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6049
47 25 sci-fi tips | Texture 3D | Master photo illustration | Time-lapse animation | Interview: Michael Zimmerman www.advancedphotoshop.co.uk
Editorial
Imagine Publishing Ltd
Richmond House, 33 Richmond Hill
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n. e th u ns
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co s. od es
es dsc n m chn rat
Editor Julie Easton
o
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Advanced Photoshop
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EC
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ea o a ce c
Editor in Chief Jo Cole
NH
cr as n tal m con on
m
We’ve been going a little sci-fi crazy
h gi al ed
Senior Staff Writer Adam Smith
TIA
He g di ent cus
in m fo
Designer Stacey Grove
in the AP office this month, inspired
RIS
us ron has
Senior Sub Editor Colleen Johnson
vi n
en istia
CH
by the many great blockbusters in Sub Editor Sam Robson
r
Ch
Group Art Editor Lora Barnes
the cinemas that always come at this Head of Design Ross Andrews
time of year. Contributors
Debbi Allen, Derek Emmons, Lee Gough, Christian Hecker,
It’s also a popular genre of digital art, which is why we April Madden, Daniel Maxwell, Kirk Nelson, Josie Reavely
and Sarah Slee
have collected together the top 25 sci-fi art tips for our
Advertising
main feature this month. With plenty of advice from top Digital or printed media packs are available on request.
industry names, you can learn how to improve your Commercial Director Ross Webster
se g
☎ 01202 586418
in
ba kin
en w n
environments, characters and machines. These tips might
ag tly sig
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ross.webster@imagine-publishing.co.uk
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be tailored towards sci-fi art, but there are plenty of skills

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Head of Sales James Hanslip

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something for everyone.
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Another big area of digital art at the moment is
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W , D ea hang.deretz@imagine-publishing.co.uk
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The next issue of Advanced ISSN 1748-7277
Photoshop goes on sale 10 September 2009
4
Advanced Photoshop TORS
004_AVP_60_EdIntro.indd 4 24/7/09 10:12:41
Cover
Cover image
Some of you may remember seeing the work of
Imageer:
MichaelO on the cover of issue number 49. His work
MICHAEL OSWALD (MICHAELO)
was so well received that we decided to feature
another image from his very popular ‘AmalgaMATE’
Photo reference:
series. This piece was the first of the series that
ISTOCKPHOTO
Michael created simply for his love of beauty and
strength. He believes that incorporating cybernetics
attributes into his characters is the perfect amalgam
to the very technical creation process of digital art. “Michael created this for his
/ www.bymichaelo.com
love of beauty and strength”
5
Advanced Photoshop
005_AVP_60_CoverImage.indd 5 23/7/09 14:08:48

THE ADVANCED PHOTOSHOP PODCAST
www.imaginepodcasts.com
You can now listen to Advanced Photoshop on the move with our new
podcasts, available from the above website. Each month, we’ll be bringing
you entertaining chat with Photoshop professionals to inspire you to expand
your own artwork. We’ll be bringing you a new podcast every month, so
make sure to bookmark the Imagine Podcasts homepage.
ISSUE #60
inside... 50
Learn how to use
Terragen and PS
COMMUNITY
The latest news, website images and readers’
thoughts from our mailbox and forum
08
News 08
Mailbox 12
On the web 14
Web challenge winners 16
INSIGHT 18
The best digital artists around
Loic Sattler 18
Herman Lee 42
THE COVER Duirwaigh Studios 62
The fantastic cover image is by MichaelO, a talented
digital artist who has graced our cover once before.
See more of his work at www.bymichaelo.com.
HELP 64
Tips, techniques and problems solved
Helpdesk 64
INDUSTRY SECTION 70
e
Essential advice for becoming a pro digital artist
s cr ib Interview: Matt Savage 70
ub
S now8!(UK/ )
Feature: Getting your first job
Uni focus: Course roundup special
Career guide: Packaging designer
72
78
82
e6
e pag e 20
(US 84 90
Se or pag The latest hardware and Our pick of the best reader
THIS MONTH’S CD 98
)
ROW
software reviewed in detail submissions this month
Superb stock art, project files and more!
CD guide 98
6
Advanced Photoshop
006-007_AVP_60_Contents.indd 6 24/7/09 11:54:06

22
We interview
Michael Zimmerman
© Michael Zimmerman
FEATURES/REGULAR TECHNIQUES
Insightful interviews and in-depth articles Essential guides to professional Photoshop skills
INTERVIEW: MICHAEL ZIMMERMAN 22 GEOMETRIC ART 36

Inspirational sci-fi art and sound Photoshop advice Add shapes to your artwork to give it a modern effect
25 SCI-FI EFFECTS 28 WORK WITH WATER STOCK 44

Industry professionals unveil their essential advice for sci-fi art Manipulate water stock using Photoshop’s Transform tools
SUBSCRIPTIONS 68 CREATING WORLDS 50

Find out about our latest subscription prices and offers here Landscape rendering with Terragen and Photoshop
RESOURCES 84 CREATIVE PHOTO ILLUSTRATION 56

The latest hardware, software and books reviewed Master the art of blending illustrative elements with stock photos
READERS’ GALLERY 90 TIME-LAPSE VIDEO 60

The very best submissions from our readers this month How to shoot time-lapse images and combine them into a video clip
7
Advanced Photoshop
006-007_AVP_60_Contents.indd 7 24/7/09 12:18:31

Community New online home for
Duirwaigh Studios
DUIRWAIGH STUDIO THEME: “A potpourri of
circus, theatre and flower elements provided the
ideal stage for our new Duirwaigh Studio motto
‘Impossible things happen every day’. The design is
based on a three-column Joomla! layout with many
The latest creative news from around the world
custom modifications to support several blogs on

the front page. A two-column variation is also
utilised in the gallery and forum”
Launched in 1999, Duirwaigh Studios started

life as an online gallery showcasing fantasy,
mythopoeic artwork. Nowadays, the site is a
portal for all kinds of creative treasures,
including books, artwork and even movie
shorts. One such motion feature is A Knock at
the Door, a global video phenomenon that
was watched by over four million viewers and
has now spawned a book and DVD, featuring
some of today’s finest digital artists.
It is through innovations such as this that
Duirwaigh Studios has grown in popularity
and inspired Silas Toball – who, alongside
wife Angi Sullins, is the creative behind the our energy full time to creating enchantment for the world at
studio – to relaunch the portal. “I have just finished a huge large.” All of the products from Duirwaigh Greetings are
overhaul of the Duirwaigh Studios website, which includes the available at retailers in the United States and the UK, and also on
design of four complete skins, the implementation of numerous www.duirwaigh.com. “Our art is also licensed to greetings card
interactive elements and functionality, like blogs, comments, a manufacturers, calendar makers, T-shirt producers and the like,”
shop and forums, as well as co-ordinating CSS customisations.” says Silas Toball.
Within the new site, web cruisers will find all manner of Duirwaigh Studios is a prime example of two passionate
inspiration for their own creativities, including a new video called artists who have taken what they love to do and turned it into a
My Wish For You, audio and printed books, calendars, greeting successful business, which is something that should inspire all of
cards or even bespoke jewellery pieces. Toball explains: “From us. Simple updates made daily keeps users coming back on a
tangible treasures, like books, films, websites and gifts, to the regular basis, building up web traffic and a community of like-
lively inspirations of workshops and concerts, we now dedicate minded people.
Artists can sign up to join the community via the website,
where Sullins and Toball update regular blogs to keep their
www.duirwaigh.com audience inspired, informed and most definitely entertained.
Find out more about Duirwaigh Studio’s artwork in our Insight
on page 62.
MESSAGE FROM THE MUSE: “Our inspiration ANGI IN WONDERLAND: “My wife, Angi, is WORLD OF SILAS: “Old architectural
blog showcases a collage-style design, since related to Alice, so I had to put her in Lewis Carroll’s illustrations, ornaments and the Paris Opéra
• Pg 08......................News inspiration itself is a collage of so many things. Wonderland. I took a photograph of her as The Mad building were used to set the scene of
Angi started with a handmade collage, and I kept Hatter and set it on a stock photo of an antique transitioning between worlds. My music, art and
• Pg 12 .................Mailbox the colours light and airy once I took it into divan. Keeping the overall palette pink allowed for design are inspired by the idea of transformation.
• Pg 14 .................Website Photoshop, choosing stock imagery, old drawings the dreamy, surreal atmosphere to support many of I’ve brought that alive in this design by creating
and engravings to complete the look” the whimsical details” dramatic tension between light and dark”
8
Advanced Photoshop
008-010_AVP_60_News.indd 8 24/7/09 09:58:35

e-pens Create BOXED UP: The
Wacom has long held the mantel for producing

packaging assures
users of the creative
News
bites
industry-leading pen and tablet solutions. Creatives benefits available
globally have taken up the use of these virtual pens, PROTOTYPE: What
leaving mouse and mat back in the Dark Ages. the e-pens Create
New to the arena is e-pens Create, which enables should look like
users to convert hand-drawn sketches into digital

images for just £59.99. Simply clip the base unit to
your paper notepad and turn this everyday object
VTRAVELLED
Sir Richard Branson knows how to
into a tool for digital creativity. Add hand-drawn celebrate in style, as he launched a
elements to your artwork or easily remove blemishes new social networking site –
and correct tones in lacklustre photographs. e-pens vtravelled.com – to mark the 25th
Create is a versatile product designed with anyone birthday of Virgin Atlantic. Designed
who uses a pen and a computer in mind, as Alan by creative agency ATTIK, the new site
Penman, managing director of e-pens, reveals in our allows travellers to view images and
exclusive interview on page 10. blogs about each destination they
wish to tour.
Available only for PC users at the moment,
purchase e-pens from Amazon (www.amazon.co.uk)
or discover more about the product via the web link
www.e-pens.com
below. We’ll have a full review of the new e-pens
product in the next issue of Advanced Photoshop.
Photoshop.
Mystical Tint Tone & Color D&AD NEWS

After a prolific career, including time
at the world-famous Saatchi &
Saatchi, Tim O’Kennedy has been
appointed the new chief executive for
D&AD. “I feel honoured to take the
reins at this amazing organisation,”
he says. Discover more news about
the D&AD at www.dandad.org.
Find an array of tools to

PORTRAIT RETOUCHING SUITE:
, perfe ct tone and create stunning shots
smooth blemishes
filter to your photo to get
n it comes to SEPIA STYLE: Apply more than one
Want to improve your workflow whe exactly the effect you are after
processing your photos? Then look no further than the WACOM LAB
Tint Tone and Colo r 2.0. Either used as a The LA Film School has implemented
new app Mystical is no need for
alone application for want with relatively little effort, as there a brand new Wacom Cintiq lab, home
plug-in for Photoshop or as a stand Avail able from $249 USD, Tint Tone and
gives artists a suite layers or masking. to the school’s new Computer
both Mac and Windows, the program s, choose between
to appl y to photos. These Color allows users to combine filter Animation program, which
of 60 filters and 300 presets four new HDR filters to
ts like After noon Sun and Soft Sepia, brush styles and even make use of introduced its first class to the new
include new effec that is popu lar at the moment. lab this year. Broadening students’
gets the look they capture the saturated look
which ensures that artists can always to the app can find free training videos 2D education to include the third
Users who are new
See our review of the dimension, the course hopes to help
and tutorials via the website below.
“The program gives software in the next issue.
students get into employment
quicker with their new skills.
artists a suite of 60
filters and 300 presets www.autofx.com
to apply to photos”
9
Advanced Photoshop
008-010_AVP_60_News.indd 9 23/7/09 14:15:43

Community
New Quadro graphics card for Macs
In the news:
Q&A EASY INSTALLATION: Simple
to install, the card
opens up a new world of opportuni
ties to artists
dealing with large or complex files
ALAN
PENMAN
We speak to the guy
behind the innovative
new e-pens solution… QUADRO GRAPHICS intelligent new card is also designed
CARD: Designed with Mac to offer a massive
Pro users in mind, the new frame buffer of 1.5GB, with high-perf
ormance, real-time
Q: HOW DID THE CONCEPT card will also work with Apple processing so that even large files shou
ldn’t cause
Boot Camp
COME ABOUT? workflow to grind to a snail’s pace.
A: While working at an electronics Good news for creatives working Delivering results faster, better and
on Mac Pros, as PNY most effectively than
firm back in 2003, I saw a prototype of announces the NVIDIA Quadro FX ever before, Apple Boot Camp users
4800 graphics card will can get even more for
one of the first digital pens. I now be compatible with the App their money, as the card allows you
le OS. to make use of
immediately saw its potential for the With workflows needing to be faste Windows 3D graphics.
mass market, as writing was about r than ever and file
sizes scaling to mountainous sizes Mac Pro users can purchase the NVID
the one method of computer input , graphics cards need to IA Quadro FX 4800
deliver greater graphic perform graphics card from £1,259 at Apple
that wasn’t being used and was ance than ever before. resellers now.
Distributed in Europe by PNY, the
perhaps the most natural. After five Quadro boasts the
ability to “dynamically allocate com
years of development, we launched pute, geometry,
the e-pens products available today. shading and pixel processing pow www.apple.com
er,” meaning you get
enhanced performance when and
where you need it. The
Q: WHO DO YOU SEE USING
THE PRODUCT?
A: Anyone who uses a pen and a
New raft of digital cameras unveiled

computer. It’s an ideal tool for those
who want to write, draw and interact
with their PC in a creative way.
Whatever style of shooting you favour, digital camera PENTAX: The
Q: WHAT STYLE OF WORK manufacturers have released something to suit in the latest W80 is aimed at
those with an
WOULD BENEFIT FROM raft of releases from the likes of Pentax, Olympus, Fujifilm
active lifestyle,
THE PRODUCT? and Samsung. offering water
A: e-pens Create is designed to fill the First off is the very cool, retro styled Olympus E-P1 (www. resistance of up
olympus.co.uk). Based around the design of the old to five metres
large void left by the high-end tablet
PC packages, which provide a more Olympus Pen range dating back to 1959, the E-P1 is packed
expensive, advanced solution for full of features for the creative digital artist, including a
professional designers and technical weatherproof body, HD video capability and in-camera
drawers. e-pens Create is ideal for effects via six art filters, all for £700 including a kit lens.
home users, small businesses and From the Pentax camp comes the all-new W80 – an ‘all-
terrain’ compact that is dustproof and waterproof and can E-P1: Neither compact
hobbyists. It’s easier to use a pen nor digital SLR; a portable
rather than a mouse for making survive a three-metre drop, which is great for those looking interchangeable lens
accurate photo and drawing edits. to capture action shots or underwater images to include in camera that delivers
their workflow. Priced at £270, more specs can be found at DSLR quality
www.pentax.co.uk.
Q: ANY TRICKS OR TIPS FOR From Samsung comes three new compacts and two new
GETTING THE BEST FROM IT? camcorders, which can be discovered via www.
A: Before starting, it’s beneficial to samsungcamera.co.uk. The top-of-the-latest-range PL70
spend about 15 minutes playing with features the company’s Smart Album technology, allowing precious time when uploading to the computer later on.
it and getting used to how the pen shooters to organise their images in-camera, saving What’s more, Advanced Photoshop has also got wind of the
responds to your hand movement 3D camera from Fujifilm being readied for the shelves later
and what appears on the screen. this year – we simply can’t wait to get our hands on this
Using a pen is very different to using a innovative new product.
mouse, so it’s worth investing in some www.olympus.co.uk
www.pentax.co.uk With more launches expected from Nikon and Panasonic
practice time before you get going. later in August, there’s no sign of the digital imaging sector
www.samsungcamera.co.uk
www.fujifilm.co.uk slowing down. For up-to-the-minute news, check out www.
Find out more at www.e-pens.com advancedphotoshop.co.uk.
10
Advanced Photoshop
008-010_AVP_60_News.indd 10 23/7/09 14:16:24

Community
Mailbox
Do you have a question about the magazine? Email your
thoughts to advancedpshop@imagine-publishing.co.uk or
visit www.advancedphotoshop.co.uk/forum
SUBJECT: Credit concerns
FROM: Paul Wicker
I would like to respond to Francis Geralds’ letter
in issue 57 where he states that compositions
of stock photographs are not art in his opinion.
SUBJECT: Female model use For me, art and creativity are in everything
FROM: Jenny Hawkyard around us. For example, a beautiful building
I’ve hesitated about writing this to you for can be viewed as a work of art. However, did
some time now, as I’m a huge fan of your the builder make the bricks, invent the mortar
magazine and in general feel that I have no or create the window frames? No, and yet the
complaints with your publication and the great way it was assembled is still unique to that
content of your magazine. individual. Similarly, when a painter paints a
However, I’m sure I’m not the first to notice still-life painting, does he or she create the
that there seems to be a majority when it paints, weave the canvas or grow the apple
comes to buxom babes either on your front that makes the shot unique? Again no, and yet
cover or in one or more of your tutorials. the composition or painting is unique to the
There’s no denying that the female form is a individual. I think the same is true of
beautiful thing, but there are many great compositions using several artists’ work. It is
artists out there and many great styles of art the composition that is unique: the way it is put
that do not include it. Am I just being cynical together, the techniques used to merge the
when I see one of your front covers and think it layers in new and different ways, and the
is using a woman’s body to simply catch ultimate effect generated by adding these
attention and draw new readers in? elements together.
Alternatively, what about featuring some great As Francis says, I too believe there is a limit,
Photoshop artists out there who feature the FEMALE FORM: How do you feel about our use of which is often dictated by copyright laws.
male form so that us women can have some female imagery on our magazine covers? However, in my opinion, if the building bricks
eye candy for once? In this day and age we are of the composition come together in a unique
bombarded with a seemingly endless array of become a magazine that doesn’t exploit a way to create something different from the
women strewn across billboards, magazine woman’s looks just to sell the magazine? Surely original, then it is by definition creative, and by
covers, bikes, cars – you name it. How about there are some fabulous Photoshop artists out inference it is therefore art.
Advanced Photoshop steps away from the there who can do tutorials with other subject Just so you know, by the way, I am a
norm and pushes the envelope a bit? matter with just as much impact and beauty. fledgling Photoshopper and love both the
I wrote this email a couple of weeks ago program and your magazine – thanks for all the
when I received an earlier issue and then Editor replies: Thanks so much for your email, tutorials, they are invaluable. I have attached a
hesitated, however, after receiving issue 58 I Jenny. It’s great to hear your views as we can take composition of my own to illustrate the points
think this is a really important issue. I am in no them on board when developing the magazine. made above – a few more are on the website
way a feminist, but come on! There is so much While we do try and vary the stock images that we that a friend and I are developing (www.ant-e-
great artwork out there, so can AP please use in the magazine, there are plenty of styles that
seem to look best when used on a female model.
It’s certainly not a conscious decision to look for
“While we do try ‘sexy’ women for tutorials – we simply look for the
best stock images to achieve the look that we are
and vary the stock going for. In this issue, take a look at our
image that we use, Masterclass, inspired by the geometric abstract

styles that are so popular at the moment – an
there are plenty of impactive image with no women. In fact, in this
styles that look

issue we have just one tutorial that uses a female
model. I would be very interested in hearing from
best when used on other readers on this subject, too – there is a

thread on the forum for this already so please do
CREATIVE CONTROL: One reader believes that
a female model” get involved.

digital compositions made from stock imagery can
still be art. What are your views?
Write to us : Advanced Photoshop Mailbox, Imagine Publishing, Richmond House, 33 Richmond Hill, Bournemouth, Dorset, UK, BH2 6EZ. Email us: advancedphotoshop@ im
12
Advanced Photoshop
012-013_AVP_60_Letters.indd 12 23/7/09 14:18:58

FIRST FOR
FEATURES: Are
there any trends or
techniques that you
would like to see us
cover in our
features? Just let
us know!
shop
Advanced Photo e 3
Bookazine Volum
fessional advice
256 pages of pro
for only £12.99!
art.com). The fairies and Orcs in the picture are stating it is yet to be approved. It has been
courtesy of Marcus J. Ranum and hours since I have waited and persistently
*gorrem (deviantART), and the blonde fairy is a displays the same message. Could you please
model called Ashleigh featured at my friend’s advice me on this matter?
website at www.jebsmith.com.
Editor replies: Hi Amar. We have an approval
Editor replies: Hi Paul, we’ve been getting loads of system on our gallery website, which is a simple
replies to this topic raised in issue 57, and it seems safety measure to ensure that the images being
to be something that plenty of readers are uploaded are not offensive in any way. While we
passionate about. It’s great to get a debate going, are not trying to censor the art uploaded, it is
so if any other readers want to join in, please do important that we check the artwork just in case.
write to us or make a thread on our forum. We approve images at least three times every
working day, but if images are uploaded overnight
(UK time) or at the weekend, then they won’t be
SUBJECT: Approval process
shop
approved until the next working day, so please
FROM: Amar Kakad bear with us! As soon as they are approved, your
Advanced Photoe 2
eMag Volum
I have recently tried to upload my artwork onto images will be visible for all to see.
your website but in vein. It displays a message
n one disc
16 whole issues o
SUBJECT: Photoshop motion
FROM: Stacey Rowlands for only £19.99
!
Hi AP, I just wanted to thank you for your feature
on motion graphics. I was really surprised to see
it covered, as I have always wondered about this
area of digital creation and it’s great to know
that I can start to get to grips with the basics in
Photoshop without having to spend any more
money on new software!
Visit the
Editor replies: Hi Stacey, it’s great to hear that you
enjoyed our look at motion graphics. We’re
Advanced Photoshop
exploring the animation capacities of Photoshop
online shop at
CS4 Extended once again this month as we look www.imagineshop.co.uk
at making a simple time-lapse video with a series
of photographs on page 60. If you have any
suggestions about other features you would like
for back issues,
ADVANCED APPROVAL: Images will be shown
in your gallery after the AP team has approved them to see as a tutorial, please let us know. books and
imagine-publishing.co.uk. Twitter us: www.twitter.com/advancedpshop. Forum: www.advancedphotoshop.co.uk/forum merchandise
012-013_AVP_60_Letters.indd 13 23/7/09 14:19:29

Community
On the web
www.advancedphotoshop.co.uk
Our website and readers’ forum is perfect for showing off Photoshop creations. We present the best images on
the site this month. Log on and upload to get your images here next issue!
CYLON
ARTIST: Derek Emmons
WEB: www.advancedphotoshop.co.
uk/user/shadowelement
“I had a strong interest in Heavy

Metal magazine and artists like
Luis Royo, so my artwork and
drawings years ago always had a
mix of women, dragons and an
overall dark fantasy theme. Even
now that style has been
incorporated into my
photomanipulations. For this
image I used one of my space
sceneries created in Photoshop
and added it to the model’s
image, whose photo was taken by
Mo Nabbach (http://mo-01.
deviantart.com/). I then used
different blending modes and
layer masks to blend her into the scene. For the final image, a few
additional layers of airbrushed lighting helped to enhance the image
and give it the ethereal look I was aiming for.”
ENCHANTED
GARDEN
ARTIST: Andreea Cernestean
WEB: www.advancedphotoshop.co.
uk/user/frozenstarro
“Enchanted Garden was actually ESCAPISM

created for a contest named My ARTIST: Lucas Kuta
Secret Garden. So I wanted to WEB: www.advancedphotoshop.co.uk/user/qbear
have a setting that looked like an
enchanted garden, with lots of Lucas is a freelance designer who joined the Advanced
green and a bit of other colours Photoshop gallery site in April this year, with his images
here and there for the flowers. displaying a talent for creating colourful lighting effects, as
Then I searched for a model to seen in this piece. He says: “I’m a graphic designer from
blend in with the scenery and Marcus J. Ranum’s was the perfect one. Her Oxford. I have been working in graphics for over six years and
dress even matched the background. I cropped her out and started during this time have gained lots of practical experience in the
fixing the lights, then I went on to painting her hair. I wanted it to be red fields of graphic design and 3D modelling. I’m an open-minded
so it contrasted a lot with the overall green of the image. The flower person, looking for new tools and techniques to acquire a new
headband was probably the hardest thing to put together because it standard of design. This one, Escapism, was created using lots
consisted of about 20 different layers of flowers, vines and leaves. The of different splash effects to underline the dynamic character
baby dragons came in last. I had those painted PSD files purchased for of this piece. Colours and composition played a big role in this
ages just because they’re adorable, but couldn’t find a use for them. This one, as well as the time. It was one of my quick ones, as I
time, they fit right in the picture.” finished it in around one hour.”
14
Advanced Photoshop
014_AVP_60_WebShowcase.indd 14 23/7/09 14:20:49

