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Tips and guides to hetp you creare a vadety of naturat media effects...

62 Top tips for 3D

nalural media effects
Advice on ho,/ to get naturat-Lookir\g
.esuLts o'n of your 3D rendedng packas€

68 DQitat comlc art

?000 Db Frazer lrvirE shows you how to
create dEmatLc comic an in 27 steps

88 Take to the tablets

We review and mle ftve W:com tabtets.
Ihe€b one to suit svery need and budsetl

90 Naturat media plug-i.ns

€gln of the best natuiat medii litters
available. from ink effects to ltood damEge 3Dluld !^ 5y SIJron D'n.h.i

lhree anists as nature intended...

76 Judith Barath
As happy workirq widt oit pailts and
photogiaptry as digitat art Judi$l
speciaLrses in ponraits, animals and plants

80 Young-Min Yoon
Ihe distinctive airbrush styte of younrMin
Yoon has srown out of his mastery of
traditionat colouirg media

84 Sterre Campbetl
An ani$ who often @s four or more
appLicat-ons to cr€aG hG mive,
drPam-tike. textrrred digiral an

Ris}r lubodm* !'Judin BMi.

Six differcn t ways to creale natural media effects ln /ll, stratat Photoshop and Paints..


l0 Paint a CubLst 34 Turn a photo-cotlage
work of art i.nto a woodcut pri.nt
ln the first of two Photoshop tutodals, Jason Jeremy Sunon lses Pai&rto qive a stylish
Cook turns a Poser fkure into a Cubist model tEditioEt treamern lo a series o, photos

18 Recreate some 42 Brush up yourtool skills

retro comic art /lLsratorexpert Domaric lishares a few
dawing and painting toot serets
Jason Cook oses PnotoslDpto recreate tie
exptosive cornic effects of yesteryear SECION S X

52 Create a colourful
26 Producing an llnocut image
lmpressionistic palnting Using the brush tips ,mm S*rion Frve,
Pairtel guru Jeremy Sutton trans{orms a Doronic li creates a vivid image in /iiirstraior
photo into a paiming with moody tigtt effectr

oN !!!

Ja$n Cook stridss ydu rhrcqh rh6 prd


Paint a Cubist
work of art
ln the first of two Photoshop tutorials, we take
our inspiration from Picasso and delve into the
natural media world of Cubism...

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aFinrDiing pholo-editi4 and - insread, mo$ ot rhe ettects wilt be done by
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g@t pairning p€ckage, nearly on. parwth $e hetp of blending moles.
re l@k at usirE
Pai,Drer ln this luto.ial. A good degee of experietue with

P/posrop laye6 liteE 1o sinulate a
and Phoioshop is requiEd lo generaie this image,
Cubisr paee ot.i, c@ing rhe linds ol and we tt also use Pdserat ihe beginning ol
brtuB m wortd a$ciate sirh rhis type rhe rutoriat. :'

Patt 1: Buildingthe background
Start by creating a number of angular shapes and then apply a few
filters to replicate the background of a Cubist painting...

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Part 2: Adding more depth

Further enhance the background to give rt more depth, and add key stroles to simulate paint marks..


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Part 3: Prcparing renderc
It s time to create a few 3D renders using Poser-. -

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Paft 4: Combining rcnders and background

Open the render elements and apply them to the background you've already created...


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Paft 5: Adding anotherfigure

Now we show you how to introduce the second figure to the illustration...

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Adding another figure continued...

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Fart 6: Lighting up your image

Bring the light bulbs into the environment and add a few sketches to improve the Cubist style...

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Part 7: Finishing touches
Add a plant and window to give the impression that the figure is actually in a room.

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Recreate some
retro comic art
Use Photoshop to create a double-page illustration with
a yellowish look io give it the feel of old comics.
he natud( prcsression ot dignat ad fom pen and-inkropirech,sbeenju$mEtevantto
,eel of otd.omic pages. Also. ue show the pbsEssioh fom pretiminary ink outtin,"s to a
cohplered iltusr6Iion 1o give you a proper idea ot wh.r\ iivolved. FamiLiari9 wilh Protosh,p and 3D
software is b€n€licial if you wani b achieve an itlusrnlion similarlo lhe one picio€d hee
ALsoseeDaqess-721o{indouthowanisllmzerlrvingcrearesdigibtcomicartfor2000AD i
Part 1: Setting the scene
Start building up the background with simple elements and applied filters....

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Part 2: Generating 3D rendert

ln this part, we generate 3D renders using Poser. These will be used as a base
layer over which to d raw and paint...

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Part 3: Start working in Photoshop
With the 3D elements rendered, bring them into Photoshop.

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Part 4: lntloducing natural effects
Add the gun to the image and give our heroine some hair.
Then start to apply some natural media effects. .

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""-,"."""". ""....'.'".',....'".. ;
lntrcducing natural effects continued...

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*, @ lrtl\,';l,i,r:i J;l,ij ;"1,.t,li,i ll;,
ilur":i;t ntu r I nh ru \l .nLlthc d
@ iiii,ilii,llrii:r:i1i:ifii :'#:1,"., n rrAlh.d rr i,L( ,\tloiddI r,,wb trr.ut n.s
p.nir i- whrrrrjh rinr, 11'rr r [!ms n,md rnd$N,wh r,
th'r!L i y ur r!(r
s.rv, tn r[)yd] iiltrvf
^pp nfl. o\' nr \d,rlr.cDfo c rr{nl

Part 5: Highlights and lowlights

ln this section, add the black-and-white preliminary draw effects and give
Lhe illustration a half-completed Feel

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w thinorrp Mne ar you dor i.rrrorr,lho
ryd ltiy ig r/ rh ||tr(up crd Jlp4 go to r rD
kr3c s iipr . ry to 1
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s ;riiri'iiir ;,illri[ Jllllllit]fllt#,i:ll,
n,tlrrcr x$rrod !'@ loircurd rr Tli .+oud
oK rhe lrt thcb.nd ig rrre f!.lh srrv.'ro q !e!o!i n( ba.r rid wr lt D.n ind r ool
r,, .ryo;',hdard wr'Le

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trr.n pren Deete on yor keyh.ard 50 thrt thc al-.wwhilehoruoiul ia! i Lhe bri.k arca of rhe
.eht haidiide aow$owsrharalprr,enerh iod r da+ee You .rn a so idd ; rew b a.l h rh ghrj
rhere5a50trsn d br.nd b.Nyeei ea.h!rrhc aD!nd htrbooLandat.wwh re rri:rh ehrs rrcurd
the100r !!a|E .a$orootaidihe &u\h loo tor
moreofthe lsutr sh.ri! throrsh

Part 6: Dramatic fi nishing touches
ln this final section, the focus is on the fire coming out of the gun and the text. You'll also
add the crain filter to give the illustration the feel of an old page from a comic...

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fl a"+ ds-ruih. r". nr,,"da, *h,i"pss"a
cre eaptrthihtrp..omiqoulol lh. nsht
tool to !b+. i. isilnusif,dlhe
thd middle oa lhe lne
hnd wcapon oo.ayou ve done lhat,$L.lan l6e!@l on.eyou vedorcIhal.cre.leanoih.r
o6ige .olour a. the rorogbund .olod ind lhc.
ol quec lool iimrar
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tml toh.l. is,aaionli.lh.selo.lon Maketu'e ro 'eddoButhrhesrr'prG'rM
rhoe abovc and lhen rum Iho bleidmg mode wlh lhe taso Iro imund lheB!n indl lhrm
wrth a rcd.olour sel thc bend nB mode Lo oveday

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anddo the$me n rhe Parhl parerte rhen ur.
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seledthc cddenlteland.rcateaSraddntnom
the Psn loo lod,trwlhekrr€,K on.€vouvcdone you havc . nldbs ol byc6 that loecther spcll oul rshr t?rt as:inLsertngiheoradeilloo sorhar
thnt,llii the Dalh
dddl with it 3o5 fbm yc dwbr,ansparent.Thenle.tthc
'l ncr3c .1rr rhc hr16 roaclhcr s rhcrc s of,ly oie whoc olihewod and oeate a red store abund t
erre.tJ on iid nrte, you've der.hctcd, pa'nl arcund rayer lP€1ring rh,a Md KAPoM Ren:me sctthe*rckeoptionloo!lsdcandthep xclwidth
thc hycr KAPowwww as wcll.

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Nowopenthe coour saran.e diarog boi and €r
s iY"sit i):'J:t'r,";"# :#$::i::"
Typc ro son Thts shourd ne give ihe .omn
done that. you .an add the cra n I re, to the aye,
aswel You may ako want to:nd othe, elemen]l or
rhictedpadsoltheo!l nesarcmdlhe.ha,ade,to
g ve it morc sreigrh. @

Produce an
We shov,r yoL how lo use Pairlt'r to crcillc an
oil painl rr..,, lrr llr-. lrad tion otthc lnrpn:ssionist
pill lLcrs, Lr5iril a plrotoeraph forvisual
!oirtce nrat--li,,r

, l","tLJ
:,, '
r.t: at-iifi rri.r
1, .r .. n- .1,',.riifr rilir,, , !. Il,irrl J t-_l.Nr,r w rir.r ..m+l
L.r l,rr. r," Llr, r. !- urrEirler.t3irrdli
.:{r :r.- Lr\.r.r]| ! al- fi|.!r.r.r/trLLLle.rv.j lahLcrj.n
llr " .. L L.L,r
l!,1,;,,, L..r /)\iLi.\tr,LrL!rlq:(1.(roptrlrein{!.r
' a r'r I "u . r, Lllr :r;r.,: nrr. ri:, 1 |i.n) rrJu..rnrand.allvpLt*n-.1
r,r ..,r.,r :, _,r. Lc.. dL.rurL r. pl,1.itrr. w.'k Wr.nlrr youdo
r !r,,r.,rt Li-.rdv€n1!i.!eann |

! i, )ri trxrr,i6 !1 rtrr advr lk ai twl ! Emrsunonco'n

Part 1: Getting organised
Organise your files, folders and naming conventions

g $i:;'ri:l ifl :;1 lli,:iit,xiltl llt'Jiii:],,

E l:l:li:lri:"ii:,'i ffi ;":iiiii i:"1,x11ltii" P' rrf,ron urlmoou pip.r nnlrrrl ourtinr
) dryou w,,nrr p,r r b{, iqh . ll.,r ()
ry i'r3. l.nv 5oicd.'nyb.r biu+ rl()rr rh,i r1lA.rr rrd I Li ,,Nis llI.r mard p itor
n r.r iov trrr n) D. y.u irllb, dl lrt i
E Hlll,lli:i:;11 ill;irl1iil*lifi ,,

\ 2Jc^ = ' il,. q 4 ? A
t6.\ < t0./3
200 //)tell p ncL
:e\nx Jt& yix
o ill,'Ji'"[iiiJ[i:1]#;$.',T::;il;,.
oe e.m,rrdr forrdoubrc.pix. sp,.id i.r
O ffi ,T#lffi i:liJ'li;:l iil i:lii :,? i;ii"'
47,dud' by 2km h shtrtrr.souton oi r0o Arc you hord,rs y. nyh5sihlro5dcolyor

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w.*s rre id myqpr.'oonrp.a,Lrrnis6 Erd dr u, M;k, i,rc.'or ind {d ro I

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wMM DD{ubt.d 01 btudrsed rf.r!,bre.i.ol
o lirtri"ll, ;,:,[ :ii:fi:f ilJ::l''
eian'pe, pore.l
bdshd.d rif))Marearealiiicd:brorhe etr oi
iheveri.niunbs rm.isih.qm.tora rhe I e. smal illl:il1,9J&T'f,ili:fi Lti.
by daleorsubl..t) rop 6lo. t ng the cmp 1..,1 ":ni

Part 2: Setting up yourcanvirs
Make a master f ile in Photoshop and prepare a canvas in Painter.. .

