Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
uk/tutorial-files
103
NEW MEDIA
TECHNIQUES
RETOUCHI TOUCHING
Industry experts reveal their top tips on beauty retouching
HOW TO:
Produce emotive images with Viaframe Build layers to create a distinct pattern Use automated lens correction
ISSUE 103 5.99
COMMERCIAL
INDUSTRY INSPIRATION
PAINT A LANDSCAPE
DIGITAL PAINTING
TYPOGRAPHY
GRAPHICS
WorldMags.net
WorldMags.net
WorldMags.net
WELCOME
ISSUE 103
Welcome to the latest issue of Advanced Photoshop. And what an issue it is! This is the first month we are displaying our new masthead throughout the magazine. We hope you like it!
Our main feature this month covers commercial retouching, where we bring you top tips from industry professionals and in our Spotlight we also discuss whether good photo-editing software can compensate for bad photography. You can have your say at www.facebook.com/advancedphotoshop. Elsewhere in this issue you can learn how to replicate Super 8mm movie looks by editing videos in Photoshop CS6, use symbolic and geometric shapes under a grid system to create a poster in our striking graphics tutorial and build unique sci-fi environments using a mix of standard and custom brushes in our digital painting tutorial. Once you have mastered these new skills, we bring you our second industryled feature where we explore how to develop a coherent personal brand to present yourself or your design business. See you next month
78 DIGITAL SURREALISM
TREND FOCUS:
Artists challenge our perspective with spectacular imagery
FIND US ONLINE:
@advancedpshop
/AdvancedPhotoshop
.co.uk
003
WorldMags.net
WorldMags.net
CONTENTS
EYE ON DESIGN
Whats hot, whos in and the latest art & design happenings
SPOTLIGHT: Are photo skills being replaced? GALLERY: Great images from the online community INTERVIEW: Commercial concept art, Michael Pedro EXHIBITION: The Dark Side of the Mind, The Luminarium
ISSUE 103
06 08 18 24
36
WORKSHOP
26
FEATURE
90 74
FEATURE WORKSHOP
004
WorldMags.net
WorldMags.net
TECHNIQUES
Commercial retouching Paint a sci-fi scene Design Neon type Edit videos in CS6 Our Kingdom
WORKSHOP HOW I MADE WORKSHOP WORKSHOP WORKSHOP FEATURE
REVIEWS
We put the latest creative kit, books and apps to the test
FEATURE: Portrait Professional Studio 64 APP & BOOK REVIEWS: 123D Sculpt and Voxel
26 36 42 48 52 54 60
62 68 70 72 74 78
Create striking graphics Laser dancer II Add mass and volume Design emotive images with Viaframe Manga lighting effects Digital surrealism
TREND FOCUS WORKSHOP PROJECT FOCUS QUICK TRICK HOW I MADE
WORKSHOP
82 86
SUBSCRIBE TODAY!
SEE PAGE 88 FOR THE LATEST OFFER
RESOURCES
62
WORKSHOP
68
HOW I MADE
90 96
ON YOUR DISC
Create breakfast-themed text eects in Photoshop and master hair retouching with three dierent tutorials
72
PROJECT FOCUS
20 photo reference images, 100 Photoshop brushes and 40 free vectors
PLUS:
Tutorial project files Exclusive wallpapers for mobile and desktop 25 free textures
WorldMags.net
WorldMags.net
SPOTLIGHT
WE ROUND UP A GROUP OF PROFESSIONAL DIGITAL PHOTOGRAPHERS, ASKING THEM IF THEY BELIEVE PHOTO EDITING SOFTWARE MAKES CERTAIN CAMERA SKILLS OBSOLETE
GLYN DEWIS
ANDREW BROOKS
www.andrewbrooksphotography.com capturing enough material to shape into this imagined scene As a photographer whose work has slowly evolved towards digital art, I prefer to apply photographs that I have taken personally in my compositions. This means I control every image applied. This really connects me creatively to the final image and also means that my work is a mix of desktop work and having fun getting out there in the world, finding the right view or feature, helping create a landscape from my own imagination. I feel that as a photographer and retoucher, having strong photographic skills is really important when achieving unique and compelling imagery. A good understanding of the whole process, from image capture through to post-production, is a big advantage and a massive help to any digital artist.
Understanding light, composition and communication are still extremely necessary skills as a photographer
www.davidbenolielphotography.com The most important thing for a photographer is to understand what functions they specifically need in Photoshop. As a fashion and beauty photographer Ive had to master precise tools that allow me to improve skin, colour and form. Every other tool is merely a means to extend my creativity.
DAVID BENOLIEL
Even when shooting you can plan the image adjustments you will later make in Photoshop Credit: Model - Courtney OConnor, Elite. Makeup - Eliut Tarin
006
WorldMags.net
WorldMags.net
www.erinmoroney.com I think that with all of the advances in Photoshop, it is easier for technically challenged photographers to pass as average. But I dont think Photoshop will make a poor photographer a good image-maker. My background is in stock photography. When I started working in the industry 15 years ago, everyone shot on 100 ISO slide film. There was no exposure latitude in slide film, so photographers had to be technically proficient. Now that most photographers shoot on digital its much easier to fake the technical side. But you either have the ability to compose great images or you dont. Photoshop can enhance a good image, but it wont create one. I am now working as a consultant at a new photographic gallery in London, Margaret Street Gallery. Its really refreshing to see a return to film and more traditional techniques.
ERIN MORONEY
www.claireharrisonphotography.com Being a photographer is not just about taking the image. You have to possess a vision and know how to interpret this, through the use of lighting, posing and styling. You are the person in charge of the shoot. Youre responsible for getting everyone to do their job well through your instruction. Even with Photoshop being as good as it is now, you still need to have something good to work with initially. There are still many things Photoshop cant cheat.
claire harrison
You either have the ability to compose great images or you dont. Photoshop can enhance a good image, but it wont create one
Erin Maroney, www.erinmoroney.com
A resounding 95% of you say no and that a good understanding of traditional skills is essential for successful photo editing
Credit: Photography - Claire Harrison, www.claireharrisonphotography.com Model Jessica Ellis Select Model Management. Hair - Renda Attia. Makeup - Celia Burton, Mansy Coakley represents
An underwhelming amount of you said yes, believing editing software substitutes traditional photography skills
www.crismanphoto.com Photoshop is just one tool in my arsenal used to help illustrate my personal vision. But the greatest tool is my mind, followed by my camera. There are some images that just cant be captured through the means of traditional photography. Photoshop being applied by a talented digital artist helps me complete my vision. If any one piece of mine is better classified as illustration thats fine by me.
chris crisman
007
WorldMags.net
WorldMags.net
READERS GALLERY
WE SHOWCASE THE VERY BEST OF YOUR ARTWORK EVERY MONTH
Search for gian1082 on
.co.uk
SHOWCASE
HOW TO SUBMIT
01 Create a gallery
UPLOAD YOUR IMAGES TO OUR WEBSITE OR SOCIAL NETWORKS Visit www.advancedphotoshop.co.uk and click on the Create Account option to follow the simple registration process. Upload your favourite images to the gallery for others to view and comment on. Well select the best each month to appear on these pages.
/AdvancedPhotoshop @advancedpshop
I used tools such as Smudge, Dodge and Burn to emphasise the athletes attitude in his pose. I worked carefully through the use of colour to create the best representation
Gianfranco Gallo, Goodbye London ABOUT THE ARTIST GIANFRANCO GALLO
www.facebook.com/Gian1082 I am a freelance artist living in Salerno, south-west Italy, and have been working on Photoshop for four years. I usually join painting techniques and digital devices together to create strong visual impact.
008
WorldMags.net
WorldMags.net
.co.uk
009
WorldMags.net
WorldMags.net
Inferno is a personal work. I wanted to create a dark advertising image for this 4X4 Mercedes, which is literally uprooted by two sick monsters from Hell. I took a lot of time on these monsters, as I wanted them to be really mad and insane
Ludovic Cordelires, Inferno
.co.uk
WorldMags.net
WorldMags.net
www.rusalkadesign.com Im an illustrator and art director with a background in drawing, also known as Rusalka Design. I work as a graphic designer, mainly on metal music artwork.
011
WorldMags.net
WorldMags.net
I focused on the fur, made with masks and brushes, using Scattering, Transfer and Shape Dynamics with my tablet. The aviator glasses were a challenge and fully created in Photoshop using Shapes, only the leather is a photograph
Diego Castello Branco Pannoni Maricato, Astro Cow
.co.uk
WorldMags.net
WorldMags.net
Photoshop was used for compositing the renders into the canvas with the stars and lighting effects. Highlights and glows were brushed in with my trusty Wacom tablet. Colour correction via Colour Panels as well as Sharpening was then used
Joseph Nicklo, Sic Transit Gloria Mundi
.co.uk
013
WorldMags.net
WorldMags.net
I used Photoshop CS5 and worked with stock images as well as a few renders of CINEMA 4D to create this unreal image
Sebastien Andaur, Beyond the Frame
014
WorldMags.net
WorldMags.net
Much of Forest was painted using custom brushes made from a variety of source photographs I have taken. It began as a simple pencil drawing, which I scanned and then painted over in Photoshop
015
WorldMags.net
WorldMags.net
The brief for this matte painting was to create super-natural dark lava landscape with kind of a fantasy-illustrative feeling. The whole scene was built from scratch using textures, tablet painting and 3D modelled rock formations
Lukas Lancko, Sole Method
.co.uk
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
interview
Professional concept artist Michael Pedro explains the importance of detailing images, using Photoshop tool sets
answered: When you think about it, the world around us really is at the root of successful design. Concerning organics, you cant go wrong referencing plant life and the animal kingdom, especially when designing creatures. Grounding your designs in reality is key to creating believability. Im also a die-hard advocate of life drawing. This is the best method for honing anatomy skills. If you are pursuing a career in concept design, Pedro advises you to keep a drawing pad handy at all times. Traditional sketching is invaluable for staying loose and creative, especially on the go. This, in conjunction with photography, builds and reinforces observational skills that are invaluable, especially for a concept artist. Photography is especially valuable when conceptualising mechanical designs. Pedro admits
www.ultra-prime.blogspot.co.uk
002
An essential Wacom Intuos4 large pen tablet, offering authentic brushwork.
003
My iPad is used to play all the Netflix I can handle while working.
004
I like to keep a rotation of inspirational material handy.
