advanced photoshop. the premium collection vol. 8.bak
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Advanced PhotoshopTRANSCRIPT
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1/196uild advanced composites Create surreal effectsBuild fantasy landscapesConstruct stunning graphicsDiscover digital painting Enhance portr
Master the art of AdobePhotosho
PREMIUM COLLECTIONVo
NEW FOR CC
ver 500rofessionalhotoshop tips
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Welcome to
Its an exciting time to be a digital artist, and a detailed knowledge of Adobe
Photoshop is now a valuable asset. With that in mind, this book compiles the best
content from the last 12 months of Advanced Photoshop magazine, consisting of
immersive features and top tutorials to help you develop expert Photoshop skills.
With sections covering photomanipulation, digital painting, photo editing, typography
and graphics, all the essential techniques are accounted for. Follow the guidance of
experts and creative industry professionals, who have drawn on a wealth of
knowledge to bring you in-depth example projects incorporating a wide range of
tricks, secrets and shortcuts. In addition, this book comes supplied with a free disc
containing asset files to use alongside many of the tutorials, plus free fonts worth
$60, brushes, wallpapers, textures and more. We hope you enjoy the book.
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bookazine series
Part of the
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Advanced Photoshop Premium Collection 8 2014 Imagine Publishing Ltd
ISBN 978 1909 758 612
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Contents
PHOTOMANIPULATION
DIGITAL PAINTING
22 Creative retouching32 Create dynamic lighting
38 Master layer masks
44Advanced compositing
50 Apply liquid paint effects
54Expert blending
62 Expert matte painting
70 Paint a fantasysnowscape
76 Create a cyborg
82 Produce fantasy lighting
88Character designand illustration
94 Paint a steampunk-inspired portrait
44PAGE
6 Advanced Photoshop Premium Collection
Great art is most oftenreached through apatient use of yourbasic tools
8PAGE
76PAGE
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TYPOGRAPHY
GRAPHICS
PHOTO EDITING
100 Photo-editing techniques
108 Retouching in Photoshop CC
114 Stylise architectural images
120Expert automotiveretouching
126Cra atmosphericlandscapes
134 20 type secrets
142 Design illustrative type
146 Design 3D Type
152Create stylishvintage type
156 3D type projects
164 15 ways to masterinfographics
172 Master portraitillustration
178 Blend graphics and type
182Master polygons
188Metro-style websites
156PAGE
108PAGE
Advanced Photoshop Premium Collection
Both illustrative andcollage type are agrowing trend indigital art
146PAGE
182PAGE
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There are various ways to use Photoshop
successfully, and it is likely that many of
you will already have a set routine for
creating great effects quickly and
efficiently. But a little help cant hurt, right? In this
mammoth tips feature, youll find everything you
need to know to use Photoshop to its full potential
across a plethora of themes and subjects. Weve
got 75 tips from some of the creative arenas
biggest and best digital artists, covering tools,
graphics, photography, painting, new media and
Photoshop CC, all ready for you to put into practice.
Weve also provided you with some of the most
essential shortcuts to help you speed up your
workflow even further.
Over the next few pages youll find great advice
on creating inspiring effects, mastering specific
tool techniques and improving your productivity.
Weve gone into detail with an array of relevant
topics, including commercial lighting effects, ways
to tackle 3D with Photoshop, professional
retouching tricks and more. We pore over
Photoshop tools old and new, from the latest CC
options to wielding the always-reliable Pen tool.
You can put these tips into action in the tutorials
throughout this book.
Photoshop CC is explored in particular on page
11, providing you with creative tidbits you may not
even know about. So read on, grab a tip and get
creating now!
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PROFESSIONAL PHOTOSHOP TIPSIndustry experts let you in on their essential tips for illustrating, designing, retouching and more
When working with 3D, its best to
render multiple passes and composite them in
Photoshop. This offers you more flexibility when
colour correcting the final image. Once you have
rendered your passes, theres an easy way to bring
them all into Photoshop quickly by selecting
File>Scripts>Load>Files to Stack. Browse to the
folder containing the passes and select the ones
you want to work with. Everything will be brought
into one document as layers. From here on in you
can tint the shadow pass blue or reduce the
ambient occlusion pass by 50 per cent without
having to re-render.
J. R. SCHMIDTwww.cargocollective.com/jrschmidt
USE SCRIPTS
Photoshop CC now includes a very quick and easy
method for correcting vertical and horizontal
distortions in photographs. Its well hidden within
the Camera Raw dialog box, which can now be
applied through the Filter menu. Switch to the Lens
Correction area and open the Manual tab. There is
now a series of icons under the heading of Upright
that makes quick work of distorted perspectives.
Its perfect for those challenging city shots where
the building appears to be curving in towards the
vanishing point.
AUTO UPRIGHT
Before
Aer
Start by adding a Black & White
adjustment layer as a clipping mask to your image,
then set the layers blending mode to Multiply. You
will then need to invert the attached mask and
apply a 25px soft brush to this, which will create
deeper shadows. Add another new clipped Black &
White adjustment layer, set the blending mode to
Screen and add the same brush in the same way,
this time adding light.
ADAM SPIZAKwww.spizak.com
EDIT LIGHT002 003
001 Jeffrey R. Schmidt
Adam Spizak
Kirk Nelson
Kirk Nelson
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TOP TEN PHOTOSHOP TOOLSDiscover little-known ways to apply the most essential tools
This is used a lot by
retouchers looking to
remove elements like
tattoos. Many of you will
work solely in Source mode.
However, when working
with skin, use this mode to
clean and Destination mode
to rebuild skin areas.
The Clone Stamp is great for
editing images, but the Spot
Healing brush is more
intuitive, especially when
editing out very fine elements.
Set its mode to Darken, paint
over stray hairs with a
similar-sized brush and
theyll disappear.
04. PATCH TOOL 08. HEALING BRUSH
Dodge and Burn are used by
creative retouchers and
photographers to stylise
photo-based images. When
working with them, always
have Protect Tones active.
Its good at preventing
problems with haloing and
washed out colours.
This adjustment can be used
to nicely equalise shadows
and highlights in your
photos. Simply add a Black
& White adjustment to the
top of your layer stack and
apply a Luminosity blending
mode. Now tweak sliders to
get the best effects.
05. DODGE & BURN 07. B&W ADJUSTAccurate selections are the
name of the game with this
tool. Set this to Paths and
always activate the Rubber
Band setting for the most
accurate application. To
instantly change a path to a
selection, hit Cmd/
Ctrl+Enter.
With this tool, always make
sure that Smart Radius is
active; this will evaluate the
radius for hard or soft edges
separately. This generally
provides a better selection
than when its turned off,
which treats the entire
border uniformly.
06. PEN TOOL
11. REFINE EDGE
Layer styles can create
exciting effects and change
the appearance of layers, but
sometimes when sharing
across Smart Objects the
settings update to all
duplicate layers. Resolve this
by selecting Layer>Layer
Style>Create Layers.
To make accurate
selections, duplicate a
channel, then apply a Curves
or Levels adjustment to
increase the contrast. Use
the Dodge and Burn
brushes to paint in areas,
then hold down Cmd/Ctrl
while clicking the copy.
10. LAYER STYLES 13. CHANNELS
Dont ignore these. The right
one can really enhance the
outcome of painted effects,
especially with lighting.
Screen and Color Dodge will
ensure that specular
highlights shine. Multiply
and Color Burn really
saturate shadow areas.
12. BLEND MODES
004 005
010
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75 PROFESSIONAL PHOTOSHOP TIPS
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009
Many Photoshop artists will
use a layer mask to paint
out detail. However, you can
invert it (Cmd/Ctrl+I) or add
an inverted mask (Alt/
Opt-click>Add Layer Mask)
to paint elements in. You can
even affect your masks
using filters.
09. LAYER MASKS
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TOP TIPS IN PHOTOSHOP CCDiscover new ways to add the latest tools and options, with advice from Kirk Nelson
Photoshops Brush engine has seen
many improvements over the last several version
releases. From the Mixer Brush tool to the Natural
Media Bristle tips, the painting capabilities in
Photoshop continue to expand. However, one
feature frequently overlooked is brush rotation. This
is a huge help to digital painters who regularly use
custom brushes in Photoshop.
