Beruflich Dokumente
Kultur Dokumente
ABSTRACT
CREATION
Nik Ainley manipulates a photo with
actions and the Twirl and Wave filters
BUILD UP
TEXTURE
Illustrate with painted
and drawn textures
MAS
RETOU
TER T
HE ART O
F
£5.99
43
CHING w
ISSN 1748-7277
ISSUE 43
771748 727009
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www.advancedphotoshop.co.uk
K GET O
.U
.CO
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OP
VANCEDPHOTOSH
OUR VER
by-step tutorials
WW
Cover image
We’re big fans of Nik’s work here at Advanced
Photoshop, so it is with our pleasure that his
fantastic tutorial image is on the cover. Nik is a UK- Imageer:
based designer who taught himself Photoshop in his NIK AINLEY
spare time while gaining a degree in Physics at
Imperial College London before moving full-time
into the design world. This is the second of two great
tutorials that Nik has written for us, unveiling the
NIK’S FANTASTIC
secrets of his inspirational style.
/
TUTORIAL IMAGE IS ON
THE COVER
www.shinybinary.com
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Advanced Photoshop
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DIARY
designed for help with selective focus and
vignetting, so will prove popular with those
specialising in portraits.
DATES
The plug-in will create a soft, defocused
finish, usually created in-camera using
specially designed lenses and promises to
be quicker and easier to use than
producing the effects with Photoshop’s
own tools. It will help to create realistic
depth of field, plane of focus and selective
LAST OF THE focus effects. This is achieved using the
DICTIONARY MEN FocusBug control which enables you to
choose a ‘sweet spot’ of focus, then adjust
Until 5 May the level of blur applied. FocusBug can be
www.balticmill.com tilted in 3D to simulate using a tilt-shift
BALTIC Centre for Contemporary Art, lens. Settings can be saved as a preset and
Gateshead, UK then incorporated into a Photoshop Action
for batch processing.
PIXEL PERFECT: THE The plugin is available for $159.95
DIGITAL FINE ART (approximately £80 at the time of writing).
EXHIBITION
www.ononesoftware.com
Until 8 May
www.agora-gallery.com
The Agora Gallery, New York, USA
ZHUGAN, SHARIY,
ZORKO: 20TH
Datacolor launches new Spyder 3 solutions
The popular colour-management solution Spyder has
CENTURY ART FROM been enhanced with the launch of two new products.
Moving up the calibration ladder, Spyder3Print
SOVIET UKRAINE Up first, the Spyder3Pro (£104.90 / $169) presents an
(£314.72 / $499) works alongside the Spyder3Pro in a
fully color-managed workflow, offering intuitive printer
Until 9 May entry-level monitor calibration solution, which builds
profiling. The latest addition to this product family has
www.thechambersgallery.co.uk upon the Spyder2 offering a smaller form factor and
an updated Datacolor 1005 spectrocolorimeter and
The Chambers Gallery, London, UK speedier calibration. The Spyder3Pro comes with a
colour calibration tile for more accurate readings. As
desktop cradle and suction cup and counterweight
with most of the Spyder products, on-screen wizards
URBAN ENCOUNTERS: mounting options to suit your desktop setup. Datacolor
lead you through the calibration process and you can
PHOTOGRAPHY, claims that monitor calibration time is cut by 29 per cent
create new profiles in minutes.
ETHNOGRAPHY AND over its predecessor, offering first-time calibration in five
minutes, and re-calibration in just two-and-a-half
These two product s join the Spyder3Elite for studio
THE CITY minutes. Additionally, its colorimeter is the only seven-
calibrati on and the Spyder3Studio for complete
STUART WHIPPS:
MING JUE
Until 1 June
http://artatwalsall.org.uk
New Art Gallery, Walsall, UK
NU VISUAL LANGUAGE
7 May – 15 July
www.24hourmuseum.org.uk/
museum_gfx_en/AM47839.html
Bargate Monument Gallery,
Southampton, UK
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Advanced Photoshop
Douglas A. Sirois
Douglas Sirois is a freelance illustrator who focuses on narrative illustration for books,
concept art for online games and film, and is a finishing illustrator for CD and DVD
covers. He started out in the clothing industry: “I designed t-shirts, biker artwork,
textile patterns, and everything related to the design and look of a clothing line, such
as catalogues, advertisements and website artwork. I learned so much about
Photoshop and Illustrator in five years of working in that industry”. However, his first
piece of commercial work was in an entirely different area: “My first commissions were
done for a real estate company. Hundreds of traditional watercolour portraits of
houses given to people as gifts when they bought a new house. I had a friend doing
these and was asked if I wanted to give it a try. I ended up taking on as many as I could
handle in two-and-a-half years.”
Following the education route, Sirois has a BFA in Illustration from The Art Institute
of Boston in Massachusetts, where he was raised. A year later he moved to California,
and after five years of freelancing he decided to get his MFA in Illustration from
California State University, Fullerton, which he is currently halfway through.
At the moment, Sirois is working on an illustrated novel based on a fantasy story
about the Greenman. “It’s quite an undertaking for me because I am writing and
illustrating the book. It should take me a year or so to complete.”
He has had plenty of big projects in his time as a freelance illustrator: “Nowadays I
work for a design studio, Menagerie Creative, on a lot of DVD covers for the major
movie studios such as Paramount, MGM, FOX and United Artists. I did some
illustrations for the 20th anniversary of The Princess Bride that are found inside the
booklet. I worked on the re-releases of old John Ford classics like The Grapes of Wrath
and I on some Bob Hope portraits.”
His methods are very precise and many of his images go through the same
workflow process: “First, I create a variety of thumbnails to get a composition that I
like. Then I redraw the sketch to a finished drawing. I scan the drawing into
Photoshop, where I will use the Smudge tool to turn a line drawing into a value study.
Once I brush over the entire drawing in Photoshop I use a new layer with the blending
mode on Multiply. This keeps all the darks of the image and adds colour to the
midtones. I paint over the image and let the image come through either in Photoshop
or Corel Painter. I use a new layer and leave the Opacity on 100% at Normal blending
mode and paint in highlights. I then use adjustment layers to unify all the colours in
the image. After hundreds of tweaks and adjustments and bouncing back and forth, I
finish it up.”
/ www.dougsirois.com
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THE NORTH WO
ODS:
“This image was cre
ated by
pencil sketch first,
scanned and AMONGST FRIENDS: “This image was
coloured in Photosho
p, then created by pencil sketch first, scanned and
painted over to ad
d texture coloured in Photoshop, then painted over
effects in Corel Pai
nter” to add texture effects in Corel Painter”
NIGHTMARE
KINKADE’S
O U SE : “T hi s image
H ch
as crea te d by pencil sket
w
and coloured
first, scanned
in Photoshop”
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DREAM IS MY
REALITY: “I found
this image with a
statue on it, cut it
into pieces and hung
it on wires. I created
the checkerboard
myself and blended
it into a texture
of water”
JESUS: “I blend
ed
the textures toge
ther
and experimen
ted
with the blending
option. To creat
e the
image of Jesus
in
the middle I took
some time to fin
d
some interesting
photos and ble
nded
them together”
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DRESSCODE:
TOXIC: This is one
Graziano worked as
FIREWATER 08: both art director
of a series of crazy
An evolution from and illustrator on
and contemporary
o7, Graziano this project for Dress
illustrations for
participated again Code, a distinct
Toxic.fm radio
in the art direction streetwear brand
of promotional
flyers and posters
for Firewater events
2007-2008
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Mailbox
Do you have a question or opinion about the
magazine. E-mail your thoughts to
advancedpshop@imagine-publishing.co.uk
or visit www.advancedphotoshop/forum
If there is anything in particular you would like
to see more of, do please let us know.
22
Advanced Photoshop
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!
SEASONS END
ARTIST: Fiona Hooley
EMAIL: chix0r@deviantart.com
WEB: www.advancedphotoshop.co.uk/user/chix0
“The image shown here, Seasons End, was
Readers’ challenge
inspired by a Marillion track of the same THE RESULTS – MARCH
name. In creating the image, I blended
multiple layers of texturing on top of the We’re pleased to announce the winner of our Easter-themed
original stock image, and continued to forum challenge, Matt Bryson, aka ‘kameleon’. “This
build the atmosphere with additional layers illustration was created to show the death and resurrection of
of brushwork.” Jesus Christ. Much of the texture was scanned in, as well as lots
of painting in Photoshop (thanks to AP for so many great
brushes); the rest was photo manipulation.”
www.myspace.com/orbittheearthmedia
BLUE MAGIC
ARTIST: Miranda Adria
COSTUME: Mira Bachvarova
EMAIL: neugotisch@hotmail.com
WEB: www.advancedphotoshop.co.uk/user/
bitchinblack
“Blue Magic is the first part of a five-part series
inspired by the card game Magic The Gathering,
which has five prominent colours: blue, red,
green, black and white. I knew that I wanted to
do something a little different with this concept,
so I looked for stock images with body painting
or interesting tattoos that fit with the theme for
each colour. In this piece, the body painting in
the original stock photo was perfect for the idea I
had: to turn her into a creature of the sea. Many
thanks to the photographer, Bryan Crump (www.
