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ISSUE 111 CONTENTS
ISSUE 111
WELCOME
Welcome to the latest
issue of Advanced
Photoshop. With the news
from Adobe that they will
only be updating Creative
Cloud software from now
on, our office has been
sent into overdrive.
ANNALISA SAYWELL We don’t know about you, but the changes to the
Editor subscription model are being felt across the board.
As a company that relies heavily on Adobe products,
IN THIS ISSUE: we too had some questions to ask about the new
PHOTOMANIPULATION updates on offer. That is why we have compiled an
52 CREATE A CYBORG
PHOTO EDITING expert guide not only to Photoshop CC and its
GRAPHICS PHOTOMANIPULATION:
DIGITAL PAINTING sparkling new features, but also to what the
TYPOGRAPHY
NEW MEDIA surrounding industry – and indeed the world – think
about the latest changes. Develop an inspiring image using little more than a
single photograph and digital painting techniques
Elsewhere in the issue, improve your lighting
techniques by taking a look at a selection of
industry-standard work, followed by a vast number
of expert tutorials, including how to create a cyborg
COVER ART from scratch, paint a city scene using nothing but
ADOBE PHOTOSHOP CC
www.adobe.com/uk stock photography, and build plush UI elements
With one of the biggest using vector shapes and layer styles.
changes to Photoshop If that wasn’t enough, there are also two exclusive
since the launch of the CS
boxset, we thought it only video tutorials on this month’s disc, as well as a
fitting to place this amazing bumper collection of free resources. Enjoy!
piece of digital art on our
cover. Take a look at our
Photoshop CC feature on
page 30 for more info.
FIND US ONLINE:
@advancedpshop /AdvancedPhotoshop
18 STUDIO INTERVIEW:
INK STUDIO
.co.uk Explore the importance of using your creative
potential and practising with the latest designs
003
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CONTENTS ISSUEWorldMags.net
111
ISSUE 111
CONTENTS
EYE ON DESIGN
What’s hot, who’s in and the
latest art & design happenings
06 PRO PANEL:
Our contributors share Photoshop secrets
08 INDUSTRY NEWS
The latest information from the creative world
10 PORTFOLIO INTERVIEW:
Fantasy & alien environments
16 PROJECT FOCUS:
Creating a cohesive image
30 PHOTOSHOP CC FEATURE
004
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TECHNIQUES REVIEWS
Professional artists reveal their high-end skills in our easy-to- We put the latest creative kit,
follow workshops books and apps to the test
18 STUDIO INTERVIEW
INK Studio 62 WORKSHOP
Paint a city scene 82 FEATURE:
From shoot to Photoshop at
lightning speed
26 INDUSTRY FEATURE
10 lighting secrets 68 HOW I MADE
Epiphany by Valp Maciej Hajnrich
86 REVIEW:
Samsung NX300
30 INDUSTRY FEATURE
The way of the future? Photoshop CC 70 WORKSHOP
Create plush UI elements
46 FEATURE WORKSHOP
Retouching in Photoshop CC 74 HOW I MADE
Pisces by Hung Pham
52 WORKSHOP
Create a cyborg 76 WORKSHOP
Sci-fi matte painting
58 HOW I MADE
Dead Astronauts by Khyzyl Saleem 88 READER INTERVIEW
The importance of composition
SUBSCRIBE TODAY!
92 RESOURCE PROJECT
Produce screen print artwork
96 ON YOUR DISC
Free with issue 111 of
Advanced Photoshop
TAILORMADE
CREATIVE CONTENT
Two exclusive video tutorials, both
covering robotic effects
88 THE IMPORTANCE
OF COMPOSITION RESOURCE COLLECTION
Featuring 20 retouching Actions, premium
metal textures and grunge Photoshop brushes
PLUS:
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• Exclusive wallpapers for mobile and desktop
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eye on design pro panel
eye on design
pro panel
Want to knoW What this issue’s experts think of photoshop CC? read
on to learn WhiCh neW tools and options are getting them exCited
Elias Klingén
www.behance.net/eliasklingen
I’m excited about the new sharpening updates that Adobe has introduced. The automatic algorithms seem to be a lot more accurate. Smart
Sharpen now detects the foreground, sharpening this instead of the background. I’m also curious about the Camera Shake Reduction tool that
removes blurring from photographs caused by camera shake. It almost sounds too good to be true.
■ learn Klingén’s story in our Reader interview on page 88
006
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The magazine for Adobe® Photoshop® professionals
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■ Hear more from van Boxtel in our Studio Interview on page 18 ISSN 1748-7277
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eye on design industry nEWs
industry news
eye on design
F
Be inspired By the return of fotolia’s ten collection showcasing the
Best international artists and releasing psd files to the puBlic
otolia’s TEN Collection is back and continuing this by giving every digital art fan access to the digital tablets and smartphones. This benefits those
to provide the creative arena with the work of creative techniques. On the tenth of each month, a of us who love to experience multimedia content in
the world’s most impressive digital artists. free PSD is made available to download for 24 hours, the palm of our hands. In addition, Fotolia has further
Oleg Tscheltzoff, CEO and co-founder, detailing layers, textures and dynamic filters. This is enriched our viewing experience with a new video
quantifies the project’s achievements, telling us: accompanied by a ‘making of’ video, allowing an that goes into greater detail about the artist’s specific
“After the success of the first edition, Fotolia is now intimate glimpse into the inspirations and techniques choice of tools and techniques.
renewing the project with an even more colourful of some of the world’s most respected artists. The creative community can still share all related
second season – inviting you to discover digital art With its first season was a resounding success videos on Facebook and Twitter, and this isn’t where
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Originally promoting ten of the best French talents, Collection Season 2 is set to be more engrossing such platforms is at an all time high, as Fotolia looks
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includes designers from the UK, US, Argentina, 500,000 unique visitors. Fotolia looks to improve TEN Collection Facebook page, a backstage video
Brazil, South Korea, Japan, Russia, Poland, France, upon these initial milestones by re-imagining how it which follows the artists as they go about their
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The project began with a vision to promote digital The homepage is now accessible across all available to the public. Fotolia even manages to cram
art on the international stage, successfully realising hardware platforms, including desktop computers, in that little extra edifying experience here,
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for your chance to win, please answer both of the following questions:
- What is the name of the British artist representing the UK within the
After the success of the first TEN Collection?
edition, Fotolia is now - In how many international zones does Fotolia operate in?
renewing the project with an even Find the answer at www.fotolia.co.uk
more colourful second season Please email your answers to advancedpshop@imagine-publishing.co.uk, including your full name
Oleg TschelTzOff / Fotolia CEo and Co-FoundEr and address. The deadline for entries is 31 august 2013. Only one entry per person allowed, the winner
will be randomly selected after the closing date and notified in due course. The editor’s decision is final
presenting an interactive Q&A session between
and no cash alternative will be offered. Employees of Imagine Publishing are not permitted to enter.
artists and fans.
In case you miss the exclusive free PSD file, which
is only available for a 24-hour period, you then have IncredIble IllustratIon meets
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Fotolia images used in the file are also purchased. a Digital-only magazine from the makers of aDvanceD photoshop
rain Dump is the latest in a line of
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oN But arguably Brain Dump’s most impressive
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eye on design portfolio interview
portfolio interview
J
uan Carlos Barquet transports us to alien I have always loved drawing and painting. I went to me the song and asked me to do the illustration
environments through the tip of his pencil several different art classes growing up, but I got into based on what it inspired [in] me. It was a good
and with a flick of his digital brush. His digital media when I was 14 years old, and from learning experience; it was the very first time I was
painterly yet realistic vistas have gained him there my interest in art got more serious. I taught getting paid to draw something and that was very
international recognition – something he puts down myself how to paint by watching videos, reading exciting for me.
to a strong portfolio: “Thanks to the portfolio I have books and magazines and talking to other artists –
developed over the last few years, I have gained my things I still do every day. I also became part of two hoW has your Work evolved over time?
first commissions and appearances in exhibitions international art collectives: Hysterical Minds (www. The biggest change has been the inclusion of digital
and publications such as the Parallax Art Fair in hystericalminds.com) and The Luminarium (www. tools into my workflow. I used to paint with
London and Ballistic Publishing’s Exposé.” His work theluminarium.net), both of which are dedicated to watercolours, oils, pencils and charcoal, and I later
has also secured the 19-year-old a scholarship to producing online exhibitions and other projects. I met shifted to digital painting almost exclusively. In recent
study in the USA at the Savannah College of Art and a lot of remarkable people through these collectives, months I have been getting back to traditional art
Design, meaning that he has recently left his home and this helped me immensely. (especially for personal work) and I am finding it very
country of Mexico. He now divides his time between refreshing. There is nothing quite like the physical
school, freelance jobs and personal projects. What Was the first CommerCial proJeCt experience of drawing on paper.
you produCed? That said, as I began increasing my fundamental
Can you tell us a bit about your The first image I did for a client was the cover for a skills, my work improved a lot in all media. It also
baCkground in art? single by an independent Swiss band. They showed increased my capacity to draw from imagination,
01
01
Dragon Cave: illustration created for
Spellweaver, an upcoming trading card
game © dream Reactor, Ltd
02
The Power of Tomorrow: A world where
ships and aircraft use lava as their main
fuel © Juan Carlos Barquet
03
Fallen Empire: This image was a
wraparound cover for a fantasy novel
© epic Age Media
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portfolio interview eye on design
10
colour and even brush strokes; maybe that could I have been using Photoshop for about five years. I and glows; it’s easy to overdo them, though, so I try
influence what is perceived as my style, but I try not learnt how to use it by following tutorials and doing to use them subtly.
to force it. And I would be very naïve to think that it forum signatures, the same way that many digital
won’t change in the coming years as I learn more artists started out. The tool I use the most is the How do you evolve your tecHniques? is
and hopefully become a better artist. Brush tool, of course, but the software has a lot of it an ongoing learning process?
options that really come in handy when trying to Absolutely. That is what I like the most about art: you
How do you approacH eacH new achieve specific effects. I love the different blending can never settle for what you already know.
project? do you Have a specific modes. I often use brushes or layers set to Soft Craftsmanship can always be improved, and there
workflow tHat you like to follow? Light, Color Dodge or Overlay to create cool flares are always new challenges that need to be
I always draw sketches from imagination first. At this overcome. For example, one day I may be trying out
point, I like to work in my sketchbook, and I don’t portfolio tips a new medium, [the next] a way to draw a specific
worry about details – only composition and value. Juan Carlos Barquet shares his essential tips material. I try to learn as much as I can every day,
I then bring the ideas I like into Photoshop, where I for Creating a portfolio with impaCt because it’s all about the process, even more than
add colour and develop them a bit more. At this ■ learn good fundamental skills the finished product.
point, I show two or three different ideas to the client If the use of perspective, value, colour, composition and
visual narrative are strong, authoritative images will result. I
(if there is one), and once one sketch is picked, I use can’t stress enough how important it is for me to use do you Have any advice for digital
it as the base for the final design. From there, it is a references. This helps to bring more information into the painters to give tHeir work tHe same
painting than I can come up with.
case of refining until the piece is finished. Of course, professional finisH tHat you acHieve?
each image is different, and I sometimes skip or add ■ target your work I’d say don’t be afraid of teaching yourself.
Know what you want to do and let your portfolio reflect that.
steps, but generally a solid initial drawing results in a A strong collection of work will help you to approach the Perseverance is more important than talent, and
much stronger (and easier to do) finished painting. types of clients that you want to work for, so research the learning the basics of art and design is a necessary
style of art that they might be looking for.
process for any representational painter. Besides
How long Have you been using ■ be concise that, I’d recommend any artist to join as many art
Think quality over quantity when it comes to putting
pHotosHop? wHat are tHe key tools and together your digital art portfolio. A professional and communities as they can and talk to the artists; you
tecHniques tHat you find yourself concise presentation goes a long way when you are trying never know who you will meet or what you may
to attract new clients.
using tHe most? learn from them.
