Tutorial files available at:

blog.advancedphotoshop.co.uk/tutorial-files

The magazine for Adobe® Photoshop® professionals 111

20
PAGE
SPECIAL
ALL CC FEATURES
EXPLORED

THE WAY OF THE FUTURE?

PHOTOSHOP CC
• Exclusive Adobe interview • The creative industry speaks out
• Expert guide to Creative Cloud updates • In-depth CC tutorial
•Expert
ISSUE 111

CREATE A CYBORG PAINT A CITY SCENE DIGITAL COMPOSITION ALIEN ENVIRONMENT

Build a sci-fi-image using photo Combine high-res stock images Explore the importance of detail Juan Carlos Barquet explains how
editing and digital painting tools with matte painting techniques when creating digital art to create out-of-world images
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ISSUE 111 CONTENTS

ISSUE 111
WELCOME
Welcome to the latest
issue of Advanced
Photoshop. With the news
from Adobe that they will
only be updating Creative
Cloud software from now
on, our office has been
sent into overdrive.
ANNALISA SAYWELL We don’t know about you, but the changes to the
Editor subscription model are being felt across the board.
As a company that relies heavily on Adobe products,
IN THIS ISSUE: we too had some questions to ask about the new
PHOTOMANIPULATION updates on offer. That is why we have compiled an

52 CREATE A CYBORG
PHOTO EDITING expert guide not only to Photoshop CC and its
GRAPHICS PHOTOMANIPULATION:
DIGITAL PAINTING sparkling new features, but also to what the
TYPOGRAPHY
NEW MEDIA surrounding industry – and indeed the world – think
about the latest changes. Develop an inspiring image using little more than a
single photograph and digital painting techniques
Elsewhere in the issue, improve your lighting
techniques by taking a look at a selection of
industry-standard work, followed by a vast number
of expert tutorials, including how to create a cyborg
COVER ART from scratch, paint a city scene using nothing but
ADOBE PHOTOSHOP CC
www.adobe.com/uk stock photography, and build plush UI elements
With one of the biggest using vector shapes and layer styles.
changes to Photoshop If that wasn’t enough, there are also two exclusive
since the launch of the CS
boxset, we thought it only video tutorials on this month’s disc, as well as a
fitting to place this amazing bumper collection of free resources. Enjoy!
piece of digital art on our
cover. Take a look at our
Photoshop CC feature on
page 30 for more info.

FIND US ONLINE:
@advancedpshop /AdvancedPhotoshop
18 STUDIO INTERVIEW:
INK STUDIO
.co.uk Explore the importance of using your creative
potential and practising with the latest designs

003
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 CONTENTS ISSUEWorldMags.net
111

ISSUE 111
CONTENTS
EYE ON DESIGN
What’s hot, who’s in and the
latest art & design happenings

06 PRO PANEL:
Our contributors share Photoshop secrets

08 INDUSTRY NEWS
The latest information from the creative world

10 PORTFOLIO INTERVIEW:
Fantasy & alien environments

16 PROJECT FOCUS:
Creating a cohesive image
30 PHOTOSHOP CC FEATURE

76 SCIFI MATTE PAINTING FOR BACK ISSUES, BOOKS

AND MERCHANDISE VISIT:

PAINT A CITY SCENE 62 26 10 LIGHTING

SECRETS

004
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TECHNIQUES REVIEWS
Professional artists reveal their high-end skills in our easy-to- We put the latest creative kit,
follow workshops books and apps to the test

18 STUDIO INTERVIEW
INK Studio 62 WORKSHOP
Paint a city scene 82 FEATURE:
From shoot to Photoshop at
lightning speed
26 INDUSTRY FEATURE
10 lighting secrets 68 HOW I MADE
Epiphany by Valp Maciej Hajnrich
86 REVIEW:
Samsung NX300
30 INDUSTRY FEATURE
The way of the future? Photoshop CC 70 WORKSHOP
Create plush UI elements

46 FEATURE WORKSHOP
Retouching in Photoshop CC 74 HOW I MADE
Pisces by Hung Pham

52 WORKSHOP
Create a cyborg 76 WORKSHOP
Sci-fi matte painting

58 HOW I MADE
Dead Astronauts by Khyzyl Saleem 88 READER INTERVIEW
The importance of composition

SUBSCRIBE TODAY!
92 RESOURCE PROJECT
Produce screen print artwork

SEE PAGE 22 FOR THE LATEST OFFER

96 ON YOUR DISC
Free with issue 111 of
Advanced Photoshop
TAILORMADE
CREATIVE CONTENT
Two exclusive video tutorials, both
covering robotic effects

70 PLUSH UI ELEMENTS 74 HOW I MADE:

PISCES

88 THE IMPORTANCE
OF COMPOSITION RESOURCE COLLECTION
Featuring 20 retouching Actions, premium
metal textures and grunge Photoshop brushes

PLUS:
• Tutorial project files
• Exclusive wallpapers for mobile and desktop
WorldMags.net • Custom font worth $8
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eye on design pro panel

eye on design

pro panel
Want to knoW What this issue’s experts think of photoshop CC? read
on to learn WhiCh neW tools and options are getting them exCited
Elias Klingén
www.behance.net/eliasklingen
I’m excited about the new sharpening updates that Adobe has introduced. The automatic algorithms seem to be a lot more accurate. Smart
Sharpen now detects the foreground, sharpening this instead of the background. I’m also curious about the Camera Shake Reduction tool that
removes blurring from photographs caused by camera shake. It almost sounds too good to be true.
■ learn Klingén’s story in our Reader interview on page 88

EduaRdo lopEz MustaRos olivER WEttER

www.edlostudio.net
I believe one of the best new updates in CC is to the Blur gallery, which
can now be applied as a Smart Object. This gives full control over
blurring, which can be applied and reapplied to a wide arrange of
elements, including shadows and specific sections of an image. That, along with updated
sharpening filters and an improved 3D painting engine, makes Photoshop CC seem great.
■ Check out Eduardo’s sci-fi landscape tutorial starting on page 76
www.fantasio.info
The new upsampling feature in Photoshop CC looks
very promising. As far as I can imagine, it could
improve my workflow by allowing me to enlarge
artworks for large format printing, without worrying about file size at
the beginning of my process. I doubt that it will be as useful for web
images, but scaling from 18-inch to 24-inch should be graceful within
the new Photoshop CC.
■ Find Wetter’s cyborg effects tutorial on page 52

006
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RAUL TACIU
www.behance.net/GraphicBurger
It’s great to see the improvements
that Adobe has made to Photoshop’s
Shape Properties panel. Working
with vector shapes will definitely be much easier now
that you can select multiple paths at once and even edit
the radius of individual rounded corners. But out of all
the latest features, the one I’m most looking forward to
is the new options for text anti-aliasing that matches the
font rendering of Windows and Mac.
■ Discover Taciu’s UI elements tutorial on page 70
THIBAUT VAN BOXTEL
www.inkstudio.be
We’ve found using Camera RAW and Photoshop for picture editing in our last few projects
really exciting, so we’re even more excited about version 8, now available in Photoshop CC.
Having the new Camera Shake Reduction tool would have been a great help for us when
we were editing a photo for a recent project. In this case, we had to take another picture for final selection,
which was a pity. With this feature, we will now be able to salvage otherwise unusable images.
■ Hear more from van Boxtel in our Studio Interview on page 18
It’s great to see the
improvements that Adobe
has made to Photoshop’s Shape
Properties panel. Working with
vector shapes will definitely be
much easier now that you can
select multiple paths
RAUL TACIU / WWW.BEHANCE.NET/GRAPHICBURGER
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eye on design industry nEWs

industry news
eye on design

F
Be inspired By the return of fotolia’s ten collection showcasing the
Best international artists and releasing psd files to the puBlic
otolia’s TEN Collection is back and continuing
to provide the creative arena with the work of
the world’s most impressive digital artists.
Oleg Tscheltzoff, CEO and co-founder,
quantifies the project’s achievements, telling us:
“After the success of the first edition, Fotolia is now
renewing the project with an even more colourful
second season – inviting you to discover digital art
from a new and international angle.”
Originally promoting ten of the best French talents,
TEN Collection Season 2 is now going global,
showcasing the work of 12 international artists on its
dedicated website www.tenbyfotolia.com. This
includes designers from the UK, US, Argentina,
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The project began with a vision to promote digital
art on the international stage, successfully realising
this by giving every digital art fan access to the
creative techniques. On the tenth of each month, a
free PSD is made available to download for 24 hours,
detailing layers, textures and dynamic filters. This is
accompanied by a ‘making of’ video, allowing an
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of some of the world’s most respected artists.
With its first season was a resounding success
online with over 170,000 PSD downloads, TEN
Collection Season 2 is set to be more engrossing
than ever before thanks to its revisions, including an
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developed in 12 languages and welcomed more than
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The homepage is now accessible across all
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of us who love to experience multimedia content in
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that goes into greater detail about the artist’s specific
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The creative community can still share all related
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A month before launching a new artwork, users
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TEN Collection Facebook page, a backstage video
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outings with the team members is also made
available to the public. Fotolia even manages to cram
in that little extra edifying experience here,

TEN CollECTioN rECruiTs

discover how Fotolia searches For artists
DaNiEla
rEissmaNN
director, Fotolia UK and eU
When asked what core skills
a digital artist needs to grab
Fotolia’s attention,
Reissmann explains: “Firstly
we look for well-known digital artists who are
talented in photomontage. This is the essence
of Ten. in particular, we want artists who have
a following in the design community and are
looked upon as role-models.” maNos a la obra KENTauros
gustavo Brigante soongyu gwon
This means artists whose works for big
Ushering in the second season, Ten season Two was an opportunity
brands are normally featured in design
Brigante offered this stunning for gwon to conceive a work without
magazines, or those with established portfolios
composition. The artist found inspiration in his having to compromise. This image blends greek
at leading design portables such as behance.
Latin American origins, evident in this work. mythology with fantasy.
net. “our partners, Wisibility and Amkashop,
are artists themselves, and assist us in our Colours To
search,” she adds. DEfy graviTy
Ten Collection has enabled contributing Adhemas Batista
artists to become cultural ambassadors for Adhemas Batista’s
their respective countries through their own work is awash with shimmering
creative endeavour. Reissmann reveals: “Ten colours and rhythmic vibrations
offers these artists a great opportunity to of Brazil. Typography,
showcase their work internationally. This illustration and images interact
project allows them to put forward one of their in a merry and harmonious
core values, sharing their expertise with the ensemble in his artwork,
entire creative arena.” ‘Colours To defy gravity’.

008
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After the success of the first
edition, Fotolia is now
renewing the project with an even
more colourful second season
Oleg TschelTzOff / Fotolia CEo and Co-FoundEr
presenting an interactive Q&A session between
artists and fans.
In case you miss the exclusive free PSD file, which
is only available for a 24-hour period, you then have
the option to purchase it for only £4. Produced in an
A3 format at 300 DPI, it includes commercial user
rights, but on the condition that usage rights of any
Fotolia images used in the file are also purchased.
oN
Marumyan
Simply entitled ‘ON’, this image is built
around Japan’s iconic bonsai tree.
Image elements are eloquently based on
Marumyan’s theme of choice, which is sound.
Just a game
Mike Harrison
advanced Photoshop regular Mike
Harrison represents the UK with his
work ‘Just A Game’. His subversive and colourful
composition mixes digital and traditional arts,
clearly illustrating a sense of energy.
WIN premium photo stock with FotoliA
25 image downloads per month for six months are up for grabs
Europe's leading image bank Fotolia.com has teamed up with advanced Photoshop, offering
readers the chance to win 25 image downloads per month with a free six-month subscription.
Whether you’re a professional designer, manager, business owner or student, Fotolia has the best
selection of royalty-free images and videos.
for your chance to win, please answer both of the following questions:
- What is the name of the British artist representing the UK within the
TEN Collection?
- In how many international zones does Fotolia operate in?
Find the answer at www.fotolia.co.uk
Please email your answers to advancedpshop@imagine-publishing.co.uk, including your full name
and address. The deadline for entries is 31 august 2013. Only one entry per person allowed, the winner
will be randomly selected after the closing date and notified in due course. The editor’s decision is final
and no cash alternative will be offered. Employees of Imagine Publishing are not permitted to enter.
IncredIble IllustratIon meets
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B
stunning images explain fascinating science facts in Brain Dump,
a Digital-only magazine from the makers of aDvanceD photoshop
rain Dump is the latest in a line of
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009
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eye on design portfolio interview
portfolio interview
fantasy & alien
www.jcbarquet.com
www.facebook.com/
environments
Juan Carlos Barquet explains how he Creates his out-of-
jcbarquet this-world environments using photoshop’s Brush tools
J
uan Carlos Barquet transports us to alien
environments through the tip of his pencil
and with a flick of his digital brush. His
painterly yet realistic vistas have gained him
international recognition – something he puts down
to a strong portfolio: “Thanks to the portfolio I have
developed over the last few years, I have gained my
first commissions and appearances in exhibitions
and publications such as the Parallax Art Fair in
London and Ballistic Publishing’s Exposé.” His work
has also secured the 19-year-old a scholarship to
study in the USA at the Savannah College of Art and
Design, meaning that he has recently left his home
country of Mexico. He now divides his time between
school, freelance jobs and personal projects.
Can you tell us a bit about your
baCkground in art?
01
010
040
I have always loved drawing and painting. I went to
several different art classes growing up, but I got into
digital media when I was 14 years old, and from
there my interest in art got more serious. I taught
myself how to paint by watching videos, reading
books and magazines and talking to other artists –
things I still do every day. I also became part of two
international art collectives: Hysterical Minds (www.
hystericalminds.com) and The Luminarium (www.
theluminarium.net), both of which are dedicated to
producing online exhibitions and other projects. I met
a lot of remarkable people through these collectives,
and this helped me immensely.
What Was the first CommerCial proJeCt
you produCed?
The first image I did for a client was the cover for a
single by an independent Swiss band. They showed
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me the song and asked me to do the illustration
based on what it inspired [in] me. It was a good
learning experience; it was the very first time I was
getting paid to draw something and that was very
exciting for me.
hoW has your Work evolved over time?
The biggest change has been the inclusion of digital
tools into my workflow. I used to paint with
watercolours, oils, pencils and charcoal, and I later
shifted to digital painting almost exclusively. In recent
months I have been getting back to traditional art
(especially for personal work) and I am finding it very
refreshing. There is nothing quite like the physical
experience of drawing on paper.
That said, as I began increasing my fundamental
skills, my work improved a lot in all media. It also
increased my capacity to draw from imagination,
01
Dragon Cave: illustration created for
Spellweaver, an upcoming trading card
game © dream Reactor, Ltd
02
The Power of Tomorrow: A world where
ships and aircraft use lava as their main
fuel © Juan Carlos Barquet
03
Fallen Empire: This image was a
wraparound cover for a fantasy novel
© epic Age Media
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03

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eye on design portfolio interview

which is so essential in the fields of fantasy and sci-fi

art. But I still have so much to learn, and I’m sure my
04
work will keep evolving.

What has been your favourite project

to date?
I really enjoyed painting cards for the Game Of
Thrones game produced by Fantasy Flight Games.
Although I haven’t read the books, I just love the TV
show and being able to contribute with my own
interpretation of that vast fantasy franchise was an
amazing experience.

have there been any projects that you

haven’t enjoyed or that you Wouldn’t
do again?
Although I have generally been lucky in terms of
liking the projects I’ve been involved in, there were a
couple of times when I was requested to do revision
after revision of a single piece, which was extremely
time consuming. It is very frustrating to be asked to 04
Lonely Hut: This sketch was done in
change major things when you’ve spent hours 05 about an hour. My primary goal was to
achieve a dramatic mood and lighting
working on a painting. This has especially happened using only rough brush strokes © Juan
Carlos Barquet
with smaller clients, but after that I learnt to always
05
limit the amount of revisions with a contract. Odile & Odette: illustration depicting
the duality present in Tchaikovsky’s
Swan Lake © Juan Carlos Barquet
hoW does your personal Work differ 06
Ventura: A pencil drawing that was later
from your professional Work? scanned and finished in Photoshop ©
Juan Carlos Barquet
Personal work, the way I see it, is a way to explore
07
and make my own decisions, and this usually results Red Light District: View of a futuristic
city in the year 2059, inspired by the
in my best pieces. This kind of work also takes the unforgettable Blade Runner © Juan
Carlos Barquet
form of sketching and drawing from observation.
Professional work is done to meet the client’s needs,
which I still enjoy, but it is much more restrictive.
There is always a certain design language, mood or
subject matter that I am limited to. I think the work I
do for the sheer enjoyment of it makes me grow the
most and I would quickly become disheartened
about my art if I neglected it.

Who or What are the key influences

for your Work?
I constantly study the work of masters like Bierstadt,
Caravaggio or Sargent, but I am also influenced by
contemporary concept artists and illustrators like 06
James Gurney. Inspiration is literally everywhere;
artists, books, movies, and above all, the real world. I
am always fascinated by the way light falls on
objects, the architecture of buildings I like, the
endless designs, patterns and palettes that nature
produces. I find it important to build a visual library
and to relate my images to reality in some way, even
if I’m depicting otherworldly themes.

hoW Would you describe your style?

This is a tough question. I don’t really think about my
own style, because for me it is only the surface. Style
is something that many people get concerned about,
but I believe it comes naturally; it is inescapable.
There is an inevitable repetition in the way I use light,

012
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08

Lair Of The Astromancer: The birds-eye

view in this artwork was intended to
dramatise the scene. Here, I tried to push
my skills in painting light and colour even
further © 2013 Fantasy Flight Games and
Games Workshop

