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50 covers by 50 artists | First look at Photoshop CS4 | Matte painting skills | 50 killer Photoshop tips | Interview: Shane Pierce


inspirational images make great covers
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Cover image DAN MAXWELL
For our 50th issue, we challenged 50 artists to send DEREK H. CINALLI
in the one image that they think would work well on
our cover. Our main cover this issue shows off the For more information on these artists and
excellent results of that challenge – we simply to see all the covers, turn to page 64
couldn’t pick any one of them to be our cover image,
so we used them all! In fact, there are over 100 artists
included in this issue one way or another, making it
the biggest celebration of digital art we’ve ever WE COULDN’T PICK
done. Let us know what you think of it!
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006-007_AVP_50_Contents.indd 6 17/10/08 18:33:16 and books rated here 7 Advanced Photoshop 006-007_AVP_50_Contents.indd 7 17/10/08 18:33:49 .co. 14 50 top tips for you to get more from Photoshop © Mark Mayers TECHNIQUES/REGULAR FEATURES 7 14 Essential guides to professional Photoshop skills FEATURE: 50 TOP TIPS 50 artists share their ultimate Photoshop tips and tricks FIFTIES PIN-UP ART 7 36 Inspired by our fiftieth issue. we look at painting a retro image INTERVIEW: SHANE PIERCE 7 30 DEPICTING A DESTROYED CITY 7 48 The senior concept artist for Epic Games talks us through his career Build your own alien invasion with stock images FEATURE: CS4 INTRO – PART 1 7 42 FASHION RETOUCHING High-end retouching from shoot to Photoshop 7 56 Your guide to the best new features in the latest version of Photoshop FEATURE: 50 COVERS 7 64 PEER PRESSURE Readers explain how their images are created 7 76 We challenged 50 artists to send in an image for our cover RESOURCES FEATURE: HISTORY OF PHOTOSHOP 7 82 PRODUCT REVIEWS 7 90 A look over the formation and development of the Adobe app Mr Site.

Now as the event extends its university programme. The event theme centres on produce one image that highlights a single environmental issue the idea of the environment. photographers. credit Sony World Photography Awards Sony World Photography Awards 2009 The prestige of the Sony World Photography Awards 2009 is There are also advanced opportunities for students worldwide once more presented to the creative community. award schemes and student hotbed that is Cannes. credit Sony World Photography Awards PHOTOJOURNALIST WINNER 2008 (RIGHT): Moises Saman. The Festival @ The Sony World Photography Awards is a programme. networking events and many other The Sony World Photography Awards welcome submissions programmes and events. The inaugural year saw over 70.worldphotographyawards. Those professionals entering will do specific to their country. Students this This latest installment will include 12 categories for year can participate in a competition.indd 10 17/10/08 18:34:28 . screenings. This includes a list of attractions. Keeping an eye on the latest trends in contemporary photography. which spreads across the three photographic Amateurs are invited to submit images for a global awareness genres – photojournalism and documentary. Amateur competition that rewards professional and amateur photographers are prompted to submit single images that photographers alike. fine art – and the Sony World Photography Awards have never A host of new inclusions are also prevalent to improve the looked so healthy. This has seen collaborating with The Prince’s Rainforests Project. credit Sony World Photography Awards SPORT WINNER 2008 (ABOVE): Robin Utrecht. capture the beauty and spirit of the game in unexpected places. this year growth from ten universities in Europe in the inaugural year of builds on the success of previous events. TOMAMASO AWERBUCH (LEFT): The Festival @ Sony World Photography Awards is also creating a new annual cultural event for the general public and all of those interested in contemporary art NATURE WINNER 2008 (ABOVE): Giacomo Brunelli. such as programmes throughout the year. using the photo to educate and inform. the awards to 60 universities across six continents. art and design. seminars. commercial and campaign work. the brief for this being to professionals and nine for amateurs. then visit the website below. Insight sets out to snapshot innovation in the making FASHION. The winner will also have the chance of being one of the photographers used in Sony’s forthcoming digital imaging 2009 www. 10 Advanced Photoshop 010-012_AVP_50_News. transgressing its boundaries into a contemporary week-long event of photography taking place in the artist mix of festival events. If you wish to make your mark at a global the enthusiasm and passion of photography. so with the hope of being selected to participate in a fully funded Add a new category list created for professional project to document the rainforest regions of the globe.000 entries received photographers and aims to unite obsession about football with from 178 countries. and competition is healthy to say The Sony Campaign Award has been introduced for amateur the least. from every corner of the world. exhibitions. The event is now much more than an awards event.

its aim to educate.pantone. position as a leading digital hub. should be submitted as one entry. ns and networking community. to compete for this sum your work will be judged $99. D3 served as an innovative inclusion in away. for a way to reproduce this www. presentatio dedicated to the digital media design culminated in the third annual Y Desig e of activities. There is plenty of incentive to enter with some promising cash prizes on PERMANENT PRESS offer. depicting Hulk nza business development director at Carre Hogan’s old nemesis King Kong Senior staff writer Adam Smith was on site to question The launch of D3. Future Sound and Digital Urban was achieved. the creative calendar. Pop-culture keepsakes. engage and seven PANTONE Libraries.indd 11 17/10/08 18:34:51 . What’s hot? n Awards. Inspired by the aesthetic of vintage Multiple-piece projects. including $1. CUE 2. there is only one condition with this fledging including Apple. approximately £45 celebrates London’s Design Festival. SEARS VIRTUAL DRESSING ROOM Entrants ought also to be aware that the final submission appearance and fortunately. who agrees: “This year’s event tested the water Providing a forum for design students to network with and it proved that the demand from the design community PANTONE COLOR professionals and a place for development groups and is definitely there. design community together” – Andre 22 vibrant styles. including interact through free exhibitions and interactive workshops the complete PANTONE Goe System. approximately £190 the general public. Calling for all power of 3D. including Frank Romano. Andrew Minhinnick. 11 Advanced Photoshop 010-012_AVP_50_News. www. Todd Kalagher and Brett FILTER However. LOOKING FOR EXCELLENCE: A distinguished jury. This stylish hardware now features A resounding success. from as part of the London Design Day was to create a new event $85. entertainingly succeeded. Peugeot’s fifth edition contest. such as identities or offset printing.html One for the ladies. and a broad mouthwatering and inspiring innovative concept car designs for base of end products are welcomed.mvm. direct mail pieces.08 AFTERMATH: The day-long programm including digital seminars.000 for the Best of Show winner. Smoothe. with some of the digital industry’s big commercial hitters. and that is that all exceptional applications must be PEUGEOT DESIGN printed on any of the i-Tone paper on any HP CONTEST 2008 Indigo Works produced from January through to Log on and sample some truly December are eligible for entry. Bill Garno. have already said they would love to be involved”. Carrenza. but there are several very exciting companies that www. and ts of the digital platform to bring people from all aspec These customised vinyl toys come in w Minhinnick. both coated and uncoated.1 design agencies to showcase their work and interact with and it may take place over several Indigo capabilities and excellence in production.londondesignfestival. I can’t give anything $349. www. designers to contribute. was a resounding success. the first day dedicated to digital design at Bundy. will convene to review entries on the merits of intelligent i-Tonie Awards sears/layout.peugeot.misterretro. which recognises and provides an open http://illogator.mohawkpaper. approximately £53 Traylor. including books. browse your shopping delights online and create Mohawk Fine Papers have launched its first a live fashion selection with the ever annual i-Tonie Awards. business development director at London Design Festival ‘08. the maximisation of HP www. Next year we expect the event to grow. D3 success 11. Mister Retro looked marketing campaigns. celebrating and awarding the best in digital and interactive design HOT ing behind Digital BUNDY BOYS SETTING THE STANDARD: “The think 22 ‘one of a kind’ vinyl figures. deadline is 31 December 2008.

Com petitors participating competitions in North America. demonstrates our continued commitment to giving our GIACOMETTI. However. leading the n in February and CHILDREN’S begin. create a congregation of immense enthusiasm and San Francisco. academic/ct/courses OTHER ROOMS Until 11 Jan 2009 www. such as Kuju and HIS ARTISTS Rebellion Studios. www. It’s PHOTOGRAPHY AND those of you who have never heard creative calendar. CALDER. The ongoing investment in this working arena can only be good for both artist and industry. it’s survival of the finest. & Paste. and it www. culm inating in the first- Until 8 May 2009 the clock.port. it’s an THE INVISIBLE eclectic mix of creativity and entertain approximately 160 members excellent news. London. But this event continues. enhancing the competitiveness of the UK games FRANCIS BACON TIGA WHO?: Tiga is the national trade association that development industry. Couple this with the university’s numerous Until 2 Jan 2009 visits to and strong relations with Sony Studio in Soho. London.haywardgallery. New York City. when the games Cut & Paste’s 2009 global tour will begi continue through to June. styles in three timed This climactic battle For of this event. Richard Wilson. THE NEXT INSTALLMENT: The Digita l Design Tournament 2009 will be launching in the spring Promoting even the most anonymo of that year so keep an us designer. a ‘design rave’ 1840-1900 of sorts. visit www. the university has now affiliated itself with Tiga. the ADVANCEMENTS: This collaboration means that students will DATES national trade association that represents computer benefit from the development of even stronger links between the University and computer games companies games developers in the UK. London. UK Cut & Paste Cut & Paste is introduced to creatives as “the digital design tournament formatted to blow the BROUGHT TO LIGHT: definitely a date to add to anyone’s dust off your brain”. CEO at Tiga. New York Cooper-Hewitt National Design City. providers of computer games courses in the country. US creative energy. then perhaps DIARY the University of Portsmouth could well be the place for you to expand your creative horizons. With 15 minutes on with crowds swelling with drinks and gadgets firing up to San Francisco Museum of Modern 12 Advanced Photoshop 010-012_AVP_50_News. mov charge with city WALLPAPER in the Digital Design Tournament are Apple MacPro workstation. Held at hot nightspots in parti Cut & Paste packs in all ranks of desig cipating cities.indd 12 17/10/08 18:35:13 . US skills. with recent graduates presently working for some of the industry’s finest. speed and style. It will facilitate greater knowledge-sharing Tate Britain. The collaboration with Tiga MIRÓ. going to the University of Portsmouth? ANDY WARHOL: Dr Steve Hand. insight Fun and games at uni For our younger readership looking to the future and considering your further education seems just the place to study for those with designs on a Royal Academy of rounds with their work streamed live will take place at the birthplace of Cut across the To keep up to date on the Cut & Paste 2009 calendar.tate. Until 4 Jan 2009. Closer relationships with that industry mean we have first-hand knowledge of developments in the field and we can tailor our courses accordingly. Adobe equipped with an Europe and rounding things off with ing across the pond to the Asia/Pacific AND BOOKS Wacom Cintiq interactive pen displ Creative Suite 3 and a ay. designers must apply their ever Cut & Paste Global Championship. UK between the University of Portsmouth and the rest of the of this to those students who attend or are thinking about games industry” OTHER VOICES. Investing heavily in their creative departments over the years. UK career in the gaming industry.cutandpaste.royalacademy. explains: “The University is one of the top www. AIMÉ MAEGHT AND This is no idle boast either. not Wed ners elbow to elbow. So what are the implications producing graduates with industry-relevant skills. Cut & eye out on the official website for furth er details Paste is a great networking opportuni ty to meet those WALL STORIES: rooted in the design industry. BRAQUE: graduates the edge”.sfmoma. adds: Until 4 Jan 2009 represents games developers in the UK and in Europe with “The University of Portsmouth’s decision to join Tiga is The Hayward Gallery. with a guns-a-blazing internatio nal showdown of head of the Department of Creative Technology.

indd 1 17/10/08 17:43:26 .uk Telephone +44 (0)1202 586200 Order Now! 16 ISSUES OF ON ONE DISC Available now for o nly £19 .99 FREE UK OverseaP&P s + £4 EU + £2 ES OF E X P E R T T UTO R IA L S 1. with resource want quickly and easily printed out high-res for files on the DVD pages of dedicated later reference Photoshop content Order online now! www.200 PAG Articles can be viewed In-depth tutorials from best Photoshop Fully searchable database lets you find High quality DVD on your computer or the the exact content you brings you over 1200 experts.

” www. I prefer to think of the Adobe suite as my palette and I liberally skip from one program 02.” colour adjustments. When using textured brushes. set it to and forth between programs. 03 03. If you want some texture. though. not the other 02 way around. Here’s what they have to say… 01 01. and blend the colours. Finally. I lay out her general form with the Angle Jitter function as it will make it look more early and clip in a raw random. Another way to blend is using the Smudge tool. either manually changing the percentage or set it working on the painting and to Pen Pressure. the artist. Scatter. pick finish.echo-x. Then I go back For very smooth blending. These tools deserve close study. pick a round brush tip. it allows for more of an intuitive and interactive working method. mixing and matching IN NOMINE PATRIS © NYKOLAI ALEKSANDER to suit my needs.admemento. Adobe Photoshop contains some very sophisticated and powerful tools to aid www. It is more of an art than a science and has more to do with how 14 Advanced Photoshop 014-023_AVP_50_Feature. Eve’s body is “There are several ways of blending colours when you painted in Photoshop and the paint in Photoshop. A great lowering the opacity of your paintbrush and layering your way to integrate small bits of colours like watercolour washes until you have the desired painted Photoshop elements into result. as it’s possible to make very accurate corrections with them. I export into a speckled or textured brush instead. NYKOLAI ALEKSANDER to the next. Be careful. You can either manually blend by rest of the piece is vector. Basic colour correction include using Image>Adjustment>Levels and Image>Adjustment>Curves. 50 Feature KILLER PHOTOSHOP TIPS 50 of Advanced Photoshop’s top creative contributors over the years give their ultimate tips for getting more from Photoshop. ECHO CHERNIK BELLAGIO © ECHO CHERNIK “Always let your imagination control your tools. My absolute ‘must do’ in the final stages of an image is the fine-tuning using Image>Adjustment>Color Balance. try using it mask. while leaving the Photoshop for final settings the same.indd 14 17/10/08 18:36:37 . want it to look. You can do this with both smooth brushes and Illustrator is to use a clipping textured ones. PAT BRENNAN DAYBREAK © PAT BRENNAN “There is no such thing as ‘correct colour’ when you colour-correct an image. Rather than trying to calculate the end vectors simultaneously to bring as things can quickly look plastic or just too smudged and them smoothly to a balanced smooth with this technique.” www.

ultimately leading the tuning process is fun.” be learned. you should know what you’re wanting to do further to it in Photoshop once it’s digital. rusty that the image was created digitally. values the Opacity value once the modes are applied. Overlay. so experiment. 50 KILLER PHOTOSHOP TIPS 05. etc.foxfires.indd 15 17/10/08 18:37:10 . Use this sparingly to effectively block in HOXFORD © BEN TEMPLESMITH “I always find one of the things a lot of people don’t think about when starting out is if you’re working from existing artwork.mikecorriero. Using the Burn tool with the same setting as the Dodge tool. Start off with a plain silhouette using the Dodge tool. I always have a clear idea of what strengths I want to harness with the program when I’m initially drawing my art. Have a plan. DE GUZMAN 05 “I could finish a well-defined and polished painting using only the Dodge and Burn tools. of course. Also keep a camera handy at contrasting colours that complement each 06 06. While I want the image to look all times and you can easily build your own essential believable.” www. change the Range settings to Highlights for both the Dodge and Burn tools. BEN TEMPLESMITH www. Let your daily multitude of brush applications. Don’t limit yourself to capture the initial attention of a viewer through a strong use of value and one texture. painted wood.jeffmdart. But. 07.templesmith. I also want to provide a bit of a painterly feel so it’s not so noticeable texture library by photographing old crackled walls. Photoshop allows me to do this with its cars. Soft Light and others. what textures I’ll add to segments of the art using layering or how I’ll shape the black-and-white art with a colour scheme that will make it pop once I can add tones in Photoshop. The Dodge tool under these settings will create a shiny look to your 04 armour paintings. AIMEE STEWART ADAGIO © AIMEE STEWART 07 “Using textures in conjunction with layer blending modes. the www. Once the overall look has been achieved. like any other. the outcome is in 15 Advanced Photoshop 014-023_AVP_50_Feature. Be it a way I’ll treat the lighting. The tools work so well in creating armour when digitally painting. MIKE CORRIERO such as Multiply. Mix and match. DE GUZMAN ESPRILANDRHU © JEFF M.” www. brush in areas where shadows and dark areas appear. which give you great control over the areas that need detailing. I try to with these features. By playing with “The placement of objects. This allows you to further work in and define those shapes. gradually brushing in areas where highlights can be seen.” 04. There are countless ways to play viewer to the most important aspect of the scene and the main focal point. and details will all affect where the viewers’ eyes are drawn. giving the impression of a real metal texture feel to it. the saturation of colour. Don’t just think that this software can make your drawing better just for the mere fact you can use it on it. is key in TILTADRON © MIKE CORRIERO getting the most out of your texture files. Photoshop is still just a tool for artists. At the end of the day. JEFF M. the direction of shapes. scuffed floors. then set the range to Midtones and Exposure at 10%. customisation and hidden treasures that are yet to experiences provide you with stock images.

” the art in question. Vanishing Point (Cmd/Ctrl+Opt/Alt+V) as soften shadows. thanks to this. fingertips. One of the largest failings in image www. For example. I made heavy use of this pass to paint in smoke and steam elements.philipstraub. but having this control and you’ll be able to change all the mood and visual appealing of can also become detrimental to the final image. scan in your own natural elements and see what you can come up with. found under Render Options.” www. lighting is the most important factor.indd 16 17/10/08 18:38:13 .” ‘beauty’ render and take advantage of the scene depth it can offer. Try grabbing some found textures.martinlisec. There are a myriad of brushes available for you to try out on the 16 Advanced Photoshop 014-023_AVP_50_Feature. my pictures of models are initially judge how far to push saved as a PNG file with an Alpha channel used to application. Feature 08 12. In The Inevitable. Loading the Z Depth as an Alpha 11. you can use the pass with Photoshop’s Lens Blur tool. PHILIP STRAUB MONOLITH © PHILIP STRAUB “The Custom Brush palette offers an almost infinite amount of possibilities for those who are willing to experiment. For example. I create a new bring myself back to earth and background in Photoshop on a separate layer. I don’t texture the model in 3D software away from Photoshop tweaks for because it is easier for me to perform this in a while. This saves you time and your nerves. It’s background layer.aegis-strife. grass in my artwork isn’t only one Photoshop for further editing. organise them into categories for easy use. From here. I just look Depth is a mask that defines the 10 near and far points of a 3D scene. as well as hundreds located on the Adobe site. you will enlarge your lighting possibilities contrast. These were things that could be done in a 3D package. a Z Depth can be generated as a render element. Using these tools makes it possible to all the most vibrant light sources.butterflysoldiers. etc). just load it up and you’re good to go.” www. another layer with often useful to generate a Z Depth shorter generic grass for middle distance and roughly painted grass in the background pass along with your regular and then several layers with detailed custom flowers for a more realistic look. What I do for this is. STEFAN MORRELL THE INEVITABLE MONOLITH © MARTIN LISEC © STEFAN MORRELL “In my work. but the same effect could be achieved using Photoshop much faster and with more freedom. A good tip is always Photoshop using the Free Transform tool (Cmd/ adding layers of subtle dust to Ctrl+T). Curves. it’s really helpful to use layer groups to link related layers. but I have one layer with generic grass in front. Don’t forget to “When using 3D packages like name layers and groups correctly. If I want to “After rendering. MARIO SANCHEZ NEVADO 12 THE CARNIVAL IS OVER © MARIO SANCHEZ NEVADO 11 11. is to an image. to add atmospheric perspective and some depth of field. get rid of the background. I step picture. apart from usually creating “With so much imagery at your the lighting from scratch in all elements using Dodge/Burn.stefan-morrell. Once you’ve created some brushes that work well. it’s easy to overwork painting and some adjustment layers (Levels. ADAM TREDOWSKI and using Curves to make the FAR FROM THE CITY © ADAM TREDOWSKI image stand out more.blogspot. In 3ds Max. bringing out all the 13 detail with light and dark Levels 13. affect colour and image. further dulling well as Warp. Learning the finer points of manipulating the Brush Preset options like Shape Dynamics. with black being distant and white being closest to the www. we can tweak Channel Mixer with the same setting is also useful. add too much detail or put a Black & White adjustment layer over the composition in to tweak too much. I like to have all- Autodesk 3ds Max.” www. focus more on realism and which helps me change the atmosphere of the contemporary production is the overuse of contrast.tredowskiart. A Monochrome Photoshop. PAUL GERRARD RHINO © PAUL GERRARD “If you are trying to develop a realistic image with all of its elements completely integrated. because at any time I’ll have easy access to each object usually rendered and passed to and there is no problem with adjustments. images are important objects in special layers. With Lighting blending mode and play with that.” adjust the texture to a given shape. you highlights and shadows in just have to play the controls and see what fits best with your seconds. Z www. create a bunch of metal structure brushes and apply them to a brush set called ’metal structures’. MARTIN LISEC 09 09. Scattering and Dual Brush can net some really interesting results that will increase your workflow and allow you to focus on making a good picture instead of details. Any time you need a texture or quick details for a scene like you see in Monolith. This is incredibly useful to have.