Join for free!www.advancedphotoshop.co.uk
The Advanced Photoshop website is a
A
thriving online community of Photoshop
ATE users of an advanced level.
CRE EE • Upload your work and share it
FARLLERYY
with others
• Rate images and leave comments
• Get honest feedback from
G ODA your peers
T Get online and create your own gallery

for free today!
JOSÉ PAULO
WEB: www.advancedphotoshop.co.uk/user/zepaulo
“When I joined your website, I didn’t know how

interesting and important it could be in my life. It
has changed my life completely. I succeed from
showing my work, and for me it’s a pleasure to
have my work recognised all over the world.
The Advanced Photoshop website is fantastic
for all kind of artists and
Photoshop lovers. I can see a
lot of inspiring work from
hundreds of artists all
over the world. We are
able to rate and comment
on any work, giving our
opinions and
suggestions. Your forum is
helpful to clarify some
doubts and helps to improve
our skills. Your website
gallery is a fast way to show
the world my portfolio,
especially to people who
like this kind of artwork.”
PAT BRENNAN
WEB: www.advancedphotoshop.co.uk/user/moon-momma
“Belonging to the Advanced Photoshop website

provides me with a way of showcasing my work and
interacting with other Photoshop artists. I really do
find it an invaluable aid to the digital art experience,
while the site is very easy to navigate and totally
free to use.”
Compare great artwork from the gallery: www.advancedphotoshop.co.uk/photoshopfaceoff
015_AVP_60_WebHouseAd.indd 1 23/7/09 14:22:59

Community
Web challenge
The winners HIT
Challenge reference: AP 059
MO S
On our website, www.advancedphotoshop.co.uk/competitions.php, we run a web
P NT RI H’
challenge where you are asked to create an image in Photoshop using at least one
of three images provided. These challenges are updated monthly and they are
ZE S
becoming increasingly popular, so get your entries in for a chance to win.
Check out the website for details of our latest challenge and how to enter. The
winner will collect a special prize for that month (prizes change frequently) and will
also have their design printed in the magazine, along with two runners-up.
Our prize this month is a copy of Goblinoids, courtesy of
David and Charles (www.davidandcharles.co.uk). This
Challenge start images
fantasy art instruction manual takes a look at how to
design, draw and paint every kind of goblin. If you’re into
fantasy painting, it’s a must-read.
CRAB IN THE
SLAMMER
ARTIST: Hayden Wood
WEB: www.istockphoto.com/woody_nz
“The Venice sticks image resembled bars,

which got me onto the thought process for this
idea. For the first step, I created the
environment around the crab. I sourced a
concrete texture from www.cgtextures.com for
the wall, while the window was created by
masking a square hole and then adding
perspective and crack effects to the edges. I
painted vertical lines, and then applied layer
effects and textures to form the bars. The
colour grade is mostly made up from black-
and-white adjustment layers set at Soft Light or
Overlay. White paint was overlaid and blurred
for the light beams. The crab itself was clear
cut, with several adjustment layers of black and
white added and masked in order to form the
stripy shell.”
ABSTRACT MUTATION
ARTIST: Daniel Garcia Rodriguez
WEB: www.lankydan.co.uk
“The image was created by using perspective

transforms, actions, lighting effects, Color Overlays,
subtle gradients and a lot of trial and error. I only used
the one fish image to create this and I cut out the fish to
use for the mutated fish fins.”
This is the second time that we’ve featured one of
Daniel Garcia Rodriguez’s digital compositions in
Advanced Photoshop, so learn from his success and get
entering! It’s a great way to test your own abilities, and
you may just get some invaluable exposure, too.
16
Advanced Photoshop
016-017_AVP_60_WebWinners.indd 16 23/7/09 14:24:40

MAKE IT
ARTIST: Brian Sander
WEB: www.imfbp.net
“The fiddler crab is a very intriguing

creature. While it may be very small and a
lot of the time unnoticeable, this crab
reminds me most of how I found my way to
into Photoshop. I fiddled with Photoshop
one day when I was eight years old. From
then I’ve been using Photoshop every day,
doing what I love. The image brings me
back to when I was just playing with
colours and shapes to make abstract
pieces. The crab is, in my mind at least, a
very playful creature, always curious and
full of energy. By manipulating images of
paint splatters and tossed paint, I made the
crab play with paint to create a fun and
thought-provoking design.”
B E R
E
W I NN
W
ROBO GUP
ARTIST: Kirsten Willey
WEB: http://muddy-on-fire.deviantart.com/
“I had a good time with this graphic. I chose the fish because it looked the most comical and fun. The graphic was created in Photoshop CS3,
using many layers and layer styles to get the end effect. The Warp tool came in handy for the fins, bending them for a bit more life. The worm, sea
grass and bubbles were all painted by hand, while everything else was cut from separate stock and added in. This was my first attempt at
steampunk design.”
17
Advanced Photoshop
016-017_AVP_60_WebWinners.indd 17 23/7/09 14:25:00

insight
Tommie Smith
1968 by LSD:
“Double-page
spread made for a
special series of
Tommie Smith
68s by Puma.
Illustration was
created for the
18th edition of the
Shoes-Up
magazine at 250 x
300mm and
300dpi CMYK”
size for
design in DIN A4
Big Up: “A cover zin e. The goal was
Big Up Ma ga
issue 3 of black
contrast between
to play on a hard As usual, I’m using
an d col ou rs.
and white ms and skulls”
some abstract for
18
Advanced Photoshop
018-019_AVP_60_Insight1.indd 18 23/7/09 14:28:03

hite
D: “Black-and-w
The Key by LS The Key promo, a
de for
illustration ma created for
ma. Illustration
shoe built by Pu itio n of the Shoes-Up
the 19th ed
25 0 x 30 0m m and 300dpi”
magazine at
Loic Sattler
Website: www.lysergid.com
Clients: Puma, Coca-Cola, Adidas
Loic Sattler is an artist who has totally immersed himself in all things creative. His
impressive list of design qualifications, including a Bachelor of Arts in Graphic
Design, a degree in Multimedia and a European Media Masters of Arts – obtained
at some of Europe’s finest educational establishments, including the Ecole
Internationale de Design – reflects his dedication to evolving his skills.
Even when studying, Sattler realised the commercial potential of his designs.
He explains: “I have always been working. During my studies I tried to work as
much as I could, doing freelance from the very beginning. I’ve experimented with
a variety of disciplines, from illustration and 3D to film, web design, programming,
motion and photography. This gave me a global idea of what I wanted to do in my
LSD VS GO
M
professional life.”
“A cover crea A: So what does this mean for Sattler’s style? Creating according to trends, he
ted
for the first
year reveals: “I love strong colours that are trendy. Maybe I’m going more into black
of the magaz
in
Revista Gom e and white these days, but colours are my life. I’m synaesthetic, as I can feel colours
a
Brazil, editi
on like you have sensations on your skin. Every colour has a taste so I try to apply as
12. Revista
Goma is a fre much flavour as possible in my creations.”
e
magazine If colours are Sattler’s flavouring then his peers are the influence for his recipes,
dedicated to
electronic m as he adds: “I’ve had lots of people who inspired me and lots of people who
us
They wante ic. helped me. I’m a child of the ‘infinity’ artists, the abstract series of DigitalVision.
d
something
Here, you can list Mike Young (www.designgraphik.com/09), Jens Karlsson
colourful th
at (www.chapter3.net), Joost (www.renascent.nl), Sean Rodwell (www.aeriform.
mixed the
techniques co.uk), Nathan Flood (www.nateflood.com) and others. I later went into colours
“
and vector treatments, with inspiration coming from Chuck Anderson (www.
nopattern.com/nopattern) and Joshua Smith (www.hydro74.com).”
19
Advanced Photoshop
018-019_AVP_60_Insight1.indd 19 23/7/09 14:28:39

Interview
DRAGON: A digital painting featured in the

cinematic sequences of The Lord of the Rings:
The Battle for Middle-earth II videogame,
depicting a dragon attack
© ELECTRONIC ARTS, 2005
MICHAEL
ZIMMERMAN
Ambitious and always evolving, he shares with us some of the most
momentous events in his meteoric creative career so far
M
ichael Zimmerman is a conceptual been recognised through a host of awards, the standard of his work alone generates
artist who swims in his own including the Academy of Interactive Arts and commercial awareness. Zimmerman explains:
invention. Ideas are second nature to Science’s Interactive Achievement Award and four “Probably the most recognised project I’ve
an artist with such an active imagination, and it’s accredited AAA-selling videogame titles. contributed to is The Lord of the Rings: The Battle for
this imagination that has seen him sustain a highly He undoubtedly appreciates the accolades he Middle-earth II. There is such a foundation of
successful design career in the competitive has received, but they have by no means defined people who appreciate the Lord of the Rings
entertainment industry. his position in the concept design sector. Always universe. When the game was released, it seemed
Zimmerman has created for many of its big keen to move onwards and upwards, he produces to be met well in the community. This was very
hitters, including Sony, Digital Domain, Electronic his lavish fantasy and sci-fi pieces (designs that are defining for my career because it expanded both
Arts and Obsidian Entertainment. His efforts have literally out of this world), ultimately aware that my clientele and fan base.”
22
Advanced Photoshop
022-027_AVP_60_Interview.indd 22 24/7/09 10:31:23

Inter
Michael Zimmerman
view
Getting noticed TEMPLE (ABOVE): An original digital illustration

depicting a fantasy scene set in the Himalayas. This image
This project provided Zimmerman with the liberty was created in 2006 using Adobe Photoshop CS2
to create all-new content, something that really © MICHAEL ZIMMERMAN DESIGN
drives him. “EA had acquired the rights to the
Tolkien books for that game, which allowed He adds: “Additionally, many of the advertising
creative concept designs for characters, creatures campaigns I have contributed concept design
and environments never officially visualised before work for have received recognition. Namely the
for a Tolkien-licensed product,” he enthuses. For Halo 3 ‘Believe’ campaign with MJZ, the Honda Fit
this game, Zimmerman designed the Goblin King, is Go ‘Mecha Mosquitoes’ and ‘Defense
Spider Riders, Drogoth the dragon, Drakes, Mechanism’ commercials with Digital Domain, as
Mountain Giants, King Dain and the Dwarven well as the Orange ‘TRY’ campaign with Brand
double-barrelled catapult, among others. New School.” However, Zimmerman is not one to
Zimmerman soon became aware that his rest on his laurels, as he reveals: “I’m also very
commercial ventures for EA were getting him active in pursuing work. I attend as many
noticed by more and more clients, so he set this conventions as I can that pertain to digital media
exposure in his favour. He explains: “Working with to meet new clients.”
a high-profile studio like Electronic Arts generated Zimmerman understands what working in the
new clientele for my own studio, Michael entertainment industry, and with the genres he
Zimmerman Design. Most of my working associates himself with, means for his method.
relationships with clients began with being Photoshop CS4 and a Wacom Intuos3 are heavily
approached based on the success gained from involved in his application process, as he reveals: “I
the titles I contributed to, including The Lord of the suppose I would describe my art style as versatile.
Rings: The Battle for Middle-earth I and II, and It’s difficult to actively work as a professional artist
Command & Conquer 3: Tiberium Wars.” and not have a mind to consider reform. I practise
as many styles and genres as I can to be able to
“I suppose I would accept a broader range of commissions and also

to simply allow for more avenues of creative SCRIN CORRUPTO
R: This digital concep
describe my art exploration. I hope to be outstanding in each style
and genre I work in, be it realistic, stylised, cartoon,
features the alien Scr
and Conquer 3: Tib
in Corruptor from the t painting
Co
erium Wars videogam mmand
style as versatile” science fiction, medieval, modern or historic.
© ELECTR ONIC ARTS, 2006 e
23
Advanced Photoshop

Interview
Some commissions require meeting the DWARVEN bypass traditional media. A sketchbook can be WAR OF THE RING – EVIL VICTORY (RIGHT):
visual style set by previous works, some call for ARMY: A digital perfect for visual and conceptual exercises. A digital painting in the ‘War of the Ring’ mini-videogame
painting featured of The Lord of the Rings: The Battle for Middle-earth II
new styles. Either is fine by me. I do my best to in the cinematic Traditional skills, although arguably more difficult game, shown when the evil faction is victorious
meet and exceed expectations and find new ways sequences of The to adapt, translate effectively to nearly any digital © ELECTRONIC ARTS, 2005
to surprise the audience.” Lord of the Rings: media. Last of all, I would advise to expect
The Battle for
All of Zimmerman’s experiences have added Middle-earth II dissatisfaction when aiming to complete a the market, Zimmerman learned some
more and more techniques to his impressive videogame, satisfactory artwork. From my experience and worthwhile lessons from this early venture,
depicting the
creative arsenal, including inventing, reinventing Dwarven army led
from conversations with other concept artists in including how efficiently a team can work in order
and appropriating, as well as being used to by Gloin the field, an artist is his or her own worst critic. If to complete a big-game project.
approach his visual design, as he explains: “I regard © ELECTRONIC an artwork you create seems contrived or Zimmerman agrees that being positive as well
art as a lifelong pursuit. Each plan for a work of art ARTS, 2005 ineffective, it will usually seem that way simply as self-critical is essential in making the best of
is a more immediate example of this. However, it because you yourself did it. Others may feel such setbacks. “I think a big part of creating
may be worth noting that much of my artwork differently. Reassure yourself that the line must be artwork is critical thinking. Analysing surroundings,
and projects end far differently from how they drawn somewhere.” recognising culture patterns and reacting can be
were planned.” Some may never realise their initial He adds more insight, as he says: “Often, people major ingredients for innovation, invention or
vision, others never even see the light of day, as do not realise how many components need to simply discovering aesthetic beauty. Aiming to
Zimmerman reveals this as something that all work correctly for a project to actually make it to comprehend, to better appreciate life and culture,
aspiring concept artists should be prepared for. the marketplace. Most projects do not succeed or is something a lot of people can relate to.”
even reach completion. I have contributed to Comprehension is certainly an important factor
Best foot forward some of these as a concept artist with Activision/ in Zimmerman’s approach. He absorbs the
“I advise enthusiasts to continually practise, Treyarch for the Minority Report videogame, for everyday things around himself, using them to
challenging them to learn illustration skills for as example.” While no one predicted how remarkably fuel his invention. Often elements
long as it is enjoyable,” he explains. “Also, don’t unsuccessful the game would turn out to be in from his personal life and the immediate
24
Advanced Photoshop

Michael Zimmerman
chers: A
e Mirkwood Ar
Arwen and th ed in the cinematic sequences of The
tur
digital painting fea le-earth II
The Battle for Midd
Lord of the Rings: en with the Mirkwood Archers
ting Arw
videogame, depic
Arts, 2005
© Electronic
25
Advanced Photoshop

Interview INTERVIEW EXTRA
www.imaginepodcasts.com
More from Michael Zimmerman
QUEEN BEE (LEFT): An original digital illustration

featuring an aerial science fiction scene. This image was
created in 2009 using Adobe Photoshop CS4
© MICHAEL ZIMMERMAN DESIGN
all through the design process. Having worked

primarily in videogames and other forms of
motion imagery, it was exciting to work towards
something that could be physically built. Two-
dimensional media affects sight and sound, but a
remember from the sports trading card shop I tangible object applies to all of your senses.”
environment he is a part of influence his used to go to as a kid,” he admits. Research and
planning. He reveals: “For example, as a child I planning also takes place by studying books, Staying focused
used to sit in the kitchen while my mum baked. I internet and films, shooting field photography Zimmerman believes that a creative idea can take
would stack kitchen pots and utensils on the and other related media to improve his imagery. many forms, which can speak to the audience by
counter imagining them to be space cities for my This fantastic perception allows Zimmerman to a commonly shared experience, be it comics,
toys. These elements would influence the drawing visually translate even the most fantastical ideas audible stories, films, theatre, videogames, role-
I was working on at that time.” into articulate forms. Describing it as his most playing, even toys. He explains: “Videogames
A more current example is the Razor Drone exciting commission, he reveals: “I found working enable an imaginative departure from reality into
unit, designed for the newly invented alien Scrin with DOER, on the prototype design for a an interactive virtual space that can be explored,
faction in Command and Conquer 3: Tiberium Wars submarine called Deep Search, personally create challenges and create complex experiences
with EA. Zimmerman based this character on a rewarding for several reasons. I enjoy scuba diving; that are both shared and unique.”
can-opener. “The pose in the Dwarven Army I’m a PADI Advanced certified diver and I was He continues: “Each aspect of the creative
painting for The Lord of the Rings: The Battle for hopeful that one day I might be able to drive the process is enjoyable to me, including asset
Middle-earth II is based on a Bo Jackson poster I sub. That image in my mind really motivated me generation and postproduction. But the stage I
26
Advanced Photoshop

Michael Zimmerman
enjoy most is the beginning ideation. It’s “The main obstacles, particularly for The Battle for SUBMARINE application, as he explains: “Programs I often find
HOUSING
challenging to think critically, form strategies and Middle-earth II, had to do with the cinematic useful are Corel Painter, ArtRage, Illustrator,
COLONY: An
consider many perspectives before beginning a sequences. These sequences comprised of cross- original digital Premiere and After Effects for previsualisation and
project. The beginning of a project, and how dissolves and transitions through a sequence of illustration animation, Final Cut Pro, 3ds Max and Flash. All of
depicting a
things go together, have a profound effect on the digital paintings, depicting the game story futuristic science
these programs work in concert with Photoshop
entire production process. Planning well can make narrated by the voice of Elrond (Hugo Weaving).” fiction submarine and can help in creating compelling imagery.”
all the difference in a project’s success, as well as in Zimmerman completed a high volume of city. This image But no matter what device he uses to create his
was created in
the quality of the developing experience for artwork for this project, with the final count of 2008 using Adobe fascinating images, or how long it should take
everyone participating.” paintings finishing at 45. “I found this experience Photoshop CS2 him, Zimmerman is firmly of the opinion that a
Again, he refers to the successful Lord of the rewarding,” he admits. “Meeting the goals meant © MICHAEL picture will always speak a thousand words. “The
ZIMMERMAN
Rings work that helped shape his creative dedicating a lot of time to the work. I think my artwork will speak for itself. I am hopeful that the
DESIGN
temperament as a prime example of the rewards skills developed radically during the project from right portfolio is perfect for the right project,
of such challenges. “Designing the new content so much practice.” Of course, digital software aids somewhere. Simply showing artwork to people
from the books was very challenging,” he explains. his ability to match his imagination with efficient can eventually create the opportunity to show the
work to the appropriate people for a good project.
“Analysing surroundings, recognising As an artist, this means to me being patient,

developing skills and letting or not letting the
culture patterns and reacting can be work opportunities match with you as you go.”
major ingredients for innovation” www.michaelzimmermandesign.com
27
Advanced Photoshop

Feature
BROKEN ARMISTICE OVER ABALAKIN (MAIN IMAGE): “This work
was my winning entry in the www.cgsociety.org Grand Space Opera
challenge in 2004-2005. The image was done with 3ds Max, with some
adjustments and colour corrections done afterwards with Photoshop”
© ALEXANDER PREUSS
Sci-fi: Characters
Sci-fi: Machines
HEAVY GUNNER
© GALAN PANG Pg30-31 CRAB RENDER
© JAMIE MARTIN
Pg32-33
Sci-fi: Environments
SPACE PIRATES
© IOAN DUMITRESCU
Pg34-35
28
Advanced Photoshop
028-035_AVP_60_SciFiFeat.indd 28 23/7/09 14:49:37

Sci-fi effects
We question some of the sci-fi

industry’s best artists as they share
their most exciting creative techniques
SCI-FI
EFFECTS
The conceptual design world is firmly gripped with science-fiction
fever. This genre distinguishes itself apart from fantasy through
topical and visual cues. Essentially, sci-fi concepts are those that
include being set in the future, in alternative timelines, in contradictory
historical pasts, those with new scientific principles, new evolved
technologies and alien races.
In no small part, digital media has made it possible to increase the
creative scope for these inventive realities, visionary worlds and
lavish characters. Software such as Photoshop, 3ds Max, ZBrush
and other 3D packages are breathing life into daily designs, wowing
international audiences in the entertainment-based industries.
Being such a trendy, mainstream genre, we thought we’d expose
some of its most popular creative techniques, revealed by some of
the industry’s out-of-this-world digital artists. Together we’ll be
presenting essential advice on the best working practices, explain
why it’s time to adopt 3D software, how to lay the groundwork for
your character concepts through Photoshop’s extensive brush
settings, ways in which to add authenticity to your mechanical
inventions with textures, producing electrifying lighting effects and
the rules to adhere to when creating striking landscapes, among
others. Once you have absorbed all the tips we have to share, you’ll
be ready to invent your own stellar sci-fi designs.
Perfect planning
Over the course of this feature, we will be presenting the very best
TIP professional tips for creating environments, characters and machines, but
before you launch into the nitty-gritty of adding detail and building depth,
you need to start with a rough idea in your mind. This could be a simple
rough sketch that only you can decipher, but a general idea of composition
will help greatly when it comes to putting your image together as a whole.
Choose your medium – pen and paper, graphics tablet – and sketch out an
idea for your artwork, what elements it will include and where they will go.
Draw on arrows to the direction of the lighting and use perspective grids
to ensure that there is a clear focal point. You can then use this as a
reference when you start on your artwork proper.
29
Advanced Photoshop

Feature
Build an alien
1 2 TIP character, by
Jonathan Fletcher
(www.artpanda.co.uk)
Jonathan Fletcher is a developing
artist taking a step into the
videogames industry. He talks
through the creation of one of his
characters (left), with the final render of the character
at the bottom showing the shader maps applied and
postproduction effects. This image uses both
Photoshop and ZBrush in its creation.
I expanded the two low-polygon models before I marked out hard-edged and armoured areas, which I
sculpting, making some very heavy shape changes, for built a Normal map for in Photoshop by hand, using the
instance making the skull longer. The idea was to hint at NVIDIA Normal map filter, and painted within the RGB Cinematic devices
a humanoid physique but pull out the armour for a channels. This helps to increase depth and defines
Cinematic devices, such as colour
smooth alienated structure. Normals by hand.
TIP and directional lighting, are often
applied to add character
3 4
disposition. “I like to use a more
fantastical colour scheme in my
images, with contrasting colour
temperatures in different light
sources,” explains Galan Pang.
“Such as a blueish front light with a strong warm back
light. With this lighting setup, the character will jump
out naturally from the background. The overall colour
tone can really create the tension, telling the
audience what kind of character you want to present.”
Before finishing any concept, Jason Juan applies a
method to make character lighting more dramatic.
The character’s armour simulates degraded paint. “First I create a new black Fill layer on top of my
To achieve this, I created a new solid colour layer set to Altering the hue of certain layers and adjusting the design, then change the blending mode to Linear
either a Color or an Overlay blending mode, whichever Levels and Curves for areas I want to stand out can
Dodge. I paint over areas that I want to have bleeding
suits. Applying a layer mask, I used a distinctive grainy achieve quick Specular maps. I created a new layer with
custom brush to remove the paint with realistic strokes, the Color Dodge blending mode, drawing thin but coloured light showing. This method also can be
without removing the colour completely. heavy scratches on the hard edges of the character. applied to produce brighter character highlights, such
as sharp points on sci-fi armour.”
5 TIP
Outfit textures
Costume creates persona and
period in your sci-fi characters.
With battle armour, it’s common
to paint in the wear and tear.
“Using a texture-based custom
brush with Scattering and Angle
Jitter turned on is one way to
create surface dirt effectively,”
explains Galan Pang. “Fabric, however, is tricky to
paint. Basically, you have to keep two things in mind:
thickness and roughness. Thin fabrics create more
detailed folds, thicker fabric creates fewer.” The
Smudge tool helps refine fold tips. The roughness of
fabric is accomplished through overlaying photo
material textures, using blending modes such as Burn
and Overlay. Erasing sections with a layer mask
creates a more natural effect. Painting leather is
achieved by combining both armour and fabric
techniques. It tends to give a harder fold edge than
other fabrics. Pang adds: “Apply skin or leather
textures on top, like before, but don’t forget to
highlight bright areas with Dodge or Linear Light
brushes, as this is a characteristic of leather material.”
30
Advanced Photoshop

