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  • photomanipulationAcanthusIan Jamieson 8

    Astral ProjectionMiguel Nogueira 16

    Remembering my childhoodClaudia McKinney 22

    Heaven can waitJeannette Woitzik 26

    creative classDancerDariusz Palarczyk 34

    BirdoNeil Hanvey 40

    Why so seriousNada Abdul Razak 44

    typographyThe art of TypographyFabiano Hikaru Higashi 52

    photo retouchBeauty RetouchBryce Chapman 58

    Professional Looking PortraitAndreea Alexandra Cernestean 66

    SimulationMiguel Nogueira 4In this tutorial, I will cover some useful and tricky techniques I have been using for a few years, especially in Sci Fi artwork. You will learn how to create cyborgs out of simple portraits.

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    photo restoringOld Photo RestorationRadosevic Alen 70

    digital paintingJane DoeBenoit Ladouceur 76

    SleepyheadsJeff Treves 82

    tips&tricksPainting with PhotoshopBert Monroy 88

    Stitching Multi Image Panoramic FilesJim Divitale 90

    Welcome into the Digital World of Psd

    Photoshop!

    Thank you for downloading our magazine! I should rather say Welcome again! As some of you may

    know Psd Photoshop had been put on hold for the past few

    months, however, in 2010 we are getting back on track with even more tutorials to follow. In order to reach more readers

    and make the magazine more available to all Photoshop users we have decided to go digital and create Free Psd

    Photoshop emagazine. Trying to satisfy all of our readers in each issue we will cover photo retouch, photomanipulation,

    picture restoring, digital painting and much more. The authors of our tutorials are from all over the world so their

    English is not perfect, however, who said we need perfect language skills to create an amazing piece of art!? We have

    also invited Photoshop Gurus such as Bert Monroy and Jim Divitale to be a part of our Editorial Team and give you the

    best techniques to improve your photoshop skills.

    I hope you will find Psd Photoshop very useful. If you are an artist yourself and have an amazing artwork you would

    like to share with our readers, please feel free to contact our Team. We love hearing from you!

    Thank you for your support!

    Marta Kobus

    Editor in Chief

  • advanced | 6-48 h. adobe photoshop CS

  • simulation

    5.psd Photoshop

    Step 3To make the cyborg line which is dividing the blue-looking jaw from the rest of the face, trace a line over the area with the pen tool. When this is done, pick a small, hard brush about 2-4 pixels. We can now right click with the convert point tool and select the option Stroke Path, hit OK! Change the Blending mode to Overlay or Multiply. Duplicate it a few times until you are pleased with the result. It depends on the skin tones of the model in some cases.

    This is also the method that was used to trace the cyborg line over the subject's hand that holds the flower. It is a bit boring, but patience is necessary! Let's give it a little emphasis. There are several ways to do this. I either use an emboss/shadow effect to our line layer or manually paint some shadows with the burn tool on the bottom of the line. There is not really a right or wrong way to do it, as long as you get to a result that you are pleased with, no matter how it was done.

    Simulation

    Step 1Using your stock, import it to Photoshop and start cropping out the background of your model and also a bit of the head we want to open, just like it is shown in picture.

    Step 2After getting rid of all skin and human parts that we do not want, we should get something like this the following image.

    The process to remove the eyebrows is pretty simple, using your healing and clone tools and just brush them away. I generally find the healing tool to be the best pick, since it generates skin tones to match the missing eyebrow spot. Almost like magic!

    In this tutorial, I will cover some useful and tricky techniques I have been using for a few years, especially in Sci Fi artwork and how to create cyborgs out of simple portraits. It is a pretty simple and quick tutorial and I cannot cover it in a step-by-step tutorial, but I will do it by describing each of my techniques and how they work. This way, you will be learning much more than by following an exhausting and absurdly long tutorial. I find it to be much more helpful this way, going straight to the points. I recommend this tutorial to Photoshop users with relevant advanced skill or at the very least, know the basics of photomanipulation, including cropping and blending.

    Source Files

  • cover artist

    6 .psd Photoshop

    Blending the engine onto skin is also pretty easy. We place the engines over the edges of our cuts on the head and desaturate them. The model's face and skin should also be duplicated and placed above the engine plastic parts, one of these skin layers set to hard light to better blend the skin shading onto the plastic and keep both, lights and other small details of the engine and human skin shadings.

    To finish, and depending on the skin tones of the model you are working with, you may also duplicate your engine stock and place it on top of the model, keeping the original colors (not desaturating them this time) and set it to Luminosity.

    I advise you to play around a bit with the blending modes to un-derstand them fully, moving and organizing your model and stock lay-ers in different ways to get a grip at what kind of results you can get.

    The stock you see also belongs to the same Gyro stock, how I did this one is not rocket science, just crop and adjust it as you please.

    The support engines of the face were built up with relative simplicity, everything belongs to the same stock. If you look carefully, you can spot where I duplicated the engine and flipped it vertically. The trick is not to use too many different stocks or it may look too messy. It is about time to add our background. I really liked this grungy feel, so I used this texture I molded on my own, using several resources.

    The gamma-looking thing over the jaw of the cyborg was actually made out of a jelly fish and some painting. Using the smudge tool and vectorizing some shapes within, darkening the lower area with burn tool, while making those small lights with the pen tool and tracing with the 'Stroke Path' option. The hand was taken from the www.sxc.hu stock site. The perspective of the hand is not very hard to find, the flower however, you will have to crop around and blend it on the fingers, cropping it some and painting the shadows over the tips of the fingers with the burn tool.

    The cyborg arm was made out of the same piece we used for the head of the cyborg. We just now have to duplicate the head, and rotate it to fit. Just like the picture shows you.

    The final effects and blends can be done by applying the final image and duplicating it, play with the blending modes and curves, (I suggest Screen, Overlay and/or Soft Light) or you can even search around DeviantART for some custom actions.

    The reason of why we are doing this is to have our lights more focused on the center of our artwork, and right now they may be looking a bit off. And, we are done! This is more of a approach study of each technique used, rather than a step-by-step with every single thing laid out and detailed to the extreme. I simply think that it would have turned out into an absurdly long tutorial that nobody would even bother to look at, and worse, turn out very confusing. So instead, I hope this helped you out more!

    by Miguel Nogueira

    Stock credits www.sxc.hu engines http://twiggxstock.deviantart.com/ model

  • acanthus

    9.psd Photoshop

    Step 1In Illustrator, create a temp-late layer and place your model in this layer. Scale the image according to your desired canvass size. Now lock the layer, and create another layer above the template layer. This is where we will be working for the rest of our time in illustrator.

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    AcanthusAcanthus is a detailed photo illustration of a fantasy forest nymph that combines artistic stock photography with complex illustration and photomanipulation. The rich colours were inspired in part by the namesake 19th century wallpaper design by William Morris. Acanthus has been a popular design that has been featured on Artician.com as well as the Behance Network. Similar creative illustrations have been commissioned for various high profile clients.

    Preliminary ConsiderationsThe first step in this tutorial involves a consideration of stock photography and graphic resources. Firstly, because we will be illustrating the models dress, we ideally want to avoid models that are wearing large amounts of clothing, so as to avoid needing to edit out bits of clothing later on. While some touchups of this sort may be required, it can get rather tricky and therefore it is best to keep the amount of clothing to a minimum. Secondly, you will want to choose a full body shot and a pose that is artistic or that implies motion. The dress will be drawn flowing with motion and your models pose should ideally compliment this. Thirdly, we will want to choose a model with little or no background, so that we may isolate her with ease.

    The other resources for the image include isolated autumn leaves and various woodcut ornaments, which can be sourced from old books and manuscripts, (some great resources include the Internet Archive and the Gutenberg Project), currency, and Google image search (be cautious that you do not infringe on image copyrights). Provided these are sufficiently clear and/or high enough resolution, they can be vectorised at a touch of a button in Adobe Illustrator. Another great resource is Go Media, who sell ready-made vector packs that often contain high quality vectorised ornaments suitable for this tutorial. Lastly, some ornamental brushes will be needed, and while there are brush sets available to download, I would encourage you to create your own, as it is quite easy.

    Source Files

  • photomanipulation

    10 .psd Photoshop

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    Step 3 BrushesOrnamental brushes can be created by drawing with the pen tool, and dragging your creations into the Brushes palette, to create an art brush. You can also create brushes by dragging your vectorised woodcuts into the brushes palette. Specific brush settings depend on your desired artwork, but ticking the pro-portional option in the brush creation adds some nice dynamic scaling effects. The brushes must be drawn with a black stroke, and we will need a white fill behind the black line work. This can be in the form of a simple fill, or depending on the artwork, as a separate white shape arranged behind your black strokes. Two tools that you will find useful for this kind of line work is the Blend function under the Object menu, using specified steps under the blend options menu (see Step 3.2), and the Transform function under the Effects menu. The transform effect allows for fully-adjustable step-ups and repeats of your pen strokes, allowing you free-dom to multiply, rotate, scale and move your strokes.