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eye on design creating a cohesive image
project FocUS
Creating a
Cohesive image
Up-and-coming Brazilian design stUdio manipUla discUsses coloUr
I
grading and retoUching in this pro-wildlife campaign
t’s quite likely that in the coming years, Rio de The advertising agency tasked us with creating an
Janeiro-based design studio Manipula will be image that shows thousands of sharks dying and
considered one of the top success stories in the only a precious few being saved by a rescue team.
creative field. “Manipula was created four years During our initial sketches, the image of sharks
ago now,” remembers main executive director Gui falling from the sky was viewed from a normal
Christ. “At the beginning we were a group of human’s perspective – that is, on ground level.
freelance artists sharing an office room. As time However, after some work, we chose to go with a
went by, we started working on collaborative new perspective, as if the observer was one of the
projects, and following our success, as a full team. falling sharks themselves. Not only was this new
about tHe studio Nowadays, Manipula is a multidisciplinary creative concept more creative, but the viewpoint also
Manipula production house focused on mixed-technique provided a better visualisation of the client’s ‘rescue
www.manipula.art.br advertising print images, with a 200m2 headquarters team’, giving even more power to the overarching
Manipula is a creative production in Rio de Janeiro and offices in São Paulo, USA and aim of the project.
studio focused on developing Europe,” he continues. “Recently, we were chosen as
impactive advertising images that
combine the most creative and one of the top ten most relevant advertising How MucH of tHis Project consists of
modern techniques. Consisting of organisations worldwide.” original PHotograPHy, and wHere can
illustrators, photographers and
artists from several areas,
The reason for such accolades is the production of we see it in tHe iMage?
Manipula provides solutions that projects like the one featured here. ‘Shark Storm’ The background is a composition of three different
deliver amazing results beyond was created for the non-profit NGO Sea Shepherd photos, and the actual rescue team was
those that a solely photographic or
CGI studio could offer. Conservation Society – a marine conservation photographed in our studio. After a lot of research for
organisation based on San Juan Island in the US. In quality images on royalty-free image banks like
naMe of Project one quick flash, it represents both the goals and the Shutterstock, we selected useful background images
Shark StorM
plight of the charity – a small few attempting to save and fused them together, being sure to maintain one
a far greater number of sharks than they could ever main lighting direction in order to make the finished
realistically manage. image look cohesive. For the background we chose
We spoke to Gui about the company’s use of a fisheye effect, as it created a better sense of depth
Photoshop in their projects, and how to turn a simple in the image, as well as allowing us to show even
message into a finished, striking image. more sharks falling.
How integrated is PHotosHoP into How did you Make tHe iMage in
Agency Credits: Agency: Heads Propaganda, d.C: Flávio ManiPula’s workflow? wHat kind of PHotosHoP? wHat were tHe core tools
Medeiros, d.A: Fernando Maciel, Copy Writer: gabriel Lepesteur
tasks do you use it for? used to acHieve tHe final look?
Photoshop is the most-used The most used tools were the adjustment options,
software in our studio, from such as Color Balance to give the overall image
digital painting concept subtle colour tones, and Selective Color to adjust the
illustrations to creating CGI hue and saturation and to break some excesses of
textures, retouching, colour in certain parts of the image. We also
composing and preparing the employed lighting effects to add or detract light in
final images. It is used during certain areas, which aided in the creation of the
almost all stages of the environmental effects.
creative process at Manipula.
can you Please discuss tHe
wHat brief were you environMental and ligHting effects in
were given for sHark a little More detail?
storM? did you receive During the retouching, we used Blend to correct the
any visual cues tHat colours and atmospheric effects to make the
initial concept
you needed to acHieve? composition feel more cohesive. In this production,
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started compositing them into the scene
using the render passes technique. This
allows you to compose all aspects of an
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“After we had rendered the sharks in CG, we
© Gui Christ
we created a flattened copy and added in some noise elements and needs. Naming conventions is really
to create a grainy and more photorealistic look. We important; make sure you apply the correct names
also applied lens effects like chromatic aberration to your groups or you can easily get lost.
using Lens Correction and Noise. After that, we
created lens flare and a final yellow mood through ARE THERE ANY PHOTOSHOP TOOLS THAT
colour balance. THE SOFTWARE DOES NOT YET HAVE THAT
YOU WOULD LIKE TO SEE IMPLEMENTED?
WHAT PHOTOSHOP TOOLS WERE Perhaps some better selection tools for extracting
PARTICULARLY USEFUL FOR THE CREATION elements from backgrounds. We don’t think Refine
OF THIS PROJECT? HOW DID YOU USE THEM? Edge is currently as good as it could be.
Adjustment layers, blending layers and masks were
Background photography very important in combining the images and creating WHAT CORE PHOTOSHOP SKILLS DO THEY
separate effects on specific layers; for example, NEED, AND WHAT TOOLS ARE ABSOLUTELY
highlighting the sharks that we wanted to make ESSENTIAL?
stand out. Retouching isn’t rocket science, but for any great
image it’s absolutely necessary that the artist has
HOW MANY LAYERS ARE NECESSARY IN AN full knowledge of the tools available, and specifically
IMAGE LIKE THIS, AND HOW DID YOU GO the ones that are most relevant to create the desired
ABOUT USING THEM? end result.
This image in particular had around 200 layers. To It’s also very important to keep in mind exactly
manoeuvre around this many layers, we created what you want from the image, and create a
major groups that were named ‘background’, ‘minor workflow based around that. Photoshop has tons of
sharks’, ‘major sharks’, ‘rescue team’ and ‘clouds’. tools and new artists can get easily lost in the infinite
Colouration and adding elements Each group had subdivisions according to its possibilities offered by the software. Stay focused.
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studio interview
INK StudIo
The Belgium-Based design agency explains The
imporTance of exploring our own creaTive poTenTial
W
and pracTising wiTh The very laTesT design innovaTions
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Magda Fahsi
rebrands project
See how INK STudIo creaTed a SIgNaTure STyle For ThIS
award-winning website
Magda Fahsi (www.magdafahsi.eu) is an international journalist,
lecturer and cross-cultural coach. She asked INK studio to reinvent her
existing identity into something new and colourful. This was to be used
across all formats, including logo, web and print design. The team set
out to reflect her international status by creating specific colour-coded
illustrations of each continent. These were then used to decorate each
web page. INK studio received a CSS Design Award for this website.
This was the initial illustration for the This is an example of just one of the site’s pages, showing how themed colour schemes were used to
homepage of Fahsi’s website, also create and signify certain continents © Magda Fahsi
downloadable as wallpaper © Magda Fahsi
01 Quick compositing
Page illustrations were created using
many different brushes and vector materials.
02 integrate images
Different pictures from Magda Fahsi’s
trips around the world were integrated into an
03 Layer structure
Building a website with many elements
inside Photoshop can mean an extensive list of
Sometimes that can mean a lot of copy and illustration using Layer Mask functionality, layers. We organised our Layers panel by naming
pasting, with a cluttered workspace. For a faster extracting the best part of the picture for our and tagging each accordingly. This helped others
workflow we used Mini Bridge from inside compositions. Black & White, Hue/Saturation and working on the same file to find what they were
Photoshop, helping us instantly target and select Level adjustments were used to produce coherent looking for. The new CS6 layer search then became
different image files. colour schemes. very convenient.
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Graphical Carnaval: The works you see here are images from an
intern project that was made as part of a workshop. We made
these just for fun
Credit: Thibaut van Boxtel, William Mirante, Cédric Philippi, Julien Braeckvelt, yann Platis, Jessica sieben, Kévin stranart © 2013 inK studio, All Rights Reserved
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09:00
download patterns from the internet, but more
The doors are open
fun to create your own ones inside Photoshop.”
A cup of coffee, tea or water helps
Other plug-ins used by INK studio, which
us fire up our minds and start our day, before
offer its team the ability to add some seriously
tackling any kind of project.
cool creative effects, can be found in NIK
Software’s collection. “They have six different
plug-ins to explore that offer us image
customisation,” explains van Boxtel. “But don’t 09:00 10:00 CheCk The web
It’s important that we keep up with
trends and check what’s happened on the web over
forget, Photoshop is like a playground, so the last couple of days.
12:00
explore and have as much fun as possible.”
bon appéTiT
Food is always the best source of
energy, so don’t forget to eat. This sort of downtime
is ever so important.
a handmade illustrative identity for a new section of ucM www. 18:00 downTime
10:00
At the end of the day you’d think
eco-conception.be concerning innovative coaching for the
self-employed and small media enterprises (sMe) we went home. Nope, it’s Bomberman time. Let’s
Credit: iNK studio © ucM
fight a bit.
12:00 13.30
TOp FIvE prODucTION TIps
HoW to tacKle WorKfloW iN tHe best Way 16:30
■ Time managemenT
Begin each day and project with the most difficult tasks.
Energy is like an hourglass – use it wisely.
■ STay Tuned in
Be informed about the innovations in your industry sector
and don’t hesitate to practise with these.
■ an orderly faShion
Try to be organised by classifying image sets, as well as
layers and groups in image files.
■ Try To relax
Never forget the importance of downtime. Always
remember to take breaks throughout the day.
■ Job SaTiSfacTion
Take pleasure in doing your job, as this will translate into
your final images.
18.00
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■ tweak light and dark
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On the new layer, paint with a black soft
brush (around 5% Opacity) the areas that
you want to be darker, and highlight with
a white soft brush areas that you want to
be brighter.
■ adjust colour
In post-production, I added a
slightly greenish tint to the
backdrop and toned down the
overall colour. I also used a
Dodge tool to brighten all the
highlights in the model’s hair,
face and clothing
■ effective lighting
As a professional photographer,
do everything to deliver the best
lighting possible. It’s easier and
more effective to retouch an
image with the proper lighting
PrePare
your lighting
Joanna Kustra
www.joannakustra.com
Photographer Joanna
Kustra explains how
preparing before a shoot is vital to get lighting
that looks good and is easy to edit. “First, there
needs to be a general idea for the shoot and I
usually talk it through with the stylist first. I look
for inspiration online and in magazines, and
analyse how other photographers lit their
stories. at that point, I usually have in my head
the mood that I’d like to achieve. on the day of
the shoot, I usually start with one light, adding
others as needed. I test the setup on my
assistant while the model is being prepared,
and then adjust it for the model. I then analyse
the first few photos on a monitor to see what
needs adjusting.”
© Joanna Kustra
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10 LIGHTING
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SECRETS
IMPROVE YOUR LIGHTING TECHNIQUES AND CREATE BALANCED, BELIEVABLE GRAPHICS
AND MANIPULATIONS BY FOLLOWING THESE TIPS FROM INDUSTRY PROFESSIONALS
SHOOT IT RIGHT
ALBA SOLER
www.behance.net/albasoler
Photographer Alba Soler created a series of images for a calendar to help raise money
for an early stimulation centre that treats children with developmental disabilities. “It is
clearly an advantage to know in advance what can be achieved during processing to
improve the picture that you are taking, but it’s a mistake to use it as a substitute for what you can do in real
life. When it comes to lighting, getting it right in-camera is important; it will decide whether the scene is
believable or not. All the light in this picture is from natural light, as it was shot on a sunny day. The most
important thing is that all was placed in the picture as it was in the scene, that’s why everything is perfectly lit.”
