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ISSUE 17
Jason Cook | Graduate showcase | Start your own design studio | Create videogame masterpieces

6-PAGE INTERVIEW

JASON
COOK

£5.99
17
Delve inside the mind
behind Flatliner

771748 727009
ISSN 1748-7277
ISSUE 17
42

9
S ES
H -REIMAG E’S
HIGOCKIS ISSU
ST TH D
ONREE C
F

HOW TO…
Get organised with Lightroom
Make artwork from scratch
Master Smart Objects
Videogame art
Create artwork with Photoshop
Perfect layer effects to make the PlayStation jealous
Visit us online – www.advancedphotoshop.co.uk

GRADUATE
SHOWCASE ISSUE 17

The hottest young talent to hit the Photoshop scene


£5.99

APPLYING 3D TEXTURES pages of professional


Magictorch explains how to tips & essential step-
17
UE

tackle eye-popping urban texture by-step tutorials


ISS

001_APM17_cover.indd 1 23/3/06 09:53:11


Cover

Cover image Imageer:


JASON COOK
This issue’s cover image comes from the
mind of multiple personality creative,
Jason Cook. A highly respected
photographer and Photoshopper, this
image, created for his Flatliner-V2
persona, demonstrates his aptitude
for composition and his ability to
keep up with trends.
/ For our full interview, turn to page 26.

IF I CARRIED ON
DOING THE SAME
STYLE ALL THE
TIME, I THINK I’D GO
COMPLETELY MAD
5
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nds
mme
Reco

GIVE IT A GO 7 32
Get some inspiration from this robot themed
tutorial. Send your attempts in and next issue you
could win a state-of-the-art EPSON scanner

ISSUE #17

inside... 26 LETTERS 7 10
Your comments shared with fellow readers
Inside the mind of

7 14
Flatliner, Jacey and co
INSIGHT
News and showcases from around the globe
Check out events and exhibitions in the UK 14
Glorious model-making from Rachel Chapman 20
Take a look at MDI Digital’s portfolio 22
Landscapes from the mind of Stephane Belin 24

HELPDESK 7 78
Your technical traumas shared with fellow readers
and answered by our expert

THE COVER
Jason Cook captures the current
trend of integrating photographs
RESOURCES 7 85
Vital assets to improve your Photoshop work
with harsh lines and hand-drawn
elements. Find out what inspires Lightroom Beta 2: The Preview 86
him, and his four personas, by
turning to page 26. Books 90
Plug-ins 92
Portfolio sites 94

.
THIS MONTH’S CD 7 96
E .. Superb stock art, all the project files to go with

R IBe 76 this month’s issue and more!


C g f
UBSto pa £s ofce
S rn ave pri
Tu d s ver 14 16
an e co The latest events
and exhibitions
Awards for students as
well as professionals
th

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56 TECHNIQUES
Master the art of the Faster, better, more… How can you work smarter?
ADD TEXTURE TO 3D OBJECTS 7 32
videogame designer

Create texture to be proud of


FEATURES
INTERVIEW: JASON COOK 7 26 LAYER EFFECTS
Master the art of ice using layer effects
7 44
Discover the secrets behind his success

STARTING A DESIGN STUDIO 7 38


CREATING CONSOLE ART
Be the mastermind behind stunning videogame art
7 56
Unleash your solo potential
INSIDER INFO
THE GRADUATES 7 50 REDUCE NOISE 7
Get the best from your images using the CS2 filter
62
Discover the hot young talent snapping at your heels

PEER PRESSURE 7 72 PERFECT YOUR BRUSHWORK 7


Learn how to paint artwork from scratch in Photoshop
64
Eye-catching images from your fellow readers
INSIDER INFO
ROUND UP: CAMERAS 7 80 SMART OBJECTS 7 70
How the right camera can improve your digital art Discover the power of Smart Objects

PREVIEW: LIGHTROOM BETA 2 7 86


Adobe’s new offering under the microscope

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Letters

Mailbox
Send your emails about the magazine
to the editor at advancedpshop@
imagine-publishing.co.uk

SUBJECT: Hello…? (previously numbered 4) of the magazine. You’ll all be


FROM: Annabel Williams reassured to hear that not only are we here to stay but
Is there anybody there? I’ve been buying Advanced we’ve been spending our extra time wisely,
Photoshop since the first issue, and I was so happy to reformatting the magazine. From now on you can
finally find a publication featuring the app that was expect to see us every month, as we have switched to
actually worth reading! But where have you gone? a new four-weekly frequency. The next issue will reach
Issue 3 came and went with no sign of issue 4, and you on 25 May, ensuring that we will well and truly
many a lunchtime I came away empty-handed from make up for lost time.
WHSmith. Is Advanced Photoshop throwing in the
towel after just (sob) three killer issues? Either way, SUBJECT: Advancing on the web “BEFORE MAGS
thanks for publishing such a fantastic magazine. FROM: Ali Dent
Before magazines like yours hit the stands last year, LIKE YOURS HIT
SUBJECT: Not just for Christmas?
FROM: Barry Keating
the Internet was the only place where hardened
Photoshoppers could commune and swap tips and THE SHELVES, THE
After picking up one issue of your fantastic mag I
decided that I was hooked enough to take the £9
experiences. So, one thing I’ve really enjoyed about the
last couple of issues of Advanced Photoshop is the INTERNET WAS
plunge and subscribe. But since then my post mat
has been barren. What’s the deal, AP, are you coming
way you’ve featured renowned sites like
PhotoshopCAFE and Pixelsurgeon, which really THE ONLY PLACE
or going?

Editor replies:
enhances the community feel of the
magazine. Why is it, though, that Advanced
Photoshop doesn’t have a website? Not only would it
TO SWAP TIPS”
Thanks to all of you who got in touch wondering be great for the AP readers, but I think it would be a
where we’d got to, it’s reassuring to know we were great way of extending the scope and interactivity Editor replies:
missed. Hopefully you all found your way to issue 16 of the magazine. We’ve been spending the last few months
concentrating on polishing Advanced Photoshop
into the gleaming jewel you see before you. But that
doesn’t mean the web has not been in our thoughts.
Photoshop has a huge online community that we’re
extremely keen to contribute to, so you can be sure
that we’ll extend this into a thriving Advanced
Photoshop site in the not-too-distant future. So
watch this space!

SUBJECT: Professional advice


FROM: Russell James
Finally, a magazine featuring pro-level content for
Photoshop users! I’m a new reader of your magazine
and I find the tutorials and features right on target – a
superb step on from the Photoshop content of digital
photography magazines. However, I do think there is
something missing. As well as interviews and tutorials
featuring Photoshop pros I think you could offer a
wider scope of articles focusing on other issues
affecting the Photoshop professional. Career and
MORE TO LOVE: From now on, we’ll be CUTTING EDGE: The Pixelsurgeon site brings portfolio advice, promotional tips, even tutorials
educating Photoshopaholics every single month you the hippest creators and edgiest content focusing on other Creative Suite apps would be ideal.

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STUDIO LINE:
So, you think you’re
good enough to
Photoshop full-
time? Get kitted out
to join the chaotic
world of the
professional
creative with our
guide to the gear
you need on page 38

Straight to
the point
Raising our game
SUBJECT: Advanced?
FROM: Tommy Neilson
I’m sure I can’t be alone in wanting a bit more from full sized image from there. Good luck with the I’ve just seen issue 16 of the magazine and
my now-favourite creative magazine. tutorial, and don’t forget to email all those finished wanted to say I completely agree with your
images in. There’s no greater pleasure for the digital raising the standard and level of tutorials in the
Editor replies: artist than seeing your work in print. magazine; many previously printed were not
Hi, and thanks for getting in touch! Hopefully our advanced at all!
new-look magazine has quenched your thirst SUBJECT: Oldie but boldie
for more in-depth tutorials, and if you turn to page 38 FROM: Peter O’Sullivan SUBJECT: Where’s the insight?
you’ll see that we read your mind and decided to get For anyone like me, who at the grand old age of 46 FROM: Mike Harris
you all the advice you need on starting your own has only just discovered the delights of Photoshop, I think it’s ironic that a magazine section called
design studio. the program can be a little daunting. However, with Insight is so difficult to read. While I find your
the help of a course that I found on www.systematix. tutorials user-friendly and bang on the mark,
SUBJECT: Faulty disc? co.uk I am now a confident Photoshopper, and the first 20 or so pages of your magazine are a
FROM: Terry Stone although some of your tutorials are still a little too hard-to-follow mish-mash of Photoshop babble
I bought your magazine today for the first time and I advanced for me, with the next level of training I with no real order. Is it news, portfolios, new
have found it excellent. Unfortunately my pleasure hope to soon be snapping at the heels of trends or what? As far as I can see it’s just a load
was dampened by the fact there were no images on www.vault49.com and the like. of pretty pictures with captions and the odd
the disc for the fantastic Let It Snow tutorial from p58. hardware story thrown in for good measure.
I think it’s also a pity that you don’t put video tutorials SUBJECT: Focus on imaging
on the disc. Maybe next time! FROM: Helen French SUBJECT: Room for a review
Regards I just wanted to say how much I enjoyed Adobe’s FROM: Matt Sykes
Focus On Imaging event at the NEC last month. It was Photoshop may be the world’s most awesome
Editor replies: inspiring to see so many people with such a passion piece of software (in my humble opinion
You’re not the only person to have suffered the same for creativity. I shall definitely be attending more of anyway) but it wouldn’t get very far without the
fate. However, for those of you who emailed or called these events in the future. hardware and peripherals needed to run it. With
us, and for those of who haven’t done so yet, we have this in mind I think Advanced Photoshop
the solution. If you’d like to get your hands on the SUBJECT: Go go gadget should include hardware and plug-in reviews
image that will enable you to recreate that snow FROM: Stephanie Bridge and news as well as Photoshop techniques.
scene, go to www.advancedphotoshop.co.uk/ After reading your Photoshop pros bang on and on
snowscene.jpg and you will be able to download the about graphic tablets, I splurged on a teeny A5 Editor replies:
Intuos3 (I know I’m getting serious about Photoshop Message received and understood! Taking our
when I pass up the latest Jimmy Choo sale in favour command from you, the readers, this month’s
of a gadget). Well, I’m glad I did. I’ve always been more Advanced Photoshop has continued in issue
comfortable working with ‘real’ tools, so the stylus 16’s footsteps and had a bit of a shake-up. As
suits me perfectly, and I find that my work’s far more well as including a four-page review of Adobe’s
accurate now. And it’s loads of fun, too. latest offering, Lightroom, we’ve also cast our
eye over Insight. Tailored to be a veritable
Editor replies: treasure chest of news and new trends, we like
We’re glad you’re enjoying your new toy, Stephanie, to keep the top end of the magazine completely
and even if it means you’ll be poorly clothed for fluid to move with the pace of the Photoshop
a few months we think it’s worth it! Just to give it a community. But if your wish is for more clarity
proper test-drive, head to pages 44 and 56 of this and order, then that is our command. We hope
issue, where you’ll find a couple of tutorials that will you’ll find this issue of Advanced Photoshop
PIXEL PILGRIMS: Watch out for next year’s NEC make for perfect pen practise. just that little bit more insightful.
imaging event at www.focus-on-imaging.co.uk Enjoy!

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Keeping an eye on the latest trends in contemporary photography, art,
and design, Insight sets out to snapshot innovation in the making

Designer Of The Year: you decide A


Celebrating the greatest achievements Cameron Sinclair for his work with
from the world of design, the London Architecture for Humanity.
Design Museum is hosting the Designer “The Designer Of The Year shortlist is a
Of The Year exhibition until 28 June. true indication of the breadth, depth and
Awarded annually, the UK’s most creativity of design in the UK today,”
prestigious design prize celebrates the enthuses Christopher Bailey, creative
designer or team who have made the director of Burberry.
biggest contribution of design the Even those not nominated for the
proceeding year. awards can take part as the public can
Up for the vote in 2006 is furniture vote for the winner of the £25,000 design
designer Tom Dixon, The Guardian design award. Judge their work for yourself at this
team for the redesign of the newspaper, Design Museum exhibition or online on
Jamie Hewlett for designing the virtual the Designer Of The Year website at www.
band Gorillaz and humanitarian designer designmuseum.org/designeroftheyear.

www.designmuseum.org/
B
designeroftheyear

A THE GUARDIAN, 12 SEPTEMBER 2005 C A SCHOOL FOR 170 TAMIL AND MUSLIM
DESIGN: THE GUARDIAN CHILDREN CONSTRUCTED BY ARCHITECTURE
PRODUCTION: GUARDIAN NEWSPAPERS LTD FOR HUMANITY IN SRI LANKA, 2005
One of the most ambitious design projects of In the year since the tsunami devastated the
2005, The Guardian’s redesign has already led South East Asian coastline, Architecture for
to increased sales in the declining newspaper Humanity has constructed schools, medical
insight
market. Having decided to shrink its traditional clinics and community centres. It is now
broadsheet format, The Guardian redesigned developing sustainable design solutions to the
every aspect of the newspaper. The design crises caused by Hurricane Katrina and the
team, led by creative director Mark Porter, Kashmir earthquake
devised rigorous grids to ensure coherence,
and developed new ways of using colour to D GORILLAZ, 2005
enhance photography, illustration CONCEPT & DESIGN: JAMIE HEWLETT
and infographics Gorillaz has become the world’s most
successful virtual band. Born in 1968, Hewlett
C
© Architecture for Humanity
B COPPER SHADE, 2005 designed anti-heroine Tank Girl before creating
DESIGN: TOM DIXON Gorillaz with musician Damon Albarn. In 2005,
PRODUCTION: TOM DIXON OLD they took the visualisation of the band to a new
One of the UK’s most influential product level by working with the animation company
designers, Tom Dixon was shortlisted after an
exceptionally prolific year in 2005 and for his
Passion Pictures to stage a groundbreaking
digital performance at the D
championship of emerging designers. During MTV Europe Awards
2005, Dixon developed new furniture and
lighting designs for Tom Dixon Ltd and Artek,
the Finnish furniture maker

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05.06
PRZEMEK SOBOCKI: Inspired by the ending
of Krzysztof Kieslowski’s film The Double Life
Of Veronique, when the main character
touches a tree to confirm that she exists, this
is one of the pieces that won Sobocki his title

MODEL MUSES: Inspired by the likes of Erin


Drawing inspiration O’Connor, Jade Parfitt and Linda Evangelista,
Downton’s work has become iconic within
the fashion and the art industry
As an artist, it is all too easy to get used to
people overlooking your work. There’s no
question about it. The life of an illustrator can
be an unacknowledged and frustrating one.
For creatives, exhibitions and
competitions can be a lifeline and the V&A
Illustration Awards are no different. The
Couture voyeur
premier awards for book and editorial Art students pondering how to follow
illustration in the UK, the awards, sponsored in the footsteps of the illustrious
by the Enid Linder Foundation, have David Downton, one of the world’s
produced winners including Quentin Blake, leading fashion illustrators, should
Michael Foreman, Ian Pollock, Ralph get down to the London College of
Steadman, Posy Simmonds and Sara Fanelli. Fashion between 28 April and 17 May.
Winning illustrations are chosen from The stunning retrospective of
editorial publications, children’s books, the Paris couture shows include
adult illustrated books and book covers, so if drawings that have never been
you’ve had your work published in this way, exhibited in public before and
keep reading. portraits of the fashion industry’s
Renamed the V&A Illustration Awards in most beautiful women, including
2002, this event continues to be among the Jade Parfitt, Erin O’Connor and
most substantial financial prizes for book Linda Evangelista.
and magazine illustration in the UK. But A familiar face both behind the
they’re not just recognising old hands. The PRZEMEK scenes and in the front rows of the
SOBOCKI,
ILLUSTRA FIRST PRIZ world’s most esteemed couture
TIO E EDITOR
2005 Awards included a new category for images wer N: Featured in 125 M IAL
e his first pu ag shows, David gained unprecedented
Student Illustrator Of The Year, offered to roots in fash blished as an azine, Sobocki’s win
ion and de illustrator, ning
sign and reveal access to the glamorous world of
students at UK colleges studying illustration his
at degree level equivalent or above. fashion, capturing both the
Although the closing date for the 2006 star-studded front row as well as the
awards student category has been and excitement and energy of the models
gone, 1 August is D-Day for the rest of you. and designers backstage.
Check out www.vam.ac.uk for details of Having originally trained in
how to enter. graphics, David’s natural ability with
the human form, spontaneous
approach and economy of line rapidly
led to a hugely successful career
working with, among others, Vogue,
Tatler, Elle, Harpers & Queen, Estée
Lauder and Christian Dior.
JULIANNA KASZA, As this is his first show for
STUDENT ILLUSTRATOR OF 2005
Inspired by medieval woodcut illustration, when artists numerous years, and is an
were not so knowledgeable about rules of delineation opportunity to buy prints for your
but could create a narrative, Kasza’s illustration was
based on a tale called The Little Piglet And The Wolves
own collection, this is one exhibition
you can’t afford to miss.

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insight
The Greatest
Show On Earth
In keeping with the collaborative spirit with which design studio
Vault49 was conceived, The Greatest Show On Earth showcases
Vault49’s partnership with some of the hottest photographic,
illustrative, and typographic talent around. Featuring illustration
contributions from Daryl Waller, typographic image-making
from Si Scott, and photography by Rinze van Brug and Michael
Creagh in New York, and Stephan Langmanis in London, the
show is set to be a truly great event.
Vault49’s unfettered images, both bizarre and gorgeous, have
appeared on or between the covers of Flaunt, Dazed & Confused,
Rolling Stone, and The New York Times. Since establishing Vault49
in early 2002, the collaborative’s pioneering work has gained
rapid international recognition through countless features in the
best of the global design press, and has sold hundreds of limited
edition artworks worldwide to private collectors and other
design and advertising companies.
Maintaining that it is no longer possible to refer to graphic
design as being so disconnected from the art world, Vault49 has
carved a unique space for itself.
Check out the exhibition, on in April at the Coningsby Gallery,
London, and be well and truly inspired.

www.coningsbygallery.com

HOOCHIE COOCHIE:
DESIGN: Vault49 with Daryl Waller
PHOTOGRAPHY: Stephan Langmanis
MODEL: Ksenia @ Models 1
STYLIST: Riccie Stoene
HAIR & MAKE-UP: Marlene Andersson
Graphic design is growing and evolving
to encompass many different
approaches, techniques and genres,
including much of the territory that was
the exclusive reserve of the artist, such as
self-commissioned and self-published
work like The Greatest Show On Earth

KNIFE THROWER :
DESIGN: Vault49 with Daryl Walle
PHOTOGRAPHY: Rinze van Brug and
Michael Creag
STYLIST: Keith Washington
MAKE-UP: Martha Amelia Friedlander
BEAR TAMER: HAIR: Livio Angileri at Ford Artists
DESIGN: Vault49 with Daryl Waller New York-based Vault49 returns to the UK for
PHOTOGRAPHY: Rinze van Brug and its third London exhibition. Vault49 continues
Michael Creagh to create images which confront our visual
STYLIST: Keith Washington
MAKE UP: Martha Amelia Friedlander
tastes, and challenges us to re-imagine the
HAIR: Livio Angileri at Ford Artists world in which we live
The Greatest Show On Earth is
inspired by a world of questionable
morality and alternative pastimes,
influenced by the lives and
performances of early 20th-
century travelling entertainers.
Worlds collide to give birth to a
collection of unforgettable images

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Making
some NOISE
05.06
NOISE, the international youth arts

DIARY
festival, has hit UK shores. Based in
the Tate, Liverpool, NOISE is the only
online media arts festival of its kind.
Showcasing new and original talent

DATES
from under-25s nationwide, the
festival will cover film, music, fashion,
illustration, graphic design, writing,
architecture and photography. Denise
Proctor, chief executive of the festival,
explains the ethos project’s ethos.
“We have chosen our curators ADOBE FULLY
because they have consistently LOADED TOUR
demonstrated originality, passion and 10-11 April
innovation in their chosen art form. London
They are regarded as industry
20 April
figureheads not only because of their
Newcastle
successes within their chosen field but
because they serve as an inspiration 25 April
for the next generation of young Dublin
creatives. NOISE targets every young 04 May
person regardless of background or Bristol
postcode. It gives them fantastic 11 May
opportunities to showcase their Birmingham
talent.” The best submissions to
www.noisefestival.com by 31 May
will appear on television, radio, online
DISCOVERING
and in print throughout October.
ISAMBARD
YOUNG GUNS: If you’re under 25 and
KINGDOM BRUNEL
eager to get your creative skills seen, 8 April
submit your tastiest offerings to the London Design Museum
NOISE festival. Create anything, just
make it loud!
COLOUR
WITHOUT LIMITS
Getting bigger
11 April
Amsterdam
rtfolio
dy extensive po
9 sa w Ge tty expand its alrea . Th e $5 0
Februa ry m
tockphoto.co DIGITAL EXPO
th e ac qu isi tion of www.is or st oc k ag en cy to
STOCK EXCHANGE: “Our photographers
with
m ak es Ge tty the first maj
million takeov
er 9-11 May
will have a wider audience, and more people s.
yment service me one of the Birmingham
around the world will have access to what we of fer micro-pa kp hoto has beco
20 00 , iSt oc g
consider to be the world’s greatest collection
Em er ging in ery sites, of ferin
n low-cost imag
of value-priced imagery,” says Thompson
web’s best-know
$1. With its hu
mbl e be gi nn in gs as a site
BAPLA PICTURE
stock from just er s to swap imag
es,
BUYERS’ FAIR
ot og ra ph d
th at all ow ed ph ed through wor
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iStockphoto st imag
e world’s large
ing up with th London
of mouth. Team in pa ce bu t Getty
ny sit e co ul d signal a change sin ess,
compa a separate bu
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ADOBE LIVE 2006
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insight

A REFUGE FROM THE STORM:


Rachel created this piece for the Society of
Children’s Books Writers and Illustrators
Rachel Chapman
contest. “The assignment was about a
child becoming caught up in a storm and
seeking refuge in a cage. This is my Rachel Chapman always knew she characters, props and backgrounds. In
interpretation of what he finds in the cave wanted to be an illustrator of some my studio I take high-quality digital
– a forest creatures’ barbecue! I wanted to kind, but never envisaged becoming a photos of figures, which are initially
emphasize the lighting for this image so I
photographed the clay figures inside a digital artist. “I went to the Maryland just a neutral brownish colour, and
cardboard box, using a small candle as Institute College of Art in Baltimore, import these into Photoshop. I then
the light source and giving the clay that
warm campfire feeling. This technique
USA, where I studied illustration and select parts that I want to colour and
worked so well I barely had to change the literature.” Her background in make an adjustment layer mask to
colours on the figures. Texture was added traditional art works to her favour alter the hue/saturation. To give the
in a transparent layer. I’ve learned how
important lighting is to set a mood and with her quirky and original digital figures textures, like fur, I’ll use a
pull a composition together.” creations. “I really learned the power photograph of the fur I want, clone it
of Photoshop… I’ve been using this and then paint a low-opacity layer on
style ever since,” she enthuses. top of the figure.“ This technique is
The images are so accurate and successful not only because of
convincing that it’s hard to see any Rachel’s expertise in modelling, but
BAND AID SOLUTIONS: Rachel used her
obvious Photoshop work, but far from also because of the subtlety with clay technique to create the globe in this
it. “After an initial sketch to work out which she carries out her tweaks. “You image, while the background was originally
painted texture on canvas. “I wanted to
the composition, I begin working on can see the clay form underneath, but create a piece about governments’
sculpting the characters with the slight fur textures gives the responses to our planet’s environmental
modelling clay. I try to make as many character more realism.” problems. It represents how some can only

/
come up with short-term solutions that will
elements as I can in clay, such as www.artbyrach.com only mask the problem, not solve it.”

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TIED DOWN
BY LANDLINES: “This was
created for the December
2005 issue of The Wall Street
Journal. Everything is made
05.06
from clay, except for the
executive’s suit. For that I did a
sketch of the position I
wanted him in, scanned it,
added a transparent layer of a
fabric texture over the sketch
and cut out the suit shape. I
added the shadows using the
Burn and Dodge tools.”

