Project files, desktop

designs, stock art…

ISSUE 36

7-PAGE FEATURE
Become a Photoshop star | Pen & Vector designs | Recreating Film Noir | Surreal Photomontages

BECOME A
PHOTOSHOP
STAR
Find out how online galleries and forum
communities can help you to promote
new work and raise your profile

PEN & VECTOR

DESIGNS Create vivid illustrations with depth
and impact using the Pen Tool and
detailed shading techniques

EE
AN RUS
IM D H
FR ON AG STOES
HOW TO… M T ES CK
Work in monochrome CD ON HIS
Paint convincing wood texture -R TH
Adjust your preference settings OM ’S
Design intricate photomontages

RECREATING
FILM NOIR
Use your own photographs and a subtle
swatch palette to create atmospheric scenes
SHOWCASE
YOURARTWORK
VISIT OURWEBSITE AT
www.advancedphotoshop.co.uk
www.advancedphotoshop.co.uk

ISSUE 36
ISSN 1748-7277 £5.99
36

9 771748 727009

HOW I STARTED
GET ON OUT...
OUR COVER pages of professional
Valuable
Upload toprofessional
our websitetips
for afrom the
chance tips & essential step-
36
UE

hottest Photoshop
to see your talent around
image printed here! by-step tutorials
ISS

001_AVP36_Cover.indd 1 19/9/07 15:45:31

 Cover

Cover image
This colourful illustration, entitled ‘Celestial Queen’,
was created by professional artist, Philip Straub.
Celestial Queen is a character from his book project Imageer:
and was included in The Society of Illustrators, Los PHILIP STRAUB
Angeles 42nd illustration competition. There are a
limited number of prints of this image, with only 150
signed, numbered and proofed available.
CELESTIAL QUEEN IS A
/ www.philipstraub.com CHARACTER FROM HIS
BOOK PROJECT
4
Advanced Photoshop

004_AVP36_Cover Image.indd 4 21/9/07 08:40:50

 Keeping an eye on the latest trends in contemporary photography, art
and design, Insight sets out to snapshot innovation in the making

Turner over a new leaf

It’s that time of year again when the art community comes together for
one of its most prestigious events – The Turner Prize. This year,
standards are as high as ever, but there is one change that some may
find surprising. For the first time, the event will be held outside of
London. Instead of gracing the country’s capital, The Turner Prize 2007
will take place in Liverpool, a city soon to be named European Capital
of Culture.
The shortlisted artists include Zarina Bhimji, whose photography
and film work aims to engage with basic human emotions such as grief,
pleasure, love and betrayal. Nathan Coley’s work incorporates a variety
of media in order to highlight society’s belief systems. Then there’s
Mike Nelson, who has been recognised for his work for the Frieze Art
Fair, where he installed a photographic studio in order to bring the site
of creativity to the forefront. Mark Wallinger is also shortlisted for his
solo exhibition, State Britain at Tate Britain. This exhibition
demonstrates how art can address contemporary political issues.
The prize promotes public discussion of new developments in
contemporary British art and is widely recognised as one of the most
important awards for the visual arts throughout Europe. Plus, as if this
wasn’t enough, the prize also offers a massive cash incentive, with
£25,000 going to the winner and £5,000 for each of the other
Coop
IAC SHRINE or Double
shortlisted artists. All shortlisted work will be on show at Tate Liverpool, MIKE NELSON AMNES 6. © Mike Nelson Courtesy
t’s Gal lery , 200
opening 19 October, so don’t miss it. Displacement, Mat
, London
the artist and Matt’s Gallery

www.tate.org.uk/turnerprize

NATHAN COLEY Camouflage Mosq

ue (Gold), 2006 ©
Nathan Coley Courtesy doggerfisher
and Haunch of Venison

er
IMJI No Bord
ZARINA BH 006 © Zarina
01-2
Crossing, 20
, London 2007
Bhimji. DACS son
unch of Veni
Courtesy Ha

MARK WALLINGER State Britain,

©
2007 Installation view at Tate Britain
Mark Wallinger Photo credit: Sam
Drake, Tate Photography

10
Advanced Photoshop

010-012_AVP35_News.indd 10 21/9/07 08:49:10

 Knowing me, knowing MOO
Fotolia, one of the largest global online marketplaces for
digital stock images, has announced its partnership with
another global company – MOO, an online company offering
customised products created from customers’ images.
So, what can consumers expect from this partnership? The
11.07
global companies, and it allows MOO to expand its content
and provide customers with more ready-made images to
HOT
or
choose from. Richard Moross, founder and CEO of MOO says:
“MOO and Fotolia are both dedicated to high-quality
products and captivating images, so it was natural for the

NOT
answer is four pack themes – flowers, skies, puppies and companies to partner.”
kittens. Consumers will be able to create customised For prices and further product information, visit the
MiniCards, NoteCards and StickerBooks for any occasion from address below.
selected imagery. Alternatively, instead of uploading images,

HOT
ready-made packs have also been made available, containing
www.moo.com/readymade
between 16 and 25 image designs.
The merger makes perfect sense, with Fotolia focusing on
the partnership to make it the number one choice for many KEE
Foto PSAK
E
and lia and S – Th
cust visuall MOO i is merg LOGITECH JELLY
ome y ap ss e
rs ca peal et to o r betwe
n pe ing p ffer s en
rson rodu tylis
BATTLE GAME
alise cts t h Favourite weapon: Randomly drop
hat a piano on your opponent’s head!
www.jellybattle.com
With cool sound effects and inventive
ways to vanquish your jelly foes,
strategy is the name of the game.

SPEAKERDOG
SERIES 3
Price: Priceless, literally.
www.bentheillustrator.com
Print, cut and paste these crazy-
looking critters for your very own
Speakerdog keepsake.

Upwards and onwards down under LUXEED COLOURFUL

The 2007 International Arts Festival kicks off with a surprise and inspire. Visitors can look forward to Riceboy
LED KEYBOARD
Price: $127.68 (£63.86)
tremendous line-up of opening night events. Grammy Sleeps, an art collaboration between Jon Thor Birgisson,
www.luxeed.com
award-winners Dan Zanes and Friends, whose concert from hot Icelandic group Sigur Rós, and Alex Somers. They
Brighten your digital life with this
House Party was a huge success last year, return for the gather drawings, paintings and photographs, and install
cool light-up keyboard. Set your keys
opening night to set the incredible tone. Other cool them in old and reclaimed window frames. You can also see to continuously glow or light up
performances come from the contemporary theatre group Brazil’s Ernesto Neto’s newest creation, Otheranimal, when touched. Also in black.

NOT
Dood Paard and Japan’s acclaimed dance company Sankai consisting of sheer nylon fabric, stretched into organic
Juku. The Melbourne festival offers a ground-breaking forms to create striking hanging forms. For more
menu of theatre, dance, music and visual art, and draws information, visit www.melbournefestival.com.au.
crowds and participants from around the globe. And this
year it’s set to be no different. From 10-27 October, over
seven hundred international artists will come together in
ANGRY RETAIL
Strangest design: Bingo dress
Melbourne to perform, exhibit and screen their work in 19
Price: €5.00 (£3.37)
stellar venues throughout the city.
www.angryretail.com
Not to be outdone, The Melbourne International Arts
This clothing selection’s approach
Festival Visual Arts Program presents an impressive
towards design is a little
collection of exhibitions and projects designed to engage,
disappointing. Perhaps it has a
C H U N KY M certain appeal, but not to us…
OV
Chunky Mov E – The internationa
e returns w lly acclaimed
intimate so ith its illum
inated danc dance company
lo performan
ce in which
triggers and the m
e work. ‘Glo
controls mus otion of the human bo
w’ is an ZUB ZOT 38 WATCH
ic, lighting an dy Price: $135 (£68.14)
d animatio
n www.nooka.com
WE USED TO WATCH YOU SLEEPING – Ranging from
billboards and a roving limousine through to contemporary We’re all for cool design, but this
commercial and public galleries, this year’s programme will watch set off alarm bells for all the
inspire laughter, awe and contemplation wrong reasons!

11
Advanced Photoshop

010-012_AVP35_News.indd 11 21/9/07 08:49:31

 insight
Luxology training
Luxology® LLC, an independent technology company
developing next-generation 3D content creation software,

DIARY
has launched Luxology TV. This is a new online hub that
allows the 3D community to exchange and view high- JOIN THE MASSES – Luxology TV is set to grow quickly into a
resolution video clips on its website. This enables viewers massive resource for training and presentation material on
modo® and other 3D topics
to enhance their 3D-learning experience by searching and

DATES
selecting video on a variety of subjects such as modelling, browse loads of video thumbnails with associated text
rendering and painting. descriptions and search for video clips based on
Luxology TV contains two main categories of video clip: keywords, industries or general 3D topics. All provide an
training, including ‘how to’ video clips, and a presentation efficient way to locate, play and download your chosen
gallery containing animation and non-instructional videos. video. The majority of content can be downloaded for
Easily navigated, you can free and supports both QuickTime and Flash videos.
ZOO ART FAIR Many of the videos are Apple TV-compatible.
Commercial video training resources are provided in
12 - 15 October
6 Burlington Gardens, London, UK 720p HD format and are available to purchase through
Luxology TV.
Brad Peebler, president of Luxology, explains:
DAILY ENCOUNTERS: “Luxology TV is a dynamic new vehicle that allows us
PHOTOGRAPHS FROM to aggregate and share a vast amount of video
FLEET STREET training and other topical subject matter across the
entire 3D community.”
Until 21 October
National Portrait Gallery, London, UK So, whether you’re a professional or just an
enthusiast, all 3D-software creatives are encouraged
to submit their videos at Luxology TV. Just visit www.
INTERNATIONAL luxology.tv to enjoy the video experience.
VINTAGE POSTER IT’S GOOD
TO SHARE
FAIR single venu
e to share th – Luxology.tv offers us
eir best tips
and tricks
ers a www.luxology.tv
26 - 28 October
Fort Mason Center, San Francisco, USA

THE ARTS IN LATIN

AMERICA, 1492-1820 On the plus side
Until 28 October The ’07 Plus International Design Festival five-day Expo
Los Angeles County Museum of Art, Los will present A-Listers from the world of design and
Angeles, USA illustration, and offer exhibitors and visitors the chance
to rub shoulders with some of Europe’s finest designers
SF OPEN STUDIOS and typographers.
With an impressive guest list including Michael Wolff of COMMERCIAL INFO – There are a number of events happening,
Until 4 November ranging from ‘design MOTs’ to business networking opportunities.
San Francisco, USA Wolff Olins, designers of the controversial 2012 Olympics Design is good for business: if you want to be more competitive,
www.sfopenstudios.com for venues logo, and Julus Wiedemann, editor in charge of Taschen come along and learn how to do it through good design
Publishing, this expo is sure to impress. Other names to
make the list include Si Scott, who showcases a new Jasper Goodall, renowned for paving the way for the
range of work created for the festival. Graphic Design current renaissance in graphic art and his influential
agency Zip will be exhibiting a editorial work for The Face magazine, will also feature.
selection of work from its Art buyers and corporate marketing directors from
impressive client portfolio, across the UK and Europe will be attending this design-led
which includes Harvey Nichols, festival, which will offer an innovative, pioneering
Universal records and Manga. showcase in the world of international design. The ’07 Plus
International Design Festival on 17 October in
Birmingham, will comprise of an exposition, conference,
exhibitions, workshops, business forums, seminars,
GET ACTIVE –The festival offers
walking tours and much more. So there will be plenty on
a series of workshops covering
activities such as letterpress show to inspire the graphics arena, and Jasper Goodall
printing, stone carving, sign agrees that: “Design festivals are good… design festivals in
writing, calligraphy,
bookbinding and paper Birmingham are better!”
making, as well as more
contemporary computer-
based activities

www.youplusus.net

12
Advanced Photoshop

010-012_AVP35_News.indd 12 21/9/07 08:49:50

 Letters
Mailbox
Do you have a question, rant or rave about the
magazine? Email your thoughts to
advancedpshop@imagine-publishing.co.uk
or visit www.advancedphotoshop/forum
Don’t risk infringing copyright by grabbing pictures
from the internet. Images from stock libraries, such
as iStockphoto, are cheap and varied and they’re
also royalty-free, so you can use them without worry
SUBJECT: Copyright blog
FROM: Dean Gartland
I’ve just been reading the copyright section of
the Editor’s blog on the Advanced Photoshop
home page. I have only been using Photoshop
for a year and feel I should know more about
this subject. The elements in my work are made
mainly of brushes, which I am now beginning to
make myself and I’m also making my own
elements and scanning them in. In some of my
older work, however, I have used a couple of
models that I found randomly on the internet. Is
this a problem for your site? I am now working
16
Advanced Photoshop
016-017_AVP_36_Letters.indd 16
with some photographers and
models and have full permission
to use their images.
I was also wondering how to
copyright my own work, and
where I stand if someone were to
use it without my permission.
Any help you can give me would
be hugely appreciated.
Editor replies: Thanks for your
email, Dean. Using model’s
photographs from the internet is
a very risky business indeed.
Even as a photographer, if you
have captured an image of a
model and the photographic SUBJECT: Issue 31 cover
copyright belongs to you, a FROM: Peter Kosciolek
Model Release agreement would I was wondering, who did the cover of Advanced
still need to be obtained. We Photoshop, issue 31? It’s already sold out and I
would advise you not to post can’t get my hands on one!
these images anywhere in the
public eye, as it could cause Editor replies: The artist you’re after is Artgerm.
some serious problems and a You can find out more and see other
hefty fine if the model/ stunning examples of work on the website,
photographer found them. http://artgerm.deviantart.com.
Any image you create, that is
made solely of elements that
belong to you, is your own
copyright. There are a number of ways to
protect your images. Visible watermarks are the
most common and can be added in Photoshop
to make it abundantly clear who owns the
copyright. Non-visible watermarks, like
Digimarc, add a digital code to the image and
are not visible to the human eye. However, the
code is passed on to any image in which the
original file is used, making copyright
infringement easier to track.
On several occasions, we’ve found images
being used on the web that were the property
of the magazine. Normally, a short email does
the trick, but if there’s no joy, we recommend
that you get in contact with NAPP (National
Association of Photoshop Professionals). It
can offer some professional advice on This stunning cover, to which we applied a MetalFX
copyright issues. treatment, was created by Artgerm
21/9/07 08:41:37
 Tom Borowski’s complex tutorial concentrated on more advanced techniques, even if that did mean leaving
out some more basic explanations
SUBJECT: American distribution
FROM: Alicia Rocka
I purchased Advanced Photoshop today at
Barnes and Noble bookstore and I’m
interested in subscribing. I live in America
and am wondering how I can do this with
American money.
Editor replies: Thanks for your email, Alicia. You
can do this by logging onto our shop website
and using your credit/debit card at www.
imagineshop.co.uk.
SUBJECT: Issue request
FROM: Celia Bankston
I am writing to enquire about how to best
obtain a copy of Advanced Photoshop 27, or an
electronic file containing the particular article I’d
like from that issue. It’s titled ‘Perfecting Beauty’
and it begins on page 42. Please advise me on
the best way to acquire this article.
Editor replies: I’m afraid Advanced Photoshop 27
is out of stock. However, you can now purchase
our eMag disc at www.imagineshop.co.uk. This
interactive disc which features sixteen issues of
Advanced Photoshop on one disc includes over
1200 pages of tutorials, previews and projects
as well as the tutorial files included in the
released magazines, so you can follow the step-
by-steps through from start to finish.
SUBJECT: Create a dramatic
landscape tutorial
FROM: Jackieboy, via forum
Hi, I’ve recently graduated from the University of
Hertfordshire with a BA (Hons) Degree in Digital
“YOU CAN NOW PURCHASE OUR
EMAG DISC ONLINE”
016-017_AVP_36_Letters.indd 17
and Lens Media. Although I am currently looking
for a job, I feel that my skills as an art worker are
rather patchy. I bought the latest issue of
Advanced Photoshop and was amazed to see
such an incredible illustration of stormy
mountains, using photos and a drawing. This
style of artwork is what I’ve longed to create
since I first got into art. So I tried going through
the tutorial, but found it rather difficult to follow,
as there are certain parts that I feel have been
left out. I would love to be able to create this
type of work and was wondering if there are any
courses in the London area to help me? If I had
someone to help me, I would learn a lot quicker
than by simply reading text. If anyone has any
helpful tips, I would be eternally grateful!
Thanks, Advanced Photoshop!
Editor replies: Sorry you couldn’t follow the
tutorial. We mentioned on the forum that we
had a good crack at this tutorial and came up
with some pretty good results, but it did take a
long time. We’re the first to admit that it’s not
one for those who want results quick, as it did
require a lot of patience and dedication.
Advanced Photoshop is targeted towards those
who already have a good/professional level of
understanding of Photoshop and as such, you
will find that there are some more common
tasks that aren’t explained in detail.
Off the top of our heads, we don’t know of
any courses in this style of painting, as we’re not
based in that area. However, you might be
interested in our sister magazine, Photoshop
Creative, (www.pshopcreative.co.uk). This mag
tends to take things at a slower pace and
explains steps in more detail.
On the
forum
SUBJECT: Tablet?
FROM: Cie
Hi. I have recently been very interested in
the different tablets on the market. To be
absolutely honest, I do not know much at
all about these things *lol* which is why I
am posting here. So, I am looking for a
model that is not too expensive, although
a few hundred pounds may be expected
for something like this. Is there anything
I should know before I do anything I
might regret?
FROM: IdiotApathy
In a word – Wacom. They are the kingpins in
tablet manufacturing. There are other
cheaper brands, but cheaper refers not only
to price but to quality, in my opinion. If you
are dead serious and planning on going
pro, buy an Intuos3. They are expensive, but
you get what you pay for. I use a 6 x 8 and
I’ve heard larger can be a pain (it literally,
tires your arm out), but it’s all personal
preference I imagine. I believe they are
around $350 USD (might be different for
you?). If you are just starting out, buy a
Graphire4 (perhaps it’s under another
name in EU?). I started out with a 3 x 4
Graphire2 and really had no qualms. It does
have 1/2 pressure sensitivity, no tilt or
bearing control, or handy shortcut buttons
on the side (comparing to the Intuos).
However, these are negligible. Retail is
around $100 USD.
FROM: Psychobobb
If you haven’t already got one, I would also
recommend a Wacom tablet. I have the
Graphire4 and it only set me back £50 (it’s
probably come down a little now).
FROM: Pete
Well, I have the Wacom Intuos3 A5 and it
really is great.
FROM: SG
Wacom tablet, most used and preferred. My
lecturers would also recommend a Wacom
tablet. Size is down to you. Currently, I have
a large one (I’ve forgotten the name).
17
Advanced Photoshop
21/9/07 08:41:48
 insight COWBOY: “Here, I lay
ered several textures
rac ter to att ain the
on
grainy
top of the cha d in some star
texture. I also scanne
pai nt spl atters from one
doodles and
of my sketchbooks”

James Kingman
Photoshop has certainly been a mainstay throughout artist James
Kingman’s creative career. He worked with the more traditional application
of pen and paper when he was younger, but at 15 he began flirting with
the idea of Photoshop. He admits, however, that at first it was merely used
as a cheeky device to manipulate photos of his nearest and dearest for
kicks. His attitude soon changed: “It wasn’t until I got a scanner and
started to integrate my sketchbook work that I really started to use
Photoshop as an extension of my image-making skills. From there on in,
it really started to take over.” BRE EZ
top of a : “Again const
E
c ru
After studying Graphic Design New Media at the UCCA, James’ first several ollage, I also c cted on
b re
commission came quickly as a result of putting some of his designs on a texture rushes to get d ated
effects” ifferent
portfolio-hosting website. “The client wanted some imagery that
resembled one of my existing pieces and it was to support a poem by
Edgar Allan Poe, entitled The Raven. It was a fun project and it paid very
well for that time in my career.” Since then, James hasn’t looked back BACK STREET LOVER: “This image
was created by assembling a collage of
and has gone from strength to strength in the freelance arena, making photographs and textures within
a name for himself in editorial circles. Photoshop, that I had either shot or
collected. The image of the girl is half a
He has worked for clients such as AOL, Square Feet UK Ltd, Vauxhall
vector trace and the rest left as
and Woodsuch. “I’ve also done a lot within the music and manipulated photography”
entertainment industry. The last job I did in that sector was a 30-foot-
long wall in Wembley stadium’s VIP area at Live Earth – that was
pretty fun! But as time goes on, I really want my work to exist on
anything. The possibilities are endless and very exciting!”
Describing his method as a healthy mix of photography, vectors
and various textures, James has never lost touch with his traditional
roots. He explains, “It differs from image to image but usually it
starts with my sketchbook.” Then Photoshop takes over, however:
“Once I have the right components for the image, I put them into
Photoshop to get the general composition right, or start editing
REBIRTH: “The skin
photos/textures. Then I go into Illustrator and create whatever I on this image, as well
need, or ransack my vector library I have created over the years. as the flowers, is a
Then it’s back to Photoshop for the main assembly and a bit more vector trace. The rest is
a mixture of
pixel love.” photography and
James is currently working on a couple of exciting animation spray paint textures.
Once again, I used
jobs, and is free to pursue some self-initiated illustration projects, masks and brushes to
but as he says, “things can change”. create distress on the
/ www.jameskingman.com character’s clothing”

18
Advanced Photoshop

018-019_AVP36_Insight.indd 18 21/9/07 08:44:19

 HOT HEA
colouratio
texture mas
n on to p
d

ked over th
te xt ures, each with
D: “I layere photo. The photo al
of a
e top”
so ha s a
fire
a different le bitmap
su bt
11.07
WHATEVER YOUR LIPS SAY: “This image is a mixture of vector graphics that I manipulated
within Photoshop using various brushes. The lips also had a bit of a touch-up to make the red stand
out and the teeth to be bright white”

URBAN GIRL: “This

image was created by
mixing Photoshop
brushes and manual
degrading to get the
right backgrounds. I
also left the clothing
as photography
but with a slight
treatment”

KILLER SHOES: “This image

was created with various
photos that were spliced
together, and different brush
textures on the graphics”

LOVE SNOW: “A lot

of this was done in
Illustrator, but I put it
all in Photoshop to
add shadows and
lighting effects to the
flat vectors, which
really made all the
difference to the
final product”

19
Advanced Photoshop

018-019_AVP36_Insight.indd 19 21/9/07 08:45:06

 insight
Marc Simonetti
Marc has come a long way since working on formulas for
the coating on frying pans. In 2002, after diverting his
interests from scientific studies to learning Photoshop
basics and 3D software at the Emile Cohl school in Lyon,
Marc was hired as a 3D background modeller for a video
games company. He soon progressed to become a
freelancer in digital illustration.
Currently working as a concept artist on an animation
movie, Marc describes his art as illustrations that tell
stories. “I try to incorporate a style that fits the mood of
the story,” says Marc. “But my personal taste is orientated
more towards twisted perspective, dark themes or
slightly cartoon-like characters.” Most of his pictures
start with a single pencil, then as soon as he’s happy
with the whole composition, he scans it into Photoshop.
“The way to build the pictures is exactly the same as
with traditional media, although Photoshop offers
more flexibility and some shortcuts that make it
tremendously powerful.” Working with a lot of custom
brushes, Marc regularly makes new presets for each
illustration. “By playing with the textural features in
er Photoshop, as well as creating brushes, the
rld lov
As I am a Discwo
ta le by Je an de la Fontaine. de ta ils on th e possibilities are endless.”