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TECHNIQUES 10 LIGHTING SECRETS
004
© Kevin Roodhorst
© Fábio Araujo
out as a stock image surfaces gives a realistic edge combined it with landscape stock photos
002 004 006
I removed the glass and a few Lighting effects on the bottle were Clip an adjustment, inverse the mask and
other parts, then added liquid rendered then tweaked paint on the light for an even effect
TWEAK RENDERED
LIGHTING
TOMÁŠ PETEREC
www.tomaspeterec.sk
To build a photo-realistic image
with organic structures like the
foods in this image, Tomáš Peterec worked across
Photoshop and 3D software, tweaking the effects
that one created with the other. “I used Photoshop
during the whole process, from the very little and
easy things to more difficult tasks. For the lighting in
the rendering program, I used a self-made
panoramic HDR image with sky and sun. In
Photoshop, I created a HDR picture which I bent to
panorama. Most advanced rendering programs are
able to generate light from HDRi panoramas. After
that, the only thing was to set the light direction and
© Tomáš Peterec
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Cross ProjeCt
Lighting
Victor noVak
www.higher. sk
Victor Novak from brand agency
Higher, designed the logo and
packaging for fruit drink, Vita V and then created product
shots for web and brochure use, making sure the
lighting on the bottles matched the way it was presented
© Salem Al-Langawi
online and in print. “The main goals we pursued were to
be different from competitors and to create not just the
Paint Light
design, but a strong foundation for a unique visual style
Salem al which we’d be able to develop in future marketing
langawi materials. To create the lighting on the packaging itself,
www.salemallangawiart.com
we added additional layers with overlay, screen and soft
Digital painter Salem al © Higher
light blending options and then used a soft brush to paint
langawi added light to this
these on to create the effect. We use mixed techniques:
magical image inspired by his sons using a brush
shooting objects, then combining, retouching and
technique. “each element was created on a
polishing them in Photoshop. When it came to
separate layer: the background, the boy, the
visualising the package design in the marketing
butterfly and finally the light effect. in order to
materials, we were fortunate because the overall visual
make the character the focal point, i made the
style is light, and it was not hard to blend our packaging
strong light source hazy. i achieved this by using a
design with brochures and website. To achieve realistic
custom-made basic soft round brush. it also
blending in different lighting environments, the designer
allowed me to achieve the mystical mist of a
needs to remember two things about how colours work
magical forest. this brush has a much lower
in a real life: dark colours are more saturated than light
hardness rate as well as a 1% transfer rate, and its
colours, and in the shadowed or darker areas, the
opacity and Flow was set to 100%.” © Higher
saturation of colours fades away.”
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TECHNIQUES PHOTOSHOP CC
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PHOTOSHOP CC
H
EVERYTHING YOU NEED TO KNOW ABOUT THE NEW VERSION
ere at Advanced Photoshop magazine, of CS6, meaning we can integrate all the new tools
PHOTOSHOP CC IS we’re finding it hard to contain our and filters into our existing workflow with ease.
NOW AVAILABLE. excitement over the cutting-edge upgrades Many of you will also be interested to discover
in Photoshop CC. The latest version of what the rest of Creative Cloud software has to offer,
HERE, WE GUIDE software gives Creative Cloud subscribers the so over the next few pages we’ll deliver information
YOU THROUGH chance to edit with a host of brand-spanking new on the rest of the best bits, including the upgrades to
tools, as well as reinvented ones. Illustrator, InDesign and Dreamweaver.
THE BEST NEW Its launch has left the creative world a little The deluxe feature then concludes with a series of
FEATURES AND stunned, with not so much as a beta being made interviews including an exclusive interview with
available before release. It is for that reason that this Stephen Nielson - Adobe’s Photoshop Product
DISCUSS WHAT feature goes into slightly more detail than usual Manager who offers up his choice of Photoshop’s
THE INDUSTRY when explaining the most significant upgrades, to hiddem gems. By the end of this issue, you should
ensure that they can all be put to good use straight know all there is to know about Photoshop CC,
THINKS OF THE away. There have been no drastic changes to the Creative Cloud, and how these could impact on digital
CHANGES interface, however, which corresponds with the look artists planning to use the products and services.
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Techniques PhotoshoP CC
001
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■ FINE-TUNING
The new slider sets lets
you fine-tune the images
you want, making
texture and detail pop
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FASTER LIVE PREVIEWS AND MORE RESPONSIVE
OPTIONS MAKE 3D CREATION MUCH EASIER
All of the Photoshop CS6 extended options are made
available in Photoshop CC, which means 3D
modelling is now open to everyone. However,
functionality has become even more intuitive,
with several improvements.
Adobe looked to create a middle ground between 3D
generation and Photoshop application, this makes
creation far less daunting for new users. Photoshop CC
provides this smoother transition from 2D to 3D editing
by now including familiar Layers panel options. You can
choose to Duplicate, Delete and Group layers using the
new Object options in the 3D>Whole Scene panel.
Photoshop CC also reads and writes applied textures
and special effects much faster, with improved render
times. Preview times are also faster, displaying complex
elements like shadows quicker and in better quality.
Texturing 3D objects has become even more accessible
through improved manual application. You can use
default, custom and Texture setting brushes to apply
straight to your on-screen object as before. But now, live
cursor previews of both the 3D model and flattened
t
D.ne
texture map the location of the marks. Looks update in
i ve3
ar c h
real-time in both instances. Follow the three-stepper
an d
below to find out how this works.
r es
ex t u
CG T
di t :
Cre
02 OPTIMISE VIEW
Select one of the 3D objects and activate the Layers panel,
double-clicking one of the Diffuse sub-layers. This will open a wireframe
03 PAINT TO OBJECT
Now you can paint directly to the Wireframe overlay layer, updating marks in your 3D models. Alternatively, open a
overlay layer in a separate document. Select Window>Arrange>2-up texture image, set Arrange to 3-up Vertical, and then activate the Clone Stamp. Pick from your texture, add to the Wireframe
Vertical to set the wireframe and 3D model in side-by-side windows. overlay layer and update the 3D models.
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PHOTOSHOP CC TECHNIQUES
SHAPES
PROPERTIES PANEL
SAVE TIME EDITING AND ADDING EFFECTS TO SHAPES
WITH THE LATEST UPDATES
Photoshop CS6 took huge strides in improving Shape Tool
functionality. Bitmap layers were replaced with Vector
technology, which provided more flexible resizing. Colour
and gradient effects were pooled together in one dialog,
along with new Stroke settings. Photoshop CC hasn’t
looked to radicalise shapes any further, instead tweaking
and perfecting operation. This is achieved through simple
updates, accessed through the Smart Shapes Properties panel.
Here, users can apply all of the previous CS6 options, but also reshape rounded
corners individually or all together. Simply hover over the corner icon, click, and
horizontally drag to apply settings manually. Even more exciting, you can now
select a series of shape layers (Ctrl/Cmd+click) and manipulate them
simultaneously. This lets graphic and web designers get more done in fewer
clicks. The only complaint would be that once saved, it’s impossible to reopen a
file and reactivate your settings. Hopefully this will be featured in a future update.
Photoshop CC offers the ability to create shapes and then export CSS data from
these. This also saves web designers a lot of time. To do this, simply Ctrl/
Cmd+click a Shape layer and select Copy CSS from the pop-up options.
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A HOST OF NEW OPTIONS MAKE RAW EDITING
MORE POWERFUL THAN EVER BEFORE
Photoshop CC incorporates the power of Adobe
Camera RAW (ACR), available as a filter option but
only in RGB Color Mode. This makes editing
photos far more accessible and a whole lot ■ SPOT REMOVAL TOOL
quicker. We’ll never have to access our image files Select this from the tool bar options
remotely ever again. and apply it to the area you want to
In keeping with the radical Photoshop CC, ACR 8 remove. It would seem ACR 8
presents its own host of new options that improve automatically remedies the selected
image results. The plug-in has always excelled at area. Press V to show and hide
perfecting aesthetically pleasing looks, and now source and destination selections.
capabilities are further enhanced with the Radial Drag and place the green point to
Filter. This is fantastic at creating focal points as manually alter the destination
well as vignettes in our snaps, and is very intuitive selection, perfecting its effect on your
to use. edited area. This tool handles parallel
ACR 8 also takes itself seriously as an advanced selection better than perpendicular
photo editor. The all-new Spot Removal tool will ones on offer.
no doubt be compared to Photoshop’s own Spot
Healing tool, as both can be applied by drawing
over an area. However, this is where the
similarities end. ACR 8 Spot Removal Tool is more
logical, showing both selected source and
destination areas.
The Lens Corrections dialog has also had a
facelift. Profile options have been removed and
Manual options augmented with the new Upright
controls. These tackle all types of distortion
through a set of five presets, determining the best
effects mechanically.
Here, we explore these new features and explain
how they operate.
■ UPRIGHT CONTROLS
Activate the Lens
Correction>Manual panel to
access the Upright presets. Five
presets in total provide one-click
effects, including Auto for
balanced correction, Horizontal to
match the best horizon, and
Vertical for vertical lines. Full
applies all perspective corrections
at one time; Disable Upright is
self-explanatory, and Transform
sliders let us level manually. Use
these to align to a grid with the
Show Grid slider, determining size
and spacing.
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PHOTOSHOP CC
This is also selected from the tool bar options and provides an
TECHNIQUES
extensive set of slider controls. These are geared towards perfecting
the light, temperature and noise detail in an image. Determine
whether you want to create focal points or vignette effects with the
Outside and Inside Effect options. You can also determine how soft
your selection edges are with the easy-to-use Feather slider. Review
effects by pressing the P key shortcuts.
TONE IN ACR
OPEN UP YOUR HDR IMAGES TO THE POWER OF CAMERA RAW EDITING
There was an increased use of Automate options with CS6’s update to
Merge to HDR Pro. This has long been the go-to option for
photographers looking to create HDR styles in Photoshop.
The flexibility of its supplied Advanced sliders when working in 16-bit
mode was limited. These included types such as Shadow, Highlight,
Vibrance and Saturation to help improve image temperature and
exposure. Sadly, the Shadows and Highlights sliders available in Adobe
Camera RAW (ACR) 7 at the time provided a greater deal of precision.
Adobe has tackled this issue and alleviated any creative tension with
another new Photoshop CC option: Tone in ACR. You can trigger this by
firstly selecting File>Automate>Merge to HDR Pro, hitting Browse and
uploading your set of photos.
Once inside the Merge to HDR Pro dialog box, set Mode to 32 Bit and
the Tone in ACR option will appear in the bottom-right corner of the
interface. Click this and all the ACR 8 options are made available. The
significance of this is enhanced control over your HDR looks. Now you
can edit temperature and exposure to a greater degree, using the
Shadows and Highlights functionality previously missing.
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TECHNIQUES PHOTOSHOP CC
BRAND NEW As far as sharing goes, I’m not sold. I think it’s a
SYNC SETTINGS marketing tool for Adobe rather than an
FIND MORE WAYS TO SHARE PRESETS AND
ARTWORK INSIDE OF PHOTOSHOP CC
improvement on how we collaborate. I currently use
Dropbox, social media and Behance for all my collaborating and
posting online. But I can see how it could keep a larger group of
creatives working together on the same idea
MIKE CAMPAU / WWW.MIKECAMPAU.COM
EXPORT TO BEHANCE
UPLOAD TO THE WORLD’S LARGEST CREATIVE PLATFORM IN SECONDS
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Techniques PhotoshoP CC
Mike CaMPau
ceo, creAtive director And freelAncer
Mike Campau (www.mikecampau.
com) has steadily climbed the ladder of
studio and agency life. He now has over 15 years of
valuable experience under his belt. But he’s hit a
crossroads. He’s finding it hard to decide whether or not
the new Photoshop CC will benefit his own venture. “A
subscription-based software seemed to make sense to
me,” he admits. “I always upgrade to the industry
standard, because I need to continue to be compatible
with the many artists and photographers I work with. It’s
just way more convenient to click ‘update’ and have the
latest software at my finger tips.”