Previously, to adjust the rotation of a brush tip
you would have to have the Brush panel open then
focus on the Brush Tip Shape section. This was
cumbersome because the Brush panel is fairlylarge and consumed a good deal of screen real
estate. Now in Photoshop CC, the same brush
rotation widget is available through the context-
sensitive Brush menu, activated by Ctrl/right-
clicking on it. Adjust the rotation then hit Enter/
Return, or just click back on the canvas to hide the
menu away again. This will really speed things up.
The beloved Liquify filter has seen some dramatic
improvements. In CS6, Liquify became much faster
and responsive due to the increased performance
of the Mercury Graphics Engine. In the Creative
Cloud version of CS6, Liquify was even supported
by Smart Objects. Now in Photoshop CC theres
another reason to love Liquify: it has a new Smooth
tool. This tool is related to the Reconstruct tool, but
instead of scaling back or removing a warp it
actually smoothes the effect.
This tip is really trivial, but is one of those tiny
details that just makes life a little bit easier for
anybody attempting to illustrate in Photoshop. The
spacebar has long been a favoured hot key
associated with moving control elements. It lets you
scroll along a project and reposition a selection,even while you are drawing it out. Now in
Photoshop CC, the spacebar allows you to move a
path control point before youve even finished the
path. While using the Pen tool to draw out a path,
hold it down to reposition the last point.
Ever since Adobe took a brave step into 3D with
Photoshop CS3 Extended, every subsequent
version has pushed its capabilities a little bit further.
One of the most recent capabilities was the ability to
LIQUIFY SMOOTH TOOL
PEN AND SPACEBAR
IMAGE BASED LIGHTING
light a scene by using a high dynamic range image.This was used to control light sources and
variations in ways that would be nearly impossible
to accomplish when setting up lighting rigs in the
3D space.
This is known as Image Based Lighting (IBL).
Renders using IBL are more realistic and
convincing because lighting and shadows better
mimic a real-world environment. In Photoshop CC,
IBLs are the default setup for 3D environments.
This alone improves the quality of 3D renders many
times over previous default lighting setups. Use it
as the starting point for any 3D scene, then add
lights to further develop the appearance you want.
Adobe even offers additional IBL images to freelydownload and use on its website, available at www.
photoshop.com/products/photoshop/3d#.
KIRK NELSONhttp://thepixelpro.com/
BRUSH ROTATION
Automatic enlarge
Let the new Image Resize command
do the hard work for you. Always make sure
its set to resize fast by hitting Opt/Alt+1.
018
Affect multiple shapes
Photoshop CS6 supplied us with
completely new Stroke and Fill shape options.
Now you can add these to a number of layers
at once by activating layers simultaneously.
019
Path Isolation mode
Double-click on any path with the Path
Selection tool to isolate that path for easy
editing. Turn off the isolation mode with the
switch at the top-right of the Layers panel.
020
3D object management
In the 3D workspace, Ctrl/right-click
on a mesh in the 3D panel to add, delete,
group or duplicate objects within the 3D scene.
Its now even easier with the upgrades to CC.
021
Instance 3D objects
Create instances of 3D objects that
can be moved independently, but will reflect
edits made to the source. Links to the original
can be broken by freezing the instance.
022
PHOTOSHOP CCSHORTCUTS
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015
016
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Kirk Nelson
Kirk Nelson
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DIGITAL GRAPHICS TECHNIQUESQuick and exciting ways to perform image effects and create stunning illustrations
I always find it best to colour my
images digitally using a drawing tablet and a hard
brush. Applying strokes with this brush creates a
solid contour. After this initial pass you can start to
alternate your tool size and style. Try to combine
solid colour with detailed areas to create a more
visually appealing piece of art.
Once you are satisfied with the results, you can
play around with various texture brushes and paint
effects. Splatters, rust, watercolour or ink will
suffice they blend to create bold colours enhanced
through texture. Practically anything goes at this
stage, as long as its barely visible and just enough
for the image to become more intense. Play aroundwith different blending modes and layer opacity too.
A lot can be achieved when
you are shading graphics using
the Gradient tool (G). Make a whole
selection of the graphic then use a
Linear or Radial gradient set to
Foreground to transparent. Try out
different opacities and blending modes.
Here, a red to transparent gradient was
used to accentuate the mystery behind
the character.
GRADIENT IMPACTGRZEGORZDOMARADZKIhttp://iamgabz.com/
KRZYSZTOF DOMARADZKIwww.studiokxx.com
DIGITAL COLOUR
DKNG STUDIOSwww.dkngstudios.com
POSTER ART
Photoshop contains an essential final
step for converting smooth vector graphics into
clean halftones, while avoiding moir patterns. This
is great when creating final print separations for
screen printed posters. The trick is to make sure
that each halftone separation is at the correct
halftone screen angle.
In order to give you the best chance of avoiding
moirs in the printing process, make sure each
separations screen angle is 30 degrees apart from
the previous screen, beginning with an angle of 22.5
degrees for the first screen.
For example, a four-colour poster would have
screen angles of 22.5 degrees, 52.5 degrees, 82.5
degrees and 112.5 degrees respectively. Thepattern that these complementary 30-degree
angles create is called a rosette and is considered
the pattern most pleasing to the eye.
025
PRO TIP
Theres one easy way to distress an
image and make it more interesting while keeping
control of the elements. Start by making a flattened
copy of the whole image by clicking Cmd/
Ctrl+Shift+Opt/Alt+E. Activate your Lasso tool (L)
and draw out a selection of your liking. Now copy
this selection to a new layer (Cmd/Ctrl+J).
Experiment by moving the layer around until it
fits your composition. Repeat this process where
necessary, using smaller selections to break the
image up in a more subtle way. You can refine this
technique by changing the layer blending mode or
by using a layer mask to keep what works best.
RAPHAL VICENZIwww.mydeadpony.com
USE SELECTIONS
PRO TIP
GORDON REIDwww.middleboop.com
INNER SHADOW
A good tip for using Inner
Shadow is to add a small distance, around 15%
choke and 45px size, which will give you a
fantastic shadowed effect. To add a worn effect
to your piece as a finishing touch, use
Filter>Noise>Add Noise and set it to Gaussian,check Monochromatic and keep the amount
between 20% and 40%.
023
024
026
027
Whooc Publishing Ltd
Grzegorz Domaradzki
DKNG Studios
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DIGITAL GRAPHICS SHORTCUTSGroup layers
This way is a lot
quicker than using the
Layers panel fly-out menu.
Simply select the layers you
want to bring together then
hit Cmd/Ctrl+G, for instant
layer grouping.
033Paragraph Text
Use Paragraph Text
to fit type to a design space
without distortion. Ctrl/
right-click your text layer
then select Convert to
Paragraph Text. Continue
typing before resizing points.
034Editable boundary
Create a shape path
then add your Type tool in
this, mapping text to the
shape boundary. Now you
can use the Anchor Point
tools to edit the path and
how text interacts with this.
035Select all layers
This is especially
useful when looking to
merge all to create a group
from all existing layers.
Simply hit Cmd/Ctrl+Opt/
Alt+A. All layers will become
active simultaneously.
036Reselect layer
This Adobe
Photoshop shortcut saves
any designer from
performing accidental clicks
away from a section. Just
press Cmd/Ctrl+Shift+D to
reselect your layer.
037
MIKE HARRISONwww.destill.net
Add depthBuild up depth in your
background by using a mix of
textures. Start with a base image
and use adjustment layers to
darken or lighten, then add
Watercolour texture on a new
layer set to Multiply mode.
A sense of movement
Using a custom brush,
target an area or element to
accentuate. Add the brush to that
area on a new layer then add a
mask to the layer and mask out
parts, leaving only a trail of paint
that gives a sense of movement.
Varied detail
Use Particle brushes, or
make your own on a new layer.
Duplicate this multiple times, then
resize, rotate, reposition and
re-colour each one. This will help
to avoid repetition of detail.
Creative masking
Add in a Watercolour
texture then add a layer mask to
it. Use a few Watercolour brushes
to mask out parts of that texture,
creating an entirely new one that
works better in your composition.
