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3D design | Master Channels | Comic-book style | Colourful spacescapes | Interview: Ray Caesar
EXPERT ADVICE
COMIC
• Interview with 3D master Ray Caesar
• Use Poser models to create a cyborg
• Videogames artists share their tips
STYLE Design a golden-age
comic-book hero with
• Realistic lighting to create depth retro halftone textures
40 G ES OFES,
PA NIQUD
H
TECTIPS ATNS MASTER
HIN
CHANNELS
Technical advice for selecting,
splitting, merging and distorting
Channel information
HOW TO…
Create a colourful spacescape
Become a professional artist
Design a moonlit fantasy scene
SHAREYOUR
ARTWORK NOW
VISIT OURWEBSITE AT
www.advancedphotoshop.co.uk
www.advancedphotoshop.co.uk
ISSUE 40
ISSN 1748-7277 £5.99
40
9 771748 727009
chance to see your image here! brushes into a mono work of art
ISS
Cover image
“After getting an Art A-Level at high school, I moved
across Germany to start training in a video company
where I did mainly 3D animations with Cinema 4D. Imageer:
Next, I moved to a photo studio where I can turn out ANDRÉ KUTSCHERAUER
my main passion for pictures with the creation of 3D
stills. I do mainly design visualisations, web design
and some 3D real-time applications. Outside of work
I try to realise as many ‘free’ ideas as possible. One of
I TRY TO REALISE
these ideas is the cover of this issue.”
/
AS MANY ‘FREE’ IDEAS
AS POSSIBLE
www.ak3d.de
4
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www.dandad.org/studentawards08
10
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NOT
installation time bore fruitful results, as McFaul created its own
magical Ice World.
John McFaul, creative director at McFaul, says: “We were
introduced to Carhartt, who threw down the gauntlet to do its
HOT
shop fit for the winter. It’s that simple. The budget was tight so
we had to rein in those ideas, but as Carhartt devotees
ourselves, we wanted this friendship to blossom and therefore
we needed to create something a little special.”
All are welcome, and you really should visit this amazing KAPITZA LIMITED
example of illustrative installations and pick up a few presents.
McFaul will be producing three limited-edition print jobs,
EDITION PRINTS
£80/$162
available only at the store and McFaul site. Fifty of each design www.kapitza.com
will be available. Keep your eyes peeled for price updates on More fresh and funky designs from
the Advanced Photoshop website and at www.mcfaul.net. the Kapitza crew, these will be sure to
shake the winter gloom and introduce
a sense of spring come early.
www.mcfaul.net NOT SO BLACK AND WHITE: Don’t be fooled by its black-
and-white simplicity… There are some genius printing
techniques in among all of this FLATTEN ME
£16.29/$33
NOT
the website below.
inclusion. Digital fine art, be it for personal or commercial
use, 2D or 3D, is all encouraged. This leaves the door wide
open for almost all digital masters out there.
There are no fees or limitations on entries. All those www.ballisticpublishing.com
included will get a complimentary copy of the title, and MINI ‘MOB’
MOBILE PHONE
£160/$320.69
www.gadgetsarcade.com
Some things are best left dead and
buried. No matter how small this
Eighties-style brick mobile, it’s still an
assault on the aesthetic senses.
SMART DRINK
COASTERS
DIY: Visit the site and build your own
http://blog.sentilla.com
Fun in principle yet practically
redundant. These wouldn’t last five
minutes in a heavy social session,
unless waterproof (and batterproof).
11
Advanced Photoshop
DATES
for all users, through an interactive guide plus an easy-to- ATTRACTIVE PROPOSITION: “When compiling the new
follow overview of the essentials in colour management. accessory kits, our aim was to add genuine value to these products,
Those purchasing professional level Eye-One solutions are and with the addition of i1 Defined, we feel the Eye-One range is
now an even more attractive proposition for colour professionals,”
treated to an enhanced version of the package, including says Geoffrey Clements, managing director, Colour Confidence
Personal Color Trainer sessions. This PCT enables users to
tailor i1 Defined support to their own specific needs via director of Colour Confidence, shares his enthusiasm by
PHOTOGRAPHIC an hour-long, one-on-one web-based session with an saying: “Eye-One solutions have always combined user-
PORTRAIT PRIZE X-Rite trainer. friendliness with professional standard features, and the
2007 This includes day-to-day activity and the potential role
of the Eye-One system within it, how to create the best
extra support from i1 Defined takes this to a new level. i1
Defined offers much more than the standard manual or
24 Feb 2008
profiles and implement them through desktop CD-ROM; it gives users the chance to understand just how
National Portrait Gallery, London,
applications, and ways to avoid costly mistakes. It comes their Eye-One system can benefit their specific workflow,
England
standard with all Eye-One Photo, Photo SG, Proof and and therefore maximise the return on their investment.”
XT packages.
21ST CENTURY If this isn’t enough then listen up: Colour Confidence is
WATERCOLOUR supplying these solutions with a range of free accessory
www.colourconfidence.com
www.xrite.com
9 Mar 2008 kits, some worth over £100. Geoffrey Clements, managing
Bankside Gallery, London, England
LUCY MCKENZIE
24 Feb 2008
Colour me pink
San Francisco Museum of Modern The saying ‘Colour me pink’ sums up the latest creative
Art, USA entertainment produced by global authority on colour,
Pantone Inc. myColor myIdea is a community site with a
THE ANATOMY OF difference. Visitors explore the true expression of colour, as
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Advanced Photoshop
Mailbox
Do you have a question or opinion about the
magazine? Email your thoughts to
advancedpshop@imagine-publishing.co.uk
or visit www.advancedphotoshop/forum
I have recently started subscriptions to other
magazines in this genre, but at the moment I
will hold off subscribing to Advanced
Photoshop until I find out how many editing
errors there are in it and the CD.
14
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On the
forum
SUBJECT: Help please
FROM: rebeccapoppy
I am completely new to this, so if I use some
SUBJECT: MetalFX incorrect terms please forgive me.
FROM: Sarah Hardy I need some help. My brother is currently in
I bought issue 37 with the hope of creating the the US and is moving back here in July. He
cover, only to find myself disappointed that not has asked me to look about for him for
all the source files were on the supplied CD. some work. He has extensive Photoshop,
However, I saw this explained in issue 38. While I Flash and Dreamweaver experience and he
am still miffed that I have to pay for the pleasure would like to train people to use it. He has
of using the MetalFX solution and think that it is done training in the US and also does
pretty poor editing to imply something that retouching. Could anyone advise on
wasn’t included, I am pleased to see that the websites I could check out for jobs in the
company offered a massive discount on the Surrey/London area? Thanks!
product. If only all companies were so
understanding and generous. FROM: chris_m_atl
This thread should give you some useful
Editor replies: Once again, we express our CONCEPT ART: Our tutorial in issue 38 struck a cord information: http://advancedphotoshop.
apologies regarding the issue 37 cover tutorial. with one reader, who went on to try out the co.uk/forum/viewtopic.php?t=63.
techniques on his own images
The miswording in the introduction has caused I’m not sure about the policies in the UK,
a couple of you to write in, but MetalFX’s 50 per but you might want to try posting some
cent discount has definitely helped many of CS CHOICE: CS3 Extended is great if you are planning flyers around your local universities offering
on using 3D images or motion graphics; otherwise,
you to complete this professional-level tutorial. stick with the basic version
tutoring services. Maybe speak to one of
the resource officers? If your brother is
SUBJECT: Which Photoshop version? beyond tutoring, see about teaching
FROM: Imran Siddiq opportunities within the college?
The magazine is brilliant; keep up the good Also, there is a local program in the town
work. I am looking to purchase software that where I live that is set up to help some of
will allow me to draw images and to edit them, the low-income youth (high-school age).
not too dissimilar from the approach that you The small school has purchased Photoshop
use. However, I am confused over which and Illustrator and teaches design, which is
software to use, ie, CS2, CS3, etc… I won’t be an opportunity they would otherwise not
creating movies or extensive 3D models – all I be able to find. I have visited the class a few
want is to create characters/settings and times to help them and they are some
provide some realism to them with colours, wonderful kids! Occasionally, their designs
shading, etc. Any ideas? will go into the local newspaper and it gives
them something to be proud of. Maybe
Editor replies: Other than enhanced your brother can set something like this up?
functionality and a cleaner workspace, there’s
little you can do in CS3 that you can’t do in an FROM: Nick S
earlier version. If you decide to go for CS3, then Also try professional training companies
go for the basic version – you won’t find much like www.corps.co.uk. They are London-
use for Extended unless you plan on using 3D, based I think but they may be able to point
motion graphics or measurement/analysis tools. you in the right direction; good trainers are
hard to come by.
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Advanced Photoshop
Cristiano Siqueira
Cristiano Siqueira is an artist who’s taken that step beyond, leaving
behind the comfort of an art director’s position, with the vision of
making an impression in the freelance arena. With such experience as
a professional, this seems a natural progression for Siqueira.
Enjoying the pleasures of drawing throughout these tentative years,
he later took these skills seriously, enrolling in the Carlos de Campos
course, a technical Communication Design course. Siqueira explains: “I
studied for four years on this course and it changed my life forever.
Getting such a strong background, I could start working professionally
at the end of the course, but I didn’t start as an illustrator.”
Instead he took up a trainee position at a graphic design studio, but
it wasn’t long before Siqueira reached the position of art assistant and
then art director. He moved to a bigger studio, creating packages for
food, toys and home utilities. “By doing the toys work I could finally
use some of my illustrations and get recognised,” he says, and this
gave him the confidence to tackle the freelance arena alone.
Over the past three years, Siqueira has expanded his client network
as he has his own style, technique and application: “It’s hard to
describe my style. I don’t know if I already have one because I like to
surf in different media to do my work.”
One thing Siqueira is certain of is his affection for the digital
medium, not forgetting the values of the traditional practices he has
learnt. Translating drawing, shading, perspective and tone, all his work
starts on paper: “Then I use the computer to ‘build’ the illustration.
Photoshop is the program I use to do at least 70 per cent of the work. I
use the brushes so much to colour my drawings and features like
Liquify, Distort and other filters to create effects. To finish the whole
work I use the colour correction tools, so I can blend the colours and
make a few corrections.”
Where does Siqueira see himself progressing? “I feel I’m in transition.
I’m trying to get into the editorial and advertising market, trying to sell
my whole work, not just my technique.” So Siqueira simply wants to
expand his horizons. We have a feeling they’ll be on the bright side.
/ www.crisvector.com
COLLAPSED
UNIVERSE: “The tiny
line effects were done in
Illustrator using the
Blend tool and exported
to Photoshop, so I could
fit them in and use colour
to make them blend
with the background”
RPHOSIS:
METAMO ask me
op le
“Some pe
e 3D
if I used som work.
is
effect for th rised
rp
They are su
this is
when I say p”
ho
just Photos
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the
with lines with
M : “T he dr ess was done d exported to
MAD A tor an
plied in Illustra and
Blend tool ap shading was retouched p”
ho p. Th e Photosho
Photos e br us he s in
ing som
reinforced us
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Mike Carter
Mike Carter worked as an airbrush illustrator in the advertising and design
HEART: field for about ten years before switching to digital in 1997, spurred on by
“The healthy heart
image was used the purchase of a Mac 8500. However, he didn’t fully commit to digital until
for an agency 2000, working in both mediums for a time.
concept pitch to
a pharmaceutical
Carter is an old hand at the illustration game, having got his first
company commission in 1974: “ I got my first commission at the age of 14 through my
in Canada” brother. It was a traditional job of course – I did a backdrop for a ski
company for its trade show booth in Montreal, Canada.”
From there Carter studied the arts at college: “I did my art foundation
year at Concordia University in Montreal, Quebec, Canada and then moved
to Calgary, Alberta, Canada to complete my studies in Visual
Communications at the Alberta College of Art.”
These skills combine to give the amazing results that you see over these
two pages. Photoshop equates for most of the work done, as Carter
explains: “These days everything is done in system – I don’t even buy
pencils any more. If I’m not drawing in Photoshop directly with my Wacom
tablet, then I’ll be doing linears in Illustrator and pasting them into
Photoshop as paths. It really depends on how technical the illustration is.
For instance, I’d never do a linear of people or animals in Illustrator. I’ll do
colour work in Illustrator only if the client has specified that I use a vector
application (usually for massive scaling purposes). All other colour work
happens in Photoshop – I’d say that 95 per cent of my work happens there. I
shoot my own reference images with a Canon G5 or I will search the internet
for hard-to-get photo references.”
