up your text with the se, but it does support your system’s inherit ability to
be red? I need a red stroke around one time out of every one Bevel and Emboss layer style applied as needed. generate one. If you look near your number pad on your
20, and the rest of the time I need it to be black. Can’t I Duplicate the layer, set the Fill to 0% on the duplicate and keyboard, you’ll find three very neglected keyboard
just tell Photoshop to make the stroke black every time? change the layer style to the second Bevel and Emboss. buttons: Print Screen, Scroll Lock and Pause/Break.
Can’t it just be that simple? There you go, a double Bevel and Emboss effect, all
Richard Carmichael without rasterising! This can give you some quick and easy Two styles are better than one: Don’t feel
results without the hassle. limited to a single layer style setting
A
Richard, the simple answer to your question
would be to upgrade to Photoshop CS4. You
probably haven’t heard that Adobe rejected
the proposed tag line of ‘Now, with default black stroke!’
but there’s a group of users that rallied for that! Yes, CS4
now has black as the default stroke colour. And that’s
great if you always want the stroke black. But if you want
to change the default to something else? Well, then it’s
time to join forces with our ‘red stroke’ brethren and
demand a user-defined default colour.
Quick tip
But if you feel that upgrading is a ridiculous
solution to a problem that really should just be yer
set the La
a preference, then the next best thing you can You can re y h olding
in gs b
do is set up a custom style. To do that, open Style sett ey
Opt/Alt k
your Layer Style dialog box, adjust the stroke down the l b u tton
a n ce
to be the way you like it and press the New and the C e to
will chang
Style button to save the settings in a custom t b u tton
a Rese
style. Then, to find it again, you can either use the
Styles palette or go to the Styles section of the Layer
Style dialog box (it’s at the very top left). Your custom style
will be found at the bottom of the list.
Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.
74
Advanced Photoshop
A
Louis, you were right to give both those
methods a shot. They are both pretty close
to what you are trying to accomplish, but
sometimes they are just not quite close enough.
There’s one other effect I’d like you to try. I’m warning
you, it’s a bit obscure, but that’s what makes it fun!
2
document, as long as the Preset is set to Clipboard. So
click OK to generate the new blank canvas and then Work the channel
The Fill setting in the Layers palette is found just Edit>Paste (alternatively, use the keyboard shortcut of In the Channels palette, click on the footprint
below the Opacity setting, and frequently people Cmd/Ctrl+V). channel you just created. Use a combination of the
mistake it for doing the same thing. While it is After many, many screenshots (like you would do, for Spatter filter (Filter>Brush Strokes>Spatter), Gaussian
similar in function, there is one major difference
example, if you were writing a Helpdesk column for a Blur and the Smudge brush to break up the perfect
that makes this setting tremendously useful. It
fantastic Photoshop magazine…), this entire process will lines of the footprint shape.
does not reduce the visibility of the layer styles.
That means that you can create easy circles by become very routine. In fact, I’ve found that a quick flurry
having an invisible oval with a visible stroke of keystrokes can get the job done in less than two
around it. Or try this trick: create an empty layer seconds flat! Hit Print Screen, then hold down Cmd/Ctrl
over your object, set up a Bevel and Emboss layer and push N, then Enter then V.
style on that empty layer. Now reduce the Fill to Of course, if you’re on a Mac, this is all made a lot easier
0%. Grab a paintbrush and start painting on that by the built-in screen-capture function. Hit Cmd+Shift+3
layer with any paint colour. You are actually to automatically take a picture of your whole screen, or
painting the Bevel and Emboss effect onto your choose Cmd+Shift+4 to bring up a crosshair where you
object! The paint areas are fully transparent, but
can select any part of your screen. This will save as a PNG
the style effects are completely visible. This is a
file to your Desktop by default.
great technique for adding a custom aged effect
3
to wall plaster.
found just below the Texture Channel. Set this to the footprint channel
you’ve been working with, then adjust the default
Opacity setting, and spotlight as needed to get the lighting to match
what you see in the rest of the image.
frequently people
mistake it for doing
the same thing”
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
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Advanced Photoshop
Q
patterns using Actions in Photoshop Centre on canvas? Hello AP Helpdesk, I’ve learned so much from
Q
Certain critics have long condemned Photoshop I just don’t get it! I see the fun little alignment your magazine! I pick it up whenever I see a
for its lack of ability to create fractal patterns. icons at the top of the screen when I’m using new issue out at the book store. We do seem
Certain artists have answered those critics by the Move tool, but I don’t see any option to to be a few months behind in my corner of the world, but
creatively devising a method to easily create centre my layer on my canvas. I can centre several items I enjoy it nonetheless.