001
002
003
004
018
WorldMags.net
WorldMags.net
Lumina I: A personal character piece. I was going through a skimpy-spacemarine phase, most likely brought on by my affinity for Heavy Metal Magazine, Pedro explains Michael Pedro
019
WorldMags.net
WorldMags.net
001 002
020 040
WorldMags.net
WorldMags.net
003
001
Stranded: This image was a speed painting for a personal project. Eventually, Id like to go back and add indications of a larger ship crew, perhaps more debris, Pedro further explains Michael Pedro
002
Avatar of Tech: Boss design forDC Universe Online DC Comics
003
Ice Dragon Avatar: Illustration for theLegends of NorrathTCG, published inSpectrum 17andArt Of The Dragon: The Definitive Collection of Contemporary Dragon Paintings. Fantasy has never been my forte, but I had a lot of fun with this one, explains Pedro Sony Online Entertainment, LLC
he loves checking out photo references of motorcycles, engines and exhaust systems, as well as heavy-duty construction machinery. He tells us: I guess Ive always been interested in the visual complexity of working machinery and assembled parts. Theres a certain elegance to these systems, a rhythm in the shape that can really elevate mechanical design when done well. As a concept artist, any skill that improves your ability to communicate an idea within imagery is invaluable. Once visualising your ideas, detailing becomes essential, especially texturing. Pedro honed this while working as a 3D production artist. This is now a principal element in his illustrative style. A successful application of texture within an image, or on a 3D model for that matter, conveys the surface breakup and tactile details. These subsequently inform lighting and material attributes, he explains. In short, texturing can make your concept art more believable. The most effective way to understand the physical properties of any texture again involves photography. Take a camera with you wherever you go and shoot anything intriguing you
may happen to find. Or you can make it easy for yourselves and visit http://cgtextures.com, Pedro adds. Also, check out the art of Stephan Martinire and Khang Le. These guys are masters of believable texture in illustration. It has to be said that without a thorough, practical understanding of how lighting attributes work together, your career can severely suffer. Pedro continues: Lighting is a tool we use to describe forms, to suggest the mass and weight of an object. Lighting and colour are also primary tools in conveying drama and, as any artist knows, drama is how you really sell an image. The Gnomon Workshop currently provides some great tutorial videos on this subject, applied to both 2D and 3D. Also, check out any film by Ridley Scott or David Fincher as reference. Many concept artists appreciate the advantages Photoshop options provide, when compositing lighting and texture. Pedro is among these ranks. One of my most applied techniques involves the Lighten and Darken layer blending modes, he reveals. After roughing in some simple lighting Ill
021
WorldMags.net
WorldMags.net
004
Black Widow Stance: Illustration for theLegends of NorrathTCG, published inEXOTIQUE 6. The brief involved a female warrior guarding the opening to a cave, Pedro explains Sony Online Entertainment, LLC
005
005
Kronis: A buddy and I were reminiscing about the Eighties cartoon series Masters of the Universe, which prompted this original creation, Pedro says Michael Pedro
006
Solitude: Pedro explains: This image is an environment concept fromthe DC Universe Online project. This was the first pass, focusing on the entry hall of the Fortress of Solitude, he says DC Comics
004
often bring in photo elements to superimpose over the forms, instantly achieving the complex breakup of light and colour across all surfaces. Photoshop brushes also feature heavily in any concept artists workflow. Many will rely on a core set of styles to render effectively, regardless of the projects subject matter. Pedro elaborates: That way, you can minimise time wasted on importing sets and creating new brushes you dont really need. I used to do this a lot, actually. I use a fairly small number of textured, more traditional-looking brushes on a daily basis, which I can use for sketching, painting, you name it. I also have a few specialised sets of shape brushes Ill import for rendering different subjects, such as robotics, landscapes, artificial structures and ships. Pedro shows the same diligence to detail with every project he creates. However, he does admit that lighting plays a very specific role in producing the dynamism and atmosphere. He once again refers back to his biggest inspiration: This is a product of the films I grew up watching, such as Alien and Blade Runner, which employ a certain
006
amount of depth to enrich each scene and shot. Its just so much more immersive. I continue to hone methods through my observation of dramatic film and photography, and by studying older painted works, such as those crafted by the Hudson River School artists. However, although certain cinematography has played a major part in fashioning the looks in his work, he admits his styles are multifaceted. My personal illustrations tend to be fairly moody in terms of both subject matter and colour, he explains. Also, as a huge fan of Tim Burtons early work, I tend to use palettes that are somewhat drab and desaturated. My favourite subject matter of late seems to involve bizarre, cybernetic creatures. Commercial work tends to incorporate very specific requirements of colour and mood, so in that case Im forced to be stylistically agile. Pedro fully displayed all his creative skills and talent in his commercial work developed for DC Universe Online. He found this an interesting experience, as the team of concept artists were encouraged to create believable worlds, while also preserving the aesthetic styling that fans have come to enjoy in the comic book medium. He continues: Similarly when designing multiplayer maps for my most recent project, Halo 4, the biggest challenge was crafting
Grounding your designs in reality is key to creating believability. Im also a diehard advocate of life drawing. This is the best method for honing anatomy skills
022
environments, each with a defining theme, while maintaining the high visual quality established in the campaign missions. What Pedro has learnt from his commercial experience is that being a talented artist isnt enough, it takes something further. You have to be effective within the production environment, Pedro urges. When youre young, passionate and new to the industry, its easy to think you can conquer everything by yourself. The reality is that the best product comes from teamwork. Also, everything comes down to quality versus speed, so workflow must always be shifted accordingly. Pedro adds: In a production setting, time is money. The challenge for me then is to hone a workflow that enables me to be more creative yet faster in execution. Its something that can take years to master. However, once perfecting these core skills the commercial arena is ripe with working opportunities and budding concept artists should stay positive and eager. Pedro reinforces this point, revealing: This may sound like hyperbole but its true, concept art completed during the pre-vis period is arguably [the] most important because this is where the trial and error happens. Sketches, paintings and sculptures are created [and] iterated upon as the defining style emerges and is refined. Concept art is essential to the visual direction of any project It establishes consistency and quality if done correctly and provides the framework for the entire visual experience.
WorldMags.net
1&1 DOMAINS
WorldMags.net
Starting at
.99
rst year*
SUPPORT
24/7 phone and e-mail support
www.1and1.co.uk
* Offers apply to rst year of registration. Second year and subsequent years will be charged at the regular price. Visit www.1and1.co.uk for full offer details, terms and conditions. Prices exclude VAT.
WorldMags.net
WorldMags.net
exhibition
The Luminariums latest exhibition explores deep into the dark arts
ew exhibition The Dark Side of the Mind is the latest show-stopping project from modern, international art collective, The Luminarium. Fresh from an impressive back catalogue of exhibitions, with The Dark Side of the Mind the collective asked digital artists to explore a theme that has produced a number of eye-catching entries. As you can see for yourself, the community responded with some truly captivating pieces. The Luminarium release a fresh exhibit with a new theme every few months. Its exhibits aim to give artists the freedom to interpret the theme and produce organic and exciting artwork. Previous exhibitions include A Soldier and Genesis. The use of dark imagery has been part of social conscience for some time now and it has once again proved a highly popular entry into The Luminariums substantial repertoire.
The Luminariums Bobby Myers gives us the low-down on The Dark Side of the Mind
AP: Tell us more about The Dark Side of the Mind theme Bobby Myers: The theme is about finding the darkness within yourself and the world around you. Not necessarily to bring out evil or anything of the kind, but to see the world, and yourself, from a different perspective. Its about finding new definitions and ways to interpret the message. AP: Why do you think its such a popular theme? Bobby Myers: I think it is popular because it can be something that we dont see every day. Darkness can be interpreted in many different ways, so I think for somebody to be interested in something that revolves around a dark theme you need to be able to put something unique in there. It is fun to explore and create new ideas based off older themes and concepts. AP: Some of the artwork is stunning could you pick a favourite and explain why? Bobby Myers: One piece that really stood out to me was Creating a Nightmarish Creature by Vincent Lefvre. It was great to see how he took the mechanical aspects of the piece and shifted them towards a more organic creature, as if they were engineering a monster. When you have a theme such as this, its often hard to think of what you can do that would be refreshing for an audience to see, and I think he did it very well. AP: What is the secret to The Luminariums success? Bobby Myers: For me, The Luminarium means more than just being in an art group. Its a place where an artist can come in and be a part of a tight community. If its one thing I hope to hear out of those already in the group is how The Luminarium has helped them grow.
bobby myers
Interview with
The Luminarium is an impressive collection of super-talented digital artists with a keen eye for producing stunning artwork
Timeline of chapters
A Soldier December 2010
www.kaioshen.deviantart.com
Thor Johannessen
Tobias Roetsch
Chris Cold
024
WorldMags.net
WorldMags.net
where children have to go Kuldar Leement (www.kuldarleement.eu) three sides of me Leandro Bordoni (www.leandrobordoni.com)
Christian Hecker
Matthew Attard
025
WorldMags.net
WorldMags.net
Claire Harrison www.claireharrisonphotography.com, High-end retoucher Guilherme Strecht www.gstrecht.com, make-up and hair Margo Holder www.margoholder.com, Sleek MakeUP Raj Maher www.sleekmakeup.com Rio Debolla, Models 1
COMMERCIAL
Sleek Branding
www.sleekmakeup.com
Sleek MakeUP caters for all skin tones, with fashion-forward and innovative products at truly aordable prices. Fresh and trend-led products have forged an iconic following among make-up professionals and beauty enthusiasts worldwide.
026
WorldMags.net
WorldMags.net
PROFESSIONAL PHOTOGRAPHER CLAIRE HARRISON EXPLAINS THE IMPORTANCE OF A GREAT SHOT BEFORE YOU BEGIN TO RETOUCH WWW.CLAIREHARRISONPHOTOGRAPHY.COM HAIR AND MAKE-UP
Studio light can be harsh, so its vital to have a make-up artist who knows how much to apply, ensuring it shows up. Its also important to hide blemishes, but not totally conceal detail.
ENVIRONMENT CHOICES
We shot against a dark-blue background, with a spotlight behind the head. Another way to add contrast to the skin is to use black poly-boards or deflectors either side of the model.
WE DISCUSS COMMERCIAL EFFECTS WITH PROFESSIONAL RETOUCHERS AND PHOTOGRAPHERS, REVEALING HOW TO CORRECTLY WIELD PHOTOSHOPS TOOLS
eauty retouching is one of the more common processes practised by Photoshop users. However, many of the tutorials supplied online yield unconvincing effects, which wont suffice if you want to show off your skills in the professional arena. Commercial retouchers know what it takes to work efficiently and in this feature several of them share their secrets, exploring plenty of techniques that will ultimately transform your beauty retouching
for the better. However, before we dive in and start discussing these effects, its important to understand what defines a beauty image. Facial retouching in fashion photography is less invasive than beauty, which needs to be absolutely flawless. Beauty images have significant styling separating them from fashion photography and images are more natural with both clean light and colour. Where fashion is energised, beauty is subtle and sophisticated.