Carter’s images have been used in advertising and packaging in Canada
and the US, which suits the style of his work he describes as “very realistic,
although I do like to produce different styles when art directors and
designers request it.”
So what does the future hold for this talented artist? “I’m doing quite a bit
of photo retouching these days and aim to do much more in the future. I
find it very interesting and is very similar to doing realistic illustration, but
with a more technically challenging aspect to it. I would love to do some
matte painting for feature films, and have been studying the Gnomon
Workshop DVDs on matte painting by Dylan Cole and Dusso.”
/ www.mikecarterstudio.com
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PUPPY: “The pu
ppy was produc
for a pet health ed for a Christm
product. I find th as display
how the brush is
engine in Photos is a perfect example of
control you jus hop gives a softn
t don’t get with
how it’s so easy traditional media ess and
to make depth- . I also like
the Gaussian Blu of-field effects
r filter when yo with
attention to a sp u want to draw
ecific part of th more
e illustration”
ROM: “The ROM illustrat
ion was created this past
the Royal Ontario Museum summer to announce the
, Toronto. The image was opening of the Michael Lee-
line work was created in created from scratch in Pho Chin Crystal at
Illustrator and represents toshop and has hundred
the original building tha s of layers. The
t is now joined to the crys
tal addition”
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ct to
“This was a proje ound
WATERFALL: ar
en t wi th brushes. It took
ex pe rim it, there’s
s. No w that I look at
th ree ho ur perspective,
problems in the
definitely some it’s wh at ma de it cool”
sa id
although many
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END OF GODLIN
Kuang Hong focused on portrayin
characters and the
ESS: “At this period
g the harmony bet
ir surroundings. To
, I was more
ween the
think about
it, this was probably
Kuang Hong is a renowned illustrator and concept artist from China, currently another experiment
al piece”
working as an art director in a Beijing games company on an MMORPG. He was
an early starter in the digital arts in comparison to his contemporaries, as he
explains: “I’d liked drawing since a very young age. I was among the first batch to
come in touch with digital arts in the country back in 2000, when I first joined a
Taiwanese games company. I was extremely attracted to digital drawings – it was
easy and fast. I was attracted by the brushes that seemed so real.”
After discovering this passion for the digital arts, Hong used the power of the
internet to get his work known: “[I got my first commission] from posting on
forums and art websites, probably from huoshen.com , before I came in touch
with CGTalk. The first commission was a magazine cover illustration after the
company had seen my work online.”
Now his work has been featured in some top publications, including:
“Spectrum 14, Fantasy Art Now, ImagineFX, Exposé 2 and 4, Exotique 1, 2, 3, Fantasy
Magazine (Chinese), KIkan-S (Japanese), some cards from Sabertooth Games and
Tenacious Games, and exhibitions like Adapt ‘07 Painter exhibits, CGOverdrive
2006, 2007.”
Hong is surprisingly self-taught for the most part, commenting: “There were
generic art classes in middle and high school, but they were the very basic
traditional drawing trainings. Design, illustration and digital things were all
self-taught.” Photoshop is the first program that Hong came into contact with
when he began experimenting with computer-aided designs, and it still plays a
large part in his images now: “For more traditional-looking illustrations I usually
start sketching with a blue pencil, scan in and then colour. If not, for more
realistic, environmental or concept stuffs, I’d just sketch directly in Photoshop
depending on the style I’m going for. Blocking in PS can sometimes give better
dimension and control.”
Hong’s style is unique and recognisable, something that he himself
acknowledges: “[My style is] individualistic... a little strange and a little dark. I
don’t know actually, it’s hard to put forth with words, but I do hear that people
recognise when it’s a painting by me even if they’ve not seen it before.”
/ www.zemotion.net
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On the web
www.advancedphotoshop.co.uk
Our website and readers’ forum is perfect for
showing off Photoshop creations. We present
the best images on the site this month. Log on
and upload to get your images here next issue!
FLOWER PRINCESS
ARTIST: Dimitar Hristov (54ka)
Readers’ challenge
COSTUME: Mira Bachvarova
EMAIL: 54ka@pimdesign.org
WEB: www.54ka.org
“This image is inspired by the THE RESULTS – NOVEMBER
abstract clothes of a friend of
mine and is a result of the Due to popular demand, you can now take part in a monthly
combination of photography online readers’ challenge. Take a trip to our forum website at
and computer manipulation.” www.advancedphotoshop.co.uk/forum and scroll down to
You can also see this image on the Peer Pressure section. Keep an eye out for the most
the cover this month. recently announced challenge. Readers are welcome to post
one Photoshop creation up in response to the theme, and all
visitors are invited to cast their vote for the winning design in
SPLASHING BEAUTY our online poll. We’re pleased to announce the winner of our
ARTIST: Caroline Waller ‘A fresh start’ theme, Chris Martin. Here’s a bit about the piece
EMAIL: contact@fromtheshadows.co.uk from Chris.
WEB: www.fromtheshadows.co.uk “When deciding on a concept for ‘A fresh start’, I’ve always
“At the moment I’m trying new ideas and
considered change for the greater good is not without its
experimenting to find a technique that
sacrifices. In this piece, the young family is on the path toward
works really well for me. This was the initial
sketch towards a final idea, which will be a a Utopian city. I wanted them bringing only the clothes on
portrayal of Countess Báthory. It started as their back and looking as though they stopped everything in
a pencil sketch. I wasn’t happy with a their life suddenly in order to follow this passage. The father is
couple of things: the right shoulder was about halfway down the bridge, running. What could have
slightly dropped and the right eye was caused this desperation? The layout is a photomontage with
smaller – both I corrected on Photoshop. the foreground elements sourced from www.sxc.hu. Fire, fog
I then added further shading and and shading was brushed in Photoshop and Mountains/
highlights, keeping the sketch look. The Sunset rendered in Vue 5 Infinite.”
water was added separately, adding
www.chrismartindesign.com
further droplets and splashes to give the
water movement.”
EUPHORIA
ARTIST: Lee Gough
EMAIL: leegough@fluidwebdesigns.co.uk
WEB: www.fluidwebdesigns.co.uk
“I got my inspiration for this image by
randomly flicking through a dictionary
and picking a word – I got the word
‘Euphoria’. I challenged myself to create
an image using only the word as the
main aspect of the image. The image
was created using CS3 and I used
about 30 different fonts until I reached the desired effect.
Illustrator was also used to create the vector images by making custom brushes
and then importing the paths into Photoshop.”
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R
ay Caesar, on several occasions FLY TRAP: “I think
mistaken for a dog (www.raycaesar. the only reason I do go
outside is that my dog
com/pages/bio.html), is in fact a loves a good walk. The
fine contributor to the creative community. sky just seems so huge
and overwhelming to
At the age of 49 Caesar, or Marmalade to his
me, especially on full
closest friends Crumpet, Teabag and Tim (no, cloudy days when you
really), finds himself artistically engrossed on a can see their vastness
and enormity. It feels
daily basis, serving up some of the most like something will just
substantial vivid delicacies to worldwide reach down and
appreciation from the comfort of his sitting snatch you away”
room. Cataloguing such caprices in paper and
ink, and presently on the digital canvas, has
always been a habit of Caesar’s, much like his
inguish art
love for eating raw vegetables. CASTOR: “I don’t really dist me there is
con tem pora ry or not… for
as
Caesar was born in the UK and now happily t criterion I use is
just ‘art’ and then the nex
resides in Canada, with his wife Michiko (aka ther I like it or not. Even tually I like all
whe
to find the
Jane) and dog Bonnie. Caesar attributes the art, but with some I have
can take time”
doorway into it, and that
move to a ‘Jack the lad’ in his family who thought
it would be amusing to impersonate a member
of the Royal Family and place bets on horses
back in 1966. “It’s amazing what you can get
away with when you’re dressed as a Viscount and
tell people you left your wallet back at the hotel
and could they spot you five quid,” he says.
“Surprising, that in this day and age an entire
family can be exiled and never allowed back in
the country again.”
As you can tell, Caesar is a witty individual,
always ready to tell a good story, whether it’s in
the oral or pictorial sense, true or false. However,
knowing what is quip and what’s reality is neither
here nor there for a rich character such as Caesar,
which speaks volumes when presenting the
‘realities’ within his eloquent compositions. “For
me, my work is about the inside world, what
goes on in my mind and all the little dark corners
of that strange hilltop mansion overlooking the
sea I visit in my dreams,” explains Caesar. “I
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kept my work hidden in a closet for over 25 years. Life experience his work. “I worked for 17 years in a children’s
It’s now seen all over the place, but I convince With over 30 years’ experience as a designer and hospital in the art and photography department.
myself this isn’t the case, that all the attention I graphic designer, Caesar worked as an animator We documented anything from child abuse to
get is really an illusion, just as much of the world and special-effects artist before his career reconstructive surgery, burn wards and animal
sees their dreams as an illusion and their waking changed to freelance. There was also a brief stint research. They were hard years and I learned how
conscious life as the reality. For me, there is an working for a casino games company, but Caesar cruel man and nature can be, and that miracles
equal and concrete reality in my subconscious.” simply had to leave, “because there was a are made by sweat, hard work and passionate
The ‘inside’ is something Caesar knows about massive and irritating overuse of the word ‘dude’.” people who believe in kindness and hope.”
all too well. Living day to day as an agoraphobic, The film industry was of more interest and saw Hard work and passion are virtues Caesar has
he also suffers from sleep paralysis, where upon him creating animated city scenes for projects never failed to embrace since, as he reveals: “I
waking he can’t move. During this time Caesar such as Total Recall 2070, Stargate and Relic don’t think I’ve ever really had a comfort zone. I
commonly experiences visions. He explains: “I am Hunter. This at the time was a great vocation for find every new piece I work on terribly hard. I
told by medical types that they are Caesar, as he explains: “They let me work nights, find them hard to start, hard to keep going and
hallucinations… but I can assure you they are no as I was already beginning to get worse forms of really hard to finish. Perhaps because the nature
such thing. It’s a common condition actually, and agoraphobia, which manifested itself as a fear of of my work is digital, I can never rely on myself to
everyone experiences it a few times in his or her the daytime sky. I liked working on the kinds of stick with the original idea or concept, and after
life, and I believe it’s related to narcolepsy. I find it cheesy science-fiction shows whose low a while the piece takes on its own energy and
a great doorway to lucid dreaming and out-of- budgets allowed me freedom to create
body experiences of which I have had several so something completely different from what they POLLUX (RIGHT): “If you’ve been given the blessed
far.” As Caesar says, other than that, he’s a pretty asked for and show it to the producer.” and golden chance to have a life, do something with it!
Create something! Make art or music or make a child, or
normal guy with a comfy home life, putting his Throughout these in-house years, Caesar also make people well, or make the world a kinder place”
adversity to good use: “I suppose my artwork just worked in the art and photography department SWEET VICTORY (FAR RIGHT): Caesar’s
gives me something to do while I am indoors a of a hospital, and this is something he feels is images start life as 3D models, which are imported into
Photoshop and painted over
lot, and it helps that I love doing it.” important for viewers to record when observing
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YOU ARE BORN WITH YOUR VOICE, you. It doesn’t matter if folk think it’s good or bad;
it just matters that you create what you love, and
IT’S THERE RIGHT INSIDE YOU if you keep doing that, using it as a compass,
your voice gets louder and starts to sing.”
direction, and at that point I must relinquish passion was resurrected: “I can remember the Boundless
control and let the piece become what it wants morning I woke up after a particularly vivid If this is the case, Caesar sure can hit the high
to become. Sometimes it decides it’s not ready dream/vision, and phoned in and quit my job, notes, but he’s one of those who likes to use his
to be finished and asks me to wait, sometimes and stayed in my house and started making my ‘voice’ in the shower. What we mean is, Caesar
years, and then one day out of the blue it nudges work. I used the only tool I had – my computer.” prefers dark corners to the spotlight. He’s just a
me again and eventually allows itself to be Answering a calling no less, Caesar experienced a simple guy with a few not-so-simple problems,
finished. I think if I ever found a comfort zone, a valuable lesson: “I learned that life will continually who does what he loves for that reason alone. “I
big clock would strike 12. Bong! A crow would kick you in the teeth unless you follow that single have made my work since childhood,” says
caw and I would leave this life for the next world.” path you’re supposed to follow. You have to let Caesar. “Many years ago I put a few pieces up on
yourself make that attempt at doing what you the wall and a man laying carpet in our house
Resurrection love, to work towards that every day. Deviate looked at it and called it ‘the art of the dead’.