09

Caldera: On a distant world, floating

volcanic islands are home to a different
civilisation © Juan Carlos Barquet

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portfolio interview
10
The Sect: this image, done for a
contest, was created using matte
painting techniques
© Juan Carlos Barquet
colour and even brush strokes; maybe that could
influence what is perceived as my style, but I try not
to force it. And I would be very naïve to think that it
won’t change in the coming years as I learn more
and hopefully become a better artist.
How do you approacH eacH new
project? do you Have a specific
workflow tHat you like to follow?
I always draw sketches from imagination first. At this
point, I like to work in my sketchbook, and I don’t
worry about details – only composition and value.
I then bring the ideas I like into Photoshop, where I
add colour and develop them a bit more. At this
point, I show two or three different ideas to the client
(if there is one), and once one sketch is picked, I use
it as the base for the final design. From there, it is a
case of refining until the piece is finished. Of course,
each image is different, and I sometimes skip or add
steps, but generally a solid initial drawing results in a
much stronger (and easier to do) finished painting.
How long Have you been using
pHotosHop? wHat are tHe key tools and
tecHniques tHat you find yourself
using tHe most?
I have been using Photoshop for about five years. I
learnt how to use it by following tutorials and doing
forum signatures, the same way that many digital
artists started out. The tool I use the most is the
Brush tool, of course, but the software has a lot of
options that really come in handy when trying to
achieve specific effects. I love the different blending
modes. I often use brushes or layers set to Soft
Light, Color Dodge or Overlay to create cool flares
portfolio tips
Juan Carlos Barquet shares his essential tips
for Creating a portfolio with impaCt
■ learn good fundamental skills
If the use of perspective, value, colour, composition and
visual narrative are strong, authoritative images will result. I
can’t stress enough how important it is for me to use
references. This helps to bring more information into the
painting than I can come up with.
■ target your work
Know what you want to do and let your portfolio reflect that.
A strong collection of work will help you to approach the
types of clients that you want to work for, so research the
style of art that they might be looking for.
■ be concise
Think quality over quantity when it comes to putting
together your digital art portfolio. A professional and
concise presentation goes a long way when you are trying
to attract new clients.
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eye on design
and glows; it’s easy to overdo them, though, so I try
to use them subtly.
How do you evolve your tecHniques? is
it an ongoing learning process?
Absolutely. That is what I like the most about art: you
can never settle for what you already know.
Craftsmanship can always be improved, and there
are always new challenges that need to be
overcome. For example, one day I may be trying out
a new medium, [the next] a way to draw a specific
material. I try to learn as much as I can every day,
because it’s all about the process, even more than
the finished product.
do you Have any advice for digital
painters to give tHeir work tHe same
professional finisH tHat you acHieve?
I’d say don’t be afraid of teaching yourself.
Perseverance is more important than talent, and
learning the basics of art and design is a necessary
process for any representational painter. Besides
that, I’d recommend any artist to join as many art
communities as they can and talk to the artists; you
never know who you will meet or what you may
learn from them.
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eye on design creating a cohesive image
project FocUS
Creating a
Cohesive image
Up-and-coming Brazilian design stUdio manipUla discUsses coloUr
I
grading and retoUching in this pro-wildlife campaign
t’s quite likely that in the coming years, Rio de
Janeiro-based design studio Manipula will be
considered one of the top success stories in the
creative field. “Manipula was created four years
ago now,” remembers main executive director Gui
Christ. “At the beginning we were a group of
freelance artists sharing an office room. As time
went by, we started working on collaborative
projects, and following our success, as a full team.
about tHe studio Nowadays, Manipula is a multidisciplinary creative
Manipula production house focused on mixed-technique
www.manipula.art.br advertising print images, with a 200m2 headquarters
Manipula is a creative production in Rio de Janeiro and offices in São Paulo, USA and
studio focused on developing Europe,” he continues. “Recently, we were chosen as
impactive advertising images that
combine the most creative and one of the top ten most relevant advertising
modern techniques. Consisting of organisations worldwide.”
illustrators, photographers and
artists from several areas,
The reason for such accolades is the production of
Manipula provides solutions that projects like the one featured here. ‘Shark Storm’
deliver amazing results beyond was created for the non-profit NGO Sea Shepherd
those that a solely photographic or
CGI studio could offer. Conservation Society – a marine conservation
organisation based on San Juan Island in the US. In
naMe of Project one quick flash, it represents both the goals and the
Shark StorM
plight of the charity – a small few attempting to save
a far greater number of sharks than they could ever
realistically manage.
We spoke to Gui about the company’s use of
Photoshop in their projects, and how to turn a simple
message into a finished, striking image.
How integrated is PHotosHoP into
Agency Credits: Agency: Heads Propaganda, d.C: Flávio ManiPula’s workflow? wHat kind of
Medeiros, d.A: Fernando Maciel, Copy Writer: gabriel Lepesteur
tasks do you use it for?
Photoshop is the most-used
software in our studio, from
digital painting concept
illustrations to creating CGI
textures, retouching,
composing and preparing the
final images. It is used during
almost all stages of the
creative process at Manipula.
wHat brief were you
were given for sHark
storM? did you receive
any visual cues tHat
initial concept
you needed to acHieve?
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The advertising agency tasked us with creating an
image that shows thousands of sharks dying and
only a precious few being saved by a rescue team.
During our initial sketches, the image of sharks
falling from the sky was viewed from a normal
human’s perspective – that is, on ground level.
However, after some work, we chose to go with a
new perspective, as if the observer was one of the
falling sharks themselves. Not only was this new
concept more creative, but the viewpoint also
provided a better visualisation of the client’s ‘rescue
team’, giving even more power to the overarching
aim of the project.
How MucH of tHis Project consists of
original PHotograPHy, and wHere can
we see it in tHe iMage?
The background is a composition of three different
photos, and the actual rescue team was
photographed in our studio. After a lot of research for
quality images on royalty-free image banks like
Shutterstock, we selected useful background images
and fused them together, being sure to maintain one
main lighting direction in order to make the finished
image look cohesive. For the background we chose
a fisheye effect, as it created a better sense of depth
in the image, as well as allowing us to show even
more sharks falling.
How did you Make tHe iMage in
PHotosHoP? wHat were tHe core tools
used to acHieve tHe final look?
The most used tools were the adjustment options,
such as Color Balance to give the overall image
subtle colour tones, and Selective Color to adjust the
hue and saturation and to break some excesses of
colour in certain parts of the image. We also
employed lighting effects to add or detract light in
certain areas, which aided in the creation of the
environmental effects.
can you Please discuss tHe
environMental and ligHting effects in
a little More detail?
During the retouching, we used Blend to correct the
colours and atmospheric effects to make the
composition feel more cohesive. In this production,
 started compositing them into the scene
using the render passes technique. This
allows you to compose all aspects of an
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“After we had rendered the sharks in CG, we
image including direct light, diffuse,
reflection and specular, giving you more
control over blending modes and opacity
during post-production.”
“The background was created from three
different images – a desert satellite view, a
beach aerial view and a mountainous
skyline. These were combined using masks
created from paths, and all the colours
were corrected using Color Balance,
Channel Mixer and Hue/Saturation.”
© Gui Christ
Background photography
Colouration and adding elements
we created a flattened copy and added in some noise
to create a grainy and more photorealistic look. We
also applied lens effects like chromatic aberration
using Lens Correction and Noise. After that, we
created lens flare and a final yellow mood through
colour balance.
WHAT PHOTOSHOP TOOLS WERE
PARTICULARLY USEFUL FOR THE CREATION
OF THIS PROJECT? HOW DID YOU USE THEM?
Adjustment layers, blending layers and masks were
very important in combining the images and creating
separate effects on specific layers; for example,
highlighting the sharks that we wanted to make
stand out.
HOW MANY LAYERS ARE NECESSARY IN AN
IMAGE LIKE THIS, AND HOW DID YOU GO
ABOUT USING THEM?
This image in particular had around 200 layers. To
manoeuvre around this many layers, we created
major groups that were named ‘background’, ‘minor
sharks’, ‘major sharks’, ‘rescue team’ and ‘clouds’.
Each group had subdivisions according to its
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“Once we had finished the composition and
integration of all elements, we created a
flattened duplicate of the image and
started working on the effects, including
chromatic aberration and lens flares.”
elements and needs. Naming conventions is really
important; make sure you apply the correct names
to your groups or you can easily get lost.
ARE THERE ANY PHOTOSHOP TOOLS THAT
THE SOFTWARE DOES NOT YET HAVE THAT
YOU WOULD LIKE TO SEE IMPLEMENTED?
Perhaps some better selection tools for extracting
elements from backgrounds. We don’t think Refine
Edge is currently as good as it could be.
WHAT CORE PHOTOSHOP SKILLS DO THEY
NEED, AND WHAT TOOLS ARE ABSOLUTELY
ESSENTIAL?
Retouching isn’t rocket science, but for any great
image it’s absolutely necessary that the artist has
full knowledge of the tools available, and specifically
the ones that are most relevant to create the desired
end result.
It’s also very important to keep in mind exactly
what you want from the image, and create a
workflow based around that. Photoshop has tons of
tools and new artists can get easily lost in the infinite
possibilities offered by the software. Stay focused.
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studio interview

INK StudIo
The Belgium-Based design agency explains The
imporTance of exploring our own creaTive poTenTial

W
and pracTising wiTh The very laTesT design innovaTions

hat’s in a name? Sometimes it can tell

you everything and sometimes it
means very little. INK studio, as a title,
says quite a lot about its team and the
work they love to create. Founded in 2006 by Thibaut
van Boxtel and Cédric Philippi, both with a serious
passion for using ink in illustration and design work.
This enthusiasm for traditional media has continued,
with the team moving into avenues such as
papercraft, but also modernising design with a little
help from Photoshop.
It wasn’t long before the INK studio team
multiplied in line with its skill set. Van Boxtel tells us:
“We asked William Mirante to help us create web
projects. Michaël Collin unexpectedly joined us, after
we realised that we were all just artists and not really
prepared for the day-to-day management of a
creative company.” Two new web developers have
also joined its ranks in the last three years.
INK studio started with a simple philosophy; to
provide services that delivered visual communication
for existing companies. This continues to be its
ethos, perhaps with a few slight tweaks along the
way. Now the agency tries to retain a client’s
message, but provides far more creative solutions
when rebranding.
This has allowed INK studio to continue to explore
the very latest web and photographic services. Van
Boxtel admits that this has in turn affected
inventiveness, which is now crucial to every project.
This no longer extends to just printing on unusual
paper; it’s now all about adapting to new tools and
formats, but most importantly: “feeling good when
working, which is the motivation for expansion,”
he explains.
However, INK studio is arguably at its best when
producing the most tactile of projects. This has
continued to flourish with the team’s desire to get
hands-on and personally construct image elements.
This type of design started back in 2010 when the
studio team began to experiment with papercraft,
but it wasn’t until 2012 that they really started to
champion this style by producing their very first
paper-design newsletter.
INK studio continues to experiment and perfect its
papercraft style by organising after-hours
workshops for anyone who wants to participate. This
self-exploration has left van Boxtel confident in
offering clients their papercraft approach, as a

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About the studio

INK StudIo
www.inkstudio.be
@inkstudio_be
INK studio is a multidisciplinary design
agency based in Brussels, Belgium. It
focuses on producing
branding, papercraft and web solutions,
all with a unique graphic approach

Thibaut van Boxtel, Administrator/

Multidisciplinary Designer

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eye oN deSIgN studio interview

New Samarcande identity design: Branding and customisable paper

toy project for a youth association, based in Brussels, Belgium
Credit: INK studio © Samarcande

Credit: Thibaut van Boxtel, Cédric Philippi, William Mirante, Marie

Fabre, Loïc Sheeren, damien Cremer, Thibault Remacle
© 2013 INK studio, All Rights Reserved

means to visually communicate commercial projects

and products. “These types of project motivate the
entire team and the value for our clients increases.
It’s a win-win situation,” he reveals.
Like a lot of other start-up agencies, INK studio
used to take on and complete a lot of projects for
less money to lure new clients. That’s not to say van
Boxtel is deriding others from taking a similar path.
“This kind of practice brought us customers who
realised what we offered – really good value for
money,” he reveals. “Most stayed with us for a long
time and told anyone who needed visual
communication services where to find us. That
allowed us to build less of a big network, but a more
solid, sustainable one.”
INK studio’s work has not always been so well
received, though. An acceptance of opinion needed to
be nurtured to further their client base. For this
reason, any criticism has been assimilated and used
to constructively develop this now competitive studio.
The most important thing
in this instance is to listen
to what your colleagues have to
say and to voice your own
opinions in response
“The critics are important to evolve in the design
sector,” van Boxtel insists.
It’s not just external criticism that has to be dealt
with; internal assessment also needs to be broached.
“The most important thing in this instance is to listen
to what your colleagues have to say and to voice
your own opinions in response. Stay open to other
suggestions,” van Boxtel explains. “Communication
is very important to avoid frustration and
misunderstanding. Don’t hesitate to explain to others
the way you want them to support you, using as
many examples as possible.”
It is understandable why for many years INK
studio did not give self-promotion much thought.
Online creative networks, particularly Behance.net,
had helped keep the studio in the public eye. “There’s
also been a few newsletters [and] one or two
Facebook posts, but nothing really relevant,” admits
van Boxtel. However, team attitudes have changed
this year. “Within these past three months, we’ve had
to answer ten times more international inquiries
than usual, plus a lot of editorial proposals offering
interviews,” he explains. “INK studio has begun to
realise that these avenues have the ability to be
singled out by prospect companies, who also need
creative services. That’s why we’re in the process of
strengthening this way of communication.”
As lavish as INK studio’s public persona is, the
place they call base is “quite simple”, as van Boxtel
puts it. “Eight PCs are used, each one accompanied
by two dual screens,” he reveals. This allows each
creative member the ability to manage workspace

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Magda Fahsi
rebrands project
See how INK STudIo creaTed a SIgNaTure STyle For ThIS
award-winning website
Magda Fahsi (www.magdafahsi.eu) is an international journalist,
lecturer and cross-cultural coach. She asked INK studio to reinvent her
existing identity into something new and colourful. This was to be used
across all formats, including logo, web and print design. The team set
out to reflect her international status by creating specific colour-coded
illustrations of each continent. These were then used to decorate each
web page. INK studio received a CSS Design Award for this website.

This was the initial illustration for the This is an example of just one of the site’s pages, showing how themed colour schemes were used to
homepage of Fahsi’s website, also create and signify certain continents © Magda Fahsi
downloadable as wallpaper © Magda Fahsi

01 Quick compositing
Page illustrations were created using
many different brushes and vector materials.
Sometimes that can mean a lot of copy and
pasting, with a cluttered workspace. For a faster
workflow we used Mini Bridge from inside
Photoshop, helping us instantly target and select
different image files.
02 integrate images
Different pictures from Magda Fahsi’s
trips around the world were integrated into an
03
illustration using Layer Mask functionality,
extracting the best part of the picture for our
compositions. Black & White, Hue/Saturation and
Level adjustments were used to produce coherent
colour schemes.
Layer structure
Building a website with many elements
inside Photoshop can mean an extensive list of
layers. We organised our Layers panel by naming
and tagging each accordingly. This helped others
working on the same file to find what they were
looking for. The new CS6 layer search then became
very convenient.

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eye on design studio interview

Graphical Carnaval: The works you see here are images from an
intern project that was made as part of a workshop. We made
these just for fun

Credit: Thibaut van Boxtel, William Mirante, Cédric Philippi, Julien Braeckvelt, yann Platis, Jessica sieben, Kévin stranart © 2013 inK studio, All Rights Reserved

and application space individually, for better scrutiny

of images. Image proofing is further enhanced with
the use of a scanner and two printers – one A3, one
A4, all linked to artists workstations. Each computer
is connected to a central server for secure and fast
file sharing. “We do have a Mac computer, but we
only use this for testing web production and as a
computer for our trainees,” he explains.
Intern projects are all the rage at INK studio, as
the team does their bit to educate the next
generation of designers. Who they choose to work
with, however, has a lot to do with feeling. “The kind
we get when we meet a person,” admits van Boxtel.
“But this can extend to the feeling we get over email.
In our opinion, when
presenting your portfolio it’s
better to include projects you
really enjoyed working on, rather
than show every single one
More importantly, though, is when a person’s
portfolio delivers surprises. In our opinion, when
presenting your portfolio it’s better to include projects
you really enjoyed working on, rather than show
every single one. Of course, showing you have
multidisciplinary skills is a real plus.”
These multidisciplinary skills would have to
include the ability to produce exciting Photoshop
work, which INK studio does regularly. Each team
member approaches production in a certain fashion.
Some tools become more fundamental in ensuring
all INK studio images have that certain look and feel.
Van Boxtel admits that the High Pass filter is one
of the team’s go-to options. “This filter is applied to
Smart Objects at the end of the image process,
adding more contrast and sharpness to the final
output. But beware of excessive use. Each project
does not require the same effect strength,” he warns.
“Selective Color and Curves are the options always
used to adjust the colour range of an image.

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To integrate subtle patterns in web design

projects, INK studio will use a lot of the Layer
A DAY IN THE LIFE OF
Styles.” Pattern Overlay and Gradient Overlay no THIbAuT vAN bOxTEL
doubt. Van Boxtel adds: “It’s possible to We discover a typical day at iNK studio

09:00
download patterns from the internet, but more
The doors are open
fun to create your own ones inside Photoshop.”
A cup of coffee, tea or water helps
Other plug-ins used by INK studio, which
us fire up our minds and start our day, before
offer its team the ability to add some seriously
tackling any kind of project.
cool creative effects, can be found in NIK
Software’s collection. “They have six different
plug-ins to explore that offer us image
customisation,” explains van Boxtel. “But don’t 09:00 10:00 CheCk The web
It’s important that we keep up with
trends and check what’s happened on the web over
forget, Photoshop is like a playground, so the last couple of days.

12:00
explore and have as much fun as possible.”
bon appéTiT
Food is always the best source of
energy, so don’t forget to eat. This sort of downtime
is ever so important.

13:30 baCk To work

After lunch it’s time for some
admin. It’s this time of day that we check the finances
of our studio.

16:30 Time for a break

Cigarettes for some, sport and fruit
for others. Again, it’s important to take regular
breaks to keep the mind fresh.

a handmade illustrative identity for a new section of ucM www. 18:00 downTime

10:00
At the end of the day you’d think
eco-conception.be concerning innovative coaching for the
self-employed and small media enterprises (sMe) we went home. Nope, it’s Bomberman time. Let’s
Credit: iNK studio © ucM
fight a bit.

12:00 13.30
TOp FIvE prODucTION TIps
HoW to tacKle WorKfloW iN tHe best Way 16:30
■ Time managemenT
Begin each day and project with the most difficult tasks.
Energy is like an hourglass – use it wisely.

■ STay Tuned in
Be informed about the innovations in your industry sector
and don’t hesitate to practise with these.

■ an orderly faShion
Try to be organised by classifying image sets, as well as
layers and groups in image files.

■ Try To relax
Never forget the importance of downtime. Always
remember to take breaks throughout the day.

■ Job SaTiSfacTion
Take pleasure in doing your job, as this will translate into
your final images.
18.00

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 ■ tweak light and dark
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On the new layer, paint with a black soft
brush (around 5% Opacity) the areas that
you want to be darker, and highlight with
a white soft brush areas that you want to
be brighter.

■ add Dodge and Burn

I always use the non-destructive
equivalent of the Dodge and Burn
tools. It’s a perfect way to
selectively enhance parts of the
picture and emphasise highlights
and shadows

■ adjust colour
In post-production, I added a
slightly greenish tint to the
backdrop and toned down the
overall colour. I also used a
Dodge tool to brighten all the
highlights in the model’s hair,
face and clothing

■ effective lighting
As a professional photographer,
do everything to deliver the best
lighting possible. It’s easier and
more effective to retouch an
image with the proper lighting

PrePare
your lighting
Joanna Kustra
www.joannakustra.com
Photographer Joanna
Kustra explains how
preparing before a shoot is vital to get lighting
that looks good and is easy to edit. “First, there
needs to be a general idea for the shoot and I
usually talk it through with the stylist first. I look
for inspiration online and in magazines, and
analyse how other photographers lit their
stories. at that point, I usually have in my head
the mood that I’d like to achieve. on the day of
the shoot, I usually start with one light, adding
others as needed. I test the setup on my
assistant while the model is being prepared,
and then adjust it for the model. I then analyse
the first few photos on a monitor to see what
needs adjusting.”
© Joanna Kustra

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SECRETS
IMPROVE YOUR LIGHTING TECHNIQUES AND CREATE BALANCED, BELIEVABLE GRAPHICS
AND MANIPULATIONS BY FOLLOWING THESE TIPS FROM INDUSTRY PROFESSIONALS
SHOOT IT RIGHT
ALBA SOLER
www.behance.net/albasoler
Photographer Alba Soler created a series of images for a calendar to help raise money
for an early stimulation centre that treats children with developmental disabilities. “It is
clearly an advantage to know in advance what can be achieved during processing to
improve the picture that you are taking, but it’s a mistake to use it as a substitute for what you can do in real
life. When it comes to lighting, getting it right in-camera is important; it will decide whether the scene is
believable or not. All the light in this picture is from natural light, as it was shot on a sunny day. The most
important thing is that all was placed in the picture as it was in the scene, that’s why everything is perfectly lit.”

© Manipula / Del Valle

© Alba Soler
CREATE HARMONY
BETWEEN ELEMENTS
JOHN GILSENAN
www.iwantdesign.com
Tasked with creating an image to celebrate the
World Stage event, John Gilsenan from IWant design decided on
something gritty and beautiful. “I wanted a sense of intensity, energy
and dynamism, so the juxtaposition of images and light helps to achieve
this. If this was a hyper-real image, then more realistic lighting would be
essential, but in this case a sense of harmony and cohesion between
the elements is what I think works. Each element, when placed in the
final composition, was treated to ensure it didn’t jar with its other
surrounding layers. The lighting would have had one of a number of
© IWantDesign
considerations: tweaking levels, saturation, brightness and contrast.”
USE THE SAME
LIGHT SOURCE
MANIPULA
www.manipula.art.br
Leo Rocha from Manipula
explains how this juicy image was created: “The
briefing was to make the juice box combine with
the tree, and we came up with a concept to
position them. We took pictures of trees, grass,
flowers and oranges and combined them. All the
photos were taken with the same light source, so
when we put it all together we already had the
correct lighting. Then we created atmosphere
effects to add depth. We washed the background
plantation and pushed the highlights to give a
sunny feeling. We added a lens flare to create the
sunlight, and of course, a lot of colour, light and
contrast effects. Lighting is important; if it doesn’t
all match you miss the magic and start looking for
Photoshop errors.”