::liHrfi Pt.iil:r:::*
to yotr,
a iltti,lffi?Jll:i:"":!i;i'##; n:;:
rtrF r,r.wih., n.rme sim,kf b r"qd ni rd<1d i r
Lr y.u qvc, rff with}(li!(ment tiye6snd rhen
thcfrl-a 'n{.
iTrFForrr.r.tnDlorm (wthrh. op€i i ,n Pirre., th. /just'idits ife nor lpptied
Adiustitrdttry..t yourmaterlirr atrrn You necd ro.rcalc a rlanei.d vedion ol lhe i'l-" ng ke subrctdiancrl)nl lhe
i tho ar..r,re
riRr !nnr.yo mane' ,,lc tr rr leet the!:colihe
g ilfJffiiifiiiix,fli?"i ff :f,il]i ,i"

g 3*jililr,i'H:;iriiilLT,il';::i,."
un'h I'om p r.k ro on {d,.dtr\) 5p( Jyyour
dcird Lmrponi n,e aolrBo rr or Reloulroi r
rypri t r 30 ro 30o pixcr\ per fth. dep"tur rs on
i./ ny[ or ad{ik rl 'ndoubl, rhe.r
g opcnyou,soLro phot s,aprr (fiarrrtF.r
yod rPdir

Neq rib w ndow Y 'rf,ow$cabriircnvr

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*'." ** - *

Palt 3: Getting the best out of your stylus

It's time to get stuck into the creative process.

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i ra',/.r
o [iT,r,:J:i:::!::[$T,l?i:i*!","';li, g
(you an arwaysieilwh.h !the
m:ge by ook 'crive
is aLwh.h maseiamehasa
presure rh5onyou|nn8ea.d jun
do [,ili l:ti;,';1?;l;'t:,]i;;::i.Tl#** .hadmmlby 1at the botton oi the windos
cmd/crr.z mmcdtrt y aftefradr y.u rhourd be rra.k,ns Makcajf,grerishr .keiirhesrush npnu)thei.ho6hf SseecbA (cmd/cr-r0
ab e to set smoolh t,ans lion tom small to ra,xe raopy (cnd/cr c) lo rowed by
1o owed by td
brsh{roked aneierasyou pant, by adiuning ih€ 'ra.ki4gal.hpadclkkoK3nd,yyofbfosh
prdes rill youre ilisfien wnh $e s1y us rcspois?
-Coselcmd/C W) Crce|raoreina nase
Getting the best out of your stylus continued...

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p3.11! p.p1rp ncnr Tr opr.i an x,r..lrsfd
(cnnrctr v) rh.prd..y()u,ori .r nr{c.n.r [11..$oic|'aini'f[(,rl,ralomlh!.oiv.nt soud bi.krrfA. n hr
1o !rtsrr!('n Dr lh. rlrr,orl on r.
hvLf,s Da
hy., H.ld dos rh4 sh'fi rfyird dril i lrp po) up nr,wh.hipprtrwh.ny.!c c(on r
LiyrJaonmands ..n r. I Ilrr md or Lrc ! r .ois
L..pdfth.ilpfl nlo(rdlh ro ran)olr, n ir rr, bolror or th. L,ryolpa.l.)

Edlt canva5 LaveB Select

New,,, ltN
Op€n... t3O

Close *w

5av. ,€S
Save Ar... OAS

o li;:!$lii !?lff:i.:5,::'ii1u::1iliil""
(r!+.nt r n A.qul.e
r/ rr , f r( t[.n ]
,s Drcf: add
Erpo.t >
siv.d nro rh! s.ine roder o..non w []oi!n," r
f e nn'e5nnd.otr..d eev.6.i oumbo5 ooof
th spn5ure5you hiv..rya(as tri yun orrri g ".yllli!;:i$t#1x",lijjl;"- Gl Iff i lr["':r';y:'i'":":!1i:!1ilil"+,',
wrrr ro..d iue work,ns!n rhcprored
drccroyordcskloptrisuf durleredi!oo$ be
wod,n t.eei M!d.wh.ncvtrpos te
feitesidtrp rate m:3.lhal h.s c oncol :Ihe

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dac! a! sourc.and w
s .-.d e.h-rh" or""d.,aca;ry.o y
g lhir,'llr#'""i'"[ii$il:ir:i]i,
brun'er (bi!+ varmh noir th! crofd. atscoa
b'*h", tl,r r** !*c.r"*"; ' vinad nsiid b.nd
- $,e Mover ened ng i nP,rd[
reJleded Lhe Btush scrcdor w rh
'larmovhg whereyor tde ed ih€ t.u5h.rkgory ( oft
rele o, thereaturcs ror trdii.e u,hen paitis hrld pop !p) lo owcd byihaindvidurlvirait
rike6ns rhe Rubbssbnp l@ i pnob$op ga<. 4e b(5h nrok6 ihai ro r.w ihe sr6 wfth i ihn.ale8ory(i8hr hand pop up).when
w{h shiubbery and reav.s. ue dab! rhe idei I ro youttrtoppi the Bru+ seedor pop !pr, dras
tlnalnon ybru$rharaddr.o.u, to rhe ceat a fu.kup lideFpi ninsoi vJh.r'youcn ihr ow*r€hr.one6dDwnstaasihey l
canvas nt.i.on{bn+ stmply by adral islhe ek.ivc!bn.r b:.k deri . ind add.oDraid see the of rc
usearoneaor.ri.on i rhe cotour pa efre
i:'Ji 3l1n[*"jJ5i1i'i*1':.lJ
lrie hera(hy or tilt.r'r bru+c!
t ll| b-,h- -" -"-h"h-a "i
6euisior.yyou.handsonlhc li8hl
r,,i r
kshr rine ro ai," i ..niii dcs ied elG.l cn re
vp .at'on lo d4 wh.h.odi n5 th.dcraulr bturh @ li:,i.'1',]:Iii:"; J:'i,l:i:Jfi tYtlit'
hnry |l nle, srshn wnh n ths b,a'y toldo an p,o(s us.a$d, nc m.actul.rl lr{kol i th-4b15rv a syo!,
rh,.h,u!h (de8ory foLd.6 .rd, i..o'nprnid bya otrrrBhnrcrerlyorhrvcrp {o' cv. 5 oJ !^do P,rrPr<?(o rutlr .l or iny ftdvtradto
ro !L ..i n,rc wlh o *rh brunr. esory f .{i r ufioih.rrcy trrrndc (.innorbc
'30p rh. nd
fordtratu vn!r b,u+ !rritrr f $

II ll !r'r!
L n,,,. s,,-h.-

an{csE cob^

ac.rq-r 6S \ *""fl'll:"-,

lll rc-,ro r ft,!.,+(^n- l"^,. l! rc,r".n;.$"*( ;^,by.""rl',

rhr r nfr, nrrtr!h(frd,dvc6ryin{l
v4^il'lt! thrj lrtrec tibbfr 5.donj th€ Dsave vani nr ,r y.u hivalhe erh cdlor
Raidom v, wridr rr ddi n,r [n]+ buh.vou,
thcT(ispog wh.h t,anip.s (n

srmke Dcsgmr urw{: yor t,M (oik riid adrLl+

xd on. b trh
.hc6e sivc
v.n aor l.on, rh. 3, ! $ sgl,"dor po! u p
oilhcrmarrer'd bra.r 1 arAc I rr,A
i Pl
i*pr ^*11":-
.rr rrr. brunr bphivkrurp a ,eiprlctr,i{\ h lhc uplk, ighl c.hc. or lhe &unr scdo pr clt)
..r. +.wn youre rhrTnfflA{ ri i is ltr Reri r iou' odom duit'i thc9rvcVarinl
wetspons. to.(.nc.r rarnit'n8ory$onsy
w od.w yor ncw y J,N,id oslon varrnl a
appcili rhe.une.r bnn I ra{eBory. ithb!{r 1hc
]:,ifi ? iJii'r:':1ir;ir::Jl1r,l li:i;..
Ddirr v i konr lrrc u ush nr!.Ltr
((nuy rdryc vin.rnr wi nor hivc rh.iaod

Part 4: Refining your image

It's time to introduce detailing, texturing and colourising effects.

ll o,r rl"r, " thekedy

,i,i re"p,^t . s -,
rhis.xmprc, used
"r.. "Faver>F.eny\
g r,':::i:[i:Jff ii#iilJ::ti"
:if,T,"'JlI::;:T:'1". iff l::['J* "
isPaptr.n rhc
.ommand tosgcs rra. ind orf)
supempossa50pt..entopa.tyim:8eof diqdhnlieeorr,a.ns Pipr,trrhai tsde.eFtv!
benearhlhe.oourvrhr.ron rhe coouE parelrp o4qiiir (c one souKe) rmarc rrth a 90 p- @ni you d. \ihilyour maFer.t!trly ooklik.
The !!econe colou,i.on ook k the Proton,., opa.ily inaBe or the .ureni wD* ns 1 r and yorbtulh 5tok6atp.arnL50 per.enr
Rubbflstanp con when rhe uc aronecorotrr trdvaniase or Papd ( lhar n B'macr
vr yo! a opa.iqi ot what thay rcrly 4 u*rn..e Papcr
.on r adivabd, rhe.o.!r be.omes vsuar Elercn.e ol rhe oiiSinar iniee show n3
rhrcugh,v/ oserhen paiLiS iid advel es oteradyth.emopx! 'i
Refi ning your image continued.,,