Caesar’s sobering experience, laced with from that path and it’s going to get tough.” I received a few more comments like this, so I
personal tragedy, has been a major catalyst in his Caesar believes his experiences bear influence took them off the wall more than 20 years ago
own creative path. Caesar lost several members on his artwork, but curiously, he doesn’t believe and put them in a closet. Soon as I made another
of his family, including his mother and sister, much in the word ‘style’: “I think I had a ‘style’ or piece it would go in a closet too, and sometimes
sadly to cancer. The visions returned at this point: way to my work since I first picked up a pencil, I would sand down a perfectly good painting on
“As a child I had friends no one else could see. I and even though I tried very hard to change that wood and repaint another on top.
still remember them and how they were so way, to change my ‘style’, it never worked. It’s like I never collected much in my life other than
funny and kind, and they eventually went away trying to change your voice when you hear it on memories, which I drew in endless sketchbooks,
without me noticing. All that came back and I a tape recorder for the first time. You hate it and so I don’t understand the need to have things
started having visions of my mother as a child try to talk a bit more like Cary Grant, but you like painting or art. I only understand the need to
showing me galleries of work and rooms with forget yourself and your own voice is what it is. I make them. I’m surprised when people want my
open doors that led to rooms with more open often hear people saying to young artists, ‘You pictures and truly haven’t a clue why; at one time
doors, and in each room were paintings and have to find your voice’. I think that’s cruel. You I thought them worthless and now some people
pictures on the walls that I felt I could step into.” are born with your voice, it’s there right inside find worth in them – maybe in time they’ll be
At this point something changed inside you waiting for you to accept who it is and you worthless again or maybe the opposite. I don’t
Caesar. Having put to rest his obsessive impulses don’t have to go looking for it and you don’t know. All I know is I’ll continue to make them.”
to paint and make pictures, a lost creative have to develop a style. Just make what’s inside Thank goodness, is all we can say.
33
Advanced Photoshop
Create a cyborg
Use photos of everyday objects, 3D renders and Photoshop artistry to create a cyborg
I
ON THE DISC f you thought cyborgs belonged solely in the realms of science-fiction, think again. Many scientists say we
are all cyborgs to some extent, especially as our daily lives become increasingly connected to technology.
You will find a whole host of source files for Cybernetics is with us now in the form of artificial limbs and organ supplements, and also the implantation of
this tutorial, including Poser renders and biocompatible computer chips and stem-cell research. So how will our species adapt to change – will the future of the
photographs of wires and chips.
human race ultimately be a fusion of microchips and living cells?
In this tutorial you’ll discover how to incorporate mundane, everyday objects into your artwork. Combining
OUR EXPERT Mark Mayers
household objects with 3D renders is a technique that can have interesting results. This will also give you an
Mark Mayers is a freelance illustrator and designer based in
Cornwall. Recently, he was awarded Designer of the Year by
opportunity to get to grips with the Pen tool, the Dodge and Burn tools and blending modes, as well as the Transform
MetalFX Technology. To see more of his work visit www. and Warp functions to make it even more realistic. All of the source material has been supplied on this issue’s CD, but
markmayers.co.uk.
why not be inspired and shoot some of your own material and see what you come up with?
34
Advanced Photoshop
5 Blend in
Add a layer mask and use a soft-edged brush to
blend the remaining skin. Vary the brush Opacity as you
7 Closed path
Use the Pen tool with the Paths option selected to
draw around the head areas as shown. Use the Alt, Ctrl
work, leaving the eyes, eyebrows and lip areas. Next, add and Shift modifier keys as you work. Remember, you can
a Hue/Saturation adjustment layer while holding Alt and fine-tune your path by holding the Cmd/Ctrl key to
check the Use Previous Layer to Create Clipping Mask access the Direct Selection tool to adjust the direction/
option. In the Edit drop-down list set all the colours to anchor points later. Ensure the Pen tool options are set
-100 Saturation except the Cyan. to Add to Path Area and continue around the shoulders.
6 Selective corrections
Reinstate selected colour areas by targeting the
adjustment layer’s mask and use a soft-edged brush to
paint out the eyes and lips. Your cyborg’s face should
now resemble a hybrid of flesh and plastic. By default an
adjustment layer comes with a mask, which is great for
carrying out this type of selective correction.
35
Advanced Photoshop
12 Gradient effect
Generate a selection from the ‘Face/torso’
layer, target the ‘Black’ layer and use the Eraser tool with
a medium, soft-edged brush to create a gradient effect
within the ‘Brain Dome’. Next, inverse the selection and
switching to a large, hard-edged brush erase the whole
of the neck area. We’ve disabled the visibility of some Be
layers for clarity in this screengrab.
inspired
In order to find inspiration for this project, have
a look around in your home for objects that can
13
be used. The wires and circuits used for this
Highlight details tutorial came from a couple of discarded
Target the ‘Brain Dome’ layer and set the computers; other items included part of a child’s
blending mode to Soft Light and the Opacity to around toy, a shower hose and a flexible torch.
75%. Now, using the Dodge tool set to Midtones and Remember, almost any found object can be the
with a large, soft-edged brush, add some highlight starting point for some creative, lateral thinking!
details. It’s best to use a fairly low Opacity of around 40%
to build up the highlight strength until you’re happy.
14 Inner workings
Open ‘Inner_workings.png’ and
drop it in as a new layer, position above the
‘Black’ layer and name it accordingly. Now,
generate a selection from the new layer and
using a large, soft-edged black brush blend the
top of the neck into the head. Again, we’ve
disabled the visibility of some layers for clarity
in this screengrab.
36
Advanced Photoshop
19 Warp factor
Open the ‘Circuit_1.jpg’ image and
then copy and paste above the brain. Hit 20 Mask the brain
Open the ‘Circuit_3.jpg’ and then copy
Cmd/Ctrl+U and set the Hue to 0, Saturation and paste under the ‘Face/torso’ layer, setting the
to 16 and Lightness to +35. Go to Edit> blending mode to Screen and the Opacity to 50%. Use
Transform>Warp to fit over the brain. Scale the Warp transformations to roughly follow the contours
and rotate until you’re happy and set the of the face, then use an inversed selection from the
blending mode to Soft Light. Open ‘Circuit_2. ‘Face/torso’ layer to delete areas. Add a layer mask and
jpg’, scale, warp, then rotate and position, use a large, soft-edged brush on the right-hand side.
setting the blending mode to Luminosity and Add a mask to the brain and repeat. Finally, set the
the Opacity to 40%. Now blend both layers Opacity of the ‘Face/torso’ layer to 87% to reveal the
with the Eraser tool using a medium, soft- detail. We’ve disabled the visibility of some layers for
edged brush. clarity in this screengrab.
37
Advanced Photoshop
38
Advanced Photoshop
mightier white. Nudge the selection twice down and twice right
and fill with black. Now nudge it back to its original
position and go Edit>Define Pattern.
There’s no Selection tool that can offer the same
level of control as the Pen tool. The Pen tool
creates vector paths, which means the edges
of your selections will always be smooth. The
Pen tool causes the most fear and frustration
among new users, but at the same time is
28
revered by
Pattern fill
those who
have taken Create a new layer above the background
a little time and go to Edit>Fill>Pattern. Ensure your pattern is
to get to selected under Custom Pattern, then set the blending
know it. mode to Screen and the Opacity to 40%. Screen Mode
does the opposite of Multiply, so any black areas will
not be visible on this layer. You can now disregard the
extra channel.
39
Advanced Photoshop
Virtual worlds
Photoshop and the art of videogames
From concept through design to high-street stores and your own home,
videogames travel a long creative path to completion, as Nick Spence discovers
CASE STUDY
A
mong the best-selling and most sought-after SONG © Oddworld Inhabitants
Christmas gifts of 2007 were videogames ENGINE:
A conceptual Raymond Swanland
consoles. Fuelled by cheaper, bigger, HD-ready design for Being primarily self-taught from an early
televisions, higher-spec computers and the promise of the mystical
ancient
age has helped Raymond Swanland define
online gaming, the virtual worlds of computer games
Mudokon his whole outlook on art and life in
had never seemed so real or appealing. race of the general: “I do not believe I would be the
Enter 2008 and gaming, no longer the reserve of Oddworld
videogame artist I am today if I didn’t take the road of
adolescents, now permeates across generations and
universe, by personal exploration to create my skills
cultures. Vast virtual multiplayer online communities Raymond and techniques.” Rather than ‘studying’ art,
such as Second Life and World of Warcraft already attract Swanland
Swanland loved to visit museums, dig for
millions of players each month, generating millions
fossils, disassemble machines and
more in revenue. We’ve come a long way since Atari’s
electronics – preferring to figure out how
Pong, a rudimentary table tennis simulation.
natural and complex human creations
With rival platforms and companies like Microsoft,
worked without having it told to him.
Nintendo and Sony all competing for market share and
Any camaraderie and motivating
the hearts and minds of gamers worldwide, the stakes
competition that comes with learning as a
are high. Behind every game unleashed on the public,
collective that he might have missed out
dedicated teams will develop everything from gameplay
on was soon compensated for when he
to point-of-sale graphics to ensure it’s a hit. Vital to any
joined a fledgling videogames company
success is the way a game looks, from character designs game platform available on the market. This means
straight from high school. “I started my
to the boundless landscapes that help define virtual Mendonca designs everything from characters,
career as a production artist in the field of
gaming worlds. Normally the work of concept designers creatures and environments, to vehicles and props, as
videogames and had to learn very quickly
and artists, it’s a job that requires hard work, dedication well as being responsible for creating design guidelines,
what it was like to collaborate on a very
and a vivid imagination. “It basically involves space which support the work the modellers have to do.
large scale,” says Swanland.
travel, bending time and space. One day I’m a World War Among his creative tools to help achieve all this,
Today, although the technical process of
soldier and the next I’m a professional race car driver,” Photoshop is essential. “Well, let’s just put it this way: if I
creating art doesn’t change much when
says Gustavo H Mendonca (www.brushonfire.com), a was an astronaut, Photoshop would be my space suit.
working collaboratively or independently,
concept designer for Electronic Arts. “It involves building Photoshop allows me to do everything I normally do,
the approach and mindset are distinctly
a state of mind full of freedom and courage to explore but in a better and quicker fashion,” enthuses Mendonca.
different: “When working with other
ideas that others may never think about, all while “It makes it possible for me to create almost as fast as I
artists, I intentionally create milestones
maintaining a sound understanding of the industry.” can think. Photoshop is also a great communication tool.
throughout the process of designing in
In technical terms, Mendonca’s primary role is to I often do my concept presentations with a copy of
order to create ideal ‘forks-in-the-road’ in
create a large variety of conceptual and visual directions Photoshop and my files open, so I can incorporate
which I can absorb and explore input and
which will establish the visual style for nearly every feedback from producers and art directors on the fly.”
hopefully inspire others.” When working
independently on a piece Swanland is his
own judge and critic, challenging himself
to explore new areas creatively: “Ultimately,
working on a piece by myself requires me
to get very deep, analytically, into my own
head and, in some ways, requires a higher
level of concentration compared to the raw
energy of collaboration.”
m
co
d.
n
nla
wa
ds
on
41
ym
ra
w.
Advanced Photoshop
w
w
ex700
(above):
Originally from
Brazil, Gustavo H
Mendonca is a
concept artist
working for
Electronic Arts
Wipeout
speed
concept (55
minutes)
(right): In his
work Gustavo H
Mendonca will
combine
Photoshop with
other 2D and 3D
tools to produce
the right effect © Gustavo H Mendonca
42
Advanced Photoshop
© Image by Daniel Dociu. Guild Wars content and materials are trademarks and/or
copyrights of ArenaNet, Inc. and/or NCsoft Corporation, and are used with permission
combined with solid 3D models will patiently creating the opportunity for
yourself once you’re already in.”