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TECHNIQUES 10 LIGHTING SECRETS

DODGE AND BURN

USE ADJUSTMENT LAYERS FÁBIO ARAUJO
KEVIN ROODHOORST www.behance.net/fabioaraujo
www.kevinroodhorst.com To create this stunning surreal
To create a breathtaking perfume advert, Kevin Roodhoorst used adjustment layers to photomanipulation, Fábio
set the wintry lighting and add atmosphere to the image. “My idea was to replace the Araujo applied a series of
original glass of the perfume with a flow of frozen liquid and to create a landscape that lighting techniques to draw the elements in the
would match the concept.” To light the image, Kevin combined 3D renders with Photoshop techniques. image together, including the tried and tested Dodge
“When you use adjustment layers for light effects, you get very nice results,” he says. and Burn. “I wanted to create a surreal manipulation,
and came up with the idea of a lone fisherman.
005 002 001 003 006 Some of the lighting techniques I used to achieve this
were Point Light and the Dodge and Burn tools. I use
Dodge and Burn in almost all my work and mix
various textures for a more realistic effect. Although I
don’t have one favourite Photoshop tool for lighting,
merging textures always produces amazing effects.”

004

© Kevin Roodhorst

001 003 005

The original bottle shape started Adding reflections to glass and liquid I started with a plain background and

out as a stock image
002
I removed the glass and a few
other parts, then added liquid
surfaces gives a realistic edge
004
Lighting effects on the bottle were
rendered then tweaked
© Fábio Araujo
combined it with landscape stock photos
006
Clip an adjustment, inverse the mask and
paint on the light for an even effect

TWEAK RENDERED
LIGHTING
TOMÁŠ PETEREC
www.tomaspeterec.sk
To build a photo-realistic image
with organic structures like the
foods in this image, Tomáš Peterec worked across
Photoshop and 3D software, tweaking the effects
that one created with the other. “I used Photoshop
during the whole process, from the very little and
easy things to more difficult tasks. For the lighting in
the rendering program, I used a self-made
panoramic HDR image with sky and sun. In
Photoshop, I created a HDR picture which I bent to
panorama. Most advanced rendering programs are
able to generate light from HDRi panoramas. After
that, the only thing was to set the light direction and
© Tomáš Peterec

render 3D scenes and colour. I slightly edited the

result in Photoshop with curves and then finally
added saturation.”

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PLay with extremes

JoDi JoneS
www.jodijonesstudio.com
Art director and fashion photographer Jodi Jones gives a
single image two very different treatments. “I photographed
the model with a Broncolor Scoro pack and a Para 88 lighting
modifier. This makes such a huge difference when bringing the files into
Photoshop, as the quality of light that Broncolor makes is simply the best. I barely
had to use any healing brush on her skin. My original intention was to do a very
‘light and dreamy’ beauty shot, so the first thing I did when opening the file in
Photoshop’s Camera Raw program was to bring down the clarity a touch and
bring up the exposure about half a stop. I masked out the skin, taking out some
of the colour, but dodging was the key to this image. I also used the Saturation
brush to pop the eyes and lips a bit. For the dark and edgy look, I duplicated my
Dodge/Burn layer once more and blended the two layers together with the
Linear Burn Blending mode. I finished by taking down the Saturation once more
and using Color Balance to give me the tone I wanted.”

© Jodi Jones © Jodi Jones

© Salem Al-Langawi
Paint Light
Salem al
langawi
www.salemallangawiart.com
Digital painter Salem al
langawi added light to this
magical image inspired by his sons using a brush
technique. “each element was created on a
separate layer: the background, the boy, the
butterfly and finally the light effect. in order to
make the character the focal point, i made the
strong light source hazy. i achieved this by using a
custom-made basic soft round brush. it also
allowed me to achieve the mystical mist of a
magical forest. this brush has a much lower
hardness rate as well as a 1% transfer rate, and its
opacity and Flow was set to 100%.”
Cross ProjeCt
Lighting
Victor noVak
www.higher. sk
Victor Novak from brand agency
Higher, designed the logo and
packaging for fruit drink, Vita V and then created product
shots for web and brochure use, making sure the
lighting on the bottles matched the way it was presented
online and in print. “The main goals we pursued were to
be different from competitors and to create not just the
design, but a strong foundation for a unique visual style
which we’d be able to develop in future marketing
materials. To create the lighting on the packaging itself,
we added additional layers with overlay, screen and soft
© Higher
light blending options and then used a soft brush to paint
these on to create the effect. We use mixed techniques:
shooting objects, then combining, retouching and
polishing them in Photoshop. When it came to
visualising the package design in the marketing
materials, we were fortunate because the overall visual
style is light, and it was not hard to blend our packaging
design with brochures and website. To achieve realistic
blending in different lighting environments, the designer
needs to remember two things about how colours work
in a real life: dark colours are more saturated than light
colours, and in the shadowed or darker areas, the
© Higher
saturation of colours fades away.”

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TECHNIQUES PHOTOSHOP CC

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PHOTOSHOP CC
H
EVERYTHING YOU NEED TO KNOW ABOUT THE NEW VERSION
ere at Advanced Photoshop magazine,
PHOTOSHOP CC IS we’re finding it hard to contain our
NOW AVAILABLE. excitement over the cutting-edge upgrades
in Photoshop CC. The latest version of
HERE, WE GUIDE software gives Creative Cloud subscribers the
YOU THROUGH chance to edit with a host of brand-spanking new
tools, as well as reinvented ones.
THE BEST NEW Its launch has left the creative world a little
FEATURES AND stunned, with not so much as a beta being made
available before release. It is for that reason that this
DISCUSS WHAT feature goes into slightly more detail than usual
THE INDUSTRY when explaining the most significant upgrades, to
ensure that they can all be put to good use straight
THINKS OF THE away. There have been no drastic changes to the
CHANGES interface, however, which corresponds with the look
of CS6, meaning we can integrate all the new tools
and filters into our existing workflow with ease.
Many of you will also be interested to discover
what the rest of Creative Cloud software has to offer,
so over the next few pages we’ll deliver information
on the rest of the best bits, including the upgrades to
Illustrator, InDesign and Dreamweaver.
The deluxe feature then concludes with a series of
interviews including an exclusive interview with
Stephen Nielson - Adobe’s Photoshop Product
Manager who offers up his choice of Photoshop’s
hiddem gems. By the end of this issue, you should
know all there is to know about Photoshop CC,
Creative Cloud, and how these could impact on digital
artists planning to use the products and services.

ADOBE CREATIVE CLOUD

PRICE GUIDE CONTENTS
Adobe software is now subscription-based through the Creative ■ CAMERA
Cloud. Single application purchases are available for those of us who SHAKE REDUCTION
PAGE: 032
are only concerned with one program, be it Photoshop CC or
another. Adobe’s complete suite, which includes applications like ■ PRESERVE DETAIL
PAGE: 032
Illustrator and InDesign, is available at a higher cost. All UK prices
include VAT and are per month. ■ ALL-NEW
SMART SHARPEN
PAGE: 033
Price (GBP) Price (USD)
Complete individual ■ 3D PAINT ENGINE
46.88 49.99 PAGE: 034
new
Complete individual ■ ISOLATE LAYERS
27.34 29.99
upgrade PAGE: 035
Creative Cloud ■ ALL-NEW SHAPE
Student and Teacher 15.88 19.99 PROPERTIES PANEL
Edition PAGE: 035
Single application 17.58 19.99 ■ ADOBE CAMERA RAW 8
Creative Cloud for PAGE: 036-037
65.44 69.99
teams ■ ACR TONING
Creative Cloud for PAGE: 037
37.11 39.99
teams upgrade ■ SYNC SETTINGS
PAGE: 038
■ SHARE ON BEHANCE
The new Camera Shake Reduction tool is PAGE: 038
■ REST OF
going to make my life so much easier. As a CREATIVE CLOUD
PAGE: 039
retoucher, you get all sorts of images from ■ INDUSTRY OPINIONS
photographers and not all of them are that sharp. To be able PAGE: 040-041
■ GLOBAL ATTITUDES
to reduce camera shake in post-production is a great idea, PAGE: 042-043

which has been missed by a lot of retouchers worldwide ■ HIDDEN GEMS

PAGE: 044
PHILIP ENGSTRÖM / WWW.EIGHTBIT.SE

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Techniques PhotoshoP CC

001

Preserve detail 002

proviDing inTelligenT upsampling in an
all-new scalable dialog box
001 |
select image>image size and resize the new dialog box. The
larger this is, the bigger the preview image space becomes. 003
ctrl/cmd-click width and height options, swiping the mouse/
stylus horizontally to enter values quicker. 004
002 |
activate the resample drop options and set this to preserve
Details (enlargement). This activates photoshop cc’s
improved interpolation algorithms. once the new dimensions
are applied, there’s little to no image distortion noticeable.
003 |
The new photoshop cc enlargement algorithms also repair
detail by applying a certain amount of sharpening. This
creates noticeable noise, which can be combated with the
newly included reduce noise slider.
004 |
if you need further convincing about just how improved this
function is, simply select Bicubic smoother from the
resample drop options and swap between new and old
enlargement options, marvelling at the difference in quality.

Camera shake reduCtion

Bring unusaBle phoTos Back inTo focus wiTh This impressive new phoToshop cc filTer
The new Camera Shake Reduction filter is a clear indication that Photoshop CC’s
primary concern is expert photo editing. Its improved image algorithms choose
the best settings and automatically improve detail in shots affected by camera
shake. This is a step in the right direction, allowing for a salvage otherwise
unusable photos. Activate Camera Shake Reduction from the CC Filter>
Sharpen menu.
However, be warned that the filter is unable to correct motion blur, caused by
significant movement of the camera mid-shot or by moving subjects. Attempting
to do this will cause haloing and ghosting. To make sure we avoid such problems
and get the best results from Camera Shake Reduction every time, follow this
simple three-step process. Just be prepared for protracted loading times when
working with large images.

■ Full automation ■ manual editing ■ ScrutiniSe reSultS

Select Filter>Sharpen>Camera Shake Reduction.
Activate the Advanced menu to subsequently
activate the Blur Estimation Tool (E). Apply this as a
selection to the area you want to remedy most. This
is resizable using control points. The load bar notifies
you that Photoshop CC is editing automatically.
Blur Trace Settings sliders determine the accuracy of
image refocusing and sharpening. The higher the
Blur Trace Bounds amount, the more detail you get,
but noise can encroach in your images. Higher
Smoothing and Artifact Suppression can combat
such artifacts.
The Show Blur Estimation Regions mask preview
shows the existing shake direction in your image. So
when applying sliders correctly, the white area
becomes less visible. Select Unlock Detail (Q) to
activate a magnified preview, which can be dragged
live on screen to scrutinise and compare details.

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■ FINE-TUNING
The new slider sets lets
you fine-tune the images
you want, making
texture and detail pop

ALLNEW SMART SHARPEN

GET CRISP, CLEAR IMAGES BY CONQUERING NOISE AND HALO EFFECTS WITH THIS FILTER’S IMPROVED ALGORITHMS
The upgraded Smart Sharpen filter sits exactly Even at a maximum Amount of 500%, we were If you want even more control over image
where the old one did; in the Filter>Sharpen able to create pleasing looks. Marvel at just how delineation, avoiding global effects, an extended
menu. However, the difference is evident in the well this tool performs by adding effects, then set of Shadows and Highlights sliders is also
new Noise slider now sitting in the dialog box. activating Legacy (L) and More Accurate (M) provided. It’s true that noise is prone to appearing
This type of artifact dogged users in previous options. This will show how the previous version in these image areas and now you can combat
versions of Photoshop the higher the Amount of Smart Sharpen would have tackled the effects even more intuitively. All editing is
slider was set. But it’s now combated through the combination of sharpening and noise – nowhere complemented with a resizable dialog box for
improved editing algorithms. near, quite frankly. better scrutiny of our images.

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 IMPROVED 3D PAINTING WorldMags.net
FASTER LIVE PREVIEWS AND MORE RESPONSIVE
OPTIONS MAKE 3D CREATION MUCH EASIER
All of the Photoshop CS6 extended options are made
available in Photoshop CC, which means 3D
modelling is now open to everyone. However,
functionality has become even more intuitive,
with several improvements.
Adobe looked to create a middle ground between 3D
generation and Photoshop application, this makes
creation far less daunting for new users. Photoshop CC
provides this smoother transition from 2D to 3D editing
by now including familiar Layers panel options. You can
choose to Duplicate, Delete and Group layers using the
new Object options in the 3D>Whole Scene panel.
Photoshop CC also reads and writes applied textures
and special effects much faster, with improved render
times. Preview times are also faster, displaying complex
elements like shadows quicker and in better quality.
Texturing 3D objects has become even more accessible
through improved manual application. You can use
default, custom and Texture setting brushes to apply
straight to your on-screen object as before. But now, live
cursor previews of both the 3D model and flattened

t
D.ne
texture map the location of the marks. Looks update in

i ve3
ar c h
real-time in both instances. Follow the three-stepper

an d
below to find out how this works.

r es
ex t u
CG T
di t :
Cre

01 ADD INSTANCE OBJECTS

Instance Objects work much like Smart Objects. Whatever
effect you apply to one will also update in duplicate layers. You can create
these by activating the 3D>Whole Scene panel, selecting your 3D model,
and then opening the panel fly-out menu. Now choose Instance Object.

02 OPTIMISE VIEW
Select one of the 3D objects and activate the Layers panel,
double-clicking one of the Diffuse sub-layers. This will open a wireframe
03 PAINT TO OBJECT
Now you can paint directly to the Wireframe overlay layer, updating marks in your 3D models. Alternatively, open a
overlay layer in a separate document. Select Window>Arrange>2-up texture image, set Arrange to 3-up Vertical, and then activate the Clone Stamp. Pick from your texture, add to the Wireframe
Vertical to set the wireframe and 3D model in side-by-side windows. overlay layer and update the 3D models.

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PHOTOSHOP CC TECHNIQUES

We’re currently using

several plug-ins and
scripts to make vector shapes
more flexible inside Photoshop. But
integrating functionality that edits
border radius and resizing at once
through a custom input seems a better
way to explore your creative options
and fine-tune a design quicker
LEON EPHRAÏM / HTTP://YUMMYGUM.COM

SHAPES
PROPERTIES PANEL
SAVE TIME EDITING AND ADDING EFFECTS TO SHAPES
WITH THE LATEST UPDATES
Photoshop CS6 took huge strides in improving Shape Tool
functionality. Bitmap layers were replaced with Vector
technology, which provided more flexible resizing. Colour
and gradient effects were pooled together in one dialog,
along with new Stroke settings. Photoshop CC hasn’t
looked to radicalise shapes any further, instead tweaking
and perfecting operation. This is achieved through simple
updates, accessed through the Smart Shapes Properties panel.
Here, users can apply all of the previous CS6 options, but also reshape rounded
corners individually or all together. Simply hover over the corner icon, click, and
horizontally drag to apply settings manually. Even more exciting, you can now
select a series of shape layers (Ctrl/Cmd+click) and manipulate them
simultaneously. This lets graphic and web designers get more done in fewer
clicks. The only complaint would be that once saved, it’s impossible to reopen a
file and reactivate your settings. Hopefully this will be featured in a future update.
Photoshop CC offers the ability to create shapes and then export CSS data from
these. This also saves web designers a lot of time. To do this, simply Ctrl/
Cmd+click a Shape layer and select Copy CSS from the pop-up options.

NEW LAYER FUNCTIONALITY

ISOLATE LAYERS IN A COMPLICATED LAYER STACK AND SIMPLIFY WORKFLOW
Subscribers to Photoshop CS6 through previous versions of Creative Cloud
benefited from a few dedicated layer functions that rest of us couldn’t access.
These are now available to every Photoshop CC user. You can now make Smart
Objects from individual and multiple layers, such as panoramas and then add
ACR8 as a filter. This is saved as a Smart Filter that you can activate at any time,
making additional edits whenever you want. Improvements to Smart Object
layers don’t end here though; thanks to this functionality, the Liquify filter and
those found in the Blur Gallery can now be applied non-destructively.
There has also been a major update made to the Layers filter menu
(introduced in Photoshop CS6), expanded with the addition of the new Isolate
Layer option. This works when activating a sequence of layers in our stack by
Ctrl/Cmd+clicking them. All you then have to do is choose Selected from the
Pick a Filter Type drop options, found at the top of the Layers panel. You can also
choose this option from the Select menu, or designate a custom keyboard
shortcut to activate it quickly. The Isolate Layer option hides all of the layers
except the ones you’ve targeted in the stack, and none in the image. This lets
users target layers more intuitively and arrange them to suit their application.

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 NEW CAMERA RAW 8 WorldMags.net
A HOST OF NEW OPTIONS MAKE RAW EDITING
MORE POWERFUL THAN EVER BEFORE
Photoshop CC incorporates the power of Adobe
Camera RAW (ACR), available as a filter option but
only in RGB Color Mode. This makes editing
photos far more accessible and a whole lot ■ SPOT REMOVAL TOOL
quicker. We’ll never have to access our image files Select this from the tool bar options
remotely ever again. and apply it to the area you want to
In keeping with the radical Photoshop CC, ACR 8 remove. It would seem ACR 8
presents its own host of new options that improve automatically remedies the selected
image results. The plug-in has always excelled at area. Press V to show and hide
perfecting aesthetically pleasing looks, and now source and destination selections.
capabilities are further enhanced with the Radial Drag and place the green point to
Filter. This is fantastic at creating focal points as manually alter the destination
well as vignettes in our snaps, and is very intuitive selection, perfecting its effect on your
to use. edited area. This tool handles parallel
ACR 8 also takes itself seriously as an advanced selection better than perpendicular
photo editor. The all-new Spot Removal tool will ones on offer.
no doubt be compared to Photoshop’s own Spot
Healing tool, as both can be applied by drawing
over an area. However, this is where the
similarities end. ACR 8 Spot Removal Tool is more
logical, showing both selected source and
destination areas.
The Lens Corrections dialog has also had a
facelift. Profile options have been removed and
Manual options augmented with the new Upright
controls. These tackle all types of distortion
through a set of five presets, determining the best
effects mechanically.
Here, we explore these new features and explain
how they operate.

■ UPRIGHT CONTROLS
Activate the Lens
Correction>Manual panel to
access the Upright presets. Five
presets in total provide one-click
effects, including Auto for
balanced correction, Horizontal to
match the best horizon, and
Vertical for vertical lines. Full
applies all perspective corrections
at one time; Disable Upright is
self-explanatory, and Transform
sliders let us level manually. Use
these to align to a grid with the
Show Grid slider, determining size
and spacing.

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■ RADIAL FILTER WorldMags.net
PHOTOSHOP CC
This is also selected from the tool bar options and provides an
TECHNIQUES
extensive set of slider controls. These are geared towards perfecting
the light, temperature and noise detail in an image. Determine
whether you want to create focal points or vignette effects with the
Outside and Inside Effect options. You can also determine how soft
your selection edges are with the easy-to-use Feather slider. Review
effects by pressing the P key shortcuts.

All the new Camera

RAW 8 options are
available and can be
added to improve
HDR images

TONE IN ACR
OPEN UP YOUR HDR IMAGES TO THE POWER OF CAMERA RAW EDITING
There was an increased use of Automate options with CS6’s update to
Merge to HDR Pro. This has long been the go-to option for
photographers looking to create HDR styles in Photoshop.
The flexibility of its supplied Advanced sliders when working in 16-bit
mode was limited. These included types such as Shadow, Highlight,
Vibrance and Saturation to help improve image temperature and
exposure. Sadly, the Shadows and Highlights sliders available in Adobe
Camera RAW (ACR) 7 at the time provided a greater deal of precision.
Adobe has tackled this issue and alleviated any creative tension with
another new Photoshop CC option: Tone in ACR. You can trigger this by
firstly selecting File>Automate>Merge to HDR Pro, hitting Browse and
uploading your set of photos.
Once inside the Merge to HDR Pro dialog box, set Mode to 32 Bit and
the Tone in ACR option will appear in the bottom-right corner of the
interface. Click this and all the ACR 8 options are made available. The
significance of this is enhanced control over your HDR looks. Now you
can edit temperature and exposure to a greater degree, using the
Shadows and Highlights functionality previously missing.

