Selling Your Photos TO Photo Stocks

.
PSD PHOTOSHOP
VOL.3 NO.10
ISSUE 10/2010/(22)
SELLING
YOUR
PHOTOS
TO
PHOTO
STOCKS
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EXTRA Works of Benoît Ladouceur

Dearest Readers!
You are probably all in Halloween mood, preparing your party outfits right now. Hoping that
you will find some time to create the new inspiring works, here we are with the November
issue of our magazine!
This time we present you an interesting Zainab Razaq’s photomanipulation that will help
you to achieve a fire/ice effect using some simple techniques, Benjamin Delacour will teach
you how to make your own Photoshop origami and Tyler Bramer – how to prepare a rock
texture in a few short steps.
However, we did not forget about the Halloween ambience, which Mair Perkins and Stephen
Petrany helped us to create. Just check their tutorials: comic style Zombie and X-Ray effect!
This time we have something special for those of you interested in selling photos to photo
stocks: Erlon Silva is sharing with you his experience in this area. As always, you also have a
chance to read some interesting interviews and see beautiful works of our artists.
Hoping this issue will be an inspiration, I wish you a good lecture!
Magdalena Mojska
Editor in Chief
magdalena.mojska@psdmag.org
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2 .psd 10/2010 | www.psdmag.org/en

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Cover artist 4
Pedro Ferreira
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Fire vs. Ice 10
Zainab Razaq
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Paper Girl 18
Benjamin Delacour
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Selling photos to photo stocks 26
Erlon Silva
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X-Ray Effect 28
Tyler Bramer
Rock text effect 34

Stephen Petrany
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Comic style Zombie tutorial 38
Mair Perkins
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Interview 46
Benoit Ladouceur

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Pedro Ferriera
Pedro Ferreira was born in Porto, Portugal in 1974. In 1999 he graduated in Graphic Design,
ESAD - College of Arts and Design and began working as a graphic designer in a Design Studio.
In 2000 he entered the design department of Cifial company, and since then he worked as a
designer, illustrator and more recently as a digital artist. Some of his work has won international
awards and was printed in magazines of Photoshop, photo manipulation and digital art. “I’m a big
fan of digital art and like to create strong compositions, full of color, symbolism and emotions!”
You can see more of his work at http://peter-design.blogspot.com/

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Pedro, could you introduce yourself to our readers?

Hello everyone, my name is Pedro Ferreira, I’m a graphic designer
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and digital artist from Porto, Portugal, graduated in Graphic Design in

ESAD (School of Arts and Design – Matosinhos). Since 2000 I work
as a graphic designer, illustrator and more recently as a digital artist.
My works are very strong visually and rich chromatically, always with
a message or a story to tell! They are all made in Photoshop, in many
cases using vector elements, designed in Illustrator.
Why did you choose this profession?

I think it all came together in a natural way in my life! Since my ado-
lescence I liked to draw and paint, and made multiple exhibitions. I
was also teaching painting and drawing for some time, always having
a love for images and color. At one point I dropped the brushes and
swapped them for the computer keyboard and never quit! Creating
my own pictures makes me more alive and allows me to express
what I feel and think in a very personal way, using my imagination,
without limits!
What do you especially like about it and what do you find the
most challenging?
Above all, what I like to do is for example picking some images that
I find interesting and transforming them, merging, giving them a new
identity and a new sense! And always with a personal brand, with a
language that is easily recognized and appreciated by others. I have
also always paid close attention to detail. All details are important to
get a good picture, to have a convincing result in the end! The big-
gest challenge is to evolve and always exceed the expectations and
difficulties. It is very important to learn and see new things and above
all never give up!
What do you currently work on?

Currently I work as a graphic designer in the design studio of a large
company. As a freelancer my greatest passion is digital art, of which
I am a big fan and a careful follower of emerging trends. I am always
ready to accept new challenges and new opportunities to show what
I really like to do! I appreciate the opportunity given to me to show my
work and talk a little about me!
Do you have a precised future plan?

I’m not sure how tomorrow is going to be, but I sincerely hope to con-
tinue doing what I like and have many opportunities to show it to the
others! I know I still have much to learn and grow as a digital artist,
but I want to leave my mark, my pictures! I want others to look and
say “these are Pedro’s works!”
What could you advice to those who would like to follow your
steps?
Please never give up on your dreams and ambitions! Believe you
can, because believing is achieving! It is also important to learn from
the experience and knowledge of others, propose ourselves to get go
so far as they were to eat a slice of the delicious cake of success!
Regards,
Pedro Ferreira | Designer/Digital Artist
pedro.peterdesign@gmail.com
http://peter-design.blogspot.com/

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The layout and design can easily be adapted to your needs. Creating • professional package

DED?B91< Photoshop CS5 | beginner | 60 min

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1
Zainab Razaq
My name is Zainab R. and I am a young but passionate
designer from Lahore, Pakistan. I’ve held a fascination
for art since my days as a toddler, transitioning from
traditional art to digital. Though having come so far and
achieved so much, I continuously struggle to develop and
broaden my artistic abilities.
We are going create a design that makes
use of a Fire vs. Ice concept. In this tutorial
you will learn how to tackle such complexed
conceptions to achieve effective results with
quick and easy techniques.
1: PLANNING
Start up Photoshop and bring out the base stock image
you wish to work upon. Decide upon a stock image
that features a model in a pose that complements your
concept. Our concept is fire versus ice. What we want
to depict is a sleeping woman who seems as if she is
coming to life. Her dormancy shall be represented by
ice, while her arousal will be represented by fire. Start
by planning how you wish to format the ice and fire
around her body. I’ve used a soft brush of orange and
blue to characterize ice and fire respectively. Now that
I have a clear idea of my direction, let’s get started.

