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ISSUE 114 CONTENTS
WELCOME Welcome to the latest issue of Advanced Photoshop. One of the many great things about Photoshop is its ability to work alongside other programs, be it InDesign, Illustrator, apps or services. ANNALISA SAYWELL Editor IN THIS ISSUE: PHOTOMANIPULATION PHOTO EDITING GRAPHICS DIGITAL PAINTING TYPOGRAPHY NEW MEDIA
COVER IMAGE RADIM MALINIC
Radim is a longstanding contributor to Advanced Photoshop. The quality of his work is always impeccable, and we ask a lot! Turn to page 30 to see more. Image credit: NASA/ JPL-Caltech/STScI
Many professionals in the industry don’t just work on one piece of software in order to create great images. We too often bring you tutorials that involve using different applications. In this issue, we help you to get the best from your image by taking a look at work across the Creative Cloud and how well Photoshop integrates with some of its CC cousins. If you’re looking for inspiration on how to take your Photoshop work to the next level, check out our expert tips feature, including how to use the new CC shortcuts. Elsewhere in the issue, master the Pen tool to create a geometric model, design a flat webpage using shapes, and discover which DSLR is for you in our reviews feature. Don’t forget to make the most of your free disc, which this month is packed with a whopping $117 worth of content, including two video tutorials, Actions, resource templates and much, much more. Until next month!
50 THE PEN
Master complicated selections, blending modes, layer styles and clipping masks to create this image
FIND US ONLINE: @advancedpshop
CREATIVE ADVERTISING We look into food ad campaigns and what it takes to make the image look appetising
CONTENTS EYE ON DESIGN
What’s hot, who’s in and the latest art & design happenings
06 08 14 16
THIS ISSUE’S PRO PANEL Our contributors share Photoshop secrets PORTFOLIO INTERVIEW Let your imagination soar PROJECT FOCUS Creative food advertising STUDIO INTERVIEW Ars Thanea
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24 THE SIGNIFICANCE OF LIGHT
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Professional artists reveal their high-end skills in our easy-tofollow workshops
24 30 44 50 56 60
Working across Creative Cloud INDUSTRY FEATURE
75 Professional Photoshop tips WORKSHOP
Compose a fantasy landscape WORKSHOP
The Pen tool HOW I MADE
IBM SlamTracker WORKSHOP
Flat web design
64 66 72 74 86 90
HOW I MADE
Crazy Driving WORKSHOP
Blend graphics and type
We put the latest creative kit, books and apps to the test
FEATURE: Which DSLR is for you? REVIEW: Topaz ReStyle
HOW I MADE
Digital art using Photoshop brushes READER INTERVIEW
The significance of lighting and detail RESOURCES PROJECT
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EYE ON DESIGN THIS ISSUE’S PRO PANEL
EYE ON DESIGN
THIS ISSUE’S PRO PANEL OUR CONTRIBUTORS SHARE THEIR CREATIVE SECRETS, EXPLAINING HOW THEY PRODUCED THESE STUNNING EFFECTS USING PHOTOSHOP TOOLS AND OPTIONS TOBIAS ROETSCH
If you are creating an image, whether a drawing, manipulation or 3D work, it is important to incorporate details. Details don’t only fill the picture, but give it meaning and bring it to life. With them you can convey messages and engage the viewer so that they always discover something new in the image each time they look at it. This will also encourage them to think more about it. You should take the time to make even the smallest detail stand out. ■ Discover how Grohs created a self-portrait with a difference on page 72
There are many ways to catch viewers’ attention in your image. One way is to add more dynamic movement and depth to the picture with the help of Photoshop’s blurring filters. While the Motion Blur filter helps you to get a flat 2D movement, the Radial Blur filter set to Zoom gives you the opportunity to achieve a vibrant 3D feeling. ■ Roetsch explains how to expertly composite photos on page 44
© Tobias Roetsch
http://cargocollective.com/28162 The final stage of your work is a part that should not be overlooked. It is what allows you to add more brightness, contrast and harmony to a design, so be sure not to rush it. Try using adjustment layers such as Curves or Color Balance. Vary the settings and find the right balance for your image to make it as captivating as possible. ■ Check out more creative tips from Delin on pages 66 to 70
© Martin Grohs
© David Delin
The magazine for AdobeÂŽ PhotoshopÂŽ professionals
www.behance.net/krv In this work I wanted to achieve a zero-gravity effect. In addition to the model photo, I created transparent black shapes using the Pen tool. I combined this tool with layer styles and blending modes to create 3D forms in my artwork. Iâ€™ve become a bit more of a conformist and am now using pre-rendered images, which are less flat and that have a little bit more depth. â– Master KartasiĹ„skiâ€™s awesome Pen tool techniques on page 50
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www.behance.net/GraphicBurger Use Photoshop grids for pixel-perfect alignments. Set up the grid to have subdivisions for all objects to snap to. From the Preferences menu (Cmd/Ctrl+K) choose Guides>Grid>Slices and set the Gridline every 10 pixels and Subdivisions to 10. You can easily toggle the grid visibility with the shortcut Cmd/Ctrl+â€™. â– Find out how Taciu designs shape-based web styles on page 60
The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/ or other countries and is used with express permission. All $ prices are US Dollars unless otherwise stated. If you submit material to Imagine Publishing via post, email, social network or any other means, you automatically grant Imagine Publishing an irrevocable, perpetual, royaltyfree license to use the images across its entire portfolio, in print, online and digital, and to deliver the images to existing and future clients, including but not limited to international licensees for reproduction in international, licensed editions of Imagine products. Any material you submit is sent at your risk and, although every care is taken, neither Imagine Publishing nor its employees, agents or subcontractors shall be liable for the loss or damage.
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EYE ON DESIGN PORTFOLIO INTERVIEW
LET YOUR IMAGINATION SOAR VETERAN ARTIST JUSTIN MALLER DISCUSSES HOW TIME AND PASSION IS THE KEY TO SUCCESS IN THE DESIGN WORLD
ustralian born and bred freelance illustrator Justin Maller has been creating digital art for over 12 years now, both personally and professionally. He’s produced work for brands, agencies and studios worldwide. As the creative director of the illustrious Depthcore Collective, he recently challenged himself to a year of creating one personal project a day for his Facet project (http://facet.la). But it all started out in high school, at a time when Maller was more interested in writing and acting. “I started creating digital art in my final year of high school back in 2001,” he tells us. “My interest coincided with the boom of online art communities, which helped to foster my growing passion for creating – at the time, terrible – visual stuff. Previously, I’d been all about writing and
acting. In fact, that’s what I went on to study at the University of Melbourne; there were no digital art degrees then, and I didn’t think I had a shot at an actual career in it anyway. “However, I started getting my first professional jobs in my final year of university – actually a lot of writing jobs for magazines like Advanced Photoshop including tutorials and editorial pieces. By the time I graduated, I was fielding enough work to think I had a shot at supporting myself. It was another year before I quit my day job. The beginning was super non-glamorous: lots of writing, lots of concept art, lots of bad album covers.” Keen to learn more, we sat down with Maller to discuss how he went from these burgeoning years to become the creative powerhouse he is today, and what he has discovered along the way.
WHAT ARE THE MOST IMPORTANT LESSONS YOU’VE LEARNED ABOUT THE DESIGN INDUSTRY OVER THE LAST DECADE? I speak only from my own perspective as someone who has freelanced from day one. I have limited insight into what people who work in studios deal with on a day-to-day basis or how their creative life and path is different from mine. That said, as a freelancer, the people who succeed in the beginning are the people who have the most passion. You have to really love what you’re doing to survive the first few years of low money and bad work. The people who succeed in the long run are the people who have the most discipline. You need to have self-control to be able to create the structure and routine necessary to get work done and not go insane from the ebb and flow of work, solitude and general anxiety.
Bliss N Eso: Maller says that the Bliss N Eso album cover project was one of his more challenging recent commissions, requiring a lot of work to get it just right © Bliss N Eso and Illusive Records
Jewels: One of a series of experimental, portrait-based illustrations © Justin Maller, photography by Chris Knight
Pyramids, Depthcore: Even after 11 years, the Depthcore Collective is still going strong and remains one of the biggest creative design powerhouses on the internet © Justin Maller
EYE ON DESIGN PORTFOLIO INTERVIEW
People are much more likely to give you what you want if they know you want it. Don’t be afraid to approach people or companies and put yourself out there. However, don’t be entitled. Don’t email your favourite artist or designer and ask for them to send you PSDs or write you custom tutorials and so on. The best learning is always going to be from your own experimentation.
HOW DO YOU GO ABOUT SETTING YOURSELF UP AS AN ARTIST WHO WORKS FOR BIG NAME BRANDS? There’s no quick answer to this. It’s something you have to build towards. Creating good work is the heart of the matter, though – you can be the greatest networker with the most up-to-date social media profile and spiffiest portfolio, but if the work sucks, none of it matters. Sometimes, I feel like people focus way too little on the most important aspect of being an artist – being good at art. The rest follows in time.
06 WHAT PROJECTS HAVE REALLY CHALLENGED YOU OVER THE YEARS, AND WHY? All projects come with their own challenges. The Bliss n Eso album cover I did recently was a tough one – a lot of work went into that. CAN YOU TELL US A LITTLE ABOUT THE DEPTHCORE COLLECTIVE? I established Depthcore in 2002 as a kind of clubhouse for the best digital abstract artists in the world. That was a long time ago. We really, really liked abstract stuff. Like, a lot. When we put our first pack out, there were 15 of us. We were all students, mostly living at home, none of us making any money from art, happy to feel cool and a part of something. We had forums. It’s more than ten years later now. Although the group’s aesthetic is much more diverse nowadays, the fundamentals are the same – it’s still a clubhouse for artists and we still release chapters of work throughout the year. The difference is that nearly everyone involved now is a professional artist. Basically every artist who was in the group in the early years and stayed with it is a full-time creative person of some description now. The challenge is finding a way to keep an art collective relevant to a bunch of people whose priorities are changing. We’re more like 30 than 18 now, and making incredibly detailed pieces of work for fun is less realistic than it used to be. We’ve had a closed-door policy for years now, inviting only other artists whose skill level matched or surpassed people in the group. The problem with this philosophy is that you tend to recruit other extremely busy people who don’t have a lot of time for art collectives. We’ve recognised this and the need to go back to a space where membership is open to more developing artists.
Kobe Sheath: An apparel illustration for the Nike X Kobe Bryant clothing collection © Nike
Scarabian: At the time of writing, Maller was on day 191 of his one-a-day Facet project. Visit www. facet.la to see more © Justin Maller
Fareoh: Maller uses geometric patterns and bold colours to create images that are simple but striking © Fareoh
Reso Album Cover: Much of Maller’s work focuses on the flow of form and shape © Reso
Cirrus Os, Depthcore: One of Maller’s top tips? “Being a freelancer is lonely. Get a dog. They hang out with you, agree with your stupid opinions and force you to go outside” © Justin Maller
EYE ON DESIGN PORTFOLIO INTERVIEW
Under Armour: An apparel illustration for American sports clothing company Under Armour © Under Armour
YOU’RE ON DAY 191 OF YOUR ONEADAY FACET PROJECT. IS IT IMPORTANT TO CHALLENGE YOURSELF LIKE THIS? I was murdering myself trying to make personal work that I liked, spending weeks – literally weeks – trying to perfect pieces and then just hating them. One day I decided to just make something simple and fun for the sake of having something simple and fun. It felt great to do something easy and move on, so I did it again the next day. And the next. After five days, I mentioned to my girlfriend Ting how much fun I was having and she sadistically challenged me to do it for a whole year. I’m a sucker for a challenge, so here we are at day 191. HOW AND WHERE DO YOU FIND THE INSPIRATION FOR YOUR VARIOUS DIFFERENT PROJECTS AND ARTWORK? I don’t think about it. This is just what I do. Every day I sit down at my desk and then it’s time to make something. It’s that simple. When I’m in my workspace with my work machine, it’s time to
make art. People tend to fetishise inspiration, but it’s really more important to just give yourself an avenue for your imagination to do its thing.
MALLER OFFERS TIPS FROM HIS OWN PERSONAL ARTISTIC EXPERIENCE
■ PRACTISE A LOT Self-guided experimentation is key. Don’t mindlessly try to copy your favourite artist. Don’t even worry about what software they use or how much RAM they have. Get whatever you have and experiment. For years. Don’t worry about making money from it – worry about being good at it. ■ DON’T SPEND TOO MUCH TIME ON BLOGS Don’t worry about what other people are doing. Don’t worry about what I or other artists like me have to say. Buy books. Buy albums. Build your imagination not your “inspiration resource” or whatever other name you gave your Tumblr. ■ INVEST IN YOURSELF Business will ebb and flow. There will be times when you are flush and times when you are broke. Try to set up a cushion against the hard times, and put money into your practice – buy a nice chair, a good second monitor and the right desk. Not only are they tax deductions, they’ll keep you set up to handle things right when business perks back up.
HOW DO YOU ENSURE YOUR WORK FEELS FRESH AND DIFFERENT FROM YOUR PEERS? Again, I don’t think about it. I make what I make. Especially with the Facet project, one idea just feeds into the next. You can’t get bogged down in this mindset of being worried about what other people are doing. I enjoy experimenting, I enjoy trying new stuff and every now and then I’m not afraid to revisit stuff that’s worked before. It keeps my work fresh for me and that’s all I care about. WOULD YOU SAY THAT YOU’RE INFLUENCED BY OTHER ARTISTS, THOUGH? No one lives in a bubble. I’ve seen a lot of work over the years and enjoyed it all. That said, I do not think any artist has directly influenced my work. When I started developing my style, no one else was doing my kind of stuff, and that’s held true over the years. From the 3D abstracts to photo compositions, I was right on the edge of finding new ways to explore those styles. My favourite artists are James Jean, Saddo and Pat Perry.
Image courtesy of Bruno Bruschi
Create art in unexpected places.
EYE ON DESIGN CREATIVE FOOD ADVERTISING
CREATIVE FOOD ADVERTISING
WE TALK TO GINTARĖ VADEIKYTĖ ABOUT MAKING IMAGES FOR AD CAMPAIGNS THAT LOOK AS APPETISING AS THE PRODUCT ITSELF
P ABOUT THE STUDIO ').4!2ŠĈ6!$%)+94Š www.behance.net/gintareva Gintarė trained as a painter at the Vilnius Academy of Arts and went digital in 2010 when photographer Tomas Kauneckas gave her the chance to work and learn in the postproduction agency Pixpecker. She spent two very productive years there and since 2012 she has been working in photography production studio Fotelier, where she has been happy to apply her skills while gaining more experience in the industry.
NAME OF PROJECT 4(%Ĉ#!+%Ĉ&/2Ĉ-!34%23Ĉ 15!,)49Ĉ02/$5#4Ĉ,).%
roducing a photo of food that looks delicious is no easy task, especially as you only have a limited time period before the product begins to perish before the photographer’s lens. This cake project was photographed by the Fotelier (www.fotelier.lt) and then post-production work completed by Gintarė Vadeikytė. It was commissioned as part of the Master’s Quality advertising series, and the idea behind the project was to deconstruct the process of making the cake, showing the ingredients that were used to make it. Part of this image’s appeal is that the food looks dynamic and really comes to life on the page – no mean feat for still life subjects. When creating food images for advertising, huge consideration should be paid to ensuring that nothing looks too plastic and that the colours look as natural as possible. For this reason, colour correction and lighting play a massive part in making a food product look its very best, as Gintarė tells us now… CAN YOU GIVE US A BIT OF BACKGROUND ABOUT THE COMMISSION AND HOW THE CONCEPT WAS DEVELOPED? The Cake is the first in a series of images created to promote the Master’s Quality product line. The visual concept was developed by [advertising agency] Adell Taivas Ogilvy and executed by the studio that I work for, Fotelier. Fotelier is a studio focused on still image creation from scratch and specialises in advertising, product photography, art direction, post-production and CGI. The production process took us approximately three weeks and developed through all the usual phases; sketching, shooting at the studio, composing mockups, and later on composing and finishing the final image. For post-production – from sketches to the final image – we had two weeks. I worked with a wonderful team: producer Ignė Alebaitė, art directors Regis Pranaitis (Fotelier) and Gytis Giniotis (Adell Taivas Ogilvy), photographer Sigitas Kondrotas and Darius Siaurusevičius, another retoucher. WERE YOU GIVEN FREE REIGN OF THE CONCEPT OR DID THE CLIENT HAVE SOMETHING QUITE SPECIFIC IN MIND? The agency gave us quite a clear vision of what they
wanted to see; the cake self-constructing in a kind of whirl. So we just had to figure out how we would do this and make the whipped cream appear thick and dynamic at the same time. We also needed to work out what direction the whirl should turn so it would look like the cake was self-constructing, not deconstructing, and all the time bearing in mind that the composition had to look real and tasty. CAN YOU DESCRIBE THE PROCESS THE IMAGE WENT THROUGH? The image was created entirely in Photoshop. I had many pictures of cream, strawberries and other details photographed in the studio, so the first thing was to choose the images I wanted to use and cut them out from their original background. This step is very important and time-consuming, as you have to do it very precisely. Then I put everything into one composition and blended all the details together so that they would look like one piece. I drew some of the cream from scratch because I couldn’t get the exact stream I needed. Next, I retouched the whole image, which means cleaning all the unnecessary details and spots, adding stronger shadows and highlights to some parts to add volume, and so on. Finally, I made the general colour correction so that the image had good saturation and contrast. The final corrections were then made by my colleague Darius Siaurusevičius. WHAT PHOTOSHOP TOOLS DID YOU USE TO CREATE THIS IMAGE? For this project, I used the Lasso and Eraser tools a lot, as I cut out the details with these. To blend the details together, I used Warp (but not so much as to lose quality) and then hid the unnecessary parts with layer masks and the Brush tool so that you cannot see where one part starts and the other finishes. I did the shadow/highlight work and colour correction with Levels, Color Balance and Vibrance adjustments, and also made some corrections with blending modes. WHAT CHALLENGES DID YOU FACE? IS THERE ANYTHING YOU WOULD LIKE TO CHANGE? The whole project was a challenge to me, because at the time it was the most complex work I had ever
When adding in elements to your photo that weren’t originally there, it’s important to make sure that the lighting looks consistent, including its direction and colour temperature. Consider this when choosing your assets and when deciding where to place them in the shot
This kind of effect can be hard to get in-camera, so to make sure the composition was well-balanced and the whirl looked full and thick, it was necessary FORď'INTARƮďTOďDRAWďONďSOMEďEXTRAďCREAM
Colour is very important in food photography in order for the product to look natural and appetising. A boost to the saturation and some precise colour correction can really help with the overall result of the image
done. I didn’t have enough experience to have a smooth workflow, so the entire process of post-production was a bit chaotic. However, thanks to the team I worked with, it went really well and I am happy with the final result. I have learned a lot of new things from this project, so if I could do it again I would do it much faster, but the final image would look pretty much the same. DID YOU GET THE RESULT YOU SET OUT TO ACHIEVE IN THIS PROJECT? I like the fact that the composition is well balanced and the cake looks as tasty as we hoped it would. The result was almost the same as we set out in the sketching phase. Both agency and the client were happy with the final image, so as a result
we went to the studio to shoot some more flying food for the same series. WHAT TIPS WOULD YOU GIVE TO OTHER RETOUCHERS AND DIGITAL ARTISTS HOPING TO PRODUCE AN IMAGE LIKE THIS? A very important part of an image like this is the photography from the studio, so it depends so much on what the guys who work there achieve. They are the ones who think about the details and the composition before the photo shoot and then during the shoot they play with the materials and see how the light works with them. When it comes to post-production, one of the most important factors is time. The more time you have, the better the final result will be, because images like this require a lot
of precision and attention to detail. Another very important point is that the whole image should have the same light on all objects. By this I mean the direction, intensity, warmth etc. If you don’t have this, the image won’t look realistic. Academic drawing skills come in handy here. And of course, success comes from practice. WHAT CONCEPTS OR IDEAS WOULD YOU SAY ARE IMPORTANT FOR CREATING AN IMAGE FOR FOOD ADVERTISING? When you are working with food photography, you should always keep in mind that the object has to look tasty and almost edible in the final design. This was the main goal for all of the team involved in the image creation.