On the other hand, Campau sees the merits of
physically owning a copy of Photoshop. “It’s like the
difference between buying or leasing a car. It makes
more financial sense to buy and own it outright, saving
on monthly payments,” he says. “If the version of
Photoshop you’re using is still working for you, then
being forced to effectively lease a new version can be
very frustrating. It can be harder on your pocket too in
the long run.” This is why many freelancers like to just
buy software outright, saving on cost and minimising
overheads that can affect smaller businesses.
Leon ePhraïM
co-founder At YummYGum
Design company YummyGum
(www.yummygum.com) is an army
of two, consisting of co-founders Leon Ephraïm and
Vincent Schwidder. They produce pixel-perfect User
Interfaces (UI), icons for web, iOS and native apps on
a daily basis. They know web trends move fast and
anticipate a high turnover of styles. This means that
YummyGum needs to stay up-to-date at all times
with the latest software used to produce their
desired looks.
This factor has had a huge bearing on the studio’s
eventual acceptance of Adobe’s new subscription-
based software, after initially being hesitant. “The
entry cost for software is now much lower. Anyone
can spare a few bucks to try out new software for a
few months. As it’s crucial for us to always use
current software, it’s becomes a solid ‘win’ for us Photoshop CC’s new Shape Properties panel is
both,” explains Ephraïm. also set to augment the YummyGum workflow.
Several other functions have the pair enthusiastic “By using shapes with adjustable properties, we can
about Adobe’s new launch. “Syncing documents with easily play around with each other’s designs and
the Creative Cloud and across devices is super- tweak until we’re all happy,” Ephraïm explains. “We
efficient,” admits Ephraïm. “Vince can draw on an can also easily re-use values, such as border
iPad and I can immediately take his sketch into radiuses and have a consistent look throughout all of
Photoshop.” This makes working as a pair easy. our designs.”
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PHILIP ENGSTRÖM
COMMERCIAL RETOUCHER AT EIGHTBIT STUDIO
The entire Eightbit studio (www. as quickly as possible. For the creative industry, it is Engström also believes that the new Creative
eightbit.se) team works tirelessly to absolutely vital. Cloud for teams subscription is a great incentive.
create massive projects for some of the globe’s That is why Engström and the entire Eightbit team “We’re all using standalone licenses right now, but in
biggest international clients. Sony, Bosch and have high hopes for the new sharing abilities that are the future the team license will probably replace
Volkswagen are just a few that have been added to now available inside Creative Cloud. “It’s easier to these. This is due to how easy Adobe has made it to
its roster over the years. Philip Engström has been share a folder with a client by just dragging and once again upload and share up to 100GB of content,
an important cog in this commercial retouch studio dropping files. They can view and give feedback in one location.” Eightbit feel this is a real boon for
for some time and knows better than anyone how without having to go through the process of mailing large teams working on multiple projects at any
important it is to share ideas and content with clients or re-uploading content,” he explains. given time.
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TECHNIQUES PHOTOSHOP CC
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A few other
corporates have
already made such
mistakes. I hope
they’re joking
NITISH C KUMAR / INDIA
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TECHNIQUES PHOTOSHOP CC
STEPHEN NIELSON
PHOTOSHOP PRODUCT MANAGER
P
hotoshop product manager, Stephen WHICH NEW FILTERS REALLY MAKE A HAS PHOTOSHOP CC TAKEN ADVANTAGE OF
Nielson works closely with Adobe’s digital DIFFERENCE TO USERS? 64BIT SUPPORT?
imaging engineers to help make By adding ACR 8 as a filter Adobe has opened up all More computers are coming with 8GB, 16GB and
applications the best they can be. Here in kinds of new workflows. Before Photoshop CC, ACR even 32GB of RAM. As a 64-bit native application,
this interview he talks about all the new features in was normally used only when opening an image. Photoshop CC is ready to take advantage of that
Photoshop CC, some of which you may not have With ACR as a filter you can make adjustments at extra memory. It also makes better use of your
known about. any time to any layer. This gives customers more graphics card by rendering complex operations like
flexibility to use powerful ACR tools like Highlights, Blur Gallery and Liquify separately from the CPU.
WHAT NEW PHOTOSHOP CC TOOL HAS YOU THE Shadows, Temperature and Clarity, at any time.
MOST EXCITED? WHAT NEW TIMESAVERS CAN WE EXPECT
The new Camera Shake Reduction tool, which can be WHO REALLY BENEFITS FROM THE NEW FROM PHOTOSHOP CC?
found by selecting Filter>Sharpen>Shake Reduction. PRESERVE DETAILS OPTION? Photoshop CC has over two dozen new time-saving
Our engineers have figured out how to take an The new Preserve Details option, now founding the features. The installation can now migrate all of your
otherwise unusable photo and remove blur caused Image Size>Resample dialog, will benefit anyone presets from the last version of Photoshop and no
by moving your camera. We’ve already seen who enlarges photographs in Photoshop. Our longer requires a restart. Adobe has also improved
customers recover photographs of loved ones and best-in-class algorithm can increase the size of an the reliability of saving to network file shares,
law enforcement have recovered license plate image with very little noise by preserving the edges, improved the performance of 3D painting, added a
numbers with this amazing technology. which results in photorealistic details. new tool to Liquify and much more.
■ SMARTER WORKFLOWS WITH SMART FILTERS ■ USE ADOBE CAMERA RAW WITH VIDEO ■ TONE HDR IMAGES WITH ADOBE CAMERA RAW
Smart Objects and Smart Filters allow for powerful ACR can be used on JPEGs and video. Lightroom 5 A little-known feature in Photoshop CC is the ability to
workflows. You can now use Camera Shake supports some video adjustments and so does use the intuitive ACR controls like Exposure, Contrast,
Reduction, the all-new Smart Sharpen, Liquify and Photoshop CC, with full ACR support available for the Highlights, Shadows, and Clarity to tone an HDR
Blur Gallery as completely non-destructive Smart first time. Just convert your video to a Smart Object image. Start by selecting your bracketed shots in
Filters. This means you can always go back and edit (Filters->Convert for Smart Filters) then apply ACR Merge to HDR Pro. Change the Mode to 32-bit and
your original image. as a filter (Filters->Camera Raw Filter). select Tone in ACR in the bottom-right.
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BEFORE
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RETOUCHING IN PHOTOSHOP CC TECHNIQUES
PHOTO EDITING
RETOUCHING IN
PHOTOSHOP CC
A
LEARN HOW TO USE THE NEW FEATURES IN PHOTOSHOP CC
TO EDIT PORTRAIT AND FASHION PHOTOS
long with enhanced performance gains, Camera Raw 8.0, including the new Spot Removal
Adobe’s latest version of Photoshop brush capabilities. Moving into Photoshop CC, the
presents several exciting new options to tutorial will highlight a few major improvements
users in every field. These range from and use them to further fix the image. The Smart OUR EXPERT
groundbreaking technology, like the new Camera Sharpen filter and the Preserve Details option are KIRK NELSON
Shake Reduction filter, to subtle improvements, also explored, demonstrating how these are www.thepixelpro.com
Our friendly neighbourhood graphic
such as the now-accessible brush rotation widget. combined to perfect photo enlargement. geek is an Adobe Certified Expert
This tutorial will focus on a handful that will be of In addition to the updated tools, the tutorial will and has over 15 years of experience
in Graphic Design. Nelson is a
particular interest to photographers and retouchers. touch on a long-awaited feature for working with frequent contributor to Advanced
Photoshop magazine.
Working from a starting portrait, we will put into paths and rounded rectangles. Follow these steps
action some of the latest features found in Adobe to see what Photoshop CC really has in store. @thepixelpro
SOURCE FILES
SMARTER IMAGE EDITING IN PHOTOSHOP CC The portrait used and edited in this
Photoshop CC-based tutorial is
THE NEWEST RELEASE HAS MORE OPTIONS FOR NON-DESTRUCTIVE PHOTO EDITING THAN EVER BEFORE available on the disc. Experiment
with this RAW file while using
01
Photoshop CC’s latest tool sets.
CAMERA RAW 8.0
Photoshop CC is paired
with Adobe Camera Raw 8.0, WORK IN
which boasts several useful new PROGRESS
features. Begin by opening the SMARTER EDITING IN
supplied disc file DSC_5385.NEF. PHOTOSHOP CC
This is a RAW file that cannot be
opened directly in Photoshop.
Opening it will launch Camera
RAW 8.0 instead.
02 WHITE BALANCE
The model is decently lit against the solid
white backdrop, but there is still some room for
03 COLOUR CORRECTION
Use the sliders in the Basic tab of the RAW
interface to adjust colour and exposure, making
improvement. There’s a slightly warm colour cast to these look how you want them to in the image.
the photo that can be removed using the White Alleviate shadow areas by adjusting the Shadows
Balance Tool. It’s a grey-filled eyedropper found in and the Blacks sliders, then increasing the Clarity
the top tool bar. Use it to sample a mid-grey area of and the Vibrance settings, which helps to enhance
her dress. the image’s tone and detail. Progress 3: Radial filter
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TECHNIQUES RETOUCHING IN PHOTOSHOP CC
04
QUICK TIP
NEW SPOT REMOVAL TOOL
The new Spot Removal tool in Camera RAW 8.0
The Spot Removal tool is a well-loved feature from previous versions of Camera RAW. The
is a great way to deal with dust spots from the
significant change in ACR 8.0 and Photoshop CC is that you no longer need to apply it through circular areas.
camera lens. Brush strokes and settings are
Now you can stroke over areas, creating irregular shapes that are then healed by the program as it finds
saved as part of the Develop Settings. Use
similar pixels to merge with the selected area. This is done non-destructively, as source and target pins can
Adobe Bridge to apply those settings to multiple
be moved and readjusted to define fixes. The new Visualize Spots slider uses a black-and-white translation to
photos all at once.
assist in finding irregularities in the image that are candidates for healing.
06 BACKGROUND CLEANUP
Click Open Image to apply the Camera RAW
adjustments and send the file to Photoshop CC.
07 SMART SHARPEN
Another welcome improvement in
Photoshop CC is the revamped Smart Sharpen filter.
08 CS6 CC UPDATE FEATURES
Adobe has integrated a handful of features
that were previously only available to Creative Cloud
Notice the area near her waist where there’s visible This now does an extremely impressive job of subscribers into Photoshop CC. Among them is
damage to the background material. Select a small recovering details from fuzzy images. One of the best Smart Object support for filters, which before was
portion of the damaged area using one of the new aspects of this filter is the way the Amount can restricted to standard layers. The new Blur Gallery
Marquee tools, then use Edit>Fill>Content Aware Fill be boosted to extreme levels without the image filters are included, as well as the Liquify filter. A
to remove the imperfections. If the Content Aware suffering from edge halos, as in previous versions. favourite of pro retouchers everywhere, this is now
Fill pulls pixel information from the dress instead of For the image here, set the Amount to 266%, Radius available non-destructively as a Smart Filter. Convert
the background, use the Spot Healing brush tool or a to 1.5px and the Reduce Noise slider to 81% to get the layer to a Smart Object with the Image>Smart
tighter selection. the necessary detail. Object menu before adding these.