Organise adjustments
Create a folder above all
other layers. Now add adjustment
layers to this, such as Levels and
Gradient Map. Play around with
them to try out different colour
options that can dramatically
change the mood of your image.
028
029
030
031
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Nike
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GREAT WAYS TO PAINT DIGITALLYMaster Photoshop brushes, blend modes and more to paint light, colour and form
Designing appealing characters can
be a challenge, especially when there are many
aspects to be aware of. A crucial thing is to avoid
too much repetition. You will only limit your actual
capabilities if you draw the same type of characters
over and over again. Try to think outside of the box
and challenge yourself with new techniques to
come up with your initial character sketches.
Its very useful to explore new characters by
putting yourself in the characters position. In that
way you can ask yourself questions that eventually
can reveal more of the characters personality and
look. Let these thoughts guide you to an expression
that reveals a certain emotion and attitude, or aninteresting pose that holds a story to make it more
believable. All of which should appeal to you.
Although matte painting works with
photos, many of the special effects you see are
actually painted by hand, much like in this example.
Fire at night stock was gathered from the internet
and placed into the scene, in the right positions with
the proper scale. These layers blending modes
were then set to Screen in order to hide all the black
parts in the photograph. However, this still wasnt
enough and painting techniques were needed.
A new solid layer filled with black was created a set
to a Color Dodge blending mode. A soft yellow
brush with airbrush options enabled was then
painted to the layer above the fire stock at a low
Add in radiating streaks moving outward from the
pupil, using several colours for a realistic effect.
Including random dots of colour will also add some
variety and uniqueness. For the lashes, use a small
brush and paint each one beginning at the eyelid
then curve your stroke slightly. Finish by applying
small, light-coloured specks, with the brush mode
set to Vivid Light, creating eye reflection. Also addthis brush around the tissue and bottom eyelid.
TOMMY KINNERUPwww.tommykinnerup.com
FRANCESCO CORVINOwww.francescocorvino.com
SARA BIDDLEwww.salizabeth.net
CHARACTERS
PAINTED GLOWS
REALISTIC EYES
PRO TIP
I sketch the line drawing on a canvas
smaller than A5. This way you can
experiment with different designs, and you dont
have to worry about getting stuck with detailing
too early. Its also helpful because the file wont
get too heavy. Also, try to have as few layers as
possible when you draw. Keep things rough and
loose when you start. Go nuts.
040
brush opacity. This created a realistic yellow glow.
Smoke effects were also painted in, using smoke
texture brushes also at a low opacity. If you need to
add believable fire or smoke to your scene, this
technique is useful as well as quick.
In order to create a traditional effect with digital
software, you need to use textured brushes. These
let you create an expressionist style in your base
image using several brushes strokes. Another way
to create this effect is to paint onto a new layer and
then emulate brush strokes by erasing with a
textured eraser. This will show and combine the
layer below.
Creating custom Photoshop brushes can be a great
way to add extra interest and yield unexpected
results. Paint with these brushes while adjusting
brush settings, such as transparency, spacing and
angle jitter. If you experiment with blending modes
you can quickly achieve impressive depth and
colour in your images.
MARTA NAELwww.martanael.daportfolio.com
JEFF LANGEVINwww.jefflangevin.com
TRADITIONAL EFFECTS
PLAY WITH SETTINGS
START SMALLANDREA FEMERSTRANDhttp://noukah.com
038
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Tommy Kinnerup
Francesco Corvino
Andrea Femerstrand
Sara Biddle
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FLIP HORIZONTALLYFlipping your canvas makes you
look at the painting with fresh eyes, and you
can see any proportions or compositions that
may be a bit off.Create an action that flips it
when pressing a specific key, perhaps F2.
047
SAMPLE COLOURQuickly sample a colour with one
of the Pencil, Paintbrush, Colour Replacement,
Gradient or Paint Bucket tools activated by
holding down Opt/Alt, switching to the
eyedropper tool.
052HUD COLOR PICKERActivate the HUD Color Picker by
holding down Cmd/Ctrl+Opt/Alt when the Color
Picker is selected. Swap between wheel and
strip views by going to Photoshop>
Preferences>General menu.
051SWAP BRUSHESDial through the brush styles in
your brush panel more easily using these
shortcuts. Hit < on the keyboard to jump to the
next brush in the list or hit > to go to the
previous brush on the list.
050
044
045
046
PAINT ATMOSPHERECustom brushes are a handy alternative to
the standard Photoshop airbrush, depending on the
kind of atmosphere youre looking for. Using
smoke textures in your brushes is a great way to
quickly add movement and volume to image
atmospherics without too much hassle.
ESSENTIAL BACKLIGHTINGIf youre hoping to create a darkened,
moody scene, backlighting is the key to achieving
this atmosphere. For authentic effects, electively
add illuminated haze behind the objects in your
scene to accentuate silhouettes and call attention to
focal points.
USE THE LASSO TOOLUse Photoshops Lasso tool to isolate
objects you wish to backlight. Not only does this
allow you to paint illuminated haze only where you
want it, but it also keeps your backlit edges as crisp
as possible. This is especially effective in higher
image resolutions.
044 045 046
MICHAEL PEDROhttp://mpedro.com/Painting atmosphere
ALTER HARDNESSChanging the brush settings with
sliders makes your workflow slower. Hold
down Shift and hit the bracket keys to decrease
or increase the brush hardness in 25%
increments instead.
049RESIZE BRUSHTheres no need to fire up the brush
panel and use the Size slider to select a style.
Instead, just hit Cmd/Ctrl+Alt/Opt and drag left
and right to change the size, and up and down
to adjust the softness.
048
DIGITAL PAINT SHORTCUTS
Michael Pedro
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GREAT PHOTO EFFECTSMaster effects using adjustments, layering techniques and masks
There is a wide variety of techniques
available to you when trying to create realistic
robotic looks. One way is to draw and paint using
brushes until you reach a point where you obtain
the same realism as a photograph. However, you
can work smarter and do 50 percent less work but
Creating a successful hyper-real look
in your image hangs on how you choose to apply
Dodge and Burn techniques. Start by creating a
blank layer above the image and change the
blending mode to Soft Light. Its this blank layer that
youll be painting to, using black and white brushes
set to 20% Opacity. White makes things brighter
and shinier, with black making things darker and
the colour richer.
OLIVER WETTERhttp://fantasio.info/
JOSH ROSSIhttp://joshrossi.com/
WORK WITH BLUR
HYPERREALISM To create your hyper-real look, start by applying
your black brush. Follow the contours of an object,
making them darker and bolder. Now with your
white brush, add some shine to the light areas by
decreasing the brush size with each stroke. Apply
three or four strokes. The shine will start to appear.
still achieve credible results just by using the right
filter. For example, when adding synthetic tubes,
apply the Field Blur filter that can be found in
Photoshop from version CS6 onwards under
Filter>Blur. The example supplied here shows
where the blur is being applied. Similar to a rotary
knob, you can perfectly assign the amount of blur
desired on a specific part of the canvas. The goal is
to make the whole image look artificial with a
strong blur and solve the problem of an unfinished
look in the painted tubes all at once.
053
054
Josh Rossi Photography
You can do 50 percent
less work but still achievecredible results by
using the right filter
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With the majority of my photo collage
illustrations, I like to be able to separate the light
and dark tones of a photograph into separate
layers. This offers the versatility to use these areas
in a number of creative ways. Desaturate the image
to black and white and using Levels to boost the
contrast, getting the most dramatic light and shade.
Use Color Range to select the black or white areas
and lift them onto a new layer to use as you wish.
Fill with a vivid pop-art colour, paste texture in orreselect areas from the original photo.
ANDY POTTSwww.andy-potts.com
SEPARATE TONE
Shadows
A good way to add shadows is to take
a small to medium sized brush with Hardness set
at 80% and Opacity at 50%. By Opt/Alt-clicking
you can find the desired colour for your shadow
right in the dark areas of your image.
057
Gradient haze
A mystical aura can be added using the
Gradient tool. Use a Foreground to Transparent
style, applied from the bottom to the top of the
image. Fog and haze have a higher density at
ground level, getting clearer as they near the sky.