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TECHNIQUES PHOTOSHOP CC

BRAND NEW As far as sharing goes, I’m not sold. I think it’s a
SYNC SETTINGS marketing tool for Adobe rather than an
FIND MORE WAYS TO SHARE PRESETS AND
ARTWORK INSIDE OF PHOTOSHOP CC
improvement on how we collaborate. I currently use
Dropbox, social media and Behance for all my collaborating and
posting online. But I can see how it could keep a larger group of
creatives working together on the same idea
MIKE CAMPAU / WWW.MIKECAMPAU.COM

EXPORT TO BEHANCE
UPLOAD TO THE WORLD’S LARGEST CREATIVE PLATFORM IN SECONDS

The invention of Creative Cloud allowed subscribers

to swap and share artwork from one central location.
Ttools were disconnected from online services as
well as within the local workspace.
This became a real issue for those who take full
advantage of the two available licenses. To work with
the same settings on both computers, the only way
was to manually copy preset files from one machine
to the other. But not anymore; with the new
Photoshop CC, those that must have consistency
across both platforms can have it, with the new Sync
Settings Now command.
Simply go to Photoshop>Preferences>
Sync Settings and activate what you want to upload
to Creative Cloud, share Actions, Brushes, and much
more. Once you have selected the ones you want, go
to Photoshop>Email account and choose Sync
Behance.net is the leading social platform for creative people to showcase and discover design. Adobe
Settings Now in the first licence on one of the
recognised user contribution to this forum and decided to acquire it in December 2012. Now Adobe has
machines in use.
improved the coupling of its software with Behance, with the inclusion of the all-new Share on Behance
Follow this by activating your second licence on
option in Photoshop CC.
another machine, select Sync Settings Now and
This provides direct file synchronisation and sharing capabilities, the likes of which we’ve never seen
voila – you have all the settings from your first
before – well, not in our favourite app, at least. Select File>Share on Behance to open a dedicated dialog
licence. Even quicker than this, open a file and source
asking you to input your Behance membership details.
the Sync Settings to Creative Cloud icon in the
All you then have to do is follow a simple three-step process. First, set image Tags, as well as
bottom-left of the interface. Click this to open the
determine who can see your image. Then you’re able to select your cover image using a
dialog and select Sync Settings Now.
simple free transform box. Clicking Crop Cover &
Publish opens the subsequent Share dialog,
where you can choose whether to promote your
work with friends and followers on Facebook.
Once complete, you’re sent back to the image
inside Photoshop, with Behance taking care of
the rest. It’s that straightforward. But if you want
to work even quicker, simply open a file and
source the Share on Behance icon in the
bottom-left corner of the interface.

Upload to Behance at the click

of a button, setting this export
option as a hotkey in the
Set the Sync Settings>When Conflicts Occur option to Always Ask Edit>Keyboard options
to determine whether to maintain local or remote settings

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 WorldMags.net
REST OF THE BEST NEW CC UPDATES
DISCOVER WHAT ELSE ADOBE HAS ADDED TO ITS FLAGSHIP SOFTWARE, NOW AVAILABLE WITH CREATIVE CLOUD SUBSCRIPTION
■ ILLUSTRATOR CC
Illustrator CC now includes the ability to paint with
Art, Pattern, and Scatter brushes. The new Character
panel is able to find fonts fast, with move, scale, and
rotate editing enabled. It has also released the ability
to create CSS code for every object.
■ DREAMWEAVER CC
Web designers will love the latest updates, which
include a new Fluid Grid Layout interface, editing
tools to help apply CSS properties like gradients and
box shadows, and the ability to author all modern
platforms including HTML, CSS, and JavaScript.
■ AUDITION CC
Sound Remover scans and removes unwanted
elements from recordings. Preview Editor
visually compares waveform tweaks, view
multiple file sections simultaneously, and
confirm time stretching before applying. It also has clear and updated Toolkit for CreateJS, including new functionality for
comprehensive clip handling, manipulation and grouping tools. buttons, hit areas and motion curves.
■ INCOPY CC
Font search enhancements use the arrow
keys to browse through styles fast and find
the perfect font from the growing library of
Adobe Typekit fonts, then sync it to our
system. There is also HiDPI and Retina Display support for
greater clarity and vibrancy.
■ INDESIGN CC
The premium software for print designers, this now
has HiDPI and Retina display support, meaning every
design element has greater clarity. The instant font
preview enables you to see fonts in the layout, and
the UI is consistent with Photoshop and Illustrator.
■ PREMIER PRO CC
Video production is better, with all-new preset colour
grades thanks to the Lumetri Deep Color Engine.
Edit more efficiently with a redesigned Timeline, and
control sound with the Audio Clip Mixer, adjusting
clips independently for a perfect mix.
■ FLASH PROFESSIONAL CC
Work faster than ever before with a 64-bit
architecture. Carry out real-time drawing with
familiar shape tools, fill and stroke colour
options. There is also HTML5 support with
corrections. You can also choose from a variety of classic film
stock presets to create a cinematic look.
■ PRELUDE CC
Share rough cuts faster with Prelude CC by
exporting directly to Adobe Media Encoder,
and create custom metadata templates for
collecting key information more easily. You
can also set up filename presets to automatically rename files
upon ingest.
WorldMags.net
■ AFTER EFFECTS CC
3D scenes can now be used directly as footage inside
After Effects CC, without having to render first. 3D
camera tracking has been added, and a major
upgrade to Warp Stabilizer VFX allows you to choose
which objects in a scene get stabilised.
■ MUSE CC
Muse CC adds only a few options, but improves the
software greatly. Parallax scrolling is now possible
in just a few clicks, and in-browser editing is also
available, letting clients make changes to live web
content without affecting layout or structure.
■ SPEEDGRADE CC
Shot Matcher automatically corrects subtle
differences in footage to achieve consistency
between shots. Powerful layer-based grading
offers keys and masks to fine-tune
■ LIGHTROOM 5
Straighten tilted images with a single click
using the new Upright tool. The Radial
Gradient tool creates off-centre vignette
effects, or multiple vignette areas within a
single image. Smart Previews generate smaller stand-in files
of our full-size images.
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Techniques PhotoshoP CC

the Creative industry sPeaks out

The concerns and exciTemenT of professionals from around The globe are laid bare, as They Tell you
just how Adobe’s new subscription-bAsed softwAre is set to Affect their business ventures

Mike CaMPau
ceo, creAtive director And freelAncer
Mike Campau (www.mikecampau.
com) has steadily climbed the ladder of
studio and agency life. He now has over 15 years of
valuable experience under his belt. But he’s hit a
crossroads. He’s finding it hard to decide whether or not
the new Photoshop CC will benefit his own venture. “A
subscription-based software seemed to make sense to
me,” he admits. “I always upgrade to the industry
standard, because I need to continue to be compatible
with the many artists and photographers I work with. It’s
just way more convenient to click ‘update’ and have the
latest software at my finger tips.”
On the other hand, Campau sees the merits of
physically owning a copy of Photoshop. “It’s like the
difference between buying or leasing a car. It makes
more financial sense to buy and own it outright, saving
on monthly payments,” he says. “If the version of
Photoshop you’re using is still working for you, then
being forced to effectively lease a new version can be
very frustrating. It can be harder on your pocket too in
the long run.” This is why many freelancers like to just
buy software outright, saving on cost and minimising
overheads that can affect smaller businesses.

Leon ePhraïM
co-founder At YummYGum
Design company YummyGum
(www.yummygum.com) is an army
of two, consisting of co-founders Leon Ephraïm and
Vincent Schwidder. They produce pixel-perfect User
Interfaces (UI), icons for web, iOS and native apps on
a daily basis. They know web trends move fast and
anticipate a high turnover of styles. This means that
YummyGum needs to stay up-to-date at all times
with the latest software used to produce their
desired looks.
This factor has had a huge bearing on the studio’s
eventual acceptance of Adobe’s new subscription-
based software, after initially being hesitant. “The
entry cost for software is now much lower. Anyone
can spare a few bucks to try out new software for a
few months. As it’s crucial for us to always use
current software, it’s becomes a solid ‘win’ for us Photoshop CC’s new Shape Properties panel is
both,” explains Ephraïm. also set to augment the YummyGum workflow.
Several other functions have the pair enthusiastic “By using shapes with adjustable properties, we can
about Adobe’s new launch. “Syncing documents with easily play around with each other’s designs and
the Creative Cloud and across devices is super- tweak until we’re all happy,” Ephraïm explains. “We
efficient,” admits Ephraïm. “Vince can draw on an can also easily re-use values, such as border
iPad and I can immediately take his sketch into radiuses and have a consistent look throughout all of
Photoshop.” This makes working as a pair easy. our designs.”

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PHILIP ENGSTRÖM
COMMERCIAL RETOUCHER AT EIGHTBIT STUDIO
The entire Eightbit studio (www.
eightbit.se) team works tirelessly to
create massive projects for some of the globe’s
biggest international clients. Sony, Bosch and
Volkswagen are just a few that have been added to
its roster over the years. Philip Engström has been
an important cog in this commercial retouch studio
for some time and knows better than anyone how
important it is to share ideas and content with clients
as quickly as possible. For the creative industry, it is
absolutely vital.
That is why Engström and the entire Eightbit team
have high hopes for the new sharing abilities that are
now available inside Creative Cloud. “It’s easier to
share a folder with a client by just dragging and
dropping files. They can view and give feedback
without having to go through the process of mailing
or re-uploading content,” he explains.
WorldMags.net
Engström also believes that the new Creative
Cloud for teams subscription is a great incentive.
“We’re all using standalone licenses right now, but in
the future the team license will probably replace
these. This is due to how easy Adobe has made it to
once again upload and share up to 100GB of content,
in one location.” Eightbit feel this is a real boon for
large teams working on multiple projects at any
given time.
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TECHNIQUES PHOTOSHOP CC

ATTITUDES FROM AROUND THE GLOBE

OUR FACEBOOK COMMUNITY TELLS YOU WHAT THEY THINK ABOUT THE CHANGES
ADOBE HAS MADE TO ITS SOFTWARE

To spend $50 a month to use

Photoshop, Illustrator and The exchange rate
InDesign on a casual basis doesn’t is pathetic
make sense to me, especially as my ANDREW BIGWOOD /
expenses are high enough already UNITED KINGDOM
each month
RANDY DASILVA / CANADA

I won’t be subscribing. I will

stick with CS6 I don’t want to rent
MARK LONSINGER / USA
either. But how am I
supposed to work now? Yes, I
can work with CS6 until the
day it stops working because
of a new Operating System
JOSE GONÇALVES / PORTUGAL

I wasn’t thrilled at first, but there are a lot of

pros. I always upgrade to the latest version
anyway and this just spreads the cost. You get a lot
for $600 a year
JAY LEVINE / USA

I’m not sure you’ll find

many nice comments on
blogs about this. I’m not going
to rent my software. I’d rather
own it
JOE CASILLAS / USA

042
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More pros than

cons I think!
ELIAS KLINGÉN / SWEDEN
The British are being
overcharged by around £5
per month! Stick it
ANDREW NESS / UNITED KINGDOM

I will never rent software.

Adobe is making a big mistake.
Most people will look elsewhere for
their photo editing needs I think. Jolly
bad show
STEVE MCALENEY / UNITED KINGDOM

I’m still annoyed about

this. Adobe has a
monopoly and now they are
cashing in. I’ll stick with CS5
until its unusable, then I don’t
know what I will do
JEN FOSTER / UNITED KINGDOM

This sucks a lot. Got nothing

against Creative Cloud, but
don’t make it the only choice. Keep
it as an option
FRÉDÉRIC GOMBERT
INFOTOGRAPHE / FRANCE

A few other
corporates have
already made such
mistakes. I hope
they’re joking
NITISH C KUMAR / INDIA

043
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TECHNIQUES PHOTOSHOP CC
PHOTOSHOP CC HIDDEN GEMS
ADOBE MANAGER DISCUSSES THE BEST NEW FEATURES
P
hotoshop product manager, Stephen
Nielson works closely with Adobe’s digital
imaging engineers to help make
applications the best they can be. Here in
this interview he talks about all the new features in
Photoshop CC, some of which you may not have
known about.
WHAT NEW PHOTOSHOP CC TOOL HAS YOU THE
MOST EXCITED?
The new Camera Shake Reduction tool, which can be
found by selecting Filter>Sharpen>Shake Reduction.
Our engineers have figured out how to take an
otherwise unusable photo and remove blur caused
by moving your camera. We’ve already seen
customers recover photographs of loved ones and
law enforcement have recovered license plate
numbers with this amazing technology.
ADOBE’S PICK OF THE BEST
STEPHEN NIELSON REVEALS SOME OF THE MOST USEFUL TOOLS TO IMPROVE IMAGES AND WORKFLOW
■ SMARTER WORKFLOWS WITH SMART FILTERS
Smart Objects and Smart Filters allow for powerful
workflows. You can now use Camera Shake
Reduction, the all-new Smart Sharpen, Liquify and
Blur Gallery as completely non-destructive Smart
Filters. This means you can always go back and edit
your original image.
044
STEPHEN NIELSON
PHOTOSHOP PRODUCT MANAGER
WHICH NEW FILTERS REALLY MAKE A
DIFFERENCE TO USERS?
By adding ACR 8 as a filter Adobe has opened up all
kinds of new workflows. Before Photoshop CC, ACR
was normally used only when opening an image.
With ACR as a filter you can make adjustments at
any time to any layer. This gives customers more
flexibility to use powerful ACR tools like Highlights,
Shadows, Temperature and Clarity, at any time.
WHO REALLY BENEFITS FROM THE NEW
PRESERVE DETAILS OPTION?
The new Preserve Details option, now founding the
Image Size>Resample dialog, will benefit anyone
who enlarges photographs in Photoshop. Our
best-in-class algorithm can increase the size of an
image with very little noise by preserving the edges,
which results in photorealistic details.
■ USE ADOBE CAMERA RAW WITH VIDEO
ACR can be used on JPEGs and video. Lightroom 5
supports some video adjustments and so does
Photoshop CC, with full ACR support available for the
first time. Just convert your video to a Smart Object
(Filters->Convert for Smart Filters) then apply ACR
as a filter (Filters->Camera Raw Filter).
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HAS PHOTOSHOP CC TAKEN ADVANTAGE OF
64BIT SUPPORT?
More computers are coming with 8GB, 16GB and
even 32GB of RAM. As a 64-bit native application,
Photoshop CC is ready to take advantage of that
extra memory. It also makes better use of your
graphics card by rendering complex operations like
Blur Gallery and Liquify separately from the CPU.
WHAT NEW TIMESAVERS CAN WE EXPECT
FROM PHOTOSHOP CC?
Photoshop CC has over two dozen new time-saving
features. The installation can now migrate all of your
presets from the last version of Photoshop and no
longer requires a restart. Adobe has also improved
the reliability of saving to network file shares,
improved the performance of 3D painting, added a
new tool to Liquify and much more.
■ TONE HDR IMAGES WITH ADOBE CAMERA RAW
A little-known feature in Photoshop CC is the ability to
use the intuitive ACR controls like Exposure, Contrast,
Highlights, Shadows, and Clarity to tone an HDR
image. Start by selecting your bracketed shots in
Merge to HDR Pro. Change the Mode to 32-bit and
select Tone in ACR in the bottom-right.
 WorldMags.net

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 WorldMags.net

BEFORE

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RETOUCHING IN PHOTOSHOP CC TECHNIQUES

PHOTO EDITING

RETOUCHING IN
PHOTOSHOP CC
A
LEARN HOW TO USE THE NEW FEATURES IN PHOTOSHOP CC
TO EDIT PORTRAIT AND FASHION PHOTOS
long with enhanced performance gains,
Adobe’s latest version of Photoshop
presents several exciting new options to
users in every field. These range from
groundbreaking technology, like the new Camera
Shake Reduction filter, to subtle improvements,
such as the now-accessible brush rotation widget.
This tutorial will focus on a handful that will be of
particular interest to photographers and retouchers.
Working from a starting portrait, we will put into
action some of the latest features found in Adobe
SMARTER IMAGE EDITING IN PHOTOSHOP CC
THE NEWEST RELEASE HAS MORE OPTIONS FOR NON-DESTRUCTIVE PHOTO EDITING THAN EVER BEFORE
Camera Raw 8.0, including the new Spot Removal
brush capabilities. Moving into Photoshop CC, the
tutorial will highlight a few major improvements
and use them to further fix the image. The Smart
Sharpen filter and the Preserve Details option are
also explored, demonstrating how these are
combined to perfect photo enlargement.
In addition to the updated tools, the tutorial will
touch on a long-awaited feature for working with
paths and rounded rectangles. Follow these steps
to see what Photoshop CC really has in store.
OUR EXPERT
KIRK NELSON
www.thepixelpro.com
Our friendly neighbourhood graphic
geek is an Adobe Certified Expert
and has over 15 years of experience
in Graphic Design. Nelson is a
frequent contributor to Advanced
Photoshop magazine.
@thepixelpro
SOURCE FILES
The portrait used and edited in this
Photoshop CC-based tutorial is
available on the disc. Experiment
with this RAW file while using

01
Photoshop CC’s latest tool sets.
CAMERA RAW 8.0
Photoshop CC is paired
with Adobe Camera Raw 8.0, WORK IN
which boasts several useful new PROGRESS
features. Begin by opening the SMARTER EDITING IN
supplied disc file DSC_5385.NEF. PHOTOSHOP CC
This is a RAW file that cannot be
opened directly in Photoshop.
Opening it will launch Camera
RAW 8.0 instead.

Progress 1: Spot Removal

Progress 2: Smart Sharpen

02 WHITE BALANCE
The model is decently lit against the solid
white backdrop, but there is still some room for
improvement. There’s a slightly warm colour cast to
the photo that can be removed using the White
Balance Tool. It’s a grey-filled eyedropper found in
the top tool bar. Use it to sample a mid-grey area of
her dress.
03 COLOUR CORRECTION
Use the sliders in the Basic tab of the RAW
interface to adjust colour and exposure, making
these look how you want them to in the image.
Alleviate shadow areas by adjusting the Shadows
and the Blacks sliders, then increasing the Clarity
and the Vibrance settings, which helps to enhance
the image’s tone and detail. Progress 3: Radial filter

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TECHNIQUES RETOUCHING IN PHOTOSHOP CC

05 SPOT REMOVAL OPACITY

The Spot Removal tool increases its
usefulness by providing an Opacity slider to fade the
healing effect into the original pixels. Use the Spot
Healing Brush to outline the pronounced tendon in
the model’s neck. The default operation of the tool
completely replaces the area with smooth skin. A
more natural correction isn’t to remove the tendon
entirely, but to make it less pronounced. By
decreasing the Opacity slider to a value of around 55,
we can still apply and show through some original
pixels, but blend it in with the smooth skin.

04
QUICK TIP
NEW SPOT REMOVAL TOOL
The new Spot Removal tool in Camera RAW 8.0
The Spot Removal tool is a well-loved feature from previous versions of Camera RAW. The
is a great way to deal with dust spots from the
significant change in ACR 8.0 and Photoshop CC is that you no longer need to apply it through circular areas.
camera lens. Brush strokes and settings are
Now you can stroke over areas, creating irregular shapes that are then healed by the program as it finds
saved as part of the Develop Settings. Use
similar pixels to merge with the selected area. This is done non-destructively, as source and target pins can
Adobe Bridge to apply those settings to multiple
be moved and readjusted to define fixes. The new Visualize Spots slider uses a black-and-white translation to
photos all at once.
assist in finding irregularities in the image that are candidates for healing.

06 BACKGROUND CLEANUP
Click Open Image to apply the Camera RAW
adjustments and send the file to Photoshop CC.
Notice the area near her waist where there’s visible
damage to the background material. Select a small
portion of the damaged area using one of the
Marquee tools, then use Edit>Fill>Content Aware Fill
to remove the imperfections. If the Content Aware
Fill pulls pixel information from the dress instead of
the background, use the Spot Healing brush tool or a
tighter selection.
07 SMART SHARPEN
Another welcome improvement in
Photoshop CC is the revamped Smart Sharpen filter.
This now does an extremely impressive job of
recovering details from fuzzy images. One of the best
new aspects of this filter is the way the Amount can
be boosted to extreme levels without the image
suffering from edge halos, as in previous versions.
For the image here, set the Amount to 266%, Radius
to 1.5px and the Reduce Noise slider to 81% to get
the necessary detail.
08 CS6 CC UPDATE FEATURES
Adobe has integrated a handful of features
that were previously only available to Creative Cloud
subscribers into Photoshop CC. Among them is
Smart Object support for filters, which before was
restricted to standard layers. The new Blur Gallery
filters are included, as well as the Liquify filter. A
favourite of pro retouchers everywhere, this is now
available non-destructively as a Smart Filter. Convert
the layer to a Smart Object with the Image>Smart
Object menu before adding these.