@8?D?=1>9@E<1D9?> 6YbUfc9SU
2: SPLATTER EFFECTS 3: ICE EFFECT – 1

I always enjoy creating extra effects to help my concept grow. We are Now that we’re done with our additional effects, let’s begin on the
going start off by creating some splatter effects. Create a new layer main concept. We’re going to start off with adding ice to the woman’s
over your main image. Select your Brush tool and choose a splatter body. Be sure to remember the direction you had planned for your-
brush of your choice. Now choose a certain part of your base image self earlier. To achieve an ice effect, we will be making use of various
and create one brush stroke over that portion. In this case, I created a stock images. Here are the stock images I used to achieve the first
stroke over the woman’s denim shorts. Select your base image in the part of our ice effect. Let’s start with the arm. Take the first stock
Layers window. Without deselecting the base image, hold your [Ctrl] image. Notice the shape of the ice works as a perfect fit for the
key and click on the layer window of your splatter brush. Your splat- woman’s elbow. That’s exactly where we are going to place it. Press
ter brush has been selected in your canvas. Now simply hit [Ctrl]+[C] [Ctrl]+[T] so you can size your stock image appropriately. Then place
and then [Ctrl]+[V]. You have now cut out a piece from your base it over her elbow. Set the Layer to Screen. Take out your Eraser tool
image in the shape your splatter brush. Reposition the new shape and erase the parts that go outside her arm or don’t look good. I then
to create an effect. It looks as if her shorts are torn or as if they are took the third stock image and added it to the upper arm, making use
spilling away, whichever way you may see it. Now using the same of the very same technique.
technique, create some more shapes and position them to create
further effects.

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4
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4: ICE EFFECT - 2 5: ICE EFFECT - 3

Now bring out the stock image of the water splash. What’s great Now grab your Pencil tool, set the color to white and create some
about such water splash images is that they can imitate a frozen sort small scribble like lines over her arm to add more strength to the ice.
of look. We are going to take this stock image and place it right below Outline the strands of her hair that fall over the ice as well. You have
her elbow. Set the layer to screen and make the necessary amend- created your first ice effect. Later on we will be working with an effect
ments with your Eraser tool. Create a new layer underneath all the to help add further strength to the ice. Now with the same method;
stock images and set it to Hue. Select your brush tool and slightly using stock images, soft brush coloring and the Pencil tool, add fur-
brush over her arm with a soft brush of a blue color. This is to give her ther ice effects around her body. We have already begun to achieve
arm a bit more of a frozen look. some great results and simply with the use of stocks and layer set-
tings. Once you feel you’ve got enough ice effects, it’s time to move
on to the fire effects.

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6: FIRE EFFECT - 1 7: FIRE EFFECT - 2

Instead of using actual stock images of fire, we are going to do it dif- Taking the very same stock image, I position it over another part of
ferently. To achieve the fire effect, I will be making use of nebula stock the woman. The reason why I am using the same stock image, for
images. I believe the nebula stock images instead of actual fire stock the previous one, I erased out a lot of parts, mainly because it had so
images will give the design a more magical touch. I took the first many details that I could as well use elsewhere around the woman’s
nebula stock image, positioned it over her chest and arms and set the body. So that’s what I am doing now. Continue to add more of the
layer to Screen. I then took my Eraser and erased out parts I didn’t nebula stock images. This step is really all up to the flow of your base
like. Here’s what we have so far; image and your own imagination.
6 7

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9 8: BACKGROUND
While I like the texture of the background in my base image, I wanted
to add something to it. So I found this nice stock image from devian-
tart.com. I simply set the layer to Screen and applied it to the bottom
of the image. I used the Eraser tool to properly adjust the image into
place.
9: COLORING - 1
Let’s add some more color to this piece. As we are working with a fire
and ice concept, we’ll be using colors to best match these elements.
Create a new layer and set it to Soft Light. Bring out your brush tool
and select a color that best matches your fire/nebula effect. Brush
over any parts you feel could use more depth. In this case, I brushed
over the effect on the woman’s hand.

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10
10: COLORING - 2
Brush where else you feel necessary and switch
your color to blue where needed. If you need to
adjust the opacity of some strokes, create a sepa-
rate layer for each stroke. Click the Create new fill
or Adjustment Layer icon in your Layer window and
select Gradient Map. Choose the Purple to Orange
Gradient Map from the default selection of maps. Set
the layer’s Opacity to about 20%. Click the Create
new fill or Adjustment Layer icon again and this time
select Selective Color. Feel free to play with these
settings to best suit your design. Here are the values
I chose: Red: Cyan -23, Magenta +13, Yellow +7,
Black -23, Yellow: Cyan -7, Magenta +20, Yellow
-17, Black +11, Cyan: Cyan +100, Magenta +36,
Yellow +5, Black +20, Blues: Cyan +40, Magenta -3,
Yellow -9, Black +27, White: Cyan +9, Magenta -7,
Yellow -36, Black -24, Neutrals: Cyan -6, Magenta
-5, Yellow -7, Black 0, Black: Cyan +1, Magenta -1,
Yellow +3, Black +2