Sci-fi effects
Basic brush Photoshop and 3D Realistic skin
application
TIP
3D packages, such as Maya and
ZBrush, feature heavily in TIP There are some general rules that
apply when producing organic
Photoshop brushes are essential today’s sci-fi character concept skin textures. Jason Juan ((www.
tools when going about your sci-fi process. Galan Pang ((www. jasonjart.com), concept artist for
jasonjart.com
character creation. The hard- galanpang.com), senior
galanpang.com clients that include Disney and
TIP edged round brush is usually
applied, allowing artists to draw
concept artist at CCP Asia, explains: “Maya can be
used to create hard props or background objects.
ArenaNet, explains: “When I paint
skin texture, I begin by blocking
lines and paint large areas very ZBrush is used to create organic characters. I generally the big shapes and defining the
quickly. Right-clicking or Cmd/Ctrl-clicking the on- use 3D software to create the shape of a basic object, lighting correctly. If I am going to make it realistic, the
screen image will instantly open the Brush Settings then paint over it in Photoshop. I don’t waste time in colour variation is important. Blood vessels go
dialog box, allowing you to make quick changes to 3D when I know my final output is a 2D format.” through the whole body and it’s mixed with red and
the softness of your stroke. This is very useful when Photoshop CS4’s 3D functions are now being blue. There is also green on the skin in shaded areas. I
blocking rough ideas. A fully opaque round hard- applied when creating accessories, as he continues: “I use a simple round brush to get a smooth transition
edged brush, with thickness controlled by Pen use these when, for example, I have a 3D model of a between dark and light areas. For the detail on the
Pressure, is also used regularly when adding detail futuristic assault rifle. I can put that in any Photoshop face, I import photo references, applying High Pass
and shape line. Other times it’s used to apply 2D-painted image, then rotate the 3D model to match filter treatment with an Overlay blending mode.”
highlights on shiny or wet surfaces, such as eyeballs. the pose of this character, adjusting the lighting and
For blending hard edges, artists usually use a Smudge material, as well as painting texture to the model.”
tool with a noisy brush typeset.
TIP An eye for sci-fi

It’s important to maintain a sense
of volume when rendering an
eye,” explains Nicholas Miles
(www.exula.co.uk), game
(www.exula.co.uk
industry concept artist and
creator of the popular fantasy universe, Exula. “The iris
isn’t a single flat colour. Texture layers set to Soft Light
with a low opacity are great for describing subtle eye
colour variation. Alien eyes are usually a subtle mix of
human and animal eyes. For the humanoid eye, I looked
at the eyes of tropical frogs and sea turtles. It’s also
worth taking into consideration the environment in
which your humanoid inhabits and how this might
affect the make-up of something like the eye. The
robotic eye relies on a number of clearly defined
shapes. These are visible at smaller scales, then backed
up with a series of smaller, more subtle details that help
to add complexity to the design. Remember, robots
FUTURE HUNTER): “A concept design
for a hunting suit of the future. He uses a don’t have human emotions, so make their eyes look
plasma sword for stunning his targets” straight with no reflection on the surface.”
© GALAN PANG
TIP
Perfect photo references

Photo stock is a great reference point and resource for character concepts. If you plan to import
and paint to photo model imagery, then a high-end camera is preferable. Jason Juan explains: “I
have a Canon 450D that I can carry around easily. DSLR cameras usually offer more detail than
you need. I really care about the high ISO performance, so I don’t always need to carry my
tripod. I always take my camera everywhere I go and find the 2TB hard disk drive space for my
own photos useful. Kodak’s Z1085 compact camera or even the iPhone also works for me.“
Galan Pang adds: “In everyday life, I just use my mobile phone to take pictures because I just
use them for drawing references. The resolution is not so important. In some cases, I just use my
MacBook’s internal camera to take reference shots, such as poses of myself and facial
expression.” He adds: “I also have accounts of some texture libraries on the internet, such as
CGTextures.com.” Google, Microsoft’s Bing and Flickr are good image resource alternatives for CRASHED (MAIN IMAGE): “This image
was produced for fun, combining sci-fi
photo references. and other traditional themes”
© GALAN PANG
31
Advanced Photoshop

Inventive authenticity
It’s crucial to make any sci-fi machine
TIP TIP seem plausible in the viewer’s eye as

well as in its own reality. Hence many
concept artists will source from all
kinds of authentic mechanical objects.
1 “Sometimes it’s household items as

simple as a vacuum,” explains Eddie
http://eddiedelrio.blogspot.com/ concept
Del Rio (http://eddiedelrio.blogspot.com/
(http://eddiedelrio.blogspot.com/),
artist for THQ and LucasArts. “I also use lots of military
references just to see how complex vehicle structures
look and work.” Haynes Publishing (www.haynes. SPACE DOGFIGHT: This concept was
inspired by Martin’s days watching
co.uk) provides some great design manuals and DVD reruns of his favourite sci-fi movies
© JAMIE MARTIN
resources, containing in-depth car, motorcycle and
aviation technical illustrations.
Del Rio admits: “The fun part is asking yourself
questions. You may not work out all of the answers,
but the more you do, the more believable the world Proportions
and the things in it you create will become.”
TIP and
First I did random sketches with my left hand (I’m right-
perspective
handed) to get unconventional ideas. Using my right Create a vehicle concept, There is a trend to use 3D
hand, I developed the objects I just created into usable
ideas that can be expanded.
by Robert Simons software to create
mechanical sci-fi objects.
(http://web.mac.com/rosdesigns/) When producing multiple
views of a single object,
2 5 artists recommend making roughs in 3D packages,

like 3ds Max and V-Ray, ensuring proportions are
consistent before importing into Photoshop.
However, Guido Kuip (www.guidokuip.blogspot.
com), working for clients including JAM Visual
Thinking and Delft UT, uses more immediate
methods, as he explains: “After I create the initial
sketch in Photoshop, I create a new layer on top
and draw in a rough grid, which connects
important points in my design. This helps by
letting me see if things are symmetrical and
in perspective. Turning this layer on and off
I then created a new Color blending mode layer. while working on it helps me to keep track
Determining my colour, I laid it over the grey tone of what I’m doing. Straight lines are easily
Deciding on a design, I then applied to this. First, I image, then spent a great deal of time blending and applied by clicking on one spot, then
created a new Multiply blending layer, filled with a light shading. To make amendments, I selected Image>
holding Shift and clicking on the
grey. Applying a 2% Opacity Radial Gradient tool, white Adjustments>Hue/Saturation, adjusting colours until I
to black, I determined the direction of the lighting. was satisfied with the rendering. adjacent spot you want the
perspective to follow.”
3 4
Using photos of vehicles and aircraft for reference, I Again using grey tones, I continued the lighting
evaluated the concentration of light and shading. I into the environment, using the same method as
created my own brushes from the Circle brush, laying before, creating a final base rendering. The depth
down the heavier grey tone in the darker areas, lighter of shading should draw your attention to the
in concentrated areas. vehicle, away from the environment.
32
Advanced Photoshop

Sci-fi effects
Quick-fire Surface Realistic
laser effects textures effects
Laser fire is a cool effect Machine concept artists
TIP Artists apply wear-and-
that acts as a device to usually apply textures tear effects by duplicating
create action and
movement, breathing TIP to heighten realism
within their images.
the image surface layer
TIP new life into a seemingly

static sci-fi image.
However, these
textures, sourced from
then desaturating the
copy layer. This is placed
under the original, and a
Photoshop permits some personal photo stock or the popular CGTextures.com layer mask is applied to the coloured layer.
basic techniques to capture such lavish effects, as (www.cgtextures.com), are often introduced in the Artists may also import rust photo stock. With this
Jamie Martin (www.jamiemartinart.co.uk), art later application stages after artists produce the photo layer active, they select Color Range, using the
director at Norma (www.norma.se) – primarily for its appropriate forms. Color Picker tool to select from within the texture, and
main UK client, global computer games company Concept artists will often pick a few textures that fit then move their selection to where they want it. “You
Electronic Arts – explains: “Start by simply selecting the subject, for instance rust on an old piece of can now activate your coloured layer and erase from
the Rounded Rectangle tool with a 16px Radius and equipment, importing them into their image. it with the selection you pulled from the texture layer,
then draw out a strobe effect in a light blue colour, for Blending modes are then applied with each using soft black brushes,” explains Eddie Del Rio.
example. With your shape layer active, apply a Layer> determining its own effect: Multiply if you want to
Layer Style>Outer Glow. This ought to be in a similar have a dark texture or an Overlay to lighten textures
yet more vibrant tone of your strobe. Set this Outer up. Freelance concept artist Guido Kuip adds: “In a Mechanical
Glow at 75% Opacity, with a Spread of 18% and Size
set to 28px. Now you should have a simple yet perfect
SAAB concept car project, I didn’t want to kill the
smooth surface. So in order to make it slightly more TIP lighting
laser fire effect that you can add to your images. visually interesting, I applied a light marble tile
effects
Additionally, adding a Blur>Motion Blur filter to it will texture on top, with the blending mode set to Overlay Freelance concept
artist Guido Kuip
heighten the effect.” and Opacity set to 25%.” shares some
techniques to use in
your machine art
“Including visible lights in your image works best in a
painted scene rather than a clean render,” Kuip
HYENA LASP: “The orange
grid acted as a guide for explains. “For the Operation Jungle Boogie piece, I
perspective throughout decided I wanted to produce dim glows coming from
painting the scout car” the eyes in the figures’ helmets. I picked a saturated
© GUIDO KUIP
contrasting colour, a red/orange, and painted on a
separate layer. On this same separate layer I added the
light where it hit other objects, such as the glow on the
guns and on the soldier’s hand (on the right), using a
hard round brush with Hardness set to 50%, Opacity
Jitter set to 0% and Pen Pressure. By having this on a
separate layer, I can easily play with the intensity and
brightness of the light. If you want to make the
lighting brighter, use a large soft brush Dodge tool set
to Highlights and Exposure around 20%. This makes
the light more intense from the source outwards.”
TIP OPERATION JUNGLE BOOGIE: This

scene shows a lot of dedication to sci-fi
lighting effects © GUIDO KUIP
Precise imperfections
Art director at Norma, Jamie Martin explains more tangible texture effects
We’ve explored how to apply scarred metal effects, but these are not the only devices that can
apply tangibility and texture to your mechanical inventions. Jamie Martin explains: “I commonly
use Photoshop Render>Clouds and Noise>Add Noise filter effects. By using a layer that has had
a cloud filter added to it, set to a light transparency, you can create a natural dirt effect,
especially when used in combination with a blending effect, such as Multiply or Overlay.
Scratches can easily be created by taking a layer that has had Noise added to it, and by using a
Blur>Motion Blur effect at an angle on it. A chrome effect is also easily created, by adding a dark-
coloured Reflected Gradient onto a white or grey surface. This quickly and easily creates the
illusion of a mirrored surface. This, combined with the other quick ways of adding weathering,
can easily and effectively create a believable metallic effect.”
33
Advanced Photoshop

TIP
1 2
JOURNEY BEGINS: This sci-
fi landscape shows a traveller
reaching a monumental
religious structure
© IOAN DUMITRESCU
Getting the composition and perspective correct is very To feel the depth and weight of the arched structure, I Paint a striking sci-fi
important. So I carefully lined out the major focal areas
with some construction lines.
really needed to colour it in. Once this was complete, I
could see that something more was needed.
landscape, by Gary Tonge
(www.visionafar.com)
3 4 5
I added to the top of the piece, which helped amplify Altering the distant mountains, the framing of the piece All the details were added and the colours were painted
the drama and majestic nature of the arched structure. to the right and working on depth and atmosphere all up fully. Twinkling lights, shuttle craft and a city
The addition of clouds at the apex helps to underline helps to give a good impression of how the piece will dwarfed in the distance all helped to conjure a world
the sheer scale of the scene. look before any complex detailing is done. where beings have created a physical marvel.
Photo Filter through the mood

pros Composition tone plays a huge role in defining sci-fi atmosphere. Many
and artists will use Photoshop’s Adjustment options, such as the Photo Filter,
to set up an image’s colour temperature after the rendering is complete. “I
cons use them very often when I see that one of my design’s overall colour
TIP
Concept
artists use TIP temperature doesn’t fit the mood of the scene,” admits Alexander Preuss.
“For example, applying a green filter creates a very mystic and ominous
architectural mood in the scene. Other colours have other effects on your work, such as
photo stock often as a solid base to create their cyan. That’s great for underwater works, blue is great for sky and space landscapes. The
realistic landscapes. Artists apply layer masks and main reason I use the Photo Filter adjustment layer is to make my artwork
erase photo areas to integrate the necessary distinctive; by changing the colours of the whole image, you can move the
elements. “If there is an overall colour scheme, then viewer slightly in one emotive direction or the other.”
I use Color Balance and the Hue/Saturation option to
get it all to match,” adds Ioan Dumitrescu.
However, Alexander Preuss admits he tries to use as
little stock as possible: “It’s quick and cheap and it
often makes your works look simple and similar.” He
adds: “I try to concentrate on creating unique shapes
and brushes. One of my favourite tools is a self-made
scraper brush, which I use in almost all my works and
concept paintings.”
34
Advanced Photoshop

Sci-fi effects
Digital vanishing Depth of Iconic lighting
points field Many sci-fi landscapes set
with 3D
TIP Concept artists apply
more manual and creative Depth of field
the mood through applied
lighting effects, producing
perspective techniques in can become a iconic electronic themes.
their landscape images
when 3D software is TIP bit tricky when
working with TIP “You can paint the lights in
using soft, round Linear
unavailable. “I sometimes complex sci-fi Dodge (Add) brushes,
place my horizon line on the canvas and, depending scenes. It’s here where 3D software packages have bringing in some atmosphere. Then apply a saturated
on how complex the piece is, I place grid upon grid of become a godsend and something that enthusiastic version of your original colour to make it look like hot
perspective lines to help me visualise the direction in concept landscapers should certainly embrace. “3D is neon lighting,” explains Ioan Dumitrescu.
my design,” explains artist Ioan Dumitrescu (http:// definitely a big part of generating concepts,” explains Alexander Preuss reveals: “I mostly use a Linear
jonone.cgsociety.org). Photoshop’s Vanishing Point Ioan Dumitrescu. “Sometimes it’s easier to create, for Dodge layer on top of my image then apply Radial
filter is a great option. These grids can be easily example, a simple boxy environment in 3ds Max or Gradients with a colour from the background. The
rendered, layer by layer, by activating Render Grid to SketchUp. You can take this into Photoshop to paint centre is placed on the light source or brightest point
Photoshop in the Setting and Commands drop-down and texture over.” in the background, creating a very dynamic exposure.
options. Atmospheric effects, applied to your image Alexander Preuss (www.abalakin.de), lead concept Then I adjust the layer’s opacity until I create the
backgrounds, can also simulate depth of field. artist at Egosoft Gmbh in Wuerselen, concurs: “First I correct mood. I repeat this procedure in more on top
Applying a flat tone for the sky, then airbrushing or build the geometry in 3ds Max, and then I render it layers, producing smaller gradients for other lights in
masking out background details, such as mountains with the Render to Texture option. This creates a the image. Adjustment colour and curve layers are
peaks, spires and monumental architecture, creates greyscale image, which I use as a base in Photoshop, applied, refining image tones and exposure.”
the illusion of distance, replicating what you would creating realistic Diffuse and Specular maps and a
see in the real world. Bump map, which can be used by a game engine.”
An effect
TIP for
everything
Alexander Preuss
Sci-fi skyline in reveals a few of his
favourite tips to
with custom produce sci-fi
landscape effects
brushes
“Radial Blur, Gaussian Blur, Vanishing Point, Noise; in
Concept artist Paul
short, concept artists use everything in Photoshop. The
Chadeisson ((www.paul.
TIP chadeisson.fr) produces
chadeisson.fr
stunning sci-fi sky effects
software offers so many capabilities, each one suitable for
a special purpose.
One great way to create a very quick and attractive
“In this painting, I used a cloud concept is to use the Radial Blur filter set to Zoom. For
brush from Barontieri ((www. example, I start with some rough shapes drawn with a
barontieri.com) and focused immediately on colour, creating the sensation of black marker brush, then I add a zoomed Radial Blur. I
atmosphere. The first layer was applied with the colour of the clouds, with a now have a clear centre and can start to refine the rough
second layer set to Color Dodge. Applying darker and varying tones to this shape until I produce some interesting shapes. Rotating
creates loads of nuance, especially for the strong light source effect about to be the image slightly can make the whole thing a bit more
created, and will be the colour of the sky. dynamic. Photoshop offers a lot of ways to get to the
A layer mask was applied to the Color Dodge layer, with a black custom cloud same result. Some ways are easier and some ways are
brush applied to reveal the harder, but in the end only the final result counts.”
cloud colour layer behind. At
this stage, I applied an RGB
Curve layer to change the
general colour and one more
Color Dodge blending mode
layer to paint in sun and cloud
lighting. An Unsharp Mask filter
was used at the end to draw
the eyes to the sky, creating
more depth and focus.”
RETURN TO ABALAKIN (MAIN IMAGE):

“I wanted to show how this giant torus around
the planet from my first Abalakin image could
look from the inside”
©ALEXANDER PREUSS
35
Advanced Photoshop

MASTERCLASS
36
Advanced Photoshop
036-040_AVP_60_GeometricMC.indd 36 23/7/09 16:24:43

Geometric art
Create contemporary illustrations using basic shapes and patterns
T
he simplest things can sometimes be A basic knowledge of Photoshop’s Pen tool is an
overlooked, and in this tutorial we are going to advantage for this tutorial, as you will be cutting out and ON THE DISC
use three geometric shapes to create a creating shapes. If the Pen tool is new and somewhat There are no files on the CD. The bird
contemporary photomontage. alien to you, take some time in order to familiarise image is from www.sxc.hu (image
Over the next four pages you will learn how important yourself with it by drawing some basic shapes, or number ‘988319’). We also used a brush
from www.brusheezy.com – search for
composition is in your images – composition meaning practise by drawing paths around objects of different Halftone to find this.
putting things together rather than a reference to the shapes and sizes.
image itself. It’s the vital arrangement and placement of You will find that some of the shapes here are created OUR EXPERT Lee Gough
all your visual ingredients that makes a good image with Adobe Illustrator. Don’t worry if you do not have this Born and raised in Manchester, England, Lee has been using
work. You are going to observe how to use some simple program on your computer, as we will explain how to Photoshop for just over five years. What started out as a hobby has
geometric shapes to make patterns, which will create a cheat this and create them using Photoshop, our now turned into an exciting new career for him. www.
fluidwebdesigns.co.uk
clean, crisp theme running throughout the image. versatile friend.
1 Preparation work
First of all, open a new file that’s A4, CMYK and at
300dpi, then create a new fill layer from the Layers
2 Triangles
Now you need to start work on your shapes, so
create a new layer and go to Photoshop’s Custom Shape
3 Squares
Follow the previous steps to create a square, but
this time you only want to fill half of the shape with
palette. Choose a dull shade of yellow, as this will create a tool. Select the triangle and draw about seven, then colour. Select the brush with a two-pixel diameter and
nice backdrop so your shapes and image stand out. Find position and rotate them so you create a basic pattern. Hardness at 100%. Select the path, right-click and hit
the ‘Hooded crow’ image from www.sxc.hu (image Fill the subpaths with different shades of the same Stroke Path. Next up, use the Pen tool and draw a
number ‘988319’), then cut out the crow with the Pen colour, then rename and hide this layer, as you will come diagonal line from one corner to another, then select
tool and place it on your canvas. back to it later. Stroke Path again.
4 Geometric
pattern
Now you need to fill
one half of the square
“You will learn how
and duplicate the important
layer several times,
then position the composition is in
different layers so
that they start to
your images. It’s the
form a pattern. Once vital arrangement
they are all in
position, merge the and placement of
layers and position
behind the image of
all your visual
the bird. Again, ingredients that
rename this layer and
hide it, as you will be
makes a good
returning to it later in
the tutorial.
image work”
37
Advanced Photoshop

MASTERCLASS
5 Let’s build the image
In order to add some depth and texture, you are
going to place the image of clouds above your fill layer
6 More shapes
Create a new layer above the clouds. Use the
Custom Shape tool and draw three more triangles, then
7 Shape shifting
Make the layers you made earlier visible, and
position them behind your bird. Duplicate and position
(have a look on www.sxc.hu). Add a vector mask and right-click and choose Make Selection. Set the Brush around the image to create a nice balance with the
start brushing out the edges of the image, then change Opacity to 20% and pick any colour you like. We chose shapes. Experiment with the Transform tools and layer
the blending mode to Luminosity. Duplicate and flip the an olive colour and brushed over the shapes. You could modes to achieve different effects with your shapes, and
clouds, and then move below and scale to add more also experiment with different brushes to add some also play with the opacity of some layers so shapes
depth. Use the Burn tool to add contrast. texture to your shapes. beneath show through.
8 Add swirls
It is a good idea during
the creation of an image to
9 Break the lines
Next, you want to break up the harshness of the
geometric shapes, and to do this you are going to use a
take a break from the screen, simple technique. Draw a curvy path with the Pen tool,
go make a cup of tea or grab then select the Type tool, apply it to the path and just
some food for fuel, and return keep pressing the colon key until you reach the end.
to your computer afresh. Duplicate and place around your image.
When you’re ready, those of
you with Illustrator can create
the swirls by making a custom
brush. For Photoshop users,
the best way is to use the Pen
tool and carefully draw your
desired shape. If you haven’t
had practice with this, it can
be quite tricky so persevere.
Once you have the shapes, fill
with solid black, duplicate and
use again.
Quick tip
When creating the shapes, it’s important that
they fit together, as this will add a uniformed
look to the image and make it easy on the eye.
Also, don’t go overboard or the image will look
too busy and you will risk ruining the
composition. Remember, sometimes less is more.
10 Seeing red
In order to brighten the image up a bit, you
are going to add a bit of colour. Using the Shape tool,
place some circles on a new layer in front of your
feathered friend and fill with a bright red. Feel free to
express yourself here and create some interesting and
unique patterns
38
Advanced Photoshop

11 More colour
As you did in the previous step, create a new
layer and start placing circles of different sizes to make a
12
more hoops
Hoops,
hoops and
more random element to your image. Once more, fill the Just like before, you are
paths with red, then duplicate, resize and place in going to add more shapes,
different areas in front of and behind the birds. By doing nothing too fancy.
this, you are adding some depth and interest. Navigate to Custom Shapes
and select the hoop. As
with the circles, create a
random pattern then
duplicate the layers. This
time, add a Gradient
Overlay to each layer – you
want a nice subtle gradient.
We used two shades of
yellow but do experiment.
13 Picture in picture
Because the main image is in the centre of
the page, you are going to create an area of interest to
14 Branch out
The tree branches were created with
Illustrator using the Live Trace tool, but for those without,
lead the viewer’s eye away. Using the layers you have try www.brusheezy.com. This site contains a lot of free
already created, start to duplicate, rotate and resize all custom brushes and instructions on how to install. Place
the different elements to create a smaller image within the branches behind the birds, and give the layer a Color
“When creating the the image. This will also balance your picture, creating
another focal point.
Overlay using black if they are not black already.
shapes, it’s important

that they fit together,
as this will add a
uniformed look to
the image and make
it easy on the eye.
Don’t go overboard
or the image will
look too busy”
15 Halftone
Head back to Brusheezy and search for
Halftone, and then download the ‘Very large retro’ brush
16
the dots
Brush
over
set. Those of you with Illustrator could try creating your Next up, we are going
own. Look around, as there are some great tutorials to do some masking.
online that will show you how to do this. Create a new First of all, add a vector
layer and select one of your new brushes. Set the colour mask from the Layers
to yellow and place. palette and apply this
to your halftone layer.
Bear in mind that the
colour ought to be set
to black with a large
soft brush. Then set the
Opacity value to 25%
and start to brush over
the dots. With this
technique, you are
aiming to blend the
dots into your image in
a seamless method.
Keep brushing out the
dots until you achieve
the desired effect.
39
Advanced Photoshop