SLUMPY IN THE CITY:


“This is part of an
unpublished picture book I
made. The story is about a
dog named Slumpy, who
runs away to explore the
world outside his tiny house.
Everything in this
composition is clay, except
for the wall. It’s actually a
wall against the alley behind
my house in Baltimore. I love
to insert pieces of my life:
things only me and my
s
friends know about.” LAMB: “Thi started
AND THE st
THE WOLF rlier pieces, when I fir d it to
y ea te
is one of m g with this style. I wan
tin t as if I
experimen llage-style feel, almos azine.
co ag
have a real mponents out of a m piece
had cut the
co
ga n as a photo of a tio,
ains be t pa
The mount at was lying in my fron t yard.
th on
of concrete was taken from my fr y for
s ph
and the gras of my own photogra
all the image.”
I try to use r pa rt s of
d othe
textures an

21
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020-021_APM17_insight.indd 21 27/3/06 14:50:57


insight

CICADA: Dance act Cicada commissioned MONEY CITY: A clever piece of coding in Photoshop posed a tricky
MdiDigital with quite a flexible brief: “The problem for MdiDigital: “It’s impossible to scan notes into Photoshop –
girl was a stock art shot. Cicada was keen to we think it may be something to do with the line details – so this shot
have a bright and sparkly element to the wasn’t as simple as it should have been. We got around it by importing
shot and wasn’t sure how it was going to parts of the notes into individual layers; these were then applied to the
work – but was pleased with the result.” skyline. The sky background was photographed from my front door!”

E N D:
E WEEK
IN G FOR TH r Ministry Of
LIV e fo
er imag ly using
This cov as created sole t and
S o u n d w h e b ri gh
op. T of
Photosh suited the style
ra n t re su lt s
b ri e f w as very
v ib d the the
MOS an hey supplied e
. “T n… th
relaxed w o m a
of the d to
images aks were adde e.”
re g
white st asis of the ima
eb
form th

work in
ating art
h e n you’re cre the final result
:W at
CREAM ou may find th ss. After this
y le e
3ds Max le dull and life ial to use Adob ts
litt c n
looks a ’s always benefi lour adjustme
it co
process p to tweak the bit of a lift.
o a
Photosh ast and give it
tr
and con

22
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022-023_APM17_insight copy.indd 22 27/3/06 10:17:13


05.06
REFLECTION:
This image was for
a pitch for Ministry
Of Sound, but
unfortunately it
was never
commissioned.
The swirly patterns
and pattern marks
were created in
Photoshop and
then wrapped
around the girl
in 3ds Max.

for the eye


Mdi ital set
up shop
six
MdiDig cre a tor
a g o a fter the mouth
years Bourne
d u a te d from A rt and .
gra
le Colle
ge of d Virgin
e imes an
and Poo s see k in g th
Fina n c ia l T
work ,
and wa stration
Design t h a v ing to “ With illu ite until y
ou
of n o fin
dream m o n o tonous no th in g is de l g o -a head
c cu m b to the iv e n th e actua a fast-
s u are g ct. It’s
nine-to
-five. e in d ustry s ta rt o n a proje e
th to ere th
outing orld wh
After sc hundre
ds of
paced w .”
d in g off is v ery quick
and sen sa m p les of tu rn a round ju st
s with s ital has
postcard cured it MdiDig mmissio
n for
igital se
work , M d iD
fo r a n o m p le ted a co le
mission
c ossib
first com d with p tern
re co mpany, MT V, an s w ith Wes
ite c tu le ti o n
a rch al p u z z colla b o ra und
g a digit just aro
designin ha s sin ce io n an d Sony at
diDigita
l Un ms th
board. M e er it see
se cure som the corn p ing it. elements for this bo
t
ed to
ing job
s ’s no sto
p BOT: The original
manag v e rt is th e re al.com ed in Ph oto shop and then
d didigit
file a were des ign age
high-pro
f 3ds Max. “For an im
from th
e lik e s o f M inistry O
cording
s, / www.m later embedded in
like thi s the re’s a lot of to-ing and fro-in
g
ges. I find that the
n d , C ream Re betwe en sof twa re pa cka
So u in tandem.”
two programs work

23
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022-023_APM17_insight copy.indd 23 27/3/06 10:17:46


insight

LOST TIME, LOST PLACE: “I created this


piece to strengthen my photo-real portfolio MISSION: “I had this vivid image of rockets taking off
when I was looking for a job as a concept in the desert in my mind’s eye. Throughout its creation,
artist. I’ve always been a fan of old I learned a lot of things. This particular image received
adventure movies from the Fifties, and I an Excellence Award in the well-known
wanted to convey that feeling in this image.” EXPOSÉ 2 art book from Ballistic Publishing.”

Stephane Belin
Working at EA’s Montreal studios, Stephane Belin
specialises in stunning vistas that are steeped in mood
and emotive lighting. “I never had any kind of formal
art training,” Stephane explains. “I started to draw little
pixelly things for games back in the mid-Eighties and it
grew on me. From there I learned how to produce
graphics on computers.”
Privileged with a dual-core Pentium 4 with 2GB
RAM, a GeForce 7800 graphics card and a Wacom
Intuos2 A4 tablet, the artist’s equipment has evolved
since his fledgling days in the Eighties but his creative
process remains ironclad. “First I lay out a quick
perspective grid. Then I block out shapes. I then think
in terms of composition, value, shape and colour. Then
I gradually refine the piece to get the desired result.”
Experience with Photoshop has swelled Stephane’s
increasing portfolio, but he remains modest about his
talent. “I’m not particularly gifted or smart,” he
confesses, “but I’m very dedicated. It takes years of
work and there’s no real shortcut for that.”
Speaking as an artist who has actually made it in the
real world of digital art, Stephane has advice for those
starting out. “Getting the right palette and composition
is the key to success. It’s never a good idea to start
working on details unless you’re completely satisfied
with the basics.”
/ www.stephanebelin.com

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JUNGLE CONCEPT: “I completed this
in one day. Photoshop is an amazing tool
when it comes to quick colour paintings.
I don’t usually go much deeper into
05.06
detail, preferring to let the viewer’s
imagination fill in the blanks.”

INDIAN CONCEPT: “This is one of my


latest works. I tend to work more quickly and
rough now, focusing exclusively on
composition and colour. My job as a concept
artist gives me the opportunity to face
numerous and widely varied situations.”

FAR EAST: “This image is in the same vein


as the other photo-real images I’ve done
for my portfolio. I really enjoyed doing a
backlit image as it gave me a different
challenge to face. I love the way the
sunlight bathes the field in its rays.”

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Advanced Photoshop

024-025_APM17_insight.indd 25 27/3/06 10:20:48


Inter
view
FOUR
FACES
OF MAN
In the world of Photoshop, many
artists can find it hard to keep
their work fresh. Jason Cook,
with his four personas, has
certainly overcome that problem

J
ason Cook is the kind of designer who
makes all others sit up and take notice.
Few designers embrace the concept of
change in their work more than him. With a
Czechoslovakian mother and English father,
this Bradford-born creative’s colourful
background radiates through his work.
“I’ve done a little of everything,” he explains. “If
I carried on doing the same style all the time, I
think I’d go completely mad.”
Originally from a photography background,
Cook’s progression into the digital arts was a
natural one. After studying visual
communications at the University of
Wolverhampton, where he specialised in
photography design, Cook took some time out. “I
bought myself a Mac – an old Centris 610 with
about eight megabytes of RAM – and taught
myself how to use Photoshop and 3D.”
A self-confessed digital illustrator and
pixel-pusher, his grounding in photography has
BRAIN TREE (TOP): Created HELLO, DOLLY (ABOVE): MTV MIX (RIGHT): Created for
served him well and he’s now one of the most as a cover for Eureka magazine, This pre-production illustration was the MTV Style opening sequence,
sought-after talents in Photoshop. “I don’t think it Brain Tree is part of Cook’s Jaroslav created under the Jaroslav banner. this image combines Cook’s two
portfolio. These personal creative Less limiting, as it is unrestricted by loves: photography and digital
matters what discipline you take up; as long as projects are inspired by his trends and passing vogues, this is imaging. His own brand of
you understand form, colour and shape, then background in photography Cook’s favourite persona irreverent humour shines through

26
Advanced Photoshop

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Jason Cook

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Advanced Photoshop

026-031_APM17.indd 27 27/3/06 10:50:34


Inter
view

bulb bonanza:
This black and white
image is filled with
intricate details – just
count all the light bulbs…

28
Advanced Photoshop

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Jason Cook

you can apply it to any medium or discipline.” stick like glue to his G5, he also has a backup. “I’ve CATWALK CHIC: when I went freelance and joined my agency,
Working for clients
The basic beginnings of his development into a always got two machines; when I upgrade I keep such as the Bee Gees,
Début Art, I fell into a niche – Photoshop and 3D
fully fledged Photoshopper are apparent in his the old one for mail and rendering, things like VH1 and MTV, Cook work. That’s where the money was.”
illustrations, which are rooted in photography. that. I’ve had so many external Hard Drives you has made a name for Cook, however, was to be no one-trick pony.
himself within the
However, his camera wasn’t his only muse. While wouldn’t believe. I’ve lost so many illustrations music industry with Today’s popular trend of merging harsh lines,
growing up, Cook found himself surrounded by over the years from discs dying.” fashion-conscious vectors and hand-drawn elements with
inspiration in the form of Francis Ford Coppola’s face Flatliner-V2 photography is something Cook is well used to
Rumble Fish and, perhaps less likely, in the film Who’s who doing from his photographic past, and this is
Tron. A groundbreaker for its day, the 1982 movie Having found inspiration in the realms of reflected in more than one of his personas.
and its computer graphics whetted his appetite Hollywood films and photography, Cook’s style “ Flatliner-V2 pushes today’s highly graphic but
for the creative. has made him popular with an eclectic mix of loose style,” Cook explains. Combining
clients. But it’s not just his clientele that’s varied. hand-drawn, photographic and 3D graphic
Dawn of Adobe His portfolio boasts many different styles of elements, the Flatliner-V2 arm has proved very
From these early inspirations Cook went on to illustration, and much of this is due to his popular with music and lifestyle sectors.
dabble in illustration on his own. “I’d never had any renowned four personalities: “The personas are While V2 focuses on a looser, more decorative
training, but while I was doing my course, mainly partly to stop me getting bored, and also to keep style, Flatliner takes the form of more traditional
at foundation level, I’d use photographs and cut the money coming in.” illustration methods with a contemporary edge.
them up and comp them together so you’d get a With Cook’s four faces come four very different It’s a sharp, clean vector style, popular within the
kind of flat illustration. So more or less I was doing styles. “Jacey is whom I am known best for,” lifestyle and IT industry.
a manual way of using Photoshop.” explains Cook. “This style focuses on 2D and 3D And although Cook still has not found his own
Once the commissions started rolling in, digital generated art, a style that is commercial style yet – “I’ve not got to the point where I feel
however, Cook had to make the leap to the real and very accessible.” any of the art I can use my name with at the
Adobe app. “When I first got a copy of Photoshop Favouring Photoshop and Cinema 4D with his moment” – there is one persona that does share a
– I think it was 2 or 2.5 – it had one Undo and that work under the Jacey banner, Cook’s most little something more with him. Jaroslav, Cook’s
was it,” he recalls. “But it did teach you to work famous face has declined in popularity since the personal approach to creating art, is an ongoing
quite fast and to be quite disciplined as well.” millennium. “I wasn’t trained as an illustrator, so portfolio not restricted by fashions or styles
And from there, the Cook empire has
continued to grow. No more crude, homemade
versions of Photoshop in sight – nowadays he THE PERSONAS ARE PARTLY TO
works solely on Macs, favouring his dual G5: “I
once went over to the dark side and got an SGI STOP ME GETTING BORED, AND ALSO
Windows PC, but I think I’ll stick with Macs.”
Learning from his mistakes, not only does Cook TO KEEP THE MONEY ROLLING IN
29
Advanced Photoshop

026-031_APM17.indd 29 27/3/06 10:53:25


Inter
view
THE LONDON ICE:
Created for the BBC’s Focus
magazine, this Day After
Tomorrow-esque image was
designed as part of Cook’s first-
created Jacey portfolio

in illustration. “It calls on my experiences with dot-com era began, was for Jacey. This
ABSTRACT social documentary photography, design and combination of Photoshop and 3D work, though
ART: Although
Jacey has fallen in traditional illustration.” once the height of fashion, has now given way to
popularity, his work His personal favourite style, Jaroslav is probably more fashion-led and lifestyle images. “At the
is still on the pulse the closest portfolio to his photographic roots. moment I’m working on quite a few pitches and
“But it’s the one that gets the least commissions. most of my work is around Flatliner-V2 and
That’s just the way isn’t it, the one you enjoy the Flatliner,” he divulges.
most never seems to happen,” he muses. “The Flatliner work tends to be for IT and
technical corporate clients. I’m doing an astrology
Colour chameleon book at the moment, that’s Flatliner-V2. I also did
Life is never boring where Jason Cook is the Bee Gees album cover at Christmas.”
concerned. With trends in illustration changing This ability to move with the times and trends
more quickly than those on the New York has meant Cook has been at the top of his game
catwalks, Cook has learnt to be somewhat of a for a number of years now. “I’ve been an art
chameleon. This approach has kept his work director for a web design company, I’ve delved
looking fresh and, vitally, commercially appealing. into the areas of music design, animation, social
The bulk of Cook’s work five years ago, when the documentary photography,” he recalls. “I’ve done
a little of everything, and the four personas just

A CLIENT WILL USE YOU FOR A help to keep me interested.”

Future tactics
WHILE, THEN GET BORED OR MOVE Cook’s style has made him popular in a broad

ON. YOU CAN’T GET PRECIOUS spectrum of the creative industry. This, as well as
his ability to adapt, has proved an invaluable

30
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Jason Cook

SPLIT PERSONALITY
With each of Cook’s personas having their own creative
identity, he uses different apps for each of them.
Although all of his portfolios are predominantly
Photoshop-based, he also strays into Freehand or
Illustrator depending on client’s needs. This vector
illustration was created for Now Magazine by Cook’s
Flatliner face, proving that he’s far more than just a
photomontage and manipulation man.

FACE OFF (RIGHT): Able to have fun in his personal


portfolio, this image showcases Jason Cook’s areas of
expertise perfectly

asset. “I tend to do cycles of illustration; each


probably lasts about two years. It’s a case of
keeping on top of what the trends are if you want
to keep a nice steady income coming in, and to
keep yourself interested.”
But it’s not just his portfolios which go through
cycles. As all freelancers are aware, working for
yourself can be a tough business. “You tend to go
through cycles,” he explains. “A client will use you
for a while, then they got bored with you or want
to move onto a different style – you can’t get
precious about clients and assume you’ll have
them for the next 15 years. They might use you
for a month, they might use you for three years.”
However long Jason Cook’s work is popular for
you can be sure we haven’t seen the last of him,
even if his next persona emerges somewhere
outside of Photoshop, “Music is my big passion.
Sometimes I wish I’d got into that, but you can’t
have everything.” 5

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026-031_APM17.indd 31 27/3/06 10:31:15


MASTERCLASS

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Starting with a simple 3D render, we’re going
to show you how to apply realistic textures Harness the power:
that add grit and character to an image
BY MIKE CHIPPERFIELD
layer masks
Layer Masks are a really powerful part of the

Add texture
Photoshop armoury. If you don’t use them
already then they’re really worth getting the
knack of. They seem confusing at first but are
quite simple when you know how they work.
Basically, where a mask is white it is
transparent and allows you to see that area of

to 3D objects
the layer. Where a mask is black it is opaque and
hides that area of a layer. All the shades of grey
offer varying degrees of transparency. The great
thing about them is that you can mask off
chunks of a layer without actually losing any of
that layer’s data; you can edit the mask to reveal
the layer at any time.

F
or this texture tutorial we’re starting with the render of our robot – hey, let’s call him Steve. He’s quite
ON THE DISC
simple in design but we’re going to make him look much more interesting, as if he’s used, obsolete,
Have a look at the tutorial resources folder rusty and unwanted, by adding textures.
on the cover disc. You’ll find Steve, our
cheeky bot model (otherwise known as We need to wrap flat textures onto a 3D shape. Think of it as though you’re wrapping a particularly awkward
‘robot_01.jpg’) there. You can adorn him present with separate pieces of paper for each side of the box. The trick is to make the textures look like they’ve been
with your own textural creations.
mapped onto their respective surfaces. They need to roughly follow the edges of the surfaces and also the
OUR EXPERT perspective that is implied within the image. This is fairly easy with flat surfaces, as you can use the Distort part of the
Mike Chipperfield is a digital illustrator and founder Transform tool to match up the texture edges with the edge of any given surface. But it’s slightly more difficult with
member of design collective Magictorch (www.magictorch. curved or uneven surfaces, so for that we’ll use the Warp tool (which in itself is an extension of the Transform tool).
com). He lives and works in Cornwall.
We’ll also examine one of the recent additions to Photoshop, Smart Objects.

Transforming with texture


1 Getting started
Open up ‘robot_01.jpg’. This image contains the
basic render of the robot and the background on
2 The onset of rust
Either create your own effect or get snapping up a
rusty texture. Select All, then Copy and Paste the texture
3 Flat headed
Hit Control+T (use Command if you’re on a Mac)
to start up the Transform tool. Right-click and choose
separate layers, along with a render of the outlines of into our robot image, making sure it’s the top layer. Distort. Drag the handles from each corner to go just
the robot called ‘Cel Render’. These outlines will be a Change the Blending Mode to Overlay and straight outside the corners of the side of Steve’s head. Because
helpful time-saver later on when we’re masking out the away you can see how well the textures are going to it’s a flat surface and the texture is roughly the right
various textures. react with the tones of the robot. We’re going to place proportion, you’ll find that it all matches pretty well, with
this texture on the side of Steve’s head, as it’s a good flat the texture appearing to be in the correct perspective.
plane to start with.

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MASTERCLASS
4 All the trimmings
We need to trim the texture so it matches
perfectly the portion of the robot we’re trying to texture.
5 Hiding behind a mask
Using the Magic Wand (the default settings are
fine), click in the middle of the area we want to select.
6 It’s just an illusion
Continue using the above steps to apply textures
to all the flat surfaces on the robot, such as the face, the
You can do this with the Polygonal Lasso tool, but for Now reselect the texture layer and click the Add Layer chest, the neck and the intake on top of the head. For
the purposes of this tutorial we need a faster option. Mask button at the bottom of the Layers palette. You the face, just match up your chosen texture with all four
This is where the Cel Render layer will come in handy. might need to do some more subtle work at the corners corners of the hood. This will only make the texture
Select the Cel Render layer (it doesn’t need to be visible, later on where the textures overlap, but the bulk of the match the forehead and chin, but we can get away with
but it can be if you prefer). texture is now correctly masked. it with the nose and cheeks as the shading will provide
the required illusion.

7 Wrapping the present


Try to gauge the area of the surface you want to
texture as if it existed in 3D space. Imagine it’s a present
8 Texture the headphones
We’re going to texture the large cylindrical part of
the headphones. Create a subtle spray paint effect image
9 Transforming with Warp
Using the Transform tool, roughly rotate and scale
the texture so its corners are just outside the four most
and you have cut out a rectangular piece of paper to and make a fairly tall and thin selection with the extreme points of the cylindrical shape. Still within the
cover each side – basically, consider each surface you rectangular Marquee tool – a shape that roughly Transform tool, select Warp using the button on the
texture and what size and proportion that texture needs corresponds to the area we’re trying to cover. Copy and contextual menu at the top of the screen or by right-
to be. For instance, if a surface on the robot is Paste that into our layered image. As before, set the clicking and choosing Warp from the list.
foreshortened then you’ll need enough width on your Blending Mode to Overlay.
texture so that it looks foreshortened too once it’s been
transformed to fit the surface.

10 Another fine mesh


Now you’ll see a nine-square grid with nodes
at each corner and two handles coming from each
11 No commitments
You’ll see that there’s only one handle with
the Arch mesh. Drag it until the texture roughly follows
corner – this is the Warp Mesh. What we want to do is the curve of the cylinder. If you feel you need to rotate
manipulate that mesh until it roughly matches the the texture some more you can nip back into the regular
cylindrical shape. You could use it now but we’ll start Transform tool (Control+T). As long as you haven’t
with one of the presets. Select Arch from the Warp committed any of the changes then the whole
drop-down, then click the Orientation button so that transformation remains editable.
the arch bulges to the side.

“GAUGE THE
AREA YOU WANT
TO TEXTURE
AS IF IT EXISTED
IN 3D SPACE” .

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12 Mecha mesh
So, still within the same transformation, enter
the Warp tool again. This time select Custom from the
13 Fun with the Warp
Now we can commit the transformation. Add
a mask as before. Repeat the above steps,
14 A light touch
Using all the techniques explained in the
previous two sections, add the various details to Steve.
drop-down list. You can click and drag any part of the experimenting with the Warp Mesh and the various The drips and the stencils should have their Blending
mesh to affect a change and tweak the handles for a bit presets for the other curved surfaces on the robot. The Modes set to Soft Light; this will let texture come
more control. With this you should be able to tweak the Warp tool is satisfying to use but sometimes it’s difficult through but won’t affect the colour saturation too
curve we’ve already made until everything matches to be precise. Don’t worry if the results aren’t exact as much. The holes should be set to Normal so that the
near-perfectly. the overall effect will be there. texture beneath doesn’t poke through.

15 Background information
Create your own industrial background layer.
Select All, and copy and paste it into the layered image.
16 Depth of field
Knock the background texture’s layer opacity
down to about 70% so it doesn’t overpower the
Place it just above the background layer and set the foreground. We can add depth to the image by applying
Blending Mode to Overlay. Use the Transform tool to try a little Gaussian blur to the background texture – try a
to suggest a little perspective, using the horizontal lines value of 3 to keep things subtle. This gives us a hint of
of Steve’s chest plate and shoulders as a guide. depth of field and brings Steve forward in the image.

17 Name tag
Here’s how you make
the name tag to place on Steve’s
Fun with
textures
chest. Start by making a new
document with dimensions of Making textures to use in Photoshop can be
1000 by 500 pixels and a great fun and really creative. Just take your
transparent background. Select digital camera and go for a wander. You’ll be
the Text tool and choose a font amazed at the usable textures you can find.
(we used USAAF Stencil, which is Examples include: the roasting tray from your
oven for some crusty burnt bits, while drains and
available from www.dafont.
service hatches are often metal and can have a
com). Type ‘Steve’ (or whatever
rich patina or coating of rust. Tarmac, concrete
else you want to call him) in large and old brick walls are great for backgrounds.
black text.

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MASTERCLASS
18 Let us spray
Now for the spray
paint. Make a new layer. Select
19 Dripping the paint
Now for the drips. Add a New layer and, still
with the Brush tool, set the Diameter to 8 pixels, the
the Brush tool, set the Diameter Hardness to 100%, the Mode to Normal and the Opacity
to about 100 pixels, the Hardness to 100%. Choose an area of spray paint for your drip.
to zero, the Mode to Dissolve and Click and hold, then hold Shift and then drag to create a
the Opacity to 20%. Now add straight line down. Repeat this with varying diameters.
some spray in blotches around
various points of the letters.
We’re trying to achieve a rushed
stencil effect, as if little squirts of
paint had bled through it here
and there.

20 Heighten the illusion


Make a new Layer Group and insert all the
layers. Add a layer mask to the text layer. Select the
21 Making a Smart Object
Duplicate the Layer Group into the main
image document (if you’ve already added the supplied
22 What’s so smart about that?
Okay, so what’s so special about Smart
Objects? Here’s one reason: right-click on the Smart
Brush tool, set the Diameter to about 100 pixels, the name stencil then switch off the visibility of that layer). Object layer and choose Edit Contents. Click OK through
Hardness to 0, the Mode to Dissolve and the Opacity to Right-click on the Layer Group and choose the ‘Group the following dialog box. Now you’ll have a separate
20%. Make sure your foreground colour is black. Make a into new Smart Object’ option. Transform this layer as layered document that you can edit to change the
few random spray marks across the image as if the spray before to get it lined up on the breastplate. Set the contents of the Smart Object. If you edit and save this
didn’t get through in all areas. Blending Mode to Soft Light. document it will change the Smart Object. Read on.