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09 A BETTER, FASTER
LIQUIFY FILTER
PHOTOSHOP CC INTEGRATES CS6’S SUBSCRIBER-ONLY FEATURES,
INCLUDING THE ABILITY TO USE LIQUIFY AS A SMART FILTER

SNUB NOSE
Sharpen the model’s nose by switching
to the Pucker Tool, and apply in a similar
way to the eyes. Set the brush size
slightly larger than the tip of her nose, at
a value of around 150. Gently click until it
shrinks slightly. Be sure to use single,
controlled clicks, otherwise it’s easy to
get carried away.

EYE POPPING
A very common beauty retouching
technique is to increase eye size and
shape. To do this, select the Bloat tool
and increase the brush size to completely
cover the whites of the eyes. Carefully
click directly on the pupil, making the
eyes wider.

FULLER FIGURE
Switch back to the Bloat Tool and reduce the brush size to
around 70. Then give the lower lip area a bit more volume with
just a few clicks, but be careful not to distort the teeth. Increase
the brush size to around 450 and add some fullness to other
body areas.
PRESERVE DETAILS
One of the long-standing rules with
photomanipulation is to avoid resampling
upwards. If an image is enlarged too much, the
pixel information breaks down and detail is lost.
Photoshop CC reduces this restriction with a
new Preserve Details option when resampling.
Go to Image>Image Size, check the Resample
box and choose Preserve Details from the
drop-down menu.

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teChniques Retouching in PhotoshoP cc
More Flexible WorkFloW
PhotoshoP CC’s suPPort for smart filters allows greater flexibility and Creativity when retouChing
10 Smart SkiN SmoothiNg
Double-click the Smart Object to edit
contents. Notice that these are in their pre-Liquify
form. Duplicate the image layer and invert, pressing
Ctrl/Cmd+I. Set this new layer’s blending mode to
Vivid Light. Select Filter>Other>High Pass and set a
radius of 2. Then go to Filter>Blur>Gaussian Blur and
use a radius of 5. The result should be an extremely
smooth skin layer. Hold Opt/Alt and add an inverted
layer mask. Use a white soft brush at 40% Opacity to
apply the softening effect to the model’s skin alone.
13 BaCk to Camera raw
Camera RAW can also be applied as a
Smart Filter. Go to Filter>Camera RAW Filter and
launch the application. Select the new Radial Filter
from the tool bar, which is the last icon in the menu.
Drag out an ellipse and pull the exposure setting
down to -1.35, and reduce the saturation to -6 and
the clarity to -35. This new Radial Filter tool lets you
specify a type of custom vignette to direct focal
points in the image.
050
11 Colour BooSt
Use a Vibrance Adjustment layer, with
Vibrance set to +36 to boost the colour of the dress.
Then add a Hue/Saturation adjustment layer set to
Colorize. Set Hue at 229, Saturation at 26, and
Lightness at +7, enhancing the eye colour. Apply a
layer mask to target the effect to the irises. Use
another Hue/Saturation Colorize adjustment layer to
add tint to the lips, setting Hue at 0, Saturation at 34
and Lightness at -17. Change the layer blending
mode to Soft Light, reducing Opacity to 59%.
14 New Shape CoNtrolS
Draw out a frame using the Rounded
Rectangular Tool. Set the Fill to white and the Opacity
to 58%. Open the Properties Panel and use the icons
along the bottom to set the shape to Subtract. Enter
216 into one of the corner definitions, and all the
corners should adjust accordingly. Transform the
shape to the size you want for the frame, and the
corners will retain their curve settings. To control the
corners separately, unlock the central chain link first.
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12 Smarter Blur gallery
One of the most celebrated features from
CS6, the Blur Gallery, just got even better in
Photoshop CC. Now it can be applied as a Smart
Object. The actual menu item is shuffled slightly, but
can be found under Filter>Blur>Iris Blur. Rotate the
on-screen widget to match the angle of the model’s
head, then position the focal point directly over her
face. Be sure the falloff markers sit well outside of
her head so that her face isn’t blurred. Set blur
Amount to 15px.
Use Color range
This option comes in handy when isolating areas
of colour. In simple cases, we can just use the
Magic Wand to select solid colours, but when
working with paint images like those in this
tutorial, or ones with existing lighting, Color
Range becomes a must. Make the most of the
black-and-white preview to see what you’ve
selected and use the plus and minus droppers to
specify detailed areas. Once you’ve clicked OK,
you can easily remove parts of the selection by
holding down Opt/Alt or Shift and then applying
the Lasso to add or remove active areas and
match selected edges.
 Learn to inspire
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WorldMags.net

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CREATE A CYBORG
DIGITAL PAINTING
CREATE A CYBORG
C
DEVELOP AN INSPIRING IMAGE USING LITTLE MORE THAN A SINGLE
PHOTOGRAPH, PHOTOMANIPULATION AND DIGITAL PAINTING TECHNIQUES
yborg effects are increasingly popular, but
don’t always have to be utterly frustrating.
Photoshop makes this type of project far
more accessible by coupling photo editing
tools and digital painting equipment under one roof.
Mastering Photoshop brushes offers us a head
start in all instances. Our goal is to create the
ultimate female cyborg, which is achieved by using a
single standard brush, a drawing table, core digital
painting and photomanipulation techniques.
Within this tutorial, you are supplied with specific
Brush Preset settings which will help us to create the
shapes and detail needed for an authentic look.
PREPARING OUR MODEL
RECONSTRUCT THE ORIGINAL STOCK USING PHOTOSHOP BRUSHES
01 CUT OUT OUR MODEL
First, remove the background. Use the
Polygon Lasso tool to make a rough selection
around the model. It’s not necessary to refine this, as
the silhouette of the model will change throughout
our process and hair will be painted later. Fill the
background layer with a grey colour (#45434e).
TECHNIQUES
Also explore ways to layer our image, utilise a
host of blending modes and composite external
assets to create special effects.
Experience of painting digitally, or at least a strong
enthusiasm to learn, is recommended to get the
most out of this tutorial. The inspiration for this
artwork comes from several contemporary sources,
including the Mass Effect videogame series and the OUR EXPERT
iconic movie Blade Runner, whose visual language OLIVER WETTER
www.fantasio.info
shaped a timeless idea of science fiction.
Oliver Wetter is a German digital
A video tutorial that goes into further detail about artist. He has a background in
painting techniques accompanies this tutorial and is construction equipment and makes
a living as a freelance illustrator and
supplied on our disc. lecturer in digital painting.
@fantasiox
SOURCE FILES
Supplied on this issue’s disc you will
find a low-resolution mechanical
sketch to work from, as well as a
video documenting our entire
conceptual development.
FLIRTING WITH
A ROBOT
HOW TO CREATE
A MACHINE
02 PAINT NEW SKIN
Create a new layer. Centralise the model,
then define the missing side of her back using the
Progress 1: Extract the model
Polygon Lasso tool. Choose a large round brush set
at 70% Opacity. Pick existing skin colours with the
Eyedropper tool, then paint in rough blocks of colour
to define an area to match the existing skin closely.
03 CROP OUR IMAGE
Before proceeding, get
the best out of the composition
through cropping. When pressing
C in Photoshop CS6, the default Progress 2: Blueprint sketch
view in the context menu of the
cropping tool is Rule-of-thirds,
but this must change to the
Golden Spiral. You will notice the
spiral that appears when the
image is moved in cropping
mode. Then place the model’s
nose in the centre of the golden
point as seen in the screenshot. Progress 3: Introduce detail
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Techniques Create a Cyborg

04 Brush settings
Activate the Brush Presets panel and
choose a hard mechanical round brush with a 13px
05
size. Also, set Roundness at 56%, Spacing at 20%
and Hardness at 65%. Activate Shape Dynamics,
setting Size Jitter control to Pen pressure. Activate
Shape dynamics, setting Angle Jitter to Initial
direction. Make sure both Noise and Smoothing are
checked. Set brush Opacity at 85%. Save this brush
as a preset. Practise with these brush settings and
your tablet device before proceeding.
thuMBnail view
Clean the edges of the previously cut out
model with a soft Eraser tool, between 2px and 10px
in size. When finished, select Image>Duplicate,
Layers>Flatten, then change image DPI from 300 to
72 (Image>Image Size). The newly sized image acts
as a thumbnail sketch. Working at this size allows
you to decide many things, including whether the
stock photograph is worth purchasing. Basically, if
the initial ‘sketch’ looks promising in a smaller
version, chances are it will in full resolution.
06 Blueprint sketch
If it is hard to draw mechanical parts at this
new size, cheat by using the draft supplied on the
disc. If you take on the challenge to draw a design by
yourselves, use a round black brush set to
approximately 80% Opacity to draw elements on a
new layer. Transparency creates welcome
overlapping of edges and allows the underground
colour to shine through. The latter is important, as it
allows us to pick up a variety of tonal values and
build an authentic design.

07 Back to our original

Use the Move tool to drag our 72dpi sketch layer back into our original 300dpi image version. Adjust
the size of our pasted layer to fit the model, using the Transformation tool (T). Since you’re going to paint
08 Mood lighting
Since there is no photograph with a
different lighting setup to choose from, only make
details in there, interpolation is welcome. Set the mood for the following paint work by using the Color Lookup limited changes. To relight the scene, create a new
feature in Photoshop CS6, which can be found in the Adjustments panel. Choose RedBlueYellow from the layer and set its blending mode to Overlay. Then,
Device Link menu to replicate the effect used in this tutorial. with the use of a drawing tablet, paint on this new
layer using the round brush that was created in
Step 4, at 50% Hardness and Size set between 50px
and 150px. Set brush Opacity at 90%. Pick the
#598ab7 colour from the TOYO 94 Color Finder
swatch that accompanies your Photoshop copy of
the installation.

Quick tip
Experiment with different shapes in our design
process on new layers. However, creating the
latter by hitting Ctrl/Cmd+Shift+Alt+N is an
ungainly keystroke. When using a Wacom tablet,
we can assign this shortcut to one button only,
which saves a lot of time.

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09 PAINT HAIR
MASTER THREE-DIMENSIONAL COLOURED
OBJECTS AND THE IMPACT OF OUR IMAGE

Before

After

ADDRESS OUR OUTLINE

MASTER OUR SCATTER BRUSH
Work with a standard round brush, between 3px and 10px.
Pick existing hair colours with the Eyedropper tool. Make
sure there is a realistic look after the first pass by setting our
round brush to around 83% Scattering at a size of 6px, and
painting over the existing hair. Additionally, draw in some
random strands – black again rather than grey.
THE RIGHT SELECTION
On edges where the hair crosses the skin,
loosely use the Polygon Lasso tool to select
this area. Painting to this selection makes
sure we don’t overly paint unwanted parts of a
layer. Press Ctrl/Cmd+Shift+I to invert the
selection and paint to the edges, adding
shadow without painting over the hair.
This model invites us to play with the hair
outline. If this is done correctly, it gives the
viewer an easy shape to follow. Take a look
at the red marked outline for reference.
Although this is just a secondary
composition element, it’s useful to search
for such opportunities in existing imagery
and bring it to our attention.

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techniques Create a Cyborg
Create meChaniCal parts
Build a synthetic look using layering effects
10 Keen observation
Being tech-savvy is not a necessity, but
having a good understanding of all things technical
can be really useful when following the previous
steps. In the video recording on the CD, discover how
to paint the mechanical parts in real-time. The
design process from the thumbnail stage in Step 6
will now be worked into with greater detail, using an
80% black brush on a new layer. This is the most
time-consuming application, but one that decides the
image’s believability.
praCtiCe makes perfeCt
It isn’t possible to lay down a concrete sketch to
fill out. The challenge is that everything has to be
painted from imagination, from rough shapes
seen in a blurry sketch. Daily drawing practice will
help to get better at this. There are some great
schools, such as Feng Zhu, which specialises in
the training of concept and industrial design
(www.fengzhudesign.com/school.htm).
Besides mastering the technique, it’s vital to train
your imagination daily. Foster a habit of spotting
images in the clouds and trees. A great site to
help challenge our imagination is Alchemy
(www.al.chemy.org).
056
040
11 build up detail
Still shaping the underlying mechanical
parts, there are accurate values to work with in the
Sketch layer. Add darker tones to create shadow and
brighter values for highlights using the HUD Color
Picker (Opt+Shift right click/Cmd+Alt). Study
construction equipment to help fashion looks. Books
and movies as a reference are also allowed. Start by
using big bold shapes, working towards smaller
ones, it will be much easier to show what’s under the
surface. Imagination is encouraged.
13 Fix the eye area
The eyes are the most important part of any
portrait, so make sure they are worth looking at. Do
this by adding a new layer and painting dark values
with an 80% Opacity black brush. From there paint
the eyelid darker to create a smoky effect. While
we’re in this area, we can also paint over some
distracting strands of hair. It appears as if her right
eyebrow is missing, but fix this with a small round
brush too.
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12 ConstruCt with layers
The spine is the trickiest part. While it’s
painted exactly the way the other design elements
are – using a standard round brush – one applied
pattern can be repeated. Select one finished section
using the Lasso tool, copy and paste this, and place it
below the source. Click Edit>Transform>Warp to
transform it. Pick up existing colours with the
Eyedropper tool and paint with them, creating
variations into the copied part. Shape edges with the
Eraser tool, making sure they don’t look too similar.
14 Create synthetiC eyes
The pupil deserves special attention as our
model lacks direct eye contact. Draw the pupil again
using a small round brush, 4px in size. Use the
Stamp tool to clone texture from the left eye into the
right one, including the specular highlight. Now
duplicate the iris and pupil areas with a Lasso tool
selection. Copy and paste through all the layers. With
a bright blue-white colour, paint texture to make the
eyes appear brighter.
QuiCk tip
Since this tutorial is done using a standard brush,
it’s highly recommended that you familiarise
yourself with the brush settings dialog (F5) for
the scattering of hair and skin. Another great
helper is the HUD-color Picker, which allows you
to choose colours on the fly.
 WorldMags.net

15 Bokeh effect
Turn off the visibility of all layers related to
the model. Select the existing background layer and
pick the colour TOYO 0469 from the TOYO 94 Color
Finder Swatch. Set brush Opacity to 80%, Flow to
40% and blending mode to Color Dodge. The
roundness of the brush should be set back to 100%.
Now add some random spots with the mouse,
ranging from 500px to 2900px size. On some
occasions it needs two or more clicks to show the
effect. This pseudo-bokeh effect should stay in the
background – less is more.
16 Improve our Background
For the synthetic, edgy-looking background
of the final version, use a stock image downloaded
for free from Media-Militia (www.mediamilitia.
com/3d-renders). Place the 4.PNG file exactly like it
is in the screenshot. Rotate it 90 degrees clockwise
to match the scene. Set this new layer’s blending
mode to Linear Dodge and set Fill to 80% to achieve
the same effect seen in the supplied screenshot. The
background with the pseudo-bokeh effect should
eventually sit with 100% visibility underneath this
stock image layer.
17 revIew the pIxels
Viewing the actual pixels up close will show
some visual discrepancies. These are okay in a
small, web-sized version, but will not work in a
high-res version. We discovered differences in the
back, which had been roughly painted in Step 2. We
solved this issue by creating a new layer, setting our
brush to Scattering at 1000%, then changed Size to
3px. By picking up colours from the back with the
Eyedropper tool, it’s possible to apply a bumpy skin
texture by hand.

18 Boost lIght
For the LED lights, we add a new layer
and paint with colour TOYO 0687 from the TOYO
Quick tip
When revisiting a finished piece, it
proves useful to have Layer Groups
Color Finder swatch. Using a round brush, we just for effects such as Photo Filters.
depict spots that work as additional light sources. Switch the visibility of these groups off
To add values and glow, duplicate the finished when working on underlying layers,
painted layer, apply a Gaussian blur set to 2.8px, which helps to structure our work.
and apply a Color Dodge blending mode to the If we work on top of these effects,
resulting layer. Add another pass of Gaussian blur, our work becomes useless if we
this time set at 8.5px, and a Screen blending mode decide to change the colouring of our
to a duplicate of the previous layer. underlying layers.

20 fInal touches
Repositioning the model, add rim light to
the shoulder, play with colour adjustments and clean
up the image. Use the Clone Stamp tool and our

19 sIde effects
Create a lens-flare effect in one of our LEDs on the spine by using the 29.PNG from this Media Militia
pack (www.mediamilitia.com/custom-lens-flares-pack-50-free-high-resolution-transparent-images). Set
round brush to do this. Add strands of hair on top
when adding room to the composition with the CS6
Crop tool. Change the colouring of the technical parts
this introduced layer’s blending mode to Screen, Opacity at 85% and Fill at 75%. Position the centre of the lens to a greyer, colder tone. Do this with
flare over the LED light. Improve synthetic looks by changing the overall tone of our composition with a Blue Image>Adjustments>Replace Color options, by
Photo Filter set to 45%. For contrast, we add a Gradient Map set with a Platinum style from the Photographic picking up the midtone of the brownish area and
Toning collection in Photoshop CS6. Set this adjustment layer’s blending mode to Soft Light and Fill at 50%. changing Saturation to around -15%.

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 WorldMags.net
HOW I MADE
HOW I MADE
DEAD ASTRONAUTS
KHYZYL SALEEM
READ ON AND FIND OUT HOW THIS ARTIST REALISED A DREAM
COMMISSION USING THE POWER OF PHOTOSHOP
K With the use of Photoshop,
hyzyl Saleem is a 20-year-old, self-taught
digital artist operating out of Manchester,
UK. He’s been a fan of Jared Nickerson
(www.be.net/j3concepts) and his work
for quite a few years. When the opportunity to create
wallpaper art for his band Dead Astronauts (www.
deadastronauts.com) came around, he was excited
to say the least. “I had wanted to create a piece like
this for quite some time,” admits Saleem. He saw
this as the perfect opportunity to do so.
01 LINE ART AND CHARACTER CREATION
The first thing I needed to think about was how I wanted to
portray Persephone. With the use of Photoshop’s standard solid brush
tool, I began sketching rough lines, fashioning everything to look the
way I thought it should.
TECHNIQUES
Having started painting about a year and a half
ago, Saleem knew this particular project would be a
challenge, given the amount of detail it would my trusty bamboo tablet,
require. He also had to come up with his own version
of Jared’s main Dead Astronauts character,
and a lot of sketching and
Persephone. “With the use of Photoshop, my trusty experimenting, I was able to
bamboo tablet, a lot of sketching and experimenting,
I was able to come up with the wallpaper you see
come up with the wallpaper you
before you,” he explains. View more of his work see before you
online at www.be.net/TheKyza.
02 BLOCK IN COLOUR
This part seemed to be
never-ending, as there were so
many possibilities. I started to
brush in rough colour areas,
creating Persephone’s skin to
look the way I wanted it to. I
also added some colour to the
image’s background.
03 RENDERING SKIN
I wasn’t particularly happy
with the environment at this stage,
so I decided to render the body
instead. I used a solid brush set to
about 70% Opacity, holding Opt/
Alt to use the Eye Dropper and
blend colours.
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I MADE

04 Adding highlights
Lens flares were used at this stage to
create some lighting effects on Persephone’s body.
These were added to black layers with a Color Dodge
blending mode. I applied Curves to adjust effects.
05 RendeRing the gRound
Returning to the background, I used the
Pen tool and the soft brush to paint in detail to the
floating rocks. Highlights were added by painting to
an Overlay blending mode layer with a white brush.
06 Adding enviRonment
I kept the background simple to ensure that
the focus stayed on the character. I lightly brushed in
the sky and clouds using a custom smoke brush at
50% Opacity and a Screen blending mode.