Composition is also a key signifier of a successful beauty image, in turn prompting many applicable effects. This type of photo editing is more about perfecting the model, explains professional retoucher Oliver Ingrouille (www.ingrouille.com). Its about creating pristine skin, perfect lashes and flawless make-up. As beauty images are usually close-up head shots with softer, flatter lighting, there will always be a huge amount of skin and hair detail to work with.
027
WorldMags.net
WorldMags.net
Marketing has changed and the world seems a much smaller place thanks to the internet. Jobs once confined to the worlds capitals are open to anyone with the talent and drive to find them. Make good use of the tools available to you so you can showcase your skills to the world. Start a blog, develop a portfolio page to go with it and update as often as you can, especially while youre starting out. Your readers may be potential clients. Itd be disingenuous to pretend that retouching is a secret art. Were using updated decades-old techniques with a lot of new tricks, but above all else we love the challenges each new brief brings. Ive always been more than happy to share that excitement with my readers and in turn other bloggers have become friends, clients and advisors over the years.
CLEAR SKIN Skin is the foundation of every professional beauty retouch image, with great make-up and hair supporting this. Photoshop supplies a host of photo-editing tools, all geared towards improving, enhancing and ultimately perfecting these elements. Many beauty retouchers will apply tools rapidly, as freelance photographer Joanna Kustra (www. joannakustra.com) admits: I always work in a loose way, not focusing too long on a single area. I move around quite freely and remove the worst spots. I use the Patch tool to replace blemishes, by selecting and dragging them into nearby areas of clear skin with a similar texture. This is standard application. Many find it a relatively quick fix, but Ingrouille warns: There should be no cursory method when correcting skin,
only time and patience coupled with experience and professional techniques. He often ventures into this stage by applying a combination of the Spot Healing tool, Selective Color adjustments, with Dodge and Burn application to clean and smooth. SMOOTHING On rare occasions Ingrouille will vary his technique to smooth out particularly porous or downy skin. He explains: This consists of two layers, the original below and a duplicate above with Gaussian Blur applied. I blend this layer using the split control in the Layer Style>Blend Options>Blend If sliders. This brings back skin details where needed. I then invert this top layer and use a layer mask to lightly paint effects back in where applicable. Once clearing skin this softening phase often automatically begins.
BEFORE AND AFTERS SHOWING SKIN SMOOTHING, DETAILING, DODGING AND BURNING
Merge into a blending mode layer. Apply Gaussian Blur and High Pass to soften skin Joanna Kustra Credit: Model - Liza Serepova at Premier Model Management/Make-up: Kate OReilly
Splitting Blending Options>Blend If sliders in your smoothing layer allows pore texture to show through Oliver Ingrouille/Photo Credit: Rhys Frampton
These two images show the retouching layer structure before and after Dodge and Burn application Joanna Kustra
028
WorldMags.net
WorldMags.net
Many photographers will not go near a retoucher who produces synthetic looks, but thats not to say subtle skin smoothing is entirely objectionable, as Ingrouille has shown. Kustra concurs, as she reveals: I create a new layer, change the Blend Mode to Vivid Light, invert it (Cmd/Ctrl+I) then convert to a Smart Object. I apply Filter>Gaussian Blur until I see skin pores break through. Then I apply Filter>Other>High Pass. I add a mask to this layer and apply a soft brush, targeting skin areas I want to soften, tweaking opacity to determine effect strength. REINTRODUCE PORES Over application will more than likely obscure pores entirely, totally destroying authenticity. However, several remedies present themselves, with the High Pass filter a solution once more. Retouchers will duplicate their image, applying Filter>Other>High Pass to sharpen. A Soft Light blending mode is applied to this layer, as is a layer mask that is then inverted and applied to with a soft brush, reintroducing distinct pore texture. Others will apply pore maps, which Ingrouille explains as a base image of pores taken and applied from other model photos. I personally wouldn't use this method, as images I work on are of a very high resolution and have all the detail I need, he explains. If part of the skin does feel too soft I would either sample and then heal, or cut and paste from another part of the existing skin with detail. COLOUR CORRECTION Colour correction, not to be confused with grading (discussed later), is also a subjective process. Many will apply this in pre-production phases even before applying retouch effects. Others apply after or during retouching, believing it helps visualise the finished image. Much of this process will be completed using a combination of Photoshops numerous colour adjustment controls, specifically Color Range, Hue/ Saturation and Color Balance.
Use colour adjustments. Selective Color was applied to the shadows to add tone back into these and enhance exposure Joanna Kustra Credit: Milk Model Management/Make-up: Marina Keri
HIGH-END RETOUCHER GINA HERNANDEZ (WWW.GINAHDEZ.COM) SHOWS US HOW SHE REINTRODUCES SKIN TEXTURES AFTER APPLIED SMOOTHING EFFECTS
01
Duplicate your image, naming it Low. Duplicate your Low layer and name this High. Apply a 10px Gaussian Blur to your Low layer. Activate your High layer and select Image>Apply Image. Set Layer to Low, Scale to 2, Offset to 0, check the Inverted box and set the Blend Mode to Linear Light.
02
CLONE PORES
Low now holds the colour and High the texture in your image. Apply the Clone Stamp Tool with Sample set to Current Layer to a section of pores in your High layer. Replace bad pores or add where the image doesnt have them. We can also use it to remove wrinkles and facial hair.
03
For adding pore texture to a large section of the skin, use the Lasso tool to select the pores you want to use from the High layer. Hit Cmd/Ctrl+J to duplicate that part. Hit Cmd/Ctrl+T to place and rotate the pores. Adjust the opacity to determine the textures strength.
029
WorldMags.net
WorldMags.net
001
MIKHAIL MALYUGIN ENHANCES SPECIFIC FACIAL ELEMENTS AND CREATES STUNNING BEAUTY IMAGES WWW.MALYUGINPHOTO.RU 001 APPLY LIQUIFY
I start by applying the Liquify tool with Brush Density set to 50-100 and Brush Pressure to 100 to reshape the facial structure. I recommend doing this first. Apply this tool correctly just the once, or youll experience distortion.
003
002
004
005
BEFORE
Mikhail Malyugin, Anna Nerezova, Credit: Photographer - Mikhail Malyugin, Model - Alina Efremova, Make-up and hair - Anna Nerezova (Nerezova.com)
030
WorldMags.net
WorldMags.net
JULIE ROHWEDDER
When you cant see any facial structure and natural wrinkles. These can be reduced, but in a natural dose.
REBECCA OLSEN
It depends what the purpose of the image is Its the artists impression of the world, just like any painting or sculpture. Their use of manipulation tools isnt right or wrong. No one berates Picasso for his work, saying it doesnt look realistic. OK, maybe they do. But its art, and the point is to convey your view of the world and elicit some kind of reaction from the viewer.
ESSENTIAL COLOURING Commercial retoucher Danny Meadows (www. dmd-digital-retouching.com) puts the importance of colour correction into perspective, explaining: Perhaps you have decided a green dress isn't quite green enough. This is a bit of a tricky one for beginners who havent mastered the Selective Color dialog box. The answer is to pull the magenta out of the greens. Colours have an opposite partner on the colour wheel, so make life easier and download one, using this as a reference when editing. Selective Color is particularly useful when targeting specific areas, with its ability to alter process colours (CMYK) in each of the primary colour components reds, yellows, greens and so on. If its a more generic colour correction, such as fixing colour casts, then the Color Balance adjustment is perfect. Colour relationships come into play once again, pushing blue into the shadows to remove a yellow cast for example. DETAILING LIPS Many retouchers believe that true skill lies beyond these corrective phases, existing in the perfection of details. This is the real difference between a competent retouch and a great one. Hair and lips are always particular problem areas, but practise and
learning from professional blogs makes perfect. Working with the highest-resolution files you can get, at a 100% zoom level, is the only way to truly appreciate the complexity of these areas. When working up-close and personal youll be less likely to miss imperfections, such as smeared lip lines. Stray lipstick can be remedied using a hard-edged Clone Stamp Tool. Sample slightly above the lip line and use your tool to paint a more pleasing line below. Work on a new layer and reduce the opacity where necessary. Perfect lip definition is complete with specular highlights. Meadows explains: You might find one or two missing or a couple in places they shouldn't be, particularly with dry, cracked lips. Clone these in where necessary and remove them where they don't follow the flow. You can also make lips fuller by dodging the lighter central line of the lip and burning the darker areas that recede from the camera. DETAILING HAIR When retouching hair, the artist is presented with a whole new set of issues. Perhaps even more so than with other elements, working with hair becomes a question of patience. Procedures can consist of fixing a few stray edge hairs to a full head retouch reshaping, aligning and strand-by-strand retouching.
AI IMAGE EDITING
Retouching people is not good in my eyes. I cant stand an unnatural look.
TOM BOJKO
There is no such thing as too much or too little retouching. There is only good and bad retouching.
