advanced+photoshop.+the+premium+collection+vol.+8

Build advanced composites Create surreal effectsBuild fantasy landscapesConstruct stunning graphics Discover digital painting Enhance portraits

Master the art of Adobe Photoshop

PREMIUM COLLECTIONVolume 8

NEW FOR CC

Over 500professionalPhotoshop 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

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Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/or other countries and is used with express permission.

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 lighting38 Master layer masks44 Advanced compositing50 Apply liquid paint eects54 Expert blending

62 Expert matte painting70 Paint a fantasy

snowscape

76 Create a cyborg82 Produce fantasy lighting88 Character design

and illustration

94 Paint a steampunk-inspired portrait

44PAGE

6 Advanced Photoshop Premium Collection

Great art is most often reached through a patient use of your basic tools

8PAGE

76PAGE


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TYPOGRAPHY

GRAPHICS

PHOTO EDITING100 Photo-editing techniques108 Retouching in Photoshop CC114 Stylise architectural images120 Expert automotive

retouching

126 Cra atmospheric landscapes

134 20 type secrets142 Design illustrative type146 Design 3D Type152 Create stylish

vintage type

156 3D type projects

164 15 ways to master infographics

172 Master portrait illustration

178 Blend graphics and type182 Master polygons188 Metro-style websites

156PAGE

108PAGE

Advanced Photoshop Premium Collection 7

Both illustrative and collage type are a growing trend in digital 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!

75 PROFESSIONAL PHOTOSHOP TIPS

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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

A er

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 BRUSHDodge 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 EDGELayer 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. CHANNELSDont 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

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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 fairly large 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 freely download and use on its website, available at www.photoshop.com/products/photoshop/3d#.

KIRK NELSONhttp://thepixelpro.com/

BRUSH ROTATION

Automatic enlargeLet the new Image Resize command

do the hard work for you. Always make sure its set to resize fast by hitting Opt/Alt+1.

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Affect multiple shapesPhotoshop 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.

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Path Isolation modeDouble-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.

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3D object managementIn 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.

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Instance 3D objectsCreate 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.

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PHOTOSHOP CC SHORTCUTS

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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 around with 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 IMPACTGRZEGORZ DOMARADZKIhttp://iamgabz.com/

KRZYSZTOF DOMARADZKI www.studiokxx.com

DIGITAL COLOUR

DKNG STUDIOS www.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. The pattern that these complementary 30-degree angles create is called a rosette and is considered the pattern most pleasing to the eye.

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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 VICENZI www.mydeadpony.com

USE SELECTIONS

PRO TIP

GORDON REID www.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%.

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Whooc Publishing Ltd

Grzegorz Domaradzki

DKNG Studios




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DIGITAL GRAPHICS SHORTCUTSGroup layersThis 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.

033 Paragraph TextUse 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.

034 Editable boundaryCreate 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.

035 Select all layersThis 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.

036 Reselect layerThis Adobe

Photoshop shortcut saves any designer from performing accidental clicks away from a section. Just press Cmd/Ctrl+Shift+D to reselect your layer.

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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 movementUsing 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 detailUse 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 maskingAdd 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 adjustmentsCreate 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.

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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 an interesting 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 add this brush around the tissue and bottom eyelid.

TOMMY KINNERUP www.tommykinnerup.com

FRANCESCO CORVINO www.francescocorvino.com

SARA BIDDLE www.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.

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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 NAEL www.martanael.daportfolio.com

JEFF LANGEVIN www.jeangevin.com

TRADITIONAL EFFECTS

PLAY WITH SETTINGS

START SMALL ANDREA FEMERSTRANDhttp://noukah.com

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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.

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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.

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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.

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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.

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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 WETTER http://fantasio.info/

JOSH ROSSI http://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.

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Josh Rossi Photography

You can do 50 percent less work but still achieve

credible 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 or reselect areas from the original photo.

ANDY POTTS www.andy-potts.com

SEPARATE TONE

ShadowsA 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.

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Gradient hazeA 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.

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Frontal lightAn 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.

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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.

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Monochrome noiseTo 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%.

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EDMOND YANG www.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 this layers blending mode to Soft Light.