Canvar tayeri S€le.t th

lnca€ase Slz€
Undo Rectang u lar s.le.tlo n *Z
Cin\ R.dt De€rease Siae
l:dr-.. 4*r
Save Varlant
Ctt t8x
Sct Defellt Veriant
Rastorc Delault Varianr

Pisi. h Nrw has! Auto Van Cogh

tl somerms you m,Ahr lu'.onra(nRPaF'
y' lmDresslonlst
U anJrhnr wow I w6h r.ourd h,va lhit a!
my aduar l aal ima8.The.e s a wiy clkl on rlur
orsina (cLoiolource) frage ch@s s.ld.r>All Sargentspongey Erus
(cmd/ct-A) lorrNed by td Ecopy{cnd/cr'l,c).
Now clicl on your wodins imag€ !o beom6 the
active imas€ choose EdibPa5re in Pra.e (shifi il Yd dn &rn! s, hts rrrr @dtur
g ljJff
Cmd/Cli v) rn the Laye6 Daletle, rdiun the htsr ! Fp.up Hord dorn rh.cLi r.y (M& or pc)
'hduAh "::H."lTi::,il.iii,l:lil."
cmd/shift.Arcl T mn. ck ind dragaidyou
op& ly I der ro $it c i.r on ihc cy€ i.on to tuln md di.( rru' idiBe This Eveals a pop !p enu qc a. rc|. indcrting lhe idjusted brushdiamcter
th. ayn vlib iryoftrndon c.kontheanvatin w{h '.
465 to iftremental btush size adlusrmcnr Thsshortcuteiabes you io hpid y make blg
lh€ laye6 paienc h .ont nuc rodinB on you, vaaanr *rlinasard lhe.K..r.atcgory v r.dkt .hangesin brush s r.Thrb€clctkey5otfera sma
wo*hA nue in the br.rrrcund.'nva. idemei1? brush ste adluslmcn j

o [tR!:"*'iJi"*'J,*",rj
dickiig oic€ on you
ro...r'. it, chre
cmd/crd-M rodounryouimaSeir(!notyet
mouiled aid use rh.cmd/ct -o (,.rc) ro rcsi,e
your mase rd I r rhe (epn
Nowslep bark r,om g ffi,i:ff t"fi:rHt :it":f iffi ::
mis. owo€w Bart.roeyou,eys clore prlct€ b lu.i ofl
Look at the
to iee the todal vrlu.s and a$s what need5
adiu* ng io mprovc the imase
colour i.on in lhe colou6
colou. and add yow osn .ololr lron the s$adowstoaddaenssof
i:ff *l:iii:tJtffi"Jilit :J['iJi^.,"
lothe mage

o $si;:"*i#llffi 'f":.*'J,ff ?,"

g *:.r#ffff lT:ijfifi ,[i":;' -.,,
olour whPD
.ncb {or one of rhe €ieat aound tha image to draw rhe eye inlo the
.ente Dr
g :i: advanlaeB ol the .oldr *lreel rcpre*italioi of and to buiid up the des red almosphere and
@ f["i#3*$:],9ff Hlr;Ylt*' ol!r, as u*d in P,,rr€ls standrd colo! r picke4 s amb'en.e chmse lo,exampe, aof e&sneary
n this (&, r u*d rhe r€cmy Fa6Den! oir rhe @nventsl a6r to hamonlous.olour cadel codtrlo,add is.oouraidbiture lo rhe
ba.kAound eas.

Palt 5: Adding'punch'
Cast a critical eye over your image and adjust detail, contrast and colour...

g yif ir":i h"'J:""flflf, :i ri:i;;:""

maeeloidd ke.Lvedd, dnd.oodr y.! m:y
findrht themcAe/s elme;.r'tr n Drn.h Herc
lKostu0dthat iceded io generale morconltul
aid morc qturatcd .o oun so I d.t minod r. ,rar
hy c oie so!rcs acodinsly Fiul ss el your
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oiSinal haSd ldm th8 boltom of lhe W ndow
menu aid (hoose f(ecleToi. conto >tqua s
You a rle E ClDne aolod io blcnd i. dabs of (cmd/ci.lo Th s &eno€ts sto8ram of lhe
a h
@lour txpdimdnl wjth the €t' d oa iuxbtoi.g dirtrbut oi of ufrrnance nyor mrge. r'ijusl the

E Choo$ A'r ir5>sarscnr ro idd lighr orl tush .omploftnury .oLuu lrcm oppGite sides ol Ihe shcr and Wh te Po trls and the & Shtnes s der unlil
you reslsfedwiththeprcvlew nage. C ckoK.

3 "{lss$!--i

a!!) (q.iD €E

6 choo5? eou' worl'oz macelmmrh€bou.m

U orih.wnddwn-; ch;;* Fir-E,r-i
conto >tquals (cmd/Ct f) Thsw
iuiohati.d y Scncdte a histoeGm dfrhe
n*bulonorruminaiceinyoliwo ig ma8€and
o i::,il ilii:;lff i:ilx?i:liii":ii*' adJu5t thc B a.k and wh te Po ni5 io noe e
colour Adlusr
Benchle n
Dt.renine colou! (hede in the inage
g IHJJ:n:"Hff f r"',*::,:"'iln',Ji
cotrta+inyour m:ge Adlusl the
Points aid rhe Ddehtne$ s deruil
wrth lhe prev ew hagc cli.k oK

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a :lf il lili":l:i",r,:i$;s:'#ffi* srh*! ffi l",if;fa,::f"1"["$:u:"il hishlishtto!chesa€needed Don t lorSefto add
abolt20per.enr oeitly bMh in rre ot thc :1;" yourdisfta isnarm radded minewth asna
new y adiusred odgmar lma€e app€ared @[ ctonel
ol lring the soft Jereny FaverBiswei LK ous E6


Turn a photo-collage
into a woodcut print
Painter to rcproduce an ancient printing art form:
traditional woodcut...

ptaniorrhis picrure
he orisinaL Bnse olcolous rnd tsheavy btack tine-
taslocEatea colLa3e ponraii work.MssomuchmoreDowerlutand
olJanSuns iheownerotELiza\ b€auritutrhan the garish. comDtex, inlricare,
Resa!€i! in San F€ncisco. a multi cotouBd. triutti-tayered photo{oLhte
gr€alplace ior delicious Hunanand he evenrua Lly crealed Heexptaiis, lkept
Mandarincuisine Usingadisibl camem.a rerurni^g ro the beaury oi lhe woodcut 3rage
seriesof phorog€phsof rheownerand oi untit the tisht bulb final(y sent oli in my head:
'. scenesfrom rhe ideriorandexlerioroilhe
restauranr weie caprued Ourexpefi . FirtLow Jeremy! steps lo this roalisation
J€remySu on.wasd.awnlolherestaurant\ overlhenexrsixtages.. :
muoi ancient Chineseanitacrswilh its
modern. bright, d€mric. MatGse-like back-
lit kll pa.dls and un!suatltuorescent

.. Ihe wod cd stage ot rhi! p. dra it was

.:. iniGllyrniodedasanidrermedidevarialion
rn(6{y rm4ded as an $rermedEie varFlor
t lomwhichbctones.mevanedlexluresand
: ;.<010!6.leremywassuorisedthatlhestaft.
;i ..hdsh,llar. qEplic woodcur. wirh iG limired
Palt 1: Creatinga collage
Assemble a photo-collage and build up layersinPaintet...

g iJ;lii:,if [,:a""x'-'.';fl:ilii -*-

o l}:fii:i:ir ll:'i;li:lr[:i,:ilif"" d meiri.n dl\ n .n p xoh Ld (n in.hc,
'n iid r$o!ron
sDc.ryyou d.s rcd r D p,ir.,c
My I ! yz:, driffm ncd by rhc rcqln mo ns ror r r !
a dFi ,n Pnxrr.,. edo\ci^y.1h.r m rses
:dtrc, w3!r7.n wd.r27.n heh ita r-{o rtoa

Canvas Layr6 sele<

Undo Re<lanqular 5€l.ctio. Apply tufac. Texi!r.,.. ,3/
LnrlU)do i\:.2
ll.ilL l RL,li. :4Y
. a1t: r':r.I
,'n \
I rJir { ,ifii

Parte ln Place Oetv

Paste ln New lmage

o t::1,r:ii.l','il1ri:: n!: iJ"*lr," - g fff :T"ili:j:,'ffilriili:T Jirli",:[:

chooscsc(c^ (cnrd/ck
EdLc.riy (. tr/crr()
A) ro ow.d by
f{) .wcd bi r r>clrr
g ii'fi lTJ:ir,';1i:;Jrif:rii"il:1"'il*
i nrr.Ei.c ay-4 tsr ddoni rhe s r k.y
thc.ori Endrcs to rcs,c rlr iye,
(Cmd/1r 'W) aosc thcorEnr mrgcrytrhout wilrroddnodioi iha n wh !kelpnglrie,qJdd

g ru: #;P;':'trJ:;ilfl :t:i:,l,, g

ron lfie deraull rayer i. layer 2 and soon To
rci,msa hre4 jund.ubl. dar dn$e ayerin the
i,"lil,ii: il:"|[:il;f +?:'f"'j,.Ti
lhou d bc pa+ed as an.wray.r whth willbe

z and daswlh the Laye,Adiunerlm

Layer atrdbutes u,idow ihai 3pp€ai!
above lhe foundalion mase ayelRcnametrenew

ryG ";;;-ct_ q
gl r.i$FFs*siaFiE;


@ i,f iJlii':J;jlf ;r,l:'ffi [i?;".^.

* s fillfififi :rf :tf"":];l] ilt"itrli
g :liiiif"i'i: tfJi:liil,lllf :i]iffi i,:"
raisfonn (trLA.l\>o,cntaton>F.. rriid( 1,
.rP( eDlw Lh rln, iye opi. tys drr o(LLdrrn
ibololr! iyonrisl r llr iyfrpr.f.

Paft 2: Restoringthe head

Here, we show you how to bring back a portion of a layer which became obscured when we
changed Composite Method from Default to Magic Combine...

Canvas Layers Se
Undo Delete *Z
i.r rl i.i, ..i. rift
i.:ali: a* i
(rr if X

gtv ::j*. i?'t"", n
Paste ln New lmag€
g l].;i"J#:':i,:il*;:i iili *,r;ff
o ::5i:ii"xH:,i'iiiY:;"#i:*:i?ii.,
s iltrii:ltrti'*i.:*::i i-:':i;," r
re.r ir ihc cnd hrihesrLeconposr.mcrhod
rh€.rg ia rayr
m rh s.ase nc.