23 Adjusting Smart Objects


Change the name from ‘Steve’ to ‘Bruce’.
Save and close the Smart Object’s layered window (it
24 Using texture
Obviously a lot of this texture work can be
done in 3D but often it’s quicker and easier to control if
has a .psb suffix, if you’re interested). The name should you add textures in Photoshop. These techniques can
automatically update in the main image, retaining all the be used in a multitude of ways, on photos as well as 3D
earlier transformations. What’s more, all your renders. Our robot was fun but you could also add
transformations remain editable with Smart Objects – details to a car, tattoos on skin, change the signage on a
you can transform repeatedly without losing quality. shop front, add graffiti to a wall and so on.

“DON’T WORRY IF THE RESULTS


AREN’T EXACT AS THE OVERALL
EFFECT WILL BE THERE”
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Feature

38
Advanced Photoshop

038-043_AP17Ilovedust.indd 38 29/3/06 14:14:27


GOING SOLO

Going
Solo
Unleash your solo potential and set up a successful design
studio with a little helping hand from iLovedust
BY MARC GRAHAM

W
hen iLovedust started out just
over three years ago, it saw
Ben Beach and myself, Marc
Graham, giving up our mediocre day jobs
and going out into the big bad world on
our own. Hindsight is a wonderful thing
and looking back over that time there are
plenty of fond memories – but a lot of
utter devastation, too.
Although iLovedust is by no means a
household name yet, we are still working
and making enough money to keep our
heads above water and to employ a third
designer, the very talented Sian Jiang.
I imagine we have made more mistakes
than most starting up, so take heed of our
warnings – we know what we’re talking
about. You name it, we did it: late tax returns,
messed-up print jobs… we even flooded our
first building due to lack of sleep!
But today we are working with some great
people and wonderful companies: Coca
Cola, American Airlines, Johnnie Walker and
Warner Bros to name but four. And that’s
testament to how much work we put into
running our own business and making sure
we produce the very best work we can. After
all, we live and die on the work we produce.

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Feature
The ride of their life The iLovedust story

iLovedust is a small and perfectly formed graphic a friendly approach and loads of personality. The These three illustrations are part of a sequence
design studio based in Southsea, just a iLovedust line-up began as a duo in 2003 and has created as part of a commission for US-based Ride
length of cobbled pavement from the swelled out a little over time. Working closely as a magazine. The complete portfolio consists of five
beach. Their clients range from big to team, iLovedust applies a passion for design to designs which accompanied reviews of cars.
little and are dotted around the globe. every project they tackle, taking pride in the iLovedust managed to place their own quirky style
For each they aim to provide creative details and the relationships that they build with on to the design with a cheeky cameo from design
solutions to all sorts of briefs, offering their valuable clients. buddies TADO. Can you spot the little characters?

IN THE BEGINNING
With more and more young creatives considering
this move, and with the leaps and bounds in
technology over the past few years, it’s possible to
So you’re thinking of setting up on your own. What quite literally carry your studio around with you.
could possibly be easier than starting up a small Setting up in your mum’s garage or a remote office
graphic design studio? After all, you don’t need space has never been more of a possibility, and
much: a couple of computers, some backup for files working in this way is becoming more the norm.
and artwork, the obligatory toys on the table, a But even with these factors considered, what
watercooler and, hey, why not throw a ping pong happens next? Okay, so office space might not be
table in for good measure? an immediate problem, and you’re brimming with
It’s really that simple, isn’t it? Well maybe it is and creative ideas, but after many weeks of trying to
maybe it isn’t; I can only really talk from the think of a name for yourself (then several more
particular experiences that we have encountered trying to come up with some branding that you can
when starting out. There were highs, lows, late actually agree on), what do you do next?
nights and early mornings, copious amounts of
coffee, wanting to strangle the clients (and, er, Starting out
wanting to strangle your colleagues) and, of course, Before you take the giant leap from working for
trying to make a living. someone else and enjoying the benefits that this
We started out with a simple plan: let’s work for lifestyle can bring, you need to sit down and write a
ourselves, let’s do things our way and let’s do things business plan. The thinking behind a business plan
the way they should be done. In retrospect it was is to show your bank manager or potential backer
probably not a great way to go into this business: that you’re going to make as much money as you
eyes wide shut. say you will, and that there is minimal risk involved
Like most graphic designers, illustrators and for your lenders.
image-makers we truly do love what we do, and Try to be realistic about what you can truly pay
unlike so many other professions we really do live it. yourselves to get by and also how much work you
It’s very hard to switch off, regardless of office hours. think you can bring in. Writing a business plan is as
This life-consuming dedication to our art is the much an exercise for yourself as a tool for the lender
catalyst for change. If we’re thinking about work 24 – things have a habit of looking and feeling far more
hours a day, why not let that work be for ourselves realistic (or is that pessimistic!) when printed out in
rather than for some faceless boss? black and white.

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Going Solo
THE ESSENTIALS
PANTONE REFERENCE BOOK
These are priceless when
it comes to specifying
exact match colours to
your client and printer.
Check out the range of
Pantone Guides and
Swatchbooks at www.
colourconfidence.com.

PETTY CASH BOX


Spending a few quid here
and there soon adds up!
Always save receipts and
keep a tally on a petty
cash forms – you’ll be
amazed what you can
I IMAGINE WE’VE MADE MORE claim back on coffee,
postage and the like.

MISTAKES THAN MOST STARTING UP, FAX MACHINE


SO TAKE HEED OF OUR WARNINGS, WE Some may say you don’t

KNOW WHAT WE’RE TALKING ABOUT really need to use fax


machines these days but
we have found it
invaluable in times of
Customers are going to be the key to your success, so how long jobs take to get in, complete and get paid need, beware of cheap
fax machines with
try to be honest with yourself as to how many you for. In general we have found it can take two weeks to
expensive ink!
have or can get in your first six months. It’s important get the green light, a further three or four weeks to
to look at this realistically and have a firm idea of just get the sign-off and a further six to get paid. So in A SUPPLY OF INK CARTRIDGES
how much money you can generate. If in doubt, round reality it’s likely that you’re looking at three months
your figures down – if nothing else it makes for a nice before getting paid for a job that you may be counting You just know that when
surprise when your bank manager wants to take you on for wages and rent. you need to rush off a
out for lunch because you’re exceeding your targets. “In this world nothing is certain but death and proof and have a bike
Just make sure he pays! taxes,’’ said the wise old Mr Benjamin Franklin, and waiting that your ink’s
going to run out. A good
didn’t we just find that out! When you do finally get
office supplier should
Cash incentive around to paying yourself, try to remember that those
offer a sizeable discount
“Money, money, money. Must be funny in the rich lovely people at the Tax Office want some of your if you buy in bulk.
man’s world.” Something to learn quick and sure, money. Try to keep a track of just what you owe the
money is never funny. When starting out it really is the taxman. Income tax bills come when you least expect MAGAZINE SUBSCRIPTIONS
one thing that’s going to make the difference them. Seek advice from your accountant as to which
between creating a successful studio or a great idea way is best for you to draw money from your business; Lots of design magazines
offer good subscription
that ended up costing you thousands of pounds. there are quite a few options and they can make a
discounts and can really
Talent at this point should not be in question, but dramatic effect on how you manage your cash flow.
help you keep your finger
money is the killer. Being realistic is the key. Start by on the pulse of what’s
writing down all your company’s outgoings: rent, Sort yourself out going on in the industry
telephone, Internet, electricity, postage, stationery… Organisation: it’s the key word to remember if you when you haven’t seen
the list is endless. It’s also worth bearing in mind that a want to work effectively. Keeping yourself organised the light of day for weeks.
lot of companies might want paying upfront because can save so much time when the pressure is on. One of
you’re a new customer. A print job can take a few the first things we learned when starting out was that TELEPHONE BANKING
thousand pounds out of your potential startup capital, nothing ever goes according to plan, and with all the
Being able to access your
as can new computers, rent advances on home and will in the world there are always things entirely out of
bank account by phone
office space and software. All these costs eat into your your control that can push project on hours, days,
or Internet can be a very
money and you haven’t even useful tool when keeping
paid yourself yet. tabs on your cash flow
When we started iLovedust and checking dates of
we were very naive about just deposits and so on. So
make sure you’re online.

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Feature
IT’S NOT
UNHEARD OF TO
BE CALLED TO A STRAIGHT FROM
weeks or even months over deadline. The
key to keeping some kind of grip on these projects

CONFERENCE THE TOP


(and your sanity) is to allow realistic timescales
for projects. Emailing work can save a lot of time,
CALL AT 9PM The industry pros let us in on their dirty
but it still doesn’t guarantee an instant response.

JUST AS YOU’RE
A lot of the larger companies have certain
secrets: what is the one thing you would
procedures that may mean feedback on your work
have done differently when starting out?

GETTING IN “Asked for more money”


may take days to come back. This needs to be built
into your timescales.

THE BATH Jon Burgerman, www.jonburgerman.com

“I shouldn’t have spent five years working for


Our company deals with a lot of clients in America
and so the time difference can work in your favour
on some days, and against you on others. It’s not
someone else before setting Insect up. A year unheard of to be called to an important conference
would have been fine” call at 9pm with six creative directors just as you are
Paul, www.insect.co.uk getting in the bath or trying to watch the football in
your local.
“Not spent so much money on what I
Remember, there’s no point being over-
thought/was told I needed (massive A3
optimistic and promising something you can’t
scanner, expensive software I never actually
used, top-of-the-line G3), but could easily have deliver. You simply won’t get work from that client
done without if my research had been a little again. Prioritising jobs in order of timescales and
more extensive” deadlines can sometimes make for scary reading,
Richard May, www.richard-may.com but crossing each one off a list as you complete it is
incredibly satisfying.
“Hired a PA!”
Jeremy, www.jeremyville.com Paper works
No matter how much you want to be behind your
“We have made many mistakes, but everything
beloved G5 creating your next masterpiece, at some
that we can remember seems to have had a
point you’re going to have to do the dreaded
silver lining. It’s hard to say we would do
anything differently” paperwork that comes with running your own
Jonathon Kenyon, Vault49 business. Accounts, tax returns, wages, travel
expenses and paying your bills are all things that
“I would have tried to get an agent sooner,
so I wouldn’t have had to go through such a
long period of desperately trying to get
people to look at my work and in most cases
Setting up your own
being ignored”
Steve Wilson, www.wilson2000.com
1 WRITE A
“Everything!”
BUSINESS PROPOSAL
Arturo Sandoval, www.friendswithyou.com Draft up a business plan to show to your
bank manager or potential buyer.
“Make sure you get someone who knows what Be realistic about what you can bring in.
they’re doing to look at your tax returns for You’re only be fooling yourself if you set
you. It might cost you a penny or two but its out for a goal that’s way beyond your
bound to save you even more. Keep receipts capabilities. You may find it easier if you
for everything too. Hoard things!” build up a list of expenditures
Mike & Katie, www.tado.co.uk which you can keep by your side.

“I wish I made sure I had a decent amount of


money behind me before I started, even if that 2 CUSTOMERS
meant working a job for a year” Think about who your potential
Rob Hare, www.robhare.co.uk customers are going to be and how
much income you can receive within
“I’d have stuck to my guns. I’d have got an your first six months. Be realistic about
accountant in sooner. I’d have partied like it this – round your figures down if you’re
was 1999” not too confident you can bring in the
John McFaul, www.mcfaul.net big bucks straight off.

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Going Solo

can eat into your time, regardless of whether you client, show them all. It can saves hours of
enjoy that side of the business or not. work if input at an early stage leads to a
Try setting aside a few hours a week dedicated to clearer understanding of the client’s wants
paperwork. Although it might seem like the last and needs. It can also help the project
thing you want to do, paperwork really can get on become more organic and grow, and your
top of you and before you know it you’re drowning client will be glad to be involved in the
in a swamp of misplaced bills, half-read mail and the design process.
odd red letter. Do it little at a time and you’ll find the Being a designer, illustrator or digital
task much more manageable. artist seems to be so much more than a
Getting a good accountant can save you precious job; you can’t seem to ever really escape
time and can also save money. Explaining to your it. Walking down the street looking at
accountant how you work and your honest different posters and shop windows,
understanding of the business side of things is going on holiday and checking out magazines,
priceless. We know from painful experience clothes and toys you would never find back home… ON THE WEB: To find out
more information about iLovedust and to browse
ourselves that not getting your books in order can it’s enough to drive some people insane. through their portfolio visit their nifty website by
lead to late nights and arguments about just who What defines us at iLovedust is that we love what logging onto www.ilovedust.com
did open that letter and then file it safely in a copy we do and take inspiration from everything we see
of Advanced Photoshop! and the many interesting people we meet within OTHER USEFUL RESOURCES:
the industry. Make no mistake, the hours are long BUSINESS LINK www.businesslink.gov.uk
TAXAID www.taxaid.org.uk
The bigger picture and some days can be hugely frustrating, but the BYTESTART www.bytestart.co.uk
One thing about working for yourself or in a small pride you have in your work when you see it on a
group is that it can be very hard to be truly objective cover of a magazine, on the wall of Grand Central
about your work. You may love something you have Station, or stacked high in the lobby of Selfridges,
been working on for hours, but others in your group more than makes up for that. It can be just a case of
may not see it in quite the same light. Different rolling up your sleeves, putting your best foot
opinions are just a matter of fact in design. forward and seeing what happens.
To avoid people throwing hot cups of coffee and Our advice to anyone following in these well-
iPods at each other, try to have two or three rough trodden footsteps is simple: enjoy the experience. It
versions of an idea and seek feedback really can be the making of you. 5
from several sources. If you’re still not
sure what version to present to your

n business The checklist

3 OUTGOINGS 5 GO ONLINE
Write down all of Don’t forget to think about the basics.
your company Getting a fast broadband connection will
outgoings such as allow you to keep in touch with important
rent, telephone, clients over the pond. Remember you will
Internet, electricity, be downloading large files sizes, so don’t
postage and opt for a sluggish package.
stationary.
Don’t forget to include oddities like coffee or 6 POLISH UP YOUR
WE STARTED
milk for your staff – it all adds up! TEAMWORK OUT WITH A
SIMPLE PLAN:
A larger business will struggle if you
4 GET AN ACCOUNTANT intend to do everything by yourself. Think

LET’S WORK FOR


There will be trouble without one. Even about employing individuals that you
though this may seem like an extravagant know you can get along with. Your
expense they’re a necessity. Let’s face it–
artists were never created to work with
workflow will run smoother if you all have
the same train of thought. Try contacting OURSELVES,
numbers. Seek out a professional you know
you can trust and has a good reputation. Ask
universities to seek out willing
work experience fillers or LET’S DO THINGS
around before taking the plunge. enthusiastic part-timers.
OUR WAY

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MASTERCLASS

Layer effects
Tim Shelbourne wraps up warm for winter and ventures out into the cold.
With Photoshop CS2 in hand, he stumbles upon a fantasy ice maiden…
BY TIM SHELBOURNE

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O
ON THE DISC ne of Photoshop’s greatest strengths is its ability to create fantasy images that break all the accepted
You’ll find all the files you need to complete
rules of reality. With Photoshop CS2 at your fingertips, anything is possible. My brief this month was
this tutorial on www.istockphoto.com, we for an effect I’d never thought of or attempted before, namely, to take a run-of-the-mill digital shot of a
renamed them ‘ice1’, ‘ice2’ and ‘ice3’ for ease. figure and turn it into ice. There’s nothing like a challenge to get the old Photoshop juices flowing.
OUR EXPERT Tim Shelbourne Enter the ice maiden! Now, ice has properties not found in any other material. It’s opaque but it’s translucent; it
With 20 years’ experience as an artist and illustrator, Tim Shelbourne is reflects yet at the same time it absorbs and scatters light. More than this, the finished image needs to convey the feeling
one of Photoshop’s leading lights. He believes that too much
and atmosphere of a moment frozen in time, and a tangible blast of icy air. This walkthrough shows you every single
instructional material intimidates new users, and he is keen to help
novices painlessly harness the software’s true potential. For further step of the creation of this image, which not only involves some careful manipulation of photographic images but also
details, check out his first book, the Photoshop Photo Effects Cookbook a good deal of painting. Although the very mention of painting in Photoshop can make even an expert’s blood run
(Ilex, £17.95, ISBN: 1-904705-61-8) or visit www.timshelbourne.com.
colder, it’s easier than you might think. The process itself demands the use of a pressure-sensitive graphics tablet. The
advantage of a tablet and stylus is that the brushes in Photoshop CS2 can be configured to use the pressure capabilities
of the tablet to control things such as opacity and brush size. This makes your Photoshop tools respond in a way
comparable with the way brushes and pencils operate in the real world. Add to this the fact that it is much more
instinctive to draw with a pen-shaped object than a mouse and you’ll soon see how indispensable graphics tablets are.

Dip into the deep freeze


“THE MENTION
1 Getting started
To begin with we need to promote the original 2 Painting the mask
We need to isolate the figure from its background.
OF PAINTING
background layer to a floating layer, so simply double-
click it in the Layers palette and click OK to the New Layer
First, make sure that you’re working on the layer mask for
Layer 0 (check for this by clicking on the thumbnail for IN PHOTOSHOP
dialog. Add a layer mask to this new Layer 0 by going to
Layer>Layer Mask>Reveal All. Choose the Brush tool and
the layer mask in the Layers palette and checking for a
bold outline around it). Now, slowly begin to paint CAN MAKE AN
select a hard round brush from the Brush Picker. Hit D to
revert to the default foreground/background colours.
around the outline of the figure using black for your
foreground colour. Take care to keep exactly to the outer EXPERT’S
edges of the figure.
BLOOD RUN
COLDER”

3 Mask corrections
If you make a mistake and accidentally paint over
the figure itself, simply hit X on the keyboard to swap
4 Duplicating the layer
We also need to isolate the background elements
on a separate layer, so once the mask is completed,
your foreground/background colours and paint back duplicate this layer (complete with the mask) via
into the image with white to correct the mask. You need Layer>Duplicate Layer or by hitting Ctrl+J on the
to paint over all of the unwanted surrounding keyboard. On this new duplicate layer, again click on the
Layer background, leaving just the figure visible on the layer, so mask thumbnail and go to Image>Adjustments>Invert

masks take as much time as you need here. to reverse the mask. Now drag this layer down to the
bottom of the layer stack, below the isolated figure layer.

We use quite a lot of layer masks to create this


image. Layer masks are a great way of hiding
certain parts of a layer, rather than permanently
erasing it with the Eraser tool. Layer masks are
remarkably easy to work with. Once you’ve
added a mask, you can paint on the mask with
black to conceal part of the associated image
layer, or paint on the mask with white to reveal
it. Painting with grey (black at low opacity)
partially reveals the layer. Before you paint
onto a mask, make sure you click directly on the
mask thumbnail in the Layers palette and check
for a bold outline around it.

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MASTERCLASS
5 Applying
layer masks
Now to apply the layer
6 Extend the canvas
We need some extra space at the bottom of the
image, so go to Image>Canvas Size. Check the Relative
masks. For each layer in box and click in the top centre square of the Anchor
turn, right-click the map. Next to the Height box choose Inches for
Layer Mask thumbnail measurement
where the layers are units and enter
listed and choose 4 for Height.
Apply Layer Mask from For Canvas
the sub-menu that Extension Colour,
pops up. choose White.

7 Choose a brush
Make sure you’re working on the bottom layer in
the stack (which is the one containing the background
8 A little painting
Now you need to begin painting over the
unwanted dark shapes in the lower third of the image.
elements) and choose the Brush tool. Select the Spatter You may find if you’re using a brush with opacity
59 pixels brush from the Brush Picker. Now hold down controlled by pressure applied to the stylus you can
the Alt key on the keyboard to access the Eyedropper easily blend your brushwork in with the existing image.
and click on one of the mid-blues in the sky area of the This is achieved by careful control of the pressure applied
image. Display the Brush Options dialog by selecting to the stylus. Every now and then as you paint, hold
Brush Window>Brushes and click in the Other Dynamics down the Alt key and sample another blue from the

dynamics
category. Here, set Opacity Jitter to Pen Pressure. Click existing image to colour with. This may seem like a
the Shape Dynamics category and set Size Jitter to Off, laborious task, but once you get into the swing of things
making sure that the Shape Dynamics checkmark box you’ll be surprised at how quickly you pick up the
is clear. technique as the picture rapidly builds in front of you.
The Brush Dynamics dialog controls how
Photoshop’s brushes respond to a pressure-
sensitive graphic tablet and stylus. The
modifiable properties are divided into separate
categories. The main two categories we
concentrate on in this project are Size Dynamics
and Other Dynamics. To activate the dynamics
in a particular category, you need to check the
box. You can modify the specific dynamics by
clicking on its pane and selecting the
appropriate control options from within the
dialog. All the brushes we use in this project
need Opacity Jitter setting to Pen Pressure.

9 Add an adjustment layer


Click on the main figure layer and go to Layer
>New Adjustment Layer>Hue/Saturation. This will add
10 Tweak the saturation
Next, tweak the shade of blue that we’ve
bestowed upon our unfortunate frozen female. Double-
11 Add the first ice
Click on the lowest layer in the stack. Open
‘ice1.jpg’ (istockphoto.com 119142) and go to Select>All,
the cool blue hue to the image. Just click OK for the click the thumbnail for the adjustment layer to activate Edit>Copy. Close this and return to the main
moment to apply the layer without any adjustments. the Hue/Saturation dialog. Check the Colourise box and composition. Go to Edit>Paste to. Use the Move Tool (V)
Hold down Ctrl and click the thumbnail for the figure set the Hue slider to 212. Set Saturation to 41. Click OK to to drag the ice down to the bottom, so that it sits below
layer to generate a transparency selection from it. Click apply the Hue/Saturation changes. Now hit Ctrl+D to the figure. Still on the ice layer, go to
on the layer mask thumbnail on the Hue/Saturation deselect (alternatively, go to Select>Deselect). Image>Adjustments>Levels. Change the Input Level
adjustment layer and go to Select>Inverse. Now go to values to 0, 1.40, 235 from left to right.
Edit>Fill, choosing black for contents to fill this area of
the layer mask.

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12 Transform and distort
Go to Edit>Transform>Distort and use the
handles around the Bounding Box to stretch the ice layer
13 Into the blue
Click the Layer Mask thumbnail for the Hue/
Saturation layer and return to the Brush tool. Using a
14 Getting
colder
Return to the lowest
to fit the image. Using the central handles around the hard round brush, paint white over the ice, creating a layer in the stack and
bounding box, and by dragging on the corners you can cool finish that ties in with the rest of the image. open ‘ice2.jpg’
skew the ice layer a little. Hit Enter to commit the (istockphoto.com
transformation. Use the eraser with a hard brush to erase 173693). Copy and
any unwanted black areas above the ice. paste into the main
composition. Move
the ice into position
over the left-hand
side of the image with the Move Tool (V). Go to
Edit>Transform>Distort and drag the bottom right-hand
handle on the Bounding Box a little to the right to distort
the layer. Hit ‘Enter’ to commit. Change the Layer
Blending Mode for this layer to Overlay and reduce the
layer Opacity to 55%. Use the Eraser tool at 25% Opacity
i. to erase the line in the centre of the image where the ice
layer meets the background we have been using.

15 Lighting up
Select Layer>Merge Down to merge the two
lower layers. To modify the lighting on this layer, go to
16 Seeing the light
Drag the side handles around the Light Pool
outwards so that the pool covers the entire width of the
Filter>Render>Lighting Effects. For the Light Type, image. Refer to the screenshot for the exact position and
choose Spotlight. Drag the bottom-right handle on the size for the pool. Set the Ambience slider to 25. Leave all
light pool in the Preview Pane anti-clockwise with the other settings at the default values. Click OK to apply the
mouse so that the light shines down from the top left Lighting Effects filter. When the filter has been applied,
corner. Click in the light colour swatch and choose a vivid go to Edit>Fade Lighting Effects. Set the Fade Opacity to
ice blue from the colour picker. 40% and the Fade Mode to Multiply.