A white brush on a new layer set to Overlay is great for bringing life to a models iris Credit: Adam Browning Hill
Use the Clone Stamp Tool to clean up any lipstick that isnt where it should be, use a harder brush for edging Credit: Tim Johnson
A good part of the fringe was copied onto a new layer and used to fill gaps in the hair Oliver Ingrouille/ Credit: Elisabeth Hoff
031
WorldMags.net
WorldMags.net
Cross or stray hairs can be tidied using the Clone Stamp Tool once more, set to Normal, Darken or Lighten blending modes accordingly. While its easy to use the latest Content-Aware Spot Healing Brush settings, adding hairs is more difficult. However, the key is getting your brush shape and properties right, matching the natural tapered shapes of hair. Once again, practise makes perfect. To fill gaps in the hair, retain defined edges and straighten fringes, Ingrouille will comp from good parts of existing hair when possible. If nothing is available I will look at other images from the shoot or sometimes a different shoot to use as donor shots, he reveals. Then I will blend these using layer masks and Dodge and Burn techniques. APPLYING MAKE UP Detailing is taken to the very extremes in commercial beauty retouching, with little left to chance or half measures. Even redefining or creating make-up where none existed before is common. Kustra demonstrates this perfectly, as she explains: I apply a Selective Color layer, invert the mask to black and paint to the lips, adjusting colour controls to achieve the look I want. I do the same with eye-shadow make-up. Enhancing blusher is similar, using Color Balance adjustment instead, improving tonality by dragging sliders towards reds, magentas or yellows. Kustra will even work with the most obscure details, such as eyeliner, to ensure everything is of a uniform high standard. Its this attention that really pays off in commercial projects. I create a new empty layer on top of my photo and draw a rough black line in place with a small brush, she reveals. I set the blending mode to Color and apply a black Color Overlay layer style, with Blend Mode set to Overlay, tweaking opacity and reshaping the line with a hard Eraser. COLOUR GRADING All the levels of perfection mentioned are applicable until the last stages, where colour grading comes to the fore. Dissimilar to colour correcting, this is a definite post-production phase. Instead of changing colours, retouchers look to enhance existing tonality. Part of this involves boosting exposure and lighting. Ingrouille explains: There is always going to be a time when you need to add or change the lighting and shadows in an image. You can paint these to a new layer using a low-opacity brush, set to either Soft Light or Hard Light blending modes. These layers can then be controlled and manipulated in various ways, including an applied Gaussian Blur to soften, edited layer masks and tweaked opacity. Retouchers will also apply a dodge and burning technique of sorts, using two Curves layers. One curve is pulled up to increase highlights, another pulled down to burn shadows. The attached layer masks are now effectively Dodge and Burn masks,
BEFORE
AFTER
To create blusher, paint your colour to a new layer using a soft brush. Set this layers blending mode to either Overlay or Soft Light Joanna Kustra/ Credit: Virginia Kiss - IMG Models, Make-up: Yuka Hirata
I apply a Selective Color layer, invert the mask to black and paint the lips, adjusting colour controls to
032
WorldMags.net
WorldMags.net
applied to subtly with a 3-5% Opacity white soft brush, showing through enhanced exposure. A Hue/Saturation adjustment layer is a great finishing device, used to target and enhance your final colours. Retouchers will simply apply one on top of all other layers, setting Opacity at 30%, with the blending mode set to Overlay. From here, preset colour ranges can be added and tweaked using Hue and Saturation sliders, effectively boosting vibrancy and contrast. With these techniques you can add drama to your image, particularly in the hair, carefully managing light and colour information in multiple areas. However, beware of excessive increases in saturation, which will need to be corrected, unless favourable of course.
Color Balance has been added to brighten shadow and correct skin tones. Selective Color is applied to enhance hair and lipstick
To achieve this lighting effect, transform bokeh stock to fit around your model then apply a Screen blending mode to this layer. Joanna Kustra, Credit: Milk Management, Make-up: Simona Vankova
PROFESSIONAL RETOUCHER GINA HERNANDEZ (WWW.GINAHDEZ.COM) EXPLAINS HOW TO TARGET THESE AREAS USING PHOTOSHOP USING CURVES AND BLENDING MODES
01
Add a new layer and set the bending mode to Soft Light. Fill this layer with 50% grey, select the Brush tool, set the brushs Hardness to 0%, Opacity at around 5% and Fill at 50%. Then you can simply paint the shadows with black and lights with white to enhance the exposure.
02
HAIR HIGHLIGHTS
Add a Curves adjustment layer and pull the middle of the RGB curve up. Hit Cmd/Ctrl+I and paint with a soft white brush to areas where you want to enhance highlights. Select Image>Apply Image, setting a Multiply blending mode. Tweak the opacity of your adjustment layer to get the right strength.
03
Hit Cmd/Ctrl+Opt/Alt+Shift+E, merging all into a new layer. Go to Add Image>Adjustments> Desaturate to this new layer. Change the blending mode to Soft Light. Select Image>Adjustments> Shadows/Highlights. Set Amount between 35-90%, layer Opacity at around 40% and Fill at 50%.
033
WorldMags.net
WorldMags.net
RETOUCHING RESOURCES
LIP CANDY ACTION
Find a starter and stock image from the royalty-free examples available at sxc.hu. Youll also need to resize accordingly to fit the lips and obtain detail.
LOAD THE FREE ACTIONS AND BRUSH SET ON THE DISC TO HELP WITH RETOUCHING
SMOOTHING HAIR
Once youve cleaned all the stray hairs, apply this finishing effect to smooth out the hair element. Combine Gaussian Blur, Apply Image and blending mode techniques to effectively lighten shadows and flatten contour, giving the impression of silky-smooth hair.
WHITER WHITES
Yellow-tinted teeth are normal, but do not sell a winning smile. Fixing colour here is easy when you know how, using just one Photoshop Hue/Saturation adjustment layer. You can also use the same layer to improve eye whiteness.
CLEAN UP
Sometimes youll want your model to pop, but still look natural. Beautifying can be as easy as simply boosting in colour vibrancy and this Action will let you achieve this. Admittedly, this effect works best with Caucasian models.
FRECKLE BRUSH
Its harder to work around naturally occurring skin artefacts like clustered freckles. Sometimes these elements should stay to ensure authenticity. However, if you have no option but to remove, use this handy brush to reintroduce fresh freckles.
034
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
DIGITAL PAINTING
www.outtheredesign.com
My artwork blends an interest in natural environments and structures with science fiction to create on- and off-world scenarios with unique habitations and concept vehicles. I am a self-taught artist.
@OutThereDesign
For this tutorial we will be using one free downloaded brush pack by Geoffroy found at www.djahalland. com in the Goodies section. At stages you will need to source your own textures from stock websites.
SOURCE FILES
WorldMags.net
WorldMags.net
01
On a new layer, using the default Erodible Tip Pencil brush, well begin our initial drawing. First, create a simple, sketchy background of the skyline, landscape and distant structure, adding a higher level of detail to our main foreground subject, the quadruped (four-legged) vehicle and figures.
02
On a new layer behind your initial sketch, use the Polygonal Lasso tool to select different levels of distance (starting with the furthest away), filling each selection with the Paint Bucket tool. Were going for beige/tan sandy colours for our desert-like terrain and a higher-contrast, blue-tinted tone for the metallic body of the vehicle.
03
Using the same technique as with the terrain, apply a shadow beneath the vehicle. Create a new top layer and, using the default brushes Round Watercolour and Round Point Stiff, blend the layers of distance on the terrain layer, defining the hard edges of vegetation. Add subtle, lighter tones of paint to the vehicles armoured plates to add a sense of depth and variation.
037
WorldMags.net
WorldMags.net
04
On a new layer use two brushes from the Rock Brush pack. Blend the terrain distance layers with the Rocky 1 brush, sampling neighbouring tones and applying one layers tone to the next. Well use this technique but with the Forme Echantillonnee brush for the mountain range. Add a new top layer, set the blending mode to Overlay and begin adding lighter tones to the vehicle armour. Add some rough details using the Rocky 1 brush.
quick tip A number of keyboard shortcuts to use on a regular basis include desaturating with Cmd/Ctrl+Shift+U, resetting the Background/ Foreground colour by tapping D and swapping Background/ Foreground colours by tapping X. A great feature of Photoshop is you can temporarily use a tool by simply holding its hot key rather than tapping it. Try Opt/ Alt and H, for instance.
05
Now, on a new top layer using the hard round pressure default brush, well sample the neighbouring colours. Go over the entire vehicle again, zooming and panning over each part, defining the edges and cleaning up details. This is quite a lengthy stage. To perfect the shape of the radar dome, use the Circular Marquee tool to make a selection the same diameter as the dome. Use the Dodge tool with a soft round brush to highlight the dome, making it more three-dimensional.
06
Using the same brush, apply detail to the environment using adjacent tones. Work on the grass and reduce the size of the brush the further away the vegetation is. With the Foliage small leaves brush, using the same colour-sampling technique, add foliage at different distance levels. This brush uses both the Background and Foreground colours selected to add variation. This is great for blending colours introduced earlier when painting the different distance levels, leaving us with a natural transition.
07
Now you need to locate a suitable texture for your vehicle. Desaturate it, drag it into the painting document, resize it to roughly the vehicles size and set the blending mode to Overlay. Now well edit the curves of the texture. Keeping the midtones at the same level, raise the dark tones until the texture appears to blend more naturally. Add a layer and, using the hard round pressure brush, reset the Foreground/Background before masking away the texture overlapping the vehicle.
08
Locate a ground texture of your choice and repeat the process, desaturating and bringing it into your document. Resize this texture to the same width as the entire document, then align and transform it to the bottom of the document with the top at the horizon. Reposition this layer below the terrain texture layer and set this to Overlay. Use the Paint Bucket and mask black using the chalk-textured brush. Start painting back in white where you wish the ground texture to appear. Repeat this technique with the texture file you used for the vehicle, applying a linear gradient to mask away.
038
WorldMags.net
WorldMags.net
final touches
Enhance results with shadows, dust and other details bring in lighting and shadows
09
For this stage were going to be using the Polygonal Lasso tool to select areas. We will then be using both the Gradient tool and a large soft round brush to add shadows to the vehicle. During this stage the vehicle will really take shape and look far more three dimensional.
add mood and lighting Any subtle change in the colour ranges used for the lighting will alter the mood in a big way and there are a number of ways to achieve this. A favourite of mine is using Gradient Maps. Layer blending modes are another feature to experiment with. Youll notice the big change from Stage 10 onwards, where we add a substantial amount of colour to the scene using a single layer set to Overlay. 001
001 Youll need to find a couple of effective textures to add a realistic grunge to the vehicles armour and the sparse desert that surrounds it. 002 Weve applied shadows using the Overlay layer blending mode to preserve texture highlights, using selections, soft brushes and choice gradients. 003 Weve put noticeably less texture and detail in the distant structure to make the foreground subject far more prominent and stand out better. 004 For the later stages well be going through a process of adding overall colouring to various areas of the image.
During the lighting and shadows stage the vehicle will really take shape and look far more three-dimensional and clearly defined
002
003
004
10
Focus on the overall feeling of the picture by adding dust and some paintwork. Using a soft, low-density, grainy airbrush, sample neighbouring colours and start applying dust to the scene. After dusting things up, lets work on the paint. Using the Square Selection Marquee tool, pick strips to paint, set the layer to Overlay and fill with the Paint Bucket tool. Duplicate the paint layer to brighten it further. Place both paint layers in a folder and, using a mask, paint away the dust with the airbrush.
11
Now were going to work on the environment colour and vapour in the atmosphere. Create a new layer set to Overlay. Using a blend of greens and blues at a high saturation, but about 50% Brightness, apply colouring to the scene with a very large soft round brush. Next, use a Gradient Map to apply contrast and toning. Choose Photographic Toning from the Gradient presets and, using Gold-Copper, set that layer to Soft Light, bringing the Opacity down to 70%.