N E W!
bryancrump.com) and the model Andra Ohman.”
PROJECT BARBRA
Web challenge
ARTIST: George Patsouras As of this month, we are streamlining our various challenges
EMAIL: cgaddict@live.com into one, monthly contest.
WEB: www.advancedphotoshop.co.uk/user/cgaddict Navigate to our website at www.advancedphotoshop.co.
“I’m currently working as a freelance artist. Project uk, hit the Peer Pressure button in the bottom right of the
Barbra was done for one of my favourite online home page, download the source photos provided and use
forums, Pixel Brush. For reference, I used a stock them to create a Photoshop work of art. Anything goes as long
photo that I found over at deviantART; I really liked
as you use at least one of the images provided. Each challenge
the cocky look of the model and it was something
will run for a month.
I tried to emulate in this piece. I really wanted to
push the colours in this one – I wanted to mix The winner and two runners up will be printed in the
both warm and cool at the same time for dynamic magazine the following month, and the winner will also
results. Overall, I’m quite satisfied with this piece receive our top prize for that month. So check out our website
and consider it my best work to date.” now to see what you can win!
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Advanced Photoshop
DARREN HOPES
Darren Hopes is an artist in love
with storytelling. Here he
narrates his own creative journey
and tells how he has perfected
two striking signature styles
D
arren Hopes is a bit two-faced. We industry’s top contributors. And so, as an artist DARREN CIA: “I also create a lot of custom brushes
for my illustration work, from hand-rendered marks made
mean that in a purely positive and known for his love of storytelling, he was only from painting and drawing, which I then scan and make
creative sense, of course, as an artist too happy to share his own story. Photoshop brushes from”
with over ten years of successful experience
under his belt. Moving forward
You see, he’s both Darren Hopes the digital After finding out just what jobs he didn’t want
illustrator (www.darrenhopes.com), and Darren to do by doing them, Hopes became highly
Hopes, the brainchild behind Spiral Studio motivated about what he cherished and to that
(www.athomeinspace.com), producing end returned to education at a slightly later age
tantalising graphics across a breadth of top than some. “I studied on a broad base at first,
clientele including Harper Collins, the Sci Fi and decided after my Art Foundation course
Channel, Fortean Times and Playstation. These that I wanted to take Illustration to degree level.
styles provide two varying and distinctive visual After a diagnostic first year, I was lured to
languages, yet both tell a similar story of a specialise in photography, as I started to
dedicated artist who has achieved his own understand the illustrative possibilities of the
individuality in a sometimes predictable arena. composite image,” explains Hopes. “I’ve always
Hopes is also much unlike his namesake, approached photography from a painterly and
unless you consider the high expectation that illustrative point of view, and I think this worked
fans have for his vivid and eccentric designs. well for me. My style was based in traditional
Basically, he is an artist of action rather than darkroom and illustrative methods, as JAMAICA INN (RIGHT):
“The digitally manipulated
anticipation, a man of motivation. Hopes had computers were really only starting to seep into image is challenging conceptions
once lost his way, unable to see the creative the course, which was a positive. All of my later of photography, but in reality this
is not a new development. We
wood for the trees, but eventually having his Photoshop knowledge was self-taught from a have manipulated photography
own happy ending by becoming one of the base of traditional photographic practice.” from the second it was born”
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AND EVOLUTION AS AN ARTIST inspiration and I worked very hard. I managed to get a
First and that was inspiring because it proved that hard
work and passion for a subject can get you a long way”
Experimentation and exploration are heavy needed to make my life around some sort of get to use my brain as well as my technical skill,
features within Hopes’ process and his evolution creative outlet or become very dissatisfied. It but that seems to have naturally happened in
as an artist. With an early passion for sequential could have been art or writing, but art won my career.”
art, and the works of Simon Bisley in particular, through in the end.” It seems that Hopes has realised most artists’
with the ‘wow’ factor of the apparent applied dream of the ‘open brief’, where your own style
colour, his tastes later matured: “I started to get a Continued inspirations is allowed to breathe and the artist is in sole
grasp of art history and pre-education. I was Glad of that we are, as the past decade has seen control of the design without prejudice or
inspired by artists such as Egon Schile, Francis Hopes share his fruitful compositions with ruling, out of pure appreciation from clientele.
Bacon and Frida Kahlo. I have never lost that enthusiasts across the globe. With a However, an artist can’t reach this point without
love of expressive mark making. But university transgressive style, working across most creative perspective and drive, so how does Hopes
saw a whole new work of photography open up fields in the industry, Hopes has learnt many a continue to be inspired after so many years on
alongside my love of painting. The Starn Twins lesson on what it is to be a success. top? “I was just born someone who had to
were a great inspiration at the time and any “I think the biggest lesson I have learned create. I have an overriding urge to produce
tampering with photography fascinated me.” personally is to find a good path through with a ‘things’: words, music and art. I think any one
However, ultimately his decision to become flexible style. One that inspires clients and is would have worked for me, but art was always
an illustrator rather than a ‘bona fide’ commercial enough to be viable, but also the one I loved the most, so hunger comes from
photographer stemmed from his apparent makes me happy as an artist,” explains Hopes. the genes perhaps and persistence is from just
adoration for the narrative process: “I used to “It took me a while to balance these things, not wanting to settle for anything else.”
write a lot and narrative plays an important part but I feel that it is right now. I would push for Hopes explains further: “I am deeply self-
in my art – illustration seemed a perfect vehicle less prescriptive briefs these days too. I have critical. I think I produce very little personal work
for that. It’s a cliché, but I really would have learnt that my best work is produced when I that I am truly happy with. This only makes
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Abduction (above): “I am not sure I have a specific job or project that crows: This image is an
was my favourite. I always enjoy bookcover work when the author/publisher example of Hopes’ illustrative
comes back to me for the next book. You get quite attached to the series” style, which can be found on his
personal website
Mrs Robinson (below): “Although my photography is quite different
to my illustration in technical approach, they both rely on narrative”
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THE DRESSMAKER
(ABOVE): “My favourite me strive to do better, think harder and it easier to stay content with my commercial
personal project must be constantly aim for personal perfection. Like folio because I get good feedback from my
the ‘Muse’ series by Spiral.
many artists I will probably never attain that, but clients. The trick there is to finely balance my
It is certainly my most
personal work” the journey should throw up some interesting personal visual language with a viable
WICKED LOVELY things. I do have periods where I feel quite commercial style.”
(ABOVE RIGHT): “I dissatisfied with my personal work and I find I This is easier said than done in Hopes’ case, as
think the Spiral images will become very prolific and produce many images, he has the problem of having two preferred
continue to be photographic,
but will embrace the heart of perhaps in an attempt to create something that styles. Photographer by trade, illustrator at
the digital medium and will remedies my dissatisfaction. It is quite often heart.; he is in love with both mediums. “My
see some very manipulated during these periods that I take a step forward, original method was a 50/50 amalgamation of
elements and will probably
head in an ever-more but I don’t usually see that until later. The nice photography and painting, but as my illustrative
surreal direction” thing is that now I do recognise these periods of style developed and the flatter, more painterly
unrest and I don’t get so down about them.” elements won over, I found myself missing a
Fundamentally, Hopes is in constant analysis very photographic aesthetic.”
of his commercial portfolio, which seems to be This factor is one of a few that led to Hopes
something every thriving professional should creating Spiral Studio as an alter ego where he
adhere to. “This is fed by my personal work. I find could explore a quite different method.