MASTERCLASS
17 Stars
To add a
bit more zing and to
18 Swoosh
Now zoom into your image and select the
Pen tool. You are going to draw a couple of fine swoosh
separate the birds, you style patterns to complement the softer patterns you
are going to place a created before. When complete, fill with a dull yellow
star between them. colour. We used ‘#e0e16b’, as we didn’t want them to
Use Custom Shapes to stand out too much.
place the star, scale
and colour. We have
used yellow but
experiment a little and
see what works best
for you. You could also
place the stars
elsewhere in the image
to add more detail.
“Draw some paint drops with the Pen tool,

placing them below the branches. This will
give the illusion of movement and create an
area of intrigue”
19 Sharpen up
To make the texture of the feathers stand out
a bit more, duplicate the bird layer and set the layer
20 Desaturate
Once you’ve
done that, merge the two
mode to Overlay. Go to Filter and select High Pass. Move bird layers and zoom into
the slider gradually and you will see that the feathers will the image. Take note of
really start to jump out; a Radius of about three pixels how the birds’ wings have
should be fine. a little bit of the colour
blue in them. However,
we want to remove this,
so start by pressing Cmd/
Ctrl+U. Move the
Saturation slider to 0,
because this will make
the bird look that much
more natural in your
image. Complete the
process by applying the
same steps to the smaller
of the two birds.
21 Final patterns
Zoom out and you will notice you still have
some dead space at the top and bottom of your image.
22 Finishing touches
To add a final area of interest, draw some
paint drops with the Pen tool and fill with black, placing
Duplicate any of the previous patterns you created and them below the branches. This will give the illusion of
place them in this space. Reduce the Opacity to about movement and create an area of intrigue. It also helps to
Quick tip 30% so the patterns blend nicely into the background. merge the two images together. That’s it, job done!
To keep the same colour theme within an image,

head over to http://kuler.adobe.com/. Here, you
will find loads of inspiration on colour themes; it’s
a real eye-opener and a great way to ensure your
work is flawless when it comes to colour choice.
40
Advanced Photoshop

insight
Herman Lee
Website: www.uberindex.net/freshfauxx
Clients: Adidas, OriginalFake, Visvim
Based in Hong Kong, Canadian apparel artist Herman Lee is firmly establishing
himself at the high end in the world of T-shirt design. Lee’s work has become a firm
favourite at online sites such as Threadless (www.threadless.com) and Emptees
(www.emptees.com), and it was with the former he made his first tentative steps in
the commercial arena. He explains: “Five years ago I learnt about the T-shirt
competition site Threadless and started submitting designs there. One of my
designs, Mona Prankster, was chosen for print and sold over at the website. Since
that moment, I have had bands and other budding clothing companies inquiring
about my services.”
Presently working for CLOT (www.clotinc.com) allows him to constantly
collaborate with some of the industry’s big hitters, including Nike, Adidas,
OriginalFake, Visvim, Devilock and Levi’s. This means that Lee has to be open-
minded in his approach to style, as he goes on to elaborate: “I don’t have a signature
style that I fit into, as I dabble in different types of work, from illustration to
typography. If I had to pick a word for my works, then I would probably describe my
style as experimental.”
Being so open-minded about method makes Lee’s application process a liberal
one. “Most of the time I’ll have a basic composition in my head. Then I’ll have
Photoshop open, gather stock images and just start editing. I’ll import illustrations
and shapes drawn in Illustrator. Everything then gets composed, tuned and refined
in Photoshop.”
However, Lee is certain of one thing and that’s the main inspiration that drives his
design, as he reveals: “One of my favourite digital artists is definitely Takashi
Murakami. All the work he creates is so visually appealing and the colour palette he
chooses often ignites a touch of bliss.”
“Not much
Impulse: was
technique
Photoshop ve ra ll
is. O
put into th in
n was done
compositio
with a
Photoshop btle
su
customised serted”
in
typography
Cheese: “C
watercolour str ustom
okes were
scanned into
Photoshop. I
played with th
transparency e
to give th
layers more de e
42 pth”
Advanced Photoshop
042-043_AVP_60_Insight2.indd 42 23/7/09 16:30:10

Poetry of demi
se: “Scanned
brushstrokes and
Color Overlay
were applied, then
I played with
the composition un
til satisfied
Breakthrough: “I did with the flow”
the brushstrokes on paper
and then scanned them into
Photoshop. The background
colours are different brushes
applied with different Color
Overlay settings”
43
Advanced Photoshop
042-043_AVP_60_Insight2.indd 43 23/7/09 16:30:58

Step-by-step
Workshop
44
Advanced Photoshop
044-048_AVP_60_WaterWS.indd 44 23/7/09 16:35:44

WORK WITH
WATER STOCK
Drips, drops or pouring with rain, use layer styles in Photoshop to create your
own aquatic designs
W
ith the good old-fashioned British After a bit of experimentation, hopefully ON THE DISC
weather unable to decide what it you should no longer have to rely upon preset On the CD you will find links to
wants to do this summer, we brushes that are often difficult to manipulate the free stock image and the
thought it would be fun to take a spin on the in order to fit with your composition. Use of a brushes used in the tutorial, as
well as the pattern, contour,
phrase ‘raining cats and dogs’ and add a host Wacom tablet is recommended purely for shapes and water samples
of other animals in there! ease of drawing, but it is not essential. Once created by Daniel Maxwell.
This walkthrough will aim to show you some you have set up the styles, they can be saved
OUR EXPERT Daniel Maxwell
techniques and styles that you can use to make for future use and applied to any other shape
realistic-looking splashes, droplets and watery or object desired, with only the smallest With several years of experience in the design industry,
Daniel Maxwell is currently working at WorksUnit, a web
shapes. Although specific layer style settings amount of alteration. design agency based in Southampton.
are given to create the objects within this So whether you are adding finishing
image, you are encouraged to change these at touches or painting a completely new
any point during the process in order to come underwater world, try out these steps and let
up with your own unique results. your imagination flow. “Once you have
set up the styles,
1 From the ground up
Open a canvas area of 2,480 x 3,508 pixels,
with a Color Mode of RGB, 300dpi and the
2 Rainy day blues
Merge the layers and hit Filter>Blur>
Gaussian Blur to blend. Duplicate the floor layer
they can be saved
for future use and
Background Color set to Black. Create a new layer
and paint some random blue lines (vary the
and move it to the middle of your image. Select
Filter>Blur>Gaussian Blur, with Radius set to 250. applied to any
colour, thickness and opacity of strokes). Select
Filter>Blur>Motion Blur, with Angle set to 0 and
Apply the Gaussian Blur filter twice to get a
smooth blur and set Opacity to 50%. Duplicate
other shape or
Distance at 999. Then duplicate the floor layer, set this new layer again, move to the top of the object desired”
to Vivid Light on the Layer Options palette and layers and set to 20% Opacity. These two blurred
3
move the layer until you get a shiny effect. layers are where the rain effect will get its colour.
Cut, mask or erase
On the disc you will find a link to the image
we used – sourced from deviantART. Cut out the
girl from the background using the Pen tool or by
masking, whichever way you prefer. Take your
time here, as this will save tidying it up later on.
Once done, place this into your document. Make
sure it is on the top layer above everything else.
45
Advanced Photoshop
044-048_AVP_60_WaterWS.indd 45 23/7/09 16:33:35

Step-by-step
Workshop
4 Make a downpour
Create a new layer filled with black, then
make sure the toolbar colours are black for the
5 Pattern overlay
Open the ‘elephant shape.psd’ file from
the CD. Select the elephant layer and set the
6 Inner shadow
For an Inner Shadow, set everything up as:
Blend Mode = Screen with a white colour,
Foreground and white for the Background. Next, Fill to 0% on the Layers palette. Open Layer> Opacity = 20%, Angle = -45˚, Distance = 20,
select Filter>Render>Fibers, with Variance set to Layer Style>Blending Options, and add the Choke = 0 and Size = 100. Click on Contour (the
10 and Strength at 64. Set the layer to Vivid following six styles to your shape, as detailed in grey histogram image), and the Contour Editor
Light on the Layers palette. Select Image> the next six steps, starting with Pattern Overlay: box will appear. Load the ‘Contour.shc’ file from
Adjust>Levels, then move the Midtone slider to Blend Mode = Exclusion, Opacity = 100%, the CD then, in the Preset drop-down box at the
the right to reduce the strength of fibres. Now Pattern = click on the Pattern box and load top, choose ‘elephant’. Try moving, adding and
place the rain layer below the girl, reduce the ‘water_bubbles.pat’ from the CD, Scale = 100% deleting nodes on the graph to create other
Opacity and erase any rain from the floor area. and tick the Link with Layer box. reflection effects. Save any changes, as this
contour will be used again.
7 Inner glow
Add the following, this time for an Inner Glow: Blend Mode =
Screen, Opacity = 20%, Noise = 0%, a solid white colour, Technique =
Tweak styles
Softer and Source = Edge. Set Choke = 0%, Size = 150px and click the
arrow next Contour to select your elephant/new contour again. Tick When applying saved styles to new
shapes, you may find that you need to
the Anti-aliased box, setting Range to 50 and Jitter to 0.
alter the settings. This will vary depending
8
on the size and shape of the new object.
Bevel and Emboss/Satin Experiment with new contours to get
For Bevel and Emboss: Set Style = Inner better inner reflections. Bear in mind
Bevel, Technique = Smooth, Depth = 90%, where this new shape will be placed
Direction = Up, Size = 144px, Soften = 9, Angle within your image, as this will have an
= 70˚ and Altitude = 65˚. Set the Gloss Contour effect on which direction your light source
to the Ring preset, Highlight mode = Screen should be coming from. Changing the
with a white colour, Opacity = 100%, Shadow Bevel and Emboss style is the best way to
Mode = Multiply with a black colour, Opacity = correct directional lighting issues, but
ensure Global Light has been deselected
20%. For Satin: Set Blend Mode = Color Dodge
before amending. It is worth saving a few
with a white colour, Opacity = 15% , Angle =
different style settings, for example, one
45˚, Distance = 42, Size = 248, select the lit from below, one lit from the left, etc.
elephant contour and tick Anti-aliased.
“Change the Bevel

and Emboss style
9 Colour Overlay
For the final style, Colour Overlay, set
up as follows: Set the Blend Mode = Color
to correct with a colour sampled from the floor area and

Opacity = 20%. Click New Style to save and
directional lighting rename your style. With this saved, you can then
issues, but ensure apply it to any other shape you wish to use.
Create a new transparent layer above the
Global Light has elephant one and then merge both together.
Finally, place it into your main image and set the
been deselected” blending mode to Screen.
46
Advanced Photoshop
044-048_AVP_60_WaterWS.indd 46 23/7/09 16:33:58

10 In the spotlight
Create a new folder and change the
blending mode to Vivid Light. Create a new
11 Create a splash
Next, create the water splashes. No
two shapes come out looking the same, so you
12 Add movement
Once you are happy with your work
so far, duplicate this layer and select Filter>Blur>
layer inside this folder and, with a soft-edged will have to experiment with these settings. It’s Motion Blur. Blur the layer in the direction that
brush at about 300px with a white colour, begin easier if you open a new document, set to A4, you want your splash to be moving (using a
to paint in areas of light shining down upon 300dpi, RGB and the background filled with Distance setting of around 50). Now move this
your elephant, adding as much or as little as you black. Create a new layer and, with a white soft- blurred layer out of alignment with the previous
like. Reduce the Opacity value of the layer to edged brush, begin to draw a rough water one (once again, it is better to move the layer in
tone the lighting down. You can create new splash shape. Use various opacities and the direction that you want your water splash to
layers within this folder and add highlights to thicknesses of brushes. be moving).
the umbrella and girl.
13 Go with the flow

Again, take a step back and check
that you are satisfied with the direction your
work is heading in. Next, duplicate the blurred
layer. Select Edit>Transform>Scale, resize this “Create the water
second splash, rotate and reposition where you
think it looks best. Now merge all three of the
splashes. No two
water splash layers together. shapes come out
looking exactly
14 Get depth
Bring up the Layer Style palette,
select Blending Options and ensure the Preview
the same, so you
will have to
box is ticked. Select Bevel and Emboss with an
Inner Bevel style and Technique set to Smooth. experiment with
Move the Depth and Size sliders (there are no
strict settings these have to be on; play around
these settings”
16
to get something that you like the look of ).
Final water splash stage
Next, select the splash layer. Hit Image>Adjustments>Levels
and start by moving the dark arrow on the slider. This will vary from
shape to shape, so play around until you have the desired water result.
You will need a lot of these water splashes (examples are included on
the CD). Drag the finished splash onto your image, setting the layer’s
blending mode to Screen. Now begin to build up your composition.
15 Glassy reflection
Next up, create a new transparent
layer and merge this and your splash together.
Then select Filter>Artistic>Plastic Wrap and
enter the following settings: Highlight set to 20,
Detail set to 10 and Smoothness set to 10. These
settings are given purely as a good starting
point, so play around with them for a bit in
order to see which effect you think suits your
image the best.
47
Advanced Photoshop
044-048_AVP_60_WaterWS.indd 47 23/7/09 16:34:24

Step-by-step
Workshop
Composition 17 Clouds
Next up, select a white hard-edged
round brush, create a new layer and then paint
18 Cloud rain
The rain coming from the clouds is
created by duplicating the original downpour
Obtaining the best results will depend on dots in the shape of your cloud (varying the layer, reducing the size to match your cloud
how much time you take drawing and Opacity and Size values). Apply Gaussian Blur width, rotating and then setting this layer to
changing the different Bevel and Emboss as desired, add a slight Bevel and Emboss and a Hard Light. Move it up to sit below your new
or Plastic Wrap settings. Creating lots of Shadow mode of Multiply with colour sampled cloud layer, then add a colour overlay with a
random water shapes is the key, as this will
from your floor area. Color blending mode. Use Levels to reduce or
give a more authentic look to the final
increase the rain drops, and change the Opacity
image. As you begin to build up the
splashes, adding in your extra shapes value to blend.
(dolphins, etc), make use of the Transform,
Warp and Perspective tools to manipulate
your water to get the right look. If a
particular splash looks too light or too
dark, return to your Levels settings and
move the sliders around again to bring out
reflective spots. Duplicating splash layers
and then merging them together will pick
out more details and highlights in different
areas. Use any filters or blurs that you
think will work; just be creative!
19 Make rainbows
20
Create a new layer, then use the Marquee tool to draw a
long rectangular area. Choose the Gradient tool, select rainbow colours
and fill the area by dragging the fill downwards (holding the Shift key
Add extras
Now you can begin to add any extra
“Obtaining the best
keeps the fill straight). Apply a Gaussian Blur with a Radius of 15. Use little details, like the fish, bubbles or water results will depend
the Warp tool (Edit>Transform>Warp) to bend your rainbow into the
shape you want. Set the blending mode to Screen and change the
droplets on the ground. Also, paint in other
highlights and shadows to the girl, including on how much time
Opacity value as desired. her shadow. On the CD you will find a text file
with useful links to some of the brushes used,
you take drawing
including the black water splashes at the and changing the
bottom of the image.
different Bevel and
Emboss or Plastic
Wrap settings…
use any filters or
blurs that you think
will work”
21 A ray of sunlight
On a new layer, create a rectangle
using the Marquee tool and fill it with white.
Use the Perspective tool (Select>Transform
Selection>Perspective) and make a slanted
cone shape, then deselect the Marquee tool
and add a Motion Blur, with Angle set to -45. Set
the layer to Hard Light and reduce the Opacity.
Delete areas if necessary.
22 Final touches
Next, create a new layer and fill this
layer with a sampled colour from the floor. Now
set the layer to Overlay and reduce the Opacity
to at least 50%, which will give your image an
even tone all over. Finally, mask out the edges
of your image in order to emphasise the
lighting effects.
48
Advanced Photoshop
044-048_AVP_60_WaterWS.indd 48 23/7/09 16:34:45

Step-by-step
Workshop
CREATING WORLDS
Learn how to use Terragen and Photoshop to create stunning futuristic space scenes
50
Advanced Photoshop
050-055_AVP_60_TerragenWS.indd 50 24/7/09 10:14:20

ON THE DISC
For all the parts that might be
unclear on these pages, there is
tons of material on the CD for
you to play around with,
including Terragen files, textures
and PSD files!
OUR EXPERT Christian Hecker

For the past few years, Christian has focused on creating
environmental concept art and illustrations through
digital matte painting. Everything learnt in an
autodidactic way, he has now found his own techniques
to create fantastic landscapes for practically everything,
from book covers to games and movies. www.tigaer-
design.com
T
he picture used in this tutorial was
created in 2005 and marked a personal
milestone in how I perceived what I
was able to do with Photoshop.
Terragen is the 3D software that was used
here to create a plate picture for Photoshop. It
is a great beginners’ tool for people who love
wide, open landscapes and want to get into a
basic 3D direction. Additionally, Terragen isn’t
too complex for a piece of 3D software, so it
doesn’t require exceptional 3D knowledge.
In Photoshop, the real fun begins. I will walk
you through how I added specific textures to
the scene and brought the boring-looking
renders to life. You will see how I copied and
modified a lot of things that I created within
the picture, and will also see how much fun
blending modes can be. The Photoshop work
can practically all be done with the mouse,
therefore techniques may differ from most
usual procedures. But even if it requires more
layers and better structuring, it all can be done
without an expensive graphics tablet. To begin,
you will need to download and install Terragen.
About Terragen
Inspi
Worr ation
k shopal
I used Terragen 1 for this tutorial. As the
Pro ss development for Terragen 1 stopped
their sfe
ec
ional ar
tists because it concentrated on Terragen 2, the
rets an
techniq d Pho share version of Terragen that I used isn’t really
improuves to help tosho
yo p
e your up to date any more. For example, it
skills u
doesn’t have multicore support, so render
times could take a while under certain
circumstances. Nonetheless, I can
recommend it to all beginners since I
know quite a few high-class artists who
started out with Terragen. It’s much
“Terragen is a great beginners’ tool for cheaper than other software and, with a
little creativity, can still be used to create
people who love open landscapes and some stunning landscapes. You can
download Terragen 1 (now called Terragen
want to get into a basic 3D direction. It Classic) for free at www.planetside.co.uk.
From there, you are also able to
isn’t too complex, so it doesn’t require download the feature-limited free version
exceptional 3D knowledge” of Terragen 2.
51
Advanced Photoshop

Step-by-step
Workshop
1 Terragen preparation
To use Terragen and self-made terrains, I
needed the Firmament plug-in (this can be
2 Create the terrain
To create my custom landscape, I had to
work in black and white only. Brighter shades
3 Colour depth
The Firmament plug-in supports 16-bit
RAW. That should allow you to create more
downloaded for free from www.planetside. should be used for hills, mountains or high accurate landscapes with Photoshop.
co.uk/terragen/resources.shtml). Photoshop structures and darker shades for valleys. This is Unfortunately, I never really managed to get it to
was the program of choice to create my also the part where you can be very creative work properly, so feel free to experiment! Besides,
landscape. I have to use a large-scale terrain to using brushes in Photoshop. It’s a rudimentary 8-bit was totally fine for the project, it just meant
get a clean render off Terragen, while 4,097 x way of 3D modelling. that I had to work more accurately, though.
4,097 is the document size I needed in
Photoshop for this particular composition.
4 Import the terrain to Terragen

To import the modelled heightfield into
Terragen, I had to adjust the landscape setup in
5 Terragen setup
At this point I could play around with my terrain. To specifically
place the camera, I clicked on the View/Sculpt button in the Landscape
Terragen to match the size of my terrain dialog box. More specific positioning by numeric values can be done in
(Landscape Dialog>Size>4097). The upcoming the Rendering Control dialog box. Lighting and clouds were added and
dialog boxes were all confirmed with a click on changed via a click on the buttons to the left. Note that Terrain and
Yes. Landscape Dialog>Accessories>BMP Import, Atmosphere are saved separately in Terragen.
then I imported my heightfield.
Experimentation
is key
Test renders are essential and help to find
out how the terrain works in Terragen. I
find that it’s often necessary to work in a
pixel-accurate method. That means that
when doing the terrain in Photoshop, you
really have to go into the picture and look
to see if the pixels are correct. You will see
wrong things in your render immediately.
This means that I have to work in a very
clean manner, which can be a painstaking
process, but I want to create something
outstanding and that demands some
extra work. I also recommend creating a
layered PSD for the terrain, as it will help
you to stay flexible.
6 Terragen render
Next, I adjusted the quality of my render by
clicking on Render Settings in the Rendering
Control dialog box. On a modern machine you
can activate all the options and move all sliders to
the right. Use Extra Blended Detail for animations
only. I then set the Image Size to 1,800 x 1,200
and moved the Detail slider in the Rendering
Control dialog box to the right as well. To finish
off, I hit Render Image.
52
Advanced Photoshop

7 Render multiple passes
To get the most out of Terragen’s
atmosphere engine, I had to render multiple
8 Into Photoshop
At this point, it was time to have a look at
which render passes were useful for my project.
9 Blend the passes
Blending modes (Overlay works well, for example) and Opacity
options allowed me to filter the most useful passes and mix them
passes of my scene, each with different I created a new document in Photoshop and together; the dense atmosphere one as well as the very clean one
atmosphere settings or even rough textures. The dragged all the renders into it, then created a worked very well. The roughly textured pass also added some useful
passes kept me flexible when it came to the separate folder named ‘Background’ within the detail to the picture.
Photoshop part and helped to add that little PSD and moved my renders there.
extra special ingredient to make it a nice
atmospheric scene.
10 Texture in Photoshop
Texturing in Photoshop without a
pressure-sensitive tool can be time-consuming.
11 The towers
For practical reasons, I only fully
textured the tower on the left. For the other
With the mouse I just have to adjust manually. two, I just copied the material from the first one
Usually, the standard soft round brush is all I and adjusted it to fit the other towers. For a
need. When on the Brush tool, a Cmd/Ctrl+ texture, I used two nice photos of planks and
Ctrl/right-click onto the canvas opens the basic wood. My brain immediately saw how it could
brush menu. There, the size and Hardness of work for the tower. I then created a new folder
the brush can be adjusted if necessary. for the towers.
“It’s a good idea to

play with the
textures and
blending modes,
as sometimes you
get a cool result”
13 Texture techniques
I then erased the middle part of my
plank texture and added the wood one using
the same technique as before. I painted the
middle part black to create space for the
windows. It’s a good idea to play with the
textures and blending modes, even copying the
texture and moving it around within the
textures, as sometimes you get a cool
12
unexpected result.
Texture the towers
Next, I dragged the textures into
my folder. I then applied the Free Transform
command to the plank texture in order to
make it fit perspective, also using the Pin
Light blending mode. To create the golden
sun reflection, I used the Lighting Effects
filter. In the options, I kept the Focus value
moderately low, with Gloss and Material
both at 100. I then used Hue/Saturation to
make the colours fit.
53
Advanced Photoshop

Step-by-step
Workshop
14 Tower windows
Next, I created a new folder and layer
for the windows and used the Polygon Lasso
15 Create
cables
I deactivated
tool to mark the dark area in my texture. I set the Scattering and used
Hardness of my round brush to 100 and kept it the Pen tool to create
down to a small size. I used a plain white colour a path for my cable. I
and also activated Scattering for the brush, then then stretched it to
painted the windows into my selection. make it fit my needs,
reactivated the Brush
tool again and clicked
on the circle button
in the Paths palette.
Photoshop was then
able to use my
selected brush to
stroke a line along
the path.
16 Create spotlights
Next, I created a new folder and layer, then created a
square selection and filled it with black. I activated the Lens Flare filter
17 Square deck textures
For the deck in the foreground, it’s
best to create a separate document and create
Quick tip and tried to place my flare in the centre. I applied the filter and set the
layer to the Screen or the Color Dodge blending mode – either will do.
a square texture. In addition to blending modes,
the Clone Stamp tool helped me to create some
I then created copies and used the Transform tools to place the lights variations between the two textures. Once I was
Since I only cover a small part of Terragen, on the building and anywhere else required in the scene. done, I flattened the layers and dragged it into
I can only recommend you to play around the picture. I then placed them above the
with it! If you’re not sure what an option square shapes and applied Free Transform to
does, then just hover your mouse above it
make them fit.
and it will display a pop-up box with a
short explanation. There is also plenty of
information available on the internet!
18 Adjust the textures

Sometimes blending modes and
Opacity help to make it sit right. Reducing
saturation and adjusting colours with Hue/
Saturation also helps. In this case I almost
completely reduced Saturation and used the
Color Dodge blending mode. Again, I used the
Lighting Effects filter to create that metallic light
reflection coming from the sun, and finally
readjusted Saturation once more.
19 The wall textures

I then created another separate
document and basically used the technique I
used for the squared deck plates. Applying
“If you’re not sure what an Free Transform to the textures allowed me to
option does, then just hover place everything right onto the walls, while the
Eraser tool helped with everything that does
your mouse above it and it not fit. I repeated that a few times since there
were lots of spots I could use this texture for.
will display a pop-up box”
54
Advanced Photoshop

21 Mountain texture
For the mountains, I basically
repeated the technique that I used for the
forest. Blending modes like Lighten and Hard
Light work well in that area. I used the Clone
tool to fill other areas on the right with the
stone texture. Additionally, detail can be
enhanced by copying the texture layer and
20
moving it around.
Landscape texture
Next, I dragged my own
photo into the image and placed it
above the plain part before the
mountains. I reduced the layer size,
used Overlay and reduced Opacity.
I then applied the Clone Stamp tool
where I needed more forest.
“Planet creation itself can be a very

complex thing, so check out an
online tutorial as well as the material
on the CD” 24 Planets
At this point, the sky part looked
quite empty so I decided to add planets.
22 23
Compositionally, the upper-right worked nicely.
Add clouds Stars Planet creation itself can be a very complex
A nice photo with clouds helped me I created the stars in a separate PSD thing, so check out an online tutorial at http://
for the background. I used the Eraser tool to file, repeating Step 16, and created tons of alyn.deviantart.com/art/advanced-planet-
extract a cloud; once extracted, I set it to copies. I then moved it, changed the sizes and creation-11885274/ as well as the material on
Overlay and it sat in pretty well. I could then also changed the colours via Hue/Saturation, the CD.
copy and move that layer to add more clouds, with Colorize checked. I also changed the Glow
as well as change its size or shape with the strength with help of Levels. When the star
Eraser to add variations. field was done, I merged it down, used Linear
Dodge and dragged it into my landscape.
26 Reflections
Reflections are always a nice finishing touch. For that, I
created a separate folder, copied all my layers into it, merged it all down
to one layer and flipped it vertically. The Polygon Lasso tool was best to
cut out all the elements I needed reflections for. I then applied Free
Transform to those parts and reduced their Opacity to make it sit right.
25 Beach
I then wanted to add a place
where the people in my towers could have
some fun. Once more I used a photo,
placed it, used the Overlay mode and
started to erase and transform it in order
to make it sit right. You could also clone
parts to extend a certain feature or blend
it better with the background. A good site
for stock material is www.sxc.hu.
55
Advanced Photoshop