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11: FINAL EFFECTS

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We’re almost done. For an added effect, I took two floral brushes and
11
added them over her arm and chest and set the layer to Soft Light.
Place this layer underneath all the other layers and above the base
image so they become blended with all the effects. Now create a new
layer (back to the top) and go to Image>Apply Image. Click [Ok]. The
go to Filter>Artistic>Cutout. Make use of the default values or adjust
them as to your liking. Click [Ok]. Select your Eraser tool and erase
the parts you do not like. Create a new layer and Apply Image again.
Go to Filter>Sharpen. You have successfully and easily completed
your design.
BRUSHES USED:
Splatter
http://bombay101.deviantart.com/art/Splatters-15-44975011
http://c130.deviantart.com/art/Splatter-brushes-20653473
http://screamotizer.deviantart.com/art/Ultimate-splatter-brushes-two-
92594813
Various
http://solenero73.deviantart.com/art/Vector-Pack-Volume3-
68505526
STOCK IMAGES USED

Woman
http://www.shutterstock.com/results.mhtml#photo_id=43631263&src
=b6ee91b285294dc3134852e8c2f0e3be-2-16
ICE EFFECT
http://www.sxc.hu/photo/1103489
http://www.sxc.hu/photo/1254266
http://resurgere.deviantart.com/art/Package-Ice-7-48144161
FIRE EFFECT
http://moonchilde-stock.deviantart.com/art/Basic-Nebula-Stock-I-
167344560
http://moonchilde-stock.deviantart.com/art/Rupture-Neb-Stock-
Plain-167116760
http://moonchilde-stock.deviantart.com/art/R-O-F-Nebula-Stock-
110477258
BACKGROUND
http://moroka.deviantart.com/art/Ruin-Stock-109942311

DED?B91< Photoshop CS4 | Illustrator CS4 | avanced | 60 min
@QÙb
7Yb\ Here is a tutorial made entirely in
Photoshop and Illustrator CS4. I wanted
to try to make something fresh and very
colorful. To do this, I used images of

Benjamin Delacour
I’m a graphic designer with over
10 years experience. Passionate
of graphics design and picture
alteration (retouch), I work today
as a freelance designer for
widely renowned organizations.
My spare time is devoted to
Photoshop, one of my favorite
tools by far!
origami. Some of the material was done in
Illustrator and Photoshop but the majority
comes from iStockphoto.

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1: BASE 2: BACKGROUND
Open a Photoshop document, 60 cm wide by 40 high and 300dpi. Add a layer between the white background and the model layer.
After importing your model (which has to be cleaned and cut out from Start painting the floor with a large brush with a blur diameter of 1500
its source)t, place it in the center of the image. Cutting out is not a pixels. I made a first layer with a translucent green apple and then
very pleasant job but it is very important. While cutting out the char- with a darker green to give the idea of depth. Do the same with the
acter and combining the different techniques of trimming, use the Pen sky using very bright blue tones.
tool inside a new layer. It is best to avoid using the Lasso or Eraser
tools! Using the Pen tool in a new Layer makes it easy to correct your
selection and the result will be much more natural.

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3: CLOUDS 4: FOLDS IN THE CLOUDS

With the elliptical Marquee tool create a beginning circle by holding With the Polygonal lasso tool, create selections at the intersections
the [Shift] key.Add to the clouds by creating other circles while still of thecloud bubbles. Create a new layer, and using a large brush and
pressing [Shift] to link them. Fill your selection with white and start to blur of gray tinted medium create shadows to give the impression that
fill up the sky with clouds. With Layer Effects add a gradient and then the clouds were three-dimensional.
a very light shade, broad and vague.

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5: ORIGAMI 6: ORIGAMI 2
Now open in Photoshop the origami you want to use; cut it out and Now you will insert the origami balls, using the same technique as in
place it in the main image. Return to the image of origami that you step five, but as they arefloating in the air we do not need to create
just copied and invert the selection to create the shadow of origami. their shadow. With the Saturation tool ([Ctrl]+[U]) change the colors of
Copy the inverted selections and adjust them so to fit under the ori- the bubbles until you like them. Blur the elements origami that appear
gami previously placed. Now use the Mask tool to clean the inverted closer to the viewer and leave them sharp right next to the model.
shapes and leave only the shadow of origami. Repeat this step for all This will give more depth to the image.
pieces of origami.

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7: FLOWERS 8: PYRAMIDS
Now we will add origami flowers to complete this composition. You Open Illustrator and with the Pen tool create two triangles. By chang-
can change their shape and color of by combining different photo- ing their anchor points you can attach them to each other and then
graphs and changing the color of the petals. I copied some flowers at by changing the two anchors down field you can adjust the perspec-
the bottom of the image to blur and create a background. Take some tive and thus achieve more pyramids in different angles. Fill the trian-
time to experiment with differentsizes and positions of the objects you gles using the Gradient tool, then import them into Photoshop. Give
have just imported. The hardest thing is to create the highest possi- them color using the Hue/Saturation tool ([Ctrl]+[U]) click the box to
ble image perspective. redefine and increase the saturation and choose a color for each
pyramid.

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9: SMALL HOLES 10: SHADOWS

Take the image of the hole in the paper, adjust the curves to have With the Polygonal lasso tool, draw a square in perspective on the
a white baser and torn edges visible. Import it into the main image. bases of all the pyramids, still pressing [Shift] and then fill them with
Adjust the size of the largest flower and place it at its base. Using black. Move the layer down to give the impression that they float
the masks, delete useless pieces of flowers to give the impression above the ground. Then blur the layer and lower its opacity to com-
of holes. Gather the flowers in a folder and add a mask to it with the plete the shadows of the pyramids.
brush clear on the bases that each flower is hidden by the torn edges
of the holes. A quick brush on a layer above the flowers in their files
will be used to shade the base. Copy the hole layer, modify it with the
Transformation tool ([Ctrl]+[T]) and do the same for all the flowers.
10

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11
11: FOREST 12: DRESSING THE MODEL