    02 Step 2 Vector woodcutsDeep-etch your collected woodcut resources in Photoshop and vectorise them using the live trace feature in Illustrator, by placing your etched .psd files within your illustrator document and click-ing the Live Trace button that appears when the graphic is selected. Ideal tracing settings depend on the specific image at hand, but the mode must be set to Black and white, and leave ignore white unchecked as we will want a white fill in addi-tion to the black strokes. A threshold setting of approximately 200 and a minimum area of 0px should yield the clearest images in most cases. The higher the threshold, and the lower the mini-mum area, the more detail you will retain. Delete any unwanted white background and youre set to go. To make tracing of the outlines more effective, it helps to apply a stroke to the outside of your etched woodcuts in photoshop before bringing them into illustrator. This gives them a more de-fined edge which makes it easier for illustrator to trace the outlines.

  • acanthus

    11.psd Photoshop

    05Step 5 Once we have finished creating our dress in Illustrator, its time to bring everything over to photoshop, within which we will be working for the remainder of this tutorial. Open up Photoshop, and create a new document according to your desired canvass size and resolution. Once you have created a new document, select File>Place ([Cntrl]+[D] on a PC or [Cmd]+[D] on a mac) and place the model stock photograph as a new layer, named model, any other name you prefer. At this point, you will want to isolate the model from the background, which you can do by drawing around her form with the pen tool and applying a layer mask, or by using any other preferred selection method and applying a layer mask in the same way.

    Step 4Now that we have created some bushes and vec-tor woodcut elements, we can begin to layer them on top of the model in order to create her dress. How this is done is entirely open to your own creativity, but as you can see from this example (Steps 3.5 and 3.6), I created a rather intricate de-sign using just a handful of woodcut graphics and brush strokes. On the torso, I concentrated using collections of small and short woodcut ornaments from currency and other sources. For the longer parts of the dress, I used long brush strokes and larger woodcut elements. While we will be doing most of the shading later in photoshop, at this point you may like to add drop shadows to your illustration to add a little depth while you are working in illustrator. However, I would suggest removing any effects before you bring everything over to photoshop.

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    Step 6With both Illustrator and Photoshop open, go to illustrator and select the dress illustration with your selection tool. Copy this by pressing [Cntrl]+[C] or [Cmd]+[C]. Now go back into Photoshop, and press [Cntrl]+[V] or [Cmd]+[V] to paste the copied dress as a vector Smart Object. Name this layer as Dress or otherwise, and finally, scale it to fit over the model correctly.

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  • photomanipulation

    12 .psd Photoshop

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    Step 8Once we are satisfied with our models form, we can move on to applying colour and detail to her dress. As it stands, the dress looks a little too clear, so we want to add some texture and imperfection. Select the dress layer, and

    Step 7Now that we have successfully imported our vector artwork into photo-shop, we can begin to make adjustments to our composition. The first logical step in this direction is to apply any necessary adjustments to the models skin and form. The perspective of my chosen stock photo

    was undesirable, giving her the appearance of very large feet, and so I cut her feet into a new layer, and moved, rotated and scaled them into a better form and perspective. I also applied various beauty retouching techniques, especially blemish removal and skin tone smoothing, which fall outside of the scope of this tutorial.

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    under the Layer Style menu in the Layers palate, select Pattern. Here you can add any desired texture. I chose to use a grassy pattern as this added a simple, yet effective noise texture. This is open to experimentation and you can add any desired pattern.

  • acanthus

    13.psd Photoshop

    Step 10Now our creation is really starting to take shape, but its looking a little flat since we have no background, depth and variation in lighting and shadow. Create a new layer at the very bottom of the layer palette, call it Background and fill it with black. Well come back to the background a little later, but for now this will give us a clearer view of the edges of our composition. Now we can add some shading to the dress. Create a new layer at the very top of the layers panel, call this Shading and set the blending mode to multiply. Now in the layers panel, hold down [Cntrl] (PC) or [Cmd] (mac) and click on the model layer to draw a selection. Now hold [Shift]+[Cntrl] (or CMD) and click on the dress layer. This will add both the woman and the dress to your selection. Now select

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    Step 9Now we have a little more texture in our dress and its time to bring it to life with colour. I chose a delightful blue-green colour scheme consisting of camouflage green, forest green, grass green, olive, teal, aquamarine and stone, but you can let your creativity run free here. In the Adjustment Layer menu, select Photo Filter. There are of course different ways of applying colour through adjustment layers, but the photo filter feature allows for easy access to a comprehensive HSV colour space, while also offering the option to preserve luminosity and to apply alpha control. It is an often neglected, yet powerful tool. Choose your desired colour and name the photo filter accordingly. Now fill the layer mask on the photo filter with black to hide the effect. You may also like to apply the photo filter as part of a clipping group

    (hold the alt key and place and click the cursor between the layers in the layer panel) so that it prevents your colouring from spilling over the edges of the dress. With the layer mask selected, take a white brush, with 100% opacity and flow, and a slightly soft/feathered brush tip, and paint over those elements of the dress that you want to apply the particular colour to. Create another photo filter with a different colour and repeat this action until you have coloured in the dress fully with your chosen variety of colours. My models bright red hair clashed terribly with the greens, so I also recoloured her hair, this time by creating a new layer above the model layer, filling this with my desired colour, setting the blending mode to color, and clipping this layer with a layer mask.

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    the Shading layer and click on the layer mask feature to add a clipping mask. This will restrict your shading to the girl and her dress. With a soft black brush with a low opacity of 5-10%, begin to add gradations of shading to the dress. Increase the opacity to add deeper shadows, and use a very low opacity and wide brush to add subtle global shading. Adding realistic shading requires a consideration of the direction of light sources, as referenced from the model, the path of the light and possible obstructions that cast shadow, and the basic rule that surfaces perpendicular to the light source will be brighter regions with less shadow.

  • photomanipulation

    14 .psd Photoshop

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    Step 12The final steps involve adding falling autumn leaves to both the foreground and background, and adding depth of field and motion to the latter. Starting with the background, Create a new layer group above the green glow layer and call this Background leaves. Inside this group, place a stock image of isolated forest litter, and name this layer as depth_of_field. Double click this layer to open up the .psd. Now right click this in the layers palette and select layer from background. Select the white background with the magic wand tool or Colour range feature under the Select menu and delete this selection, leav-ing only the leaves and on a transparent background. Save and close the .psd. Going back to the main photoshop file, select your depth_of_field layer and go to Filter>Blur>Motion blur. Choose your angle of motion and distance, in this

    Step 11Now that we have added shading, our model is really coming to life. This step involves adding a subtle green glow to the model, so as to soften the edges and reduce the contrast between the background and our model. Create a new layer above the background layer and call this green glow. Using a large soft

    case 90 degrees vertical and 9px of distance. This blur feature will give your leaves depth of field and motion, lending great depth and movement to our composition. Now add a scatter of a few more single isolated leaves, increasing their size proportionately as they come closer to the foreground. In each instance, add a little Gaussian Blur to give them a certain depth within our depth of field, decreasing this as they come closer to the foreground, coming into focus with our model. Now it is unlikely that the lighting will be perfect on our leaves, so you may want to shade them a little in the same way we shaded the dress. Create a new layer above the leaves, call this leaves_shading and set the blending mode to multiply. Use a soft back brush and a low opacity to paint in some shadows on to your background leaves.

    brush with a low opacity, paint around the model to create a subtle radiance. Once complete, right click on the layer and convert it to a smart object. Now got to the Filter menu>Noise>Add noise. Add 2% noise, with monochromatic and Gaussian selected. This will break any gradient banding that may occur.

  • acanthus

    15.psd Photoshop

    Step 14Now your composition is complete. You have a stunning forest nymph animated with great motion and detail complete with depth of field. Possibly your lighting may be a touch incorrect and as a final step you may want to do some overall light and colour adjustments, which you can do with the addition

    Step 13Now for the final step, the foreground leaves. Create a new layer group at the top of the layers panel. Now add some more isolated leaves, again increasing the size as they come closer to the foreground, and even making those at the very front quite large. Pay particular attention to the detail in colour and light-

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    ing with these leaves, again adding a shading layer and adjusting the colours and lighting of the specific leaves using the appropriate adjustment layers, such as Hue and Saturation and Levels. These you can apply to the specific leaves by turning them into clipping groups (hold the alt key and place and click the cursor between the layers in the layer panel).

    of a Levels and Vibrance and Hue and Saturation adjustment layer at the very top of your layers panel.

    by Ian Jamieson

  • This is a simple tutorial that will show you techniques to improve your work. It may help you with the details of your digital artwork, such as lighting, cropping and blending of textures and colors, and shapes. It is a simple and quick tutorial. If you already have basic knowledge of Photoshop and its main tools, you should not face any problems going through it.