058
Frontal light
An easy but effective method of adding
details is to go with silhouettes. Pick a dark colour
befitting your haze and paint outlines with a small
hard brush. Fill with the same colour afterwards
and go for minor detailing.
059
Soft edgesIts important to soften the edges of
your layers when working with stock images. To
do this, make a selection of your layer, set Select>
Modify>Contract at 2px then Select>Modify>
Feather at 2px. Invert the selection and hit Delete.
060
Monochrome noise
To add some monochrome noise,
create a new layer, fill it with solid black and place
it on top of all the other layers. Go to Filter>
Noise>Add Noise set at 50% with Gaussian and
Monochromatic active. Change the layers
blending mode to Soft Light and Opacity to 15%.
061
EDMOND YANGwww.yangmedia.com
LIGHT WRAP
Make it easier to composite a
subject into a background with a light wrap.
Adding a low opacity inner glow, using the
background colour is one way. But for more
control, duplicate your background and add a
Gaussian blur to it. Add an inverted layer mask,
hiding all, then use a soft white brush to paint
edges back in around the subject. Change thislayers blending mode to Soft Light.
PRO TIP
055
056
Tob
Edmond Yang
Andy Potts
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COMBINE 3D AND CREATE WEB ASSETSSee how Photoshop helps you to enhance your new media workflow
Cinema 4D (C4D) and Photoshop
were combined to create the 3D shatter shapes you
see in this image. The model sequence was shot in
a studio environment using strobes and a fill light.
Each shot of the sequence was then isolated from
the background using Photoshop masking tools.
The sequence was then set up in one Photoshop
file with each shot on a separate layer. The majority
of the scene was modelled in C4D. After adding a
plane to the scene, texture it using a shot of the
person in the sequence then select the alpha
channel from the Photoshop file. This process is
repeated for each shot in the sequence.
Now youre able to place your planes in a true 3Dspace behind the desk and have them interact with
the lights in a very realistic way. They will cast
shadows across any cubicle elements in a true 3D
space and this helps quite a bit when finally
compositing back in Photoshop.
The great thing about using CGI is
that as the artwork evolves, you can create more
stock imagery to meet your exact requirements.
This image started out with solid curved 3D models,
using them to build the main structure. But they
were too flat and uninteresting alone, so the 3Dframeworks and lighthouse model were produced
to create more details. Photoshops adjustment
layers along with Dodge and Burn can then be used
BARTON DAMERwww.alreadybeenchewed.tv
MARC GOODMANwww.behance.net/elnombre
C4D STYLES
MERGE STOCK
Illustration for HTML5 is so easy to
make in Photoshop, even when starting from a
sketch. Spend your time organising the major
shapes into separate layer groups. This is essential
as most of these images are eventually animated.
On top of this, CS6s ability to clip layers onto groups
makes adding detail amazingly easy. Before CS6 it
was a pain to build your image up like this.
ZEE DURRANIhttp://creative9.com/
HTML5 DESIGN
PRO TIP
MATEUSZ SYPIENwww.digi-mental.com
EXPORT LAYERS
Prepare your work in a way that
lets you modify particular elements without
touching other parts of your composition. Simply
break your 3D scene into objects, textures and
lights. Render them separately and combine
everything back in Photoshop. This will give youevery possibility to experiment with blending
modes and apply different effects, and save time.
to blend those elements together, with more
traditional photographic stocks.
Creating atmosphere is much easier
in Photoshop than in a 3D space. Once Ive exported
my rendered type unit to Photoshop, I bring in a
number of textures with consistent patterning, like
concrete, smoke, clouds and mountains. I
desaturate these then apply different blending
modes, such as Screen and Soft Light, to add extra
tactility to a layer. Using an image of a snowy
mountain range is great for adding depth because
of the exposure range between light and dark.
LUKE CHOICEwww.velvetspectrum.com
ADD TEXTURE
Blend 3D renders into a composition
with ease using these few basic steps. Firstly, try
and match the lighting as closely as possible in your
3D application, which will reduce the amount of
relighting work needed in Photoshop. Exporting
your renders with an alpha channel will prevent
having to trace around it. Matching colours can
require an array of Photoshops adjustment tools.
Start off with a custom Gradient Map based on the
area you are trying to blend.
NIK AINLEYwww.shinybinary.com
BLEND 3D FAST
062
063
064
065
066
067
Nik Ainley
Zee Durrani
Digimental Studio
Marc Goodman
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Puppet Warp on the toe
Using Puppet Warp instead of the
usual Transform Warp feature allows the
user much more accuracy when distorting
the object. Play with the density and mode of
the mesh to give the desired effect.
068
Specular Pass
You can add authenticity to 3D
elements just be ensuring that you apply
light effectively. Using the Specular Pass
from the CGI renders on a Screen blendingmode adds the extra highlights that bring the
metal to life.
069
High Pass filter
Adding a High Pass over the top of the
whole image on Soft Light gives it extra
punch. The amount you need depends on the
size and sharpness of the image. We used a
High Pass of 5 on 50% Opacity for this image.
070
DIGITAL GRAPHICS SHORTCUTSFlexible guides
When laying out
web design, guides become
essential. You can set
specific measurements by
selecting View>New Guide
and input Position, which is
easier than eyeing it in.
071Layer cloning
So youve applied
several layer styles to your
web elements and want to
add them to other layers in
your design. To do this, hold
Opt/Alt and drag the fx icon
to another layer.
072Tracking
This works great
with your type logos being
designed in Photoshop. Hold
down Opt/Alt and press the
< key to start decreasing the
types tracking, or > to
increase it.
073Drag selection
You can keep your
selection live after moving it.
Make a selection with the
Marquee tool and hold the
spacebar to move. Once
released, you can continue
to edit your selection.
074Fold all groups
When working with
web you can have many
layer groups open at one
time. Close them all at once
by pressing Cmd/Ctrl+Opt/
Alt and click the triangle
icon. Repeat to open all.
075
TAYLOR JAMESwww.taylorjames.com
WORK WITH CG
This Spring/Summer collection
image for the popular Mizuno sportswear
brand is a complete Taylor James production,
including an eclectic mix of CGI, photographyand that added vibrancy in retouching. The
campaign for the new Mizuno range,
developed by agency Thinking Juice, highlights
the broad functionality of their trainers.
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Discover the worldof photomanipulation;learn fromPhotoshop expertsand get started withadvanced imagetransformation
Photomanipula
22Creative retouching Discover the tricks behind creatingstunning and other-worldy effects
32 Create dynamiclighting
Achieve surreal lighting effects with
compositing and blending tools
38 Master layer masks Paint with layer masks and develop
an imaginative colour scheme
44 Advancedcompositing
Combine 3D and photographic
elements to create an action scene
50Apply liquidpaint effects
Use photomanipulation tools to
transform a model with paint stock
54Expert blending Build a sci-fi floating city by
combining multiple techniques
54PAGE
Digital artists arenow turningto 3Dsoftware inthe pursuit of
enhanced believability
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ion
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44
PAGE
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TECHNIQUES XXXXXXXXXX
James Lucas and Tom Rose
www.limehousecreative.com
www.radoxist.com
www.edvin.lv
WE REVEAL HOW DIGITAL ARTISTS COMBINE CG SOFTWARE
AND PHOTOSHOP TO ACHIEVE EFFECTS OTHERWISE
IMPOSSIBLE IN REALWORLD SHOOTS
PHOTOMANIPULATION
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Creative retouching is all about the viewers
suspension of disbelief. Global advertisers
are increasingly turning to digital artists to
produce effects that wouldnt be possible in
any real-world photo shoot, but that look wholly
credible due to creative retouching.
As creatives, its our mission to ensure precise
colour, sharpness, believable textures and a sprinkling
of magic are achieved in our results supplied through
a highly technical skillset. Understandably, many digital
artists are turning to 3D software to aid in this pursuit
of enhanced believability. This is a technique
commonly known as CG photography.
In this feature we take a look at all the key stages ofproduction. Weve gathered an impressive host of
professionals who share their advice and show you
how to achieve expert composition, photorealism and
special effects. First though, we start with the
ever-essential concept stage.