43
w.
w
w
Advanced Photoshop
case study
Tom Johnson
© Tom Johnson early skate concept
(above): Recent work from
Tom Johnson includes designs
Tom Johnson is fortunate enough to have for EA’s Skate, a revolutionary
worked extensively in both the film and, skateboarding videogame for
more recently, videogames industry. With PlayStation 3 and Xbox 360
film credits for Final Fantasy: The Spirits Buildings speed
Within, The Fifth Element and Batman concept (58 minutes)
(right): Gustavo H
Forever under his belt, he’s spent the last Mendonca has collected 12
five years concentrating on videogames international awards in the past
design: “For games, the ‘script’ or blueprint few years for his striking concept
designs and appeared in
is always changing and you’re designing countless publications
within a moving blueprint.” ocean in basement 8
At first, working for videogames (left): Tom Johnson also
company Electronic Arts, Johnson found indulges in personal projects
the constantly shifting design
considerations challenging. “Concept and
finishing tool, it’s the core of my flexibility,” explains combine 2D with 3D to great effect, using Maya to
production design-wise, games are way
Raymond Swanland (www.raymondswanland.com), a model 3D mock-ups of architecture and complex
more rewarding than film if you’re into
renowned concept artist with the gaming company environments when needed. “If you are serious about
architecture and creating worlds, because
Oddworld Inhabitants. Swanland will generally sketch working in games it’s critical to know at least how to
it isn’t locked into 2D. You get to move
out the early stages of an idea in good old-fashioned model in Maya or 3ds Max. It also helps you as an artist
around and through an environment as
pencil and paper for the fluid organic feel of the physical because you’ll learn what the 3D artists and modellers
much as you want from any direction, so as
medium. “Yet, when it comes time to truly visualise an need from you during the production of a game.”
a designer your mind is working at a
image or design in its final colour form, Photoshop
different level and more in line with
architects in the real world.”
allows me the freedom to sketch colour thumbnails at Study and practice
any scale necessary.” From there Swanland will push the Along with software skills, it’s vital you develop good
Johnson will do drawings and
composition as well as run through several colour drawing skills. Fleshing out concepts will be a lot easier if
sometimes sculptures, then work in
variations for the sake of exploration. “Finally, I can take you have some knowledge of anatomy and perspective,
Photoshop. The digital sketch can involve
the rough colour image, zoom in and simply add the and can visualise without resorting to reference
between one and two hundred small
necessary detail in as many layers of experimentation as materials. “First and foremost, draw and paint and study
drawings: “I scan in the final paper sketch.
I desire. All these stages form a very efficient and clean the figure. When I say draw and paint, I mean with
It may be done on toned paper so that I
process that provides a comfortable flow to my cycle of traditional mediums like charcoal and oils,” stresses
can put lighting in with pastel chalk and
exploration and completion.” Legaspi. “Go to life drawing workshops, mentor with a
coloured pencil and marker.” A ‘texture
As with Mendonca and Swanland, Photoshop plays master and get mileage. Life drawing is the greatest
map’ is then built up in Photoshop using
an essential daily role in producing artwork, including teacher of visual art fundamentals. Having strong
his own textures and those found on sites
cleaning up scanned drawings, for Legaspi. “Photoshop fundamentals will make you stand out and get noticed.
like Flickr. “It’s similar to matte painting in
plays a huge role. I generally use the software more than Having a strong 2D portfolio combined with solid 3D
film. The overall Photoshop process can
half of every production day. Besides rendering finished models will make you unstoppable.”
take as little as half a day, but if it’s a new
illustrations, I use Photoshop to ‘clean up’ scanned Andy Park (www.andyparkart.com), originally a
concept idea, about three days to a week
drawings and make quick corrections.” Working on a renowned comic book artist for Marvel on award-
depending on the extent of the work.”
custom built PC with twin monitors, and using winning titles such as Uncanny X-Men, also puts drawing
m
Photoshop, Painter and a Wacom tablet, Legaspi will skills first. Now working as a concept artist and visual
.co
ea
w.
w
w
44
Advanced Photoshop
© Gustavo H Mendonca
development artist on critically acclaimed videogames and power to your characters and environments. Tom
such as God of War II for PlayStation 2, Park sees first- Johnson, who works for games giant Electronic Arts
hand the power of observation. “Being a concept artist (www.ea.com), has recently worked on EA’s Skate, a
requires a strong drawing foundation. It also requires a revolutionary skateboarding videogame for PlayStation
strong ability to paint or colour, either traditionally or 3 and Xbox 360. Johnson combined the computer with
digitally, though it’s pretty standard that one knows how his own props, working in a garage studio. The results,
to paint digitally.” once roughed up, were photographed and used as
Working at Sony Computer Entertainment America, textures. “I enjoy being able to get physical with the
Santa Monica, California, Park believes as a concept artist work then using digital as a final polisher,” explains
you will more than likely specialise in one or two areas, Johnson. “In the industrial design studio we would build
so it’s essential you develop and perfect your strengths: models in a shop, photograph them, then paint on them
“Study everything around you. Learn how to draw the in Photoshop, then make a marker sketch and return to
human figure. Learn about colour and light. Learn how the drafting table or computer – always moving, always
to draw animals, environments and architecture. A thinking about what we were doing, what to do next.”
professional concept artist usually specialises in one or
two areas: characters, environments, etc. So see where
your strengths and interests lie and learn as much as you
can about those areas. Studying and practising are
definitely the keys to growing as an artist.” “The online gaming community has
Hands on an increasing desire for expansion
Although software applications such as Photoshop offer
and customisability that opens
a wealth of creative possibilities, a good videogames
concept artist won’t rely on computer technology alone. the door for artists to create
Along with the ability to draw, understanding depth and
perspective and how light works will give real presence their own content” Raymond Swanland
45
Advanced Photoshop
For some wanting a creative career in the videogames carvings (above): Daniel
industry, the learning curve can seem daunting at best. Dociu has worked for a number of
Thankfully, a whole support network of dedicated sites, different games companies, and has
seen how each tackles a brief
forums, books, DVDs and workshops has developed to
offer advice and learning. Thierry ‘BARONTiERi’ Doizon kite final(above left):
(www.barontieri.com) is a regular contributor to CG More of Daniel Dociu’s work for the
videogames industry
forums and events like Gnomon Workshop Live!, as well
as producing training DVDs. “I hope I can answer some pro street (left): In his
role at EA, Mendonca has the
of the questions people keep asking me about freedom to work on different
techniques, processes, software preference, study aspects including front-end visuals,
background, etc,” explains Doizon. “I would say that © Gustavo H Mendonca/Electronic Arts storyboards and matte paintings
Photoshop is definitely the main 2D software I use in
production – it’s fast, easy and efficient. We’ve been period when you learn the most. Creativity is a mental imagination. Rather like MySpace has shaken the record
developing new techniques with the custom brushes process that involves the creation of new ideas or industry from slumber, online gaming could make stars
the past few years, and there is still a lot of space for concepts, or new associations between existing ideas or of individuals and communities. “As I see the technology
improvement. I only wish we at Steambot Studios could concepts, and this is something you can learn,” says and connectivity of the videogame industry exploding
be beta testers on the next Photoshop version.” Doizon. “I’m a concept designer and I try to be creative in into huge communities on the internet, I see a
Events like Gnomon Workshop Live! offer a unique my job as well as in my life, so my advice is to be tremendous opportunity for production designers like
opportunity to meet and hang out with some of the passionate about what you do, curious and dedicated, myself and the designers of the future,” suggests
industry’s stars, as well as learn from some real-life then to experiment, learn and share with others – and Raymond Swanland. “The online gaming community
interaction. “During a workshop everyone can learn new especially, have fun.” has an increasing desire for expansion and
techniques, get some tips from pros and meet fellow customisability that opens the door for artists to create
artists. A Gnomon event is quite small in comparison Future gaming their own content, separate from the corporate entities.”
with other art conferences, which makes it more The future of gaming, particularly online gaming, could The move could, suggests Swanland, encourage
intimate and accessible,” says Doizon. see a move away from large studios to an emphasis on designers to develop their own style of character, object
Experimentation and finding new ways of working is individual players crafting their own worlds. Second Life and environmental design. It’s a bold vision that could
all part of the creative process. “Today I keep learning has already generated income for some cyberspace also see the new stars drawn from the ranks of gamers,
and sharing. That’s what you do at school, and this is the inhabitants, and the future looks bright for those with as communities develop organically. “In the future of the
online gaming community, artists could become their
own brands that are bought and sold among admirers,
“Photoshop is definitely the main independent of the original game creators,” says
it’s fast, easy and efficient” Thierry Doizon them to collaborate with each other, creating a
changing organic experience with fewer limits than the
real or commercial world.”
46
Advanced Photoshop
48
Advanced Photoshop
Depth of field
made easy
Add depth of field to a piece, and see how much
it can really emphasise your focal point. The
Mixed-media
montage
easiest way to achieve it is to simply duplicate
your base layer and apply a heavy Gaussian Blur
(20-30px). Add a layer mask, and drag out a
Black to White Circular gradient that finishes at
just past the end of the image. You can now fine-
tune the amount of blue in places by editing the
mask, and also reducing the overall opacity of
the layer itself.
C
reating mixed-media montage-style pieces in Photoshop is good fun. The satisfaction that comes from
ON THE DISC
taking the time to thoroughly blend and integrate myriad disparate elements into one cohesive composition is
‘levitation.jpg’, ‘OBJ.psd’, ‘gate.psd’, quite wonderful; we’d take the feeling of leaning back and knowing we’ve meticulously crafted something out
‘brushes.psd’ and ‘balloon_lowres.jpg’
(get the full-res version from www.sxc.hu,
of nothing over most anything.
image number 714875, photographer The biggest challenge (after coming up with a solid concept) is finding unique and interesting things to utilise
Nick Ray) within your work. In this tutorial, we’ll have a look at ways to get the most out of stock imagery, as well as how to best
prepare prior to commencing blending. We’ll also run through the oft-neglected Define Brush function of Photoshop,
OUR EXPERT Justin M Maller
Justin Maller is a graphic artist from Melbourne, Australia. He
and examine a couple of nifty tricks we’ve stumbled across for creating some useful brush sets, so we can add some
is currently working as a full-time freelance graphic artist, original stroke effects to our piece to break up the photo-based work.
while also creatively directing the crew over at depthcore. One of the most important techniques we’ll work with is the methodology behind integrating illustrations into
com. Check out his personal folio at superlover.com.au.
photographs by using the photos as texture and opacity masks to increase unity between media. Let’s get at it!
1 Etching
First things first, open up ‘levitation.jpg’ on this
month’s CD, a wonderful shot taken by Holly Bynoe of
2 Make a selection
Once you have made an accurate
selection of the model, complete your work
hbynoe.com. The first thing we need to do here is to path by re-clicking on the original anchor point.
extract the model from the background, a process The accuracy of this trace is of utmost
commonly known as etching. Zoom in nice and tight on importance, so make sure you’ve done a
the photograph, around the 400% mark should do the thorough job before proceeding. When
trick nicely. Now, get out the Pen tool (P) and start satisfied, right-click in the centre of your path
carefully tracing around the model. The more anchor and hit Make Selection. Ensure the Feather
points you use, the better. Radius is set to zero and that the New Selection
radio button is checked.
49
Advanced Photoshop
4
doing this work that your goal is
Introducing objects always to accentuate, not
Open up ‘OBJ.psd’ from this month’s CD. dominate – you don’t want what
Duplicate the ‘Central OBJ’ layer into our main is already present in the work to
composition and position it behind the ‘Model’ layer. be drowned by your additions.
This is a 3D form we rendered off to match the
model’s general movement and natural lines – you can
feel free to use your own shapes or illustrations instead if
you prefer.
6 Masking
Masking is an essential part
of successfully integrating mixed
media. There are a variety of
ways to go about doing it, the
simplest of which is usually just
adding layer masks. We’re going
to do it differently; duplicate the
background layer and position it
7
over the OBJ layer. Add a layer
mask and fill with black. Start brushing
Start brushing in areas around the extreme
bottom of the object to integrate it smoothly with the
grass objects. Working in black and white makes this a
lot easier, but take your time; alternate between hard-
edged 100% brushes in areas where no illustration is
required and soft, more opaque tips for fade effects.
10 And repeat…
8
Repeat this technique several times until you
Texture masking have carefully texture masked each object. Two hints to
This is where things get interesting – we’re going make this easier: first, Ctrl-click each object to get its
to commence a process we call texture masking. selection and use that as a base reference in a layer
Duplicate your base layer and drag it over the top of mask pre-filled with black to restrict the technique to
your OBJ layers again. Position the layer so that the the object and not splash onto the base photography.
detailed grass section at the bottom of the photograph Second, try distorting by resizing and or rotating the
lies over the space where the OBJ layers begin. Lighten texture layer to get a more varied texture result.