PRO TIP

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Tobias Roetsch

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 3D space 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 3D frameworks and lighthouse model were produced to create more details. Photoshops adjustment layers along with Dodge and Burn can then be used

BARTON DAMER www.alreadybeenchewed.tv

MARC GOODMAN www.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 DURRANI http://creative9.com/

HTML5 DESIGN

PRO TIP

MATEUSZ SYPIEN www.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 you every 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 CHOICE www.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 AINLEY www.shinybinary.com

BLEND 3D FAST

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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.

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Specular PassYou 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 blending mode adds the extra highlights that bring the metal to life.

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High Pass filterAdding 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 guidesWhen 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.

071 Layer cloningSo 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.

072 TrackingThis 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.

073 Drag selectionYou 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.

074 Fold all groupsWhen 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 JAMES www.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, photography and 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 world of photomanipulation; learn from Photoshop experts and get started with advanced image transformation

Photomanipulat

22 Creative retouching Discover the tricks behind creating

stunning and other-worldy effects

32 Create dynamic lighting

Achieve surreal lighting effects with compositing and blending tools

38 Master layer masks Paint with layer masks and develop

an imaginative colour scheme

44 Advanced compositing

Combine 3D and photographic elements to create an action scene

50 Apply liquid paint e ects

Use photomanipulation tools to transform a model with paint stock

54 Expert blending Build a sci-fi floating city by

combining multiple techniques

54PAGE

Digital artists are now turning to 3D software in the pursuit of

enhanced believability


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tion


32PAGE

44PAGE

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TECHNIQUES XXXXXXXXXX

James Lucas and Tom Rosewww.limehousecreative.com

2ADOSLAVILINSKwww.radoxist.com

%DVIN0UZINKEVICHwww.edvin.lv

WE REVEAL HOW DIGITAL ARTISTS COMBINE CG SOFTWARE AND PHOTOSHOP TO ACHIEVE EFFECTS OTHERWISE IMPOSSIBLE IN REALWORLD SHOOTS

PHOTOMANIPULATION


C reative 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 of production. 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 to scrutinise 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

CREATIVE RETOUCHING


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CREATIVE RETOUCHING


Jonathon Eadie and Bruce Bigelowwww.electricart.com.au

Gordon McBrydewww.featherwax.com Limehouse Creative 2012


CREATIVE RETOUCHING


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PHOTOMANIPULATION


EXPERT SELECTIONSBuilding 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 PERSPECTIVEMany artists, including Puzinkevich, will turn to Photoshops grid-based options. He explains: To

HOW TO SHOOT FOR A CREATIVE RETOUCH2!$/3,!6),).3+3(!2%3()3%80%2)%.#%3/&02%0!2).'$)2%#4).'!.$%$)4).'

01 SKETCH IT OUTThe more accurate the sketch, the more likely it will be accepted by the client and the shoot phase is likely to be more stable. Here establishing colour, shape and image tones was key.

04 TIME TO RETOUCHAlways try to capture the most natural aesthetic and maintain advertising qualities such as clear contrast, plasticity and nice colours especially when retouching for fashion.

03 SHOOT RESULTSHere the main light source wasnt enough, so we added extra lighting behind our models to mimic light pouring through large windows, which would be added later.

06 FINAL COLOUR GRADINGColour grading makes the final result. Apply a Brightness/Contrast adjustment in combination with 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.

02 PREP THE SHOOTA simple 3D scene was prepared, so we knew the exact camera placement, lighting conditions and perspective necessary. From this, we knew wed need to shoot with a 35mm camera lens.

05 A LITTLE 3DThough we did go and apply 3D elements to the background in this image, be aware that this actually doesnt always have to look super-realistic. Sometimes the smaller details and irregularities are much easier to add in Photoshop.

!GENCY-573AATCHI3AATCHI!RTDIRECTOR"RANISLAV-LAD4AMS"OHUS0HOTOGRAPHER-ARCEL'ONZALEZ/RTIZq!UPARKSHOPPINGCENTER


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CREATIVE RETOUCHING


The models in the base image had to be removed and the interior space was rebuilt by Puzinkevich. I duplicated usable pieces of the window frame, using Free Transform to scale these layers down to the new window width, then skewing and distorting to match the perspective, he explains. I also added 1% Noise to imitate a light grain.

The floor was restored by cloning from its cleaner parts, however, the light reflected on this wasnt even. Puzinkevich added two inverted Curves adjustment layers and painted to these with a soft white brush to match light and shadow.