Lighting
“THE LIGHTING EFFECTS FILTER effects
IS A VERY VALUABLE TOOL
THAT’S OFTEN OVERLOOKED” The Lighting Effects filter (Filter>Render>Lighting
Effects), enables you to simulate the effect of
various types of lights shining on your Photoshop

17
scene. You simply choose the format of the source
Levels adjustment light itself from the Light Type box (here we’ve
Return to the main figure decided to use a Spotlight).
layer in the Layers palette. Go to Next, you need to rotate and expand the light
Image>Adjustments>Levels. Grab pool from within the Preview pane. This light pool
the centre (Gamma) slider and drag has handles around its edge, which you can grab
it to the left until the Input Level box with the mouse to rotate and expand the pool of
reads 1.20. Click OK to apply the light. Then to choose a colour for the
light, simply click on the upper colour swatch in
Levels adjustment. Right-click the
the dialog. The Lighting Effects Filter is a very
thumbnail for the Layer Mask
valuable Photoshop tool that’s usually
attached to the figure layer and overlooked, so try experimenting with it.
select Apply Layer Mask.

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MASTERCLASS
18 Plastic wrap ice
Now duplicate the figure layer (Ctrl+J).
Double-click the name for this layer and rename it ‘Ice
19 Duplicate and invert
Duplicate this layer (Ctrl+J). On the duplicate
layer, go to Image>Adjustments>Invert. Now set the
Effect’. On this new duplicate layer go to Filter>Artistic> Layer Blending Mode for this inverted layer to Hue and
Plastic Wrap. Set Highlight Strength to 16, Detail 14, set the layer Opacity to 65%.
Transparency Smoothness 15. Click OK to apply the filter.

selections
When you have a single image component on
an otherwise transparent layer, as we have here
on the figure layer, you can generate a selection
from its transparency, which makes painting
over or around the object much easier than
trying to stay within the object itself manually
as you paint. To do this, hold down the Ctrl key
on the keyboard and click the image thumbnail
for the layer. Alternatively, it is possible for you
to right-click on the image thumbnail for the

20 21
layer and then choose Select Layer
Transparency from the submenu. Set up a brush Add subtle colour
Click on the top layer in the stack (the Hue/ Control-click the thumbnail for one of the
Saturation Adjustment Layer). Add a new layer (using figure layers to generate a selection from it. Now, using
Ctrl+Shift+N) and set this new layer’s Blending Mode to the brush at a fairly small size, begin to paint some low-
Colour. Now choose the Brush tool. Hold down the Alt opacity blue over parts of the figure. Just small touches
key to access the Eyedropper, and sample one of the of subtle colour here and there over curves of the figure
bright turquoise blues in the top left of the background. will help to create the impression of the blue light from
From the Brush Picker, choose a large, soft brush. Hit F5 the background glinting off the surface of the icy
to display the Brush Dynamics. Set Opacity Jitter to Pen figure. Take your time here, carefully positioning your
Pressure and make sure that the checkbox against Shape strokes of colour.
Dynamics is unticked.

22 More ice colour


Now go to Select>Inverse and paint
some of the same colour over the ice below the
figure, positioning your strokes according to how the
blue background would reflect on the ice on the
ground. Use the brush at low Opacity and paint over
certain areas again to increase the intensity. When

23 24
you’re done painting, hit Ctrl+D to deselect.
Add a shadow Choose a brush and trace
Return to the layer containing the ice on the Return to the top layer in the palette and add
ground and add a new layer (Ctrl+Shift+N). Set the a new layer. Zoom into the top half of the figure. From
Blending Mode for this layer to Overlay. Still using the the Brush Picker, choose Chalk 23 Pixels, and set Opacity
same brush, choose black for your foreground colour. Jitter in Other Dynamics to Pen Pressure. With a pale ice
Now paint a rough shadow onto the ice under the blue, begin to roughly trace around the upper outline of
figure’s leg. Then paint some small areas of black at low the figure. This will give our ice maiden some subtle light
Opacity here and there over the darker areas of ice. touches around the edges.

48
Advanced Photoshop

044-049_APM17_ice.indd 48 27/3/06 11:18:56


25 Lost and found edges
As you trace the upper edge of the figure,
miss out parts of the outline, creating ‘lost and found’
26 Bright highlights
Now change your foreground colour to
white, then go back and add a few touches with the
27 Add some sparkles
Click in the Brush Picker and hit the small
right-pointing arrow in the top left of the Picker palette.
lines to mimic the effect of light catching on the edges. brush along your previously painted highlights. This will Choose assorted Brushes, and click OK to load the Brush
Try to square off any curved edges, thinking ice all the add some really convincing super-bright highlights to Set. Scroll down the brush thumbnails and double click
time as you work! Once you have added all of the edge the image. Also add a few of these touches here and on the Star Large brush. Now, with single clicks, add a
highlights you need, drop in some here and there over there within the actual figure, again being conscious of few of these starbursts over the brightest highlight
the ice on the ground using the same method. where the light would glint and reflect. around the edge of the figure. Vary the size of these
starbursts by enlarging or reducing the size of the brush
via the square bracket keys on the keyboard.

28 Tidying up loose ends


29 Add more ice “MISS OUT
Choose the Chalk brush again, and using it at
a very small size, add some shape to the ends of the hair.
Click on the bottom
layer in the stack and open PART OF
First, sample a nearby mid-blue with the Eyedropper tool
and paint in the end shape at various opacities. After this,
‘ice3.jpg’ (istockphoto.com
119142). On this image, go to THE OUTLINE
sample a much lighter blue and brush in a few lighter Select>All, followed by Edit>
TO MIMIC
THE EFFECT
areas. Finally, add highlights with white. Copy. Close this image and
return to the main composition.

OF LIGHT
Go to Edit>Paste to paste the
copied ice. Size this ice layer to

CATCHING ON
fit in the right hand half of the
image via Edit>Transform>
Scale. Simply drag on the
handles around the Bounding
Box to increase the size of the
THE EDGES”
layer. You can move the ice into
position by dragging inside the
Bounding Box. Hit Enter to
commit the transformation.

30 Transform and distort


Set the Blending Mode for this layer to
Overlay and the layer Opacity to 65%. Now go to Edit>
31 Go Gaussian
To adjust the tones in the ice, go to Image>
Adjustments>Levels. Type in the following Input Levels
32 Erase and blend
Finally, choose the Eraser tool. Set the Opacity
for the tool to 25% in the Options Bar and choose a large
Transform>Distort. Grab the bottom left-hand corner values from left to right: 0, 0.84, 249. Click OK to apply the soft brush for the Eraser from the Brush Picker. Now
handle on the Bounding Box and drag it down and across changes. Now blur this layer a little via Filter>Blur> carefully erase the hard line at the edge of the ice layer to
the image. Hit Enter to commit the transformation. Gaussian Blur. Use a Blur Radius of 3 pixels. blend in softly into the background. 5

49
Advanced Photoshop

044-049_APM17_ice.indd 49 27/3/06 11:20:10


Feature CHINTU SHAH, PAGE 53: “This image appeared in the
Association of Illustrators Images 29 annual. It was one of three
editorial illustrations exploring the recent blackout problems that
have been encountered in New York. Again, like I do in much of
my work, I have imagined electricity as a human and, with a
parallel to the blackout, the solitary figure is feeling down with a
guy in the flat screaming at him for more electricity!”

CHINTU SHAH, PAGE 53: “This was produced


towards the end of my time at uni . My brief was
the theme ‘Let’s Face It’. The image was an
award-winner and appeared in the Association
of Illustrators Images 29 annual.”

CHRIS LAAKVAND, PAGE 52: Chris exhibited


this piece last year while at university in his
degree show in Truman Brewery, London. Since
university he has wanted to be part of the world
of creative design, and loves his Wacom tablet.

50
Advanced Photoshop

050-055_APM17_graduates.indd 50 29/3/06 11:00:16


(RIGHT) Illustration by Chintu Shah

graduate showcase
(TOP) ROB FLOWERS, PAGE 52:
Rob finds the Eraser, Lasso and Magic Wand Tool a
must for creating his unusual collage-like images.
This is an atmospheric illustration from his book,
Spring Heeled Jack.

(MIDDLE) EDMUND FRANCIS BROWN,


PAGE 55: “I wanted to glamorize Barcelona for
something other than Cervezas and skaters.
I overlaid traces of wallpaper, a photo I took of the
Sagrada Familia Cathedral, the Osborne bull and
Marilyn Monroe lips.”

(BOTTOM) AD SMITH, PAGE 54: Ad wanted to


portray the theme of wrath in his image by creating a
figure that is ‘lashing out’. He used textures such as

Hot New
brick, nails and wood splint to help the image along.

Talent
Here are some artists with a real flair for
Photoshop. We showcase the work of five of
our favourite recent graduates and designers

I
t can be difficult to get your first break creatives, it’s essential to make sure your
into the design industry. It’s one of the portfolio is up to scratch, and it’s always
most competitive environments you can valuable to know what level of competition
be in. Unless you already have an extensive you’re up against. Making that leap into the
portfolio full of previous commissions with working world of commercial design and
which to impress future clients, you can find illustration is tough, but getting your work seen
that the same artists are used again and is half the battle won.
again. It can be difficult to get a look in. Us This month we’re printing the work of some
Advanced Photoshop lot really are suckers for promising young designers, giving them a
punishment, aren’t we? chance to share their designs and creative
If you’re a last year student or a recent influences. These five designers not only differ
graduate the most valuable thing you can do is in their approach to their artwork but have also
get your work out there, either on a portfolio already developed their own individual styles.
site or your own web page that’s search engine- You saw them here first…
friendly. It’s surprising how very few university
design courses have instigated the means for GET YOUR WORK SEEN
showcasing student work. So, even if you have Don’t underestimate the power of the web.
Showcase your work on these portfolio sites:
the support of a course you will need to make
The Association of Illustrators www.theaoi.com
your own independent jump into the foray. Portfolios.com www.portfolios.com
Setting up on your own is a daunting business. D&AD Talentpool http://talentpool.dandad.co.uk
Artshole.co.uk www.artshole.co.uk
Whether you’re looking to join a company or Artwanted.com www.artwanted.com
considering braving the world of freelance

IT’S SURPRISING HOW FEW


COURSES HAVE THE MEANS FOR
SHOWCASING STUDENT WORK
51
Advanced Photoshop

050-055_APM17_graduates.indd 51 29/3/06 11:08:58


Feature
Rob Flowers
STUDIED: Animation and illustration,
Bucks College

ABOUT ROB: Rob grew up in Barking, East London.


WHAT HE’S DOING NOW: “I’m in a group exhibition at
“I was always interested in art; I was never any good
the moment in Portland, Oregon, for printed
at maths.”
illustration. I also sell my own books through a shop
INFLUENCED BY: “There are so many people that
called Beyond The Valley.”
BATMAN: “This Batman image was drawn directly inspire me: Gustave Doré, Saul Steinberg, Max Ersnt,
WHAT’S IN HIS CRYSTAL BALL? “I’m just about to start
into Photoshop using a Wacom graphics tablet and Richard Scarry, Jim Houser, Chris Ware, Francis Bacon,
looking into getting a couple of my illustrated books
then worked upon with different brushes.” Florence Upton. I love old lithographs and prints and
published, which I also write, so I’d like to be in a
badly made knitted toys.”
position where I can have my own studio and just

Chris HE WOULDN’T BE WITHOUT: Undo and History


“To be able to undo and change a mistake at the touch
continue to make art that I love.”
HE WOULD LOVE TO: “I am more interested in

Laakvand of a button is a godsend.”


HOW DOES HE NORMALLY APPROACH A PROJECT?
“I see Photoshop as a tool, much in the same way that I
pursuing my own projects and ideas, but I would love
to do more book jackets and record sleeves. I’m open
STUDIED: Communication design, to any avenue. I’m just about to start some single-
University of Portsmouth see a pencil or a paintbrush. I’ll always plan out in my
sleeve artwork and an animated video to go with it.”
mind how I want my final project to look. This, of
ABOUT CHRIS: For as long as Chris can remember,
course, is subject to change as you get deeper and
he has always been fascinated with drawing.
deeper into a project.” / email: flyingcroissant@hotmail.com
During his GCSEs he thought his work stood out
from the crowd and enrolled in an Art and Design
course at a local college, then later a
Communications Design course at university. “As
time passed at university my eyes opened to the
creative community, in which I have wanted to be
involved ever since.”
INFLUENCED BY: “STUNTKID, the boy fitz
hammond, Nigel Evan Dennis of Electric Heat,
Chuck Anderson of No Pattern.”
HE WOULDN’T BE WITHOUT: The Brush
“I use Illustrator for the majority of vector drawing
and tend to tidy things up with the Brush Tool. I
was given a Wacom tablet last year and there’s
much more freedom in Photoshop with this. I
strongly recommend it to anyone.”
WHAT HE’S DOING NOW: “I’ve just completed a
website commission for a large corporate
company based in London.”
WHAT’S IN HIS CRYSTAL BALL?: “I hope to be in a
position where illustration is a major part of my
working life, although in the south the industry is
a little thin on the ground. I hope to work on briefs
that are rewarding, both creatively and financially.
It would be great to be my own boss.”
HE WOULD LOVE TO: “Get involved in fashion
illustration, as well as magazine commissions for
cover work.”

/ web: www.chrislaakvand.co.uk
/ email: info@chrislaakvand.co.uk
/ contact: 07833 698424

Rob’s book Spring


JACK: This is from
SPRING HEELED ibe s as “a tru e story of Jack,
he descr
Heeled Jack, which in the mid-19th century.”
on
who terrorised Lond

52
Advanced Photoshop

050-055_APM17_graduates.indd 52 29/3/06 11:12:08


(RIGHT) Illustration by Rob Flowers

graduate showcase
MY WORK FUSES DRAWN MEXICO (BELOW):
“I always intended to do

IMAGERY WITH FOUND OBJECTS, some work based on


experiences in Mexico

PHOTOGRAPHY AND COLLAGE since visiting last year. This


takes a humorous twist on
the Day Of The Dead
festival, which Mexicans
celebrate every year.”

Chintu Shah
STUDIED: Illustration, Loughborough
University School of Art and Design

ABOUT CHINTU: Chintu Shah is a British Asian who grew concepts. I try not to plan the look of the overall image in
up in Leicester. He has enjoyed drawing, painting and the early stages, as it’s inevitably going to change once I
being creative since a very young age. “As a youngster, I get into Photoshop and experiment. Once in Photoshop, I
was always encouraged to pursue my art by both of my will access the various folders I keep full of different
parents and teachers at school. I think it’s quite rare for textures, backgrounds, patterns and facial features.
someone coming from an Asian background to be If I’m trying to create a particular character, I will
encouraged to pursue a career in illustration or the concentrate on this separately. Once all the individual
creative industries, so I am very lucky to have had full elements are worked out, I will bring them together to
support from my family.” finally create the final composition. So there are many,
INFLUENCED BY: “Pop art, Richard Hamilton, Peter Blake, many layers involved.”
Romare Bearden, vintage Indian graphics.” WHAT’S IN HIS CRYSTAL BALL? “I hope to see myself
HE WOULDN’T BE WITHOUT: Dodge and Burn established in the design and illustration industry. I have
“I am always coming up with new, exciting colours and been approached by a former teacher who wrote a
textures that can then be collaged – the Dodge and Burn children’s story and has asked me to illustrate it. This
tools are invaluable for doing this.” should be interesting, as I have never attempted to
WHAT HE’S DOING NOW: “I have produced a few illustrate a whole storybook before! I am also going to be
magazine covers for local temples and community collaborating with a family friend who teaches Gujarati
centres. I also recently submitted an illustration to be language in schools to create some clip-art-style images
used in an e-mag entitled The Thing Is…, which was put of the various Indian and other exotic fruits and
together by fellow young creatives.” vegetables. This will hopefully be turned into a CD.”
HOW HE APPROACHES HIS WORK: “My work HE WOULD LOVE TO: Learn more about animation and
consistently fuses drawn imagery with found objects, push his imagery into this direction. JANE: “This was one of a series of images that I
produced on the theme of ‘fireworks’. The idea behind
photography and collage. In my own working process I
view the technology as simply a tool to achieve what I / web: www.chintushah.com the series was to simply play on the names of the various

want. I will normally approach any project in the / email: chintu@chintushah.com fireworks that you can get. I also turned the firework into
an actual character and had the character thinking of
sketchbook first, where I will come up with the ideas and / contact: 07833 698424 what she could get up to once lit!”

53
Advanced Photoshop

050-055_APM17_graduates.indd 53 29/3/06 11:02:46


Feature
Ad Smith
STUDIED: Illustration

ABOUT AD: Ad grew up in Bournemouth and has been


a permanent fixture ever since. “I think that this
insulation, plus the divorce of my parents at a young
age, has inspired the lust for the phantasm behind
many of my designs. I was never looked upon
favourably by my teachers at school as I applied a bit
too much of my own artistic licence to my projects. But
once I had started at university this ceased to be a
problem and I became an encouraging graduate.”
INFLUENCED BY: “Ben Temple Smith and Dave
McKean, who lured me into the beautiful use of
surrealism through photomontage.”
HE WOULDN’T BE WITHOUT: Variations
“Probably a slightly boring choice, but it’s such an easy
way of creating tones for all effects.”
WHAT HE’S DOING NOW: “I’ve recently completed
work for the National Student Drama Festival
(sponsored by The Times). I also illustrate editorial
designs for Dark Moon Book Publishing and my first
cover, Liber Coronzom: An Enochian Grimoire, will
hopefully be published in the next month or so.”
WHAT’S IN HIS CRYSTAL BALL? “I would see myself as
a freelancer working on narrative-based projects such
as novel covers, graphic novels and editorial work.”
HE WOULD LOVE TO: “Work on cover and book
designs for adults or children and magazine
illustrations. Freelance fine art would also be nice.”
HE WOULDN’T: “Work on an average cut-and-paste
job such as putting together flyers and posters with
little artistic licence. However, it’s not very wise to say
no to anything.”

/ web: www.adamwilliamsmith.co.uk
/ email: rook1983@lycos.co.uk

is a
l of a pierced heart
PAIN: “The symbo nt em oti on . Th e
a blu
blunt statement for r collage, spray
a ble nd of pa pe
image is
cation and
paints, acrylic appli
s.”
appropriated X-ray

(LEFT) PAGE 3: “These are creations for a


children’s book called Run Tyler Run, a story that
deals with the contemporary issue of bullying
and abuse. It will hopefully be considered for
entry into this year’s Macmillan Book Fair.”

(FAR LEFT) WORM’S EYE (PRIDE):


“This image is a mixture of photography,
acrylic painting and textiles, brought together
through extensive use of the Blur, Opacity and
Variations techniques.”

54
Advanced Photoshop

050-055_APM17_graduates.indd 54 29/3/06 11:13:35


(RIGHT) Illustration by Edmund Francis Brown

graduate showcase
FLYER: Commissioned as a postcard flyer for the Newham
Mayor’s show. “I unblemished the model’s skin in the
original photograph and then set about creating assets,
setting up several layers all masking each other.”

Edmund Francis Brown


STUDIED: BTEC Media Production,
Bedford College

ABOUT EDMUND: He was born in Welwyn Garden City People [http://shootingpeople.org] for a junior to join
(during a thunderstorm, according to his mum). “My an animation studio, and I saw that they, like me, were
mother is an artist and was studying for a Fine Art based in Hackney, around the corner from my new flat.
degree while I was growing up. I used to pull sickies off On the ride home from another unsuccessful day of
SNAKEY7FLAT: “This was my first Photoshop fashion
school and she’d take me to her university. I used to application forms and rejection, I stopped in at
shoot trace. The background is from one of my photos of
love hanging around the art studios for hours.” He Shroomstudio. They invited me in for a chat and, the amazing street graffiti in Barcelona (sadly, no longer
went to study a BTEC in Media Production at Bedford several cups of tea and another knock on the door there). I applied the Cutout filter to the graffiti. It’s overlaid
College and begged his tutors to be allowed on the later, I had a job. with a texture of a photo of some rust on a metal door.”
editing computers. “I taught myself Photoshop and So now I work in a role that involves hours of
Premier in a couple of months. I also tried my hand at Photoshop, Illustrator and After Effects. I consider
web design, so a lot of my Photoshop skills were myself very lucky indeed. I have missed the deadline to KOOKS2PUNK: Edmund created this image from a
photograph of his girlfriend, Kooks. “Upon turning off the
developed either for special effects in Premier or for return to university and complete my degree, but
‘stroke’ layer I saw that the only features visible on her face
web page graphics.” something tells me it’ll be okay.” were her eyelashes, lips and one ear. I thought this was
WORST EXPERIENCE: “In the summer of 2005, I moved WHAT’S IN HIS CRYSTAL BALL? Edmund would like to cool, so I added two gradient layers.”
to London and shared a room with my girlfriend and see his career in digital arts take a varied route. “I’m
tried looking for work. After two months of waiting quixotic with my interests, flicking between writing,
tables and getting up at the crack of dawn to work in design and video work, so it’s hard to set goals.”
posh events wearing a Primark shirt-and-trousers HE WOULD LOVE TO: “Have the opportunity to do
uniform, I was getting tired of posting CVs. In some flyer design, or an album cover. The sheer
desperation one day, I scrawled ‘Will Work For Food’ creative genius of the Sixties and Seventies record
on my CV and posted it at Vice Magazine – they weren’t label is something I feel is sadly lacking from
interested. Strange, that.” contemporary music graphic design.” 5
INFLUENCED BY: “Nigel Dennis, 123klan, Psyop, the
Brooklyn school of graffiti.” / web: http://myweb.tiscali.co.uk/iline
HE WOULDN’T BE WITHOUT: The Layer Comp palette / email: edmundbrown@tiscali.co.uk
“It’s a great addition that makes my fickle
design decisions easy to save without making a
huge stack of incremented big Photoshop files that is I HAVE MISSED THE DEADLINE TO
hard to organise.”
WHAT’S NOT A HIT IN HIS WORLD? Adobe Bridge RETURN TO UNIVERSITY, BUT
“It’s slow and heavy.”
WHAT HE’S DOING NOW: “I saw a post on Shooting SOMETHING TELLS ME IT’LL BE OKAY
55
Advanced Photoshop

050-055_APM17_graduates.indd 55 29/3/06 11:14:25


Step-by-step
Workshop

CREATE CONSOLE ART


Throw yourself into this funky fighting videogame-inspired tutorial.
You’ll be merging diverse techniques to create a cool composite
BY SAM GILBEY

I
f you’ve been reading previous issues of skills than with an old-school videogame
ON THE DISC
Advanced Photoshop, you’ll certainly be beat-’em-up crossed with a snowball fight? It
You’ll find all the accompanying
files and images you’ll need to more than familiar with the idea that enables us to work on some photography in the
complete this tutorial on this issue’s Photoshop can let you do just about anything background, some hand-drawn illustration for
free CD.
you put your exceedingly creative mind to. our characters, and some shiny paths and vector
OUR EXPERT Sam Gilbey Still, it’s easy to fall into the habit of doing one shapes for our interface. For the hand-drawn
Sam’s illustrations have appeared in numerous publications, particular thing that you favour, be it hand-drawn elements you’ll probably find a drawing tablet
both on and offline, all over the globe. His observational,
colourful and distinct style often draws upon and celebrates illustration, photography manipulation or more will help, although it’s not actually essential.
popular culture. He is also a senior editor for popular arts and vector-style work. Not that there’s anything Once you’ve had a go with our idea, there’s a
design news portal, Pixelsurgeon. More of his work can be
wrong with that, of course, but it can also be fun plethora of videogame-style composites you
found at www.sam-gilbey.com
to combine several different stylistic approaches could try for yourself. Think intense colour,
in the same piece, and that’s what we thought dramatic action and plenty of effects, and you’re
we’d try here. And what better way to test your on the right track. Player one, ready?