Step-by-step
Workshop
56
Advanced Photoshop
056-059_AVP_60_PhotoillWS.indd 56 23/7/09 16:39:29

CREATIVE PHOTO
ILLUSTRATION
Learn how to take an average photo and turn it into an
abstract artwork
P
hoto illustration, artwork that starts There are no plug-ins or extravagant
ON THE DISC
from a photo with a build-up of methods that are required here. All that you
You will find some renders
effects, is a key genre of digital art. see can be created using the power of created in CINEMA 4D, while
There are so many methods and styles within Photoshop’s blending modes and layer mask there are also some PSD files that
the genre that it can appeal to everyone. options. The tutorial itself is relatively easy and will help in the creation of this
tutorial. A Photoshop CSH file will
The image that we’ve created here uses a requires mostly the use of multiple layers and save you time in reproducing this
selection of Photoshop shapes, 3D renders and the Free Transform command, which is one of image. Plus, there is a link to a
a great base model image to create an abstract Photoshop’s most powerful options. Aside great font from deviantART.
style design on a clean background. It’s a from that, the imagery itself is about being OUR EXPERT Derek Emmons
simple set of techniques that, once mastered, creative and having fun, while creating a
Derek is a Canadian freelance artist who has been working
will help you in all your Photoshop projects. simple yet effective piece of art. with Photoshop for five years. His online alias is
Shadowelement. Currently, he is working in the labour
industry, but photography and artwork are his passion.
1 2
His web galleries can be found at http://shadowelement.
Extract the model Remove body parts deviantart.com/ and on the AP website at www.
Our model image is from iStockphoto. Now you can take the Eraser tool with a advancedphotoshop.co.uk/user/Shadowelement.
com (image number ‘9124831’), but you can use hard round-edged brush at 115 pixels and begin
any model that you like for this tutorial. Start by erasing parts of your model that you aren’t
using the Quick Selection tool at the default going to want, such as the legs for the purpose
settings and begin selecting your model as seen
here, zooming in for more detailed areas. Once
of this tutorial. Zoom in again for detailed areas
around the fingers and edges of her dress. Using
Quick tip
you have the majority of her selected, press the left and right bracket keys – [ and ] – will
Cmd/Ctrl+C and then Cmd/Ctrl+V. Rename the change the size of your brush on the fly to make Instead of using the Pen tool, the Quick
new layer ‘model front’. things a lot easier and quicker. Selection tool will do the extraction of the
model and save a lot of time for the
purpose of this tutorial. Of course, you may
need to adjust the cutout method
depending on your model image and the
background that it is on.
3 Start duplicating
Select the Custom Shape tool. In the
Options bar at the top, click on the Shape option,
then hit the right-pointing arrow and choose
Load Shapes. Select ‘tutorial shapes.csh’, choose
Shape 1 and create a new layer with this.
Reposition as needed and, using Free Transform,
adjust it to fit with her arm. Name this layer ‘tat’.
“Photo illustration is a key genre of

digital art. There are so many methods
and styles within the genre that it can
appeal to everyone”
57
Advanced Photoshop

Step-by-step
Workshop
4 Tattoo removal
Cmd/Ctrl-click on your ‘tat’ layer to select
the tattoo and, using your Eraser tool (with the
5 Add her hair
Go back to your Custom Shapes tool (U)
and select the hair shape provided. Create a
6 Create the dress
Using your Quick Selection tool, grab a
section of the lower dress from the model front
same settings) and with the ‘model front’ layer new layer under your ‘model front’ layer with the layer. Copy and paste it onto a new layer and
active, erase the shape of the tattoo over her arm. hair shape and position it accordingly as in the name it ‘dress piece’. Begin by using the Warp tool
Repeat this for the other arm; duplicate the layer, screenshot shown here. Name this layer ‘hair’. and manipulating the dress piece into various
flip it horizontally and rescale it as desired with shapes, duplicating the layer numerous times
the Free Transform command. Take your ‘tat’ and keep reshaping until your dress begins to
layers and place them under the ‘model front’ take shape.
layer. Move them so they are partially visible.
Renders and
photography
7 Freebie shapes
For the purpose of this tutorial and to keep it fun, there is a PSD file
named Shape Layers on the CD. Open the file and it contains the final
There are so many options in creating
artwork where using 3D renders will
8 Add a background
Create a new layer above your original
improve the effects and detail of the
dress layer, so drag the dress lower layer onto your document and image dramatically. With an abundance of background and fill it with white. Cmd/Ctrl-click
position it under the model front layer. Using the other shapes in this 3D resources all over the web, and on your ‘hair’ layer to select the outline of the hair,
Shape Layers file (shape left and shape right), drag these into your especially at www.deviantart.com, there while still on your white background layer, and
document and position them accordingly. Feel free to experiment and are lots of stock renders available and remove unwanted white areas in the hair. Select
duplicate the images or place them where you might like them. they are always in PNG format, which is a the hair layer and, with the Eraser and a soft
transparent background, so simply round-edged brush at 200px, erase around the
dragging the file into your image is easy face and hair to expose some of the original hair.
and there is no need to extract the image
from a background. This way, having
knowledge of 3D applications like
CINEMA 4D and 3ds Max isn’t necessary.
Also, a quick trick when using PNG images
is that sometimes you will notice some
white edges that don’t always look so nice
on an image. A hidden yet powerful tool
in Photoshop to fix this can be found
under Layer>Matting>Defringe; with a
setting of about ten pixels, this will
remove any unwanted edges. This tool
can also be used when you have an
extracted image, such as a model
extracted from a background.
“There are so
many options in
creating artwork
where using 3D
renders improves 9 Adding 3D renders
Open the folder on the CD named Render
the effects of the and drag the file ‘mini.png’ into your document
and place it somewhere around the left-hand
image, as well as shoulder. Name this layer ‘render’, switch the
an abundance of blending mode to Overlay and use the Free

Transform command again to make the fit more
3D resources all suitable. This can be done multiple times. Once
again, be creative and experiment with different
over the web” sizes and blending modes of the layers.
58
Advanced Photoshop

“Color Balance
is a powerful
10 Adding details
For the next step, again some time has been saved and
included on the CD is a PSD file named ‘silhouette.psd’. Open this file
11 Details and colour
With the Custom Shapes tool, choose
the hair shape used previously. Choose a dark
tool that can and drag it onto your image behind everything else and begin scaling
it down, duplicating, flipping and rotating until you are happy with the
red as your Foreground Color and create a new
layer, selecting Fill Pixels in the Options bar. Start
give your image added effects. Go to Layer>Layer Style>Color Overlay, choose a dark
red (‘a20101’) and apply it to one of your silhouettes to start bringing
placing shapes around your image, changing
the blending modes of the layers to Multiply
the overall some colour into your image. and Overlay. Name the layer ‘hair brush’ and
blended look bring some layers above the model to produce

a broken effect to her limbs and other parts.
and a more
majestic feel to
the colours”
12 Skin highlight
Go to Layer>New Adjustment
Layer>Selective Color. Choose White for the
Colors option and bring the black slider down
to -20%. Next, bring the Opacity value of the
13
layer to around 50%, just to retain some of the
original tones. This will give some nice Adding contrast
highlights to your white areas. Once again we will add another
14
adjustment layer. Go to Layer>New Adjustment
Layer>Black and White, choose a Preset of High Colour correction
Contrast Blue Filter, switch the blending mode Go to Layer>New Adjustment
of this layer to Soft Light and drop the Opacity Layer>Color Balance, and under Midtones put in
of the layer to 37%. Keep in mind that these are these settings: +25, 0, -15. Leave the blending
merely guidelines and you can adjust the mode to Normal with no changes to the
settings to whatever you might like. Opacity. Color Balance is a powerful tool that
can give your image the overall blended look
and a more majestic feel to the colours.
16 Added extras
15
Go a bit further by placing some typography around your
Retouching image. The font here was created by mindriders (http://mindriders.
Extra attention to all areas is what we deviantart.com/art/MDRS-FD01-112592193/). If you duplicate your
need to do here. The face needs some obvious entire image, flatten it all to one layer and drag it onto your image,
work on the eyes and lips. Using your Burn tool reducing the scale to around 15% (switching the blending mode to
set to Midtones and Exposure around 40%, Multiply). You can place a small version of your artwork onto your large
begin to darken the lids of her eyes and parts of version and give the effect of a little conscience resting on her shoulder.
her lips, even some of the shadow areas around
her cheeks and pretty much wherever you feel
it might be needed around the whole image.
Then you can switch to the Dodge tool set to
Highlights and about 35-50%. Begin giving
highlights to areas such as the centre of her
eyelids, parts of her lips and anywhere it might
be needed. Add extra layers and, in Soft Light
mode, add some colour to her hair and the lips
to add a personal touch to your image.
59
Advanced Photoshop

Step-by-step
Workshop
CREATE A TIME-
LAPSE ANIMATION
Master the art of turning a sequence of images into a dynamic stop-motion movie using Photoshop
S
ometimes, one image just isn’t First, decide what you want to photograph.
ON THE DISC
enough to tell the whole story. Time- It needs to be something that will undergo
This animation was created lapse photography lets you take many some change during the time that you’re
using over 300 photos, so they
images from the same spot, recording events photographing it, be it a busy street scene, a
are not available on the disc.
However, you can see the final as they unfold over an extended period of germinating seed, a flower opening, snails
animation to see the final result time, which you later string together to create moving across a surface or a sunset. Events that
in action.
a dynamic animation that condenses the take longer – say, a tree growing or a
action, speeding up the whole affair. pregnancy, for example – will require shots at
OUR EXPERT Josie Reavely
There’s nothing too complicated about less frequent intervals than something that
Reviews editor for Digital Photographer, Josie regularly
time-lapse photography – it’s simply a series happens in a matter of minutes. In addition,
writes for a range of technical magazines, including
Digital Camera Essentials, Advanced Photoshop, of shots taken at regular intervals from the shots taken at more frequent intervals will
Photoshop Creative and iCreate. See her latest photos at same spot, but a bit of quick maths will help to result in a smoother animation, so take into
www.dphotographer.co.uk/user/Josie Reavely.
streamline the process and ensure the best account how you want your movie to look
possible results. You’ll need to mount your when planning the intervals at which you want
camera on a tripod or ensure it stays in the your camera to fire. Once you’ve got your shots,
same place, resting on another stable surface, it’s time to open them up in Photoshop and get
for the duration of your shoot. to work on your animation.
60
Advanced Photoshop
060-061_AVP_60_TImelapseWS.indd 60 23/7/09 16:42:46

1 Record a new Action
The first few steps here are optional – omit
the image adjustment stage if you’re happy with
2 Adjust the Levels
Open the Levels dialog box (Image>Adjustments>Levels) and
either use the Auto command to make any necessary adjustments or
Taking time-
lapse shots
your images. Otherwise, click Create New Action use the histogram to apply changes manually for greater control. Click
to begin and give it a name. We’ll record a few Image>Adjustments>Color Balance and use the sliders to make Regular movies play at roughly 24fps, so to
tweaks into this Action and use the Batch Process corrections for any colour casts, ensuring Preserve Luminosity is ticked. achieve a similar look, you need to
facility to automatically process all of our files multiply 24 by the number of minutes you
want your animation to last in order to
figure out the number of shots you need
to take. To calculate the interval at which
you’ll need to shoot, divide the time you
expect your event to last (in seconds) by
the number of shots you need to take.
Now you have pretty good idea of what
you need to do and when, it’s time to set
up your camera to shoot. Some cameras
have a built-in time-lapse mode; if yours
does, then all you need to do is tell it how
many shots you want it to take and how
often – easy! If not, you’ll either need to
3
trigger the camera manually (we
Sharpen up
recommend using a remote shutter release
Click Filter>Sharpen>Unsharp Mask to
to minimise camera shake) or invest in
4
open the Unsharp Mask dialog box, and adjust another method of triggering your
the sliders to apply the desired amount of Open in Animator camera. Some software can be used to
sharpening. Be careful to avoid oversharpening Now click Open, select the first file in your control your camera but you’ll need to
and introducing a halo effect in your image (use Time Lapse folder and tick Image Sequence, shoot tethered to a computer, or you can
a Radius value of 1-2). Click Stop in the Action before again clicking Open. Photoshop will purchase an intervalometer, which tells
recording box, and close your image without open all of your files simultaneously, stringing your camera when to fire the shutter.
saving it. Click Automate>Batch and select your them into an animation, with a timeline at the Make sure you’ve set your camera to
source and destination folders for your images, bottom of the screen. record JPEGs – you don’t want to have to
edit hundred of RAW files – and set the
selecting the Action you’ve just recorded, and
white balance and exposure manually to
leave Photoshop to process your images.
maintain consistency in your animation,
then fire away!
5 Clean up
At this point, if you have any artefacts (like
the dust spots in our images) to clean up, click
6 Enjoy
You can either leave it at that – save your animation as a PSD for
future reference – or resize it, depending on your intended output.
Create New Layer and use the Clone Stamp or Leaving it at its full size generates a large file that looks incredible played
Spot Healing Brush to clean up your artefact, on high-definition TVs, but if you’re posting it on the web then use the
making sure Sample All Layers is selected. Grab Save for Web command to create a smaller file and generate an
the Current Time Frame slider and drag it to the animated GIF or a video using the Export…>Render Video command.
right to see the edit applied to all frames.
61
Advanced Photoshop
060-061_AVP_60_TImelapseWS.indd 61 23/7/09 16:43:19

insight
“This
Figment:
piece was a
e effort
collaborativ
e
with Angi. Sh
provided a
collage,
handmade
anned
which was sc
to
and taken in es
Piec
Photoshop.
t,
were cut ou
d
duplicated an
es
blending mod e
wer
and options
e it
used to mak
ed
surreal. I play
stock
with various
d
art images an
e
type to get th
nce”
proper bala
62
Advanced Photoshop
062-063_AVP_60_Insight3.indd 62 23/7/09 16:46:09

W
“Created hat you th
as ink
Amber Lo a greeting card on grows:
tus. Anti for the p
and arc q u e m e ublisher
dicina
combin hitectural illust l, botanical
ed to cre rations w
ate this
surreal v ere
ision”
If wishes were wings: “Stock origami was

used to create a surreal atmosphere. The boat is a
modified stock photo and the man’s silhouette was
added with the Wacom tablet”
Silas Toball
Website: www.duirwaigh.com
Job role: Partner, Duirwaigh Studios In Flight: “Th
is
emerged in
Silas Toball is one half of the mystical and fantastical Duirwaigh Studios, a collaboration
with Angi. She
perfect role for the man who grew up fascinated by space, fairy tales and provided a
design. Toball graduated from a graphic design school in 1995 before handmade
launching his own web and print design company. “I had a lot of clients, not collage, which
then was taken
I
only because my designs were innovative and eye-catching, but also because into Photoshop.
there wasn’t a great deal of competition,” he says of that endeavour at a time duplicated
elements, layering
when the internet was still young. However, times changed, as he elaborates: ys
them in new wa
“In 2001, after the internet bubble burst, effectively shrinking Germany’s with blending
design market by half, I closed my offices and moved to the United States in modes and
,
blending options
search of bigger ponds of opportunity. After coming to the States I met Angi adding odd bits
of
Sullins, president of Duirwaigh Gallery, a mythopoeic artist agency.” parchment and
This was a real turning point for Toball, as he explains: “We began paint splatters for
the texture”
collaborating on design, music and poetry, which gave birth to the film A
Knock at the Door. Since 2004 it’s been seen by over four million viewers and
has now been released as a book and DVD. But the most exciting thing to
come out of our collaboration – aside from our marriage – is the birth of
Duirwaigh Studios, our transmedia art company specialising in products and
services that inspire creative consciousness.”
Photoshop plays a key part in Toball’s work: “Photoshop is a general hub for
me. From doodling and making ideas down to print-ready PDFs, it is the centre
point of all visual computer-aided creation. I am very fond of working with
many layers and utilising blending modes and options extensively. Working
with 150 layers in one project is not a rare thing.”
63
Advanced Photoshop
062-063_AVP_60_Insight3.indd 63 23/7/09 16:47:32

Q&A
Helpdesk
Our expert Kirk Nelson
Kirk has been a graphic artist for over 11 years
in the Washington DC Metro area. He writes
tutorials for our sister publication Photoshop
Creative, and opens letters, checks emails and
hangs around the AP forum online, all for the
good of our Helpdesk. If you’re having
quibbles with Photoshop, Kirk’s your man with
the plan!
Send us your Photoshop puzzles, your pixel perplexities, your creative conundrums
and your colour mode mysteries. Our Helpdesk expert is on the case!
Problematic pastings
Q Dear Helpdesk. First of all, let me congratulate
you on such a fine magazine that you folks
put together. I am constantly impressed by
the quality of work found on your pages, so I knew this
Path confusion: Hey! You
got paths in my text! You got text in
my paths!
would be the perfect place to ask an odd Photoshop

question. Occasionally, I run into a bothersome quirk
while working in Photoshop. I tend to have to use several
documents at once and do a lot of copying and pasting
from one document to another. Sometimes Photoshop
doesn’t seem to paste what I know is in the clipboard;
instead, it pastes from a previous copy. The only solution I
tip
have found is to restart Photoshop, which is hardly
convenient. Is there a better fix that doesn’t interrupt my
workflow so drastically?
Quick g with ,
workin act
Greg Cho When Add, Subtr
hs, t h e xclude
Pat E
t and t as
A
r se c
Hi Greg! Thanks for the kudos on the magazine; Inte s can
ac
mode our
we do try to make it as attractive, inspirational to sh ape y
le an s
Boo oint
and informative for our readers as we can. It’s path p
always good to know that our work is appreciated.
As for your pasting perplexity, your clipboard
A
conundrum can be resolved with a simple but rarely to a temporary file that serves as your clipboard. This file ‘Helpdesk hero’? I like that, Nathan, it’s catchy.
referenced command. But first, let’s talk for a bit about also houses the history of your files, 20 steps by default. So You are correct in that most logo design work
what’s going on. Every time you copy something, it goes if you’ve got a dozen open files with 20 history states is done in Illustrator because the toolset is
stored up, plus you are copying like crazy, you can see much more suited for intricate vector work. But that
how this file can get cluttered up pretty quickly. This temp doesn’t mean Photoshop can’t handle the job! Go to
file is usually self-regulating in that it clears itself out from Layer>Type>Convert to Shape and Photoshop turns your
time to time, but sometimes it can get overloaded. That’s text into a vector shape layer with fully editable points
when it’s time to do a bit of house cleaning. Go to and everything. Bearing in mind you won’t be able to edit
Edit>Purge>All (or select one of the other available the text as type any more, you’ll probably want to make a
options to clear only a portion of the file). This should copy of the text layer first.
make things right with your copy‘n’pasting world.
Drag layers between tabs
Q
Text shapes Hey there Advanced Photoshop Helpdesk
Q
Hi there Helpdesk hero! Perhaps you can guru, I’m hoping you might help me with this.
clear up something I’ve been wondering I finally rounded up enough cash to upgrade
about. I see a lot of logo designs that make to CS4 and I’m still getting used to some of the interface
shapes and pictures out of text. Can these be done in changes. The tabbed layouts are particularly frustrating
Photoshop? Can text be manipulated like that? I’ve only to me at the moment. I can’t figure out how to drag a
ever been able to do basic transformations, like scale and layer from one document to another.
rotate. I don’t see how to edit the curves and corners. I’m Georgia Harrison
guessing this type of thing is probably done in Illustrator,
A
but I figured I would check to see if you know of a way to Congratulations on your upgrade, Georgia! I’m
do it in Photoshop. proud of you. It can be scary taking a plunge
get rid of it: Correct copy-and-paste anomalies with
the Purge command Nathaniel Corelli like that, especially with significant feature
Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.
64
Advanced Photoshop
064-067_AVP_60_Helpdesk.indd 64 23/7/09 16:49:16

Curves for a photo effect
the panel footer, then you get a Duplicate Layer dialog

Q Hello, I use a Mac and Photoshop CS3. I am
pretty experienced in Photoshop, but
recently I have had trouble accomplishing
a look similar to film. I just love the vintage/film look
box that allows you to specify the destination document. in the photograph. I’ve seen several examples on
Flickr and I would like to achieve this look only using
curves. I have messed around in Curves, but can’t
Best advice? seem to achieve this. It would really help me if you
Q Okay, Mr Photoshop Helpdesk. You spend

your days answering questions and dishing
out Photoshop advice to all who ask. So, I have
gave me some direction.
Luke Smithers
A
to ask, what’s the best Photoshop advice anybody has In the effect you referenced, the image
ever given to you? appears cold and overexposed. Bear in
Phillip Adams mind that while tinkering you’ll want to
make sure the image has a slight colour cast in the
A
What a curious question, Phil, but I should cooler palette and the highlights almost overblown.
1
point out that I dispense Photoshop advice to
even those who don’t ask. I just go about my Working in the Lab
day carrying on about layers and filter and endlessly First, begin by converting the image to Lab
muttering about histograms. Drives my family crazy. Colour (Image>Mode>Lab Colour) and add a Curves
But what’s the best advice I’ve ever received? It would adjustment layer. On the Lightness adjustment
have to be when a wise old graphics artist told me to curve, add two points to create an upwards arch.
“always stay hungry”. I didn’t quite get it at first and wrote This will give the image the slight overexposed
DUPLICATE AND SEPARATE: Use the Duplicate Layer appearance you are looking for.
box to take layers from the panel to a separate document him off as an old kook who skipped lunch, but now I
understand what he meant. Don’t be satisfied with what
changes like in CS4. The tabbed documents are just one you know, always chase after more. Don’t just play to your
of the many things you’ll need to get accustomed to. As strengths, seek out your weaknesses and build them up
for dragging the layers between documents, I’m sure to be a new strength. Stay on top of new techniques,
you’ve probably figured out that arranging both features and releases. Immerse yourself in Photoshop
document windows to be visible and simply dragging daily, read blogs on it, buy magazines about it, set aside
from one to the other is the most straightforward method. time to experiment and learn new things. Don’t lose the
But the default tab arrangement shows just one hunger to learn more. And the great thing is that, even
document at a time, so what do you do then? You drag now, years later, I find that there’s still more to learn
2
the layer up to the tab of the target document, then you every day.
have to say ‘Adobe-Cadabra’ and magically Photoshop will Adjustment A
switch the view to that document and you can drag the Switch to the A adjustment curve to edit the
layer down and drop it on the canvas. Seriously now, you “Go to the Channels red and green hues. Add a point to the centre of the
actually have to wait a moment with the mouse button
down to get the view to switch.
panel and begin your curve. Next, add points halfway above and below,
and pull them to form a slight S-shaped curve. Add
So what about dragging from the Layers panel? You painting. Watch in additional points as needed.
amazement as the
can’t. Well, not directly anyway. Dragging from the Layers
panel to a tab does exactly nothing, no matter how long
you wait or what magical incantation you mutter (yes, I’ve
tried them all). But if you hold down the Alt key (or Opt
other view updates to
key on a Mac) and drag the layer to the New Layer icon in reflect the changes”
Tool tip
3
The ability to work with individual channels in document. Arrange these in the two-up layout. Be
Photoshop is an immensely useful and powerful aware that this does not create a copy of the Adjustment B
feature. One of the main drawbacks is that it document. It is simply another view. In one of the Adjust the B curve in a similar manner. This will
can be difficult to see the results of your application windows, go to the Channels panel and begin your alter the blue and yellow tones of the image. You will
without switching windows. For example, if painting. Watch in amazement as the other view need to experiment with the curve shape, as each
you have the need to paint in a specific colour updates to reflect the changes. image is different and will require different settings.
channel, you often want to click on the channel to Because we used an adjustment layer, that’s easy!
view it as a greyscale image. But then, as you paint,
you can’t see the effects on the composite image
without clicking back on that channel. Constantly
switching back and forth is inefficient and a huge
waste of time.
Go to Arrange Documents>New Window. This
will generate a new view window of the current
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
65
Advanced Photoshop