E f.::ff #rh:H:tt3t:"i:ru:.,",,,,
war you nor onry dup lne the or 3 na comp.! e
or'Bdar rnys lvd a fciercn.e Lyer {Free rrin*omJ
g Hlli l[irili:i:""ie i]i:,i;:[i]:: [i-:.
YoUGnb'ndbyhe5ymbolmnbih€ayg ihe.r-"ale ayerMasr .Di thersht hind ol.trrc
oane n rh. ray.6 p:refl,A rhe cfean.c rrycr s : ro'sd{hebollom olrhe LayeEpaeile whnh
syrib.l n a Brey etun wth.oitorha.d es whers

o 5iiliijiii fi tL? i li:'*;llff

Defari Thed!p.are
rhe rcgura ituae taytrrmb.t R dr@ taves dtr Led
up on one:eihi lhe n xt sbp rivo v.! Fliilhs n
Ma*, wh.h s €prscnred byrhe
senertrres a Layer
.amerynbolasth! cre3b Layer M6( .on Ihs
ayernor.omperely rh. by.. nak. shnh do anty br dom on a fg! syrnb. ;ppeiE n rhe aycE trt berween rhe m{.
obduB th. orsina uide.y ns rayer ' r:ye,1mho ind the iycrname :r
Pail 3: Editing layervisibility
You can change the visibility of a layer by painting on the Layer Mask...

! rttl sd t611! it i!
.!i::1!}!j "111
,a ;;"";;.t;;N
'a !iia: lr;r

ll ,r.,. -i- -a r..or p, -.a r

mh c Ih.consastor fr.ded rol,sh!. rh! ry.r n,dd rrs, oikr
d!pli.trte aye.intheliye6pietiekkronr[e
.ydjb.l,!!d) fthp l1y4 Ma+ lynliorr
h,qhliaht.d rhm lou won tb.rb.lor(as lh.

conto>Equi sc(cmd/ck
brHhlnc$i(od nB to lirc
un t[r g g rr ih. cooutr prL.r., ma(c1re rhar bLa.k

El i.,S
E P*ra-" r'a'<oaru"tv
6 ek* us uno", tvrro coto,

if J.i irb

t! h Bhright.d (othcN3.
rou pi tL
$' g ftill :l.;Hli lt*',rjilli"'*,iili i:i":- g llir""T:',liri i:iriii"lfl i:i :[irill''
"ehr v'b'ty.v.rpolalc.uyoupa'n1

Paft 4: Finishing the head and making selections

Find out about two convenient ways in which you can select specific regions of your
source images to integrate into your collage project...

o fi the.oiou,lmm
:i:iiffi "i"i:""H"1;lin*.h"
tad the
rto wh't brn
ayervrb tywheeippropitrte runas'n
and pa'ni g #::l"rii':i"il:$::i" :", *$j-'
Fh.iorhor, when pantngiilo the Laye, Mark if,
r,ned (c, rmorhry.!rved) ourer.onrou6
g choo*the Pei roo
ihe r.o s Pa dte


Lnru*ro ponr or ue ronrour .t.*,n* rr,"

g $l",i.",ffi illilii:f ffi 'i:1;11"1A',#"
sty6 ron lhe lrblet imn.dirtery atu'
rh€ di€lnal.ontol poinr
G ntr a ridy ohite sqla€
.qu ara .d dtdl po nl appeaE Avord drassing unks and rhe mat @nl.oillol poinr k a 5mall elid red
you wish to h.vo a ctrMd .oniour the P.n l@l L i {ur,€ Yd'llee a lhin blue I'ne joiiins lhe two
3€,e,ddw ig tool {hKh .rarei .dm3 w hen you parh .onr,or b rhh biue r,ne rerrssnG a
vcdo4 or marhemarior, parh
g cootliue..k igaong lhe.dnlorat

hlh r

g *llfl r*.'l"f; J;:l'ft iT,if ri?."Jfill'

(olou( Don1Mny. b{ausrhtssluirrhcddt utt
:[:Jrii: ;iilli?iT.riifnH,tr
Alrho!3hdrft (u[rosee, rh€.uEor.hrnEpe
enin8 ror ,hat h4pcns shen you .ro4 , p.rh
ro.hrnserhs*tr'ns.choecdei pa,ire, a/
lrom a rrre r ror lman , wrhrsnan o tdiDPnla€n.6>5ha!€s rn tho shaps Prefercic$
attadad when you rc about !o dosd tho path wint rw, undEr fte Oi Draw and oo cto$
When(osed,lhe path be.oneash.p.,
.€prusent€d ri lhe Laye6 lisi by a symbol ehwin,
DrawinS opriffi r @nmend .hekina rhe 8ip
H dl6 oprid, t6. ro mak€ manrpurarii8
E i,itr"'i,',11f,f iill,lXii,': iXlii; Iil!",,",
You .e now .opy :nd p6re the se ectioi rnro you.
alShltlaigeovsa5hadedode wo lisrmine, usiathe*epsoullined lrr or

Part 5: Makinga Lasso selection

For selecting complex elements, use the Lasso tool...

g i:rfri5ffi ii*;if,ii:*-' "

o ;itrtr :T*ilr*"j"ff ::,ti;,Tf.:". ek ron r.or
oprids non rooh
lhar pop up &e E,:3Xf J,XTi',#;,::J!:1":i!"iiii.*#,"
with cuned, .onp ex or ilr deiined bou.dariei par€tre. Eorherrwo beina Retansutar dov, *le.toi. This exampre +ow5 one of rhe
o pen ihe imase elenent surce phd in Paat i ruores@irce nskrlpturcs )

Making a Lasso selection continued...

fl *t.L - *a v. rt ,,r r,.er,r*"ito

s ;:i|'i:fiT;x;iiliri'il:': lil i:rir'' s ilJiirii::iui:i:,i,i#il: ;fiii:l,.

e.ofdnoDlh..llilllk[ol]uf ollhechiinos
nr.r. h ih.5i!! rr{ or w ndow, s v.r rhc
yrtr iL.f lh, dy L\ lroo, rhr hb.t ).sav.drsi.hirn.r i,i.! 0i i11,:

leq) €n
o i,xilr:#:$
trie.r'r ,. nrqtr.'lnd
ln'l:.i:l#::J", thrinro th.
oi: r.!,y r ,. i lf. rL,ror. by.hoo: ir
$r er t
r'r.LLo.rd5ekd.i(5rrft cirr 6/5hft cr .cl
g :r,:i:,:ilff 'i::it:il:lilirli":il1':i, g Li"'j'l'iii'l'1i1fl i'lli:;::Ti:til"i'
or by. .kngof [r. !i.k] i,r u1,doR .on d(dcwhcrh.( ur spr.d,oi rD.r.!, dro s.hd'oi.hoDs.5.r{r.Rr.rrrrnrdlrri!lrrrrhcr
trrpxer{rhch.rih.rroroo 20p!r!oi

Paft 6: Flattening, cloning and blending

An alternative to flattening your image is to make a clone copy. With a flattened image, you can
start blending and smearing areas using blenders and similar brushes...

g li:#i::i$ ii;:[.1ii,:1"::lr]ru"
o H:il i'.i'i::rf."irff ';!ix.i:;'L:t,,,," :..idPibrlynovedoriltercdon..yDdveworkad
rhaty.!.a rvewa you, aye5aton.. rh.
on ihem ro poie.r r.ye6 jun di.k on rhe rishr cnd
otrhcray.rf iheL:)en pi elle Yo! seeato.l g ii:[il"ri1[:!:fi "":ri:i;l,riitfi
aong|rcborom.r|re aye6 i\l (jLd.bove thr ilesnreinrorhe.ncntwo* nsinaSa ch.ole
rcwo15\ Liy spacretons) Y.udi lherexFnd Fil.>c oie sourceand manra y r.sct the a one
the L.rss paett.bydrasgr:do'.yom.uE., so!tr-A to be ihe ilened are veuion

€dit Canvas
N€w,.. g€N

Open-.. lto
Close 3tw

g Hr:Hruii:"F:lr;'"':nh'i;1fi ,"
cr<u,e rh.,nhg. rlir,orheM\"{he.iicd w
otrry b. apdd ro rh. *r4lcd tiycrorJuslblr.
badsrcUndoN6 As yol hr[ fd' rc de
rw. wiyr ro ir rmisc cirhsdfopi
o ;i:r;: ff .'l'Tii;:::1,:l.i:"I :ti"i:iilt lrycu olnrke r donc.opy hll8.ini,*cd g lli lihc !1..n.d
IlldennJa.c ConroLwood.!r

'ir'r) gl
g lli5,l"ii;iriLlli,,*J*:'l li:i',li ;ffi 5} g lliili[:;[i:iiJ]tili;:il:':i:il
If 8ff :l:ii yi:il5ili":'f""i ff i'
n slrory bla.l n$ atrd /omx nr:cd in w rh
w hrinibnpabhcor.oouu wh rd dr r lkp
n rhe lil8-A ri& on r$ sn oi thc
n rte(r dcotu
Thdr ldirr,i J
pro h.conr
was rhe brr.k sourcc) Wrr th. trtpfr
poners.d o.url Drigyoor.u&r n th. prcview rnd rLo rhc va'rcus ohpdr ob{u ina 1rF
wndow$ lhatyou{'r*e '6i4..
womn3 b.e ihe bh.r ni*5 ii rhc t'a.c Jud
d sp ayed Ad ud rhc1d.6wh h ook nsrr drn
effe.l n the pr.vl.w w ndow When yor h eridi,"d yorr hi8e.l,anslomthoe lo wDod.ui aid s,A
*rcdrery donp [,ar inro rh,A ri.e rB,on


.oftan h

sr,aa on, to

wetLu(our uld

hi ev.. . r"t

bn lsrcund r.gonsand i the lkin add rr.. aca.
* pra.,4 too naicht ed36

.lone.opyolyor.ur.rt mag. wo*

h biuJhe! eAdtrbsrEenr

de. ded ar th t ro n.(e rhe wood.trt thc

v.uon, evei though rhal hadn I beeo ny
orsnal nt nron To ta.irihre the fduion or ny
btu$wod n the finalv.^ion. ihenmad€a
w.od.!lve6ionoflhr bntrh.d image Lliih b.rh
*-,rr r-
nto rhe

n rh.