56
Advanced Photoshop

056-061_APM17_snow.indd 56 27/3/06 11:50:58


es
n iqu
ch
Te
“THINK COLOUR, DRAMATIC ACTION 6 Replacing colours

AND PLENTY OF EFFECTS AND We want the colour of the building to be a


bit richer, so go to Image>Adjustments>Replace

YOU’RE ON THE RIGHT TRACK” Color. Pick the main yellow that features, set the
Fuzziness to 180, the Hue down to -66 and the
Saturation up to +62. Now, select some of the

1
deeper shadows, making those a deep red rather
Getting started than a pale greeny brown. Finally, take the greens
Create a new document in Photoshop from the roof and increase the hue to around 100
that’s 25cm wide and 18.52cm tall, set at 300dpi. for a purple tint.
To set our wintry scene we’ve used a photograph
by Sascha Burkard from Fotolia, which you can
find at www.fotolia.co.uk/id/164938 relatively
cheaply. If you have something very similar in
your own photo collection, use that if you prefer.
Copy and paste it onto your canvas. Scale the
photo down to the canvas width, but place it so

4
that the horizon is roughly in the middle.
A third floor
Go back to the temple photo and select
the lower floor with the Polygonal Lasso. Paste it
onto the main image and scale it down so it looks

7
like it could be a larger floor below. The roof
won’t quite line up, but use the Clone Stamp to Getting it pixel-perfect
fill in the gaps, sampling the most appropriate To give our backdrop a more videogamey
elements of the existing texture. Now use a round feel, we want to pixelate it. Duplicate the layers
eraser, or create a selection, to give the roof a that make up the scene, and hide the lower

2
curved edge. versions. Select the temple layer, and from the
Lining up the horizons Filter menu go to Pixelate>Mosaic. Set the Cell
Next, we’ve used a Egidijus Mika photo Size to 5 square and press OK. On the tree and
(from www.fotolia.co.uk/id/77682). This is mountain layer, set the Cell Size to 7. On the
smaller than the canvas width, but it’s okay to foreground snow, set it to 8.
scale it up because we’re going to pixelate the
background later. Reduce the opacity of the layer
so you can line up the textured snow from the
new image over the blank space. Flip the photo
horizontally so that the light comes from the left.
Delete the top half with the Marquee tool, then
use a round eraser brush so the snow fits neatly
over the first photo.

5 Seeing the trees through the wood


Merge the new floor layer down so the
temple is on one layer. Go to Layer>Layer Mask
>Reveal All. Fade the opacity of the layer down so
you can see the trees that should be overlapping
the building. Click the chain icon between the
image and the mask to unlink them, then select
the mask. Paint black over the trees, varying the

3
brush size as needed, to hide the temple. If you
Building up the background make a mistake, paint with white to reveal again.
Next is Naomi Hasegawa’s temple photo,
from www.fotolia.co.uk/id/142137. Duplicate the
background layer, then Select All and fill the layer Videogame as art?
with any colour. Use any cut-out technique you
favour to remove the background around the Well, the people at WEARGAME think so, because along with
Creative Pride they’re creating GamePaused, described as “a
temple, leaving the top two floors. Where the tree
creative celebration of the videogame”. As you can see from the
overlaps the balcony at the bottom, just guess the
list of artists ‘playing’ on the website at www.weargame.com, it
shape that the wood would take by referring to has proved to be popular with creatives of a certain age who’ve
the other side. Paste the temple onto the image grown up twitching their thumbs. Keep an eye out for the book
so the roof complements the mountain peak. Set and the exhibition, which will happen in the near future…
the opacity to around 40%.

57
Advanced Photoshop

056-061_APM17_snow.indd 57 27/3/06 11:52:10


Step-by-step
Workshop
“WHEN YOU 9 Snow business

BUILD A Use the Clone Stamp in order to copy


some of the foreground snow texture around the

COMPLEX base of the trees so it all matches up, and then


pixelate the layer again. A winter scene just

PIECE, wouldn’t be right without snow, so create a new


layer and select a round brush with a diameter of

YOU’RE around 60. Open the Brushes tab (which you’ll


find to the right of the Options bar) and turn on

BOUND TO Shape Dynamics. Put the Size Jitter up to 100%

WANT TO
and add some snow to the scene. Now apply a
Motion blur of around 40 pixels, and then use a

ADJUST THE
Mosaic filter.

COLOURS”
12 Highlights and shadows
Making the brush smaller (down to
around 30), choose colours from each area then
add lighter tones to the left and darker tones to

8
the right of the characters. Follow the contours of
Hyper-real colour the clothing or skin so the illustration starts to

10
Beat-’em-up backdrops are usually a little have depth. Don’t make the highlights or shadows
more intense than ours at the moment. You can Introducing the characters too strong as we don’t want it to clash with the
use any of the options from the Image> Open the file from the cover disc overall image.
Adjustments menu, but it’s also worth using an called ‘fighters_sketch.jpg’. Copy and paste it
adjustment layer, which allows you to keep the onto the scene, and set the layer blending mode
original colours intact. Go to Layer>New to Multiply from the drop-down menu at the top
Adjustment Layer, and select the type of of the Layers palette. Now create a layer
adjustment that you want to make. Remember, underneath the sketch, and, using a round brush
you can apply more than one adjustment layer at with 100% opacity, apply flat colours to the
any one time. We have made the sky more purple, different areas of the man and the woman to
the trees more green and the foreground snow a flesh them out a bit and start building up the
little more cyan. scene. Finally, turn the Size jitter off.

13 Blending it together
Next, choose a brush with a soft edge,
set the size to 70 and switch the opacity down to
30%. Select tones from each area, and then paint
gradually over the tones they overlap. Pick
different tones as you go judging the effect by
eye, and soon the colours will blend, rounding the
characters off and making them look far more

Colour separation 11
three-dimensional. Our characters are now really
Light needs shadows starting to take shape.
To lead the eye across the image, and
When you’re building a piece as complex as this one, you’re to integrate the characters into the backdrop, we
bound to find that as you go you want to adjust your colours need a shadow. This will also give our character
here and there. This is fine, but every change you make takes some grounding and make the overall effect
you a step away from your source material, and you may even more convincing. On a new layer, select one of
find yourself wishing you could go back to an earlier version. the dark tones from the foreground snow. Use a
Well, there is an answer, and it’s adjustment layers. Try to use
round brush to paint shadows extending from
one whenever you can, because it means you can go back to
the character’s feet. Use a very large eraser with a
your original colours should you ever want or need to. It’s
certainly easier (and takes up less room on your Hard Drive) soft edge (around 400) to erase the right-hand
than saving several different versions of your work. side of the shadows, so that they fade. Now apply
a Mosaic filter to the layer.

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Grouping layers
14 Stronger outlines
On a new layer above the sketch, we
want to strengthen the character’s definition.
17 Glow for it
Select Layer>Layer Style>Cover Overlay.
Set the blend mode to Color, and use a blue-green One of the most useful additions to recent
versions of Photoshop is being able to
Select the Hard Round 9 Pixels brush, with a 100% tone. Now use the Burn tool, with a soft-edged
group layers together. This is especially
opacity, and proceed to work over the main brush around 300 and an Exposure of 5%, in order
true when you’ve got as many layers
character outlines using a very dark grey (but not to darken the right-hand side of the snowball. building up as we have here, and we’re
black). There’s a lot going on in the image, but we Next, apply an orange Outer Glow layer style on using different styles for the various
still want the characters to be striking. Screen blend mode with a Spread of 0 and a Size components. Not only that, but you can
of 114 pixels. Create a new layer underneath it, and manipulate several layers at once if you
use the Polygonal Lasso tool to draw a marquee need to. It’s great for repositioning things
expanding from the girl’s hands into the snowball. as you go, and allows a flexible approach
Finally, use the Gradient tool to fill it with a gradient to your compositions. Duplicating a group
fading from orange to nothing. and then merging it also lets you play with
your creations without worrying how
many levels of Undo are left.

15 Additional highlights
It always helps to add a highlight that
isn’t just based on the colours you’re shading.
Choose a pale blue, and with a 20-pixel brush at
an opacity of 30, paint some highlights on the
right-hand side of the man and the left side of the

18
woman. Build up the strokes to intensify the
highlights a little more. The mighty whoosh
Duplicate the snowball layer. Select the lower version and adjust the colour of the overlay to a warm pink. Go to
Filter>Blur>Radial Blur and apply a Zoom blur, centred as near to the middle of the snowball as possible. Move the snowball to
the right of the one above, and set the layer blending mode to Linear Light. Duplicate the top snowball layer, and apply a Radial
blur to it. Apply a bright blue Outer Glow layer style, and fade the layer opacity to 75%. Apply an additional Motion blur at a
Distance of 60 and Angle of -17.

16 Photo fix
Now you’re going to need a photo by
Zastavkin, which you will find at the following
website: www.fotolia.co.uk/id/107897. Once
you’ve got it, go to Image>Adjustments>
Brightness/Contrast. Set the Brightness to +32
and the Contrast to +7. There’s a peak of snow
towards the bottom right of the image. Use the
Polygonal Lasso tool to create a marquee in the
shape of a roundish but quite angular snowball.
Copy and paste the snowball onto the main
canvas, and then position and scale it so that it’s
hitting the man on the raised arm.

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Step-by-step
Workshop
19 It’s all a blur
On another new layer underneath
the snowballs, create a further ‘beam’ of energy
20 Sparks and particles
On a new layer, select a soft-edged
brush with a diameter of 40. From the Brushes
flowing from the girl’s hands to the snowball. tab, turn on Shape Dynamics and set the Size

24
Make this one fade from a light bright blue to a Jitter to 100%. Turn on Scattering and set it to
soft lilac. Set the layer blending mode to Hard 1000%. Paint some particles around the man Shape and shading
Light and apply a bright blue Outer Glow to the where the snowball impacts. Add an Outer Glow Use the Direct Selection tool (the
layer. Also add a Motion blur that follows the to the layer and apply a Radial Zoom blur, centred white arrow) to move the points of the outer
direction of the beam. at the tip of the snowball. shape, and the Convert Point tool (one of the
options in the toolset item below) to add some
curves. Use the Delete Anchor Point tool on the
right side so you can make a sweeping curve.
Apply a vertical gradient overlay with a darker
band in the middle for a cool chrome effect.
Duplicate the layer, then use the Direct
Selection tool to scale down the outer points.
Change the gradient overlay to fade down
from dark to light.

21 Face facts
Select the
Rounded Rectangle tool, 25 Grouping layers
Now make a smaller bar beneath in
and create a rounded the same way, and add a rectangle with a
rectangle (adjust the gradient overlay underneath each to represent
corner Radius along the the energy levels. From the Layers palette, select
Options bar) in the top left-hand corner. On the all the layers that make up the interface, click the
Paths palette, click the arrow at the top right, and top right arrow on the palette, and then select
from the options choose Make Selection, keeping the New Group From Layers option. Call the
the Feather Radius at 0 pixels. Open the file from group ‘Energy Bar’, and then duplicate it. Finally,
the cover disc called ‘faces.jpg’. Copy the man’s use the Transform tools to flip it horizontally and
face with the Rectangular Marquee and paste it then move it to the far right.

“TRY TO into the selection. Go to Edit>Transform and scale


it down to fit. Apply an outer Stroke layer style

COLLECT and an Inner Glow, with the Choke set to 47%

A RANGE OF 22 Face paint


26 Ramp up the detail

COOL PHOTO Apply a


gradient overlay to the
Paste in the girl’s face, reverse the
gradient direction on the energy bars and

TEXTURES TO original rounded increase the width of the main bar. Use more of

USE IN YOUR
rectangle layer, and set the layer styles (strokes, inner glows and so on) to
the blending mode of make everything feel more solid. Add a central set

CREATIONS”
the face to Multiply. of ellipses to show the time left in the game.
Create a new layer between the two and colour We’ve used a font called Eras Medium ITC, but you
in the face, just using a few simple tones. don’t have to. Rasterize the ‘Time’ text and go to
Edit>Transform>Warp, bending the text around
Texture library
23
the interface as appropriate. Change the group
Interface design blending mode to Overlay and fade it to 96%.
You might not consider yourself the greatest photographer in Now to set the videogame scene a
the world, but the more you get into the habit of taking your little more. Select the Rounded Rectangle tool,
digital camera with you wherever you go the more time you’ll and set the Radius to 15px. Draw the outline of
save yourself when trying to create artwork back at home. the main energy bar, then change the settings of
Okay, so perhaps you’ve not got a beautiful mountain range the tool to Subtract From Shape Area, which is
near you to photograph, but if it ever snows, get yourself the third icon along the Options bar to the right
outside and snap away. Not just because you’ll have loads of of the Radius setting. Set Radius down to 12px,
great snow photos, but also because you might be able to use
and cut a slightly smaller shape out of the
the snow textures to supplement another piece, and one that
middle. This is the rough outline for our
doesn’t necessarily have a snowflake in sight. Try to collect a
range of cool photo textures to use in your creations. troublesome twosome’s energy bars, which
we’ll work up next.

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27 Icy shards “KEEP ADDING
Select a light blue foreground colour,
and using the Pen tool, create a large shard DETAIL AND
expanding diagonally downwards. Set the layer
blending mode to Color Burn. Now create a new MAKING
shard towards the right of the first, overlapping
some of it. Set the blending mode to Overlay, so TWEAKS
it looks like a lighter side of the shape. Create a
couple more polygons as desired, experimenting UNTIL YOU’RE
with the blending modes. To add some interest,
HAPPY WITH
30
apply Outer Glow layer styles to the shapes in
various colours. Character blurs
THE FINISHED
PRODUCT”
Create a new layer group from the
layers that make up the characters, and duplicate
it. Right-click to the right of the Layer Group icon
on the Layers palette (Apple-click on Macs), and
Merge Group. Use the Magic Wand to select and
delete the white outside the characters. Broadly
select the man’s shoulders, scarf and head with the
Elliptical Marquee. Apply a Motion blur at an Angle
of -27 ° and a
Distance of 70
pixels. Use a large
soft eraser to

28
preserve some of
Copy and repeat the detail from
Select the layers that make up the below. Repeat for
shard, and create a New Group From Layers. the areas you want
Duplicate this group and scale the copy down, to blur.
rotating it anti-clockwise and moving it around

31
the snowball as appropriate. Now rasterize the
layers in the group, then use a large eraser to Final touches
soften the edge where it connects with the We added an extra layer of pencil-type lines on the characters, defining where the highlights meet the main clothing
snowball. Repeat the process, building up a wall colours. We duplicated the energy bars on the left and blurred them slightly to indicate that the man has been hit. There’s also
of icicles around the right side. Scale each one another layer of snow added, and some more icicles on the snowball. Essentially, keep adding detail and making tweaks until
slightly differently. This gives our snowball a nice you’re happy with the finished product. 5
stylistic wintry look.

29 Real icicle texture


Use the Polygonal Lasso to make a
selection around the icicles. Locate Zastavkin’s
icicle photo here: www.fotolia.co.uk/id/107891.
Paste the photo into the selection, and rotate the
image clockwise so the icicles cut diagonally
down from right to left through the shards. Set
the layer blending mode to Luminosity, and fade
it down to 19% Opacity. Use a large eraser to
soften where the shards connect with the
snowball, and then apply a Motion blur along the
same angle as the icicles.

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Insider INSIDER
Info INFO
Additional resources
Face the noise The following articles provide in-depth comparisons of several noise
reduction applications:
One of the many new filters in Photoshop CS2 ● Michael Almond: Noise Reduction Tool Comparison
is Reduce Noise, which isolates and minimises www.michaelalmond.com/Articles/noise.htm
● Ben Long: Quiet Those Noisy Images
noise while preserving the maximum detail www.creativepro.com/story/feature/22546.html

M
ost digital cameras use an image sensor comprised of a matrix of
light sensors called photosites, each corresponding to one pixel in
your digital image.
Occasionally, either in low light or at high ISO speeds, the electrical signal in these
photosites ‘spills over’ into neighbouring photosites, resulting in something that all
imageers recognise: noise. This noise comes in two distinct flavours: luminance
noise (which appears as speckled light and dark pixels) and chrominance noise
(which appears as coloured blotches – typically yellow or magenta).

Trevor Morris Regardless of where noise comes from


OUR EXPERT
or how it was produced, it’s generally
Trevor Morris is an official Photoshop beta tester
and amateur digital photographer with more than a unwanted. The goal is to reduce the
dozen years’ design experience. He works as a senior noise without compromising the detail
graphic designer for a Canadian web design
company and also maintains the Photoshop-centric
in the image, which is exactly what the
website GFX™ (http://user.fundy.net/morris/). Reduce Noise filter (Filter>Noise>Reduce
Noise) is designed to do. In Basic mode
there are four sliders, and, as with most
of Photoshop’s dialogs, it’s best to adjust
them in the order they appear.
● Strength: This controls the amount of
luminance noise reduction applied to all REDUCE NOISE – BEFORE AND AFTER: Photoshop’s new Reduce Noise filter
ADVANCED NOISE REDUCTION: channels. Values range from 0 (no reduces image noise while attempting to preserve the detail of the original photo
Reduce Noise’s Advanced mode allows
reduction) to 10 (maximum reduction).
you to target individual channels for
optimal noise reduction ● Preserve Details: Used to fine-tune
the image and restore some of the detail also has an option called Remove JPEG tab. Reduce Noise is a great addition to
affected by the Strength slider. Values Artefact. As the name implies, this Photoshop, however its luminance noise
range from 0% (no preservation) to option is designed to reduce the blocky reduction isn’t nearly as impressive as its
100% (full preservation). Note that artefacts and halos that typically appear chrominance noise reduction, and the
Strength has no noticeable effect when in highly compressed (low-quality) JPEG JPEG artefact reduction provides mixed
Preserve Details is set to 100%. images. Use this option judiciously, as results. Still, for a ‘free’ plug-in, it does a
● Reduce Color Noise: This reduces the smoothing used to reduce artefacts very respectable job of reducing noise
the amount of chrominance noise that’s typically softens image detail and there without significant loss of detail.
present in the image. The values range aren’t any options to control it.
from 0% (no reduction) to 100% Advanced mode allows you to What’s the alternative?
(maximum reduction). perform noise reduction on a If you’re looking for an alternative – and
● Sharpen Details: This controls the per-channel basis, so will allow you more you’re willing to spend a little cold hard
amount of sharpening applied to the control over the image. For example, if cash – there are plenty of alternatives
filtered image. Values range from 0% (no the Blue channel contains the majority available, including ABSoft’s Neat Image
sharpening) to 100% (maximum of the image noise, you might apply (www.neatimage.com) and
sharpening). Use this slider with caution, more aggressive reduction to that PictureCode’s Noise Ninja (www.
because too much sharpening will channel. Be aware, however, that the picturecode.com). Both offer support for
simply introduce more artefacts. For values on the Per Channel tab are Mac and PC, and are available as
best results, use Filter>Sharpen>Smart cumulative, so you may need to use standalone applications and/or
Sharpen instead. The Reduce Noise filter more conservative values on the Overall Photoshop-compatible plug-ins. 5

“THE SMOOTHING USED Save your settings


TO REDUCE ARTEFACTS Another nice feature of the Reduce Noise filter is the ability to save your
settings as a preset. To delete a saved preset, simply select it from the Settings

SOFTENS IMAGE DETAIL” drop-down and click Delete Settings (the Trash icon).

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Step-by-step
Workshop
ON THE DISC
You’ll find the simple drawing you
need to get your painting on its way
(girl_sketch.tif) on your included
Advanced Photoshop CD.

OUR EXPERT Tim Shelbourne


With 20 years’ experience as an artist and illustrator, Tim
Shelbourne is one of Photoshop’s leading lights. He believes
that too much instructional material intimidates new users
and is keen to help novices painlessly harness the software’s
true potential. For further details, check out his first book,
the Photoshop Photo Effects Cookbook (Ilex, £17.95, ISBN:
1-904705-61-8) or visit www.timshelbourne.com.

J
ust put the thought of digital
photography out of your mind for a
moment, and think of pixels. Essentially,
if you think in pixels, you think in Photoshop.
So much Photoshop material out there today
concentrates solely on images supplied by a
digital camera that it’s easy to forget that
Photoshop was made to manufacture pixels,
not simply move them around on screen.
If you’ve never started from a pure blank canvas
in Photoshop, you’re missing so much of its true
creative potential. So, starting with a blank canvas,
we’re going to create a stunning piece of original
art from scratch!
But you’re thinking, “don’t I have to be able to
draw and paint to do that?” Well, in Photoshop the
answer is no. Once you’ve started making marks
on separate layers, you’ll be amazed at just how
much you can mould and manipulate these marks
to produce truly worthy art. To get you started
we’re supplying you with the initial sketch, but you
could just as easily trace over a photograph loaded
into your workspace. If you make your tracing on a
separate layer you can then ditch the original
photograph when the sketch is complete. With
painting Photoshop CS2 begins to demonstrate its
stunning capabilities, supplying you with a wealth
of super-realistic brushes, which, when used in
conjunction with a pressure-sensitive graphics
tablet, can offer every bit as much adaptability and
responsiveness as their real-world counterparts.
A pressure-sensitive graphics tablet is essential
for this kind of project, as it will enable you to take
full advantage of the power of Photoshop brushes.

WORKING WITH BRUSHES


Free yourself from the shackles of the photographic image and create truly unique
images from scratch. Tim Shelbourne stares at a blank canvas and gets painting
BY TIM SHELBOURNE

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1 Trace elements “VARY THE
You can always begin by drawing your own
sketch or by opening a photographic image in OPACITY OF
Photoshop and using a small brush to trace
around it on to a separate layer. Once your sketch THE STROKES,
is complete, fill the original Background Layer with
a background colour for your canvas. ESPECIALLY
WHERE
THEY MEET
THE SHADOW”
4 Size matters
Hit F5 to display the Brush Options. In
Shape Dynamics, set the Minimum Size slider to
50%. Set the Size Jitter Control to Pen Pressure.
Now click Other Dynamics and set Opacity
Control to Pen Pressure. Using the brush at a
medium size (you can change this using the
square bracket keys on the keyboard), begin to

2
block in the shadow areas of the head with

6
Start with the sketch rough scribble.
If you’re working from the supplied sketch, Delineate the details
open up ‘girl_sketch.tif’ from the cover CD. The Zoom into the eyes and nose area of the
sketch itself is already supplied on a separate layer. image and reduce the brush to a very small size,
First, you need to ensure that the sketch layer is as this is where you need to be very careful with
set to Multiply Blending Mode. Click on the the details. Now increase the Opacity of the brush
Background Layer and choose a colour for your to 75% and, following the overlaid sketch, use a
painting’s canvas from the Foreground colour few sharp strokes to delineate the eyes and the
swatch. Go to Edit>Fill, choosing Foreground nostrils. It might take a couple of attempts to get
Colour for Contents. this looking just right.

5 Light fantastic
In this image the light is falling from the top
right of the picture, so bear this in mind as you’re
blocking in the shadow areas (see the ‘Out of the
shadows’ boxout below). Make your brush strokes
rather straight and angular, but think about the
basic contours of the head as you paint. Build up
the tones and depth by working over some areas
again with the brush.

3 Dip into Brushes


Hit Ctrl+Shift+N to add a new layer then
name the layer ‘Shading’ and click OK. Now
choose a deep blue for the Foreground colour
swatch, as it will sit nicely against our vibrant red Out of the shadows
background. Don’t feel compelled to stick with
skin tones – experiment! We’ll take a look at Essentially, it’s light that makes an object three-dimensional,
whether it is a simple cube or something as complicated as a
setting up the brush options next. Choose the
human head. This point illustrates perfectly why having a good
Brush tool. Click in the Brush Picker, hit the small
idea which direction light falls on to a figure is key to producing
right-pointing arrow and load the Thick Heavy convincing results. Take time to study various images to become
Brushes set. Now choose Flat Bristle from the adept at judging light direction and modelling. In this image, the
brush thumbnails. Set the brush Opacity to 25% light falls from the upper right of the picture.
in the Options Bar.