Two skeTches are

beTTer Than one
BrainsTorm designs and comBine ideas
To creaTe The perfecT image
Jared Nickerson is known for creating killer
characters, so I felt I had to go all out and try to
do his original design justice. As soon as you
have an idea, however bad it might be, get
sketching and keep on doing this until you
have a collection of ideas. This will give you the
freedom to mix and match concepts and find
the perfect design.
When it then comes to digital painting, all I
can say is practice makes perfect. Keep
pushing yourself to the limit. Don’t stick to
painting one type of subject; branch out beyond
your comfort zone, as this will play a major
part in developing your own style.

07 FuRtheR detAil
Feeling pretty satisfied with the way it was
looking at this stage, I began to paint in some
mountains, varying the opacity to see what different
shapes I could create. At this point, the floor was
pretty much complete.
08 Finishing touches
I added in motion to the rocks by using
Radial Blur, with Zoom set to 10%. I then painted in
extra character textures to make her look more
realistic. Always experiment with Color Balance and
Motion Blur to push your painting further.

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 WorldMags.net
Paint a city scene
Digital Painting
Paint a city scene
T
learn how to use free images and painting
techniques to make a digital masterpiece
his tutorial will teach you how to make a
dynamic concept image using free stock
images from websites like CGTextures.
com. It will focus on getting a solid
composition, blending images that don’t match
together with colour, and painting in all the gaps.
In preparation for this tutorial, grab a few images
of cities or buildings you like from a free stock site.
You’ll also need some car shots. If you can, go out
with a camera and take reference pictures; you’ll
skeTCh fOundaTiOns
Form crude line art and basic imagery in photoshop
01 The rough
Start off by laying out the roughest of
compositions. It’s the very first idea and things might
change dramatically along the way, but that’s OK.
Keeping an image as dynamic as possible is what
makes it come to life, and ensures you learn new
things every time. I used SketchUp for this because it
comes with some free-to-use models.
03 BuiLding Bash!
You can now add some buildings
taken from CGTexures.com, so go there and
copy in the files listed here. Copy and paste
HighRiseNight0114 and place it as shown.
Copy and paste, then distort
HighRiseNight0119 into place with the
Transform tool by pressing Cmd/Ctrl+T. Mask
off the sky in HighRiseNight0119 by using the
Polygonal Lasso tool and a masking layer. Do
the same for HighRiseNight0114.
techniques
own all the pictures and the fresh air will do you good
too. Once you’ve done that, you can start thinking
about the compositions. You don’t need to be
overflowing with ideas; a rough sketch will do.
Finally, these pages will detail some easy painting
techniques to make your image your own. By
following these steps, you’ll be able to get an idea
across quickly and have a setup that you can take to Our experT
full completion at your own pace. This is a popular TiTus LunTer
concept artist work method, so let’s get going. www.tituslunter.com
i’ve been a full-time concept artist
for the games industry for a few
years, and am a giant nerd. For me,
they go hand in hand!
02 Lines and more Lines
Putting the image in Photoshop allows you
to do some crude line art. Adding in perspective lines
as a guide helps to set up things like scale and
distance. Put in some rough horizontal lines, as since
it’s a portrait image those will be the most important.
Use a round brush tool with no pressure and press
Shift to make straight lines.
WOrk in
prOGress
From idea to Finish
Progress 1: the basic idea
Progress 2: integrate elements
Progress 3: the finishing touch
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Techniques Paint a city scene
04 Pushing and PuLLing
Add CG Textures’ HighRiseNight0117,
HighRiseNight0113 and HighRiseNight0118_02 into
your Photoshop document. For the background
building shown in the middle, take the Lasso tool, cut
out a part of HighRiseNight0117 and copy and paste
it back in. Lighten it a bit by pressing Cmd/Ctrl+U and
tweaking the lightness. Cut out the large structure
from HighRiseNight0113 and place it on the right
side in front of HighRiseNight0119. The
HighRiseNight0113 layer should be on top.
apply paint
use painT To add colour, lighT and deTail
07 Zoom in
At this stage you can start adding paint. Think about things like lighting and cool neon strips on the
side of buildings. Pick a soft round brush and select an orange colour as shown in the image. Set your brush
to Linear Dodge at 50% Opacity and 40% Fill. Go to your HighRiseNight0117 layer and create a new layer on
top of it. Now clip it to the building layer. Paint in the light with a fade, with the strongest colour at the bottom.
064
05 Foreground to Background
As a solid white background is not very
interesting, add something there – even if it’s a
placeholder – just to make it easier to look at. Go to
Stock.XCHNG (www.sxc.hu) and grab image ID
1418317 to use as a sky, I’ve used another one for
now because I’ll show you how to paint one yourself
later on. Also grab image ID 648519, cut it up and
mask as shown. Now grab CG Textures’
HighRiseNight0099, distort it on HighRiseNight0114,
and set it to Pin Light for a nice light effect.
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06 the road
OK, time to let go of the initial lines and
setup and let the painting take over. For the road, use
the Stock.XCHNG image ID14654. Drag it into the
Photoshop file and rotate it a bit using Cmd/Ctrl+T.
Use a layer mask to cut off the top bit. Now grab the
default chalk brush and start to paint on top of it in a
clipping layer. To do this, make a new layer on top of
image14654, then go to Layer > Create Clipping
Mask. This will allow you to paint without touching
the other pictures.
quick tip
By using clipping masks, which can be found in
the Layer menu, we can freely paint without
going outside of the original mask. The
advantage to doing this is that you can stack
anything on here from regular paint layers to
adjustment layers like Color Balance and
Brightness/Contrast.
08 Lights everywhere!
By using the technique from the last step
on all of the buildings in the scene, you get a much
richer feeling. Another thing you can do to further
integrate buildings and objects into the scene is to
use the Color layer. Make a new layer, set it to Color
and pick the colour of the object next to it, Make sure
the saturation is high so that it’s visible. Play around
with this and see what you get.
 WorldMags.net

09 recap and move forward

Lets take a look at what has been done so far and what’s left. We have added in buildings and a basic
ground matching our original idea, but it’s still a bit lifeless. We are now going to add in the cars and start
blending it all together with some paint.

001 002 003 004

001
Focus on building lighting
to make it interesting – not
just from windows, but
ambient too
002
The sky is a bit bland now
as it was just a placeholder,
so make a new one that’s
more interesting
003
These buildings are still really rough
and blocky. Try to think of some nice
details for the edges – some tips will
follow later on
10 new sky
The old sky was a bit generic and
uninteresting, so here’s how to make a better
looking one. Start by picking some nice colours that
occur in real skies. Take a look at sunset pictures
and try to match the colours. I used a rough brush
for this in combination with the Smudge tool to blend
the colours. Mixing in photographs to get some
004 texture in is also a possibility – it’s up to you! If you
Let’s put some cars in.
Remember, taking your don’t feel like painting, you can use Stock.XCHNG
own reference is fun
and easy image ID 1418317 instead.

If you can go out with a camera and take reference pictures,

you’ll own all the pictures

11 in depth!
Take a look at the sky more closely. It
contains a few basic elements; the sun, the blue
12
atmosphere, and the clouds. Everything blends with
the sun colour – we can use a soft round brush with
orange to get the values in. Getting that crisp silver
(in this case gold) lining is simple. Grab a small
brush with a bit of noise, set it to Linear Dodge (Add)
and pick a dark shade of orange. Now, just paint and
use the Smudge tool to blend it in with the rest.
introducinG...
Finally, the cars. This is the hardest part.
Just sticking them in won’t do the job so we’ll talk
about what you need to do in order to get them
sitting just right. Finding the right car is tricky; make
sure you look at your perspective to ensure you get
the right angle. A quick way to do this is to check if
the rear tyres sit higher or lower than the front ones.
The closer they are together, the more compression
towards the horizon you have.
13 GettinG ready
So the cars are probably far from what the
scene needs, but that’s OK. One of the first things we
want to do is get rid of all the light bounces and dirt
we don’t want. Grab the Polygonal Lasso tool and
start masking off bits, making sure you follow the
panels of the car. You can save selections by going to
Select>Save Selection. This will save you time later
on. Now, grab a round brush, sample colour and
start painting!

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Techniques Paint a city scene

fInal ToUChes
add reflecTions, shadows and sparks To bring your image To life

15 Blending soMe More

We have talked about blending in the
buildings before, but now do the same for the cars.
It’s pretty much the same principle, but because the

14 reflections
When the cars are nice and neutral, it’s time for us to put in the reflections that we expect to see in
the scene. We need to grab the whole image, so turn off the cars and then press Cmd/Ctrl+A, then Cmd/
cars are much more reflective it will end up having
more colours displayed in different places. Just like
before, start by making a colour layer that’s linked to
Ctrl+Shift+C, and lastly Cmd/Ctrl+Shift+V. This compresses everything into one layer and pastes it in place. the car/cars. Grab a soft round brush and start
Use a clipping mask to attach it to the car, then scale it down and warp it a bit to match the rough shape. sampling surrounding colours and carefully putting
Lower the Opacity and play with blending modes. them into place.

QUICK TIP
It’s very important to keep a loose attitude towards these paintings. It’s about getting things wrong so
that you know what to avoid. Don’t try to be perfect from the start. Paint, experiment and fail as much as
you can. It brings life to your image and improves your workflow at the same time. If you want that
painterly feel, it probably means you have to paint it, so go on and experiment. You can use the
techniques described here to give you a basic idea, but ultimately it’s about your own artistic touch. Don’t
just imitate, but invent!

16 sHadows and corrections

Blend in the cars further using adjustment
layers like Hue/Saturation. Tweaking the values can
17
push the colour of the car more towards the ambient
value of the scene. Adding Colour Dodge layers with
some paint is a great way to add some strong
highlights. Grab a soft brush and put in some
highlights. Lastly, the cars will cast shadows in the
scene. We can easily create them by making a new
layer set to Multiply (60%) and painting them in.
HeadligHts
Putting in the headlights is a lot of fun, and
it’s one of the things that really makes the image
pop. Head over to a free stock site and grab a few
flares that you like. Drop them into the painting and
set their blending mode to Screen. To avoid
destroying the image, we can make a mask for it
and paint it away using a soft brush. Play around
with the saturation by either using a link layer, or
editing the image directly by pressing Cmd/Ctrl+U.
18 More life
The scene is still a bit empty, so focus on
adding some details. Bring the scene to life by adding
in bar names. You can make things look like they
glow really quickly by duplicating the layer (press
Cmd/Ctrl+J with the layer selected), putting it to
Linear Dodge (Add), and then going to
Filter>Blur>Gaussian Blur. Play with this until you get
a nice glow. Grab some flamingo images from Stock.
XCHNG and cut them out to get this effect.

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19 puddles
We can make things even more interesting
by adding some additional reflections. Create a new
layer and start painting in where you want the water
to go with a hard round brush set to 100% Opacity,
making sure it’s a solid colour. Fade the edges by
using a soft round eraser. Do the same as in Step 14,
but link it to the puddle this time. Now use a mask to
get rid of it so you have a nice fade towards the car.
22 Values
Values determine everything. We can check
the value by creating a new layer filled with solid
black. Set it to Hue to give you a nice readout. Here is
a nice side-by-side. The left one is close but the right
is much more dramatic. Use Brightness/Contrast
layers and masks to get it just right. Remember, high
contrast up front and low contrast in the back. Values
help pull focus and sell distance. Use masks for the
most control over your layers.
20 reFlection blur
Now that we have a base reflection in, it
looks a bit too rigid. We want to give it a dynamic
feel. Duplicate the reflection layer and link it to the
puddle, now, go to Filter>Blur>Motion Blur. Grab the
angle that works with the perspective and set it to
22px. I’ve blurred this image quite a bit to give it
those nice light streaks. We can mask things out; I
didn’t do it here, but try it if you like.
23 speed!
We can use the photo filter adjustment
layer to blend the colours together a bit more.
Keeping them in the same value range helps to
bring them together, with a few spikes here and
there. Now for speed. Compress your painting again
as in Step 14 and go to Filter>Blur>Radial Blur. Set it
to Zoom>Best and move the marker to the central
point behind the cars. Use the mask to apply the blur
in the foreground and on the sides.
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quick tip
Remember to let the photos and paint work
together. Paint away nasty photo artifacts and
paint in your own details. By contrast, use photos
to get that high level of detail that would take
ages to paint. It’s not so much about one
technique; it’s about getting an idea across
quickly and having it look good too.
21 drama
Getting a narrative in can be as simple as
adding some sparks. Make an ellipse with the
Selection tool, grab a soft round brush and set it to
Linear Dodge with 50% Opacity. Paint it in and make
sure the bright spot is in the middle. Deselect it and
duplicate it until you have a few. Distort them in
place as shown. Paint on top with the same brush to
get a nice glow effect.
24 Final touches
Lastly, we can pull the image together
more by painting in a few details. We’ve left this bit
open so far because painting things in is all about
what you want. Stay true to the image by matching
the sharpness using the Lasso tool, and blend
colours with the photo filter layer or just paint. Think
of things that could add to the scene, like smoke. It
should always be a harmony between paint and
photo, not a battle.
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 TECHNIQUES HOWWorldMags.net
I MADE
HOW I MADE
EPIPHANY
VALP MACIEJ HAJNRICH
V
EXPLORE SURREAL SCENES INSPIRED BY MUSIC AND
CREATED WITH PHOTOSHOP ADJUSTMENTS OPTIONS
alp Maciej Hajnrich’s (www.valpnow.com)
goal in this project was to create an image
that was inspired by music, in this case the
song Epiphany by Socionic. Within his
design he strived to represent lyrical content.,
interpreting the meaning visually. “The song is about
existentialism and ultimately how this creates a cycle
spanning generations,” he reveals.
ROUGH CONCEPT
The very first step is to grasp the mood of the music and represent this with imagery. Artwork should
speak for itself, even if it’s just an understanding of position or a sketch.
068
Hajnrich portrayed this by creating a calm scene,
populated with stoic figures. “I imagined an
abandoned field where an energetic blossoming
process took place. It’s an image all about opposites,”
he explains.
Lighting was vital to evoking the right mood,
which needed to be synonymous with the music. “It’s
not a fairy tale we’re telling. I created a sky full of
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storm clouds by painting light, and adding Outer
Glow to the vortex and levitating human layers.”
Color Balance, Curves, Exposure, Channel Mixer
and blending modes formed a sombre colour
scheme. “I used these adjustments with matte
painting techniques to combine my own stock,” he
adds. “Using photo images instead of painting from
scratch helped create necessary realism.”
WORK WITH PERSPECTIVE
Layering and creating perspective is key. Control
the size of each element by interpolating
correctly. Much more work follows compositing,
so placement must create a realistic look.
PAY ATTENTION TO DETAILS
A project of this scope can become engrossing,
so be mindful of finer details. The same amount
of attention was spent on producing special
effects for the roots as it was on the levitating
human. This is so everything looks believable.
 WorldMags.net

© Socionic (www.socionicband.com), Valp Maciej Hajnrich

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CREATE PLUSH UI ELEMENTS
NEW MEDIA
CREATE PLUSH
UI ELEMENTS
D
CREATE PIXELPERFECT, SCALABLE UI KIT ENTIRELY
USING VECTOR SHAPES AND LAYER STYLES
esigning user interface elements that scale
easily for different screen resolutions can be
challenging. We already know that we can’t
rely on bitmaps, because these lose
sharpness when scaled. We should also avoid Smart
Objects too, because when scaled to small sizes,
layer edges become blurry.
The only solution is to use CS6 vector shape
layers and Layer Styles options. Everyone using this
version of Photoshop or above has probably come
across these options, but now we’re pushing them
further by building an entire design using them
exclusively. Adopting this workflow will ensure that
designers create pixel-perfect images at any
resolution. We’ll also have that pixel level control
VECTOR ELEMENTS
ACCLIMATISE A WORKFLOW BASED ON VECTOR-GENERATED EFFECTS
01 DOCUMENT SETUP
Our goal is to create resolution-
independent graphics that will look great on every
display. Go to File>New and set Width at 1024px,
Height at 768px and resolution at 72dpi. We will
start with an iPad resolution, and then later we can
easily increase the pixel density @2x to fit iPad
Retina requirements.
03 ADD SUBTLE
TEXTURES
With the background layer
selected, apply a Pattern Overlay
layer style. Load up the supplied
Bg_pattern.pat as an applicable
preset, then set Blend Mode to
Linear Burn and Opacity at 15%.
Make sure that Scale is set at
100% to achieve a sharp texture.
With the background ready, it’s
time to build a circular loader.
TECHNIQUES
OUR EXPERT
RAUL TACIU
www.graphicburger.com
Taciu is a graphic designer and
illustrator based in Cluj-Napoca,
Romania. He’s addicted to
that’s always needed when working up close and Photoshop, and has lately started to
share free design resources at
personal with small web elements. GraphicBurger.com
In this tutorial, we’ll show you how to create @GraphicBurger
stylish interface elements for touch devices that
SOURCE FILES
include Retina display technology, exploring On the disc you will find all the
techniques that help us create consistent elements organised in a layered file,
the Bg_ pattern.pat file and the
transparency and neon lights effects. We’ll discover Gradients.grd file
how to use Photoshop CS6 to build shapes that snap
to pixel grids, preserving crisp edges, and also show
you how to add depth and transparency using
multiple layer styles. But before we get started, you
should load the Bg_ pattern.pat file and the
Gradients.grd file by double-clicking them. You
should also install the great-looking Roboto font
from www.google.com/fonts/specimen/Roboto.
WORK IN
PROGRESS
FROM BASIC SHAPES TO
FINAL EFFECTS
02 BACKGROUND COLOUR
Pick a dark blue colour (#222540) and press
Alt/Option+Delete to fill the background layer. We want
Progress 1: Shape construction
our background to be dark enough to contrast with the
neon light effects we’ll be applying. Add a Gradient
Overlay layer style that creates a soft centre light by
setting Blend Mode to Soft Light, Opacity at 50%, Radial
and Scale at 150%.
Progress 2: Basic effects
Progress 3: Final touches
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TECHNIQUES CREATE PLUSH UI ELEMENTS

04 BASIC LOADER SHAPE

We’re about to draw a circle, but do not
going to use the obvious Ellipse tool. Instead, select
the Rounded Rectangle tool, adjust the Radius to
maximum of 1000px, and make sure that Snap to
Pixels is active. In the options menu, check Fixed
Sized, and then input a value of 240px in both the
Width and Height fields. Click on the canvas and a
perfect circle will be created. Draw two more
concentric circles with 230px and 200px diameters.
05 PRESSED EFFECT
Go back to our first circle and double-click
on the layer thumbnail to open up the Color Picker
dialog. Pick a solid black (#000000), then set the layer
Fill to 35%. Select FX>Inner Shadow, change the
blending option to Linear Burn, and set colour to
black. Set Opacity at 10%, Angle at 90, Distance at 2,
and Size at 4. Add a Drop Shadow with colour set to
white, Blend Mode set to Overlay, Opacity at 100%,
Angle at 90, Distance at 1 and Size at 2. We’ve just
made a nice transparent pressed effect.
06 SUBTRACT FROM SHAPE
Next, make the base shape for the neon
light. In the layer panel, activate the vector mask of
the 230px circle by clicking on the mask thumbnail,
then make a path copy (Ctrl/Cmd+C, Ctrl/Cmd+V).
With the path selected, hit Ctrl/Cmd+T to activate the
Transform tool, and then scale it down by 13px while
holding Shift to constrain proportions. Activate the
Path selection tool (A), and in the upper menu press
the ‘Subtract from shape’ icon to cut a hole into the
original circle.

QUICK TIP
In Photoshop, we can easily copy and paste styles
from one layer to the next. Just right-click the
desired styles in our layer panel, select ‘Copy
layer style’, then right-click on the target layer.
Choose ‘Paste layer style’. This is handy when
working on different elements that share the
same visuals.