    Astral Projection

    beginer | 1-6 h. adobe photoshop CS

  • astral projection

    17.psd Photoshop

    Picking your stock pictures I generally find this step is not fun at all. For your manipulation to turn into a great ones, instead of just good, you will have to be patient and be picky about the stock you choose. But, fear not! In this tutorial, I will provide you with all the stock resources you need.

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    The first steps is to organize the documentOpen Photoshop and follow the steps: The easiest way is to just open the stock picture in Photoshop. Go to the navigation menu in Photoshop, select the menu File>Open and open the image of our model. Or, you can just drag the stock image Closeportrait_katlovestock-deviantart into Photoshop and start working on the same document. Duplicate the layer we have and set the original to invisible. You do this by clicking once over the little eye icon you see at the left side of the layer. (It is always good to have a backup of the original picture so you can always go back and get another duplicate of the original in case you need, or in case you just mess things up!) Select the image we are working with by pressing the [Ctrl]+[T] shortcut, then lower its position just a little bit. (We are doing this in order to let our tree have some more space to be noticed on the top of the head.) Let's make a new layer group by hitting [Ctrl-G] and putting our model picture inside. (I renamed the group to Model contrast, because we will do just that boost the contrast of the details with the Photoshop default blending modes. You may rename this folder to whatever you please.)

    Reworking our stock, boosting contrast and lightning.Model... model... model! Head over to the group of layers we just made and duplicate the layer of our model. Now select the newly duplicated layer on the top, and set its blending mode to Screen. (This will bring a whole new life to the lightning and contrast levels of our model, but we are not done yet!'

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  • photomanipulation

    18 .psd Photoshop

    Cropping with the Pen tool and masking. (If you already know cropping using the pen tool and masks, this step may be skipped, otherwise I will be explaining it next.) It is about time that we get rid of the white background from the stock picture. The one way I have found to remove backgrounds in an image is to use the Photoshop Masks and Pen tool. Don't worry, I will guide you through it! Select our Model group (Make sure the group is selected, not the layer, but the whole group) and apply a Photoshop Mask to it. You do this by clicking on the icon shown in the picture. Now make sure you click the white rectangle that has appeared after the name of the layers group (Also known as Photoshop Mask). We have to make sure we have it selected so we apply the crop to the mask and not the picture. Using the Pen tool ([P] key on your keyboard), start laying out dots over the white background that you want to remove and around the model. (I recommend you to zoom in a bit to get a more accurate sight of what you are selecting.) Tip for more accurate cropping with the Pen tool:

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    Applying textures and keeping shapes!Our next step is going to be importing the textures that come with the Stock folder of this tutorial. Import them to the Photoshop document, create a group for them and send the model group to the back of our texture collection. Drag the texture Vintage3-03 to the bottom of our texture group and set the blend-ing mode to Hue, followed by Fill of about 40%. (This will darken the shape of our model a bit, so the textures which we are going to apply will not make her look too bright.) What happens now is that our texture is not large enough to cover all the image! Stretching it is out of question, since you would lose minor details. This is important to make a great looking manipulation from an okay looking manipulation! But, enough of all that, select our current texture layer and duplicate it. Then proceed to Edit> Transform and flip the texture on the vertical. After all that, merge the two layers and re-position the texture to cover the whole image area. Now that we begin to have that funky look, let's repeat the previous 5.3 step, to enlarge our other texture Vintage3-02. Duplicate the new texture three times. Set the layer next to the Vintage3-02 texture to Hard

    Notice in the picture that I am laying out the dots on the end of each curve of the shape of the model. That is all we need, really. Let's see why in this next step: Now that we have our selection, we are going to convert all those plain lines into curves. Hold the mouse over the Pen tool icon for a second and pick the Convert tool point tool. Then start converting, as shown in picture. Once everything is done, you may right click over your image with the same tool still selected and pick the option called Make Selection Select the Mask you have after your group folder and take out your Brush tool to proceed to paint the background with pure black. (This works as sort of like an Eraser tool, the problem is, that if you mess things up with Eraser and remove something you did not want to, you cannot go back to have that piece you deleted, unless you perform an Undo. This is not always available. With masks, you can just paint the mask with a pure white color and watch your background you just removed, coming back to life!)

    Light and the others on the top of it to Soft Light. Set the texture layer on the top to a Fill value of 46%. And if you did everything as mentioned, it should look like what is shown in the snapshot! Notice now that the textures are not correctly blending to the model's skin. So, we need to find a way to keep the color and texture details, but also bring out the shading of the skin more. Don't worry, it is actually pretty simple. Duplicate our Model contrast group and bring it to the top of the Layers palette. Open the group and delete the layer that is in Screen mode. You now have your model in normal blending mode, but now set it now to Luminosity. Looking better already, but still not quite what we want. The original shading of the model's skin is now stronger than the textures. This can be easily fixed by Saturating the image. ([Ctrl]+[Shift]+[U]) The look is still too dark, so we will fix this by heading to the top navigation menu of Photoshop: Image>Adjustments>Brightness and Contrast, as shown in the picture. You may also play with the Curves and Exposure options within the same menu, until you get the look you are after.

  • astral projection

    19.psd Photoshop

    The BackgroundFinally, we will add a real background for our work, personally, since I do not feel like spending a whole lot of time manipulating my very own spaces-cape, I opted to use one that you may find in the Stock folder. Simply import it to Photoshop and drag it all way down in your layers palette. Bringing it

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    Boosting details With the Luminosity layer of your model still selected, select your Dodge Tool, (Press [O] on your keyboard) and start painting some of the light areas over the skin as shown. (Works very well with a soft brush along with a soft opacity level over the already brighter parts of the skin.) It is time to remove that background from the texture, to do this, simply press [Ctrl] key on your keyboard and click once over the mask of the model. This will give you the same selection you made with the Pen tool in a previous step, now it is much easier to remove the

    backgrounds. Make sure you invert the selection ([Ctrl]+[Shift]+[I]) before going to the textures group and removing that background. Looking pretty good so far, huh? But, we are not finished yet. Notice the lack of shading between the belly and the chest? We can fix that by painting the surroundings with a soft black brush. If you have some custom painting brushes, it will make the task much easier and you can easily find many of them for free on DeviantART. When you are finished, set your painted shadows to Multiply.

    down behind your subject. We are almost there! It is starting to get the mood we want and we now have to do the same with the textures, since before they where too small to fit the whole image size. Duplicate the layer and flip it vertically.

  • photomanipulation

    20 .psd Photoshop

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    The TreeThe tree is actually pretty simple to blend. Import the tree and resize it to fit the area above the head as you see fit. After doing this, simply set the blending mode of the tree layer to Darken. (This works perfectly to remove

    The Petals.I could not find where I got the petals from, but I believe it was from the www.sxc.hu site. This is actually a pretty simple step. Just crop them around, one by one, by duplicat-ing the petals layer and playing around with the blending modes, until they fit the lightning. Use the friendly dodge and burn tool to emphasis this effect. Adding movement to the petals is also easy. Go to Filter>Blur>Motion Blur menu and play with the settings until you are pleased with the preview and click OK! Congratulations. We made it! Picture of the final work attached to here

    by Miguel Nogueira

    any white background. You may also try to duplicate the tree layer and play around with the blending modes for different effects.)

    Stock credits: www.sxc.hu Additional stocks, such as tree and petals http://cloaks.deviantart.com/ The textures http://katlovestock.deviantart.com/ The model http://resurgere.deviantart.com/ The background

  • medium | 3 h. adobe photoshop CS4 | cintiq wacom tablet

  • childhood

    23.psd Photoshop

    Step 1Start by choosing a simple background. Play with the settings by duplicating the layer and hiding it (in case you mess up), then duplicate your shown background and play with the blending modes. I usually try Soft Light or Multiply at lower opacities (soft light gives more depth and multiply adds drama).

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    Step 2Get your model ready, then apply a mask to her layer. I usually leave a little shadow around the base (as you will notice here), so that when blending the final image, I can add more or take away the excess. This also helps with the natural shadows around her feet. Being that this is a more texturized piece, I did not have to be as rigid in the masking process as in some of my other pieces.