EYE ON DESIGN STUDIO INTERVIEW
DISCOVER HOW A TEAM OF FOUR TOOK A POLISH STUDIO GLOBAL WITH THE HELP OF GREAT DESIGN, GOOD PUBLICITY AND AN EVEREXPANDING TEAM OF TALENTED ARTISTS
rs Thanea was founded in 2004 by Bartlomiej Rozbicki, Pawel Piotrzkowski, Radoslaw Krzepkowski and Peter Jaworowski. This team of artists started providing high-quality production services for advertising and entertainment industries, which hadn’t been seen in competitor works. “We wanted to make a difference and prove that with hard work and being fair to other people, you can accomplish a lot in this industry,” explains Jaworowski. Due to their commitment to this cause, Ars Thanea as a studio has excelled, producing quality work and adding value to everything it does. This is reflected in the team’s expansion, now including three partners and 46 staff members across two offices in Warsaw. “We are also a part of an international marketing group called SYZYGY, with offices in Frankfurt, Hamburg, London and New York,” reveals Jaworowski. “Some of our more prestigious clients include Ubisoft, NVIDIA, the Discovery Channel, General Electric and Nike.” The Ars Thanea team now includes project managers, producers, developers and strategists, who all help to continuously make the work produced better and better. “It’s not just about making things beautiful; it’s about creating products that are meaningful and work the way the client intended,” says Jaworowski. Having such a large team means that Jaworowski can hand-pick the best staff member for a particular task, allowing them to continue with what they are best at and leaving the rest to other colleagues. “Of course, when the workflow gets more extensive you need a bigger team to make it all happen,” he adds. “It’s essential that we all take care of the clients’ needs with proper respect and focus.” You never know what kind of projects can drop into your lap or how the past experiences of your team members can help tackle these. “Most of the time, we use a full range of skills,” Jaworowski tells us. “For example, one of our 3D Artists, Patryk Habryn, was once working in the VFX industry in Germany, creating beautiful matte paintings for blockbuster movies. He was able to implement these skills in one of our recent projects for our long-term client Ubisoft.” This saw Habryn produce a set of key visuals, including a huge, detailed to-scale matte painting for the new Assassin’s Creed IV: Black Flag project.
ABOUT THE STUDIO ARS THANEA www.arsthanea.com @arsthanea
Ars Thanea is a creative production studio based in Warsaw, Poland. Since 2007, the studio has been serving international clients and worldwide advertising agencies in the ďŹ elds of CGI, print production, animation and illustration.
Peter Jaworowski, Executive Creative Director, Founding Partner
Peter Kolus, Lead 3D Artist
Karol Kolodzinski, Head of Motion Design
EYE ON DESIGN STUDIO INTERVIEW
Just as the faces at the studio have changed, so have the styles presented in the Ars Thanea portfolio. Initially producing work that concentrated on abstract photomanipulations, projects now progress in tandem with the staff learning new techniques. “We’ve hired new people to mix some trends into our work,” Jaworowski explains. “Nowadays, our team is able to create more than just hyper-real CGI images. There’s also a touch of artistry present, so it differs from other CGI companies out there.” Founded as a digital company, Ars Thanea has always known how to create immersive digital experiences. Later on, the team started to gain more and more creative retouch projects through a freelance client base. “At one point, my freelance and full-time careers were too hard to handle at once,”
We wanted to make a difference and prove that with hard work and being fair to other people, you can accomplish a lot in this industry Jaworowski tells us. “That’s why I brought the creative retouch work in-house. In time, we also started receiving requests for more complicated projects that photography and stock photography alone couldn’t handle.” This meant that Ars Thanea needed to become more flexible, and 3D and CGI software became a perfect fit for expansion. “We didn’t resign from
digital, though,” says Jaworowski. “We simply divided into specialist teams, where one handles CGI and another handles digital. That way we can cooperate closely with each other, even when having two different production processes.” Photoshop is also one of the most used applications across the whole production process. “No matter if it’s the beginning when we make concept art, the middle when we create textures for 3D, or the final phase of retouch,” says Jaworowski. “Thanks to our past, which was mainly creating digital art in Photoshop, it’s become our main tool.” Jaworowski tells us that the Pen tool is the best when you want ultimate control over shapes and things you cut out. “Additionally, it’s fast and accurate,” he tells us. “Without this tool we couldn’t
One of two key visuals created with Young & Rubicam for São Paulo Football Club
BEFORE ANYTHING ELSE, SAO PAULINO
DISCOVER HOW THE STUDIO USED PHOTOSHOP TO BLEND PHOTOGRAPHY AND CREATE THIS IMAGE FOR SAO PAULO FOOTBALL CLUB Ars Thanea was approached by marketing company Young & Rubicam (http://yrbrasil. com.br/) to produce two key visuals for their ‘Before Anything Else, São Paulino’ campaign. In case you’re not familiar with it, São Paulino is the term used for fans who support São Paulo Football Club and believe that football is life itself. The aim of this advert was to convey this idea by showing a São Paulino tearing away his skin to reveal the club’s jersey.
We ran tests using Marvelous Designer software. The aim was to create torn material, then apply skin shaders and textures to this. However, this would have been time consuming and we had a pretty tight deadline. But thinking about doing it as torn fabric gave us a clue for our shoot.
Our base layer is the guy without a t-shirt, stretching the tape. The second layer is the guy tearing the skin-coloured t-shirt. We masked out the tear and the hands in the base layer. Using Warp and Distort we adjusted the position of the hands and the chest in the layer above, so they matched the base layer.
We decided to use t-shirts that we would cut and stretch, which meant we could control how big the tear was and adjust the pose. We shot our guy tearing a skin-coloured t-shirt while wearing a white one underneath. Once we had a good pose, we shot him without clothes and stretching tape in his hands.
We needed to remove the fabric texture and replace it with skin texture. We had to add skin textures piece-by-piece, warping each so that they matched the shape of a place on the fabric. We painted to two Curves layers: one light and another for shadow to match the lighting in our skin textures with the fabric layers.
We shot enough material to work with in Photoshop. We had a variety of poses, tear sizes and skin references. First, we chose the best shots for each of the two layouts. Than we made a very quick blockout to see how it fitted together. This sketch gave us some certainty about choosing the right approach.
We needed to place the logo onto the white t-shirt. We used Transform>Perspective and Warp to match the position of the logo. Then Liquify was added to distort the logo so it matched the folds in the t-shirt. We set the distorted logo layer’s blending mode to Multiply and painted some light in using a Curves layer.
We started by cutting out the guy from the background using the Blue Channel, then we increased the contrast and selected all the extra white areas to make a silhouette. We used Layer>Matting>Defringe to remove edge artefacts. Some extra details in the hair required masking by hand.
The client wanted sharp details and a dramatic look. We used adjustment layers like B&W set to Overlay, Curves and Brightness/ Contrast. At the end we merged all layers and placed it at the top of our stack. We then added a High Pass filter set to a minimum radius, then added an Overlay blending mode.
EYE ON DESIGN STUDIO INTERVIEW
have created complex compositions and many of the smaller, richer details in our projects.” The entire team also relies on Curves, Color Balance, Brightness & Contrast, Levels and any other colour adjustment layer that allows you to colour grade. “These options make a huge difference when trying to set the mood in an image,” explains Jaworowski. “They play a very significant role in all our works. Many times we use up to 30 adjustment layers mixed with blending modes. Sometimes, very subtle changes can make a huge difference in how your work is perceived.”
We make sure that any person who joins our team not only has great skills and expertise, but is also an amazing human being
spread the word and show people what you can do consistently. “Social platforms are obviously the best way to go,” he reveals. “The exposure we received on these networks has had a huge impact on new enquiries or various press features we receive.” Ars Thanea always tries to have all of its latest projects up-to-date on both its website and social platforms. However, Jaworowski suggests face-to-face meetings are the best way to promote your work to potential clients. “We travel around the world together with our territorial representatives, visiting clients and making presentations,” he tells us. “Recently, we’ve expanded our global reach by connecting with agencies across the whole of Europe and as a part of their responsibilities they connect us to their clients as well.”
Social platforms have also become an amazing free piece of publicity for Ars Thanea, allowing them to cherry pick and hire the best talents out there. “Most of the time, people are so thrilled that we want to hire someone they share the posts, just so their friends who might be interested know about it.” However, your portfolio isn’t the only concern when being considered for a position at Ars Thanea. “We love what we do and we spend at least half of our lives working with colleagues,” reveals Jaworowski. “This is why we make sure that any person who joins our team not only has great skills and expertise, but is also an amazing human being who shares the values we all do here at Ars Thanea.” Jaworowski is always on the lookout for people who are fair, reliable and fun.
Ars Thanea also started lending its skill sets to certain production phases, promising what it describes as a “360-degree service”. “Some projects require only production,” explains Jaworowski. “Some clients need a fully integrated campaign across all media, including creative, strategy and production, and sometimes it’s about a digital campaign or platform maintenance.” Most of the time, each new project or campaign is treated differently because clients have different needs. “Different needs require different actions that have to be made to reach the end goal,” he adds. However, doing great work and varied projects hasn’t been enough to promote the studio to prospective clients. Jaworowski believes that to continue to be commercially viable, you need to
A DAY IN THE LIFE OF PETER KOLUS !23ď4(!.%!ď$ď!24)34ď0%4%2ď+/,53ď,%43ď53ď).ď/.ď()3ď$!9˶4/˶$!9ď2/54).%
I start my day by browsing news on the biggest portals and forums, as well as searching other resource websites such as www.scriptspot.com. In an industry that is constantly changing and that demands innovation, it’s good to stay up-to-date with what’s being produced out there.
I usually have a quick chat with my team about projects we’re working on, setting new tasks for everybody and checking their progress.
I finally find time to work on my own projects. As I’m a bit of a generalist, my work includes modelling, texturing, shading, lighting and rendering.
I take a break and walk around the office, asking colleagues to give their opinion on my work – especially people who aren’t involved in the same project.
TOP 5 PRODUCTION TIPS
.%6%2ď5.$%2%34)-!4%ď4(%ď0/7%2ď/&ď02%˶ PRODUCTION. FOCUS ON IT, STICK TO IT AND IT WILL MAKE YOUR LIFE SO MUCH EASIER ■ PLAN IN ADVANCE Invest time in making a proper production plan that both your client and your team will be happy with. ■ CONSIDER THE PRACTICALITIES Make sure that concept art is not only beautiful but also practical for 3D teams to use later on.
All images © Ars Thanea
■ KEEP UP THE BRAINSTORMS Encourage all members of your team to throw ideas around during the entire production phase. There are always pearls of wisdom to be found. ■ DIVERSIFY YOUR TOOLS Use various applications that help you track and boost your workflow process. ■ CHECK WORK REGULARLY Divide the production stages for a client’s approval, because it minimises the risk of changes needed.
The most anticipated part of the day, especially when you get to prepare your lunch in a fully functional kitchen and eat on the leafy terrace.
Once or twice a month all the teams meet with the directors. This is a chance for everyone to see finished designs and discuss potential new projects.
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Whenever I have a bit of free time, I test other 3D applications that might help us finish the next project even faster and better.
If I have time, I watch online workshops, as I like to learn new things. CG Society ones are great. Investing in yourself is never a waste of money.
Once a week, most of us go out after work to play football. It’s important to keep the right balance between work and home time – obvious but true.
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Multi-State Object The feature indicators were embedded in a Multi-State Object. It is also linked to a Slideshow overlay that changes to a gradient-filtered version
Image Sequence Overlay Built using Photoshop and DPS, the image sequence starts to play as soon as the user drags the button instructing them to do so, revealing a close-up image of the product
Button This button diverts the user directly to the designerâ€™s website, where they can buy the product they are viewing
003 This shows the page before the image sequence has activated
WORKING ACROSS CREATIVE CLOUD FEATURE
WORKING ACROSS CREATIVE CLOUD CREATIVE CLOUD BRINGS TOGETHER ALL OF ADOBE’S PROGRAMS, APPS AND SERVICES. WE LOOK AT HOW WELL PHOTOSHOP WORKS WITH SOME OF ITS CC COUSINS
PHOTOSHOP AND INDESIGN/DPS
hotoshop has long been used with InDesign to create print magazines. It works seamlessly in its latest incarnations, letting layout designers opt to edit images in Photoshop and then go back to InDesign to see them instantly updated. Sarah Clark (www.shesadesigner.com; @shesadesigner) is a graphic designer who uses both programs for her editorial layout, editing images in Photoshop and creating the layout in InDesign. She too believes that the programs work well together: “The layouts have a lot of similarities, which helps when you’re starting out, but they are both tailored to feature the best tools and allow you to get the most out of them as individual programs.” For her, it is the use of paths in Photoshop that she finds the most useful, as these are recognised in InDesign: “Not only can you create cut-out images, but you can also use the path as a text wrap.” As layout design has evolved, so have Adobe’s publishing programs. The Digital Publishing Suite (DPS) is one result of this, which helps to create iPad-ready magazines with interactivity. The Young Director Magazine (www.theyoungdirector.com; @MWLDN) aims to encourage and celebrate entrepreneurs under 30 and is built with this software. To match its successful readership, the magazine is sleek and glossy, using the very best that DPS has to offer designers.
Michael Williams, editor in chief and director of design for TYD, is enthusiastic about the integration between Photoshop and DPS, which is a combination that he uses for every issue: “Without Photoshop, our design would be visually flat and lack the modern and powerful presence that we believe TYD stands for.” In creating the magazine, Photoshop is used to
Without Photoshop, our design would be visually flat and lack the powerful presence we believe TYD stands for enhance photography and create visual elements like image sequences. It is also used to edit the magazine’s promotional videos. Williams tells us about his favourite features in Photoshop – the ones that he couldn’t do without in the creation of TYD: “I particularly love working with clipping masks and the video editing facilities. Initially, I used to use [Photoshop] just for adding images into a nice font I liked, but I’ve realised that it’s not just fonts that clipping masks can be used for, but other elements too – vector objects in particular. But most recently, it has played a big part in bringing our video demonstrations to life. The video editing tools are by far underrated and are more powerful than people think.”
MICHAEL WILLIAMS/TYD The cover has plenty of built-in interaction. A button on the right-hand side switches covers and a vector slideshow along the bottom displays words associated with the brand
PHOTOSHOP LIGHTROOM Lightroom 5 is now a part of the Creative Cloud, though it is not a CC program and cannot be bought alone. But if you have the full CC licence, then you can access the latest version of this image-management program. Lightroom 5 is a great way to manage your photo collection. It has more features than Bridge for creating albums and managing high volumes of images. It’s also really good for its output options, enabling you to create video slideshows, web layouts and photobooks, as well as directly sync to Behance, Facebook and Flickr. You can edit any image in Photoshop from within the Lightroom interface, and the file is updated in the Lightroom Library when you’re done.