@od.ul effed, this timc widr .olou. oily (rn.h..k
g ::1,'l: ::!"::"rlr #lii:i:;$f lfi
rhe iace EEion, mal ngthc bla.k art lart
the odtpur slel oplior ii lhe w@d.ot w ndov, Fhr r.€i uPoiherare6olthe masc r

Brush up
on your
tool skills
Learn everything you
need to know about
using and editing brushes
in lllustrator...

he.ontents ol //rrl..lo, k Srushes

paletie .n.l the proArants brudr
modilyr'ts.ttonr rn. 1or
treat nR nitura media ellecls
qu.k y aDd ea5ly We nrow you how to get
the ben naturalefie.ts outofth€ callgraphy
(atter and art )ushes before explan ng how
benb manage your brunresand set up
brunr lbrares When you ve manered these
bntrh skilE you can lol ow our n ne nep
rurdiil b ( nrrling J v{a!i{m .J rhis r-
layered haDd! i lunrat otr.
11 "--,-"-'---*
Palt 1: Using the Pencil and Smooth tools
First, we show you how to sketch with the Pencil tool, smooth out your
lines and alter the tools' preferences-..


E ;rf #fffi il'"1'iil",ilr,: i:.ili?f'.i g

cmat oi ot iarudlmed'rdrtrw nsi Ih. rtenerror li:i&"1:,','*::?li: i H }llr':il#il[ g l'J::lilii,#iiiY,iT;1;'"'5i,,# :xt",
onibrcs you to draw rftnrh p hson{'ennr ir\ {ir de.ldl, rtu .an .cdr& ov., p,d dl r i. inlh.Pcn. tooher ArenaLvey lyoud havc
mu.h ldn( rnd nrorccxpr$ tlla wlh ro m'ncdirr.t ldd ir MirrlurcrDlyousbdoi th.Pei. tooradve ho d down opton Lo.hanse
th. P4n ltul d r! ro' tr( qud, pri onhor,n.dyounahrdawi ncwpith rmnrrP,4r r&rio lresmooihtmt Dnw DV-q
d.p.nd'ns oi rhePca. (dropron! a pad or i ei ectcd prlh Llroolh il otrt


4l .,
;t tf,

g l,$i;1,$ili".lji,i:5[i:T:?lX
,erevaor r.oi toor$r rhc fidc Iy vr ue
in rhe o lH:ril:1i:il::i'tif i:ti"Jt,l:,.-",
g Jiuift'f:"fl;:i :'i,j:ii,xliilrilriil,y
.otuok how (roery rhc p.rh wil rcircd ihe a.lua
tnc yd dnw row€' *tin$ prodlcc morc po irs
.etllisi podu.c
nrntutherpith Ihercarc
h ghorseLl nss
a so oDr ons 10
rhc !mooth rooL, undrJwo,erlhop.ldorrhcErrh rlonBrhepilhaidwirrlolls! yourd,awnarore kcrplhepiih seedcd o& fsdhwn and you Gn
.ro*rrwhirshiShsq ,nerw pbdurennoorhe .hiiac howdoscyor neediobd ne yi prtlto bc
toor to e,nou€ panlofbtuicd parhs

Paft 2: Worftingwith brushes

Choose lrom lllustrator3 preset brushes or find out how to create your own.

9 flffi y]ri:-iir'::: lr,yff

wni.h aE uslrr for cpsbig n.luril ned i etfeds
o lii,n:;Hi ::::ti,i5 I il5H;i1: calliSraphy bru$es
d.o&6 aller
.:llig€phi. type
bturhes pla.e rop,es d arrwo*
s ::ilfl :ia;"fi :,::,11!:':*'Js";,,
qiLhsimpLerincsandappydifrerenl brushesrosee
crealepalhswh.h are painred wthabrurhskcred alons ihe p h aid 6n be used b rcata splashes ookoryorarLwork
t n lheBruies paletie The opton aie ald6l and painr rikp na*r: an btushB srret.h doll npdly se e.t the paths to whrrr youwaitto
deninai to tho.e or the Penor roor. wlh ihe added .roi8 the rcnsih .r rie parh and c B€at lor app y brurhesaid then. .l on a bru+ i the
feaiuE of behS ab e lo r
newbtush nmk6


g :1,:Ri;l:':l:fl i:iiJ3f,"i;"[:i:9",
E ffllfflt iil"'ff59H:lr?11,,
:?:T:' -'
dealebr6heswh.h arc madeupolpa d.lrllod or
o l:.:r'i#:i ?:li,;fi l'',;1',,:1
patiein be used ro apply an to *h.r.d
dat2 beoru eiar.d
s,rh file rho
c!rcn! Vou srokcd.hrp€! (although tansparcnq $tl nes an
bcippliedt@) Lr you try io aeate brushe! non
pathsin youwo* You .an u$ or nodit lh€ ribn'i6 oi brushes - lor cximpr., yor orld .crtc rftwon( 1.. ud nEecmcntswhich can tbctumsd
pcsetbrusheso,youQneaily.rcateyou,.wn . library I'L q'rh va.iM ink l'ko hr!shca iilo brulh.s aiercrdia ogw appear

Part 3: Calligraphy brushes

Learn how to adjust, create and delete calligraphy brushes...

,i: l:il
I t-)
lgi lql I:-"-'"-'

g il; i1i,i $r#l1l1is'-1'"'l;i:1i'il'"

o ;*{$::li:ii:"T
t you havea
ff :,:;T*'".,
rabhl lhen you can c'pare
rhe New Brush didos, New calliS,aphic
Bd,h rhe CalliCraphic 36h Optionr dialog
I li:[',i.!",i1 :,i":,i Jii;!r:,?il;i:',iii",',li
thearrcwhe,d aadthcdotsonlhe ba.kelliple
high y v& able and mads by alrs'ins rhc embls you ro nane rou. btush :nd .u(omie d ii cnable you to vrry the rcundne$olthestrc[e The
'esponsive nthe avaturyolways The p'anw windows show lhc iCht.hadd pGvewshowstheefiecboltheaise
ca rraph.srush oot ons d'aloE rcuidi.$ aid d ameler seiliigs



o 3*5t"rif.'fi ili: #s?,rffiffiJ::" E ff i.'"1.t;[,*"',]:".[,fr ':,S:il;i g:i'il, g :ffi fi il1,1ilii:J,iliffi TJff.i:ii I

Random, you .an use the Veialion srde. to alter lwly .rcared .allig6phi. brurrE by dou ble di.kins want to Emove a brush nom $e 3ru+e5 pa ette
howthe brushwillltrk The Erey ellip* in ihe on rhem in Llre 0rsh6 pake ftk {ilr op€f, rhe seditand dnkonlhehash i.on aithe owerrEht
ight-haad p,evew+owthe nin nunaid opliffi aBaindlh a Pdie.nE[ bulLn, sa lhat ollhepaefie or choose De ete Brush fromthe
you 6n * htu you varialiois affe.l your.dwo,k. s rhes paletteoptoN 1

.I *-,-"-'""--"-
Part 4: Scatter brushes
Experiment wjth paint drips and brush marks...

j,tl .t .f fiii , -'$=

a r:"i
*i t+l
t I II
tol - -i
'' "-= l.'*. :;r

:,,-.:--]l .:'

o ;'li!i,i:i:lii:ii*;i:::lll'jii rl;:t:t: g :.'l:"':ii:,:il':fl ',il]:;"^]:,f ;:il]f i",.

s i: illj!iliiH:"ffi:t Hi'i:"r:[..,
snrlt3.brusb iyo!.hineelh.riedamo!ntsto
rL,s r[, tr.4. ru .'.r -r.,,i,.
rb,u-h Biunn(prrereoplor! .ho.!-" N8r ki!.r Brunr landom (or Prc*u4 Jyou hav' I anph $tabteu,
.pr.n\, 5u.h.n sr, <t{ I s,md rortrioi, to to opci 0r k,'{r 0r!nr oplr.i(datoa you Gi yo!n .m c a hus-" v r-"yotmarlisfrcmon.
qld y i rrr rrr. ook or iiy !,v1r {i!{btunr

Palt 5: Aft brushes

Use these versatile tools for creating a wide range of natural media effects.,.

99.S. -..-..-.,-'--.""- 'i


g iilir?"T;lffi ifi fr iJl;T: #fi '
o it i,1*i;#li:"j'"iili; l#:iii"i:::.t* g i:t"",i;i;:'ll;';:ll,t|,'rf tll,ffi :!ir" !rc !,rrmp
n h"L:r.Epne;oprdtr
c tD i:dP r I u4 rhr m:se rh1
neJ r tlpc'irr . L.v sro!. n qr the m: s
rnd!!.our r.o .iu.mrt,-/ r, I yluanrh.n ..krh? ayer,you ," Lay.rd4.*,
war. !'pcrmcntarioi ! rhe key Hcrcarr "p""D
cnibreyour.chaiscrrrc m "ricr
rnouiL nat nsit
nLnrbtr.f !.Lhodrind tps10!!tyounad.d ftPbordthcin r ii rr^tto,

F. .'.

s l:fi:il;;"'n:iTt::!i:i,'#:? a lit.:rffi"*".ft
prlhr trom whtrh yor ci
':,,Yj,i i::itilft ifl,";
s t".l;1i3,:,f"$'fi ,'15?t;?,1J1",ft ji
seate bru+ adwo* Ihe Pouihrnand nnLbe & Tweal ittr are gFir s
to q"mi i"o r: -phad.h'i..t!*th;
overaps niheirtwo*, be.aused lpnyiig rheepaihrloipp.oximaie rhenarkyouirusie d'd sroihriherddD I unt !;uFhrpprwth
on.ergain,!,erhem.qp pdhriddro rcmove
!pwlh yo!u!r


iJ € il:r
J:] 1i
gj B

rh4 b,AeP'c!eundos !how(ynu

d q6dtrn@{
o,',::::"J:",i;;:;f :"i::,1Yi,i:#:till,i'
fa -rh !ha, "aa teaha
bru+d'ehon Yo! on.hriselhtsspil,nsutn€
g :iil::'J:1il3"il:?5iil#,1! [rJ:" ""
Brush lron lhe B.u+spielleopliotr, lhen.hmsc p .entag. senins choosiruPropo4om keeps
Ad 0rush toopei'rh. AdBtu.h optons diilos bnx theprcpodon oithebrush strc(c rhd same a the


o iihlriL*l:T"?li::"'i:]il'Ltii:*:'
@ lLiiilff t::"'Jixii::l ff ',ft i:ilii'ii
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coourofthcipplicd bl6h colonsar on dn b. a shown thc (ey colou. box Af,yth.s nthe tolourolthc*rokcusod Yo! can build upav dy
.pp ed lo{itler.rtasw. ap{1eh bturh6 'n
bluih rh.rru$,rbEom6rhcsancis or efieds lyou applyrdnspabn.y rid scid ns
modcs ro b.ush adwo ss you crede r or k)

Part 6: Modifying and editing brushes

There are plenty of options to give you exactly the effect you're after...



o :5: i:f i*i'ji,r' i[:!1*;:T!:;i:1

You .an double{kk o. any brulh in lhe paletle to
edt I at a labi na€e ryou doe. adabgboxwill a idlo*,
:::il'J,Y.:i:$iff :*1Hi*liil? g :l,1:[,i,li:,i:i:: ;:1.[",'is:tYjlf it;
apper w th opions wh.h show how t.u,.hanges yod virh tudified
ihe brush scltin8r. rt' " ihe modifed brush aoie, butw applythe
*--*----* ilr
Modifying and editing brushes continued...