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Step-by-step
Workshop
7 Tonal work
Feeling the
pressure “ROUGHLY PAINT WITH THE
Click again on the red-filled layer and add a
new layer (Ctrl+Shift+N). Name this layer ‘Mid
The majority of
Photoshop brushes,
SAME BRUSH AT A LARGER
SIZE BEHIND THE HEAD TO
particularly the
Tones’. Choose a mid-tone orange/yellow for the ones we’re using
Foreground swatch. Now, using the brush at a here, can be set to

CREATE TEXTURE”
fairly large size, begin to fill in the majority of the respond directly to
the pressure input
empty areas in the head with this colour using from a pressure-
rough angular strokes. You don’t need to worry sensitive graphics
tablet. These
about being neat here.
dynamics features
are controlled via
the Brush Option

10
palette (displayed
by hitting F5 on the Think pink
keyboard). Each set Using the brush at 30% Opacity, add
of Brush Dynamics some bright, vibrant accents where the
is located in its own
entry within the mid-tones meet the shadow areas. Also, use a few
palette. Active marks to add some structure to the lower part of
dynamics are
the nose, and a few accents over the eyelids and
denoted by a check
mark next to them. in the eye sockets. These areas will add depth and
The main categories interest to the portrait.
we use in the
walkthrough are
Shape and Other
Dynamics. In each

8 13
example, we set the
See-through strokes menu Control Warp effect
Again, vary the opacity of the strokes, option for these to Go to Edit>Transform>Warp. Drag the
Pen Pressure.
especially where they meet the shadow areas. top two corners of the warp map down, and the
Because this layer is beneath both the shading bottom two down and inwards to replicate the
and sketch layer, all of the structural elements will shape shown in the screenshot. Now go to
remain visible. Bear in mind which direction the Edit>Transform>Rotate. Rotate the shape a little
light is coming from in the image. Don’t paint way anti-clockwise. Hit the commit checkmark in
over the lips just yet. the Options Bar to commit the transformation.

11 Shaping up nicely
At this stage, we want to add some
interest to the background. A few simple graphic
elements will add the required punch. Click on
the red-filled layer and add a new layer. Name the
layer ‘Shapes’. Now choose the Rectangular
Marquee tool, and drag a selection around the
head and shoulders.

9 Livening up
Now click on the Shading layer and add
another new layer (Ctrl+Shift+N). Name this layer
14 Duplicate and merge
Set the Opacity of this layer to 55%.
Now duplicate this layer (Ctrl+J), and return to
‘Mid Accents’ and set the Blending mode for this Edit>Transform>Rotate. Rotate this duplicated
layer to Vivid Light. Now choose a vivid hot pink layer a little way clockwise. Merge the two shape
for the Foreground colour. Click in the Brush layers together via Layer>Merge Down.
Picker and change to the Rough Flat Bristle brush.
Set the Brush Options as in step four.

12 Create a gradient
Choose the Gradient tool and click in
the Gradient Picker. Select the Blue, Red, Yellow
Gradient from the swatches. Choose Linear
Gradient from the Options Bar, and then click and
drag the gradient vertically over the selection. Hit
Ctrl+D to deselect.

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15 Wet work
Add a layer mask to this merged layer
via Layer>Layer Mask>Reveal All. Choose the
18 Line up
Now for some defining line work. Add
a new layer and drag it to the very top of the layer
Path to success
Creating Paths with the Pen is a fantastic
Brush tool and click in the Brush Picker. Hit the stack. Name this layer ‘Line Work’. Now choose the way to create flowing lines. In this project
right-pointing arrow and load the Wet Media Brush tool. Click in the Brush Picker and load the we use the Pen to add a framework of key
Brushes. Scroll down the thumbnails here and Thick Heavy Brushes set. Choose Smoother Round lines to the image. The key here is to draw
a collection of short paths around the
choose Rough Dry Brush. Set the Brush Opacity Bristle from the brush thumbnails. Reduce the
outline of the figure. It’s the usual Pen
to 50% in the Options Bar. Brush size to around 10-15 pixels.
technique of clicking and dragging to
create smooth curves. Bear in mind that if
you need the path to take a dramatic
change in direction, such as here at the tip
of a point, hold down the Alt key on the
keyboard to chop off half of the curved
point before drawing the next section of
the path. Stroke each section of path
separately before drawing the next.

16 Add texture
Ensure that your Foreground colour is
Black and paint roughly over the face with this
brush onto the layer mask to add a little texture to

19
the background.
Pile on the pressure
Set the Brush Opacity to 100% in the Options Bar. Hit F5 to display the Brush Options and click the Shape Dynamics
category. Set the Minimum Diameter slider to 40% and set the Size Jitter control to Pen Pressure, giving your tablet a bit of the
action. Ensure that your Foreground Colour swatch is Black. We’ll use this brush in step 21 to stroke paths.

17 Head for the blend


Choose the red-filled layer and add a
new layer (Ctrl+Shift+N). Set the Blending mode
for this layer to Hard Mix. Choose a bright orange
for the Foreground colour. Roughly paint with the
same brush at a larger size behind the girl’s head
and shoulders to create more textural interest.

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Step-by-step
Workshop
20 Create a path
Choose the Pen tool from the toolbar.
In the Options Bar choose the Paths icon (the
21 Brushwork
Once the short section of path is
complete, right-click the current work path in the
24 Now for the highlights
Add a final new layer to the image,
naming it ‘Highlights and Details’. Load the Wet
middle of the three icons on the left). Also, select Paths palette and choose Stroke Path from the Media Brushes set from the Brush Picker. From the
the Add To Path icon. Make sure that you’re sub-menu. In the Stroke Path dialog, check brush thumbnails, choose Oil Medium Brush Wet
working on the Line Work layer and hit the tab for Simulate Pressure and choose Brush for Tool. The Edges. Hit F5 to display Brush Options and in
the Paths palette. Now, with the Pen tool, begin path will now be stroked with the brush we set Other Dynamics set the Opacity Jitter Control to
to carefully draw a path around a small section of up earlier. Before moving on, click away from the Pen Pressure. In Shape Dynamics set Minimum
the portrait’s outline. Work Path in the Paths palette. Diameter to 75%.

22 Adding lines

25
Continue to add more sinuous lines
by drawing paths around the edge of the head, Get moody
stroking each one separately as you go. You can At this point, the great advantage of
use as many or as few of these as you like, but try painting in Photoshop rather than real-world
to place them well to give the whole piece a painting is that we can modify each part of the
framework. For more help on drawing and painting independently of the others. You can
stroking Paths, refer to the ‘Path to success’ now use the Image>Adjustments>
boxout on page 67. Hue/Saturation on each layer. By adjusting the
Hue slider, you can completely transform the
mood and appearance of the whole image.

“ADD SINUOUS
LINES BY
DRAWING
PATHS –
PLACE THEM
WELL TO GIVE 23 Now for the highlights

THE PIECE A
Add a final new layer to the image,
naming it ‘Highlights and Details’. Load the Wet

FRAMEWORK”
Media Brushes set from the Brush Picker. From the
brush thumbnails, choose Oil Medium Brush Wet
Edges. Hit F5 to display Brush Options and in
Other Dynamics set the Opacity Jitter Control to
Better safe than sorry Pen Pressure. In Shape Dynamics set Minimum
Diameter to 75%.
Once you’ve finished an image, your final move should be to
flatten the layers in the PSD image so you can save the
finished piece as either a JPEG or TIFF file. But there’s a word
of caution necessary here: before you flatten the image, it’s a
good idea to save a version of the image with the layers intact
in case you want to return to the original image at some later
date to make alterations. You can easily save a layered version
by going to Image>Duplicate, followed by File>Save As. Make
sure to save the layered file as a PSD file, and give it a distinct
title. Now close this duplicate image and return to your
original file for flattening.

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Insider
Info
Smart Objects
Work smarter video tutorials
with Smart Objects For more information about working
with Smart Objects, check out the
excellent video tutorial series over at
One of Photoshop CS2’s most exciting additions was Smart Objects. Xeler8r.com, http://xeler8r.com/
lessons/pscs2/s_objects. You’ll be
These ‘super layers’ could revolutionise your non-destructive workflow working smarter, faster!

S Copy and paste from


o, just what is a Smart Object? Essentially, a Smart Object allows you to
embed raster or vector data inside your Photoshop documents, while
preserving all the original characteristics and editability of that data.
This includes raster images, Illustrator artwork, Camera Raw files, and even
Illustrator into Photoshop
other Photoshop documents. Best of all, Smart Objects allow you to apply For greatest flexibility, make sure that both PDF and AICB (No Transparency
non-destructive transformations and deformations to the embedded artwork. It Support) are enabled in the Illustrator’s File Handling & Clipboard preferences
(Illustrator>Preferences>File Handling & Clipboard on the Mac, or
will give you many more creative options, allowing you to preserve the quality
Edit>Preferences>File Handling & Clipboard on the PC).
and clarity of the data you import – whatever you do to it!

Trevor Morris There are several different ways to create document (using the default Clipboard raster files, native Photoshop layers and/
OUR EXPERT
Trevor Morris is an official Photoshop beta tester
Smart Objects: preset size, resolution, etc) and pasted or groups, as well as other nested Smart
and amateur digital photographer with more than a ● To embed an external file as a Smart the artwork by choosing Smart Object Objects, are opened in a separate
dozen years’ design experience. He works as a senior Object, choose File>Place. This from the Paste dialog (again, refer to the document window inside of Photoshop.
graphic designer for a Canadian web design
company and also maintains the Photoshop-centric command is only available when a ‘Paste Dialog’ image here). When pasting ● Embedded Camera Raw files are
website GFX™ (http://user.fundy.net/morris/). document already exists in Photoshop. (or placing) as a Smart Object, opened with the Camera Raw plug-in.
● From Adobe Bridge, select a file Photoshop automatically fits the artwork ● Vector data, including files such as
and move along to File>Place>In to the canvas. However, you may move, PDF and Illustrator artwork, are opened
Photoshop. Note that this only works rotate, size, or skew (and even warp – for with Illustrator.
with a single file at a time and, as raster art only) the artwork prior to Upon save, any changes made to the
mentioned above, a document must accepting the results. Smart Object will be updated in the
already exist in Photoshop. Press the Return/Enter key (or click the main document (for all ‘instances’).
● If the clipboard contains vector data Commit transform icon on the Options To export the contents of a Smart
PASTE DIALOG: When pasting any
vector data into Photoshop, the Paste (such as copied Illustrator artwork), bar) to create the Smart Object. Note the Object, Ctrl+right-click and choose
dialog box shown below provides four simply paste the data inside Photoshop Smart Object icon that appears near the Export Contents from the Layers palette
options: paste as Smart Object, Pixels, and choose Smart Object from the Paste lower right corner of the thumbnail in context menu (or Layer>Smart
Path, or Shape Layer dialog (see ‘Paste Dialog’ on the left). the Layers palette (see ‘Smart Object Objects>Export Contents). The Smart
● From within Photoshop, select the Icon’). Press Cmd/Ctrl+T to initiate Free Object is saved in PSB format for raster
layer(s) to convert, Ctrl+right-click on the Transform and notice that, unlike data, or AI format for vector data.
layer(s) in the Layers palette, and choose traditional layers, all transformation/ Alternatively, you can also double-click
Group into New Smart Object (or choose deformation values are remembered in to edit the Smart Object’s contents and
Layer>Smart Objects>Group into New the Options bar. Smart Objects may also then choose File>Save As from the host
Smart Object from the main menus). be repeatedly transformed/deformed application. There’s also a Replace
with no degradation, because they’re Contents command (Layer>Smart
Flexible objects always re-rendered based on the Objects>Replace Contents), which, as
Now to demonstrate the flexibility original data (see ‘Smart vs Layers’). the name implies, lets you replace the
SMART OBJECT ICON: Smart Objects offered by Smart Objects. First, select To edit the contents of the Smart contents of a Smart Object (and all
may be distinguished from other layers one of the aforementioned methods to Object, simply double-click on its layer ‘instances’) with another document.
by the Smart Object icon that appears create a Smart Object. For example, I thumbnail (or choose Layer>Smart
in the lower right corner of the opened ‘Chinese Opera.ai’ (located in Objects>Edit Contents). This will open In an instance
thumbnail in the Layers palette
the default Illustrator Sample Art folder) the data for editing in the appropriate For those of you who are familiar with
into Illustrator and then copied the application, as follows: Macromedia Flash (now Adobe Flash),
artwork. In Photoshop, I created a new ● Raster artwork, including embedded Smart Objects are akin to ‘instances’ in

“SMART OBJECTS ARE ARGUABLY


THE COOLEST THING TO HAPPEN TO
PHOTOSHOP SINCE LAYERS”
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INSIDER

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Twice
as effective
Smart Objects can also be used to
apply two or more of the same kind
of layer effect to a single layer: for
example, two drop-shadows, three
strokes, etc. To do this, apply a layer
style, as you normally would, then
group the layer into a Smart Object.
Now apply the second style to the
Smart Object. Repeat this procedure
as often as you like, but understand
that this trick has its limitations, and
may not always produce quite the
desired results.

SMART VS LAYERS: In this example, the same Illustrator artwork was pasted into Photoshop two times: once as a Smart
Object (left), and once as a raster object (right). Each was scaled to 10% of its original size, then increased to 150%. Note the
degradation of the raster object, while the Smart Object looks flawless

that they let you create cloned copies of Although Smart Objects are arguably applied to Smart Objects are applied
an object, and when you update one of the coolest thing to happen to with no regard for the objects contained
the cloned objects they’re all updated Photoshop since the addition of layers within the Smart Object. Finally, note
simultaneously. (added back in version 3), they’re not that there’s no Ungroup Smart Object
This is especially useful for web and without compromise. command; in order to release the
interface design, where you might have contents of a Smart Object back, you
multiple buttons based on a template. Smart obstacles must first open the Smart Object and
Consider, for example, a tabbed The first obstacle you’re likely to then drag and drop the contents back in
interface where a tab may be comprised encounter with Smart Objects is that, the main document.
of one or more layers, with associated like Shape Layers and Type layers, they We’re sure that these issues will be
styles, blending modes, opacities and so must be rasterized before you can apply addressed in future versions of
on. Using the new multi-layer selection filters to them. Photoshop, but for now we think that OBSTACLES: On the left is a regular
Shape Layer, and on the right it is
capabilities in CS2, you could select the You can either acknowledge the they’re minor in comparison to the grouped into a Smart Object. Modes
layers and combine them into a single warning dialog – in which case benefits offered by employing Smart applied to layers inside Smart Objects
Smart Object – you can even nest other Photoshop will rasterize the Smart Objects into your workflow. 5 don’t always interact properly
Smart Objects. This tab could then be Object for you – or choose Layer>Smart

PSD vs PSB
duplicated any number of times, Objects>Convert To Layer (or
allowing you to update all instances Layer>Rasterize>Smart Object). Either
simultaneously based on the changes way, the Smart Object is converted to a
made to any one of the tabs. regular layer and the Smart Object When you double-click to open or edit a raster-based Smart Object, you may
To create a duplicate of a Smart thumbnail disappears. (Be sure to have noticed that it’s opened as a PSB document. PSB is a Large Document
Object that isn’t ‘linked’ to the original, duplicate your Smart Objects prior to Format that supports twice as many channels, and 100-times larger document
choose New Smart Object Via Copy from rasterizing them!) sizes than the traditional PSD format. All Photoshop features are preserved in
PSB files, but they’re only supported by Photoshop CS and higher.
the Layers palette context menu (or Another thing to be aware of is that
To save a new document as a PSB, you must turn on Enable Large Document
choose Layer>Smart Objects>New styles and blending modes applied to
(Photoshop>Preferences>File Handling on the Mac, or Edit>Preferences>File
Smart Object Via Copy). Any changes layers inside Smart Objects don’t always Handling on the PC). However, existing PSBs (such as Smart Objects) may be
made to the copy will not affect the interact properly with layers in the opened and saved without enabling the Large Document option.
original Smart Object, and vice versa. parent document. Similarly, styles

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Furry Rubik’s
NAME: J Michael Kriz

Because Mike took the picture of the source image himself,


he was able to mess up the Rubik’s Cube in such a way that
all the colours were distributed to his liking.
“Each colour block is well-defined, so with my Magic Wand
tool I selected one of the colour blocks and copied and
pasted the selection on a new layer,” explains Mike.
“I wanted to make sure there was some definition to the
hair at the base, so I added some Noise at about 25-30% (with
the Monochromatic box checked to keep the colour in the
same tone).”
He then used the Eyedropper tool to select two colours in
the right tonal range, using a lighter colour for the foreground
and a darker colour for the background.
“With my Smudge tool set very soft with about 15-20%
pressure, I dragged the colours out until they looked like

There’s no resting on your laurels where the little hairs at the base. Then I selected a brush that I thought
would make good longer hair. Luckily, there is one called

competitive Photoshop crew is concerned! Dune Brush that ended up working perfectly, as it
incorporates both the foreground and background colours,

Here we’ve collected together some of the giving depth to the hairs. I painted in the hair until I was
satisfied and erased any parts that looked awkward.”

top creative offerings from fellow imageers The process was repeated for each colour block, as well as
for the shadow. “I used a new layer for each block so I could
arrange them at the end, making sure the blocks at the
foreground overlapped those in the background.”

P
ictures may tell a thousand words, but
sometimes you need a thousand words just to
get to the bottom of a picture. Here we look at
strange and interesting images created by readers and
artists and discover how they were executed and the
problems encountered along the way.
Many of the images featured this issue have been
specially selected from the Worth1000 website
(www.worth1000.com), a Photoshop contest site, and
demonstrate a diverse range of techniques that you’ll find
useful in your own work. Like what you see? Then read
the accompanying rubric, which details how the image
was created.
If you’d like to see your own work on these pages, please
send us your JPEGs to advancedpshop@imagine-
publishing.co.uk and we’ll get back to you if we want to
print them.

You’ll stand a better chance of seeing your work in print if you


adhere to the following criteria: make sure that your images
are high-quality TIFFs or JPEGs (RGB or CMYK), 300dpi
minimum, and can be printed at 15cm x 15cm minimum.
Don’t forget to include a small text file detailing how you
created your work, too.

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Nicotine Fairy
NAME: Ivo van der Ent
SOURCE: Original photo from www.istockphoto.com

“After gaining permission from the great photographer Graham Jeffery to let me
use this source for my creation I was able to set about starting my image,” artist
Ivo van der Ent explains.
“I began by using the Liquifying tool in various ways to stretch and shape the
smoke into the body of a man. This is the most elaborate and time-consuming
part of the process. It’s like drawing, not with ink but with the white and grey parts
from the original image. I didn’t add colour,” Ivo explains. “I just used what was
already there, just moving it around.”
The final stage involved making the man-shaped smoke become more than
just a mere silhouette, as Ivo explains: “I used a real image of a head and blended
it in with high transparency.”

Needle
NAME: Randy McSorley
SOURCE: Original photo from www.istockphoto.com

“Sometimes, hair grows where you least expect it,”


enthuses Randy McSorley, the artist behind this hairy
piece, which is simple yet effective.
“I used a macro photo of a needle, and, with the
help of Photoshop CS2 and a Wacom Intuos2 tablet,
made hair sprout from metal.”
He began by creating a new layer and naming it
‘hair’. “Then I choose the Smudge tool at 84% strength,
Normal blend and Sample All Layers checked. With
the stylus and a very small brush, about 2 pixels, I
chose the dark edges of the needle, and lightly
flicked the dark areas outward in a more or less
random fashion to simulate hair.”
What must have seemed like a million strokes later,
“the dark areas were hirsute, but the shiny metal areas
were still not. So, I created a new layer and named it
‘additional hair’. This time, I used a soft-edged regular
brush and varied the colour from dark brown to black.”
Many strokes later and we are introduced to
McSorley’s very hairy needle.

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Discover the thinking behind the art

Grape Fly
NAME: Gavin Haywood
SOURCE: Original image from www.sxc.hu

After collating his source imagery – a bunch of


grapes and a fly – Gavin set about masking the fly
and pasting it on the grape. He used the same
image of a fly for each occurrence.
“I then set the opacity level of the layer to
around 20%,” he explains. “Next, I selected the
layer, flattened the image, and then contracted
the selection by five pixels.”
And the transparent look of the fly? “I darkened
the layer with the paint bucket set at 20% and this
was repeated twice.” Finally, Gavin made the
umbilical cord using the Path tool: “Gaussian Blur
was used last to even out the entire look.”

Baseball Chair
NAME: Tom Schulzki

“The first thing I had to did was find good picture of a baseball
glove, but what to do with it? It took one hour of looking – staring –
into this picture until my idea was born: combine this glove with a
leather chair! To combine the two sources wasn’t very difficult,” Tom
explains. “The lighting, perspective and the leather surface matched
in such a way that one can think they really belong together.”
The first thing Tom had to do was to change the properties of the
chair in order to match the glove. “It was only the upper section, the
leather section, I needed to change. The wooden part on the bottom
was the second major part. I used the rubber tool and carefully
erased the areas where my two sources met each other. This part
was nearly 90 per cent of the work, the other ten per cent was spent
shadowing and blending.”
However, that footless chair was not the end result, “The feet of the
original chair were only 40 per cent visible because parts were
hidden by another chair standing in front of it. Because of this I used
the parts that were not hidden and created whole feet with coping,
resizing, recolouring, shadowing and cloning until nice wooden feet
were produced.”

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Money To Burn
NAME: Deschain

“I started off by arranging bits and pieces


of the currency in the general spots I
thought they would end up. I then erased
the un-needed, overlapping sections,”
explains Deschain.
Next, he made everything but the
cigarette layer invisible, then duplicated it
and gave it a Gaussian Blur of 2.5. This was
then saved as a displacement map.
“Next I deleted the blurred copy of the
cigarette layer and made all of the layers
visible again. After this I went on to select
the money layers one at a time, and ran
Filter>Distort>Displace for each, selecting
my displacement map when prompted.”
Once this was done, Deschain lowered
the opacity of the money layers and ran
Edit>Transform>Warp, which rolled the
edges of the newly displaced currencies to
match the shape of the cigarette. “Then I
masked out any part of the money that
Giants
wasn’t covering a part of the cigarette or NAME: Fritz Bonjernoor
the ashes.”
Finally, the opacity of the money was “This was really a very
raised back to 100% and the Layer Style simple image to make,”
changed to Soft Light. “I then flattened the Fritz, aka Furitisu, says.
image, ran a Levels adjustment to what “There are really just the
looked good and applied an Unsharp Mask two images here. I started
at about 80.” with the whales, which were
cut out with a layer mask.
Then I connected a colour
layer to the whales with
Alt-click.” Next, Fritz turned
his attention to the space
image. “I colour-picked
some surrounding hues
from the space image and
airbrushed over portions of
the whales to let them blend
into the background more.
On top I created a new layer
to airbrush some lights from
the stars over their tails and
fins. For a final touch I made
a duplicate of the document
and experimented with
some noise, a bit of
Gaussian blur and then
some Unsharp masking,
because the two source
images were of different
resolution and quality.”