50
Advanced Photoshop
13 Mix it up
Use the skewer to mix things up a bit and
make the vinegar look like a useful grunge type brush.
Poke, tease, play, experiment; start over and remix to
get a variety of effects. You may want to try adding
other things to the mess – have fun with it, unleash
your creativity!
it up!
We spend a lot of time working at print
17
resolution, but because we like to get feedback
on images in progress from friends, it is often Paint splash
necessary to produce work in progress shots at Add a splash of white paint here or there
screen resolution to upload and send around. with your new brushes. To get an extra detailed effect,
Print res does not always translate perfectly to first brush a spot with white using one brush, then get
screen, as many details and edges can get lost out the Eraser and take a chunk out of it using another.
and blurry. Therefore, after you size your piece Keep repeating to get a fine effect.
down, duplicate the layer and apply a Custom
Sharp (Filter>Other>Custom) filter to it. Reduce
18
the opacity to a level that avoids pixelation but
Building up
still achieves an effective sharp – add a layer
mask to fine-tune in places where necessary. the background
We’re now going to start building
up the elements behind our model.
There are two files on this month’s
CD: ‘gate.psd’ and ‘balloon_lowres.
psd’. We’ve been kind enough to
etch ‘gate’ out for you ahead of
time, so go ahead and duplicate
that back into our main
composition. The balloon image is
courtesy of Nick Ray at stock.xchg.
To download the full-res version, go
to www.sxc.hu and search for
image number ‘714875’.
20 More objects
Drag the ‘Cathedral’ layer behind your
objects in the Layers palette and position it so that its
base is just behind the model at about knee height to
suggest some depth of field. Return to ‘objects.psd’ and
duplicate in the last form – ‘Rear OBJ’, and position that
behind the cathedral.
19 Cathedral building
Reduce the saturation on the ‘Cathedral’
21 Out to the sides
Duplicate the ‘Cathedral’ layer and resize it to
around 40%. Drag it behind the main ‘Cathedral’ layer in
layer to 0, and adjust the levels to give a dramatic effect the Layers palette and rename it ‘Left Cathedral’.
(ie, bump the Shadows and Highlights slider towards Reposition it so that it now flanks the main cathedral on
the centre). You want the contrast of each layer to match the left-hand side and spreads the thrust of the
nicely, so base your levels on those present in the structure. Repeat on the right-hand side, this time with a
Objects and base photograph. different reposition.
52
Advanced Photoshop
23 Blend in the
grass detail
Carefully brush in the grass detail
where the small cathedral meets
the photograph. Take your time
and ensure you fully cover the
edges. Now get out the Burn tool
and liberally shade the false grass
so it fits harmoniously with the rest
of the image. Repeat on all other
edges of ‘Cathedral’ layers.
25 Shadows
Hold down Shift and Ctrl-click each of the
‘Cathedral Structure’ layers to get an amalgamated
27 Fine details
Now that the basic formation of the piece is
done, create a new layer beneath all and have some fun
selection of their shape. Create a new layer and fill with splashing paint around. While less is more, more is
black. Drag this layer behind all others, floating only sometimes more too and can be a lot more enjoyable.
above the base photograph. Now, use the Distort Free Alternate between dark and light paint to spice things
Transform tool to pull the shadow out and to the right up. All the hard work is done, so enjoy yourself by
to form an accurate perspective. Gaussian Blur by adding fine details
around 30px when satisfied. to the piece. We’ve
gone with balconies,
clouds, locks and
winged keys, but
you should feel free
to add whatever
26
you like.
A bit of a blur
Repeat this process using the ‘Model’ layer as
your base selection. You won’t need to distort this layer,
but you will need to experiment with the amount of
Gaussian Blur – around 20px should be sufficient.
Reduce Opacity to about 75% to get a nice gradual
effect. Repeat as desired with OBJ layers.
53
Advanced Photoshop
S
pace-themed landscapes with alien planets, twinkling stars and amorphous space clouds are a
common staple in science fiction and fantasy art. The appeal of such artwork is understandable – who
ON THE DISC
wouldn’t want to create their own world? It’s the ultimate escapism: ‘Stop the planet please; I’d like to get off! On this month’s CD you’ll find a handful of
files referenced in this tutorial.
I’ve got my own chunk of spinning space rock over there and it’s calling my name.’
‘CraterGradient.grd’
You’re probably thinking that the creation of planetary fantasies like these come from a high-end 3D app with a ‘mountains.png’
price tag aligned with the astronomical content. In many cases, you’d be right. Most 3D programs are really good at ‘citylights.png’
making spheres. But those aren’t your only options; you can accomplish a wonderfully alien spacescape right in Kirk Nelson
OUR EXPERT
Photoshop. Follow along the next few pages as we take a trip in Photoshop that’s out of this world.
Kirk is a regular contributor to Advanced Photoshop and our
Before we begin, note we’ll be covering a lot of ground really quickly. Space travel isn’t for the ‘faint of art’. This is an sister magazine, Photoshop Creative. This month Kirk takes to
advanced tutorial that assumes knowledge of Photoshop’s layers, masks, filters and adjustment controls. It’s a lot of fun, the night sky and shows how to produce a sci-fi landscape
worthy of a captain who shares his namesake…
but you’ll have to work for it. If you get stuck, pop into www.advancedphotoshop.co.uk/forum and we’ll help you.
1 In the beginning…
Create a new file at 2,500 by 2,500 pixels and
300dpi. Go to Filter>Render>Clouds then duplicate it
(Image>Duplicate) and save it out for a different use
later on. We named our duplicated file ‘clouds.psd’. On
the original file, go to Filter>Render>Difference Clouds.
Hit Cmd/Ctrl+L to bring up the Levels control. Slide the
white input handle to the left (to about 150) and the
black output handle to the right (to approximately 115).
54
Advanced Photoshop
4 Alien terrain
Here’s where this weird-looking mess turns into
something that resembles a planet surface. Select all the
layers and hit Cmd/Ctrl+E to merge them together.
Rename the merged layer ‘Surface’. Then go to Filter>
Stylize>Emboss. Set the Angle to 135, Height to 4 and
Amount to 248%. Hit OK and you should end up with a
crater-covered alien planet texture like you see here.
5 Flooded by filters
The terrain looks good, but
rather moonlike. Adding oceans
helps make it look more ‘planety’.
Add a layer named ‘Oceans’,
change your Foreground and
Background Colors to shades of
grey (‘8b8b8b’ and ‘545454’),
then run the Clouds filter again.
Now go to Filter>Artistic> Paint
6
Daubs. Use a Brush Size of 90,
Sharpness of 7 and a Brush Type Still treading water
of ‘Wide Blurry.’ After applying One more filter: Filter>Sketch>Chrome. Set the
the filter, scale the layer up by Detail to 4 and Smoothness to 7. The effect is a bit too
150% and move it around to strong, so we’ll dial it back by going to Edit>Fade
select the most interesting area. Chrome and change the Opacity to 70%. The water
texture looks appropriate, but it’s a dull grey. Add a Hue/
7
Saturation adjustment layer set to Colorize. We chose
Parting the Red Sea Hue = 0, Saturation = 31 and Lightness = -29.
Let’s reveal some of that terrain we worked so
hard on and give the aliens some valuable coastline
real estate. Move the ‘Surface’ layer to the top, add a
layer mask and reset your colours to black and
white. Make sure your mask is the active element,
not the layer, and run the Clouds filter again. Follow
that with Filter>Artistic>Fresco with Brush Size set
to 2, Brush Detail at 8 and Texture at 1. While still on
the mask, hit Cmd/Ctrl+L to bring up the Levels Need a
control. Now pull the outside handles towards the
centre until the coastline looks fairly well defined. little help?
Are you stuck on a particular step in this tutorial?
Is something just not working right? We want to
BE DARK IN THE CENTRE, BUT been asked. If not, feel free to post it yourself.
This tutorial’s author, Kirk Nelson, is a friendly
HAVE AN OUTER RING OF WHITE enough fellow and frequently answers questions
in the forum. He’d be more than happy to offer
55
Advanced Photoshop
12 Rim light
Because we want to create a partial eclipse
effect, we need some even more intense lighting along
the edge of the planet. Duplicate the planet again and
move this copy above the other. Set the blending mode
to Color Dodge and hit Cmd/Ctrl+U to adjust the Hue/
Saturation. We left the Hue at 0 but set the Saturation to
-53 and Lightness to 67. Cmd/Ctrl-click the layer to create
a circular selection, then hit the Add Mask icon. Unlink
the mask layer and hit Cmd/Ctrl+I to invert it. Move the
mask down and to the right to reveal a crescent shape
glow on the planet’s edge. Finish this step with a
Gaussian Blur of 100 pixels to soften the mask.
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Advanced Photoshop
14
you can get some really interesting effects.
Space weather
forecast: cloudy
While the deep dark black of our
background is probably realistic
for space, we think one of those
colourful clouds of space dust
would be so much more
interesting. Add a ‘Space’ layer
behind all the Planet layers. Set
your colours to black and a deep
purple (we used ‘36155c’) and run
the Clouds filter again. Scale this
layer up to around 350%.
15 Layers of cloudiness
Add two more layers above the ‘Space’ layer.
Name the first one ‘WhiteGradient.’ Change the
17 Like a diamond in the sky
Hit Cmd/Ctrl+L to bring up the Levels control.
Pull the outside handles in towards the middle until the
blending mode to Soft Light and add a radial gradient noise begins to look like tiny little stars. Then scale the
from White to Transparent starting at the point where ‘Stars’ layer up about 300% so the stars aren’t quite so
the sun will be and going almost to the edge of the tiny any more. Add a layer mask and use a soft grey
canvas. Name the next layer ‘HighlightClouds’ and set brush to mask out groupings of faint stars among all the
the blending mode to Overlay. Use the default black and bright ones.
white colours and fill with the Clouds filter again. This
should add a nice texture to the dust clouds.
57
Advanced Photoshop
19
created by drawing paths with the Pen tool and
Solar flare stroking the path with a brush that had
Duplicate the ‘Flare’ layer and scale the Scattering enabled. You can find the ‘citylights.
duplicate so it’s a long horizontal line that spans much png’ file on the CD if you want to add this
of the canvas width. Select both ‘Flare’ layers and merge element to your own scene.
them together by pressing Cmd/Ctrl+E. Make sure the
new merged layer is still set to Hard Light. Now add an
Outer Glow layer style, change the colour to bright red,
push the Size up to 250 pixels and set the Range
somewhere around 47. Duplicate the merged ‘Flare’
layer and rotate it 90 degrees.
20 Moving mountains
From the CD open the file ‘mountains.png’.
Drag the ‘Mountain’ layer onto our scene and position it
at the bottom of the planet. Add a Hue/Saturation
adjustment layer clipped to the mountains. With the
Colorize option checked, set the Hue to 275, Saturation
to 36 and Lightness to +1. This gives the mountains a
deep blue tint. We added a ‘MountainGlow’ layer set to
Pin Light behind the mountains and used a White to
Transparent gradient to add the illusion of atmosphere.
21 Reflect on this
Select the topmost layer and press
Ctrl+Shift+Alt+E (or Cmd+Shift+Opt+E). Select and
23 Watery highlights
Hit Cmd/Ctrl+J to duplicate the Fibres layer.
Notice this duplicate is still clipped. Change the
delete the bottom part of the layer, from midway down blending mode to Screen to add highlights to the water.
the mountains to the bottom of the canvas. Flip the Tone them down by hitting Cmd/Ctrl+L to bring up the
layer (Edit>Transform>Flip Vertically) and move it down Levels control. Drag the left handle to the right until it’s
until it lines up as a reflection on the bottom portion of around the 163 mark. Congratulations! You’ve created a
the canvas. Go to Filter>Blur>Motion Blur and set the space landscape all in Photoshop. Think about how to
Angle to 90 and Distance to 150. add details to make the piece your own; check out our
boxout (above) to see what we did to finish this piece.