SARAH CLARK Far left: This was one of Sarah Clark’s favourite layouts that she produced during her time as art director at Venue magazine Left: An example of a layout that uses both Photoshop and InDesign to create a striking feature
FEATURE WORKING ACROSS CREATIVE CLOUD
PHOTOSHOP AND DREAMWEAVER Use Photoshop to add dimension to your website designs
PAUL MIDDLEDITCH/TEN FATHOMS GPM Website Design: Photoshop was used to create photographic illustration and build the depth and style of the site
Yorkshire Crab Website Design: It was also used to retouch the photography and create elements for the textured parts of the site
TOOLS FOR WEB DESIGN ■ PROPERTIES PANEL “From Dreamweaver, you can view all your image files in a panel or highlighted in the Properties panel. Ctrl/right-click on an image, open it in Photoshop, do a quick alteration, save and then it will update in Dreamweaver,” shares Paul Middleditch. ■ SPLIT SCREEN VIEW Joel Coleman explains: “In Dreamweaver, the ability to view a split screen with the code on one side and the layout on the other is great. You can make subtle changes to the code and view it instantly without having to upload the new code.” ■ LAYERS “I often think building a website is like tackling a jigsaw puzzle, which is why the Layers panel has always been at the heart of my web design workflow. A successful website build needs to be organised, and naming your layers, grouping, adding adjustment layers and effects is essential to the process.” ■ SAVE FOR WEB AND DEVICES “The single most used feature in Photoshop is the ‘Save for web and devices’ option, which allows me to get the best quality and smallest file sizes for the online display of my images,” concludes Coleman.
ithin the Creative Cloud, Adobe has Dreamweaver as its main web creation tool. But Photoshop is still a key part of any web designer’s digital toolkit. “For me, it is unthinkable that you would not use Photoshop at some point in the web design process,” says Paul Middleditch, founder of Ten Fathoms design agency (www.tenfathoms.co.uk; @TfathomsDesign). “Dreamweaver is the full web developer’s toolkit, with live preview settings for image positioning that manifestly speeds up programming time. The two programs are increasingly becoming more symbiotic and this can only be a good thing.” Middleditch is experienced in creating websites using a range of Adobe CC programs to meet his client’s needs. He will either start out in Photoshop or Illustrator depending on the project: “If the site requires more of a textured and dimensional feel, I will work using Photoshop, as I like the way I can really build up layers and add the textural elements and effects I need to achieve the look.” He will create a column grid layout using guides in Photoshop. Vector elements are created in Illustrator and imported as Smart Objects, then fills, textures and effects are added as needed. Any photographs are also retouched in Photoshop. “I build the whole
design in Photoshop for a number of the website’s layouts, including type positioning and interactive element placements,” explains Middleditch. “When the layouts are approved, I move onto cutting out the objects and images with the Slice tool in a number of stages. Using the Save for Web feature, I then select the appropriate slice for export, optimise each for quality against size and save the files out to my
For me, it is unthinkable that you would not use Photoshop at some point in the web design process website images folder. I like to slice manually as opposed to using one of the latest functions, where you can import PSD files straight into Dreamweaver and let it convert them to web-ready images. Personally, I prefer the control of doing it myself.” Photographer Joel Coleman (www.saltmotion. com; @saltmotion), is another creative making the most of Photoshop and Dreamweaver. Coleman has worked for well-known commercial clients like Zoggs, Sony and Nokia, as well as selling highquality prints around the world. His website was created in Dreamweaver and he used his vast
Photoshop experience to bring it all together. His process is a little different to Middleditch’s. Coleman uses Photoshop to create the outline of the template that he wants to use, sometimes crossing over to InDesign. Each element of the page is put in place on its own layer and also put in an ‘images’ folder to make it easier at the coding stage. Once the layout is complete, Coleman meets with his developer. “I used to write the code myself as well,” says Coleman. “However, as the site became more and more complicated, I realised I was getting out of my depth, so employed a genius developer. He takes my PSD file and folder of images, along with a step-by-step brief for the functionality and starts turning it into code. Using Dreamweaver for this process allows me to download the new coded pages from our test server and view, in split screen mode, the new site design as it will appear live. There are always
limitations and modifications from the original PSD file to the Dreamweaver representation, so this gives me the opportunity to tweak the design within the limitations of the HTML/CSS/Java/PHP platform. This kind of collaboration has worked well for me so far and the current version of the Saltmotion website is a direct result of this workflow.” Both Middleditch and Coleman use Creative Cloud as part of their workflow. Middleditch explains: “I’ve used CC for a number of months now and feel it opens up a lot of opportunities, giving you access to a wide platform of programs and the consistent updates. As our company is built on collaboration, the introduction of the desktop file syncing will prove to be invaluable.” Coleman agrees: “It allows great flexibility in whichever applications you have active on your computer. The ability to install any app on any computer you are working on is such a bonus.”
JOEL COLEMAN The Saltmotion
PHOTOSHOP TO WEB MIDDLEDITCH SHOWS US THE DEVELOPMENT OF ONE OF TEN FATHOMS’ WEBSITE DESIGNS
LAYOUT IN PHOTOSHOP
THE FINAL PRODUCT
The first step of the design process of the Rejuven website was to create a Photoshop layout grid, which is a basic greyscale mock-up of where all the key elements of the site will go. Assets were then created in Photoshop ready for building the web layout.
webpage was built using Dreamweaver and Photoshop. It was showcased by Adobe on the launch of CC as an example of how the two programs can integrate
The website was then built in Dreamweaver, using assets from Photoshop and based on the initial web layout grid. It’s easy to move between the two programs as needed to help bring together both aesthetics and functionality in a design.
This is the final website for Rejuven, which is a prime example of how Ten Fathoms uses both Photoshop and Dreamweaver in its projects. You can see the website design live and see how everything comes together in more detail at www.rejuven.co.uk.
FEATURE WORKING ACROSS CREATIVE CLOUD
PHOTOSHOP AND ILLUSTRATOR Run these two programs side-by-side to add detail to your art
hen it comes to programs in the Creative Cloud that can be used together in perfect harmony, the two that seem to be the most commonly partnered are Adobe Photoshop and Adobe Illustrator. One digital artist and illustrator who flicks between the two programs is Archan Nair (www. archann.net; @archannair) who has worked for a range of clients including Sony, Nike, Vogue and Red Bull. For him, the main composition usually happens within Photoshop, but he says that “Illustrator can be really useful for fusing vector shapes and illustrative elements that need to look really bold”. Mike Harrison (www.destill.net; @destill), a designer who has worked for big-name brands including Nike, ESPN, Fotolia and more, is another artist who fuses the two programs together for his distinctive style: “Photoshop does the bulk of the work, but I use Illustrator for details and for certain tools, such as the Blend tool. I will always start and finish in Photoshop, but will jump in and out of Illustrator throughout the design process.” These intricate mixed-media designs are not the only way that the two programs are being brought together. Oli Lisher (www.lisher.net; @olilish) is a graphic and web designer and illustrator. He tell us: “I use Photoshop for layout and Illustrator for iconography and illustration.” Lisher uses the two programs in unison, especially in his web design work. He starts out with simple wireframes, which are used to confirm the content for the site and give an indication of the type of layout that could be used. Lisher will then create a moodboard to help get the creative juices flowing, before moving on to the actual design. “I start creating assets for the site in Illustrator. In a way, it’s the most exciting part of the process, creating vector iconography and illustrations to use on the site. With modern high-definition devices, like Apple’s Retina displays for example, it’s great to have assets in vector format,” says Lisher. “I use Photoshop for the actual website layout. The illustrations and icons created in Illustrator are imported into the PSD, and I then experiment with typography and spend time working on multiple layouts to eventually come to a final version that is ready to show the client.” Given that our featured artists work in such different areas, it’s not surprising that they find different tools and features the most useful for them. Nair is a big fan of the Pen tool in Illustrator, alongside the Pathfinder tool. When it comes to
Photoshop, he says: “I love the Brush engine in Photoshop and the Lasso tools as well. The brushes really let you create some amazing brush strokes and effects, and the Lasso tool is so easy to make shapes and selections.” For Lisher, he likes the interaction between the two programs in his workflow: “The way you can
MIKE HARRISON KDU Solstice (below left): An illustration for KDU Solstice book Silence (below right): Experimental and abstract typography to create a dramatic image
Illustrator can be useful for fusing vector shapes and illustrative elements that need to look really bold double-click on a Vector Smart Object to open it in Illustrator, make a change, hit Save and it updates in Photoshop is really handy for quick changes. It means that you can work with complex vector illustrations and layout side-by-side.” For Photoshop, he is a fan of the Pattern Overlay layer style: “I like to make my own patterns from photographs to create textures that can be applied really easily and effectively to any layer in Photoshop.” Harrison is a big fan of Photoshop Smart Objects due to their non-destructive nature: “I’ve really been enjoying Smart Objects recently. Not only from objects copied in from Illustrator, but also as another way of merging layers, therefore reducing the number of them and keeping your layer stack more organised. It is still a non-destructive method, as you can go back into the Smart Object and edit all of your layers whenever you want.”
Sink: Playing with texture, colour and vector techniques in this simple but effective design
ADOBE KULER CREATE AND SHARE THEMES ACROSS THE CREATIVE CLOUD WITH THE KULER IPHONE APP
You can take photos of anything that inspires you directly in the app, or import photos from your Camera Roll. Kuler will analyse the image for the key colours.
A theme will be generated from the colours detected. You don’t even need to take a photo first – simply scan your phone around a scene for a preview.
EDIT AND SHARE
You can edit your theme and choose to share it with the Kuler community. You can also download it from the Kuler website to use in your CC programs.
ARCHAN NAIR Kathakali: “These were based on the Indian traditional dance form. While some shapes and streaks were created using Illustrator, most were created and finally composed in Photoshop”
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ADOBE IDEAS SKETCH IDEAS FOR DESIGNS WHEN ON THE MOVE Adobe Ideas is a vector-based drawing app that is designed for the iPhone and iPad. It has been updated into a powerful tool for creating sketches and ideas on the move. You can choose from a variety of common drawing tools, add layers, import photos or images from Google and Flickr and create colour themes from artwork, which can be synced to Kuler. Ideas integrates with Photoshop Touch if you want to edit designs on the move, and files can be saved to the Creative Cloud so that you can access them at any point
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TECHNIQUES 75 PROFESSIONAL PHOTOSHOP TIPS
here are various ways to use Photoshop successfully,and it is likely that many of you will already have a set routine for creating great effects quickly and efficiently. But a little help can’t hurt, right? In this mammoth tips feature, you’ll find everything you need to know to use Photoshop to its full potential across a plethora of themes and subjects. We’ve got 75 tips from some of the creative arena’s biggest and best digital artists, covering tools,
graphics, photography, painting, new media and Photoshop CC, all ready for you to put into practice. We’ve also provided you with some of the most essential shortcuts to help you speed up your workflow even further. Over the next few pages you’ll find great advice on creating inspiring effects, mastering specific tool techniques and improving your productivity. We’ve gone into detail with an array of relevant topics, including commercial lighting effects, ways
to tackle 3D with Photoshop, professional retouching tricks and more. We pour over Photoshop tools old and new, from the latest CC options to wielding the always-reliable Pen tool. You can put these tips into action in our tutorial on page 50 following this feature. Photoshop CC is explored in particular on page 42, providing you with creative tidbits you may not even know about. So read on, grab a tip and get creating now!
PROFESSIONAL PHOTOSHOP TIPS Industry experts let you in on their essential tips for illustrating, designing, retouching and more
001 USE SCRIPTS J. R. SCHMIDT
www.cargocollective.com/jrschmidt When working with 3D, it’s best to render multiple passes and composite them in Photoshop. This offers you more flexibility when colour correcting the final image. Once you have rendered your passes, there’s an easy way to bring them all into Photoshop quickly by selecting File>Scripts>Load>Files to Stack. Browse to the folder containing the passes and select the ones you want to work with. Everything will be brought into one document as layers. From here on in you can tint the shadow pass blue or reduce the ambient occlusion pass by 50 per cent without having to re-render.
002 EDIT LIGHT
003 AUTO UPRIGHT
Photoshop CC now includes a very quick and easy method for correcting vertical and horizontal distortions in photographs. It’s well hidden within the Camera Raw dialog box, which can now be applied through the Filter menu. Switch to the Lens Correction area and open the Manual tab. There is now a series of icons under the heading of Upright that makes quick work of distorted perspectives. It’s perfect for those challenging city shots where the building appears to be curving in towards the vanishing point.
www.spizak.com Start by adding a Black & White adjustment layer as a clipping mask to your image, then set the layer’s blending mode to Multiply. You will then need to invert the attached mask and apply a 25px soft brush to this, which will create deeper shadows. Add another new clipped Black & White adjustment layer, set the blending mode to Screen and add the same brush in the same way, this time adding light.
TECHNIQUES 75 PROFESSIONAL PHOTOSHOP TIPS
TOP TEN PHOTOSHOP TOOLS Discover little-known ways to apply the most essential tools
04. PATCH TOOL
This is used a lot by retouchers looking to remove elements such as tattoos, dirty marks and more. Many of you will work solely in Source mode. However, when working with skin, use this mode to clean and Destination mode to rebuild skin areas. Working with both gives you more authentic results.
05. DODGE & BURN
Dodge and Burn are used for many things, mostly by creative retouchers and photographers looking to stylise photo-based images. When working with these tools, always make sure you have Protect Tones active. Itâ€™s particularly good at preventing problems with haloing and washed out colours.
06. PEN TOOL
Accurate selections are the name of the game with this tool. Set this to Paths and always activate the Rubber Band setting for the most accurate application. To instantly change a path to a selection, hit Cmd/Ctrl+Enter.
07. LAYER STYLES Layer styles can be used to create exciting effects in your images and change the appearance of layers, including shadows, glows and bevels. However, sometimes when sharing these across Smart Objects, the settings update to all duplicate layers. Resolve this problem by selecting Layer>Layer Style>Create Layers.
08. LAYER MASKS
Many will use a layer mask to paint out detail. However, you can invert it (Cmd/ Ctrl+I) or add an inverted mask (Alt/ Opt-click>Add Layer Mask) to paint elements in. You can even affect your masks using filters.
009 09. HEALING BRUSH The Clone Stamp is a big favourite when editing images, but it’s not right for everything. The Spot Healing brush is more intuitive, especially when editing out very fine elements like hair. Set this tool’s mode to Darken, paint over stray hairs with a similar-sized brush and watch them disappear.
010 10. B&W ADJUSTMENT This adjustment can be used to nicely equalise shadows and highlights in your photos. Simply add a Black & White adjustment to the top of your layer stack and apply a Luminosity blending mode. Now tweak sliders to get the best effects.
011 11. REFINE EDGE There are better ways to work with this tool. Always make sure that Smart Radius is active; the reason being that this will evaluate the radius for hard or soft edges separately. This generally provides a better selection than when it’s turned off, which treats the entire border uniformly.
012 12. ALPHA CHANNEL The Channels panel is a great place to make accurate selections of different parts of an image. To do this, begin by duplicating one channel to create a copy, then apply a Curves or Levels adjustment to increase the contrast. Use the Dodge and Burn brushes to paint in areas, then hold down Cmd/Ctrl while you click on your copy to create your selection.
013 13. BRUSH BLEND MODE Don’t ignore these. The right one can really enhance the outcome of painted effects, especially lighting. Screen and Color Dodge will ensure that specular highlights shine. Multiply and Color Burn really saturate shadow areas.
TECHNIQUES 75 PROFESSIONAL PHOTOSHOP TIPS
DIGITAL GRAPHICS TECHNIQUES Quick and exciting ways to perform image effects and create stunning illustrations
014 DIGITAL COLOUR KRZYSZTOF DOMARADZKI
www.studiokxx.com I always find it best to colour my images digitally using a drawing tablet and a hard brush. Applying strokes with this brush creates a solid contour. After this initial pass you can start to alternate your tool size and style. Try to combine solid colour with detailed areas to create a more visually appealing piece of art. Once you are satisfied with the results, you can play around with various texture brushes and paint effects. Splatters, rust, watercolour or ink will suffice they blend to create bold colours enhanced through texture. Practically anything goes at this stage, as long as it’s barely visible and just enough for the image to become more intense. Play around with different blending modes and layer opacity too.
PRO TIP GRADIENT IMPACT GRZEGORZ DOMARADZKI http://iamgabz.com/ A lot can be achieved when you are shading graphics using the Gradient tool (G). Make a whole selection of the graphic then use a Linear or Radial gradient set to ‘Foreground to transparent’. Try out different opacities and blending modes. Here, a red to transparent gradient was used to accentuate the mystery behind the character.
the previous screen, beginning with an angle of 22.5 degrees for the first screen. For example, a four-colour poster would have screen angles of 22.5 degrees, 52.5 degrees, 82.5 degrees and 112.5 degrees respectively. The pattern that these complementary 30-degree angles create is called a rosette and is considered the pattern most pleasing to the eye.
015 USE SELECTIONS RAPHAËL VICENZI
www.mydeadpony.com There’s one easy way to distress an image and make it more interesting while keeping control of the elements. Start by making a flattened copy of the whole image by clicking Cmd/ Ctrl+Shift+Opt/Alt+E. Activate your Lasso tool (L) and draw out a selection of your liking. Now copy this selection to a new layer (Cmd/Ctrl+J). Experiment by moving the layer around until it fits your composition. Repeat this process where necessary, using smaller selections to break the image up in a more subtle way. You can refine this technique by changing the layer blending mode or by using a layer mask to keep what works best.
PRO TIP 018 INNER SHADOW GORDON REID
017 POSTER ART DKNG STUDIOS
www.dkngstudios.com Photoshop contains an essential final step for converting smooth vector graphics into clean halftones, while avoiding moiré patterns. This is great when creating final print separations for screen printed posters. The trick is to make sure that each halftone separation is at the correct halftone screen angle. In order to give you the best chance of avoiding moirés in the printing process, make sure each separation’s screen angle is 30 degrees apart from
www.middleboop.com A good tip for using Inner Shadow is to add a small distance, around 15% choke and 45px size, which will give you a fantastic shadowed effect. To add a worn effect to your piece as a finishing touch, use Filter>Noise>Add Noise and set it to Gaussian, check Monochromatic and keep the amount between 20% and 40%.
MIKE HARRISON www.destill.net
Add depth Build up depth in your background by using a mix of textures. Start with a base image and use adjustment layers to darken or lighten, then add Watercolour texture on a new layer set to Multiply mode.
A sense of movement Using a custom brush, target an area or element to accentuate. Add the brush to that area on a new layer then add a mask to the layer and mask out parts, leaving only a trail of paint that gives a sense of movement.
Varied detail Use Particle brushes, or make your own on a new layer. Duplicate this multiple times, then resize, rotate, reposition and re-colour each one. This will help to avoid repetition of detail.
Creative masking Add in a Watercolour texture then add a layer mask to it. Use a few Watercolour brushes to mask out parts of that texture, creating an entirely new one that works better in your composition.
Organise adjustments Create a folder above all other layers. Now add adjustment layers to this, such as Levels and Gradient Map. Play around with them to try out different colour options that can dramatically change the mood of your image.
DIGITAL GRAPHICS SHORTCUTS Group layers This way is a lot quicker than using the Layers panel fly-out menu. Simply select the layers you want to bring together then hit Cmd/Ctrl+G, for instant layer grouping.
Paragraph Text Use Paragraph Text to fit type to a design space without distortion. Ctrl/ right-click your text layer then select Convert to Paragraph Text. Continue typing before resizing points.
Editable boundary Create a shape path then add your Type tool in this, mapping text to the shape boundary. Now you can use the Anchor Point tools to edit the path and how text interacts with this.
Select all layers This is especially useful when looking to merge all to create a group from all existing layers. Simply hit Cmd/Ctrl+Opt/ Alt+A. All layers will become active simultaneously.
Reselect layer This Adobe Photoshop shortcut saves any designer from performing accidental clicks away from a section. Just press Cmd/Ctrl+Shift+D to reselect your layer.
TECHNIQUES 75 PROFESSIONAL PHOTOSHOP TIPS
GREAT WAYS TO PAINT DIGITALLY Master Photoshop brushes, blend modes and more to paint light, colour and form
029 CHARACTERS TOMMY KINNERUP
www.tommykinnerup.com Designing appealing characters can be a challenge, especially when there are many aspects to be aware of. A crucial thing is to avoid too much repetition. You will only limit your actual capabilities if you draw the same type of characters over and over again. Try to think outside of the box and challenge yourself with new techniques to come up with your initial character sketches. It’s very useful to explore new characters by putting yourself in the character’s position. In that way you can ask yourself questions that eventually can reveal more of the character’s personality and look. Let these thoughts guide you to an expression that reveals a certain emotion and attitude, or an interesting pose that holds a story to make it more believable. All of which should appeal to you.