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09 A BETTER, FASTER
LIQUIFY FILTER
PHOTOSHOP CC INTEGRATES CS6’S SUBSCRIBER-ONLY FEATURES,
INCLUDING THE ABILITY TO USE LIQUIFY AS A SMART FILTER
SNUB NOSE
Sharpen the model’s nose by switching
to the Pucker Tool, and apply in a similar
way to the eyes. Set the brush size
slightly larger than the tip of her nose, at
a value of around 150. Gently click until it
shrinks slightly. Be sure to use single,
controlled clicks, otherwise it’s easy to
get carried away.
EYE POPPING
A very common beauty retouching
technique is to increase eye size and
shape. To do this, select the Bloat tool
and increase the brush size to completely
cover the whites of the eyes. Carefully
click directly on the pupil, making the
eyes wider.
FULLER FIGURE
Switch back to the Bloat Tool and reduce the brush size to
around 70. Then give the lower lip area a bit more volume with
just a few clicks, but be careful not to distort the teeth. Increase
the brush size to around 450 and add some fullness to other
body areas.
PRESERVE DETAILS
One of the long-standing rules with
photomanipulation is to avoid resampling
upwards. If an image is enlarged too much, the
pixel information breaks down and detail is lost.
Photoshop CC reduces this restriction with a
new Preserve Details option when resampling.
Go to Image>Image Size, check the Resample
box and choose Preserve Details from the
drop-down menu.
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teChniques Retouching in PhotoshoP cc
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CREATE A CYBORG TECHNIQUES
DIGITAL PAINTING
CREATE A CYBORG
C
DEVELOP AN INSPIRING IMAGE USING LITTLE MORE THAN A SINGLE
PHOTOGRAPH, PHOTOMANIPULATION AND DIGITAL PAINTING TECHNIQUES
yborg effects are increasingly popular, but Also explore ways to layer our image, utilise a
don’t always have to be utterly frustrating. host of blending modes and composite external
Photoshop makes this type of project far assets to create special effects.
more accessible by coupling photo editing Experience of painting digitally, or at least a strong
tools and digital painting equipment under one roof. enthusiasm to learn, is recommended to get the
Mastering Photoshop brushes offers us a head most out of this tutorial. The inspiration for this
start in all instances. Our goal is to create the artwork comes from several contemporary sources,
ultimate female cyborg, which is achieved by using a including the Mass Effect videogame series and the OUR EXPERT
single standard brush, a drawing table, core digital iconic movie Blade Runner, whose visual language OLIVER WETTER
www.fantasio.info
painting and photomanipulation techniques. shaped a timeless idea of science fiction.
Oliver Wetter is a German digital
Within this tutorial, you are supplied with specific A video tutorial that goes into further detail about artist. He has a background in
Brush Preset settings which will help us to create the painting techniques accompanies this tutorial and is construction equipment and makes
a living as a freelance illustrator and
shapes and detail needed for an authentic look. supplied on our disc. lecturer in digital painting.
@fantasiox
FLIRTING WITH
A ROBOT
HOW TO CREATE
A MACHINE
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Techniques Create a Cyborg
04 Brush settings
Activate the Brush Presets panel and
choose a hard mechanical round brush with a 13px
05 thuMBnail view
Clean the edges of the previously cut out
model with a soft Eraser tool, between 2px and 10px
06 Blueprint sketch
If it is hard to draw mechanical parts at this
new size, cheat by using the draft supplied on the
size. Also, set Roundness at 56%, Spacing at 20% in size. When finished, select Image>Duplicate, disc. If you take on the challenge to draw a design by
and Hardness at 65%. Activate Shape Dynamics, Layers>Flatten, then change image DPI from 300 to yourselves, use a round black brush set to
setting Size Jitter control to Pen pressure. Activate 72 (Image>Image Size). The newly sized image acts approximately 80% Opacity to draw elements on a
Shape dynamics, setting Angle Jitter to Initial as a thumbnail sketch. Working at this size allows new layer. Transparency creates welcome
direction. Make sure both Noise and Smoothing are you to decide many things, including whether the overlapping of edges and allows the underground
checked. Set brush Opacity at 85%. Save this brush stock photograph is worth purchasing. Basically, if colour to shine through. The latter is important, as it
as a preset. Practise with these brush settings and the initial ‘sketch’ looks promising in a smaller allows us to pick up a variety of tonal values and
your tablet device before proceeding. version, chances are it will in full resolution. build an authentic design.
Quick tip
Experiment with different shapes in our design
process on new layers. However, creating the
latter by hitting Ctrl/Cmd+Shift+Alt+N is an
ungainly keystroke. When using a Wacom tablet,
we can assign this shortcut to one button only,
which saves a lot of time.
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09 PAINT HAIR
MASTER THREE-DIMENSIONAL COLOURED
OBJECTS AND THE IMPACT OF OUR IMAGE
Before
After
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techniques Create a Cyborg
10 Keen observation
Being tech-savvy is not a necessity, but
having a good understanding of all things technical
11 build up detail
Still shaping the underlying mechanical
parts, there are accurate values to work with in the
12 ConstruCt with layers
The spine is the trickiest part. While it’s
painted exactly the way the other design elements
can be really useful when following the previous Sketch layer. Add darker tones to create shadow and are – using a standard round brush – one applied
steps. In the video recording on the CD, discover how brighter values for highlights using the HUD Color pattern can be repeated. Select one finished section
to paint the mechanical parts in real-time. The Picker (Opt+Shift right click/Cmd+Alt). Study using the Lasso tool, copy and paste this, and place it
design process from the thumbnail stage in Step 6 construction equipment to help fashion looks. Books below the source. Click Edit>Transform>Warp to
will now be worked into with greater detail, using an and movies as a reference are also allowed. Start by transform it. Pick up existing colours with the
80% black brush on a new layer. This is the most using big bold shapes, working towards smaller Eyedropper tool and paint with them, creating
time-consuming application, but one that decides the ones, it will be much easier to show what’s under the variations into the copied part. Shape edges with the
image’s believability. surface. Imagination is encouraged. Eraser tool, making sure they don’t look too similar.
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15 Bokeh effect
Turn off the visibility of all layers related to
the model. Select the existing background layer and
16 Improve our Background
For the synthetic, edgy-looking background
of the final version, use a stock image downloaded
17 revIew the pIxels
Viewing the actual pixels up close will show
some visual discrepancies. These are okay in a
pick the colour TOYO 0469 from the TOYO 94 Color for free from Media-Militia (www.mediamilitia. small, web-sized version, but will not work in a
Finder Swatch. Set brush Opacity to 80%, Flow to com/3d-renders). Place the 4.PNG file exactly like it high-res version. We discovered differences in the
40% and blending mode to Color Dodge. The is in the screenshot. Rotate it 90 degrees clockwise back, which had been roughly painted in Step 2. We
roundness of the brush should be set back to 100%. to match the scene. Set this new layer’s blending solved this issue by creating a new layer, setting our
Now add some random spots with the mouse, mode to Linear Dodge and set Fill to 80% to achieve brush to Scattering at 1000%, then changed Size to
ranging from 500px to 2900px size. On some the same effect seen in the supplied screenshot. The 3px. By picking up colours from the back with the
occasions it needs two or more clicks to show the background with the pseudo-bokeh effect should Eyedropper tool, it’s possible to apply a bumpy skin
effect. This pseudo-bokeh effect should stay in the eventually sit with 100% visibility underneath this texture by hand.
background – less is more. stock image layer.
18 Boost lIght
For the LED lights, we add a new layer
and paint with colour TOYO 0687 from the TOYO
Quick tip
When revisiting a finished piece, it
proves useful to have Layer Groups
Color Finder swatch. Using a round brush, we just for effects such as Photo Filters.
depict spots that work as additional light sources. Switch the visibility of these groups off
To add values and glow, duplicate the finished when working on underlying layers,
painted layer, apply a Gaussian blur set to 2.8px, which helps to structure our work.
and apply a Color Dodge blending mode to the If we work on top of these effects,
resulting layer. Add another pass of Gaussian blur, our work becomes useless if we
this time set at 8.5px, and a Screen blending mode decide to change the colouring of our
to a duplicate of the previous layer. underlying layers.
20 fInal touches
Repositioning the model, add rim light to
the shoulder, play with colour adjustments and clean
up the image. Use the Clone Stamp tool and our
19 sIde effects
Create a lens-flare effect in one of our LEDs on the spine by using the 29.PNG from this Media Militia
pack (www.mediamilitia.com/custom-lens-flares-pack-50-free-high-resolution-transparent-images). Set
round brush to do this. Add strands of hair on top
when adding room to the composition with the CS6
Crop tool. Change the colouring of the technical parts
this introduced layer’s blending mode to Screen, Opacity at 85% and Fill at 75%. Position the centre of the lens to a greyer, colder tone. Do this with
flare over the LED light. Improve synthetic looks by changing the overall tone of our composition with a Blue Image>Adjustments>Replace Color options, by
Photo Filter set to 45%. For contrast, we add a Gradient Map set with a Platinum style from the Photographic picking up the midtone of the brownish area and
Toning collection in Photoshop CS6. Set this adjustment layer’s blending mode to Soft Light and Fill at 50%. changing Saturation to around -15%.
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HOW I MADE TECHNIQUES
HOW I MADE
DEAD ASTRONAUTS
KHYZYL SALEEM
READ ON AND FIND OUT HOW THIS ARTIST REALISED A DREAM
COMMISSION USING THE POWER OF PHOTOSHOP
02 BLOCK IN COLOUR
This part seemed to be
never-ending, as there were so
many possibilities. I started to
brush in rough colour areas,
creating Persephone’s skin to
look the way I wanted it to. I
also added some colour to the
image’s background.
03 RENDERING SKIN
I wasn’t particularly happy
with the environment at this stage,
so I decided to render the body
instead. I used a solid brush set to
about 70% Opacity, holding Opt/
Alt to use the Eye Dropper and
blend colours.
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Techniques HOWWorldMags.net
I MADE
04 Adding highlights
Lens flares were used at this stage to
create some lighting effects on Persephone’s body.
05 RendeRing the gRound
Returning to the background, I used the
Pen tool and the soft brush to paint in detail to the
06 Adding enviRonment
I kept the background simple to ensure that
the focus stayed on the character. I lightly brushed in
These were added to black layers with a Color Dodge floating rocks. Highlights were added by painting to the sky and clouds using a custom smoke brush at
blending mode. I applied Curves to adjust effects. an Overlay blending mode layer with a white brush. 50% Opacity and a Screen blending mode.
07 FuRtheR detAil
Feeling pretty satisfied with the way it was
looking at this stage, I began to paint in some
08 Finishing touches
I added in motion to the rocks by using
Radial Blur, with Zoom set to 10%. I then painted in
mountains, varying the opacity to see what different extra character textures to make her look more
shapes I could create. At this point, the floor was realistic. Always experiment with Color Balance and
pretty much complete. Motion Blur to push your painting further.
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Paint a city scene techniques
Digital Painting
01 The rough
Start off by laying out the roughest of
compositions. It’s the very first idea and things might
02 Lines and more Lines
Putting the image in Photoshop allows you
to do some crude line art. Adding in perspective lines
change dramatically along the way, but that’s OK. as a guide helps to set up things like scale and
Keeping an image as dynamic as possible is what distance. Put in some rough horizontal lines, as since
makes it come to life, and ensures you learn new it’s a portrait image those will be the most important.
things every time. I used SketchUp for this because it Use a round brush tool with no pressure and press
comes with some free-to-use models. Shift to make straight lines.