So how does he go about creating these two
THE TRICK IS TO FINELY diverse works? “The method for the illustrative
‘Darren’ style is to sketch, shoot, produce a few
BALANCE MY PERSONAL VISUAL digital roughs and go to final. The work is truly
an amalgamation of hand-rendered painting
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T
his tutorial explains some methods for producing abstract images from photos using Photoshop’s
ON THE DISC
various distortion tools. Photoshop is a great way to distort objects beyond all recognition and produce new
This tutorial starts with a stock image from and interesting shapes out of the most unlikely sources.
www.istockphoto.com, image number Photoshop actions are generally used to quickly automate a series of commands that you regularly perform. However,
‘4591038’. You will find a low-res version of
this image on the cover disc. they can also be used to repeatedly replicate and distort objects to produce whole new structures. This way of making
images is a sort of fractal-photo method where the original photo simply becomes the smallest element in a much
OUR EXPERT Nik Ainley larger structure. By the end of the process you might have an object comprising thousands of distorted versions of
Nik Ainley is a freelance illustrator and designer based in the your photo which would have taken huge amounts of time to do by hand.
UK. He has worked for many clients including Adobe, MTV and Performing many repeated commands or duplications can be hard on a computer. A fast processor and a lot of
British Airways, but still finds time for personal artwork.
memory are hugely helpful here. Photoshop CS2 or newer is recommended for some of the extra functions they provide.
1 Choose a photo
The first step in creating an abstract picture from
a photo is one of the hardest and most difficult to
2 The right image
It is extremely important that whatever object you
start with you have a high-resolution source for. We are
3 Extraction
Once you have your photo or render, we need to
isolate the relevant part. Use whatever extraction
explain. We are looking for something in a photo or going to be distorting this object beyond all method you favour for this. With a smooth object like
render that has a certain amount of structure and recognition, which will lead to degradation of image we have, tracing around it with the Pen tool is an
contrast, as well as some detail. We have chosen the quality. By using a high-resolution source we can negate efficient way. Once you have a path of its shape, convert
cone-shaped object in this photo as it has all of these. this by keeping this small. this to mask to separate the right bit.
mistakes
When you are recording a Photoshop action you
should be aware that Photoshop does not record
absolutely everything that you do. The most
common mistakes made are down to the fact
that an Undo command is not recorded,
therefore you have to employ a different
technique to backtrack.
If you do make a mistake while recording and
want to remove a command or commands you
first need to stop the recording. Then, select the
command(s) in the Actions palette you don’t
want to be part of the action and drag them into
the bin icon. Press the record button and you can
start recording again without having to
completely restart.
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Advanced Photoshop
12 Let’s do it again
Hopefully your first action produced an
interesting object and we can save that for later.
13 Mix it up
You should be building up a nice set of
shapes now and be getting used to how actions can
14 Colour as you go
Alter the colours and brightness of your new
objects as you go. This is a particularly useful way of
However, let’s produce another one using a different help. There is a lot more we can do than just use the adding more variety to your image. As you can see with
action. Try this again and again and record new ones Transform tool. Try recording an Action with a small the image below, we have darkened the colours and
using different transformations to see what interesting Wave filter distortion built in. Adding a small move of also moved them around as the result of a Wave filter
shapes you get. If you don’t like what you see, just chuck your object after the filter is a good idea to stop them all action. It is now almost completely unrecognisable to
it away and start again. just stacking up on each other. the original photo.
17 Stamp and
repeat
Now there’s no reason
18 Duplicate some more
Putting your new complex objects through
your actions again can produce some really complex
19 Evolution of shapes
As you build up a more complex shape you
will reach a point where putting it through one of your
not to put your new structures. We are reaching the limit of how many times actions will be pointless. You have enough complexity
creations into your we want to duplicate before our shapes descend into and can add to this just by using the shapes you
actions again and see noise, but repeating the process once or twice is okay. produced earlier.
what comes out. A
good way to do this
quickly without risking
losing your initial object
is the Stamp Layers
command. Make sure
the various layers you
want to put through an
action are selected and
stamp them using
Cmd/Ctrl+Shift+E. This
merges them on to a
new layer while leaving
the initial layers intact.
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25
effects using the minimum amount of layers.
Finish off
What finishing details you want to add are
up to you. We added some background atmosphere by
brushing colours above the background. We selectively
blurred around the edges, fiddled with the colours and
overall layout and decided that was enough. There really
is no limit to how far you can take things though.
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Advanced Photoshop
Collective
strength
We take an in-depth look
T
he art form known as ‘collaboration’ has
been steadily growing in influence within
at online design the digital creative arena. It has gone some
way to diminishing the myth of the solitary,
collectives and how they introspective artist. Yet, most importantly, it is pushing
the boundaries of design, creating new genres that can
can provide creative only come from mixing two or more strong styles. It is
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Advanced Photoshop
Alternative collectives
More places to go for inspiration and advice
KDU
www.thekdu.com
Membership: Invitation and internship.
The privately held Keystone Design Union is a creative
global collective with a healthy 500 members. These
artists work across the breadth of creative disciplines,
providing the KDU with its own dynamic publications
and brand experiences. The members function as one
organic global unit helping to feed projects valuable
information, share press, retail accounts – basically
anything that is needed to accelerate and advance
KDU related projects. Although seemingly elite in
approach, the KDU does offer opportunities for
internships across the globe, in numerous design
studios. Such prospects should not be missed, yet
entrants should become familiar with the KDU first.
This is not a typical agency or firm, believing that the
collision of design, art and business results in the
cultivation of culture.
Konvulse
www.konvulse.com
Membership: By invitation; non-members can register
with the site to access the helpful forum.
This multi-cultural, multi-style, international, digital
art, photography and design group presents much
remarkable design in its artpack releases. Members
constantly update these every 4-8 weeks, so there is
always fresh inspiration for all no matter what your
style. From photography to digital art, audio
composition, skins for computer software and
anything else deemed worthy to be released, packs
are themed yet concepts are liberal. Participating © Collaboration, Guilherme Damasceno and Elie Doray, Evokeone
members can look forward to the incentive of front-
page publicity and interview when demonstrating
exemplary talent. With a steady increase in instantly unwillingness by some artists to embrace this method.
COLOUR (ABOVE): “The artists in the Beatles were
accessible tutorials available, non-members can Perhaps it is due to the stigma of losing individuality excellent on their own but even better together. How
benefit from expert tuition and increase their own and identity in their work or the misconception that is it any different for digital artists?” says Elie Doray
creative capacities.
participation somehow reflects the individual’s artistic TEA TIME (RIGHT): “Working in a collective that
SlashTHREE talents as moderate, there are reservations. As a way to consists of people with the ‘same’ vision makes it
easier to communicate,” says Bart van Leeuwen
www.slashthree.com combat this, design collectives have evolved, bringing
Membership: Register and apply. great artists together to produce stunning artwork.
Recently celebrating its first anniversary, SlashTHREE has Collectives have always gathered around central
just presented its newest Art Pack 6: ODYSSEY, adding to
its previous inspirational projects. SlashTHREE offers
Home sweet home resources and so, with the emergence of the global
opportunities to participate in the creative influx The collective community offers a warm family playground that is the internet and the occurrence of
produced by the art pack experience and creates atmosphere, vigorously promoting collaborative efforts. digital media, the online collective seems a natural and
fervour through fun competitions, also offering a Much like any collective, those participating are perhaps essential progression.
community forum to immerse in critiques, techniques
motivated by a common interest and here it’s the pure Evoke (www.evokeone.com) is a prime example of
and other advice between peers. Right now the group
is pushing towards an invite-based collective, but delight of art creation with members working together this ever-growing web-based society. With more than
are not yet exclusively invitation-only, realising to achieve a common objective, be it collaborative or 30 active members at one time from around the world,
there is tons of fresh talent all over the internet individually, adding to the collective’s projects. totalling a membership of around 100 artists, it is a
from all arenas. Therefore, if you feel you have what With reference to art history, the collective is not an proverbial melting pot of cultural and individual
it takes, an application system for anyone interested
entirely new concept, reaching as far back as the French expressions and ideas. Founder, Toeman ‘Ted’ Yavazkurt,
is available.
Revolution when the Louvre was occupied as such. explains: “It is not so much the online communities but
the technology that bridges the gap. The online
communities are merely a unit that takes advantage of
neither artist could have created” the members themselves wholeheartedly agree. Amy
Neal, Evoke staff member, explains: “I love my fellow
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Advanced Photoshop
Evokers. It’s a supportive group of other artists who will rigorous because the level of expectation with the huge benefit, and is one of the main reasons I enjoy
be brutally honest with you when no one else will. I find group is very high along with the standard of artwork. collective work so much.”
it easier working with my peers in real life and in the Entry into the art group can only be attained through Igor Scekic, recently completing his first year at Evoke,
online world my fellow members are my peers. It’s like a invite. We often have discussions about potential new agrees, saying: “First I was frustrated but now it just
family and thus [we] are very open to working on artists we can introduce into the group”. Bart van shows me how much more work needs to be better. It’s
projects together.” Leeuwen, depthCORE senior and creative with ten years’ a bigger challenge if I know there’s the possibility my
Like all good families there are no secrets either, as experience, agrees: “There is a prevailing standard in work won’t be accepted. I try harder to make it better.”