12
add in figures
On a new layer, work on the human figures with a small hard-pressure brush. Erasing some of the unwanted pencil sketch layer will refine the edges. Aim to maintain the theme of the durable, armoured vehicle and build on the armoured outfits before working on the specular highlights and details such as wiring between the helmets and equipment. Sample neighbouring colours from the vehicle and surroundings, authentically placing the figures in their environment.
039
WorldMags.net
WorldMags.net
NEOBLEU
HOW I MADE
THIS DIGITAL ARTIST SHOWS US HOW TO USE STOCK IMAGES ALONG WITH LIGHTING TO CREATE A BEAUTIFUL COMPOSITE
aquarium design company that needed a poetical and aesthetic way of branding. I designed an aquatic landscape that could inspire serenity and grace. Using a mix of online stock photos and elements created directly in Photoshop, Brun does just that. She also talks about composition being the main theme of this image, stating that she wanted to make eyes focus on the centre and then slide to the left or right to create a panoramic feeling. As with all digital artists, Brun took inspiration from others, such as Takashi Amano, and used this to develop the image into what you see today.
arie Brun founded the creative agency Mute (www.agence-mute.fr) with three partners. Working as one of the art directors, she conceives creative and digital strategies, ensuring that projects are consistent. This image in particular was a brief for an
COMPOSITION
The image composition is based on the centre white circle. I built the water landscape around that focus, adding little details to make it relevant.
DEPTH
Using black and white smooth brushes, with different opacities and settings, I created shadows and lights. This added a sense of depth.
HARMONY
To achieve the images harmony I applied different blue and orange colour layers, with the blending mode set to Screen.
040
WorldMags.net
WorldMags.net
This image is really about composition. Eyes focus on the centre and then slide to the left or right to create a panoramic feeling
041
WorldMags.net
WorldMags.net
typography
Learn how to create Glowing Light Effects using Shapes and Blending Modes in Photoshop
while experimenting with creativity. Play with the different settings, opacities, glowing effects and blending modes to try to see what works better for you in terms of your imagination. This step-by-step guide will help you master layers, gradients and effectively use blending modes. All the files youll need that are referenced in the steps are hosted online for free download via http:// blog.advancedphotoshop.co.uk/tutorial-files.
www.aoirostudio.com/v4
I am a self-taught freelance designer from Montreal, Canada. Ive been designing for the last five years and have a huge passion for creative work that makes an active difference in our community.
@AoiroStudio
source files
Work in Progress
01
Start up Photoshop and create a new document of about 235mm x 302mm. Add a new layer and use the Gradient tool set to Linear Gradient mode (Foreground to Background). Fill the first colour stop to black and the second to a navy blue.
02
Download the Space-Texture.jpg file, then select, copy and paste it into your piece. Set the layer blending of the texture to Screen and put the Opacity to 60%. This texture will ensure a better support in lighting to our upcoming shapes and background.
03
Now well begin placing scene elements. You need to download the file Shapes.psd, then either copy and paste this into your piece or duplicate the layer to your original canvas. Now fill this new shape layer with a darker purple, set the blending to Linear Dodge and drop the Opacity to 80%.
042
WorldMags.net
WorldMags.net
techniques
043
WorldMags.net
WorldMags.net
quick tip While working with a large quantity of layers and duplicate layers. Its always a good thing to save them into groups from your Layers panel. This is an easy tip to keep your workspace clean, organised and accessible.
04
Duplicate the shape layer youve just created several times and start placing these around the canvas to cover most of the areas. You can also place them randomly and go with your own instincts. Create a new layer and use the Line tool to make some thin lines for adding depth. Use the corner of one of the shapes as reference and angle it accordingly down to the bottom. Filling that line with a Cyan colour, you can either include all the lines into one single layer or make and duplicate the layer.
05
Download the Shapes.psd file again. Now fill this new shape layer with an orange, set it to Linear Dodge blending mode and set the Opacity to 60%. Start placing the orange shape just like Step 4, duplicating the same layer and playing with the opacity. As you can see from the image shown, the two orange shapes of the middle are slightly darker because the Opacity is set to 30%. At this point the effects of playing around with blending modes are starting to show.
06
Create a new layer and pick the Gradient tool, with the Radial Gradient active, setting it to Foreground to Transparent. Fill the first colour stop with orange and the second with black. With this new setup, create small- and medium-sized gradients all around the area just like the image shown. Well need to keep them all in the same layer. When youre totally happy with the result, set the layer blending mode to Overlay.
07
Now well repeat the process of Step 6. Create a new layer, use the Gradient tool with Radial Gradient and set it to Foreground to Transparent. Fill the first colour stop with orange (#f35c3e), the second with a black (#000000), leave the blending to Normal and drop the Opacity to 100%. Dont be afraid to play with the layers, use different colours and progress into the unexpected, as sometimes youll get better results.
08
Insert your text, tagline or anything that will be the central element of your piece. In this case, we added text and used the font called ECHELON by Samuel Mensah. Type the word Neon with the font size set to about 136pt. Fill it with a beige and a light yellow. Now go into your layers options and give it some shadow. In the Drop Shadow set Blend to Multiply with an Opacity of 50%. The angle is set at 120 degrees and Distance at 36px.
044
WorldMags.net
WorldMags.net
techniques
09
001
At this point youre halfway through completing this piece. This is where you can make the last changes before continuing the steps to add more glow and apply the details that will pretty much produce your final result. If youre not happy with your canvas, this is where you can make things happen. The central focus of the piece, for instance, is clearly an essential element and will be undergoing more changes as we continue. Make sure youre satisfied with the form youve opted for and the direction the piece is going in. 002 003
10
Duplicate your main text layer and the Neon text layer and rasterise. Go to the Layer Options, select Stroke and set the Size to 18px. Fill the Stroke with a light orange and set the Fill Type to Color. Order this new layer behind your main text layer and place it accordingly to create some kind of an extension to your central element. Duplicate the layer that youve just created and repeat the process but with another colour. Here weve chosen pink, but obviously you can opt for anything you feel suits.
001 We placed shapes all around this piece to give a base to your main focal point.
003 Here weve put our focus on the central type element.
Dont be shy to let loose with the blending options and opacity
11
This is the part where youll give the vibrant look to your canvas. Create a new layer, naming it Light. Take the Ellipse tool, create a circle and fill it with white. Rasterise this and give it a Gaussian Blur of about 50px. Now youll set the layer to Overlay blending mode and place it where you want to give a little touch of lighting to your piece. Dont be afraid to duplicate the layer and place it all around.
12
After giving so much lighting to your piece, its time to add some shadow. You need to add fade and create a contrast so your colours and flares will come up more smooth and subtle. Repeat Step 11 for speed but now instead of white, youll use black and put the blending options to Normal. Play with the opacity and see what works better for your canvas. Here weve set the Opacity at 80%.
13
Going back a few steps, download the Shapes-2.psd file. Once again, choose your method for importing it into your canvas. Its an ensemble of elements taken and put together to give an edge to your piece. As youll eventually put the ensemble on Overlay or Soft Light from the blending options, youll see the variation of colours and how your background elements will react.
045
WorldMags.net
WorldMags.net
edit the finishing touches, inserting more lighting effects and details
14
Now for the fun part. Import the file Flares.psd. You can either copy and paste into the piece or duplicate the layer to your original. Dont be afraid to place around your text or central element but make sure to put it underneath your main text layer in the layer order. Now you can play with the blending options and youll see how it merges within your canvas and the background you created earlier. Here we set it to Screen. The result will always depend on how you adjust the colours, so take a little time to find the best blend for you. If using a different colour scheme and/or central element, there are numerous ways you can approach this!
15
Add a new layer, take the Ellipse tool, make an oval of about 20 x 130mm and fill it with cyan. Now use the Gaussian Blur at 50px and place it where you want to give a blue atmosphere to your canvas. Duplicate your new layer and dont be shy to let loose with the blending and opacity.
quick tip When working with either a creative or commercial work, its always a challenge to get the right effect. As you progress in your work, dont be afraid to experiment with your blending modes and layer order. Youll be surprised how randomly you can achieve a better, more unexpected result.
creativity is your boss With the randomness of overlapping layers with gradients and modes, its hard to guide into creating glowing light effects. As you progress, play with your components and elements. Go with your own techniques, your colours and your creativity, those are the key to leading your piece into something more subtle and complex. Theres nothing more educative than learning from your own mistakes and sometimes making mistakes is excellent. Overall, keep practising on your skills and always be passionate. Both together never die hard with time.
16
This is where you get to add everything you think will contribute well to your canvas. Here there were some particles following the lines created with the mix of layers and overlays. We also added a texture for the corners to give a grunge look.
17
Select all your layers and every element except your central one. Duplicate it all and merge the layers. Youll find you have one layer with all your work except for the piece of resistance. Set an Overlay blending mode and put the Opacity to 20%.
046
WorldMags.net
WorldMags.net
Imagine Publishing has a range of magazines, bookazines and DVDs to improve your Photoshop skills
Bookazines Back issues
5.99
each
10% OFF
all orders until 24 December!
Containing over 250 pages of tutorials, in-depth features and interviews with some of the very best digital artists in the world. You will also nd a free CD full of tutorials for you to follow. 14.99
Packed with top tips and handy guides that can be completed in just 300 seconds, this is the perfect book for those wishing to improve their photos and learn the basics of Photoshop. 9.99
Packed with essential tutorials and features, this book will help you take your digital creations to the next level. Including all the new tools in CS6 and step-by-step guides on how to edit and transform your images. 12.99
If you're looking to add the nishing touches to your images, this is the book for you. Helping master all the techniques and tools of Photoshop. 12.99
Learn a wide range of skills from simple photo edits through to more involved photomanipulations. Tutorials and features explain how to tackle vital tasks. 6.49 with code
The perfect way to develop your techniques. From top tips on image editing to using the right tools for the job, with this bookazine youll go further with this fantastic software. 14.99
If you want to take your Photoshop creations and images to the next level, then this is the book for you. Covering all the major aspects of Adobes editing suite. 14.99
Discount code
PHOTO
Order online
@imagineshopuk /imagineshopuk
MAGAZINES
BOOKS
GIFTS
WorldMags.net
NEW MEDIA
Use Photoshop CS6 video tools to replicate Super 8mm movie looks
048
WorldMags.net
WorldMags.net
n this era of handheld devices capable of capturing HD video, fully equipped with image stabilisation and high-resolution sensors, our modern video is very clear, crisp and pristine. However, some see this as sterilised video, lacking much of the character and personality of old film. This may simply be our nostalgia calling, but theres no denying that theres a certain charm to the old Super 8mm film with its shaky camera focus and visible film grain. If youve ever wanted to send your video clips back in time you now can, by simply following the steps in this tutorial youll be able to simulate an aged appearance in Photoshop. The starter video for this project is freely available on the website www.stockfootageforfree.com. However, we fully encourage you to apply this technique to your own video clips. We will show you how to achieve an authentic aged-film look with desaturated colours, 4:3 aspect ratio and clouded edges. Well even show you how to create your very own animated film grain, complete with dust and scratch textures. Alternatively, feel free to grab the file supplied and use that. This project does require Photoshop CS6 and assumes your video card is capable of performing video work.
www.thepixelpro.com
Kirk is an all-round graphics geek in the Washington DC area. He routinely annoys those around him with inane knowledge of visual design tools. More of his tutorials can be found in our sister magazine, Photoshop Creative.