WOrk in
prOGress
From idea to Finish
03 BuiLding Bash!
You can now add some buildings
taken from CGTexures.com, so go there and
Progress 2: integrate elements
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Techniques Paint a city scene
08 Lights everywhere!
By using the technique from the last step
on all of the buildings in the scene, you get a much
richer feeling. Another thing you can do to further
07 Zoom in
At this stage you can start adding paint. Think about things like lighting and cool neon strips on the
side of buildings. Pick a soft round brush and select an orange colour as shown in the image. Set your brush
integrate buildings and objects into the scene is to
use the Color layer. Make a new layer, set it to Color
and pick the colour of the object next to it, Make sure
to Linear Dodge at 50% Opacity and 40% Fill. Go to your HighRiseNight0117 layer and create a new layer on the saturation is high so that it’s visible. Play around
top of it. Now clip it to the building layer. Paint in the light with a fade, with the strongest colour at the bottom. with this and see what you get.
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10 new sky
The old sky was a bit generic and
uninteresting, so here’s how to make a better
looking one. Start by picking some nice colours that
occur in real skies. Take a look at sunset pictures
and try to match the colours. I used a rough brush
for this in combination with the Smudge tool to blend
the colours. Mixing in photographs to get some
001 002 003 004 texture in is also a possibility – it’s up to you! If you
Focus on building lighting The sky is a bit bland now These buildings are still really rough Let’s put some cars in.
to make it interesting – not as it was just a placeholder, and blocky. Try to think of some nice Remember, taking your don’t feel like painting, you can use Stock.XCHNG
just from windows, but so make a new one that’s details for the edges – some tips will own reference is fun
ambient too more interesting follow later on and easy image ID 1418317 instead.
11 in depth!
Take a look at the sky more closely. It
contains a few basic elements; the sun, the blue
12 introducinG...
Finally, the cars. This is the hardest part.
Just sticking them in won’t do the job so we’ll talk
13 GettinG ready
So the cars are probably far from what the
scene needs, but that’s OK. One of the first things we
atmosphere, and the clouds. Everything blends with about what you need to do in order to get them want to do is get rid of all the light bounces and dirt
the sun colour – we can use a soft round brush with sitting just right. Finding the right car is tricky; make we don’t want. Grab the Polygonal Lasso tool and
orange to get the values in. Getting that crisp silver sure you look at your perspective to ensure you get start masking off bits, making sure you follow the
(in this case gold) lining is simple. Grab a small the right angle. A quick way to do this is to check if panels of the car. You can save selections by going to
brush with a bit of noise, set it to Linear Dodge (Add) the rear tyres sit higher or lower than the front ones. Select>Save Selection. This will save you time later
and pick a dark shade of orange. Now, just paint and The closer they are together, the more compression on. Now, grab a round brush, sample colour and
use the Smudge tool to blend it in with the rest. towards the horizon you have. start painting!
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Techniques Paint a city scene
fInal ToUChes
add reflecTions, shadows and sparks To bring your image To life
14 reflections
When the cars are nice and neutral, it’s time for us to put in the reflections that we expect to see in
the scene. We need to grab the whole image, so turn off the cars and then press Cmd/Ctrl+A, then Cmd/
cars are much more reflective it will end up having
more colours displayed in different places. Just like
before, start by making a colour layer that’s linked to
Ctrl+Shift+C, and lastly Cmd/Ctrl+Shift+V. This compresses everything into one layer and pastes it in place. the car/cars. Grab a soft round brush and start
Use a clipping mask to attach it to the car, then scale it down and warp it a bit to match the rough shape. sampling surrounding colours and carefully putting
Lower the Opacity and play with blending modes. them into place.
QUICK TIP
It’s very important to keep a loose attitude towards these paintings. It’s about getting things wrong so
that you know what to avoid. Don’t try to be perfect from the start. Paint, experiment and fail as much as
you can. It brings life to your image and improves your workflow at the same time. If you want that
painterly feel, it probably means you have to paint it, so go on and experiment. You can use the
techniques described here to give you a basic idea, but ultimately it’s about your own artistic touch. Don’t
just imitate, but invent!
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quick tip
Remember to let the photos and paint work
together. Paint away nasty photo artifacts and
paint in your own details. By contrast, use photos
to get that high level of detail that would take
ages to paint. It’s not so much about one
technique; it’s about getting an idea across
quickly and having it look good too.
19 puddles
We can make things even more interesting
by adding some additional reflections. Create a new
20 reFlection blur
Now that we have a base reflection in, it
looks a bit too rigid. We want to give it a dynamic
21 drama
Getting a narrative in can be as simple as
adding some sparks. Make an ellipse with the
layer and start painting in where you want the water feel. Duplicate the reflection layer and link it to the Selection tool, grab a soft round brush and set it to
to go with a hard round brush set to 100% Opacity, puddle, now, go to Filter>Blur>Motion Blur. Grab the Linear Dodge with 50% Opacity. Paint it in and make
making sure it’s a solid colour. Fade the edges by angle that works with the perspective and set it to sure the bright spot is in the middle. Deselect it and
using a soft round eraser. Do the same as in Step 14, 22px. I’ve blurred this image quite a bit to give it duplicate it until you have a few. Distort them in
but link it to the puddle this time. Now use a mask to those nice light streaks. We can mask things out; I place as shown. Paint on top with the same brush to
get rid of it so you have a nice fade towards the car. didn’t do it here, but try it if you like. get a nice glow effect.
22 Values
Values determine everything. We can check
the value by creating a new layer filled with solid
23 speed!
We can use the photo filter adjustment
layer to blend the colours together a bit more.
24 Final touches
Lastly, we can pull the image together
more by painting in a few details. We’ve left this bit
black. Set it to Hue to give you a nice readout. Here is Keeping them in the same value range helps to open so far because painting things in is all about
a nice side-by-side. The left one is close but the right bring them together, with a few spikes here and what you want. Stay true to the image by matching
is much more dramatic. Use Brightness/Contrast there. Now for speed. Compress your painting again the sharpness using the Lasso tool, and blend
layers and masks to get it just right. Remember, high as in Step 14 and go to Filter>Blur>Radial Blur. Set it colours with the photo filter layer or just paint. Think
contrast up front and low contrast in the back. Values to Zoom>Best and move the marker to the central of things that could add to the scene, like smoke. It
help pull focus and sell distance. Use masks for the point behind the cars. Use the mask to apply the blur should always be a harmony between paint and
most control over your layers. in the foreground and on the sides. photo, not a battle.
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I MADE
HOW I MADE
EPIPHANY
VALP MACIEJ HAJNRICH
V
EXPLORE SURREAL SCENES INSPIRED BY MUSIC AND
CREATED WITH PHOTOSHOP ADJUSTMENTS OPTIONS
alp Maciej Hajnrich’s (www.valpnow.com) Hajnrich portrayed this by creating a calm scene, storm clouds by painting light, and adding Outer
goal in this project was to create an image populated with stoic figures. “I imagined an Glow to the vortex and levitating human layers.”
that was inspired by music, in this case the abandoned field where an energetic blossoming Color Balance, Curves, Exposure, Channel Mixer
song Epiphany by Socionic. Within his process took place. It’s an image all about opposites,” and blending modes formed a sombre colour
design he strived to represent lyrical content., he explains. scheme. “I used these adjustments with matte
interpreting the meaning visually. “The song is about Lighting was vital to evoking the right mood, painting techniques to combine my own stock,” he
existentialism and ultimately how this creates a cycle which needed to be synonymous with the music. “It’s adds. “Using photo images instead of painting from
spanning generations,” he reveals. not a fairy tale we’re telling. I created a sky full of scratch helped create necessary realism.”
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CREATE PLUSH UI ELEMENTS TECHNIQUES
NEW MEDIA
CREATE PLUSH
UI ELEMENTS
D
OUR EXPERT
RAUL TACIU
CREATE PIXELPERFECT, SCALABLE UI KIT ENTIRELY www.graphicburger.com
USING VECTOR SHAPES AND LAYER STYLES Taciu is a graphic designer and
illustrator based in Cluj-Napoca,
Romania. He’s addicted to
esigning user interface elements that scale that’s always needed when working up close and Photoshop, and has lately started to
share free design resources at
easily for different screen resolutions can be personal with small web elements. GraphicBurger.com
challenging. We already know that we can’t In this tutorial, we’ll show you how to create @GraphicBurger
rely on bitmaps, because these lose stylish interface elements for touch devices that
SOURCE FILES
sharpness when scaled. We should also avoid Smart include Retina display technology, exploring On the disc you will find all the
Objects too, because when scaled to small sizes, techniques that help us create consistent elements organised in a layered file,
the Bg_ pattern.pat file and the
layer edges become blurry. transparency and neon lights effects. We’ll discover Gradients.grd file
The only solution is to use CS6 vector shape how to use Photoshop CS6 to build shapes that snap
layers and Layer Styles options. Everyone using this to pixel grids, preserving crisp edges, and also show
version of Photoshop or above has probably come you how to add depth and transparency using
across these options, but now we’re pushing them multiple layer styles. But before we get started, you
further by building an entire design using them should load the Bg_ pattern.pat file and the
exclusively. Adopting this workflow will ensure that Gradients.grd file by double-clicking them. You
designers create pixel-perfect images at any should also install the great-looking Roboto font
resolution. We’ll also have that pixel level control from www.google.com/fonts/specimen/Roboto.
01 DOCUMENT SETUP
Our goal is to create resolution-
independent graphics that will look great on every
02 BACKGROUND COLOUR
Pick a dark blue colour (#222540) and press
Alt/Option+Delete to fill the background layer. We want
Progress 1: Shape construction
display. Go to File>New and set Width at 1024px, our background to be dark enough to contrast with the
Height at 768px and resolution at 72dpi. We will neon light effects we’ll be applying. Add a Gradient
start with an iPad resolution, and then later we can Overlay layer style that creates a soft centre light by
easily increase the pixel density @2x to fit iPad setting Blend Mode to Soft Light, Opacity at 50%, Radial
Retina requirements. and Scale at 150%.
03 ADD SUBTLE
TEXTURES
With the background layer Progress 2: Basic effects
selected, apply a Pattern Overlay
layer style. Load up the supplied
Bg_pattern.pat as an applicable
preset, then set Blend Mode to
Linear Burn and Opacity at 15%.
Make sure that Scale is set at
100% to achieve a sharp texture.
With the background ready, it’s
time to build a circular loader. Progress 3: Final touches
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TECHNIQUES CREATE PLUSH UI ELEMENTS
QUICK TIP
In Photoshop, we can easily copy and paste styles
from one layer to the next. Just right-click the
desired styles in our layer panel, select ‘Copy
layer style’, then right-click on the target layer.
Choose ‘Paste layer style’. This is handy when
working on different elements that share the
same visuals.
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LAYER STYLES
USE THESE OPTIONS TO CREATE TRANSPARENT ELEMENTS AND NEON LIGHT EFFECTS
SCALING UP @2X
Scaling up for Retina display can be done either
by doubling the size of an entire document, or by
transforming individual layers or layer groups to
200%. If we’re going for the entire document, we
need to check the Scale Styles option from the
Image Size dialog. Photoshop’s Layer Styles
options must be scaled manually if the layer is
transformed. Right-click on Styles, choose Layer
09 10
effects, and then set Scale to 200%. When using
INNER CIRCLE INNER CIRCLE PHASE 2
bitmap assets like patterns, make sure the Scale
Now focus on the inner circle, and look to So now that the basic transparency is there
value is always set to 100%.
create a glowing transparent effect. First, set the from the previous step; it’s time to enhance this with
layer Fill to 0% from the layer palette, then add a more effects. Add slight volume by applying an Inner
Gradient Overlay and apply the Transparency Glow. Use a black colour (#000000), setting Blend
gradient style from presets. Set the Blend Mode to Mode to Normal, Opacity at 80% and Size at 5px. Choosing the right font for
Normal, Opacity at 50%, Style at Linear and activate
the Align with layer. Set Angle at 90 and Scale at
Apply a highlight with Bevel & Emboss, setting Style
to Inner bevel, Technique to Smooth, Depth at 50%,
screen design is important.