A way of doing this is to apply a leaving the dark ripples on a separate layer. it’s very important in the Select menu. ITV “When creating a reflection. Channels can be used for storing. By default it’s orange.jerrylofaro.” 14 www. Make sure you give thought to “In order to mix the colour in your composition far more easily and colour choices and textures at the beginning of professionally. such as Smudge. I first use an image of water ripples “When you’ve been working on a complex piece with clearly defined light and dark areas.indd 17 17/10/08 18:38:57 . SAM GILBEY ARCTIC KISS © JERRY LOFARO NO HEROICS © SAM GILBEY. JERRY LOFARO 16. I’d prefer to recommend the Airbrush tool. ELDA THE viewer’s emotions and also tell the story within WATER LANTERN © ELDA THE your artwork. can be transformed into a magical light source by painting and blurring a layer mask attached to it. which can bring you a ripples to create a reasonably natural reflection and finish it off nice warm feel to the work.timshelbourne.jeffmiracola. Using a simple concept. polished Photoshop 16 17. Set this afterthoughts tacked on at the end. Often. These are one of Photoshop’s most overlooked features by beginners. You’ll find that instantly the colours of your piece are brought www. combining and building selections. Next. them convincingly. Humble Alpha channels can become light maps in just a few clicks. such as layer masks. Once you master the mystery of channels.trikirk. depending on and various filters. Using textures will give your work an interesting surface quality. using Color Range with lots of different elements. in conjunction with layer blending www. bear and ice layers in this image. set up your intended mood and therefore make a more interesting piece of art. Several powerful filters. dramatic noise reduction is as simple as a blur on the blue channel of an image.” www. Then. which is key to the effects achieved in my photorealistic images. the mood that you’re trying to create. in an advanced way allows me to really ‘paint with light’.thousandskies. like Lens Blur and Lighting Effects. I delete the 17 15 19. done by sky.” to 50% Opacity for much better effects. without needing to set the filter at a really high opacity. selecting Layer>New Adjustment Layer>Photo I was then able to move these three layers beneath the dark Filter. Blur. ie to composite playing around with the Fuzziness. JEFF MIRACOLA LIFE IS GOOD © JEFF MIRACOLA “Use colour and textures to your advantage to convey mood and direct the viewer’s eye to important elements in your work. Removing or adjusting colour bleeds are a snap when you can work with the channel containing the offending colour. KIRK NELSON 18 PHOTOSHOP TOOLS © KIRK NELSON “Learn to use 17 Advanced Photoshop 014-023_AVP_50_Feature. I select the light colour in the water while to colour grade them together. I flipped them upside down. Using channels to make difficult selections like hair is just the tip of the iceberg.” However. After duplicating the photo filter at the top of your image. Airbrush cold blue or anything else you like. 50 KILLER PHOTOSHOP TIPS 14. The strategic placement and use of colour will appeal to your 15. have the option of using a channel to control how the effect is applied. Even a simple gradient applied to a layer. you’ll wonder how you ever got along without them. TIM SHELBOURNE 19 MAGIC © TIM SHELBOURNE “Layer masks and Alpha channels will always be the key to together more harmoniously. but you could go for a with some blending techniques. most people would suggest applying the Smudge your project so those elements don’t feel like tool. Layer masks in CS4 promise even more potential for light painting.sam-gilbey. so naturally I can’t wait!” www.

Don’t forget. With Painter. go to Window>Arrange and select New www. a An adjustment layer will modify your target layer photographic ‘darkroom’ that steps in where Photoshop can’t go.kristianolson. KRISTIAN OLSON CALENDAR GIRL © KRISTIAN OLSON “Never label your layers unless you have to give the file to a client or colleague. Light mode with Opacity between 50 per cent Obviously. The 24.stewartbruce.markmayers.clara. Spend some time creating unique backgrounds in clicking the Adjustment Layer icon at the foot of the Painter and then you can export your creation into Photoshop to incorporate into your Layers palette. For example. This will speed up your process and allow you more spontaneity. and then checking the clipping mask illustration or graphic designs. so there’s no need to keep zooming in and out all the time.5 to stuff and their brand. After copies of a single object and update their instances easily.” option in the next Spend 1px on the finished composition. Smart Filters work in tandem with Smart Objects so that any filter effect is not permanent” www. One method I use often to give you the time of day if deal with this problem is to apply a smooth they think you know your Gaussian Blur filter with a Radius of about 0.” www. Now all the degree of ‘what have you different parts are blending smoothly and the done before’ with most colours look much better. GARY J LUCKEN MH FAIR 24 client has to believe in you and your ability to take their © GARY J LUCKEN product/brand where it wants “When working with pixel art. that there are other great editing is that images can be revisited at any time. go some time immersing to Edit>Fade>Gaussian Blur. They will dull and unbalanced. We don’t wait by the phone in the vain hope 22 they ‘might’ ring us with that ever-illusive amazing project. You can make multiple 20 18 Advanced Photoshop 014-023_AVP_50_Feature.mcfaul. Now you can work on your canvas zoomed in but also have a nice preview of your image at 100%.indd 18 17/10/08 18:39:43 .apocryph. 22. We’re not photographs for composition work in scared of doing so even with Photoshop may let the finished work look a bit the bigger clients.” www. This program is great for as well as those beneath it. Feature 20. as a creative agency we have learnt to approach clients we want to work with. Pixel-based Smart Objects also remember their original size and can be transformed multiple times without loss of quality. MARK MAYERS “Adobe Photoshop CS3 is without a doubt the best program on the market for graphic POP ART © MARK MAYERS design. 21 applications out there that complement Photoshop. STEWART M BRUCE METROPOLIS © STEWART M BRUCE 21. Also there is Corel Painter playing the classic waiting game. it’s quite handy to have another view of your artwork next to the canvas you are working on. Smart Objects can consist of pixel or vector-based content. you’ll definitely reap the benefits by climbing the ladder more 25 23 23. select the Soft yourself within it. To do this in Photoshop CS3.armyoftrolls. MCFAUL VIVA1 © MCFAUL “These days. To save time zooming in and out to check if everything looks belief on both sides. you have all the tools adjustment to a single layer by holding Opt/Alt and you would need to be a great artist. You can easily navigate through many layers by clicking on any element using the Move tool while holding down the Command key. you will find that you often use a zoomed-in view as you add to go. It’s a issue of trust and fine details to your artwork. but if you focus on being proactive rather than www. TEODORU BADIU We go to them armed with FLYTRY © TEODORU BADIU ideas of where we can take “Using different cutouts from different digital their business. there is some and 70 per cent then click OK. Adobe has Lightroom 2. however. illustrators or digital artists.” Window. I first fell in love with Photoshop way back in the days of “The great advantage of Photoshop’s nondestructive version 3 and have been with it ever since. but you can also clip an professional photographers.” good at 100%.

” 30 www. DAVID AND SARAH COUSENS AKA COOL SURFACE IRON LADY © DAVID AND SARAH COUSENS “As a professional. One of the easiest ways to reduce. Creating a photo library with 50 KILLER PHOTOSHOP TIPS stocked images that you shoot with 26 your own camera is helpful down the line when looking for textures. hit Stop. By applying the Darken or Multiply blending 28. leaving only the raw markings to overlay on a background or image.indd 19 17/10/08 18:40:28 . Select the Actions palette. use the Lighting Effects filter to re-render the image with the type of lighting you need. When you’re finished. stock photos. it’s always a good idea to keep in mind the main light source and the direction of the 29 29. objects or reference.georgesmith. but there are more tricks available in Photoshop than just learning hotkeys. sweeping gradients produce a lot of banding – that nasty ‘colour stepping’ effect – in Photoshop.kareemrizk. I have found that Uniform Noise usually works better than Gaussian Blur. especially at low transparencies.seventhstreetstudio. as Photoshop will only remember what you did. Anything that improves your workflow is brilliant. KAREEM RIZK that looks best. I like to use the Create New Fill or Adjustment Layer>Hue/Saturation with the Saturation set to -100. Don’t try to reinvent the wheel. distress marks and lines. 26. There is a very fine line between just enough noise and too 30. white grit can be created for dark backgrounds and black grit can be created for light backgrounds” www.” BIRD NO. or in some cases remove banding completely. so you’ve got to make things as good as possible as quickly as possible. For the elements that don’t quite match. GEORGE SMITH ALIEN REVISIONED © GEORGE SMITH “ THOMAS BOROWSKI 2K © THOMAS BOROWSKI “One of the best friends a digital artist can have is their own photo 19 Advanced Photoshop 014-023_AVP_50_Feature. If you find yourself doing any task repeatedly. eg. then click Create New Action. By simply applying the Invert function under the Edit menu. Also. quick fix that you should do on a separate layer and adjust the amount 27.” “Create realistic and detailed gritty textures by scanning photocopied dust 28 and scratches found on old photocopies. Don’t worry about the speed that you do things. is to add a touch of noise to the layer causing it. When you next need to perform the recorded task. This is a good. check your lighting and value constantly.5 © KAREEM RIZK www.coolsurface. it’s time to start using Actions. not how fast you did it. just click on the Play symbol in the Actions palette and Photoshop will do the repetitive task for you. Having this set as my top layer allows me to toggle the effect on and off. all white areas will be knocked out. You will have to play with varying levels of noise to fine-tune it because it can get out of hand very quickly and cause a lot of unwanted grain. MIKE CAMPAU STAY GREEN © MIKE CAMPAU “When compositing multiple images from unrelated sources. Sometimes even 27 building models or using household objects to create sets adds the extra touch needed to create a realistic scene.” http://tomborowski. only much faster. Name it something appropriate then click the red record button and start performing your task. Carbon photocopies create more natural and detailed scratches. you’re often working on several briefs at the same time. illustration and CG-rendered elements.

while maintaining the full editability of all your separate elements. work can look a lot worse than it seems because of saturation levels being too high or too low. Whereas before the lowest level of detail or setting for a www. then creating a new layer for the custom elements that work together in sync to make the piece work perfectly. © MAGICTORCH whether your image is for print or “It’s been said before no doubt. however.indd 20 17/10/08 18:41:14 .” gradient.” produce much crisper images with a higher level of detail than working at a 1:1 ratio.magictorch. AMY NEAL EV2KE © AMY NEAL 33 “Fully take out the background of stocks using layer Masks and your Pen tool. Level and Curve adjustment layers can really make a difference through tweaks. With masks. At first you may be blown away by the aesthetics of a piece of “Instead of opting for the standard Gradient tool. Not work.” www. In my opinion. Masks can be applied to both single layers and layer groups. I work at a zoom of either edit your image without the nervous twitch of multiple Undos and scratch disc- 25% or 12. If you do scale the image down when you’ve finished. it is the only real way to make sure it is completely gone. Experience and having the eye to know when something is out of 32 tool you had was one pixel. If you use your eraser. sapping History palette hell. COMMISSIONED BY PCPRO MAGAZINE “Working at print resolution.” 35 36 36. Frequently. Then you can adjust the hue/saturation of that layer to create any gradient of colours you www. however small. they are IDIO © JONATHAN WONG essential in keeping your images “Adobe Photoshop has a clean and looking amazing. running a light Unsharp Mask is a good idea to pick out the finer professional standard works. I love the Pen tool 34. but good use of layer masks and groups is key to an web. over the quality of your image. It is only through experimentation and experience that you will begin to have an eye for such things. NIK AINLEY 32. ALEX HAIGH INJECT YOUR CREATIVITY © ALEX HAIGH 35. Groups can in turn be placed inside other groups.” www. JONATHAN WONG and mask functions.starfantazy. and the Pen tool is very precise in selecting what you need and nothing else. This gives much more versatility and adaptability than the Gradient tool found on the toolbar. That’s why the best designers produce the most professional work. ridding depending on the size of the image.thinkdust. which is good but limited.” wide range of features to help you create www. grab the Brush tool.5% in Photoshop. you can end up with edges that are not precise and using the Magic Wand or cut functions is just asking for trouble. you can go back and revisit spots that you 34 may have needed to keep.destill. gives you much more control undisturbed workflow and thus a less obstacle-ridden route to a successful illustration. you will now effectively have a finer level of precision 33. 31 Feature 20 Advanced Photoshop 014-023_AVP_50_Feature. but you can create some put together. when you look closer you can spot how something has been poorly only will you be able to use unlimited colours in whatever area you like. MAGICTORCH FLUID © NIK AINLEY WINDOWS 7. Compositions should feature a small variety of or Cmd/Ctrl-clicking on a layer to create a selection. giving you the freedom to Generally. MIKE HARRISON “One of the most common mistakes I see in designers is the lack of detail and patience LET GO © MIKE HARRISON put into a piece of work.artofwong. you of an unwieldy Layers palette and allowing you to work into multiple groups at You will find this allows you to once. Even major brands let the error of a poorly cut out image slip by into the really beautiful gradients when the brushing is contained within a selection by using the Lasso tool mainstream of communication.shinybinary.

then fading it into place or overlaying it. Here you have a very “To create pixie dust and magic effects. anything you do can be altered via a very responsive slider giving you much more control. However. then select Filter>Other>High Pass. which is particularly useful when applying an effect or filter that you wish to tone down. try the Fade tool. make that 440%. MARTIN BLAND BVAMP PRINT © MARTIN BLAND “Remember that every stroke you lay down is editable.advancedphotoshop. and you can also apply this effect throughout your working 39 21 Advanced Photoshop 014-023_AVP_50_Feature. Under Scattering. If you apply a little more pressure than intended when laying down a line. a treatment of 2px will work 38 37 37. Start brushing areas on the canvas. 50 KILLER PHOTOSHOP TIPS 38. This will give you a great head start. every erase. alternating the brush diameter. in styles such as high-end photography and draganized imagery. Open the Brush window and change the Spacing to 100%. PETE HARRISON LURE FULL © PETE HARRISON www. All without having to touch the Layers palette. 39. create a single merged composition then duplicate this. Once satisfied with your artwork. sometimes you can excel an image’s quality even further with some of Photoshop’s image-enhancing sharpening functions. ADAM SMITH CONTEMPORARY STYLE © ADAM SMITH It’s essential even before you start your compositions that the quality of your stock imagery is high. but use all the blending modes too. polished professional imagery.aeiko. Click on Shape Dynamics and make the Size Jitter 80%. Crisp. Usually. sweeping a texture brush over an area. It allows you not only to fade your last action.” www. instead of hitting the Undo button.indd 21 17/10/08 18:41:55 . every filter applied. Give some layers Outer Glows and use the bracket keys to alter the softness of the brush.” www. clean visuals are paramount in presenting finished. Set the copy layer’s blending mode to Overlay. built-in option to mess with every stroke. select a soft white round brush and create a new layer. My favourite is to treat the final image to some High Pass filter.

experimenting with both until I get the desired effect I’m looking for. then combine it with a Hue /Saturation I generally use a Levels adjustment layer. make sure you consider blending mode to distress the image. Once the theme and Duplicate the layer you want to spice up and concept is ready.humblevoice. Feature 40 40. Selecting the Pen Path tool can act as a powerful illustration tool and is great in producing fluid and flowing shapes. can be used to simulate and produce vector-like illustrations in Photoshop and dually can be utilised as a selection tool to optimise the possibility of crisp edges in cutout image sections. I use Illustrator.andy-potts. ANDY POTTS CARRARO © ANDY POTTS 42 43 “This is a great way to apply vivid colours to the tonal 43. I source and collect the royalty-free stock Gaussian Blur that new layer. if it’s using layer effects such as the Overlay and Hard Light going to be used across TV and press. first just to tweak and enhance the overall 45 44.” www. Now you can then rasterised into various layers according to the adjust elements.” www. if go to Image>Adjustments>Gradient Map to see how the it’s going in the national press. VINCE FRASER LE COOL FRONT COVER © VINCE FRASER “Combining adjustment colour layers with layer masks can give you some really interesting effects. before beginning with any form of digital 41 42. A study can be in the form of a interest. Ensure that the dropped to make sure the end result looks good with the preview box is switched on and experiment with different relative print processes.photoshopcreative. always consider background colour – the more high contrast the better – and where it is to be used and the intended media. but it does matter. Once that is done. try using the following technique. The composition of the options. The most important part is to be focused on achieving what you desire and to maintain 22 Advanced Photoshop and the last thing you want to do is compromise your concept for the sake of bad planning. is going into high-end fashion magazines.” 45 outcomes depend on the photograph or MODERN FANTASY © TEIS ALBERS it’s important to have the concept very well thought out and ”If you want to give a photograph more the theme very well 41. This applies oppositely if the piece. Of course.vincefraser. for colour combinations or reverse the effects.” www. but it always adds more detail and finesse to your art. You can repeat this process as many times as you want with different colour Hue/Saturation layers to create some cool psychedelic colour effects. It’s basic advice. ARCHAN NAIR WELCOME TO JUNGLE © ARCHAN NAIR 44 45. brush effects and forms. the colour or composition. and blend methods and Quick Masks are levels for an interesting effect. NEIL DUERDEN qualities of an image to achieve an instant pop-art effect.neilduerden. applied to achieve the desired effect. The Pen Shape tool.indd 22 17/10/08 18:42:50 . For instance. for example. which play with the Opacity and various blending is then rendered into Photoshop. Blending mode images for that particular artwork and then to create various this layer with the original layer beneath and illustrations. DANI DIXON PHOTOSHOP CREATIVE COVER IMAGE © PHOTOSHOP CREATIVE “The Pen tool can be a slightly tricky tool to master. for example. the complexity has to be colours are mapped into your image. So always make your document the right sizes to start with.” www. URBANITE © NEIL DUERDEN Select your image or layer and a foreground and “If you are creating a commissioned piece. add a layer mask to the Hue/ Saturation adjustment layer and invert the mask and erase the areas you don’t want. personal interpretation or of research. the photomanipulations and vector objects are the centre with a big soft brush. But this tool is a very powerful multifunctional addition to the Photoshop creative’s arsenal.” the ratios for different applications as portrait images can be a nightmare to get in a landscape format ready for TV executions. TEIS ALBERS “First off. Apply textures example. Again. Then layer mask it and brush away artwork. www.

RADIM MALINIC NUNIPPON © RADIM MALINIC www.” www.” www.indd 23 17/10/08 18:43:33 .co. Now you can this point is to strip your PSD down to its barest components. 48 49. Be honest with yourself. Another great tool for distortion is the Spherize filter. but your work will be stronger because for it. 46 50 KILLER PHOTOSHOP TIPS 46. Clients commission new work vastly based on your previous portfolio. However. if you don’t fancy doing the same thing over and over.superlover.xtrabold. The image data is separated differently in Lab than other colour models. Applying a black-to-white because it took you ages to produce a facet of the piece doesn’t mean it makes the piece Gradient Map as well as altering stronger.” blending modes and Opacity can also evolve your image effect. or simply giving an image more” 48. this time © JUSTIN MALLER setting Mode to Normal and decreasing “Ever found yourself staring at a piece wondering where to take it? The best thing to do at Saturation to -100. JUSTIN MALLER OMBRES 50 Mode to Color. abstract textures and warp it. Select individual channels for the adjustments to target your changes precisely and make the most of the opportunities. There are three channels: Luminance (L) and two colour channels (A and B). so you can push the saturation without burning out individual colours. and not look like a smartarse when selling them your opinion. Decide to justify the desired exposure in your whether it really adds anything to the piece as a whole. strive to excite and don’t be worried to suggest ideas in addition to the art director’s brief. Just image. Explore it in many ways as possible and discover how to take the best from it. Lab supports a much wider gamut of colour than RGB. This technique is useful for recovering washed-out 49 and can transform any sample from home photo to professional shot in numerous short techniques.hampton-smith.photoshopcreative. try and Saturation layer and alter the Hue value strip it further and examine every single element you have in your composition. remove all of the clutter from reactivate the first adjustment Hue/ your document and leave yourself with the bare essentials. ROSIE TANNER TRAMP © ROSIE TANNER “Photoshop is high functioning when it comes to its photo-editing capabilities. Experiment with the Curves and Levels adjustment “It’s quite easy to get comfortable with newly learned techniques while putting the intrigue to a side when too much work comes in. 23 Advanced Photoshop 014-023_AVP_50_Feature. Use gradients. click OK and then reactivate the same option. You can combine it with the use of the Selection tool in order to create 3D effects.” www. Set 47. to first listen to what they’ve got to say. SAM HAMPTON-SMITH TYPOGRAPHY POSTER © SAM HAMPTON-SMITH “Ramp up the colour in your photographic assets without adversely impacting the luminance by converting to Lab colour. NELSON BALABAN XTRA SPACE © NELSON BALABAN “The Warp tool allows you to create 3D effects with a simple 47 but effective result. A great way to achieve professional monochrome imagery is to open your desired shot and then select Layer>New Adjustment Layer>Hue/Saturation. patterns. It’s a tough thing to do.brandnu. Once you’ve done www.

graphic and such. I am pretty biased) and we had a lot of fun choosing a font to go with the excellent cover image. advancedphotoshop. I love our last cover (to be fair. which I’ve really been like to say how extremely impressed I am with know that the hard work that goes into the desperate for recently.dafont. It was fantastic and There are. their work. Thanks for your comments – I can feel a debate coming on! I completely agree with you that fonts can be overused on release and be used badly. then why not fill in our consider the fonts they use more carefully? probably busy producing the next couple of new readers’ survey online at www. I am new to the world of Editor replies: Thanks so much for your it gave Photoshop and your publications. so many other good fonts I am really pleased about the article. Hi there Advanced Photoshop. very big SUBJECT: Font overkill thank you to you and all the Imagine FROM: Alexander Nerdrum-Hansen SUBJECT: Love the mag Publishing team. However. but I would Frank. I was lucky enough to be featured actually looks cool. I did spot your use of it in issue 48! Editor replies: Hi Alex. And yes. Go through the available fonts you have and test them out! If you can’t find one. go online and check out some new ones. I keep seeing the Bleeding Cowboys font everywhere I turn my head SUBJECT: Email error since it was out on www. it needs to flow with magazine exactly how you want it! everything else. It only takes a few design. the front cover’s character on issue 48. You can’t just stick any font to your artwork. I read your magazines over and over – and let me know! I can’t wait for the next issues.indd 26 17/10/08 18:44:32 . over to my Is it something we should be doing more often.advancedphotoshop/forum A font is an important part of a piece and shouldn’t be rushed in any case. or should we fantastic issues. May I first say FROM: Frank Geralds that I loved the step-by-step guide to creating Hello Julie. It’s always nice to receive praise and to me some inspiration. there was a misprint on my email and I wondered whether you could put a IMPROVE THE MAG: Help us shape the future of correction in. The quality and content of FONT FUN: What did you think of our use of a what do you think of the magazine’s fonts in Photoshop publications is professionalism at different font on the cover of issue 48? general? Are we ready for an update? Email me its best. and I FROM: Hayley Clifton keep seeing so many bad uses of a font that Dear Julie. only the overuse of it is in Advanced Photoshop magazine’s Peer criminal and I shiver every time I see it now. publications of Advanced Photoshop and magazine is appreciated! Readers’ opinions are Now. Letters Mailbox Do you have a question or opinion about the magazine? Email your thoughts to advancedpshop@imagine-publishing. 26 Advanced Photoshop 026-027_AVP_50_Letters. Pressure section (issue 46). Unfortunately. but it helps us shape the the style and use. that can be used or visit www. I tried to phone your always taken on board. but I’d love to know what everyone things of issue 48’s use. I would really appreciate this as I Advanced Photoshop by filling in the short readers’ am freelancing at the moment and would love survey on our website to be able to get some more work. Could you please tell Photoshop Creative. It needs to fit in with minutes to complete. after all. A very. so if you have an opinion people. designers and whatnot to start to offices but couldn’t get through – you’re all that you want to share. But I feel that it’s always stick with our standard fonts and let the picture better to tell people how pleased you are with speak for itself? And on a slightly related subject. We don’t go crazy with fonts too often.