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Helpdesk
Facing a creative conundrum in Photoshop?
Check out our latest batch of problem-busting tips BY ANDY STEWART

BALANCING ACT
Frequently, I find myself having to adjust the
colour balance of my digital photos to make
the tones appear a little more realistic. I don’t
know whether I keep setting the wrong
White Balance values on my camera, but
most of my shots turn out looking either too
warm or too cold. Is there an easy way to fix
this? Any help would be appreciated!
Josh Pinker, Cardiff

Unfortunately, even with today’s sophisticated digicams it’s


all too easy to muck up a photo with incorrect White Balance
settings. If your shots are demonstrating an unnatural colour
cast, chances are that they were captured at the wrong colour
temperature. The easiest way to stop this is to manually set
your camera’s white balance setting, or by shooting in RAW
mode, if at all possible, so you can tweak your white balance
settings using Photoshop’s RAW plug-in facility.
However, when it comes to fixing existing shots that are
too warm or too cold, Photoshop can help. One of the
quickest and methods is to use a Photo Filter Adjustment
Layer. Open up the image, select Layer>New Adjustment
Layer>Photo Filter and pick one of the warming or cooling
options from the Filter list.
LEAVE IT TO THE PROFESSIONAL: Drag your glossies
AUTO ARCHIVING kicking and screaming into the 21st century with a little help
I’m in the process of transferring all my old from Photoshop’s Automate engine
6x4 photos to digital by scanning them in and
saving them in Photoshop. So far, I’ve been
scanning each photo in separately, but is
there is a way I could scan multiple photos at
a time and quickly crop them into individual LAYERS LICKED
files? I’ve bought a high-res scanner that can When I’m building up illustrations, I often find
scan A4-size sheets, so there’s room enough that I need to apply the same filter or effect
for at least a few photos per scan. to a number of different layers. Doing this
Darren Hoyle, Leeds individually always takes some time, so is
there a way that I can select multiple layers at
Scanning in multiple photos at a time is indeed the fastest way once for editing?
BALANCING ACT: If your photography skills aren’t up to of digitising a large image collection. In the past, the quickest Keith Matherson, Leicester
scratch, Photo Filter can rescue your shot
way to separate the photos once they were scanned in was to
use the Crop tool to manually cut them out. Now, though, the There is indeed. With Photoshop CS2’s Layers palette, there
process is much easier with Photoshop’s Crop and Straighten are a couple of ways that you can select multiple layers. You
Photos tool. All you need to do is scan in some photos in a can select consecutive layers by holding down Shift and
single pass, load the file and hit File>Automate>Crop and clicking on each item in turn. Alternatively, you can select
Straighten Photos. Photoshop will analyse the image then non-consecutive layers by holding down the Ctrl key while
chop out and straighten each photo automatically. clicking in the layer stack.

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SPIN ME ROUND
Like most photographers, when I’m out on a
shoot I tend to capture a mixture of portrait
and landscape-orientated shots. This means
that one of the first things I need to do when
I get home and get the images onto my
computer is flip them around so that they are
at the correct orientation. I know how to do
this on an individual basis in Photoshop, but
is there a quick way that I can select
multiple shots in a folder and flip them
around all at once?
Billy Backman, Liverpool

The quickest way to achieve multiple image rotations is to use


the tools available in Adobe Bridge. Once the photos have
been copied over from the camera onto your computer, load
Photoshop and click on the Go To Bridge button on the
Options bar. Navigate to the folder containing the photos and
Ctrl-click on each picture you want to rotate.
Once they’ve been selected, all you need to do is hit one of
the Rotate 90° buttons at the top of the interface to spin the
photographs around. Now, the next time you open up the
images in Photoshop they will automatically flip to the
correct orientation.

TIF TERRORS LAYER ACHE: If you unlock the background layer you’ll find that you have much more freedom, especially if you’re working
with a multitude of layers. To choose a new layer as a locked background, head to Layer>New>Background From Layer
I read in your magazine a while ago that if
you want to ensure that your digital artwork
retains all of its detail when you save, it’s best
to save the file in the TIF format. So, I thought LOAD AND LOCK CANVAS CONUNDRUM
I’d give it a try during one of my photo
I’ve recently started messing around with When I come to expand a canvas in
editing sessions and saved the image I was
drawing pixel art in Photoshop, and I’ve Photoshop, I often find it difficult to work out
working on in this format. But the next time I
started to develop a method of building up exactly how many pixels I need to add on top
opened up the TIF image file, there was
images by designing objects on separate of the dimensions that are already entered in
obvious corruption and some of the detail
layers. This gives me much more control the Width and Height fields. Any tips on how
had been lost. Why is this happening?
when I come to move things around, to make this a bit easier on the brain?
Ken Scott, Taunton
because I don’t have to mess around with Gem Stokely, Brighton
cutting things out, making the whole process
It sounds like you’ve been saving your picture with
far more streamlined. The easiest way to increase the size of a canvas is to use the
compression. When you ask Photoshop to save an image in
However, this method means that I keep Relative command in the Canvas Size dialog. Once you tick
the TIF format, it pops up a dialog box in which you can
having to alter the layer I’m using as a this option, you’re then free to just enter the amount of pixels
specify if you want to use compression, which helps keep the
background, and once I’ve unlocked the you want to increase the canvas by, instead of having to try
file size down. To ensure that all image detail is preserved,
default Background Layer, I can’t find a way of and add on the value to the existing dimensions. You can also
make sure you select NONE in the Image Compression field at
re-locking it. Can you help? use the Anchor arrows to tell Photoshop to which edge of the
the top of the window.
Eleanor Connell, Dorchester canvas you want to add the new pixels.

In many instances, Photoshop’s knack of locking the


background layer is a nuisance. Indeed, one of the first things
that many pixel-manglers do once an image has loaded is
double-click this layer to unlock it.
HELPDESK
However, there is a way of selecting a new layer as a locked CALL FOR QUESTIONS
background. Just click on the layer that you want to use as Want help with your Photoshop problems?
the background in the Layers palette, then hit Then let our team of experts sort you out.
Layer>New>Background From Layer.
Send your emails to us at:
advancedpshop@imagine-publishing.co.uk

Remember to specify whether you are


using a PC or Mac and the version number
OPEN UP A DIALOG: Choosing not to compress your of your edition of Photoshop.
images will leave you the maximum quality to work with

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cam
eras

PHOTO
SHOPPING
Do you want to be a creative all-rounder? Then take a quick glance
at this round up of the best digital cameras on the market

F
or a Photoshop artist, far too the prospect of buying a new model is a bit like friendly controls and menu options. It’s also a
much time is taken up hunting walking into a newsagent’s and being greeted by perfect option if you only want to take rough
high and low for original pieces a wall full of sweets. There’s so much to choose snaps as a basis for your artwork.
of art to include in illustrations, from, and when you’ve taken the final leap are
or to use as the basis for a bigger project. If you going to worry that you’ve bought the Prosumer
images are found on a stock art site, not only wrong model? The most important thing to ask The word prosumer covers quite a small area of
do you have to worry about extra costs but yourself is what you will be using the camera for. the market. Literally meaning ‘professional/
you also run the risk of spotting your original Because your images will be used for commercial consumer’, this category includes models that
image in someone else’s handiwork. An purposes or large-scale projects, you will need to have more scope for manual settings than a
instant dent to your Photoshop kudos. make sure that your camera model has punch. compact, but without the option for alternating
It can be invaluable to be able to take your Not only will this give you the opportunity to lenses. The response of a prosumer camera is
own source images and build up a digital library work with large images without any restrictions slightly slower than a SLR. You can pick up a great
on your Hard Drive, from which you can pick on your final product’s size, but it will also ensure piece of kit at a reasonable price, but it does seem
suitable shots as you need them. If you’re using that you don’t end up working with images that as though this brand is deteriorating as cheaper
your own digital images you may think that you are of poor quality or spoilt by noise. SLR cameras come onto the market. If you’re keen
don’t have to be concerned with image quality, This in no way means that you have to spend to spend this much money on a camera you may
especially if you’re going to manipulate them at a thousands on buying the biggest and bulkiest find yourself better off purchasing a SLR.
later stage. However, it’s far better to start off with pieces of kit. It could be more important that
an image that’s of prime quality. You won’t be you’re able to pop your camera into your pocket, SLR
doing your projects any favours using a low-res so it’s on hand and you also have the ease of SLR (single lens reflex) cameras are an essential
camera that has been in your possession since automatic functions so you can quickly point and piece of kit for those who are keen to produce
the dawn of the digital age. A new model will not shoot without fiddling with manual functions. highly professional images and have control over
only give you the chance to capture large, higher their photographic capture. The benefits of using
resolution images, but will also give you the Compact a digital SLR are complete reign over shooting
opportunity to experiment with features and All compact cameras will have an automatic with fully manual settings, large file sizes with
settings to give you the most creative end result. setting, so you don’t have to worry about the good resolution and the option for swapping and
Okay, so surely we’ve talked you into kitting technicalities of choosing the correct settings. changing camera lenses. SLRs can reach
yourself out with a digital camera by now? But They might also give you the option of valuable staggering asking prices. However, the good
shooting modes to help you take night shots, news is that more and more budget SLRs are

YOU’LL NEED TO
portraits or landscapes, among a few. The quality entering the camera market and so it’s now an
of compact cameras nowadays is pretty affordable option. A good-quality SLR will be an

MAKE SURE THAT YOUR astounding, and you can achieve images of a
high resolution. This can be a very good option if
invaluable accessory for any serious imageer and
although it can mean forking out anything up to

CAMERA HAS PUNCH you’re not familiar with the workings of a camera
and would prefer to make the most out of user-
£5,000, you’ll find that these models keep their
value for quite a considerable amount of time.

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Hardware
ROUND UP
Digital cameras: the cream of the crop
Whatever your budget there’s a camera for you. Save your browsing time with
our pick of the best models around, from bargain SLRs to pedigree pro shooters

Konica Minolta Dynax 5D


ROUND UP

SRP: £490 (with kit lens) The Konica Minolta has entered the SLR market with the 5D. It’s competitively priced,
Megapixels (effective): 6.3 and it’s easy to kit yourself up with a stack of accessories and lenses available. Don’t be
Cut the Max resolution: 3008 x 2000
put off by the price. There are plenty of features to keep control

jargon
Zoom: Depends on lens
Weight: 590g
freaks happy. Image quality is generally good with
Dimensions: 130.5 x 92.5 x 66.5mm the 5D, but the metering tends to be
Website: overcautious, often creating muted and
www.konicaminolta.co.uk underexposed shots. This might be a bit of a
The digital camera industry is full Contact: 0870 242 1222 chore if you want to quickly dive into your
of terms with which you may not
be familiar. It’s a good idea to image creation. This is a great option if you
swot up on the technical issues want to become accustomed to the SLR
before you make any decisions on market and will only occasionally use your
buying a model. camera for odd jobs. Perfect too, if you’re only
working with a small budget.
Megapixels
Resolution will be a prime
concern, as you will want your
original photographs to be of
optimum quality. On a camera,
Kodak EasyShare V570
resolution is measured in SRP: £299 It may be your priority to be able to carry a camera around with you at all times without
megapixels. A higher megapixel Megapixels (effective): 5 being bogged down by heavy kit. The stylish Kodak V570 is a great compact camera
value will give you larger images, Max resolution: 2690 x 1995
with a stack of features. It’s the world’s first dual-lens camera, squeezing an ultra
sharper colours and finer details. Zoom: 5x optical, 4x digital
wide-angle 23mm lens and a 39-117mm optical zoom lens into a sleek and
Weight: 125g
For good-quality Photoshop work sturdy black compact body. The camera captures images with a
Dimensions:
you will need to treat yourself to a
101 x 49.8 x 20.4mm resolution of 5MP, which is adequate for most basic imaging tasks. A
model that’s capable of seven
Website: real treat for those who are keen to create original artwork is a
megapixels or more. If you tend to
www.kodak.com feature that allows you to capture a 180-degree vista – the images
use your images only as a basis for
Contact: 0870 243 0270 are then stitched together on-camera with very reasonable results. You
tracing, or will be applying drastic
filter effects, you can get away may find that you need to heal some areas, but overall the end results are
with a lower resolution. pretty accurate. Fashion-conscious office workers will be pleased with the
bundled photo frame dock, which allows you to safely place your camera on
Digital zoom your desk and scroll through images with a slideshow.
Take a look at the specifications of
any camera and you may find that
the zoom is given in two different
quotes – optical and/or digital Nikon D50
zoom. A Photoshop professional SRP: £380 (body
only) £499 (kit)
who intends to use their own Megapixels (ef It’s pretty asto
fective): 6.1 unding that yo
digital images in their work Max resolutio digital SLR for u can get a
n: 2256x1496 this price. The
should avoid capturing a shot Zoom: Depend perfect camer Nikon D50 is th
s on lens
a to introduce e
with a digital zoom like the Weight: 540g
photography te high-end
plague. Unlike optical zoom, Dimensions: chniques to th
1133x102x76mm from compact ose moving
which captures a closer image by Website: www.n digicams for th
ikon.co.uk
takes some fant e first time. It
Under £500

using the lens, digital zoom Contact: 0845 astic images w


450 0155 ith good
artificially magnifies area of your resolution and
plenty of deta
model for thos il. It’s a good st
image by expanding and e who aren’t th arting
cropping the photo in your LCD and scene mod at accustomed
es. There’s only to photograph
a resolution of y, with plenty
screen. This causes the resolution may not be th 6.1 ef fective m of automatic
e right option egapixels, how
of your photograph to diminish, It’s of a good st if you need to w ever, so this
urdy build and ork with large
giving you an image that looks is a reliable mod file sizes.
But if you are ex el with plenty
perienced with of scope for ac
pixellated with very little detail. uses quite quick high-end cam cessories.
ly. eras you may fin
d that you outg
row its

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cam
eras
Samsung Pro 815 THE 5D’S
SRP: £550 The Samsung Pro 815 looks like a traditional DSLR but has a fixed lens of 28-420mm RESULTS ARE
INCREDIBLE
Megapixels (effective): 8 (35mm equivalent), which is handy if you want to shoot subjects from a distance
Max resolution: 3264 x 2448
without having to worry about swapping lenses. It’s hard not to be impressed by

FOR A CAMERA
Zoom: 15x
Weight: 870.5g
the Samsung’s astounding lens size, and it’s of a good, solid construction. There is a
Dimensions: 135.5 x 87 x 78.6mm very impressive 3.5-inch LCD screen on the back, plus a 1.44-inch LCD on the top
Website:
www.samsungcamera.co.uk
and an electronic viewfinder. The zoom is controlled by a manual ring, rather than a
zoom lever, which, although a little tricky to get to THAT’S ON THE
Contact: 0870 242 0303 grips with, is very precise, and perfect for those
MARKET FOR
LESS THAN
who are accustomed to using a film SLR.
There are a few let-downs here, namely the
limited shutter speed options and the
tendency to produce noisy shots in
challenging conditions. The reasonable £550
£2,000
street price makes it a good option for those
who are considering an upgrade from a
compact camera.
Under £1,000

Olympus E-500
SRP: £588 The Olympus E-500 sits at the beginner’s end of the digital SLR market and offers
Megapixels (effective): 8
good resolutions and manual features for a reasonable price. There are the
Max resolution: 3264 x 2448
Zoom: Depends on lens common scene modes and a good automatic mode for imageers who want quick
Weight: 435g results without the technical know-how, while fully manual options are easily
Dimensions: 129.5 x 94.5 x 66mm accessed and changed from within the intuitive menu
Website:
www.olympus.co.uk
system. The camera is capable of capturing
Contact: 0207 253 2772 RAW images, which can later be
manipulated for perfect end results
using the RAW features in
Photoshop. Image quality is

ROUND UP
remarkable, with very little barrel
distortion and excellent colour
reproduction and saturation. Noise Camera
Jargon
is only evident in shots taken at
high ISO settings, but this is no
more than is average for the class.

There are so many different technical


terms banded around the digital SLR
market. Here are the main definitions

Sony Cyber-shot R1
you need to know:
on a non-SLR
ge of ISO settings
rea kin g So ny R1 has the widest ran ay of lighting MEGAPIXELS: The measurement of
The groundb re images in an arr
SRP: £650 ing yo u the op portunity to captu ate r co ntrol over your resolution. Each megapixel consists
tive): 10.3 camera, giv B files, giving you gre
Megapixels (effec ts Ad ob e RG n an SLR of one million pixels. You measure the
situations. It also su
pp or er model rather tha
Sony R1 is a prosum
8 x 2592
Max resolution: 388 ho ug h the e qu ality is horizontal resolution by the vertical.
nt. Alt al control. Im ag
Zoom : 5x optical, colour manageme portunity for manu
there’s plenty of op ba rre l dis tor tio n and SLR: Single Lens Reflex- this means
10x precision digital
od as an y DS LR , with no noticeable
Weight: 995g as go on the highest that the camera’s viewfinder uses the
els of noise, even
Dimensions: 139 x
168 x 97mm very acceptable lev same mirror as the camera’s lens.
Website: ISO setting. framing a breeze, Great for accurate, speedy
e-a ng le LC D ma kes shooting and photography as what you see is what
www.sony.co.uk The fre ut having to crane
Contact: 0870 511
1999
kin g it ea sie r to frame a shot witho you get.
ma
composition.
around for a good very
tures of the R1 is the FOCAL LENGTH: The distance
One of the best fea res olu tion. With measured in millimetres between the
ective megapixel
impressive 10.3 eff re im pr ess ive ly large lens and the focal plane if your
u can captu
this little beauty yo xibility a very
at camera. As the focal length increases,
u extra creative fle
images, giving yo the field of view decreases.
int.
reasonable price po

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Hardware
ROUNDUP

£1,000 and over


Nikon D200 Canon EOS 5D
SRP: £1,199 Nikon’s new pro-level DSLR gives users the SRP: £1,900 The EOS 5D is a superb piece of kit. Packing
Megapixels (effective): 10.2 chance to capture great resolution images at a Megapixels (effective): 12.8 12.8 megapixels, a soft touch shutter release,
Max resolution: 3872 x 2592 Max resolution: 4368 x 2912
very reasonable price. Image quality is the fast write times and minimal shutter lag, this is
Zoom: Depends on lens Zoom: Depends on lens
Weight: 830g
name of the game with this model, and Nikon Weight: 810g
a great camera for photographers on the go
Dimensions: 147 x 113 x 74mm has developed a very reliable piece of kit with Dimensions: 152 x 113 x 75mm who need quick results. The images captured
Website: a newly developed sensor that incorporates a Website: are superb, with high colour saturation and
www.nikon.co.uk four-channel data output system and a new www.canon.co.uk amazingly accurate reproduction of fine detail
Contact: 0845 450 0155 filter, meaning that images should be free of Contact: 0870 514 3723 – an essential attribute for studio work. Noise
moiré and colour fringing. There’s a is barely evident – the Canon 5D is above
phenomenal lack of noise in shots average for the class in this respect.
taken with this camera – perfect if The EOS 5D’s first-class results are
you’re keen to take low light images pretty incredible for a camera
and will reduce the need for that’s on the market for
meddling with the Gaussian less than £2,000,
Blur or Reduce Noise and it would be
filters. We think that this both a
is the perfect option for valuable asset
those who are for any studio
willing to and a reliable
splash a little camera for any
cash, and it artist who
will be wants to
guaranteed take their
to stand the photography
test of time. seriously.

Hot new models…


FujiFilm F30 Canon EOS 30D
SRP: TBA Based on the highly successful FujiFilm F10, SRP: TBA The recently announced Canon EOS 30D (not
Megapixels (effective): 6.3 the F30 is the world’s first camera to offer Megapixels (effective): 8.2 to be confused with the six-year-old Canon
Zoom: 3x optical Zoom: Depends on lens
sensitivity levels of up to ISO 3200. This gives D30!) will be sure to make some waves in the
LCD: 2.5-inch LCD: 2.5-inch
Website:
you the chance to capture images in low-light Website:
photographic world, and will be the perfect
www.fujifilm.co.uk conditions. You’ll be a master of the night with www.canon.co.uk addition for any studio setup. The camera is
Contact: 0870 084 1310 a new ‘intelligent’ flash system that uses the Contact: 0870 514 3723 still in its very early stages, but we can tell you
camera’s sensitivity to combine natural that it will have a lower asking price than its
foreground illumination with balanced predecessor, the EOS 20D, along with a larger
exposure in the background. Most monitor size of 2.5 inches, a 100,000-shot
importantly, you can rely on the F30 for shutter cycle, touch-soft
shooting power, with a battery that’s capable shutter release button
of a generous 500 images. and advanced
PictureStyles
for total
image
control.
Set some
money
aside now.

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Let us do the searching
resources DEAD FAMOUS:
How imaging wizardry
brought back the Dodo
PAGE 91
We bring you the best resources around to
enhance your Photoshop experience

Recom
mends

books 90
Be inspired, awed and impressed with
our pick of the most creative titles

plug-ins 92
Extend your imaging kit and make
Photoshop work a little harder

portfolios 94
Show the world your creative prowess
with our collection of the best sites

T his issue we delve deeper into the varied and valuable world of Photoshop
resources than ever before. There may be the chance to develop and enhance
your Photoshop skills with our insight into some of the most useful publications on
the shelves at the moment.
If some of these take your fancy, you may want to make use of our exclusive discount
offer. We’ve teamed up with Ilex Press Ltd to give Advanced Photoshop readers astounding
savings on every Ilex book featured. For more information, head to www.ilex-press.com/
apm. Plug-ins can give you so many possibilities for creative image production and here
we show you the Internet’s indispensable downloads, from handy freeware versions to
the more cash-consuming. Getting your work out into the public arena is the most
important task for any serious digital artist, but finding the right place to do this can be
a challenge. We’ve done some legwork for you and found the very best portfolio sites –
submit your designs to these and you stand a better chance of getting a commission.

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resources

Adobe Lightroom Make room on your desktop for the latest update
designed to kill off Aperture, Lightroom

With Lightroom Adobe has upped the stakes, bringing us a slick image-handler
that belies its beta status. So can it leave competing programs in the shade?
System requirements
Macintosh OS X 10.4.3 T he recent release of Apple Aperture gave
users a more complete control over the
workflow of digital images and overshadowed
we’re looking at is only available for Macintosh
users at the moment, but it will later support both
the Windows and Macintosh platforms.
1GHz PowerPC G4 processor
768MB RAM the now-familiar Adobe Bridge. It gave us the Adobe Lightroom Beta will drastically develop
1024x768 resolution screen potential to manage our digital files and over the coming months and it’s very much a
Further info: www.adobe.co.uk create a more fluid and professional workflow. work in progress. For those of you who are too
Adobe isn’t one to be left in the backdrop for impatient to wait for the final result and would like
long, so it’s with bated breath that we’ve been to become familiar with the workings of
waiting for the response. The good news is Lightroom as soon as possible, the next few pages
that it’s pretty much here. are for you.
The unveiling of Adobe Lightroom took place Adobe is encouraging photographers and
early in 2005. One year on and it’s a program that’s digital artists to try out the beta version of
still not available as a full product. However, the Lightroom and relay back comments. Modules
recently developed Adobe Lightroom Beta 2 is and features are likely to change depending on
available for download now and gives users the customers’ preference and priorities, so you can’t
chance to sample the delights of this software really have your say unless you’ve had a try. Let’s
program, which offers a multitude of digital have a look at some of the main features so far
delicacies for the serious artist. The beta version and see what Lightroom has to offer.

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resources
RELOCATION, RELOCATION: You have BROWSING THE LIBRARY: Quickly browse KEY WORDING: Make sure your keyword
complete control over your file management through your entire library, special collections entries are thorough and precise. You will need
with Lightroom, as it offers plenty of scope for or recently uploaded shots with the Photo to rely on these to find your images using the
renaming and relocating images Library palette search facility

Adobe Lightroom has the power to do so much found at the top of the left palette, helps you to ratings. You can then use the Browse functions to
more than Adobe Bridge, which by comparison locate files and sort them into different collections. find files. It’s initially quite time-consuming, but
does really seem now like a glorified file browser. Show Entire Library will present all of the files you will help once you have imported a number of
There are plenty of opportunities to import, select, have imported into Lightroom or have created collections. If keywords have been entered into
develop and showcase your digital images. links for, Show Quick Collection brings up a small the Quick Develop palette you will see that they
The program is designed to assist an artist only batch of selected thumbnails and should be then appear in the Browse Keywords palette. If
when it’s needed and so much of Lightroom’s thought of as a temporary catalogue, while Show images have already been tagged in Adobe
success relies upon the ability to dive in, adjust Previous Import only displays the images that Bridge then these will automatically be transferred
shots or catalogue them for presentation and were recently added to Lightroom. over into Lightroom. This also applies to ratings,
then hide the program so you can get on with Once images have been imported, it will pay to which can be used to trim down your searches
your design work unhindered. work through your files and assign keywords and using the Minimum Rating slider. Imagine you’ve
It does this very well at the moment, and
although you can expect a few hiccups with a
beta version, it’s an impressive achievement to be
able to scroll through large files sizes without “BETA 2 GIVES USERS THE
being hindered by a sluggish load-up time.
CHANCE TO SAMPLE THE
Starting up
The first thing to do with Adobe Lightroom Beta is
import your files, rename them and tag them with
DELIGHTS OF THIS PROGRAM”
important shooting information. There are no EASY MANIPULATION: The setup of Adobe Lightroom is fluid; you can quickly alter the view of
fussy menu controls with which to dabble, as all it your images to show either one image, a collection of thumbnails or a few shots for comparison
takes is a quick press of File>New>New
Collection/New Shoot (Opt+N or Shift+Opt+N).
You have complete control over file handling
with this method. Not only do you get to name
your collection using a bulk rename option but
you can also decide on whether your files are
permanently moved to the library location,
copied or just linked with reference files.
Lightroom is split up into four different areas, so
it’s very easy to concentrate on one task at the
click of a button. Hovering your mouse over the
upper area of the main workspace allows you to
alternate between interfaces.