100%. Add glowing light by applying Inner Shadow Size at 10px, Soften at 1px, Angle at 90 and Altitude We need to make sure all letters
– use a white colour (#FFFFFF), setting Blend Mode
to Overlay, Angle at 90, Distance at 1, Choke at 15
at 70. Highlight mode will be set to Overlay, Opacity
at 50% using a white colour (#FFFFFF). Set the
at the chosen size are legible
and Size at 80. Opacity for the Shadow mode to 0%.
11 CRISP HIGHLIGHT
There is one more thing to do to make the
12 SET UP TYPE
Choosing the right font for screen design is
very important. We need to make sure that all letters 13 LIGHT REFLECTION
The final touch is to add some light
highlights look authentic. With Bevel & Emboss at the chosen size are legible. If we’re planning to add reflections to our neon progress bar, creating even
dialog box open, click on Contour under Bevel & text effects, we might want to experiment with more visual impact. Add an Outer Glow layer style
Emboss style, then apply the Half Round contour different body weights to choose the best set to Overlay. Select a light cyan colour (#5deaff),
with Anti-aliased option checked. Also set Range at appearance. In this design, we applied Roboto setting Opacity at 100%, Spread at 30px and Size at
45%. This particular effect will make the highlight Medium at 60pt (www.google.com/fonts/ 12px. Now add an extra reflection for more
thinner and sharper. The final step is to add a Drop specimen/Roboto). Select the Type tool (T) and type consistency. Apply Drop Shadow using a slightly
Shadow. Use a black colour (#000000), setting Blend a percent for the loader progress, then apply Text darker shade of blue (#0aa2f1), setting Blend Mode
Mode to Linear Burn, Opacity at 15%, Distance at 1px Gradient using Gradient Overlay. Make this stand out to Overlay, Opacity at 50%, Angle at 135, Distance at
and Size at 4px. by adding Inner Shadow and Drop Shadow options. 8px and Size at 6px.
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Techniques howWorldMags.net
i made
how i made
Pisces
Hung PHam
D
Hung PHam discusses tHe imPortance of colour and
ligHting in tHis vibrant image
igital artist Hung Pham (www. “I manipulated all graphic elements to fly around the
hungphamdesign.blogspot.com) believes main object by combining motion and blur effects to
that Photoshop is the best way for him to create a feeling of movement and depth of field for
express his creativity. Working in the my picture.”
broadcast media industry in Vietnam, Pham’s skills Pham created the vibrancy using the Soft Brush
are completely self-taught. Influenced by the model’s tool to paint colours in, and set the blending mode to
beauty, Pham states: “Her beauty is just so mild and Soft Light and Screen. “I duplicated some of the
peaceful, like a fairy tale or mythological princess. colour layers to push the colours up. Then I also
That gave me a lot of ideas, so I decided to put her added the highlights for her hair and her arm by
into another world”. as a motion graphic designer, setting the blending mode to Color Dodge. Finally, I
Pham always tries to put movement into his always use Selective Color and Hue Saturation to
artwork, despite them being still images. adjust the colours.”
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TECHNIQUES SCIFI MATTE PAINTING
PHOTOMANIPULATION
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OUR EXPERT
EDUARDO LOPEZ
MUSTAROS
www.edlostudio.net
Mustaros is a professional matte
painter and art director working at
ePics Fx Studios in Mexico City. He
started working in the film industry
a couple of years ago, and now has
two commercial projects under his
belt, plus several TV shows for Syfy
and the History Channel.
@edlo727
SOURCE FILES
Included is the source PSD file plus
the CINEMA 4D file used for the
completion of the image. The
Photoshop file contains all layers,
masks and adjustment layers for
in-depth analysis.
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TECHNIQUES SCIFI MATTE PAINTING
WORK IN
PROGRESS
3D TOWER MODELLING
You can use this technique
as much as you like to add
detail to the base building
02 STRUCTURE GEOMETRY
In order to add some structure and content
to the walls of the cylinder, first make selections of
03 TOP AND ARRAY
In the same way you used the Extrude tool
on the cylinder, now apply it to make the roof with a
04 PLACEMENT AND RENDER
Now we can set up the background
elements – these are part of the C4D file we’ll be
polygons, grabbing one loop then skipping the next simple capsule shape. Add a few extrusions initially, working with. This will enable you to set up and
until you have a selection all around the cylinder. Use then resize the polygons using the Scale tool until place each of the towers you created in the correct
the Extrude tool to add in detail with one simple you end up with a pointy top. Use a copy of this to location, matching the perspective in the image. Set
pass. You can use this technique as much as you like make an array of six around the main building, the light direction according to the location of the sun
to add detail to the base building, but remember that followed by an array of six cylinders to support them in the image. You’re now ready to render, making
the more geometry you have, the greater the render around the tower. You can then drop a metallic sure the output size is the same as the image you’ll
time will be. material on the whole thing. want to work to.
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QUICK TIP
Remember to mask off the darkening Levels
layer according to the light source.
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TECHNIQUES SCIFI MATTE PAINTING
QUICK TIP
Training your eye and observing the image is one
of the most valuable assets you can have when
working on photomanipulations and matte
paintings, from finding the correct image for the
scene to analysing perspective, colour balance
and detail. This has proved to be the best tool for
even the top art directors.
10 PLANETS
Add planets to the scene using existing
images. Apply a large Elliptical Marquee selection to
11 RAINBOW
To add a rainbow over the waterfall, use the
transparent Rainbow Gradient, rasterise the layer
12 DETAIL CHECK
At this point, it’s a good idea to give the
image another pass, adjusting masks and edges, as
these and cut out from the border to create the slight and distort it slightly with the Warp tool so that it has well as the overall look of the scene. This step is
spherical shape. Apply some internal and external a bit of bending. Place it into position and scale it so often overlooked, yet is very important for achieving
glow using layer styles to the image to create that it fits along the highlighted part of the waterfall. a clean image. The aim is to ensure that everything
atmosphere, then with the same satellite image, Now create a mask for it and, with a soft brush, is in its place and that no bad mask or dirt is hanging
scale it down, select it (Ctrl/Cmd-click layer mask off the edges until it blends with the ambient in over your hard work. So zoom in and out, disabling
thumbnail) and apply the Spherize filter set at 60% to that section of the image. Reduce the fill of the layer and enabling layers to check for details that need to
create a smaller planet. so it feels transparent and subtle. be touched up.
13 SECOND SUN
To achieve a unique quality to the scene you
can add a second sun closer to the existing one,
14 FLOATING SHIPS
Paint in a couple of ships hovering over the
buildings and waterfall. To do this, use the Pen tool
15 COLOR BALANCE
Another important step that’s also
overlooked is checking the detail on each of the
which is part of the base image. To do this, use any to create your basic shape, then select and apply a adjustment layers to ensure correct shading and
of the custom gradients included in the gradient file; medium tone sampled from the plate using the colour balance, as well as to avoid any mistake on
just make sure the settings are for circular gradient. Eyedropper tool. Use the soft round brushes in these layers that ruin an otherwise top-quality
Here we added a slight magenta tint to the gradient Photoshop and change the sizes as needed, being image. Check each layer for incorrect balance on
to make it differ from the main sun by applying sure to enable Transfer in the Brush palette. both the highlights and shadows, creating new layers
some shift on the hue, using the Hue/Saturation Continue sampling higher tones, adding volume until if needed. Zoom in and out to look for problem areas
command directly on the gradient layer. the all highlights are painted in. in the overall design and individual sections.
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THE ART OF THE FUTURE
w w w. 3dar tistonline .com
Available
from all good
newsagents and
supermarkets
ON SALE NOW:
> Photoreal 3D > Arch-vis > Visual effects > Animation > 3D printing
TUTORIALS INTERVIEWS INDUSTRY INSIGHT BEGINNER ADVICE EXPERT GUIDES
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1
2
REVIEW FEATURE
I
mage editors are always looking for ways to The multiple advantages of this card are laid bare The PNY XLR8 Pro SSD is also put through its
achieve a time-efficient shoot-to-retouch in this detailed review, which explains why it is so paces by testing read and write times, and
workflow. However, this often comes at a price, great at capturing imagery on both a full-frame and comparing the merits of different installation
due to investment in more RAM, a better CPU or crop sensor DSLR. It’s put to the test to discover the methods and their impact on working with
upgraded camera equipment. PNY has come up with specific speed improvements, and find out how Photoshop. The drive’s interaction with the SDHC
its own dual solution, which includes its extremely these can benefit photographers who shoot large card is highlighted too, reiterating why the two
fast Secure Digital High Capacity (SDHC) card and image amounts. better serve you when combined in one workstation.
supreme Solid State Drive (SSD) series. Devices are
available at a reasonable cost and poised to tackle
1. PNY SDHC/XC 2. PNY XLR8
slow production in a big way when combined.
The PNY Elite Performance High Speed 16GB
HIGHPERFORMANCE PRO SSD
STORAGE: 16GB Flash card STORAGE: 120GB
www.pny.com www.pny.com
SDHC card isn’t to be confused with standard SD
types, as this card has a much faster transfer rate.
£25 £112
From compact cameras through to full-frame SPECS: SPECS:
• Write performance of 50 MB/s • Usable capacity of 120GB
$39 $170
DSLRs, it’s easy to understand why this format is
• Full-HD video shooting • Max read speed up to 550 MB/s
fast becoming the industry standard among
• Ultra-fast transfer rates • Max write speed up to 515MB/s
professional photographers.
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SHOOT TO PHOTOSHOP AT LIGHTNING SPEED REVIEW FEATURE
ENHANCE SHOOT TIMES that Bridge can download, convert to DNG, then The only downside to this device comes in the form
USING SDHC FLASH CARDS create a back-up file at far outweigh anything that’s of camera compatibility. This must be UHS-1
Designed with professional and semi-professional come before. Even if your camera isn’t UHS-1 compliant for the card to achieve its full potential and
photographers in mind, PNY have created a fantastic compatible, this upload, read and write functionality benefit from the read and write capacity. Your
new range of SDHC flash cards. When used in the makes the PNY Elite Performance SDHC worth it. camera must also be SDHC compatible just to be
right circumstance, these will improve shoot times However impressive these factors may seem, the able to accept the card.
exponentially. It’s as simple as putting the card in and biggest draw for photographers is still to come. The This doesn’t mean that all is lost, though. In the
pressing the shutter release. main aim of this card is to enhance shooting speeds, instance when the host device is not UHS-1
The PNY SDHC/XC High-Performance 16GB flash ideal for burst and bracketing modes. It achieves this compliant, the card will default to its speed class
card has a Class 10 speed rating, as well as a UHS-1 goal by capturing multiple shots instantaneously. rating, which is set at 10, resulting in an acceptable
rating. This may sound like jargon to you, but This makes the PNY Elite Performance SDHC perfect 10MB/s to 20MB/s. Even in a worst-case scenario,
excitingly means that it currently tops the bill as the for sports and fashion photographers, in situations you’re still left with an impressive performance.
fastest card compatible with DSLR or compact where a subject will be continuously changing pose
camera technologies. The write speed from sensor and position.