but when I run smoother than that with 2GB installed. and apologies for the misprint. Some programs like the feature on The Rules Of Fantasy Art. FROM: Nick S Hopefully. and it’s great that they were happy to share their secrets for this feature. I use Photoshop CS. especially when when it was brought into the Imagine Publishing you see the before and after shots. but in “FILL IN OUR the long run you need to get this resolved. I was thinking the I’m no Mac expert.8GHz laptop.advancedphotoshop. Now with feature will work across all genres of digital the 2GB leaving previous issues unavailable. SUBJECT: Issue 50? Editor replies: Hi Hayley. before issue 16.christian4@ntlworld. Thanks for writing in FROM: Sarah Painter FROM: Nick S again. There are a lot of really good fantasy art and motherboard.indd 27 17/10/08 18:45:08 . sadly. sounds like there’s a problem. More fold. then I would get in touch with Apple and see if A FEW they can sort it out. but design CD covers and vector artwork. It was find issues before 16. I opened an A4 file at 300dpi and ran a large brush around the FANTASY ART UNCOVERED: We’ve had loads of screen… it jumped about and was not people writing in about this feature in issue 48 saying smooth at all. d. Advanced Photoshop has Firefox will halt – you get the spinner fascinating to see those great painters existed in its current incarnation since issue 16. Frustrating I know. On the forum SUBJECT: iMac 20-inch 2GHz 2GB RAM – problem? FROM: StudioWorks I got this Mac for £800 and was hoping it would provide more speed than my old 1. I couldn’t see anything which is considered the minimum for PS. I’d love to complete my back etc. Was your Mac new and have you seen catalogue of AP issues. I had a PC that kept freezing all the time and it turned Editor replies: Hi Adam. but it should be fine and of you interested in getting in touch with other day that issue 50 is on its way. For those Hi Advanced Photoshop. it’s brand-new. READERS’ 27 Advanced Photoshop 026-027_AVP_50_Letters. Before that it existed in a different FROM: revjessecuster features like this please! incarnation. I run CS3 as well as Illustrator together with the same amount of RAM on SURVEY my MacBook Pro. I got the Mac with 1GB RAM how much it has helped their artwork and upgraded it a few days later because I noticed the RAM was maxing out. too. painters out there. Keep your considered usable for what I use it for? I’m a very magazine comments coming! web developer. Maybe you should take it back. and many of the compositional tricks will be concerned about this or is my Mac how you can get your artwork printed in this work in other types of digital art. glad you liked the out that there was a problem with the fan feature. you won’t be able to Yeah. NEW FROM: MikiV6 Totally agree with the comments here. I ran a simple test. the rules that were uncovered in the I agree with breaking down their images. Currently. Should I YOUR WORK HERE: Turn to page 76 to find out painting. Is it possible to get any other problems especially when SUBJECT: Fantasy art rules! earlier issues? running other applications? FROM: Adam Michaelson Wow – just got my issue 48 through the door Editor replies: Hi Sarah. then have you thought about activating spaces for them? ONLY TAKES If your problem continues to persist. coming up. it’s still maxing out. Are you running any other graphic-intensive program on it at ONLINE – IT the same time? If you are. Hayley. Good luck! MINUTES” ISSUE 16: The first issue of Advanced Photoshop as we know it today Join the debate at www. her correct email address is looked on the website. This is a common question FROM: StudioWorks and I had to write in to say how much I loved that we get asked and.

advancedphotoshop. The pose was all her idea.” CROOKED LOAN WRITER ARTIST: Cliff Behum EMAIL: cliffbehum@sbcglobal. A goddess-like dark fairy of the night. This WEB: www. Ulorin Vex. 3D and anything else that helps me get the job custom brushes. she is very creative! The image has five texture layers over it using mainly cloudy and painted textures. Having a traditional airbrush background. who would sit in the treetops and watch ATTEMPTE everything that moves in the darkness. I wanted to transform this photo into a creature of the “This project was for Ohio Student We present the best images on the site this month. That’s why I find the Advanced Photoshop magazine and website so inspiring!” 28 Advanced Photoshop 028_AVP_50_WebShowcase.advancedphotoshop. self-taught digital artist and photographer based in west Wales. explained that the monster represented the hidden ‘gotcha!’ traps in a loan contract’s fine WEB: www. I wanted to give the monster more character and connect him to the subject.” MODEL: Elandria “This image was initially inspired by a model stock photo by Elandria Broughton-Sheard. Log on and upload to get your images here next issue! HYBRID STUDY ARTIST: Sharonne Parfait EMAIL: amadeus.indd 28 17/10/08 17:57:04 .uk/user/amadeus_love “This piece’s creation was totally experimental and was really THE NIGHT KEEPER ARTIST: Ida Larsen a lot of fun.advancedphotoshop.” WEB: www. but I take advantage of layer In this image she ARTIST: Rebecca Parker is catching a moth. The main one can be downloaded for free from http:// attempte-stock. Stephanie Once the pencil sketch was approved. Website On the web www. masks. drawn to her by her magnetic charm EMAIL: surroundings and it ended up with an overly surreal look. I use that tool the so I loosely fashioned him after the stereotypical shady used car but I still like to mess with my images in Photoshop and see what effects I can come up with. I wanted to try to incorporate a character to its EMAIL: photomanipulation took me about two hours in WEB: www. and the lights from the lantern and “I am a semiprofessional. I have recently got enthused with fashion portraiture. This image was created initially by organising a studio shoot with the prolific and popular model. The art 36483438. I created paths and basic colour shapes in Illustrator and exported them to Photoshop in Our website and readers’ forum is perfect for showing off Photoshop creations.


Inter view LANDOWN © EPIC GAMES INC: “Being self-critical is a great way to ‘level up’ your skills as an artist. We question him on his own successes and ideals in the ever-expanding creative game industry 30 Advanced Photoshop 030-035_AVP_50_Interview. That means if something is going wrong after I’ve spent three hours on it. I have to be really honest with myself. then I need to tell myself to scrap it and not worry about it. has seen the bigger picture through attention to detail. senior concept artist for Epic Games.indd 30 17/10/08 18:45:54 . to have faith in myself” SHANE PIERCE Shane Pierce.

Shane Pierce
“The desire to INC:
going, and co ake my family proud also
mpeting with ke
toes as well” my peers keep eps me
s me on my

hen you make the conscious Working in the world of art since the age of 18, Such production seems far removed, as these
choice to become an artist, Pierce has steadily worked his way up the days Pierce finds himself working on international
attention to detail becomes commercial ladder and now occupies the station projects for popular-culture favourite franchises,
extremely important. Artists everywhere must of senior environment concept artist at global such as Gears of War and Unreal Tournament.
acknowledge this aspect in numerous ways, from gaming corporation Epic Games. He realised, and “Creating environment art for these projects has
their design approach to their creative manner, if still does, the virtues of hard work as a self-taught been the most challenging and the most
they wish to accomplish anything in their own artist with humble beginnings. “My first artistic job rewarding for me,” he explains. “This genre of real
careers. Being successful is as much about attitude was designing motorcycle T-shirts,” he explains. world with accents of fantasy is right up my alley
as it is about talent. Many creative individuals “The company had a couple of Apple Quadras and the team here at Epic Games is amazing. My
believe that they have the skills to go pro and with Photoshop installed on them out in the back, art director on Gears of War is Chris Perna, who
make a name for themselves, and in most cases but I was trained in analogue techniques. No one always keeps me pumped up and positive about
they’re absolutely justified. However, skill alone is knew how to really use those computer programs creating great art. He will let me know in a split
not nearly enough. Investing in the values of back then. We just designed type on them.” second whether the concept is going the right
discipline and humility can go a long way into However, Pierce was able to take away an way or not, and I really love that instant feedback.”
obtaining a thriving and prolonged existence in understanding of how art fitted into a production
the creative industry. environment. He also discovered restraint, and
Shane Pierce, internationally renowned more specifically how to distance himself Resolved attitude
concept artist, is someone who will wholly agree personally from a piece of art and ultimately act in Appreciating others’ opinions and the details
and his opinion comes with great authority. a productive professional manner. within advice is a big step for any artist, perhaps

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030-035_AVP_50_Interview.indd 31 17/10/08 18:46:09

“I have worked on at least eight games, but the Unreal
Tournament and Gears of War franchises have been
the best fit for me. I love the artistic styles”


more so than familiarising with new tools. It is
an essential evolution that we must all take to
prosper, and Pierce agrees: “I would say some of
the biggest lessons I had to learn along the way
involved getting the chip off my shoulder.
Working well with people is a big part of most
jobs. Taking art direction and being able to
incorporate that information into the concept is
a skill that you definitely need.”
Pierce finds himself working with an
environment team of ten and directly under the
director on a daily basis. This habitat, providing
HOSPITAL MEDICAL regular contact with other inventive minds, is a
© EPIC GAMES INC: strong influence in keeping Pierce creatively sharp:
“When it comes to art, my motto is to not
stand still. So I will keep evolving, painting as “Epic is really like a Willy Wonka factory. So much
fast as I can, researching new ways to pull off talent runs through this company, and every time
new effects and studying life in general. I’m
we have an art meeting I’m blown away by what
looking forward to Photoshop CS4 for its
page rotation and masking abilities” other artists are creating. I can create a piece of
concept art and with the help of the Unreal
engine, the artists here take it to the next level. It’s
always an evolutionary process; as an asset gets
passed from one person to the next, it gets better
and better.
“What keeps me hungry as an artist is
anticipating what the next painting’s discoveries
hold for me. Creating art has always been an
addictive, compulsive act, and wanting to see
what’s around the corner motivates me. The desire
to make my family proud also keeps me going,
and competing with my peers keeps me on my
toes.” Consistently motivated by that new creative
horizon, this allows Pierce to focus his inventive
energies to, time and time again, deliver his

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030-035_AVP_50_Interview.indd 32 17/10/08 18:46:37

Shane Pierce

ojects has be
t for these pr
vironment ar t rewarding fo
r me”
“Creating en ging and th e m os
ch allen
the most

how buildings are built, the materials that are
used, etc. While I was doing this, I stayed
afterwards at night and learned how to use an SGI
machine. I then made a demo reel and managed
to get into the game industry. I started out as an
animator, but my passion for drawing rose to the
top and I eventually made the transition to
concept artist. I have created textures, 3D models
and animation, even interfaces, but concept art is
where I really wanted to be. Being able to create
worlds for players to run around and have an
adventure in is amazing.”
Pierce’s creation of such worlds is extremely
KARGO, delineated and precious, an evolution in itself as
© EPIC GAMES IN he explains his method. “I like to start out very
“I still look at a lot of
Old Ma C:
Joaquín Sorolla y Bas sters’ art: George Inness, loose in Adobe Photoshop. I immediately throw
tida, as well as all of
Hudson River Schoo the old
l and Brandywine art
lots of gestured paint strokes everywhere to get
rid of the white. From there, I can only describe it
stunning conceptual landscapes and as a method of ‘controlled chaos’. I throw shapes,
environments. Yet what of the details of his Star Wars was a big influence when it came out, strokes and textures everywhere until I start to see
creative past? How have these shaped him into but movies like Tron, Aliens and Blade Runner were something in the image that is interesting enough
the artist he is today? Popular culture seems to equally awe-inspiring.” for me to pull objects out of it. Then I start to think
feature heavily in his work. about overall mood. Once I get the time of day
Being predominantly self-taught, Pierce and overall view established, I start on the details.
explains: “I got into art at an early age by reading Creative elements Detail is what designing is all about; a strong
comics and being inspired by artists within my It is no surprise that these movies present some of overall shape is essential, and details inside that
family. I started out drawing low-budget comics the most “awe-inspiring” settings in cinematic shape reinforce it.”
and then moved into graphic design. As I got history, which have undoubtedly left their mark in To the small detail of style, we questioned
older, I got into heavy metal music: Metallica, Iron Pierce’s inspirational compositions. But Pierce about his, how like his compositions evolve
Maiden and such. Listening to that music always interestingly, he also showed an eager interest in and where he sees this heading. He explains with
brought out these awesome landscapes and the finer details of art. “I moved into architectural enthusiasm: “My art style is still defining itself and I
badass places envisioned in my head. Frank illustration, which is where most of my education think my job influences that style as well. I’m a
Frazetta’s art made me want to draw like crazy. came in. I learned a ton about perspective and senior environment concept artist at Epic

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030-035_AVP_50_Interview.indd 33 17/10/08 18:46:59


“Current artists that inspire me are Erik Tiemens, Richard
Schmid, Craig Mullins and Justin Sweet”

© EPIC GAMES INC: “My inspiration when I was a
kid growing up out in the country was my grandpa and
uncle. They both could draw and paint well, and
constantly gave me positive encouragement”

“My wife and © EPIC GA REET
e were in high MES INC:
I met while w
gave me the sc
confidence to hool, and she
keep up my ar

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030-035_AVP_50_Interview.indd 34 17/10/08 19:04:56

So make sure you pull your head back from THAT STYLE AS WELL the monitor and smile at what you are creating once in a while. Photoshop allows me to do just that. In company for which I work. Find out the requirements for where you ups. so the freedom to create and try another layer and idea is invaluable for concept art. lighting. and I like it to be useful to the butt off. As far as concept art goes. travelling and just being observant of everything around you is a good way to go” Games and I actually try to make my art fit each OUTPOST 2 project. Digital tools also give me the freedom to explore many ideas at once. “The gaming industry is It’s certainly been a good home to Pierce and a pretty but nonspecific painting – which also amazing for artists.” 35 Advanced Photoshop 030-035_AVP_50_Interview. Watching movies. and then place where he’s ultimately always wanted to be. If you are working hard on your art and you are not having fun. etc. The sky is the limit. Work your The gaming industry is becoming home to a lot of to speak for itself.” can use to build from. the corner of a room and paint all day. then you are not THINK MY JOB INFLUENCES going to have fun when it becomes a full-time job. otherwise. the without a whole lot of thought on the design you have free. all you have is a want to be and then map out how you can get there.indd 35 17/10/08 18:47:41 . Having the ability to draw upon multiple © EPIC GAMES INC: “Surrounding yourself with work you admire and then styles is a big plus. it’s drawing the top talent from currently in concept art for ‘pretty’ paintings pushing toward your artistic goal every second the movie industry.” Stay stimulated This necessity to provide quality within his own design is fuelled by the expansion of the working arena he finds himself in. animation mock. then you need to be terms of artwork. creative field to be in because of the simply in the gaming industry? He reveals: “I love to sit in “My advice for getting into the artistic sector of amazing stories being told within the medium. I have always worked like crazy to get where I wanted to be. Go home after your day job and trend will continue to advance design and result and details within. It’s all about generating art ideas for the art director as fast as possible while still maintaining quality. but I find in games it’s a much you can go even further than that! It’s the most So what’s his advice for those also seeking refuge smaller one. I like my art gaming is something I truly believe in. but make sure you are having fun. So my advice is that DEFINING ITSELF AND I hard work really does pay off. Like most people. There is no pencil or paint to clean up. Shane Pierce JACINTO INTERIOR. COPYRIGHT EPIC GAMES INC: “Knowing which colours and lighting help the situation and feeling is something you learn as you grow. Digital tools like Adobe having an imaginary competition in your head to push Photoshop allow me to take textures and mash yourself to get better is a good exercise” them together with different layer styles to create an abstraction that I can’t initially achieve in analogue forms. I really try to make sure that I work at home on your own art with a specific plan in high-quality textures. If you are working somewhere you don’t the most creative people in entertainment. have assets inside my environments that artists in mind. serves a purpose. I have never had anything MY ART STYLE IS STILL handed to me. There is a trend want to be career-wise.

indd 36 17/10/08 18:48:29 . MASTERCLASS 36 Advanced Photoshop 036-040_AVP_50_Pinup.

indd 37 17/10/08 18:48:53 . 1 Concept sketches You should start off making small sketches to 2 Anatomy references If you can’t find somebody to pose for you nor find “LOOK FOR exhibit your intended wonderful pose with lovely expressions to match it. from blocking out shapes to creating the correct pose. it is easy to extract The CD contains a Custom Skin blender. and it will be aiding us from start to finish within these pages. Find a good reference for the pouting mouth.jeffmdart. well as being chosen as the cover for the limited edition. Working on a standard 8 x 11-inch canvas at 72dpi. what made it so popular and what A concept artist for a VFX company in the Philippines. it will help. we expert guide to creating popular Fifties pin-up art bring you an I ON THE DISC n this tutorial. look in the mirror and do the same expression. create a background with a lighting effect in the direction you want and start blocking out shapes according to the light direction. 50s Pin-Up Art Befitting for our esteemed magazine’s 50th issue. It is always good to start out in Grayscale and worry about colours later on. OUR EXPERT Jeffrey M. But be cautious in doing so as this technique can present different lighting. especially when trying to get the feel and the colours just right. 37 Advanced Photoshop 036-040_AVP_50_Pinup. we will go back in time and try to reproduce retro pin-up art. just Free Transform the eyes until you get them to match the expression. If you can’t find one. SERVE AS A GOOD MATCH” 4 Pin-up face We will now re-create a famous facial expression that’s predominantly seen in trust us. Once you’re happy with the general outcome. as find their artworks? We will tackle all these questions as we move along in this masterclass. See more at www. for the use of reference. A good BODY THAT knowledge in anatomy is very helpful in properly laying things out. increase the resolution size to 300dpi. We will go on to show you how to create your own brush to which the Skin Blender brush was set up. There’s no need to get bogged a pose to closely match what you want. Big eyes will also match this well. efficiently paint it with. For now. But with the help of Photoshop’s powerful filters. It has always been emphasised that a good knowledge of anatomy is helpful. Jeff has distinct features are seen in this type of art? Who are the master artists famous with this style of art. We will be using loads of filter effects to help you create instant textures. This is a bit tricky. we just want to have a general feel of the model. 3 Blocking out the figure Now it’s time to start work on the figure that we have selected. Additionally. De Guzman. Also included is the PSD layer on and this tutorial also tackles the painting of authentic skin. you can simply just look for parts of the body that serve as a good match PARTS OF THE down with the application of too much detail here. and where can we been an Excellence Award winner for his work Golden Bee in the Portrait Painted category for Ballistic Publishing’s Exposé 6. aka Jeff MD We also need to familiarise and educate ourselves in the history of pin-up art. Skin Pore brush and Custom Texture Cracks brush. the colours that pin-up art normally uses.

Harry Ekman. HAVE A DISTINCT paint light yellow to the highlighted areas. See his work at www. Gil Elvgren. Take a look at his work at www. then add a clipping mask. There is a wide selection of great pin-up artists Filter>Stained Glass and press OK. add a new layer and set a Soft Light blending mode. name the inspiration Rather than colour pick. This falls differently on shown. setting the “PIN-UP IMAGES layer’s blending mode to Soft Light in order to blend more colours to the base. merge both layers. It is by the artist’s knowledge of lighting that they are able to simulate these and apply such brilliant colours. 11% and Angle Jitter of 10%. 38 Advanced Photoshop 036-040_AVP_50_Pinup. Find a desired old pin-up image. under Shape Dynamics apply a Size Jitter of reflections to imply that it is a solid object. Clothing has its own sense of texture. Using our Skin Blender brush. selection of pin-up artists. which has a wide Foreground button. which is settings. We can always see lots of colour information in each body part. Yellow or bright colours in areas where light is 7 more lit. 6 Colouring Add a layer above the Grayscale image. You’ll rarely see Opacity to 40%. Set the brush Opacity to 40% and paint directly to the image. gilelvgren. which also applies to areas where blood circulates In a new file sized to 200 x 200px. In the lots of colour change in it as it shows only Brush tab. go to layer ‘Colour’ and add a clipping mask (Cmd/Ctrl+G or Cmd/Ctrl+Alt+G for CS2 onwards). We can easily character’s main shape. Their artwork clearly reflect the kind of texture they painted. You may also visit Swatches palette. Press Cmd/Ctrl+E to Bill Medcalf to name but a few. Select Edit>Define Brush Preset. Also check Other Dynamics Artist Gil Elvgren has mastered these with Pen Pressure set to gradually fading to the base skin colour. with a complementary addition of We need to create our own brush to easily www. We must never edged brush with Scattering checked in the brush forget ambient or bounce lighting. flawless-looking skin. pink to the midtones. Once again. 8 Blend more colours Again. with names such as Peter extracted a colour palette automatically. using the Create New Swatch or merge layers. loosely painting shapes as present most of the time. Gaussian Blur by 26%. Also notice how they paint skin. we have a fast and easy way of getting it. Photoshop has now you don’t need to fear colours spilling away from your to choose from.thepinupfiles.indd 38 17/10/08 18:49:46 . we must carefully observe how light reflects on an image. With a clipping mask. as most of his artworks showcase great use of colour with a limited palette but can still clearly be seen in the majority of his paintings within skin and textiles. including their artworks. Earl Moran and colour-pick it and group according to its use in the our base colours for the image. but also displays his excellent lighting skills with intentional use in his paintings. techniques.html. like those near the bones. You can find loads of inspirational images to start with there. then lower the layer other materials or hard surfaces. listed. Start laying down colour with Driben. Create a new layer. In order to attempt to emulate these great artists.pinupfiles. MASTERCLASS Finding vintage 5 Instant colour palette Pin-up images present a distinct colour palette. blending the colour and paintstroke transitions. Custom Skin Blender brush Shadowed areas have a slight touch of ekman. achieve smooth. another great artist Harry Ekman not only shows painting skills like Gil. activate a soft- less. On the other hand. green or violet to shadows and orange and COLOUR PALETTE” pink to bounce lights. while skin looks soft and props like chairs or cars reveal their rigid structure.

14 Go inverse Can’t find the right light source reference? Try to invert the image by clicking Cmd/Ctrl+I. An image created this far only needs to know where the general folds and creases occur. Checkerboard to fill your square selection. applying paint in groups. Use the AND FACIAL Dodge tool to add highlights. carefully arrange it to the costume areas and erase any unwanted parts. parts of the body. Adding gathered. make a square on a separate layer. 9 Know your folds There’s no need to be very accurate when trying to apply all the clothing folds and creases. varying the Opacity for desired effects. 11 Cloth texture We no longer need to find or create a cloth texture for this.indd 39 17/10/08 18:50:03 . Using that brush. 12 Skin textures Back in issue 48. “EMPHASISE THOSE PARTS 15 Painting hair WHERE BUMPS First paint the base hair colour. costume to suit our intended model. This may not be perfect in other areas. go to facial contours build up and gradually fade to the dark Window>Arrange>New Window. Look at This contributes a lot in the logical and storytelling part suggest there is a fibre woven into it. This time. loose strands. Use the preset Optical shadows plays a big role in creating this effect. why not open another window for it? included in the CD files. create a new layer and set a Soft Photoshop has the capability to create multiple windows Light blending mode. Now you will have an idea how an image is lit in that area. We just need to 10 Sailor costume It’s not totally essential to be specific. we can then paint and design our own and then use Pattern. This will certainly add a natural feel to your model’s hair within the composition. the shadows become the highlight and so on. From the references we have tool. we showed you how to make a Skin Pores brush. Go to Edit>Fill. Whatever you do in one window will skin pores. giving it volume and a wavy feel. and then add both freckles and on a same file. Set the layer’s blending mode to Soft Light. Emphasise those parts where bumps and reflect on the other. using Default Brush Spatter 59. which is 13 Power of two… and more Rather than constantly zooming out to see the overall image. fold when posed on a certain body part. Use a CONTOURS solid circular brush without any Pen Pressure to paint any single. To activate this option. but we still need to find the right uniform for the image subject. With the Marquee your shirt or reference images and try to see how things of our character painting. BUILD UP” 39 Advanced Photoshop 036-040_AVP_50_Pinup. but giving you an idea on how a certain part is lit and where the shadows are will be good enough.