Yavazkurt reveals: “I have opportunities within the group terms of quality from which everybody starts to work.” Perhaps with the occasional flame war, animosity
to learn by outstanding example. Artists inside a However, such non-commercial collectives are doesn’t seem to feature in the collective experience, but
collective share secrets and techniques that they do not usually looking to expand and add extra additions for if it does those members rarely last. “Working in a group
show the outside world. We can learn from anything the good of the ‘family’ as a whole. Once an accepted brings a certain in-between competition that motivates,”
and everything. I’d highly recommend any artist to part of the desired collective, new arrivals are presented explains van Leeuwen. “Rejection stimulates; perfection
become part of a collective to advance their own skills.” with ways to advance skills and methods, yet are under only exists inside the scope of imperfection.” This tough
no allusion that works will always be well received. approach means that for non-members visiting the site,
Can’t choose your family? Rejection and critiques are commonplace, providing an the work on display is always technically right and
This can be easier said than done, however. What expansive view of the ways that an artist’s output can inspirational to boot.
enthusiasts may discover is that to be part of a collective be improved from many different minds. When concerned with collaborative endeavours,
you will have to display an accomplished portfolio and Saad Ali Moosajee, one of Evoke’s latest arrivals, mixed opinions are presented regarding the value of the
often be invited to join. This attitude is sometimes explains the benefits of such hard but fair treatment: critique. The majority of members questioned professed
deemed ‘elitist’, but it’s essential to preserve the “Over half the works I submitted to my collectives were the process as indispensable. Yavazkurt explains:
standards met by the designs on show and the skills denied. But that only shows me there is room for “Critique is critical to collaboration. At every stage of a
that can be shared. Jonathan Wong, member of both improvement. If something gets denied, it gives me work, artists critique each other, ultimately working
Evoke and depthCORE concurs: “Selection is very incentive to make it better. For me personally this a towards a common goal of a beautiful work.”
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Advanced Photoshop
REQUIEM (LEFT): “I
think you have to be an
artist open to change. If
you don’t appreciate the
ideas or direction of the
other artist, a collaboration
will never work,” explains
Jonathan Wong
DIVA (BELOW):
“Posting art to the forums
can get you noticed and
we offer helpful advice to
beginning artists who
aspire to make their
artwork better,” advises
Amy Neal
However, van Leeuwen proposes that an organic Wong explains: “DepthCORE has a unique portal on
process is preferable: “Nobody should critique the one its main site where artists can create their very own
or the other when working in a collaboration process. profile. There is also a forum where they can ask for
© Collaboration: Ronald Ashburn and Igor Scekic, Evoke
This is to prevent the end result tending towards the advice. There is even a special gallery for getting critique
fashion of one of the artists. The end result should be on work. Members can post up work using very simple
totally unique”. Both opinions hold water, but again this forms that make it straightforward. Other artists then
just goes to show that the art of collaboration is can offer up critique and advice.” This is known as the
innovative in both fashion and function, offering the up Workshop section.
most in creative liberty. “We also like to have a little fun, getting to know the
The value of this for aspiring artists or non-members, future stars of design at the start of their artistic ventures,”
however, seems invaluable in the whole collective admits Evoke’s, Amy Neal. Elie Doray, another of Evoke’s
experience. Senior and other official members lead by flock, adds: “Through the forums, if you feel that you
example, like in any well-functioning family unit. Posting would work well with a certain artist, you can always ask
art to the forums can get you noticed and creative peers them of their interest. After that it’s easy to exchange
will offer helpful advice to amateur or aspiring artists Photoshop files, stocks and renders – you just post a link
who want to make their artwork better. This is in the forum dedicated to collaboration resources.”
particularly prevalent at the depthCORE community
(www.depthcore.com), which is probably the best- Time to collect
known of all the online collectives. But the collective experience can offer more distinct
incentives for creation, unlike most customary art
societies. Prime examples are the packaged Exhibitions
them of their interest” piece of work. When we work on the same idea but seek
to express it in different ways, a special type of order
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Advanced Photoshop
44
Advanced Photoshop
Harmonising 3D and
photographic elements
B
lending illustration with photography is a real passion of ours. More and more digital artists seem to be
ON THE DISC
catching on to it as well, from garden-variety amateurs to professional designers. We can understand that,
This tutorial has been kindly provided by because we’ll be the first to tell you that it’s flipping good fun. Our only gripe is that so many people seem
our sister magazine Web Designer. Tutorial
files can be downloaded from its website:
content to do a slapdash job of it, and in our biased and not-so-humble opinion, little to nothing is sadder than a badly
www.webdesignermag.co.uk/tutorial_ blended composition.
files.html The main trick to pulling off an effective multimedia piece is not a trick at all; it is simply exercising the timeless virtues
Justin Maller of patience and attention to detail, while remembering that in many instances, less truly is more and that spending an
OUR EXPERT
Justin Maller is a graphic artist from Melbourne, Australia. He
extra five minutes here and there will reap huge rewards later. That said, there are definitely some handy methods and
is currently working as a full-time freelance graphic artist, techniques that will save us some time along the way, so let’s get started!
while also creatively directing the crew over at depthCORE. Try this out on your own photographs and elements and see what you can come up with - then share your creations
Check out his personal folio at http://superlover.com.au.
of the Advanced Photoshop website!
1 Get started
Start by opening up the wonderful shot entitled
On Ground by Holly Bynoe (http://hbynoe.com) from
2 Set base levels
The first thing we’ll do here is adjust the contrast
levels to suit our needs. We want to add a little drama to
3 Extraction
Zoom in to 300-400 per cent. We are going to
now extract the model from the background using
the files you have downloaded from the Web Designer this image, so let’s deepen the shadow and the mid- the Pen tool (P). Start tracing around her body, using as
site. This is a finished piece by itself, but there is still tones some. Open the Levels interface (Cmd/Ctrl+L) and many anchor points as possible. To get a curved result
plenty of room for us to play with. If you want to use slide the shadow marker to around +17 and the mid- in nonlinear areas, try dragging your mouse when
your own illustrations, sketch out some ideas now. tones to around +1. placing anchors.
6 Construct a 3D object
Open up ‘objects.psd’ from the downloaded files. “USE LAYER
These are 3D renders created for this tutorial, having
sampled the grass and sky areas to get accurate MASKS TO
materials. Before we do anything else, Defringe both
layers (Matting>Defringe) by one pixel. Duplicate Object PROPERLY
One into the main composition.
INTEGRATE
OBJECTS WITH
THE ORIGINAL”
7 Adjust the levels
Position Object One behind the model layer. The
top should be just out of sight at the top of the
8 Keep it in perspective
Repeat the last step with the other two objects
present in the PSD (except for the Grass OBJ layer), and
9 Make it natural
Duplicate the original object and drag it down
so it stretches out below the Model layer. Use the
composition, with the lower portion concealed by position them below the others in the layer structure. Pen tool to shave weight from the central spire, so that
our figure. Adjust the levels so they match up with the Make sure that the combined object doesn’t dominate the resulting shape is flowing and sits naturally with
main composition; the biggest adjustment will be a the composition. Use layer masks to properly integrate the rest of the piece. Also experiment by using
Shadow tweak. these with the original. Calligraphic brushes.
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Advanced Photoshop
13 Integrating everything
Now we begin the process of integrating our
environment with our illustration. Start working trees in
14 Prominence process
Now, duplicate your Object One layer and
bring it up in the Layers palette so that it sits over all the
15 Up, up and away
Repeat this process further up the tree,
adding, distorting and resizing the tree elements as you
around the shape. Don’t worry about swamping it for tree forms. Add a layer mask from the options at the go. You can add a layer mask to the trees to work them
now, we’ll take steps to restore balance soon. Build up bottom of the Layers palette and fill with black. Select a into the illustration, or place the tree layer below the
along the lines of the shape, accentuating what is Calligraphic brush and carefully paint in the parts of the Object One duplicate layer and continue working in that
already there as you go. object that you wish to have sit over the trees. layer mask to integrate.
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Advanced Photoshop
21
it so that it sits harmoniously.
Create a new layer, and use the Finer details
Grass brush to add a touch or Now is a great time to start refining the
two to the corners to image. Visit stock exchange websites and start adding
accentuate realism. small details. We went with ladybirds and balloons as
our additions, but feel free to spice it up with whatever
you like. This is definitely the fun part, so take your time
to make something special!