Create a new Illustrator document of 20 x 10 cm, 300 dpi, then copy Using forms of origami striped black and white that I cut, I completed
2 or 3 forms of the pyramid we have done previously. Place them side the dress of the model and gave volume to the silhouette. Change
by side, flatten the layers and the bottom d with [Ctrl]+[A] and select their shape using [Ctrl]+[T] and deformation by checking the button
any image in the Edit menu. Use the option: Define Brush Preset. in the bar (toggle modes of free transformation and deformation).
You’ve just created a form of brush that will be used to create the Choose an origami model and put it on the model’s head with a Mask
forest!. With the brush select the shape just created in the panels and a selection with a pen you can change it into a hat by remov-
and forms. Set the following options: Dynamic shape change of the ing one part. Add a layer to create the shadow of the hat on the mo-
size 15% and click on change in the symmetry X. Enable Broadcast del’s face.
option, and set the Number 1 to 56% and digital change 75%. Select
the Other Dynamics option by setting both of the parameters at 50%.
Now we just need to paint the forest and to color the trees, using the
Hue/Saturation tool and clicking on Reset.
12

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13
13: FINAL SETTINGS

Add a white layer above all others, and use the Filter distortion to That’s it! In the end I just added a layer effect of waves painted black
create a lens vignetting. Spread the layer mode to adjust its opac- around the boat from a selection made using Pen.
ity. Add a Hue/Saturation adjustment layer to saturate the image a
little more.

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Stock images have been a significant part of my life. Stock images allow me to create unprecedented looking picture.
During the process I often use more than one image to create that
For more than 10 years I worked as an art Director for extraordinary result. When working with clients with limited budget,
royalty free images seem to be the perfect solution for stunning
an advertising agency in Brazil, where I often used stock outcome.
Working with stock images can be a “hit and miss”. At times I can
images to illustrate different ideas to my clients.
find exactly what I need, and there are times when there is absolutely
nothing what would satisfy my need.

C5<<9>7I?EB@8?D?CD?@8?D?CD?3;C
Currently I’m a supplier for iStockphoto and now I’m on the other
side of the table. iStockphoto is very strict in selecting suppliers, and
1BD93<5
has very precise quality guidelines. Each of the images must have
with submission detailed description including technical traits and
copyright information. Most of the image banks today, do not accept
simple and obvious photos. They don’t want more of the same, they
make the selection process more challenging and that stimulates
the creativity of suppliers. Consequently successful suppliers are
coming up with new ideas and concepts to to produce outstanding
images which have many downloads. But I never know which image
will become popular.
Here is a picture which I thought would sell very well, but until now, it has not been Another image that I never though would sell, every month someone has
downloaded even once. purchased
The image bank can refuse any picture for any reason. It took me It takes years to build a portfolio of stock images. For now I enjoy
one week to prepare the image of a Porsche on the road, and at what I do, and that little extra money it brings me. I am already think-
the end it was refused. The reason was that design cars have prob- ing ahead about the Olympics and the soccer World cup coming to
lems with copyright. Oh well, I learnt my lesson. Let’s move on to the my country. My idea is to produce several images promoting the cul-
next one. ture and our investment in sport. My main focus right is now is to
The ultimate goal of each of the supplier is to work full time on overcome any limitations, to put my passion into production, and to
stock photos for the image bank. That is what we love to do the most. increase my stock image collection and consequently to increase
One of the suppliers I know, had 7000 images in the stock counting downloads.
1 million of downloads. If every download got paid $ 1 she would be
a millionaire. But it is not as simple as that. It took her years of hard My dear friends, I must depart now, I have few ideas I’d like to put
work and creativity to achieve this level. The competition in the stock in motion.
image world today is very unyielding. That goes from free images,
images for $ 1, images payable in accordance with the utilization and By Erlon Silva
all the way to rights managed photos. Each single one with high value www.erlon.tv
and outstanding quality. www.istokphoto.com/erlon

G?B;C8?@ Photoshop CS3 | avanced | 30 min
HBQi
5VVUSd
Source file
9^dXYcded_bYQ\9gY\\cX_gi_e By Tyler Bramer

I have been doing graphic design for fun for many
X_gd_`bU`QbUQ^HBQiUVVUSd years and now do it professionally. I am working to
become an apparel artist and open my own screen
ecY^W_^\i@X_d_cX_` printing business. Remember,
“It matters not how strait the gate, How charged with
punishments the scroll, I am the master of my fate:
I am the captain of my soul.”
http://iambramer.deviantart.com/
tyler.bramer@gmail.com

HB1I56653D
G?B;C8?@
1: BACKGROUND
Start by creating a new document. Mine is 1920x1080px
since that is my desktop size. Let’s setup some guides
so we can find the exact center of our document. Go to
View>New Guide. Then set the position to 50% Hori-
zontal. Repeat the process for 50% Vertical. Set your
foreground color to #b0a48c and your background
color to #806d4d. Grab the Radial Gradient Tool and
drag from the center to the top of the document.
2: RED GLOW
Create a new layer. Grab a large 500px or 600px soft
brush and set your foreground color to #72210b. Then
brush in an downward arc from the middle left to the
middle right of the document. Now set the layer of the
red glow to Vivid Light and lower the Opacity to 40%.
3: MID GLOW
Create a new layer. Grab a large 500px soft brush and
set your foreground color to #f8f2e5. Brush once in the
middle so that a large tan circle appears. Now go to
Edit>Free Transform [Ctrl]+[T] and widen the circle so
that it fits the ratio of your document size better. Mine
needs to be widened quite a bit since I’m using a wide-
screen document size. Set the layer to Overlay and
lower the Opacity to 50%.