fractal-like patterns in our favourite image-editing horizontally or vertically to each other, but not to the I’ve recently upgraded to Photoshop CS4, in part due
program. The core to this technique lies with the canvas. It seems like such a simple thing, so why can’t I do to the great many tutorials I’ve seen in your magazine
oft-overlooked Actions.
that? Please explain! that do such amazing things with it. But after installing it,
The idea is to take an interesting section from a
Mark Harding I’ve been pretty disappointed in the performance. It’s
photograph and turn it into a layer, then create an
action that makes a small change to a copy of that very sluggish, almost like it’s trying to keep up with my
A
layer by transformation, recolouring or both. Next Mark, if I’ve ever learned anything about mouse commands. Painting can be excruciating! I can
up, run that action repeatedly, creating an array of Photoshop, it’s that simple things are actually watch the paint trail behind my brush’s tip by
changing layers. Now merge all those layers sometimes hidden for what appears to be no several seconds. Ugh! What should I do?
together and repeat the action on the merged other reason than just to be aggravating. You are correct Ethan Crowe
layer, creating an even more intricate array. in that there should be an option to align or distribute
A
Continue this technique, mixing in other selected objects in relation to the canvas, not just to each Well, Ethan, CS4 is not a lightweight application
transformations or copies of the layers until you other. Is it really that unusual to want something in the by any standard. You need to make sure your
have a pattern that any fractal generator would be
very centre of your canvas? Well, the answer to this is machine is up to snuff and can handle it first.
envious of!
making Photoshop see your canvas as something within There are several routine things to check off your
Fake a backlight
1 Two copies: one light, one dark
2 Load luminosity
Q Hi Helpdesk! I have several outdoor shots of Start off by making two copies of the image layer. On the lightened layer, go to Layer>Layer
relatives that I’d like to make more dramatic. On the bottom copy, go to Image>Adjustment> Mask>Hide All to add a fully black mask. Turn off the
I really like the backlit effect I’ve seen on Exposure. Adjust the Exposure slider down until the visibility of the dark layer and load the luminosity of the
other pictures. I’m hoping you can show me how to image is very dark (around -8). On the top copy, adjust source image layer (Cmd/Ctrl-click on the composite
take a regularly lit, outdoor photo and transform it into the exposure up until the image has blown-out channel in the Channels palette), then reveal the
a cool backlit portrait. highlights (around +2). darkened layer again.
Anne Roberts-Mack
A
Hi right back at you, Anne! What a splendid
idea you have there! Taking old
photographs and turning them into
something special is an activity I’m sure we could all
happily spend some time doing. This particular
technique is pretty versatile, but the settings will
change depending on the photograph. But no worries,
because once you do it a few times, you’ll get the hang
of it swiftly!
Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.
76
Advanced Photoshop
performance hit list. First, do you have enough RAM? 2GB minimum RAM for view your work at 100%, 50% or 25% to get a
true representation. CS4 has put an end to that
is considered minimum for reliable performance in CS4.
We would recommend around 4GB to have things
reliable performance nonsense! Now any zoom percentage is sharp
and crisp.
actually usable. Second, how’s your video card? If you are in CS4. We Another small but great time-saving feature is
running a standard manufacturer card, you should
consider upgrading to a stronger, graphics-oriented video recommend 4GB to the new Bird’s Eye View. If you are zoomed in
tight on an image and you wish to see another
card. And if your card is up to the task but you are still
having problems, check the manufacturer’s website for
have things usable” area, no longer do you have to throw your
mouse across your desk in a panning frenzy.
the latest drivers. If all that fails, then open up Photoshop Press the H key and hold down the mouse
and go to Edit>Preferences>Performance and make sure Gradient on a path? button, and your view zooms out and gives you
you’ve allotted plenty of RAM to Photoshop to use. As a
last resort, you can disable the OpenGL drawing under
the GPU Settings. This will disable several of the fun new
features in CS4, but you should see a performance boost.