PRO TIP START SMALL ANDREA FEMERSTRAND http://noukah.com I sketch the line drawing on a canvas smaller than A5. This way you can experiment with different designs, and you don’t have to worry about getting stuck with detailing too early. It’s also helpful because the file won’t get too heavy. Also, try to have as few layers as possible when you draw. Keep things rough and loose when you start. Go nuts.
brush opacity. This created a realistic yellow glow. Smoke effects were also painted in, using smoke texture brushes also at a low opacity. If you need to add believable fire or smoke to your scene, this technique is useful as well as quick.
032 REALISTIC EYES SARA BIDDLE
030 PAINTED GLOWS FRANCESCO CORVINO
www.francescocorvino.com Although matte painting works with photos, many of the special effects you see are actually painted by hand, much like in this example. Fire at night stock was gathered from the internet and placed into the scene, in the right positions with the proper scale. These layers blending modes were then set to Screen in order to hide all the black parts in the photograph. However, this still wasn’t enough and painting techniques were needed. A new solid layer filled with black was created a set to a Color Dodge blending mode. A soft yellow brush with airbrush options enabled was then painted to the layer above the fire stock at a low
www.salizabeth.net Add in radiating streaks moving outward from the pupil, using several colours for a realistic effect. Including random dots of colour will also add some variety and uniqueness. For the lashes, use a small brush and paint each one beginning at the eyelid then curve your stroke slightly. Finish by applying small, light-coloured specks, with the brush mode set to Vivid Light, creating eye reflection. Also add this brush around the tissue and bottom eyelid.
033 TRADITIONAL EFFECTS MARTA NAEL
www.martanael.daportfolio.com In order to create a traditional effect with digital software, you need to use textured brushes. These let you create an expressionist style in your base image using several brushes strokes. Another way to create this effect is to paint onto a new layer and then emulate brush strokes by erasing with a textured eraser. This will show and combine the layer below.
034 PLAY WITH SETTINGS JEFF LANGEVIN
www.jeﬄangevin.com Creating custom Photoshop brushes can be a great way to add extra interest and yield unexpected results. Paint with these brushes while adjusting brush settings, such as transparency, spacing and angle jitter. If you experiment with blending modes you can quickly achieve impressive depth and colour in your images.
MICHAEL PEDRO http://mpedro.com/ Painting atmosphere
035 PAINT ATMOSPHERE
Custom brushes are a handy alternative to the standard Photoshop airbrush, depending on the kind of atmosphere you’re looking for. Using smoke textures in your brushes is a great way to quickly add movement and volume to image atmospherics without too much hassle.
036 ESSENTIAL BACKLIGHTING
If you’re hoping to create a darkened, moody scene, backlighting is the key to achieving this atmosphere. For authentic effects, electively add illuminated haze behind the objects in your scene to accentuate silhouettes and call attention to focal points.
037 USE THE LASSO TOOL
Use Photoshop’s Lasso tool to isolate objects you wish to backlight. Not only does this allow you to paint illuminated haze only where you want it, but it also keeps your backlit edges as crisp as possible. This is especially effective in higher image resolutions.
DIGITAL PAINT SHORTCUTS 038
Flipping your canvas makes you look at the painting with fresh eyes, and you can see any proportions or compositions that may be a bit off. Create an action that flips it when pressing a specific key, perhaps F2.
Dial through the brush styles in your brush panel more easily using these shortcuts. Hit < on the keyboard to jump to the next brush in the list or hit > to go to the previous brush on the list.
There’s no need to fire up the brush panel and use the Size slider to select a style. Instead, just hit Cmd/Ctrl+Alt/Opt and drag left and right to change the size, and up and down to adjust the softness.
HUD COLOR PICKER
Activate the HUD Color Picker by holding down Cmd/Ctrl+Opt/Alt when the Color Picker is selected. Swap between wheel and strip views by going to Photoshop> Preferences>General menu.
Changing the brush settings with sliders makes your workflow slower. Hold down Shift and hit the bracket keys to decrease or increase the brush hardness in 25% increments instead.
Quickly sample a colour with one of the Pencil, Paintbrush, Colour Replacement, Gradient or Paint Bucket tools activated by holding down Opt/Alt, switching to the eyedropper tool.
TECHNIQUES 75 PROFESSIONAL PHOTOSHOP TIPS
See more photo composite techniques from Tobias Roetsch in the tutorial following this feature
GREAT PHOTO EFFECTS Master effects using adjustments, layering techniques and masks
044 HYPERREALISM JOSH ROSSI
http://joshrossi.com/ Creating a successful hyper-real look in your image hangs on how you choose to apply Dodge and Burn techniques. Start by creating a blank layer above the image and change the blending mode to Soft Light. Itâ€™s this blank layer that youâ€™ll be painting to, using black and white brushes set to 20% Opacity. White makes things brighter and shinier, with black making things darker and the colour richer.
To create your hyper-real look, start by applying your black brush. Follow the contours of an object, making them darker and bolder. Now with your white brush, add some shine to the light areas by decreasing the brush size with each stroke. Only apply three or four strokes. The shine should start to appear.
You can work smarter and do 50 percent less work but still achieve credible results just by using the right filter 045 WORK WITH BLUR OLIVER WETTER
http://fantasio.info/ There is a wide variety of techniques available to you when trying to create realistic robotic looks. One way is to draw and paint using brushes until you reach a point where you obtain the same realism as a photograph. However, you can work smarter and do 50 percent less work but
still achieve credible results just by using the right filter. For example, when adding synthetic tubes, apply the Field Blur filter that can be found in Photoshop from version CS6 onwards under Filter>Blur. The example supplied here shows where the blur is being applied. Similar to a rotary knob, you can perfectly assign the amount of blur desired on a specific part of the canvas. The goal is to make the whole image look artificial with a strong blur and solve the problem of an unfinished look in the painted tubes all at once.
Shadows A good way to add shadows is to take a small to medium sized brush with Hardness set at 80% and Opacity at 50%. By Opt/Alt-clicking you can find the desired colour for your shadow right in the dark areas of your image.
Gradient haze A mystical aura can be added using the Gradient tool. Use a Foreground to Transparent style, applied from the bottom to the top of the image. Fog and haze have a higher density at ground level, getting clearer as they near the sky.
Frontal light An easy but effective method of adding details is to go with silhouettes. Pick a dark colour befitting your haze and paint outlines with a small hard brush. Fill with the same colour afterwards and go for minor detailing.
Soft edges It’s important to soften the edges of your layers when working with stock images. To do this, make a selection of your layer, set Select> Modify>Contract at 2px then Select>Modify> Feather at 2px. Invert the selection and hit Delete.
Monochrome noise To add some monochrome noise, create a new layer, fill it with solid black and place it on top of all the other layers. Go to Filter> Noise>Add Noise set at 50% with Gaussian and Monochromatic active. Change the layer’s blending mode to Soft Light and Opacity to 15%.
047 SEPARATE TONE
PRO TIP 046 LIGHT WRAP EDMOND YANG
www.yangmedia.com Make it easier to composite a subject into a background with a light wrap. Adding a low opacity inner glow, using the background colour is one way. But for more control, duplicate your background and add a Gaussian blur to it. Add an inverted layer mask, hiding all, then use a soft white brush to paint edges back in around the subject. Change this layer’s blending mode to Soft Light.
www.andy-potts.com With the majority of my photo collage illustrations, I like to be able to separate the light and dark tones of a photograph into separate layers. This offers the versatility to use these areas in a number of creative ways. Desaturate the image to black and white and using Levels to boost the contrast, getting the most dramatic light and shade. Use Color Range to select the black or white areas and lift them onto a new layer to use as you wish. Fill with a vivid pop-art colour, paste texture in or reselect areas from the original photo.
TECHNIQUES 75 PROFESSIONAL PHOTOSHOP TIPS
COMBINE 3D AND CREATE WEB ASSETS See how Photoshop helps you to enhance your new media workflow
053 C4D STYLES BARTON DAMER
www.alreadybeenchewed.tv Cinema 4D (C4D) and Photoshop were combined to create the 3D shatter shapes you see in this image. The model sequence was shot in a studio environment using strobes and a fill light. Each shot of the sequence was then isolated from the background using Photoshop masking tools. The sequence was then set up in one Photoshop file with each shot on a separate layer. The majority of the scene was modelled in C4D. After adding a plane to the scene, texture it using a shot of the person in the sequence then select the alpha channel from the Photoshop file. This process is repeated for each shot in the sequence. Now you’re able to place your planes in a true 3D space behind the desk and have them interact with the lights in a very realistic way. They will cast shadows across any cubicle elements in a true 3D space and this helps quite a bit when finally compositing back in Photoshop.
055 ADD TEXTURE LUKE CHOICE
www.velvetspectrum.com Creating atmosphere is much easier in Photoshop than in a 3D space. Once I’ve exported my rendered type unit to Photoshop, I bring in a number of textures with consistent patterning, like concrete, smoke, clouds and mountains. I desaturate these then apply different blending modes, such as Screen and Soft Light, to add extra tactility to a layer. Using an image of a snowy mountain range is great for adding depth because of the exposure range between light and dark.
057 HTML5 DESIGN ZEE DURRANI
056 MERGE STOCK MARC GOODMAN
054 BLEND 3D FAST
www.behance.net/elnombre The great thing about using CGI is that as the artwork evolves, you can create more stock imagery to meet your exact requirements. This image started out with solid curved 3D models, using them to build the main structure. But they were too flat and uninteresting alone, so the 3D frameworks and lighthouse model were produced to create more details. Photoshop’s adjustment layers along with Dodge and Burn can then be used
www.shinybinary.com Blend 3D renders into a composition with ease using these few basic steps. Firstly, try and match the lighting as closely as possible in your 3D application, which will reduce the amount of relighting work needed in Photoshop. Exporting your renders with an alpha channel will prevent having to trace around it. Matching colours can require an array of Photoshop’s adjustment tools. Start off with a custom Gradient Map based on the area you are trying to blend.
to blend those elements together, with more traditional photographic stocks
PRO TIP 058 EXPORT LAYERS MATEUSZ SYPIEN
www.digi-mental.com Prepare your work in a way that lets you modify particular elements without touching other parts of your composition. Simply break your 3D scene into objects, textures and lights. Render them separately and combine everything back in Photoshop. This will give you every possibility to experiment with blending modes and apply different effects, and save time.
http://creative9.com/ Illustration for HTML5 is so easy to make in Photoshop, even when starting from a sketch. Spend your time organising the major shapes into separate layer groups. This is essential as most of these images are eventually animated. On top of this, CS6’s ability to clip layers onto groups makes adding detail amazingly easy. Before CS6 it was a pain to build your image up like this.
Photoshop’s adjustment layers along with the Dodge and Burn tools can be used to blend photo stock and 3D elements together
Puppet Warp on the toe Using Puppet Warp instead of the usual Transform Warp feature allows the user much more accuracy when distorting the object. Play with the density and mode of the mesh to give the desired effect.
Specular Pass You can add authenticity to 3D elements just be ensuring that you apply light effectively. Using the Specular Pass from the CGI renders on a Screen blending mode adds the extra highlights that bring the metal to life.
High Pass filter Adding a High Pass over the top of the whole image on Soft Light gives it extra punch. The amount you need depends on the size and sharpness of the image. We used a High Pass of 5 on 50% Opacity for this image.
DIGITAL GRAPHICS SHORTCUTS Flexible guides When laying out web design, guides become essential. You can set specific measurements by selecting View>New Guide and input Position, which is easier than eyeing it in.
Layer cloning So you’ve applied several layer styles to your web elements and want to add them to other layers in your design. To do this, hold Opt/Alt and drag the fx icon to another layer.
Tracking This works great with your type logos being designed in Photoshop. Hold down Opt/Alt and press the < key to start decreasing the type’s tracking, or > to increase it.
Drag selection You can keep your selection live after moving it. Make a selection with the Marquee tool and hold the spacebar to move. Once released, you can continue to edit your selection.
Fold all groups When working with web you can have many layer groups open at one time. Close them all at once by pressing Cmd/Ctrl+Opt/ Alt and click the triangle icon. Repeat to open all.
TECHNIQUES 75 PROFESSIONAL PHOTOSHOP TIPS
TOP TIPS IN PHOTOSHOP CC Discover new ways to add the latest tools and options, with advice from Kirk Nelson
070 PEN AND SPACEBAR
067 BRUSH ROTATION KIRK NELSON
http://thepixelpro.com Photoshop’s Brush engine has seen many improvements over the last several version releases. From the Mixer Brush tool to the Natural Media Bristle tips, the painting capabilities in Photoshop continue to expand. However, one feature frequently overlooked is brush rotation. This is a huge help to digital painters who regularly use custom brushes in Photoshop. Previously, to adjust the rotation of a brush tip you would have to have the Brush panel open then focus on the Brush Tip Shape section. This was cumbersome because the Brush panel is fairly large and consumed a good deal of screen real estate. Now in Photoshop CC, the same brush rotation widget is available through the contextsensitive Brush menu, activated by Ctrl/rightclicking on it. Adjust the rotation then hit Enter/ Return, or just click back on the canvas to hide the menu away again. This will really speed things up.
light a scene by using a high dynamic range image. This was used to control light sources and variations in ways that would be nearly impossible to accomplish when setting up lighting rigs in the 3D space. This is known as Image Based Lighting (IBL). Renders using IBL are more realistic and convincing because lighting and shadows better mimic a real-world environment. In Photoshop CC, IBLs are the default setup for 3D environments. This alone improves the quality of 3D renders many times over previous default lighting setups. Use it as the starting point for any 3D scene, then add lights to further develop the appearance you want. Adobe even offers additional IBL images to freely download and use on its website, available at www. photoshop.com/products/photoshop/3d#.
This tip is really trivial, but is one of those tiny details that just makes life a little bit easier for anybody attempting to illustrate in Photoshop. The spacebar has long been a favoured hot key associated with moving control elements. It lets you scroll along a project and reposition a selection, even while you are drawing it out. Now in Photoshop CC, the spacebar allows you to move a path control point before you’ve even finished the path. While using the Pen tool to draw out a path, hold it down to reposition the last point.
PHOTOSHOP CC SHORTCUTS Automatic enlarge Let the new Image Resize command do the hard work for you. Always make sure it’s set to resize fast by hitting Opt/Alt+1.
Affect multiple shapes Photoshop CS6 supplied us with completely new Stroke and Fill shape options. Now you can add these to a number of layers at once by activating layers simultaneously.
Path Isolation mode Double-click on any path with the Path Selection tool to isolate that path for easy editing. Turn off the isolation mode with the switch at the top-right of the Layers panel.
069 LIQUIFY SMOOTH TOOL
068 IMAGE BASED LIGHTING Ever since Adobe took a brave step into 3D with Photoshop CS3 Extended, every subsequent version has pushed its capabilities a little bit further. One of the most recent capabilities was the ability to
The beloved Liquify filter has seen some dramatic improvements. In CS6, Liquify became much faster and responsive due to the increased performance of the Mercury Graphics Engine. In the Creative Cloud version of CS6, Liquify was even supported by Smart Objects. Now in Photoshop CC there’s another reason to love Liquify: it has a new Smooth tool. This tool is related to the Reconstruct tool, but instead of scaling back or removing a warp it actually smoothes the effect.
3D object management In the 3D workspace, Ctrl/right-click on a mesh in the 3D panel to add, delete, group or duplicate objects within the 3D scene. It’s now even easier with the upgrades to CC.
Instance 3D objects Create instances of 3D objects that can be moved independently, but will reflect edits made to the source. Links to the original can be broken by freezing the instance.
TECHNIQUES COMPOSE A FANTASY LANDSCAPE
COMPOSE A FANTASY LANDSCAPE CREATE A LORD OF THE RINGSINSPIRED SCENE USING PHOTOCOMPOSITE TECHNIQUES
he following techniques will teach you to create a moody and ominous fantasy landscape. The world of J. R. R. Tolkien (author of The Lord Of The Rings and The Hobbit) easily provides inspirational context for countless images of this sort. The only things you’ll need are Photoshop and the opportunity to take your own stock photos. Third-party images almost work as well as your own photos, but might limit your possibilities in certain situations. Before you start with your image, think about the key elements that should be present. Be sure to have enough stock footage for your mountains in order to avoid
repetition. By reading this tutorial, you’ll learn how to combine different photos to create new mountainscapes and add that little bit of magic to your scene. Special focus is given to working with composition and how to create depth of field, using Photoshop gradients and the right cloud and haze effects. Last but not least, you’ll learn how different adjustment layers help to push your image to a whole new level aesthetically. It’s also beneficial but not absolutely necessary for you to use a drawing tablet when performing this tutorial. It really helps when creating images such as fog and clouds, which need to be painted.
OUR EXPERT TOBIAS ROETSCH www.gtgraphics.de
Roetsch has been focusing on space and science fiction-based images as long as he’s been doing art. He improves his skills step-by-step with a lot of patience and effort.
SOURCE FILES You’ll find a selection of stock on the disc supplied that will help you to recreate this fantasy mountainscape.
TECHNIQUES COMPOSE A FANTASY LANDSCAPESCAPE
WORK IN PROGRESS FROM REALITY TO FANTASY
Progress 1: Compose scenery
Progress 2: Add clouds & fog
01 Progress 3: Finishing touches
CREATE A CONCEPT
It’s always good to start with a rough concept sketch to get your composition right from the start. You don’t have to be an experienced painter to do this. A medium-sized hard brush is sufficient for this task. Just start laying down mountain silhouettes here and keep an eye on the rule of thirds.
Scattering smaller clouds between your mountain layers is a great way to add depth
Create a new document at 7000 x 4375px with a white, solid background. It’s useful to work with sky colours in the background, so it’s easier to combine your mountain stock in the next steps. Add a new layer and use the Gradient tool. In the Gradient Editor, set three colour stops at 0%, 50% and 100% with the colours #05355a, #115992 and #64a2d0. Place the gradient from the very top to the very bottom of your layer. Now you can start adding your stock images.