HB1I56653D
G?B;C8?@
4: ADDING GRAIN
The background needs to look a little grainer than it
does for this effect. To accomplish this we are going
to use the Film Grain filter. Create a new layer and fill
it with the color black. Then go to Filter>Artistic>Film
Grain. Set the following: Grain: 7, Highlight Area: 0,
Intensity: 2. Then set the layer to Color Dodge and
lower the Opacity to 10% or 15%.
5: DARKENING SIDES
Create a new layer. Grab a large 500px brush and
the color black. Brush around the outside edges of
the sides, making sure the corners have more depth.
Then set the layer to Overlay and lower the Opacity to
around 65%. Create another new layer. Grab a smaller
100px brush and brush around the outside edges
again. Leave the Opacity at 100%.
6: WIDESCREEN BARS
I want to add widescreen bars to
my scene to give it a sharper look.
Juding off my document size, I’m
going to make a 80px selection at
the top and an 80px selection at the
bottom and on a new layer fill them
with black. This layer must always
remain above all other layers.

HB1I56653D
G?B;C8?@
7: ADDING THE X-RAY There should be an RGB, Red, Green, and Blue channel. Each chan-
Now we need to add an X-Ray to the scene. I found a wonderful nel you click should add more to your selection. Now copy the selec-
X-Ray of a foot on http://www.sxc.hu/photo/666038 Open the X-Ray tion Edit>Copy and paste it into your original document on a new
in a new document. We need to get the a selection of the foot without layer. That X-Ray is a little too big than what I was looking for so let’s
all of the black. This is tricky since there is so much feathering around resize it by pressing [Ctrl]+[T]. There are some black fuzzy pixels that
the edges of the foot. Go to the Channels window and hold the con- got left behind after we made our selection so lets grab a 100px soft
trol key and the shift key while clicking on each of the channels once. eraser and clean those up.
8
8: GRAYSCALE X-RAY EFFECT
Let’s make the bottom right part of our X-Ray transition
into grayscale so it adds more effect. Duplicate your
X-Ray layer by right clicking it and selecting Duplicate
Layer. Then go to Image>Adjustments>Desaturate.
Create a new layer mask on the grayscale layer and
grab a large 600px black brush. Brush 3/4 of the X-Ray
black in the mask so that only the bottom right remains
showing. Then lower the Opacity of the layer to 65%.
9: ADDING
SPECKS
Set your foreground
color to #cac1ad. Then
grab brushes ranging
in size between 4-7px
and brush some random
spots in your image.
Now grab the Blur tool
and blur some of the
specs out. Next, grab
the Smudge tool and
smudge some of the
specs that you blurred.

HB1I56653D
G?B;C8?@
10
10: CURVE
ADJUSTMENTS
Go to Layer>New
Adjustment Layer>Curves
to create a new Curves
layer. Make adjustments
similar to mine shown below.
11
11: MORE GLOW

Create a new layer. Go to Image>Apply Image. This
will place a copy of your document onto your new layer
merged. Desaturate it by pressing [Ctrl]+[Shift]+[U]. Apply
a Gaussian Blur of 3 by going to Filter>Blur>Gaussian
Blur. Then set the layer to Overlay. Lower the Opacity
until you achieve the effect you like.
12
12: EXTRA EFFORT

Play around with different settings. Maybe add a Color Balance layer? Experimentation leads to all sorts of amazing things!

G?B;C8?@ Photoshop CS4 | Medium | 90 min
DUhd
5VVUSd Text effects have always been popular in Photoshop.
In this tutorial, I will walk you through how to achieve
a rocky-looking text effect. I will explore some creative
techniques to round out and break up almost any font
to create a rocky look.
Stephen G. Petrany
Stephen has been in the graphic design field
since 2002. For three years, he worked as a
3D production artist in the architectural and
engineering field. Throughout his career, he has
worked for several nationally recognized clients.
In his spare time, he likes to explore new techniques
in Photoshop as well as write original tutorials.
http://stephenpetrany.com

B?3;D5HD56653D
G?B;C8?@
2 1: BASE TEXT
Start with a blank canvas and use the Text Tool [T] to
add any text in any font using black (in this case, I’m
using Myriad Pro Bold Condensed).
2: ROUNDED TEXT
The edges are too sharp. To round these out,
start by flattening the image and applying the
Filter>Noise>Median filter. This still needs to be
rounded more; use the Filter>Blur Gaussian Blur filter
to give the text a small amount of blur. Next, adjust the
Levels [Ctrl]+[L] until everything looks smooth.
3: EXTRACT
Since the image is still flattened, we are
unable to apply any effects to just the text.
To extract the text from the background, go
in to the Channels panel and [Ctrl]+Click any
of the image thumbnails to make a selection
(if you are working in CMYK, then only the
black channel will work). Create a new layer
for the extracted text. Invert [Ctrl]+[Shift]+[I]
the selection and fill with black.

B?3;D5HD56653D
4: BACKGROUND
G?B;C8?@
4 The flattened image of our text is no longer needed.

Replace this layer with a background for our extracted
text.
5: MORTAR
The finished rock effect will require two layers, one for
the rocks and one for the mortar. Make a copy of the
extracted text which will be used for the rocks. Hide
this layer for now. The other layer, which will be the
mortar, will require the following Layer Styles to be
added.
6: ROCKS
Working with the second text layer, apply
Filter>Texture>Stained Glass (for this filter to work
properly, make sure your Foreground Color is set to
White). In the Stained Glass dialogue box, the Cell
Size and Border Thickness should be exaggerated as
shown. The Light Intensity should be set to 0.