RON: This perso

nal artwork is base d on Th e De
the death like it
ath and The Logger s. As you can see, I’ve only put
in those bo
is depicted
ok
an illustration
n’t detail
when you do
ev ery th ing”
/ www.marcsimonetti.com
MORTBUCHE ), I fou nd it fun to design me tim es it helps give life to
tch ett s. So
(books by T Pra some selected parts of the pic
on
characters and
BELGARATH: “This cover art for Belgarath, from D Eddings, is a sample of
the composition that I like. The main character is very small, giving the
scale for the whole illustration, and making it breathe”

DIABLO4: “This is the piec

e that won the Blizzard Art
favourite video games. I Contest 2006, in the Diablo
found that the Diablo’s hor category. Diablo was one
horned tower, linked to the ns were its most distinctive of my
other part of the world by physical feature. So I crea
a very fragile structure” ted this

20
Advanced Photoshop=

020-021_AVP36_Insight.indd 20 20/9/07 17:57:20

 11.07

BABYLONIA: “This one is a matte paint

ing done for a short movie called Baby
This is a view of a city, mainly inspired lonia, by Toggle production.
by Blade Runnerer, with old dusty factories...”

GUERREFLAT:
“This is the cover art
for a role-playing
game, based on the
warring state period
in China. I used very
rough brushes to
create a kind of
calligraphic look”
ress of Darschiva by D Eddings. I
DARSCHIVA: “Cover art for the Sorce
dancing while doing magic – it
often represent magicians or sorceresses
gives some sensuality to the character”

rk, done for a contest on

BELLE: “This is a piece of personal artwo
good way to work a field that
the CaféSalé forum. Each contest is a
to push the architectural
I wouldn’t otherwise explore. Here, I tried
details and structures”

21
Advanced Photoshop

020-021_AVP36_Insight.indd 21 20/9/07 17:59:03

 insight

CHRISTMAS TOWN: “One of a few paintings created for a film

ENCHANTED EV project. Limited edition prints by the Gilded Griffin were
ENING: “This
is a painting that wa launched at the Vegas Art Expo at the end of September. This
for the Secret Places
s created image was created using both Photoshop and Painter”
TM group
of licensed products
, which
include children’s pu
zzles and er created for
wall murals” SUN: “This was a book cov
FLIGHT OF THE DYING st. I crea ted this image using
of the Coa
the publisher, Wizards
Maya”
Photoshop CS, Painter and

22
Advanced Photoshop=

022-023_AVP36_Insight.indd 22 21/9/07 08:53:13

 Philip Straub
Philip has been working as a professional illustrator for about 15 years now,
11.07
and the variety in his work is a result of “experimenting with a ton of different
techniques”. With original plans to work as a freelancer after graduation, his
circumstances changed after he landed a studio job with the well known
American illustrator, Mercer Mayer. “I was hired as a digital painter using
Photoshop 1, Illustrator and a few other now defunct programs to produce the
illustrations for his books,” he tells us. “The rest, as they say, is history. I slowly
but surely migrated to creating my work using almost solely digital tools.” For
a while, Philip was working with a combination of traditional and digital
techniques and processes, but he has now switched over to a completely
digital process, favouring Photoshop and Painter.
It’s fair to say that Philip’s work is an eclectic batch. “Everyone who
represents my work says that marketing it is a blessing and a bit of a curse,
since my range is pretty wide,” he explains. While his My Utherworlds book s
Photoshop and Painter. It wa
project is pure fantasy and science fiction, Philip’s whimsical Secret Places using a mixture of
image was created 5”
MONOLITH: “This of Illu stra tor s, Los Angeles, in 200
brand generally appeals to a younger audience. “Even with those two styles, Society
commended by the
there are some crossover sub-genres that I sometimes work in, including my
sample flat and graphic licensed design work,” he says. It certainly pays off, as
Philip’s work has appeared in over 35 children’s books, drawing from licences
like Rugrats, Spider-man, Little Critter and Little Monster. He has also worked
with quite a few different children’s projects in the games industry, for
companies such as Fisher Price, Mattel and Disney – the list is endless.
Philip is now working on a set of limited edition prints with the Gilded
Griffin at the Las Vegas Art Expo, signing and certifying his artwork to 150
privileged customers. In addition to this, he is also working on a lot of new IP
for his full-time art direction job. Looking at this selection of his work, we don’t
think there are any boundaries to Philip’s future projects.
/ www.philipstraub.com

AFTERNOON LIGHT: “One of my favourites in my series of

Fantastic Landscapes. Afternoon Light applies many of the
classic matte painting techniques used by film artists today.
Created using Photoshop CS, Maya 6 and Painter 9”

LLANOWAR REBORN: “Painted for

the popular trading
card game, Magic the Gathering, ’Llano
war’ has become
one of the more popular images in my er
catalogue. This estial Queen is a charact
was created using primarliy Photoshop CELESTIAL QUEEN: “Cel
CS” my boo k proj ect and was included in The Society
from
, 42nd Illustration
of Illustrators, Los Angeles
peti tion . Lim ited edit ion prints are available”
com
23
Advanced Photoshop

022-023_AVP36_Insight.indd 23 21/9/07 08:54:24

 The Gallery

On the web
www.advancedphotoshop.co.uk
Our new website and readers’ forum is perfect
for showing off your Photoshop creations. We
present the best images on the site this month.
Log on to get your images here next issue!
MY SMALL GREEN WORLD
ARTIST: Violet Konieczna

Readers’ Challenge
EMAIL: wioleta_konieczna@wp.pl
For this image, Violet chose a cool
picture of beer bubbles from www.
stock.xchng and started to think about
THE RESULTS – SEPTEMBER
what she could do with it. She selected a
base colour and opened up some Due to popular demand, you can now take part in a monthly
pictures of her own. “I have a picture of online readers’ challenge. Take a trip to our forum website by
an Irish castle and this seemed to work visiting www.advancedphotoshop.co.uk/forum and scrolling
well with my project.” She blended them down to the Peer Pressure section. Keep an eye out for the
together and added a sky, moon, bones
most recently announced challenge. Readers are welcome to
and texture. “I’m never satisfied with my
post one Photoshop creation up in response to the theme and
pictures at the beginning, I always try to change something to make them look
better. My Small Green World looked brilliant, but I still didn’t like it very much. all visitors are invited to cast their vote for the winning design
When I added the trees, I felt that was it – My Small Green World was born!” in our online poll. We’re pleased to announce the winner of
‘The Flood’ theme, Chris Fearon. Here’s a little bit about the
piece from Chris:
“Once I discovered the topic of this particular artwork would
CLOSE TO THE EDGE be ‘The Flood’, I wanted to create a piece that was original and
ARTIST: Victor Habbick
‘outside the box’. Rather than create an image that
WEB: www.thedreamenclosure.com
Email: vhabbick@mac.com concentrated on a typical flood, I used the boats as the main
“I like to add a little fantasy or a surreal focal point. I used the title of the piece as a secondary focal
makeover to many of my wildlife shots to point by spelling the title incorrectly, which draws the eye and
give them some kind of creative makes the piece more interesting. I used various techniques to
freedom, and this is one example. On a create the piece, including the use of colour overlays and
vacation, visiting friends in Canada, we adjustments to set the mood and feel of the colours. Plus, a lot
were taken to Lake Niagara and the Falls. of manual brush work was applied.”
/
Later, I visited Toronto Zoo, where I www.chrisfearon.com
photographed the elephants. With all my
I LOVE SHOES montage shots, it’s essential to try to
ARTIST: Jo Cogan
marry up the lighting conditions and
WEB: www.myspace.com/joco82
directions as much as possible to pull off
EMAIL: joco82@btinternet.com
the illusion, otherwise the effect is lost.”
“This was created for a design
competition for Schuh in 2004,
which I won, and the piece was
subsequently used on their
voucher cards in stores. I later
went on to adapt the design,
adding colour and working new
patterns into it. I like creating fun,
bright and eye-catching designs
with a bit of my humour injected
into them. I usually start with a
scanned-in doodle and then work
on it in Photoshop. I just love
creating fun-looking stuff that
makes you smile!”

24
Advanced Photoshop

024_AVP_36_Web Showcase.indd 24 20/9/07 17:55:48

 Inter
WINTER LANDSCAPE:
“What is waiting behind the
horizon? It’s a little bit
depressing, with winter, snow
and heavy clouds”

view

MARTIN LISEC
Since defying the drawbacks of
the communist society he
grew up in, Martin Lisec has
become a respected illustrator
and concept artist

W
hen Martin Lisec was a five-year-
old boy, he had a book about
prehistoric animals. He was so
fascinated by these strange and unusual FOREST DRAGON: “I don’t like most
fantasy illustrations. They’re
monsters that he asked his parents to buy him all essentially the
same: young and pretty girls
with big weapons,
a paintbrush and some watercolours. or strong young men with
big swords. However,
Martin spent hours perfecting his drawings of I like dragons. So this was just
an idea of a
dragon that has been thou
lizards, mammoths and trilobites, fine-tuning his sands of years
underground and is just abo
ut to wake up”
skills at an art club two hours a week. “It was
good ground to start work on as a professional
artist,” Martin reflects. “During my studies at
grammar school, when I was about 16, I started
painting covers for sci-fi and fantasy books.” But
the circumstances in which Martin set up his
career were far more unusual than those of most
Advanced Photoshop-featured artists.
Living in Prague all his life (at the time part of
Czechoslovakia), Martin’s early life was
dominated by communism. It wasn’t out of
choice that Martin’s art was based on the
classical techniques of paint and airbrush – there
was no real alternative. “When I was at school in
1989, it was only two years since the revolution,
after 40 years of communism,” he explains.
“Nobody knew about computers here, let alone
the concept of computer art. When I bought my
first PC, a friend asked if I’d heard of some
software you could paint in and use with photos.
That was Photoshop 2 or 3.” It was a long-

26
Advanced Photoshop

026-031_AVP_36_Interview.indd 26 20/9/07 17:50:40

 Martin Lisec

AUTUMN QUEEN: “The girl in this picture is

my friend. She once asked me if I could make a
portrait of her. So I tried it with contrast between
bright light and shadow, like autumn light” 27
Advanced Photoshop

026-031_AVP_36_Interview.indd 27 20/9/07 17:51:07

 Inter
view
IT WAS HARD TOEBOOFDFYER
MY WORK TO SOM
of
PRISONER OF ICE: This picture is one idea
first
my early ones made in Photoshop. The
was different to this picture; it was more
this one.
complicated, but I ended up choosing
’ in it,
It’s just about the bottle and the ‘thing
hidden somewhere in your freezer”
distance run to start up, but Martin soon made
up for lost time and, after a brief spell studying
architecture and working in an advertising
company (“the most terrible work I ever had”), he
began work as a freelance artist. “Because I
started as an amateur with digital art, it was hard
to offer my work to somebody, especially here in
the Czech Republic because we are a small
market,” said Martin. “I said to myself ‘that’s
enough, I must break through to the world’, but I
knew I had to work hard and develop my style to
become a good digital artist. I hope that
anybody who looks at my pictures sees years of
hard work in the background too.”
Working life
Take a look at Martin’s images, and one of the
most impressive characteristics of his work is the
obvious detail and imagination. Currently
28
Advanced Photoshop
026-031_AVP_36_Interview.indd 28
RUSTY TRUCK: “It’s just about an old
truck, forgotten on a distant meadow”
METROPOLITAN
EXPRESS: “I like the
Twenties and Thirties. I like
retro. I like old trains”
working as an illustrator, concept artist and
texture artist for computer games, using
Photoshop, Martin made a point of becoming
acquainted with a selection of 3D software:
“Sometimes it helps me with my work and
enables me to understand the work of 3D
artists, if I can understand their work and the
tools they use.”
However, Martin’s main focus now is with
Photoshop and 2D pictures. As an illustrator and
concept artist, he works alone but is part of a
team of at least ten to twelve people when he is
working in games. “You must cooperate with
other 2D artists, 3D artists, animators and
programmers, so you need to be a team player
too. Trust me, sometimes it’s hard,” he confides.
Although the contact list for his illustration
work is thriving, as an artist for computer games,
Martin admits he doesn’t have many regular
clients. After the development of one project
(which generally takes around two years), he
confesses he longs for change: “I need a change
in graphic style and the kind of game – from
realistic simulator to sci-fi, for example.” Working
in two different fields of artistic design, Martin is
able to view both careers in perspective, and has
managed to secure a fine balance between the
two. “Illustrations are a bit different to working on
computer games, as you have more time to
prepare yourself, collect resources and discuss
the style, and you’re absolutely free.”
EYES (NEAR RIGHT): “This could be a part of an
alien. I just like the shape of smaller and smaller eyes”
SEWER (FAR RIGHT): “My inspiration for this
picture was an old metal part, probably a hedge or
some kind of ventilation equipment, which I saw during
a walk in the old part of Prague”
20/9/07 17:52:04
 Martin Lisec

29
Advanced Photoshop

026-031_AVP_36_Interview.indd 29 21/9/07 12:09:26

 Inter
view

DUESENBERG METEOR: “I love old cars

because of their style, design ideas and because
they’re made by hand. This was one of the most
exclusive cars ever made. I heard that only three
models were made”

au tumn
ER: “Another of my
INDIAN SUMM why I like autumn; it’s rainy
es. I don’t know lours,
pictur se co
because of all the
and cold. Probably g light”
d interestin
the haze an

PARASITE: “This kind of

idea and shape is my curse.
Over the years I have made
many pictures like this one,
just in different versions. This
one was just quick work”

30
Advanced Photoshop

026-031_AVP_36_Interview.indd 30 20/9/07 17:54:03

 Martin Lisec
WILD STYLE: Pencil, watercolour ink, Photoshop
OLD CYBORG: “It’s the same with fantasy pictures. I like Private work © 2006 – “She’s longing to be a fashion model that is
cyborgs, but I don’t like most cyber illustrations. They usually tough and with a wild look. However, she’s still a young pretty girl”
depict young, nude girls. But what about old and ugly cyborgs
waiting for their extermination and recycling?”

CHEMICAL SWEET GIRL: Pencil, watercolour ink, Photoshop

Private work from 2006 © – “This was inspired by Black Strobe’s dark electro
house. This illustration will be sold as T-shirt 2008 from 2K by Gingham (US)”

I LIKE DARKER STYLES have praised Martin for his exactness and his
ability to finish work on time. Of course, unlike

OF ILLUSTRATION
Before starting work, Martin sets out to find all
the requirements from the client. Of course, he
usually finds that they have contacted him
because of his style, so there’s no need to create
something that is drastically different from the
artwork he feels comfortable in completing. A
brief normally starts with quick sketches with a
sketchbook and pencil, simply because he finds it
quicker and more flexible to start without a
computer. “When a client agrees to a sketch, I start
work in Photoshop,” says Martin. “My process of
work is a little bit different from other artists. They
usually work with just one or two layers, but
sometimes I use hundreds of layers. I like this
style because I can work any time with any detail,
without impact on other parts and details of
my picture.”
Seeking inspiration
As Martin’s images are so varied and showcase a
vivid imagination, he relies heavily on seeking
inspiration from the world around him, especially
nature, people and architecture. “Because I like
darker styles of illustration, I like strange places
such as cemeteries, old factories and the medieval
streets in the centre of Prague,” Martin explains. “A
200-year-old cemetery during a rainy autumn day
is good inspiration for me. Sometimes, when I see
just a small detail like old doors, a lantern or a
broken ventilation system, it offers a spark of
inspiration for me. But other times, when I have a
creative crisis, a good friend, some music or a
movie is a powerful source of inspiration for me.”
Describing his images as “realistic unreal
compositions”, Martin’s work is a familiar sight on
various CG websites. There, he sits among some
of his most respected peers, including Steven
Stahlberg, Daniel Dociu, Stephane Martinere
and Laurent Pierlot. In the past four years, he
has also accomplished coverage in the ballistic
publishing books Exposé and d’Artist, as well
as, of course, having art featured on around
ten different computer games he has made
textures for.
The genre of art into which Martin’s
illustrations fall is a competitive one; many clients
most, he isn’t too fond of someone asking for a
job with a really quick turnaround, as he likes to
have time for inspiration. “Usually it’s the same
kind of people who want work quickly, that don’t
want to pay too much, so I don’t usually take that
kind of job,” Martin explains. “Fortunately, I have
enough offers and jobs available to me that I can
say ‘no’ to these commissions.”
Looking forward
The future holds lots of promising prospects for
Martin’s career, which, apart from being
prosperous, will also be varied. His current
position is testament to that. Currently working
on some parallel jobs, including another
computer game and some 2D backgrounds,
Martin is focusing on several other projects,
including a batch of book and magazine
covers featuring the notorious character, Jack
the Ripper.
His personal life is taking precedence too. “In a
couple of months I’m moving with my girlfriend
to a new house in Prague. It’s in a nice, quiet
place, so it will hopefully be a new output of
inspiration for my future work.”
www.martinlisec.com

31
Advanced Photoshop

026-031_AVP_36_Interview.indd 31 20/9/07 17:54:25

 MASTERCLASS
Getting obscure with your photos
Free your subconscious and create this dream-like, surreal illustration by incorporating
some down-to-earth source files in an unusual way
A
ll too often, Photoshop montages adhere to
the rule book, perfect in every detail, except
that all-important element of surprise or
excitement. In this tutorial, you’ll see how
incorporating a touch of surrealism will give your
illustrations another dimension.
32
Advanced Photoshop
032-037_AVP36_Dali.indd 32
The subconscious mind has always played a large role
in Surrealist works, achieved through the use of
symbolism and unexpected juxtapositions. These
techniques give the objects a new life outside
conventional reality. The Surrealist movement was
founded by André Breton in 1924 and was deeply
influenced by the psychoanalytical work of Sigmund
Freud and Carl Jung. The Surrealist circle was made up
of many great artists of the 20th century.
In this tutorial, we’ll pay homage to Salvador Dali and
René Magritte, whose paintings involved realist imagery,
arranged nonsensically (also known as Veristic
Surrealism). You’ll learn how to use Channel masks to
create selections, use non-destructive Adjustment
layers, Clipping masks, Layer Blending Modes, as well as
the Liquify filter to make cool Daliesque trees. Finally,
you’ll give your masterpiece an authentic canvas look.
ON THE DISC
You will find the images you need to
create this tutorial on the CD. We have
included a small version of the main
iStockphoto image ‘3547780’. If you wish
to download a larger version please log
on to www.istockphoto.com.
OUR EXPERT Mark Mayers
Mark Mayers is a freelance Illustrator and designer, based in
Cornwall. He was recently awarded Designer of the Year by MetalFX
Technology. To see more of his work visit www.markmayers.co.uk
1 Channel inspection
Open ‘iStock_000003547780Small.jpg’, supplied
on this month’s CD, convert to CMYK and flip
horizontally. To isolate the figure from the
background, go to the Channels palette and inspect
the Colour channels. The channel that offers most
contrast for the figure and shadow is the yellow one.
Duplicate it by dragging it onto the Create New
Channel icon at the bottom of the Channels palette.
21/9/07 09:11:09
 2 Channel modification
The channel needs further work to enable a
clean selection, so hit Apple+L to access the Levels
and drag the Black Point and Midtone sliders to the
right and the White Point slider to the left, as shown.
What you’re aiming for is a clean silhouette of the
figure – don’t worry about any small remaining white
areas as you’ll fix them next.
5 Channel options
By default, the white areas in an Alpha channel
are selected when you Apple-click to generate a
selection; Double-click on the Channel thumbnail and
ensure that Masked Areas are checked on the
duplicate Yellow channel. Generate a selection, inverse
it, target the top CMYK composite, switch to the
Layers palette and copy. Open ‘3D_render.jpg’, paste,
scale/position as shown and name the layer ‘Figure’.
032-037_AVP36_Dali.indd 33
4 A clean mask
You now need to isolate the papers, so take
another look at the Colour channels and you’ll see the
Cyan holds the most contrast for the papers. Duplicate
the channel and follow the same procedures to create
a clean masked area, remembering to fill any
unwanted areas with black.
3 Path-based selection
Ensure your new channel is targeted and, with a
small, black, hard-edged brush, paint out remaining
white areas that the Levels adjustment missed. For
tricky areas such as the hands, switch on the Visibility
of the composite CMYK channel and draw a closed
path. Create a path-based selection and fill the new
channel with black. Also, paint out any black/grey
remnants outside the figure, using a white brush.
6 Float a new layer
Use the Pen Tool to draw closed
paths around the figure’s shadow areas.
Apple-click on the Paths icon to generate
a selection and hit Apple+J to float a new
layer. Set the Layer Blending Mode to
‘Multiply’, move it underneath and name it
‘Figure shadow’. Next, make a path-based
selection and hit Delete on the Figure
layer. Shift-click both layers and position
them to the left of the canvas.
7 Channel-based selection
Back in your iStock image, ensure that the
duplicated Cyan channel’s options are set to Masked
Areas. Make a channel-based selection, target the top
CMYK composite, switch to the Layers palette and
copy/paste into your working document above the
Masking
Figure layer. Scale, rotate and position until you’re
happy and name it ‘Papers’.
techniques
The technique of Channel masking works best
with images that have good contrast to start
with and it doesn’t therefore always work for
every image. It can be used in combination with
other methods for masking more complex
selections. That’s why we used the Pen Tool on
the figure’s hands to refine the mask. We also
used a variation of this masking technique on
the bird images. It’s worth trying one of the
Layer Matting options under Layer>Matting to
clean up any stray pixels when pasting into
another document.
33
Advanced Photoshop
21/9/07 09:11:37
 MASTERCLASS
“REMEMBER THIS IS SURREAL, SO YOU’RE QUITE
ENTITLED TO BEND THE LAWS OF NATURE”
8 Blue skies
Open ‘Sky.jpg’, drag it into your working
document as a new layer, position it underneath the
10 Sky gradient
Create a new layer above the sky and name
it ‘Sky gradient’. Make sure your foreground colour is
Figure layer and name it ‘Sky’. Scale vertically and flip white and, with the Gradient Tool set to Foreground to
horizontally so that it covers the figure, as shown. The Transparent, hold Shift and create a Linear Gradient,
reason for this is that you’ll be using the same sky scaling it vertically until you’re happy. Next, generate a
image to fill parts of the figure later on. selection from Mask 1, and hit Delete.