PLACE THE FOREGROUND
Open ‘IMG_6423.jpg’ and ‘IMG_6402.jpg’ and add both to a new layer in your image. Transform (Cmd/Ctrl+T) the IMG_6402.jpg image layer and enlarge it by 240% of its original size. Move it to the bottom-right corner. Repeat this with the other IMG_6423.jpg image layer and transform it to a size of 155%, flip it horizontally and place it in the bottom-left corner. Now take the Lasso tool (L) and make a selection of the parts you want to cut out in both of these separate layers.
The rough selection made with the Lasso tool means that it’s necessary to work with the edges of the trees a little more. Add a new layer mask to your IMG_6402 layer and select a small hard black brush 5px in Size with 85% Hardness. Go to Brush Settings>Shape Dynamics and change Control to Fade, set at 50%. Set Minimum Diameter to 0%. Now you can create a new edge for your trees, stroke by stroke. Make sure you are working at 100% zoom.
EXTEND THE LANDSCAPE
The two layers still contain undesirable elements, such as signs and skiing tracks. The foreground isn’t complete either. Activate the Clone Stamp tool (S) and sample the surrounding snow areas. This tool’s size should be around 30px with Hardness set at 80% to keep the details. Alternatively, use the Healing Brush tool (J), especially when it comes to replacing smaller elements. For the missing areas, make a flat selection around the closest snow and copy and paste this. Select Edit>Transform>Warp and edit the snow sample until it fits. Use the Clone Stamp tool for transitions.
CREATE A MIDGROUND
The other mountains are created using the same techniques as were used in Steps 3 to 5. Open up the file named ‘IMG_6405.jpg’, flip it horizontally and place it in the middle-left of your image. The other mountain photo stock supplied, ‘IMG_6413. jpg’, is quite a good choice for the right side. For organisational purposes, move both images to a folder by selecting the layers and pressing Cmd/ Ctrl+G. Now, remove the sky and undesired trees like before and carefully work with the Clone Stamp tool to extend your mountains. Freely define your mountain shape. Copy and paste parts you like and cut out parts you don’t.
When your initial midground layers are complete, merge them by selecting both and pressing Cmd/Ctrl+E. Now it’s time for your first colour and contrast edit. Go to Image>Adjustments> Brightness/Contrast and set Brightness at -50 and Contrast at 50 with Use Legacy deactivated. Press Cmd/Ctrl+B for Color Balance and set Shadows to -20, -5, +25; Midtones to 15, 0, -5; and Highlights to 20, 0, -5. For a softer edge, make a selection of your layer (Cmd/Ctrl-click layer), choose Select>Modify> Contract at 2px then Select>Modify>Feather at 2px. Invert your selection (Cmd/Ctrl+Shift+I) and then press Delete.
QUICK TIP It’s essential for your artwork to work with the right material. You can download countless resources from countless websites. At the end, it’s the quality of the resources, next to your own abilities, that decides the final quality of your artwork. Two good websites for an early resource hunt are www. deviantart.com and www.cgtextures.com.
CLOUDS AND HAZE
There still isn’t any real depth in the image, so add a second midground mountainscape behind your previous one and make sure it’s covering the left and centre of your image. Remember the rule of thirds and your initial concept. You want to create a valley on the right side. Make a selection of the layer and place a Foreground to Transparent #223857 colour gradient (G), applied from the bottom to the top of a new layer at 50% Opacity. Repeat everything, but use a stronger gradient.
It’s time to replace your blue background. Open ‘IMG_1756.jpg’ and apply it behind your mountain layers. You can warp and transform it to your liking, but make sure that the light still comes from the left side. Add several layers for distant haze as already described in Step 8. In case you aren’t sure what opacity to choose for your gradient, just go with 100% and play with the layer opacity controls afterwards. Good colours for your haze gradients are #5d7188 and #8c9db5.
TECHNIQUES COMPOSE A FANTASY LANDSCAPE
QUICK TIP When it comes to adjustment layers, less is more. Color Balance, for example, should be used with only minor changes. If you’re overdoing it, the image immediately looks fake. Deactivate and reactivate adjustment layers individually to check if they add something to your scene.
SMALLER MIDGROUND CLOUDS
You’re now in need of a good, organised layer structure. Scattering smaller clouds between your mountain layers is a great way to add depth. It’s even easier when your mountains are on separate layers, like here. These clouds can be created by using stock images or by painting them. Dan LuVisi offers some great cloud brushes, available at http:// danluvisiart.deviantart.com/art/My-BrushPack-118954791. Cloud colour should be a bright grey, applied at a low opacity and brush size.
MAGIC CLOUD TRAIL
Now comes the fantasy part of your image, which can be completed with the help of the brushes mentioned in Step 10. To create the cloud trails, activate Brush Settings and Shape Dynamics. Switch Control to Fade set at 100 and set Minimum Diameter at 20%. The brush size should be around 600. Paint a curve from the middle-left to the centre of your valley several times, with several gradual opacity settings. Don’t forget to add darker cloud shadow as well.
Repeat Step 11 for a second trail, which should come from the bottom-right corner. Steps 11 and 12 might need some perfecting. Just pass over layers several times and play with settings such as brush size, opacity and colours until you get a satisfying result. The placement of the trails is indicated by the red marker you can see in the screenshot. This gives you an idea as to how you will create effects that replicate a mage’s ability to play with the forces of air.
Now add some snowflakes to your scene. Add a new layer above all others, take a 5px hard round brush and paint some random dots. You might want to change the opacity of your brush every now and again. Duplicate your snowflake layer (Cmd/Ctrl+J), rotate this copy layer by 180 degrees and size it up by 130%. Repeat this until you have enough snowflakes. Merge all snowflake layers. Now go to Filter>Blur>Radial Blur, apply an Amount of 10, change Blur Method to Zoom and move the Blur Centre to the right side.
The image still needs a focal element, so here you’ll add a mage character. It will depend on your own abilities if you choose to work with stock images or try to paint your mage by hand. A combination of both is possible as well, of course. If you decide to paint your character, go for a small-sized hard round brush. Raised arms are good to symbolise that he is actually doing something. To better visualise his powers, simply add some semi-transparent strokes above him. Take the Smudge tool to these, making them softer.
Apply a white, semi-transparent gradient to the very bottom part of the foreground. Adding large, blurred snowflakes is also a nice touch. But the most important things are the adjustment layers you’re going to add now. You’re basically going for Color Balance and Brightness/Contrast changes. For selective effects, use layer masks. Check out the PSD file on the disc for the individual layer settings and mask layouts.
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THE PEN TOOL TECHNIQUES
THE PEN TOOL
USE SIMPLE PHOTOSHOP TOOLS AND TECHNIQUES TO MAKE STUNNING GEOMETRIC SHAPES IN YOUR ARTWORK
ometimes the most striking designs are the ones that are actually very simple and straightforward to achieve. Minimalism is incredibly popular in the design world right now, with geometric shapes taking precedence in web design, and with fashion artwork hot on its heels. This tutorial will show you how to use basic Photoshop techniques to achieve a simple but beautiful photomanipulation that could easily grace the cover of any glossy magazine. CINEMA 4D will be used to render shapes, which will then be imported into Photoshop. Flower photos were used as a reference for the beige and rose colour palette. Tools
are not used extensively; this tutorial instead encourages you to have fun making an eye-catching but minimalist image. You will need to use basic colouring techniques, the Pen tool and blending modes, then play around with clipping masks, layer styles and filters to finish. Letâ€™s start!
With fashion artwork, even the smallest imperfections must be corrected, as this is what will sell your product
WORKING WITH PHOTOGRAPHY
OUR EXPERT 4/-!3:Äˆ+!24!3)Ć…3+)Äˆ WAGNER www.behance.net/krv
KartasiĹ„ski is a 24-year-old art director and graphic designer based in Warsaw, Poland. He is a huge fan of minimalism and music, in which he finds a lot of inspiration, and specialises in fashion artwork.
USE THE PEN TOOL FOR FULL CONTROL
WORK IN PROGRESS FROM STUDIO IMAGE TO FASHION ARTWORK
SEPARATE THE MODEL
Purchase the model photo (ID 30914224) from Dreamstime.com. First, you need to cut out the model from the background. Select the Pen tool in Shape mode and start cutting around her. Leave the head and hair for the next step. After selecting the whole body, copy the layer from the selection.
CUT OUT THE HAIR
Cut out the head and hair and duplicate the Blue channel. Select a soft round brush and switch its mode to Overlay. Start colouring the hair black. To colour white spaces, switch the brush mode back to Normal. Go to Select>Load Selection and load the Blue Copy channel. Copy the selection.
Progress 1: Original image
REMOVE SKIN DEFECTS
To remove skin imperfections, select them with a round Selection tool and press Shift+Delete, with the Content Aware option switched on. You can also use the Lasso tool for a quick way to remove small defects. With fashion artwork, even the smallest imperfections must be corrected, as this is the thing thatâ€™s going to sell your product to consumers.
Progress 2: Adding shapes
Progress 3: Final touches
TECHNIQUES THE PEN TOOL
CHOOSE THE RIGHT COLOURS
Itâ€™s always a good idea to have a reference colour palette. In this case, photos of flowers were used. With the Eyedropper tool, select a couple of colours from the reference images to build the palette. Understated rose and beige colours were chosen to give the model a sense of pure, natural beauty. Now, create a new layer using Cmd/ Ctrl+Shift+N and make a couple of spots with the picked colours using the Brush tool, then leave this layer. You will need it later on. QUICK TIP Your reference colour palette is your best friend. It helps you to keep the mood of your artwork perfect and is one of the essentials to a successful image. It can be simple, based on just three or four colours, or larger, with many other shades for the background, skin or environment. It all depends on what you want to achieve.
ADJUST THE SHAPE
To achieve a good shape for the dress, you need to re-position the anchor points and delete some of them. To do so, choose the Direct Selection tool from your toolbar or hit the A key on your keyboard. You need to make the dress as simple as possible, so delete the points that are close to each other. Leave just one point and go to another group. Long, sharp lines will look much better than short ones. In a while, you will reposition all of the points to fit your renders.
SHAPE OF THE DRESS
Using the Pen tool (P) with the Shape option selected, start drawing the main shape of the dress. It should be sharp edged. You can adjust the anchor points with the Direct Selection tool by holding down the Opt/Alt key while drawing with the Pen tool. When complete, once again leave this layer. You will be placing pre-rendered shapes into it later. You can always go back and adjust the main shape, depending on the final shape of the dress you want to make.
Now go back to your colour palette. You need to pick the main colour for the dress and one that will overlay the whole artwork and background. Set a new layer above your dress shape and simply fill it with your chosen colour, setting the blending mode to Overlay. Pick another less saturated colour and place it on a new layer in the background. For great results, copy this layer (Cmd/Ctrl+J) and place it above all the other layers, setting the blending mode to Color Burn.
PLAY WITH BLENDING MODES
You can experiment with different blending modes, as sometimes other modes will give you better effects. You can always choose another colour for the background or for the overlaying layer if need be. The key is to stick to the palette and make the whole artwork as smooth as possible in terms of colour. Thatâ€™s why your palette layer is so important: it helps you to keep the right mood within your artwork. If you are happy with the colouring, you should stick with it until the final colour correction.
GIVE YOUR IMAGE AN EDGY LOOK -)8ď02%˶2%.$%2%$ď)-!'%3ď7)4(ď4(%ď-/$%,
FINDING THE BEST SHAPE
A flat shape isn’t enough, so you need to use pre-rendered images made in CINEMA 4D. The most important thing is to set together parts of the renders to fake the dress material. It must look as realistic as possible. Take your time and think about how you can connect separate elements. This is the part where you can improvise and experiment. It is a good idea is to search for some reference photos of clothes and see how they lie on the models. Any research you can do will benefit you.
You need separate elements that will fit perfectly into your artwork. You can open prerendered images and start cutting those shapes. With the Pen tool (P) and Path option selected, start cutting interesting pieces. After selecting the shape, simply Ctrl/right-click>Make Selection, set Feather Radius to 0 and hit OK. With this selection, hit Cmd/ Ctrl+J to create a layer via the selection. After that, press Cmd/Ctrl+D to deselect. Go back to the main image layer and separate another piece.
When you have made your dress composition, you need to reposition your base shape. Select the dress shape layer, hit A for the Direct Selection tool and move the points to fit your render shapes. There is no need to follow them directly, but you need to stick with the lines. After the moving part is done, you can start adding some colour. First of all, make a clipping mask from all the render layers to your dress shape layer so that you can start adding some colour.
MAKING THE COMPOSITION
When you have all of the shapes that you need, you can start making the composition. Start placing shapes over the dress shape and scale or rotate the elements. You can also Distort or Warp them to fit the fabric form. Remember to keep all of the lines straight and try not to bend individual elements too hard. It is okay for pieces to overlap. The shading will be done in the next steps. Feel free to transform elements as you like, but maintain a realistic look.
Let’s head back to colour you chose at the beginning for the dress. Move it above all the clipped layers to the dress layer. Set the blending mode to Overlay to give the colour effect a good look. You can also play with others shades of your base colour, but in this situation shapes are already a little bit shaded, so a single colour should do the job.
Feel free to transform the elements as you like, but maintain a realistic look 053
TECHNIQUES THE PEN TOOL
TAKE CARE OF THE DETAILS PULL OUT SOME FANCY SHADING AND LIGHTS
Now you will need to pull out the model’s right hand from underneath the dress to add some depth to your image. All you need to do is cut the hand out from the original image using the Pen tool. You will then need to make a selection with a 0.5 pixel Feather Radius and then hit Cmd/Ctrl+J to copy the selection to a new layer. The next few steps of the tutorial will show you how to add shadows to the dress and the model to make the whole image look more realistic.
You will now need to add more shadows on the model’s body to help create extra depth and more of a sense of realism. To be precise, make a new layer with the clipping mask to the body layer. With a soft round brush set at 100% Opacity and 1300 pixels, start shading in areas of the legs, hands and neck that are beneath the dress. Set the layer Opacity to 60%. Now you can use the Eraser tool (E) to adjust the shadows and fit them correctly to the body shape.
SHADE THE HAND
EVEN MORE SHADOWS!
Create a new layer beneath your hand layer and select a round brush set at 50% Hardness. Draw shadow onto the bottom-right side of the hand. Shadows on the original image will help you to decide the direction of your own shading. After that, set layer Opacity to 40% and set the blending mode to Overlay. Make another new layer, draw smaller shadows and set Opacity to 60% on the first layer. Then make shadows on the darkest places and set their Opacity to 100%.
Now it’s time to focus on the dress. You need to add some more depth to a couple of the fragments and cast shadows. Use the Polygonal Lasso tool to draw a shape and fill it with a black colour. On a new layer over the rendered shapes, fill the selection with black and go to Filter>Blur> Gaussian Blur and set it to 5. You have to make it look realistic as possible, so shadow will be smaller nearer the connection of the shapes and will disappear at the ends.
CREATING 3D SHAPES In this tutorial, you need to use pre-rendered shapes made in CINEMA 4D. These are simple cubes sliced with the Knife tool and then modified point-by-point to achieve interesting shapes. There are many more techniques you can use to make these. You can find web-based shape generators or just start playing with Photoshop. With the Pen tool, you can draw shapes and fill them with gradients to obtain similar effects.
This simple technique adds a more exciting look to the dress edges. Simply create a new layer, and with a white soft brush draw one spot. Then, using a brush half that size, draw another spot in the middle of first one. After that, hit Cmd/Ctrl+T to transform this layer, and just scale in vertically to make it look like an optical flare. Set the blending mode to Overlay and rotate it to fit the edges. Copy this layer (Cmd/Ctrl+J) and add it to the other edge, changing the size of your flare.
QUICK TIP When shading, you can use the Eraser tool (E) to modify shadows, but you cannot edit them later. To be safe, you can use a layer mask to mask out unwanted fragments of your shadow. This method makes it a little easier to edit later.
PLAYING WITH LIGHTS
Start adding some light effects by drawing on the background behind the model. Using a large soft brush, draw a couple of spots with a white colour. Try to maintain the shape of the model to just cover the space behind it. Next, with the Transform tool (Cmd/Ctrl+T), start warping this layer to fit the space behind the model. With your background, this white layer will make a smooth tonal difference, for an eye-catching effect.
Now create a new layer beneath those shapes. Select the Polygon Lasso tool (L) and start drawing more shapes. Each time, make a selection with the Polygon Lasso tool, select the Gradient tool (G), set it black to transparent in the Gradient palette and draw a gradient from the bottom-left corner to the centre of the shape. Hit Cmd/Ctrl+D to deselect and repeat these steps with every shape. After that, set this gradient layer to a Soft Light blending mode.
You can add even more lights to the model and dress. Create a new layer above your artwork and start playing with a small soft brush, painting with a white colour. Try to match the edges where the light could leak from the background. Places between the arms and the dress, at the edges of the hair and areas where there is less hair and light can be harder. You can play with the opacity to achieve better effects, but in this case leave it at 100%.
As you are nearing the finish, you need to add a couple of details like hair over the dress. Simply cut a small piece of hair and put this layer over the dress layer. You can also add a couple more white-edged shapes to make the image more dynamic. At this stage, you can experiment to make your artwork more eye-catching. Adding lights and shapes is good at this stage, but you must remember that less is more in this case.
To make the image more dynamic, draw triangular shapes, placing a white line around them from the dress. To do so, select the Pen tool with the Shape option enabled. Draw a single shape and set Fill to 0%. Double-click on the layer to open the Layer Styles window. Go to Stroke and set Size to 4 pixels, Position to Inside and pick a white colour. Hit New Style and save it to your palette. Draw more shapes, select them all and pick your preset style.
At the end, create a bit of extra interest by adding some lines in the background. For this, use the Line tool (U) with a white colour. Set three lines with the weight at 10 pixels and another three with the weight at 4 pixels. Draw the lines at a 45-degree angle from the top-left side to the bottom-right. Your image will now be smooth thanks to the colour palette and dynamic due to the shapes you used to create the dress.
The heritage of green grass, red clay and blue hard court are all represented
r New York
lv y & Mathe ÂŠ IBM, Ogi
HOW I MADE TECHNIQUES
HOW I MADE
SEBASTIAN ONUFSZAK WE EXPLORE HOW COLOUR AND SHAPE WERE USED TO CREATE THIS ENERGETIC PIECE OF DIGITAL ART
BM’s SlamTracker provides a visual representation of Grand Slam matches using scores and statistics. Sebastian Onufszak (www.sebastianonufszak. com) was tasked with creating the key visual for its advertising campaign. Onufszak combined graphical elements from Adobe Illustrator and typographical textures from CINEMA 4D inside Photoshop. These were then laid on top of a photo image. “The illustration is composed of many clipping masks
INTEGRATE TYPE AND NUMBERS
The advertising agency delivered a stock image, which I used as source material. The first thing I did was edit the image using Levels, altering the light and colour of the start photo.