B?3;D5HD56653D
G?B;C8?@
7 8
7: ROCK FORMS
Apply the Filter>Noise>Median filter to round out the shapes. Next,
extract just the black rock forms using the Channels panel. To do this,
hide all layers except for the rock layer, then go in to the Channels
panel (just like in step 3) and [Ctrl]+Click any of the thumbnails. Invert
[Ctrl]+[Shift]+[I] the selection and fill with black on a new layer. The
old rock layer can be deleted.
8: PAINT
Use the Brush Tool to paint in areas of the rocks so that they break
the text’s boundaries. Do this for every letter.
9: TEXTURE
Open the Layer Styles and add the styles shown in order to achieve
the rock effect. Feel free to tweak the settings as you see fit.
10
10: SHADOWS
To finish the image, add some shadows to each letter to make it appear that each letter is standing on a ground plane.

Photoshop CS4 | medium | 60 min

Comic style
zombie
4979D1<@19>D9>7
tutorial Mair Perkins

Mair Perkins is 22 years old and currently employed as a
graphic designer and digital design study advisor whilst
studying a postgraduate degree in Animation. She also
does freelance illustration and event caricatures. Her
animated work has won awards and been commissioned
for TV and film. Mair has been hooked on digital art since
getting Photoshop 5.5 and a tablet when she was 14.
However her first introduction to digital art was Mario
Paint for the SNES. Drawing fantasy, horror and anime
pictures has been a lifelong hobby and is a fun alternative
1: PREPARE LINE ART to the graphic design and animation work.
Draw your image out on paper and scan the line art into
Photoshop (I prefer inking with Pentel manga brush
pens as they give lovely smooth ink marks and a vari-
ety of line thickness). Adjust the levels and clean up
1
any unwanted smudges. Duplicate the layer and set
the blend mode on the top layer to multiply. Clear the
background layer. Fill the background with the colours
you want to use for the image. Using the gradient tool
easily lays down a variety of smoothly blended colours.
This helps set the colour theme for the whole image.
This can always change as the image progresses.
2: FLAT COLOUR
Make a group folder and in it layers of solid colour for
different sections the image. I’ve made them invisible
for now so the background can still be seen.

COMIC STYLE ZOMBIE TUTORIAL
3: ISOLATING THE COLOUR

4979D1<@19>D9>7
Using the Pen tool outline the figure. The Pen tool allows you to move
3
the vector points and change the curve of the lines using the path
selection tools Go to the paths tab and turn the work path into a selec-
tion by clicking on the dotted circle icon. Now select the group folder
in the Layers panel. Before clicking the mask button at the bottom,
right click the selection and select Inverse. Now mask the group and
make one of the layers within visible. All the layers within the group
are only filling the zombie. Now using the Pen tool mask out the other
areas of colour to isolate. Here I’m selecting the hair area but most
of the work has already been done by the initial group mask. Repeat
this process until all the different colours are masked on separate
layers. Isolating areas of colour can be done by painting directly onto
a transparent area but I like the flexibility that masks offer. You can
easily add or subtract masked areas later without affecting the colour
and shading work you’ve already done.

4: LIGHT SOURCE
4979D1<@19>D9>7
Before beginning to render shadow and highlights, I

find it handy to scribble light directions on a new layer.
The light is falling from the top right, slightly above the
character. For the shadows I make a new layer, set it
linear burn and roughly scribble the shadows.
5: SHADING
Now the lighting has been roughly planned, create a
new layer above the layer you intend to shade. Using
the “rough shadows” layer as a guide, I select an area
to shade. This can be done with either the Pen tool or
5 Selection tool. Set the shadow layer to linear burn then
right click and create a clipping mask so the mask on
the “dark clothes” is also applied to the shade layer.
This means the shadow only covers the layer below
and will not affect any other layers. I use the Gradient
tool to build interesting smooth shading effects. For soft
shadows use the Radial gradient at a distance from the
selected area. For sharper edges keep the Gradient
close to the selection edge. For areas of smaller detail
a brush with pressure sensitive opacity and shape
dynamics, is ideal. Continue using the “rough shadow”
guide but reduce the opacity of the “rough shadow”
layer as other areas of shadow are rendered. Repeat
the process of creating clipping masks to shade the dif-
ferent isolated areas of colours.

6: TEXTURE
4979D1<@19>D9>7
The zombie is looking more “lively” but there’s still something missing. Adding tex-
6
tures are a great way to add a lot of depth and detail to an image quickly. You can
make your own textures by photographing or scanning anything you find gritty and
interesting or find free ones over the internet. I like using http://amazingtextures.
com/textures/ or the ones included with Photoshop magazines. Copy and paste the
texture onto a new layer inside the group folder. Free transform it so it covers all the
layers below. Set the layer’s blend mode to Overlay and adjust the Opacity. Copy a
texture onto a layer above the background but beneath the grouped zombie layers.
Set the blend mode to Multiply or Overlay. Here I changed the Hue, Saturation and
Colour balance of the layer so it made a new, even more foul background colour.

7: FINISHING TOUCHES
4979D1<@19>D9>7
7 Add some yellow and dark red gradients behind the zombie so he
stands out from the background more. Then create a new layer in
the group and add gore and blood splatters. There are plenty of free
blood splatter brushes for Photoshop all over the internet. I mask the
layer so I can erase and fade some of the blood splatters by painting
black onto the mask. Paint white on to the mask to reveal areas. For
extra gory detail, I add some white highlights around the wounds and
brain. Again I mask these so I can hide, fade and reveal parts with
ease. Once finished, flatten the image then do some final tweaks with
levels and colour balance.