9 Hide selection
Open ‘Mask.jpg’, hit Apple+A to select all and
copy. In your working document, create a new
channel by clicking the Create New Channel icon at
the bottom of the Channels palette and paste the
selection. Make a selection from Alpha 1, target the
Sky layer and go Layer>Layer Mask>Hide Selection.

Non-destructive
11 Create a Clipping mask
Open ‘Rocky_beach.jpg’ and drag it into
your working document. Move it above your

adjustments Background layer, changing the Layer Blending Mode

to ‘Luminosity’ and name it ‘Rocks’. Add a Color Balance
Adjustment layer by holding down Opt and check’
The benefit of using Adjustment layers is that Use Previous Layer to Create Clipping Mask’. Increase
no edit is permanent until you flatten the the Red to +18 and decrease the Blue to -68. Scale the
image. You can re-visit the image at any time rocks to suit and add a Gradient mask at the top.
and fine tune the adjustment by double-
clicking on its Layer icon. Adjustment layers use
a loss-less editing process and are therefore
non-destructive to the underlying layers. To
apply an adjustment to just a single layer, hold
down Opt and check Use Previous Layer to
Create Clipping Mask. Some other great things
about Adjustment layers are that, by default,
they are created with a mask, which can be
modified in the usual way, and they have the
same Blending Mode options as regular layers.
You’ll get some pleasant surprises through
12 An open door
Open ‘Doorway.jpg’ and draw a Clipping
path, retaining only the door and frame. Make a path-
experimenting with these.
based selection and copy/paste it above the Sky
gradient. Scale and position centrally and name it
‘Doorway’. Now’s a good time to fine-tune positioning.
Move the Figure shadow layer underneath the Figure
layer, Shift-click both layers and move them until
you’re happy. Scale and reposition the papers as well.

34
Advanced Photoshop

032-037_AVP36_Dali.indd 34 21/9/07 09:11:56

 13 Figure gradient
Duplicate the Figure Layer and name it
‘Figure gradation’, set the original Figure’s Blending
15 Figure clipping
To achieve a clean edge on your two Figure
layers, it’s best to use a Clipping mask. Generate a
Mode to ‘Screen’ and add a mask to the new Figure selection from the Figure Alpha channel, create a new
gradation layer. Ensure your foreground colour is set layer below your Figure layer, fill it with white and
to black and while holding Shift, now add a Linear name it ‘Figure clipping’. Next Opt-click between your
Gradient ensuring the Foreground to Transparent Figure and Figure gradation layers. The non-
option is selected. transparent areas of this layer now act as a mask.

14 Cloudy figure
Generate a selection from your Figure layer
and create a new Alpha channel from this. Select all the
content of your Sky layer and copy, make a selection
from your new Alpha channel and go Exit>Paste Into.
The resulting layer has a ready-made mask created from
your selection. Name the layer ‘Figure clouds’ setting its
Layer Blending Mode to ‘Linear Burn’..

17 Non-destructive
adjustments
Add a Color Balance Adjustment
layer to your Figure clouds layer,
ensuring the ‘Use Previous Layer to

16
Create Clipping Mask’ option is
Facial detail checked. Decrease the Red to -45
Use the Move Tool to position and scale the and increase the Blue to +43 in the
content of your Figure clouds layer. Add detail to the Midtones. The great thing about
figure’s face by duplicating the original figure layer, move Adjustment layers is that they can
it above the figure clouds layer setting the Blending be altered at any time and are
Mode to ‘Luminosity’ and the Opacity to 15%. Add a also non-destructive.
Layer mask and, with a large, soft-edged brush, paint out
areas from the neck down. Name the layer ‘Figure head’.

18 Add a seashore
Open ‘Shore.jpg’, drag it into your working
file, scale and position it above your Sky layers and
name it ‘Shoreline’. Use the Eraser Tool to paint out the
foreground sand areas and add a Color Balance
Adjustment layer (as before), decreasing the Red to -
40 and increasing the Blue to +27 in the Midtones.
Decrease the Reds to -19 in the Shadows.

19 Rocky selection
Open ‘Rocks.jpg’ and duplicate the Blue
channel, adjusting the levels to create a mask. Switch
on the Visibility of the RGB composite at the top and
clean up any remaining black and white areas with
the Brush Tool. Ctrl/Command-click on your new
channel to generate a selection and copy.

35
Advanced Photoshop

032-037_AVP36_Dali.indd 35 21/9/07 09:12:17

 MASTERCLASS
20 Match the horizon
Now paste the selection into your working
document above the Shoreline Adjustment layer and
name it ‘Sea rocks’. Scale and position it to match the
existing mountain range and delete the bottom half
to align with the horizon. To keep track of all these
layers, organise them into two group folders.
Storing
selections
Channels are a great way of storing commonly
used selections, but the downside is they bloat
file sizes, especially if you’re working on large,
high resolution images, so it’s wise to use them
judiciously. The Photoshop native .psd and .tiff
formats compress channel information and are
therefore good file formats to use when
working with a lot of extra channels.
24 Liquify again
Drag and drop the merged tree into your
working document above the Sea rocks layer. Create
more trees by returning to your tree document and
hitting Ctrl/Command+Z. Move and re-scale the
branches, liquify and merge visible layers and then
drag and drop. When you’re happy, merge all the Tree
layers into one and name them ‘Trees’. Now use the
Eraser Tool to blend in the roots.
36
Advanced Photoshop
032-037_AVP36_Dali.indd 36
22 Branch out
Open ‘Driftwood_2.jpg’, create more closed
paths and copy/paste these into your new document.
Start to construct the tree by duplicating layers and
rotating and scaling them. You can also use the
Transform Tool to flip some of them to avoid
repetition. Where the branches join, use a
combination of the Eraser and Clone Tools to blend
them together.
21 Closed path
Open ‘Driftwood_1.jpg’ and, with the Pen
Tool, create a closed path around the main branch –
don’t worry about being 100 per cent accurate here as
you’ll be distorting it later. Make a path-based selection
and copy to a new document 767 x 904 pixels, 300dpi
with the background contents set to ‘Transparent’.
Now rotate your selection to an upright position.
23 Get surreal!
Here’s where the fun
starts. To get the surreal Daliesque
feel to the tree, target your base layer
and go Filter>Liquify, ensuring that
Show Image is checked in View
options (this allows you to view all
other layers). Use a combination of
Liquify Tools on each layer to distort
the tree until you’re happy. Now go
Shift+Ctrl/Command+E to merge
visible layers.
25
Cast some
shadows
Duplicate the Trees layer and
move it underneath, naming it
‘Tree Shadows’. With the Move
Tool, drag and scale
downwards, make a layer-
based selection and fill with
black, setting the Layer
Blending Mode to Multiply.
Adjust the Opacity to 40%. Use
the Lasso Tool to draw a
marquee around some of the
shadows that don’t align and
nudge them upwards. Next,
add a small amount of
Gaussian Blur.
21/9/07 09:12:40
 26 Warp factor
Use the Liquify
filter’s Forward Warp Tool
27 Feathered friend
Open ‘Birds_1.jpg’ and go Image>
Adjustments>Threshold and drag the slider to 92 for a
on the Figure shadow layer clean silhouette. Now use the Magic Wand Tool with
to drag shadow areas over Contiguous checked and, with a low Tolerance, select
to match the rock contours. the bird. Ensure white is set as the foreground colour
You may be wondering and hit Opt+Delete to fill the selection with white.
why the figure casts a
shadow, but not the
doorway; remember, this
is surreal so you’re quite
entitled to bend the laws
of nature!

28 Make a flock
Copy and paste into your working
document at the top of the layer stack within the
30 Almost there
Step back and review your illustration;
now’s the time to make any adjustments. We
Background group folder. Follow the same techniques smoothed out the sand areas within the door frame
for the other two bird images supplied and paste as with the Clone Tool, adjusted the figure’s shadow to
new layers. Flip the birds horizontally and then scale/ 70% Opacity and used a Color Balance Adjustment
position them to the top right of the canvas. layer on the sky. There is also a Levels Adjustment
layer on the trees. Finally, we felt the rocks were better
suited with the Layer Blending Mode set to ‘Normal’.

29 Create an illusion
Target the ‘Papers’ layer and make a
layer-based selection. Paint the edges closest to the
birds white, using a large, soft-edged brush, set to
100% Opacity and Layer Blending Mode set to ‘Screen’.
Next, add a mask and make a layer-based selection
from the ‘Doorway’. With a large, hard-edged brush,
mask areas to create the illusion of the papers flying
through the door.

Surrealism in 31 Final touches

To finish off, we

advertising incorporated a scan of a blank canvas

to give a subtle painterly quality.
Open ‘Canvas.jpg’ and Shift-drag it to
Surrealism’s impact on popular culture can still
the top of the layer stack in the
be felt today, most visibly in advertising, which
Foreground group folder. Set the
makes constant and sophisticated use of
Surrealist techniques. You may recall a certain Layer Blending Mode to ‘Soft Light’
vodka campaign that utilised the illusion of an and adjust the Opacity to 70%,
alternative image of the world when viewed and you’re done! You should now
through the bottle, or cigarette advertising have your very own impressive
from the Eighties that used similar visual Surrealist photomontage.
paradoxes. Here are some useful links: www.
darkroastedblend.com/2007/01/cool-ads-
issue-2.html, www.aber.ac.uk/media/
Students/crl9502.html, www.
alastairmcintosh.com/images/bensons.html.

37
Advanced Photoshop

032-037_AVP36_Dali.indd 37 21/9/07 09:13:09

 Feature
We are family
Online creative communities, portfolio sites and forums are not only great
places to get seen and be heard, they also offer a wealth of feedback, advice,
support and inspiration, as Nick Spence discovers
T
he irrepressible growth of the internet in
recent years has united many who share
common likes, loves and interests. Google
your favourite band, actor or football team and
chances are you’ll find an exhaustive list of
websites and forums devoted to them. Even the
most obscure of passions will have a presence in a
dark corner of the web somewhere, along with a
Wikipedia entry. If you have an interest, any
interest, it’s never been easier to explore and share
it. If you’re particularly enthusiastic about art,
illustration, design, animation and all things
creative, then you are in luck. Creative communities
are among the most active and vibrant on the
internet, giving you a chance to showcase your
work and gain valuable feedback outside of family,
38
Advanced Photoshop
038-044_AVP36_Online.indd 38
friends and tutors. Finding a good community to
join and participate in is something that requires a
bit of thought and time spent exploring online.
Word of mouth recommendations and links from
sites you already enjoy are a good starting point,
but try and determine your main areas of interest.
“There are thousands of sites, some easy and some
not so easy to find. Really take a good look at the
site before you start investing your time in it,”
suggests Darren Di Lieto of illustration news portal,
LCSV4 (www.thelittlechimpsociety.com). Some
communities will have wide appeal, covering all
aspects of digital art; others will be more specific,
concentrating on areas such as 3D design, fantasy
art and Photoshop photo manipulation. “My advice
to anyone looking to join an art community site
would be to look around to see what’s out there
and find the ones that most suit you and your
work,” suggests Harry O’Connor of voodoochilli.
net, a site devoted to promoting up and coming
talent. “I think a really good community site should
be about the visitor and not about the company
that runs it.”
It always worth looking at the number and
frequency of forum posts, blog postings, news
items and responses to online galleries from other
users, as well as the general upkeep of the site. It
doesn’t have to be beautifully designed with
sublime coding, but it should look lived in, with
frequent updates and regular user input a must.
Although all good communities will have rules on
etiquette and critiquing work, some can be more
21/9/07 12:01:22
 Illustration by Ben Grubb
-
ANDREA AULWES
‘PORTRAIT’
(VOODOOCHILL
drea
Based in the US, An d
I)
WE ARE FAMILY
an
Aulwes is a fan of
contributor to the
ite, a
Voodoochilli webs
Illustration by Aaron Brio
nes
ity
growing commun
founded by artists

critical than others and you should be aware of this
before posting your work or views. “While most
sites and forums have a lot in common, each site
attracts a different group of people and has a
different vibe to it,” explains Martin Kool of
GFXartist.com, an online community devoted to
digital art, with over 50,000 members. “Getting the
core members to share your views is the most
important thing in my opinion. They are the ones
that spread the unwritten rules and tell others
when they’re getting completely out of line.”
Help is at hand
If you’re just starting off, it’s probably a good idea
to find a friendly community that welcomes
everyone or is aimed at the beginner or
intermediate, with people happy to help and
inspire ‘newbies’. Chichi Parish (www.chichiparish.
com), looking to launch a new career as illustrator
and cartoonist, found the Association of
Illustrators’ forum was able to offer the perfect
balance. “I was looking for ways to develop and
establish a good working practice and found the
AOI forum to be not only an ideal resource, but,
more significantly, a friendly environment. It’s
populated by working professionals and newbies
alike, who are keen on sharing knowledge,”
enthuses Chichi. “It’s undeniably a great resource
for the freelance illustrator working from home
who has no other point of referral or back up. From
a technical perspective, the forum enabled me to
be more efficient in my working practice.”
Second opinion
Professions like freelance illustration are
notoriously solitary, working from home with little
day-to-day interaction with the outside world.
Being your own boss can be great fun but if you
want to develop your style and advance your skills,
it’s hard to judge if it’s a step forward or backward
when the only discerning eye is your own. Even
when you’re starting out, it can be difficult to
gauge whether what you are doing is any good,
especially if those around take little interest. “I
personally have no one to show my work to in the
real world. There’s no one I know that really
understands what I do,” explains illustrator
Rebecca Parker (www.rebecca-parker.co.uk).

FROM A TECHNICAL PERSPECTIVE, THE FORUM ENABLED

ME TO BE MORE EFFICIENT IN MY WORKING PRACTICE

39
Advanced Photoshop

038-044_AVP36_Online.indd 39 21/9/07 12:02:06

 Feature
Illustration by Rebecca Parker
I LIKE TO BE ABLE TO NOTE OTHER
PEOPLE’S REACTIONS OF A PICTURE
“When I first began using Photoshop and started
out with photography four years ago, people
would give me hints, techniques and tips, critique,
or just simply say ‘great work’. It made me feel like
I belonged to my new hobby and helped me to
explore the subject at a deeper level, without
feeling intimidated by it.”
Learning Photoshop can get the better of even
the most intelligent of minds, so another
advantage of joining online communities and
forums is asking for help. While an online
nickname and avatar will give you a level of
anonymity, it’s good to use the search function
before asking a simple question that has been
answered many times before. Ben Grubb (www.
bengrubb.co.uk), an enthusiastic member of
several creative forums, clearly sees the benefits:
“They are an excellent place to ask specific
technical questions about working methods.
Photoshop queries come up regularly, and there is
a wealth of experience at your disposal,” says Ben.
“Most of my Photoshop experience has been self
taught, along with help from others on various
online forums. Because of the variety of users,
and varying levels of Photoshop experience,
there are always useful little tips to be picked up.
I often find myself reading through a thread
started by someone else asking a Photoshop
query and thinking ‘That’s interesting; I must
give that a try’. I have definitely learnt different
tips and tricks from people online, and from
subsequent experimentation I have felt my
knowledge expand hugely.”
(AP FORUM)
REBECC A PARKER t started contributing
Pa rker ha s jus
Rebecca hop
Advanced Photos
to the expanding ers free gallery space Advanced Photoshop forum. “I think
now off
website, which
good way of learning new tips, trick
to all users Photoshop. I have learnt a lot from
40
Advanced Photoshop
038-044_AVP36_Online.indd 40
Inspiration
As well as providing new tips, tricks and
techniques, a good forum will have plenty to
inspire users. Simon Rudd, aka Advanced
Photoshop forum regular Rev Jesse (www.
pompeysworst.co.uk), has found a lot to inspire
him by participating, and gaining valuable
feedback in the process. “Feedback is the main
appeal to me, I like being able to note other
people’s reactions and critiques of a picture.
Sometimes I have had suggestions that have made
me take a different direction. I also gain ideas and
inspiration from other artists’ work,” says Simon.
“It’s very interesting to see how other people
change or use stock pictures to come up with very
different and diverse images.” At best, online
forums can inspire passive members to have a go
themselves, even those starting from scratch. “I
initially joined online communities to admire the
work of others and that in turn inspired me to try
my hand at photography and Photoshop,” adds
Rebecca Parker. “I was so in awe of some of the
talent I found there, I just had to have a go at photo
manipulation and digital art myself!”
For students, older artists learning new skills,
and those who are simply not computer savvy,
online communities and forums offer a great
cheap way to showcase your work, without the
need to build or invest in a website. “Not everyone
knows how to build their own website, so sites like
Voodoochilli, which enable anyone to build their
own online portfolio, are beneficial not only to the
SIMON RUDD (AKA REV JESSE)
(AP FORUM)
Simon Rudd, aka Rev Jesse, is an activ
e member of the
that forums are a very
s and techniques for
other people and I hope my
knowledge has been useful to othe
rs”
21/9/07 12:03:17
 Background Illustration by AHD Imaging Illustration by Ekaterina Kyulyumova-Petrovd

WE ARE FAMILY
artists, but also to professionals looking to hire
fresh talent,” explains Harry O’Connor. MySpace Case study
offers plenty of room to upload your artwork
rather than MP3s, but you can target a more LINKS WE LOVE
specific audience by signing up for one of the Upload your work, promote your website, share help and advice, gain valuable feedback , learn new
many free online gallery and portfolio services. tricks and tips or simply interact with like-minded creative folk. We browse some of the best online
Various websites now include gallery and portfolio digital communities.
sections as standard and posting work in forums is
5OUP (WWW.5OUP.NET) ADVANCED PHOTOSHOP (WWW.
another way to show your work, especially when
5oup is an online community for student artists, ADVANCEDPHOTOSHOP.CO.UK)
participating in competitions and themed
which has a reputation far beyond any halls of Join the growing online Advanced Photoshop
challenges. It’s always worth checking the small
residence. Creators James Chambers and Tom Judd family with free image uploads and a friendly
print as some websites limit the number and
have brought a growing A-Z of new talent forum to air views and share work. Browse the
frequency of uploads or request a fee if you want
together, from animation to textiles. With a most viewed galleries and top rated images and
to expand your profile.
database of over 1,300 students and good support sign up for free. The popular Peer Pressure forum
from Icograda, Design is Kinky and Pixelsurgeon, section showcases yet more truly excellent
Trial and error why not add your own free portfolio? Photoshop work.
Online galleries and portfolios also allow you to
test the water, working out which images work
best and gain approval, dumping the early efforts
or the ones you or others don’t like before
launching your own website or blog. Often aimed
at specific audiences, it’s worth a look at other
galleries and portfolios before adding your own.
The excellent 5oup.net, for example, is aimed at
students, although the range of work is vast and
varied. “5oup is a great resource for student artists
THE AOI FORUM (WWW.THEAOI.COM) ARTSHOLE (WWW.ARTSHOLE.CO.UK)
wanting to show their work to as many people as
The Association of Illustrators aims to advance and Artshole provides professional, emerging and
possible,” says illustrator Lizzy Stewart (www.
protect illustrator’s rights, with a range of support student artists with a free platform to showcase
singstatistics.co.uk/lizzy). “In allowing other
and advice funded in part by a membership and sell their exclusive and original artwork. With
students to add comments on one another’s work,
scheme. A forum offers a free yet valuable insight 500,000 unique visitors each month, it’s a popular
you garner a better understanding of what works
from professionals as well as the usual range of off- choice for many. You can browse artwork by
and what doesn’t beyond the realms of your
topic small talk and good-natured banter. Sound category, including illustration, graphic design and
college or university studio, where a house style
on practical advice, it’s a great place to stop by if photography, and keep up to date with an
often prevails. It’s also a perfect way for publishers
you have a professional query. excellent ‘What’s On’ guide.
and industry insiders to track down emerging
talent before anyone else.” Fellow 5oup member
Lehel Kovacs (www.kolehel.com), a student
studying at the Novus Art School in Budapest, is in
full agreement. “It’s a great way to expose your
art
Illustration by Lizzy Stew

COMPUTERLOVE (WWW.CPLUV.COM) CONCEPTART.ORG

Computerlove is built and run by a group of
motivated creative individuals, and maintained by
a network of international contributors and artists.
Create personal or professional portfolios and
galleries in a few clicks, or share thoughts,
inspiration and ideas through your own personal
blog and RSS feed. Join the Creative Network and
find creative people, jobs and events in your area.
(WWW.CONCEPTART.ORG)
Conceptart.org is a web community of artists who
help each other learn about art, providing a place
to showcase work and meet fellow artists. As well
as a vibrant forum and IRC chat, the site boasts
visitors from many Hollywood production houses
and games developers, with pros and enthusiasts
swapping advice.