Q Hi there. I’m trying to get a two-colour
gradient to follow the shape of a path and
change gradually from the first colour to the
second. The Linear Gradient tool won’t work if the path
a very navigator-like rectangle to move around
your image. When you release the mouse
button, your view zooms back in to the new
location. Impressive!
doubles back on itself, and the Gradient Overlay style
3
ROTATE: Spin your work
doesn’t do any better. I’ve tried using the Warp tool on a round and round with the
Gradient mask gradient layer but that’s a nightmare! Any bright ideas? new Rotate View tool
Click on the mask of the lightened layer and use Victor Munoz
a white-to-transparent linear gradient across the
A
selection to reveal the bright highlights just along one Hey Victor. Since the Gradient tool only has a
side of the model’s face. Use a white brush on the handful of ‘shape’ options, it’s best to look at
mask to reveal the gleam of the eyes and the teeth. some of the other tools in our bag of tricks.
Create a stamped layer on top (Cmd+Opt+Shift+E or The best way to accomplish this is actually to use a
Ctrl+Alt+Shift+E) and set the mode to Linear Dodge. ADMIRE: The views stay
brush and a path. First, create your path with the Pen tool. crisp and sharp even at
Then select a brush and paint colour. Be sure you are on a odd percentages
new layer and go to the Paths palette, and from the fly-
out menu select Stroke Path. This is your first colour for
your gradient. Next, create a new layer, change your paint
colour and open your Brushes palette. In the section
named Other Dynamics, set the brush’s Opacity to Fade.
The number to the right of this setting determines how
NEW AND
fast the opacity will fade. Bear in mind that this will IMPROVED: The new
probably take a few attempts to get right. Now stroke the Bird’s Eye View feature
makes the old Navigator
path again with this new brush setting and behold your palette obsolete
path-based gradient!
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
77
Advanced Photoshop
9
as Best in Show. This artist will win a fantastic
R
WO
9
prize, courtesy of ohfolio.com. The lucky winner
£
will receive a year’s subscription to the website
service, a fully designed Flash website template,
and a free domain name.
78
Advanced Photoshop
END OF THE
W
man alive on Ea ORLD: “The last
rth is stranded
on the planet is as life
coming to an en
has lost his lov d. He
ed ones and is
for a miracle” praying
the
mewhat inspired by
UNPAID DEBT: “Sod to create a piece that
nte
movie Sin City, I wa y text)
a poster (without an
looks like it could be y crim e sce ne”
fia/cit
for a night-time Ma
79
Advanced Photoshop
is personal to me. It
ZEBRA: “This piece stant struggle, not
s the ide a of a con
implie display
sur e of wh at to do. The stripes help
being alities, and the
wit h un iqu e qu
a person the
simply fading with
dissolving shows him ng mainly layer effects,
It wa s cre ate d usi
wind. shop.
Liquify filter in Photo
the Pen tool and the
im ag es cam e fro m deviantART”
Stock
Parker Gibson
WEB: www.behance.net/pgizzle618
80
Advanced Photoshop
“I wanted to
THE ORACLE:ormation flows,
w fas t inf
show ho
g sight can
like a river. Havin of a hindrance
es be mo re
sometim
en we need to
than a help wh
thing, so close
understand some flow”
an d let it
your eyes
Tracye Shearin
WEB: http://tsheva.deviantart.com/
81
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Robb Castaneda
WEB: http://neda.carbonmade.com/
82
Advanced Photoshop
PHOTOSHOP
WEB DESIGN
Photoshop is fast becomin
g the weapon of choice fo
r
web designers. Advanced Photoshop talks to
the experts in the know to find out why…
84
Advanced Photoshop
Rising costs
However, with costs on the increase for
everything from licensed software and
TIP
Resolution
creative suites, top-of-the-range computers Be aware that
and peripherals to electricity, paper and inks, everyone’s
digital artists are starting to feel the pinch. monitor and pixel
“You can make a great deal of money in this ratio is probably
industry, but you end up reinvesting a good- set differently
sized portion of it right back into your than yours. Most
equipment, so if art is something you love, are designed to fit
then by all means go for it. If you have a 1,024 x 768
ambitious dreams of becoming a millionaire, resolution, but
this probably isn’t the job for you. You’ll some use
probably never get filthy rich, hence the term background
‘starving artist’,” says Peter McClean (www. images in order to
petermcclean.com), who has decades of web increase interest
design experience, working for brand giants for those with
such as Ford and Paramount Pictures. higher resolutions
85
Advanced Photoshop
TIP
your website designs? “Over the next few years, I can see the
A. I don’t think there’s another program in field becoming diluted with an overflow of
its class, and the suite integration gets vendors willing to work for next to nothing,
better and better.