Every creative retouch project starts with either a
sketch or a photo mockup, with the latter often
following the sketch and using it as a blueprint. When
piecing together a draft, the reference images used
must contain sound aesthetic qualities. These include
defined lights and shadows, as well as a high image
resolution, so all the details are visible and pliable in the
following phases. Factors such as these are crucial to
the success of the final outcome.
Working with larger resolutions offers the ability toscrutinise a composite more thoroughly. Creative
retoucher Radoslav ilinsk, (www.radoxist.com)
reveals how he ensures maximum quality in this
preliminary stage: I often work [with an image] with a
resolution thats at least 30 per cent larger than it
needs to be. When you paint something into the image,
or cut elements out, you can often miss leftover edges
or image artefacts [when working with low-res stock].
However, you wont when working at higher
resolutions, which are likely to look just perfect.
MEET THE EXPERTS
CREATIVERETOUCHING
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Jonathon Eadie and Bruce Bigelowwww.electricart.com.au
Gordon McBrydewww.featherwax.com Limehouse Creative 2012
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EXPERT SELECTIONS
Building a plausible fantastical scene will also
depend on the selections you make. Working at
larger sizes enables retouchers to navigate issues
faster, but if you know the best ways to cut out, you
can avoid these problems entirely.
Creative retoucher and art director Edvin
Puzinkevich (www.edvin.lv) uses three separate
methods to detach his elements from the original
backdrop. Generally I use the Polygonal Lasso with
Smooth and Feather settings active, he reveals. I
use the Pen tool to target curved edges in
automotive, human and industrial objects. I apply
separation and outline hair, plants or other highly
detailed shapes and particles using Channels.
Often a creative retoucher must combine several
techniques to get the perfect edge. ilinsk agrees:
When cutting out a model, its good to separate
tricky parts, such as hair or a transparent dress, into
individual layers. [Its best to] work on these using a
combination of the Refine Edge tool and edit by
applying Levels to the attached layer mask(s).
Once all the elements are prepared, a retoucher
has to then fit them together in a realistic and
effective way. This means presenting believable
depth-of-field effects (DOF), but isnt always a case
of simply eyeing everything into place. Instead,
professionals will use Photoshops tools to devise
ways to create authentic results.
BELIEVABLE PERSPECTIVE
Many artists, including Puzinkevich, will turn to
Photoshops grid-based options. He explains: To
HOW TO SHOOT FOR A CREATIVE RETOUCH
01SKETCH IT OUT
The more accurate the sketch, the morelikely it will be accepted by the client and the shootphase is likely to be more stable. Here establishingcolour, shape and image tones was key.
04TIME TO RETOUCH
Always try to capture the most naturalaesthetic and maintain advertising qualities suchas clear contrast, plasticity and nice colours especially when retouching for fashion.
03SHOOT RESULTS
Here the main light source wasntenough, so we added extra lighting behind ourmodels to mimic light pouring through largewindows, which would be added later.
06FINAL COLOUR GRADING
Colour grading makes the final result. Apply a Brightness/Contrast adjustment in combinationwith Hue/Saturation, because when the contrast is increased, tones will become oversaturated. Continue by
adding a Color Balance adjustment, then finish with a Gradient Map set to Color or Hue blend modes.
02PREP THE SHOOT
A simple 3D scene was prepared, so weknew the exact camera placement, lightingconditions and perspective necessary. From this, weknew wed need to shoot with a 35mm camera lens.
05A LITTLE 3D
Though we did go and apply 3D elementsto the background in this image, be aware that thisactually doesnt always have to look super-realistic. Sometimes the smaller details andirregularities are much easier to add in Photoshop.
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The models in the base image had to be removedand the interior space was rebuilt by Puzinkevich.I duplicated usable pieces of the window frame,using Free Transform to scale these layers downto the new window width, then skewing and
distorting to match the perspective, he explains. Ialso added 1% Noise to imitate a light grain.
The floor was restored by cloning from itscleaner parts, however, the light reflected on thiswasnt even. Puzinkevich added two invertedCurves adjustment layers and painted to thesewith a soft white brush to match light and shadow.
The ladder was comped in and the PolygonalLasso tool was applied, set with a low Featheramount. I made multiple selections of the top ofthe ladder, then painted these with a light-grey
brush to achieve correct lighting, explainsPuzinkevich. I painted the parts of ladder affectedby the light from the window with a darker grey.
All models were separated from theirrespective backgrounds in two steps. The guywith the laptops head was replaced. The newelement was separated using a duplicate Redchannel with increased contrast and theBrightness/Contrast tool, explains Puzinkevich. Iused the Polygonal Lasso tool again to cut out theoriginal models body. I applied a low Feather
amount (around 0.5) to this selection to achievemore-believable edges.
The Pen tool played its own part and was usedto create and place the separate paper sheets inthe image. Holding the Cmd/Ctrl+Opt/Alt keyswhen applying this tool enables us to adjust pathsperfectly, Puzinkevich concludes.
build geometrical perspective I specifically use
shapes and guides. First I use the Line tool to find
the correct horizon line in my start image, then mark
this with a Photoshop Guide. I continue to apply the
Line tool to mark other directions and map out the
scene. I also draw out perspective grids using the
very useful Vanishing Point filter. Once this tool is
mastered, retouchers can map out guides for
straight, perpendicular and rounded perspectives,
using corresponding Angle values.
However, depth of field isnt just a matter of
varying the size and position of elements, as
Photoshop also offers the means to tweak colour
and light to boost realism. An advanced colour-
correction and matching process can then gradually
be applied to build a believable environment in what
is an otherwise incredible scene.
Its also vital that photo elements react to any light
source in the image, as this will also determine
colour casts and where any shadows will be placed.Photoshops Black & White adjustment layer can be
applied first, to simplify the perception of existing
highlight and shadow areas. A Curves layer can then
be added to achieve a perfect contrast and integrate
elements seamlessly.
COLOUR GRADING
For this stage Puzinkevich uses three tools to
correct tones. I add a Hue/Saturation adjustment
layer to saturate and desaturate objects and make
big colour moves, he explains. Selective Color
adjustment layers are also used to make precioustonal changes, then theres the Gradient Map tool.
This is awesome as it enables me to add
comprehensive tones across the entire image and
bind all the objects.
ilinsk also applies the Gradient Map tool, but
more specifically to colour-grade water elements.
An aquamarine tone resides in waters darker areas
and cyan is in its brighter ones, he explains. Ill
apply a Gradient Map on top of my water layer,
setting the adjustments blending mode to Color.
COMPOSITING YOURIMAGE ELEMENTSEDVIN PUZINKEVICH REVEALS HOW HE USED
SIMPLE PHOTOSHOP TECHNIQUES TO PIECE
TOGETHER THIS CREATIVE RETOUCH FOR
BAHRAINI CREATIVE AGENCY, UNISONO
Unisono
EDVIN PUZINKEVICH /WWW.EDVIN.LV
Selective Color
adjustment layers are
used to make
precious tonal
adjustments, then
theres the GradientMap tool. This is awesome as it
enables me to add
comprehensive tones across the
entire image, binding all objects
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I work with greyscale (desaturated) photos
beneath, Puzinkevich continues. This way I can be
absolutely sure that there are no colour shifts in the
final water composite.
WORK WITH CG
Its clear that a large amount of a retouchers time
will be spent endlessly chasing photorealism.
However, working with photo stock alone can
quickly become an arduous task. Also, with time in
short supply, retouching studios are turning to 3D
software and what this has to offer.
Taylor James (www.taylorjames.com)is a studio
thats leading the way in promoting the use of CG
assets. President and founder Glen Taylor explains
why working this way is such an advantage to the
workflow. CG provides the flexibility and creative
license to make the unbelievable believable, in
instances when we couldnt achieve it with
photography alone, he explains. It enables us to
realise the most imaginative or simply logistically
impossible concepts.
The beauty of working with CGI is that it lets us
achieve any look or feel we want and there will be afew instances where photorealism isnt a
requirement. However, its often the basis for
commercial projects creating images people can
relate to without questioning what they see
Taylor James embarks on a rigorous modelling,
lighting, shading and texturing process to achieve
such believability. This ensures that all CG assets
hit a high level of detail early on. Our retouchers
are experts at compositing many passes, such as
shadows and Alpha channels, which CG can output
accurately to get all the details, Taylor tells us.