41
Advanced Photoshop

038-044_AVP36_Online.indd 41 21/9/07 12:03:48

 Feature
Case study
LINKS WE LOVE CONTINUED
DEVIANTART
(WWW.DEVIANTART.COM)
Massively popular online community with a strong
fantasy art element. Two types of membership,
free and paid, allow you to submit artwork, add a
blog-like personal journal and start to interact with
other users. For an additional fee you can sign up
to the deviantART shop and sell your work on
everything from canvas to fridge magnets.
LOUNGE72 (WWW.LOUNGE72.COM)
Non-profit online design portal, community and
ezine set up in 2002, which also includes photo
galleries, a job channel and active forum. One of
many excellent design communities online, you
can find inspiration from interviews with leading
contemporary designers and artists. A striking
PDF-based calendar, featuring Vault49 and
Inksurge, is also available to download and print.
VOODOOCHILLI.NET
(WWW.VOODOOCHILLI.NET)
A community founded by artists, Voodoochilli.net
was set up in 2002 to showcase the work of just
two people. Sensing that other students were
struggling to be seen, the site has grown hugely in
the last five years. It’s a hotbed for new talent
where you can upload a gallery and CV for free and
browse work by thousands of members.
42
Advanced Photoshop
038-044_AVP36_Online.indd 42
ILLUSTRATIONMUNDO (WWW.
ILLUSTRATIONMUNDO.COM)
Currently on a sabbatical, Illustrationmundo.com
is being redesigned for a promised re-launch later
this year. Designed to showcase and expose all the
great illustrators in the world today, it’s been a
popular place to submit art shows, links, calls for
entries, collaboration projects, contests, items for
sale, illustrator websites, interviews and new work.
PIXELSURGEON
(WWW.PIXELSURGEON.COM)
Pixelsurgeon’s daily news section offers a regular
stream of varied links to help stimulate and
distract, as well as an archive of reviews and
interviews. Illustrators interviewed include Gez
Fry, Andrew Rae, Fiona Hewitt, Nathan Jurevicius,
Kozyndan and John McFaul. Submit your news and
website updates and be seen by a huge audience.
Illustration by Leh
WORTH1000
(WWW.WORTH1000.COM)
Named after the saying ‘a picture is worth a
thousand words’, Worth1000 features regular
challenges to test your skills and you can
participate in one of the liveliest forums around.
The often hilarious results of themed contests are
featured in the media and the site has already
spawned two Photoshop manipulation books.
work and to be seen, which is very important
when you are trying to get your foot in the door.
It’s also inspiring to see other creative young
people making their first steps in the business.”
“It’s an effective way of getting your work out
there for all to see and for us to see what other
creatives are doing,” adds 5oup member Jo
Cogan (myspace.com/joco82). “It’s very
encouraging and good to share thoughts and
ideas with one another. Plus, you never know,
your work may get spotted!”
Getting spotted and self-promotion
motivates many to join websites like 5oup,
Voodoochilli and GFXartist, although it can be
difficult to judge how many browsing are art
directors, commissioning editors, gallery
owners and agents. “I would say that the
majority of our audience are artists that have
just started out or are established artists
looking for new ways to promote their work,”
says Harry O’Connor. “There are, of course,
many other people that use the site, either
looking for talent or simply browsing for
inspiration. Members, including myself, have
been contacted via the site to commission work
or asked if they can buy a print.”
Jim Rogers (www.handsome-boy.co.uk) is
another who has been approached to sell work,
after creating a profile on the 5oup website.
“There’s definitely a commercial side to
displaying your work and many artists on the
web have several sites where they post their
el Kovacs
21/9/07 12:04:20

new creations,” adds Martin Kool. “As in real life,
word of mouth is incredibly effective and the more
visible you are, the more likely it is that your name
drops when someone needs work done.”
Get spotted
Getting the balance right between commerce and
creativity is the key to a good website. “I think we
have a good mix,” says Tom Judd cofounder of
5oup. (www.5oup.net), a website devoted to
students. “Obviously, it is key to get the students
looking through the site, as they are the ones who
add content, we merely provide the framework.
However, we also understand that one of the main
incentives for getting their work on 5oup is to get
it seen by people in the business. This is why we
have set up a number of weekly promotional gigs,
whereby 5oup’s featured artists are mentioned
and linked on a number of large portals such as
Pixelsurgeon and It’s Nice That.”
Ultimately, regardless of who’s looking at your
work online, it’s a great way to be seen. A
potentially unlimited audience means when you
do attract work, it could be from anywhere in the
world. “There is no doubt in my mind that the
internet is one of the most powerful and effective
ways to promote anything that you do. The
internet is a very accessible tool, enabling people
to instantly share thoughts, ideas and artistic
creations with millions of people,” suggests Harry
O’Connor. “When someone uploads an image onto
Voodoochilli, it is then visible across the globe
(5OUP)
LEHEL KOVACS being
hel Ko va cs, based in Budapest,
For Le t way to expose
is a grea
involved with 5oup . “It’s also inspiring to
d be se en
your work an g their
ative people makin
see other young cre ess”
sin
first steps in the bu
038-044_AVP36_Online.indd 43
Illustration by Simon Rudd
WE ARE FAMILY
literally milliseconds later. That sort of promotion Illustration by Jo
Cogan
can’t be achieved through conventional
marketing methods, and certainly not for free.”
Many online communities have grown
organically from humble beginnings, adding
content and more features over time. Several now
include news feeds, blogs, free tutorials, image
downloads, and insightful interviews with
professionals. LCSV4 has an excellent archive of
Q&A sessions with established illustrators that are
both informative and entertaining. “I think the
interviewees are more than happy to get involved
with the site. I never give them deadlines, so
they’re not under pressure to just churn out
generic answers. And I personally try to have fun,”
says founder and editor Darren Di Lieto “It’s a
mutually beneficial collaboration with no losers,
like sitting on a bus and chatting to the person
opposite to pass the time; you both enjoy it and
may even make a new friend.”
Something for nothing
When budgets are tight and resources low, finding Reveal your identity
suitable source material on websites and forums Although numerous online communities are
can be a welcome bonus, as Rebecca Parker global, attracting contributions from around the
suggests. “The resources, stock and tutorials found world, local members will often arrange to meet
at sites such as stock.xchng (www.sxc.hu) and up. It can be quite a shock to finally see the human
deviantART enabled me to learn from scratch, by face behind the avatar and compare how people
myself at home,” says Rebecca. “To be able to actually look to how you imagined them. The brave
download free brushes, stock images and tutorials will often bring their portfolio and work in
and other resources for free is so amazing and not progress to pass among the group and encourage
to mention generous of the providers. These comment and collaboration. A suitable venue or
people contribute so much to the artistic event can also add to the occasion.
communities and forums and help people “I find online communities are a great way of
like me learn and enjoy learning.” meeting other people,” says Simon Rudd. “I have
JO COGAN (5
Jo Cogan is a regula OUP)
like 5oup and is en r on sites
exploring thoughts
couraged by
and ideas
with other students
who share
his interest in creati
vity
43
Advanced Photoshop
21/9/07 12:04:48
 Feature
made a number of new acquaintances I would
never have made if it wasn’t for places like
deviantART, B3ta or the Advanced Photoshop and
Photoshop Creative forums.” AOI forum regular,
Chichi Parish, agrees, having helped arrange
several successful meetings. “I’ve made some good
friends from the forum. There’s nothing better than
meeting up with forum members over a few pints.”
As well the social aspect, arranging to meet up
can help polish your networking skills, introducing
you to new people that can help raise your profile.
Some professionals will more readily give advice
and insight away from cyberspace, revealing
insider information on clients and agents when
fewer eyes are watching. Unlike the perils of
internet dating, you will at least share some
common interests when you do meet up. “The
stigma of meeting people from the internet seems
to have disappeared in recent years, which is a
great thing,” suggests Ben Grubb. “The illustrators
I have met have always been more or less how I
expected. They have definitely become friends in
their own right, and have gone beyond just online
acquaintances. I know that come Christmas time, I
always have a very colourful and eclectic
mantelpiece from all the different cards I receive
from members.”
A little real life interaction has also encouraged
Case study
LCSV4 – THE ILLUSTRATION NEWS PORTAL
News portals are increasingly popular across the
internet, gathering together news, views and
interviews while promoting the work of various
creative communities, including illustrators,
designers, 3D fans and Photoshop users. Darren Di
Lieto, founder and editor of LCSV4, the popular
illustration news portal, originally added a links
box on his own website so fellow illustrators could
submit news. “It was pure laziness on my part, but
all of a sudden my personal site was receiving over
1500 hits a day and needed a redesign to cope
with the extra usage,” explains Darren. “So I
decided to give the links box its own site and it’s
been growing ever since. The LCS has now become
44
Advanced Photoshop
038-044_AVP36_Online.indd 44
Illustration by Kate Wils
on
Ben and others to start blogs and other personal
projects to develop themes that began on forums,
captivating and inspiring all involved. It’s a move
that would not be possible without those browsing
the creative forums actively getting involved. “A
forum is literally nothing without members. The
more threads and posts there are about a variety
of subjects, the easier it is for everyone to get
involved. I have been very fortunate to be involved
with sites and forums with friendly and interesting
people who are genuinely welcoming and care
about the other members. It’s a real privilege.” 5
/ www.advancedphotoshop.co.uk
Illustration by Juan Mar
cos
my full time job, after I started turning clients standard for art directors and commissioners to
down to have more time to work on the site to turn use them to source freelancers and artists.” The
it into a proper organisation.” LCS also offers users not only a place to promote
From humble beginnings an essential website their work but new opportunities, potential
has grown, packed with visual inspiration and commissions and a sense of community, suggests
useful links and updates from other illustration Darren: “Illustration can be a very isolated job,
websites. With so little time to source new talent, but being part of a community builds
Darren believes contributing to sites like the LCS communication skills and creates a network of
will attract more than admiring approval from your colleagues and friends. Networking is a core
peers. “Sites like the LCS, Illustrationmundo.com skill for any creative and is essential for survival
and Drawn.ca are becoming core to promoting as an illustrator.”
yourself in what is now an international industry.
Although the majority of the people viewing these / LCSV4 www.thelittlechimpsociety.com
sites are other illustrators, it is fast becoming / Darren Di Lieto www.apefluff.com
21/9/07 12:05:22
 MASTERCLASS

46
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind46 46 21/9/07 09:16:11

 47
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind47 47 21/9/07 09:16:28

 MASTERCLASS

Create stunning illustrations

Combine the Pen Tool,
Vector shapes and brushes
to rise above the ordinary

B
ringing life to Vector illustration can be
daunting, but through Photoshop’s powerful
tools and a shot of ingenuity, you can create
unique and vivid illustrations with depth and impact.
We’ll focus on techniques for shape creation and
shading, and learn how to combine these tools. Before
you begin, sketch out an idea to bring to life. I chose to
illustrate Ganga, a Hindu Ganges river goddess. Hindu
art is rich in symbolism and ornamentation. I love tribal
art and intricate, decorative design, so it seemed natural
that this piece should reflect that.
In this tutorial, I’ll present my methods for creating
shapes with the Pen Tool and using selections, in
conjunction with the Brush Tool, to give your Vector
illustrations an airbrushed look. You’ll learn how to
create custom Vector shapes. And along the way, you’ll

1 2
discover Photoshop’s hidden ‘step and repeat’ shortcut.
Working through the tutorial, you’ll start with the Get started Rays of light
background and move forward. We’ll then focus on Begin with a sketch to use as a guide for your Switch to your Pen Tool and draw out the first ray
Ganga’s head to demonstrate in detail the techniques I final art. I have started with a pencil drawing, scanned of light shape, making sure you extend well beyond
use to complete the composition. By the time you’re and placed on a new layer. Set the layer’s Blending your workspace. I have the ray of light emanating from
done, you won’t need incense to reach a higher state of Mode to ‘Multiply’. This layer will remain above all other Ganga’s forehead. By doing this, I design a focal point
Photoshop bliss! layers, so we can turn it on and off for easy reference. that directs the viewer’s eye to the strongest element.
Rasterize this layer and turn off the sketch layer for now.
ON THE DISC
In the ‘tutorials’ section of this month’s disc you
will find several files to help you follow this
tutorial. These include some helpful .psd files,
some essential shapes and the original sketch
.jpg that Jeff used to start this step by step.

OUR EXPERT Jeff Miracola

Jeff has been illustrating since 1993 in the fantasy gaming industry.
His art can be seen in games, books and magazines as well as an
upcoming children’s book. Visit www.jeffmiracola.com.

4 Merge rays
In the Layers
palette, select every
other (even-numbered)
ray of light layer and

3
merge them. Now
Step and repeat select all the remaining
Duplicate the ray of light (Ctrl+J). Press ray of light layers (odd-
Ctrl+Opt+T to select this shape. Move the centre numbered) and merge
marker to the beginning of the ray to rotate around those. Change the
that point. Rotate it clockwise until it is alongside the colour of one ray of
previous shape. Hit Return. Press Shift+Opt+Cmd+T to light layer to establish
‘step and repeat’ as many times as needed. the pattern.

48
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind48 48 21/9/07 12:10:52

 5 Shade rays
Ctrl-click one ray of light layer. Create a new layer
(Shift+Ctrl+N), named ‘ray shade 1’, and fill the selection
7 Finish the sky
Using Adjustment layers, tweak the colours of
the ray of light and reflections layers to your liking.
with a slightly darker colour. Contract this by 30 pixels Colours set the tone of the piece. In using Adjustment
(Select>Modify>Contract). Feather it by 10 pixels layers, you may discover you prefer taking your art
(Select>Feather) and hit Delete. In the Layers palette, in an unexpected direction. Use the Brush Tool to
set the Blending Mode to ‘Multiply’ and Opacity to 20%. create a thin, soft line along the horizon, separating
Repeat for the other ray of light layer. sky from water.

6 Reflecting rays
Merge the ray of light and ray shade layers. Place
a guide to create your horizon. Select the ray of light
layer above the horizon. Copy/paste, flip vertical
(Edit>Transform>Flip Vertical) and move below the
horizon. This is your new reflections layer. Apply
Gaussian Blur (Filter>Blur>Gaussian Blur) to your liking.

8 Create a cloud
Create a new group in your Layers palette and
title it ‘clouds’. Switch to your Pen Tool, making sure the
10 Create the cloud base
Use the Rounded Rectangle Tool (Shift+U) to
create the cloud base shape. Using the same
Shape Layers option is active in the Options bar. Draw techniques as in Steps 5 and 9, shade the shape. Place
your cloud shape. Drawing with the Pen Tool may seem your cloud layers in a group in the Layers palette.
tricky at first, but before long, you’ll come to enjoy it Shift+Ctrl-click on the cloud and cloud base layers to
and even rely on its ease and flexibility. select shapes.

9 Shade the cloud

Using the same techniques as in Step 5,
shade the cloud’s edges. To create shaded cloud
curves, use the Elliptical Marquee Tool (Shift+M) to
create a selection. Use the Brush Tool to brush inside
that selection.

11 Finish the cloud

Create a new layer under all cloud layers and
fill your selection with a dark colour. De-select the Fill
(Ctrl+D) and use the Gaussian Blur filter to give your
cloud the effect of an outer glow. Ctrl-click on your
Cloud group in the Layers palette and choose Group
into New Smart Object.
Adding
Mehndi?
In this tutorial you will give life to your vectors
by adding intricate
details, such as Mehndi,
Mehndi

12 Duplicate the cloud

Duplicate your cloud Smart Object and
pepper the sky with these duplicated clouds, varying
the centuries-old art of
decorating hands and
feet with a fine paste.
You can practice your
sizes and colours. To create cloud reflection on water, own Mehndi designs
place all cloud Smart Objects in one Layer group, using the Pen Tool on a
duplicate and merge. Flip clouds vertically, lower them plain canvas.
onto the water, and apply Gaussian Blur.

49
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind49 49 21/9/07 09:17:53

 MASTERCLASS
13 Create a mountain
We need to make the mountains with the
same technique that we used for the clouds. Create
shapes with the Pen Tool and shade them with the
Elliptical Marquee and Brush Tools.
14 Highlight the mountain
Select your main mountain shape. On a new
layer, using the Paint Bucket Tool (Shift+G), fill selection
with a highlight colour. Switch to the Marquee Tool and
lower the selection several pixels. Hit Delete. De-select
the mountain and apply Gaussian Blur.
15 Duplicate the mountain
As you did with the clouds, create a Smart
Object of your mountain group in the Layers palette
and duplicate it at varying sizes and colours. Use the
Ellipse Tool (U) to create shapes on a new layer under
the mountains, forming highlights at the waterline.
Create reflections of the mountains, as you did with the
clouds in Step 12.

16 Start Ganga
Turn on the sketch layer for reference. Create
a new layer and use the Pen Tool to create one shape of
Ganga’s upper right arm, right leg and torso. Tip: in the
Options bar, click the arrow just right of the Custom

17
Shape Tool for Geometry Options. Selecting Rubberband
allows you to see the Pen Tool path before committing Continue
to a point. on Ganga
Don’t trace Ganga’s left
leg because it overlaps
her right. Making her left
leg a separate shape will
allow more accurate
shading later on.
Continuing with the Pen
Tool, create separate
shapes of her other arm,
neck, head and hair on
separate layers.

18 Begin shading
Turn off the sketch layer. Ctrl-click on the left
leg layer in the Layers palette and create a new layer.
20 Detailed shading
Now to Ganga’s head. Rasterize the neck
shape and switch to the Eraser Tool. Set to a standard soft
Using the Brush Tool, choose a 0% hardness standard brush and erase where neck and body meet. Repeat in
brush, any size you like. Pick a colour darker than the the neck shading layer.
selected shape and shade around the edges.

19 Shading the other objects

Using the same technique as in Step 18,
shade all your major shapes. Create a well organised
folder structure in your Layers palette as this will help
you keep track of the many layers you will be creating.

50
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind50 50 21/9/07 09:18:39

 21 Create cheekbones and eye sockets
Use the Elliptical Marquee Tool to mask off
areas for the cheekbones and eye sockets. With the
Brush Tool, use a darker colour to shade inside your
selection. Using selections to aid shading is one of the
best techniques in my arsenal. It gives my otherwise flat
illustrations form and substance.
“USING SELECTIONS GIVES MY
OTHERWISE FLAT ILLUSTRATIONS
FORM AND SUBSTANCE”
22 23
Create an eye Shade the eye
With your Pen Tool, create an elliptical shape Use your Brush Tool to shade the eye. As in
for the eye and triangular shapes for eyelashes. Ctrl- Step 21, use the Elliptical Marquee Tool, along with the
click the elliptical eye shape and create a new layer. Brush Tool, to create details around the eye, such as the
eyelid and wrinkles. Details are a good way to give your
artwork humanity. They give your subject a history that
is visible to the viewer.

24 Create the pupil and iris

Use the Ellipse Tool to create a circle for the
pupil. Create a new layer and build your own shape or
use my Custom Shape (Ganga009) to make lines

25
extending from the pupil’s centre. On a new layer,
create, rasterize and add a slight Gaussian Blur to an iris. Duplicate the eye
On another new layer, use the Ellipse Tool for a circular Place all the eye elements in one Layer
highlight. Rasterize and add Gaussian Blur. group. Duplicate that Layer group, flip horizontal and
rotate into position. Move the eye highlight to the
opposite side.

Step and
repeat
This Photoshop
keyboard shortcut
can be a powerful
tool in your creative
arsenal: Ctrl+Alt+T

26
to transform an
Create the lips, nose, eyebrows object; then
and cheeks Shift+Ctrl+Alt+T
Use the same technique of shape creation and shading to duplicate your
to make Ganga’s lips, nose, eyebrows and cheeks. Refer last move.
to your sketch layer for guidance, if needed. For the
highlight on the bottom lip, use the Pen Tool to create

27
the shape. Rasterize, apply Gaussian Blur and set the
Blending Mode to ‘Overlay’. Create the
face shadows
Using the Pen Tool, draw
shadow on the left of Ganga’s
face. Rasterize and add
Gaussian Blur. If the shape
extends beyond her face,
Ctrl-click the head layer in
the Layers palette and inverse
the selection (Shift+Ctrl+I).
On the shadow layer, hit
Delete. Set Blending Mode to
‘Multiply’ and lower Opacity.
Repeat for the chin shadow.

51
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind51 51 21/9/07 09:19:10

 MASTERCLASS
“PLACE THE 28 Create hair
With the Pen Tool, draw a wavy strip over 29 Create hair shadows
On a new layer, under the hair on Ganga’s

WAVY STRIP Ganga’s forehead. Ctrl-click the layer and create a new
one. Use the Brush Tool to shade inside the selection.
forehead, create a shadow shape. Rasterize and add
Gaussian Blur. Set Blending Mode to ‘Multiply’ and lower

OF HAIR Switch to the Elliptical Marquee Tool to move the

selection around. Using the Brush Tool, create other
Opacity to your liking. Repeat the process to create the
shadow of Ganga’s head onto her hair.

OVER GANGA’S wavy, shaded strips to complete her mane of hair.

Select the main hair shape, inverse the selection and

FOREHEAD, ALONG delete any shading outside the mane.

WITH THE
SHADING LAYERS”
30 Create Ganga’s ear
On a new layer under Ganga’s head, create
and shade an ear shape. Place the wavy strip of hair over
Ganga’s forehead, along with the detailed shading layers
above it, into a Layer group. Press Ctrl+T to stretch the
hair over the ear.

31 Create hair and

face highlights
Ctrl-click on the main hair
shape layer. Create a new
layer above all other hair
elements and fill the selection
with a highlight colour.
Switch to the Marquee Tool,
move the selection four pixels
right, delete and de-select.
Apply Gaussian Blur to soften
the highlight, and create

32
additional highlights using
Beginning earrings the Pen Tool. Rasterize and
Here we create a custom shape. Custom blur, and then repeat the
shapes make your art unique. Open a new document, process for face highlights.
1000 x 1000 pixels at 72 dpi, and switch to the Ellipse

34
Tool. Check From Center in the Ellipse Options
drop-down in the Options Bar. Place vertical and Earring circles
horizontal guides at 500 pixels. Draw a circle from the Create a small circle, positioned on the
centre point. outside of your ring, on the X-axis. Now place a slightly
larger circle next to the smaller circle, also on the X-axis.

33 Create earring loop

Still using the Ellipse Tool, choose Add to
Shape Area in the Options bar. Draw a slightly smaller
circle on top of the first one and switch to the Path
Selection Tool. Select both circle paths. Click Exclude
Overlapping Shape Areas and then Combine, in the
Options bar.

52
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind52 52 21/9/07 09:19:42

 35 Decorate earrings
Switch to your Path Selection Tool; select
both of the circles you just created and copy/paste. Hit
37 Place the earrings on Ganga
Back in your Ganga document, select your
new earring design from the Custom Shape Tool
Ctrl+T and Move the Centre Point of your selection to palette and draw out one of Ganga’s earrings. Colour,
the centre of your canvas. Rotate 20˚ and apply shade and highlight your design. Duplicate your design
transformation. Press Shift+Option+Ctrl+T to uniformly and place both earrings into position.
repeat the duplication to the X-axis.

36 Earrings/custom shape creation

Use the techniques described in the
previous steps to further embellish your design. Once
you’re satisfied, create a custom shape (Edit>Define
Custom Shape).

38 Finish Ganga
Using the techniques learned so far,
complete the rest of Ganga’s jewellery, clothing, body

39
tattoos, water jug and lotus flowers. Once done with
Ganga, duplicate her Layer group, merge, flip vertical Create grass
and add Gaussian Blur and a ‘Color Overlay’ Blending in the
Mode effect to create her reflection. foreground area
To create grass in the
foreground, make a single
blade of grass illustration to
duplicate, rotate, resize and
rearrange. Once you
complete your grouping of
grass illustrations, merge
them and create highlights.
Duplicate and flip the grass
layer for the opposite corner
of your artwork.

40 Finalise
your art Custom
Add a new layer above
all other layers, switch shapes
to your Brush Tool,
choose a dark colour Creating custom
and shade the edges of shapes develops
your art. Set Blending creativity and
Mode to ‘Multiply’ and promotes efficiency.
lower Opacity to 40%. Easily duplicate
elements across one
Create a new
or more works and
Adjustment layer and
even export paths to
tweak the Color Adobe Illustrator
Balance to your liking. (Export>Paths to
Congratulations, you’re Illustrator) for further modification.
all done!