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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
printed out high-res for files on the DVD
pages of dedicated later reference
Photoshop content
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Advanced Photoshop
ILLUSTRATION
textures on the disc to use
throughout the tutorial.
1 Line work
You need to create sketches of your
composition, drawing each element separately,
2 Painted backgrounds
The backgrounds are hand painted in
this style of work. They are painted with
3 Create the ground
Using different hand painted
backgrounds, place these under the line
then scan them into Photoshop. When you have watered-down, Chroma Colour paint, usually drawings of the foreground and midground
done this, unlock the Background layer, use just in black. There are some paint textures on areas and colour them in the same way as
Levels to up the contrast and get rid of any the CD. Using Hue/Saturation, colourise the described above. The excess areas are erased so
grey areas, then Select>Color Range to select painted area to an earthy hue. With the the painted areas fit perfectly.
all of the white (200 Fuzziness). Delete this, Lighting Effects filter, use an Omni white light
then use Levels again to darken the remaining (Intensity = 24) to give overall light and then
black lines. orange lights in the centre to create a golden sky.
7 Water
Create a layer under the line drawing of
the water and then colour in each of the shapes.
8 Highlights
To give the trees shading and to create a
more three-dimensional look to them, create
9 Detail
Now comes the part of painting in all the
detail. Again, this is done using just the Brush
Using a Magic Wand on the line drawing layer two layers for each tree. The first is for the tool, but it does mean painting each tiny little
speeds things up. After selecting every shape go shading, using the Brush tool and a tablet pen stone one by one, which takes a while. The
to the newly created layer and using the to paint black in the relevant areas keeping to flower and leaves are painted with highly
Paintbucket tool colour each shape white. The the central light source. Change the Opacity to saturated colours to make them stand out from
Opacity of this layer is then changed to 65% so 50%. For the second layer, use a light yellow the bleak colours of the landscape. The pipes
the texture of the water is still slightly visible. colour to give the trees highlights and change are blue to balance the blue of the water and
the Opacity of the layer to 70%. the cans are red to balance out the flower.
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Advanced Photoshop
11 Pencil smudges
To give the area around the edge of
the sky more shading, use a Stanley knife on a
12
soft pencil and smudge that onto some paper.
Scan this in and use Levels to up the contrast, More texture
moving the grey marker and the white marker To create a weathered look to the
until the correct level was found. Then select illustration, scan in some handmade paper. Take
and delete all the white as described before the saturation down and use Levels again,
and add lots of these smudges around the moving the white marker far to the left to get
edge of the sky, finally taking the Opacity of rid of most of the detail, and then moving the
these down to about 60%. grey marker right to darken what’s left.
15 Final details
To add the finishing touches, draw
some very quick, thin lines on some paper and
scan this in. Get rid of all the white as described
before and layer these lines on top of
everything. Minor changes are made to the
“WE LOVE THE GRAIN OF THE opacity layers of all of the texture layers so they
aren’t so intrusive. Put a white Radial gradient
WOOD. IT LOOKS ALMOST LIKE THE (white fading out to transparent) behind the
flower to make it even more of a focal point. We
ILLUSTRATION HAD BEEN PRINTED” also changed the hue of the sky to a more
yellow hue.
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Advanced Photoshop
John Deaville
Y
John started working in a photographic studio in 2000 and is
ou will learn that although To complete this tutorial, you will need to
now working freelance in fashion, beauty and product
Photoshop has increasingly become have an understanding of using adjustment retouching as well as pursuing his own interests in
more accessible and easier to use, at layers, drawing paths with the Pen tool, illustration, photography and design. See more of his work
at www.photofixer.co.uk.
its most advanced it is an incredibly complex blending modes and layer Opacity settings,
program and we cannot demonstrate a ‘one healing and cloning brushes and using the
size fits all’ approach to tackling any image. Brush tool.
Each image has to be assessed individually to
determine a strategy to retouch successfully, and
We also find that a graphics tablet, such as a
Wacom, is invaluable when it comes to using
Stay organised
what we have tried to do here is to demonstrate the healing/cloning tools and it also allows you
Your work may be passed through a hierarchy of clients
some of the techniques that are used frequently to create much more fluid strokes if you are
who may change their minds at the last minute. It pays to
to alter an image. trying to add the finishing touches, like hair.
organise work into layer folders and label each folder/layer
If you can understand what each step is All the work is carried out in Adobe RGB, 8-
according to what it does (ie, ‘Soften face’), so when you
attempting to do and apply these and similar bit colour and we occasionally convert to 16-bit
submit it to the agency or client, they can alter the opacity
techniques to other photographs, you will start when working with blurring and gradients as
of layers. Here, you can adjust the layers in the ‘Eye-
to develop your own approach towards tackling the additional colour information cuts down on
mascara’ folder to alter the colour of the make-up. This
an image and which techniques to use in banding problems, but other than that 16-bit is
allows you to identify which layers to edit at a later date.
which situations. not necessary and slows down the computer.
1 Starting image
Usually the client supplies a mock-up
with the areas that need to be addressed. We
2 Drawing paths
Using the Pen tool, draw around the
outline of the left arm (your right) and where
3 Cloning hair
Clean up the hair by selecting areas of the
original with a feathered (4px) Lasso. Copy,
have decided to look at cleaning the hair and you want the new hairline to go. Create a new paste and Transform>Distort to cover up the
hairline, move and clean the jawline, clean and layer, fill with a background colour and place in areas you want to clean up. Use this method to
even out skin and skintones, simplify the area a layer folder called ‘Background’. Apply a layer create straighter hair on the right-hand side. Try
under the arm, add some simple cosmetic mask to the folder and load the path to knock using the Healing tool and Clone Stamp tool (at
effects and finally add some special effects to out the foreground. Apply a Gaussian Blur of 20% Opacity) by first defining a similar area and
the background. 0.5-1 pixel to the mask to soften. then cloning this onto the unwanted areas.
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Advanced Photoshop
10 Even skintone
Again, there are many methods to do
this. We want to even out the highlights and
shadows, so what we have done is selected a
middle skintone, chosen a soft paintbrush and
painted onto separate layers, the cheek, the
face, the chest and the arm. Blur and
experiment with the blending modes and
Opacity, using either Normal, Darken or Lighten,
until you get the desired effect.
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Advanced Photoshop
14 Cosmetics – lips
Again we use adjustment layers
(Levels, Hue/Saturation) to alter the colour of
the lips, but because the edge is quite well
defined, you will need to draw a path using the
Pen tool, then use the path to create a masked
layer set as before (Add Layer Set>Hide
All>Load Path, white Paintbucket tool and blur
the edge a little) and experiment with
darkening and colour using adjustment layers.
15 Background effects
To reflect the sequin sparkles from
16 Finishing touches
The definition of the hairline is too
hard, so use a 2-pixel brush (20% Opacity) and
the dress, Lasso, copy and Transform a portion rub away small hairs in the mask for the
of the dress, playing with Opacity and blending background that we created in step 2. This will
modes to cover the top-right corner of the reveal some of the hairs from the original image
background. Use the original path to erase the and break up the hard edge. We have also
excess bits cutting into the model. We have added a highlight to the hair made from the
also drawn multiple soft circles to give the same colour as the background.
effect of out-of-focus reflections.
“NAMING EACH LAYER WILL will know how best to tackle any given situation. There are
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Advanced Photoshop
INTERIOR DESIGNS ON THE DISC Create a realistic 3D interior in Adobe Photoshop and Illustrator
T
On the CD you will find four
Illustrator files, two for the door and here are many great 3D software has its own strengths. For example, reflecting,
two for the floor. You will use these packages on the market. But what if rotating and making paths in Illustrator is easier,
to build up a 3D interior scene in
you don’t want to spend too much while Photoshop has the advantage of very
Photoshop. You will also find the
final layered image so that you can money and you still want to create 3D strong filters.
see how the image was built up. rendering using 2D software? The secret of using these programs together
Bertrand Janssen
This workshop shows you how to create a lies in thinking logically and carefully to find
OUR EXPERT
luxury building entrance using just Photoshop step-by-step solutions to create what is in your
Bertrand is the Senior Manager at Mercedes-Benz Design,
based in Sindelfingen (Germany). He has been passionate (we used version 7) and Illustrator (we used head, because Photoshop has all the tools to
about automotive design for nearly three decades. One of version 9, but the files can also be found on the realise your fantasy. The objective with this
his hobbies is getting the maximum out of software
programs like Photoshop, Illustrator and Painter because CD if you don’t have Illustrator). workshop is not to create complex rendering,
he feels computers give you the ability to create your own The reason behind using both Illustrator and but instead shows some very easy-to-
fantasy world.