■ NO NEED TO FORMAT
to storage is rapid, clocked at up to 65MB/s. In One experiment with the card yielded results that
Formatting the card isn’t an issue, as it’s ready
photography terms, this means a full-frame RAW file prove just how impressive it is. It allowed 15 images
to use straight out of the box. This is because
can be shot, processed and stored on the card before to be taken in quick succession in approximately six
the data written from the camera to card
your finger has left the shutter. seconds. This was before the camera’s internal
already holds all the basic metadata and file
Read times are equally impressive, working buffer began to slow things down a touch, as it
indexing. This is sent straight from the
almost at the speed of thought when accessing data. caught up with what had been shot. Even then, it was
camera’s processor. When you see the files in
Photographers can expect speeds of up to 100MB/s. approximately two seconds before another three
your browser or in Bridge, there will be no
This means you can assess the shots you’ve taken images could be shot on top. Bearing in mind that
difference in layout or style. Since the SDHC
from the back of the camera, flicking back and forth these are RAW files from a full-frame camera, each
and UHS-1 compliant cameras are geared
seamlessly and in real-time. This comes in pretty weighing in at around 38MB, that is a truly
towards using this kind of card anyway, there
handy when reviewing images for deletion if running exceptional performance.
are no internal settings on the camera that
out of storage space. Card sync to desktop or laptop If these procedures cover the main bulk of our
need altering.
adds another string to this product’s bow. The rates workflow, then this SDHC card becomes essential.
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shoot to photoshop at lightning speed
04 05
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PNY SDHC/XC
HIGHPERFORMANCE
FLASH CARD
WORK FASTER Once installed as a primary drive and coupled with price. However, the fact that the card’s power
085
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reviews SamSung nX300
SamSung nX300
Is thIs the compact system camera to rIval
more expensIve Dslrs?
www.samsung.com
• £599.99 / $649.99 • 20.3MP, Full HD Movies, Built-in Wi-Fi, RAW+JPEG modes, Photoshop Lightroom 4, Hybrid AF, 3D recording (with NX 3D Lens)
Verdict: 9/10
appealing aesthetics more than anything else. smartphone for linking up to social networks via the
Thankfully, the NX300 doesn’t fall down where camera’s Direct Link feature.
others have. With an APS-C sized sensor that’s on As part of the NX300 package, the camera comes An outstanding performer with superior
par with any entry-level DSLR, we found its ability to shipped with Photoshop Lightroom 4. Although this image quality to boot, making it difficult
produce fine details undeterred. is unlikely to be its biggest attraction, with Photoshop to put down in every sense of the word.
A closer look
Discover the features that make the NX300 value for moNey
■ hybrid AF SyStem
The Hybrid AF System
featured in the NX300
makes it something of a
powerhouse. This
combines phase
detection and contrast AF
for better focusing and
sharper images. If you’re
looking for ways to
control your photography,
then features like this will
be much appreciated.
■ Lightroom 4
■ FLexibLe diSpLAy This complementary software is the
The large 3.3-inch touch LCD choice of artists and photographers
screen on the back of the NX300 looking for an easier route into
can be moved to face directly publishing images. It offers more
upwards or at a 45-degree angle control and precision over our final
downwards. This makes shots output, from proofing and printing to
from waist height and overhead designing our own portfolio
easier to compose, allowing for photobook. Lightroom 4 certainly
higher quality images. adds value to the NX300 package.
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BUILD A BETTER
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from all good
newsagents and
supermarkets
ON SALE NOW
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DESIGN INSPIRATION PRACTICAL TIPS BEHIND THE SCENES STEP-BY-STEP ADVICE INDUSTRY OPINION
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reader interviewWorldMags.net
The imporTance of composiTion
reader interview
The imporTance
of composiTion
F
Self-taught digital artiSt eliaS Klingén talKS to advanced PhotoShoP
about the endleSS oPPortunitieS when combining deSign Software
ocusing on the minor details is of utmost dO yOu have a favOurite piece Of wOrk?
importance to digital artist Elias Klingén. It may sound like a cliché, but my favourite work is
Although he confesses to not having a set always the next one. I try to improve and to create
‘style’, Klingén believes that “details are the something different from my previous work. But if I
most important part of a composition. It makes the had to choose, it would be my latest work, ‘Instant
image much more interesting and alive.” Crush’. I pushed myself really hard when I created it,
After initially learning the power of Photoshop as I wanted to do something different from my other
through online tutorials, Klingén is now studying work. It’s a lot more messy and crazy.
Graphic Design and hopes to continue freelancing in
digital art. For him, after the initial sketch it is all are yOu wOrking On anything new at Our reader
about improvisation: “I think it’s the most enjoyable the mOment? Elias Klingén
www.behance.net/eliasklingen
part of the process. I love trying out different ideas; Currently, I’m working on some different CD covers, www.advancedphotoshop.co.uk/
the end result can turn out in a completely different which are my favourite kind of job. You can be really user/eliasklingen
way than I originally thought.” Read on to learn about creative and it’s awesome to be a part of a new @eliasklingen
Klingén’s most rewarding project and which record. I’m creating some artwork for the next
techniques he applies in Photoshop to get the most Cosmosys art pack that will be released in August. I
out of his work. am also doing some photography this summer; I will
all article images © elias Klingén
Woe: i used an image of a flag blowing in the wind. then i duplicated it and reshaped it to Robostrich: the mix between machines and nature has always inspired me. i spend a lot of time on the details and
create this abstract image. i added light and clouds to create the perfect atmosphere getting the lighting right. the hardest part was to find the right stock images
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Clockwise from
top left;
I think the most important part is to Nowhere:
The typography
communicate with the client. You have was made using
different stock
photos. I added
to understand what they want, not you some objects made
in cinema 4D to add
details to the
composition. The
hardest part was to
get the right
colours and to
blend everything
together
Longing:
I wanted to make
an image with a lot
of contrast, so the
yellow colour was
perfect for this
composition. I used
many different
brushes and
blending modes to
get it right
Luminary: I’ve
always loved
abstract art, so this
was really fun to
make. I used the
Pen tool for the
shapes and
different blending
modes to get the
light effects the
way I wanted
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THE IMPORTANCE OF COMPOSITION READER INTERVIEW
THEN
be shooting the band pictures and doing the freedom. I learnt a lot about advertising and how to WHAT PHOTOSHOP TECHNIQUES AND TOOLS
retouching. I like working with musicians, as you work with big clients. It was awesome to see finished DO YOU USE?
always get a lot of freedom. posters hanging all over the town; I’ve never For retouching, I use the Healing brush tool and
experienced that before. Clone Stamp a lot. I use Dodge and Burn in every
WHAT IS YOUR STEEPEST LEARNING CURVE? image I create; it’s great when you want to make
To have patience. When I was younger, I tried to DO YOU BELONG TO A COLLECTIVE? details stand out. I do all my selections with the Pen
make images as fast as possible. I just wanted to get I belong to www.cosmosys.net. It’s a great collective or Lasso tool. When I want to cut out trees or hair, I
it done. Now I spend a lot more time on each piece; and home to many talented artists. Feel free to apply use Channels. I’ve also started to make my own
the results get better and my style is evolving faster. if you think you have what it takes. A dream would custom brushes. I really recommend playing around
When you think you are done with a new piece, let it be to someday join Depthcore.com; I love their work, with different settings, I’ve made some awesome
rest for a few days and go back to it later. Always try it’s amazing! snow and rain brushes that look really realistic.
to improve it – be honest with yourself and question
whether it’s perfect. WHAT DO YOU BELIEVE IS THE MOST WHAT’S NEXT FOR YOU?
IMPORTANT ASPECT WHEN WORKING ON A I’m about to go into my final year studying Graphic
TELL US ABOUT THE MOST REWARDING PROJECT FOR A CLIENT? Design and Communication in Sweden and we are
PROJECT YOU HAVE BEEN INVOLVED IN? I think the most important part is to communicate working with many big projects this fall, including
I photographed and retouched images for a big with the client. You have to understand what they client projects. In January I have a four-month
concert in Sweden called ‘Kristina från Duvemåla want, not you. Your mission is to make the client internship at a graphic design studio in Stockholm. I
– konsertversionen’. It was a school project with a happy. Be a nice person, work hard and complete will also try to get some more personal clients; I
large budget, so we had a huge amount of artistic tasks effectively. really want to do some more freelancing.
Shoot
• Portrait • Fashion
Learn Photography in 25%
Central London • Lighting • Wedding discount
Day - Evening - Weekend • Black + White • Still Life if you book
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for a new career Beginners welcome • Re-touch advanced London Academy of
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RESOURCE PROJECT
TUTORIAL FILES
PRINT ARTWORK
M
EXPLORE WAYS TO CREATE RETRO LOOKS USING BOTH
TRADITIONAL AND DIGITAL SOFTWARE
anual craft work has never been more in Adobe Illustrator. These designs can be instantly
demand, as print designers indulge in classic packaged and sent directly to the printers.
techniques and promote retro styles. Screen In this Resource Project, we approach both means.
printing seems most popular, with a host of With advice from weareamerikanmade.com, explore the
illustrators producing inspiring posters and apparel with screen print setup and show how design is produced by OUR EXPERT
references to popular culture. Just check out sites such hand. It is then explained how to import physical products KEITH BOWMAN
http://weareamerikanmade.com
as mondotees.com for examples. into software for post-production editing. Finally, Chris
Bowman is founder and one half
However, digital illustrators have embraced these Parks aka Pale Horse (www.palehorsedesign.com) of Amerikan Made, where he
creates the designs. His wife Jenn
trends too, using software in ingenious ways and reveals the exact techniques for producing entirely digital is responsible for expertly mixing
replicating the layering process inside of Photoshop and screen print design in Photoshop. paint palettes for the poster prints.
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an
wm
Bo
it h
Ke
©
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ON THE DISC PRODUCE SCREEN PRINT ARTWORK
SAM CHIVERS
www.samchivers.com
IMAGE TWEAKING
IN PHOTOSHOP
A Sony NEX-5 was used to shoot a RAW format
se De sign
photo of the poster image at a comparative size. © Pale Hor
This was then opened in Photoshop. Light editing was applied to
achieve a natural look for potential online buyers. OUR EXPERT
Levels were adjusted accordingly, followed by an applied CHRIS PARKS
Vibrance adjustment layer used to boost existing colour. Most www.palehorsedesign.com
Florida-based artist Chris Parks, aka Pale Horse, is bent on
cameras produce a slightly distorted barrelling effect when taking illustrating a colourful world filled with mythology, alchemy,
pictures of artwork, so use Transform>Warp to straighten and pro wrestling and heavy metal in his ever-evolving portfolio.
match the correct angles.
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03 DIGITAL INKING
Add a Hue/Saturation adjustment layer
above the sketch to make it less distracting. Set Hue
04 COLOUR AMOUNTS
Choosing the number of colours in your
design is the next step. Remember – the more 05 PANTONE GUIDE ACCURACY
A Pantone Uncoated Color guide is a
at 205, Saturation at 100 and Lightness at +85. Apply colours, the higher the production costs will be. necessity for artists creating pieces for screen print.
an opaque, pressure-sensitive hard brush to digitally Three to five in a swatch should suffice for a poster Your printer will ask you for the PMS ink colours, and
ink your sketch on a separate layer titled ‘Outlines’. or T-shirt design. with this guide you’ll have them ready to add.
SCREEN PRINT
ON THE DISC
LAYERED FILE
DIGITAL SCREEN PRINT
DESIGN PSD
On the disc you will find
the layered PH_Tiger-T-
shirt-file.psd file, kindly
supplied by Chris Parks GRUNGE TEXTURE BRUSHES
aka Pale Horse. This ADD EVEN MORE RETRO TO OUR PRINT DESIGN
details the layering As if a classic technique wasn’t enough to instill a
process necessary for retro style, we’ve also supplied this set of grunge
screen printing artworks texture brushes. These can be added to layer masks,
in Photoshop. enhancing vintage looks in our poster prints.
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Learn in styleWorldMags.net
Photoshop
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