08 GROUP LAYER MASK

To make it look like loading is in progress,

07 NEON LIGHT EFFECT

Still working on our neon shape, we want to add colour with a Gradient Overlay. Apply the blue neon
preset (found in the supplied Gradients.grd), set Blend Mode to Normal, Opacity at 100%, and Style at Angle
mask an area from the neon light. Instead of using a
raster mask, which will lose quality when scaled,
apply a vector mask to a layer group. Yes, you can do
with Align with the layer option active. Also, set Angle at 90 and Scale at 100%. To create shine, add Inner that. With the neon layer selected, press Ctrl/Cmd+G
Glow, setting Blend Mode to Overlay with white color (#FFFFFF), Opacity at 60% and Size at 10px. Add Inner to add it to a group. Choose Layer>Layer
Shadow for a little volume, using black color (#000000). Here, set Blend Mode to Color Burn, Opacity at 100%, Mask>Reveal All, and then, with the vector mask still
Angle at -90, Distance at 1 and Size at 8. active, draw a path with the Pen Tool (P).

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LAYER STYLES
USE THESE OPTIONS TO CREATE TRANSPARENT ELEMENTS AND NEON LIGHT EFFECTS
09
INNER CIRCLE
Now focus on the inner circle, and look to
create a glowing transparent effect. First, set the
layer Fill to 0% from the layer palette, then add a
Gradient Overlay and apply the Transparency
gradient style from presets. Set the Blend Mode to
Normal, Opacity at 50%, Style at Linear and activate
the Align with layer. Set Angle at 90 and Scale at
100%. Add glowing light by applying Inner Shadow
– use a white colour (#FFFFFF), setting Blend Mode
to Overlay, Angle at 90, Distance at 1, Choke at 15
and Size at 80.
11 CRISP HIGHLIGHT
There is one more thing to do to make the
highlights look authentic. With Bevel & Emboss
dialog box open, click on Contour under Bevel &
Emboss style, then apply the Half Round contour
with Anti-aliased option checked. Also set Range at
45%. This particular effect will make the highlight
thinner and sharper. The final step is to add a Drop
Shadow. Use a black colour (#000000), setting Blend
Mode to Linear Burn, Opacity at 15%, Distance at 1px
and Size at 4px.
10
INNER CIRCLE PHASE 2
So now that the basic transparency is there
from the previous step; it’s time to enhance this with
more effects. Add slight volume by applying an Inner
Glow. Use a black colour (#000000), setting Blend
Mode to Normal, Opacity at 80% and Size at 5px.
Apply a highlight with Bevel & Emboss, setting Style
to Inner bevel, Technique to Smooth, Depth at 50%,
Size at 10px, Soften at 1px, Angle at 90 and Altitude
at 70. Highlight mode will be set to Overlay, Opacity
at 50% using a white colour (#FFFFFF). Set the
Opacity for the Shadow mode to 0%.
12 SET UP TYPE
Choosing the right font for screen design is
very important. We need to make sure that all letters
at the chosen size are legible. If we’re planning to add
text effects, we might want to experiment with
different body weights to choose the best
appearance. In this design, we applied Roboto
Medium at 60pt (www.google.com/fonts/
specimen/Roboto). Select the Type tool (T) and type
a percent for the loader progress, then apply Text
Gradient using Gradient Overlay. Make this stand out
by adding Inner Shadow and Drop Shadow options.
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SCALING UP @2X
Scaling up for Retina display can be done either
by doubling the size of an entire document, or by
transforming individual layers or layer groups to
200%. If we’re going for the entire document, we
need to check the Scale Styles option from the
Image Size dialog. Photoshop’s Layer Styles
options must be scaled manually if the layer is
transformed. Right-click on Styles, choose Layer
effects, and then set Scale to 200%. When using
bitmap assets like patterns, make sure the Scale
value is always set to 100%.
Choosing the right font for
screen design is important.
We need to make sure all letters
at the chosen size are legible
13 LIGHT REFLECTION
The final touch is to add some light
reflections to our neon progress bar, creating even
more visual impact. Add an Outer Glow layer style
set to Overlay. Select a light cyan colour (#5deaff),
setting Opacity at 100%, Spread at 30px and Size at
12px. Now add an extra reflection for more
consistency. Apply Drop Shadow using a slightly
darker shade of blue (#0aa2f1), setting Blend Mode
to Overlay, Opacity at 50%, Angle at 135, Distance at
8px and Size at 6px.
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 Techniques howWorldMags.net
i made
how i made
Pisces
Hung PHam
D
Hung PHam discusses tHe imPortance of colour and
ligHting in tHis vibrant image
igital artist Hung Pham (www.
hungphamdesign.blogspot.com) believes
that Photoshop is the best way for him to
express his creativity. Working in the
broadcast media industry in Vietnam, Pham’s skills
are completely self-taught. Influenced by the model’s
beauty, Pham states: “Her beauty is just so mild and
peaceful, like a fairy tale or mythological princess.
That gave me a lot of ideas, so I decided to put her
into another world”. as a motion graphic designer,
Pham always tries to put movement into his
artwork, despite them being still images.
01 Manipulating the underwater scene
I first pulled out stocks related to water, such as fish, bubbles and waves, I then tried to arrange and
manipulate them to make the fish look like they were swimming.
074
“I manipulated all graphic elements to fly around the
main object by combining motion and blur effects to
create a feeling of movement and depth of field for
my picture.”
Pham created the vibrancy using the Soft Brush
tool to paint colours in, and set the blending mode to
Soft Light and Screen. “I duplicated some of the
colour layers to push the colours up. Then I also
added the highlights for her hair and her arm by
setting the blending mode to Color Dodge. Finally, I
always use Selective Color and Hue Saturation to
adjust the colours.”
02 creating depth of field and Motion
By using the Soft Brush Tool and Clipping
mask, I started to form more lighting for the model
and other elements. To create depth of field and
motion, I manipulated more elements in the
foreground and background, and then applied motion
Blur to them.
03 finalising the colours
This is a very important step of mine. I
always use Selective Color to adjust the colours
before I finish my artworks. In this case, I pushed up
the Cyan, Blue and Yellow. For the shadow, I turned
the Black to Dark Blue.
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I wanted to emphasise the

importance of colour in this
piece, which is why I applied four
layers of Selective Color adjustments
to push up the colour saturation

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TECHNIQUES SCIFI MATTE PAINTING
PHOTOMANIPULATION
SCIFI MATTE PAINTING
I
USE MATTE PAINTING TECHNIQUES AND 3D TO CREATE A SCIFI COLONY
magining and creating sci-fi landscapes can be tricky, but
combining both photo and CG elements inside of
Photoshop can really help to speed up the process. This
tutorial will show you how to do just that. Having
knowledge of how to work in CINEMA 4D to create 3D assets
is a bonus. You’ll discover how to use this software’s tools in
the first phase of this tutorial and also learn how to blend 3D
layers into a 2D image with simple lighting techniques and
Photoshop adjustment layers.
In fact, these tools become fundamental when compositing
additional photo stock. This is added to create extra image
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elements, such as a huge two-sided waterfall and a planet
overhead, which is great for promoting a sci-fi look.
The use of layer masks also becomes effective. You’ll see
how these can be used in combination with basic Photoshop
brushes and only a few new settings in the Brush panel, to
directly edit and target light direction. Once you have
mastered these techniques, you’ll be able to apply effects
only where you want them to show.
At the end, you can add in extra details and make the
image more complex. This can be completed in any
Photoshop version after CS2.
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OUR EXPERT
EDUARDO LOPEZ
MUSTAROS
www.edlostudio.net
Mustaros is a professional matte
painter and art director working at
ePics Fx Studios in Mexico City. He
started working in the film industry
a couple of years ago, and now has
two commercial projects under his
belt, plus several TV shows for Syfy
and the History Channel.
@edlo727

SOURCE FILES
Included is the source PSD file plus
the CINEMA 4D file used for the
completion of the image. The
Photoshop file contains all layers,
masks and adjustment layers for
in-depth analysis.

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TECHNIQUES SCIFI MATTE PAINTING

WORK IN
PROGRESS
3D TOWER MODELLING
You can use this technique
as much as you like to add
detail to the base building

Progress 1: Set up 3D towers

Progress 2: Integrate render

01 MODEL THE TOWERS

Form the towers quickly and easily using a simple cylinder shape. Make Loop Selections of certain polygons, then
extrude them. Make sure you stop extrusion at a level that prevents you needing to go back and slice out more edges. Also
Progress 3: Mask the waterfall ensure you have sufficient segments in the initial cylinder to accommodate details.

02 STRUCTURE GEOMETRY
In order to add some structure and content
to the walls of the cylinder, first make selections of
polygons, grabbing one loop then skipping the next
until you have a selection all around the cylinder. Use
the Extrude tool to add in detail with one simple
pass. You can use this technique as much as you like
to add detail to the base building, but remember that
the more geometry you have, the greater the render
time will be.
03 TOP AND ARRAY
In the same way you used the Extrude tool
on the cylinder, now apply it to make the roof with a
simple capsule shape. Add a few extrusions initially,
then resize the polygons using the Scale tool until
you end up with a pointy top. Use a copy of this to
make an array of six around the main building,
followed by an array of six cylinders to support them
around the tower. You can then drop a metallic
material on the whole thing.
04 PLACEMENT AND RENDER
Now we can set up the background
elements – these are part of the C4D file we’ll be
working with. This will enable you to set up and
place each of the towers you created in the correct
location, matching the perspective in the image. Set
the light direction according to the location of the sun
in the image. You’re now ready to render, making
sure the output size is the same as the image you’ll
want to work to.

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05 BRING IN THE RENDER

Open the base landscape in Photoshop and
bring in the render from C4D on a new layer. Create a
mask and work on it to make the base of the towers
sit in the terrain better. Add a Hue/Saturation and a
Levels layer both clipped to the towers layer. You can
also adjust the colour and shading to fit the image’s
exposure. Duplicate the towers layer and use it to
make the shadow of the towers, distort it into place,
then desaturate and darken it.
06 INSERT A WATERFALL
Now start adding waterfall elements to
build up the main waterfall in the middle of the
image. Use the same techniques to select an image,
mask off what you don’t need and then apply Color
Balance, Hue/Saturation and Levels adjustment
layers as needed to bring in the colour and shading
so it matches the landscape. Do this for each
element you bring in, as each one will have a
different balance.
07 INCLUDE BUILDINGS
You can integrate images of buildings into
your landscape using the same techniques you
applied to the waterfall. However, you need to mask
off the contour of building edges with a small, sharp
brush. You also need to mask away the effect of your
clipped Levels layer to create lightness according to
the sun overhead. You can add as many building or
city sections as you like – just make sure you check
the perspective of the images so that they fit.

QUICK TIP
Remember to mask off the darkening Levels
layer according to the light source.

08 HIGHER STRUCTURES AND BRIDGE

You can decide to add taller structures into
your city area, but you’ll need to add fringe lighting in
the edges and contours of these buildings. This
shows that it is closer to the light source (the sun),
which adds realism, as does the bridge crossing over
the waterfall. The procedure is the same as with the
other sections: masking and then attaching clipped
adjustment layers to the sections to match the
image colour and shading. Remember to mask off
09 CREATE REFLECTIONS
To add reflections to all of the buildings in the image, simply group all associated layers. Make a
duplicate of your group, then merge it so that you have a single layer to work with. Flip this new merged layer
the darkening Levels layer according to the direction vertically and set its position so that it depicts a detailed reflection. Add a mask to this layer and mask off
of the light source. whatever is not on the water. Only apply a slight blur, as the smooth water would give a mirrored reflection.

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TECHNIQUES SCIFI MATTE PAINTING
QUICK TIP
Training your eye and observing the image is one
of the most valuable assets you can have when
working on photomanipulations and matte
paintings, from finding the correct image for the
scene to analysing perspective, colour balance
and detail. This has proved to be the best tool for
even the top art directors.
10 PLANETS
Add planets to the scene using existing
images. Apply a large Elliptical Marquee selection to
these and cut out from the border to create the slight
spherical shape. Apply some internal and external
glow using layer styles to the image to create
atmosphere, then with the same satellite image,
scale it down, select it (Ctrl/Cmd-click layer
thumbnail) and apply the Spherize filter set at 60% to
create a smaller planet.
13 SECOND SUN
To achieve a unique quality to the scene you
can add a second sun closer to the existing one,
which is part of the base image. To do this, use any
of the custom gradients included in the gradient file;
just make sure the settings are for circular gradient.
Here we added a slight magenta tint to the gradient
to make it differ from the main sun by applying
some shift on the hue, using the Hue/Saturation
command directly on the gradient layer.
080
11 RAINBOW
To add a rainbow over the waterfall, use the
transparent Rainbow Gradient, rasterise the layer
and distort it slightly with the Warp tool so that it has
a bit of bending. Place it into position and scale it so
that it fits along the highlighted part of the waterfall.
Now create a mask for it and, with a soft brush,
mask off the edges until it blends with the ambient in
that section of the image. Reduce the fill of the layer
so it feels transparent and subtle.
14 FLOATING SHIPS
Paint in a couple of ships hovering over the
buildings and waterfall. To do this, use the Pen tool
to create your basic shape, then select and apply a
medium tone sampled from the plate using the
Eyedropper tool. Use the soft round brushes in
Photoshop and change the sizes as needed, being
sure to enable Transfer in the Brush palette.
Continue sampling higher tones, adding volume until
the all highlights are painted in.
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12 DETAIL CHECK
At this point, it’s a good idea to give the
image another pass, adjusting masks and edges, as
well as the overall look of the scene. This step is
often overlooked, yet is very important for achieving
a clean image. The aim is to ensure that everything
is in its place and that no bad mask or dirt is hanging
over your hard work. So zoom in and out, disabling
and enabling layers to check for details that need to
be touched up.
15 COLOR BALANCE
Another important step that’s also
overlooked is checking the detail on each of the
adjustment layers to ensure correct shading and
colour balance, as well as to avoid any mistake on
these layers that ruin an otherwise top-quality
image. Check each layer for incorrect balance on
both the highlights and shadows, creating new layers
if needed. Zoom in and out to look for problem areas
in the overall design and individual sections.
CREATEWorldMags.net
THE ART OF THE FUTURE
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1
2

REVIEW FEATURE

FROM SHOOT TO PHOTOSHOP

AT LIGHTNING SPEED
DISCOVER HOW PNY’S LATEST SDHC STORAGE CARD AND SSD COMBINED,
DRAMATICALLY SPEED UP THE PHOTO EDITOR’S WORKFLOW

I
mage editors are always looking for ways to
achieve a time-efficient shoot-to-retouch
workflow. However, this often comes at a price,
due to investment in more RAM, a better CPU or
upgraded camera equipment. PNY has come up with
its own dual solution, which includes its extremely
fast Secure Digital High Capacity (SDHC) card and
supreme Solid State Drive (SSD) series. Devices are
available at a reasonable cost and poised to tackle
slow production in a big way when combined.
The PNY Elite Performance High Speed 16GB
SDHC card isn’t to be confused with standard SD
types, as this card has a much faster transfer rate.
The multiple advantages of this card are laid bare
in this detailed review, which explains why it is so
great at capturing imagery on both a full-frame and
crop sensor DSLR. It’s put to the test to discover the
specific speed improvements, and find out how
these can benefit photographers who shoot large
image amounts.
1. PNY SDHC/XC
HIGHPERFORMANCE
STORAGE: 16GB Flash card
www.pny.com
The PNY XLR8 Pro SSD is also put through its
paces by testing read and write times, and
comparing the merits of different installation
methods and their impact on working with
Photoshop. The drive’s interaction with the SDHC
card is highlighted too, reiterating why the two
better serve you when combined in one workstation.
2. PNY XLR8
PRO SSD
STORAGE: 120GB
www.pny.com

£25 £112
From compact cameras through to full-frame SPECS: SPECS:
• Write performance of 50 MB/s • Usable capacity of 120GB

$39 $170
DSLRs, it’s easy to understand why this format is
• Full-HD video shooting • Max read speed up to 550 MB/s
fast becoming the industry standard among
• Ultra-fast transfer rates • Max write speed up to 515MB/s
professional photographers.

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SHOOT TO PHOTOSHOP AT LIGHTNING SPEED REVIEW FEATURE

ENHANCE SHOOT TIMES
USING SDHC FLASH CARDS
Designed with professional and semi-professional
photographers in mind, PNY have created a fantastic
new range of SDHC flash cards. When used in the
right circumstance, these will improve shoot times
exponentially. It’s as simple as putting the card in and
pressing the shutter release.
The PNY SDHC/XC High-Performance 16GB flash
card has a Class 10 speed rating, as well as a UHS-1
rating. This may sound like jargon to you, but
excitingly means that it currently tops the bill as the
fastest card compatible with DSLR or compact
camera technologies. The write speed from sensor
to storage is rapid, clocked at up to 65MB/s. In
photography terms, this means a full-frame RAW file
can be shot, processed and stored on the card before
your finger has left the shutter.
Read times are equally impressive, working
almost at the speed of thought when accessing data.
Photographers can expect speeds of up to 100MB/s.
This means you can assess the shots you’ve taken
from the back of the camera, flicking back and forth
seamlessly and in real-time. This comes in pretty
handy when reviewing images for deletion if running
out of storage space. Card sync to desktop or laptop
adds another string to this product’s bow. The rates
that Bridge can download, convert to DNG, then
create a back-up file at far outweigh anything that’s
come before. Even if your camera isn’t UHS-1
compatible, this upload, read and write functionality
makes the PNY Elite Performance SDHC worth it.
However impressive these factors may seem, the
biggest draw for photographers is still to come. The
main aim of this card is to enhance shooting speeds,
ideal for burst and bracketing modes. It achieves this
goal by capturing multiple shots instantaneously.
This makes the PNY Elite Performance SDHC perfect
for sports and fashion photographers, in situations
where a subject will be continuously changing pose
and position.
One experiment with the card yielded results that
prove just how impressive it is. It allowed 15 images
to be taken in quick succession in approximately six
seconds. This was before the camera’s internal
buffer began to slow things down a touch, as it
caught up with what had been shot. Even then, it was
approximately two seconds before another three
images could be shot on top. Bearing in mind that
these are RAW files from a full-frame camera, each
weighing in at around 38MB, that is a truly
exceptional performance.
If these procedures cover the main bulk of our
workflow, then this SDHC card becomes essential.
The only downside to this device comes in the form
of camera compatibility. This must be UHS-1
compliant for the card to achieve its full potential and
benefit from the read and write capacity. Your
camera must also be SDHC compatible just to be
able to accept the card.
This doesn’t mean that all is lost, though. In the
instance when the host device is not UHS-1
compliant, the card will default to its speed class
rating, which is set at 10, resulting in an acceptable
10MB/s to 20MB/s. Even in a worst-case scenario,
you’re still left with an impressive performance.
■ NO NEED TO FORMAT
Formatting the card isn’t an issue, as it’s ready
to use straight out of the box. This is because
the data written from the camera to card
already holds all the basic metadata and file
indexing. This is sent straight from the
camera’s processor. When you see the files in
your browser or in Bridge, there will be no
difference in layout or style. Since the SDHC
and UHS-1 compliant cameras are geared
towards using this kind of card anyway, there
are no internal settings on the camera that
need altering.

■ BIG IMPACT ■ LOCK AND LOAD

Bigger isn’t always better, especially when This flash card can be
considering how this small flash card can store locked to prevent
up to 1,500 RAW files accidental formatting or
deleting – ideal when
using a lot of different
cards on one shoot

■ INSERT CARD ■ SHOOT MENU

Installing the card really is There’s no need to format
straightforward – just open this card, as it’s instantly
the associated compartment ready to shoot with once
and slot it in inside the camera

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 Review FeatuRe WorldMags.net
shoot to photoshop at lightning speed

InstallIng the XlR8 PRo ssD

in this section, we will be looking at the simplistic natuRe oF ssD installation, anD how this
technology can impRove woRkFlow FoR both Digital aRtists anD photogRapheRs
never be afraid to install a new ssd with this
easy-to-follow installation guide. Removal of the
optical drive or original hdd is the easy part: all you
need to do is unscrew it, remove the sata
cables and literally swap out the old drive for the new
one. You may ask why you’d want to swap your
existing drive for an ssd in particular. Well, although
size capacity can be standard, data transfer is almost
immediate. there are no moving parts to slow down
read and write times.