BUfYUg_V9]QWUC[Y\\Ãc
2QS[Wb_e^TBU]_fUb
Background Remover is a helpful plugin for
Photoshop and other photo manipulation programs About the Author
Michael R. Capell received an M.F.A. in
designed to streamline the process of extracting graphic design from Utah State University in
images from their original backgrounds. 2007. He has art directed animations for the
Utah Jazz, Portland Trailblazers and Houston
Rockets. He is currently freelancing and
1edX_b*=YSXQU\B3QÙ\\ has worked as an Instructor at Utah State
University teaching Animation and Design.
ggg]SQÙ\\#TS_] www.mcapell3d.com www.ionicdesign.com
Background Remover installs easily, letting the user choose what There are several other tools to refine and smooth the edges such
application to install it for, in this case Photoshop. When you next as Manual Erase/Recover, Mark Defringe Zone, and Refine Mask.
run Photoshop a dialog will pop up giving you options to enter or pur- Using the left or right mouse button toggles options (such as adding
chase a registration key. or subtracting to mark areas) for all of these tools.
In order to use Background Remover you need to start with an Yielding this result:
image that is in RGB colour mode, either 8 or 16 bits per channel, and
have a floating layer (not a flat background) selected. If stating with Where this permanently deletes the
another type of image or a flat file you’ll receive a warning message background, any refinements should
encouraging you to edit the format into one that the plugin can use. be made right after applying the
effect with the History Brush set to
The plugin can be accessed by the state right before the extraction
going to the Filter menu under to make any other refinements to the
Image Skill—> Background edges.
Remover. Select it from there Background Remover is useful
to begin. for quickly extracting images, partic-
ularly those that are against a high
Here I’m using an image I took contrast background. More experi-
from our garden and want to enced users with the full version of
extract just the rose. There are Photoshop could often get similar
a variety of options you can results using the built in masking and
use, but the most basic is to Extraction tools, but for users of Pho-
use the Mark Object (green toshop Elements or other programs
line) to draw over the inside this could be very very helpful. The
of what you want to keep cost for a full license is $49.00 USD.
when finished. If there is good
contrast you don’t need to be especially accurate, just make sure Pros: It is quick and easy to install. Is excellent for quickly extract-
that you do not overlap any part of the background. Next you’ll use ing images from their background especially good for fast removal
the Magic Wand tool to similarly draw around the background for of backgrounds with soft edges like hair or lace-like images (those
removal. Once you’ve done that, you will have an image like Figure with several cutouts).
2. Adjustments can be made to the Strength, Contract, and Feath- Cons: It is available for PC Only and permanently deletes the
ering to make refinements to the edge. background.
Tech Specs: Background Remover can run with the following
graphics programs:
• Adobe Photoshop 7, CS, CS2, CS3, CS4
• Adobe Photoshop Elements 3, 4, 5, 6, 7
• Jasc Paint Shop Pro 7, 8, 9
• Corel Paint Shop Pro (Photo) X, X1,X2, X2 Ultimate
• Corel Photo Paint 11,12, X4
• Xara Xtreme, Xara Xtreme Pro
• Microsoft Digital Image Suite 2006
Image Skill’s documentation states it may work with other applica-
tions as well. The interface is available in English, German, French,
Italian, Spanish, Dutch, Russian, Japanese, Chinese Simplified, and
Chinese Traditional. More information can be found on www.image-
skill.com
It is available as a demo version so you can try the software before
purchasing. The demo runs like the full version and has a link to pur-
chase a license number.

9>D5BF95G
Benoit Ladouceur
2U^_Yd
<QT_eSUeb
(aka. Yellowdog on
numerous online art forums)
Benoit Ladouceur is a Canadian
artist based in Montreal. He
has been working in the field of
film and television as a digital
AeUcdY_^c1^cgUbc
matte painter, concept artist and
illustrator for the last 15 years.
He presently works as a senior
matte painter and with Montreal’s
Vision Globale film studio.
www.bladfx.com

AE5CD9?>C1>CG5BC
9>D5BF95G
1. Could you tell us a few words about yourself? magic. Since there weren’t that many traditional effects school in or
I currently work as a matte-painter, illustrator and concept artist for around Montreal at the time I kind of went the art school way for a
film, TV and games. I’ve worked for many fx and game companies while and learned drawing, sculpting and photography. My first real
including Ubisoft’s Montreal office. I started in the industry about 15 contact with the digital medium was when I received a gift for an intro-
years ago after following a 3D course at Montreal’s National Anima- duction weekend to Softimage... at the time a new animation soft-
tion and Design center (also known as NAD center). I started as a 3D ware that had just been making it way in the industry. Being teenager
generalist and later moved on from there to matte painting. I gravitated at the time I was amazed by it (or rather by things like the T-1000 or
towards matte-painting since it was the only specialty that I found to the dinosaurs in Jurassic Park made with it). I dropped college and
cover all of my major work interests. I can basically say that I fell in applied to the NAD center (one of the few schools at the time that was
love with matte painting work because I could convert illustration and teaching the software) and got accepted after a hard selection proc-
2D images into 3D camera movements... It gave me the opportunity ess. After a few classes I was hooked... the digital medium gave me
to have people literally enter into the images I was making. all the freedom I had wanted. I could now create easily anything that
crossed my mind without the constraints of real life physics or costs
2. Why did you choose to become a digital artist? of materials to create physical props. These days , although I still like
It’s been a very interesting journey for me... since I kind of stumbled to draw and sketch on paper, I like that the digital medium permits
onto the digital medium almost by accident. I have always been a bit me to blend, within the same image, all my favorite things like draw-
of a jack of all trades... Drawing, sculpting, writing... doing graphics ing, 3D, photography and painting. Oh yes... there is also the magic
design, photography and so on. I have also always been fascinated of the undo button...
by movies, TV and special effects for as far as I can remember. My
father used to build and design sets so I practically grew up on movie 3. Do you feel that your profession is at the same time your
sets. At first, I started helping out my father on set construction. Later passion? If so, what do you find the most interesting about it?
I started doing makeup, costumes and practical effects in my parents’ In a way Yes, my job is my passion... I feel very lucky and privileged to
garage and wanted to get into the more traditional fx side of movie be able to have such a fun and creative job. Having been fascinated