53
Advanced Photoshop

046-053_AVP36_Pen and Vector.ind53 53 21/9/07 09:20:27

 MASTERCLASS
Surreal Photomontage
Turn your own photographs into something spectacular,
using creative techniques with this surreal landscape
I
n this tutorial, we are going to create a surreal
photomontage with an impressive dream-like
scene full of details. While it’s sometimes true that
less is more, details can make a scene fancy and
interesting to look at. Some steps will require more
flexibility in terms of positioning preferences and
lighting effects, as well as colour palettes, but in just a
few simple steps, you can achieve brilliant results.
We will use a very simple method that I use to create
my own artwork, so once you start to see the results
your imagination will drive you into the scene,
awakening your own creativity. You will be able to add
anything you want to, with a crisp look. It’s
recommended that you download some brushes; take a
look at those on this month’s cover disc, or even seek
54
Advanced Photoshop
054-058_AVP36_Surreal.indd 54
1 Let’s get started
Let’s start by creating a new file, setting the
width to 216mm and the height 162mm, with a
resolution of 300dpi. You can make the resolution a
out some of the more creative ones from your own little bit lower (something like 150 or 200) if your
Photoshop brush library. A good selection will make computer slows down during the process. Choose a
things easier on this tutorial. colour profile, such as RGB as standard.
ON THE DISC
You will find the source images you need to
follow Nelson’s tutorial on this month’s cover
disc. However, to get a full grasp of the
techniques involved, we recommend trying out
the techniques on your own images to see what
surreal worlds you can create.
OUR EXPERT Nelson Balaban
Nelson is an experimental digital artist and graphic designer from
Brazil, currently working as an intern in an interactive agency in Sao
Paulo. He contributes to the famous international art group
depthCORE (www.depthcore.com) as a digital artist.
Visit www.xtrabold.net.
20/9/07 17:46:15
 2 Import the background
Import the JPG file named ‘background.jpg’,
which can be found in the CD. We’re going to use this
3 Preliminary
adjustments
The photo we’re going to use
image as our background. It’s a simple scene with a is quite raw and needs some
very neutral perspective, which should help us in the adjustments to get the desired
future. Just copy and paste it onto the canvas. appearance. Let’s start by
adjusting the colours. Click on
Image>Adjustments>
Selective Color. On the Colors
drop-down menu, choose
Blacks. There will be cyan,
magenta, yellow and black
properties, choose Method
‘Relative’ and put +20% on
black, in order to put some
contrast on the image. Now
select Neutrals on the Colors
drop-down menu and put
+10% on black again. The
image should be a bit darker.

4 Goodbye blue sky

We want the sky to be heavier and
the best way to do this is using the
5 Let’s cut it
Pay attention as we’re going to repeat steps five,
six, seven and eight on each building we put on our
Gradient Tool. Create a new layer, choose canvas. There’s much more to add on our background
the black and white colours and drag it image, but we’ve got to do it with the other elements
over the sky, diagonally. Now set the layer altogether. Import files ‘church.jpg’, ‘mill.jpg’ and ‘rocks.
Blend Mode to Multiply and put 50% in jpg’, so we can cut them. Each person has their own
Opacity. If you feel that the mountain was way of cutting images; some people use the Pen Tool
covered by the gradient you’ve just done, and others use the Magic Wand or the Polygonal
select the Eraser Tool and adjust it. You Lasso. We’re going to repeat this process as we put
can even duplicate the layer if you want it new images on the canvas. There’s a Path on the .jpg
even darker. We’re going to add more to files, so if you’re already used to cutting out images,
the sky later on. select the path and ‘Make Selection’.

6 Fit into perspective

Now that the images are cut, desaturate them (Ctrl+Shift+U). It’s better to desaturate now because we’ll
make the whole scene a bit darker later. Drag the images onto the canvas and place them the way you see on
the image.

depthCORE.com
A great source of inspiration is depthCORE, an
international art collective focused on modern
and abstract art, incorporating design,
photography, animation and audio. It’s like an
online exhibition, featuring artworks made by
the hottest digital artists from around the
globe. This is definitely one to bookmark!
(www.depthcore.com)

55
Advanced Photoshop

054-058_AVP36_Surreal.indd 55 20/9/07 17:47:08

 MASTERCLASS
7 Look, the building is floating!
Now it’s time to create the floating ground that
supports the floating building. For this, we’re going to
9 The shadow
Now that we’ve finished our first flying building,
it’s time to add the shadow on the ground. Be careful
cut out a piece of an image called ‘sea_rocks.jpg’. Seek on this step, as you must add the shadow as the
the path, make the selection and cut and paste it onto perspective and depth demands. Create a new layer,
the canvas. Duplicate the layer, go to apply a medium brush and distort it the way you think
Edit>Transform>Flip Horizontal, and make it is best. Now it should look like the image shown here.
symmetrical. We need to distort it now to give it some Repeat the process on all of the buildings.
perspective, so go to Edit>Transform>Distort. You may
want to apply some Healing Brush to this layer to
avoid the symmetric aspect.

8 Add the ‘ripped’ aspect

It’s recommended that you use some brushes
on this step, in order to make it easier and good-
looking. A cool website to find resources is Blue
Vertigo (www.bluevertigo.com.ar). Once you’ve
found the brushes, apply some on the bottom of the
layer we’ve just added and it should look like this
image. Surreal art is fun because it allows you to add
anything you want to the artwork. Even if you’re not
fond of details, you will certainly enjoy it.

10 Add more to the sky

The sky is looking really calm as it is now, but we want to put some more weight onto it and include
some details as well. Let’s add some stars. Create a new layer, select a normal brush, around five pixels. Have fun,
spread it and make it separated. We can duplicate it and fill the whole sky with stars later on. Merge down the
layers (Ctrl+E) and duplicate it. Now go to Filter>Blur>Gaussian Blur: value four. Erase some points if you wish and
make some spots brighter. It will create a cool depth effect.

11 Place the moon

Now we are going to place a moon onto
the sky. Just open the .JPG file ‘moon.jpg’ from the CD,
select Path>Transform to Selection, and cut and paste
it onto the canvas. We want it to be placed on the
very top left of the canvas, so after you do it, duplicate
the layer and add the same Gaussian Blur we’ve just
added on the stars. Erase some points (the darker side)
and there’s your moon!

“CREATING YOUR OWN BRUSHES CAN BE FUN AND IT’S GREAT

TO USE ELEMENTS THAT ARE GENUINELY PERSONAL TO YOU”
56
Advanced Photoshop

054-058_AVP36_Surreal.indd 56 20/9/07 17:47:54

 12 The vortex
Open the file
‘vortex.jpg’ from the CD, drag
14 Prepare the twirl
Select the Magic Wand Tool and try to
select the whole river. To do this, hold down the Shift
it onto the canvas and distort key with just a few clicks. Now go to
it so it’s aligned with the river. Select>Modify>Feather. Set two pixels as the Radius.
Edit>Transform>Distort, so it Cut and paste and it will create a new layer with the
looks like this. river. Transform it to look like this.

13 Change the colours

Press Ctrl+U and add -50 on Saturation to
desaturate the vortex a little. Now select the Eraser
Tool and erase the edges so it’s going to fit into the
river. Transform it (Ctrl+T) the way you think is best,
but make sure it’s well placed. Set the layer to Overlay,

15
duplicate it and set this one to Lighten, 35% Opacity.
The twirl
Now, with the Rectangular Marquee Tool,
select the layer you’ve just created and apply the Twirl
Effect: Filter>Distort>Twirl: Angle -245º.

17 Connect the buildings

Now we’re going to connect the buildings
with a kind of rope. To make it fancy, we’re going to
add some details later on. Create a new layer and
select the Line Tool with a weight of 3 pixels and ‘anti-

16
alias’ checked. Draw a line on the centre of the image.
Fit the twirl
Set the layer to Lighten, 100% Opacity, and
press Ctrl+T to transform it to fit the river. Some parts
will not fit into the space, so select the Eraser Tool and
erase the edges. We have now a twirly river – fantastic!

18 Distort and place

Now apply the Shear Distortion effect: Filters>Distort>Shear. Slide up the line, inserting a point in the
middle of it, making a slight distortion. Rotate it 90º CW (Edit>Transform>Rotate 90º CW). Place it between the
two floating buildings; both extremities should reach the darkest part of the floating objects. Duplicate them if
you want to add more. Also, if you want to give it an impressive look, add some brushes like you did on the
floating buildings.

19 Add the birds

Open the file ‘birds.psd’ from the CD and
drag the birds anywhere you want. The birds are
important because they add movement to the scene.
As we’re going to add some atmosphere on the next
step, these birds should be placed before we do it.

57
Advanced Photoshop

054-058_AVP36_Surreal.indd 57 20/9/07 17:48:48

 MASTERCLASS
20 Add atmosphere
To explore the lighting and atmosphere, that’s where the brushes come in. Creating your own brushes
can be fun and it’s great to use elements that are genuinely personal to you. Create a new layer, select a soft
21 The fog aspect
We are going to add a fog aspect to this.
Simply go to Filter>Blur>Gaussian Blur: 54 pixels of
brush, around 300 pixels, and make some spots. Radius. Duplicate the layer, invert it (Ctrl+I) and, later
on, move it to another place, not too far from the
white fog. Merge both layers (Ctrl+E) and set it to 50%
Opacity. You can stretch it so that we get a nice aspect
of fog. Duplicate the layer and place it anywhere you
want to, but just make sure it’s well placed. Erase
some points if you wish.

22 Add a focal point

Create a new layer (above all the others)
and select the Gradient Tool. Set it to Radial Gradient,
23 Final adjustments
We’re almost done! Now, if
you wish, you can
at the top of your screen. Now click on the centre of make some
the canvas, and drag it to the top left-hand corner. adjustments. We’re
Once it’s done, set the layer opacity to 65% and going to slightly adjust
change the Blending Mode to ‘Soft Light’. the curves. Change
Output to 71 and Input
to 74. We’ve moved the
focal point a little bit.

24 You’re done!
There you have your
finished surreal landscape. A
cool tip to find errors and/or
lighting issues is to take a day
off without viewing the artwork.
Placing the piece on another
Sci-fi background with a different

Movies colour can also help you to spot

elements that need changing.

Sci-fi movies can provide inspiration or simply

work well as a reference. Of course, it all
depends on the concept you want to achieve,
but once you unleash your creativity, any
concept becomes interesting. The Matrix trilogy
is a good example.

58
Advanced Photoshop

054-058_AVP36_Surreal.indd 58 20/9/07 17:49:32

 Step-by-step
Workshop
MADE IN MONOCHROME
Follow this month’s step-by-step guide to create a low-key black-and-white visual styles,
producing your very own dark and broody film noir compositions
ON THE DISC
On this month’s disc you will find all of
the source imagery you need to
complete this tutorial. As well as the
images we’ve used in this design,
there are also some extras.
OUR EXPERT Adam Smith
Advanced Photoshop’s Staff Writer and movie enthusiast,
Adam Smith was inspired by some of his favourite films
for this tutorial including; Blade Runner, Sin City and
Hitchcock’s Vertigo.
I 1
n the world of Photoshop, anything is
possible. For example, that mundane alley
that you pass every day on your way to
work can be converted into a sleazy crime
scene, just as you had always imagined. With
some clever lighting techniques atmospheres
can be dramatically transformed to complete
the mood. Although there are grey areas, all
types of creation are plausible in Photoshop
using its array of competent tools. This
60
Advanced Photoshop
060-064_AVP36_Black&White.indd 60
workshop will teach you how to use
inconspicuous photographs to produce your
very own film noir scene. You will learn how to
use Photoshop’s powerful Adjustment options,
Blending Modes, Channels palette and Filter
effects, without too much of a challenge. So,
investigate your creative capacity using this
revealing step-by-step workshop and create
your own smoky streets and alleys, filled with
deviance and ruthless crime, for that truly
expressive film noir ambience.
Private eye
Before you even touch Photoshop, take
the time out to get snap-happy with your digital
camera. Get out there and take some photos of
your model and settings. However, remember
to obtain certain levels of exposure, contrasting
areas of light and dark within your photography,
be it natural or manufactured. This increases the
effect later on.
20/9/07 17:43:45
 2 Channels
Once you’ve got your photos together, it’s
time to edit. You may have taken shots of your
4 Painted area
After clicking OK, with the red channel
copy layer still active, select a hard-edged brush
model separately from your background, so let’s set to pure black. Begin to paint over the visual
start by isolating them from the photo areas that you wish to keep, distinguishing
backdrop. Select the Channels palette, them from the lighter areas we’ll disregard.
deselecting all channels bar the red/green Don’t worry; this won’t affect your original
channel, to leave a black-and-white image. image at all. Use the tab buttons to quickly
resize brushes as you go. Once satisfied, press
Ctrl/Command+I to invert your image.

3 Get level
You should notice that the image has a
healthy contrast, and a clean backdrop, which
we will intensify. Ctrl/Command-click the red
channel, selecting Duplicate, and activate this
copy, deactivating the original. Now select
Image>Adjustments>Levels. Within the Levels

7
dialog box, drag your light and dark sliders to
match the peaks on the histogram until you Layering
have obtained an even stronger exposure. Once the Blend Mode has been set, move
across to the Opacity bar and decrease it to

5
50%, reducing the image brightness. Now
Isolation reactivate your original Model layer and, once
Selecting the Rectangular Marquee Tool, again, duplicate, naming it ‘Model Copy’. Once
Ctrl-click, choosing Color Range from the drop- complete, place this new layer as the top layer,
down menu. Here, use the Color Picker to select setting its Blending Mode to either ‘Overlay’ or
the white tone in your image, using the slider to ‘Color Burn’, depending on your own effect
isolate it purely to your figure (as near as you preference. Set the Opacity to 75%.
can) and click OK. Use your Lasso Tools to tidy
up your selection. Then return to the Layers
palette, activate your original layer and copy
and paste this into a new window.

6 Exposed
Now we have our model isolated, it’s time
to create some extreme contrasting exposure
for that authentic film noir look. Begin by
duplicating our Model layer, naming it ‘Model 2’.
Then select Image>Adjustments>Desaturate.
Duplicate this black-and-white layer, naming it
‘Model 3’, and from the Blending Mode options
in your Layers palette, select ‘Screen Blend’.

“CREATE SMOKY STREETS AND

ALLEYS, FILLED WITH DEVIANCE”
61
Advanced Photoshop

060-064_AVP36_Black&White.indd 61 20/9/07 17:44:03

 Step-by-step
Workshop
8 Making noise
Hiding your background layer, Shift-click
on all other layers. Once activated, press
9 Stay sharp
Once you’re presented with the Smart Sharpen dialog box, set your amount between 55 and
60% and Radius to 1-2 pixels. Set your remove option to Lens Blur, making sure More Accurate is
Shift+Alt+Ctrl/Command+E to merge all, checked at the bottom before you click OK. Then, at the foot of the Layers palette, click the Create
naming the new layer ‘Model Merge’. Now select New Fill or Adjustment Layer button, selecting Curves from the Options menu.
Filter>Noise>Add Noise. Set the Noise value
between two and five, the Distribution option
to Gaussian and activate Monochromatic. Select
Image>Sharpen>Smart Sharpen.

No need to sharpen up 10 Curves

As soon as the Curves dialog
appears, press OK. There is no need for any
In steps eight and nine, we suggested using the Smart
adjustments. Proceed to set the Blending
Sharpen filter. However, there may be users that are using
Mode for this Curves layer to ‘Multiply’,
earlier Photoshop versions than CS2. These users can use
darkening your image. Now select the Elliptical
the Unsharp Mask filter. Select Filter>Sharpen>Unsharp
Marquee Tool and draw a large oval inside your
Mask, entering an amount around 150%, a Radius of 1 pixel
image, corresponding to your light source.
and Threshold of 0.
Press D to set to default colours and press Ctrl/
Command+Backspace.

11 Gaussian Blur
Now select Filter>Blur>Gaussian Blur.
The value you set here will obviously be
dependent on your pixel ratio, but anywhere
between a 60 and 80 Pixel Radius should suffice
to give your image nicely shadowed borders,
accentuating the lighter focal areas of your
image. Click OK.

“ADHERE TO THE PRACTICE

APPLIED TO YOUR FIGURE TO
GET THE DESIRED, COHERENT
EFFECT IN YOUR BACKDROP”
62
Advanced Photoshop

060-064_AVP36_Black&White.indd 62 20/9/07 17:44:18

 12 Black and white
Before you merge these layers you
can lower the Opacity value for your Curves
High Pass
effect. Next, select Image>Adjustments>Desat-
If you’re using a standard digital camera and mocked up
rate, renaming the merged layer ‘Model B/W’.
studio lighting to shoot your model, you may find that the
You should now have a nicely exposed figure.
effect this has on your model is a slight haze or blur. This
You’ll need to treat your background, so adhere
can be easily resolved by duplicating your photo, setting a
to the practice applied to your figure to get the
Multiply blend to this and then selecting
desired, coherent effect in your backdrop.
Filter>Other>High Pass. This function will sharpen and

13
heighten exposure, all in the same application.
Integration
Now you can copy and paste your
figure into the newly created backdrop. The
two images have to coexist in the same
composition and you’ll notice that there may
be disruptive light edges on your Model layer.
Select your Burn Tool from the Tool bar, set
your Opacity to 30% and choose the Star 55
pixels brush from the Brush palette. Set your
Range to Midtones and get to work darkening
those obtrusive edges.

14 Highlights
With your model integrated into the
composition, select the Dodge Tool from the
Tool bar, set the Range to Highlights and, with
the previous brush type, set to an Opacity of
10%. Pick out areas to highlight. You can also
use the Burn Tool to offset. Be sparing yet
consistent, as this should merely heighten your

16
exposure for subtle, cool effects.

15
Graphics
With the essentials completed, it’s
time to add a little personal creative substance
to the composition. Start by pressing D and
then duplicating your Model layer, selecting
Filter>Sketch>Graphic Pen, with this new layer
active. Now set your Stroke Length to 12, Light/
Dark Balance value to 76 and Stroke direction
to Left Diagonal.
Duplication
Once you’ve pressed OK, set the
Blending Mode of this layer to ‘Luminosity’,
dropping the layer Opacity to 30%. Now
duplicate your backdrop with the same Filter
treatment, Blending Mode and Opacity value, so
the images stay cohesive in effect and exposure.
Then, with all layers active once again, press
Shift+Alt+Ctrl/Command+E to merge all layers
into one and name this ‘Merged Effect’.

17 Applied texture
With this new layer active again,
select a Luminosity Blend Mode at 30% Opacity.
Then proceed to delete your earlier copied,
sketch-treated layers for optimum effect. This is
a subtle effect, which, again, slightly heightens
exposure and gives your image a more textured
feel, similar to old film.

18 Gritty texture
Next, open the file ‘texture1.tif’ and,
using either of the transform options, “IT’S TIME TO ADD A
Edit>Transform or the Show Transform Controls
when activating the Move Tool, rotate and/or LITTLE CREATIVE
resize your new texture layer. Name this layer
‘Texture 1’ and press Ctrl/Command+I to invert SUBSTANCE TO THE
the textures colour to white. It’s now time to
apply another essential Blending Mode. COMPOSITION”
63
Advanced Photoshop