@thepixelpro
SOURCE FILES
On the disc is a video file to use as reference for the final effect. The file VerticalGrain.jpg is also included to assist with the steps at the end of the tutorial.
FROM HD TO SUPER 8
WORK IN PROGRESS
01
The video can be found at www.stockfootageforfree.com. The clip is named Young Woman in Wheat Field and is free to use. Once youve found the clip, open it in Photoshop and ensure the Timeline panel is visible. Old Super 8 video playback was always a little quicker than reality, so to simulate this effect adjust the video speed by Ctrl/right-clicking on the Video layer in the Timeline and set the speed to 125%.
02
COLOUR CORRECTION
Vintage film lacked the depth of colour seen in todays technology. To replicate this, start with Hue/Saturation with Saturation set to -40 and a Lightness of +16. Use an S-shaped Curves adjustment to increase contrast then add a Photo Filter adjustment, set to a deep sepia, with Density just below 50%. Make sure these adjustment layers are stacked above the Video Group, not in it.
03
AUTHENTIC FRAMING
Add a Frame layer on top, fill it with white and set to Multiply. Use the Rectangular Marquee tool with a fixed ratio of 4:3 to create a selection around the girl. Add Select>Modify>Smooth>50px, then Feather by 25px. Inverse, fill with black, then cancel the selection and use the Filter Brush Strokes>Spatter with a Spray Radius and Smoothness set at 10. Finally add a Gaussian Blur.
049
WorldMags.net
WorldMags.net
04
colour bleed
Another aspect of aged film is that the edges tend to discolour faster than the central area. Create another new layer for a coloured frame. Use the same selection process as the previous step, but this time fill the frame with a deep green (#194715), set the layer to Multiply and continue to add Gaussian Blur filters until the green bleeds into the view from the borders.
quick tip An issue with editing video in Photoshop is that halfway through a playback one or more layers will seem to disappear. This is caused when a new layer is created and it doesnt have time to span the entire project. Check the Timeline to make sure layers go from start to end.
05
handheld motion
The clip is currently stable, solid and not at all reminiscent of an old shaky Super 8mm film effect. First convert the Video layer to a Smart Object. In the Timeline, Ctrl/right-click on the video and choose Zoom from the Motion presets. Open up the Layer Properties in the Timeline and adjust the Transform keyframes so the zoom happens just before the girl looks up and smiles. Next add several more Transform keyframes to slightly move and rotate the clip, so it appears to be handheld.
06
The clear, crisp focus is another modern element that needs to be eliminated if the effect is to be believable. Add a Smart Blur filter to the video Smart Object. Use a Radius of 5, Threshold of 7 and set Quality to High. Follow this with a Gaussian Blur of 2px. These blurs are added as Smart Filters and will greatly slow preview playback. If the performance is an issue, hide the Blur filters until the project is ready for exporting.
07
Another rich aspect of old film is the bright flickering. This can be mimicked by animating the opacity of a Brightness/Contrast layer, added above the other adjustments. Set the Brightness to around 70 and drop the Contrast to around -5. Reduce the Opacity to 0% then go to the Timeline and engage the animation for the adjustment layers opacity. Set several pairs of keyframes along the span of the project. Add a keyframe between each pair with the Opacity set at 100%.
08
One of the most noticeable characteristics of this vintage effect is the film grain. The older the film is, the more pronounced the grain appears. Photoshop actually has a built-in grain texture that looks very similar to the real thing. Start by creating a new file at 1,900 x 6,500px with a white Background. Open the Filter Gallery and browse the Texture folder. Select the Grain filter and set the Grain Type to Clumped. To finish the effect, set Intensity at 75 and Contrast at 66.
09
grain movement
Drag the grain file over onto the main project file. Drop it as a layer just below the frame layers. Set the blending mode to Overlay and reduce the Opacity to 75%. To get the film movement, this long grain layer needs to move quickly upwards. Set a starting position keyframe, so the top of the grain layer aligns with the top of the project canvas. Set another keyframe about a quarter of the way through the video, with the bottoms aligned. Repeat this behaviour until the motion fills the Timeline.
050
WorldMags.net
WorldMags.net
working with the timeline Working with the Timeline in Photoshop can be a daunting task if youve never tried keyframe animation before. The Timeline resembles the Layers panel, but includes the element of time flowing from left to right. The sub-layers display properties of a layer that can be animated. This is possible when assigning keyframes, which define the setting for that property at that exact time. The property then changes to meet the next keyframe definition over that span of time, between keyframes. The longer the time span between the keyframes the more gradual the change. To create a sudden change, simply place the keyframes closer together.
10
vertical grain
The final aspect of the process is adding dust and scratches. While these elements are the most unique and interesting of the entire effect, theyre also the most challenging to get right. This effect gives vintage films even more character and personality. Begin with another new file sized the same as the previous grain texture file. Fill it with white and add Vertical Grain from the Grain filter, setting both Intensity and Contrast at 50.
11
a fair dusting
Add a new layer and select roughly half the canvas. Fill with white and run the Noise>Add Noise filter at 3%, with Monochromatic activated. Use Levels to drastically squeeze the contrast until only a sprinkling of dots is visible. Add a Gaussian Blur to soften this noise, then set the mode to Multiply and scale the layer up to cover the entire canvas. Add a layer mask and run the Render>Clouds filter on the mask to create an uneven dust dispersion.
12
Individual hairs and scratches need to be drawn by hand to be convincing. For the best results use the Pen tool to create several short, curled and twisted paths for the hairs, then a few elongated straight paths for the scratches. Add a new layer and set your brush at a 1px width. Switch to the Paths panel and select Stroke Path from the Panel menu. Afterwards, the hairs can be softened with a slight Gaussian Blur applied.
13
The final aspect of the process is adding dust and scratches. While these elements are the most unique and interesting of the entire effect, theyre also the most challenging to get right
add some character
Flatten the layers of the vertical grain texture file. Drag it onto the project file, drop it just over the previous grain layer and set it to Multiply. Adjust the start and end times to cover the first quarter of the Timeline. Add keyframes to the position to create the same vertical motion. Apply a central keyframe and shift the texture. Place keyframes at each end for the opacity, with a middle keyframe set so the Opacity drops to around 75%.
14
In the Layers panel, drag the Vertical grain layer down to the New Layer icon to create a duplicate, which includes your animated properties. In the Timeline slide this copy to the right until it begins where the first one ends, but keep it on its own layer. Next, adjust the middle keyframes for lateral movement and opacity to prevent obvious repetition in the animation. Make two more copies in the same way to fill out the Timeline.
15
Preview the clip and look for any obvious issues or problems that need troubleshooting. Remember to turn the Smart Blur filters back on. When youre totally happy with how everything looks, its time to export the movie. Go to File>Export>Render Video. Apply the settings as you want them and launch the render. Be warned, this could take a while. Weve supplied our end result as reference and inspiration.
051
WorldMags.net
WorldMags.net
OUR KINGDOM
HOW I MADE
Mateusz Chojnowski
MASTER VIBRANT LIGHTING EFFECTS WITH TYPE AND PHOTOS, USING COLOUR ADJUSTMENTS, LAYER MASKING AND BLENDING MODES
Everything else is made out of stock photography, applied brushes and layer blending modes. I treated 3D elements in this image like salt and pepper in a soup a pinch adds a bit of extra flavour, but doesnt necessarily hold it all together. The special effects were achieved by matching the contrast, tonality and light direction in the stock images. Chojnowski used Color Balance, Vibrance and Curves adjustments, with brushwork. All the main elements were equally sharpened, he adds. To get the type-shatter effect I used the Polygon Lasso tool to select, copy, cut and paste parts into different areas. I added a clipping mask on the layer and used the Brush tool to add colour to the type.
his image was influenced by both the natural and the man-made worlds. The lion embodies valour, strength and courage. The two horses embody freedom, spirit and gentleness, explains artist Mateusz Chojnowski (www.ikaami.com). The broken type symbolises how the former world destroys the latter. To look at this image you would think 3D elements had been applied throughout, but thats not the case, as Chojnowski reveals: Only the text is 3D.
I treated 3D elements in this image like salt and pepper in a soup a pinch adds a bit of extra flavour, but doesnt necessarily hold it all together
To create each horse I duplicated the original image layer, applying the Glowing Edges filter to one, the Chrome filter to the other. I added a golden colour using Color Balance and Curves.
A golden gradient that fades to transparency created most of the lions aura. I applied the Warp Transform tool to shape it and applied a Screen blending mode. I repeated this several times around the lions head.
To achieve the light effects on the rocks I applied a soft brush, with Opacity and Flow set at 20%. For edges I used the same colour, but a smaller and harder brush at 50% Opacity and Flow.
The whirlpool is created from a stock image, adding several other images of water splashes around it. I used Color Balance to merge the overall tonality of these different stock images.
052
WorldMags.net
WorldMags.net
053
WorldMags.net
WorldMags.net
054
WorldMags.net
WorldMags.net
T
OUR EXPERT J.R. SCHMIDT
www.cargocollective.com/jrschmidt
J.R. is a 3D artist and motion designer based in New York. His favourite things are bad weather, old castles and nostalgia. He does believe in extraterrestrial life, but not to the extent that it distracts him from thinking about pixels and polygons.