CG AND PHOTOSHOP
3ds Max is primarily used and supplemented with
V-Ray for rendering images. Often there are
requirements to use specific software, such as
ZBrush, to virtually sculpt organic forms, adds
Taylor. Photoshop is used to texture and retouch.
Channels are added to enhance and control thelighting in the scene, with tried and trusted
Displacement maps also being utilised to wrap
textures and add imperfections.
When bringing CGI elements into a photographic
background, a creative retoucher must once again
seamlessly integrate these into a scene. We need
to be aware of where the light source is coming
from, then use adjustment layers and Channels
to play with light, shadows and colour, reveals
Taylor. We often use customised brushes,
adjustment layers and different blur techniques to
integrate these.
Photoshop blending modes also come in handy,
especially when working with CGI render passes.
PHOTOMANIPULATION
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CONCEPT
The agency supplied us with a 2D concept and a
quick mockup. This gave us a basic idea of what they
wanted. We imported this into a 3D space, where
detailed parts were created and camera and lighting
angles were positioned.
CGI TALK
A chalk material was applied to the modelled scene,
which enhanced the details, ensuring that the correct
angles, shadows and light intensity were presented
clearly. This enabled the actual materials, lighting
and textures to be applied.
DETAILING THE SCENE
The details in soil, grass and water were created
separately then combined in the scene. This meant
each component could be viewed in greater detail to
ensure a photorealistic effect. Materials and textures
were added to each part to enhance the realism.
LAYERING ON THE TEXTURES
At this stage the CGI car was rendered out and
supplied for retouching. This shot shows all straight
RGB render parts created, combined in a full scene
before applying any other passes or colour work.
FINISHING TOUCHES
Here you can see the render passes created in CGI,
separated so that colour work could be applied and
aligned. Keeping them separate enabled morecontrol over stylised lights, reflections and shadows.
CGI PHOTOGRAPHY WORKFLOWTAYLOR JAMES EXPLAINS HOW CG SOFTWARE AND PHOTOSHOP WERE COMBINED TO CREATE THIS IMAGE
COMMISSIONED BY DDB CANADA, FOR SUBARU CANADA
Agency DDB Canada. Client: Subaru. Taylor James
GLEN TAYLOR /WWW.TAYLORJAMES.COM
CREATIVE RETOUCHING
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CG gives us flexibility and creativelicense to make the unbelievable
believable, in instances whenwe couldnt achieve it withphotography alone
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These enable us to bring all the elements
together in terms of lighting, texturing and depth of
field, says Taylor. Blending modes also mean we
can put the CG passes back together in a way that is
mathematically correct.
Even in the few instances where photorealism isnt
overly required, believability is still in the back of a
creative retouchers mind. The beauty of working with
CGI and Photoshop is that we can achieve any look or
feel we want. However, when applying special effects,
a creative retoucher must always enhance the
message of a clients ad campaign first and foremost.
APPLYING SPECIAL EFFECTS
The end results can be either more stylised or surreal,
depending on a clients needs, but attention to quality
must be assured. This is a reaction to the print
medium that retouch work is presented in. There is
far less flexibility than in other mediums, such as
animation and film, explains Jonathon Eadie,managing director at Electric Art (www.electricart.
com.au). In print the tiniest details can be scrutinised
close-up over time and the tiniest detail can shatter
the illusion for the viewer. Detail in lighting and colour
are extremely important.
Nowhere is this more evident than when making
essential relighting edits to certain parts of an image.
Even when the overall treatment is more intense, if
the underlying basics are correct, the viewer wont
question what they perceive. This means that special
effects become the most challenging phase in a
creative retouchers process. Gordon McBryde,
director at Featherwax (http://featherwax.com)
concurs: We try to [achieve] the visually impossiblewhile retaining a realistic edge. If special effects went
purely for realism alone, there would be some pretty
tame adverts out there.
FANTASTICAL ATMOSPHERE
The application of effects can be very tailored, with
each instance producing very different outcomes.
McBryde elaborates: Special effects in post-
production are very much bespoke. While similar
techniques are often used, every project and image is
a new challenge that requires a fresh approach.
Bruce Bigelow, creative director at Electric Art (www.
electricart.com.au)adds: Each job is individual,
however we do have a group of effects that can be
used time and again, with slightly different outcomes.
Using Channels, we can create brushes or layer
masks for colour to add atmospherics. This way
were using the existing lighting to enhance the
overall image.
Photoshop is a very flexible program that can
enable an images atmosphere to be enhanced in a
number of ways. Retouchers tend to use several
layers to build effects in what must become a
three-dimensional workspace. This tends to start
with stripping in a new sky, explains McBryde. If
CREATE A DYNAMIC CAMPAIGN IMAGEELECTRIC ART REVEALS HOW PHOTOSHOP WAS USED TO CREATE THESE SURREAL EFFECTS
01BASE IMAGE
By combining photographic and 3Delements we created a desolate, almost lunar
terrain for the hawk to sit in. One of the biggest
challenges here was creating the correct scale for
the shrubs and rocky outcrops. The other
challenge was to ensure there was enough sense
of distance in a restricted frame for all the action to
take place. Adding atmosphere helped to create
the illusion of depth.
02BUILD VOLUME WITH CHANNELSThe 3D render of the hawk was graduallyreplaced with photographic material of dust,
combining voluminous dust clouds with wispy
trails. We applied this through a combination of
layer styles, Channel masks and opacity tweaks. Aselection was made using the Channel that gave
the best definition between the dust and the
background. This selection was used to increase
or decrease detail contrast where applicable.
03 DUST EFFECTSBlending modes were either left atNormal or set to Screen to enhance contrast. Once
we had the main form, it came down to detailing
the eyes, claws and beak. We created our own
brushes, using specific areas from a Channel
mask to create trailing dust. Once all the elements
were in place, we added extra grit and flying dirt,
applying a final overall colour grade to bring the
entire image together.
Creative Directors Ben Coulson and Chris Northam, Art Director Paul Meates. Agency GPY&R Melbourne, Photography Andreas Smetana
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GORDON MCBRYDE /HTTP://FEATHERWAX.COM
CREATIVE RETOUCHING
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We try to [achieve] the visually impossiblewhile retaining a realistic edge. If special
effects went purely for realism alone,there would be some pretty tameadverts out there
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TECHNIQUES XXXXXXXXXX
were creating a dramatic image, we use Curves
and the Black & White tools to make this new sky
suitably moody. We then layer different effects such
as ice, rain and particles in the wind. These tend to
be achieved by applying Screen or Multiply blend
modes or clipped using a Channel mask.
Its very important to ensure the colour and focus
levels in these atmospheric details are matched to
their surroundings, as nothing makes an image
scream Photoshop more than a rain texture thats
too sharp or background clouds that are too green.
Broad adjustments to contrast and colour using
adjustment layers help here, Eadie explains.
Selective adjustments can be localised. Often
its the sum of many small details and colour
treatments that are most effective when it comes
to enhancing atmosphere.
Sharpness is the final piece in creating hyperreal
looks and the High Pass filter is greatly endorsed by
our professionals, as McBryde adds: Many people
will use a destructive sharpening process by
merging the layer stack then using either the
normal Sharpen tool or the Unsharp mask.
ADVANCED SHARPENING
This sharpening technique can be useful at times,
especially if the layer is duplicated a few times, with
an Unsharp mask applied, McBryde continues.
One blend mode is set to Lighten the other to
Darken. However, the preferred method of
sharpening in creative retouching is to apply the
High Pass filter to a duplicate layer set to Soft Light.
This method is non-destructive, as the filter sits at
the top of the stack, affecting the work below.
The Unsharp mask doesnt need to be avoided
entirely. In fact, this tool is capable of producing an
interesting selective contrast treatment, when set
with a low amount and a high pixel radius. We
used this technique on a job for Olympus Tough
cameras (seen at our website), McBryde explains.
An alternative to this is of course the High Pass
filter. We apply this in combination with different
layer blending modes, which provides very
interesting and unique results. Each image is
certainly unique and experimenting with various
techniques is important to find the best results.