Photoshop lies in the fact that each program understand steps for creating a realistic render.
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18 Finishing touches
Now we have created the basic
entrance, you can make this picture complete
by adding in your own existing photos of
accessories and props. We have finished this
rendering here by placing a photograph of a
vase on the floor and lights on the ceiling.
These elements have been finished off with the
same procedure of creating reflections as with
the door and the spotlights to gel them into
the composition.
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Advanced Photoshop
O
kay, so you’re reading a Photoshop
magazine, which means you
probably have Photoshop, which
means you probably have a computer where
you could put a custom-designed wallpaper.
Get rid of that landscape picture that came with
the machine and put up something original,
created by you.
One of the most common uses of Photoshop
today is to create desktop wallpaper that is
vibrant, eye catching and visually engaging.
Before we begin, take a look at your system
settings and figure out what resolution your
screen is. Common settings are somewhere
around 1,024 x 768 or 1,600 x 1.200.
1 Getting started
Create a new file to the same proportions
of your desktop. Fill the background with black
2 That looks familiar
Use the Text tool to place some large
and significant letters into the centre of your
3 Have some style!
Grab your Custom Shape tool but don’t
draw anything! Make sure your text shape is the
and a new layer with a nice gradient colour of canvas. We’ve gone for the Photoshop logo active layer and look at the Tool Options bar
your choice. Here we matched the blue colours style, but you could do pretty much anything along the top of your screen. Click on the Style
to the Photoshop icon. Drag guidelines to all at this stage. Go to Layer>Type>Convert to swatch to open the Style menu, then using the
four edges and then increase the canvas size Shape. By converting the text to a shape you little arrow on the right select Load Styles and
(Image>Canvas Size) by about 20%. This gives enable a few options in Photoshop that are load the ‘MetalText’ style from the CD. After it’s
you some elbow room for your designs. not available for a text layer, such as adjusting loaded, pick this style from the menu to apply
points with the Direct Selection tool. Use to your text. Feel free to open the Layer Style
this to get your letters to the exact shape options from the Layers palette to inspect
you need. exactly how we put this style together.
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15 Final touch
Fill in the background with more
copies of the blob groups and swirls. To really
pop the colours in the design create a new
layer on top of the layer stack. Set your
foreground to a pale yellow and background to
black. Go to Filter>Render>Clouds then
change the blend mode to Color Dodge and
lower the Opacity to 50%. Finally crop the
image down to your guidelines and save your
new desktop wallpaper.
d e r’sp
Rea k s h
rages fromanced
oartists
wGreo the
at imn the Adv website
o op
osh tail
de
Phot lained in
exp
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Advanced Photoshop
Fantasy creatures are everywhere, from games to OUR EXPERT Mack Sztaba
movies. Mack Sztaba will create a unique creature Mack is a freelance concept artist and he mainly
works in the gaming industry. He also works on side
F
rom this tutorial you will learn how to nature fights back against lumberjacks who cut
create concepts using a mix of
traditional and digital tools. However,
them down.
Photoshop is the perfect program for Background story
prior to starting you’ll need some tools such as a texturing and manipulation. In my opinion, no
pencil, paper, Photoshop and a graphics tablet. other program on the market gives you as many It helps to have a story in mind when composing your sketch.
We’re using a Wacom here. options when it comes to mixing traditional and Here, the wailing tree is a malicious and angry force of nature.
The tree consumes its victim by wrapping its branches around
The inspiration for this tutorial came from my digital mediums. I enjoy Photoshop because I
them at first, then its bark and trunk slowly encases them. The
interest in trees. I enjoy drawing trees, as I have can do things like painting digitally and
tree absorbs everything from the victim, including memories.
always been amazed by the different varieties all manipulating photos. The sheer amount of
The wailing trees are known to exact vengeance on the
over the world. This interest sparked the idea of options Photoshop has is simply amazing.
victim’s family. Though the victim is conscious, he has no
the relationship between humanity and nature. Another thing to note: layers will become some
control and all he experiences is agony, causing the tree to
I imagined that it would be interesting if the of your best friends in Photoshop, so get to wail from within.
tables were turned on destructive humans; know them well.
1 Rough sketch
Open a new 8.5 x 11-inch page at 300dpi
and begin doodling quick ideas using a
2 Print and trace
Once the rough looks good, print it and
trace it onto 9 x 12-inch Bristol Paper. Using a
3 Scan work and open Photoshop
Once the work is scanned and opened in
Photoshop, change the drawing to Grayscale.
graphics tablet (a Wacom was used here). Next, HB pencil, render the line art. Sometimes a Go to Image and click on Curves, then play with
refine the thumbnail to see what does and smudge stick helps to get a smooth blend. the Curves to make the drawing dark enough to
doesn’t work. Open a new document and go to During the process, scan the image back into see clearly.
Windows in the option bar, pick Arrange and the computer and flip it horizontally to see any
New Window. Zoom to 12% and put it in the mistakes in the art.
corner. I work in the larger window, using the
smaller one to view the image from a distance,
to ensure the silhouette looks good.
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Advanced Photoshop
T
raditionally, many photographers use a range of filters, either of the
screw-in glass variety or the plastic rectangular filter-plus-holder
combo. These filters fit onto the end of your lens and can produce a huge
range of effects, from introducing gradients (Neutral Density Graduated filters)
and stopping down your exposure (Neutral Density filters) to saturating colours
and cutting down reflections on water and glass (Circular Polarisers, for
example). There are filters that soften your image, for a flattering, ‘glowing’
effect, filters that create a starburst effect and coloured filters that are great for
shooting high-contrast black-and-white photos… the list goes on.
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Advanced Photoshop
es
iqu
INFO
n
ch
Te
LAB CORRECTION METHOD LAB CORRECTION METHOD
BEFORE: A little too warm. Set image mode to AFTER: When you have applied the Photo
Lab, hold down Shift and use the Eyedropper tool Filter, adjust the Density slider to achieve the
to select where there should be neutral colour desired result
colour. Invert the a and b values, digital filters available, called Dfx. Color to black, leaving your
adding a minus in front of a positive
value and vice versa, before clicking
Available from www.tiffen.com, Dfx
offers a range of filters that expand
Background Color white. Next, select
the Gradient tool, picking the Linear
Layers
OK. Increase the Density in the Photo the capabilities offered by Gradient setting from the toolbar. Set
When making any changes to your
Filter dialog box until your colour cast Photoshop’s Photo Filters. The digital the Foreground to Transparent and
original image, it’s wise to work on
is neutralised. If the effect needs to filters included in the Dfx software drag the Gradient tool from the top a duplicate layer, by clicking
be intensified, simply duplicate your simulate the effects of optical glass of the sky in your image to the Layer>Duplicate Layer. A quicker
adjustment layer and adjust the filters, matching the Kodak Wratten horizon. Finally, experiment with the way is just to drag the layer
Density slider until you achieve the industry standard, making Dfx not Opacity slider until you’re happy with thumbnail to the ‘Create a new
desired result. only a versatile creative tool, but a the final effect. layer’ icon at the bottom of the
learning resource too. Learning how to use filters Layers palette to create a duplicate.
Third-party digital filters If you’re feeling particularly effectively can make a huge Working on a copy means that
Photoshop’s Photo Filters offer adventurous, have a go at creating difference to your photography, so you have greater control over the
final result of your adjustments,
enough options to get you started, your own ‘filters’ in Photoshop. To it’s worth experimenting with them.
with the ability to adjust the
but there’s a whole host of third party simulate the effect of a Neutral Next time a colour shift is called for
opacity and blending mode of the
plug-ins out there that can increase Density Graduated filter (ND Grad), in your photos, use the Photo Filters layer with the filter effect applied
the creative possibilities even further. enhancing the sky for example, in Photoshop to take control of the in the Layers palette. If you don’t
Tiffen – one of the leading simply add a gradient to your image. look and feel of your images, and like the result, you can simply
manufacturers in optical Add a new adjustment layer to your create the photograph you originally delete that layer, and revert back to
photographic filters – has a set of image, and set your Foreground had in mind. your original image.
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Advanced Photoshop
ALTER EFFECTS: You can alter effects using preferred blending modes and opacities. Experimentation is key
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Advanced Photoshop
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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 can’t provide individual image assessment here.
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?