Set the layer’s blending mode to Soft Light and merge with the Background layer. Add a layer mask to tip Wrap and max out all the setting. 22 gradually erase the edges and corners of this photo image. Now go to Edit>Define Brush. set the Intensity and Contrast to 50%. 40 Advanced Photoshop 036-040_AVP_50_Pinup. Go to Layers>Flatten Image and call it a day. then press OK. as well as Shape Dynamics checked with a Size Jitter and Angle Jitter of image. In the Brush Adding film grain settings. paint cloud formations using the Skin Blender brush. It is better to paint look to our shadow. Set the the layer. This duplicates the selected area to its own new layer. select Create New Fill or Avoid using the Undo command or the famous layer to Soft Light again and merge with the figure layer. With this method. with Other Dynamics Now you can add overall texture to your “IT IS BETTER checked along with Pen Pressure. Adjustment Layer>Gradient to apply a gradual fading Cmd/Ctrl+Z when painting.indd 40 17/10/08 18:50:25 . the best practice is to use a layer mask. Carefully select the would-be plastic 17 Shadow Duplicate the image to a new layer. This technique is extremely helpful during Add a new layer and set it once more to a Soft the construction stage of an image. You don’t out using a white-coloured brush. really need to create a fully textured floor here. Free Quick part of the shoes. Then go to Filter>Texture>Grain and TO PAINT OVER 100%. Your pin-up is complete. Create a new layer above all the layers in the stack and fill it with white. Set the layer blending mode to over our mistakes thus building up painting Multiply and Opacity to 55%. adjust Spacing to 107%. then press Cmd/Ctrl+J. Save this as a new brush. Swap between this brush and the Skin Pores brush to add alternative textures. strokes in our images. Light blending mode. Next. and with this active. all you really need to see are suggestions of these textures to show that a floor exists within the composition. 21 Making clouds using skin brushes Your skin brushes can also be used to create cloud formations. Set the layer’s blending mode to Multiply and lower the layer Opacity OUR MISTAKES” to 25%. 19 Crack brushes When importing a photo of cracked soil. which gives it beauty. 20 applying a black-coloured brush to erase image elements and unwanted parts rather than using the Textured floor Eraser tool. activate Levels and move the left and right sliders until they’re almost at the centre. In a new layer. 18 Constructive erasing Here. MASTERCLASS 16 Plastic shoe texture It is very easy to simulate a plastic texture for your model’s shoes. texture and attitude. Paint the floor area with our newly we could easily retrieve those parts that we have masked created Crack brush and randomly erase areas. with colours from our shadows colour palette. Go to Filter>Plastic Transform the silhouette to the shadow’s direction and apply a Gaussian Blur set to 12 pixels. Press Cmd/Ctrl+U and move the Lightness slider to -100.


We’ll look Hand and Zoom tools. giving you access to functions like New Layer from 3D File. which only works if you have detail next time a OpenGL-accelerated graphics card Kuler One of the two built-in Extensions palettes. which gives you fast access to the 3D Layers window arrangements. browse the uploaded themes. Kuler lets you access the colour theme community directly from within Photoshop. Feature Photoshop 3D menu There is a dedicated 3D menu in CS4 Extended. Screen Modes and the options. It also shows off the ability to run applications in the palettes 42 Advanced Photoshop 042-045_AVP_50_Feature.indd 42 17/10/08 12:05:51 . New toolbar There is now a new toolbar 3D Paint Mode and along the top. edit them and create your own to upload. as well as the new at Extended in more Rotate View tool.

It is also Over the next few pages and continuing on through more intelligent. and will Photoshop alone is going to weigh in at around £485 There is now a for the standard version and £755 if you want the new Vibrance definitely be a time- adjustment. wondering what Adobe could possibly pull Simply click the out of the hat next. so you can mix and match to suit your needs if you want other programs aside from Photoshop as well. Upgrade options is the same as has masks in your work will be available for a lower price. been in Lightroom If you’re going to be shelling out this sort of money. there are a from CS3 (or even from earlier versions. Web. we’ll guide you through the saturating the pixels that need it most. controls and promised better integration and easier switching builds complex masks between the different software. We’ve been having a play with the saturation. adjustment you want to make. As with CS3. which saver if you use a lot of features in the Extended version. CS4 was never going Vibrance much more intuitively to come cheap: the suites start from £1. the rest of the series. And if you do invest in Masks panel Another new palette.indd 43 17/10/08 12:06:12 . Production Premium and Master collections. Adobe revealed that there will be a massive choice of six suites and 13 standalone applications across the range. for a while. while adjustment layer and precisely than before. Sure. Photoshop CS4 is going to be available in two standalone versions – CS4 and CS4 Extended – and as part of Creative Suite packages. Plus. we’ve been do it the old way. the layer will be but in terms of functionality it’s pretty good. we couldn’t wait to get change the default our hands on it and see what was new. skin tones. rather than those that are already more saturated First impressions A lot of the major changes to the program are under the surface. With the announcement of Creative Suite 4. So added and you can when CS4 was announced. CS3 has its flaws. what was settings in the palette improved and whether it was worth the upgrade itself. codenamed Stonehenge. which will include Design.195. the Masks more than one Creative Suite package. but CS4 beta. which so whole host of handy presets to choose from many people still use). The new Adjustments panel is where you now added and increased E add adjustment layers (although you can still ver since CS3 was launched. such as Content-Aware Scaling and GPU 43 Advanced Photoshop 042-045_AVP_50_Feature. This is then you’re going to want to be sure of what you’re another way of adjusting the actually getting. too). must-know features of Photoshop CS4. you are section. Photoshop CS4 beta CS4 beta Advanced Photoshop takes a look at the Part one Photoshop CS4 beta to see Adjustments panel what Adobe has improved. getting to grips without altering with the new features and finding out its best bits.

which refers to the Content-Aware Scaling preset workspace that you are currently using. they may move close together itself has been improved). there are a couple of noteworthy new algorithm that powers this new feature at www. Be aware. You can find out more about the quickly. For a start. If there are CS3). On the right-hand side of this share your projects with others new toolbar is the word ‘Essentials’. Feature TABBED DOCUMENTS: Proving a useful addition to browsers in recent years. that depending on your system. except for a change to only background information that doesn’t add to capitals on the menus and slightly more streamlined the image. But from the outset. which been changed very little. enables you to resize an image without losing are two new 3D related tools in the CS4 Extended package Open a couple of Photoshop documents and you’ll the areas that you want to keep. Photoshop will automatically acceleration. Content-Aware palettes. This gives you instant access to Bridge (which is. which allows you to detail in the boxout. access different trend. grouping together similar palettes. Click Content-aware scaling is a new technology that TOOLBAR: CS4’s main toolbar has that to select from all the other preset workspaces. but individually they’ll maintain turn Grids and Guides on or off. change to the the part of the image that you want to protect interface: tabbed documents. The documents is infinitely easier. ADOBE REVEALED View tool. There is an extra toolbar on top of the main Perfect palettes Scaling also recognises and protects skin tones toolbar (the one with the tool options in that is in The palettes in Photoshop are really where the action when there is a person in the there are still intuitive way of working. might not work – you’ll just get an error THAT THERE WILL BE A MASSIVE CHOICE OF SIX SUITES message instead. maintaining the same docking and minimising proportion while the background is removed. quick drop-down menus to they are presented on-screen and CS4 continues the or further apart. or has been integrated into Photoshop CS4.indd 44 17/10/08 12:06:24 . seamcarving. You can select see the next subtle. CS3 saw them get more streamlined in the way multiple subjects. which you can read about in more detail tabs when browsing the internet and it’s such an remove other areas of the image before touching in the boxouts. the However. as well as shortcuts to the Hand tool. such as excess sky. some tools. which include the aforementioned Rotate “WITH THE ANNOUNCEMENT OF CS4. but there create your own and access them easily from here. can select your key subjects in a scene and lose interface itself is pretty similar. Screen Mode options and arrange the windows capabilities. Switching between open the areas you want to keep. which we’ll look at in more Extension included in CS4 is Connections. We’re all used to using and. This is down to whether your AND 13 STANDALONE APPLICATIONS ACROSS THE RANGE” Next month: We get hands-on with the new tools a 44 Advanced Photoshop 042-045_AVP_50_Feature. but oh-so-useful. addition that will really speed up your workflow. Zoom tool and the new Rotate View tool. It’s a handy palettes and Extensions that are rather impressive. though. tabbed documents are now employed in CS4 CONNECTIONS: Another graphics card has OpenGL. there are two completely new palettes especially when it comes to customising your to help you access and control two popular methods workspace to suit. This means that you changes that are obvious to the naked eye. when resizing.

edit adjustment layers to your images (although you can then adjust the Density and Feather sliders to suit. you can now alter Community connections Connections. which is a professional method for these same controls on the image itself. then you can simply where you can build custom colour themes and share and interface. clicking and Also additional to these two new palettes are a couple sharing projects with other users and allowing them dragging where you want the adjustment to affect. rather than having to type in Masks. Photoshop CS4 beta used in image creation. and added tool options. there is now an you’ve made your selection as usual. while protecting skin tones from oversaturation. you at the new tools and improved features. intuitive to use and you get instant feedback. but it increases the saturation of less-saturated colours more than already-saturated colours. it shows the potential for future palettes to run mini controls as you usually would (except that they are applications – and that’s an exciting thought. For example. Here you can browse Adjustments palette. There are icons for each of the adjustments the mask. Zooming is also choice of a Pixel improved with OpenGL technology. You can get in or Vector mask to a pixel-by-pixel view for incredibly accurate editing – without the accelerated option. the really exciting thing about this is that that you can make. with the the rotation angle manually. First up. While it’s great to have this power within palette). or create your own s and features in CS4 and CS4 Extended 45 Advanced Photoshop 042-045_AVP_50_Feature. which many applications in the Creative Suite and is easy and you can use the eyedropper to select the area of we have covered in Advanced Photoshop in the past. The other new palette that will likely become your new best friend overnight is the Masks palette. is a lot faster and smoother with an accelerated graphics card. contained within the palette rather than coming up in The second Extension that you can run is a new dialog window). This month. you experience. the highest-rated themes or the most popular. you will see bleeding between the pixels. click one of them and adjust the quickly and intuitively. CURVES ADJUSTMENT: You can drag the curve here MASKS: as usual. and complex masks can be built really Photoshop. it is worth the (not-too-expensive) can choose upgrade to really enhance your use of the program from a number and save you time in your workflow. but next month we’ll take a closer look click and drag with your mouse to alter the colours. through the dedicated panel in CS4. While using Photoshop CS4 without WORKSPACE: this technology is still going to give you a great With CS4. such as Brush just as if you were using the slider. Vibrance is a control that has been seen in Lightroom in the past and is used to adjust the saturation.indd 45 17/10/08 12:06:40 . However. There’s also the addition of one new adjustment layer in CS4 and that is Vibrance. This has been added to For example. of preset workspaces. enough to use once you’re registered for the service. or click on the image and drag there instead Adjacent to screen that enables you to rotate your image by Adjustments is dragging it in a circle. you get a compass on. them. which will change Kuler is an online community for colour sharing. The first of these is Kuler. It’s wonderfully can access the community directly within Photoshop and Clone Source previews. and if your graphics card doesn’t support this then you won’t be able to use some of the tools and others won’t work to their full benefit. Once GPU acceleration Some features of Photoshop CS4 take advantage of OpenGL. the themes and create your own to add to the still apply them in the usual manner from the Layers There are further options available to help you refine community. the fantastic Rotate View tool simply won’t work without the right graphics card. the image that needs changing. which is where you can apply mask from the palette (either a Pixel or Vector mask). When it does work. you can add a (with an internet connection). pick a Hue/Saturation adjustment layer the Window menu. Panning. however. which can be selected from to contribute to your project. likewise. of exciting Extensions. we have focused on the new palettes the target colour accordingly. Now.

indd 46 17/10/08 12:03:17 . masterpieces From Advanced Photoshop issue 38 46 Advanced Photoshop 046-047_AVP_50_Image.

indd 47 17/10/08 12:03:40 . 47 Advanced Photoshop 046-047_AVP_50_Image.

MASTERCLASS 48 Advanced Photoshop 048-055_AVP_50_AlienMC.indd 48 17/10/08 18:51:45 .

indd 49 17/10/08 18:52:01 . 49 Advanced Photoshop 048-055_AVP_50_AlienMC.

colour can be added and changed quickly without altering the tonal relationships. Therefore. an insight into the power of Photoshop’s layers and realise how blending modes can be exploited to gradually build an made environments and structures. working freelance. otherwise you risk over-working one area and try to decide on your light source and imagine where making it the focus. By selecting this blending mode. colour and light. You will see that no complex techniques or lavish brushes are used. Currently.indd 50 17/10/08 18:52:17 . blending mode. particular. affording great flexibility. You will also see how light and tone are deciding factors in developing our image and controlling career as a texture and character artist in the games industry. Inspiration for the project came from films like War Of The Worlds and Independence Day for obvious reasons. At this stage. but rather fill a more supportive role. stage. such as tone. it is time to use this as a structural device to help the composition. use a pale yellow for the sunlight and a warm brown for the shadows. In order to keep your options open. MASTERCLASS Improve your matte paintings Create a professional-looking matte painting by combining reference photos with a sprinkling of traditional skills T his tutorial will aim to show how a finished matte painting can be developed from a simple ON THE DISC compositional sketch. but a www. On a new layer set to Overlay. we will show how these The files on the CD incorporate mainly references prove not to be the driving force behind the picture. During the process. he is the resident artist at 3D Total as well as the contrast throughout the process. old and new. with the aid of photographic reference. we shall gain as this piece and covers a variety of man. start by selecting one of the standard hard. Richard studied Fine Art at Bath Academy before acquiring an Establishing the tonal range within our composition early on will help as a guide in choosing which elements of the MA in Computer Animation at the NCCA. Also be mindful to desaturate them by the scene is in shadow. light the overall shadows and highlights will appear. These can remain at the default sunlit middle distance. make 2 sure that when you copy and paste selections (Cmd/ Adding colour Ctrl+C and Cmd/Ctrl+V) you keep them on separate As the buildings are quite high. then source and initial colour scheme in place. much of the layers. select some photo elements and begin adding definition. It is important to always think of the image Make sure to set the Opacity of the brush to Pen as a whole and not get carried away with details at this Pressure if you are using a graphics tablet. but rather an attention to more universal principals. By architectural images and photos that relate approaching a subject in a more creative and painterly fashion.richardtilburyart. He began his current photos we shall use. similar to how the old masters used glazes. “IT IS IMPORTANT TO ALWAYS THINK OF THE IMAGE AS A WHOLE AND NOT GET CARRIED AWAY WITH DETAILS AT THIS STAGE” 50 Advanced Photoshop 048-055_AVP_50_AlienMC. we will see that the photographs do not dictate the to an urban landscape. The content is particularly applicable to a city theme such results so much as our imagination and artistic merit. These are the key lessons that will OUR EXPERT Richard Tilbury enable you to attain a greater degree of truth and plausibility in your own work. we wanted the necessary amount so that they conform to the lighting foreground to have a different colour compared to the in your picture. 3 Selecting photo elements You can see that so far we have worked broadly across the image and not focused on any one area in round brushes and begin blocking in your tonal range. With the rough composition. Upon deciding on a composition first and foremost. 1 Composition and tonal range Once you have decided on the size and format of your small statue will also be incorporated as a reference to a scene in Cloverfield. both image.

textures and objects to use in scenes such as ours. Finally. 7 Curves vs Levels With the smoke now in the picture. Always feel free to make changes aspects. We also used the same brush to these elements after simply paint in some flames spewing from the building above. we used an image of some form of industrial structure. darken the smoke by altering the Brightness and Contrast. To add drama and show the the adjacent building. ie an invading alien. start to build up a library of architecture. We impact. 51 Advanced Photoshop 048-055_AVP_50_AlienMC. Because this exists on a 5 Never too late to change We added some more photo elements along the left side of the street and blended these in using a separate layer. we used a custom brush to add in some dust used three photos to build and smoke below it. photos for detail instead of having to draw from scratch. which now contrasted elements in the image. Next.indd 51 17/10/08 18:52:45 . I also changed the Because you are laying colour over all the something that the CG industry will often demand of colour scheme once more. We then integrated it using the following procedures. nicely with the background. As a starting point. The advantage of structuring your PSDs in Eyedropper tool and then extended them into the image with a standard brush – see the near building photos this way means that you can do this with ease and is that has been partially destroyed. If you are out with your camera. all found under Image> Adjustments. use Curves and/or Levels to create the correct contrast. it is possible to use you. alter the Color Balance to reflect the lighting scheme. Make sure that you desaturate any photo element you include because that will make it far easier to paint over. so plan ahead. we used the Edit>Transform tools to scale and rotate it into position. We decided Custom brushes that a walkway spanning You will notice that we have pasted in a fallen the road would be the structure. pasting them into the existing document. 6 Copy and paste The street is now taking shape. it was easy to try a variation. We opted brush. These were kept on separate layers and for a slightly less defined colour that verged towards desaturated. In order to blend these with the painted the foreground more. which will eventually substitute part of the target of attack along with destroyed walkway. First. 4 The beauty of Overlay We decided at this point that the yellow colour of the sunlight looked too stylised. but the focus of the picture is still absent. which 8 looked quite insect-like in silhouette. we simply sampled the photos using the Starting such as this as you go along and remember to experiment.

simply paint two white lines and maybe apply a little Gaussian Blur. it is click on Layer>Layer Styles (or click on the small ‘f’ icon time to pay it some attention. some simple transformation and brushwork. which can be found proves the perfect shape. use the Edit>Transform tools. Then the alien in the background. as well as many building sections. You can see that these cropping. so the time has come to add legs. Skew. A CROWD OF PEOPLE. such as Rotate. ILM’s art department traditionally takes inspiration from everyday objects. Distort and Perspective. These will give you a good deal of control and should enable you to overcome most problems. it is very unlikely that the perspective will match. this is an effective way of apples to the running figures. When an image has the lighting conditions in the scene. PAINT A FEW FIGURES AND DUPLICATE TO MAKE UP NUMBERS” 52 Advanced Photoshop 048-055_AVP_50_AlienMC. it needs some brushwork to gel it proportions. so we followed its lesson. Then it is just a case of using the Eraser to are merely coloured shapes with subtle variation. design of the main body is taken Here. We found a sympathetic can be used to integrate it into the scene. It’s a good one to learn from and really helps exercise your creative thinking! 14 Cloning to save time When creating something like a crowd of people. blend the image in once it has been colour-corrected. don’t get carried away with the process. which again adheres to using the Select>Color Range tool. It of the glow as well as the size. MASTERCLASS 9 Colour and shape The alien so far amounts to a floating abstract shape. and flip some of the characters horizontally. and with under Elements. To avoid too drive the image forward. it makes sense to would be almost indistinguishable at this range a brush place the photo detail here. In order to alleviate this problem.indd 52 17/10/08 18:53:04 . space together. Although the smoke here is much symmetry. These techniques were applied to the foreground pipe and rubble. The at the base of the Layers palette) and select Outer Glow. The same rule clean lines and stark contrast. Always let the painting Because we wanted a few people further away emerging from the dust. into the picture (bottom image). 10 Perspective Whenever you copy and paste parts of one image into another. which we then masked from the background by to get right is the tonal value. and use your brush to cement the pictorial “WHEN CREATING pasted them behind the dust layer. Let the painting then duplicate these to make up numbers. we simply copied the nearest figures and dictate the choice of photographs and not the other way around. Because detail 11 Foreground detail Because the spectator’s viewpoint is at close proximity to the foreground buildings. The key thing façade. you can change the colours and effective (top image). fits right in with the theme. it is a good idea to paint a few key figures and 15 Painting as mortar As you add in more photographic elements. 12 Nothing is stranger than reality As the focal point of the image is 13 Layer effects To achieve the laser fire. you can tailor the blending mode and colour directly from a nautical apparatus.