    Remembering My ChildhoodI wanted to create a textured piece filled with emotion and light trying to convey a time in my life that was carefree and joyous. This piece is all about using color and textures and I urge you, if you feel daring, to try your own colors and textures and create something really unique to you. Create something that makes you reminisce about your own childhood. Expect this to be a little time consuming not too bad but enough to practice getting tones and light just so. Try to pay attention to texture detail placing it in the right places, so as to add to your picture. Sometimes this is what can make or break a picture. If you put too much, it will take away from what you are trying to achieve. Just the right amount can make it perfect for the emotion you are trying to convey in the picture. Have fun!

    Source Files

  • photomanipulation

    24 .psd Photoshop

    Step 4This is where you can really begin to see the im-age come together. Play with all kinds of textures. Sometimes pictures you would never think could work will work the best for you! In this picture, I used several cloud textures and one water texture. Remember to mask the parts you do not want and keep balance in the image. I also paint-ed my models hair to add more of the windswept feel to the scene. Remember to keep the hair on its own layer. Finally, make a Curves adjustment to add depth and clarity to your image. Lower the opacity if it's too strong.

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    Step 5After you merge all the layers together, duplicate them, then go to Image>Adjustments>Shadows/Highlights and experiment with the sliders to see what kind of depth or highlights can be brought to your image. That's all. Remember it is all in the textures and blend modes.

    by Claudia McKinney

    03

    Step 3Begin adding textures via various blend modes. Here, I added a texture of sky and grass at full opacity with the soft light mode. I did not mask anything in this particular piece because it all blended together perfectly for me. You will note that below this layer, I have a ray of light that is set to screen at 7% opacity just to give a slight sense of light to the left of my model.

  • Heaven Can Wait

    medium | 2 h. adobe photoshop CS4

  • heaven can wait

    27.psd Photoshop

    Let's start+ Create a LandscapeTo begin, create a new document (file>new) with an image size of 1600 x 1600 px and 300dpi. Name it heaven can wait and click OK. To create the landscape open the file sky.jpg and drag-and-drop it with the Move Tool [v] in to your new document. Do the same with ground.jpg. To keep everything straight, it is useful to rename the lay-ers by double clicking on the name in the layers panel and changing it to something useful.

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    DynamicTo get a more dynamic sky you have to distort the clouds (edit>transform>distort). You will see a frame with eight markers around the layer. To distort the image you can drag the corner markers and stretch them. To apply the transformation, hit Enter.

    PerspectiveIn the same way you add perspective to the ground (edit>transform>perspective), activate the ground-layer and drag the corner markers to correct the perspective (see figure). This will mo-mentarily render the image very muddy, but after applying the transformation it will become clear.

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  • photomanipulation

    28 .psd Photoshop

    More depthThe next step is to create a layer for the haze. Click on the new layer button in the layers palette and rename it. Take a white brush with 0% hardness and an opacity

  • heaven can wait

    29.psd Photoshop

    Build the CanvasNow it is time to unhide the easel and transform the canvas with Edit>Free transform. You also can use [Strg]+[t] and drop down the menu by click-ing the right mouse button to add perspective to the canvas.

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    FrameTo build the canvass frame duplicate the easel-layer and move [v] the duplicated layer to the right edge of the canvas (see figure). Create a black layer mask by holding down the [Alt]-key while clicking on the Add Layer Mask icon. All pixels in this layer are hidden now. Using a white brush, you can paint the parts you want to keep in your image. Make sure that the layer mask is activated. In the same way you can build the frame on the top of the canvas.

    Canvas-look+ConnectionTo get a typical canvas-look, go to Filter>Texture>Texturizer and choose Canvas, Scaling 91 and Relief 1. Create a Clipping Mask above the canvas (layer>new, activiate clipping mask) and use the Brush Tool to paint a shadow around it. Use a dark gray brush with a 40% opacity. In this step you will build a connection between the two images and let the clouds fly off the canvas. Duplicate the canvas-layer, and put it on the top of the layers palette. Then, move the clouds towards their cor-rect position (reduce opacity for a better view). As in step 10, you create a black layer mask and use a brush to paint the clouds into your image.

  • photomanipulation

    30 .psd Photoshop

    Extract the birdsNow, open the file birds.jpg and add it to your image. You can get a transparent background by choosing blending options (double click in the lay-er). Slide the white triangle to the left until the sky in the image is completely gone. Split the sliders by holding the [Alt]-key to make a more accurate attempt and then click OK. To use this layer for the next step you have to create a new layer below the birds and choose Merge down.

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    Let them flyWith [Strg]+[t] you can transform the birds like you see it in the figure. To get the white birds, you have to duplicate and invert [Strg]+[i] this layer. Create white layer masks for both bird-layers by clicking on the Add Layer Mask icon. By using a black brush you can hide the parts you do not need.

    ShadowTo get a more realistic look, add a shadow on the ground. Create a new layer below the easel-layer and use a dark gray brush with 0% hardness and 60% opacity to paint the shadow. Set the blending mode to Multiply and go to Filter>Blur>Gaussian blur, amount 20px. You can also reduce the layers opacity to adjust the shadow.

  • heaven can wait

    31.psd Photoshop

    Easels fine-tuningCreate a new Curves Adjustment Layer by clicking the marked symbol to adjust the contrast of the easel. Use [Strg]+[Alt]+[g] to get a Clipping Mask. The easel also needs shadows. As in step 11, you create a new layer as a Clipping Mask and paint the shadows with a small brush with 15% opacity. Finally set the blending mode to Multiply.

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    TextureNow it is time for the texture. Open the file and drag-and-drop it with the Move Tool [v] into your image. Transform it with [Strg]+[t] and set the blending mode to soft light.

    More impactTo give the image more contrast add a new Levels Adjustment Layer (as in step 16) and adjust the midtones (see figure). Because of the texture, the edges are too dark now. You can correct it by painting in the layer mask as you see in the fig-ure. Another way to get more contrast is to create a Black and White layer in the Soft Light blending mode, with 50% opacity.

  • photomanipulation

    32 .psd Photoshop

    The EndThe last Adjustment Layer will add the Hue. Choose Solid Color (db8a17), set the blending mode to Soft Light and reduce the opacity. Finally, use [Strg]+[Shift]+[Alt]+[e] to copy the layers once again and go to Filter>Sharpen>Unsharp Mask with the settings 50 20 0. Set the opacity to 50% and reduce the sharpness of the ground by painting in the mask. That is it! I hope you enjoyed this tutorial. If you have any sugges-tions or questions, please feel free to send me an e-mail: [email protected]

    by Jeannette Woitzik

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  • 33.psd Photoshop

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  • beginer | 3 h. adobe photoshop CS3

  • dancer

    35.psd Photoshop

    Step 1 Lets create a new document with 4000x3163px dimension and fill the first layer with black. Create a folder named BG and open a picture skyscrapers.jpg in a new layer fitting it proportion-ally to the width of the document. Next move up whole layer like it is depicted in the picture above.

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    Step 2 Now we take care of making the sky in right and left corner uniform. Thus, using the rectangular marquee tool we select a 1500x750px area in a top left corner we copy [Ctrl]+[C] and paste it [Ctrl]+[V] into a new layer, flipping it horizon-tally (Edit>Transform>Flip Horizontal). Next we move this layer to the top right corner, change the blending mode (Darken) and mask out the redundant parts.

    DancerThis tutorial shows how to create dynamic illustration. We will concentrate on masking and adjusting colour parameters mainly. We will learn how to use blending mode of layers and how to use pen tool. We will put parts of stocks to use in order to improvement defects and elaborate details.

    Source Files

  • creative class

    36 .psd Photoshop

    Step 4 Create new layer by choosing (Image>Apply im-age) and click OK. Use filter (Filter>Blur>Radial blur) with the following settings: Amount: 100, Blur method: Zoom, Quality: Best. Change the layer blending mode to (Color Dodge) and set the opac-ity to 75%. Mask edges of the layer in a way, that the light is focused in the central part of the city.

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    Step 5 Create another new layer choosing (Image>Apply image). Blend a whole (Filter>Blur>Gaussian blur) Radius: 8px, masking this time a central part of the layer. This way, we obtain a depth of field.

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    Step 3 Using (Selective Color) and (Curves) we choose the appropriate colors for the city.

  • dancer

    37.psd Photoshop

    Step 7 Now load a texture.png file and scale it to 42% of a whole picture size. Then we push [Ctrl]+[T] and adjust the height of the texture to the height of the floor. Having the transformation active [Ctrl]+[T], we choose (Edit>Transform>Perspective) and having a (Shift) key pushed, we move one of the top corners of the picture to the center.