Q&A
Multidirectional shadows
Q
Technique tip Dear Helpdesk, I’ve been studying light and
shadows and how to incorporate them both
realistically into my artwork. I’ve come to the
Spend any amount of time developing designs in conclusion that the Drop Shadow layer style isn’t very
Photoshop and you will eventually come to the realistic in many cases. For example, imagine a light bulb
conclusion that Photoshop is a memory hog. The
in front of a brick wall. The shadows from the bricks
file sizes can be enormous, especially if you design
would all be facing away from the bulb, not just down
anything at a resolution intended for print. When
your file sizes creep up, your system performance and right, but this doesn’t seem possible with the Drop
slides down. If you try executing any complex Shadow layer style. Is there anyway to have shadows
filters, intensive vector work or even great going in multiple directions?
amounts of text, you may find your workflow Christopher Wilkins LAYER STYLES AND SHAPES: How to clean the sticky
come grinding to a crawl. stuff from your layer styles
A
The obvious solution is to increase your Good for you, Chris, you’ve outgrown the
system’s capability. More RAM, more hard drive default Layer Style settings. That’s like taking saved selection as the Texture Channel. Adjust the settings
space, faster processor. But this can be pricey and the training wheels off your bicycle. to taste and watch how the filter allows the light to create
time-consuming. You have a budget and
You are right to recognise the shortcomings of the shadows that radiate out from the light source, giving you
deadlines, so you need a better option.
Drop Shadow layer style: it’s unidirectional and that simply a much more realistic result.
A common practice among professional
Photoshop artists is to use several construction won’t do for radiating light. But there’s a filter built into
files for developing individual elements that are Photoshop that is quite handy in this regard. That’s the
then assembled in the final design as flattened appropriately named Lighting Effects filter (found under Sticky styles
layers. This spreads the required file sizes out
among multiple files and is more forgiving on
your system.
Filter>Render>Lighting Effects), which can be overused,
but when controlled correctly, you can get the effect that
you’re looking for.
Before launching the Lighting Effects filter, be sure to
Q Hey Helpdesk. Whenever I assign a layer style
to a shape, every other shape I draw
automatically uses this same layer style,
whether I want it to or not. It’s very annoying. How do I
create a selection around the bricks excluding the mortar. make it stop!?
Save this selection and then launch the Lighting Effects Satish Magowli
filter. Near the bottom of the dialog box, designate your
A
Adobe likes to claim this little gem is a feature,
not a flaw. It’s like putting your hand in some
sticky substance and then everything you
touch afterwards becomes sticky, too. Yuck. In my opinion,
stickiness should be intentionally designated, not the
default state.
To make a new shape behave, there’s a couple of
different methods you can use in the Options bar at the
top of the workspace. The first is to right-click (Ctrl-click on
WORKFLOW TIP: Use multiple construction files to a Mac) on the tool icon to the left of Options bar and
create an efficient workflow with a manageable file size DIRECTIONAL LIGHTING: The Lighting Effects filter
will create shadows appropriate to light positioning select Reset Tool from the pop-up menu.
Realistic soap bubbles

1 Lens Flare trick
2 Coloured clouds
Q I’ve seen several different explanations for First, begin with a square file filled with black. Go Use the Threshold adjustment to give a tight star
how to create realistic soap bubbles in to Filter>Render>Lens Flare and put the flare in the top field and then go to Filter>Blur>Radial Blur with Amount
Photoshop, but none of them really look left quad of the canvas. Then go to Filter>Distort>Polar set to 1,005, Method set to Zoom and Quality at Best.
believable. So I figured I’d ask my favourite Helpdesk Coordinates to turn the flare into a bubble reflection. Put Duplicate the layer and set the duplicate blending mode
writer to take a shot at it, too. What would you do to this layer over your image and change the blending to Linear Dodge (Add). Keep creating duplicates until
create a convincing soap bubble? mode to Linear Dodge. Repeat for a second reflection. you start to get a strong hyperspace effect.
Sarah Summerton
A
Sarah, the key to a good soap bubble
illustration is in the final details often
neglected. If you’ve been looking into
making a bubble, I’m going to assume you’ve gotten
the round shape with bright highlights at opposite
ends (hint: use a Fill set to 0%, then use Bevel and
Emboss and Satin layer styles with high settings). So
we’ll just start there and add some critical details in
these three steps.
Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.
66
Advanced Photoshop

CS4
ud aincak tdiop spotlight
Q
Nee
ngle
val
your Adjustments panel
te
n? Crea o to
selectio th en g One of the more interesting changes for CS4 was
and
ellipse rm putting the adjustment layer controls into a
Transfo it
Select> rotate panel instead of a dialog box. At first glance, this
n to
Selectio appears to be little more than a cosmetic change
and not particularly important. Some have even
resisted this relocation, as it requires some habit
retraining after years of instinctively looking for
a pop-up box.
But look closer and you will see that Adobe
put a lot of thought into this one. By simply
changing the residence of these controls, it has
actually introduced new functionality. But it’s
not immediately obvious until you start really
working with the new Adjustments panel.
Previously, when the controls were open in a
dialog box, the rest of Photoshop was
GLOW IN THE DARK: Black light effects. It’s all unavailable. You had to finish up your
about the Hue/Saturation adjustment layers
adjustment and hit OK or Cancel to get back to
the main interface. Now those controls are
The other option is to look to the right of the Options look like it was in a room with a black light, complete with readily available at any moment (except when
bar, find the Style drop-down menu and select Default the fun glowing fluorescent colours and all. Any tips on another dialog box is open). So you can begin
Style (None). When creating a shape, if you don’t want the how to accomplish this effectively? adjusting your Hue slider, then run a filter,
style to be copied, deselect the chain link icon next to the Danielle Vertrosi maybe add a few layers or even do some
Style drop-down menu. Now you can create shapes and painting, and still be able to immediately make
A
apply the layer styles that you want to them, rather than Danielle, the key to achieving this groovy retro adjustments to the Saturation slider. By
letting Adobe make your mind up for you! effect is with adjustment layers, adjustment incorporating the controls into the panel
layers and more adjustment layers – that’s really interface, the adjustments are no more intrusive
all there is to it, it’s just knowing which to apply and in than regular layer operations.
Fantastic fluorescents what order! This also brings about the ability for a fun new
Q
First of all, let me say thanks for the great Begin by creating selections for the individual elements feature in the Hue/Saturation, Curves and Black
magazine. It’s always one I pick up at the you wish to glow in your image. Copy these onto their and White adjustments. There’s a little pointed
newsstand and am never disappointed. own layers, a layer for each colour you wish to produce. finger icon that allows you to make the
Excellent work! Then add a Hue/Saturation adjustment layer from the adjustments on the image by clicking and
Hopefully, you’ll be able to help me out with a little adjustment layer options to the original background. dragging over the area you wish to adjust. This
problem that I am having. I’m trying to make an image Tick the Colorize box and turn it a deep blue in colour. method is much more intuitive than the slider
Change the blending mode for this layer to Multiply for a bars or histogram curves.
3
deeper effect. Next, create Hue/Saturation adjustment
HANDY
Final touches layers for each cutout layer you created and intensify the PANEL: Say
Run the Liquify filter and push the colours Saturation immensely while adjusting the Hue as needed. goodbye to the
dialog box, as
around to get a fluid swirled appearance. Go to Be sure each of these layers are clipped to the cutout layer adjustment
layer controls
Filter>Distort>Spherize with Amount set to 100%. being adjusted. Don’t go too far with your colours, are now in
Create a round selection and copy the colour layer to otherwise your image will look blotchy and fake; a panel
your image, setting the mode to Linear Dodge. Use a experiment until you find the right values for your image.
layer mask to specify the transparency of the swirls.
PRESET
“The key to achieving ACTION: The
main
this groovy retro effect Adjustment

panel menu
allows quick
is with adjustment access to
Adjustment
layers, adjustment Presets
layers and more CLICK AND

adjustment layers – DRAG:
On-image
adjustments
that’s all there is to it” by clicking and
dragging right
on the image,
not on a slider
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
67
Advanced Photoshop

I N D U S T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S
INDUSTRY
INDUSTRIAL
SPACE SUIT:
Savage says that
fundamental
drawing skills are
key even in digital
concept art
© MATT SAVAGE
An interview with…
MATTHEW SAVAGE
With enviable jobs in TV and film, the freelance concept artist and storyboard artist
shares his thoughts on dream jobs, Photoshop and fundamental art skills
M
att Savage has worked for a graduating in 2002, I realised that cinema was my
huge list of film and television real passion and decided to chase a career in the
companies, creating concept film industry. When working on a film or TV
artwork for such popular films as Batman production, I work within the art department for
Begins and the long-running BBC series the production designer. Depending on the job, I
Doctor Who, for which he is currently work on tasks as varied as prop and weapon
About the working on the eagerly awaited fifth ‘new’ design, set and environment visuals or costume
insider series. Advanced Photoshop grabbed him
during a few minutes break from work. He tells
and creature design
Job Concept designer/
storyboard artist us how he landed these jobs and his advice for Advanced Photoshop: What has been your
Clients Warner Bros, Universal, the future generation of concept artists. favourite commission to date?
Disney, Sony, Aardman
Animations, BBC and FCUK Matt Savage: Working on the redesign of the
Website www.mattsav.co.uk Advanced Photoshop: Hi Matt, thanks for Daleks for their return to Doctor Who was a huge
Biography Matt works as a stopping to speak to us. We know you’re a busy deal to me and a real privilege to be involved
freelance concept and
storyboard artist
man! Can you tell us where it all began for you with. I remember quite clearly being told off for
predominantly in the film and in the journey to becoming a concept artist? drawing Daleks when I was in school and being
television industry. His film and Matt Savage: After art school, I did a degree in told you can’t do that kind of thing for a job. Just
TV credits include Batman
Begins, The Dark Knight, Doctor Multimedia and Product Design. After goes to show what teachers know.
Who and the forthcoming
Prince of Persia, The Wolf Man
and Kick-Ass
Inside guide to everything

that you need to know to
make it as a professional
digital artist, including
university and college
courses, industry advice
and interviews with pros
» Pg 72 ..................Getting your first job INT. COCKPIT DESIGN:
» Pg 78 .............................Uni focus special After graduating, Savage
» Pg 82...........................................Career focus realised that his passion
lay in creating art for
cinema and TV
© MATT SAVAGE
70
Advanced Photoshop
070-071_AVP_60_IndustryIntro.ind70 70 24/7/09 12:16:22

INTERVIEW
“I remember being told off for

drawing Daleks when I was in
school and being told you can’t
do that kind of thing for a job”
INT. SHIP CORRIDOR: Savage starts most of his work
Advanced Photoshop: What would be your advice for
with a pen and paper sketch, which is scanned into
Photoshop for colouring and working up artists hoping to follow in your footsteps?
© MATT SAVAGE Matt Savage: Never underestimate the value of
good fundamentals; life drawing, lighting, colour
Advanced Photoshop: If you could have any job in theory, the skills will always serve you well. Also, speed
your industry, what would be your dream employment painting and rapidly turning out loose visuals is a real skill
or commission? when working on any production, as your clients will
Matt Savage: Pretty much any job where I get to draw always rather you show them five to six unfinished rough
for a living. Doctor Who was a bit of a dream job, as I loved ideas as opposed to one beautifully finished drawing. In
the show when I was growing up. Having worked on two terms of putting yourself out there and getting industry
DC Comics movies, I would love to work on a Marvel jobs, the best piece of advice is not to give up. These
movie, like Iron Man or Spider-man. I was always more into things take time, especially getting that all-important
Marvel than DC when I was a kid. first job. Be willing to go and make tea and coffee for a
week or two on a movie or for a studio to gain some
Advanced Photoshop: Do you have any current experience and make some contacts, and be sure to take
projects you’re working on at the moment that you can your portfolio along.
talk about?
Matt Savage: I’m currently storyboarding series five of
Doctor Who for the BBC, drawing up concepts for a
forthcoming Aardman Animations CGI feature, as well as
prepping, designing and storyboarding a short film that I
am directing over the summer. Coming from my art
department background, it’s quite a design- and VFX-
heavy project and should be a lot of fun.
Advanced Photoshop: What techniques do you use

to create your images? Where does Photoshop come into
the equation?
Matt Savage: I still feel I have more control over a pen
and piece of paper, so I always do my early sketching in a
sketchbook and then scan when I’m ready to colour.
Alternatively, when working on a set I might build a 3D
model based on plans and elevation given to me by the
art director, and use an exported line art image of the
model as my base.
From here I will do a first pass, normally in greyscale, DALEK EMPEROR DESIGN: Savage was told off at
to identify all the light sources and shadows. Following school for drawing Daleks, but he has gone on to make
that I will go on to add colour and highlights, and add a career where he gets to do just that!
© MATT SAVAGE
textures as new layers set to Multiply. I made the switch
from marker pens to Photoshop in 2003 after doing a
FIRESTARTER CHARACTER DESIGN: Depending on the
work placement on a movie and I saw how quickly
job, Savage can be asked to design anything from
the concept artists used Photoshop to digitally paint vehicles to characters and costumes
their work. © MATT SAVAGE
71
Advanced Photoshop
070-071_AVP_60_IndustryIntro.ind71 71 24/7/09 12:17:02

INDUSTRY Getting your first job
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S
Your in-depth guide to…

GETTING YOUR
FIRST JOB If you think graduating from uni was the hard part, think again. Unemployment is on the rise
and the chances of finding a job fresh out of campus are slim. So avoid becoming another
statistic and prepare yourself for the world of work with our guide to getting your first job
F
or many, graduating will be the proudest moment of their Michael Smith (www.behance.net/anothersmith), a graduate of
lives so far, but this exhilarating hedonism may be short- General Illustration at Swansea Metropolitan University, decided
lived when they starting trawling the internet for jobs. It freelance wasn’t for him: “I prefer studio work, as you have a
doesn’t take a genius to do the maths; continuing economic constant workflow and you can get help and input from other
downtown, rising unemployment and an increased number of creatives. There’s also the big plus of not having to deal with all the
graduates pouring off campus equals little to no vacancies. However, tax forms and such you get with freelancing.”
there are a number of things graduates can do to rapidly increase Using websites that host job listings is a great move; try www.
their chances of success in an extremely competitive industry. If you designjobs.co.uk, www.indeed.com, www.creativepool.co.
are just about to graduate or are a graduate looking for your first job, uk, www.coroflot.com, http://graphicdesignblog.co.uk/
then this article will supply the building blocks you need, from jobs/, www.krop.com, www.monster.com, www.
helping you decipher what and where you want to be to where to careerbuilder.com or www.simplyhired.com. The
O fas fte ung are tio as t

YA a k a o n tra h in
look for vacant positions, along with preparing your CV and portfolio Guardian’s site (http://jobs.guardian.co.uk/
M s to rea he y hio llus yao Sa

GI le b . T fas s i M ):
ag ing et g on
as well as getting you through your first interview. jobs/graduate/) and Gumtree (www.
© mp ucky ting the rou e Gi OW
hio r s s na n
n m end tarl up
az in ot
sa r l a in e at L
gumtree.com) are two of the most
he radu cts num adu (BE

Pick your path popular sites where companies
g roje red gr RL
ine
p cu ins I
se art P G
You need to know what direction you want to go in, so the initial advertise for interns or employees.
M HO
“I prefer studio thing you’ll need to do is research. Tedious as this sounds, it is Also, keep an eye on sites like
S
actually really helpful for knowing how to market yourself and www.ifreelance.com and
work, as you knowing what you are going to sell about yourself. Define in a www.crowdspring.com
have a personal statement who you are, what you have learnt, what for opportunities for
experience you have and what you have got to offer – know your some freelance.
constant strengths as well as your weaknesses, and know what it is you
workflow and ultimately want to achieve in life.
The next aspect to consider is where you want to work. This could
you can get be home or abroad, in your current place of residence or elsewhere
help and input in the country. Another decision to make is choosing what type of
from other employment you want to invest in, and this may depend on your
working style, ambitions and personal preference – do you see
creatives” yourself in a small design studio, part of a large corporation or going
− Michael Smith solo as a freelancer? “Freelancing for me was a risky choice, as many
professionals don’t end up freelancing until they have had a number
of years’ experience under their belts,” confesses Ross Crawford
(www.ahoythere.org.uk), who graduated from UCA (University for
the Creative Arts) last year. “I had few contacts and little experience,
but I had a fuelled passion. My work was of a very high standard and
had received so much encouraging feedback that it seemed a
natural progression to want to do this on my own. In the middle of
my last year, I was focused on working for contemporary studios like
McFaul, ilovedust and Vault49. With freelance, you have more choice
with projects and the money is good, but there are many cons, so
you have to weigh them up and do what is right for you.”
72
Advanced Photoshop
072-077_AVP_60_FirstJobFeature.i72 72 24/7/09 12:19:07

AL yao gn a d h cess
F E AT U R E
M si an uc
EX gra nd as e sin
De 007 of s YAO
AN du Ma njo ce t
2 l M
D ate rket yed hen

de GI
ER d f in a
a
©
M rom g co grea
TIP
CQ a ur t
1
U Fas se in
EE hi
N on
:G
i
CASE STUDY:
UP TO DATE GRADUATE ADVICE
Keep your CV and portfolio
URL: www.gimyao.com
up to date and ready to
email off at the drop at a Gi Myao
hat, as you never know Young fashionista Gi
when fate will call
Myao talks to us about
setting the world of
womenswear
illustration alight
SA off, ient
pa to
id cl
FA con s w
Uni Central Saint Martins College of Art and Design
RI tin ho m
: F ua i
Course Fashion Design with Marketing
or lly gh ©
Gi se t w G
Duration 2004-2007
M nd an I M
ya in t
Speciality of design Commercial design (fashion)
o, g h to YA
pe er us O
Recent projects Illustration campaign for Zara
rsi w e it
ste or
Big break February 2008, illustrations for London
nc k
Fashion Week
e
Q. WHAT WAS THE FIRST THING YOU DID
WHEN YOU LEFT UNI?
A. I set up my own fashion label straight after I
graduated. After two months, I realised it takes a
lot more than a four-year fashion course to make
a success of it. Meanwhile, an established
magazine editor noticed my illustration portfolio
and strongly suggested I become a freelance
illustrator. So I went for it.
Q. WHERE DID YOU LOOK FOR JOBS?

A. I continually emailed samples of my work to
magazine directors, agents and book publishers.
Luckily, I received encouraging feedback and
managed to build from it.
Q. HOW LONG DID IT TAKE TO BE

SUCCESSFUL?
A. I emailed an agency called Anna
Goodson Management (www.agoodson.com)
and they were so impressed with my work
that they signed me straightaway. Since then,
AGM has been instrumental in securing work
ne
for me while handling the business aspects

of the commissions, leaving me to be
completely creative.
Q. HOW IMPORTANT IS A CV AND

PORTFOLIO?
ac tio too it t aft p
as stra so nd el et u
A. First and foremost, have a solid portfolio and

de ieve n, w a t ugh r
k o e
e h llu k, u lab s
sh on i rea ut fo ion yao
believe in your work. A CV needs to be accurate

al d hic urn
ere shi a b , b sh i M
and truthful, but always secondary to your work.

GI su re is
wh o fa get ting n fa L: G
© of a g h
M cce at
int to ua ow IR
YA ss
Q. HOW DO YOU PREPARE FOR INTERVIEWS?

ad er G
O
gr h ET
A. I research the client, know what it is looking

S
O
for and have confidence. My personal tips are

CL
always wear a suitable outfit, smile and have a

relaxed and humorous attitude.
TIP
2
COMPETITIONS
Nothing stands out more on your CV
than the label ‘Award Winner’ so get
entering into as many competitions as
you can. Ports of call should include
www.worth1001.com, www.dandad.
org, www.photoshopuserawards.com,
http://photoshopcontest.com/ and
http://features.cgsociety.org/
challenge/
73
Advanced Photoshop

CASE STUDY:
GRADUATE ADVICE
Zach Bush
URL: www.zachbush.com
PR 200 oje ca LA TIR

in n pr road F ER OT
AY 2 a cts d st
TIP
o r b LO SD
Graduating from
ER nd es
3
fo
: O has ign
Virginia’s Radford
© INA
lof sin ing

O
E
Er ce gra
University last year,
la w p
gr or hi
R
Bachelor of Fine Arts
ad ke cs
ua d
Zach Bush is already
ted
making waves in the
AGENTS
Not only will an agent get you
design arena work, but they also take care of
Uni Radford University all the pitching, haggling and
Course Bachelor of Fine Arts money chasing that goes along It is also worth attending one of the industry-recognised
Duration 2004-2008 with it. Check out national graduate exhibitions, like Free Range and D&AD New
Speciality of design Digital Illustration www.blackbook.com for
Big break Survival vs. Intelligence was a piece created for
Blood. Ross Crawford, who scooped two D&AD awards, explains
slashTHREE that really gave Bush a lot of exposure.
a full list of agents how he used this to his advantage: “I generated a lot of buzz and
hype about my work through interviews, meetings, graphic
Q. AFTER LEAVING UNI, HOW DID YOU GO publications, competitions, self-promotion and Free Range and
ABOUT FINDING A JOB?
A. I designed brochures, logos and websites in D&AD exhibitions. I had to make an impressionable stamp on the
order to show that I could do more than just industry, and this was achieved within the space of one month
make pretty pictures. with a lot of dedication. If you want to jump directly into a
freelance career, these steps are necessities.”
Q. WHERE DID YOU LOOK FOR JOBS?
A. Some of the main places I used were Indeed.
com, Coroflot.com, Krop.com, Monster.com, Research potential employers
CareerBuilder.com and SimplyHired.com. Once you’ve identified a handful of desirable job or placement
opportunities, it’s time to find out everything you can about them.
Q. WHICH WAS THE MOST USEFUL? Know what they do, how and why they were founded, who their
A. I found that Indeed.com worked the best for
me, as it collected design jobs from many other clients are, who is in control and know how you can benefit them.
job sites and for the location I wanted. It was an It’s prudent at this stage to gauge a rough idea of what graduate or
all-in-one package. entry-level salaries are in the field you are applying (and remember
to be specific about the location, as major cities will pay higher). If
Q. HOW DID YOU LAND YOUR FIRST JOB?
you find a company that isn’t currently recruiting, there is no harm
A. A friend of mine from high school saw that I
was looking for one, contacted me and said that in emailing or calling to enquire about potential opportunities.
the company he worked for was looking for a “Call up the company you are interested in working for and make
graphic designer and asked if I would be LONELINESS: Olof Erla recommends an appointment,” suggests Olof Erla. A 2002 graphic design
interested. I told him ‘yes’ and a couple of days researching the companies that you want
graduate from the Iceland Academy of the Arts (http://oloferla.
later his boss called me and asked me to come to work for and meeting with them
in for an interview. Around a week after the © OLOF ERLA EINARSDOTTIR daportfolio.com/), she has a healthy career designing graphics for
interview, he called and offered me the job and broadcast among other things. “Then you can show up with your
I accepted. personality, show off your work and see what the company is up to.“
Q. WHY DO YOU THINK YOU GOT THE JOB?