Bright illustration
BEST
NAME: Alexander Shelley
EMAIL: Aalexamy@aol.com
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Advanced Photoshop
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Advanced Photoshop
Perfect paintings
NAME: Lisa Herron
EMAIL: llherron11@yahoo.com
WEB: http://quicksilverfury.deviantart.com/
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Advanced Photoshop
VIN HEYDEN 1: Image created with THE PRIZE: Check out The Illustration
digital photography, Photoshop, Source’s website to see the portfolios of
Illustrator and retouching work previous winners of Best in Show
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Advanced Photoshop
Conceptual
manipulations
NAME: Michael Brunsfeld
EMAIL: brunsfeldo@comcast.net
WEB: http://homepage.mac.com/michaelbrunsfeld
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the future’s
bright;
the future’s
Photoshop
From video podcasts and online virals, to mobile content and
advergames, Photoshop has an important role to play in new
media content, as Nick Spence discovers
F
or the budding designer, learning one Today a typical design project might involve creating
application well enough to prosper can be an and adapting work to suit various platforms, from huge
achievement in itself. Increasingly, however, the billboards to diminutive mobile phone content. Now
demands of clients and potential employers require that more than ever is the time to develop old skills, learn
your skills base covers a range of creative software new ones and adapt established skills to meet new
programs. Print used to preoccupy designers’ minds, but media needs.
now a vast array of platforms and media is available to If the thought of being a master of many applications
deliver content to the consumer. fills you with dread, fear not: Adobe has come a long
The web has revolutionised our lives and plays a vital way in recent years to tighten integration between
part in keeping people both informed and entertained. once-competing software tools. Adobe acquired main
Mobile and wireless communications, fuelled by rival Macromedia in 2005 and a number of popular
advanced semiconductor technology and next- applications, including Dreamweaver, Flash and
generation networks, promise a world at our fingertips, Fireworks, joined an already impressive lineup. Along
all while on the move. Interactive television, or iTV, with greater compatibility, many Adobe products now
online streaming, video podcasts, virals, widgets, share similar workspace and tools so it’s easier to work
applications for social networking sites, instant your way around a range of programs, particularly with
messaging, advergames and online and mobile gaming CS3. “The excellent integration in the Creative Suite
are all areas for potential growth in the coming years. means that you can work fairly seamlessly,” explains
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© Ashby Design
Creative Q&A
Photoshop For Video “As applications, tools and resources become
A certified instructor for Adobe, Apple and Avid, adapted for mobile devices and touch
Richard Harrington is a practiced expert in motion
interfaces, we’ll see some new and exciting
design opportunities arise” Alec East, Do Tank
graphic design and digital video. An internationally
published author, including Photoshop For Video
(www.photoshopforvideo.com), Harrington
explains Photoshop’s often-overlooked capabilities.
Other elements have helped designers to both East points out that when you watch a film at the
Q. Most people might be surprised
multitask and prepare work across a range of platforms. cinema it is different to when you watch it on television
Photoshop has video capabilities, why?
A. Photoshop is often thought of as a digital Adobe Version Cue offers users a way to centrally and different again when viewed on DVD, your
photography program, which is odd since its origins manage shared project files and better track jobs computer or mobile device. The film is essentially the
really pre-date digital photography. It started out destined for different media such as print and web. It’s same but you are different; your expectations, focus and
with firm roots in the film and television industry. meant studios can play to their strengths with staff best perception of your environment all contribute to how
Photoshop has long been used to design broadcast suited to a task working on individual elements, while you engage with that experience. “Visual design helps
graphics, DVD menus, film titles and more. It is the still very much part of a team effort. users engage with content. When designing for
most flexible image editor, painting program and Adobe Bridge adds the ability to organise, browse different devices, especially mobile, it’s important to
type tool for creating raster-based graphics, which
and locate files, applications and settings from one understand the user’s mindset. When, where and why
is what the video industry needs.
convenient intuitive interface. Adobe Lightroom, they will be using the content you are designing.”
Q. What has CS3 Extended added,
officially launched last year, has attracted many admirers
particularly for those working with video?
A. First and foremost is the ability to use video files for its ability to view, edit and manage large numbers of New media compatibility
as layers. This opens up new options for repairing digital photographs on the fly. While Photoshop has had Creating context-sensitive content is one consideration,
footage as well as stylisation and design. There are tools for web content creation and animation for some another is getting to grips with the sometimes-
many other options though, such as Smart Filters time, Photoshop CS3 Extended introduced a range of conflicting industry standards competing for legitimacy
and improved After Effects integration that just new features to extend functionality further. Tools for 3D and acceptance in new media areas. “The mobile web is
makes it a joy to work with. compositing, texture editing and motion graphics, with still bogged down with manufacturers and service
Q. And do you generally need to use the ability to paint, add text and clone over multiple providers vying for dominance, not just for their
Photoshop along with something like frames of an imported video sequence, has moved platform or format but for screen sizes and the way we
Adobe After Effects for creating content?
Photoshop into new creative realms. deliver and integrate content to mobile devices,” stresses
A. Photoshop and After Effects go hand in hand. I
For all the integration, additions and enhancements, East. Designers may have to compromise their design to
can create plenty of content just in Photoshop,
especially if it is going to a non-linear editing tools alone won’t necessarily make you a better a lowest common denominator or risk building several
system like Premiere Pro or Final Cut Pro, but it is a designer or give you the skills to multitask across different versions of a mobile site or application he
natural extension as you can design very fast in platforms effectively. “Let’s get something straight here; warns: “This is slowly changing and there are a lot of
Photoshop then send things to After Effects. having a copy of CS3 won’t make you a great designer mobile standards, including CSS support in some cases,
Everything from layer styles to type comes across any more than having a set of Jamie Oliver saucepans but it’s a long way from reaching the level of
and it’s an easy exchange. I would say that 35 per will make you a chef,” insists Alec East of digital creative compatibility we expect online. Photoshop is the daddy,
cent of my video graphics work ends in Photoshop agency Do Tank (www.do-tank.co.uk). “What CS3’s we all know this, and it is currently your best friend for
but 95 per cent of my After Effects work starts in
improved integration does is increase your ability to be creating images that work across platforms but it is still
Photoshop. The two work well and a strong
creative by keeping your documents and design in the middle of a compatibility battle.”
Photoshop user will find After Effects exciting.
decisions flexible. Empathy and understanding of a Understanding new media opportunities still clearly
Photoshop for Video is published by
Focal Press (www.focalpress.com) user’s mindset at any given moment will serve you has some way to go, both among users and content
better than any new software release.” providers. An increasing number of Do Tank’s clients ‘get
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it’, but there are still many that need educating, explains
East. “In 2007 we saw a mad ‘me too’ clamber for bits and
pieces of beyond-the-browser content, but 2008 is
going to see social media, widgets, mobile apps used
more strategically and coherently across brand
extension, content dissemination and customer
engagement.” Popping a video on your website isn’t
going to cut it any more and with this in mind it’s
important to get as much coherence, if not consistency,
as possible across media and platforms, stresses East: “A
company’s widget needs to be coherent with its
Facebook app and email newsletter; people will be
engaging with a brand, using it in ways that traditional
brand specialists have never considered.”
Despite concerns over size, context and competing
mobile standards, East still sees a bright future ahead for gained from bashing consumers’ faces with flashing MATMI: Matmi covers a wide range of new media
mobile content. “Mobile, in the adjective sense of the images and low prices,” says Coghlan. “Corporations applications and services, including advergames, as
shown above. The company makes use of multiple cross-
word, is definitely where it’s going to be happening over need to get quirky in order to engage with a more
application tools, and utilises Photoshop as part of its
the next few years. As more applications, tools and cynical consumer force. Web games offer the workflow system
resources become adapted for mobile devices and, opportunity to provide an enjoyable experience for
perhaps, touch interfaces, we’ll see some new and users while subtly strengthening the brand awareness.”
exciting design opportunities arise.” While Matmi offers a range of new media services,
including website content, advergames, mobile games,
All in the game screensavers, viral marketing and ringtones, Photoshop
As well as mobile content, the potential for online still has a vital role to play. “We make great use of
gaming and particularly advergaming, the practice of multiple cross-application tools within our
using videogames to advertise a product, organisation
or viewpoint looks certain to thrive in the future. Jeff “Photoshop is great crossover point which
Coghlan, director of Matmi (www.matmi.com), a
allows the designer to easily manipulate their
design over various platforms, allowing them
company that covers both traditional and new media,
clearly sees the possibilities for creativity. “The next five
years offer a lot of exciting possibilities for the new
to meet the brief while providing a strong,
standardised visual theme” Jeff Coghlan, Matmi
media sector. With a lot of big players coming on board
and realising that there is little brand loyalty to be
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animation and 3D design to name just a few to often lifeless computer screens, reflecting the
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Apple Aperture 2
Apple updates its popular image-management and editing software
A
pple’s Aperture has made quite an We were lucky enough to see Aperture at
impression among professional the Focus On Imaging show in February, and
photographers. The first version saw how nippy the whole program is, but we
had a few small problems to iron out and it still had our reservations as to whether the
wasn’t quite enough to get us away from using speed could be maintained on a more modest
the super-simple iPhoto or the bundled-with- system than the Apple representative used for
Photoshop Bridge for image organisation. his demonstration. Installation takes its time,
But then Aperture 2 comes along with but this is because it installs Sample Projects
improved speed, a lower price and the promise alongside the main program, which is great
of better integration with all the programs for getting to grips with the software, but you
already on our Macs, and we started to get could skip this.