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    Step 8 Mask the texture edges with a soft brush and remove it parts in a place where the dancers hands and a head appear. Set the blending mode to (Soft light) and change a texture color with (Image>Adjustment>Hue/Saturation).

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    Step 6 Add new folder named Dancer. Open a picture and cut everything except the floor and a dancer. Below the layer with dancer we place a floor floor.png, which I have prepared by copying parts of the original picture with (Clone stamp) tool. Now we mask the layer with a dancer (Layer>Layer mask>Reveal all) with a soft brush: Master diame-ter 300px, Hardness 12px, Opacity 55% in a way to make the layers match each other. Next we select both layers and merge them together [Ctrl]+[E]. Then we duplicate the layer [Ctrl]+[J], change its mode to (Overlay) and opacity to 45%.

  • creative class

    38 .psd Photoshop

    Step 10 Create another folder named Dust. In this step we will focus on masking and appropriate placement of elements. Lets open dust1.jpg, reduce its size and change the blending mode to (Screen). We move the layer into a suitable place and mask it this way to make the dust appear above the dancer. Next, using (Image>Adjustments >Hue/Saturation) we give it a color matching the rest of illustration. Repeat this work using also the sec-ond picture dust2.jpg. To obtain a better result it is worth to differentiate a dust masking in a such way, so it would appear in front of a dancer.

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    Step 11 Create a new layer in a folder. Using a (Pen tool) set to (Path) we draw a path on which the lace will stretch. We change the brush parameters: Master diameter 15px, Hardness 100%, Opacity: 100%, Flow: 100% and go to the (Path) tab. Click the layer containing a path with right button and select (Stroke path). In a new window select (Simulate pressure) and click OK.

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    Step 9 Create a new folder Stones in a Dancer folder. We cut the part with a broken floor out of the layer and move it into a Stones folder. We duplicate it, and set the blending mode of the stone in the un-derlying layer to (Multiply). Now we return to the stone in the above layer and rotate it about -15% and move it to achieve the look that it is falling off. Repeat this step for all the stones, remembering about setting the appropriate degrees of tilt for stones placed in the upper layers.

  • dancer

    39.psd Photoshop

    Step 13 Restore default color settings [D] and choose (Layer>New fill layer>Gradient). Pick the fol-lowing settings: Style: Radial, Scale: 150% and set the (Reverse) option. Now flatter the layer (Layer>Rasterize>Layer) and change its blending mode to (Soft light). In case, when the illustration became too dark, you should mask a its central part with a soft brush or just change the opacity.

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    Step 14 At the end, the only thing we are left to do, is to create a folder SET containing the setting for a whole illustration. We do this using (Curves) and (Selective color). Additively, on a new layer having blending mode set to (Screen), we create a light effect using brush with #d73015 color and following settings: Master diameter: 1600px, Hardness: 0px, Opacity: 100%, Flow: 100%.

    by Dariusz Palarczyk

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    Step 12 Now we go to the layer properties and set (Bevel and Emboss) and (Gradient overlay). In the same way we create another shoelace. We add layers masks and using a brush we hide the shoelaces in parts where they should appear behind build-ings and dancer.

  • medium | 2 h. adobe photoshop

  • birdo

    41.psd Photoshop

    Accompanying imageI start with a basic pen and paper sketch scanned into Photoshop. This is my basic sketch, inked using fine writer pens. You should try a sketch with a lot of detail to get the most out of this technique.

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    02Accompanying imageUse the Magic Wand tool to make an outline selection of the bird. Select Layer via Copy ([Ctrl]+[J]) to have an isolated copy of the bird on a new layer. Now erase the content of the background layer and fill it with a rich red color. I used #972608, but any red color will do just fine. Finally set the bird sketch layer to Multiply. If you look at the completed.psd file, you will have seen that I have my bird and lettering in different layers. I created this file like this so that you can try adding your own text. To get the nice autumn green's, brown's and red's in the finished image you are going to have to use some magic later on. For the moment, the colors we want to use are the most luminous and day-glow 80's as possible. Think pink, turquoise, electric blue and so on. You might want to create your own swatch at this point of bright colors. Use the magic wand to create another outline selection of the sketch layer and click on the red background layer. Press [Ctrl]+[J] to make a new layer from this selection. You should now have a red silhouette on a layer between the background and the sketch. This layer will act as the mask for our colors, highlights and shadows. Pick a suitable hard round brush and create a new layer above the red silhouette. Right click the layer in the layers palette and choose Create clipping mask. Now we can begin to add some color to our bird.

    BirdoThis tutorial will show you how to color a sketch using masks and blending modes. There are a few tricks along the way and some useful shortcuts for completing illustrations quickly. This tutorial will take approximately two hours,but it depends on how quick you are at sketching and coloring. Hopefully, at the end of this tutorial I will have made you a lot faster

    Source Files

  • creative class

    42 .psd Photoshop

    Accompanying imageAfter the shadows are finished, create a new layer above to add highlights. The highlights allow us to make certain parts of the image pop out a little more. Use a small, solid white brush set to about 40% opacity. We just want to give the larger areas some shine, so do not go overboard with this step. For the next step we want a good grainy tex-ture. Something like a card without too many creases in it. For textures I like to raid my recycling bin, since it is usually full of empty packaging, cereal boxes and brown paper bags. Scan in a texture to a new canvas and do a quick select all and copy. Switch back to the bird canvas and make a selection of the sketch layer with the magic wand. Now press [Ctrl]+[Shift]+[V] to paste the texture into this selection. If your draw-ing has any areas that you do not want to texture (like teeth or the whites of eyes), use the eraser to get rid of those parts. Once you have your texture in place, change the blend mode of this layer to Multiply. Repeat this process again, but this time set your blend mode to Overlay and drop the opacity to about 50%.

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    05Accompanying imageNow that we have the bird near completion we are going to take a look at the background. Paste the full texture we created before above the red background layer that we created at the start of the tutorial. Set the blend mode of the layer to Multiply. Now the next step is something that I use quite a lot when creating single character illustrations and is a quick method for creating detailed backgrounds. Make a duplicate of the sketch layer and place it between the texture and background layers. If you have duplicated the sketch layer remember, to change its blend mode from Multiply back to normal. Using the arrow tool (V) hold down Alt key and drag the sketch around to create duplicates around the screen. Try to make sure that you make this duplication placement as random as possible. Once you have a nice back repetition merge, all of these sketch layers into one layer. Invert this layer using ]Ctrl]+[I] and set the blend mode of this layer to Overlay. Add a vector mask to this layer. If you have not done this before, with the inverted layer selected look for a small icon at the bottom of the layers palette with a white circle inside a grey square. Click this icon and a linked mask should appear above. The mask is white at first showing the entire inverted sketch. We want to get rid of the outer edge of this layer, so select a soft edged brush and simply paint black onto the canvas. If you still have the mask selected, the inverted sketch should start to be erased. Duplicate the texture layer above the inverted sketch. Select the bottom most of the two texture layers and erase the center using a large soft brush. Aim for a shape similar in dimensions to the inverted sketch layer.

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    Accompanying imageApply a block color to each section of the bird. Do not worry about shadows or highlights at this point. Color every feather and if everything is go-ing according to plan, you should have a vividly, bright picture of the bird. If the colors seem dull make sure to liven them up a bit more. Try to use white sparingly, maybe the whites of its eyes, the odd feather and any teeth. Once you have the block colors finished you can start thinking about shadows. Create a new layer above the block color and set it as a clipping mask. For shadows I like to select a medium light gray and simply paint over the places they are needed. If you set the blend mode of the shadow layer to Multiply, it should start to give definition to all of the feathers.

  • birdo

    43.psd Photoshop

    Accompanying imageDuplicate the base color layer of the bird twice by selecting the layer and pressing [Ctrl]+[J]. On the lower copy open the layer styles by double click-ing on the layer in the layers palette. Click stroke and add a thick black stroke about 25 pixels thick. On the copy above repeat this stroke, but make it slightly thinner and dark green.

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    Accompanying imageThe last thing to do is add the magic layer that ties all the colors together. Create a new layer above all the other layers and fill it with a beige skin tone color. Finally, set the blend mode to Hue and the opacity to 75% and we are done. The Hue mode is perfect for giving an unexpected touch to these kinds of drawings since it gives fantastic results and is easily editable.

    by Neil Hanvey

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    Accompanying imageCreate a new layer and open the splats.abr brush file. These brushes were created by my wife a few years back using Indian ink, a pipette and a thin card. Choose one of the larger splats and open the brush options. Change the angle jitter to full and paint a rough white 'bleed' around the bird. Create a new layer above this and, using the same brush, paint a slightly smaller bleed in yellow. Now set both of the blend modes on these layers to Over-lay. Once you have done this move back to the bird to add some outlines.