I changed the face of the tennis player, making it more abstract and graphical. I also integrated typography and numbers to visualise the infographic data creatively.
and adjustment layers, as well as layer styles,” Onufszak explains. “In the end I had a huge 2.8GB Photoshop file with more than 150 layers.” There are three different colour variations within this image: “The heritage of green grass, red clay and blue hard court are all represented,” he notes. “I used a variety of colour shades and contrasts to make the illustration more interesting. The lines, circles and dots were applied to emphasise infographic data.”
EDIT THE BACKGROUND
The background was extended on both sides in order to create a classical tennisplaying environment. I also added the IBM logo as a tennis banner, with an audience behind.
Line and dot shapes were created as vectors and then imported into Photoshop. Different colours were applied to form a more dynamic image.
TECHNIQUES HOW I MADE
I applied typographical textures to the body of the tennis player. These were warped around his legs and arms. I included several other layers to extend the amount of data.
I created a sense of movement and energy by adding motion-blurred strokes and glow layer styles. This improved the complexity of the design.
I designed the tennis ball and placed it into the image. More graphical elements, typographical layers and a motion trail were added to connect the front and back layers of the illustration.
IBM’S SLAMTRACKER KEY VISUAL SEBASTIAN ONUFSZAK REVEALS WHAT TO EXPECT WHEN WORKING WITH COMMERCIAL CLIENTS ON SPORTS PROJECTS
I decided to alter image colours further, making them brighter and more saturated. Three colour variations exist in this illustration series, including green, blue and red. The application of these depends on which Grand Slam surface is being featured.
© IBM, Ogilvy & Mather New York
Onufszak worked closely with advertising agency Ogilvy & Mather New York, who developed this project as part of a remit for IBM’s AOR. He reveals: “I also collaborated with Ginevra Capece, who is the creative director at Ogilvy & Mather Paris. We were tasked with choosing a direction for this IBM campaign.” The agency selected a preferred style and revisions ensued. “I really liked the collaboration between the art director, agency and myself,” Onufszak admits. “We shared a common cause, which was creating a tennis player illustrated from graphical elements and typography.” But he does advise us to listen to clients and their arguments. “ We get a broader point of view and become more critical,” he explains.
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FLAT WEB DESIGN TECHNIQUES
FLAT WEB DESIGN
DESIGN A MODERN, TWOCOLUMN WEBPAGE WITH NONSTANDARD GEOMETRIC SHAPES
he use of geometric shapes in user interface design is fast becoming prevalent, evident with the release of Windows 8 and the new Google Nexus layout. Web designers in particular are embracing this trend, as grids and columns form the basis of most websites. Shapes can be used as straightforward design or framing elements, but can also be used for navigation, as well as to simply draw attention to certain parts of the site. They are simple, clean and modernistic, and can provide a solid base for your website without the need for additional effects like drop shadows, artificial dimensions or a sense of realism. Add a
vibrant colour scheme and bold typography and your design will certainly stand out. While rectangles and circles are the most frequently used shapes in web design, less common polygons like rhombuses, parallelograms and triangles also work well. This tutorial will show you how to go about using these shapes in your own web design. It’s important that elements have a clear hierarchy and consistency in order to make your website easy for visitors to understand and interact with. Before getting started, you should download the images and fonts needed to follow this tutorial. Links to these can be found on the disc.
OUR EXPERT 2!5,Ĉ4!#)5
www.graphicburger.com Taciu is a graphic designer and illustrator based in Cluj-Napoca, Romania. He’s addicted to Photoshop and has recently started to share free design resources at GraphicBurger.com.
ORGANISE THE WORKSPACE USING GRIDS AND GUIDES
On the disc you will find the webpage template, the 1280px custom grid, swatches and an icon set. Download links for images and fonts are also provided.
WORK IN PROGRESS FROM BASIC LAYOUT TO FINISHED DESIGN
SET UP THE DOCUMENT
First, open the 1280px Grid file found on the disc, then fill the Background layer with a dark colour (#232a39). Creating your website with a grid system is great for a clean and organised layout. Grids are the basis of all good websites and provide a feeling of structure and consistency, although they’re invisible on the surface.
The two-column layout with a left sidebar menu is a popular format to go with. Activate the Rectangle tool (U) and draw a rectangular shape of 12 columns width. Align it to the top of the document and to the right-hand side column margin. In the Option bar, set the Fill Color to #06b0d1 and the Stroke to None.
Progress 1: Basic layout
In the Option bar, input a Width value of 240px and a Height of 68px, with the Fill Color set to #313b51. Click on the canvas to create another rectangle, and this time position it to the left-hand side. Select the Move tool (V) and Opt/Alt-drag to make a copy. Position it below the first rectangle with a gap of 1px. You will need to repeat the process four times.
Progress 2: Build polygons
Progress 3: Add content
TECHNIQUES FLAT WEB DESIGN
Opt/Alt-drag to the right while holding Shift to duplicate the parallelogram and constrain its ‘X’ axis. Change Fill Color to #787878, then press Cmd/ Ctrl+T to Transform. Ctrl/right-click and select Flip Horizontal from the flyout menu to create a mirrored version. Repeat the Opt/Alt-drag command, this time with both parallelograms selected. Now you should have a series of four shapes aligned horizontally. Select the third one and change its Fill Color to #e0edf8.
You can always hide the grid by toggling layer visibility in the Layers panel. To create a parallelogram, start by drawing a square. With the Rectangle tool still active, click anywhere on the canvas. In the open dialog, input a value of 235px in both the Width and Height fields, then click OK. Set your Fill Color to #69cef2 then apply a Skew transformation. Press Cmd/Ctrl+T to activate the Transform command, and in the Option menu, set Vertical Skew to 26,55, then press Enter.
Make another copy of the original parallelogram – this will serve for creating the triangle. Select the Direct Selection tool (A) and click on the shape to activate the working path. Switch to the Pen tool (P) and click on the bottom anchor point to delete. Position the triangle beneath the grey parallelogram and set the Fill Color to white (#ffffff). To make perfect alignments, sometimes you need to zoom in and use keyboard arrows for fine nudging. Guides and grids are always there for you if needed.
A simple method for creating a rhombus is to merge together two triangles. To do this, you need to make a copy of the triangle with the same Opt/ Alt-drag technique or by pressing Cmd/Ctrl+J, then move them into position. Next, activate the Path Selection tool (A) and click the triangle shape to select it. Copy and paste (Cmd/Ctrl+C, Cmd/Ctrl+V) the triangle to create a sub-path, then hold down Cmd/Ctrl+T to activate the Transform controls and apply Flip Horizontal.
QUICK TIP Try creating non-standard shapes by modifying the ones already drawn. This is a lot quicker than building from scratch. The advantage of this is that you can stick with original dimensions and you don’t need to figure out additional measurements. This tip works as well for text and layer styles effects.
CONTINUE TO MERGE
With the Path Selection tool still active, click and drag the path to the right until it snaps to edges. Notice that both sub-paths are on the same shape layer. It’s time to merge them together. With the paths active, which you can also activate by clicking the layer thumbnail, go to the Option bar and select Path operations. In the menu, make sure the Combine Shapes option is active, then select Merge Shape Components. Use the same technique to combine two parallelograms into a taller version.
VISUAL HIERARCHY IT’S ALL ABOUT ORDER, ORGANISATION AND LOGIC
Now that you’ve created all your geometric elements, you can focus on visual interest. Your shapes will be frames for text and images. Organise everything to create a sense of order. Make use of repetition, relationship and alignment. Create interest with colour and contrast. Remember to keep enough white space on the page. Continue duplicating and aligning shapes, following the previous steps. Use the swatches provided on the disc to apply specific colours or feel free to create your own schemes.
Drag the photos taken from morguefiles. com into the Photoshop document. They will be placed as Smart Objects. In the Layers panel, position each image on top of a neutral grey Shape layer. Create a clipping mask to hide unwanted areas of the image. To do this, select the desired image inside the Layers panel, Ctrl/right-click on it and from the menu select Create Clipping Mask. Repeat the action with the other three photos, then feel free to scale and reposition them as you prefer.
In web design, type must be noticeable and easy to read. The welcome message is first, so make it big at about 40pt. Lato was used here because it’s a simple, sans-serif font that looks great and it’s free. Notice that white text always looks good when laid on top of flat, vivid colours. There’s no need for additional effects; keep it minimal. Alternate your type weights – from thin to bold – to create hierarchy. Titles within shapes should be also legible, so don’t go small; set a value of 28pt.
White text always looks good when laid on top of flat, vivid colours. There’s no need for additional effects; keep it looking minimal
PATH OPERATIONS Path operation allows you to create complex geometry when working with vectors. Vector shape tools like Rectangle or Ellipse will create by default a new Shape layer every time you draw on your canvas. To create a sub-path to a currently selected layer, choose one of the Path operations in the Option bar then draw on your canvas. Now the sub-path is added to the same Shape layer. These options can also be accessed with keyboard shortcuts. Holding down Shift will add to the shape, Opt/Alt will subtract and Shift+Opt/Alt will intersect a shape area.
Icons are a clear and effective way to draw attention to your site’s content. Using them with text increases readability and will help users to better absorb information. Open the Icons Set file found on the disc and drag them into the working document. Align them to the text while maintaining a proper spacing distance. Try to avoid resizing stock icons, however, as they will lose quality. Instead, search for icon sets that come in different, predefined sizes.
Final touches are all about personal taste. You may add some light pattern textures to the background, or a blurred image set to a Soft Light blending mode to add subtle colour variations. You can also create some active button states to better illustrate the desired functionality using Layer Comps. Place your logo in the top-left corner. Now is the time to fine-tune colours or play with different schemes. Also, spend time improving typography.
HOW I MADE TECHNIQUES
HOW I MADE
MANUEL LAO DISCOVER HOW WORKING WITH STOCK IMAGES, CURVES AND COLOUR ADJUSTMENT LAYERS CREATED THIS FUN PIECE
igital artist Manuel Lao (www.mlaophoto.com) took to Photoshop as a way to keep his brain “in reasonably good shape”, but found that he “liked to mix real photographs with different Photoshop techniques.” For this image Lao took inspiration from the film Planet Of The Apes, stating that although “a world ruled by animals is not a very creative idea, I wanted to have a look at what it would be like… in some kind of conflict situation, so the monkeys are like police”. Lao chose to comp different stock images and “apply shadows and light using brushes and layers”. Playing with colour using Curves, Levels and the Selective Color tool were the next very important steps to creating the finished effect.
Although a world ruled by animals is not a very creative idea, I wanted to have a look at what it would be like… in some kind of conflict situation
MAKE ADJUSTMENTS Next, start playing with Curves, Levels and layers, as well as the Color Selection tool and add shadows to get the proper lighting for the piece. Also make sure you comp in another more atmospheric sky.
PLACE FINAL ELEMENTS BRING IN YOUR STOCK To start creating your scene, first gather up stock images that you wish to use. In this case, the base image is a combination of two different photographs of the same city.
Now place the main car with two monkeys inside. This requires selecting and masking, then adding more cars to the scene. To add more drama I made adjustments to the lighting and added two planes.
BLEND GRAPHICS AND TYPE TECHNIQUES
BLEND GRAPHICS AND TYPE LEARN HOW TO MAKE A TYPOGRAPHIC ILLUSTRATION WITH IMPACT USING THE POWER OF PHOTOSHOP
hey say a picture says a thousand words, so imagine the possibilities in conveying a message if you were to combine the two? In this tutorial, you will learn how to blend elements and shapes to create an energetic and dynamic typographic illustration. During the implementation process, you will use many different techniques in Photoshop to balance elements and vary their proportions and shadows, and learn how to give volume to the shapes you draw with the Pen tool.
Using a digital tablet to follow this tutorial can be very useful, as the opportunity to play with the pressure of the pen works wonders when building quality into your final image. You will also see that the composition and balance of illustration is not only about knowing which elements to include, it is also knowing when to remove them. Finally, you will learn that colours play a vital role in to obtaining a composition with a consistent atmosphere. This tutorial requires a sense of subtlety, but you are free to create anything you wish.
SETTING THE TONE
OUR EXPERT DAVID DELIN www.28162.com
David Delin aka 28162 is an image maker based in Nantes, France. His clients include BNP Paribas and New Scientist Magazine.
SOURCE FILES You will find a selection of resources provided by the artist on the disc, which you can use to recreate this tutorial and in your own projects.
CHOOSE A FONT AND COLOUR PALETTE THAT WILL HELP CONVEY YOUR MESSAGE
WORK IN PROGRESS FROM CONCEPT TO FINAL DESIGN
CHOOSE THE FONT AND TEXT
Add a new text layer (T) and choose a font in a large size. ‘Impact’ was chosen in this case, but you are free choose your own. Type ‘Be Creative’ and align your text in the centre of the image. This is the main element and the focal point of your illustration.
Progress 1: Choose font
Progress 2: Build composition
PICK A COLOUR PALETTE
Launch Photoshop and create a new document, then select the colour palette that you will use. Be creative with a limited number. The colour palette helps you to visualise your project as a whole, so choosing it beforehand saves you time later on. The colours used in this example are #0b58a8, #001451, #de9e22 and #f0d2a0.
ADD A GRADIENT
Duplicate your text and go to Layer>Pixelate>Text. Double-click it and choose Overlay gradient. Add a Radial gradient from colour #c16205 to colour #d89543. You are free to choose other colours – the purpose of the exercise is to be creative, so if you prefer the look of others, go ahead and indulge yourself!
Progress 3: Add details
TECHNIQUES BLEND GRAPHICS AND TYPE
CREATE A PETAL
Import the ‘Petal’ file into the document. Using the eyedropper tool (I), select colour #0157ac, hit Cmd/Ctrl+U, click Reset and push the Saturation to 45. Add a new layer, change it to Multiply mode, and with a soft edged brush and Opacity set to 35%, paint the shadows of your form. Repeat the process on another layer set to Overlay mode and paint the highlights to give volume to the petal.
MAKE A FLORAL SHAPE
Using the petal you made in the previous step, you can now create a floral shape. Duplicate the layer five times and position them so that it forms a rosette. Create a circle with the Elliptical Marquee tool, fill it with a grey Radial gradient and place it at the centre of your petals. The use of horizontal and vertical symmetry will help to balance your image. Go to Edit>Transform>Vertical Symmetry Axis.
ADD A FLOWER
Open the ‘Flower’ file provided on the source disc and copy and paste the image into your scene. Apply an Invert adjustment (Cmd/Ctrl+I) to create a negative version of it. Put it to the side, as you will use it later in the process. For a more personal look, this flower was created from a photograph, with shadows and light painted on with a digital tablet. Feel free to do the same.
Keep in mind your main objective, which is to make the text the focal point of your composition
DRAW A CIRCLE AND DETAILS
With the Pen tool (P), create a circle. Double-click on your layer and add an Inner Shadow to give volume to it. Now draw a pattern. Be creative and take inspiration from tribal art or other designs. Ctrl/right-click on the background of the plot and add a focused shadow (Layer>Layer Style>Drop Shadow). Set the Opacity to 40%, Distance to 0px, Weight to 10px and Height to 80px.
CREATE AN ABSTRACT FORM
You will now create the last main form of your illustration. Add a new layer (Layer>New>Layer) and name it ‘Abstract form’. Take the Pen tool and draw a shape similar to the one you see in the example above. Repeat the process that was outlined Step 4 to give volume to the shape. A Wacom tablet is often useful for doing this.
BUILD THE COMPOSITION
The next step is to import the file named ‘Sphere grid’ into your document. Now that the main elements are at your disposal, you can begin the most exciting part of the tutorial: the composition. Take the time to find the right balance. 001
ADD CURVED SHAPES
PASTE IN THE BIRDS
Give a little bit of dynamic movement to the artwork. To do this, add some elements that I particularly like: curves. Draw them with the Pen tool. If you want to be really accurate then this is the time to use a digital tablet, as it will allow you to play with the pen pressure. Fill them with a grey colour. Build flowing shapes that appear to be suspended in air and give them volume for realism – see Step 4 for an example. Arrange the shapes so that they intertwine with the text.
Feel free to duplicate each form as much as you want and play with their size and rotation to make your artwork dynamic
002 BALANCING THE SCENE
Balance your scene up. Simplicity is your best friend most of the time. Take a step back to assess the usefulness of a form
Add a new layer and with the Pen tool create a rectangle. Double-click the layer or click fx in the Layers panel and select Pattern Overlay. Select an existing pattern or one from your library. While adding organic geometric elements to an illustration can be good in terms of balance, keep in mind your main objective, which is to make the text the focal point of your composition. Place large elements in the background and smaller ones in the foreground.
Your colour palette is one of the most important factors when creating an illustration, so plan this in advance
PAINT IN SHADOWS
Now that you have your shape elements, it’s time to add a little more realism. When you overlay forms, the credibility of these is achieved through shadows. Use them to create a 3D effect of depth. Paint them using a soft brush set to 40% Opacity with your layers in Product mode. Obviously there are other means to add shadows, like using drop shadows, but I prefer not to use this method. Painting your own offers a more personal touch.
Bring some life into your composition by adding an extra element. Download a bird image from morguefile.com/archive/display/843318 and import it into your document. Duplicate the image once or twice, and place your birds in dynamic ways by varying their size (Edition>Free transform or Cmd/Ctrl+T). Playing with the variation in size allows you to provide a depth of field, to create the illusion of a foreground, midground and background.
TECHNIQUES BLEND GRAPHICS AND TYPE
FINAL ADJUSTMENTS USE LAYER MASKS, ADJUSTMENT LAYERS AND FILTERS TO COMPLETE YOUR ILLUSTRATION
CREATE DECORATIVE CHIPS
APPLY ADJUSTMENT LAYERS
In order to bring even more energy and vitality to your illustration, you can add a few chips with features brushes. To do this, draw some random shapes and turn them into brushes (Edit>Define Custom Shape). Hit F5 to open the Form panel and play with the settings of the dynamic forms, and those of Diffuse. Do not go too far, even if this kind of effect is fun to use! It can quickly give a rough look to your composition if you add too much. Instead, be subtle.