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0'uh6p,.rtcrorheidbund yot dBsa.opy
or th.on8 nJin!.'kyh.hnrilc!rprhc bi!sh
.hooleobe.DExDandApplarn.c Th surr
.oivertihe.urenibtush slroleas t appeaA fit
!rtuke y(r nrdly rnd.hoo5c Fopri.ns
rv.Lnr ro intoyoui iirc you.ii rn cdil tr s,o the srnewiy edliibcclcmenls Norcthalwhen you dD rh s thc
y.u hiirrrtnr rhe3rulher palrtrcopton5 trm o 3 nirbtu+ +roke pdh r relaind butwith uo

Patt 7: Managing brushes and brush libraries

Organise your brushes rnto easy-access libranes..

tl lrl

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and b n3 btu+.s d. [F.,ril BuheJ p.neft b lround i' lhe Prc{ b lordcr if,ed? tl,? ,/, n,, /or documcnr rcmove rhenrbm rhe
lppy lo a/twon l Pir!rleind kccp t u rrurteFd

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a.!.q :q

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pircft appryi ,oartwad,nyou.nb
A temat ve y .onbnts orrhe 3tu5h6 taretc of a t' ]e wh .h nm! yo! n:d!pthe ipp .alion you.aneceir
ordristh. d.s Ed bru$ ro iha Br!$er piietie detem,ncs rhp€ir .f the brush library your new ib€ry trrhe g.ush L braries ncnu


Fart 8: Creating an illustration

To finish this section, we show you how to use your newly acquired
brush skills to create an illustration...

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lusgEia+erhb..k r.qQ llrotfe nrrrton
these.i thp..vercDaoig with the rnor rh3 ardi. I th.[ho..omlE.ioi !nr..d b !{re:
,rcr.r.d.d r rsthebtush
emorcd to save on ov.n


Create a
linocut image
Use lllustratofs drawing and painting
tools to make a fake linocut image...
!e, the ren nr Fqes weLLgiveyou a srcp by 3rep
q!Ldpr..,e3nnqlhis lLnorut Like rLtu(rarion crincly
in rlt,siraror u!i,r!..! b0raro', ol rh-" pmqram s
looL:. r,.l.dr.ri. rp.hiLquee usinqlh,a brush skills
DUr.ii,"d ii Seaior5 wp showyou howro uscatokes..ubaid
Part 1: lnitial prcparations
Start your illustration by creating a brush library and a template layer...

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m.dir. (anned
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nunb..ollinmtmr*seercale*innedand cD, ope. lino ma s.tit h ,/urraroi choose
rcu8h.lil (you an tnd th I 1,14 oi the.ovd co) windDw>Btushestoopci ihe 8rushes pa ettr

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ng mdthod lrom the co or sfon "
opl onr
impodanr rodealexvaetyolna s$rha he chle Ncw a'l 8rush nom lhe pop.up d a os to chai8clheolourorvff ous
brush6don t look ioo uniron late. on

o if rill'J;l"T[::ff*: lxi$iiijtJs' g
frcm the 8rushe5 pa etie oplions and dkk on rhe
trash i.o n to delek rhem De ete $e lino mk!
:1T,3r15'lrffi '#fiit1,?::.:?S:
Adboad t& unng fE dftuneit st up add
g If :$:; tr"',T,J:lili :::,ifi -"'
imase and rny otrer do'k, and save the lik 6 sp..iry yon paeeet.up oprims page chm{,rerempbt.oplontotulntn.bye'ihi
riring by un.€ Me$Hide PaseT ns renplate layei makiig t eas er to draw ovei
Palt 2: Laying down the foundations
Draw around yourshape and surround jtwith a border ..

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r, lrld(r ,ir lr , irrLllbmdrr nrl t)

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rhe+i0! if Irhownlbovcrnd onovc urc ",.
nmr.bydnk soi rhe Noie rD r Lrre l,or lnr

l .-': ':'- . ji

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|rL ayer'ba.kgm!nJ a.d thei ur rrreRe.hig e
E i;:1;ii:'i:;i$irr';JL*rlli[:
b.dg aid iha.dnvo a @x,icr.. Shfy
I ":iil"Tii
iffi Li:iiriilill,"l,:ili:1
w lh sen ns5 ol abour r nm tor rh. sDc. and 1 n for
deiiil FiJure lheAb5outeopton s.hosen :
il *****'-^'*-*"
Part 3: Creatingthe 1st'cut'
Trace around areas of the drawing utensils to define the highlights and shadows

r.l t- N-,

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.on.! rxt oi (atth. purcrinMo'r the
irustrrion w rrolr f rornok.(rr,n8ss.rne nrlE nr vabr.,nadu.* ode r mcitu y Gnnin ryo! s.. by,, q,r cdriwnaov.' pair.r E5

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orthelinewodrwilraddtoihe.venl lol!rihe |{iil sc th. w r le e roo toad|+
Faft 4: Addingthe detail cuts
Draw some rough cut marl<s in the composition...

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P.nitR.ulhloo nodcrroBdrrPcni.o dnN
oniL .on i [x,bobirorpBs,p on rh{] koyboad

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bolioadJunany.Ut0ar5Amcsaryby d dr,"nl btush$ m the palcttc to add var cty to llr

o ]"rzur1il.,:i:ft ii:g'f i :il-, ". O Hlliiii ?iiili:f i iil,,iifili.":#li'.?'"' g

optonsof!eededobjed n rhe Btuiher pareltp you .an ll'p bru shs ,lang or asos rh. path Mak! ;.'r"T"$i1i,?f ri: [?ii,ri::l:'li:ir1
to the .ut strokcs p.ev.nts thc arMork lrom Dok ng
re re8! ar save rhe I e on.e y.u ve lin lhen ,
Part 5: Additional detail
Add more strokes to your image and tweak the cut marks.

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vsi d' rr &.r. \ Atrt^,ry\i,kl\,5


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5crc.r.d obidtc.rrDque () svev.vd, d E t'ii fi1l';1,?"l,lx,ii,iiil:'i1l:;1,,",, :ffir: iil'fll;i'l;fil;lfif iiTlli:i:';l:
I t,sr to thc vado6 nroks an. 01.l! cor i iuc qi,n rirBray(isso eiodeitutt n8h 3ht5or
twpi l r n,lilyotr c hippywth the.esdls

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* g r"fl :i:*lt:$x1 ilii::"ii*:ri"
g ;;Jlr:?.i'r?ii:ii['"fi tl'"'i':j ?ti"''
heh shlsr.aLrybrisodihe udralon i
s..dnsindviduJnroke,rnd cpti.eth.brushs scr.ded objed rRhiique po !
rwear( ,ndivid uat !xpe, mentand.ontnueto.haise th gs 15
u\ed4anroadd varety ro|rennrrt ne,Aded orleyo! re do rc savcthclla

Part 6: Finishing touches
Add colour, gradients and textures to finish oft your illustration...

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b eidins mode ol rhe
ough ayd
Lsrrt ir
iyfl ro lorr
f e o m yor havc l
and save you, f nal
""Jil;:i1 gnlp.fihe p6.6!e. hvoLln yor.anei5 y idapi
rriu rheboderand s!e trmed um .oor, the.ontl.5tIsriFlyceNowiPpI'ieDBr!D thcsebdrnique!too4ei whoe hiBeof iatuar
ciunii Brurvilhi rad,u,f o!nir r ? 10lonen mcdatypccrtuds a.hawood.ut pa,itie.iid
othe hadtonr prnt rgmctlrods @
atudt m€dia is rct somethi.g that nm.dLlely sind whariyarhLni 6i 3D g€9hijca.ll&lrd btrot ingshuiry
howevei your humb& 30 prog€m, mop 6€d b.lnriiis oln phoL@li!{a inaqe3, rdn be Des€d Lrto sapice 6r
creatin! ln-phororeatistic ref,deB roo. k s !l5or..iig@d torlun'i,E $e 6w ebjer mdtteryou d MhaLly i€nelom in
Phdr.rno. .qo " , , , q&d ro,u J Tsdi, (mee!
Wher.30osualtycomesrnruck 6 drh€ lighting bdrcentlechnoloqicatdsvelopnonrsiDihGareahavoprovedlruhtulin
productr'! f UDtGtcranderinso'5.eM illudnrtion GlobalitUminatioi(AMEdiosiry)lechniquesareavail,bleinattoltlrelop
3D rpDticitio s, chcrrr 4o 3dr n'at Mat2 XSj Er en sode ot rne mid-Ell3o proemms such as Cauara and Sh6 Pro
olferrlxrirownrakeon6diosityrenderinglhiswitlphyakefpa ingerringeoodnaruruLmediarcndo€.panicuLanywh.nalreFpring
top,ldrc.liairtradimag€sslchasstiltlilel ds.apeandponrrit! iyouwanlro.relreabsrtradilionaLlookrhenyoudonteven

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Lol. ni{ ,r,r, Fi!,r !{L1,nm

'.*.",--* **"" rF
./ 1t.,tt t u t./" ?t )..!
t *,*/,,//,V al,-,y,",
liereare totsof natu.atm.diastytes burihemost Olcou6a,you can appty manyol rhese renderiig
obvious onetoty116r in yo!.30progBm is lbr 2D iechniquas ro normat3D models and scenes - those
sryle rendering Thisisqu(eaD.putarrhnique.with which have been constlcted 10 b€ rendered in a
3D p6qans incEasinqly beinq used iocreaie 2D cet phoioreaLway and qer qood resulc Howeyeriivou
animaiions Asa esutr manyolrhelop 3D programs have a specific tookinmrnd rhen a phor.realmodet
comewith some s.n orceL lookredderingopLion may nar be suibbls lnsucha yourmodet
With .€llook/ro.n usualty have rhe wirh a natumlmedra took ih mind Ityouwaftthefinat
opti.n ro.ende.oul 30 scenet as ltat coloured ima.srlo lookrouahand skeLchvorblockvthen make
adwol{ withandwilhoLn Lnkourtines.lnisisagood yo!r model roughty. p4ing ctose attention to rhe
f aninq point iorother narumt media ef lecis because
yo!can oore eas(ypost!su.h a non
photoreal rcnder in Pno.osho,
".t1/-, r,,;l'
r ,'fdktle ,:,,/ your3D appticalion doesrlr hav," an o'xline
/o..' J

rcnder ing facitiiy. the€ rrc a numberoitricksyou

,,".?,!o,1 can rselo crearerhem.Ihceasiesone isto render
oul yourobledwirhi 100 perc-"nl tummous material.
When usin3 loon renderin! and subsequenr Sel lhe maift iat:; lunrinosily orambience or
ProLslroppost prccessL.!, ir\ oire^ adva^raseous 1o incandesc.nce to lutt bishrness dGable alLscene
renderolrrhe inkand painrassep de pa$es Ge€ Lishtins and rende oura pass(incid,"ntaLly youcould
rip 3) !!irhthecolourand ink passes asseparare rlsol!d renderanalpha mask insread) Openrhis in
layersin you duch s'earerconvoL PhoroslDp !oro ctunnelsand Load oneofrhe RGB
overthe tookotlho imageyou recreari.! For channelsar a sclecrion hrhe Setectiof menu.
enmple ydu caichanqethecolourolrhe ink chooseModify>Bode and selrhewidth oayour
indepen,lenrly oi rhe painr {and vrce v.6a) yoD oulLineinpixels saveasa ewclrdnnel lhiswitlgive
coutd:Goapplysome diilerenttLhe^ro Layer youa workabteolrLim rorr yobiecl,whichcanthen
Usinq some oi Pho.oshori Disronron and AnGric belileEdinanywayyooseeln
filte6 6asood way ro Lmpada moreskerchy Lookto