It almost goes without saying that over-
sharpening must be avoided, as this can end with
obvious fringing in high-contrast areas. It can also
lead to an increase in image noise, beyond
acceptable levels. Of course this is all determined
by a factor already discussed the quality of your
CG and photographic assets. We have worked with
RAW files from large-format hasselblad and the
tonal range available really determines how much
flexibility we have in retouching believable looks,
McBryde explains.
Retouch Diego Angarita and Gordon McBryde. Discovery Channel
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CREATIVE RETOUCHING
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01THREE DIMENSIONAL SPACE
We always work on a file in a three-dimensional space. So the
first step is always building the background. This has been achieved
here by blending several photographs, such as the sky and water.
02PAINT WITH CURVES
The hero talent is composited, so we focused on lighting the
elements. If each element is in its own folder with a mask, its simply
a matter of using Curves adjustments to paint areas of light and dark.
03CREATIVE LIGHTING
Dynamic contrast really adds something special. This is
achieved by increasing the contrast Curves adjustments, set to a
Luminosity blending mode and painting in selective areas. A straight
curve set to Soft Light at 50% Opacity is a nice final tweak.
04POST EFFECTS
A Black & White adjustment layer at 20% Opacity is added to
mute the colours. A High Pass set to Soft Light adds overall
sharpness. A second finer High Pass can be added and selective
details, such as water splashes, can be sharpened with a layer mask.
CREATE DYNAMIC LIGHTINGGORDON MCBRYDE EXPLAINS HOW TO CREATE EXCITING LIGHTING IN YOUR CREATIVE RETOUCH IMAGES
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CREATE DYNAMIC LIGHTING
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CREATE DYNAMICLIGHTINGCOMBINE PHOTO STOCK, TEXTURES AND BLENDINGMODES TO PRODUCE A SURREAL IMAGE
Surrealism is the name of the game in this
tutorial, as we take you through a
Photoshop process that will help you
achieve high-end, photoreal, and surreal
effects, using an array of comped resources. Lighting
effects feature heavily, as we show you how to apply
contrast, highlights and shadows to tie all your
elements together in a believable fashion.
Youll need to be familiar with basic Photoshop
functions as we tackle ways to cut out images using
the Pen Path tool. Well also look at how to enhance
manually applied lighting, using both brushes and
Blend Modes. These lighting effects will bind our
image elements together, creating realism in an
otherwise unbelievable image.
Well start with a model image that forms the
foundation of the artwork. Once you have completed
this tutorial, you will be able to light and construct a
photoreal, surreal image and reapply many of the
techniques across other light-inspired images.
01RESIZE YOUR DOCUMENTOpen a new document at 3,800 x 4,900px,then open the Girl.jpg and place it in the centre of
your workspace. Once youre happy with your
placement, begin removing the subject from the
background. Well use the Pen Path tool to make a
selection and then cut the model out.
02REFINE THE HAIR DETAILSoften the edges of your model so theyrenot overly sharp. Do the same with the hair using
the Painted Hair Brushes supplied, painting to a
separate layer so we can use the Transform tools
to manipulate our elements later. Now merge the
hair layer with the model layer.
03MAKE A BASIC RETOUCHFor this particular image we need to remove the models freckles, so well edit using basicretouching techniques by applying the Spot Healing brush. This is the best tool to clear up blemishes fast, but
well also use the Patch tool for some of the obstinate areas.
DARKNESS TO LIGHT
Step 19:Refine lighting
WORK IN
PROGRESS
Step 7:Arrange elements
Step 1:Pick a subject
Kode is an artist from Melbourne,
Australia, setting his sights on New York.As a self-made graphic artist hecontinues to learn and apply new skills.
KODE ABDO
www.facebook.com/BossLogicInc
OUR EXPERT
All the images and brushes used tocreate this image, including the model,photo stock, textures and renderedimages, are supplied. Ready-made PSDfiles also feature.
SOURCE FILES
BRING THE COMPOSITION TOGETHERARRANGE ALL ELEMENTS BEFORE YOUR LIGHTING PROCESS BEGINS
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04CREATE YOUR BACKGROUND
We dont want to make an overly complex
backdrop, so instead well add a new layer titled
background. Next, activate a brush with a soft edge,
increase the size to around 4,000px and apply once
behind the subject using a shade of blue on its own
layer. Now well drop the layers Opacity to 80%,
which is especially useful in the cases when the
paint leaves areas far too strong and overpowering
for this project. Remember, were attempting to
complement the piece, not overwhelm it.
07BLEND IN THE LIQUID
Using either your Eraser tool, set with a soft edge, or a layer mask, erase from the bottom of the
subject, specifically the feet. The look were trying to achieve is one where the models feet are submerged in
the water. This doesnt have to be too deep, just up to the ankle so her hand can still be seen over the water
level later in the tutorial. Also, make the water look seamless with the rest of the background by erasing the
hard edges of the water layer, using a soft Eraser tool or a layer mask.
05INSERT TEXTURE TO BACKGROUND
Import the supplied waterdrops 3.jpg file,
place it on top of the blue-brushed layer and set the
blending mode to Soft Light. Desaturate the image to
make it completely black and white. To improve the
contrast in the monochrome layer, apply Brightness/
Contrast and amend the settings until the right effect
is achieved. If it still feels weak, duplicate this layer
and set its blending mode to Overlay. Merge the
background, blue-brushed and waterdrops 3 layers
together and apply a light Gaussian Blur.
06APPLY WATER ELEMENTS
Open and import the supplied waterdrops
2.jpg file and transform it using the Free Transform
tool. Grab the top-middle anchor point and compress
it to give the illusion that the ripple is flat on the
ground. This method is all about getting the right
perspective. The Transform tool is powerful enough
to achieve this, so once youre happy with your
outcome, desaturate your waterdrops 2 layer
(Cmd/Ctrl+U) so its a little less vibrant and matches
the images overall atmosphere.
08PLACE A SOUSAPHONE
Open the supplied Sousaphone.psd then
select, cut, copy and paste it into sections. You can
duplicate and place these in your scene as you see
fit. Place your sousaphone layers closely around
the subject and consider these elements as part of
a giant metallic snake moving in and out of the
water and around the composition. Feel free to
experiment with your own placement to create the
movement you want in the piece.
QUICK TIPTo make lighting pop out of theimage, blending mode layers areyour best friends. Experiment withmodes like Soft Light and Overlayto intensify exposures. You cantweak the strength of effects usingthe Opacity slider, or duplicate thelayers to boost brightness.
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11 DUPLICATE THE RIPPLESUsing the waterdrops 2 layer we applied inStep 6, select the ripple area of the image and
duplicate this. Slightly manipulate it to look different
from the main ripple using Transform tools and
place it on the surface of the water under the
instruments to create entry points for the
sousaphone. Erase the excess areas of the
sousaphone to make them seem like they are
submerged underwater. Darken the tips of the
sousaphones closest to the water so they blend in.
12TWEAK THE BACKLIGHTINGSelect a soft brush and then create a newlayer behind the model and the sousaphone. On this
layer well create an outer glow to make the centre
of the image stand out. With a light shade of blue,
brush some lighting strokes behind the model and
the instruments. Make sure you apply just beneath
the edges, because were using a soft brush that will
automatically spread beyond the edges. To finish this
step, duplicate the layer and set the new layers
blending mode to Soft Light.
13TEXTURE THE SOUSAPHONEApply the supplied cracks 05.jpg andcracks 06.jpg files to texture the sousaphone layers
and give them a rusty look. Take your time when
placing these textures to produce the greatest
impact and realism. Apply an Overlay blending mode
to these texture layers to obtain a stronger effect. If
this becomes too strong for you, try dropping the
Opacity slider to around 80% or a little lower. You can
experiment and set this layer to Soft Light if thats an
effect youre aiming for.
10
PLACE THE BODY TEXTURE
Now well add texture over certain parts of
the models body. Open the supplied Crack Texture
folder to access seven texture images that will help
us achieve the look we want. Weve placed a cracks
04.jpg file over the models left shoulder and just
over her elbow. Both are blended using a Multiply
blending mode. Apply the same effect to the
models thighs, but using the crack 03.jpg file.
Finally, change the tonality to match the water.