  • In this tutorial you will learn how to play with gradient colors textures.

    Why So Serious

    medium | 2-3 h. adobe photoshop CS2

  • why so serious

    45.psd Photoshop

    Step 1 Draw any object & you can use references if you want, using (Polygonal Lasso Tool) because we want some sharp ending. Here I draw a woman so I start to draw her body first, and note that you don't have to draw details.

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    Step 2 Color your art, for me I used ([#fad5a6] for skin, [#efc590] for the shadow on the skin, & [#fb-dbb3] for the light). Always in my work I use three colors to color the object, the main color, a darker color for shadows & a lighter color for lights.

    Step 3 Add a new layer and draw the hair and color it with [#ffffff] , then go to layer>layer style>Gradient Overlay, & choose these sittings:

    Blend mode: Normal Opacity: 100% Gradient: #ffffff & #fff8be uncheck Reverse Style: Liner check Align with layer Angle:90 Scale:100%

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  • creative class

    46 .psd Photoshop

    Step 4 Merge all the layers together by [ctrl] and select all the layers then click [ctrl]+[E] then Go to layer>layer style>stroke, and choose

    Size: 2Position: Outside Blend mode: Normal Opacity:100% Fill type: Color Color: #826c46 Then click OK

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    Step 5Draw the lips in another layer using the same tool & color it with [#ff998e], then draw the eyebrows coloring them with [#826c46] the same color we used for stroke before.

    Step 6 Draw the sun glasses shape and after coloring it with white color change the opacity for the layer to 50%.

  • why so serious

    47.psd Photoshop

    Step 7 Draw the glasses and fill it with black strips pat-tern and change the opacity to 25%.

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    Step 8 Color the background with (Gradient tool) using these tow colors [#ed53ff] and [#6ef9e4].

    Step 9 Use (BDBrick) font to write (Why So Serious), using these sizes (why=163pt, so=163pt, serious=72pt) note that we are trying to cover most of the body area not the whole body, then changed the fill to 0%, then go to layer>layer style>Gradient Overlay and coose the tow colors [#eed115] & [#fd1e55], then add white stroke size [9px] At the end go to Edit>transform>rotate: -20.5.

  • creative class

    48 .psd Photoshop

    Step 10 Select all the layers and click [Ctrl]+[E] to merge them.

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    Step 11 Add an old yellow paper in another layer and change its mode to Multiply.

    Step 12 Add a big splatters brush in a new layer using dark gray color I used [#3f412d] and change its mode to Soft light.

  • why so serious

    49.psd Photoshop

    Step 13 Add some dots and circles around the object & stroke them with size [3 px] using [#4f3e15] color.

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    Step 14 For the frame, draw a light yellow frame using (Rectangular Marquee tool).

    Step 15On another layer use splatter brush on the edges of the frame & merge these layer with the frame layer.

  • creative class

    50 .psd Photoshop

    Step 16Go to layer>layer style>Pattern Overlay and choose any dots patterns you have, then add a new layer then select the new layer and the pattern layer then click [Ctrl]+[E] to merge them.

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    Step 1717th: Go to layer>layer style>Gradient Overlay use these three colors ([#ff331e], [#ffb57a], [#fff8cc]).

    Step 18After you finish add some artistic touch, I added a TATU stars & some texture to the frame.

    by Nada Abdul Razak

  • advanced | 180 min. adobe photoshop CS3

  • the art of typography

    53.psd Photoshop

    Choose a theme Before developing any piece, you got to have a theme in your mind. What do you want to communicate? What ideas you want to expose? Which sensations you want to transmit? Having these goals defined, creativity occurs more easily, speeding up the entire workflow. A picture is worth a thousand words. A good idea is worth a thousand awful pieces. The goal of Typography was to show a composition study without telling anything by words. That's why the whole piece is messy and purposely meaningless.

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    02Define a structure to your composition Every good piece is planned before made. Some of the solutions appear during the implementa-tion, but most of them must be drafted even before you open a window in the program. Use the paper and the pencil rather than the screen and the mouse. Sketch the biggest amount of ideas, shapes and elements that comes to your mind. Try patterns that make your layout harmonious, always imagining its possible results. As a guide, draw from two to three lines that will sustain the whole composition. Arrange them in various ways: crossing, interlacing, putting in parallel etc. Imag-ine yourself alocating the elements, filling gaps and valuing spaces. Since we are working with typography, these spaces will be filled with types and text boxes. Draw at least ten possible varia-tions of these guide lines on a piece of paper, and then put them side by side. Trust in your artistic intuition and choose the one that best suits you.

    The art of Typography How to use text to create a great pieceNot so long ago, typography was an art confined to a restricted group of scholars who worked on the old type foundries, demanding specific knowledge to understand its complex design procedures and a high artistic sensibility to capture the subtle way of how the letter and its spaces interact. In addition, it required from the typographer not only special skills in the handling of different fonts, sizes and text boxes, but also great patience and dedication, once the arduous process of making a piece took days, even weeks.

    Only with the evolution of new technologies the work became more democratic. The computer particularly the advent of software enhanced all the working instruments developed by men, making them more dinamic, pratical and accessible. Mankind contemplated a huge turn of events in the modus operandi of every single profession, giving to the technical-scientific knowlegde the hard task of managing an almost endless array of tools to develop a wide variety of projects. Some radical specialists like to classify this technological effervescence as the Third Industrial Revolution. Other, less enthusiastic, afirm that these events are nothing but a natural consequence of the wave of innovation that characterized the 20th century. Whatever the verdict is, both sides agree on one point: revolution is a term that fits perfectly to the field of graphic design.

    We are a lucky generation. Nowadays, any amateur is able to create a good piece. The flexibility of computer has helped graphic design to become multipurpose, fast and highly effective. Within this new avant-garde, typography protested with all of its strength, renewed by a voracious generation of young designers who are creating a new paradigm of artistic expression. Playing with type has now become the fashion. The goal of this tutorial is to help you creating a consistent piece entirely based on typography. Learn some basic techniques to get harmonious layouts and improve your composition skills.

  • typography

    54 .psd Photoshop

    Fill your artworkOnly now the true work begins. The dashed lines are now useful for guiding the whole composition (fig. 004). In the example, they divide the canvas in at least three assimetric spaces that can be placed between empty and full. Enjoy the variety of colors you selected previously and keep yourself limited to those colors in order to createsome consistency. Try to always use colors that matches and avoid visual redundancies. Be creative when filling the empty spaces. Resize the types in different ways, overlay it, make new shapes and text boxes. Use your imagination and don't be afraid of failing! The computer gave us all the incredible hability of going back on earlier steps if you eventually did something wrong ([ctrl]+[z]/[cmd]+[z]).

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    Text column In the example, I wrote random words and stacked them in column. And then I grouped them in a folder (by selecting them all and pressing [ctrl]+[g]/[cmd]+[g]), merged it ([ctrl]+[e]/[cmd]+[e]) and inverted the whole set in order to purposely disturb readability.

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    Color paletteThis step deserves a special attention. A good first impression only happens when you choose your palette carefully. The way you spread it though the artwork is what will define its beauty (or its ugliness). There are certainly hundreds of beau-tiful acromathic artworks, but for our study, we are assuming the use of color as a tool to make your piece more attractive. To get a nice palette, try to use a color wheel. There are many ways of extracting good combinations from it. Paralell colors express a certain mood, inverse colors are complementary and so forth.

  • the art of typography

    55.psd Photoshop

    SourcesThe art was largely made by cutting and pasting. Gather the biggest amount of journals, articles, newspapers as possible. Scan them, cut out parts of their sections and fill in the gaps in ways you find interesting.