Cross-platform providing free spec work, and that is definitely
Q. What should the first lesson in ‘Web Ensure your starting to hurt the industry.” Instead, McClean
Design for Photoshop Artists 101’ be? website is cross- says fees should be calculated according to
A. Content is king! The biggest mistake I see platform and current and fair market values, and
new designers make is trying too hard to multi-browser determined by such factors as whether the work to a subdirectory of my website so that
show off their Photoshop skills with design
elements that distract from the content. compatible, client is an individual or independent, a start- clients may view it and see that it works
Ask yourself: does this complement or especially with all up company or an established business, the before they pay me the remainder of the
distract from the content? of the open source complexity of the project, the envisaged balance due. I insist that clients pay me before
operating systems amount of time and revisions expected, as I will release their final working files to them. I
Q. Is web design a lucrative career? and internet well as the desired usage of the finished piece have found that this quite simply saves me a
A. It is becoming very profitable for two
main reasons. One, it’s finally recognised as browsers that or product. “Never begin work on any project lot of heartache.”
a service industry and not just a hobby that some small to without a legally binding contract that entitles It is also recommended that all artists
any young kid can do, so businesses are mid-sized you to monetary compensation for your should join a union or guild to aid any legal
more willing to pay to have it done right. businesses prefer efforts, and never begin work without a issues that may arise. “I joined the Graphic
Second of all, in this day, every business
needs a website, and most websites need deposit,” advises the pro, suggesting you Artists Guild (www.gag.org). It is a fantastic
constant maintenance and request 50 per cent of the total balance to nonprofit organisation with a legal team that
improvement. Salaries vary with the region, retain your services. “I will publish finished fights to uphold artists’ legal rights. It also
but an organised and disciplined freelance
designer can make as much as any doctor
or lawyer.
86
Advanced Photoshop
COLOUR: Creating a complementary colour scheme will either entice or repel your
Liliana Sanches (princess-of-shadows. visitors, so consider this in your brainstorming stage. Additional concerns over
deviantart.com): A demo website using artwork colour blindness and visitors with poor sight should also enter the equation. Use
by Erica Leighton (sheispretty.deviantart.com) the Color palette to discover which colours complement your design
87
Advanced Photoshop
E
derekprospero@gmail.com
FRE BONU
S
D ES IGN
B
WE TORIAL C
TU HE DIS
ON T
Almira Pizovic (http://picaholic.com):
Another site powered by Picaholic is Rocca “It’s about making
Deluca’s (www.roccodeluca.com)
it functional and
users witnessed a fashion for clean and knowing how our
minimalist designs, whereas a growth in the use
of textures and realistic scenarios as well as
brain absorbs all
dynamic deep-linking Flash navigation has the visual
taken focus. But as intricate and embellished as
these websites become, designers should information”
remember that their work should be seen as
– Liliana Sanches
seamless with most popular browsers for the
result to be effective. “There is a fine line
between genius and disaster. It’s all about there are certain rules that must be obeyed. you’re going to slice out sections of the design
making it functional and keeping in mind the Otherwise the user will be lost in endless as separate images, keep in mind that some
visual rules and knowing how our brain absorbs visual information trying to find the menu, areas may be built with cascading style sheets,
all the visual information,” warns Liliana Sanches or extremely confused by all the visual so only export what you need. This helps keep
(www.princess-of-shadows.deviantart.com), a elements spread around.” the files sizes down for faster loading pages.”
Photoshop artist with a penchant for darker and Art director Chevonne Woodard (www. The ability to multitask in the creative
TIP
surreal imagery. “The most important thing to chewoodesign.com) shares her own sector is an exciting prospect for clients, as
keep in mind is that creating a web design isn’t observations with what’s in vogue: not only will this save them paying an extra
the same as making an illustration. They say “Magenta, yellows, greens and oranges are salary, but by learning how to code a website
rules are meant to be broken, but in design the colours of now – all the colours they told Resolution with mark-up languages like HTML and CSS,
me to stay away from in design school! But There is a vast and designers can develop an appreciation for
Apple has bust a hole in that concept with suffocating sea of what will and won’t work in the final product,
the iPod campaign.” design templates saving precious time and heartache. However,
After the design work is chiselled to out there available there’s no reason to take it beyond that unless
perfection and approved by the client, for little money. If the ambition is to become a fully-fledged web
designers begin carving it in pieces, image- you want to developer, especially as most high-profile
by-image, element-by-element and custom-build your corporations prefer to seek out top-experts in
optimising for the web. This ensures the own web their respective fields, as Derek Prospero
website will be lighter, faster and easier to creations, then confirms: “Website construction is still pretty
open without frustrating the end user, they will need to divided between those who do front-end
waiting for it to download frame by frame. be as unique and work (concept and HTML) and back-end
Chris Detmer and Sean Brant (UI developer highly memorable (database integration and functionality). If you
Chevonne Woodard (www.chewoodesign.com): A and front-end developer respectively) from as possible in can do both, great, but I personally think it’s
clean, crisp design showing off current popular crowdSPRING (www.crowdspring.com) order to stand out better to truly excel at one area than to be
colours such as yellow and orange offer more: “When designing for web, if from the crowd marginally good at both.”