The ladder was comped in and the Polygonal Lasso tool was applied, set with a low Feather amount. I made multiple selections of the top of the ladder, then painted these with a light-grey brush to achieve correct lighting, explains Puzinkevich. I painted the parts of ladder affected by the light from the window with a darker grey.

All models were separated from their respective backgrounds in two steps. The guy with the laptops head was replaced. The new element was separated using a duplicate Red channel with increased contrast and the Brightness/Contrast tool, explains Puzinkevich. I used the Polygonal Lasso tool again to cut out the original models body. I applied a low Feather amount (around 0.5) to this selection to achieve more-believable edges.

The Pen tool played its own part and was used to create and place the separate paper sheets in the image. Holding the Cmd/Ctrl+Opt/Alt keys when applying this tool enables us to adjust paths perfectly, 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 GRADINGFor 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 precious tonal 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 YOUR IMAGE 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 Gradient

Map tool. This is awesome as it enables me to add comprehensive tones across the entire image, binding all objects


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PHOTOMANIPULATION

26 Advanced Photoshop Premium Collection26 Advanced Photoshop Premium Collection

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 CGIts 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 a few 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 PHOTOSHOP3ds 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 the lighting 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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CREATIVE RETOUCHING


CONCEPTThe 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 TALKA 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 SCENEThe 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 TEXTURESAt 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 TOUCHESHere you can see the render passes created in CGI, separated so that colour work could be applied and aligned. Keeping them separate enabled more control 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


CG gives us flexibility and creative license to make the unbelievable

believable, in instances when we couldnt achieve it with photography alone


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PHOTOMANIPULATION


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 EFFECTSThe 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 impossible while retaining a realistic edge. If special effects went purely for realism alone, there would be some pretty tame adverts out there.

FANTASTICAL ATMOSPHEREThe 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

01 BASE IMAGEBy combining photographic and 3D elements 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.

02 BUILD VOLUME WITH CHANNELSThe 3D render of the hawk was gradually replaced 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. A selection 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 at Normal 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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CREATIVE RETOUCHING


GORDON MCBRYDE / HTTP://FEATHERWAX.COM

CREATIVE RETOUCHING


We try to [achieve] the visually impossible while retaining a realistic edge. If special

effects went purely for realism alone, there would be some pretty tame adverts out there


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PHOTOMANIPULATION


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 SHARPENINGThis 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

PHOTOMANIPULATION


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CREATIVE RETOUCHING


01 THREE DIMENSIONAL SPACEWe 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.

02 PAINT WITH CURVESThe 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.

03 CREATIVE LIGHTINGDynamic 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.

04 POST EFFECTSA 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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PHOTOMANIPULATION


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CREATE DYNAMIC LIGHTING


CREATE DYNAMIC LIGHTINGCOMBINE PHOTO STOCK, TEXTURES AND BLENDING MODES TO PRODUCE A SURREAL IMAGES urrealism 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.

01 RESIZE 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.

02 REFINE THE HAIR DETAILSoften the edges of your model so theyre not 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.

03 MAKE A BASIC RETOUCHFor this particular image we need to remove the models freckles, so well edit using basic retouching 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 he continues to learn and apply new skills.

KODE ABDOwww.facebook.com/BossLogicInc

OUR EXPERT

All the images and brushes used to create this image, including the model, photo stock, textures and rendered images, are supplied. Ready-made PSD les also feature.

SOURCE FILES

BRING THE COMPOSITION TOGETHERARRANGE ALL ELEMENTS BEFORE YOUR LIGHTING PROCESS BEGINS


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PHOTOMANIPULATION


04 CREATE YOUR BACKGROUNDWe 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.

07 BLEND IN THE LIQUIDUsing 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.

05 INSERT TEXTURE TO BACKGROUNDImport 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.

06 APPLY WATER ELEMENTSOpen 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.

08 PLACE A SOUSAPHONEOpen 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 TIP To make lighting pop out of the image, blending mode layers are your best friends. Experiment with modes like Soft Light and Overlay to intensify exposures. You can tweak the strength of effects using the Opacity slider, or duplicate the layers to boost brightness.


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11 DUPLICATE THE RIPPLESUsing the waterdrops 2 layer we applied in Step 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.

12 TWEAK THE BACKLIGHTINGSelect a soft brush and then create a new layer 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.