excited about how this could help to maintain When you first open Aperture, you are
our massive image libraries. asked whether you want to import images
The first thing that should be noted is that from a digital camera, your iPhoto library or
at £129/$199 for the full package (and cheaper another folder on your disc. From this initial
if you’re upgrading), this software is now splash screen you can also view the tutorials,
affordable for non-professional which is a great way of learning the program
photographers, and perfectly suited to those fast. Importing your files does take time, and
of us who keep thousands of images for use certainly longer on our Macs than the super-
as textures and for manipulation projects. fast system on show at Focus. Still, you can
There are enhanced editing tools too, which explore the program during the import
means that you can make quick adjustments process, which continues in the background.
to your images within Aperture, knowing that When your images are imported, you can
Price is right: Aperture has been reduced in price with
this release to £129/$199 , making it more affordable for they are stored ready to come straight into begin sorting them into Projects, using the
anyone who needs to manage large collections of images Photoshop for projects. main panel on the left of the screen. Those of
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Advanced Photoshop
Specifications
application, so apologies to PC users.) You can Price: Free
hit Email in the main screen to automatically Req: 300MHz Pentium processor and
open Mail and have the selected image MMX technology
Manufacturer: Apple
attached ready to send. You can browse 64MB RAM (128MB
Web: www.apple.com/uk
recommended) and 50MB
images in iPhoto, and chose to import them Price: £129 / $199 (£65 / $99 upgrade) available hard disk space
into Aperture, and also view an iPhoto Req: Works with Mac Pro, MacBook (100MB recommended)
browser from within Aperture. You can create Pro, MacBook, MacBook Air, Mac 800 x 600 pixel, 16-bit colour
web galleries and publish them in seconds mini with an Intel Core Solo or monitor
Duo processor; iMac with a
with your .Mac account. Windows 2000 or XP
1.8GHz or faster PowerPC G5 or
The other bonus is that it’s faster, even on Intel Core Duo processor; Power Internet Explorer 5.01 or better
our older Macs and even on the new Mac Air. Mac G5 with a 1.6GHz or faster (6.0 recommended)
You still get the ticking clock while an image is PowerPC G5 processor; 15- or 17- Microsoft DirectX 7.0 or higher
loading, but there is a definite improvement. inch PowerBook G4 with a (8.1 ships with XP, 9.0b
1.25GHz or faster PowerPC G4 recommended)
Timesaving keyboard shortcuts mean that you processor This is a free application for organising your
can work your way through images without 1GB of RAM (2GB for Mac Pro) images and making simple adjustments. It is
using your mouse. and 5GB of hard drive space for nowhere near as powerful as Aperture or
This product is still tailored for professional the application and sample
projects Lightroom, and it is PC only, but it does have
photographers in some areas, and as this is an
Full list of graphics cards some advantages. First and foremost is the
area that many Photoshop users specialise in,
compatible with Aperture on fact that it is free, which is great if you want to
we have to mention the ability to enjoy
website organise a smaller collection of images and
tethered shooting. Images are captured
Mac OS X v10.4.11 Tiger or Mac don’t need all the power of the pay-for
directly into a project in Aperture and they are OS X v10.5.2 Leopard applications. Second, it is incredibly simple to
there ready to work on in moments. If you
Summary: The ultimate tool for image use, and relies on non-destructive editing as
need to keep track of a shoot, then this is a
organisation. As digital artists, we collect with the other two programs. You can rate
great way of going about it.
photos more and more for use in our and organise images quickly and simply, and
All in all, Aperture is a professional tool at
projects and this is great for keeping tabs on you can sort through them in the effective
an accessible price and works brilliantly as
what images we have and where. manner you would expect from Google.
part of an organised workflow for dealing with
5/5 Rating: 3/5
digital images. 5 Rating:
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Advanced Photoshop
Specifications
Manufacturer: Plustek
Web: www.plustek.com
Price: £223 (excl VAT) / $400
Spec: 7,200 x 7,200dpi hardware
resolution
36.8 x 25.4mm maximum
scanning area for negatives
Dimensions: 272 x 120 x 119mm
Weight: 1.6kg
Holds up to four mounted slides
and six frames on a filmstrip
Windows 2000, XP, Vista;
Pentium III or faster
Mac OS X 10.3.9 or higher;
PPC G4, PPC G5 or Intel
512MB free RAM;
500MB HDD space
Padded carry bag included
Small form factor:
Summary: Fast and accurate scanning in a The 7500i is a tiny scanner
compact device, this package is let down measuring just 272 x 120 x 119mm, but
you do need to leave 40cm on either side for
only by the software that is included. Use the film holder to move through the device
Photoshop or third-party scanning software
instead, and you get good-quality scans for
importing into projects or for archiving.
Rating: 4/5
T
he OpticFilm 7500i is one of two new First impressions of the scanner are good. It is front of the scanner. QuickScan can be
releases from Plustek, which also tiny, so it won’t take up much room on your configured from the Windows System Tray if you
includes the 7300, and is a dedicated workstation. It’s also incredibly easy to set up, are using a PC (the scanner can be used on Macs,
negative and slide scanner. While this is with a Quick Start guide walking you through the too) to adjust the automatic scanning options
targeted at professional photographers, there are correct order of connection and installation. It and to enable/disable the preview function.
many designers who also have a large collection takes a few minutes to install all the available When you hit QuickScan, the software will
of 35mm films with images that could be software, but it is worth the effort to make the automatically save the imported file to the album
translated into new digital projects. Many most of the options available. NewSoftPresto! and send them directly to PageManager for
scanners now offer a negative-scanning function, PageManager 7.10 and ImageFolio 4.5 are there organising. IntelliScan launches SilverFast for
but the quality has always left a lot to be desired to mange your images and process them more advanced scanning options such as Multi-
in these combi products. respectively, while the real star of the show is Exposure, Auto Adjust, USM, SilverFast Basic,
There are two versions of this scanner – the SilverFastSEPlus 6.5 iSRD ME, which expands your NegaFix, Selective Color Correction, iSRD and
7500i SE and the 7500i AI – both of which feature scanning options and works as a Photoshop more. You can also use SilverFast from within
a multi-exposure function and a multi-sampling plug-in or standalone product. Photoshop by going to File>Import>SilverFast.
feature for reducing noise. The AI model comes Scanning is super-simple, too. You insert your Previews are again available before scanning so
with a SilverFast 35mm IT8 Target calibration to negative into the film holder (or slide into the you can see how your image will look.
generate ICC profiles, which weighs in at £395 slide holder) and pop the holder into the slot on All very well in theory, but what about in
(excluding VAT). We looked at the SE version, the side of the scanner. You then have two practice? We tried the QuickScan option first,
which will be more suited to those who want to scanning options to choose from: QuickScan and hitting the button on the front of the device. It
just scan and go, priced at £223 (excluding VAT). IntelliScan, both selected from buttons on the scanned our 35mm colour negative in seconds
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different media: books, magazines, newspapers, catalogues, Summary: The information contained
posters, websites and flyers. The book presents these designs in inside is highly useful, especially with
their original forms, with the layout grids overlaid so you can the included CD, but it is very specialist
and won’t appeal to those with no
easily see how they were put together. Detailed captions are
interest in layout.
used to explain the technical specifications of each project, as
well as the creative inspiration behind the designs.
Rating: 3/5
To supplement the book is a CD full of templates that relate
to the designs shown in the book. It is easy to find the grid that
you are interested in as the file names match the page number
of where the grid appears in the book. There are also some
helpful tutorials available online at www.rotovision.com/
INSIDE VIEW: While a
gridstutorials. little lacklustre in the design
The design of the book itself is very technical rather than stakes, this is perfect for
those with a passion and
inspirational due to the serious nature of its contents, and as interest in layout theory.
such it is likely to be passed over on the shelf with other design Definitely one for the
books unless you are looking for something of this exact technically minded
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Advanced Photoshop