88
Advanced Photoshop
“Genuine Fractals
analyses nearby
pixels individually,
as well as looking
for repeating
patterns and
sampling blocks
of pixels of
various sizes”
Depending on the degree of enlargement
and the resampling method you choose, you
may find that you end up with haloes, JPEG
artefacts or ‘jaggies’ and a loss of sharpness in
your overall image. Genuine Fractals uses an
entirely different system from bicubic
INTERFACE: The user interface is attractive and interpolation methods, analysing nearby pixels
intuitive to use, with a familiar layout that echoes individually, as well as looking for repeating
Photoshop’s own palette system down the right-hand
side of the screen
patterns and sampling blocks of pixels of various
sizes, before patching them all together to create
a far more accurate, larger version of the original,
with fewer distortions. The manufacturer
90
Advanced Photoshop
91
Advanced Photoshop
Apple QuickTime 7
Intel Pentium 4 (or equivalent)
processor, 1 GHz or faster
512 MB RAM (XP)/1GB RAM (Vista)
(2GB recommended)
200MB free hard drive space
10/10
every shade of R, G and B from 0 to 255 on the
design projects.
production line with the monitor’s 12-bit Look-Up white of your paper. ColorNavigator
Table to produce a monitor gamma value of 2.2 automatically sets the target values for
93
Advanced Photoshop
A
Freebies: The book is a little pricier than
n intriguing title means that this book certainly – it’s like having a course lecturer right there on the page, so it’s
similar titles, but this is accounted for in the free
catches the eye, but it also raises questions over how great for students or those new to Photoshop, but many of you CD that comes with it, giving you access to
useful it’s actually going to be as the title doesn’t really will be familiar with the techniques covered. tutorial source files
explain the content. The introduction to the book explains The book also comes with a free CD, helping to justify
the concept of right- and left-brain activities; the right brain is the slightly high price, which includes the source files for the Summary: An interesting book that has
responsible for ‘visual imagination and creativity’. The author, Al tasks in each of the chapters. This is a nice touch, as it means some really nice tasks to complete. The
Ward, has taken this to create a book, now in its third edition, that you really can follow along. Not all of the tasks are that included CD adds extra value and it’s a
which looks at the concepts behind certain creative effects exciting but you will learn a lot of interesting skills, so it is great learning resource.
rather than just the step-by-step processes for achieving it –
which is an intriguing idea.
worth sticking with it so you can apply the techniques to your
own images. 5
7/10
94
Advanced Photoshop
10/10
in the industry.
then moves into more practical advice, such as Page Layout & or enhance their career in graphic design, especially for such a
Design, The Design Process and Corporate Identity. reasonable price. 5
Photoshop CS4:
The Missing Manual
Another in the popular Missing Manual series covers everything you should
know about CS4
Author/Publisher: Lesa Snider King/O’Reilly iStockphoto.com and founder of creative tutorial site
Web: http://missingmanuals.com/ GraphicReported.com. So she’s well placed to take on this
Price: £38.50/$49.99 Photoshop guide. And a mammoth guide it is, with six weighty
About: Logical progression of chapters through a chapters covering every single tool and feature of CS4. The
typical workflow chapters are logically arranged, working through a normal
Appendixes look at key extras in more detail workflow, from a guided tour of the interface, opening, viewing
Screenshots show you exactly what you are and saving files, working on images, then saving, printing and
looking for in Photoshop exporting. The final chapters look at actions and plug-ins,
Nearly 800 pages of essential essential to going that extra step with Photoshop.
Photoshop advice The book itself is pretty text-heavy, so there’s a lot of
WEIGHTY TOME: A mammoth book that looks
Written by an expert in using CS4 information to take in. Imagery is more or less limited to at all the new and popular features on the new
screenshots, so it’s not very visually appealing, as well as being CS4 software