Now you need to give the composition a balanced chromatic scale. Add a layer of brightness and contrast adjustment to bring out some elements (Layer>New Adjustment Layer>Brightness/ Contrast) and a Curves adjustment layer (Layer>New Adjustment Layer>Curves ). This is almost essential for me, as it offers so much more flexibility in colour correction and also contrast. Experiment with the settings until you are happy with them.
QUICK TIP To save time, try to get into the habit of using layer sets. Not only do they allow you to assemble the elements together, you can move more easily and it gives rhythm to your work.
ADD A LAYER MASK
STRENGTHEN THE COMPOSITION
There are always points that can be improved during the creation process such as masking imperfections or removing elements that you do not want to see, because you think they are useless. Layer masks are ideal for this as they allow any changes to be non-permanent. Add one to your document and remove some unwanted areas of your artwork. Layer masks have an important role in the integration and credibility of an illustration, so do not hesitate to spend a little time applying them.
Add a little more depth to your scene. Duplicate the flower that you used in Step 6 and choose a neutral colour like grey. This increases the depth between your foreground, the second plane and the background. Using a bright colour will draw attention to the element, which you donâ€™t want. Go to Layer>Smart Objects>Convert to Smart Object. Increase its size (Cmd/Ctrl+T) and set the layer to Overlay mode. Duplicate this layer, arrange it differently and play with the opacity.
To finish, select all your layers, duplicate them and then merge them . Apply a High Pass filter (Filter>Other>High Pass) with a radius of 1.2px. Set the layer mode to Overlay. Attenuate the effect of the background using a layer mask. Perform these final touches, zooming to 100%. Your picture is now complete, but of course you are free to go even further and add more forms and elements if you feel it is necessary.
ADJUST FOR AUTHENTICITY Adjusting the colour balance, lighting and shadows is fundamental to giving credibility to a composition. In my case, the adjustment layers and black and white curves are valuable elements in my creative process. The first helps me to balance my scene as best as possible, and apply my colours so that they work well together. Curves give me more flexibility in colour correction and contrast. Bear in mind that there are no real tricks or magic recipes. Settings and how they are used are a matter of feeling and personal choice.
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TECHNIQUES HOW I MADE
HOW I MADE
MARTIN GROHS DISCOVER HOW GROHS USED PHOTOSHOP TO PAINT THIS ZODIACINSPIRED ARTWORK
ot only are Martin Grohs’ (www. martin-grohs.com) illustrations beautiful, they also encourage the viewer to think about the theme. “I always try to create something surreal and unique that represents my own opinions,” he explains.
This image is a self-portrait that he produced for the Cosmosys art collective (www.cosmosys.net). “Because I’m a Leo, I tried to show the shared characteristics of this zodiac sign, which are wild, alive and proud. I feel these are all evident through the lion in this portrait,” Grohs tells us. “The fur was a
real challenge for me, as I tried to paint it as realistically as possible,” he adds. “It was this that took up most of my time. But ultimately I think I achieved a great result by using a lot of texture brushes, including stone, fur and cloud types. Everything was painted in the end.”
ADD DETAILS I’m a detail lover. In each of my works you will find many different elements that fascinate the viewer. They make the image what it is and with these you can add a lot of meanings.
LIGHT AND SHADOW
COMPOSITION AND COLOUR I used gold and yellow colours to contrast with the blue, lifeless background. Because the portrait is the focus, I used a composition that draws viewers to the centre of the image.
Correct lights and shadows make an image more authentic. When done accurately, they give it a high-quality and professional look. This makes the difference between a good digital painting and an awesome one.
I always try to create something surreal and unique that represents my own opinions ÂŠ Copyright
DIGITAL ART USING PHOTOSHOP BRUSHES
DIGITAL ART USING PHOTOSHOP BRUSHES EXPERIMENT WITH DIGITAL AND TRADITIONAL MEDIUMS TO CREATE VIVID PORTRAIT ILLUSTRATIONS
eing able to create art digitally has sped up our workflows and allowed us to apply effects that would previously have been impossible. However, digital art can be quite generic and artists often miss the unique yet random styles that can only be achieved with traditional media. But with Photoshop, digital artists can integrate traditional art into modern methods, allowing them to push boundaries and create new art forms. This tutorial will show you how to do just that with this eye-catching mixed media portrait.
When creating a portrait, there are many ways of approaching the concept and executing it. The processes shown here are carried out using basic Photoshop brushes and tools that are applied in more unusual ways. Following the tutorial step by step will lead to an understanding of the process, but by experimenting and using your own techniques you can create fascinating new forms that will be unique and special. Experiment with colours or even monochrome, as this can really change the mood and density of the artwork.
Archan Nair is a self-developed digital artist and illustrator who specialises in mixed media and digital illustration. Clients include Sony, Nike, Canon and Red Bull.
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Use traditional media to create a paint-effect background. One way to do this is to take three different coloured paints and mix them in a bit of water, swirl them around and take a picture with a high definition camera. Another method is to create an abstract mix of colours on a canvas or piece of paper and scan it into the computer, as in this example.
NOTES All brushes are the default Photoshop CS6 brushes.
WORK IN PROGRESS &2/-ď42!$)4)/.!,ď-%$)!ď 4/ď!ď$)')4!,ď!247/2+ď
Progress 1: -AKEďBACKGROUND
Progress 2: 0AINTďTHEďPORTRAIT
IMPORT THE BACKGROUND
Once the paint image has been scanned or imported into the computer, create a new document (Cmd/Ctrl+N) and a new layer. Drag the painted base into the new layer and use a soft brush to create a soft circular surface over the paint-effect background. This is important, as the portrait will be painted over this area.
SKETCH THE OUTLINE
Invert the layer to change the blue tones to red. The next step is to sketch the portrait. With a small fine brush tip, draw the silhouette and features of the face, making sure the composition is central and just above the soft brush area you created in Step 2. Select the default pencil brush in Photoshop and activate Smoothing and Shape Dynamics.
Progress 3: !DDďFINALďEFFECTS
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ADD HIGHLIGHTS AND SHADOWS
Shadows and highlights are what give depth to an otherwise flat-looking portrait. It’s a good idea to create these in the initial stages of the design to make it easier when applying the colours. First, create a new layer and call it ‘Tones’, then using a soft round brush at 70% Opacity and a white colour, create highlight strokes as shown in the image. After that, select a dark shade such as black or dark grey and apply darker strokes in areas like the back and sides of the face and below the lips and neck. Creating shadows and lights can often be tricky. Look at different photographs of faces to study the light and shadow in them.
PAINT THE EYES
PAINT SKIN WITH COLOUR
You can now start painting your portrait, beginning with the eyes. The aim is to paint using colours that contrast with the red tones but that also give a mysterious and dramatic effect to the image. Using shades of aqua blue and light lime green, take a soft round brush and paint the eyeballs and eyebrows very softly in a circular motion. The eyelashes are created using fine strokes drawn from the eyelid outwards. You can refer to the screenshot above to see exactly how the eyes were painted in this example.
Next, create a new layer below the Tones layer and name it ‘Coloured paints’. Select two colour tones of blue and lime green. While painting, keep switching between different shades of each, for example, different shades of blue, green and yellow. Take a distorted brush and use it to create strokes in random directions with each colour for an unusual colour palette. After the blue and yellow-green colour range, do the same with orange, red and magenta tones.
CREATE ABSTRACT SHAPES
You can use Photoshop’s Lasso tool (L) to create some really unusual effects and shapes that will add interest to your portrait. To apply them, you will first need to create a new layer called ‘Lasso shapes’. Select the Lasso tool and create a branch-like, slightly abstract geometric shape like the one in the screenshot. Use any Brush tool with slight texture and a darker mix of colour tones to randomly paint inside the lasso selection to create interesting effects.
QUICK TIP Apart from using just the brush engine in Photoshop, a nice idea is to play around with Lasso tools. It is such a flexible yet simple tool to create interesting new effects and shapes.
PAINT COLOURFUL STROKES
Open a new document (1000 x 1000px) and create a new layer. Remove the background layer. Select any hard-edged brush and draw strokes while holding down Shift. Try and make each stroke a different colour so you get a beautiful range of colour tones. The colour palette used here consists of reds, oranges, lime green and yellows. The idea is to create strokes in one straight direction so that they blend in nicely. Try and do this several times so that there is a nice range of colours and depth.
ADDING IN DETAILS -)-)#Ä?42!$)4)/.!,Ä?%&&%#43Ä?4/Ä?!$$Ä?%842!Ä?).4%2%34
FUSE THE STROKES INTO THE PORTRAIT
Copy the layer of shapes you created in Step 8 into your main artwork file. Place the shapes below the lips, jawbone and over the eyebrows, as seen in the screenshot. You need to tweak the shapes so that they fit in nicely with the composition, and you can play around with the colours as well. 001
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One way to add an additional element to the portrait is to create fan-like patterns from multiple duplicated shapes. To do this, use the Pen tool (P). Create a new layer and label it â€˜Shape repeat 1â€™, then draw out an organic point shape as shown in the screenshot. Make sure that the starting point of the Pen tool meets the end point so that it forms a closed shape. Ctrl/right-click and choose Make Selection.
MORE BRUSH STROKES
FILL THE SHAPES
You can add extra depth by creating even more interesting, colourful strokes. Use a hard brush and zoom into the portrait. Reduce the brush Opacity to about 55% and play with the opacity of different strokes. Apply brush strokes on areas that you could highlight, as shown in the image. You could even use a hard Eraser with a very small size setting to create uneven edges.
Take two tones of grey and use the Gradient tool (G) to fill the selection you have created with a gradient. Take a soft round brush and brush the edges of the shape while the selection is still on. This will add depth to the shape. It will also help when you repeat the shapes to create a shadow. After that, use the Lasso tool (L) or the Pen tool (P) to create an almond-like outline in the centre of the shape. Make a selection and fill it with a dark grey colour. You are now ready to form the pattern.
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FORM THE PATTERN
FINAL IMAGE ADJUSTMENTS
Now you can create a fan from the shapes. Press Opt/Alt on your keyboard and drag the Shape repeat 1 layer to duplicate it, or Ctrl/right-click on the layer to do so. Rotate the new duplicate shape by 30 degrees and place it over the pattern layer. Repeat the steps again until a chain of shapes is created. Each shape needs to be rotated and aligned over the previous one to create a beautiful, seamless pattern.
LINE ART DETAILING
You can create extra interest by adding a line art drawing into the visual. Select the white colour and use a thin pencil tool to draw some flowing organic shapes near the eyelids and the back of the portrait. Experiment and play with other areas too. This effect needs to be very minimal and should be added as a touch of detailing.
For the final step, create a new Color Balance adjustment layer. Select Midtones from the Tone tab and drag the Cyan-Red slider to +7, the Magenta-Green to + 3 and the Yellow-Blue to -7. Set the layer’s blending mode to Color. This is a nice way to give a lovely tone to the artwork, especially when working with many colours at once.
QUICK TIP Keeping ‘Preserve Luminosity’ checked prevents the image from changing brightness as you adjust the colour balance.
PAINTING AND PREPARING THE BACKGROUND #2%!4%ď!ď"!3%ď7)4(ď42!$)4)/.!,ď-%$)! One of the most fascinating aspects of digital art is the ability to fuse different mediums. It really pushes experimentation to another level. Initially, when conceptualising the artwork, it was going to be completely digital, but the idea to create the background paint texture manually using acrylic paints sounded fun. The aim when creating the background is to just go wild with the paint and have fun, and then later on fuse it with the digital painting in Photoshop. The results can be quite interesting, as every brush stroke is random and very spontaneous, and can lead to something new and vivid.
First, take a white A3-sized sheet of paper or card. Prepare a medium-grey shade by mixing black and white together. Then take a large sized brush and create paint strokes in an elliptical direction around the edges of the paper. Try and leave the middle portion white for now. Apply some water to ensure a nice consistency and add layers to the stroke.
Next, you will need to add some colour to your base design. Mix different shades of green, yellow, blue and white until you get a slight aqua tone to the mix, then paint this all over the grey background. Have fun and experiment with creating interesting strokes on the sheet. What you are wanting to achieve is something relatively solid but completely abstract.
PERFECT THE BACKGROUND
Play with water to blur out certain areas, or even mix some dark tones again. You want to create a beautiful fusion of both grey and blue tones, which you can import into Photoshop to start creating the artwork from.
WHICH DSLR IS FOR YOU? WE EVALUATE THESE THREE NEWLY RELEASED DIGITAL SINGLE LENS REFLEX CAMERAS TO HELP YOU WORK OUT WHICH ONE IS BEST FOR YOU
here are many cameras on the market, from compacts to Digital Single Lens Reflex cameras (DSLR) to bridge models. Here we have narrowed our sights on three ideal entry-level DSLRs to explain how these will suit three different types of digital imager: portrait retoucher, matte painter, and photo manipulator. Why, you may ask? Well, Adobe Photoshop CC and Camera Raw can only do so much. Your base digital image is always the key to success. A lot of you might get by with a quick shot with an iPhone or
a point-and-shoot, and while it may be enough to capture the scene, what about taking that image further and expanding on it? That is where the true limit of the medium you shoot with is tested. Sure enough, a lot of retouchers painstakingly remove noise, lens correct and use Content Aware tools to get better results. But executing a perfect image first time and then working with the high-end result will push your creativity exponentially. The main stumbling block with DSLRs has often been their lofty expense. When you take into
account the body, the lenses as well as the peripheries, costs can mount up, and once you invest in a system, you stick with it. But now, a majority of manufacturers are releasing high-spec, low-cost bodies, meaning the doors to creativity are swinging that much wider. While we believe each camera has itâ€™s own merits, what we aim to do is advise you on which camera is best for your shooting needs. So be it landscape or portrait capturing, rest assured that one of these will be right for you.
!,-,Ă?#-1Ă?" .#,26Ă?)Ě¤Ă?'' 1-,7Ă?1*2Ě¤ 5&7Ă?31#Ă?Ă?"1*0 Using a cameraphone or compact allows you to take spur-of-the-moment shots, but images often need to be edited later. With any one of these listed entry-level DSLRs, you can shoot images with precision and get instant results.
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REVIEWS WHICH DSLR IS FOR YOU?
THE PENTAX THROWS ITS WEIGHT BEHIND ITS FUNCTIONALITY The PENTAX K-5 II is a very tidy camera with all of the buttons where you would want them. It stands apart from the Canon and Sony through its blocky build. Make no mistake, this isn’t a downfall; as a rugged camera, this body will aid the landscape photographer well, as the weight of the body alone will be enough to reduce movement when used
with a tripod. Also, the high ISO sensitivity and the sealed body mean that this camera will cope very well in colder night settings, as well as in dusty surroundings. With a self-cleaning 16MP sensor thrown into the mix, it’s clear that this is the camera to use when shooting in outdoor locations and varying weather conditions.
■ SEALED BUILD A flexible seal under the body reduces dust and moisture entering the body through the gaps and affecting the sensor Above: Shooting at the higher end of the ISO range still delivers detailed, high-quality results
Above: The sealed body ensures that all of the buttons are protected, reducing artefacts inside the body
■ SENSOR SIZE
■ DNG SHOOTING MODE
The K-5 II’s 16MP sensor isn’t the biggest of the bunch, but with its high ISO ranking and noise reduction, it manages to hold its own
Shooting in DNG allows for easier storage of files with no sidecars, reducing the risk of edit information being lost or deleted
This is a compact, heavy hitter with the capacity for high-end results in dynamic conditions. Its only limitations are its MP rating and dependent on the user, the weight, as it could be a cumbersome object for some. Otherwise, it’s definitely usable across the board and one for the outdoors photographer.
WEIGHT AND SIZE
The notable weight of the K-5 II means that, aside from keeping the tripod weighted and your grip firm, the body is more reinforced. This gives the PENTAX a clear advantage in scenarios like outdoor shoots, where the likelihood of rough impact and hard surfaces are rife. So if you’re looking to shoot the highlands in winter, this is a great camera to keep you company. Not only that, but it is a tidy product that won’t encroach too much on bag space.
DNG FILE FORMAT
The K-5 II shoots in DNG (Digital Negative) format. This is a form of enhanced RAW system that retains the RAW file edit information when processed. As a workflow and archival tool, it is a wise move to investigate. Changes to images can be written directly into DNG files without the need to create sidecar files. DNG files can also store the full original RAW files which can be extracted later on if necessary, meaning edits are non-destructive.
ISO is essential for taking good shots in any lighting condition. This function will help to equalise your Exposure Value (EV), allowing you to get sharper still images in darker conditions. With a sensor that can work up to ISO 12800, the K-5 II is a safe choice for low light. While there will always be noise at ISOs that high, recent advances in software capabilities mean that it is no longer hard to correct. This will push low-light capturing and expand your horizons.
A COMPACT FRAME WITH FEATURES THAT CAN BAIT THE BIG BOYS With HD video, a tilting screen and a vastly improved sensor system, the Canon EOS 700D body enables full photography exploration. This is due to its tilt screen system, as well as the expansion of its under-the-hood basics, such as sensor size capability. The 700D works across the board and is a better camera to use for a multitude of tasks. So if
you regularly shoot both portraits and landscapes, this camera will have the most appeal. Its 18MP sensor and moveable screen will aid in capturing both subjects in equal measure, and youâ€™ll definitely get the right angle and the ease of use within menu functions. Throw in a touch screen and you are set to shoot in any situation.
â– 360 DEGREES OF OPTIONS The unique mode dial is now unlocked to turn 360 degrees, allowing the user to turn it until they are using the right mode
Above: As with the PENTAX, the Canon delivers impressively clear images, even at its extended ISO value
Above: The flip-out screen is fully moveable, durable and touch sensitive, allowing for freedom of angle
What it gains from under the hood, it lacks in body build. The 700D is a gem to have in any imagerâ€™s kit bag, but sadly you will need some slender hands to grip its small build. This shouldnâ€™t hinder you getting your shot, though, and the sensor size and simple menus make this a well-rounded beginnerâ€™s camera.
â– PETITE BUT POWERFUL
The lightweight body and compact size make it easy for any photographer to grasp and carry
The hinged touch screen lets you compose from any angle and adjust settings with ease
12,"Ă?-32Ă?$#230#1Ă?THE CANON EOS 700D HAS PLENTY TO OFFER
WEIGHT AND SIZE
The 700D is very lightweight, allowing the user quick access and continuous holding, enforced by the textured grip. It also makes it useful for studio setups where the camera needs to be supported or suspended. However, the lightweight nature of the body means that the camera will become top-heavy once a lens is attached, but the compact size of the camera means less room is taken up your kit bag, freeing up space for accessories.