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    Retro typeThe stylized [P] was made from strokes with equal thickness and disposed in parallel, each using a color from the palette selected previously. To make it in Photoshop, open a new window ([ctrl]+[n]/[cmd]+[n]) and activate the grid by pressing [ctrl]+[']/[cmd]+[']. Press ctrl+r/cmd+r to activate the ruler. If you wish to make more accurate guide lines, click on the ruler, hold the button and drag the line to where you want. Repeat the process until you get a custom grid. Select the shape tool, hold the shift button and make a simetric circle. Duplicate the layer for that circle, change its color and reduce its size to two modules of the grid. Make this step once again, again changing its color. The overlapping layers give the impression of symmetrical strokes. Repeat the task until you have five different of those (the last circle should be white). Now go to the layer window, select them all and group ([ctrl]+[g]/[cmd]+[g]). Duplicate the group (right-click on it>duplicate group) and merge it ([ctrl]+[e]/[cmd]+[e]). Hide the preview of the assembly folder by clicking in the eye icon. Keep it hidden. If you make a mistake, you can go back to it. From now on, we will work with the merged layer only. Select the marquee tool and draw a horizontal rectangle in a very narrow section of the circle. Press [ctrl]+[j]/[cmd]+[j] to create a new layer from this selection. Press [ctrl]+[t]/[cmd]+[t] to resize this new shape and increase it's lenght. After that, go to the layer window and select the layer below (the one from the circle). Select the marquee tool and dash rectangle in the lower left quadrant. Activate the grid ([ctrl]+[']/[cmd]+[']) to use it as guide. Delete the part you selected. Once again, select a small section of the strokes, duplicate it, and increase its lenght until it touches the other side.

  • typography

    56 .psd Photoshop

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    TextureFor the texture, I scanned an old piece of paper em 600 dpi. With some curves and level adjustments, I improved the contrast and saturation. Then, I cre-ated a radial lightening spot though the lightening effects filter (filter>render>lightening effects) to make it more elegant. Finally, I applied it over the whole artwork and set the blending mode to multiply.

    Final considerationsNow you are ready to launch your artwork. Ask friends their opinion, post it in your blog. The goal now is showing the world your talent. Good luck!

    by Fabiano Hikaru Higashi

    Reminder!Professional typography is very different from typography as an artistic expression. The empty spaces must be valued, the writing process is strictly based on grids and the choice of typefaces are carefully made. And that's how it should be. Because the goal of typography is not to create artworks, but to make information clear, concise and beautiful.

  • 5702/200802/200957

    Dariusz Palarczyk

    Student of the final year of the computer science in Katowice. From over 2.5 of years webdesigner in an advertising agency in Rybnik. He is interested in both a graphics and an animation. www.dariuszpalarczyk.pl

    Alen Radoevi

    Alen Radosevic is a self-taught digital and traditional artist from Serbia. After years of scribbling comics, he discovered digital painting in 2001 and began a journey to discover this beautiful new digital world. At the same time, he enjoys the freedom of traditional painting and continues exploring his inner-self through art. www.malidm.deviantart.com

    Claudia McKinney

    She says her work is like her own version of keeping a journal. Each piece represents a time in Claudias life so she can instantly recall what was happening. Her first book Light Beneath Ferns by Anne Spollen cover out in February .

    Miguel Nogueira

    Miguel Nogueira is young and self taught digital artist and beginner photographer. Having taken a degree in arts and multimedia in general during the years of 2004 to 2008 where he learned to improve his skill set on another whole range of different art mediums, from traditional graphics, photography, videoclips and soundtrack producing. http://ignition-chemistry.deviantart.com/

    c o v e r a r t i s t

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    DTP: Ireneusz Pogroszewski, Przemysaw Banasiewicz

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    quality of the information provided by contributors.

    Ian Jamieson

    Ian Jamieson is an illustrator and graphic designer based in Cape Town, South Africa. He has lectured design and designed for a wide range of industries both in South Africa and abroad, and is currently involved in design work for the multinational publishing house, Global Africa Network. [email protected], www.ijdesign.co.za

    Jeannette Woitzik

    Jeannette Woitzik lives in Berlin, Germany. Most of her work contains a surrealistic atmosphere and sometimes this served to express her feelings. http://schnettepics.de/ http://schnettepics.blogspot.com/

    Jim DiVitale

    Jim DiVitale has been an Atlanta based commercial advertising photographer and photography instructor for over 28 years, specializing in digital photography and computer photo illustrations.. He is a PPA Master Photographer, Master of Electronic Imaging, Photographic Craftsman, Fellow of the American Society of Photographers, and a Canon Explorer of Light. www.DiVitalePhotography.com

    Bryce Chapman

    Bryce Chapman is a 19 year old upcoming digital artist. He is currently attending college studying graphic design and does freelance work. He resides in Washington, North Carolina. You can see his work in his online gallery at www.teardropps.deviantart.com, www.behance.net/brycechapman, and www.modelmayhem.com/bchapman13.

    contributing writers

    Nada Abdul Razak

    Nada is 24 years old artist from Jeddah, Saudi Arabia. She has been developing her skills on graphic design since 2005. Her passion is also fashion design as well as photography.http://[email protected]

    Neil Hanvey

    Neil is a 30 year old programmer / illustrator born and raised in Manchester (UK). He currently lives in Herefordshire and spend his days developing websites and creating art by night. Hes a part of the slash Three art group.

    Andreea Alexandra Cernestean

    I am Romanian and I go by the artist alias of FrozenStar. I have been creating digital art ever since 2006 and I specialise in photomanipulation, though I have been trying to add more and more painted details to my creations.http://frozenstarro.deviantart.com/

    Benoit Ladouceur

    Benoit Ladouceur is a Canadian artist based in Montreal. He has been working in the field of film and television as a digital matte painter, concept artist and illustrator for the last 15 years. He presently works as a senior matte painter and concept artist with Montreals Ubisoft Digital Art studio. www.bladfx.com

    Jeff Treves

    He is an illustration, animation and design artist in both digital and traditional fields. He graduated in 2004 from Savannah College of Art and Design. He is into non-mainstream character art and stories. Currently, he is living in NYC and pushing himself to become an independent filmmaker. www.jefftreves.com

    Fabiano Hikaru Hagasi

    Lives in Sao Paulo, Brazil. Currently studying Advertising at Mackenzie University.

    Bert Monroy

    Bert Monroy was born and raised in New York City where he spent 20 years in the advertising industry as an art director and creative director for various agencies as well as his own. He embraced the computer as an artistic medium and is considered one of the pioneers of digital. http://www.bertmonroy.com

  • medium | 1-2h. adobe photoshop CS3

  • beauty retouch

    59.psd Photoshop

    Step 1Open the image fashion_portrait_03_by_cybaBABE.jpg. Then press [Cmnd/Cntrl]+[J] to duplicate the layer. Now change the blending mode to screen, and adjust the opacity to 50%. Name this layer Screen.

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    Step 2Now go to your channels panel (Window>Channels) and click on the red channel. Drag it to the bottom of the panel into the new channel icon.

    Beauty RetouchIn this tutorial we explore different ways to add a nice colorful touch to your photos, whether they are yours or stock images. Also we learn a basic way to add some lighting effects on images. This tut also teaches how to use layer masks and using adjustment layers. Adding textures, working with channels and dodging and burning is learned in this tutorial. Hope you enjoy this, once learned mix what you have learned to your own images and your upcoming projects.

    Source filesfashion_portrait_03_by_cybaBABEfashion_portrait_03_by_cybaBABEThe stock image used here was from cybabe from DeviantArt, check her gallery at www.cybababe.deviantart.com.The other images in the tutorial is from ISOstock on DeviantArt. There is a ton of resources in the gallery at www.isostock.deviantart.com.

    Source Files

  • photo retouch

    60 .psd Photoshop

    Step 4Click back on the RGB channel, and go back to your layers panel (Window>Layers). Press [Cmnd/Cntrl]+[V] to paste the red channel. Name the layer Red Channel. Drag it beneath the Screen layer.

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    Step 5Now go to the bottom of the layers panel and click on the black and white button (Adjustment Layer) and select solid color, and color dialog box will pop up. Type in the # box: 2658ea, and click ok. Set the blending mode to soft light at 50%. You will keep this layer above ALL layers at ALL times.

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    Step 3Press [Cmnd/Cntrl]+[L] to bring up the leveld dialog box. Drag the black triangle (under the his-togram) to the right until it says 35 and click ok. Press [Cmnd/Cntrl]+[A] to select all, then press [Cmnd/Cntrl]+[C].

  • beauty retouch

    61.psd Photoshop

    Step 7Select your gradient tool [G], if you don't see it, click and hold the paint bucket tool. Make sure it is set to foreground to transparent, and Linear, also make sure that reversed is not checked. Now select your eyedropper tool. Many people could not find it directly and click on some blue somewhere on the image, then select the gradient tool again.

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    Step 8With the Top Gradient layer and the gradient tool selected, click and drag (while holding shift) from the top to the near middle . If you are not happy with it, try it again, or take the move tool [V] and move the gradient upward.

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    Step 6Now click back on the Screen layer, and create another color adjustment layer, this time choose black. Change the blending mode to Soft light and 70% opacity. Now go to Layer>New>Layer, name the layer Top Gradient and click ok.