A. I believe it was my portfolio; not only did I
Perfect your portfolio
have illustrations to show, but I also had A picture expresses a thousand words and, to begin with,
brochures, logos, letterheads and websites. What employers are likely to only want to hear from your images at first.
I have learnt from talking with many different Knowing what to put in your portfolio is a challenge as
companies is that most of them seem to be sentimentality and subjectivity can often cloud judgement, but it is
looking for designers who can do pretty much
everything instead of just being skilled in one crucial to only select 10 to 12 pieces of your best, technically
specific program. perfect, eye-catching, thought-provoking work that reflect your
style but also illustrate a range of abilities. Put these together in
Q. WHAT SORT OF THINGS DO YOU DO TO bound form as well as packaging a PDF, which can be
PREPARE FOR AN INTERVIEW?
emailed along with your CV if requested in the ad, but
A. The first thing you need to do is clean yourself
up. Don’t go in looking like a tired bum. However remember, gigantic server-smashing PDFs are a no-no.
you are going to present yourself, make sure you An online gallery is another must, so check out
have everything organised and you know what www.squarespace.com, which hosts web
you are going to say. Finally, come up with galleries or blog sites for as little as $8 (£5) a
questions you want to ask the employer – they
usually like talking about their studios anyway. month. The easy format means users can
create stylish and simplistic websites
NA na rki la tir s
EI io o Ice ot d’
A nat is w for rsd lan
RS l TV ng o ndi is
with little hassle. Nowadays,

RL ew she ers ina t Ice
DO sh n a c
almost all employers vet

F E o n re, cov la E t a
TT ows
LO w o D Er en
O r t rm C of d
electronically to speed up
IR
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24/7/09 12:21:15
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WWW.DESIGN
DIRECTORY.COM
A fantastic search engine
cataloguing thousands of
design studios and
agencies across the world.
As well as a small blurb
about the company’s background, each listing and site have to stand out. The most memorable sites are
includes helpful details such as email addresses the ones that are simple to navigate and are stuffed with fantastic
to the year the organisations were founded. work. Forget complex and overengineered websites, as they want
to see your designs, not your coding skills. CD-ROMs used to be a
Placements and key promotional tool, but their temperamental nature now means
many studios don’t load them to avoid crashing their machines.
internships
Placements and internships are fast Create a good CV
becoming a prerequisite for employment As well as a smashing portfolio, you’ll need an attention-grabbing
in the design industry, as we find out covering letter/email and striking CV/résumé. The covering letter
should introduce who you are, why you are making contact, where
To be considered by employers, it is necessary to
show that you have had some degree of work you got the contact information from, what you are (student,
experience in the real world. “Placements, graduate, etc), which university and course you attend or have
placements and more placements,” replies Greg recently graduated from, why you want to work for that particular
Quinton, creative partner at top branding and firm and any other questions posed in the advert. Don’t be afraid
design firm The Partners (www.the-partners.
to inject some sparkle into this; where your CV offers the facts, this
com), when asked what the most essential thing
a graduate can do before or upon leaving is your chance to convey your personality. Sell yourself as an
university or college. “We have run a placement enthusiastic young designer, but be succinct. Address the letter or
scheme for about 15 years and it is the best way TIP email to the person listed in the ad and triple-check you’ve used
4
to find exciting new talent.” the correct spelling.
Securing a stint of work experience or an
internship will feed your CV, provide contacts A CV should be no more than two pages in length, but one is
and, if they like you, could be your first step into ideal. Cite any relevant work experience, qualifications, exposure
the industry, as graduate Michael Smith reveals:
“I got my first job after doing some free work
PORTFOLIO and computer programs you are accomplished in. “Ensure both
Your portfolio is a tangible product your CV and your portfolio are a good representation of you and
experience. It’s a great way of getting a taste for
of what you can do and who you your work,” instructs Alex Proud, director of Proud Galleries (www.
the industry and learning new skills. You may
even be offered a job at the end of it!” In fact, a are as an artist. Remember, less is proud.co.uk), a company that seeks design graduates and
lot of studios and firms now won’t employ more and just include your best interns. “Keep it concise and to the point. An employer does not
candidates without an intern period first, examples. Don’t squash the need to see every single piece of work you have completed from A
offering both parties the opportunity to ‘try images together – let each level to the present day. They need to see your best stuff. Make it
before they buy’. piece stand out by allowing long enough to show that you have substance but short enough
it some room
to breathe
76
Advanced Photoshop

F E AT U R E
AH o w t th pub d m uff wi D
wh oub hic st an r st ard FOR
O an at g lica os out nne
YT ts et ti t b th r R
d ap e ou aw W
TIP
H a fr ting ons en ere os

gr eap ng y od RA
ER ee y is ef ,” s s C
5
ch tti Blo C
E: lan ou the icia ays raw

ge ew SS
“I t ce r w qu l w D fo
N RO
hin ca or ic ay &A rd
©
k f ree k fe kest of D
or r, t atu ,
so he re
m re d
KILLER IDEAS
eo is in
ne no
You are one of thousands of graduates
leaving uni with a similar CASE STUDY:
understanding of design. Other than INDUSTRY ADVICE
your designs, the thing that will truly
Alex Proud
URL: www.proud.co.uk
make you stand out is your imagination.
Research the company you are
approaching and generate some
Director of London’s
fresh ideas and exciting concepts, Proud Galleries tells us
and be ready to discuss them what he looks for in
in an interview prospective graduate
employees
not to be boring. Get someone to proofread everything – this is so

important. We receive hundreds of CVs every week, and the Position Director
Company Proud Galleries
number of typos is phenomenal. If you are approaching an
employer for a job or an internship, there is absolutely no excuse Q. WHAT ADVICE CAN YOU GIVE TO JOB-
for bad grammar or spelling errors. SEEKING DESIGN GRADUATES?
If you haven’t heard anything after a couple of weeks, make a A. Experience is key. Students who are serious
about pursuing a career in graphic design should
polite phone call to enquire. If you have been unlucky or they are
have already undertaken as much work
not recruiting, be courteous, keep the contact name and email experience as possible prior to graduating. This,
address for future reference and stay in contact with the firm if this topped with an ability to demonstrate your
is encouraged by them. If you’re lucky and they request you attend skills, will stand you in good stead. You should be
an interview, make sure you are 100 per cent available on that day submerging yourself in your chosen field in any
way possible, so get as many personal and
and that you’ll have enough time to reach the venue. freelance projects going as you can. An
Research how to get there in plenty of time and have a backup internship is a fantastic way to see how what you
route in case bad traffic or an accident prevents things from going have learnt at university applies to the real
smoothly. Run a mock interview for practice purposes with the world. It gives you the opportunity to learn the
ropes, shadow a more experienced employee
uni’s career advisor or a friend. While it is ideal to prepare for
and get your foot in the door. At Proud, we offer
obvious questions such as ‘why do you want to work for us?’ or fantastic internship schemes, which have really
‘what are your weaknesses?’, you may want to consider field- served to open doors for the graduates who
specific and technical questions, too. Additionally, prepare a few have taken part.
sensible questions to ask the employer, for instance what AHOYTHERE SELF-PROMOTION: As
part of Ahoythere, Ross Crawford uses Q. HOW DO YOU ADVERTISE YOUR VACANT
opportunities are there for progression within the company? In POSITIONS?
promotional pieces like this image to help
addition to the salary, what benefits are provided? Do they help publicise the studio and its work A. We have a jobs section on our website that
with relocation costs? © ROSS CRAWFORD details all the opportunities we have. Another
First impressions are crucial, so get it right. The clothes you great place to look is the Guardian website,
which has an extensive arts and media section.
wear, the way you stand, your smile and eye contact all indicate
the type of person you are. Smart, clean and freshly pressed attire Q. DO YOU SPECIFICALLY LOOK FOR
is essential for an interview; it shows you are serious about being GRADUATES OR INTERNS?
considered. If you are travelling some distance, consider taking a A. We do. Many of our staff began as interns,
change of clothes and always carry an umbrella, hairbrush, make- and we think it is important for graduates to be
given the opportunity to gain experience.
up (if applicable) and deodorant. Get to the appointment 15-20 Now more than ever, the job market is really
minutes early, and upon arrival locate a toilet to check your tough; an internship can improve your CV,
appearance in the mirror. Don’t forget a hard copy of your enabling you to stand out in the eyes of a
AH ss C he ing rk WF
portfolio, CV and USB containing more images should the potential employer. It shows you are serious
Ro as t uat wo RA
O raw righ , bu for e OR
about what you want to do.

YT f t r t w ve D
w ad to C
interviewer want to see more examples of your work.

H ord out arn ryo
gr oing SS
ER d e s n
g RO
Upon meeting the interviewer, offer a strong handshake and Q. WHAT IS THE MOST CRUCIAL
E ecid for h tha e
©
G ed im t i
have the confidence to maintain eye contact; smile, don’t slouch CHARACTERISTIC OR SKILL SET THE
LA t
CE hat afte is no
and ooze enthusiasm. Keep your answers to the point but CANDIDATE SHOULD HAVE?
AU fre r t
don’t be afraid to go in-depth if prompted. Be conscious of A. Enthusiasm is an absolute must. Hard

PI elan
work, dedication and talent are all crucial. You

TC cin
speaking too fast or gesticulating too maniacally.

H g
need to know what you want and be determined

:
t
Remember, this is your chance to establish yourself to get it.

as an asset. End the interview on a positive note
and enquire as to when they will be making a Q. WHAT IS THE BIGGEST NO-NO WHEN
STARTING OUT?
decision. If you didn’t get the job, it is quite
A. This is a difficult one, but I would say being
acceptable to ask what their reason overly pushy is off-putting. Take your time to
was. If you’re offered the job on the learn how the company works. If you work hard
spot, don’t blurt out ‘yes’ right and do well, you will be noticed. There is a fine
away, as they will expect you line between trying hard and being too in-your-
face. Be determined but not cocky.
to take a little bit of time
in order to make
your decision.
77
Advanced Photoshop

INDUSTRY Uni focus
The best digital art courses and student artwork from around the world
Your guide to…

Picking the u
e
rsu p
right course
Co nd al
rou i e
ecu
s at r
p
fe
P
icking the right university course is a tough
decision, especially if you are into digital art and
design as there are so many paths that you can
choose to take. Should you study Illustration or Graphic “When looking at Illustration
Design, Digital Design or Computer Art? It’s a real
minefield, which is why we’re here to help. We’re going to courses, check what facilities
be taking at look at the most popular types of digital art the university offers its
course, what you’re going to learn and what kind of jobs
you can enter as a result. students, as it is a popular
Of course, each university varies their courses, so you and competitive industry”
might find that your chosen course differs slightly, but
hopefully we’ll make the initial decision of what path you
want to take your career down just that little bit easier. It corporate branding, etc. The best courses in Illustration
doesn’t matter where you are in the world or at what stage will offer the chance to specialise in one type of
TIP in life you’re entering university education, there is a course illustration later in the course, such as graphic novels or
1
out there that’s right for you. animation, two very different industry careers but both
with the same need to communicate a story visually.
When looking at Illustration courses, check what facilities
Illustration the university offers its students, as it is a popular and
Getting Illustration often comes in a number of guises, either as a competitive industry, so work experience, practical,
hands-on single general subject, a more specific subject (such as studio-based environments and a good push toward
Look at what Advertising Illustration or Illustration with Animation) or entering national and international competitions and
your chosen under a different guise completely (commonly Visual award schemes will help when you graduate.
course offers in Communications or similar). However, all of these have
terms of real- the same basic concept – using illustration to create a
world projects visual sense and communicating an idea to the Graphic Design
and work audience. Usually, Illustration courses look at both design Like Illustration, Graphic Design is an ever-popular
experience.
and more artistic avenues of illustration, so that graduates course, meaning that it can be more difficult to find
These things will
help you build a can enter into editorial illustration, book illustration, jobs as a graduate unless you are willing to put the hard
portfolio and get work in. Graphic design is used as a form of visual
work when communication to inform, educate, entertain or persuade
you graduate.
Course options an audience. This means that as well as being able to
create digital graphics that have impact, it is important to
University isn’t for everyone, but that doesn’t mean be able to understand the theory behind what you are
that there aren’t plenty of other courses out there creating – a good course will cover both the practical
that will expand your skill set and help improve application and the theory side of things. Often, part of a
your chances of landing competitive jobs and graphic designer’s brief is to find a visual solution to a
commissions. For example, you may be proficient problem, so look for courses with a good range of ‘live’
in Photoshop, but a short course in a 3D software briefs to give a real insight into what is expected in the
package or Illustrator might help you to become a industry for a headstart when it comes to getting a job.
more versatile artist. These courses can either be It is also important to be aware of the latest software
short on-location workshops, online structured
and hardware advances, as it is a fast-moving industry
programs or one-off lectures. Look on sites like
www.cgsociety.org and check out the workshops that requires you to be proficient in the latest technology.
that are run – it’s a simple way of honing your Graduates often go on to work for design consultancies
skills and improving your knowledge without and studios where an ability to think fast and create
having to leave the comfort of your home. good designs quickly for visual communication is
highly valued.
78
Advanced Photoshop
078-080_AVP_60_IndustryUniFocus.78 78 24/7/09 12:24:14

UNI FOCUS
Digital Design part of combined courses. It’s not uncommon to find

Digital Design is a broad title that encompasses a wide courses like Digital Art and Technology or Fine Art with TIP
2
range of different courses, but most often it is designed Digital Arts, which is great if you know exactly what you
for those wishing to enter interactive and new-media want to specialise in when you graduate. In these cases,
design after they leave university. The key element of any you will receive a practical and dedicated look at the
good course in this area is flexibility and adaptability, as
it is an area that is constantly evolving. The benefit of this
industries that you intend to enter. If, however, you are
still undecided about exactly which route you want to
Read
is that as more businesses move online and look at new take, then a more general Digital Arts course will let you
testimonials
ways to engage with audiences, there is a demand for get a feel for lots of different routes, letting you specialise Check the course
versatile designers able to think outside the box and in your final year. In these sorts of general courses, it is website for
quotes from past
deliver quality results in a flash. Studios and design worth looking for one that offers a work experience
students and
agencies are moving towards a trend in hiring multi- placement as part of the curriculum, as this will help you
even get in touch
skilled designers rather than those with one specialism, pick your specialism. Digital Arts courses also enable with them. They
so the ability to produce work for the web, TV, print, you to be more artist and creative than Digital Design have been there
interactive games, motion graphics, etc, is a real bonus. courses, and could land you a job as a digital artist, and done that, so
Expect to be looking for jobs in interactive design, game video artist, web designer, graphics artist or art director, they’re the best
design, graphics, animation and motion graphics. among other things. people to ask
about whether
the course is
Digital Arts Product Design right for you.
Similar to Digital Design courses in many ways, Digital There are plenty of individual specialisms within Product
Arts is often called by a number of different names or as Design as well as it being a standalone subject, so if you
know what you want to design, then you have the option
of choosing from Automotive, Electronic, Food, Sport or
Show off your course! Industrial Product Design as just some of the many
choices. The single subject course looks at creating
If you love your university course and want to commercial products that are well developed and show
show off your artwork at the same time, then an understanding of the market that they are intended
Advanced Photoshop’s Uni Focus pages are for for. These skills can then be applied across a whole
you. Each issue (back to normal from next issue), range of subject areas. As it is so commercially
we showcase the artwork of a student or group of orientated, you’ll find that many Product Design courses
students on a particular Photoshop-related course will be of the sandwich variety (where you have a year
and find out how their course has helped to
working in the industry in-between years of university
improve their artwork.
If you’re interested in the chance to show us study) or they will actively encourage you to find work
what you can do and big up your university at the experience. It is a demanding area to enter into and
same time, then send an email to adam.smith@ there tends to be two distinct paths that you can take
imagine-publishing.co.uk, with the subject line (many courses enable you to make this choice further
‘Uni Focus’. down the line) between a more technological avenue or
Please include low-res samples of artwork you a more aesthetic one.
have created on your course, as well as brief
information about the university you study at, what TIP
3
course you are doing, your website and your
university’s website and why your course should
be featured. We accept submissions from all over
the world, so if you’re a student anywhere, then
get in touch now! “It is worth looking for a Open days
course that offers work Most universities
and colleges will
experience as part of the have open days
curriculum, as this will help for you to go and
check out the
you pick your specialism” facilities for
yourself. Make
the most of these.
Have a good look
around and ask
lots of questions.
Featured in issue 57 of Advanced Photoshop
79
Advanced Photoshop

INDUSTRY Uni focus
The best digital art courses and student artwork from around the world
Animation
TIP Animation can be 2D or 3D, and you can pick a course that Course resources
4
covers one or the other or both from the outset. There are
options to specialise even further with courses like Fine Art
These website resources will help you to locate
Animation and Media Animation, but the more popular
the course that you are looking for
option is a general Animation course, as these tend to cover www.ucas.ac.uk
Do your all the key areas anyway, plus it’s a popular and competitive If you’re looking for
research industry, so it pays to be skilled in a number of areas. When courses in the UK,
Before you start looking for Animation courses, look for ones that have then UCAS is your
looking for industry links, as contacts will be key when you come to ultimate guide to
courses, research every course at
graduate. Also look at courses that offer visits to studios,
the job that you’d every university in
animation festivals, screenings and the like to help immerse
like to enter in the country. It’s
the long run and yourself in the industry. As it’s such a popular course option, simple to search
see what the there are some that really shine, with professional speakers by subject or by course code if you know it, with
recommended and a good reputation of producing animators who have links to further information on each course.
requirements and gone on to work in some of the best studios around the
skills are, which world – check out the university’s testimonials and look up www.hotcourses.
will help narrow how past students have done. General Animation courses com
down your course will cover 2D and 3D animation, stop-frame and CG work, This is another
selection. which is perfect for making a move into TV and film work, UK-based site that
as well as advertising. helps you to locate
full-time, part-time
and short courses
around the
Advertising Design country, as well as
Advertising Design looks specifically at creating designs home-study courses and evening classes, making
that sell products or services, meaning that you need to it the one-stop guide to finding your ideal course
have both the creative mind and technical ability to no matter what your needs.
produce work. As such, the best courses will have a real-
world focus, with live briefs, agency visits, work experience www.
and professional speakers. There is usually good
collegeboard.com
This is a great
encouragement to enter into national and international
site for finding
competitions. The course covers the practical aspects of colleges in the
working in advertising, such as working with clients, US, as you can
agencies, production companies and consumers, search by college
understanding the role of each person in the chain and name, major or
where the designer fits in. The course will also cover things even by career. For example, we looked up
like interpreting a brief, developing a portfolio and Graphic Designer and this gives you advice on
marketing. The final year of your course is likely to become what majors to study and other key skills that the
more tailored toward the precise area of the industry that job requires.
you wish to enter, which makes it the perfect pathway. www.
artinstitutes.edu
The official
website for The
Arts Institutes
Schools located
across America
“The best advertising courses and all dedicated
will have a real-world focus, to artistic subjects.
Use the website to find the best location for you or
with live briefs, agency visits, to explore the various areas of study offered, from
work experience and advertising to graphic design and much more.
professional speakers” www.saatchi-

gallery.co.uk/
artcolleges
If you’re looking
for more of a fine
art education, then
on the Saatchi
Gallery website
you can search for
art colleges and
schools from around the world, which makes it a
great one-stop shop.
80
Advanced Photoshop

INDUSTRY Career focus
Get the job you want with tailored advice from industry insiders
So you want to be a…
GREENS GIN: “The
task of designing
Greens gin was to
create a modern,
Packaging designer
bright and
recognisable product
that was completely
different from
anything that exists on
the market today. The
whole upper part is
made from high-
Packaging is everywhere, therefore its design needs to be eye-

quality plastic and is
attached to the bottle
with the help of a
catching, innovative and, above all, functional… sound like fixing latch”
© ARTHUR
SCHREIBER
something you might be interested in?
Introducing
F
irst impressions last, which is why packaging is so
important to the product itself; the design of the
the experts outer shell is one of the things its purchase could
Felix Lobelius
Felix is a Swedish designer based
depend on. We speak with some industry insiders for their
in Sydney. He’s a graduate who’s tips on how to get into packaging design.
worked in the industry for a year
and has produced some
excellent designs. Have I got the skills?
www.felixlobelius.com I would like to become a packaging designer, but what
Arthur Schreiber skills are required?
Arthur is a packaging designer
from Moscow. He’s worked Arthur Schreiber: A packaging designer, like other
in packaging design for over designers, needs the same basic knowledge and skills of
ten years, specialising in
beverage design. composition and colour. They should also be well versed
www.behance.net/ in Photoshop and Illustrator – it’s also useful to be familiar
arthurschreiber with 3D software. In essence, the packaging designer is
Jesse Kirsch
Jesse is a freelance art director
a graphic designer who draws up the three-dimensional
who has worked in packaging objects rather than one-dimensional items, such as
design for two years. posters and booklets. It’s important for a packaging
www.jessekirsch.com
designer to have technical knowledge of the
manufacturing processes, such as labels and glass
bottles, lids or cardboard boxes.
How do I create designs that stand out?

I want people to notice my designs, so how should I
make them eye-catching?
Felix Lobelius: To create impactive packaging design,
you need to be fully aware of the existing environment.
What do the competitors’ products look like? Why do they
profile themselves in a particular way? Where does this
DK A:
SAMURAI VO rs
“Strict contou
What makes a suggest this sw
ord
ai
successful blow for Samur
vodka, effectiv
ely
designer? embodying th
e idea of
a nice
the product. It’s , as
ion
designer solut
ed is
the material us
ss”
high-quality gla
© ARTHUR
“The main components SCHREIBER
of a successful
designer are creative
ideas and experiences,
which can be obtained
only with constant
thought and practice”
Arthur Schreiber
Packaging designer
Freelance
82
Advanced Photoshop
082-083_AVP_60_IndustryCareer.in82 82 24/7/09 12:48:46

CA R EER FOCUS
EQUATION: “This is a packaging
Industry insight
concept for an ecofriendly food store,
with all packaging design using
environmental statistics to raise
awareness. Each big number
represents the product, as well as a A closer look at how one
statistic on the actual package”
© FELIX LOBELIUS artist got into the world
of packaging design
Jesse Kirsch
Packaging designer
Freelance
“I’d always been artistic growing up. I was nominated
as class artist my senior year of high school. I went to
product fit into the equation? These questions can only the School of Visual Arts in NYC right out of high school
be answered through comprehensive research. Once and knew I wanted to get into graphic design. I got an
you know that, the design part becomes easier. internship at Atlantic Records in the art department
after sophomore year and got my first taste of
What about my portfolio? packaging. I ended up working there for over a year
How can I make my portfolio attractive to clients? BRAND: “A direct, no-nonsense and a few other places over the course of three years.
Arthur Schreiber: Creating a portfolio must be approach defines this line of generic I finally decided to finish up my degree and went
store brand packaging. Helvetica,
approached very seriously. There’s no need to put your greyscale colour palette and back to SVA. I ended up winning a bunch of awards for
weakest work in your portfolio to bulk it out; it’s better to newsprint-like stock were used in stark my student packaging work. This was what got my
contrast to the rainbow of fancy, name out there in the packaging world and I have
have two or three excellent pieces. Utilise sites such as
embossed and glossy packages that
Behance.net to showcase your work and, if possible, line the shelves at any supermarket. received plenty of opportunities from people who have
create your own site. This way you have the chance for Brand stands out from its competition seen me in magazines and on blogs.
by not standing out at all”
your work to be seen by many more potential clients. © JESSE KIRSCH
Advice I’d give to wannabe packaging designers
would be to think three-dimensionally! You really need
What’s the best way to get work experience? to consider every aspect of a package. You are no
How and where should I look for work experience? longer just designing the front of something like for a
Felix Lobelius: Find a studio where they do work that you poster. Each side and panel should relate to each other
truly admire, with directors that will make you grow as a and work with one another. Make printouts and comp
designer and as a person. If you’ve done that, then it’s all up your work… the flat design you see on-screen will
up to you and your will where you can take yourself. be completely different to what it looks like in real life.
I’d also recommend starting a library of packaging that
Should I go freelance or work in-house? you like, whether it be actual examples or just photos.”
I can’t decide whether to work for a studio or for myself –
what do you recommend?
Felix Lobelius: I wish I could say go freelance and I How is packaging design different to
would probably if you asked me a year ago. It’s very easy other areas of graphic design?
coming out from college, having received all the praise
you could imagine and you think you’re on top of the Felix Lobelius “It’s different in that you have a very short attention span among
world. However, having had a bit of insight into the Graphic designer the end user, and usually the product has to fight for that attention
industry and what it takes to run a studio, I would think There Design in the supermarkets with thousands of other products. It is
{
twice about starting up your own shop. It is my dream to therefore essential that the design creates an instant impact”
do it, but I think I need a couple more years of
experience, especially in handling clients, new business,
economy and so on, before I would feel comfortable in Want to know more?
starting up my own thing. Improve your knowledge of packaging
Arthur Schreiber: Freelance jobs are attractive and design with these resources and courses
comfortable, but it can be difficult finding a customer;
Inspirational websites
there is no regular pay cheque and the home is not a
www.thedieline.com
suitable place to create. I work full time in a studio and
www.lovelypackage.com
then produce different ideas in my free time.
Essential training
Any other tips? WHAT OTHER Packaging Design and Branding
SOFTWARE (foundation degree)
What would be your best advice for a potential PACKAGES WILL Cost: £POA Location: University of Sunderland
packaging designer? I BE USING? Website: www.sunderland.ac.uk
In addition to knowing your
Felix Lobelius: Keep working, keep having fun. I’ve found way around Photoshop, Packaging Design (MA)
that my best designs have never come out of regular Illustrator and InDesign, it’s a Cost: £4,000 Location: Sheffield Hallam University
good idea to familiarise Website: http://tinyurl.com/sheffield-course/
working hours. With passion and will, you can achieve so yourself with 3D software, too.
much. Don’t be afraid to ask what could be better. We all The most popular programs Must-have resources
include 3ds Max, Maya and Unique Packaging
know it could be, but we tend to seek affirmation instead ZBrush. AutoCAD is another Author: Marta Serrats Publisher: Collins Design Price: £21
of the things that can be made better. Also, have an open piece of software that may
prove useful in your career.
Website: www.amazon.co.uk
dialogue with your clients. I reckon as long as the client
Packaging Design Workbook
feels like they are part of the process all the way, they’re Author: Steven Dupuis Publisher: Rockport Publishers
more likely to work with you rather than against you. Price: £19.25 Website: www.amazon.co.uk
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resources
Sony VAIO VGN-AW31XY/Q