Some sections on close very dark considering it is far away and partly in sunlight. Don’t be afraid of making mistakes either – it is far easier to correct something when it is in front of you rather than in your head. and to always zoom out after adding detail to be sure it works. Think of painting as being similar to building a house – start with the foundations and finish with the decorating. the alien looks compared to the rest. so we began with a brown to try and full sunlight. Don’t be too concerned about this unless you are producing a matte painting for film purposes – the overall structure is the important thing and how each part of the image relates to the other. The brushstrokes.indd 53 17/10/08 18:53:34 . You can now see the new layer that contains the mask (white square) and icon on the left. 53 Advanced Photoshop 048-055_AVP_50_AlienMC. With the mask selected. original alien will be lost. Before we continue. 19 Nondestructive editing The next step involves using the Curves to lighten the initial layer and give it the effect that it is in 20 Let there be light Now switch on the layer with a mask. and the stage involves integrating the alien (and all the various across the picture as a whole so far and no one alien body has detail attaching it to the undercarriage elements) into the lighting scheme and conforming to area in particular is completely polished and legs. use a 21 Explosion It was tricky trying to decide on the general colour of this. Workflow 16 Tone and colour Paintstrokes used in the form of colour and shape help bind photo elements together and 17 Lighting schemes We have seen how painting over the photos is a necessary aspect to the process. We used a represents how the object would appear when fully lit in version will magically appear! Go ahead and highlight standard soft Airbrush to imply motion. The alien body suggestions can be seen in numerous areas. A good habit to adopt is to work on the image at a reduced size so you never lose sight of this. At the moment. We will then use the mask to reveal or hide the appropriate areas to match the light source. Flip the image vertically and horizontally (a common technique) as this often reveals hidden problems. photographic body that is welded together with The cylindrical towers are joined by a walkway. The idea is to brighten the layer so that it pure black and paint across the alien and the sunlit suggest grime and dust mixed with smoke. over the centre of the explosion. simply use white to undo – none of the added a new layer over it. although we did the scene. However. first of all copy the layer by right- clicking it and selecting Duplicate Layer. which will show the original alien. scrutiny look very rough and this applies to painted sections as well as how the photographs have been integrated. Now we add a layer mask to this new layer by clicking on the small ‘circle in a box’ icon below the Layers palette. atmospheric perspective. The next You will have noticed that we have worked flames bind the smoke to the building façade. If you later apply some Gaussian Blur to exaggerate this. setting the blending mode to Color Dodge to add intensity. The left of the stone comprises of completely painted legs and a turret continues the overhanging roof and windows. switch this layer off. this is only the first step. and with a dull yellow painted therefore create shadows in the correct places. You would never tile the bathroom before the roof was on! 18 Adding a layer mask To fix this. We parts of this layer to control the way light hits it and make a mistake.

elements such as the that we wanted to preserve. Here we so need to be placed above it in the palette. details. 26 Building detail With the main “A SMOKE TRAIL structure of the composition in place. combined second colour layer is required to refine additional We pasted an image of a road and some cracks to with a yellow hue. so we painted in the two far windows and extended the architrave above.indd 54 17/10/08 18:53:59 . which is normally better with the turret. This we carried over to the top section of the building right of the traffic light to help tie it in flare behind the rocket by way of the layer effects. detail can now be added HELPS LEAD THE across the image. but look like an exciting device from a different era. previously. You can see the right of the soldier to help link the middle in the palette which elements are placed above the distance to the foreground. A good technique is its path. This would help lead the viewer’s eye towards it to paint it and then duplicate the layer. we thought it would be interesting to have a soldier 23 Smoke trail With the soldier in place. Blending elements The small section of a building with three windows required more integration. However. though it has dispersed more. We wanted it to remain ambiguous. to emphasise destructive tremors caused by falling buildings and the immensity of marching alien machines on the city. which had a strong highlight done in the same way that the laser beams were created the uppermost layer. You will also notice that we ALIEN AND ALSO have used the second Overlay layer to add a reflective glow to EMPHASISES THE the alien body caused by the laser beams. Blinding light 24 25 We added a pale orange to the second Overlay Flare Organising layers colour to make the sky brighter and add a further To add some drama. we used the firing a rocket towards the alien. PERSPECTIVE” 54 Advanced Photoshop 048-055_AVP_50_AlienMC. Blur the bottom Image and also emphasise the perspective to a degree. leaving a smoke trail in same brush as for the debris smoke. MASTERCLASS 22 Foreground focus To help add some interest in the foreground. eg. Here. The cracks also served original colour layer so far. For this. The eye layer to soften the edges and also use the Eraser to make breakdown would then be led back into the picture via the laser the smoke nearby to look a little more transparent as beams and hopefully add a certain dynamic. Often a Road works chose Color Dodge as the blending mode. we have placed some extra VIEWER’S EYE characters running for cover beneath the explosion and TOWARDS THE refined the broken walkway. paint in the flare using a near white and lasers and smoke trail would look wrong if tinted by this. First. This is restricted to one layer set to Overlay. rocket glow on the soldier’s back. we pasted in a photo of a whaling harpoon and then rotated it 90 degrees. we painted in some heat The colour in the image so far has been dynamic. Sci-fi element To help add a subtle futuristic aspect to the scene. then click on the ‘f’ icon in the Layers palette. it was time to add in the smoke trail behind the rocket.

27 Special effects The picture is coming together now. you need to try and the changes. we have changed the scale of palette means that you can update changes to the the car. Again on separate layers. Every now and then. Here. fire and rocket launcher though it had just been fired. Some orange strokes were painted over the top on Overlay mode and then a yellow Outer Glow was applied and set to Color Dodge. Having a Color Overlay at the top of the involved to notice. 29 30 As we discussed earlier. we felt that the smoke looked as have added a glow to the road. To quickly change brush sizes while painting. use Photoshop CS3’s in-built Vanishing Point filter. which once again utilised the Outer Glow layer effect. We scaled the front slightly to remove the foreshortening and perspective caused by the camera angle. The flames from the building can be intensified by adding a Quick tip new layer and effect. 33 Final tweaks We made a few slight alterations to the perspective of the near building on the left and the one on fire. it is important divorce yourself from the picture and take an objective to bear in mind how these would affect other parts of view. we layers: the lower layer set to Color Dodge at 46% Opacity placed two more soldiers firing towards the viewer at an with Screen Outer Glow. we on its way to the target. but we felt as though the picture Filling a had reached a stage that looked complete and yet few cracks retained a rawness and vitality that conveyed something The image is all but complete. and the other set to Screen at unseen enemy heading towards them. but a few issues still need addressing. These were 100% with a Color Dodge Outer Glow. Sometimes things are wrong and you are too your picture.indd 55 17/10/08 18:54:19 . we have extended the laser beams into the explosion and also added a bluish glow to help bind the two aspects together more. there are always areas you could refine. If you wish to have pinpoint accurate perspective. 55 Advanced Photoshop 048-055_AVP_50_AlienMC. we followed the same procedure. and also added in the shadow of another alien machine. so lessened the heat and to reflect the changes. we used the Overlay layer to Sewing things together Back to basics add some colour tints to the surrounding areas to reflect When adding extra elements to your image. 28 Explosion mark two To enhance the main explosion. but it needs a few tweaks that will make all the difference. This time it was done using two 31 Extra ammo To add some interest to the foreground. which is somewhere right of the picture behind the viewer. they will automatically conform to the grid. created on separate layers along with the muzzle flare. widened its area. The same procedure was done for the distant fire. When you paste in orthographic images. We have also altered the car yet again. of the creative process. Of course. Here. such as the enhanced explosion and fire. which was certainly too big. We also darkened the foreground to emphasise the sunlight and intensified the laser. such as the distant towers and 32 right side of the street. As the rocket is well image and allow for swift editing at any point. use the bracket keys.

indd 56 17/10/08 18:55:17 . MASTERCLASS i o n al sp irartclasres n I asteal artists sthoashop MProfessioents and Phheolp you secr to ills their chniquees your sk te prov im 56 Advanced Photoshop 056-061_AVP_50_GoldphotoMC.

offset to her left by 45 degrees. Both lights were The model having her hair curled approximately four feet from the model. soft shadows and a good sense of depth out the best features in the image. exaggerated with a big oversized bow. streamline the image by cleaning up imperfections. I decided to use light gold material wrapped around diamond- shaped self-adhesive tiles to give it some texture and detail. We went for flowing. I set out to select an appropriate background. The model had the background and the dominant fabric of the outfit strong facial features so I wanted to soften them with the with its stronger yellows. Julian’s photographic equipment. fashion photographer Julian Knight uses his Photoshop skills fundamental requirements. as she had natural gold tones in her hair The poses were simple and needed to look relaxed. Then with Photoshop. aside from Adobe Camera Raw and DNG Converter 4. The techniques and methods are used in fashion retouching techniques are transferable to any image. Management. The light and shadows need to bring on the model. the image’s I have always found shiny metallic textures captivating. I used this underexposed. smoothing skin tones. The main light was set in front of the model. to give the final image a crisp and polished look. overexposed or out of focus. tweaking colours using the Dodge and Burn tools. I wanted to produce an image that was almost duotone by mixing different hues of gold: the Adjustments being made on the set best features” 57 Advanced Photoshop 056-061_AVP_50_GoldphotoMC. This was a Portaflash 336 VM. Aside from the necessary to enhance and develop the look of his images. Our expert Julian Knight In producing this type of image. I also used a gold You have to start with a strong photograph that is not reflector to enhance the golds in the image. The main light was a Portaflash 536 studio flash head. elements that were essential for this project. and pale skin. there are some Formerly an art director for London’s advertising agencies. Fashion retouching Learn how to create a polished and flawless fashion image I n this tutorial. you will also need a photography has been featured in a variety of magazines professional model with striking features. which gives me the chance to work with to bring out an uncompressed file. You will find out what photoshoot to final creation. and with lighting setup because it produces gentle edge lighting good composition. of getting the facial expression right.indd 57 17/10/08 18:55:55 . fluid and very feminine texture of the jacket and the contrast it would bring to hair. tweak the image and then save it in several different formats. photographer and retoucher to go from lighting and directing the model. and so on. the ribbon. the texture of eyelashes and glossed-up pink knowledge of lighting and a professional make-up artist who has experience in working on photoshoots. The set.4. The tutorial image. so it was a matter model’s skin. outfit and equipment I wanted to keep the make-up simple to emphasise the model’s fresh yet glamorous looks with false gold in the natural hair colour.slingshotphotostudios. while keeping it subtle enough to allow the foreground to dominate the image. www. I don’t use any additional shadows need plug-ins. a good across the globe. I used one small flash head for edge lighting and placed that on the right side of the model. With a history in “The light and design. You will go behind the scenes of a professional is designed to give you an overview of the techniques and skills used by a professional fashion shoot and gain an insight into set design. for me Photoshop is the only option for professional image retouching. I liked the paper-like crinkly hair style. Once the model was confirmed and I had a clearer picture of the look I wanted the shot to have. you will learn about the process On the disc of fashion image production from setting up the You will need to use your own portrait photoshoot to developing the look of the final image to complete the tutorial.1. and texture. it was more of a mood and feel that I wanted to create. the picture in comparison to the smoothness of the I had poses in mind for the model. I was aiming to get I chose CJ from the London agency Oxygen Model intense eye contact without it being angry or arrogant.

the remaining lines out. Zoom in to 100% The 25 to increase the saturation in the skin. Use the Patch tool to get 5 model’s face and body. I dropped the Opacity to 66% and hit 6 Cmd/Ctrl+E to merge that layer of skin into the main image. Polygon Lasso At 300% magnification. upon close examination you would be able to see 4. pimples. lines. select the chosen image in RAW format and hit Enter. Then to blend it in. you can still see some unwanted texture under the eye. and double back on that line to make a blade- shaped selection. need fixing. eye bags. hit Cmd/Ctrl+Opt/ Alt+D to feather the selection. on the main crease of the eye bag. Although the model has very clear which I will come to later. Let go of the selection and the texture as the area you want to change. moved the pasted skin into position to cover the remaining flaws and rotated the selection until the subtle lines in the skin matched. where you will want to copy and paste another selection of skin. line on the bottom lip a little. OTHERWISE THE SKIN CAN BECOME TOO MUCH LIKE PLASTIC” 58 Advanced Photoshop 056-061_AVP_50_GoldphotoMC. select a smooth piece of skin next to the problem area. “ENSURE YOU ARE PRODUCING EVEN Turn the Vibrancy slider up to 2 Beginning the process Open the PSD in Photoshop and begin the editing by cleaning up the skin.350 to increase the warm tones and save the RAW some minor flaws: moles. select the Patch tool and get to work on some of the skin flaws by individually 4 Fixing eye bags Fixing a very prominent eye bag will take several Marilyn Narayan Outfit designer Model CJ 3 Patch tool Zoom into 400%. Skin The lip line smoothing. Use the Polygon Lasso to carefully draw a line where you intend the new lip edge to be. I wanted this to and examine the image for obvious artefacts and team be a bold image so I also turned the Clarity slider up to 60.oxygenmodels. etc. Then turn the Temperature slider to the value of skin flaws. Make-up artist/hair stylist crockett_t@hotmail. take the Polygon Lasso tool. I used the Burn tool set on Midtones at an Exposure of seven per cent to darken the edges of the new skin www. hit Cmd/Ctrl+C and Cmd/Ctrl+V to copy and paste. That has now removed the eye bag. Repeat this Patch tool will resample the image. To eliminate this. Feather the selection by one pixel and move it to the very edge of the current lip line. MASTERCLASS 1 Tweaking the image in Raw editor Open Adobe Bridge. When using the Patch tool. First of all. having removed the process around all the moles. I chose a Radius of 2. use the Patch tool to draw a large tear- removing them. circle the shaped selection around the bag and drag the flaw that you want to fix and drag your selection to a selection downwards until the eye bag just leaves the neighbouring area of skin that resembles the same top of the selected area.indd 58 17/10/08 18:56:44 . should blend the Looking at the lips. uk maxine@oxygenmodels. I’d like to reduce the lipstick area even more. bloodshot eyes that Tamara Ramsey-Crockett image as a PSD.

and model’s waistline in from both the left and the right side. Merge down the layer. draw a smooth arc on the line of the to ensure that the edge of the lip line is not unnaturally chin. 10 Increase the Clone Stamp tool diameter to 130px for The eyes smoothing the body.indd 59 17/10/08 18:57:12 . Zoom into 300% magnification. we want to use Photoshop to edit some of the model’s features. Hardness at even the tiniest flaws. Bear in mind mask – any time you are using a brush – to that even the smallest alteration on a person’s facial ensure the highest accuracy. Liquify – the Freeze Mask highlights in the eye to gain the desired effect. small pimple have to be removed. and begin to push the Ctrl+Opt/Alt+Space+left-click to zoom out. click on one area of the skin. and Exposure of 5%. Use the Burn tool set to Shadows with an Carry on with the Patch tool and remove 60px brush size. I used the diameter of 60px. and brush repeatedly over the like plastic. Be careful as you go along to Zoom in to 800%. I only waistline needed minor alterations so I used the Liquify did it on one eye as the other eye had no distinct Small flaws and hairs filter (Cmd/Ctrl+Shift+X). move the Patch tool close by and click again to start smoothing out rough areas. Use the Freeze Mask tool with highlights. the Hardness of 0% and Opacity of 22%. Choose the realism. otherwise the skin can become too much and Hardness 0%. brush diameter of 4px. I like to Some of the model’s features and her 11 use a low exposure to make sure I do not overdo it. Make sure you that you do not overdo it or else your result will not look zoom back out to 100 per cent as you go along natural. 7 Adjusting the selection Drag the new selection inwards several pixels until you’re happy with the reduction. I also removed the hairs that cover the forehead unnecessarily with the same method. just a matter of several pixels. It is imperative to make sure diameters and opacity to suit the restrictions of the area that you are working on. feather the selection by two pixels. then zoom into 300 per cent with a tip brush size of 90 and very gently push the edges of her When using the Clone tool or painting a quick nose inwards. any sign of a clogged pore or a altering those areas while you edit the nose. arrow key to nudge the selection six to seven pixels away from the facial hair and make a new layer (Cmd/ Ctrl+J). Now use the Forward Warp tool. use the Dodge tool ensure you are producing even results and not 12 set to Highlights at 5% Exposure with a brush of 10 pixels overdoing it. Choose the Move tool and nudge the layer up. then merge the layer down. 59 Advanced Photoshop 056-061_AVP_50_GoldphotoMC. but only very slightly. Use Cmd/ largest brush size of 600px. once again making sure that it is done in small steps and not overdone. again set at its to check your work repeatedly. Density of 35 and Pressure of 20. To start with. use the down sharp. Cmd/Ctrl+Space+left-click for zooming in. 13 Altering the features Next up. To achieve more 9 Facial hair Where there is some facial fluff on the chin. Although we do want the pores of draw around her lips and edge of her face to prevent 0% and brush carefully along each eyelash to darken the skin to remain visible. remember to zoom features creates a dramatic result so you need to be very in as close as you need while also varying brush delicate with this procedure. covering the fluff. To go Quick about this. I’m dropping the Opacity to 85% on this layer Polygon Lasso. them individually. I used the same technique as used on the lip line. select the Forward Warp tool (the top tool with a hand icon). 8 Smoothing the skin Use the Clone Stamp tool to gently smooth out some areas of the skin on the face and body.

zoom in a little spend a couple of days conceptualising the closer. Hit Cmd/Ctrl+H to hide the selection. such as the bridge of her nose. you can work with the golds. range Shadows on a 5% Exposure. where there are highlights. small brush of 15px. the low exposure ensures you it the highlights. 15 Dodging the skin Next. In order to affect all the golds in the image except for the model’s skin and features. set at a 70px brush.indd 60 17/10/08 18:57:36 . A lot of the final details tend to Making the mask more accurate come together at the very end when the model Once you have painted your mask broadly is in front of the camera. work in Quick Mask mode. I usually difference. I have good working waves and hair a bit more. avoiding the major parts of the hair. set on relationships with several of the UK’s top Highlights with Exposure at 8%. 60 Advanced Photoshop 056-061_AVP_50_GoldphotoMC. I also brushed the hair at 200%. Hit Cmd/Ctrl+D to deselect. Zoom in closer to nostril. modelling agencies and select models from zooming into 300% and brushing over some of the their books. While you are painting a Quick Mask tool. Hide the selection and open up Levels again. and filled it in with this brush. then Cmd/Ctrl+Shift+I to invert the selection so now it is a selection of the skin only. Adjust the levels to Painting the Quick Mask strengthen the shadows and the midtones. we just want to make a subtle that requires several days to complete. Choosing the right shadowed areas just to pronounce the body of the curls. Start with the brush Radius of 50 and then paint over her skin. then open Hue and Saturation (Cmd/Ctrl+U) and 16 increase the Saturation to 8. Use the Dodge tool. use the same tool with a brush of 40 pixels and an Exposure of 4% on some areas of her Planning a shoot Start with the Burn tool. demanding. including hair and make-up 17 preparation. Go over the shadowing in the hair over the bangles with the Dodge tool to bring out lightly with the brush. MASTERCLASS 14 Burning and dodging the hair Now increase the contrast in the picture by lifting the highlights and deepening the shadows. 19 Changing the skin tones We now want to affect the skin separately from the other elements. Take the slider on the right and slide it left to lift up the highlights slightly. Once I have a good idea of the look and feel of the shot. Hardness skin. Apart from the right look. etc. I will spend a day or two shopping for props and building the set. Hit Cmd/Ctrl+H to make your selection visible again. my lighter highlights in the hair and the ribbon to get the models need to have character in order to be able to pull off concepts. reduce the size of the brush to go over the mask and make it slightly more 18 accurate. Reduce the brush size to 25. In general. the side of her 0%. which are often quite most out of the gold tones. it will become a selection that will allow you to tweak all the golds in the picture without altering the skin. Saturating the golds Once you have your selection. photoshoot production is a process will not be overdone. The shoot itself takes on average around seven to eight hours. model is very important. Once you have done this. you can hit Q to check the selection. lift the Exposure to 7% and brush around some image and working on the idea until I can of the dark contours of the curls and the smaller clearly see it in my mind.

Circle with a Range on Midtones and lightly brush over some the iris and not to go into the white. I created a new layer and put the Essential kit for fashion shoots MAKE IT LOOK piece in place. essential to this particular project. which can be found under These aren’t too expensive and will bounce the light around. Lastolite (www. hit Cmd/Ctrl+J to make a new layer selection to a smoother area. Wherever that is the case fix up the background by covering the bad areas with patches selected with the Polygon Lasso. desired end result. This will then lift it back up a selection by 1px. making it easier to set up multiple poses. shapes and the Sharpen drop-down menu. first select Unsharp Mask. then cut around the bangles and wrist to fit it in. RETOUCHED. To even out the extreme contrasts in the background such as the tile on the bottom left where there is too OR YOU WILL much shadow. 24 Sharpen the image Finally. with want to oversharpen here. select the Green and Blue wherever necessary. make a selection with Polygon Lasso. so keeping it natural is key to the studio for photographing just about anything. We’d recommend that you think about buying or borrowing a DSLR. so use the Dodge tool on 5% 21 Eye colour To make the iris more vibrant. the Patch tool may not always provide an blue. then you can get a full studio lighting will also help it to stand out from the page. or you will make it look everything you need to set up a small home obviously retouched. I copied another piece of tile that would match it. as you’ll get a much better image quality that won’t degrade as you work on does some great options in all sizes. copied and pasted from smooth areas. giving it a warm glow for that gold effect. You don’t kit for around £500.indd 61 17/10/08 18:58:01 . First. all packed in one box. for example the Nikon D40x is under £400. Feather the around the dimples and heavy wrinkles and drag your of the hair and ribbon.lastolite. Merge the layer into the background. or getting your friends to pitch in. In Levels. you’ll want to get a couple of gold reflectors. in order to sharpen the image. being sure to remain inside 22 Smoothing the background To smooth the background and take out larger dimples. lifting the Highlights a little to bring out the background. OBVIOUSLY If you’re thinking of doing your own photographic shoot like the one shown here. You can get a DSLR for a really good price these days. and then choose a colours. 61 Advanced Photoshop 056-061_AVP_50_GoldphotoMC. Once copied. SO whether you’re using a professional team. This transport. adequate result. which are also collapsable for easy Radius of 1px and also give it an Amount of 35%. use the Patch tool once again. You’ll also want to invest in a good tripod. Because of the grainy texture of the channels. Next. Repeat the process little bit. “YOU DON’T WANT TO 23 Even out contrasts in the background OVERSHARPEN. there are some KEEPING IT pieces of kit that will make your life easier. as this will help you to compose your shot and give you better stability. If you are going to be doing a lot of is essential to get the focus of the image just right and shoots. from that selection. Look for one with a good head for plenty of motion. you will need to get your hands on a NATURAL IS KEY” decent camera to make the shots worthy of touching up. 20 Lift up the hair tones Some areas of the hair may have got a little too dark in the process.

masterpieces From Advanced Photoshop issue 28 62 Advanced Photoshop 062_AVP_50_Image.indd 62 17/10/08 12:02:39 .