58
Advanced Photoshop
to create some superhero comic art reference image (get the high-res
from www.istockphoto.com,
image number ‘000003353398’)
T
and ‘superhero final merged for
he comic world has presented a name of liberty and justice, this truly was a disc.jpg’ preview of final image.
multitude of spandex-clad booming era for the genre, leading to its We’ve also included ‘Comic1.psd’,
which is a Poser render you may use
compatriots for generations. Many recognition as a genuine art form. instead of working from a source image.
reinventions have taken place in this time, Here we’ll learn how to replicate such comic
OUR EXPERT Adam Smith
presenting a plethora of heroic characters, from elements and styles through a modern
Staff writer Adam Smith couldn’t wait to get his teeth into
the charismatic Spider-Man to the dark, approach. Through the understanding of Color this tutorial. A keen reader of Spider-Man comics and
disturbed and dedicated Batman. Mode conversion, the creation of halftone generally anything sporting souped-up spandex, Adam
relished the challenge to create some superhero comic art.
This tutorial will take us back to the twilight textures, the application of brash and vivid
time, a golden age of superheroes. A time when tonal schemes and the consideration of
3
Captain Marvel, Captain America and The Green composition, this offers a fun and easy way to
Lantern dished out a good slapping all in the create your very own golden-age hero. Channel creative power
Select the Save Selection as a Channel
1
icon from the foot of the Layers palette, creating
Up, up and away an Alpha channel. These operate like a mask, so
Begin by opening your superhero-posed deactivating your selection and using a hard-
model. Either take this yourself, or use the low- edged brush, alternating between default (D)
res version of the iStock image on the disc. To colours, add and subtract to your image,
purchase the high-res, go to www.istockphoto. including hair, isolating your figure from the
com and search for image number background. Duplicate and hide a copy of this
‘000003353398’. Apply Image>Adjustment> alpha channel before applying.
Auto Levels or Levels, whichever creates the
2
best contrast. Name the layer ‘Hero’.
Selections
Now activate your Rectangle Marquee
tool and Ctrl-click your Hero layer. Selecting
Color Range from the drop-down option,
select the torso of your figure. Next, increase
the Fuzziness level to around 90 and use the
Eyedropper until you have the entire torso
selected. Click OK and activate your Channels
palette, with your previous selection still active.
4 Stand alone
Once satisfied that your
model is selected, Ctrl/Cmd-
5 Threshold
Label this layer ‘Hero isolated’ and then
proceed to duplicate it using the Layer options.
click your Alpha channel, Now Image>Adjustments>Desaturate your
creating a selection, then ‘Hero isolated copy’ layer and apply Levels
reactivate your Layers palette. treatment to create heightened contrast. Select
Now all you need to do is Image>Adjustments>Threshold. In the dialog
Copy>Paste your isolated figure. box, set a Threshold Level of 170, clicking OK.
Create a new layer and add a
blanket of colour to isolate any
unseen visual value and erase it
as you see fit. Also take the time
to load the Golden Age colour
swatch from the disc in the
Swatches palette (see the
Swatches boxout on page 64).
61
Advanced Photoshop
7 Halftoned
Clicking OK, you’ll be presented with the
Halftone Screen options. Here, apply a
Frequency of 15 Lines/Inch and an Angle of 35
degrees. Shape selection should be Round.
After accepting these settings, once more
select Grayscale from the Mode options and
then Copy>Paste this back into you original
composition, resizing appropriately.
10
comic creation. Demonstrated by Klaus Janson, this title
Skinned
comes in three parts, covering essentials such as shots
and angles, storytelling and anatomy and revealing the Now drop this layer beneath the
true science of comic creation. clipped layers and label it ‘Alpha Hero’. Hide all
Anatomy for Fantasy Artists: An Illustrator’s Guide to layers except those clipped and merge the pair.
Creating Action Figures and Fantastical Forms Next add a new layer labelled ‘Skin’, placed
This reference offers readers a ‘practical, comprehensive beneath the ‘Alpha Hero’ layer; choose a skin
training course for budding illustrators working to tone from your Color palette and apply using
master comic book art, graphic novels, fantasy posters, the Paint Bucket tool. Next Ctrl/Cmd-click your
sci-fi book covers and illustrations and computer games’. original ‘Hero isolated’ layer with Skin still active,
Human anatomical drawing and musculature,
invert your selection and delete.
perspective and composition are all addressed in this
essential tome.
14 Suited…
Set your
locations as follows: Blue =
15 …and booted
Do the same for the right glove, but
this time set the following locations: 31%, 50%,
43%, White = 53%, Blue = 80% at a -50-degree angle. Proceed to do the
64%. Back in the Layer same for your hero’s boots, adding the
Styles options, set a Hard appropriate Location and Angle values. There
Light blending mode at may be visual value you wish to erase like toe
90% Opacity. Set your definition – do this by masking and editing the
Angle to -128 degrees and ‘Alpha Hero’ layer. Some halftone value may
position appropriately need to be added to the ‘Hero isolated copy’.
on-screen before pressing You can do so using the Clone Stamp tool.
OK. Apply a layer mask to
this gradient layer, then
select a soft-edged brush
at 20% Opacity and gently
rub away at the fingertips.
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Advanced Photoshop
17 Flowing locks
To create our hero’s flowing locks
simply duplicate the ‘Skin’ layer, titling this ‘Hair’.
Move this above your Skin layer and select
Image>Adjustments>Hue/Saturation. Increase
your Brightness value to 100% and click OK.
Next apply a layer mask to this layer and then
Ctrl/Cmd-click your ‘Alpha Hero’ layer thumbnail
creating a selection, inversing this. Now paint
away at your masked ‘Hair’ layer.
19 Stroke path
Now, Ctrl-click your path and select
Stroke Path. Make sure you have a 1px hard-
edged brush set to black before you do this.
With your defining lines applied, your image
will look tidy. Now duplicate your ‘Hero isolated
copy’ layer and apply an Overlay blending
mode at 50% Opacity and 50% Fill. Make sure
the layer is placed directly above the ‘Hero
isolated copy’ layer.
18 Masked hero
20
From what you’ve learnt, proceed to
add an actual mask to your hero if you wish. Emblem
We’ve again gone for the simple classic fashion. Every hero wears a symbol. You can
However, to spice it up we’ve added a few Lens illustrate your own or use the good old single
Flares to give it that visor look. Next select the letter kind. We have used the Type tool,
Pen tool, setting it to Paths. Create a new layer rasterizing our applied font. Edit>Transform>
named ‘Line’, placed at the top of the Layers Perspective and Scale, resizing your symbol.
palette. Draw the line you require, activating the Next, select Filter>Distort>Pinch and apply an
Paths palette, selecting Save Path from drop- Amount of -55%. Use the Transform tools once
down options. more to resize and shape.
64
Advanced Photoshop
22 Cutout Filter
In the Cutout Options, set the
Number of Levels to 8, Edge Simplicity to 0 and
Edge Fidelity to 2. Upon clicking OK, hide all
layers accept the Sky layer and select Color
Range, choosing Highlights from the options.
Activate your Channels palette, create an Alpha
Channel and Copy>Paste into your Layers
palette as before, placing this directly above
your ‘Sky’ layer.
24 Shading
Select your ‘Sky’ layer
and apply a standard Gradient
Overlay, with Pin Light blending
mode at 50% Opacity and a 135-
degree angle. Your sky is
complete, but the figure will
need shading and definition.
Duplicate the blacked-out ‘Hero
isolated’ layer and place above
all other layers. Ctrl/Cmd-click
this layer, making a selection and
Inverse. Next choose
Select>Modify>Filter and apply
a 15-pixel radius. Hit Delete
five times.
25 Golden-aged hero
Now apply a Linear Light blending
mode to this layer and decrease the Opacity to
40%, Fill to 50% and mask out areas of light to
create exposure. From here you can use
Photoshop’s colour adjustment options such as
Hue and Saturation to alter the colour scheme
to create cohesion, and even add effects such as
Lens Flare to create dramatic effects like
glowing eyes and radiant costume.
66
Advanced Photoshop
I
n this tutorial, we’ll be learning how to We shall be delving into the surreal world of ON THE DISC
create a fantasy-style image. The project fantasy where trolls, dragons and demons will On this month’s CD you will find
will be brought together using a minimal be seen happily sharing a feast of wild boar four picture files (‘rock.jpg’, ‘stars.
jpg’, ‘Cloud1.jpg’ and ‘Cloud2.jpg’),
amount of stock photography and only basic and virgin’s blood over a fiery pit. Although we which will be used for the tutorial.
Photoshop brushes and filters. won’t be aiming that high just yet. Other free stock images from
Photoshop can be used in many different Fantasy art can be realised in many forms deviantART are also incorporated,
which will need to be downloaded
ways for different things, but it’s the best and styles, the way Photoshop handles layers directly from the site, details of
program available for photomanipulation. will give us an edge over painting or drawing. which are in the tutorial.
Photoshop’s huge range of brushes, filters and The Blur filter will be used to give an ethereal OUR EXPERT Simon Rudd
adjustment techniques can easily be used to soft feel, while brushes will be used to produce Simon is a freelance artist/writer; he has been published by
edit a single or range of photos to produce spiritual orbs. It is recommended that you read Imagine Publishing, Ilex Press and IPC Media to name a few.
He is a big fan of horror, macabre and fantasy art.
seamless montages. through the whole tutorial before you start.
1 Starting out
Make a new Photoshop document
(File>New) with a Height of 20cm, Width of
3 Cloned
Press Tab again to access the toolbars,
select the Clone Stamp tool, making sure you
15cm, Background set to White and the PPI to have a soft-edged brush selected. Once again
300. Open ‘rock.jpg’ from the CD, drag it into the press Tab to access full screen and choose a
new document and position it in the bottom source from near where the white spaces are.
left-hand corner. Begin to clone away the white areas; do this for
all the white areas.
“THE SCENE COULD If you want to experiment with other stock sites and
pictures, then feel free. One of the best sites for free stock is
EASILY BE TRANSFERRED
deviantART (http://browse.deviantart.com/resources/
stockart/), but also have a look at Stock.XCHNG (www.sxc.
TO A FOREST OR A BANK
hu) and Image*After (www.imageafter.com). Although we
haven’t used any textures in this picture they are very
OF CLOUDS”
useful; Mayang’s Free Textures (http://mayang.com/
textures) has loads.
67
Advanced Photoshop
6 Shrink to fit
Now we are back on the rock picture,
select and rename the new layer ‘Girl’. The new
layer is obviously far too big, so we next want to
shrink the cutout picture of the girl. Select the
Move tool from the toolbar and choose
Edit>Free Transform (or press Cmd/Ctrl+T) and
position her on the rock.
8 Add a shadow
The dress now
looks out of place; we can
fix this by anchoring it to
the rock with a slight
shadow. Press D on the
keyboard to reset to default
colours and choose a soft-
edged brush. Add a new
layer (Layer> New>Layer)
and under the dress paint a
line of black.
12 Second cloud
Open the second cloud picture –
‘Cloud2.jpg’ – and drag it onto the rock picture.
Place it under the ‘Cloud1’ layer and name it
‘Cloud2’. Add a layer mask to the ‘Cloud 1’ layer
(Layer>Mask>Reveal All) and using a large soft-
edged brush and with your foreground set to
black, mask away some of the ‘Cloud1’ layer.
13 Clipping mask
‘Cloud2’ is a little light
for our liking, so we can combat
this by adding a Brightness/
Contrast adjustment layer (Image>
Adjustments>Brightness/Contrast)
above ‘Cloud2’. Adjust Brightness
to -33 and Contrast to 26.
Make the adjustment layer
15
into a clipping mask so it only
affects ‘Cloud2’ (Layer>Create Moon management
Clipping Mask). Reposition the moon on the right-
hand side of the picture and select the ‘Cloud2’
layer. Choose the Magic Wand tool from the
toolbar setting the Tolerance to 32, with Anti-alias
and Contiguous selected. Also make sure that
the Add to Selection option is checked. Click on
the clouds around the moon.
14 Moon child
Make a new layer
(Layer>New>Layer) on the top
of your layer stack, naming it
‘Moon’. Draw out a perfect circle
by selecting the Circle Marquee
tool and holding Shift while
making the circle. Add a 25-
pixel Feather to the selection
(Select>Feather) and fill it with
white (Edit>Fill>White).