■ 01 Unscrew the panel

this example shows installation into a MacBook, so
be sure to unscrew the rear panel carefully, as the
motherboard is just under the surface.
■ 02 Hex screws
as the current hdd is secured using hex screws,
make sure you have the right tools for the job. again,
take care removing screws, as there are more than a
few connecting to a MacBook.
01 02
■ 03 Unclip the SATA cable
the present hdd will be connected to the
motherboard via a sata dock. this is the only cable
attached, so it’s easy to find. Just unclip it, remove
the screws in the side of the hdd, and you’re good to
go with the ssd install.
■ 04 Attach the SATA to the new SSD
once all the surrounding screws from the old hdd
have been added to the new ssd, you’re ready to
attach the sata cable. Be careful to ensure the cable
is attached correctly and firmly though, as a loose
connection could be disastrous.
■ 05 Screw in the SSD
once the ssd is laid into place and plugged in, we
can now screw it in with the hex screws used on the
original drive. now you can start to reinstall the data.
03

04 05

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PNY SDHC/XC
HIGHPERFORMANCE
FLASH CARD

■ BOX AND DRIVE ■ PREFERENCES PANEL

PNY SSD is a 2.5-inch SATA III (3rd generation) drive and is
backwards compatible with SATA II – consult your system
specifications for compatibility
This is mostly relevant to the second scenario install, as the primary
will recognise the SSD automatically
As far as advanced SD cards go, this really is
a premium device, available at a reasonable

WORK FASTER Once installed as a primary drive and coupled with price. However, the fact that the card’s power

WITH AN SSD the SDHC/XC Elite Performance flash card, acquiring

the images into our workflow is quick as lightning.
comes from being compatible with UHS-1
technology, which not every middle and
Upgrading to an SSD really is a no-brainer, as this
With 16GB of data downloadable in mere moments, heavyweight camera has, is a stumbling
technology does away with magnetic writing to disk.
CS6 takes no more than four seconds to load and block. If you can get past this and only use a
This means no moving parts to slow down read and
write times. In software like Photoshop, where we
can alter preferences to maximise processing power,
open the files. You can commence with editing
quicker than ever before, increasing available time to
be creative and squeeze more projects in.
must-use SDHC. 4/5
portion of its potential, it’s still a

it becomes the clear choice – especially when

dealing with large files, such as RAW, DNG and PSD.
One step that is vital when working in CS6 is PNY XLR8 PRO SSD
altering our preferences (Ctrl/Cmd+K). It’s here that
However, there are still several factors to take into
we set the performance options to use the PNY
account before dedicating to an SSD. Physical size,
XLR8 as the primary scratch disk.
storage capacity, usage and install methods will
Assigning another SSD has its advantages, as this
determine our needs. You’ll also need to do some
allows the primary drive to focus on running the OS
research into what your system is capable of holding.
and CS6. The alternative would be it splitting
As the majority of computers are designed around
processing power to deal with the file handling, as
the traditional HDD size and build, there is a high
well as the OS and CS6. Just remember, changes
chance that an additional cradle to store an SSD will
made in CS6 won’t be active until you have restarted
be required. This will stop it rattling around inside
the software.
your workstation.
A hard drive size of 120GB may seem an issue, The PNY XLR8 Pro is an impressive little
especially if you’re concerned with terabytes of beast, with the speeds to improve everything
space. However, all you really need is enough space from file handling and image creation, to
to install OS and relevant programs. Therefore, gaming and booting up programs. This really
assigning the XLR8 Pro SSD as a primary drive is an essential upgrade if you want to build a
becomes a credible option. Installing it as a machine for faster results. This SSD will save
secondary drive means you wont have to reinstall
entire OS and programs. You can swap out your
optical drive if using a laptop and a drive bay adapter.
you having to upgrade for speed for
a good few years. 5/5
In most instances, when it’s a desktop unit you’re
working with, you will be able to install it just by
VERDICT
■ TO TETHER OR NOT TO TETHER? Assuming you have the correct camera, using
using a cradle.
Tethered shooting is one way to speed up a the SDHC card will be of massive benefit and
When installed as the primary drive, you’re looking
photo-to-retouch workflow. However, doing a great acquisition. The XLR8 Pro SSD will
at read and write times of 6GB/s. When installing as
this bypasses the card entirely, and data is gladly hold hands with this card and take data
a secondary drive for storage and additional scratch
stored immediately onto your laptop or PC to and from it at blinding speeds. It will also
disk use, you’ll get 550MB/s as a basic speed, lower
through the compatible software. We can still vastly improve processing power and speed
than the 6GB/s listed as the optimal speed. This will
shoot and review instantly, but you’ll need a for retouchers, eliminating lag times when
be determined by your motherboard, RAM and CPU.
camera that’s compliant with the software and using Photoshop filters
If these aren’t viable options, then using a USB
ideally USB 3-ready for optimum speeds. such as Liquify and
adaptor is another option. However, this means that
Tethered shooting also lacks the flexibility of Adaptive Wide Angle, not
the device will be outside the main bus of the
this SDHC, as it is geared towards on-location to mention making light
motherboard, and you won’t be using the device at
shoots where continuous and burst shooting work of large files
its fullest. Base speeds are achievable, but these
takes place. like DNGs and PSDs.
would be classed as a worst-case scenario.

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reviews SamSung nX300

SamSung nX300
Is thIs the compact system camera to rIval
more expensIve Dslrs?
www.samsung.com
• £599.99 / $649.99 • 20.3MP, Full HD Movies, Built-in Wi-Fi, RAW+JPEG modes, Photoshop Lightroom 4, Hybrid AF, 3D recording (with NX 3D Lens)

M As part of the NX300

any of us have affection for retro-looking
devices, so the Samsung’s NX300
compact system camera instantly grabs
our attention. Its solid build quality is all
down to its metallic chassis, with textured,
vintage-style upholstery. A large 3.3-inch touch-
sensitive AMOLED display dominates the back and
brings us back to the present. There’s plenty of room
to compose and adjust settings, really getting users
involved with the scene in front of them.
However, many of us may have concerns over the
picture quality experienced in previous Samsung
cameras, as the company tends to lean towards
The camera features a complete set of manual
modes, with RAW format and Full HD Movie
available. This allows us to maintain the highest
possible capture for post-production. When putting
the camera through its paces, our images turned out
sharp and low in noise. We felt that no situation was
too difficult to shoot.
It is the finer details really make this camera
special. A zoom magnifier brings a subject up close
when using the manual-focusing ring on the lens.
The touch screen combined with quick go-to buttons
make adapting exposure and effects quick. What’s
more, we’re able to direct our captures to a
package, the camera
comes shipped with
Photoshop Lightroom 4
being our number one editing software, it does give
consumers an insight into the vast portfolio of Adobe
software available to photographers. Overall, the
NX300 makes for an ideal complementary shooter
to a larger studio kit, or a fun and stylish out-and-
about camera.

appealing aesthetics more than anything else.
Thankfully, the NX300 doesn’t fall down where
others have. With an APS-C sized sensor that’s on
par with any entry-level DSLR, we found its ability to
produce fine details undeterred.
smartphone for linking up to social networks via the
camera’s Direct Link feature.
As part of the NX300 package, the camera comes
shipped with Photoshop Lightroom 4. Although this
is unlikely to be its biggest attraction, with Photoshop
Verdict: 9/10
An outstanding performer with superior
image quality to boot, making it difficult
to put down in every sense of the word.

A closer look
Discover the features that make the NX300 value for moNey

■ hybrid AF SyStem
The Hybrid AF System
featured in the NX300
makes it something of a
powerhouse. This
combines phase
detection and contrast AF
for better focusing and
sharper images. If you’re
looking for ways to
control your photography,
then features like this will
be much appreciated.

■ Lightroom 4
■ FLexibLe diSpLAy This complementary software is the
The large 3.3-inch touch LCD choice of artists and photographers
screen on the back of the NX300 looking for an easier route into
can be moved to face directly publishing images. It offers more
upwards or at a 45-degree angle control and precision over our final
downwards. This makes shots output, from proofing and printing to
from waist height and overhead designing our own portfolio
easier to compose, allowing for photobook. Lightroom 4 certainly
higher quality images. adds value to the NX300 package.

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 reader interviewWorldMags.net
The imporTance of composiTion

reader interview

The imporTance
of composiTion
F
Self-taught digital artiSt eliaS Klingén talKS to advanced PhotoShoP
about the endleSS oPPortunitieS when combining deSign Software
ocusing on the minor details is of utmost
importance to digital artist Elias Klingén.
Although he confesses to not having a set
‘style’, Klingén believes that “details are the
most important part of a composition. It makes the
image much more interesting and alive.”
After initially learning the power of Photoshop
through online tutorials, Klingén is now studying
Graphic Design and hopes to continue freelancing in
digital art. For him, after the initial sketch it is all
about improvisation: “I think it’s the most enjoyable
part of the process. I love trying out different ideas;
the end result can turn out in a completely different
way than I originally thought.” Read on to learn about
Klingén’s most rewarding project and which
techniques he applies in Photoshop to get the most
out of his work.
all article images © elias Klingén
dO yOu have a favOurite piece Of wOrk?
It may sound like a cliché, but my favourite work is
always the next one. I try to improve and to create
something different from my previous work. But if I
had to choose, it would be my latest work, ‘Instant
Crush’. I pushed myself really hard when I created it,
as I wanted to do something different from my other
work. It’s a lot more messy and crazy.
are yOu wOrking On anything new at Our reader
the mOment? Elias Klingén
www.behance.net/eliasklingen
Currently, I’m working on some different CD covers, www.advancedphotoshop.co.uk/
which are my favourite kind of job. You can be really user/eliasklingen
creative and it’s awesome to be a part of a new @eliasklingen
record. I’m creating some artwork for the next
Cosmosys art pack that will be released in August. I
am also doing some photography this summer; I will

Woe: i used an image of a flag blowing in the wind. then i duplicated it and reshaped it to Robostrich: the mix between machines and nature has always inspired me. i spend a lot of time on the details and
create this abstract image. i added light and clouds to create the perfect atmosphere getting the lighting right. the hardest part was to find the right stock images

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Clockwise from
top left;
I think the most important part is to Nowhere:
The typography
communicate with the client. You have was made using
different stock
photos. I added
to understand what they want, not you some objects made
in cinema 4D to add
details to the
composition. The
hardest part was to
get the right
colours and to
blend everything
together
Longing:
I wanted to make
an image with a lot
of contrast, so the
yellow colour was
perfect for this
composition. I used
many different
brushes and
blending modes to
get it right
Luminary: I’ve
always loved
abstract art, so this
was really fun to
make. I used the
Pen tool for the
shapes and
different blending
modes to get the
light effects the
way I wanted

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The lightning was really important here. I

painted it with a soft white brush set to
Soft Light Blending mode

I created the flying particles in Cinema

4D, and then erased some parts of the
bear to make the effect look better

I created this using the Ellipse tool, and

added some textures to make it look like
a 3D object

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THE IMPORTANCE OF COMPOSITION READER INTERVIEW
THEN AND NOW
TAKE A LOOK AT KLINGÉN’S ARTISTIC JOURNEY
This is one of my first photomanipulations. There
were no thoughts behind it; I just wanted to make
something that looked cool. I think my style was
darker before, influenced by horror movies and
such. Now I spend more time on creating a
concept and a story. I think my style really has
improved, as there are a lot more details and
interesting objects. All my old images look very
flat; now I always try to create some kind of depth.
A simple trick is to just to put something blurry in
the foreground. It makes the whole composition
more interesting.
THEN
be shooting the band pictures and doing the
retouching. I like working with musicians, as you
always get a lot of freedom.
WHAT IS YOUR STEEPEST LEARNING CURVE?
To have patience. When I was younger, I tried to
make images as fast as possible. I just wanted to get
it done. Now I spend a lot more time on each piece;
the results get better and my style is evolving faster.
When you think you are done with a new piece, let it
rest for a few days and go back to it later. Always try
to improve it – be honest with yourself and question
whether it’s perfect.
TELL US ABOUT THE MOST REWARDING
PROJECT YOU HAVE BEEN INVOLVED IN?
I photographed and retouched images for a big
concert in Sweden called ‘Kristina från Duvemåla
– konsertversionen’. It was a school project with a
large budget, so we had a huge amount of artistic
Shoot
Learn Photography in
Central London
Day - Evening - Weekend
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freedom. I learnt a lot about advertising and how to
work with big clients. It was awesome to see finished
posters hanging all over the town; I’ve never
experienced that before.
DO YOU BELONG TO A COLLECTIVE?
I belong to www.cosmosys.net. It’s a great collective
and home to many talented artists. Feel free to apply
if you think you have what it takes. A dream would
be to someday join Depthcore.com; I love their work,
it’s amazing!
WHAT DO YOU BELIEVE IS THE MOST
IMPORTANT ASPECT WHEN WORKING ON A
PROJECT FOR A CLIENT?
I think the most important part is to communicate
with the client. You have to understand what they
want, not you. Your mission is to make the client
happy. Be a nice person, work hard and complete
tasks effectively.
• Portrait
• Lighting
• Black + White • Still Life
• Re-touch advanced
www.media-courses.com
WorldMags.net
WHAT PHOTOSHOP TECHNIQUES AND TOOLS
DO YOU USE?
For retouching, I use the Healing brush tool and
Clone Stamp a lot. I use Dodge and Burn in every
image I create; it’s great when you want to make
details stand out. I do all my selections with the Pen
or Lasso tool. When I want to cut out trees or hair, I
use Channels. I’ve also started to make my own
custom brushes. I really recommend playing around
with different settings, I’ve made some awesome
snow and rain brushes that look really realistic.
WHAT’S NEXT FOR YOU?
I’m about to go into my final year studying Graphic
Design and Communication in Sweden and we are
working with many big projects this fall, including
client projects. In January I have a four-month
internship at a graphic design studio in Stockholm. I
will also try to get some more personal clients; I
really want to do some more freelancing.
• Fashion
25%
• Wedding discount
if you book
early
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Media Film and TV
020 7138 2909
 WorldMags.net
ON THE DISC PRODUCE SCREEN PRINT ARTWORK

RESOURCE PROJECT
TUTORIAL FILES

PRODUCE SCREEN ON THE DISC

PRINT ARTWORK
M
EXPLORE WAYS TO CREATE RETRO LOOKS USING BOTH
TRADITIONAL AND DIGITAL SOFTWARE
anual craft work has never been more in
demand, as print designers indulge in classic
techniques and promote retro styles. Screen
printing seems most popular, with a host of
illustrators producing inspiring posters and apparel with
references to popular culture. Just check out sites such
as mondotees.com for examples.
However, digital illustrators have embraced these
trends too, using software in ingenious ways and
replicating the layering process inside of Photoshop and
Adobe Illustrator. These designs can be instantly
packaged and sent directly to the printers.
In this Resource Project, we approach both means.
With advice from weareamerikanmade.com, explore the
screen print setup and show how design is produced by OUR EXPERT
hand. It is then explained how to import physical products KEITH BOWMAN
http://weareamerikanmade.com
into software for post-production editing. Finally, Chris
Bowman is founder and one half
Parks aka Pale Horse (www.palehorsedesign.com) of Amerikan Made, where he
creates the designs. His wife Jenn
reveals the exact techniques for producing entirely digital is responsible for expertly mixing
screen print design in Photoshop. paint palettes for the poster prints.

MANUAL SCREEN PRINTING

LEARN HOW TO SET UP YOUR WORK STATION AND PRINT BY HAND

01 PREP THE STENCIL

Artwork needs to be very opaque and
printed onto a clear piece of vellum or Mylar. When
exposed, the black areas allow ink to go through the
screen, while the clear areas will not.
02 PREP THE SCREEN
Pour emulsion into the scoop coater. Drag a
very thin, even coat on both sides of the screen. Keep
the scoop coater parallel to the frame and try to
avoid drips. This gets easier with practice.
03 EXPOSE THE SCREEN
Tape the stencil face down to the back of
the frame, against the mesh. Line the other side with
a non-reflective material so that no light can get in.
Burn the screen.

04 REGISTER THE STENCIL

Tape the stencil to a piece of the poster
stock and place under the screen, onto the printing
table. Move it so that the image in the screen falls
exactly into position. Tape down the registration tabs.
05 TAPE AND FLOOD
Use a two-inch wide piece of masking tape
to seal the edges where emulsion doesn’t reach the
frame. Raise the screen, pouring a bead of ink below
the image. Swipe the ink to the top of image.
06 LAY DOWN INK
Slide the poster stock into registration tabs,
lower the screen and swipe the squeegee down over
the image. Raise the screen slightly, remove and
reload stock. Repeat Steps 4-6 for additional colours.

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an
wm
Bo
it h
Ke
©

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ON THE DISC PRODUCE SCREEN PRINT ARTWORK

CREATE DIGITAL SCREEN PRINT DESIGN

SKETCH YOUR OUTLINE, COLOUR AND SET UP YOUR FILE
Follow these steps and see how Flavor creates the artwork for this screen-printed
T-shirt design, using Photoshop and a graphics tablet.

© Sam Chivers 2013

SAM CHIVERS
www.samchivers.com
IMAGE TWEAKING
IN PHOTOSHOP
A Sony NEX-5 was used to shoot a RAW format
se De sign
photo of the poster image at a comparative size. © Pale Hor
This was then opened in Photoshop. Light editing was applied to
achieve a natural look for potential online buyers. OUR EXPERT
Levels were adjusted accordingly, followed by an applied CHRIS PARKS
Vibrance adjustment layer used to boost existing colour. Most www.palehorsedesign.com
Florida-based artist Chris Parks, aka Pale Horse, is bent on
cameras produce a slightly distorted barrelling effect when taking illustrating a colourful world filled with mythology, alchemy,
pictures of artwork, so use Transform>Warp to straighten and pro wrestling and heavy metal in his ever-evolving portfolio.
match the correct angles.

01 START WITH A SKETCH

Draw up a concept sketch directly
02 SET RESOLUTION
Resolution is crucial when
illustrating screen print artwork in
in Photoshop using a graphics tablet and a Photoshop. Set file DPI to at least 600,
soft, transparent brush style. Block in the keeping the drawn lines crisp when
shading quickly, as this will be your guide. zooming in at 100% and adding detail.

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03 DIGITAL INKING
Add a Hue/Saturation adjustment layer
above the sketch to make it less distracting. Set Hue
at 205, Saturation at 100 and Lightness at +85. Apply
an opaque, pressure-sensitive hard brush to digitally
ink your sketch on a separate layer titled ‘Outlines’.
04 COLOUR AMOUNTS
Choosing the number of colours in your
design is the next step. Remember – the more
colours, the higher the production costs will be.
Three to five in a swatch should suffice for a poster
or T-shirt design.
05 PANTONE GUIDE ACCURACY
A Pantone Uncoated Color guide is a
necessity for artists creating pieces for screen print.
Your printer will ask you for the PMS ink colours, and
with this guide you’ll have them ready to add.

06 SOLID COLOUR LAYERS

Apply each colour on a separate layer
beneath our ‘Outlines’ layer, working from dark to
light – in this case orange through to white. Keeping
colours on separate layers makes it easier to change
them at any time.

PACKAGING THE FILE

Always send a colour-separated artwork as a
07 USE THE
BASE COLOUR
The fabric or paper colour we’re
600dpi, CMYK, layered PSD file. Also include a printing to can be incorporated.
PSD T-shirt mock-up image to show the size and For example, in this design we
placement you want. Many screen printers now applied green dots on a new top
use software to separate artwork for print, but by layer to let the shirt colour show
creating individual ink layers from the start, we through in the print.
leave nothing to chance.

SCREEN PRINT
ON THE DISC

LAYERED FILE
DIGITAL SCREEN PRINT
DESIGN PSD
On the disc you will find
the layered PH_Tiger-T-
shirt-file.psd file, kindly
supplied by Chris Parks GRUNGE TEXTURE BRUSHES
aka Pale Horse. This ADD EVEN MORE RETRO TO OUR PRINT DESIGN
details the layering As if a classic technique wasn’t enough to instill a
process necessary for retro style, we’ve also supplied this set of grunge
screen printing artworks texture brushes. These can be added to layer masks,
in Photoshop. enhancing vintage looks in our poster prints.

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 Learn in styleWorldMags.net

Photoshop
The
Travel
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The ®

Photography CS6
Volume 3

FREE

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The ultimate guide to getting the most out of Photoshop CS6

The ultimate guide to becoming an expert Photoshop user
TM

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Getting started • Amazing techniques • Location guides
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iPad, iPhone, Mac, Android, Photoshop, Windows and more

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