09
ADJUST YOUR TONES
First, tone the sousaphone to fit the image using Hue/Saturation>Colorize settings (Cmd/Ctrl+U)
and apply a slightly desaturated dark-blue tone. Here weve also added a gradient map to our model using a
blue-to-light-blue style. Set this gradient map layers blending mode to Soft Light and adjust the Opacity until
youre happy with the outcome.
001Cut out the model, add her hair back in, thenmerge the layers
002Add the background behind the model, paintwith the soft brush, texture and merge
003Cut up and place the sousaphone where youwant it to create a snake-like appearance
001 002 003
UNIFY YOUR SCENEUSE HUE/SATURATION AND OTHER ADJUSTMENTS TO SET THE TONE OF THE COMPOSITION
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14
Duplicate the model layer and brighten this
by applying Adjustments>Brightness/Contrast.
Create a look that seems a little overexposed, but not
too harsh, because we still want to see details in the
lit areas. Use a soft-edged Eraser and remove from
the centre as in our example. This is done to create
more dynamic lighting, which means we have
something to work with later in the lit edges.
15
Make a selection of your model layer by
Ctrl-clicking the layer thumbnail. With your selection
active, create a new layer and use a soft bright-blue
brush, set to Soft Light, to highlight the edges of the
hairline. Create another new layer on top of this and
repeat the technique using a lighter shade of blue
and setting your blending mode to Overlay. Repeat
this method on the sousaphone layers.
16
To enhance the sense of motion, open the
supplied Music Notes folder where youll find a host
of PSD files that we can combine to create the effects
were looking for. Place these new layers under the
sousaphone layer, making it seem as though these
elements are being blown out. Change the size of
each of these layers to create a sense of perspective
and to enhance the detail in the image.
18
Repeat the techniques from Step 15 to
insert lighting in your liquid areas, but this time wewant these to be a little brighter as they are
reflecting from the glow emitting from the model
image. To get this effect well add an extra layer, set
to Soft Light blending mode. Next, apply a Gaussian
Blur filter to this layer, which will result in brighter
surroundings, then add motion blur to some of the
liquid to inject more movement.
17
Well simulate motion in the piece further by applying images from the supplied Black Ink folder.
Well apply them around the sousaphone and exiting the water, to create a splash effect. You can also mix
your ink layers with the music notes, adding in the previous set, to evoke a chaotic look. Remember to apply
Hue/Saturation>Colorize, which will let you add a shade of purple, matching the tones in the water.
BRING FOCUS TO YOUR IMAGEBLEND LIGHTING LAYERS AND BRING FOCUS BACK TO THE CENTRE
QUICK TIPUse the liquid images supplied to create your ownsplashes and abstract elements in the image. Dont bescared to play around with the Motion B option to producea sense of movement. Strive to make effects your ownand let your imagination take over.
BELIEVE THEUNBELIEVABLEThe key to achieving a believable
image, even when creating surrealelements, is correct placement. Usethe Transform tools to achieve the bestangles and perspective. Make sure theimage doesnt get too cluttered, giveelements room to breath and display astrong sense of depth. Understandingfocal lengths and blur is a core skill tohave. Using the right amount of blurwill help create an accurate senseof background and foreground. Thisis more diffused in the backdrop,harder and brighter in the foreground,especially in this image. Thesedynamic effects are what augment therealism in an unreal scene.
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CREATE DYNAMIC LIGHTING
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19INCREASE THE SURREALISM
Open and import layers from the files in the
supplied Hands folder. Using the techniques of the
previous steps, tone the arms to match the colour of
the water using Hue/Saturation>Colorize settings(Cmd/Ctrl+U). Add texture to the arms just like in
Step 10, duplicate the ripple layers as in Step 11 and
continue to mask your arm layers so they look like
they are reaching up from the water.
20FOCUS ON EXTRA DETAIL
Repeat Step 10, but add effects to the
models right leg that sits in the background. Use the
Pen Path tool to make a selection around this leg,
then duplicate and create a new leg layer. Tone thisso the colour matches that of the water and the two
arms. Apply crack textures to the knee and use the
Eraser to work out some of the coloured leg layer, so
it looks like the knee is visible through the cracks.
23REPLICATE A RADIANT LIGHT EFFECT
Referring back to what weve learnt in Step
15, we can now use similar techniques to add
highlights under our models legs, creating the
illusion of light emitting from the water. Doing this
will draw the viewers eye to the centre of the
composition once more. First use the Pen Path tool
to target the areas you want to highlight. Also create
a new layer set to Color Dodge blending mode
before painting in your lights using a light-blue soft
brush set to 80% Opacity.
24USE A SMOKE TEXTURE
Import the smoke.psd supplied and place
it around the image at a very low opacity. This adds
that fine detail in the image and brings a dark, misty
atmosphere. Feel free to use the smoke.psd to add
extra detail to the lighting layers, by blending it using
an applied Soft Light or Overlay blending mode and
setting a low layer opacity. This will add texture to
your lighting. Place similar effects in the lighting
under the model, to evoke a sense of movement.
21LIGHT ELEMENTS INDIVIDUALLY
Now well repeat the same method used in
Step 15 to add highlights to the hand layers. Some of
the hands in the image are set some distance from
the main light source, so when you do apply light,make sure you use separate effects to individual
hand layers. This will enable you to have maximum
control over the brightness and means you can alter
the intensity of light correctly for each element.
22INSERT SHADOWS
Well now add some directional shadows behind the two arms on the right of the image. This is to
enhance the direction and realism of the light, by casting shadows away from our main light source. Create a
new layer and with a soft brush paint two black lines away from the direction of the light, making sure these
are on top of the arm layers in the corner. After youre happy with the angle of the brushed lines, drop the
layer Opacity to 80% to produce a transparent look.
QUICK TIPAdding new colours to the images lighting and mixingtonality can create interesting looks. Weve added anew layer and applied a soft brush over the alreadyvibrant areas of our image. This brush is set to Soft Lightblending mode and weve inserted pink tones, whichproduce an eye-catching look.
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JONO HISLOP AKA KIVEXwww.somethingfresh.co.nz
OUR EXPERT
Kivex is a New Zealand-bornillustrator living in London. Most ofhis work is created for colleagues inthe music industry and theirassociate record labels, includingAtlantic, Warner, Sony and Tikidub.
SOURCE FILESOn the disc you will find a modelimage that you can use to duplicatethis tutorial (Heroine_stock.jpg).
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MASTER LAYER MASKS
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MASTER LAYERMASKSUSE BRUSHES, LAYER MASKS AND LIGHTING TECHNIQUES
TO CREATE SURREAL LANDSCAPES WITH PHOTOGRAPHY
G
reat art is rarely the product of a complex
chain of elaborate techniques. In truth, it is
a destination most often reached through
a sound understanding and patient use of
your basic tools. A great eye for detail develops
through perseverance.
The following tutorial will teach you how to use
simple Photoshop tools in advanced ways, and in
doing so perhaps you will come to see them in a
new light. In particular, this tutorial focuses on
painting with layer masks and developing a colour
scheme with adjustment layers and gradient maps.
Perspective and the idea that less is more will
guide you through the tutorial as a concept that will
be continually revisited. You should walk away not
just with a new art piece, but a set of skills that will
stick with you throughout your career, assisting you
in getting ideas onto your Photoshop canvas with
less technical frustration.
This particular photomanipulation was inspired
by a piece of music that has a spacious, lost at sea
feel. Music that stimulates your imagination and
creates a sense of location can help your creative
flow and encourage originality.
MASTER LAYER MASKS
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03BRING IN PHOTOSYoure going to build the top half of the canvas first. Drag and drop in photos of skylines that you like the lookand feel of. Try to keep the colours similar by choosing photos that were taken around the same time of day. Theres no
need to be exact, though, as you can make adjustments later. For every image you bring into your piece, add a layer
mask. With the layer selected, at the bottom-right of your screen click on the rectangle with the circle inside it. Layer
masks allow us to paint in and out parts of the photo without being destructive.
02CREATE PERSPECTIVENow you need the sunray perspective, which is essential in establishing focal direction. Make a newlayer and draw a white line across the canvas, starting from the sun. Cmd/right-click the la