69
Advanced Photoshop
17
Setting is also important, and while a fantasy picture could
be set anywhere, nature usually plays a central part. As we Turn night to day
have seen here, we have used the sea as the setting of our We are now entering the final steps
picture, but the scene could easily be transferred to a forest of our picture; the fantasy genre often uses
or a bank of clouds. The only limitation here is the
nighttime scenes to add a mysterious and
imagination and with fantasy, usually, anything goes.
romantic feel. We are going to duplicate this
feeling by adding a Hue/Saturation adjustment
16
layer to the top of our layer stack.
Light as a feather
Next choose Feather from the Select
menu and input a Radius of 10 pixels. Invert your
newly made selection by going to
Select>Inverse. Select the ‘Moon’ layer and add a
layer mask (Layer>Layer Mask>Reveal Selection).
Use a white soft-edged brush on the mask to
clean up any anomalies.
18 Non-destructive
Add this adjustment layer by going to
Layer>New Adjustments Layer>Hue/Saturation.
It is important that you first click the Colorize tick
box before setting Hue to 211, Saturation to 25
and Lightness to -32. The picture will be washed
with a medium blue colour. To make it look like
night, change the blending mode to Multiply.
19 Stars
Open ‘Stars.jpg’ from the CD and
copy them to the main picture as before. Move
this layer above the Hue/Saturation mask and
set the blending mode to Screen. Add a layer
mask (Layer>Layer Mask>Hide All) to the ‘Stars’
layer and using a white soft-edged brush paint
over the black areas of sky to bring the stars out.
20 Soft focus
Go to the top of your layer stack and
Select>All, followed by Edit>Copy Merged. Paste
the new layer above the ‘Stars’ layer and set the
blending mode to Lighten. Next, go to the Filter
menu and select Gaussian Blur (Filter>Blur>
Gaussian Blur). Set it to a Radius of 5px and name
the layer ‘Blur’.
21 Glowing orbs
Add a new layer to the top of your stack and name it ‘Glows’. Set your Foreground Color to
white and choose a soft-edged brush from the brush picker. Set its diameter to between 25 and 100
pixels and add a few blobs of white around the girl. Finally, add a 5px Gaussian Blur to the ‘Glows’ layer.
70
Advanced Photoshop
ES OF E X P E R T T UTO R IA L S
1,200 PAG Articles can be viewed In-depth tutorials from
best Photoshop
Fully searchable
database lets you find
High-quality DVD on your computer or
the the exact content you
brings you over 1,200 experts, with resource want quickly and easily
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Photoshop content
A
ll those avid and enthusiastic users of Photoshop are aware of its
intuitive, practical and entertaining functions that, most of the
time, provide almost effortless application. However, this isn’t to
say that those functions of the past, that perhaps take a little more
comprehension, can’t provide you with some overwhelming effects – for
example, using Channels. This function is fundamentally essential within most
creative processes, be it intentional or intuitive. So let’s address the core
principles of the Channels command and then we can, most importantly,
begin to understand its potential within various creative scenarios.
72
Advanced Photoshop
es
iqu
INFO
n
ch
Te
OPTIONS: Coming as standard with six preset
mixing options, Channel Mixer offers the user
many colour and greyscale solutions to enhance
their artwork
Get Spots
Conversion from Alpha Channels to
Spot Channels may be necessary
for print stages, and this process is
SPLIT EFFECTS: Here we have inverted the Yellow Channel after splitting, then remerged layers
with Magenta and Yellow Channels reversed. We then applied a Saturation blending mode simple. Double-click the Alpha
Channel thumbnail and select
flattened image into a number of apply any adjustment you see fit in order of your Channels for diverse, (foreground) and then proceed by
separate images, according to the order to create diverse effects and specific or simply lucky effects. choosing Select>Color Range. Select
number of Channels, produced in results. To apply, simply select the the left Eyedropper tool and then
greyscale. The title bar distinguishes drop-down menu in the Channels Alpha Channel: select your background. The selection
the original file name and Channel palette and then choose the Split preferred practice will turn white and this value will be
converted. This is a seemingly useful Channels command. Acting as a mask, applied Alpha erased. You can use the Add and
process when laying up for print Such effects are complemented by Channels can be used in a variety of Subtract colour dropper tools for
through the process of plates. the ability to merge layers back ways, essentially isolating and/or more precise application. Now OK
However, more creative effects can together after splitting. This option protecting and editing areas of an your selection and, with it still active,
be applied using this practice provides users with the ability to image. This application allows users activate the Channels palette,
through trial and error. Upon splitting reassign Channel order, to continue to apply the usual effects, selecting Save Selection as a Channel
your Channels, you can inverse and/or fundamentally creating new such as filters and gradual colour (Alpha Channel). Finally, deselect
exposures and colour schemes. changes to specific image areas. your selection.
Colorize
To activate, select the drop-down However, the Alpha Channel You’ll now have a new black-and-
menu in the Channels palette again reveals its true capacity when applied white layer. To this you can apply
and this time select Merge Channels. as one of Photoshop’s finest selection Levels treatment to heighten
As you’ll see, individual Channels The dialog box asks users to select a and editing functions. The exposure and apply brushes in the
are presented in greyscale. Mode, which relates to the colour preferential process is simple and can conventional sense to add/subtract
However, you can view individual
mode of your original image, and be applied to most images, producing detail from the mask itself. Cmd/Ctrl-
Channels in colour. You can change
number of Channels, likewise relating professional outcomes. We will click on the Alpha Channel to activate
this default by selecting your
Preference options, choosing to the original image. explore this application through a your final selection, before clicking
Interface from the options and The Specify Channels option sets working example. on RGB to reveal the coloured image,
activating Show Channels in Color itself apart from the Channels palette, Upon opening your chosen image, activating the Layers palette and
before pressing OK. because here you can alternate the decide which visual value to maintain pressing Delete or Layer Mask to edit.
73
Advanced Photoshop
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74
Advanced Photoshop
DAWN TO DUSK
Hi Advanced Photoshop team. I have a
creative conundrum that I am certain you
guys can help me solve. I have a daytime
image and am looking to turn it into a
nighttime image, but the effects I’m using are
a little clumsy. I’ve tried using Variations, Hue
and Saturation and blending modes, and it all
seems a little laboured and time-consuming.
You got any other options?
Alex, New York
NICELY BRONZED
I’ve become recently acquainted with
Photoshop, adding it to my array of
photography skills. A friend of mine has asked
me if I could work on some 21st birthday
photos for her, which I am actually getting paid
for. She wants me to tidy them up and add a bit
of colour and make her looked tanned. Is there
a good way to do this in Photoshop?
Somebody mentioned Replace Color and
Variations, but I’m not so sure. Many thanks.
Kelly, Watford
SET THE MOOD: Take a soft black brush, activate your
Solid layer mask and brush away to allow any light value
Variations and Replace Color may have a detrimental to shine in windows or lamps, creating mood lighting
effect on your images Kelly, unless you’re cutting your
imagery into separate layers – and there is a far easier
way to create such an effect with minimal fuss and
great results.
HELPDESK
Start by duplicating the image in question and then CALL FOR QUESTIONS
applying an Overlay blending mode. This will burn
your image and you can lower the Opacity value for Want help with Photoshop?
the required effect. Around 70 to 80% should suffice. Send your emails to us at:
Next, apply a layer mask to this layer, and selecting advancedpshop@imagine-publishing.co.uk
a soft brush at around 40%, brush away to allow the
highlights of eyes, hair and background to remain.
or post a message on our forum board at
Now, keeping your soft-edged brush, set it to Color www.advancedphotoshop.co.uk/forum.
Dodge, Opacity between 5 and 10%, again dependent Remember to specify whether you’re using
on the effect you want. Next, select the Color Picker a PC or Mac and the version number of
and choose a tone from your model’s tanned skin, then
apply to areas of your model you want to shine, giving
WORK ON THE LAYER: When applying a healthy your edition of Photoshop.
glow to your model, activate the layer and not the
him or her that healthy glow. mask thumbnail, which will have adverse effects
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Advanced Photoshop
P
eer Pressure has once again been inundated with a volume of great
artworks. The chosen entries this month offer an array of insights into the
creative mind, sharing and revealing individual approaches and skills. We
always include your email and web address, so interested parties can get in touch.
All you have to do is send us high-quality TIFFs or JPEGs (RGB or CMYK) at 300dpi,
which can be printed at a minimum size of 15 x 15cm. Send us low-res versions to
advancedpshop@imagine-publishing.co.uk – we’ll get back to you for higher-
resolution work if needed. Alternatively, log on to our forum at www.
advancedphotoshop.co.uk/forum. We cannot provide individual image assessment.
Each issue we select one image to be ‘Best in Show’, and that lucky person will
win a fantastic prize courtesy of The Illustration Source (www.illustration-source.
com), which is a great way to get your work seen. So, what are you waiting for?
James Fox is a 24-year-old designer and illustrator from just outside of Birmingham
in the UK. He graduated from the University of Glamorgan three years ago with a
degree in Design for Media, and since then he has been working in agencies,
putting his skills to use across a wide range of media including print, web,
multimedia and flash design.
However, it is illustration where his real passion lies: “I have recently been
signed by Advocate and am starting to gain a good client base of my own, and
hope to further enhance my commissioned and freelance endeavours until I can,
hopefully, realise the dream of turning this into a full-time thing.”
His work generally consists of a mix of Photoshop and vector work: “I love the
contrast of mixing the two to create something that is quite graphic, yet still
retains an air of realism. I am influenced by a wide range of people, both in art
and design, and across other media such as music and film, and think this is
reflected in my work.”
All of his images follow the basic workflow, “from a rough sketch to the creation
of the main Photoshop element of the piece – layout, composition, clipping,
retouching, colour work, etc. I then save out a flattened version to place into
Illustrator to play with some vector elements and lay out some ideas, then copy the
vector items back into the PSD to mix in and add any finishing touches.”
CHASING RAINBOWS
(ABOVE): “I came across this
photo and was struck by the
strength and colour of the image,
and set about extending these
themes to create something fun,
lively and magical to play on the
trance-like state and passion of
the model”
NESTING (RIGHT): “This
actually started out as quite a
minimal black-and-white piece,
focusing more on composition
than impact. After returning to it I
decided to have a play around
with colour and started using
various layer techniques. I
then started mixing in some
vector elements”
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Advanced Photoshop
Abstract designs
NAME: Eric Saak
EMAIL: ozais@aol.com / AEprints@aol.com
Eric Saak got into using Photoshop when he was promoted to a graphic
design position at his father’s successful retail signage and display company
in 1998. “My parents have always encouraged my creativity, so I looked
forward to this new opportunity. I had to learn Photoshop and several other
programs used in the printing industry, but having no real computer or design
experience, it was challenging at times,” he explains.
It was Saak’s mother that encouraged him to try painting, something that he
eventually got into: “As I was learning more and more at work, I became
interested in the idea of creating digital paintings and collages that would
become actual works of art on paper. At the time the idea was considered by
most artists to be more of a novelty than a ‘true’ art form. My mother and I
started working on a series of digital postcards that eventually turned into a
series of prints, which we showed at some local venues.”
This was to be his big break: “In January 2001, the prints helped me earn an
internship at one of the most respected print makers in the country, Universal
Limited Art Editions in New York. I learned a lot about texture and layers,
which helped my work to evolve into what it is today.”
WAVES IN RED (ABOVE): “When I think back on it now, it’s funny how I was trying to
So what does the future hold? “Currently, I am working on a series of digital
fit into a traditional art culture with a ‘new’ medium. Some people didn’t want to accept
the idea that the creative process was the same except that Photoshop had become a prints of mixed media drawings that are a collaborative between me and my
new form of canvas and palette” partner, Alexis. For more information, please email us at AEprints@aol.com.”