Into the Library


The Library is a good base from which to get to
grips with your catalogue content and
arrangement, and it’s here that you can assign
keywords or rate your files, making the selection
process a lot easier later on. The Photo Library,

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resources
Adobe Lightroom

precision editing: You can perfect your


image using the precise slider controls to alter uploaded 50 collections into Lightroom. client or colleague. The Library isn’t just a glorified
Grayscale Mixing, Split Toning, HSL Color Finding the required shot might be an arduous File Browser; you can also use it to look at your
Tuning, Detail, Lens Corrections and Camera
Calibration – that should save you working on task if you have to trudge through stack of images, image in detail. Double-click on any image within
unnecessary problems in Photoshop but once keywords have been applied you can the Loupe view and your image will be magnified
immediately display appropriate shots by entering within the main window and also within a smaller
words into the Search panel. image-map window.
One of the most impressive things about You can use this to quickly spot any obvious
Adobe Lightroom is the ease with which you can imperfections and take a look to make sure your
adjust the layout of the program to suit your shot is of prime quality. Underneath the image
image control. There’s no need to browse through map, an image histogram will give you the chance
numerous thumbnails if you are only interested in to spot any obvious exposure problems and
a few selected files. Grid view can be used like a present shooting information.
standard file browser and gives you a basic
overview of all the files within a collection. You Image manipulation
can select specific images with a simple click of Once you start exploring the other options within
the mouse and then select Loupe to see a larger Lightroom outside of the Library it becomes more
version, or scroll through different thumbnail apparent just how useful the program can be for
options using the left or right arrow keys. quick fixes. The Develop area is perfect for odd
The real nifty feature comes into play when you jobs, so you don’t need to spend an exhaustive
select numerous thumbnails with a Shift-click (for amount of time tweaking in Photoshop.
batch groups) or Command-click (for several With the thumbnail selected in the browser
different thumbnails) and press the Compare selection you can work on individual images at a
Panel beaters: If you want to get rid of the option. The speed at which these images appear time. Basic alterations can do wonders for your
clutter of the panels around the image, press
within the main area of the interface is pretty shot and will help you to improve essential colour
the Tab key while in Loupe or Compare view. F5
can then be used to hide the options at the top impressive and it’s a great tool if you quickly want features such as white balance, range and tone. If
of the window, while F6 will show just the image to show off a number of different options to a you want to spend a bit more time improving

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resources
Shortcuts
Display Loupe view: e Toggle between view modes: Return/Spacebar
Toggle through images in Loupe: /➟ Lights dim: l

Display Grid view: g Lights out: l+l


Display Compare mode: c

FLOWER SHOW: You don’t need to get bogged down in Flash coding to make an impressive
slideshow. Lightroom makes light work of essential presentations

INTEGRAL TRANSFER: There’s no need to


install a separate FTP client with Lightroom.
You can upload immediately to your own or
your client’s FTP server internally using the
Export function

your shots, scroll down a little and you can make within the Slideshow environment allowing you and it’s possible to make very minor adjustments
more thorough tweaks to highlights, midtones to alter the format to HTML, PDF or Flash formats. to your layout using the slider controls. You can
and shadows with the Tone Curve palette. Of If you want to cut down on file size, you can adjust specify Print Job settings here too and alter colour
course, you won’t want to cut out your Photoshop the quality of the show, adjust sizes and tweak profiles, print resolutions or Draft Modes. Adobe
work altogether, but it’s a handy option if you names and showcase rate. Lightroom manages high-res images very well
have to make a quick presentation with very little That’s bound to save you huge amounts of and it doesn’t struggle with large shots, easily
time to spare. time if you want to put together a portfolio or a converting them to draft versions.
slideshow for your website. It’s very important to remember that Adobe
Making slideshows Lightroom is still a program that’s in progress, and
The slideshow option is perfect if you want to Print perfect so the features will no doubt be enhanced and
present your images professionally. You can access For any artist, the ability to be able to print images develop before the final program is available. But
all of the images that have been imported to accurately is a must. Adobe Lightroom has a great for now, this is a fantastic insight into the
Lightroom using the Slideshow function. You can Print facility that not only allows you to preview possibilities for managing your images with a
add images to your slideshow by Command- your images as they will appear on the page but highly flexible, intuitive and invaluable file
clicking your selection. Another advantage is that also gives you the opportunity to lay out contact management program.
don’t have to spend a huge amount of time sheets. You can quickly select a predesigned The latest public beta version of Adobe
making a presentation, and quick alterations can template from the Template Browser and add Lightroom is now available to download. Visit
be made using the Template Browser. shots to the sheet by pressing Command-click. http://labs.macromedia.com/technologies/
Once you’ve picked your selection you can The emphasis is on accuracy with the Print option lightroom to install your copy now. 5
make personal alterations to the appearance of a
slide using the Image Settings, Slide Layout Tools,
Overlay, Backdrop and Playback settings, and even “ADOBE LIGHTROOM IS STILL A
add a musical soundtrack if you really want to go
the whole hog. Of course, you’re not going to PROGRAM THAT’S IN PROGRESS, SO
want to go to all this trouble just for your own
sake. There are some impressive export functions THE FEATURES WILL DEVELOP”
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books
resources
Seek inspiration for creative work and tweak your
technique to perfection with these top titles
Further reading
Photoshop
Cosmetic Surgery Surreal Digital Photography:
The Photographer’s Digital
Authors: Barry Jackson Trickery Handbook
Author: Barry Huggins, Ian Probert
Publisher: Ilex Publisher: Ilex
Price: £19.99 Price: £17.95
ISBN: 1904705413
ISBN: 1904705820 Web: www.ilex.com
Web: www.ilex.com The editing, colouring and layering
capabilities of Adobe Photoshop CS2 make it
an ideal software program for practising

T he ability to retouch portraits and transform bodies is a


very useful skill for a digital artist to have. It gives you
the chance to get in on big commercial opportunities.
with experimental artwork. With such a
versatile package there’s no need to put
limits on your creations, making it perfect
for surreal imagery.
If you have no idea where to start, the ‘Doctor’ Barry Jackson This book is packed with tutorials ranging
takes you through a selection of handy transformation from photo-editing tricks to digital montages,
techniques without a scalpel in sight. As you work through the but be prepared to be taken aback by some of
book, the tutorials included can be split into two different the more obscure end results. They’re not really
pieces of art that you’d want to aspire to
groups: those that will prove to be invaluable for professional
Recom creating, but the techniques involved are
work (including tips on perfecting a soft-focus effect, creating mends explained in a clear and precise manner. This can
glowing and blemish-free skin tones and eyelash extensions), be a fun way of getting to grips with some
and the slightly more bizarre. design concepts that wouldn’t normally spring
Turning each page takes you onto a completely different book may have a similar effect. But don’t get us wrong, there are to mind, but the level may be too basic for those
who are accustomed to Photoshop. 5
topic, so in an instant you can go from carrying on a breast lift to some great tutorials to be found. Worth the £19.99 asking price
creating a quite frankly disturbing cat woman. for shock value alone. 5
Rating: 2/5
If you get a bit queasy when watching film footage of a real
cosmetic operation then be warned – some of the results in this Rating: 5/5 Creating Photomontages
With Photoshop: A
Designer’s Notebook
Author: William Rodarmor

3D Game Textures: Create


Publisher: William Rodarmor
Price: £14.95
ISBN: 596008589

Professional Game Art Using Photoshop


Web: www.oreilly.com
Seek inspiration for photomontages with
this showcase of work dedicated to
Photoshop from French digital artists.
Authors: Luke Ahearn There are plenty of exciting, contemporary
Publisher: Focal Press designs from which to take inspiration, and this
Price: £29.99 is far more than just a coffee-table book; it takes
the reader from the creation process through
ISBN: 0240807685
the entire working process, from the initial
Web: www.focalpress.com concepts through to the practical techniques
involved. Rather than being a heavy technical-

C
based publication, this book is perfect for those
reating art for the games industry is big business. Take
who want to inspire their creative side. 5
a look at any videogame on the market at the moment
Rating: 4/5
and you’ll see that each scene is full of intricate details that
can be pieced together in Photoshop. 3D Game Textures
is a fairly weighty book that teaches you how to craft Complete Photoshop CS2
these creative textures, with tips and techniques from For Digital Photographers
award-winning expert Luke Ahearn. Author: Colin Smith
Publisher: Charles River Media
Discover how to design bullet holes, flames, windows and Price: £25.99
ISBN: 1584504625
walls – all the effects that are an essential for today’s videogame Web: www.charlesriver.com
– with easy-to-follow tutorials. There are a variety of different This tome is dedicated to photographers
game themes explored throughout this book, covering who rely on Photoshop to edit and enhance
anything from urban street scenes to the fantasy genre. their images. It’s a technical workbook for
Each tutorial takes you right from the beginning processes those who want to learn all the tricks of the
trade for their digital darkroom.
through to the intricate final details and professional touches. As
All of the basics are covered, including a run-
well as the design angle of creating artwork for games, this book down of the uses and benefits of cataloguing
also tackles the business side of creating artwork for commercial the games world, and it will give you the opportunity to begin images using Adobe Bridge and processing
purposes, making it a wonderful insight into the world of the building a stunning portfolio. 5 RAW files through to enhancing images through
professional games artist. After reading this you’ll have a far practical tutorials and project workshops. 5

better understanding of what it takes to become successful in Rating: 5/5 Rating: 5/5

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resources
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0127 .com/ mation
3 40 apm
The Dodo And
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.

Imaginary Recom
mends Authors: Bruce Fraser
Encounters
Author: Harry Kallio
Publisher: Dewi Lewis Publishing
Publisher: Peachpit Press
Price: £28.99 I f you’re a serious digital artist then chances are at some
stage or another it will be essential to take your own
photographs. During these early processes it’s important to
Price: £25 ISBN: 0321334094
ISBN: 1904587135
Web: www.peachpit.com start off with the highest quality imagery possible.
Web: www.dewilewispublishing.com
Those who are accustomed to using a digital camera to
This fantastic coffee table-style book create artwork may be familiar with the concept of working in
features a whole host of skilled illustrations.
Harry Kallio has created a stunning series of
the RAW format. The Adobe Photoshop Camera Raw plug-in
reconstructions of the past. Using his gives you the opportunity to control image quality using
photographic and imaging skills, Kallio settings such as white balance, curves, colour space, contrast
constructs the illusion that Dodos are alive and saturation.
and in their original environment.
This book takes you through the process of enhancing
For those who are keen to read up on the
history of the Dodo, there’s plenty of historical images in a clear manner, showing you the techniques behind
information, eyewitness accounts, pictorial tweaking your RAW files using contrast, saturations, noise and
sources and evidence from museums and tint techniques. It’s not however, the meatiest of books, making
libraries around the world. A beautiful and the asking price a bit steep in our opinion. Those who are
carefully crafted book. 5
already accustomed to other RAW management software will
Rating: 5/5 find the transition to Camera Raw very simple, so a dedicated
book is unlikely to be a necessity. If you’re new to the RAW
Implementing A format, however, this could be worth a look. 5
Digital Asset Management
Systems Department Rating: 4/5
Author: Jens Jacobsen, Tilman Schlenker,
Lisa Edwards
Publisher: Focal Press
Price: £34.99
ISBN: 0240806654
Web: www.focalpress.com
Written by the team that created a Digital

Color Management For Photographers


Asset Management System for the team on
Monsters Inc and the computer game Medal
Of Honor, this book couldn’t show off any
more hints and tips from those in the know.
It’s certainly a challenging read, but one that’s
worth spending some brain power on if you’re
keen to create a successful computer-based
I
Authors: Andrew Rodney
Publisher: Focal Press
f you’ve spent days, weeks or even months creating a
Photoshop masterpiece then it’s a shame to let all your
hard work fall victim to the wrath of poor colour
Price: £29.99
production company.
ISBN: 0240806492 management. Getting tones and colours just right
Getting into such a competitive market
means doing some research, and for aspiring Web: www.focalpress.com can be a minefield, even for the most accomplished
imageers this is a great first step. The book Photoshop artworker.
includes information on improving workflows, One wrong move and your image’s quality, which looked
digital content security, speed-to-market and
oh-so-perfect on your monitor, can look flat, uninspiring or just
profit margins for projects of all sizes. 5
plain horrific on return from the printers. Trying to master the
Rating: 4/5
techniques of colour management is a daunting prospect, so a
good-quality book is always useful.
Aphrodisia: Color Management For Photographers includes all the
Art Of The Female Form information you will need to make sure your colour profiles are
Author: Craig Elliot accurate. It’s not going to do anything to make the process any
Publisher: Aristata Publishing
Price: £16.17 less painful for those who want an easy ride, but will be perfect
ISBN: 0975491229 for professional imageers who want precise, technical
Web: www.aristatapublishing.com
information. This book shows you how to create desired results,
This is a provocative look at a selection of art
celebrating the aesthetics and variety of the with easy step-by-steps guaranteed to help you produce
female form. This book features a showcase successful print material. Andrew Rodney also takes some time
of work that includes a great deal of digitally to explain the principles behind managing the colour of
created art. documents ready for prepress or print. 5
On page after page, Aphrodisia depicts
women of all sizes, races and ages, and in all
manner of backdrop settings. There are plenty of
Rating: 5/5
different digital techniques used to create
arresting images, ranging from the mystical and
menacing to the sexual and innocent.
Rating: 5/5

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plug-ins
resources
Increase the creative potential of Photoshop
with these invaluable plug-in features
Plug yourself in
Genuine Fractals 4.1 Aurora 2.1 ommen
ds
Ripples Magic
Developer: onOne Software Developer: Digital Element Rec
Developer: Red Field Plug-ins
Price: £199 Price: $179.99 (£103.61) Price: $19.90 (£11.46
Web: www.redfieldplugins.com
Web: www.ononesoftware.com Web: www.digi-element.com/aurora/downloads.htm
The Ripples Magic filter
allows you to create

I R
complex 3D surfaces from Recom
f you’re working to ecreating natural mends
your artwork including
commission, then aesthetics in your cosmic curves and
everyone’s bugbear can be Photoshop work can be melted metal.
resolution and file size, particularly tricky. Not The results can look eye-catching as long as
especially if you’re working only because it’s the procedures are kept subtle. It’s a perfect
option if you want to create highly original
to print. Genuine Fractals time-consuming, but also
objects such as flowers. Check out some gallery
enables you to create because one false move can samples by logging onto www.redfieldplugins.
enlargements from your spoil an otherwise great com/SamplesTutorials.htm. 5
images, without resorting to archiving hefty image files for image. Aurora 2.1 tackles this problem head on, offering an Rating: 5/5
easy archiving and file transfers. easy plug-in that will allow you to create even the most
Genuine Fractals aims to increase the quality of an image complex of natural phenomena such as reflective water, LensDoc 1.3
using a patented re-scaling and interpolation method. Larger stormy clouds or night-time skies. Developer: Andromeda Software
images can be produced using this software with reinforced In fact, it’s worth looking at if you rely on any sort of natural or Price:$98.99 (£57)
Web: www.andromeda.com
edge detail and preserved quality. Genuine Fractals can also be cityscape work, as Aurora 2.1 can add help you add atmosphere
The LensDoc 1.3 third-party Photoshop
purchased as part of onOne Software’s complete Photoshop and drama to the most mundane-looking situations. For your
plug-in is the perfect addition for any artists
Plug-In Suite, which includes Mask Pro 3, PhotoFrame 2.5 and hard-earned cash, you’ll be rewarded with a decent black-and- who capture their own digital images.
Intellihance Pro 4.1 for £270.19. white filter that improves on Photoshop’s native Greyscale tool, a Taking shots with a wide-angle lens can
A 30-day trial can be downloaded before purchase on the desaturation gradient, a particularly effective Sepia filter and sometimes result in image distortion such as
barrelling and pincushion. This will solve those
onOne Software website. It’s a steep asking price, but you may much more besides. Definitely one for photographers, this set is
issues without you having to result to using
find the plug-in indispensable if large, commercial file sizes are well worth investigating when you’ve got a few minutes to imprecise pinch and bloat techniques. The
your prime concern. 5 spare, and there are plenty of examples on the site. 5 LensDoc plug-in does this without spoiling
image quality for a professional finish. It’s also
Rating: 4/5 Rating: 5/5 possible to create and use your own correction
curves for custom fixing. 5
4/5
TypeCaster
Rating:

Deep Paint 3D Light!


Developer: Right Hemisphere Developer: Xaos Tools Developer: Digital Film Tools
Price: Free
Price: $249.99 (£143.77) Price: $99 (£57) Web: www.digitalfilmtools.com
Web: www.righthemisphere.com Web: http://store.yahoo.com/xaostools/typmac.html
Light! is a freeware plug-in that allows you
to add lights to a scene, just as if you were

F T
ar too much time can ypography is an adding a light at the time of shooting using
a gobo (a plate that produces a patterned
be taken up recreating essential part of any
light effect in traditional photography).
paint effects with the Brush commercial design, but The plug-in can also be used to simulate
Tool. Finding the right often the font selection glass and camera filters such as Mist and Fog.
balance between shadows with Photoshop can be You can try out a Light!3.0 demo for Windows,
OS X and OS 9 by following the link above. 5
and tones can be tricky. restrictive and may require
Deep Paint 3D aims to make you to spend out on extra Rating: 2/5
lighter work out of resources. Even when you
capturing the realism of traditional and contemporary have access to a great number of fonts it can be difficult to DreamSuite Gel
painting techniques. add in 3D elements. Developer: Auto FX Software
Price: $99 (£57)
The plug-in comes with a dynamic range of preset natural TypeCaster gives you the resources to turn ordinary type into Web: www.autofx.com
media and artist’s brushes that respond in an authentic manner, print-quality 3D titles, not only giving you the power to alter Recom
mends
DreamSuite Gel is a fun
but it is possible to modify and customise these brushes for your depth and shading but to also add texture and contours. The special effects suite that
personal needs. Deep Paint 3D makes it easier to clone and brush program issues 30 built-in preset custom looks but you can also allows you to add vibrant,
photographs or other images into your current artwork. Deep create your own font by adjusting colour, texture, shape, bevel translucent depth effects to your artwork.
The results achieved with DreamSuite Gel are
Paint 3D can also be used as a standalone program as well as a and light source shading.
varied and of high quality and can be used to
plug-in. The real fun comes if a Wacom tablet is used, as the Animatable type transitions can also be applied to Adobe reflect your individual style. It will allow you to
pressure sensitivity will ensure that the pen strokes are delicate Premiere and After Effects suites. Our only suggestion is that you recreate complex see-through styles.
and precise. For those with earlier versions of Deep Paint3D, an use the program with subtle application to avoid results that Check out an artist gallery to see how the
upgrade can be downloaded for around £28. 5 look too gaudy. 5 effect is applied by visiting www.autofx.com/
dreamsuite/gel/gel_gallery.html. 5
Rating: 5/5 Rating: 3/5 Rating: 4/5

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resources
portfolio sites Get your work out there with
these top showcase URLs

AOI Get seen online


Web: www.theaoi.com

WorldArtPortfolio
T he Association of Illustrators is a non-profit organisation
dedicated to protecting illustrator’s rights and
encouraging professional standards. Members are entitled
Web: www.worldartportfolio.com
WorldArtPortfolio is an independent
portfolio site dedicated to the work of
to a free annual consultation with the association’s portfolio
designers, digital artists, mixed-media
expert and advice is given on portfolio presentation, workers and photographers.
content and suitable illustration markets and agents. It also allows you access museum and gallery
Membership to the AOI is £144 for full members (students sites as well as discussion forums. The
£66). The price of a portfolio submission varies between £58- submission for artists’ portfolios is completed on
rotation according to specialist field, so it’s
£71.70 and allows you to upload, replace and edit up to 20 worth logging on to check the current situation.
images, giving you a personalised domain name option. You It’s not the most intuitive of portfolio sites
can write your own captions with as much information as you but it does have great resources for looking up
like. Although it’s initially expensive, the AOI is normally the first current employment vacancies and internships,
as well as exhibitions that you might want to
port of call for most professionals looking to commission. 5
wing yourself along to. 5

Rating: 5/5 Rating: 2/5

ArtWanted.com

D&AD Talentpool
Web: www.artwanted.com
Joining this site is absolutely free and you
can start building your online portfolio
straight away. You can also sign up for a
Web: http://talentpool.dandad.co.uk
Premium account for only $5 (£2.85) a
month. You can use the site to advertise an

O
existing URL and bring more attention to
riginally launched as the D&AD Bloodbank, the
your work, rather than just relying on a
Talentpool is a searchable portfolio site for emerging search engine.
creative practitioners in advertising, new media and There’s an accurate and fast-working search
communications. Individuals must be an award-winner in facility if you’re looking for other artists’
their own specialist field. portfolios, allowing you to search by speciality
as well as artist name. There’s even a chance
Every month, five selected members are included with a
your images can end up on someone else’s wall
‘spotlight’ section, showcasing their work and including if you put your images up for sale.
background information and an interview. To submit your Art contests and discussions, tutorials and
images for inclusion on the D&AD Talentpool website, contact tips are also available if you click on the Forum
option at the top of the web screen. ArtWanted.
the team by emailing talentpool@dandad.co.uk or telephoning
com is currently accepting artwork submissions
0207 8401111. Check out one of the portfolio artists, Chintu for its 2007 calendar – log on to the site for
Shah, in our Young Designers feature on page 50. 5 more details. A sleek-looking site that’s easy to
navigate, with plenty of scope. 5
Rating: 4/5 Rating: 5/5

Artshole.co.uk
Portfolios.com Web: www.artshole.co.uk
Artshole.co.uk is an online source for
creative talent, not only giving you a chance
Web: www.portfolios.com
Recom to promote your work, but also check out
mends jobs and directories, exhibitions and arts
competitions. Artshole.co.uk is completely

E stablished in 1995, Portfolios.com is a fully


searchable site, allowing clients to find the
right talent for the job through a simple and easily browsed
free but does rely on donation.
Simply send in ten images and an artist’s
statement and Artshole.co.uk will do the rest.
Galleries can include a direct email link, a link to
portfolio selection.
a URL and a mixture of images, Flash animations
There are three portfolio types that you can purchase, starting and video.
with the Vinyl portfolio (ten images with no agent fees and a Don’t be put off by the home page, which in
personalized URL) at $9.95/£6 a month (or $99.50/£57 a year). our opinion is a little messy and off-putting. If
The Leather portfolio offers all the Vinyl features but with 20 you get past this initial problematic step and
find the essential links that will help you
images for $21.99/£13) a month (or $199.50/£115 a year). The navigate there are lots of options to enhance
Titanium option includes all of these features but with 77 layout and develop your creative side and boost your
options, the ability to upload five different file types and even design potential. If you’re looking to get out and
some marketing tools. 5 about and look the part in a gallery, there are
plenty of listings available on the site too.
Rating: 5/5 Rating: 4/5

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