But Doing It Again A central focus and the lines leading into the main 64 Advanced Photoshop 064-067_AVP_50_50CoversFeat. IL Occupation: Freelance designer and illustrator Website: www. It’s also a type image. 8. Name: Angel D’Amico Location: Chicago. The creativity is a power we all Image: You And Whose Army? O OVE I have always like the contrast of a blue and grey stormy C sky. and is something a bit different and handmade compared to some cleaner Photoshop images. Name: Cristiano Siqueira (CrisVector) Location: Brazil Occupation: Illustrator Website: Image: Beautiful Rain I believe my artwork look like complete illustrations when. West 1 2 3 4 Sussex Occupation: Illustrator Website: www. it contains a flying stag beetle while battling a slug. The software and the technology help us to improve our creativity and make it live. 6. Name: Alexander Jansson Location: Gothenburg. I think that is what makes the main figure stand out so strongly. yagak. and was designed with this in mind with ample space for titles.kromekat. Most of the work was done in Photoshop apart from the 3D typography.crisvector. look great on our cover. We then created a cover out of each image and asked the Sweden Occupation: Image: Sinner I think that this image would be suitable for the 50th issue of Advanced Photoshop’s magazine cover because it is an original Image: Ad Infinitum Ad Infinitum is meant to be about energy and power.gomedia. they are layers of illustrations and designs put together and finished in Photoshop. chrisede. and extreme low sunlight. si-clark. It has an eye-catching colour theme and interesting topic. OH Occupation: Artist and designer Website: www. I use Photoshop to do what I intend. creating a strong colour opposition In this image. Japan Occupation: Freelance illustrator Website: www.etsy. AS R E D 9 10 11 12 Image: Been There. which isn’t that common on your cover. Name: Yaga Kielb Location: Canada Occupation: Graphic designer Website: artists to explain why they thought their image would work on the cover. I think it jumps off the page. I believe that Ad Infinitum brings all these feelings of power and new and infinite possibilities. but sometimes we can’t put this away as a wished-for lack of technique. I’ve used a wide range of the possibilities in Photoshop to create it. and would add some eye-catching freshness. and would make for a very eye-catching cover! Image: Nature At Your Fingertips Well. Done That. We challenged 50 artists to provide us with one image that they thought would 4. 7. Name: Jeff Finley Location: Cleveland. Here are Image: Finale their thoughts and the results It’s an image containing many elements and experimentation. 9. I think this image would work well for the cover format. Name: Chris Ede Location: Midhurst.alexanderjansson. illustrator and animator Website: Image: Fallen Utopia Compositionally. What more could you ask for? It’s bold and also full of small details that you discover through close inspection. Name: Adam Benton Location: UK E ATU UR Occupation: Freelance illustrator F NO R Website: www.hypehopewonderland. The contrast of colours makes it very eye-catching. Name: Si Clark Location: London Occupation: Illustrator and animator Website: www. There hasn’t been that many 5 6 7 8 photomanipulations on the magazine’s covers. 50 1. and I would be really glad if my artwork was one of them. in Image: Bold Is Beautiful COVERS BY 50 ARTISTS It’s striking and grabs attention. without the program dictating me.indd64 64 17/10/08 19:06:59 . Name: Heisuke Kitazawa Location: Tokyo.

com worry about that. Name: James Fox Location: Birmingham. The white background will help when putting in the texts 16. plus their is plenty of space to add fantasy Image: Floral Overload This image is a great example of how Photoshop allows me to combine my digital and handmade techniques for a truly unique effect. It might be a touch girly. aspirations of everyone from Photoshop beginners to Linda.jamesfox. Name: Zeptonn (Jan Willem Wennekes) Location: Groningen. 65 Advanced Photoshop Image: Ice Queen This image was produced for a fashion prêt-à-porter brand. The Netherlands Occupation: Illustrative designer and art director Website: Image: Reach Out layout of the magazine. Name: Tanya Yakimova Location: London. Name: Christopher Cox Location: Denver.bogacerguvenc. Image: Alice in Wonderland After exploring a world of cards and one of chess. 20. and I would gladly see it on the cover of Advanced Photoshop magazine. USA 21. is the multitude of details. Occupation: Graphic designer and illustrator Sorry that this is not a vertical Image: Dead Souls II Website: www. It was my will not to California Occupation: Freelance illustrator www. Photoshop artists. Name: Bogac Erguvenc Location: Istanbul. What attracts the eye of the reader. platforms and media. This is one of my favourite works. in coverlines. 13.jessvolinski. IT I combined two of my favourite childhood influences. who I thank so much for her patience.darekkocurek. combined with paint splatter element to the cover. but who wouldn’t be intrigued by trippy psychedelic flowers 21 22 23 24 dripping colour? This cover would definitely grab someone’s attention from the magazine rack! 17. graphic designer Website: It works perfectly with type and title because there is complex imagery with Photoshop don’t realise the time it room at the top for it. and the realm when it comes to digital. Photoshop is a great tool to use. I think this is a good example for not overusing those techniques. This image represents literally and figuratively the Abstract art has been around for so convergence of analogue and digital toolsets. This image was created by stripping down an It’s different from usual covers and adds a great sci-fi typesetter.deviantart. This image would make a good cover because it shows marioveltri. Name: Bert Blondeel Location: Belgium This image was originally painted as a sample book cover. yet it is a new advancedphotoshop. USA Occupation: Illustrator and surface designer Website: www. videogame. 15. Name: Nicki Hart Location: Pueblo. and breathtaking and unique. and I hope your readers would agree. Occupation: Marketing specialist and designer 14. Occupation: Graphic designer Website: www. Alice and her rabid white rabbit together make for two painting and 3D elements. nice characters for a cover with a strong graphic impact. and the desired expression of digital Occupation: Image: Emerald Bliss The atmosphere of this graphic is mild and optimistic. art in general. To feature abstract art on I believe this particular image would make a good cover acts as my hub for interchanging imagery between your cover would share the options available to for your magazine because it can show the artistic side of applications. 11. UK 18.zeptonn. Image: Tech 2007 Occupation: Diplomat Website: www. Name: Rodrigo Reyes Location: Oslo. sonymony.indd65 65 17/10/08 19:08:20 . Name: John Still Location: Boston. Name: Kerry Roper Location: London kind of photoshop user to develop that editorial Image: Alice World 1-1 Occupation: Graphic designer Website: http:// 23. This is a cover that depicts a fantasy story or incredibly complex vector. Colorado Occupation: Visual designer Website: www. Name: Jess Volinski Location: New Jersey. 17 18 19 20 created in accord with the canon of the Image: Offworld Spaceport have the type in mind. where imaginary creatures both ground-dwellers and airborne. A lot of people starting out in creating Occupation: Teacher. and a little Photoshop magic. are reading magazines? So get in your air balloon and spread the word! 12. and used both Photoshop and 3D techniques to create beauty. and the model in most of my pictures is my wife. Name: Darek Kocurek Occupation: Computer graphic Website: www. It combines photomanipulation. 19. characters give this a strong cover potential. The colours are sophisticated and muted. but if the idea comes first and you create an image after you find a good concept. The use of colours and Image: Linda Clone freedom of image content from the delivery medium. and the ‘reach out because I’m not a professional photographer or graphic combine digital and handcrafted elements. and grab it’ theme encapsulates the ambitions and designer. and that leaves much work for a with. Many covers are done that don’t takes to build a base of images and techniques to work www. Norway johnstill. Occupation: Lead illustrator Website: so don’t Website: www. but with some cropping and maybe a black background it might fit the youarebeautiful. a very popular style these days. Sometimes Photoshop 13 14 15 16 obviates the idea. I believe this image can give the magazine a kind of fancy Vogue Image: Feeding Alice’s Adventures in Wonderland and Super Mario Image: Land Of Rainbows Who could say no to a happy land full of rainbows. which we would be a nice change from the bright. UK Image: Convergence Redux Website: www. apart from the riot of colour and theme. Name: Tavish Location: San Francisco experienced Image: Lost In Space give Alice the proportion of a fashion model. 10. vibrant colours often seen. Name: Mario Veltri Location: Rende.greyclouds. Colorado Occupation: Creative director Website: and titles of the cover composition.changethethought. it seems how to use a lot of different techniques to reach your full natural to me that Alice would go on to explore a Redcap potential of creativity. This image represents the culmination of my push Image: Dragon Master towards melding vector art with advanced effects in 24.dougsirois. Photoshop. Name: Douglas A Sirois Location: Claremont. Please bear with me on the details It’s vibrant and demonstrates Photoshop’s ability to The image is full of life and energy. Turkey Occupation: Director/fashion photographer Website: www. endless shapes make this form of digital art both Photoshop is at the nexus of this visual convergence. art director Website: which can attract a different 22.

37. Name: Jena DellaGrottaglia Location: Northern California Occupation: Make-up artist. 34. shot. bright pink and eye those dogs doing underground? contact with a sexy lady (if that doesn’t get your attention.deviantart. Name: Christian ‘Tigaer’ Hecker Location: Germany Occupation: Freelancer Website: www. forming a very interesting object. soothing to the viewer’s eye and has a calming quality to to date.deviantart. I liked that part alone so much that I wanted it to be a standalone picture. there is much painting and thought. It demonstrates the capabilities of Photoshop to image is rather refreshing and would work well for a good contrast out of the image is the key. so here it’s the format that makes it work nicely as a cover. UK Website: www. UK Occupation: Illustrator. Covers usually favour character paintings and rarely scenery or United States Occupation: Freelance graphic designer Website: www.illustration-source. Image: Shrooms Village com Image: Um I love the quiet serenity of this illustration. Rather then just manipulating a Occupation: Photographer Website: www. see something new. photographer and designer 27. UK Occupation: illustration-source. Name: Andreea Alexandra Cernestean our long history with Advanced Photoshop: our winning Location: Baia Mare. what will?!?).uk Image: Clarity and add images and text on the sides. it’s easy to fit the AP logo on the top 33. while asking the question. Name: Nick Masters Location: London. control supervisor – US Army Website: www.frozenstarro. Name: Timothy L. 66 Advanced Photoshop 064-067_AVP_50_50CoversFeat. Occupation: Circuit 26.indd66 66 17/10/08 19:09:51 . Name: Tyson Koerper Location: Arizona. and so it is likely to draw attention. strong cover image. has room for text and yet displays a neat composition and eye-catching futuristic scene. Germany Occupation: Student Website: www. The Mediterranean feel and approach to the To have control over the colour correction and make a it. retouched and lives here?” artworked by one person: me! If images like this aren’t used. Occupation: 3d artist Website: www. It’s not too busy. and that’s one of the reasons 34 35 36 37 why I’ve included the illustrated type treatment in the Image: Valerie This work incorporates many techniques that I have learned through past issues of Advanced Photoshop and 30 31 32 33 through my own experimentation in the program. Romania Peer Pressure appearance. Name: Cool Surface (aka David and Sarah Occupation: Digital illustrator Website: www. as well as time and love invested in this piece.autumnsgoddess. Cousens) Location: Image: Hell This image is actually part of a much bigger painting I did mid-2008. digital artist Website: www. Name: Colin Berwick Location: London Occupation: Graphic renegade Website: www. Image: Hola Amigo! A good cover means something that can catch the attention of the potential buyers of the magazine. It serves as an example of Photoshop’s ability to be a tool that allows an artist to bring their ideas into reality in more impacting ways than other media. a simple yet effective colour combination. freelance digital artist ever winning monthly competition image and our most recent tutorial! Website: www. 31. plus making the produce artistic images. There is a nice flow to the shapes.nickidm. We’ve also included a film strip featuring 29. My cover has everything to take their attention and hold it as much as it needed. I think this could make a good cover. plenty of small details that would not be immediately I think that this image is a little different from what you obvious. Name: Magomed Dovjenko Location: Cologne. Name: Matt Hill Location: Dorking. Name: Yasser Azarnoush  Location: UAE 30. Name: Sam Garton Location: London California Occupation: Photoshop guy Website: In com/photos/twise Image: Portrait Five Image: Namaki (sweetie) progress! Image: Passage I honestly feel that the overall weight and composition I think using the power of pass rendering for my case I think it would make a good cover because I think it’s of the image submitted is one of the strongest I’ve created means rendering an alpha from every object in the scene.coolsurface. our first ever tutorial. colinberwick. as it’s rather Image: Distorted Pink Top different! I would hope people would have the desire to This cover has a lot of strong eye-catching elements: pick it up to see what exactly it is all about… what are heavy black-and-white contrast. Wise Image: The Web Weaver This is a mixed-media Image: Underground plans Illustrators Website: www. Also. the first Occupation: Student. I wanted to produce something with to grace the wondrous frontage of Advanced Photoshop. Image: Forest Sprite 25 I think a change to more fantasy work would be nice for the magazine. birds will not sing and kittens will become ugly. 35. There is plenty of space to add in the centre of the eyes in Photoshop with a simple technique is necessary coverlines. 36. Something that every time you look at it you would normally use. another key to my work. 26 27 28 29 tigaer-design. When I It is time for young men in show-stopping fashion poses started this one. Name: Frank Nadarzynski Location: Encinitas. “Who Plus the image was modelled for. Design-led covers are about the trends of the moment.visualact.

susilawsonphotography. I Image: Mur Coulures as a cover for a children’s book. Image: Tribe Youth Occupation: Freelance illustrator Website: www. writer. 67 Advanced Photoshop 064-067_AVP_50_50CoversFeat. Name: Susi Lawson Location: Wytheville. and peaceful in a chaotic era in our world. and 49. This image would make a good cover because it is created theogennitsakis. Vector art. with a little humour. the attention of people browsing for magazines. there are two things that the covers don’t often see in Photoshop work. Name: Victor Habbick Location: Scotland. I think this would make a good of various Photoshop techniques and a little 3D. It displays typical use Occupation: Illustrator Website: www. Illustration.deviantart. 46 47 48 49 47. The first is pushing the boundaries of Photoshop attractive female model. and wouldn’t be missed Redux among the other Image: Elegy Image: The Bank Job Image: Absoluminous mystery. using simple forms to Avon. Based on the Alice story. Name: Mehrdokht Amini Location: UK Fait Dormi. I would leave the cover almost entirely void of text except for the title across the top. Name: Daniel Maxwell Location: Southampton. Name: Ee Venn Soh Location: Malaysia Image: Ontario Dusk Stark. like great effect.ohfolio.stefanvalent. while the quirky style and UK Occupation: Graphic Designer Image: Last composition add an intriguing and playful quality to the 41. Name: Manuela Pentangelo Location: Italy 46. This image is very in-depth and flexible to many terms of illustration-source. The colour is fixed in a soothing and refreshing manner. Name: Mike Wolff Location: Brighton. 38 39 40 41 42 43 44 45 50 Website: www. It is lively and colourful. strong first impression. retro and funky. successful since it has been published in Poland. and I hope it’s wings. Name: Chuck Anderson Location: Grand Rapids.behance. It is a vision of art and reality. This image is simple. 45. Simple magazine covers stand out nowadays more than busy ones. which is what Photoshop helps us to create! There Photoshoppers alike. MI Occupation: Designer twist on Steampunk. existing readers of Advanced Photoshop! It also has Occupation: Illustrative designer Website: www. too. Name: James Knowles Location: Stratford-upon.indd67 67 17/10/08 19:11:16 . media of photomanipulation. UK Occupation: Artist. thedreamenclosure. strap lines and the blue butterfly Through 50 issues. Occupation: Creative director Website: www. and World Of Mr Doodle ‘magic’. photographer Website: www. Canada Manuela/ Image: Falling The image is both striking and Image: El Dorado 39. grungetv. Name: Derek H. and. UK Occupation: Retail Advisor Website: www. surely. eye-catching nature of the design creates a for other copy. biz Image: Holiday Magic several areas suitable for text as well as the main header. simple. emphasising the diversity of Photoshop as an vennsoh Image: Apple! colourful with plenty of small details to hopefully intrigue image-making tool. Name: Michael I. making it ideally suited for a magazine cover.dcriler27. I blend well with other images. colour and details. and the second are hot babes. 40. and will definitely and draw people into something a little bit different. Cinalli Location: New Jersey. Name: Stefan Valent Location: Toronto. and it has been very 44. USA Occupation: Engineer Website: www. There is com Image: Fait Dormi cover because this is done in a sketchy style. UK instructor Website: www. would attract USA Occupation: I think this image would make a great front cover… bright. It pleases me 43. lighting effects). Name: Théo Gennitsakis Location: Paris/Athens conceptability. The design itself is a mixed tried to incorporate many of the different styles/area that Photoshop is applied (photo manipulation. technique. The colors make you look twice to figure out if it’s real or not. It House of Madjeek also breaks away from the more obvious Photoshop Occupation: Student Website: www. has the elements that are attractive to children. which you ample space for logo. This image would make a good cover because it’s a sexy Occupation: Illustrator Website: www. shapes and patterns. I think it This image is very colourful. photographer. while the chequered floor presents an eye- of Advanced Photoshop magazine have come to mean to different enough to stand out! catching combination with the added bonus of an me. deviantart. Alejandro Location: to no end to provide both with this portrait of singer Philippines Occupation: Multimedia Artist 48. is plenty of space for the name of the magazine and room The bright. images. Image: The Wonderful I think this would make a good winter cover as it relates to think it would appeal to both 3D artists.

indd 68 17/10/08 12:00:21 . masterpieces From Advanced Photoshop issue 20 68 Advanced Photoshop 068_AVP_50_Image.


it would show the No. like our illustration of old Al (above right). the reflection just doesn’t look right. You see combine several layers together. You’re working single layer and have its own mask. it fails totally. Advanced Photoshop MERGING BLENDING MODES Helpdesk guy (APHG) doesn’t quite roll off the tongue. Is there GETTING THE PERFECT BLEND: It’s all relative with blending modes jewellery to cars. If the image is taken at even a slightly elevated when you try to simplify things by merging several of (Layers>Smart Object>Convert to Smart Object). The Smart Object can let’s say you have several different layers. Now if you grab all those layers and hit Cmd/Ctrl+E to merge them together into a single layer. the explanation is actually rather mundane. The Stamp Visible command or post a message on our forum board at (Cmd+Opt+Shift+E or Ctrl+Alt+Shift+E) does www. a problem for quite a number of people. but places the Remember to specify whether you’re using flattened image as a new layer at the top of the layer stack. The them. This means you can always go a PC or Mac and the version number of FEELING REFLECTIVE: Put some thought into back and adjust those source layers. each with its also use a unique mask and can even contain Layer Styles. Instead. combine the layers into a Smart Object begin with. A floor simply cannot on? Is it some sort of wormhole in the time and space realise that you need to include the background as part of show a reflection of a surface that is facing away from it. I’ve elevated-angle shot? You need to somehow create the been trying to do one of those ‘shiny table’ image as it would be seen from the floor. though. The After you’ve obtained a 3D model of your object. Regina. making future editing advancedpshop@imagine-publishing. creative approaches to layer styles and misbehaving blending modes BY KIRK NELSON REALISTIC REFLECTIONS So how do you accomplish a proper reflection for an Hi Advanced Photoshop Helpdesk guy. your reflections restamp if needed. One method of effects that are so common these days. So directly behind the blended layers. the same thing as flattening. The trick for getting the reflection to look any way to combine layers and retain the right is to consider what angle the image is shot at. A good strategy would be to make a as any top surface would be. but you will physics behind it are impossible. and then your edition of Photoshop. James Wade Hey James! I like the monicker. those reflections are everywhere. but doing this is to use the 3D capabilities of CS3 Extended. 72 Advanced Photoshop 072-073_AVP_50_Helpdesk. our Helpdesk expert fields questions regarding trendy reflections. and then Alternatively.indd 72 17/10/08 11:58:07 .co. Once the position is properly the correct way to do this reflection effect adjusted. own blending mode. Whenever I You are right. layer can only be displayed by a single blending mode. you can add the blur and mask as you would in Photoshop? do Each copy of the background and mask out the areas not bottom surfaces of the difficult. I’m having quite a problem in Photoshop and I but I’ll take what I can get! can’t quite seem to figure out why. This angle that shows any top-facing surface. And it always picks Normal. this is one of those odd areas that seems to cause blending modes. but the group itself can be treated as a This is a legitimate strategy and easy enough to pull off. There are a few workarounds that can be of help to you. Photoshop can still only display that layer with a single blending HELPDESK mode. This maintains the Send your emails to us at: appearance of the blending modes but eliminates the layering. CALL FOR QUESTIONS The first option is to flatten the entire design Want help with Photoshop? (Layer>Flatten Image). but it only works for images that are low-angle shots to on a complicated design with dozens of layers. Helpdesk This month. I lose the them in adverts for everything from mobile phones to blending modes of the original layers. the blending modes just disappear! What’s going approach doesn’t appear to work at Photoshop continuum? the Smart Object. What am I doing wrong? What’s the bottom of the object.advancedphotoshop. import it angles are all off and I can’t quite figure into the scene and position it to be a direct extension of out why. add a Gaussian Blur and then a layer mask to Ctrl+G) retains the source layers and their individual fade it out. The properties of the blending modes? technique that is generally used is to flip the image Regina Sandsworth Combining all the layers together into a group (Cmd/ vertically.

around 40% and Spacing to around 500%. once you have the probably want to place the colour stops fairly close Character Map open. you can use these characters in Photoshop. It’s been a huge help to me. IT’S ALL JUST A STROKE AWAY: Get clever with 1 Choose a path Begin by creating a new layer for the dotted line.indd 73 17/10/08 11:59:12 . adjust the gradient to include several colours. Photoshop Hello Will S! What an enigmatic name you have! Well. But remember. If you really want. there’s a little-known feature ‘pull my finger’ joke. I’m designing a the magazine. many different strokes to a single text element. this technique can be used to add many. generating it. In the logo and I’d like the text to have several so keep up the great work – I’m sure you will! Shape Dynamic section. Go to the Paths palette and select your path. Well. I tried using the characters into Photoshop? Thank you all layer styles. The common follow-up for this question is how to If this doesn’t get you what you need. you can either copy and paste the together to make sure you get sharp lines for the symbol into Photoshop or note the keystroke for different strokes. but I can’t quite figure out Do you know how I can insert special to Direction. Emboss or Gradient Overlay. Anyway. doesn’t seem to mind how many times they make a to answer your question. symbol or Greek alphabet! So sorry. set the Angle Control different outlines. just don’t pull Uncle Lou’s finger! 73 Advanced Photoshop 072-073_AVP_50_Helpdesk. it’s have it! the Gradient bar to bring up the Gradient Editor and often under the Accessories program group (on a Mac. Then add another layer style to the Smart Object. first I wanted to tell you that I love 2 Set up a brush Open the Brushes palette and select a Round Brush Tip. it treats their picture the same 3 of the Stroke layer style that allows for multiple as any other. Then produce a path either by the Pen tool. On a PC. choose Stroke several coloured strokes. hold on… hmm. I want to create a dotted line that follows a specific shape. add a stroke. Sarah. but having the hardest time at it. not a Photoshop function. Set the Roundness to somewhere could help me out of a bind. until Adobe figures that out. from the palette fly-out menu. You’ll use the Key Caps application). Be sure to identify the Brush tool. In this case. I’m trying to accomplish something that should be simple. how to do that in Photoshop. then change the Fill Type to a system function. Open up your Oh! You mean special characters like the copyright Stroke the path Layer Style control box and go to the Stroke style. here’s a pretty good alternate method. then it’s possible create multiple versions of any of the other styles. What’s that? You don’t mean Uncle Lou? colours within the same stroke. Will S. I can’t figure out how to get Photoshop to make a dotted line in a shape! Sarah Engleton Dear Sarah. what shouldn’t stop you! Add the layer style as you like and ever you do. you’re asking about a dotted line? Seriously? In a powerful program like Photoshop? Let’s see here. either pick a include a fun little trick like the Stroke style does. Shape tool layer styles or converting a selection. es n iqu ch Te DOTTED LINES Dear Advanced Photoshop. but I can only add one stroke. and there you Gradient and the Style to Shape Burst. Why isn’t there a dotted line option for strokes!? Wouldn’t that just make sense? Well. Now adjust the size to be large enough to contain Yes. convert it yet again and add yet another style! So you see. then convert your layer into a Smart Object (Layer>Smart Object>Convert to Smart Object). change it to… wait. Is it very much! possible to have different coloured strokes on Emily Gates a single layer? Will S. but it’s then. like that the font you are using isn’t capable of producing the Bevel. sort of like a cut-out effect that you see on various books and cards. but that different font or a different symbol. Wait a minute – ‘Will S’ asking about ‘Different Strokes’ – I think I’ve just been had! DIFFERENT STROKES Hello Advanced Photoshop! I’m hoping you SPECIAL CHARACTERS Hi guys. Emily? You mean like that weird uncle that nobody really likes? Fortunately. You need to Path. those styles don’t character you are trying for. ‘Special characters’. Then click on look for a Character Map on your system.