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Advanced Photoshop
BEST
TAISHU: “I created a selection for the
underwater part of the image and used
the Add Noise filter to create the look of
IN SHOW
particles and some additional colour. For
some of the wrinkles, I duplicated the layer,
set it to Layer Style>Bevel and Emboss, and
erased lines to create wrinkles”
Sci-fi selection
NAME: Joe Slucher
EMAIL: slucherj@yahoo.com
WEB: www.joeslucher.com
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show
Sponsored by…
Not only is Joe Slucher this month’s
Best in Show, he has also won a
year’s full Option 3 membership to
the Illustration Source, worth £150,
and the Featured Artist slot for
February. The Illustration Source
Ltd is the newest source of original
art, freelance illustrators,
photographers, artists and
designers on the net. Visit www.
illustration-source.com for more
information. If you’d like to stand a
chance of winning an Illustration
Source portfolio, send your images
to advancedpshop@imagine-
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Advanced Photoshop
THE FALCON’AIRE
(LEFT): “Wearing so little
and being blinded she is
so vulnerable, and she
relies on her falcon’s eyes
to see through. We see her
as she really is and can’t
Stock and ref images: deny her, while she thinks
www.istockphoto.com, www.sxc.hu, of a better world, a world
http://mjranum-stock.deviantart.com, where people will
http://anodyne-stock.deviantart.com, artist’s own understand and they’ll be
no more lies”
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Advanced Photoshop
© Mike Dolan
M
aking the jump to producing art good idea to get training at a college. The
professionally can be a pretty daunting knowledge you get from tutors can prove
task, not to mention the many routes invaluable. You generally pick up a lot by
J&B WHISKEY (ABOVE): “Hand-drawn images are
that you can choose to take, each with their own pros coming in everyday. Aside from that, it is important to scanned into the computer and tweaked. After those
and cons. Should you go to college or university and have a degree that you can put on your CV. It could be initial tweaks are made, colour is added and shading
swot up on the theory and practice of making digital art? the difference between getting hired or passed on by is put in place,” says Mike Dolan
Should you join an agency and pay for representation? potential clients/employers.”
Should you go freelance, or set up camp in a studio? We Though still at the start of his career himself, Wong has
speak to a plethora of artists who have taken each of plenty of advice to give up-and-coming artists in the
these paths, to pick their minds for the essential tips and same position: “I think it is important to diversify yourself.
advice to help you make the decision that’s right for you. Work to your strengths and know your weaknesses. Just
enjoy what you do and enjoy learning. Have an open
Cool for school mind and be willing to accept criticism and learn from
In this day and age, there are university and college that. That’s all I can do myself.” He also advocates the use
courses that cover every possible creative avenue that of the internet for getting your work known: “Getting your
you might want to follow, from Illustration to Fine Art name out there is important too. The internet is a great
with Digital Art Practices. But for every one artist who has way to achieve this. There is an endless amount of places
followed the educational route, there is an artist who is where you can post your work and get feedback.”
entirely self-taught, and often the work that they produce While Wong advocates training at college or university,
is on a par technically and artistically. Which begs the Mike Dolan (www.electricbugle.com) says that a lot of
question of whether going to university or college what you need to know to become professional is self-
actually pays off. taught: “I did follow the usual educational hop scotch of
Jonathan Wong (www.artofwong.com) is an 18-year- high school to foundation to degree. However, I would
old artist currently in his first year at Limerick School of Art argue that a lot of it is self-taught and being in a design
& Design in Ireland hoping to major in Visual course merely provides you with a framework in which to
Communications. He got his first commission for an Irish investigate new working methods yourself.” Dolan himself
dancing website, but at the moment is working on his undertook a BA (Hons) in Graphic Deign: Illustration at
college projects, though he often contributes to art Bath Spa University and now has plenty of regular work: “I
groups depthCORE and Evoke. Always on the lookout for usually do a spot illustration for FHM on a monthly basis,
more professional work, Wong believes that getting the and have just finished working with Kesselskramer on
© Manuela Pentangelo
right training can be a real bonus: “I personally think it is a an ad campaign for J&B Whiskey.”
Company profile
ZeegenRush
visual
“Our philosophy is a global creative
ing alon gsid e crea tives who we
agency work
endo usly resp ect and adm ire,” says agent
trem
sh, Helen
and company director for ZeegenRu
we repr esen t we really love,
Rush. “All the work
mos t impo rtan t thing for us.”
which is the
ts or do
So does the company approach artis
cy? “A total mix of
they come directly to the agen
ed by a lot of peop le, but
both. We get approach
selec tive, as we don’ t rep man y
we are very
for us.” So far
people. They need to be just right
e and have their
22 artists have made the grad
ed on the web site.
digital portfolios host © Mike Campau
sh is more than just an illust ration
ZeegenRu
t desig n
agency, says Rush: “We also represen When it comes to becoming a professional artist, you are a freelance illustrator without an agent, you can
rator s that desig n, Dolan thinks that much of it is down to sheer luck: “I still easily spend 85 per cent of your time looking for new
studios that illustrate, illust
ate, anim ators that feel an up-and-coming artist myself, however I would clients and commissions and 15 per cent being creative.
illustrators that anim
make music.”
illustrate and even designers that say that ‘turning professional’ involves both a fair degree It is a great advantage to have someone selling your
Rush explains how artists can get of luck – right time, right place – but also the need to work and showcasing you, and it also enables you to
: “If you would
representation from the company invest a lot of time honing your skills in those down spend more time on the actual artwork. Agents have
by Zeeg enRu sh the first periods.” This is advice that has obviously worked for the knowledge of the market that maybe you lack when
like be represented
is send us exam ples of your work. Dolan, as he landed his first professional job almost as starting up, and they work on commissions so will
thing to do
us som e
Email is easiest: you can either send soon as he graduated: “I got my first commission about a always try to get the best deal for them and for you.”
than six plea se – or month out of university for an American magazine. It Marine knows what it is like to work on her own, too:
low-res examples – no more
site if you have one. If you came about after ‘hawking’ my degree portfolio around “I’ve always been creative and after doing a degree in
a link to your web
send us
need to post us samples, please just various illustration portal websites.” Graphic Design from Brighton Uni I decided to set up
s we can keep . We will take the time to look myself as a freelance illustrator.” As such, she has plenty
item
at everything we receive.” Agency advice of advice to share with artists of the future: “Show your
ident and
Rush has some final advice: “Be conf Dolan is also one of the many artists who choose to use work to as many people as you can. Meet up with some
uce new work . Don’ t lose hear t if an agency to represent their work and get commissions. established illustrators. If nothing else you’ll leave with
always prod
it can take a
you don’t get immediate results – The advantages are clear for him: “Not having to leave some precious feedback on how to reach your goal.”
work ing for you. It’s large gaps in your schedule for chasing down those
while to get your marketing
a tricky old business out there with man y pitfa lls absent fees and sorting through contracts is great.” Going it alone
and competit ion is toug h.” Illustrator Manuela Pentangelo agrees with Dolan, Holly Wales (www.eatjapanesefood.co.uk), illustrator,
www.zeegenrush.com positive about her association with The Illustration art director and artist, says that it is important to try
Source (www.illustration-source.com): “The advantage going it alone for a time first: “Do some hard work; do
is that I can focus on my job, illustrating.” Pentangelo is some cold calling and build up a set of clients you can
self-taught, and got her first commission through a call your own. It will improve your confidence and the
friend who is a member of The Society of Children’s knowledge will do wonders if you suddenly hit a dry
Book Writers and Illustrators (SCBWI). She has done a spell with an agent. You have to make sure that you are
number of children’s books, getting a lot of her work joining forces with an agent for the right reasons.”
through The Illustration Source, though she does still do She recommends remembering that the agency
freelance projects on the side. She simply advises: “Fight, benefits from having you as a client: “It can be very
believe, learn and enjoy!” flattering as a new artist to have an agent approach you,
Marine (www.hellomarine.com), a French illustrator but remember they need you as much as you need
based in England, is also happy to sing the praises of her them. You wouldn’t apply for a job if you didn’t think you
agency, ZeegenRush (www.zeegenrush.com): “When had enough experience – so do plenty of thinking
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Advanced Photoshop
Company profile
The Illustration Sourtoce
a t due
“The Illustration Source came abou
Hill. “I’d sent
rejection letter,” says director Matt
cies, and a
my portfolio to one of the big agen
rece ived a lette r from them
few weeks later
ainin g that they ’d alrea dy got someone on
expl
and that there
their books of a very similar style
for that style . I realised
wasn’t enough work © Manuela Pentangelo
dn’t get enou gh work for their
that if they coul
s I didn ’t wan t to be on their books.
illust rator
cy myse lf. Three
So, I decided to start an agen BOOK IMAGE (RIGHT): Manuela Pentangelo explains
repr esen ting almo st 60 this image, which is part of a book that came out last
years later and we’re
s.” Halloween: “I usually start with really small thumbnails
very talented illust rator
oached near the text of the story. Then I build a dummy from title
Initially, The Illustration Source appr page to the end. I scan it and put in the words of the text
g that it need s to
artists, but this isn’t somethin and submit it to the editor. When the storyboard is
rs find us now , and accepted, I start to draw”
do any more: “Illustrato
30 or 40
there have been times when I’ve had
folio s to go thro ugh in a week. Kalmikoff, who I knew from Threadless.com. He didn’t
subm issio n port
I don’t have the time to do [the job] and he referred the client to
I find it hard to reject portfolios that
Illust ratio n Sour ce in me. Jeffrey played a huge role in my early days.”
think are right for The
but you have to reme mbe r He is the first to admit that freelancing can be a lonely
terms of qual ity,
do this than have artists choice of direction: “Absolutely. But for some reason I
that it’s bett er to
happen.” really enjoy being alone. I just have always been a very
expecting to get work that may not
n Sour ce has
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Advanced Photoshop
O
take your pick: The Professional Edition
nOne’s Photoshop plug-ins have always been met work your way around it. On the left are before and after retails at just under £170, but there is also a
with favour here at Advanced Photoshop. It was previews of your image; on the right is a library of effects. Standard Edition available for less
only back in issue 37 that we took a look at PhotoTune 2.2, Simply select an effect from the library – some will apply
giving it a respectable 4/5 score and commented on its ease immediately, some will give you additional options – and click
of use and high-quality results. Well, the company is back Apply. The effect is applied to the image quickly, updating the
again with another photographic-based plug-in that can preview. The effect is then added to the Stack, and a Fade
really help you to enhance your images with the minimum of slider is used to change its opacity. You can add as many
fuss: PhotoTools. effects as you need on top of each other, and you can use the
There are two version of PhotoTools available: Standard Stack list to reorder effects to suit.
and Professional. We took a look at the second of the two, as You can save presets of your effect packages, so that they
it has added functionality (around 100 extra effects), but if can be applied again with ease, and there is also a batch
you don’t use photographs in your work that often, then the processing function to treat a number of images in one go. Summary: A great tool for those who
Standard version uses the same interface at a lower cost. Overall, this is a program that really can help you save time use a lot of photography and want to
get the best out of their images in the
A 30-day trial of the program is available from the onOne and get great effects in seconds if you need to treat a lot of
quickest way possible.
site (www.ononesoftware.com), so that you can see if the photographic images in one go. It isn’t cheap, but you get a
program is suitable for your use before purchasing, which is a lot of functionality for your money. 5
Rating: 4/5
Interface: The interface is similar to Lightroom, with a library of effects down the right of the screen. As you apply effects,
they are added to the Stack, so that you can use multiple filters on one image
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Advanced Photoshop
91
Advanced Photoshop
AKVIS LightShop
Not so much light, more of a let-down for
those with high expectations
Manufacturer: AKVIS
Web: www.akvis.com
Price: $117/£57.27
Spec: Preset light designs
Adjustable parameters such as Color,
Brightness and Blend modes
Easy-to-navigate workspace
Modifiers including Scale, Whirlpool and
Mask Sector
Preview window and effect isolation options
Standalone or plug-in application
Windows 2000/XP/NT/2003/Vista,
Mac OS X 10.3.9-10
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Advanced Photoshop
93
Advanced Photoshop
The HDRI Handbook photography knowledge, this may seem a daunting read.
Needless to say, an interest in the subject is preferable and
will make this book easier to digest.
Everything you need to know in one book That’s not to say, however, that this title is in any way elitist.
In essence, it presents itself as the ‘missing link’, documenting
Manufacturer: Rocky Nook Inc the practices of HDRI – once exclusive to Hollywood – to
Web: www.rockynook.com consumers at last able to purchase the technology. Jammed
Price: $49.95/£24.20 with tricks of the trade and professional practices providing,
Spec: Over 340 full-colour pages, as explained, “everything you need to build a comprehensive
Foundations of HDRI knowledge base”, this title will enable you understand the
HDR workflow tools explained true creative capabilities of HDRI.
How to capture HDR Photoshop users can appreciate this book, as it helps to
Tone mapping for superior print understand the true potential and evolve skills throughout its
Image-based lighting/CG rendering imaging options. Examples include the specific applications
of Curves, the preference of image modes, the advantage of
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Advanced Photoshop