13 TEXTURE THE SOUSAPHONEApply the supplied cracks 05.jpg and cracks 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 TEXTURENow 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 TONESFirst, 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, then merge the layers

002Add the background behind the model, paint with the soft brush, texture and merge

003Cut up and place the sousaphone where you want 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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PHOTOMANIPULATION


14 02%0!2%4(%(!2$,)4%$'%3Duplicate 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 ,)'(44(%(!)2Make 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 2%0,)#!4%-/4)/.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 !#()%6%,)15)$,)'(4).'Repeat the techniques from Step 15 to insert lighting in your liquid areas, but this time we want 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 !$$,).+%$%,%-%.43Well 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 own splashes and abstract elements in the image. Dont be scared to play around with the Motion B option to produce a sense of movement. Strive to make effects your own and let your imagination take over.

BELIEVE THE UNBELIEVABLEThe key to achieving a believable image, even when creating surreal elements, is correct placement. Use the Transform tools to achieve the best angles and perspective. Make sure the image doesnt get too cluttered, give elements room to breath and display a strong sense of depth. Understanding focal lengths and blur is a core skill to have. Using the right amount of blur will help create an accurate sense of background and foreground. This is more diused in the backdrop, harder and brighter in the foreground, especially in this image. These dynamic eects are what augment the realism in an unreal scene.


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19 INCREASE THE SURREALISMOpen 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.

20 FOCUS ON EXTRA DETAILRepeat 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 this so 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.

23 REPLICATE A RADIANT LIGHT EFFECTReferring 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.

24 USE 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.

21 LIGHT 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.

22 INSERT 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 TIP Adding new colours to the images lighting and mixing tonality can create interesting looks. Weve added a new layer and applied a soft brush over the already vibrant areas of our image. This brush is set to Soft Light blending mode and weve inserted pink tones, which produce an eye-catching look.


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PHOTOMANIPULATION


JONO HISLOP AKA KIVEXwww.somethingfresh.co.nz

OUR EXPERT

Kivex is a New Zealand-born illustrator living in London. Most of his work is created for colleagues in the music industry and their associate record labels, including Atlantic, Warner, Sony and Tikidub.

SOURCE FILESOn the disc you will find a model image that you can use to duplicate this tutorial (Heroine_stock.jpg).

PHOTOMANIPULATION


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MASTER LAYER MASKS


MASTER LAYER MASKSUSE 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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PHOTOMANIPULATION


03 BRING IN PHOTOSYoure going to build the top half of the canvas first. Drag and drop in photos of skylines that you like the look and 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.

02 CREATE PERSPECTIVENow you need the sunray perspective, which is essential in establishing focal direction. Make a new layer and draw a white line across the canvas, starting from the sun. Cmd/right-click the layer and select Duplicate Layer. With the new line, press Cmd/Ctrl+T and move the anchor point to the centre position of the sun. Rotate 15 degrees by holding Shift and repeat the process of duplicating and rotating the line until you have a rising sun type perspective grid.

01 SET UP THE CANVASOpen a new document with dimensions 2,560 x 1,440 and a black background. Press Cmd/Ctrl+K to open Preferences. Click on Guides, Grid & Slices from the list on the left and change the settings for Grid Section to Gridline every 100 per cent, Subdivisions 3. Pressing Cmd/Ctrl+ will bring up your new rule of thirds grid, which sets the guide for the sun and the boat. Vertically pull down a ruler (Cmd/Ctrl+R), locking in the middle of the canvas. This is where the sea and the sky will meet.

Its good to get into the habit of non-destructive

editing. Try avoiding the Eraser tool at all times

COLLAGE TO PAINTING

Step 19: Lighting effects

WORK IN PROGRESS

Step 7: Add focal elements

Step 1: Build a backdrop


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MASTER LAYER MASKS


07 CREATE THE SUNSET Bring in an image of the sun. Using a layer mask and soft brush, paint out the sky around it. Leave a light glow around the outer circumference with a 25% opaque brush. Align with the rule of thirds grid, and using the marquee tool (M), cut off the bottom of the sun and align with the horizon. Make a new layer and using a 200px or larger brush, paint on some blues and pinks with a 10% opaque brush and set the layer to Overlay to bring in some beautiful hues.