indd 74 17/10/08 11:57:19 . On original and the application. the Gamut Warning option. namely the View drop efficient options is Smart Guide. making it permit you to experiment with soft hard to perceive the significance of Activating the Screen Mode makes proofs. greying out of colour pixels. With option set. with regards to improved Activation of the Proof Colors option occurs. let alone an utilise all filter effects when working in mode. Photoshop users worldwide will alternative purpose. but in preview showing what your printed can be resolved by pressing Cmd+H this instance we would advise using image colours will look like before to show and hide your Extra options. including Cyan. If this godsend. Specifically. as well as being extremely entertaining. The Extras options are apparently essential when aligning composition Proof Setup and Plates Screen Mode elements. producing hard proofs – the printed It’s a lot quicker unless you’re work itself. beta. by OUR EXPERT Adam Smith Working Plate options. Take. so to speak. provide you with perfect colour results every time white of real paper visual elements in your composition. Adjacent to the new Proof Setup also permits you to soft can make the scrutiny and editing of colour swatch in the dialog box is the proof in CMYK standard. meaning you imagery far more productive. However. Insider Info INSIDER v INFO View menu options Photoshop is known for its intuitive interface and customisable workflow solutions. tones can be edited by activating the proof display on and off at all times. this option utilising the Color Picker to select tone value applied and vice versa. you can disregard the time- command in a coherent and orderly consuming process of playing with fashion. and area). there are ultimately ways to (Cmd/Ctrl+Y) allows you to toggle the activating your foreground swatch and Options palette and they can be get the most from your present coupled for maximum effect. This also serves an colour system can display and print. creative projects and warrants the merits of Photoshop’s activating an option. and clicking this see what your design looks like in this example. Rulers. Graphic designers and art some of you enthusiastic digital knowledge that working in CMYK mode be displayed on-screen with the workers will find these options a creatives maximising your CS software ‘greys out’ many Photoshop options. addressing the Proof Setup options. It’s common Warning upon colour mode change will capacity. Guides and Grids are great ways to Digital artists are more than aware apply precise position of image that the properties of their digital elements. you can decrease powerful filter effects. The and butter’. correction is enhanced by options in the View>Extras>Show interfaces. Yellow and Black. way of comparison between the Senior staff writer Adam Smith works across a variety of Magenta. applicable to all forms workspace are paramount when of measurement (Cmd/Ctrl-click work concerning productive invention. approach through workspace Another of the Extras>Show’s more preferences. You can activate these versions and. This for quick viewing options. it allows you to may not always be printable in CMYK Rulers and Show extras can be great for brand-new option sets. allowing comparisons. the Proof Setup options may obscure your image. Let’s begin by OFF-COLOUR: Coupling the Gamut Warning the colours will appear without being converted appear when dragging your image. as it benefit pre and postproduction. demonstrating how they CUSTOMISATION: Soft Proof options also Selection and Align tools. the similar function in the Toolbar. using the Hue/ Gamut Warning of these can be efficient time-wise. the options and Color Swatches alert option will to the colour space and simulating the dingy allowing you to align perfectly with most intensive option in the set. which simulates how application and effects. Through the range of View options. senior staff writer Adam Smith reveals more ways in which to maximise your workflow and obtain specific effects relevant to Now you see it. benefiting creative Colours that appear in the RGB gamut Extras once more have to get to grips with application. the more specific the operated function. He knows all too well how the use or increase tonal values. allow you to place guidelines that this Insider Info shows how you can you can snap images to by selecting the further maximise your creative Snap command. for Gamut alert triangle. will automatically suggest the correct colour mode while making changes in Gamut is the range of colours that your colour for you to reapply. being its most darker the image. We’ll approach each this option. Yet there are still simulated CMYK. include custom options where you can specify the essentially reveals snapping guides that colour profile of the device. 74 Advanced Photoshop 074_AVP_50_InsiderInfo. Photoshop packages. meaning an on-screen accurate both application and position. Individual colour mode utilising the View options at the necessary moment. Rulers. But when applied. Saturation Edit drop menu and Proof Setup is the View option’s ‘bread Saturation and Brightness sliders. set provides more quick-fire tools that greyed-out areas. and so activating the Gamut those utilising Photoshop in a layout innovative interface. now you don’t your creative projects. they Essentially. With the imminency of an Adobe CS4 RGB mode. you can help to improve your workspace to suit your needs or individual projects F amiliar with Photoshop 7 and the software’s relevant evolution up to present-day versions.


Evoke II. Germany. His talent has already been recognised by others in the was looking forward to having design arena. Magomed is from Cologne.behance. Alternatively. life and de ORE’s latest de pthC I’m serving exhibition. sharing and revealing individual approaches and skills. Send us low-res versions to advancedpshop@imagine-publishing. All you have to do is send us high-quality TIFFs or JPEGs (RGB or CMYK) at 300dpi. “LVSD is a piece that LVSD (LEFT): tes of darkness and bu shows the attri ce. so I and So. http://dovjenko.indd76 76 17/10/08 11:52:13 . giving his work a platform to be displayed. which can be printed at a minimum size of 15 x 15cm. I had a lot of fun doing this one because I months ago. We cannot provide individual image assessment. or on the Behance network under his Aureax alias at Looking at these but I wanted to show off this one to Advanced Photoshop for sure.illustration-source. what are you waiting for? Monochrome magic NAME: Magomed Dovjenko EMAIL: WEB: http://dovjenko. starting illustrations about six to make a big print in A0. The chosen entries this month offer an array of insights into the creative With this pie light. Each issue we select one image to be Best In Show. and you can find plenty of his impressive work on his personal and that lucky person will win a fantastic prize. which is a great way to get your work seen. advancedphotoshop. and he is a regular on communities such as depthCORE such a big poster in my room. Our pick of the best reader submissions sent to us this month P eer Pressure has once again been inundated with great artwork. worked extra quick” He has a strong web presence too. courtesy of The Illustration Source (www. illustration came when I wanted and has been designing for two years. it is hard to believe that the artist BUBBLE UNIT: “This behind them is just 14 years – we’ll get back to you for work with a higher resolution if needed. A friend of mine will collaborate on the background and other elements. We always include your email and web address so that interested parties can get in touch. as it’s one of my favourite projects” 76 Advanced Photoshop 076-079_AVP_50_PeerPressure. log on to our forum at www. ath. Noir” EVK TYPOGRAPHY (RIGHT): “This was originally done for Evoke’s

The base head was modelled and UVd in Maya. and after sending the tape out. I have recently been contacted by a movie producer about the idea of making it into a movie. and Photoshop” Dimension jump NAME: Giorgos Chronopoulos EMAIL: giochrono@thetalosproject. The res ya and Photosho t was painted in p. and so I make time around other freelance projects to keep working on it. and dedicate my time to teaching myself 3D animation and creating a four-minute animated short. road rendered with me tured using Ma ntal ray. whether with a simple pencil and paper or playing with clay or wood as a child.” He finished it when he was 18. then at 17 he did a few freelance illustrations for local businesses before dedicating his time to a new project. which was also done in ZBrush from reference photos I took of my stepfather” 77 Advanced Photoshop 076-079_AVP_50_PeerPressure. and then taken into ZBrush to refine and sculpt the higher-level detail. THE TALOS novel project. which is where the images featured here are from. I worked there for three years before moving to work in-house for News International Ltd as part of a four-man team producing ‘The Premier’.com Giorgos has always had the passion to create. a character from The Talos Project and an employee of PFT. After school he studied Art and Design at college. is a web comic and graphic novel that Giorgos is currently producing. but it is something I’m passionate about. for which I composed a couple of songs and edited it together.indd77 77 17/10/08 11:52:50 . I plan to release the first book next spring. depic web comic/gra in Alaska where ting the PFT-AK (Pandora Futu phic and the foregro th e sto ry be WEB: www. “There is a huge amount of work involved in making The Talos Project. Th PROJECT: “This is the open e Talos Project ing shot from my Alaska) building . he got some work experience at a studio in central London. a new 3D football-related comic featured in The Sun newspaper and The Sun Online. “I decided to quit the HND in Graphic Design I was in.thetalosproject.” PROFESSOR CAIN: “This is a portrait of Professor Edward Francis Cain.” The Talos Project. creating the ‘Striker 3D’ comic for The Sun newspaper. “I landed my first full-time position at 19 working for Striker 3D Ltd. which is something I definitely plan to do when the time is right. skin pores and wrinkles along with all the texturing. vehic – re built and tex les . The main re Technologies und rooftop we building.

commercial and WEB: http://thelrd. I picked out a good render provided from a good friend and went from there. Then I did my lighting technique with soft brushes to create most of the Angel Rivera hails from Tampa in Florida. I took a stock and duplicated it three times. such as soft pixel brushing on Linear Dodge to create some great lighting. so remember where you saw him first! LIVING IN FEAR: “To create this piece. the images themselves look modern. he says: “I have always liked to use simple yet effective techniques.” We expect great things from this talented designer. which I distorted in order to create the shape I wanted them to be” 78 Advanced Photoshop 076-079_AVP_50_PeerPressure. I added soft brushing on Linear Dodge plus Splatter brushes. I used a lot of soft brush lighting. When asked about how he creates his bright artworks. I also used a background stock. which created the black background” Simple yet effective NAME: Angel Rivera EMAIL: billiejoeblvd@yahoo. His style is very clean and crisp.indd78 78 17/10/08 11:53:15 . Discover the thinking behind the art BEST IN SHOW CLONE WAR: “This piece was a little tough to make. and while the techniques used aren’t overly complex. He has been designing for just two years. which is impressive given that these images look as though they have been created by someone with a great deal more experience.deviantart.

stormy background. Level and Curve Illustration Source Ltd is the newest adjustments. this time showing off his skill with colour and contemporary styling You’ll stand a better chance of seeing your work in print if you adhere to the following criteria: make sure that your images are high-quality TIFFs or JPEGs (RGB or CMYK). you hereby grant Imagine Publishing and. photographers. Finally.illustration-source. “During my teenage years I had an interest in web design. an irrevocable. His interest in graphic design began as a teenager quite WEB: www. After Artist slot for November. which I studied in my spare time. I set the scene for a very dark and source of original art. and can be printed at 15 x 15cm minimum. If you’d like to umbrella. leaving behind my HTML and Flash passions.indd79 79 17/10/08 11:53:40 . forcing me to delve into the work of Photoshop. I added the little girl with the more information. Now. Creative stock best NAME: John Cathcart EMAIL: finelines99@googlemail. After collecting illustrators. I used Layer Masks. show his life’s passion is in creating digital artwork and pushing his ability to create new and exciting more than ten years on. By submitting work. artists numerous fire and flame photographs. perpetual. warp transforms and soft and designers on the net. and Featured sky with a raging.” He describes himself as being “absorbed into the wonderful world of Adobe”. if relevant. clients to whom the relevant work has been provided. This includes the right to showcase work on multimedia formats.” ATHEIST ALLEY (BELOW): “This piece Sponsored by… Not only is Angel Rivera this started off with an idea to create a postapocalyptic scene of torment and dark month’s Best in Show. 300dpi minimum. Visit brushes to blend the inferno raging down the www. “Through the constant support of my family. I gradually became aware that to design an inspiring website.advancedphotoshop. I took several royalty-free stock won a year’s full Option 3 images. THE PRIZE: Check out The Illustration Source’s website to see the portfolios of previous winners of Best in Show 79 Advanced Photoshop 076-079_AVP_50_PeerPressure. the content relied heavily on the visual content. worth £150. I was hooked. John is a 27-year-old Graphic Design student living in for street. Terms and conditions By submitting images to Advanced Photoshop’s Peer Pressure. royalty- free licence to use such intellectual property in relation to work similar or equivalent to the work. centring on a remote alley membership to The Illustration photograph and replacing a very uneventful Source. I continue to spend every waking moment imagining new avenues in which to pursue my creativity. Don’t forget to include a small text file detailing how you created your work as you also confirm that your images do not infringe any copyright regulations should they be published. The many colour corrections. he has also ambience. send your images to advancedpshop@ imagine-publishing. Northern Ireland. freelance frightening street scene. FIELD OF DREAMS: Another example of Image requirements John’s world. friends and amazing girlfriend. using colour corrections and layer stand a chance of winning an manipulations to use her as my final subject” Illustration Source portfolio.

This provided depth to the image and illustrated the devastation’s creeping advance WEB: www. W EB W I NNE R NAME: Steve Wagner WEB: www. Color Balance. A few finishing touches then drew the scene together – lava. On our website. which includes a handful of my own stock photos. etc. are updated monthly and they are uk/user/ancica becoming increasingly popular. I erased the co. Advanced Photoshop: The Premium Peer Pressure WEB Collection 2. If I had lines with bits from the original image. The latest challenge and how to enter. www. These challenges WEB: along with two runners-up. Lighting came next as I painted the black sooty EMAIL: I scanned a penned version of the image. Ana used the landscape image that Check out the website for details of our we provided and gave it a completely different look and feel. blueprint look for the ruins.” and other stock images were used here. along with a CD of all the project files features and portfolios from past issues. The original was bright and fresh.advancedphotoshop. aliasentertainment. The colouring is great and gives it that old- winner will collect a special prize for that fashioned authenticity month (prizes change frequently) and will also have their design printed in the magazine. The lucky winner will receive a copy of this essential CHALLENGE – THE WINNERS resource. smoke and ash (with the NAME: Liwei Wang help of blending modes). A few textures to assign it an emotion or theme. which contains our pick of Challenge reference: AP 049 the best tutorials. painted a volcano in the distance and began adding layers of clouds. horizon blending and birds in the sky. My final adjustments were the usual fare: Curves. we run a web challenge where you are asked to create Runner-up an image in Photoshop using at least one of NAME: Ana Mlinar three images provided.advancedphotoshop. To begin. Those numbered lines are actually from photos of clear rulers.php 80 Advanced Photoshop 080_AVP_49_PeerPressureWeb.advancedphotoshop. and mixed the The scene is comprised of approximately 50 layers. web Discover the thinking behind the art chall enge THIS MONTH’S PRIZE Our prize this month is a copy of our popular (and sold out!) bookazine.indd 80 17/10/08 11:50:24 . so get your FLY AWAY: We liked the way that entries in for a chance to win. and gave the sun a chance to bloom behind a layer of smog. it would be ‘apprehension’. fires and reflections in the THE LAST ONE: “The concept was to create a water.” UNTITLED ENTRY: “My intent with this project was to completely reverse the mood of the Cape Town Runner-up as if they were built that way. so my version would have to be oppressive and frightening. toward the foreground.


Above all.0. perfect. Photoshop still has the power to dazzle and inspire.indd 82 17/10/08 18:59:56 . with around 200 Mac Plus copies shipped Knoll and brother John team up John Knoll impresses Adobe’s art and combine these subroutines director Russell Brown enough into the Display application for a deal to be struck SEPTEMBER: Adobe buys the licence to distribute Photoshop (now with a lowercase ‘s’) 82 Advanced Photoshop 082-088_AVP_50_Feature. It has with the desire and dedication to learn the crossed into the mainstream more than any other potential to create stunning work. offering both theme can be produced without the cost and time basic editing tools and increasingly advanced needed previously. with its very own verb in line between enthusiast and professional. array of tools and tricks available at your tempting and desirable never looks less than fingertips has changed how photographers. designers and many more possible. From enthusiast snappers and students to photographer’s darkroom can now be effectively high-end professional retouchers and top design achieved digitally. well beyond its original remit. chances are you’re a advertising campaign. illustrators. or even browsing ‘Photoshopped’. Photoshop has made the impossible artists. while endless variations on a studios. ships for Mac OS suggestions from Adobe Barneyscan licenses the Thomas Knoll begins writing application to bundle with its graphics subroutines on a slide scanner. Photoshop’s appeal is wide. Everything from fashion to fan of Photoshop. John Warnock and Charles JANUARY: Adobe enters the Display changes name several Thomas and John Knoll 1987 1989 1988 1982 Geschke found Adobe to consumer software market: times. PR ESENT. Hours of work in the traditional work. and plays a vital role in any this magazine in a store. FUTUR E: a history of Photoshop Over 20 years young. ImagePro and PhotoHut continue developing develop and sell the PostScript Illustrator 1. sometimes food is filtered through Photoshop to ensure the baffling. Nick Spence explores its long history and future potential I f you’re reading this article. it has given anyone features. The vast. codenamed are both dropped for PhotoShop Photoshop with help and page description language Picasso. blurring the software application. Feature PAST.

despite money concerns.” a fully fledged program. or PhotoShop as it appears developing the software.indd 83 17/10/08 19:00:16 . including selection codenamed Fast Eddy. the visual effects arm of Lucasfilm. create the kind of stunning effects Industrial Light temporarily at least. NOVEMBER: Version 2. Legend FEBRUARY: Photoshop 1. a PhD doctoral candidate in computer see the commercial potential of selling their hard vision studying Image Processing at the University of work. who maintained a software internally. now HIS LOSS WAS offering a range of features. Display was started with a simple idea. although no one seems certain where the name came from. a professor at the engineers at Apple. and was to process digital image files with the intention of concentrating primarily on developing PostScript harnessing the results for the film industry. created by the National code to rectify this problem. who at the time had recently launched its own Together. “Why would you want to induct me? I Light and Magic. possibly to a Silicon Valley computer company. colour. Meanwhile. present. with the pair adding a on some early splash screens. who worked at Industrial approached.0 JUNE: Photoshop 2. In 1987. possibly at the Macintosh II. Thomas renamed ImagePro in 1988 when the two began to Knoll. been an earlier adopter of Apple Mac computers. ImagePro months off from his studies to concentrate on had become Photoshop. His brother John. Adobe cofounder John Warnock was only available for the first 15 OUR GAIN” minutes of the demo. Writing Photoshop was founded by Star Wars creator George Lucas. was dismayed to find he couldn’t easily That said. paint brushes and VERY MUCH support for multiple file formats. When monitor of a newly purchased and expensive the pair were among the first inducted into the Macintosh Plus computer. Past.0. By this time. is the first version compatible with tools and basic image filters released with paths Windows as well as Mac and adjustments 83 Advanced Photoshop 082-088_AVP_50_Feature. Thomas took six software with its slide scanner. helping to print technology. a story that still amuses many photographic darkroom in their basement and had today. took a just something we did for fun back then. The Knoll brothers also approached Adobe. Briefly named Barneyscan XP. BUT John Knoll visited Adobe again later in 1988 to report what progress had been made with the software. Barneyscan agreed. were shipped with the scanners before the arrangement came to an end. didn’t do anything special. it was shine to it and encouraged Thomas to develop it into basically a hobby. Both had been influenced John Knoll gave a demo of the program to and inspired by their father. who reportedly widely copied the University of Michigan. now in Version 0. something he thought Association of Photoshop Professionals (NAPP) in would have limited appeal at best. and called it 2000. the first Apple computer with a colour suggestion of a potential publisher during a demo. Photoshop display.87. around 200 “THOMAS KNOLL copies. Michigan. hue and saturation controls. but creative director Russell Brown was suitably impressed to stay around. to bundle the Knoll brothers’ and Magic are best known for. passion outweighed any desire to make display greyscale images on the black-and-white their fortune early. to help speed development. Knoll set about writing Photoshop Hall of Fame.5 becomes 1992 1990 1991 shipped. NEVER DID HAVE Adobe shakes hands on a deal TIME TO FINISH HIS THESIS. the Knoll brothers began looking at ways software application in Illustrator. future: a history of Photoshop L ike most great applications. John Knoll reportedly asked on being Display. including tone.

aka Adobe is number two software 1993 1997 1994 1996 forms. It’s that kind of high/low mix that 1. FOR INSTANCE.0 finally saw the light of day in February our internal clocks are off. potentially who figure out how to make things people would know what was the runner-up.000 over the first two the web. and they’ve been around the block HUMAN FACE? potential alternatives. People hold our feet to the fire on things both big and small. as so much of ensured a major payday for the pair when the actions and scripting architectures have helped agreement came to an end. to view its com/jnack). and was competitively priced for the day. we’re just the farmers who supply first joined the team and started demoing Photoshop These initially failed to impress some Adobe the raw materials. Photoshop came on a single floppy diskette at least 18 months. DURING YOUR TIME AT ADOBE. They help us keep it real. adding tabbed palettes Big Electric Cat. Weighing in at a puny announce a version.adobe.0 NOVEMBER: Photoshop 4. and KNOWLEDGE. Even though that tweak didn’t change anything in terms of total clicks. WHAT HAVE BEEN YOUR FAVOURITE Thomas Knoll continued to write all the code for two among many. proving that development team deserves credit. I delight in mixing the ‘sizzle’ with A: Most definitely. based dry transfer lettering company. beating all the other undermining the value of a serious application. a handshake sealed the deal Q. Adobe I spend far more time in email than I do in Photoshop. Brown had only just signed a John Nack.5 million for the privilege. Photoshop. to keep us grounded in reality. The funny thing for me is that the ‘steak’. Warnock shared his enthusiasm and had made up his mind in those short when you get the features in front of 15 minutes. To A: I always say that my eyes were opened when I on developing a series of plug-ins based in California. Adobe people and see their eyes light up. for example.5 is released for the IRIX. the UK- Photoshop and blogger supreme (http://blogs. That’s meant that even as new technologies and workflows have emerged.0. the company agreeing to buy the A: I think a lot of factors have contributed to especially because anyone can comment. paying an envisioned. The was drawn up by April 1989. DO YOU STILL GET A the Layers palette. it’s not one from which you’ll particularly popular or inspiring. come 1995 make it possible to make the core application do the job is about communication. The big ‘wow’ feature was the Healing Brush tool: no one had ever seen anything like it. Content-Aware Scaling in Photoshop 1. adds firm behind Microsoft Association of Photoshop and much-requested layers adjustment layers and Actions Professionals (NAPP) NOVEMBER: Version 2.44MB. the folks we already know and like. YOU GET appeal. by the time we CS4 combined with the dozens of small tweaks I’ve 1990 for Macintosh exclusively. WHY DO YOU THINK PHOTOSHOP CONTINUES TO DOMINATE MORE THAN OF PHOTOSHOP WILL DEVELOP? between the Knoll brothers and Fred Mitchell. DO answer some questions THE FEEDBACK COMMENTS LEFT BY be a better product. speed. living in Photoshop every day. and that’s sorted out over the months and a legal agreement app was designed to be broad. costing less Adobe Photoshop Seminar Tour SEPTEMBER: Version 3. From the first version. marquee features in terms of ‘wows’? It was the Ironically. contribute significantly to its enduring popular THRILL WHEN. perverse thing is that even though I got here by guaranteed no less than $250. It’s one of the some hobbies are more profitable than others. Adobe most stable. long-serving groups of engineers Q. eg. EVEN THOUGH YOU HAVE INSIDER ability to double-click a layer name and change in some of the most popular features in Photoshop. Adobe Acquisitions. principal product manager. flexible and essential to moving the product forward. Having said that. makes it all worth it. Thankfully. The brothers were extensible. READERS AFFECT HOW FUTURE VERSIONS In September 1988. Indeed. so to speak. insisting they invest in the future of Q&A hundreds of times that I almost can’t stand to hear myself talk. so we need the tricks that the Photoshop team may never have community. it’s you guys who are the chefs. etc. we’ve been staring at it for listed on my blog. the people who really do live in the Adobe bought Photoshop outright. while John Knoll worked give great credit to the Photoshop community. Solaris operating systems 84 Advanced Photoshop 082-088_AVP_50_Feature. some extent. Feature has it that Brown ran. That’s a necessary evil. I also have to PHOTOSHOP NEW FEATURES? the application in Ann Arbor. none of which proved to be enough times that they won’t pursue lame solutions that would end up painting us or A: Indeed. that nondisclosure agreement (NDA) with Letraset. But do you employees who saw them as gimmicky. Further details were Photoshop’s longevity. FINALLY. I’ve given my demo keeps customers smiling. to Warnock’s office many after the demo. to name just Q. the hard work was not over. Hopefully. YOU WRITE A POPULAR ADOBE BLOG.indd 84 17/10/08 19:00:36 . over time these plug-ins were to become Q. I also think the Photoshop tools. Often. but believed Photoshop would Q. We’ve had the benefit of recoil in horror! handshake and the beginning of a productive decades’ worth of service from geniuses like relationship. big. AND DO YOU THINK THE BLOGS GENERALLY HAVE GIVEN ADOBE A MORE kept the name Photoshop despite looking around for around. Despite the customers into a corner. after coming to years. actually want to eat. incredible $34. Encouraged by Russell Brown and others. then digital raw photography. not just licence to distribute Photoshop. and they’ve brought to their work a ton of insight into the future. leading to The National released. took time off from promoting CS4 to ColorStudio software. head of 20 YEARS AFTER ITS INTRODUCTION? A: Absolutely. That is. Thomas Knoll and Mark Hamburg. 7. CS4 IN YOUR HANDS? it just felt right. while the ‘licence to distribute’ agreement Photoshop has been able to adapt. The plug-in. not walked.