.t. zcnt/rt ta,*ttt

ln 3D aienderpast Garenderol yolrscene
:Sr .ontaining only cenain colours or ittumLiarion
componenls (iorexanpLe. rallecron only. dilluse
shadini only sp{uLarhighLrghrs ontn and so on)
Ihdsimplesr kind ol passeswouLd be rcnd€riigrhe
colour RCB componenr and mask (aLpha) compone
sepaEtely can usuaLty Golale individ!aL
difiuse and€wcotourcompDnenteol a 3Dscene rna
re.derpas For po -p.ocessing.this canarea of
imfr ense experimenral possibility cEde $ ditirno tor my 3D obi6d Blig rh6 s.lscPBordsr

r "./2,. . / /,,',/-,.,,'
Fornatu€tmedi" animaliom or il you want a bil mor-a
3Dlun,youcanrryrheodtirc shadowkick Adda
spotlishr ro your 3D s.ene and group il ro your
cameE Position the spor exa.tty at the same Leation
and pointing inlhe same direction aslhe camera
Make su€rhar DepihMaDShadowsaE€nabted.
Ihe next sl€p is ro phceaverticalplane behindyour
objecr. racing the cameB - thG is lo caich the
shados on Do a ten rendar you ttseethdyour3D
obrect has a btack qlow around it. you can iosG
pbcess using Levelsroachieveattmannerof outtine
efiecb (Norerhatilyour3Dprosram suppdfrs
shadow-casring ambient lilhrsthen thiswittwork
:D pmsEm ?hL.h.".r.a:u?t nedE oron
,'Ltlh/t/r/./ llpre 1rc r ru,rber.:1 le..i3d:E ar:Lt3b.e i.r
/ri! io-eramr.p fhi.h aTrL.ia harchmS3.d
lyorwanrr.qeta har.hiiq .tyte hag. rlr.n ro! srrt 3ir.(r !l,Li:D ortpui ri 3D scEr.s 1lr.:d
..!l.l.r,"atea hat.hlerrne h P/iotoi/,op r ruptc J e als. ti:i irn:rr !h..le,s !h:.1.-.agc.d
ve snnic.trihp m.dp by morior blLrnnq.. r iri:,1 p.iitl3 r lherd-dr-c.imerr ale.i c!:
:rrrti.rE f

Appty rhis rorlure i,r rhelilfuse.h:iner.1 y.!r Jslr*t rL!rt l3l.rn i.ri 9o.d ti:r.1
rnierLt!il rppty irt,yourolrccr uarq ptam
maprrq afqLpd t.q,.trrF bpllt U' r n rtr l,(l,t
sportill so rhJr rlre i[Lifi,rJL-Adn p3rblii.itr
Rc llr rlrnrppty urgd'Anj rr +i.{-. i? n tr, ,,,,,7,' ,t/i"1,,,
ProL,sr.p lh{r cnnlrh.lkr b.:
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d,i.'r iqr.!rlrn,ol)lr,.rr.i tnr 0,.,.f,, . lr.arlir! (., , od! 1..!.d
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Lnu!. l!!crrd Dtl: rill! L.iw.'1h,hr.kiF.i , r l'jlr !,,,i., .,rrLrf]t".!llPprd *L,LrLl
rr, i. n!{ tln trryr1!nr.'il!, !1n rtLnln, i, y.l 1! 'r1 rr lriri rL rnr{r.ock
the linat inage isto tookand howmuchpast render
work yau iniend lo do. The ease with which t\
possrbls to render irom diiferent camem angles G a
greatadvanbgeoverjbtpainlingthescen€ in Prifier
or Prdoslop Odpdring such a scene and then posG
proce.sing in Phdrdshor ro qet a naluml media took
usirElechniques m€ntioned here b a qood wayto
pmducea totolnalumlmedia tand3capeimagesvery
quickly. yo! colld even sel up an acrion in Phora3hop
lo appLy the iitters ro a fotder futt of rendeE. oran
animation (ilrender€d as a slitl iraqe sequence).

t6 anu//tlz t la,u lt
li you srreth the lerm natura t med ia a littte then
you ttsee 3D! porenti!tro achieve phator6atimages.
yo! maynothavethe backinqro beabteto qooutand
porrseveraLlonsof concEte intorhe iisideof a

I' you
as a
callywanl loexperimentwnh 3D s poienti2i
naluEl media simularion toot rhen you wolld
do w€lt ro chock od Zarurh by PUolotric
(lwl ww.pixologic.con) Zarush lakes !he con.epr
and rechnolo$ ot 2D and 30anwork and blendsihe
house, bul anything is possible in 3D and withoutthe
costs relalingtoscate PertuDsvoud tikebdosome
virtual*ulpture.orsawacow in hafand ftoar it in a
lank, orarmnge bricks into a pite on rhe f loorol a
buildins Because3Dpmgramscan simutatereatity
io r high degree ol accuracy, att you need to do ij

trilft two t€erher lhe resulr is sooothing altogelher

ditlerenl By pbvid{E paini riih real deprh io ii, you
canlirebllypaid in30,b'nyoucanalsousesDi6ls
tdhelDwilhrhop@cossolcrealinga 2Dimasewhich
supplyrhe ide. and itcrn be realced. At l,"ast inrhe

has good pebp€cliveandolherrealasli.prope ies.

At fte same limo, choo* io sive iextuE ro
krluE yourpainierhar ir looks likerEdirion6LmedG,slch Animationdoosnlimmedblelysprinsb hindwhen
ro you r.ln.lLdr ro
rhinking about nalurat media. but usins a 3D progmm
opens upihe possibilily oicGarine animaled naruEl
medi, imagery This righr be fora moliongmphica
,/.t l.L!.', /av.?".t sequence. in which case Adobe ,4/ier rte.ts is a
superb comDanion, enabtine you ro pertorm
&oushyouc.nachievesomecoolnaluralmedE Phddlop-Lik-"posl render€diling of imag6 solhat
ourput lrom a 30Drcgram,anornerwayro use 3D is in they look more convincingty narurat.
a suppoiriverole lorinslance,younighlwamtopainl
a figu G b(n achiev ing c ored peBpecrive a nd
proponiois may nor be yoursrotBest skitL Wnh a
programsu.has Pdseratyourdispoel.youcanvery
quickly rryour ditterent lrguresaid poses. setling up
fmakinguseoltherawRGBdara trom a 30 rendor
differenl came€ vieE and lsnser in order ro ger the (as you m'sht with a Dhotosraphic image) and
perlect image. Render rhis o!.t very simpty and use ir thei posGptu.essins it in Photosfrop, ir! imporlani to
as a guide |ryer m Phoroshdp, painling overthe top of pay cbse ateilion ro the trghting ol rhe 3D scene.
il using Phoroshop3 nalud( nedia brusies Whattendsrogiveawaya3Dimagearethehard btack
edge you ger in rhe shadow areas ol objects. ln reatiiy

.8frw.Fr l'!rbn. ir.der i!

n "In."r "r o/-a and the€fo€ in a nallml media renditon ol reatiiy
(such as a stitt lire). when objects are ctose to each
olher rhe tilhi bounces between them causing subtle
Whenther€m natu6{modia is used.lhe tirsr rhing coLour and shading ehiris as one objed ittuminates lhe
th.t t€n& to spnng to mini is lradirional artGi media orher Untess the brttftness is very tow, c{ose
li.le watercotouroroals and images ot bowLs of truil or logerherlike rh6 a€ atrnosr neyertoratty black but
ligures in larcuid repo*. Howevei absrEd an is have $me amount ol bounc€d ittumination Makins
anolherareawhere 3D can be Ged. Forin$:nce use of litt lighb wirh taLt-oif enabted can hetp you 10
Iiactal shadeE can 5e usetut rorc€arins orsanic rereare thts itLuninarion in 3D and therefor€ make
lookinq, blr ,bo torcr@1inc abstnct lorms yb!rnaturat media rendilion look like it was painted
lonhe subj€ct or a ot atuo* Iry appLying
l6cEl noise as a delormorot an objer. or use ir as a
shaderin a dGpl?cement€hannel.
./9. 2a
fi L,,/"r*/*" Fotlowing on lmm lhe pEvirus rip, il your 3D program
supports it. then making use of radiosily renderins
3D is a pert€ct choice lor crearing land*apes ]lre 3D techniques witl heb to achieve naruratistic tishtins
mode( an be c€at€d quiie buqhtV, dependiry how withod $e arduous set-lp time required by the use of
manylilttights On.-"3gaLn.rayinq.renrioi rodr. therLghr you n3y reed i.LruLlrirh.f lrir :r!!1 Jidlr
nalur.trcssof rhe rendere! ima?€willpaydivd.nds bo jd:or:,n;rilpiiircr Lls,iqihL::.clrnrque y.!
wh,anyou..met conv,arllherender mtoa iarurat .ri l.!.1. lritte.reren qua.lrrpt. rh: LLie rhi.kL"ei
nedia image in Photo$op lhiiisespeciatlyrue if y.u ofr FnCp Fd o!11r. the.o!1trtr]!:rmrorLtLose
wanrtosimulat-Aaime.rl p!mrincslyl. ior.i rple s.Ee debiL ., lh3 .c,.r.:L! f I

2t| a a,,k!/.t/ i. l//,tJ/

')'t ']/l'4
Aprogram su.l'is flaresiby nlorm:rir ollF'!.n Llrilgi).C.r,,RLprLelLLt,.!]i!/,
alronared sotution ro rcnd€rins,,1Lns nat,,, me.lLa r.jr!rvrrielrof skerrhr sl!lee ron.L.:. 3D
.ficcrs Pidncai.rni'npo 30mod-.LrLnm.n rridotud ourti,res A r... ri.l I rc.rede rh. ouriL rc
populrrfom.a. nr [dins 3DS OBJ an.l DXI Oi,]e tr, ldf eI Lin]J!!::i:L] i.ll
rLeiCi.! r..C.lir
youve buihyolr30model youcaf erport rt otrrtine;yp.rnd:prL! i!,rtr!rr
Pta,csilorreM,"ri'rtc ina numbe'.t:,ri.ii. {ytFr th! r..t is r. rr1 r e Li:-"..try a.n s.31".t,,,..
stye!!uptorrpdii.t'rdop. Litskct.h penrrdtr,k 3nnLcnL.r ii|r.l.Lr.,r. rlitJ,! din. r.r !.,.! rr
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ktur D b n, rui;r, eq,

rr :.:
Part 1: lnitial steps
Create a set of documents and start d rawin g in Ph otashop...