08 MIRROR THE IMAGEMerge the image with Layer>Merge Visible. Hit Cmd/Ctrl+A and copy the merged canvas. Track back with Edit>Step backwards until your layers return. Paste in the image, and using Transform, flip the layer vertically. Align the image with the centre of the canvas and erase anything that cuts into the top half of the canvas. Use a Motion Blur at 0 degrees and a Distance of 25%. Follow it up with Filter> Distort>Ripple (66%, medium size) on your newly created ocean to add a touch of realism.

06 USE ADJUSTMENT LAYERSWhen you bring in colours that dont fit, use an adjustment layer! This is another non-destructive technique. With the layer selected, click on the half circle next to the layer mask and choose Curves. Change RGB to your choice of red/green/blue to play with individual colour spectrums, and click to create a point. Boost up or down to add intensity or pull out the required colours. In this case, some of the clouds are too blue, so we have boosted the red to match the sunsets warmth.

05 MERGE TECHNIQUESWhen using the Brush tool, there are two shortcuts that greatly speed up your workflow: X on your keyboard switches between black and white. The square brackets vary the size of your brush. With each new image you drop onto the canvas, experiment with merging them by playing with layer styles. Use Screen and Lighten next. These are good for merging bright elements, while Multiply and Overlay/Soft Light are useful for creating vibrancy and intensity.

04 MERGE PHOTOSSee that white square that has appeared next to your layer? With it selected, your colour palette resets to black and white. Painting with a black brush will act as an eraser, while painting in white will do the opposite. Its good to get in the habit of non-destructive editing. Try avoiding the Eraser tool at all times. Bring in another layer of the sky. Using a soft brush, set the Opacity to 25% and remove parts of the photo until you have a seamless merge with other images on the canvas.

QUICK TIPEstablish your focal points early on when imagining your art. In the case of this image, the suns brightness captures the viewers attention first, leading you to the heroine and finally to the islands, sweeping your eyes from left to right across the canvas. Try to avoid cluttered backdrops that can dismantle the flow of the piece.


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PHOTOMANIPULATION


QUICK TIPIf your finished piece is too dark, put a Brightness/Contrast adjustment layer at the top of the layer chain with +15 Brightness at +5 Contrast. Is the image lacking depth? Use a Levels adjustment, slightly moving the middle slider (midtones) to affect the colours inside the vignette and around the sun.

10 FIT THE HEROINEFor the highlights, make a new layer and Opt/Alt-drag over the heroines layer mask to make a copy. With the layer selected, set it to Overlay and paint white highlights on areas of the heroine facing the horizon. For the shading, use a black brush and paint parts facing away from the sun. Leave the layer style on Normal. Mix in her shading layer at 80% Opacity. Using Curves, boost the reds and blues.

09 VIGNETTES AND OBJECTSCreat a new layer, paint black around the edges of the canvas and set it to Multiply. Create another new layer and paint with a dark-blue brush (#00192a) on the edges of the vignette towards the centre and set to Color Burn. Mix this layer in at 40-50% Opacity to accentuate the outer colours. Drop in a photo of a boat from dreamstime.com and align and transform it to match your perspective grid. Drop in the female adventurer (available on the disc) and use a layer mask to paint out the background.

12 LIGHTINGWith a new layer set to either Overlay or Soft Light, paint white streaks from the sun going outwards, following the perspective grid to create sunrays. Add a soft glow by creating a layer set to Lighten at 80% Opacity. Paint a mix of yellows and oranges around the sun with a large soft brush. Now create a Soft Light layer at 17% Opacity. Fill the canvas with blue #0319f0. Using a layer mask, erase out the centre so youre only affecting the outer rims of the horizon and the vignette.

11 FIT THE BOAT Repeat Step 10 with the front and back of the boat, shading at 50% Opacity. With Curves, pull down the reds and greens and boost the blues. Using a Levels adjustment layer, boost the contrast by inserting the following numbers into the three boxes: 57, 0.63, 250. On a new layer with 40% Opacity, paint the girls casting shadow inside the boat, following the perspective grid. Paint some ripples into the water around and behind the boat. For realism, add Filter>Distort>ZigZag, with Settings at 2 and 14 and Pond Ripples selected.

Stock image


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MASTER LAYER MASKS


13 NIGHT SKYFind a free NASA photo of a star-filled sky and drop it in. Set the blending mode to Screen to remove the black backdrop. It will almost certainly leave light artefacts, so use Levels (Cmd/Ctrl+L), bringing the far-left slider up a few numbers until black is at #000000, thus becoming 100 per cent transparent. With a laye

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