AE5CD9?>C1>CG5BC
9>D5BF95G
by movies and games all my life... being able to also have it as a 5. What are your current project and future plans?
career is just great! What I find the most interesting about it is that it On a professional level, I now work as a senior matte painter on a
constantly reinvents itself and is always a bit different no matter how feature film here in Montreal. It should come out sometime next year.
many times or similar the work is. No two shots are ever entirely the On a more personal level, I try to push my character work further
same so the challenges are always there to keep you motivated. The throughout my series of «post-apocalyptic» pin-up images. As for my
style and demands are also very different between work mediums. future plans, I’m planning on continuing to try and push myself further
Film has a tendency to be very realistic in finish, while illustration and and to explore outside of my comfort zone. And most of all to try and
games can be very stylized and graphic. I love that I get to work in a continue to produce interesting images.
wide range of style and quality with a bunch of very talented people. It
makes it very easy to get out of bed and go to work in the morning. 6. Could you advice anything to those who want to become
digital artists as well?
4. Is there anything about your profession that can be difficult I think that building strong basic skills like anatomy and perspective is
or discouraging for the beginners? a must. Also a good understanding of composition, color and light is
I think that for beginners the most difficult thing is finding that first job. also crucial. The digital medium helps speed up our work immensely,
It’s hard because you’re fresh out of school, your demo and portfolio but it doesn’t make up for all the basic things that make a good image.
are full of student projects and exercises and your not sure what to Seek out feedback from others throughout forums, newsgroups and
show or how to organize it. On top of that, for matte-painting and con- artists groups... it’s the best way to quickly find out what works and
cept openings, you’re also going against seasonned veterans and what doesn’t with your work and improve your skills. Forums are
senior artists and it can be very intimidating. I always tell students great since they usually reach a very wide range of artists from the
that finding their first job is the hardest thing they’ll have to do in their beginners to the old pros, so there is great feedback for everyone! It’s
entire career... but to keep at it and persevere because once they find also a great way to make contacts! Most artists on forums are more
it, those first professional shots open the doors to one of the most then happy to give advice and help those starting in the field.
interesting and challenging careers around

AE5CD9?>C1>CG5BC
9>D5BF95G

Selling Your Photos TO Photo Stocks

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EXTRA Works of Benoît Ladouceur

5TYd_bY^3XYUV* =Qb[UdY^W4YbUSd_b* 1\\dbQTU]Qb[c`bUcU^dUTY^dXU]QWQjY^UgUbU

2 .psd 10/2010 | www.psdmag.org/en

Rock text effect 34

3 .psd 10/2010 | www.psdmag.org/en

4 .psd 10/2010 | www.psdmag.org/en

Pedro, could you introduce yourself to our readers?

and digital artist from Porto, Portugal, graduated in Graphic Design in

Why did you choose this profession?

What do you currently work on?

Do you have a precised future plan?

5 .psd 10/2010 | www.psdmag.org/en

6 .psd 10/2010 | www.psdmag.org/en

7 .psd 10/2010 | www.psdmag.org/en

8 .psd 10/2010 | www.psdmag.org/en

9 .psd 10/2010 | www.psdmag.org/en

10 .psd 10/2010 | www.psdmag.org/en

We are going create a design that makes

use of a Fire vs. Ice concept. In this tutorial

you will learn how to tackle such complexed

conceptions to achieve effective results with

quick and easy techniques.

11 .psd 10/2010 | www.psdmag.org/en

2: SPLATTER EFFECTS 3: ICE EFFECT – 1

12 .psd 10/2010 | www.psdmag.org/en

4: ICE EFFECT - 2 5: ICE EFFECT - 3

13 .psd 10/2010 | www.psdmag.org/en

6: FIRE EFFECT - 1 7: FIRE EFFECT - 2

14 .psd 10/2010 | www.psdmag.org/en

15 .psd 10/2010 | www.psdmag.org/en

16 .psd 10/2010 | www.psdmag.org/en

11: FINAL EFFECTS

STOCK IMAGES USED

17 .psd 10/2010 | www.psdmag.org/en

7Yb\ Here is a tutorial made entirely in

Photoshop and Illustrator CS4. I wanted

to try to make something fresh and very

colorful. To do this, I used images of

Illustrator and Photoshop but the majority

comes from iStockphoto.

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3: CLOUDS 4: FOLDS IN THE CLOUDS

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9: SMALL HOLES 10: SHADOWS

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11: FOREST 12: DRESSING THE MODEL

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13: FINAL SETTINGS

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9^dXYcded_bYQ\9gY\\cX_gi_e By Tyler Bramer

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11: MORE GLOW

12: EXTRA EFFORT

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5TYd_bY^3XYUV* =Qb[UdY^W4YbUSd_b* 1\\dbQTU]Qb[c`bUcU^dUTY^dXU]QWQjY^UgUbU

9^dXYcded_bYQ\9gY\\cX_gi_e By Tyler Bramer