NEW MEDIA
he inspiration for this illustration comes from low-poly modelling techniques used in videogames by 3D artists. When videogame designers were first beginning to break into the third dimension, these techniques arose from the need to converse processing power. Today those limitations are less of a problem, but enforcing constraints on your work is an excellent way to inspire creative thinking. Well use the low-poly constraint to drive our design process throughout the tutorial. Here well be using CINEMA 4D and Photoshop. A basic understanding of the
055
WorldMags.net
WorldMags.net
WORK IN PROGRESS
01
GET STARTED
Begin by modelling your base terrain. Select Create>Object>Landscape and activate Soft Selection to manipulate geometry, in turn forming the mountains and carving the river. Once youre happy with your look, extrude the edges around the border straight down, revealing the layers of earth underneath.
We need to create more variation within the mesh itself. Create a Displacer deformer on the landscape group, above Polygon Reduction deformer
02
POLYGON REDUCTION
Select Create>Deformer>Polygon Reduction. This deformer automatically triangulates the mesh and reduces the number of polygons, by merging the points that are closest to one another. The problem now is that this has greatly reduced the level of detail. To add more complexity, select Create>NURBS>HyperNURBS.
03
DEFORMATION
Next we need to create more variation within the mesh itself. Create a Displacer deformer on the landscape group, above Polygon Reduction deformer. In order for it to affect the geometry, we need to give it a shade that tells the mesh how to deform, so click on the Shading tab in the Displacer properties and add a Noise map.
056
WorldMags.net
WorldMags.net
04
Start with a long vertical Plane positioned where the river ends. We can give geometry the same treatment we gave the landscape, by adding the Displacer and Polygon Reduction deformers. In order to create the polygonal mist at the bottom, well use a PolyFx deformer. Go to Mograph>PolyFX, then add a Random Effector by going to Mograph>Effectors>Random. By default the Effector will affect all polygons in the geometry. Go to the Falloff tab, change the Shape to Linear, then rotate the effector so that its only displacing the bottom portion of the geometry.
QUICK TIP Always try to work non-destructively. Use HyperNURBS objects instead of the Subdivide command. Avoid converting your objects to editable meshes until its absolutely necessary. Keeping the topology on your base mesh clean and manageable will save you headaches later. Especially if you decide you need to change something.
05
Use the modelling techniques discussed so far and continue to create the items that will add detail to your scene for example clouds, huts, plants and trees. Sometimes its best to scrap the deformers and just do this by hand. If you find that you cant achieve desired effects, dont be afraid to use the Knife tool and start making a few random cuts. When modelling non-organic objects, like the huts in this scene, you may want to use a more calculated, symmetrical process of cutting faces and welding points personally.
06
CREATE MATERIALS
All of our materials will share the same simple structure. Create a basic material, leaving only the Color channel enabled then add a Fresnel shader to it and adjust the colours on the ramp. The Fresnel shader uses the angle a polygon faces the camera and remaps it across a gradient. In addition to emphasising the faceted look, it also enables us to use a variety of colours in a way that is less uniform than if we had used a Gradient shader.
All materials
Grass
Rock
Snow
Water
07
To simulate sunlight, use a Physical Sky object. Under Time and Location, adjust the time of day to change the position of the sun. In the Sun tab, be sure to enable Area Shadows. In the Render Settings, enable Global Illumination and Ambient Occlusion. Keep your Global Illumination settings low to speed up the render times.
08
We want to be able to control some of the objects in our scene separately once we get into Photoshop. Do this for the Sky object first. Add a Compositing Tag and assign a number to the Buffer. In the Render Settings enable Multi-Pass, adding channels for Ambient Occlusion, Global Illumination, Shadow and Diffuse. Also add an Object Buffer for each element we isolated, using this with a Compositing Tag. In the Save tab, under Multi-Pass Image, specify your preferred file format and uncheck Multi-Layer File.
Ambient occlusion
Global illumination
Save
057
WorldMags.net
WorldMags.net
COMPOSITE IN PHOTOSHOP
ASSEMBLE THE RENDER PASSES
09
001
In Photoshop go to File>Script >Load Files into Stack. Browse to the images we rendered and hit OK. Now we will set the correct Blend Modes to each of our render passes. The Ambient Occlusion and Shadow layers should be set to Multiply. Specular, Global Illumination, and Ambient should be set to Screen. Refer to our example for the correct layer order. 002 003
10
Opt/Alt-click the eye icon on one of the black-and-white object buffer layers to make it the only layer visible. Cmd/Ctrl-click the RGB channel to make a selection, create an empty group and apply a mask to it. Repeat this procedure for the other object buffers we rendered. This will enable us to isolate our adjustment layers to specific portions of the image. Add the image layers (Ambient Occlusion, Global Illumination, Shadow, Specular and Diffuse) to the Sky objects group. Invert the mask by pressing Cmd/Ctrl+I, creating a transparent background.
001 FINALISE THE MODEL So far we have finished modelling, texturing and lighting the landscape. Now we can render.
002 GET THE RIGHT RENDER Be patient when rendering and take time to experiment. It is very much a process of trial and error.
003 PUT IT ALL TOGETHER Next we will take the render passes and composite these into one image, to complete the final effect.
11
Sometimes Alpha channels leave traces of the original background around the edge of your image. In our case, this appears as a thin dark line. To get ride of it, Cmd/Ctrl-click the landscape group mask, make a selection then delete the mask. Increase with the selection still active, select the Marquee tool then activate Refine Edge. Set Feather to 0.4px and decrease Shift Edge to -60%. Click OK and reapply a mask to the landscape group.
12
Now well take advantage of the individual render passes. Shadows are almost never black and we should avoid using solid colour, so apply a blue Solid Color adjustment layer, set its blending mode to Screen and clip it to your shadow layer. Do the same for your Ambient Occlusion layer, but using a dark-brown or rust colour instead. The difference these colours make is subtle yet very important. We can now continue to adjust our render passes.
13
COLOUR CORRECTION
When using a Curves adjustment layer, pleasing results can easily be achieved by manipulating the RGB channels separately. This treatment creates a wider range of colours and adds more life to your scene. Try this on a black-andwhite gradient to see the full effect. Use a Gradient adjustment layer for the background, then add a pink near the horizon, shifting to lighter blue further up, then finally a clear cyan.
058
WorldMags.net
Learn to inspire
www.dphotographer.com
WorldMags.net
> Great close-ups > Low-light shooting > Composition tips > Flash vs LED >
LANDSCAPE TIPS SHOOTING ADVICE WILDLIFE PHOTOS PORTRAIT GUIDES CAMERA REVIEWS
ON SALE NOW:
WorldMags.net
TOOL FOCUS
Use Photoshops library of camera lenses to quickly correct lens distortion in your photographs
desirable for either artistic reasons or because the automated response doesnt quite match the expected results. The left side of the dialog box houses tools that provide intuitive on-canvas adjustments. The Remove Distortion tool lets you drag the centre in or out to compensate for barrel or pincushion distortion. The Straighten tool enables you to draw a line to create a new horizontal or before vertical axis. These settings can be made in addition to the auto-corrected settings. Along the right side of the dialog box youll see two tabs, Auto Correction and Custom. The former tab enables you to specify which issue you wish the auto correction to address by simply enabling that topic with a checkbox. The Auto Scale Image feature counters any edge distortion and provides a
ts commonly accepted that pictures never lie. Now, despite the obvious irony of printing that statement in a magazine about Photoshop, one of the truths about photography is that lenses dont truly depict reality. Lenses are round, so light travelling through them bends with their curvature. This is most noticeable near the outside edge of images from wide-angled lenses. Architecture provides the best means of highlighting this skewed reality. Long, flat horizontal or vertical lines tend to bow when viewed through a lens. Edges of opposing colours might display a fringe of tones, or the corners of the image may appear darker due to a lens vignette. Each of these issues is the result of how the rounded camera lens broadcasts light onto a flat image. However, the manner in which these issues are created can be calculated and predicted.
after
Manual settings
While youll find the automated response is moderately adequate, additional adjustments are
If you prefer an enhanced vignette, use the custom vignette control in the Lens Correction filter
060
Photoshops Automated Lens Correction can automatically detect an images lens profile and correct common lens errors, with little to no input from the user
WorldMags.net
WorldMags.net
001
002
003
004
005
dropdown menu. With this menu you can specify how to treat those edges. The lower portion of the tab displays which lens profile is being used. Usefully, Photoshop will automatically assign one according to the EXIF data in the image, but it also enables you to override this assignment by searching and choosing a profile. The Custom tab gives further control over the lens issues through an assortment of sliders. These provide you the means of correcting issues, by dialing in settings manually to correct the distortion,
colour fringing, vignette and so on. The Custom tab also provides an additional control to correct keystoning and remove any exaggerated perspective from an image. These manual controls should be used if the lens profile is unknown, if the automated results are unsatisfactory, or to add some other personalised effect. This is frequently the case with adding an artificial vignette to an image. Many photographers prefer the appearance of an enhanced vignette and will use the Custom Vignette control in the Lens Correction filter.
See how to use this powerful tool to correct this cathedral image
01
Retrieve the Cathedral.jpg image supplied online at http://blog.advancedphotoshop.co.uk/ tutorial-files. Go to Filter>Lens Correction and in the Auto Correction tab ensure that the Lens Profiles box is populated with at least one lens profile. In the Correction area check the Geometric Distortion and Chromatic Abberation checkboxes, but leave the Vignette box. Engage the Auto Scale Image box and set the Edge to Transparency. To see the effect of the lens correction toggle the Preview checkbox.
02
manual adjustments
Switch to the Custom tab for additional adjustments to set by hand. Begin with the Transform area, setting the Vertical Perspective to -40. This removes the exaggerated vertical perspective in the image. To compensate for some of the other distortions introduced, set the top Remove Distortion slider to -2. Then set the Vignette amount to -45 for a more artistic appearance. These corrections will push the top of the structure out of frame. To recover it, reduce the Scale to 93%.
03
corner treatment
Click OK and Photoshop applies the correction. To address the hole at the bottom of the image, first create a selection of the layer by Cmd/ Ctrl-clicking on the layer thumbnail. Invert the selection, then go to Edit>Fill and set the Use to Content-Aware. Photoshop fills in the hole with resampled pixels from the rest of the image. Hit Cmd/Ctrl+D to cancel the selection. If there are further visible lens distortion issues, you can run the Lens Correction filter again to refine further.
061
WorldMags.net
WorldMags.net
062
WorldMags.net
WorldMags.net
GRAPHICS
SOURCE FILES
Advanced Photoshop magazine has supplied a selection of basic objects created in Illustrator and a couple of vector groups applied throughout this tutorial. Please remember, however, these assets are to be used in non-commercial projects only.