  • photo retouch

    62 .psd Photoshop

    Step 10Now with the High Pass layer selected go to Filter>Other>High Pass, and set the radius to 8.0. Change the blending mode to Soft Light, at 70% opacity.

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    Step 11Go to Layer>New>Layer, and name it Dodge and Burn. For the Mode, select soft light and check the box at the bottom. Press D to reset your colors to black and white. Select a soft nice sized brush and change the opacity to about 30%. Paint with black to darken different areas of the face( i.e. cheeks, neck, forehead,eyebrows). Paint with white to lighten other areas (i.e. Eyes).

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    Step 9Now with the top gradient layer selected, turn off the blue color fill layer. Then press [Shift]+[Opt.]+[Cmnd.]+[E]. This merges all the layers into one, on a seperate layer, name this layer High Pass,now turn your color fill layer back on.

  • beauty retouch

    63.psd Photoshop

    Step 13Now press [Cmnd/Cntrl]+[T] to get in Free Trans-form mode, drag it to the left cheek, now go to Edit>Transform>Warp and try to wrap it around her cheek. When you are satisfied, press enter. Now press [Cmnd/Cntrl]+[J] to duplicate the layer. Go to Edit>Transform>Flip Horizontal, press enter, and have it on her right cheek.

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    Step 14Ok, now go to the bottom of the layers panel and click the new adjustment layer icon, and select Exposure. Bring the exposure to 2.00, Press [Cmnd/Cntrl]+[I], it inverts the mask to hide the exposure. Now take a white, soft brush(set the brush opacity to 100%), about the size of her eyes, and click on them, see what happens? You can turn down the opacity if you want to.

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    Step 12Ok create a new layer and name it cheek light. Press [D] to reset your colors .Take your eye-dropper tool and sample some blue, now you have blue and white as foreground and background colors. Take a large, soft brush (about 500px) and click in the center with blue. Now press [X] to switch to white and click in the same spot.

  • photo retouch

    64 .psd Photoshop

    Step 16Create a new layer, name it The light Above, and select the polygonal lasso tool. Click at the top and create a triangle shape.

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    Step 17Take your gradient tool, set it to foreground to trasparent, linear option, and make sure reverse is unchecked, and white is the foreground color. Now click and drag from the top to the bottom of of the triangle. You should now have a nice light source, press [Cmnd/Cntrl]+[D] to deselect. You may have to move it up a bit with the move tool. Now go to Filter>Blur>Gaussian Blur, and set it to 65 or to your liking.

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    Step 15Create a new layer and name it Full Gradient. Now take your gradient tool, set to foreground to transparent, and choose radial gradient option, and have reversed checked. Click and drag from the center to the top left corner. Now you can play with the opacity if you want to.

  • beauty retouch

    65.psd Photoshop

    Step 19MORE BOKEH!!! Now the other bokeh effect I did was created using custom brushes.I used a tech-nique I learned a while back. The tutorial can be found at Abduzeedo.com, the link to the tutorial is: http://abduzeedo.com/awesome-digital-bokeh-effect-photoshop. The effect is very simple. When you create the bokeh and paint it, make sure to use white as the color. I paint each bokeh on a seperate layer, and grouped them, then dragged them beneath the blue color fill layer, and beneath the bokeh texture. Also add some slight blur to some of the bokeh, to give the image some depth.

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    20Step 20FINAL COLORING: Now for the different colors I used a really simple method. Remember how we did the solid color adjustment layer, same method I used for the final coloring. To better explain: Go to the new adjustment layer icon and select solid color, select your color and click ok. Play with the blending modes until you're happy. Now press [Cmnd/Cntrl]+[I] to invert the mask (just like how we did for the exposure in step 14). Now paint with white on the mask, use different brush opac-ity settings too. I used different colors and blend modes to get a different look. Also to brighten dif-ferent areas I used the exposure adjustment layer and did the same thing in step 14.

    by Bryce Chapman

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    Step 18Ok now for some bokeh texture... I used some I found on DeviantArt, they have some real good textures. I used the bokeh texture found here at this link: http://isostock.deviantart.com/gallery/#Bokeh. I used Bokeh 007. Now when you have some bokeh, open it and drag it into the document you are working on. Drag the layer to the very top, but keep it below the blue color fill layer. Change the blending mode to Soft light (or whatever blending mode suits you) at 80%. You may want to make the texture bigger, so go to Edit>Free Transform, grab the edges to enlarge, and press enter when satisfied.

  • This is a basic retouching tutorial that can turn a somewhat bland image into a professional-looking portrait. You do not need a fancy camera to achieve this. All you need are the right tools to modify the image. This tutorial will show you how to fix skin imperfections, apply digital make-up, enhance colors and contrasts and make the image look clean and crisp.

    Professionallooking portrait

    beginer | 30 min.adobe photoshop CS3

  • portrait

    67.psd Photoshop

    Step 1For this tutorial I used a stock portrait from: http://devil-stock.deviantart.com. When looking for a portrait shot, it should have well defined focus on the face and good lighting.

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    Step 2The first step in retouching is to fix any large, visible blemishes on the skin. As you can see, there is one on the cheek and a few more on the chin. For this step I will use the clone stamp tool with a 45px soft round brush. The size of the brush depends on your file's resolution and size of the area that needs fixing. I will simply clone from a clean area of the cheek and put it above the blemish area.

    Step 3The next step is editing a few of the wrinkles. Good clean portraits never show wrinkles, so I will use the same method as above, clone stamp, to re-move them. I will remove the wrinkles around the eye and corner of the mouth. You can already see that the image looks more professional and clean.

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  • photo retouch

    68 .psd Photoshop

    Step 4Next I am gonna duplicate the layer and adjust it to darker tones. I adjust the Levels to add more shadow. Simply use [CTRL]+[L] to do this and choose the tones suitable for your image.

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    Step 5Now I am going to add a layer mask to it. Clear your active swatch, set it to default and make black the front color. Use a round soft brush. I set it at 50% opacity and 30% flow. Brush over the areas that should be more highlighted. Nose, checks, eyebrows arches, eyes, etc. The result is that your image has better defined lights and shadows and this works better than to simply adjust the contrast.

    Step 6Next, I will use the eyedropper tool and select a lighter tone from the skin. I will softly airbrush the face with a low opacity brush. I chose a soft round brush with 30% opacity and 25% flow. Repeat this with a darker tone where you will brush over the darker areas. The result is the skin which looks cleaner and smooth.

  • portrait

    69.psd Photoshop

    Step 7The next step is going back to the base layer and using dodge and burn to define the light and shadow even more. The settings I used for the burn tool are, Midtones 45% exposure and for the dodge tool highlights 10% exposure. I used the burn tool around the eyes and to define the shape of the pupil and the eyebrows. The dodge tool I used for the iris and cheeks, nose, chin and lips.

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    Step 8The image looks pretty good so far, but I would like to enhance the make-up. I switched back to the brush tool and changed the opacity and flow to 100%. Pick a tone from your swatches and start brushing around the eyes. Brush away then set your layer to soft light. Do the same for the lips. I chose an earthy, pastel tones for a more natural look.

    Step 9Almost done. Save the .psd file just in case, then merge your layers together. Adjust the bright-ness and contrast (Image>Adjustments>Brightness/contrast) or colors with color balance (Image>Adjustments>Color balance). Now you are done.

    by Andreea Alexandra Cernestean

  • medium | 60 min.adobe photoshop

  • old photo restoration

    71.psd Photoshop

    Original imageAfter you open your image in Photoshop, duplicate the background layer and name it something like Working Layer This ensures that the original im-age is always there as a reference and will remain intact. This is one of the most basic things to learn in Photoshop when working with photos. Always work on a separate layer and keep the original image intact.

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    DesaturateOkay, the next step is to desaturate this new layer. Hit [Ctrl]+[Shift]+[U] on your keyboard to remove the color from your photo. There are several ways to do this, but I found that for this photo, the de-saturate option produced the best results.

    Old Photo RestorationThis is a short tutorial about restoring heavily damaged or very old photos. This tutorial will show you how to do simple things such as removing scratch marks, cloning, and blending missing parts of the damaged photo, and will also cover the entire process of the restoration of old photography. Some time ago, I was approached by my family to restore an old photograph of my deceased grandfather. It was small picture from an old passport and was extremely damaged: Parts of the face and head were missing. I scanned the image using the highest possible resolution I could on my desktop scanner and proceeded to fix the image and restore it to its former glory.

    Sour

    ce F

    iles

  • photo restoring

    72 .psd Photoshop

    Before af er healing brushNow that I have the image cropped to the