I started with first companies to produce a high-resolution digital Macs. one of the A: Photoshop was written on a platform. AS SOMEONE WHO HAS BEEN USING easier for people to write third-party plug-ins with an PHOTOSHOP FOR OVER 20 YEARS. TOOLS ARE introduced in May 1998. opening Photoshop up to a whole Photoshop 1. as we are increasingly being A: I’d been putting photographic images together by interface and third-party developers developing the asked by our clients to move into creative 3D and creating transparency compositions. WHICH SIGNIFICANT NEW A: I’d like the Warp tool to develop further. When we started working digitally around A: Coming from an illustrative and photographic becoming director and co-owner of the largest 1987 with Quantel Paintbox and Barco Creator. multiple Undos. The retouching was also manual with different types of bleaches and special techniques. an open direction I would like. helped ensure in the long term that Photoshop was a resounding success. the Magnetic Lasso tool is released 85 Advanced Photoshop 082-088_AVP_50_Feature. future: a history of Photoshop Q&A manually and exposing images through an enlarger buying different programs. half the price of the competing and those with plenty of financial clout. Adobe to develop things I miss from the early days of imaging. and went on to today.nw-5. our first background. present. is released adds Save for Web and Extract layer styles/blending options and an updated user interface MAY: Version 5. took a long time. OVER THE YEARS. later Photoshop. offering a level of image manipulation previously difficult The growth and popularity of computers. BECOMES MORE major landmark. First issue of Photoshop User FEBRUARY: Version 5. WHAT camera. so instead of using and digital video and audio. and DO THAT YOU COULDN’T EASILY PREVIOUSLY? hopefully together solve them. onto dupe film. For many. Revisions ColorStudio from Letraset.0 offers 1999 2000 magazine produced by NAPP bundled with ImageReady and vector shapes. Despite some bugs and the obvious limitations. to start all over again. Robin Preston (www. I’m always trying to get the guys at professional colour laboratory in Germany. AS A BETA TESTER FOR ADOBE. and if you could find everything you you wanted to make adjustments you would often have needed in one program. the introduction of layers was the New features and tools ANNOUNCED AND moment Photoshop really came into its own. competitor to type. During the system cost £600. of course. capable of creating sophisticated results that effectively helped make TANGIBLE AS new audience. Of course. Q. and is a beta tester for Adobe as well as SEE FOR FUTURE VERSIONS? a senior evangelist for Wacom tablets Q.000. the Liquify filter. EACH VERSION IS Solaris saw the introduction of layers and tabbed palettes. so that’s why it’s maybe easier for me to work with FEEDBACK DO YOU GIVE? work for renowned retouching houses in London. Photoshop 3.0 added adjustment layers and studied Illustration at you will find all the terms we used then in Photoshop WHAT INFORMATION AND Saint Martins School of Art in London. IRIX and many competing software applications obsolete. NEW ENTICING traditionally. multiple Undos (History QuarkXPress and eventual palette). With Macs equally paltry. so it was Q. combined with falling hardware prices. colour management and replacement for PageMaker. he moved his company to the principal litho Q. AND WHAT DID PHOTOSHOP ALLOW YOU TO testers is to inform Adobe of any bugs we find and group in Holland to work for the advertising industry. “THE TEMPTATION than $1. He now works as a digital artist and illustrator open interface so we could export as TIFF. while 5. added a Magnetic Lasso. part of our function as Nineties. which allowed cancelling multiple actions. It may have been a slow process.0 remains a classic. version 4. FEATURES DRAMATICALLY IMPROVED HOW allowing me to set anchor points where I need Q.0 arriving in June 1991 for Mac complete with support for paths. printers and scanners. Released in November 1996. with typically 1MB of RAM and 20MB of storage. This.0. continued regularly over the following years. cutting masks software together with Adobe. otherwise it’s already moving in the DIFFER BEFORE PHOTOSHOP? A: Layers and layer masks. November 1992 saw another sell a few thousand copies of Photoshop a year. A Microsoft Windows port of version 2. etc. FEATURES WOULD YOU IDEALLY LIKE TO based in London. a Type tool to make text editable without resorting to it but Photoshop put into the hands of many the tools to be able to compete creatively with large studios INTRODUCED” being rasterised and the History palette.0 adds editable Adobe InDesign.000.0 released in September 1994 for Mac and in November for Windows.5 comes 1998 SEPTEMBER: Photoshop 6. which were much easier to understand. Adobe cofounder Chuck Geschke thought they’d be lucky to TO UPGRADE version 2. Past.0 was released. HOW DID YOUR WORKING TECHNIQUES YOU WORKED? them. was also involved with DICOMED in the US.indd 85 17/10/08 19:00:56 .

Smart Guides and a EXTRAS AT A streamlined user interface were among the new features. I would be lost without. though. ADOBE PHOTOSHOP? ADOBE PHOTOSHOP? A: I used to get repro done at Graphic Response with A: To be honest I was only really impressed once Q. launched in October 2003. OVER THE YEARS. me the way really. I love it all. Quick Select tool.seismicdesign. now employing over 3. He made it sing and showed YOU FOUND TO BE MOST USEFUL? with a hard disk memory of 40MB and RAM of 8MB.x and new additions TEMPTING for Windows Vista. and he was and still is a Q. Mark Creative Suite. and so once you can see what it A: Layers definitely. Importantly. AND WHY DID YOU MAKE THE DECISION for hundreds of album and book covers over the years. I had an I teach I do hope to get the whole new Adobe A: 1992. Q. Smart Objects. Lens Blur filter. PREMIUM PRICE” September this year and available from October. Match Color command.1 update added support for Camera Raw 1. This was hoped to be able to do similar effects and apply it A: The ability to do both layouts and Photoshop all done on a Scitex scanner. Albion computers. this was for a particular Photoshop with layers came out. released in September 2000. painting engine and ability to the Shadow/Highlight command. Developed by Thomas Knoll. who used to design. but I do like creating my own.0. Camera Raw was updated to 2. can do then you can take it for miles. Warp Records. CS3 arrived in April 2007 in not one OFFERING SOME central to many photographer’s workflow and at the but two options. announced in real-time Histogram. Camera Raw is now Controversially. and the ability to make text fully vector. Nondestructive Smart Filters. the Lens Blur filter. I purchased it as a bundle: a Macintosh IIsi whizz on Photoshop. offering some potentially tempting heart of both Photoshop and Lightroom. Image Warp. design work.0 adds the OCTOBER: CS (Version 8. introduced both the Healing Brush tool APRIL 2007 IN many new and tweaked features. so image manipulation is photographer and educator who has been responsible vital. Feature Q&A manipulation of images was definitely something Q. as before then I PHOTOSHOP ADDITIONS WOULD YOU LIKE job for Polydor to remove the genitals from the lead found it a nightmare and I did expect more and TO SEE? singer of this band I was doing the cover for. in one. HAVE YOU FELT including work for The Cure. I do a lot of commissioned that was going to take me to dizzy heights later on photography work and freelance Andy Vella (www. Lens Correction filter.0. WHEN DID YOU MAKE THE MOVE TO the computer on was really a big thrill for me. TO START WORKING DIGITALLY? Q. and and go to have their new up-to-date versions.0. OVER THE Gaussian Blur and Those were the days and it cost me a bloody fortune. make text a vector the Match Color command. Photoshop 6.000 people AUGUST: Version 7.velladesign. I remember getting my first Apple Mac from acquaintance who had just left college. The extras. CS2 arrived in April 2005 with Camera Raw 3.indd 86 17/10/08 19:01:16 .0) adds 2001 2003 2002 PC and Mac is released Healing Brush tool. Photoshop CS3 introduction of an integrated Adobe Creative Suite saw version 8. Picador and A: Well. WHEN WERE YOU FIRST MADE AWARE OF Q. 7. Turning A: I don’t need to upgrade as the places I work at Q. when I discovered the Mac and Photoshop.x. I didn’t want to be left behind in Sampson (www.x as optional plug-in AUGUST: Photoshop Elements 2 for PC and Mac is released 86 Advanced Photoshop 082-088_AVP_50_Feature. using the Pen tool for cutouts. but as WORKING DIGITALLY? then I had to learn how to make it work. WHAT my old mate Peter Paterson. I guess we are near that now. though to be is a designer.0. tab-based interface in a APRIL: Photoshop Elements 1 for MARCH: Version 7. I just really had the fear that I was going to THE URGE TO UPGRADE WITH EACH Bloomsbury Publishing be left behind. saw an improved interface as well as the addition of the “CS3 ARRIVED IN Spot Healing Brush tool.x support. the Eraser. 7.0. In fact. WHAT FIRST IMPRESSED YOU ABOUT are very false-looking. renamed CS in April 2005. but the idea of like I had done with the Scitex. HOW DID IT CHANGE THE WAY YOU WORK? A: Well. and foreseeing that computers were the way come in to help and assist. I think they Q.1 adds an important Camera Raw 1. Vanishing Point and at last a Red Eye tool among Liquify filter and vector shapes. a NOT ONE BUT CS suite introduced TWO OPTIONS. CS4 and CS4 Extended. although at a premium price. WHICH TOOLS HAVE forward. Auto-Align and Auto-Blend and a included the Shadow/Highlight command. with the POTENTIALLY and CS3 Extended added native support for recently introduced Intel-based Macs and improved support introduction of a new browser in Adobe Bridge. a new Camera Raw 2. I don’t really like the textures. Smart Guides and Adobe celebrates its 20th a real-time Histogram anniversary. the Slice tool. I was not from the computer NEW PHOTOSHOP? generation so it felt like an uphill THINKING ABOUT THE FUTURE. features a newly refined.

While websites such as Dear Adobe (www. For many. Adobe provides some useful online side. and it’s hoped future versions dogs. Smart Sharpen and Smart Guides but his loss was very much our gain. so choosing Photoshop has become a pretty safe bet if you want to learn and create. locked into the program. and Masks panels. Photoshop is notoriously and among our favourites are a Merlin icon. and had until 15 October 2008 to upgrade from version familiar in another.x. Developing new skills is to multitask and Adobe bundling its software in such Photoshop menu then hold down the Command always a plus. it pays to master more than click About Photoshop to reveal the splash screen. difficult for a newbie. but you should really ask yourself what minimum. Books. Relative old-timers another is a fairly short step. cancer aged just 52. a Red Pill in CS3 and and untapped potential and areas to explore you may With the emphasis more than ever on your ability Stonehenge in CS4.0 on his Mac. Adobe has a 7. CS3 not only includes pills you might be potentially missing. present. bugs and issues. the renowned illustrator Bob Staake (www. beginning its evolution into the magazine we know and love.0 keeps me Incorporating some of the third party plug-ins the alpha versions and codenames for Photoshop. “the familiarity of Photoshop 3.eeggs. 3D object and property editing.” Each new addition does. Vanishing Point.0) adds Camera Raw 3. Tools in one should look Archive (www. temptation to upgrade becomes more tangible as particularly those acquired from Macromedia in 2005. so you can see at a glance what Photoshop. videogames and in the case of Photoshop and each new version is announced and new enticing to ensure that jumping from one application to lists many of them. third parties. Correction filter.dearadobe. periodicals. covering paw print. a cat image and Over the last 20 years or so. the Spot Healing some frustrating oversights. future: a history of Photoshop single. Smart Objects. simultaneously press both Ctrl+Alt Extended. by-side comparisons between Photoshop and click on the Help menu and select About Photoshop Extended.880. A Easter eggs include the codenames for various quick Google of ‘Photoshop tutorial’ offers around Photoshop versions. inspired by the film The Matrix. blogs. Adobe’s product cycle ensures you can expect It’s true to say Adobe has worked hard in recent years A virtual Easter egg is an intentionally hidden updates every 18 months or so. have helped fuel the growth of Photoshop. integrated window. but also a fitting tribute to Photoshop everything from plug-ins and brushes to this very evangelist Bruce Fraser who died in 2006 from lung magazine. fluid canvas rotation. for instance. cats. Similarly. podcasts. offering new and speed up convoluted tasks could help. currently available that seek to improve ease of use These include Liquid Sky for 7. going on sale as issue 16 87 Advanced Photoshop 082-088_AVP_50_Feature. the Lens Photoshop still maintains top spot as industry leader. free resources and much more have ensured Photoshop maintains unprecedented support. computer programs. including Space Monkey in CS2 1. the to streamline and simplify its range of programs.indd 87 17/10/08 19:01:43 . and Space Monkey in CS2. with on-screen clutter kept to a several more can be found via Google. CD-ROMs. paw print and a tribute to Bruce Fraser. and Photoshop has continuously a way to make it more cost effective for many to and Option keys on an Apple Mac computer and offered more than one way of achieving stunning purchase a Creative Suite. The Easter Egg tools and tricks are introduced. point. and hold them down. author Brush.000 hits. However. Past. tutorials. As for Photoshop For Windows. new additions you would actually use. a cat Image Warp. Dark Matter in CS however. hands-on training. with self-adjusting panels 50 issues of Advanced Photoshop magazine. In CS2. online training.0 to CS4. Still pressing them down.4 billion for PC is released OCTOBER: The first issue of Advanced Photoshop goes Adobe surpasses $2 on sale billion revenue mark APRIL: Advanced Photoshop is acquired by Imagine Publishing. comical credits from the development team. let us all Easter eggs arranged in docked APRIL: CS2 (version 9. DVDs. click the have previously overlooked. still works with 3. To prove a each application. message or feature often found in DVDs. widen your creative horizons. and will look at simplifying complex tasks further. file display options and in CS4 Looking forward Extended. and Adobe’s own support section have highlighted CS3 includes pills inspired by the film The Matrix. the interface more consistent throughout long history of including these amusing additions. image. the Red-Eye tool. results and experimenting. Also new are Adjustments raise a glass to Thomas and John Knoll. ducks in ImageReady and splash screens revealing has said. As we celebrate OCTOBER: Photoshop Elements 4 for PC and Mac is released Adobe acquires main rival OCTOBER: Photoshop Elements 3 Macromedia in a stock swap Photoshop Elements 5 2006 2005 2004 for PC and Mac is released valued at about $3. content- aware scaling. of several bestselling Photoshop guides Thomas Knoll never did have time to finish his thesis.

Feature “ADOBE APPEARS just Photoshop. Currently. make it far more ONE ROOF” automated and effortless. a Flash- Smart Filters.0 and (version is developed or the introduction of A Curved Line tool. a simple ‘centre on the canvas’ is that Adobe’s already hotkey would be great.” Rook1983 example. We may see that line-up fibres can’t be horizontal and wind can’t be vertical. something for everyone. Channel Mixer. Shantanu Creative Suite 4 product family Narayen replaces him 88 Advanced Photoshop 082-088_AVP_50_Feature. web and video are blurring as designers become acquainted by ALL YOUR “I’d love to see Illustrator and Photoshop as one app. webmaster. In the same idea. Brush palette trick to create a dotted line. Cmd/Ctrl+Opt/Alt+~ selects Luminosity. I end up using the Pen. What is certain to an averaged position. How’s that for a start?” Kirk_3d FEBRUARY: Advanced Photoshop Photoshop Elements 6 for Mac is CS4 and CS4 Extended (version issue 27 takes an in-depth look at released 11. “Dotted lines. Adobe appears intent to ensure that all your creative needs are catered for under one roof. you can be your own designer. integration APRIL: CS3 and CS3 Extended is released with Adobe Lightroom 2. Auto Align and Auto based image-editing web SEPTEMBER: Adobe delivers Blend. It still amazes me that we have to use a Photoshop Lightroom. of advanced 3D tools. ? range of new and Realistic paint blending. planning to wow users Image sprayer.0) offers a new general improvements interface. will continue. The Color Range is great and when coupled with Channels it is powerful. Photoshop launches for Photoshop issue 30 takes new Photoshop Elements users in Advanced Photoshop magazine a more detailed look at the US turns 50. Photoshop Album Starter Edition and Photoshop Diagonal guidelines and the ability to specify the new positions when moving guidelines. However. Soundbooth are released steps down after seven years leading the SEPTEMBER: Adobe introduces company. Photoshop. and are acutely aware ENSURE THAT Advanced Photoshop forum members’ own thoughts on what they’d like to see in future versions that the specialist areas of print. and it looks certain that this trend ARE CATERED masking capabilities. Adobe CEO. Express. celebrates in style with CS3 and CS3 Extended trip to the pub! Adobe opens Photoshop. Premium 2007 Under pressure from potential The future Brightness and Contrast and the users. The idea time I change the curve. Make actions record brushstrokes. is launched Creative Suite 4 Design 2008 Vanishing Point. Photoshop.0) adds a newly refined. With practice. of having your work Don’t have ‘hidden’ functions that can’t be found in stored centrally. extended further. but then I have to delete and restroke every applications. application. Paint an entire forest by loading your again early in 2010 with a brush tip with several tree images. Masks panel. Photoshop Express. Right now. then Stroke Photoshop complementary Path. should produce green. Adobe changes Photoshop SEPTEMBER: Adobe unveils Print dialog Express’s Terms of Use policy Adobe Creative Suite 4 MAY: Advanced Web Premium Photoshop. images and tools An Align To function where you can pin down the available on any position of one element and align other elements to computer might appeal that. Revjessecuster Photoshop’s original remit has already developed “I’d say a higher-functioning colour selective tool with well beyond its core image correction and manipulation tools. motion-graphics Forum INTENT TO maker and much more.” CREATIVE NEEDS necessity with a wider set of skills. Fireworks and Chizen. alterations to Curves. especially since the introduction of Photoshop Extended CS4 and the addition. Mask Pro. tab- the new Photoshop CS3 beta based interface. and all by using industry- standard software from the same provider. Adobe is clearly keen to stress it can offer Ability to apply filters in any direction. but I can’t find that in the Photoshop Elements 6 for mobile beta for Windows Mobile PC is released MAY: Public betas of DECEMBER: Bruce Dreamweaver. the Align function aligns the whole lot to many.indd 88 17/10/08 19:02:15 . your the menus. the Quick Select tool. publisher. Painting yellow onto blue improved CS5 features. for FOR UNDER plug-ins such as onOne Plug-In Suite 4 with its colour- masking technology. The Photoshop family now includes Photoshop Extended. with the possibility of advanced I’m constantly rotating my canvas/layer because of a editing tools being offered online for a fee as filter constraint. Adjustments Photoshop Elements 7 for PC panel.


indd 89 17/10/08 11:49:29 . masterpieces From Advanced Photoshop issue 43 89 Advanced Photoshop 089_AVP_50_Image.


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However. both enthusiasts and students. presented by some of the most creative names in encouragement invested in it.99 About: Q&A format evolve in technical capability as you read. heartstrings.” This almost narrative format provides cohesive This. entertainment as well as prompt consideration into a range for any digital photographer.taschen. you’ll be rewarded. approximately $43 Safe+Sound About: All-star contributions Over 600 full-colour pages Throughout its 600 full-colour pages are an Four poignant chapters array of wonderful contributors. and Image Problem-Solving. including ethics. music and art industries. discipline of digital photography should get this book. exploring CS2’s lack of RAW capability and using T ake Your Best Shot sums this latest O’Reilly title up in one friendly sound bite. 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Soul i-D is actually an expansive book that not can obtain valuable insight into how to approach a project Summary: This book will pluck the only educates artists through inspiration. it becomes a title that reflects as much expression.oreilly. Encouragement is enhanced when coupling this factor of topics. tackling topics such as colour compensation and professional sharpening Future Positive. However. Alexander McQueen. but also instigates with perspective from an emotive and expressive stance as emotive as well as the creative an emotive and poignant response. Take Your Best Shot This creative title connects with its target audience with its highly informative and supportive approach Author/Publisher: Tim Grey/O’Reilly SAGE ADVICE: Grey answers often-asked questions in an easy-to-read Web: www. photography. and its presented photography and fashion enlightening read. artistic resource as well as an essential creative pick-me-up. It is also a title that is not all displayed through a contemporary layout that relates professional and fashionable ways to approach your own graphic projects and makes the that it seems – it’s much more. Summary: This is a title that sets itself apart by answering questions that those examples in the publishing market.99 / $34. artists. Each image corresponds with its chronicled ideas and art models packed with conceptual and highly subjective provides an insight into the attitude behind its creation. “Digital by Tim Grey. technology and creativity Rating: 4/5 with the chapter format. The book’s personal approach also provides some serious about photography are asking. inventive as it is sensitive Authors/Publisher: Taschen © CRAIG MCDEAN – LIFE. With all images responsive to real-life briefs examples seem to appeal to a limited audience.