A laptop optimised for image editing with great on-board
graphics performance
Manufacturer: Sony
Web: http://vaio.co.uk /
www.sonystyle.com
Price: £2,609 ($4,325 approximately)
Req: Dual-core Intel Centrino
2 processor
4GB RAM
500GB hard drive space
GPU acceleration with
compatible programs
O ne of the latest offerings in Sony’s VAIO

series, the AW31XY/Q is optimised for
’serious photo editing’ according to the
manufacturer. This is an attractive description
for Photoshop users on the move, as often we
end up trying to do photo-editing work on
laptops much more suitable for general business
use than the specific demands of image
manipulation. So what’s in and under the hood
of this laptop that makes it so special?
On the outside the AW31XY/Q is pretty much
the same as any other new VAIO. Sleekly kitted
out in a piano black shell, it has a slim but wide
profile – because it has to accommodate an 18.4-
inch 1,080p high-definition screen. Try using this ALL THE BETTER TO SEE YOU WITH: An
on a commuter train packed with 18.4-inch 1,080p screen is optimised for HD video
and image viewing and editing
businesspeople using chic little netbooks and
you’ll definitely be taking up extra elbowroom.
Weighing in at 3.95kg it’s heftier than it looks, Centrino 2 and SpeedStep technologies, card, too. This doesn’t necessarily mean that this
although this is when packing in its lithium-ion provides swift parallel-processing capabilities. will make Photoshop CS4 go faster – it’s a
battery and Blu-ray drive. It’s not, then, a machine Backed by 8GB of DDR2 SDRAM it can certainly hungry program, so much so that graphics card
for easy portability and, in terms of size and shunt tasks with ease, although requires a 64-bit heavyweight NVIDIA released a specific graphics
weight alone, can be considered more of a operating system to make the most of its raw card, the CSX, to meet its demands. The
desktop replacement than a portable PC. power. By default this comes in the shape of AW31XY/Q doesn’t pack one of those – they’re
This is borne out in its specifications. An Intel Windows Vista Ultimate 64-bit Edition, which is a over a grand a pop – but it does boast an up-to-
Core 2 Duo processor, the T9900 with Intel’s shame as almost any supersonic speed you date and efficient NVIDIA unit in the shape of the
might have seen from the AW31XY/Q is soon NVIDIA GeForce 9600M GT. This is a nice little all-
SECURITY: A fingerprint reader can render your
laptop unusable by anyone except you, which is a
consumed by Vista’s memory-gulping foibles. rounder of a chipset optimised for notebook
handy security feature Our esteemed advice is to steer clear of it and computers, and results in a more-than-tolerable
stick one of the following operating systems on performance when running basic
there instead: either the 64-bit version of
Windows XP, a beta of Windows 7 or a version of
Linux optimised for multimedia-editing tasks, “CS4 is a hungry
such as CHAINSAWLINUX, or the 64-bit
optimised 64 Studio. program, so much
Where the AW31XY/Q’s specs get really
interesting for the image-editing professional,
so that graphics
though, is the graphics card. Photoshop CS4 and card heavyweight
other creative products from the CS4 suite are
able to use GPU acceleration. This means that
NVIDIA released a
not only can they use the processing power of specific graphics
your computer’s main CPU, which can carry out
a certain number of tasks per second, they can
card, the CSX, to
also use the processing unit on your graphics meet its demands”
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resources
Available accessories
Take a look at Sony’s range
Laptops boast a great deal of portable
functionality but what if you’re looking at
one as a desktop replacement? We find
that we really need a proper mouse to get
the best from our image manipulations.
You’ve got a choice of several models from
Sony here; a wireless Bluetooth mouse,
the VGP-BMS33/S, will set you back £60
(approx. $99). The temptation is to go for
this option, although an open Bluetooth
connection, can potentially put your PC at
risk when you’re out and about. The
cheaper and perhaps better option is the
VGP-UMS30/S wired mouse for £21
FUTURISTIC DESIGN: An on-board card reader (approx. $35), especially if you want to use
handles CompactFlash and SD cards for quick
this laptop as a desktop replacement. For
photo backups and access
those who hate the small and fiddly keys
typically found on laptops, Sony has
photomanipulation and digital painting tasks in The answer is pretty darn well, actually – it’s created an incredibly slim and sleek
Photoshop CS4. It packs NVIDIA’s CUDA responsive and speedy both on and offline, even wireless keyboard – the VGP-WKB5 – but
architecture, which governs parallel processing with graphics turned right up to 11. Other this isn’t a portable option and will also set
within the graphics card itself. This is important, entertainments are admirably covered as well, you back £110 (approx. $181). If you need
as you can switch it between a slower, battery- with an HD display and Blu-ray drive on-board. extra hard drive space while you’re on the
saving processing mode or a faster, all-guns- The addition of a good set of connections, move, Sony’s VGP-UHDM25 portable USB
blazing one for when you’re running off mains including a card reader for SD and CF cards plus hard drive packs 250GB of room, meaning
power. Perhaps more important for imaging USB connectivity and an HDMI-out, maximise you can back up on the move or transport
professionals running this particular laptop as a the imaging and entertainment benefits you can extra image files to show to clients on
desktop replacement, it also enables the get both on the move and on your desk from screen. Finally, why not try pimping this
graphics card to take some of the processing the Sony VAIO AW31XY/Q. 5 laptop with your own custom protective
strain off rendering tasks when using skin from www.skinit.com, too?
middleware like PhysX. For those who use
Photoshop for much more than its digital
darkroom functions, but particularly for
animation or in concert with 3D programs such
as Maya, this is a real boon. What would have
once required a supersized workstation can be
achieved on a slim notebook without sacrificing
too much in the way of time or raw power. Half a
terabyte (500GB) of hard drive space offers a
WIRELESS MOUSE: Sony provides a wide range
good amount of room for large works in of accessories for VAIO laptops, including wireless
progress, but we recommend regular backups of and wired mice – essential for Photoshop users
finished work and regular defragmentation of frustrated with trying to use touchpad controls
your hard drive space anyway. While both the
processor and graphics card are both more than SUMMARY: A delectably stylish-looking
capable of reading from scattered, fragmented laptop with speedy, efficient performance
files, you’ll still get better performance from and great optimisation for image-editing
keeping things tidy. professionals. A great choice for PC users,
But don’t go thinking that the AW31XY/Q is all whether as a portable notebook or full
work and no play. We couldn’t resist running
9/10
GOING PLACES: A Blu-ray reader and writer desktop replacement.
some games on there to see how that NVIDIA means you’ll be entertained on the move and be
chipset coped with the latest in lush graphics. able to back up large files to spacious discs
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resources
CanoScan 8800F
The latest Canon flat-bed scanner promises maximum versatile productivity through a host of intuitive options
Manufacturer: Canon
Web: www.canon.com
Price: £219/$199.99 TIME-SAVING TOUCHES: The built-in
Req: A4 300dpi scans in no more than FARE Level 3 and QARE Level 3 technology
seven seconds will save you time with your minimal manual
photo-retouching projects
4,800 x 9,600dpi
48-bit colour depth
Automatic image correction
SilverFast SE and Adobe
Photoshop Elements software
included
Supports 120 format film
(maximum of 6 x 22cm)
T he CanoScan 8800F is the latest in a long

line of successful flat-bed scanners from
Canon, which guarantees this machine
delivers versatile productivity. So we thought
we would see if it lived up to its promise and our
own expectations.
What we did discover is that the CanoScan
8800F certainly delivers as a file, photo and
document scanner. This machine makes
importing standard A4-sized documents quick FARE Level 3 technology automatically
and easy. Scanning is promised in seven seconds restores scratched, damaged or faded film, while
and can take even less due to zero warm-up QARE Level 3 performs the same functions for
times. Scan quality is excellent, largely due to the photo prints. Couple this with the ability to
4,800 x 9,600dpi, 48-bit colour depth scan import twelve 35mm film strips and four 35mm
resolution. This means that designers looking to mounted slides in a single operation using the EASY TO OPERATE: MP Navigator EX makes
operating your scanner and performing
import photo stock and print resources, such as built-in film adapter unit, and your photo- complex scanning operations from your PC or
textures, for Photoshop design projects will find scanning performance is dramatically enhanced. Mac ever so simple
all images suitable for enlargement Throw in the ability to scan, crop and straighten
After testing and scrutinising the delineation of ten multiple images in one pass with Multi- We did have some reservations with the
scanned images on plain, photo and even canvas Photo technology and the promise of CanoScan 8800F, mainly due to the machine’s
papers, we found that all produced flattering maximised productivity becomes a reality. ergonomics. With the scanner lid having to fully
results. Colour consistency is almost perfect first Another guarantee in productivity comes separate from the body of the machine to
time around, without the necessity of editing from the inclusive EZ buttons, located on the accommodate the scanning of resources thicker
settings in the inclusive SilverFast SE and Adobe front of the CanoScan 8800F. Seven in total, each than an inch, we thought the design studio
Photoshop Elements software. The CanoScan offers one-touch operation. Four of these demographic would be suspicious of
8800F’s built-in automatic retouch and enhance operate as straight-to-PDF functions, producing compromised scans. With its sibling product, the
technologies also makes for impressive default A4 colour, black-and-white and CanoScan LiDE 700F seeming far more
photographic scans. customised print-standard 300dpi scans. Upon compatible with diverse item sizes, some
selection, the MP Navigator EX option is designers may turn to it instead. However, the
activated. In the Main Menu you can fix specific CanoScan 8800F manages to produce
settings for your PDF generation, including impressive scan quality regardless of this design
Document Type, Color Mode, Document Size, feature, justifying it as a premier scanner and its
Resolution, PDF Type and Save To. £219 (including VAT) price tag. 5
You can also apply straightforward retouching
to your PDF scans by pressing the Open The SUMMARY: Ergonomics aside, and even
[Image Enhancement] dialog box button. Here, though it’s not strictly an all-purpose
users can set Auto or Manual treatment, scanning device, the sheer quality of the
including Brightness, Contrast, Sharpness and CanoScan 8800F scan makes this an attractive
Digital Face Smoothing, through slidebar proposition for photographers and
options. The EZ buttons also allow you to scan Photoshop artists looking to archive physical
documents and photos straight to email. This is
8/10
TEST SCAN: Backlight is compensated and graininess
photo stock and textures.
resulting from high-speed film reduced with the great for freelance designers and photographers
included ScanGear software dealing with contracts and invoices.
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resources
Portrait Professional 9
We check out the latest features of this retouching software from
Anthropics Technology
Manufacturer: Anthropics Technology
Web: www.portraitprofessional.com
Price: £49.95 ($80 approximately)
Req: Windows Vista, XP or 2000
Intel Mac OS X (10.4 or later)
RAW files and 16-bits per colour
TIFF files with Portrait
Professional Studio
Standalone program or Adobe
Photoshop plug-in
P ortrait Professional 9 is the latest in a

line of airbrush software looking to
enhance intuitive effects through improved
creative sciences. Ultimately, acting as both a
plug-in and standalone application, Portrait
Professional allows users to maximise their
photo-retouching workflow, making application
faster and easier than ever before. The ease of
this software makes it extremely attractive to WHITER THAN WHITE: This portrait-enhancement
software has the ability to automatically whiten both
enthusiasts without previous knowledge of teeth and eyes, also letting you control the degree of
Photoshop-based techniques who are looking to whiteness and extent of the area to be whitened
replicate realistic effects.
The interface provides image editing through SPOT THE DIFFERENCE: With Spot Removal, users
can set a degree of blemish detection. The software will
point controls and slidebars. These are applied
remove most spots automatically. Freckles can also be
directly to your image, letting you see at all times detected and eliminated
what you’re achieving live. Upon installation and
activation, Portrait Professional provides a set of Portrait Professional allows revision and scrutiny distinct disruptive differences in skin tonality.
preset images, allowing you to decipher of specific facial areas, such as eye detail and When this occurs, we advise you to resolve the
between genders. You do have the ability to load mouth shape, through easily adjustable issue by activating the Change Skin Area button.
your own examples from the File drop-down selection outlines in the Adjust Outline options. This will open the Skin Selection options, where
options. Once you have selected an image, Following on from this, the software provides you can apply Recalculate Skin Selection
Portrait Professional takes you through each extensive Enhance Photo option sets. Here’s Area>Full Body and hit the Recalculate button,
application phase, step by step. where the fun really begins. First on the agenda thus evenly distributing all Tan effects.
This automated guidance makes are the Face Sculpt controls, which allow you to The Hair Controls are also not as
understanding the Portrait Professional functions reshape your model’s head, jaw, nose and alter complementary as other option sets. The effects
straightforward. Users are initially introduced to the neck length by easily increasing or here can become quite destructive, so it’s best to
the Locate Features option. This works by decreasing slidebars gradually. However, we did apply Shine, Lighten, Redden and Vibrance
applying points to important facial regions, such find that these option sets struggled slightly sparingly for best results. However, isolating hair
as the edges of eyes, the mouth and tip of the with more diverse angles, being more adept areas is extremely easy, as Portrait Professional
nose. Having mapped the contours of the face, with straight-on profile shots. does so automatically. It also allows users to
Skin Controls excel and are a major selling redefine selected hair areas through the Hair
point. Each of these slidebars controls the Area brushes. These add to and subtract from
smoothing and modification of certain defined image areas, much in the same way Photoshop
image areas, including Skin Smoothing, which users would apply a Quick Mask. We also found
softens image exposure, and Imperfections, the Hair Tidying>Smoothing option to be
which rectifies facial noise and interference. Eye extremely gratifying. 5
controls are equally as attractive, allowing you to
sharpen detail, brighten the iris, redefine iris SUMMARY: With so many similarities in tool
colour and eradicate pupil reflections, which are functions, Photoshop users will easily get to
all integral in maximising a portrait’s most grips with this software, using it to exhilarate
prominent focal point. their workflow. Enthusiasts will get a kick out
The Tan option can be problematic at first. of creating professional effects first time
Allowing you to saturate and darken skin tones,
9/10
TRANSFORM YOUR FEATURES: Portrait around with minimal fuss.
Professional’s Face Sculpt effects are an industry first giving your model a healthy glow, this option
and are extremely entertaining as well as practical may isolate only certain skin areas. This produces
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resources
Utherworlds
Welcome to the wonderful world of Philip Straub’s imagination
Author/Publisher: Philip Straub/Ballistic Publishing photomanipulation and dramatic lighting
Web: www.ballisticpublishing.com effects. All promote a strong fantasy
Price: $99 (approximately £60) theme and will inspire Photoshop users
About: Over 50 pages of entertainment to try and replicate these impressive
Stunning paintings in a large format styles. Intricate maps and redesigned
Accompanying theatrical soundtrack alphabets, spelling out the new
Experience beyond the book at languages of both Hope and Fear, are
www.utherworlds.com also included, each treated with the same
creative delicacy.
T his is a book that has caused a lot of excitement in the

Advanced Photoshop office. Being big fans of the
graphic novel format and the delightful works of fantasy arts
Events are presented through first-
person narrative and, when coupled with
these wonderful works of art, create an
master Philip Straub, on paper this title promised so much imaginative intimacy. All the images
EARLY BIRD SPECIAL: The first 20 purchasers
through the amalgamation of both factors. In reality, Utherworlds visually prompt you through surreal of the title can download the complete cinematic
delivers so much more. lands, neon cities and introduce exotic characters that soundtrack that accompanies this title. The first
From the moment you get your hands on this title, it screams intertwine against these fascinating backdrops. This book is 200 buyers can download an alternative track to
the Utherworlds theme on the website
mystery and mysticism through the wonderfully themed really going to get fantasy fans drooling.
aesthetics. Every facet of this visualised story captures the The official website adds further dimension to the
SUMMARY: Utherworlds is a great way to
imagination. It becomes apparent that Straub has poured every Utherworlds experience. Animations bring the languages of
spend some leisure time and will really
inch of his heart and soul into this visual feast, which was six Hope and Fear to life, while a blog and online forums are
turn on your imagination. It’s a pure
years in the making. provided to further develop the Utherworlds story beyond the
aesthetic delight. At $99 it’s a big price
Due to the nature of Utherworlds, it fundamentally acts as an book. If you would like to hear more information about the
commitment, but with such quality of
entertainment device. But the lavish images, coupled with the book as well as Straub’s personal thoughts on the complete
print and presentation it’s actually almost
thoughtful scripts and plots, serve to vitalise your imagination. project, pick up a copy of Advanced Photoshop issue 59. Back
7/10
worth it.
Straub’s included designs are as lucid as always, demonstrating a issues can be ordered through our official website at www.
range of techniques and effects, including matte painting, advancedphotoshop.co.uk. 5
Digital Retouching For Fashion, Beauty

& Portrait Photography
Gry Garness reveals more of her industry secrets in this CS4-related eBook
Author/Publisher: Gry Garness/Eureka Publishing resource for enthusiastic photographers who will learn core
Web: www.eureka-publishing.com essential practices. Chapters are presented in a logical order,
Price: $38 at Eureka Publishing (approximately £23) including Effective Retouching, Color Enhancement, Skin
About: 260 pages of industry-standard techniques Retouching, The Features, Hair, Figure & Fashion, The Full Picture
Advice from famed international and The Finishing Touches.
photographer Gry Garness The eBook pages are littered with postproduction tips, not GETTING AHEAD: This title features some fun
purely digital practices. Workflow issues are included, as well as yet practical examples, such as how to colour
Expanded CS4 version code your layers and optimise organisation as
Tried-and-tested tutorials set out in how Adobe software such as Bridge can maximise your image well as a guide to a quick and dirty workflow,
professional workflows selection and collection. In-depth study of Adobe Camera Raw which helps speed it up when given a time budget
and setting the Raw Converter is also addressed, with Raw of half an hour per image
Explains and demystifies essential
photographic techniques options, such as HSL and Split Toning, fully explored.
International photographer Gry Garness (www.grygarness. SUMMARY: This eBook is surely an
U pdating your photo-retouching skills by scouring the

web for the latest styles can be extremely time-
consuming. But with the Digital Retouching For Fashion, Beauty
com) stamps her quality and professionalism all over this title’s
creative techniques. These are presented in numbered steps,
while all key terms are highlighted in bold so you know what
essential companion for enthusiastic
photographers, covering styles and
industry-standard applications. It also
& Portrait Photography eBook, you can condense your learning you should be doing when solving cosmetic pixel problems. provides readers with a better
and truly optimise faster workflow. Techniques also address vital CS4 updates, so artists can understanding of Photoshop and other
The title is absolutely comprehensive and completely familiarise with these. For example, in this eBook’s dedicated skin
9/10
core Adobe products.
methodical, which may leave more eager creatives a little tone section, Garness explains the latest adjustment panel in
frustrated. However, being so thorough means that it’s an ideal Photoshop CS4 and how to apply Curves and Levels. 5
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I N! ’s
W ar ion
e
t
A sycrip
su b t o
GALLERY We showcase the very best of your artwork “Photoshop
and digital
art in general
are the best
things for me
to relax and
let my
imagination
run free”
Erik Schumacher
Readers’
ixing
att empt at m
NIC: “An h lots of
CHTHO ting techniques wit colours”
ital pain
dig nd vivid
textures a
r im a gne, s
it yo u for inclu ioction of
s
b m
Suo be considemaidl with ap@seilemaginep-tions
e r e
T d a n ncedpsho s a nd ca . We
e s en le
plea s es to adv a clud i ng t it 0 -word bio ages
i mag .co.u k , i n el l a s a 15 solut ion i m es
s h i ng as w er-re i m ag
pu bl i e i mages , u for h igh r. En su re d T I F Fs
t h y o e a s e
for ck to en to app compres a n a l so
et b a s n c
w i l l g u a re cho s 300dpi u u m . You for mat ion
i f yo i la ble a i n i m h t he i n
va c m m it ag i ne
a re a Ds , 15 x 15 on a CD w toshop, I m
r P S g e s P h o s e ,
o i ma c e d o nd Hou t h ,
The Best in y ou r dv a n
send i red to A ng, R ich m u r nemou
Show winner req u sh i , Bo
P u b l i mo n d H i l l 2 6 E Z ,
each month h
33 R ic Dor set , i ngdom
B H
gets a fantastic Un it e d K
prize. This month’s
winner receives a
year’s subscription to
Advanced Photoshop
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090-094_AVP_60_ReadersGallery.in90 90 24/7/09 12:21:32

FROM A PERFECT FAIRY TALE:
“A fantasy-themed matte painting created
for slashTHREE’s World Exhibition II”
BEST
IN SHOW
Erik Schumacher
WEB: www.xkire.de
HUMANS’ BE QUEST: “When
nuclear explosion “I am a German student currently reading
mutations. A da s cause unnatur Physics at the University of Dortmund. I
rk photomanipula al
created for slashT tion first got to know Photoshop in 2001 when I
HREE’s 30th Centu
ry”
did an internship at a German web design
agency. A few years later I discovered
Photoshop in September 2005 again and
couldn’t let go of it any more. Since then,
I have practised by myself mainly in the
fields of photomanipulation and space art.
I am a very ambitious person, so I eagerly
try to improve in many other techniques,
for instance matte painting and digital
painting. Since 2008 I have regularly
contributed to exhibitions from the online
community slashTHREE (www.slashthree.
com/v3), and every now and then I work as
a freelance designer for CD and book cover
commissions. Photoshop and digital art in
general are the best things for me to relax
and let my imagination run free.”
91
Advanced Photoshop

Readers’ gallery EXPLORE MORE 2: “I took a
panoramic photograph of a local park for
the backdrop of this composition. I have
explored a more surrealistic theme for this
poster where illustrations are interacting
with their photographic environment,
showing that creativity is potentially
limitless with this quirky randomness”
Matt Holland
WEB: www.matt-holland.com
“I am a Northampton-based designer and

illustrator who specialises in a range of creative
practices, including graphic design (advertising
material, logos, corporate identity, editorial
design, etc), illustration and photography. I have
recently graduated from my degree in Graphic
Communication at The University of Northampton;
prior to this course I did an Art and Design
foundation diploma and A level Graphics (design
technology), ICT and Fine Art.
“Recently (with my ‘Explore More’ project), I have
explored the notion of emulating environmental
advertising with some visually complex
compositions, which incorporate a juxtaposition
of illustration, photography and experimental
typography. I am passionate about this stuff; I love
the challenge of reaching the optimum balance
of functionality and aesthetics within a piece of
visual communication. My inspiration comes from
contemporary design, art, music and potentially
anything visual or nonvisual. I like to do self-
initiated work to keep myself busy and constantly
develop my skills, so I would call myself an artist
utilising the medium of graphic design to express
myself and to experiment.”
“I love the
challenge of
reaching the
optimum
balance of
functionality
and aesthetics
within a piece of
visual
communication”
Matt Holland
92
Advanced Photoshop

CUBEN 2 POS
design pie TER: “This is a ve
colourful
Irregular ce, which ry
Sides (sin I have calle
featured h ce all d
ave irregu bar one of the cub
lar si es
my CUBEN des). This is part o
poster des f
ign series
”
CUBEN 3 POSTER:
“This piece is called
Original since it was
the first design format
for my CUBEN poster
design series”
3: “I developed this
EXPLORE MORE ing the concept of
composition fea tur
g
vertising, emulatin
environmental ad cal spa ce is the
t the ph ysi
the notion tha
bination of digital
advert, as is a com
nd ma de paper sculpture
illustration, ha for this collage”
and ph oto gra ph y
EXPLORE
compositions po MORE 1: “For this series of
creativity, I deve
rtraying the conc
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utilised elements ed three compositions that all WEB: www.simoncpage.co.uk
of 3D paper scu
vector illustration lpture,
and photomonta as well as
ge for these
highly complex “I don’t really have a design background, having
designs”
studied Applied Mathematics at university, and just six
months ago, if asked, I wouldn’t have felt comfortable
calling myself a graphic designer. I’m self-taught and
was using my design skills for corporate brochures
and presentations, which I still do today, but this
didn’t inspire me creatively. By chance I entered a
movie poster design competition back in December
2008 and won third place. From this I received some
awesome feedback and numerous offers to design
actual movie posters. This really inspired me and
fuelled my creative desire to do more, and since
then there has been no turning back. Some of my
favourite designs have been my CUBEN posters and
from February this year I kicked off my ‘Typography
is everything’ series. This typography series has been
very popular, producing some of my most creative
work, and I now feel comfortable being called a
graphic designer.”
93
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s cr ib Interview: Matt Savage 70

006-007_AVP_60_Contents.indd 6 24/7/09 11:54:06

INTERVIEW: MICHAEL ZIMMERMAN 22 GEOMETRIC ART 36

25 SCI-FI EFFECTS 28 WORK WITH WATER STOCK 44

SUBSCRIPTIONS 68 CREATING WORLDS 50

RESOURCES 84 CREATIVE PHOTO ILLUSTRATION 56

READERS’ GALLERY 90 TIME-LAPSE VIDEO 60

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custom modifications to support several blogs on

Launched in 1999, Duirwaigh Studios started

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Wacom has long held the mantel for producing

users to convert hand-drawn sketches into digital

Mystical Tint Tone & Color D&AD NEWS

Find an array of tools to

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New raft of digital cameras unveiled

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image that we use, Masterclass, inspired by the geometric abstract

styles that look

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