SHOOT ANY ANGLE, ANYWHERE
The 700Dâ€™s manoeuvrable view screen pulls out, flips, rotates and angles, allowing you to view your shot no matter how complex the angle is, with the added benefit of the screen being touch sensitive. This doesnâ€™t mean you have to have it out all the time, and taking into account the sensitivity of touch screens, the option to flip the screen around into the camera body for protection means that those who prefer to view through the eyepiece still can.
18MP WITH NOISE CONTROL
The 700D boasts an 18MP sensor, which will allow for large format prints. In addition, the expandable ISO controls allow the user to push the ISO value from the intended end range of 12800 to a far more sensitive 25600. As with the PENTAX and Sony, a little help will be needed to iron out all of the noise created in-image., but still means that shooting in low light and bright sun are both achievable, giving you options for studio and location.
REVIEWS WHICH DSLR IS FOR YOU?
DOES COMBINING THE ELEMENTS HOLD TRUE FOR SONY? The Sony SLT-A58 is weighted and rugged in feel, yet compact in approach. The screen is limited in its angles; unlike the Canon, it only opens up or down. If you are working at low or high levels, however, this can be a benefit. Another is its 20MP sensor – the highest capacity of the group – and it also has an ISO that goes to a respectable 16000.
This camera is a must for studio enthusiasts, as the screen stays on a flat plain. The Translucent Mirror Technology incorporated in the A58 allows for an exceptionally fast response from shutter release to sensor, reducing the risk of missing your shot. However, it is clear that this camera is only a shade above the bridge camera range.
■ &,)0Ɏ/54Ĉ3#2%%. The flat to 90-degree screen allows for perfect shooting from the hip, and you can view a digital display through the eyepiece Above: Unlike the Canon and PENTAX, the Sony does start to falter in the higher ISO ranges, but still delivers on tonality
Above: The flip-out screen isn’t as diverse as the Canon’s, but it will give you a different viewpoint; far better than a static screen
■ INSTANT SHOOTING
■ DIGITAL EYEPIECE
The high-speed reactions of the Translucent Mirror Technology allow the image you see to be instantly captured due to the non-moving mirror construction
The eyepiece utilises Electronic Through The Lens (ETTL) viewing, allowing for a well-lit view of your subject whatever the light
Certainly the safest camera of the bunch for the non-committed, but it does feel lacklustre in comparison to the previous two. This is a shame as it has some incredible features, such as the sensor size and its eyepiece and the live view will give exact skin tones instantly – perfect for studio use and portraiture.
DIRECT CAPTURE TO THE SENSOR
Love it or hate it, the choice to use Translucent Mirror Technology reduces lag from when the shutter release is fired to when the sensor receives data, which is a massive benefit to the digital imager who needs a shot with no delay. It also reduces the amount of moving parts within the body, minimising weight and body movement through capture. So when using the timer mode for a long exposure, there will be no internal interference to cause shake.
SEEING THINGS AS THEY ARE
With the Sony’s OLED Tru-Finder, the signal that would be pumped through to the viewing screen on the back is instead channelled to the eyepiece, which in many bridge cameras is nothing new. But seeing how the A58 uses the TMT system, using another E-TTL display makes sense. Most of the screen is calibrated to give you the exact results for colour and contrast as you would see when you upload the image, allowing you to make faster decisions on shoots.
With a reach of up to 16 high-res fine JPEG images being captured at 8fps, you can be sure to capture all of the action with the A58. But be warned, such a frame rate can’t be delivered with all file types. If you are looking to shoot burst modes in RAW, you will have to stop down to a slower 5fps to capture five RAW images, as well as fine large-format JPEGs. However, when you take into account the massive 20MP images being transferred onto the card, it’s quite a feat.
TOPAZ RESTYLE REVIEWS
TOPAZ RESTYLE STYLISE YOUR PHOTOS BY CHOOSING FROM 1000 PREMADE PHOTOGRAPHIC EFFECTS
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opaz ReStyle is the latest in a long line of software that provides you with the means to add creative effects to your photos. It can be used as a standalone program or as a plug-in, and Photoshop users have everything to gain from using it as the latter. Topaz has produced an interface that shares the same aesthetics as its Adobe counterparts. Slick, charcoal panels and colour-coordinated presets provide a look that Photoshop users will love. Sadly, you wonâ€™t be as enamoured with the softwareâ€™s lag, which appears when applying presets. These effects donâ€™t update live on screen, as weâ€™re used to in other plug-ins. Pop-up examples do this instead, which you must choose from before applying your initial look. However, this interval may be because Topaz ReStyle handles 1000 pre-made photographic effects, which isnâ€™t a bad compromise at all. In fact,
itâ€™s a huge selling point when you consider these can be intuitively adjusted to look just about any way you want them to. The Collection slider makes matching effects to your images easy, through a set of categories including Fashion, Seascape, Street, Nature, and many more. Basic sliders let you affect colour, tone and detail, but if you want to customise with more advanced options you can, using those in the ReStyle panel. Here you can target the five separate colour regions set by your preset to perfect a new style. You can affect the hue, saturation and luminosity of any colour by tweaking sliders. Itâ€™s so simple and actually a whole lot quicker than working with Curves, Levels and various other adjustment layers. However, if Photoshop users still want to apply these tools you can, as your Topaz ReStyle effect is saved to your Layers panel as a new layer.
Basic sliders let you affect colour, tone and detail, but if you want to customise with advanced options you can
A little extra care with automation and tool control is needed to enable this plug-in to deliver its impressive set of effects faster, really complementing a professionalâ€™s workflow.
WHAT ELSE CAN YOU DO IN TOPAZ RESTYLE? /4(%2Ä?'2%!4Ä?&%!452%3Ä?&2/-Ä?4()3Ä?0(/4/3(/0Ä?0,5'Ëś).
â– STYLISH INTERFACE The slick, charcoal panels and colour co-ordinated presets supply an interface that Photoshop users can really associate with.
â– MASK TOOLS â– FIND SIMILAR PRESETS This is an automated option that may well go unnoticed, but knowing where to find it and using it will save you a lot of time. Instead of manually searching for other presets similar to the ones you like, simply have this active then select the Find Other Presets option at the top of the Presets menu.
You can mask effects in and out of your image using the Brush tool, similar to Photoshop. A full screen selection preview would improve the precision of your application, but the Mask viewer and Smart Feather sliders compensate for this.
READER INTERVIEW THE SIGNIFICANCE OF LIGHTING AND DETAIL
THE SIGNIFICANCE OF LIGHTING AND DETAIL DIGITAL ARTIST SEBASTIAN CLARK EXPLAINS THE IMPORTANCE OF DETAILING IMAGES USING PHOTOSHOP TOOLS
WHICH OF YOUR CREATIONS IS YOUR FAVOURITE PIECE OF DIGITAL ART? At the moment my favourite is my S.W.A.T. team painting. It was the first painting I did using photographs for the guns and this pushed me harder to get the faces looking more realistic so that they would work with the photos. After doing this, I painted over the guns to make them blend into the image. This was also the first time I used a textured brush to make the rain look as if it’s pushing the hair down and running off the faces. I now use this same brush technique in images for sweat and also to create a shine on surfaces. HOW DO YOU ADD THE ELEMENT OF REALISM IN YOUR IMAGES? Lighting is very important. It’s a simple concept; light
All images © Sebastian Clark
igital painting for Sebastian Clark began when he was 16, scanning drawings and using the Paint Bucket tool in Photoshop. This simple start quickly grew into a thirst to do more, and after moving onto sketching directly with a tablet, Clark quickly picked up the skill. “I know this is always a frightening thing for a lot of artists who are starting out in digital art because your pen-computer coordination is very different to working directly on a sheet of paper. But I started doing this about two years ago and it is so much quicker and forgiving than working in a traditional medium. You can go back and change proportions, use photographs and textures, and also quickly manipulate the hue of the image,” Clark explains. Read on to discover how he creates detail and realism in his diverse illustrations.
Hospital: This is a photo montage. After cutting out each shape, I was able to use the Warp, Transform and Skew tools to make the objects appear to run with the perspective of the hall. The cracks in the wall have been made by overlaying photo textures
OUR READER SEBASTIAN CLARK
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Clockwise from top; Cyberdog City: I did this quite quickly, cutting out photos and using the Overlay blending mode to layer the colours on top of each other. Clothing retailer Cyberdog are using this design for a dress and tights Delicious: This was done using Photoshop painting and Illustrator vector art. Itâ€™s nice to have the opposites of the paint textures and the clean lines Glorious: This was my main piece at the Futur Fusion exhibition at the I.N.C. Space in Covent Garden, London. It was drawn in pencil on an A4 sheet and then scanned into Photoshop. I then put the layer on Multiply and paint-bucketed in each colour, then finally layered in the shadows and the highlights
Itâ€™s always amazing to be able to walk past people at festivals, raves and even on the high street and see that they are wearing my designs
Chrome: Inspired by a mix between the Dyson vacuum cleaner and a Mercedes-Benz! Chrome was an experiment to compare and contrast reflections on metal and plastic
THE SIGNIFICANCE OF LIGHTING AND DETAIL READER INTERVIEW
travels in straight lines yet itâ€™s very hard to apply to a piece of work. A great way of simplifying this idea is to start off painting in black and white so that you have a really clear image. You can then work out the values between black and white to find the places where the light will hit. I also use this as a quick way of seeing if an image will work or not. I use many photograph references in my work, but I donâ€™t normally paint straight from them. Instead, I get an idea of the pattern projected by the object, such as folds in clothing or light reflecting off metal. This means that you can gradually paint it without using the reference. HOW DID YOU GO ABOUT CREATING THE DETAIL IN YOUR IMAGES? I love working on the detail every time I produce a new image and each time I seem to want more of it! However, itâ€™s important to put the detail in the right places; the eye is drawn to the detail and too much over the whole image can make the eye tired. The beauty of Photoshop is being able to zoom into images to be able to finely touch up areas which are the most important. As a concept artist, you have to know how things work. If Iâ€™m coming up with an idea for a robot, then hinges, buttons and levers have to be in the right places to work. This is a great way to create detail that is also practically essential for the idea.
NOW AND THEN
CLARK REFLECTS ON HIS DEVELOPMENT The differences in these two pictures are obvious but they were done only about a year apart. The first, titled Anikey, uses the technique of scanning in a pencil drawing, multiplying this layer and then blocking out each colour. After this is done, shadow and light can be placed over the top. It works well but takes a lot of time. In my more recent image I have painted directly onto the computer using a Wacom tablet. There is no pencil outline around the edge of each object and textures have been used to create a more realistic and three-dimensional feeling. NOW
WHAT ARTISTS HAVE INFLUENCED YOU? There are so many amazing concept artists producing such a wide range of work. In the past Iâ€™ve been influenced greatly by Brad Rigney, Dan Luvisi and Dave Rapoza; I think these three guys work together to make some of the best art on the net. Itâ€™s so good to see other artists at different stages of their work as it really inspires you to become better in your field. I love books and John Steinbeck is a fantastic influence on my work. I like to be able to put references from writers into my images. WHAT IS THE MOST REWARDING THING ABOUT BEING A DESIGNER? Itâ€™s always amazing to be able to walk past people at festivals, raves and even on the high street and see that they are wearing my designs on their items of clothing. I even have a bikini out at the moment, although I havenâ€™t seen it personally on a member of the public yet! One of my patterns, Sub Dub, which illustrates speakers and DJ equipment locking together, has been used for the Cyberdog shop faces in Brighton
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and Ibiza. Overall, achievements like that are always pretty cool to see! WHAT PHOTOSHOP TOOLS DO YOU USE? My favourite tools at the moment are the Selection tools. The Magnetic Lasso tool and the Magic Wand are so efficient for cutting out bits of photographs; it means you can make a collage up in a few hours when normally it would take days. The Overlay blending mode is magical in bringing together colours and adding depth to an image. I
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have also always been so impressed with the Brush tool; itâ€™s so varied and very easy to manipulate on the Photoshop canvas. WHATâ€™S NEXT FOR YOU? Ideally I want to work as a concept artist in film and game. I am very interested in fashion design and robots so my type of work fits in well with those two elements together! Eventually I hope to be able to pitch ideas for a film script so that I can work on my own imagery and develop characters and story lines.
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TSHIRT DESIGN ON THE DISC
ON THE DISC
CUSTOMISE YOUR OLD TSHIRTS USING SIMPLE BLEACH DYE AND DIP DYE TECHNIQUES
n this issue’s Resource Project, you’ll discover how to personalise t-shirts by hand. No digital techniques are necessary – well, apart from having to print artwork for your stencils, but that’s all down to your own superb skills. Creating 100 per cent handmade products is always satisfying. Here, we provide you with two techniques you can use to revamp your plain t-shirts. Our experts, graphic studio Oupas! Design (www. behance.net/oupasdesign) and creative blogger
Rachel Alberts (www.twitter.com/rachalberts), share their techniques for producing bleach and dip dye designs. The first is a great way to create grungy looks and logos, while the second lets you add vivid gradients to your garments. Each process is explained in detail, step-by-step, and by the time you’ve had a go you’ll be able to continue personalising your tees on your own. You’ve also been supplied with a selection of fun t-shirt and dye-based digital resources to play with on the disc.
BLEACH DYEING YOUR TSHIRTS CREATE DESIGNS WITH BLEACH TO MAKE YOUR CLOTHES STAND OUT FROM THE CROWD
WHAT YOU’LL NEED
CUT OUT YOUR STENCIL
OUR EXPERT OUPAS! DESIGN
www.behance.net/oupasdesign Oupas! Design is a sustainable graphic design studio that uses a lot of alternative materials to make their ideas a reality. Here, they show you how to bleach dye your t-shirts.
For this project, you’ll have to get your hands on all of the following: a dark, 100 per cent cotton t-shirt, pure bleach in a sprayer, a craft knife and a permanent marker pen. You’ll also need some tracing paper, toilet paper, cardboard, a hair dryer and most importantly, an idea. Start by printing or drawing your idea onto the tracing paper.
Think about how many colour layers you’ll want with your stencil. In this example, you’ll need three, which includes one for an all white surface, another for a lighter colour and lastly one for a faded effect at the back of the drawing.
Prepare for bleach application by placing a piece of hard cardboard inside the t-shirt, so that the bleach doesn’t reach through to the back. Then stick the first tracing paper stencil on the t-shirt, protecting everything you don’t want to bleach.
ON THE DISC TSHIRT DESIGN
DRY OUT EACH LAYER
Start spraying on the bleach from a distance and don’t let the t-shirt become overly wet. This is where you use toilet paper to dry it from time to time. Bleach is very strong over cotton, so you’ll probably see results from your first application.
Dry the tee every time you finish one applied layer. This way you’ll be able to control and produce the tone you want. Be expressive when applying the final, fading background layer. Let the bleach drain or apply a toothbrush to create some neat effects.
After you finish dyeing, make sure that your garment is thoroughly dry. If you want to get rid of the bleach smell, wash it at a low temperature. Now you can wear your new handmade t-shirt and wait for the compliments to roll in!
SAFETY FIRST MINIMISE THE RISK OF ACCIDENTS WHEN WORKING WITH BLEACHING AGENTS Although bleach is an everyday product, it’s highly corrosive, so be very careful when handling. You’ll be exposing your skin, eyes and airways as well as the garments you are wearing when using this in a sprayer. Stay safe and work in a well-ventilated area if you can’t go outside. Also make sure you wear rubber gloves and an apron.
DIP DYEING YOUR TSHIRTS LEARN HOW TO PRODUCE GRADIENTS IN YOUR TEES
OUR EXPERT RACHEL ALBERTS twitter.com/rachalberts
© Rachel Alberts
Rachel Alberts loves fashion, the colour pink, bleaching and blogging. Here, she shares her tips on how to dip dye tees fast!
FIRST PHASE OF DYEING
Fill the sink about a third full with hot water, then add your salt and stir until it’s dissolved. Add about one quarter of the dye in the packet to the salted water and stir again. Dip your tee into the dye solution, as far as you want the lightest colour to appear. Hold the shirt there for five to ten minutes.
SECOND PHASE OF DYEING
Take the shirt out of the water and add the rest of the dye to the solution so it gets a lot darker, then stir again. Once the dye is properly stirred in, dip the shirt into the sink till the water level is as high as you want the darker shade to appear. Hold the shirt in place for another five to ten minutes.
Start by gathering a white t-shirt, four to five tablespoons of salt and some t-shirt dye. Preferably wear an old shirt when dyeing this one in case of staining. Also run your shirt under water until damp, then wring and hang it on a hanger so that the edges are straight.
Rinsing the shirt after the dyeing process is arguably the hardest part. It’s really important that you don’t touch the dyed part of the shirt. Hold the shirt up while a colleague pours water over it, from the top. This ensures that the dye runs down and out. Rinse it as many times as is necessary.
ON THE DISC TSHIRT DESIGN
ON THE DISC !-!:).'ď4%%˶2%,!4%$ď!33%43ď4/ď'%4ď#2%!4)6%ď7)4(
RESOURCE #,/4().'Ĉ"2!.$Ĉ4Ɏ3()24Ĉ MOCKUPS
These neatly organised PSD files are the perfect mockup templates for anyone seeking that professional look when creating their t-shirt designs. With a photorealistic finish, you can quickly see what your creation would look if it were printed and on a fresh tee. With easy-touse Photoshop Smart Objects, it takes seconds to copy and paste your designs into each section of the file. You can decide if you want to see your design hung up on a studio wall or laid out flat on the floor. There’s also the option to add a logo to the hanger or clothing tag.
RESOURCE GO MEDIA TEMPLATE PACK
RESOURCE TIE DYE BRUSHES
This mockup template pack from Go Media’s Arsenal contains six regular women’s crew neck t-shirts that are ‘ghosted’, or appear to have a body shape. These shirts are clean and without distressing. This pack allows total flexibility with the tag – you can turn the tags on or off. · Three shirt colours, easy to change to any colour · Tags are on a separate layer · Shirt brand: American Apparel · Easy-to-use clipping masks in place
This fantastic pack of 75 tie dye brushes are great for use in texturing 3D garments, scrap-booking, paper crafts, web design and much more. Kelly has also included six high-quality textures made with the brushes.
RESOURCE BLOTS DIGITAL PACK
Blots digital paper pack contains ten colourful 12 x 12-inch images with a batik/tie dye look and the subtle texture of tissue paper. Use as an overlay for digital editing, illustrations, in photos, artwork or on the web. High-quality 300dpi RGB images produce excellent home printing results. Convert to CMYK for professional printing or convert to 72dpi for optimum web use.
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