060-064_AVP36_Black&White.indd 63 20/9/07 17:44:41

 Step-by-step
Workshop
Film noir iconography
If you aren’t familiar with the smoky, shady settings of film
noir or the iconography that makes it such a visual
spectacle, don’t worry. Below are a few select cinematic
examples that should help you familiarise yourself.
G Men – William Keighley, 1935. This Oscar-nominated film,
featuring legend James Cagney, offers up a treat of cops
and gangsters. This is truly old-school and worth a watch
for its moody action.
The Big Combo – Joseph H. Lewis, 1955. John Alton’s
cinematography really sums up the visual delicacy of the
genre. Great mysterious ambience.
Vertigo – Alfred Hitchcock, 1958. A real classic thriller with
a lot of iconographic reference for any viewer.
Sin City – Frank Miller, 2005. This parody of film noir
serves as a 21st century look at the genre, but is a visual
feast nevertheless.
20
Close attention
Again, be deliberate in your erasing
application and remember that you are
applying to the Layer Mask thumbnail. If you
erase too excessively, simply set your
foreground colour to white and undo the
erasure of any visual value. Go in with a good
zoomed close up and check for this
interference; it takes time but it’s worth it. Once
finished, you’ll have a subtle gritty texture that
adds to the nature of the composition.
23
Red right hand
Try this same effect with your ‘Splat.
tif’ file and copy and paste this into your
composition. Apply a ‘Linear Burn’ Blending
Mode to these newly created blood splat layers.
Experiment with their position, according to
your Model layer’s position. If necessary, for
effect, duplicate, resize and position these layers.
As you’ll see, the effects are dramatic.
64
Advanced Photoshop
060-064_AVP36_Black&White.indd 64
19 Erasure
With your Texture 1 active,
set your Blending Mode to ‘Soft Light’
and drop the layer’s Opacity to 40%.
Now you’ll have a nice grunge-style
texture, but this can interfere with
certain visual elements you don’t
want affected. This is easily resolved,
however, so just click the Add Layer
Mask icon at the foot of the Layers
palette, select a Star 55 pixels brush,
black foreground colour, and, with
Opacity set to 30%, brush away
any interference.
22
Splash of red
Click OK and, with your application
active, press Ctrl/Command+X to erase all white
value. Now select the Add a Layer Style icon at
the foot of the Layers palette and select Color
Overlay from the drop-down menu. Here, click
on the Tonal thumbnail and apply a colour of
R:206, G:0, B:0. Next, create a new layer and then
merge the two. Copy and paste this new layer
into your composition.
21
Threshold
Next, open ‘Texture4.tif’ and use the
Crop Tool, from the Tool bar, to select a desired
area. Select Image>Adjustments>Threshold
and apply a value that leaves you with a
noticeably sharp-edged splatter effect. Next,
with the Rectangular Marquee Tool active from
the Tool bar, Ctrl-click and select Color Range.
Use the Color Picker to select all white value.
Set your slide bar value to around 60%.
25 Final curtain
And there your have it, your very
own film noir city street scene. Again, this is a
simple result that needs only a little close
attention and minor treatment to produce a
capable and expressive composition. You can
always work with your textures and Burn and
Dodge Tools to enhance exposure further or
actually apply and edit Curves to create more
desirable effects.
24
Ambience
Heighten the scene’s underhand
ambience by taking a picture of a clear, cloudy
skyline, utilising the channel editing techniques
learnt and extracting the clouds. Copy and
paste these into your composition, resize and
shape, applying a ‘Hard Light’ Blending Mode.
Edit Opacity values and apply Layer Mask
editing to refine effects. Apply a slight Motion
Blur by going to Filter>Blur, for added effect.
20/9/07 17:45:26
 Step-by-step
Workshop
CREATE REALISTIC WOODEN TEXTURES
Do you avoid wooden elements in your designs because they seem unconvincing? Fire up Photoshop
and watch for splinters as we show you how to conquer the rings, knots and grains to create a realistic
wooden texture you can almost touch
ON THE DISC
On this month’s disc you will find a set
of files to help you along your way
including; ‘WoodenGradients.grd’ – a
set of custom gradients and
‘AgedTexture.png’ - a texture used to
create weather damage on the wood.
OUR EXPERT Kirk Nelson
Kirk has been a graphic artist for ten years in the
Washington DC metro area. He returns this month to
Advanced Photoshop for another tutorial on natural
effects. His work can also be found in Photoshop Creative
as well as the Marine Corps Gazette and Transition Point.
66
Advanced Photoshop
066-068_AVP36_Wooden Textures.in66 66
W
ood surrounds us. It is in our desks,
on our floors, in our walls and part
of our furniture. Wood is engrained
in our reality, yet much digital art doesn’t reflect
this. Often it’s avoided completely due to the
difficulty of generating a convincing texture, the
rich grains and beautifully curved rings proving
to be the bane of many artists’ lives. However,
with good use of Photoshop’s Gradient Tool and
some creative filter apps, you can become a
digital woodworker in no time.
Here we’ll show you how to quickly produce a
convincing woodgrain texture completely within
Photoshop. The technique is flexible enough to
easily produce several different textures without
having to start over each time. This is handy when
your design calls for many pieces of wood that are
similar, yet distinct. Whether you need to create a
deck, hardwood flooring, or a beaten-up wooden
crate holding mysterious cargo in a dingy cellar,
Photoshop is here to ease your fears and make
virtual wood convincing.
1 It’s all about the gradients
We’ll be using the Gradient Tool quite a
bit in this tutorial. Open the Gradient Editor and
load the ‘WoodenGradients.grd’ gradient set
from the CD. Now create a
new file at 13cm x 13cm
and 300dpi. On the
background layer create a
gradient from left to right
using ‘#ead27c’ as the
foreground and ‘#d3a44c’
as the background.
2 The Ring gradient
Select the GrainRing preset from the
gradients you just loaded. Notice the controls
along the Gradient Editor bar. The top controls are
for opacity and control the fade of the colours.
Sliding the first stop left or right will control the
thickness of the ring’s fade. The second stop
controls the opacity of the ring itself. The bottom
stops control the colour. Adjusting the colour to
the second stop changes the colour of the rings.
20/9/07 17:42:03
 3 Rings, rings and more rings
Add a Rings layer. Set your Gradient Tool
to Radial. Drag guidelines to the centre of the
image and use them to draw a small ring. Adjust
the gradient settings a bit and draw another
slightly larger ring. Keep drawing rings that are
slightly different until you get about 15 or 16 of
them and reach the edge of your canvas.
5
Naturally imperfect
The rings are a good shape, but they’re
too smooth and perfect to be natural. Create a
new file the same size (13cm x 13cm at 300dpi).
With background and foreground set to the
default black and white, fill this with the cloud
filter (Filter>Render>Clouds) then save
as ‘clouds-displace.psd’. Close it. Back on your
wood grain file, select the Rings layer and go
to Filter>Distort>Displace. Set the horizontal
and vertical scale to 10, hit OK and then pick
the clouds-displace file you just created.
This distorts the rings enough so they don’t
appear mechanical.
066-068_AVP36_Wooden Textures.in67 67
Straight as a board?
Wood tends to warp and bend. If you’re creating
something with several boards such as deck planking or
cargo crates, consider removing the straight edges from
your boards to add to the realism.
The Warp Tool is an obvious choice to warp the wood,
but the Smudge Tool also works. Try using the Smudge
Tool with a large brush size of around 500px. Gently push
and pull the edges to change the shape of the board.
4
Nothing drastic, just a few subtle slopes to break up that
Warped wood
perfect hard edge.
Use the Scale and Warp Tools to change
the shape of the Rings layer until it’s an
elongated, irregular shape. We’ll deal with the
empty space on the top and bottom later.
7 Add grain
Create a new layer under the Rings layer
called ‘Grain1’. Make sure your foreground and
background colours are still black and white. Go
to Filter>Render>Clouds, then
Filter>Render>Fibers. Rotate the layer 90
degrees so the grain is horizontal. To finish,
6
change the layer blending mode to ‘Hard Light’
Liquid wood? and set the Opacity to 20%.
We’ll use the Liquify filter (Filter>Liquify)
to really imitate the beautiful curves and swirls
of natural wood grain. Use the Forward Warp
Tool with brush size at 335 to push the rings
around a bit to disturb the uniformity of the
rings. Then with the Bloat Tool, make the centre
rings wider at one end, almost pear shape. Hit
OK and set the Rings layer to Linear Burn and
lower the Opacity to 45%.
8 How knotty!
Add a new layer called ‘Knots’ above the
Rings layer. Create an oval selection in the
middle of the rings. Then use the WoodKnot
gradient to create the knot colours. With the
Warp Tool, shape the knot to fit inside the
shape of the rings. Here we also used a light
brush to add some darker areas
to the rings in line with the knot.
If the edges of the knot are too
sharp, use the Blur Tool to blend
them into the wood.
67
Advanced Photoshop
20/9/07 17:42:27
 Step-by-step
Workshop
“WITH GOOD USE OF PHOTOSHOP’S GRADIENT TOOL
AND SOME CREATIVE FILTER APPS, YOU CAN
BECOME A DIGITAL WOODWORKER IN NO TIME”
9 Cracking up
Select a 2px-wide Paintbrush, set the
colour to black, mode to ‘Color Burn’ and
10 Add more grain
Create a ‘Grain2’ layer on top of the
stack. Fill the canvas with the pattern called
Opacity to 50%. Turn on Shape Dynamics in the LooseThreads (if you can’t find it in your Pattern
Brushes palette and set the size jitter to Fade at Library, load the Texture Fill pattern set that
150. Now, draw some cracks coming out from comes with Photoshop). Increase the contrast
the centre of the knot. to remove most of the grey. Use Motion Blur
(Filter>Blur>Motion Blur) with Angle set to 0
and Distance set to 42. Change the layer’s
Blending Mode to ‘Colour Burn’ and reduce the
Opacity to 28%.

11 What? No Saw Tool?

Crop the canvas to a narrow rectangle shape you can use for a board. (If you want, you
can crop out several different areas of the texture to use later for additional boards that have the
same grain but are still unique.) At this point the texture is looking pretty good, but it’s lacking the
depth we need to be convincing. We’ll add
a handmade bevel effect and some
weather damage to complete the illusion
of realistic wood.

Variety is the spice of realism

12 A better bevel
Instead of using a layer style, let’s create our own bevel effect. Add a Highlight layer at the
top of the stack. Use a Linear gradient from white to transparent to draw the top highlight of the
board. Set this layer to ‘Screen’, reduce the
Opacity to 75%. Then use the Displace filter
In reality, no two pieces of wood are identical. Resist the
(just like in step five) to break up the
urge to make one wood texture and use it everywhere.
straight line created by the gradient.
With your layered wood grain file, you can create several
similar yet unique pieces of wood quickly and easily. Try

13
adjusting the Hue and Saturation of the background
Bevel shadow
gradient and rings. Flip, scale, warp and Liquify the Rings
Add a Shadow layer, then use a Black to Transparent gradient to add the shadow to the
layer to a totally different shape. Crop to different sections
bottom of the board. Set the
of the texture. Adjust the opacity of the grain layers. Don’t
Layer Blending Mode to
forget the small details like cracks, weather damage, nails
‘Multiply’ and Opacity to 75%.
and even hammer impressions.
Use the Displace filter again to
break up the straight line.

14 Damage control
As we’re using this for an old crate, we want to give the wood a worn appearance. Open
‘AgedTexture.png’ from the CD and drag it over onto the top of the layer stack. Add a slight Bevel and
Emboss layer style with the direction set to Down. Set the Layer Blending Mode to ‘Screen’ and
Opacity to 60%. Use a layer mask to restrict the texture to the board. And there it is! You’ve got the
first plank for your old wooden crate.

68
Advanced Photoshop

066-068_AVP36_Wooden Textures.in68 68 21/9/07 12:11:28

 Helpdesk
This month, Helpdesk focuses on fixing your Photoshop effects problems
BRIGHTEN YOUR DAY: Duplicating your rainbow layer and dropping the layer’s Opacity to around 40% intensifies
the colours of the spectrum with subtlety
NEW HORIZONS
I have taken quite a few gloomy pictures of late
and thought what a great idea it would be to
liven them up with some cool rainbow effects.
Could you point me in the right direction so I
can do this? I think it would really add that extra
something to my photographs. Many thanks,
Cheryl, North Carolina
This effect works best with contrasting skylines, Cheryl,
so keep that in mind. Start by opening your image and
then selecting Create New Layer from the foot of the
Layers palette. Next, select your Gradient Tool from the
toolbar and click to edit the Gradient bar in the above
options. Click the right arrow, choosing Special Effects
from the drop-down menu, and then select Russell’s
Rainbow Gradient. Set your Gradient Tool to Radial
Gradient and drag the cursor to create a rainbow circle,
which you can rescale with your Transform Tools.
Once it has been matched with your horizon, apply
Screen Blend Mode to this new layer and then select
Filter>Blur>Gaussian Blur, set to a percentage of around
60 pixels. Now take your Eraser Tool and erase the
unwanted visual value from your landscape. Resetting
70
Advanced Photoshop
070-071_AVP_36_Helpdesk.indd 70
your gradients from the same drop-down menu, set
the Foreground to Transparent Gradient. With Linear
Gradient selected, press D to reset your colours to the
default and drag from the bottom of the image to the
top. Once complete, you should have a convincing
rainbow effect. You can duplicate this layer again,
dropping the new layer’s Opacity to create intensity.
SKY AT NIGHT
Hello Advanced Photoshop. I’ve recently
completed sixth form and am on my way to
university, so am in the process of brushing up on
my Photoshop skills. I’m working on a small
photography project to show my peers on arrival,
and all’s going quite well.
However, I’m having trouble with a certain
image. I want to create a skyline cluttered with
stars and have tried a few effects (like scanning
spray paint and applying Blend Modes, which
didn’t work), but nothing seems to have the
desired effect. Are there any sure-fire ways to get
good results?
Tabitha, Hamilton
BY ADAM SMITH
TWINKLE, TWINKLE: To add finer detail, activate the
Brush Picker, clicking the right arrow, and select Assorted
Brushes. The Starburst Small brush offers interesting effects
Well, Tabitha, with a bit of help from Advanced Photoshop
you can get some comprehensive effects for what you’re
looking for, and it’s simpler than you might think. Start
by opening your photo and then creating a new layer,
selecting Edit>Fill>Use: Black. Next, with the layer active,
select Filter>Noise>Add Noise, dragging the slider up
to around 155%, depending on the image size. Set
Distribution to Gaussian and check the Monochrome
box. Now choose Filter>Blur>Gaussian Blur and apply a
small amount, around 8 pixels.
When you click OK, set the Layer Blend Mode for
this layer to Screen. Next, select Image>Adjustments>
Threshold, setting it to a value of 128. Your stars should
look quite comprehensive now, but will probably be
interfering with the rest of the visual value in your
image. To rectify this, either use the Marquee Tool or
Select>Color Range option to pick out your sky colour
value, then click the Add Layer Mask icon at the bottom
of the Layers palette. Applying Filter>Render>Clouds
and adding Blend Modes at different opacities also adds
dimension to your effect, so experiment with these.
21/9/07 09:28:19

LITTLE EXTRAS: You can even tell the Image Processor to
convert JPEG output files to sRGB, making it easy to create
images for web or email use
HANDY SECRETS
I have a multitude of photographs on my
computer, but I want to convert them from their
automatic JPEG to TIFF files, so that they are of a
higher visual quality. Is there a quicker way of
doing this than opening each one and
individually resaving or creating actions (which
seems quite tedious)?
Michael, Baltimore
Well Michael, you’re in luck because with CS3 there
is an option that does all the hard work for you. It’s
called the Image Processor option. To activate it,
select File>Script>Image Processor and you’ll be
presented with the simply defined Image Processor
dialog box.
Each numbered section serves a purpose; Section
1 targets the images that you wish to convert, either
already open or selected from a folder. Section 2
allows you to set a location, either in the same folder
or a newly created one. Section 3 offers you the
choice to select whether you’d like to save as JPEG,
PSD, TIFF or all three. You can also determine whether
to resize your newly saved images here. Section 4
includes your Preferences, which allow you to attach
copyright info, embed colour profiles (including ICC
HELPDESK
CALL FOR QUESTIONS
Want help with Photoshop?
Send your emails to us at:
advancedpshop@imagine-publishing.co.uk
or post a message on our forum board at
www.advancedphotoshop.co.uk/forum.
Remember to specify whether you’re using
a PC or Mac and the version number of
your edition of Photoshop.
070-071_AVP_36_Helpdesk.indd 71
BLURRED VISION
Dear Advanced Photoshop team, I’ve been
toying with the idea of getting involved in
digital photography and must say I am enjoying
it. At times, however, I encounter a slight
problem with blurred images. I thought that the
Sharpening Tool could solve this issue, but it
often leaves my images grainy and bitty. Am I
using the tool wrong? Is there a better way?
I’m confused.
Charlotte, Devon
I don’t think it’s the use of the Sharpening Tool, Charlotte,
perhaps just the focus of your images. With a little more
experience in
handling your
camera, problems
like this will soon
profile) and even run a saved Photoshop action. It
must, however, be loaded in the Action palette before
it appears here.
TRY APPLY IMAGE
Hi guys! I have taken quite a few photos in my
spare time as it’s the school holidays and I
enjoy it, but am looking to spice up a few of
my black-and-white photos using Photoshop’s
creative options. If I’m honest, I’m not sure
exactly where to start, but I’m certain there must
be a way. Any tips you can give me, Advanced
Photoshop team?
Danny, Cardiff
You’re not wrong, Danny, there are a few good ways.
Here’s a simple, fun one to get you started, using
the Apply Image command for cool effects. Start by
opening your black-and-white photograph and
then duplicate the layer, making a copy of it and
naming it accordingly. Alternatively, you can just
select the Create New Layer option at the foot of
the Layers palette. Now select Image>Mode, and
make sure your document is set to RGB/CMYK mode,
so you know you’ll be able to access your colour
es
n iqu
ch
Te
become less apparent. However, to help you right now,
there is something we can suggest. It’s true that the
Sharpening options can enhance noise, grain and small
artefacts within an image, so why not try using the High
Pass filter? This will enhance the edge contrast and
sharpen smoother edges.
Simply start by duplicating your blurred image
layer, then set the Layer Blending Mode to Overlay
for this newly created layer. With this layer still active,
select Filter>Other>High Pass. You’ll now be able to
manipulate the effects to your taste, using the slide bar
in the dialog box. You’ll be editing the amount pf grey
pixels and brighter/darker values along contrasted areas,
acting like an emboss effect of sorts. The Overlay Blend
Mode is essential for this effect to succeed, as it acts in a
similar way to dodging and burning along the contrast
edge, thus sharpening the image without interference.
IT’S TIME WELL
SPENT: Functions like
the Sharpening Tool and
the High Pass filter can
only do so much, so it is
always best to familiarise
yourself with the zoom
and focus functions on
your camera first
palettes. Now select your preferred brush and apply
broad strokes, using the colours of your choice. You
should now have a black-and-white photo layer and a
painted layer on top.
With your painted layer activated, select
Filter>Blur>Gaussian Blur and set an amount
dependent on your image resolution. Next, choose
Image>Apply Image. Adjust the settings as follows:
Layer: Background layer, Channel: RGB, Blending:
Overlay or Soft Light, and Opacity: 100%. Depending
on opacities and blending, your effects may vary, but
you’ll still have a cool painting-style image.
HAVE A BLAST:
Try using alternative
opacities, Blend
Modes and even
outrageous colour
schemes to create
some truly unique
photo productions
71
Advanced Photoshop
21/9/07 09:28:29
 Insider
Info
INSIDER
INFO
Performance with Preferences
Photoshop offers many practical functions that can speed up your workflow – Insider Info takes a
look at how Preferences has a major part to play in producing such a slick performance

P
hotoshop’s Preferences options are a great way for users to specify
and control their creative performance. Here you can identify general
display options, file-saving options, performance options and much
more. However, there are a few defaults that can be reset and applied when
improving restoration and creative applications. Let’s start with
Preferences>General.

General
Here you’ll be confronted with several options that can create enhanced
workflow, beginning with the History Log. This can be an essential option,
once understood. Access the History Log options by clicking the empty well
and you’ll see the ‘Save Log Items To’ options. Each serves a certain purpose,
suited to several types of users and ability levels. Metadata is suited to those
that wish to embed application information into the saved file itself. Text file
creates a separate document listing
OUR EXPERT Adam Smith application and should be saved in an guide, to use the Clone Stamp Tool
Advanced Photoshop Staff Writer, Adam Smith, has
worked on numerous previous commissions for The
appropriate place. History States with perfect registration,
NDSF, as well as having work published in The Times This is such a simple option that is corresponding to the original image.
and in several online and editorial publications. Edit Log Items often a necessity for those working
Adam is partial to creating his own photomontage,
freehand and digitally-enhanced illustrations. This option is also accessible within with large amounts of application, for Performance options
the History Log options and allows example, montage, manip and Your Memory Usage and Cache
you to specify what information is restoration artists. In CS2, this can be Settings are options that will ultimately

Scratch Disks logged in your metadata or text file.

Photoshop uses RAM to work
quickly and efficiently at all times.
However, this can be used up by
other applications, so the
Performance Preference option,
Plug-ins & Scratch Disks in CS2,
allows you to set up to four active
Scratch Disks. Photoshop will
utilise these to write and store part
of the file data, saving space and
sustaining efficiency.
PLATFORMS: Preferences can be found in separate areas on both platforms. To
access on a Mac, select Photoshop>Preferences. On a PC select Edit>Preferences.
CS3 varies from CS2 but all functions are present regardless
‘Sessions Only’ acts simply as a time
log, recording the times of access and
closing of a file. ‘Concise’ will log the
features used in their specific order of
applications, but no specific settings
are recorded. If this function is
appealing, then select ‘Detailed’. This
setting will let files record
comprehensive application details,
which is handy if you wish to recall
and reapply certain settings to other
similar imagery.
found in the General options of
Preferences, but in CS3, it’s found in
the Performance options. This
preference basically states the amount
of application that is recorded and
remembered in your History palette.
With the maximum value of 999, this
option offers those who deal with
many layers the chance to take a step
back at any time, after mistakes or
dislikes are encountered.
Cursors
Known as Displays and Cursors in CS2,
this option has four standard options,
each specifying a certain mode of
applying and viewing your applied
digital media. You can be forgiven for
overlooking Standard and Precise, with
default set to Normal Brush Tip.
However, activating Full Size Brush Tip
offers deliberate application, confined
within the borders of the brush. This
helps control all brushes, including
Cloning, Healing and Erasing.
Another relevant addition is the
Show Crosshair in Brush Tip. This can
be helpful when cloning or healing an
image. You can also incorporate
View>Rulers, dragging and dropping a
determine the speed of Photoshop’s
functions and application.
Incorporated in CS3’s Performance
preference options, CS2 users can
access them in the Memory & Image
Cache options. Your Cache setting will
determine whether user preference is
towards quality or speed. A lower
Cache Level will confirm quality, while
higher confirms faster application. This
function is used to improve screen
redrawing and histogram speed.
Memory Usage denotes the amount of
memory assigned to Photoshop. Users
should try on their own systems to see
how much RAM is available and how
much can be allocated to Photoshop.
Handy bits
Other useful functions that can
be set are the Options in the
General and Interface Preference
options. Here you can set to
Automatically Launch Bridge or
Show Tool Tips, which are useful in
informing users about the
functions of certain applications
and tools. They are displayed in a
small yellow dialog box.

72
Advanced Photoshop

072_AVP36_Insider Info.indd 72 20/9/07 17:41:24

 Order Now!
16 ISSUES OF ON ONE DISC
Available
now for o
nly
£19 .99
FREE UK
OverseaP&P
s + £4
EU + £2

ES OF E X P E R T T UTO R IA L S
1,200 PAG Articles can be viewed In-depth tutorials from
best Photoshop
Fully searchable
database lets you find
High quality DVD on your computer or
the the exact content you
brings you over 1200 experts, with resource want quickly and easily
printed out high-res for files on the DVD
pages of dedicated later reference
Photoshop content

Order online now!

www.imagineshop.co.uk
Telephone +44 (0)1202 586200

eMag_SA4_h-ad.indd 1 21/9/07 12:17:52

 Our pick of the best reader submissions
sent to us this month

P
eer Pressure has once again been inundated with a volume of great artworks.
The chosen entries this month offer an array of insights into the creative
mind, sharing and revealing individual approaches and skills. Read on, enjoy,
and if you feel that you have what it takes to showcase your work and join the ranks
of your Peer Pressure fellows, then don’t hesitate to send us your entries.
We always include your email and web address, so anyone interested in your designs
can get hold of you. All you have to do is send us high-quality TIFFs or JPEGs (RGB or
CMYK) at 300dpi minimum, which can be printed at a minimum size of 15cm x 15cm.
Send us low-res versions to advancedpshop@imagine-publishing.co.uk – we’ll get
back to you for higher resolution work if needed. Alternatively, log on to our forum at
www.advancedphotoshop.co.uk/forum. Unfortunately, we cannot provide individual
image criticisms.

Tunnel vision
NAME: David Gearin bachelors in Graphic Design. In this piece, titled ‘Tunnel vision’,
EMAIL: david.gearin@gmail.com David made the render in cinema 4D then carried out all the post
Nineteen-year-old David Gearin from Boston, Massachusetts, is an work in Photoshop. “The piece was inspired when I was looking in
aspiring graphic designer, currently attending school to gain a my rear view mirror and let my imagination run wild,” explains David.

76
Advanced Photoshop

076-079_AVP_36_Peer Pressure.ind76 76 21/9/07 09:31:52

 es
n iqu
ch
Te
Catching love
takes time
NAME: Ruben Labree
EMAIL: ruben.labree@hotmail.com
WEB: http://arthenor.deviantart.com
For this piece, Ruben Labree from The Netherlands was
inspired by a friend’s drawings. “I saw them, they kind of got
stuck in my head and I started working on this piece. It was
actually my first attempt with this style, so it was all quite new
to me.” Ruben started off with a white background, onto which
characters and surroundings were placed by mixing and
mashing black ornament brushes. “When I was done creating
figures in black and white, I put multiple images of dried paint
and scratched surfaces into the piece to get a more ‘grungy’
feeling.” The characters were coloured with hard and soft
brushes. After implementing the text, the only thing left to do
was some tweaking and putting on the finishing touches by
giving the piece some adjustments and applying contrast
layers and photo filters.