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li;:;,1.;ii;r;li ;riiit irlir,irit,lll,.,, 1r.)r {i rIr,(n, 1]D(5eilr))!, , L1'r

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a i;i:l#11"il':ij:1:i;5'ff;,;,,,,",,,"

toth.posit.i.,thepacer np.r,ra
!n re vr.r. ,p{ vr,.h id abtotpun.h Not.ihe.pei
sF.a!oi rr,e li8eThep rr hrrcwxtooearei
Prorosh.p hav.tD tr y oi $renLn gofthe g :r.",1iiJ,'.Ti:J1?:"Jjt:, ti:;i: ::;"
d.pih b.rvia.n llt arin a.l on a
of the mrn I
rd rhc ba.krE o!nd
sL rcs ind
ea,n3th. p: ntto.rara he ren, ve efre.r vely
dnwaenesxtodd anse55u.h is trr son. J!r::<.:i l€ ere.'rd!.
Part 2: Introducing colour
Choose a background wash and build up the layers...

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nrrrkr. rtr, !rL, r !. r [ir i r]n, htr{ b(omo
+lr:,fl'ri]:.I;'.:,1:*i:iii;T1 i$ : iilr",'
rore!rcLnd.oori rhr nycr is ir to co our io s,v. orhs I LM m'w.rk lhirLrndiLoni nicdii
th,A L"\ ior hJmioiy w th the br.lxrcmd

o *::,r;: i:y;T j:"r",t::i.".-,.'ji:t.."

sele.tnnewbruir, .d doud thei be:lii
abc to
paii( n thewh[earound theman imas. Aga'n,
st .nu at,a tad tiontrrmethods u/hereis t
rh s
wou d ba easiar to lnpry ,, rhenrnwilhwh re, s
s ihc
irfi: ::;:ilfma;n:il[iu:tii*t;
mrk o,lhe
le.hnques m ittcmpt ns ro n, m . ,oushihaor,r.rh!abuide..of
'dues thtrkout ia!

Part 3: Painting light areas

Use white to add atmospher,c light and fine details..

o :,ri:,if;fti:t ill ::ir ;;:l]itli'i'llrrr'

i{:wriy{.i,vh.h pi!,otr .rnd
dn{rln nwh.h

rh. rii sluppor.d ro b. r.nhr!

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lii,lili;,'.iiiil ii
r,)nlo Ii,]r[.b rt r\ ol) tr rk,,ni!I

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sublpI,sn,rrft 5'r th, l,a.r(ro!nd3h.pB pifu r ud r lh. rlor lh. pae., ind ,y.A
inird. ! d{dcd , on.d iF nca,orc th svrilon. tnlM.n.,
rdc. d.d Lrniyw irrtr-oirni pan

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Lh!liie5 ndvdraLlrThenn
trcbrushswif yadosthe nnge irhednedDR
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thef prepr-A
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CMYK rcdu. e he Eio uron lormdp (pr n

ler1u. to s.n. as rhe A r .4 ry need is . trsD !tDi):id savnei.rr FF arloGrreaton.
resvcuDn in Rc! forem:irifs pJevetr rhs si
rop nyer
depth i.
a !o enib s
m. to add af!frhsreve
the nase byd,aw nss,rs ps ns i
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*nrby f_TProth.s.Mf ande* .added n
by 200o/D! 3retrtr (thsnrpwas erercd
.ra:te\n.vaj i{ici ntherorotrrby rrcai rs srey byihem ve orE eDev er Eld

.l *"*''*"
Take to the tablets
When you want to get creative, 'AtrTl any digna{ adisu lonq ror. qraDhL.s bbGt However compariqq a professionaL graphics tablet
tllll/ I ouuu.arrne."q tr
it's helpful to have the versatility
of traditional art tools. Enterthe Iil
*:*';;:n'l*: *;;':t"",
common gard6o mousel Wel{, that may be rrue il
to amo6e is tike compari\g a ta€eboard maft€r
peiroanytine rnrool.ApEssure s€nsitivebbLel
gives you complete conrol over any sp€ciatisr pen dr
brush you choose. so using one G lust tike drawins wirh
graphics tablets! yo! € la[<aig about the mosr basic tuncrion: movins €alpencils chalksorbrushes.youcan ofienbuya
yolr cursor.round lhe screen to d€w lines and specialisl stytus alierwards aswett. repticarinsboG
dvisate And ilrhar\al!yo! reed,youcanpickupa such asairbrush,tEdirional pen. ink pen and strcke
basic gaphi.s rabLet, such at Wacom! Craphire2 46. pen lor eMmple. givinr you even more croarive
lor nol nuch moie rha. tne cost ot a sood mouse. optiDns to Eproduce the eftects ol diffeEnr med h

The graphics tablet market isdominated byWacom,which offers a wide range of devices. Here we've tested
a representative sampLe from the compact AS lntuos2 to the aLl-singing cintiq lsxwith integraLTFT dispLay.

ftice!3oo(incvAo companyw&om
PrcductintomatonCompul€BUntimit€d Ietephore02083539548

hs Wacom lntuot A5 i! tho a pressu r€-sensilive tip and a n eEser

a s

smaltest,nd cheaposl tablel on ontheotherend,th€ pend&leaturesa

lestthis month. lts l6 2 x20.3cm usable doubte-sided swnch thar can be
area makes it idsal6r lhGe with a prcgEmmed ro ex{ut€ mou*-c{i.ks or
limiied workspace oronLyoccrsional foranyotherGeyoueelit.Ihok ako
n€€d lor a tabtet. Ihe basic kit comprbes i^ctudoslhe 20 mouse,which is ls€tuI
the tabtel,slandard grip pen and 20 for navisarion lhen sFnirs wirh a tablet
mouse,andcomes bundl€d wirh Corel or simply if you have to do sohe ge.e€l
Paoter Classic lo gel you sraired. work sincerablersdolaiealtrl6g€nin3
The tabtot is tutly proc6mmabt€. hn used ro. As a complere bundle, rhi3
lh€ defauh seitings hake n easy to open bblet suppt€s ev€rything you ll @d to
close, copy. pasre and 3ave with a raD ol g€r 3t ded alrhough ( will prove a tinle WACOM INTUOS244
your pen *hateve r the app tic ation you re
lsing.Ihewo area,althoughsmatt,Ga
smatt lormore ambitiousands.
Perleci lor ancts on the road or sho
sroatimprovemenioverusinsa mouse. h of space, wirh alt ft e fl€xililityof
altows control ovor quit€ line deiaiL, !ilh ftice!158(imvAT) Companywbcorn
theadded bonusolbeingabtetoapply Product information Computors Unlirnired Tetephoie 020 8353 9548
Dressore-sensilivs eftecis to the rdals
youte usirA. thereby varying tine
VERD]CT 3,5/5
thickness as you go.The grip penswere tevels or line gEdlation, so it should suir
oveiEuted a coupte ol yeaE ag6 and are
comloitablein$ehand,akhoughyou tl
a laEer24 x rorl area io Like the A5. the lnruos2 44 is iulty
notice the dilleren.e beiween thG and a 3uit everyday use in the cEarive fLeld. pblmmmab{e, so you can customGe it
nouse airer a lew houE oi Ge. As we{t Ine bllers* 6rea qives vou moE foratlyourapplicarions This makesa
corrDl fo! intricaie wo*. and rhe 4D Eai difference lo worklloq as you switch
dou$ that\ inctuded toot
is a hnrastic belween 2D image appticarions (such as
then 3D
it comes to working wilh Phoroshop)and 3D sotrwaE, where you
noneb. giyi4 you 360-negree conroL need lhat tittte exva controt lo work in an
wilh a seu-. edrir€ tinger whe€ t w irh exim ptarc we tesred $e 4D mouse
viih CiDena 4D and Body tuint.and
ft ener lntuos2bbLer models have lound that it real(y simptilies navigarion
mny ihptuved features. incLuding up to arcund yourworkspace,allrwing yoo to
eighl oplional inpur pen devices. One of easityshinobj€isand paintyourmadet.
lhese is rhe deital airbrush. which is This bbLet G tantastic for evervAay use
pi*slE and titt *nsitive, bringing il anywhere in th€ creaiive fietd
close io dre reaL rhins.The airbrush s
ringervheeLenablesyouroiine tunerhe
eitect otrhe brush in use, wilh 1,024
Price i4Z fuc VAD Companywscorn Website wl,v*.s6m.coir
Producr infomaiionCompn6rs Llnlimited Ietephone 020 8353 954a

he nlros2 A4 overeize has becomes an indispeNabte r@l tor

become an indu$ry srandard dratring and orherGciJB reedstle
*idelyused by proie$ionab inthe30 tabtet is capable of 1.024 ptesue
a nd illxstation wb rld where ifs useldt tevels, so you can co.lbl elemenls
Ior tons sweepihg arn hovenents within yourimagepe ec{yq$lne
simpty not posslbla with moGe srsems. 3upplied giip pen rnd 40 muse.
Th. 30 x 30.m m& ar.a off6n thd ft6 44 Ov6ciz6 is perlecr iorm6t
precious sxtra spaco when laying oul ccalivo us€s. and lhe exln lengn is
wo*orworkingon hrge prctecls. Like handyrorworki.g in s.
its s lter sibtincs the A4 Ove6i:e is
ma t comes bundted w$ CoDL Pri.rer
efre supporl
tutty progr.mmable, €nabting you to
quickly ser up shortcuts forlrequ€nrly-
iora varietv
ancLdes the
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