Head to heart
NAME: Brian White
EMAIL: brian@solomultimedia.com
WEB: www.solomultimedia.com
Brian has been a freelance designer/illustrator for almost ten years and works
out of his studio in Lawrence, US. He runs a small design company called Solo
Multimedia (www.solomultimedia.com), which specialises in interface, web
and graphic design for ad agencies. “I love Photoshop and have been using it
since 1994. I do all my compositions for web and print in Photoshop and use it
for at least eight hours daily,” confesses Brian. “My favourite technique is to use
subtle patterns in gradient overlays. Another reason I use Photoshop is for
‘grungy’ textures like coffee cup stains, exported as translucent PNGs for Flash
work.” For his piece, ‘Head to heart’, Brian was in an intensive spiritual class
working on the essence of faith and focusing your life. “During these night
classes, I doodled every night with pencils, markers and brush pens. I really
came to understand the process of moving your knowledge and faith of God
into your heart. That is what the piece is representing.” Brian utilised the
‘touchable textures’ technique, from Advanced Photoshop 25, throughout the
piece to help create the depth of the background and inserted his drawings in
a subtle fashion.

By submitting images to Advanced Photoshop’s Peer Pressure, you hereby grant Imagine Publishing
and, if relevant, clients to whom the relevant work has been provided, an irrevocable, perpetual,
royalty-free licence to use such intellectual property in relation to work similar or equivalent to the
work. This includes the right to showcase work on multimedia formats. By submitting work you also
confirm that your images do not infringe any copyright regulations should they be published.

77
Advanced Photoshop

076-079_AVP_36_Peer Pressure.ind77 77 21/9/07 09:32:13

 Discover the thinking behind the art

I see
deadpixels
NAME: Sander Rietdijk
EMAIL: info@iseedeadpixels.nl
WEB: www.iseedeadpixels.nl
Sander Rietdijk, the mind behind ‘I
see deadpixels’, is currently based
in the Netherlands and works there
as a graphic designer. Experienced
in illustration, print and web,
Sander’s eye for colours and shapes
has helped him to create lots of
stunning graphic art. The images
shown here are examples of the
variety in his commercial and
personal projects, using different
mediums and styles.

SCREEN WORK: Sander Rietdijk tells us

he has been very busy lately, working on
some collaborations and making new
work. Motivated to finding new mediums
and styles, the designs to the right
showcase a more illustrative style of work

ORGANIZED CHAOS: Created in June of

this year, ‘Organized Chaos’ was a personal
project of Sander’s. Around the same time
the I See Deadpixels website was awarded
with a bronze Mowsnet Web Award. You
can find out more about this by logging
onto the Mowsnet website at
awards.mows.ski

78
Advanced Photoshop

076-079_AVP_36_Peer Pressure.ind78 78 21/9/07 12:11:59

 es
n iqu
ch
Te
BEST
IN SHOW
NEOKATHMANDU: “This image was created in Adobe Photoshop as a website
background for Film Senshi, a film production company in the US. Typically with work
such as this, I will begin with a rough colour sketch and work out all the design issues
with the client first. Next, I will look for suitable photographic reference material and
textures, either taken by myself or purchased from photographic stock libraries. Coming
from a traditional oil/acrylic painting background, my images also include a lot of
brushwork, mainly using Photoshop’s standard brushes. Adjustment layers and colour
overlays are also heavily used”

Vavtatch orbital
NAME: Sarel Theron discovering the magic of Photoshop. He has produced matte paintings
EMAIL: jstheron@gmail.com for a television movie, book covers, brochures, website backgrounds,
WEB: www.sareltheron.com as well as a matte painting tutorial. “I draw my inspiration from a variety
Sarel Theron is a 32-year-old digital matte painter, living in Cape Town, of artists, ranging from classical painters such as Turner, Constable
South Africa. After studying fine art and illustration, he worked in the and Church, to contemporary matte painters such as Dussault, Raynault
more traditional mediums of oil and acrylics for many years, before and Cole,” explains Sarel.

VAVATCH ORBITAL: “This is a personal piece that I created for my own satisfaction. It’s loosely based on
and inspired by the Iain M Banks sci-fi novel, Consider Phlebas, in which the author describes a gigantic
‘ringworld’, encircled by a vast aquamarine sea. Its greatest attraction is its ‘megaships’, sea ships that are
4km long and weighing over a billion tons. These floating cities are forever circling the orbital’s endless
sea. The main challenge was to create a believable upward curving horizon, such as one would experience
when viewed from a world built inside a giant 14 million kilometre hoop”

79
Advanced Photoshop

076-079_AVP_36_Peer Pressure.ind79 79 21/9/07 09:33:08

resources

Strata™ Foto 3D
Is the power of 3D prevalent in Strata’s recent
software? We’re about to find out…

S
trata™ has recently supplied the
Photoshop community with Strata
Foto 3D, an extended plug-in that
affords users the ability to transform a
photography series, modelling it into a
real-world object.
The software’s reputation precedes it, so we’d
heard great things about this latest plug-in. For
example, creations can be made from the use of
a standard digital camera and it also offers users a
quick and inexpensive creation method,
requiring far less technical skill or expansive
hardware than similar systems. Strata believes
that “learning how to use your camera is more
complicated than turning those photos into real
3D models”. Here at Advanced Photoshop, we’re
only too happy to put this theory to the test.
We can honestly say that, from the onset,
installation of Strata Foto 3D proved simple, with
several useful options to help users familiarise
themselves with the software’s functions and
effects. For instance, the ‘Load the images’ and
‘Build the example’ options demonstrate how to
create a fully textured 3D model from the
supplied example photographs. Alternatively,
users who are slightly more familiar with previous
similar software can select the Quick Start Guide
option. This provides a swift step-by-step tutorial
on how to get the best results from your
photography and offers advice on the use of the
most essential tools.
Admittedly, without any prior knowledge of
such software, it may seem daunting to be faced
with the Strata Foto 3D interface and difficult to
understand which option does what. However,
with the coherent helpful assistance simplifying
essential working practice for quick, efficient
results, users will feel more at ease with the
software. Strata Foto 3D provides advice on
preventing problematic photos from disrupting
the effective use of the software. This is
presented as a ‘to do’ list, explaining how to
avoid using camera flash and preferred photo
amounts, as well as preferential photo angles
and shooting degrees, in the Quick Start Guide.
The need for the specially designed mat, which
you place your object on, is thoroughly
explained and, with the Print Mat button, users
can define a diameter that is suitable for a range
of objects and items.
All users will find the Mask Application
functions almost effortless, made easy with
Strata Foto’s intuitive application science. By
selecting the Mask All Images button, this
software uses Auto-masking wizards to help
separate the object in question from its
background. You can then use the practical Paint
Mask Tools to edit the applied mask accordingly.
This set of options function according to tools
found in Photoshop, and so those familiar with
this program will probably master them quickly.
Users simply need to double-click on the
required thumbnail in the working area, then
choose from a tool set suitable for all types of
editing. There’s the Brush Tool, with size increase/
decrease slide bar, for quick application, the even
quicker Fill Mask option, working much like the
Paint Bucket Tool, and the Fill Polygon that works
much like Photoshop’s Polygonal Lasso Tool,
allowing for a more detailed treatment. The only
painstaking thing about this application process
is that it can be time-consuming, but this is
necessary to obtain the desired effects.
More advanced functions include the
Regenerate Mask option. After using this, the
threshold for the image can be varied
interactively by adjusting the slider that appears
below this button. There is also the Shrink-wrap
Mask, which, unlike Regenerate Mask, uses the
current mask as a starting point, then shrinks the
unmasked region by selecting adjacent areas of
similar colour. Again, moving the slider adjusts
the mask tolerance.
Generate Wireframe is the next step in
creating your 3D object using Strata, and again,
not surprisingly, the software provides
application at the click of a button. Upon
selection users are presented with an
uncomplicated two-option dialog box. You can
access the Generate Wireframe function to
create a basic surface quickly, or the more
advanced Optimize Surface option. This allows
you to define Parameters of the applied

Change direction: Exporting is, as always, a click away. The Use Current Orientation checkbox Relocation: Transfer photos directly to Strata Foto and return a real-time 3D object to a 3D layer
rotates the exported model so that it will initially appear to face the same direction as the current in Photoshop® CS3 Extended
display in the Model window

80
Advanced Photoshop

080-081_AVP36_Strata review.indd80 80 21/9/07 09:34:33

 resources
Similar products
Strata™ Design 3D CX
Manufacturer: Strata™
Web: www.strata.com
Price: $149 / £74.50
Spec: Award winning Strata 3D CX
application engine
Extrude, lathe and subdivision
surface modelling tools
Full radiosity renderer with
reflections, refractions, soft
shadows, HDRI lighting,
volumetric effects
Mac OS X v. 10.4.8
Microsoft® Windows XP with
Service Pack 2 or Windows
Vista™ Home Premium,
Business, Ultimate or Enterprise
With three powerful tools, Match, Model and
THERE AND BACK: The texture-editing tools allow you to touch up the surface texture using your preferred 2D
image editor. Simply click the Copy View button, paste into Photoshop, adding labels or restoration tools, then Render, synchronised to Strata’s 3D CX
merge, returning to Foto 3D and clicking the Paste View button. Simple! application engine, users can
perform efficient
Wireframe. Here, you can set a maximum allow Foto 3D to automatically select key images, functions such as
number of images to be optimised. Dependent according to project order when applying. This taking the real-time
on your number of images and the complexity process can, again, be specified by deselecting model and rendering it
of your silhouettes, this number can be increased this box and switching the Thumbnail window using a full radiosity
or decreased to determine the speed of to Details mode, using Images>Image Order renderer, with
optimisation alone. You are also provided with a menu. Other advanced options include applying reflections and
straightforward Quality Level slider. If you have a bottom texture, editing surface texture and refractions. They can
an organically shaped object, you can set removing texture artefacts, all easy to fathom also match the
Smooth Approximation for a smooth mesh with thanks to the extensive guides you’ll find in the perspective, modify
fewer corners. Choose Exact Fit if you’re Help menu. 5 existing objects or
confident that your masks are accurate, fitting create new ones.
the details of the silhouette, or Reasonable
Accuracy as a standard default. Then just sit back Specifications Rating: 4/5

and let Strata Foto 3D do the hard work. Manufacturer: Strata™

As always, however, if further editing is Web: www.store.strata.com Strata™ Live 3D
required, Strata has supplied a few advanced Price: $149 / £74.50
Manufacturer: Strata™
tweaking tools. One constructive example, Spec: Powered by 3DSOM’s patented
Web: www.strata.com
which makes creation even quicker, is the model generation
Price: $149 / £74.50
Clipping Plane option. This tool can be essential Auto-masking wizards
Spec: Export real-time 3D PDF or
when the automatic Masking Tool may not UV mapped baked-on texture web page
identify where the object ends and the pedestal Exported for display in a VRML- Based on Java™
starts, which happens particularly if the object enabled web browser
Live 3D[in] content works on
casts a shadow. Although these area masks can Imported into Strata 3D CX/ virtually any machine
Strata Live 3D
be refined using the Clipping Plane, from the Mac OS X v. 10.4.8
Mac OS X v. 10.4
Edit Geometry tool bar, you can drag the blue Microsoft® Windows XP with
8512MB of RAM Service Pack 2 or Windows
Clipping Plane to where you want to shave the
300MB of available hard disk Vista™ Home Premium,
bottom of the mesh corresponding to the
space (additional free space Business, Ultimate or Enterprise
pedestal. Once in position, simply click the Clip required during installation) Live 3D[in] enables users to create real-time
Model button to complete the process. 1024x768 monitor resolution with
interactive 3D content for websites
Generating your surface textures is the third 16-bit video card
and PDF documents
stage of completing your model and it is as Microsoft® Windows XP with
Service Pack 2 or Windows from Photoshop® CS3
straightforward as the previous operations.
Vista™ Home P remium, Business, Extended. It makes
Again, when clicking the Generate Texture Map
saving 3D content
button, users are presented with the Parameters
Summary: After taking the time to work simple. Just select
dialog box. This time, you’re supplied with a
with this software, we’ve concluded that it’s Strata Live 3D[in] Web
Texture map size value, which is editable to a
reasonable to describe Foto 3D as an or PDF from the Filters
maximum of 1600 pixels, working in a similar
efficient, cost-effective modelling system. menu, choose what
way to all resolution values; the more detail in
We are inclined to agree that it does offer style of Navigation
the image the higher your pixel quantity.
familiar tool functions and intuitive operation bar to use and then
Two check boxes are also present. Activating
that lets you enjoy the creative experience at pick where to save
Tone Correct Textures will automatically enhance
your leisure. the document.
texture colour, compensating for any exposure
Rating: 4/5 Rating: 4/5
discrepancy. Activating Texture Boosting will

81
Advanced Photoshop

080-081_AVP36_Strata review.indd81 81 21/9/07 09:34:56

resources
Photoshop CS3 Workflow
Optimise a skilled workflow, whether you’re an enthusiast or professional, and focus on your creative visions
Manufacturer: Sybex®, Wiley Publishing, Inc
Web: www.sybex.com/WileyCDA/
Price: $39.99 / £26.99
Spec: 327 pages
Four parts ordered by level of proficiency
14 deluxe chapters
Full colour print, images included
Detailed index
Order: www.sybex.com/WileyCDA/
P hotoshop CS3 Workflow: The Digital Photographer’s
Guide is another obliging piece of literature, part of
Sybex’s Tim Grey Guides series. Much like all other titles in
the range, this instalment offers resources and helpful tips
that give digital photographers the chance to explore
methods at new levels of excellence. With Tim Grey
being Microsoft’s chief ambassador to professional
photographers, his reputation precedes him, so it’s no
surprise to find that this title provides a more than
adequate guide to the software.
The glossy, full colour, 328-page publication is easy to
understand and all practices are explained clearly,
with minimum fuss. More advanced issues, regarding
complex practices or precise tool/option use, are often
accompanied by detailed, full-colour reference images,
Photoshop CS3 Channels and Masks Bible
Mask your fears and channel your potential into a creative Photoshop masterpiece
Manufacturer: Wiley Publishing, Ltd
Web: www.wiley.com
Price: $49.99 / £31.99
Order: www.wiley.com
Spec: 510 pages packed with working practice
22 chapters
Full colour print, images included
Detailed index
A nother title from the Wiley Publishing, Inc family,
Photoshop CS3 Channels and Masks Bible claims to be
the title you need to succeed when you want to tap into
the full potential of Photoshop’s channels and masks.
At first glance, it certainly doesn’t fail to deliver the
goods. With over 500 pages packed with creative ways to
utilise masking and colour functions, there’s enough here
to keep even the most ardent Photoshop fan hard at work.
From a creative point of view, functions are as standard,
but there are a few nice applications that arise and related
practices that think outside the box. These include using
specialised tools like Apply Image to reproduce colour
images from black-and-white photography.
On closer inspection though, it was sometimes found
that, although the book offers a good range of essential
82
Advanced Photoshop
082-084_AVP_36_Resources.indd 82
making the explanations that bit more coherent. There are Summary: This simple yet well-
also small yet insightful inside secrets revealed from page presented publication is easy to follow
to page, such as hotkey functions and even author and acquaints you with some essential
suggestions regarding practices. practices in an enthusiastic and
The topics covered in the book are split into four informative fashion. It will show you
sections and subdivided into easy-to-find chapters, packed how correct procedures can in fact
with a plethora of informative tips. But not in any old diminish repetitive errors and allow you
to focus on your creative vision.
fashion; each section and chapter is introduced to allow
readers to evolve their own skills, from understanding the Rating: 4/5
basics to managing more advanced application. Topics for
you to discover include understanding basic tone and
colour, exploring advanced tonal adjustments and realising
the output process. This is all knowledge that will
ultimately guide you down the path to creating better
imagery and also build your confidence.
Due to the range of topics covered within this title and
the hassle-free presentation of them, this really is a great
read for Photoshop users and photographers of all abilities.
Beginners can build strong foundations, while experts can
better understand how to optimise workflows and, more
than likely, learn a few new tricks as well. 5
A lot to learn: Explore CS3 interfaces and
updates, as well as learning how to process RAW
captures to retain maximum detail. Get creative
with colourisation, filters and more!
practice overall, the more advanced Photoshop user
might find it a little frustrating. However, enthusiasts
willing to evolve their ability and methods to a
proficient standard will find the book a real godsend.
There are some particularly fun tasks to participate in,
such as using the Type Mask to add an artistic touch to
the text, unravelling the secrets of creating, mixing and
converting digital colour, or simply reveal, conceal and
refine imagery with Layer masks. That’s not to say the
book lacks more interesting tutorials on advanced
application. Take Part three, Chapter nine, for example,
where readers are introduced to the function of
specifying Duotones.
The general layout of the book does not have the
sophistication of other titles, and pages sometimes feel
cluttered with imagery, with a few uninspiring examples.
As an educational device, however, it delivers – just not as
enthusiastically as the title suggests. 5
Summary: A steady educational read that leaves nothing to
chance. Perhaps with an over-zealous title you expect more, on
hensive
an aesthetic level at least. But serves well as a comprehensive skills: This compre ls to
Channel your to use val ua ble too
reference that covers essential creative ground. you
reference will teach r
posites, speed up you
3/5 create efficient com s
Rating:
low an d get awesome colour result
wo rkf
21/9/07 09:36:07

FujiFilm FinePix F40fd
Another innovative product in FujiFilm’s flagship range of compact
digital cameras, but how does it compare to its predecessors?
Manufacturer: Fujifilm
Web: www.fujifilm.co.uk
Price: £136 / $274.24 (www.e4uelectrical.co.uk)
Spec: 8.3 million pixels
3.0x optical zoom
IR Communication (IR simple™)
VGA movie capture of 30 frames per second
with sound
Built-in Face Detection Technology
PictBridge™ compatible for direct printing
without PC
ISO 2000 sensitivity at full resolution
(1600 selectable)
FinePixViewer
F ujiFilm’s FinePix F40fd is the latest in a long line of
practical and proficient compact digital cameras. It
has many features that make it one of the market’s
principal products.
The FinePix F40fd comes as standard with a stylish
redesigned outer shell, available in three cool colours:
silver, blue and ‘gunmetal’. It also has an easy-to-
understand Graphical User Interface (GUI) system. Much
slimmer than its predecessor at 23.3mm deep, it fits easily
into a slim pocket, ready to use in an instant.
Its 2.5” LCD screen complements the camera’s 8.3
megapixel resolution, offering crisp viewing of all your
images, with FujiFilm’s wide-view filter expanding viewing
Olympus E-510
The E-510 is the new model targeted towards serious amateurs and
semi-professionals. But is it worth the asking price?
Manufacturer: Olympus
Web: www.olympus.co.uk
Price: £799.99
Spec: 10 effective megapixels
4/3” Live MOS sensor
2.5” TFT colour LCD
1/4000 – 60 sec shutter
ISO 100 – 1600
T he new 10-megapixel E-510 is the successor to the
popular E-500 camera. Housed in a new body, the
E-510 is meant for the serious amateur and semi-pro
market, but does it meet their requirements?
The specifications of the E-510 are great, with the 4/3”
Live MOS sensor producing sharp, noise-free images.
Colours are well saturated, even on Auto mode, and there
is little evidence of chromatic aberration. There are some
nice little touches, too, with features such as a double card
cover that incorporates both Compact Flash and xD Picture
card. However, this is heavily spoilt by the camera’s
082-084_AVP_36_Resources.indd 83
resources
angles by up to 25˚. However, forgetting the
aesthetic pleasures of this product, there are
also many features, old and new, that work
in its favour. Practical features include the
compact’s dual memory card slots,
supporting both a traditional xD Picture
Card™ and the popular Secure Digital (SD) card INTUITIVE FUNCTIONS: In Playback mode,
format, as well as a 300-shot battery life, convenient for Face Detection will automatically zoom in to
prolific photographers. subjects’ faces and trim the shot
With its simple screen navigation and easily identifiable
buttons, you can select specific options that add necessary
effects for improved imagery. Fourteen Special Scene
Positions account for many photographic environments,
such as underwater, night and even museum, and make
the FinePix F40fd suitable for any photo-specific situation.
There’s also the cool function of Natural Light and Flash
mode, which allows the user to take snaps in quick
succession (one with flash, one without), displaying both LOW-LIGHT FUNCTION: FujiFilm’s Intelligent
side by side to examine the effects. Flash system analyses the subject of the photo
and sets power output accordingly
Other features we mustn’t leave out include the RP
Processor II, featuring double noise reduction Summary: After a trial run with this
CCD HR VI with unique octangular shape, supplying compact camera, its capabilities were
faster shutter speed and thus combating image blur. evident. Enthusiast photographers who
Efficient Display modes at the touch of a button, need a high-performance take-
offering you a rule of thirds grid for those perfect anywhere digital camera can’t go far
compositions, make this compact an appealing wrong with the FujiFilm FinePix F40fd.
product for the enthusiastic photographer. 5 Rating: 4/5
usability. We have to admit that we really
didn’t find this camera easy to use. For an
asking price of £799, the kit includes two
lenses, a 14-42mm and 40-150mm zoom
lens. Despite this seemingly great deal at
first glance, the camera and lenses aren’t
pleasant to hold, with a very ‘plasticky’ feel.
Perhaps most disappointing is that the
camera menus aren’t intuitive at all, even to
the most confident of photographers. Some
of the unnecessary menu options are so tricky to control
and led to a few lost shots in our test run.
MENUS: We found the menu system on the
Olympus E-510 to be over-complicated and
difficult to control during fast shoots
One of the biggest selling points of the E-510 is the Live
Preview function. This allows you to preview images,
including the depth of field, on the LCD monitor. You can Summary: Overall, this is a good option
also view the images at magnifications of 6x and 10x, to if you want a lightweight DSLR camera.
check that the images are sharp and well exposed. This is a However, we think that the asking price
is a little steep for the quality of camera
great feature in theory, but in bright, outdoor conditions,
body and usability.
it’s almost impossible to see the screen, rendering the Live
Rating: 3/5
Preview defunct. 5
83
Advanced Photoshop
21/9/07 14:06:50
resources
Dfine 2.0
Eliminate noise from your digital photographs the easy way
Manufacturer: Nik Software
Web: www.niksoftware.com
Price: £80.41 / €118.94 + 19% VAT
Spec: Windows 2000 Professional, Windows XP or
Windows Vista
Pentium III 1GHz or better
256MB RAM
Adobe Photoshop 7 through CS3, Adobe
Photoshop Elements 2.0 through 5.0, or Adobe
Photoshop plug-in compatible application*
D fine® 2.0 is one of the market’s latest noise
reduction software packages, available for both
Photoshop and Photoshop Elements users, by Nik™
Software. Its main objective is to provide users with the
ability to rectify the inherent unwanted imperfection
known as ‘noise’ in most digital photographic images,
through unprecedented control.
With its stylish and coherent workspace presented
simply, navigation is leisurely with Dfine. The working area
is straightforward, allowing you to get straight to work,
selecting the Measure option that calculates the area and
amount of noise present within your image. This can be
done effortlessly and to a very high standard with Dfine’s
iPhoto ‘08
With its newest upgrade, iPhoto is sure to make your photo organisation that little bit more interesting
Manufacturer: Apple
Web: www.apple.com/ilife/iphoto/
Price: £39.50 / $79, Family Pack £49.50 / £99
( iLife ’08 package)
Spec: Automatic Event organisation
New powerful editing tools
New customisable book dust jackets
and calendars
Unified search options
512MB of RAM; 1GB recommended
Mac OS X v10.4.9 or later
i Photo ’08, the latest photo-organising software from
Apple, has some inventive upgrades and it’s been
provoking excitement similar to that created by the
original version, when it was launched more than half a
decade ago.
So naturally we got our hands on a copy just to see what
all the fuss was about – and were pleasantly surprised.
First, for those who are unaccustomed to iPhoto or are
flirting with the prospect of purchasing and using the
latest edition, rest easy, as navigation is simple and quick.
Importing imagery with Drag and Drop functions and
sorting images into folders couldn’t be easier.
Attaching Flag options allows you to make a visual note
of all your favourite images, and there are some great
creative options attached, too. You can produce calendars
or picture books, with compelling, customisable layouts,
84
Advanced Photoshop
082-084_AVP_36_Resources.indd 84
built-in Automatic feature, with boxes appearing,
pinpointing and relating the problem areas. There’s also a
Manual option, so detailed application can be specified at
all times, the more familiar you become with practices.
Once contrast and colour noise has been profiled and
measured, simply select the Reduce options to continue.
You can easily treat your whole image directly, editing
contrast and colour noise. However, Dfine’s improved
interface offers advanced options to manipulate noise
effects, through pinpointing specific colour areas or by
using the highly intuitive Control Points command. To
activate this option, you just select Control Point from your
Method menu, click the Add a Control Point to the Image
Maximum control: The Control Point
and Color Range methods, along with the
Selective Tool, offer you the most advanced
ways for selectively applying noise reduction
button and apply to the necessary point on your image. to your images
With your Noise and Contrast bars, and a top bar allowing
you to determine your adjustable area size, you can simply Summary: With just the one concern
click and slide to edit treatment. that rendering is slightly slow, the
Other cool built-in features include useful Zoom options and functions that Dfine
functions and Mode options, which allow you to select provides really do afford unprecedented
Luminance or Chrominance effects that help determine control and prevent the loss of detail
on-screen changes when applying Control Points. There’s after the tool is introduced, therefore
also the Loupe screen that lets you see a simultaneous improving image quality.
before-and-after shot of your image. 5 Rating: 4/5
by selecting one of the easily identifiable options. Then Summary: iPhoto automatically
there are the practical new features such as the Events organises your photo library and has
option, which makes a cluttered workspace a thing of the some quirky new functions for very
past and establishes a new way of looking at your libraries. quick fixes. With the improved
It automatically organises and condenses photos into organising function, you can get the
Events that allow you to locate images quickly. most out of your photo collections.
Another impressive updated feature comes in the form Rating: 5/5
of the editing capabilities. You have a whole palette of
retouching tools and an array of
effects at your disposal,
including a standard Red-eye
Reduction Tool and a
comprehensive Adjustment
dialog box allowing you to
manipulate exposure,
temperature and sharpness, to
mention just a few.
There’s also a Crop command
and a very cool Straightening
Tool option, allowing you
to manipulate the degrees
of your image for that perfect
horizon. This all adds up to
provide you with a product that
not only looks stylish and
functional, but is also New and improved: iPhoto organises your photo library and makes editing as
completely user-friendly. 5 easy as clicking your mouse – so even the biggest collections are easy to view
21/9/07 09:36:32
 Feature

Staake
Illustration by Bob
Ben Templesmith
Illustration by ly S Alexius
Illustration by Vita

hard Allen
Illustration by Ric

Staake
Illustration by Bob

86
Advanced Photoshop

086-091_AVP36_Genre Gods.indd 86 21/9/07 13:52:12

 Genre gods

Genre gods
Some of the industry’s ‘genre gods’ offer an insight into their
own artistic fields and explain how these have helped them
express themselves and provided inspiration for their success
By Adam Smith

T
he term ‘genre’ is often bandied about in the artistic
world, but what exactly does it mean? Well, the English
dictionary describes genre as ‘a kind, category or sort,
esp of literary or artistic work’. This description, however
generalised it may seem, does in fact reveal the true meaning
of ‘genre’. In all formats, genres are vague categories with no
real fixed boundaries at all. Genres are defined through sets of
conventions such as style, subject, iconography and even the
built-in audience the creation is aimed at.
Some will say a coherent grasp of a distinct genre can offer
an artist the focus to create specific work that will contribute to
creating a solid foundation for commercial success. After all,
any lucrative product needs a certain target audience to
succeed. Some artists will deviate, through expression and
experimentation, taking a more liberal approach to a genre.
an insight into the realms of genre and how they might apply
in contemporary art today. What better way to do this than to
ask some of the industry’s finest to offer their thoughts and
feelings on the subject? We find out how they discovered a
talent for their visual field and how enthusiasm for working in a
certain genre, be it nurtured or instinctive, became a mainstay
in their artistic existence. We’ll also find out if a defined genre
really does expand working opportunities or if it brands you as
limited in your capabilities.
GENRES ARE
DEFINED THROUGH
CONVENTIONS SUCH

AS STYLE, SUBJECT
They will transgress boundaries, inadvertently defining sub-
genres or hybrids, even at times redefining a genre completely.
With so many variables and areas of interest available to us, we
at Advanced Photoshop thought it was about time we offered & ICONOGRAPHY

HORROR
Ben Templesmith
Ben Templesmith is a highly successful commercial artist, and
it’s no secret that many feel his work has redefined the horror
comic genre through his modern definitive macabre and
vampiric looks. However, when we asked Ben about his
preference for horror, we were surprised to discover that it has
not always been essential to his creation. “I guess you could say
the genre found me,” he explained. “I’m more a fan of sci-fi and
history than strict horror, which I seem known for.”
Ben adopted his taste for the macabre when he aspired to
recreate the effects of his favourite artists. “My first published
work was directly following one of my favourites, Ashley Wood, TRENDSETTER
argue that I he
: “Some would
on a comic titled Hellspawn, a gothic/horror title. I definitely lped re-invigora
horror comics. te
Although that’s
wanted to find ways of keeping that feeling and vibe after Ash my claim, it’s sti not
ll nice to hear, an
if all goes well in d
had left. Then I took it a step further on my first full published the ‘30 Days of
Night’ movie, th
story, the ‘30 Days of Night’ miniseries, where some people say en hopefully I’ll
have had a little
impact on the
I redefined the look of vampires and placed mood over – or history of vamp
ires, visually. Th
movie seems to e
at least on a par with – the storytelling.” Since then, the artwork for the
heavily riff off my
comic miniseri
horror tag stuck. thanks to the am es,
azing director,
David Slade”

87
Advanced Photoshop

086-091_AVP36_Genre Gods.indd 87 21/9/07 13:54:34

,

Feature
Ben’s actual definition of horror is far from trying to rehash
old monsters in a modern context, or how much blood you can
draw, but more about the style or tone of his work and its
evocative temperament. “I’m just interested in the mood you
can create when trying to get things dark and foreboding.” He
recalls: “I think it was merely the tone of the stories I was ever
into. I was never into the obvious horror titles, just ones that
could be classed as horror, but were really part of other genres.
At the time I started, I was aching to get into something darker
and nastier.”
They say with great power comes great responsibility, so we
asked Ben how the reputation of his style has affected him.
“Well, horror and dark art have exploded recently, but I think
the perception that I am a ‘horror’ guy certainly limits the sort
of projects people would think of me for,” admits Ben. However,
not surprisingly, this doesn’t deter him from evolving in his
own modest way. “All I can claim is to still be able to get work,
which must mean something! I try to improve and change with
each new thing. I guess having my name come up when
people talk about ‘horror’ artists in the comic world is a good
way of defining my achievement of some form of new
standard. But it’s really what other people think, not what I
think that matters.”

/ www.templesmith.com
DRA WING BLOOD: “Well, horror and dark
recently but I think the perception that art have exploded
I am a ‘horror’ guy certainly
limits the sort of projects people would
think of me for”

WORMWOOD:
GENTLEMAN CORPSE: Ben
describes his own horror title as
“Lots of tentacles and Cthulhu-
type things, rather disgusting
concepts, sick critters and demons
to draw. It’s my guilty pleasure and
also tries to be a sort of black
comedy/gross out as much as a
true horror title”

NOT SO BAD: “I am often

tagged as a horror artist now
though, so I’m more than happy
for my career to be dictated by the
vibe my art can bring to any given
project. I’m probably lucky it’s so
popular right now, from movies to
comics to computer games. I’ve
worked on or am currently
working on things related to all of
them that need a certain amount
of popularity within the genre”

88
Advanced Photoshop

086-091_AVP36_Genre Gods.indd 88 21/9/07 13:38:43

 Genre gods

CHILDREN’S
ILLUSTRAT ION
MARY, BLOOMSBURY
Bob Staake CHILDREN’S BOOKS:
“To turn that seemingly
Children’s book illustration has been a mainstay genre, uneventful scene into
contributing to some of the art world’s most exciting and best- something magical,
loved styles over the years. One familiar and distinctive everything about it needs to
exude other-worldliness –
contributor is Bob Staake, cartoonist and illustrator, whose from the goofy shape of the
work has seen him renowned and highly respected. car to the shape of the old
man’s hat, the amoebic
Bob’s visual approach provided an almost natural
shape of the yellowing trees
progression into working in the realm of children’s illustration. to the quirky expression on
“I suppose I slid in sideways into the world of children’s picture the driver’s face”
books. I had illustrated a number of titles (both for adults
and kids), but in 1997 I stumbled upon a way to create a I’M A TRUCK, LIT TLE
GO LDEN BOOKS®/RAND
spattered effect with Photoshop paintbrushes.” This simple it comes to creating mea
ningful children’s picture OM HOUSE INC: “There
appreciation for the read books. Insight, talent, driv are no shortcuts when
effect led to him exploring the potential of an ABC board book, er – any illustrator must
possess these and a num
e, a point of view and a dee
p
ber of other crucial traits”
which he supplied to Simon & Schuster and they instantly
commissioned it.
However, even with this almost instant success within this
genre, Bob made it clear that at times it’s good to be aware of
the potential commercial pitfalls that lie within the confines of
a solitary genre. “I have always been extremely savvy when it
comes to the business of illustration and I realised early on
what a fickle profession it can be. That’s one reason I always
cultivated an ability to work in a wide variety of venues and
genres.” This approach has seen him create covers for The New
Yorker, pages in MAD magazine, Little Golden Books, greeting
cards for Hallmark and design for the Cartoon Network. “I like
to think that it is my strategic approach to work that enables
me to succeed from one genre to the next.”
Bob underlined the fact that having a distinct style does not
always equal limitation: “I cannot stress how crucial this has
been to my success as an illustrator, because the ability to flow
from one genre to the next has absolutely insulated me from
the peaks and valleys that are so evident in the careers of many
of my illustration colleagues.”
So how does Bob’s design correspond with children’s
illustration specifically? His answer was one that was
dependent on pushing boundaries: “Visually, I’d like to think
that my children’s books work because they are grounded in
an appreciation of mid-20th century European poster art and
children’s book aesthetics of the Forties to Sixties era. If what
comes out of that is a hybrid approach to books that makes
them seem one hundred per cent mine, then that’s really
where I’d like to be.”

/ www.bobstaake.com
BOWLED OVER, COMMONWEALTH
another
BOOKS: “Combine a scene like this with en’s
childr
similarly well-crafted scene within a
ly new world
picture book and you create an entire cal
for a child to explore. That can be a magi
of reading”
experience that solidifies a child’s love

89
Advanced Photoshop

086-091_AVP36_Genre Gods.indd 89 21/9/07 13:39:29

,

Feature

F A N T A S Y / SCI-FI DOWNFALL: “My

Vitaly S Alexius genre wouldn’t exist
without the success of
Fantasy is a genre generally distinguished by the overall computer art. If in the
look, feel and theme of individual work. However, there are future all computer
screens were to evolve
notable artists that partake in the traversing of boundaries into 3D holograms, I’d
into sci-fi, perhaps even horror, inadvertently defining sub- have to evolve and
genres. Vitaly S Alexius is one such artist. adapt with them or
perhaps go back to good
Inspired at a young age by the verdant surroundings of old oil painting”
Siberia, it wasn’t until his discovery of digital media that
Vitaly’s preferred genre blossomed. “I started using
Photoshop and discovered that I could draw on pure black
background, adding rays of light into the pitch-black
darkness, bringing fire into the picture. It was a fantastic
feeling, equivalent to lighting a match in a darkroom. This
was the foundation for my high-contrast-style paintings, in
which I tried to make the sun truly bright. Eventually my
paintings broke free of simple landscapes, still life and
portraits, and converged with fantasy.”
However, with such influences as romantic seascape
painter Ivan Aivazovsky and Salvador Dali, as well as
modern digital artists Craig Mullins and Sparth, Vitaly found
that the fantasy stories within his art echoed influences of
sci-fi, inspired by those Romantic and Surrealist artists,
defining a sub-genre that he calls ‘Dreaminism’. He describes
it as: “A realistic, often romantically apocalyptic, easily
recognised style. A sense of shifted reality realised in the
split second before the waking, when the mind cannot
define what’s real and what’s not.”
Vitaly admits that this new sub-genre he’s fashioned has
delivered many opportunities. However, he explains that his much as I
work’s healthy commercial appeal has much to do with his ICEBOUND: “I challenge myself only as aying or
low-p
want to be challenged. If the job is too
it. Some
chosen field. “Dreaminism proved to be a great success, as unfitting to my genre, I simply don’t take
s, but usually
my paintings spread over the net and I gained world clients are more demanding than other
themes”
they want me to stick with my style and
recognition. I was lucky and smart enough to pick a genre
that is very specialised yet widely required by clients all
around the world. It ranges from writers to musicians to
movie producers of dark sci-fi/fantasy stories, along with
rock/metal music, all of which are popular in our time.”
So after such success from his redefined genre, does
Vitaly see more necessity for changes to the fantasy field on
the horizon? His answer suggests that this is very much
dependent on the nature of his inspiration: “I’m pretty much
satisfied with it, but perhaps my style could evolve into
something new, as my commissions, world events, the
environment I live in and people constantly influence my
work. Who knows where and what fate might throw me?”
Although there is one thing he knows for certain: “My own
genre wouldn’t exist without the success of computer art.”
/ www.svitart.n-tek.ca

ANTIPODAL
are always the
EV OLUTION: “Pers
most fun, since onal paintings
guidelines, relyin I can select work without
g only on my im
agination”

90
Advanced Photoshop

086-091_AVP36_Genre Gods.indd 90 21/9/07 13:39:56

 Genre gods

‘PAPERLESS FUTURE’ FOR

2007
PLANSPONSOR MAGAZINE (US)
A. RICH ARD ALL EN: “In some ways, I knew
(C) having ial, so
very little of illustration beyond editor
(Hons), I
turned my back on fine art after my BA
few optio ns beyon d the world of editorial”
consi dered

‘12 DRUMMERS
DRUMMING’ FO
GUARDIAN (UK) R THE
2006 (C) A. RICH
“Recognise that you
will have ARD ALLEN:
board criticism an to market your wo
d dealing with reje rk, taking on
indifference, along ction, or often whole
the way” sale

‘BEACHED GIANTESS
’ FOR FORTEAN TIMES
2007 (C) A. RICHARD (UK)
attempted
ALLEN: “In my more recent
to move away from droll work, I
conceptual. On the process cartooning, becoming mor
side of things, I experiment e
textures and design elem with
ents, changing my familiar
to keep things interesting work patterns
and arrive at unexpected
outcomes”
Richard Allen
Editorial illustration is considered by many to be at the apex of Richard therefore works in related areas such as publishing and
commercial art. Used to summarise a subject or put forward a visual advertising as well.
concept, work opportunities can be obtained through magazine or So what sustains his consistent interest in this changeable field? “The
book covers and even accompanying technical or scientific articles. This variety of subject matter, the unpredictability of assignments and living
ability to encapsulate the ideas within an article or narrative in a visual on my wits is what keeps me interested in editorial work,” he explains.
format, truly defining the editorial genre, is what appealed to successful “Print illustration will undoubtedly change with technology and the
commercial artist A. Richard Allen. shifting tastes of publishers and editors. While I work mainly on
Richard was beguiled from an early age with the ideas and artistry at computer, I have a lingering affection for seeing work printed on paper.
work in the Observer magazine, finding the encapsulated ideas more I’m sure I’ll adjust to seeing my work appearing on-screen more often.”
engaging than the text alone. Embracing this genre, turning his back In a sometimes perilous industry with significant rewards, what
on his fine art roots and mastering in illustration, Richard found the advice does Richard have for those with a desire to pursue a career in
editorial industry to be more precarious than he first imagined. editorial illustration? “I would suggest that predicting the future nature
With such expectation, how does Richard now feel about the of the market that you are entering is of less importance than honing
commercial prospects of the genre? “While I’ve done reasonably well your talents as a communicator. The ability to draw and think laterally is
making a living from editorial illustration, it’s not the most lucrative vital. You will always need to be exploring and recording your visual
or most reliable line of work,” admits Richard. “Salaried editorial environment, gaining plenty of influences from inside illustration and
illustrators are few and far between. I’m sure that even the most beyond. Don’t be too hung-up on acquiring a particular style – but
in-demand editorial illustrator wouldn’t necessarily describe don’t be all things to all people.”
themselves as an editorial illustrator to the exclusion of all other fields.” / www.arichardallen.com/

91
Advanced Photoshop

086-091_AVP36_Genre Gods.indd 91 21/9/07 13:40:34

 Part six
We present the final part of our
Photoshop encyclopaedia
measurements. Vanishing Point can also be used to paste
graphics in perspective for illustration purposes and
packaging mock-ups. The new dialog allows you to adjust
brush strokes, healing and cloning as you paint over the
planes. Unlike previous versions, you’re no longer restricted
to 90° angles. You can quickly and easily create multiple
planes, connected to any angle.

V ariables
Variables in Photoshop are used to define which
elements in your design change in a template.
There are three different options for defining variables:
Visibility shows or hides the content of a layer, Pixel
Replacement replaces the pixels in a layer with pixels
from another image, and Text Replacement replaces text in
a type layer. You can define a variable by choosing Image>
Variables>Define. Then select a layer from the Layer
drop-down menu and choose the content you want to
define as a variable.

V arnishes
Take a look at the front of this month’s cover and
you’ll notice that we’ve applied a Spot Varnish
treatment. This was created by applying a Spot channel to
the original image. This procedure is very simple to achieve.
Select Window>Channels to bring up the Channels palette
and create a new channel by pressing the Channel button.
Choose New Spot Channel from the Channels palette
menu. Any selection you make in this channel will define
your varnish target. In the New Spot Channel dialog box,
click the Color box and choose your colour.

V ector masks
You can create a Vector mask using the Pen or
Shape Tools. It’s easy to add a Vector mask that
shows or hides the entire layer. With your Layers palette

V anishing Point
CS3 saw some innovative
changes for the Vanishing
Point command. Working on the
principle that you can correct
perspective planes in your image (for subjects such as the
sides of buildings, walls, floors or any rectangular object),
Vanishing Point is perfect for correcting lens distortion.
Photoshop Extended also now allows you to measure
objects in an image and export 3D information and
open, select the layer that you want to add your Vector
mask to and select Layer>Vector Mask>Reveal All/Hide All.
You can also use the Vector mask to show contents of a
shape by selecting a path, or drawing a work path and
selecting Layer>Vector Mask>Current Path.

92
Advanced Photoshop

092-093_AVP_36_A-Z.indd 92 21/9/07 09:38:28

 A TO Z PHOTOSHOP TIPS

W arming
filters
The Photo filters in
Photoshop have a similar effect to
placing a coloured filter in front of
to the human eye, using Digimarc ImageBridge
technology. Digimarc watermarks can be detected in both
digital and printed forms, making your work extra secure.
This is particularly useful for those who license their work.
Digimarc has its own website on which you will find more
destination folder also specified. Photoshop will
automatically create your webpage and put thumbnails,
HTML pages and other data into this folder.

your lens. Photo filters are perfect for information. Visit www.digimarc.com.
adjusting your colour balance and colour temperature.
There are several different preset Photo filters that you can
apply to your images. To do this, simply select either
Image> Adjustments>Photo Filter or Layer>New
Adjustment Layer> Photo and choose the filter from the
drop-down menu.
W eb Photo Galleries
Adobe Bridge can be used to create your own
Web Gallery in a few simple steps, but you can
also carry this job out in Photoshop by choosing File>
Automate>Web Photo Gallery. There is a wide range of
gallery styles in the Web Photo Gallery dialog box, each

W atermarks
Watermarks are the best way to add copyright
information to your images. A watermark will
add a digital code to the image that is pretty much invisible
with a small illustration so you can see exactly how they will
look. To import images for a web page using the
automated Web Photo Gallery, all images have to be
selected from one designated source folder, and a

W orkspaces
It’s possible to save the size and position of
your panels just the way you like them, using
Workspaces. Saved Workspaces can be found under the
menu Window>Workspace. If you’ve set up a particular
Workspace in which you enjoy carrying out your
Photoshop work, you can save it by choosing Window>
Workspace>Save Workspace. Be sure to select all three
options: Palette Locations, Keyboard Shortcuts and Menus.

X MP
XMP is the standard
Metadata format that is
supported in Adobe Bridge and Adobe
Photoshop, among others. Many
important Bridge features, including
keyword searches, are made possible using the XMP
format. XMP allows you to exchange metadata between
Adobe applications. You can save metadata from one file
and import it into another.

Z oomify
Zoomify is the process by which
you can post high-resolution
images on the web, and users can pan
and zoom to see more detail. You
control your Zoomify options by
selecting the command File>Export>Zoomify.

93
Advanced Photoshop

092-093_AVP_36_A-Z.indd 93 21/9/07 09:39:17