WORK IN PROGRESS
01
Step 12: Layer shapes and place
in text
We will start by applying a grid or squared pattern, which will help us place balanced graphical elements. We will also apply an adapted version with the golden ratio to the top of our layout, in order to provide us with new spatial references that we will see applied in the final design.
02 03
DETERMINE DIRECTION
You can see the grid study dictates shape weights, which will be evenly distributed between the text and applied shapes. Also, we will determine the direction that we want our shapes and texts to adopt. In this case the direction of our shapes will be set to diagonals with an inclination of 61 degrees.
PLACE TEXT
We will make an initial placement of text, with a standard weight applied to all fonts. We have selected a font suited to the style of our intended design, which in this case is Avenir Lt Std. The hierarchy established by our initial grid determines the position of this text.
063
WorldMags.net
WorldMags.net
04
Once we have placed our starter text we can define text styles. Pay attention to the grid, as it helps you establish a new balance between the boxes of text and the space reserved for our graphics. Once applying your styles to the text, and after modifying the position, we will alter the colours of the texts to make them heavier or lighter. In the case of the header we will choose a dark colour and a clearer tone for the smallest text. This game of contrast is defined by the results we envisage for the design.
05
Here you can see the kinds of shapes weve created using Illustrator, due to the vector nature of its tools. Resizing and applying gradients and outlines becomes much simpler, unless you have CS6 that is, as it now has the same shape engine. Open Illustrator and create a document to construct the first parallelogram. We can construct it from a rectangle, which we will displace horizontally by shifting the top two vertexes right. We will clone this first piece multiple times to create different elements by changing size, thickness, colour and transparency.
quick tip To continue expanding the image you can duplicate the major vector groups and modify them to your taste. Experiment with size, inclination and colours. You can get great effects by duplicating and flipping horizontally.
06
import vectors
Once we have created a sufficiently diverse gallery of vectors, we will have to import these into Photoshop. You can easily do this by directly copy and pasting them. Also we will be able to import them as a Path and then define styles by adding a new Gradient Fill adjustment layer. Using any of these two techniques will support the ability to rescale these shapes without losing any quality. Continue to duplicate imported elements, but name each one according to the order its placed.
07
Now we will begin to duplicate the shapes and start defining the volume that will occupy our design. To obtain the effect that is observed in the supplied example we will have to apply the Multiply layer mode to each one of the layers that contain the imported vector elements. Initially we dont have to conform to any specific structure or template. What we achieve here is simply a study of space, trying to simulate the illusion of a collision between particles.
08
Later we will start defining the order of our elements more accurately. Its advisable to merge the layers to exercise control over your graphics. We will start by ordering and grouping the biggest elements and continue expanding graphics by incorporating the rest of the smallest or subtle shapes. When overlapping layers, make sure you create a visual balance of sorts through the applied Multiply blending modes to your red and blue shapes, which create your gradient effects.
064
WorldMags.net
WorldMags.net
CLONE ELEMENTS, MAKE GROUPS AND MASK THEM USING WHITE SHAPES
09
After obtaining balance in our larger, denser shape layering, start applying smaller white elements. Merging this group of elements becomes an effective way to create visual dynamism, due to the great quantity of vector pieces that we will incorporate and juxtapose. The placement of these smaller graphics generates a certain amount of complexity and movement in the piece, so take your time with this step.
002 BALANCING SHAPES Applying solid colour shapes with outlines creates visual dynamism, one fitting yet contrasting the other
003 NEGATIVE SPACE In the following steps we will create the illusion of cutouts in our graphic by applying white shapes
10
Now well import white parallelograms to create the illusion of empty spaces in our graphics, placed at points of interest. These extend the possibility of creating minimalist yet complex design. While applying this new graphic we will make visible and use the golden ratio grid as before to respect the key areas of the design. Modify the size and transparency of the parallelograms to obtain subtler effects in the graph.
11
Once we have obtained a group of graphical elements that we like, we will merge (Cmd/Ctrl+E) and lock these layers, ensuring that none of these shapes break away from our defined graphic layout. Again import more shapes from Illustrator and start covering the design space with these, applying Multiply blending modes. Add to areas you think will benefit most. Once again we will begin to duplicate dense and dark elements first.
12
Well place white parallelograms, used once again to create empty spaces and further complexity on a minimalist design. Instead of masking the design with these shapes you can use alternatives. In this case were happy with the direction of our graphic, which moves only in one direction on the same axis. Well respect the angles of the initial parallelogram and pay attention to the grids when creating these new hollows in our graphics.
13
To signify the geometry and direction of the collision that we are portraying, well add grey lines (2px Stroke) that will lengthen existing angles making three axes. Consider points where the new axes should cross at the centre of the shapes and other general points of balance. Making the axes of co-ordinates visible and projecting them on the canvas enables you to obtain solidity and balance, at the same time reducing the weightlessness of shapes.
Initially we dont have to conform to any specific structure or template. What we achieve here is simply a study of space, trying to simulate the illusion of a collision between particles
065
WorldMags.net
WorldMags.net
Apply white gradient lights, change the background colour and create texture
14
Well edit our shapes and make small modifications to any of the groups containing graphical elements. For more rapid and concrete editing it is advisable to group all the layers in each set of vectors that we have designed. One of the most visible modifications is the placement of a new hexagonal white element at the ends of our white parallelogram shapes, which generates new geometry in the empty spaces of the design.
15
be critical
Erase all those small details that break the symmetry or differ from the geometric criterion. Continue applying the grid pattern and the crossing points that this generates. Ensure the image is balanced correctly, with graphical physics that easily relate to the weight of the text. Once we have grouped all the existing shape layers that compose this version of our graphic, we can once more duplicate and look for new graphical alternatives.
establish your layout The styles and the layout that we choose for our text content will have a great influence on the style of a design. In this case, using a layout justified to the margins of the workspace offers a comfortable reading experience. Its important to create a visual hierarchy with text. On the basis of this criterion, and respecting the grid, we will set our different texts styles as such: Header1: Font: Avenir LTstd Black 150px Header2: Font: Avenir LTstd Book 133px Subtitle: Font: Avenir LTstd Light 86px Emphasized Header: Font: Avenir LTstd Heavy 51px Emphasized: Font: Avenir LTstd Light 37px Copy: Font: Avenir LTstd Light 24px
quick tip To enrich your graphics you can incorporate additional effects such as small soft lights and contrasts. You can also include new parallelograms or clear colour outline layers set to Soft Light or Overlay blending modes, over the existing graphics. This will improve the areas that remained too dark before.
16
Place smaller text in the bottom-right corner of your canvas. This will balance all existing boxes of copy. Before establishing the style of this new text we will study the space that has been allocated to house this design element. We have decided to reserve a space in this area to incorporate a minimalist graph. This ensures all of the text aligns to the grid and so is cohesive with the whole design.
17
Now we will decide the styles of the texts applied and place where they best affect the balance of our design. Thanks to the previous step it will be simple to determine placement, type scale and weight. To balance text effectively, create a grey line of 2px in the bottom-right part of the canvas. This will support future graphics and text placement by creating an imaginary grounding.
18
apply triangles
Having reserved certain space for the minimalist graphic, create a small triangle in a new layer by applying the Polygon tool, set to 3 Sides and a #d3cbbd tone. Duplicate this shape and construct the rest of the graph, referring to Fibonaccis sequence. The size of the graphic and its colour will determine visual weight and therefore the presence this will have on the design in general.
066
WorldMags.net
WorldMags.net
19
Now well incorporate some relevant information through graphic elements. The look of these was inspired by a network of equations for infography, based on information about the Higgs Boson. Were using four Feynman diagrams for Higgs production that serves our intentions. Now we need to adapt these diagrams to our own design and provide complementary details. We create diagrams using the Pen tool, applied to angles that coincide with those present in our shapes.
20
ACHIEVE SHADOWS
We will start creating discreet shades to be able to give our design an almost third dimension and more movement. Make a selection of an existing parallelogram shape (Cmd/Ctrl-click the layer thumbnail) and place it where you want to incorporate a drop shadow. Well create a new layer and apply a grey-to-transparent gradient (#e7e4e4). Repeat the process in other areas of the graphic structure to add further interest, but without overcrowding the piece.
21
SHADOW PLACEMENT
Once we have incorporated small shades inside the graphical structure, we will proceed to create major ones in order to force the general perspective of our graphics and create a general environment. In this case we will use the Polygonal Lasso tool to select six areas, based on the perspectives that weve created in our design. Once your selection is set, apply the gradient from the previous step and edit opaqueness until the obtained contrast is convincing.
QUICK TIP To illuminate, we can clone and place the new cap below the lights created for the backlight. Give a new value of opaqueness of 1 % to each of the two caps, preserving the contrast obtained.
22
INJECT ILLUMINATION
Its time to proceed to create more intense lighting. First apply a darker colour (C=9, M=7, Y=11, K=0) to your background. Add a group of lights to your graphics by making a selection of a parallelogram layer, applying a white-to-transparent gradient to these on a new layer. Repeat this process and once you have illuminated the graph internally, simply apply a new white-to-transparent gradient over your background layer. This will create the effect of a backlight in your design.
23
APPLY A VIGNETTE
Now we apply gradients to each side of our workspace, much like we have in previous steps, only this time we use a darker colour. Well add this to our image margins (edges), as generating focal lighting draws the viewers gaze to the spaces with major contrast inside the most illuminated zones. Also it will enable us to refill those empty zones in our design, bearing in mind that these are the spaces that offer relief and a clean finish to frame our various elements.
24
Create a selection of 21 x 9px and fill this with a solid colour (C=22, M=20, Y=19, K=37), on a new layer. Duplicate this, forming a pattern that resembles a chess table occupying the whole canvas or apply the texture_bg.psd supplied. Merge all these new layers to create your texture, setting layer Opacity at 1% and the blending mode to Multiply. Duplicate this layer and place one over the entire design and another just over background layer. Finally add a solid white frame.
067
WorldMags.net
068
LASER DANCER II
HOW I MADE
Sakke Soini
DIGITAL ARTIST SAKKE SOINI TELLS US HOW HE CREATES DISPLACEMENT AND LIGHTING EFFECTS
his image is in fact a redux of an earlier existing piece with massive Eighties influences. Artist Sakke Soini (www. sakkesoini.com) wanted to create a similar work, but with a modernised look, hence the cool laser effects. These lasers consist of three layers each. First there is a white line with an outer glow set to Linear Dodge blending mode, explains Soini. On top of that there is a blurred light-blue laser set to Screen blending mode to apply depth. Finally there is a noise layer consisting of white particles again set to Linear Dodge The displacement effects are the result of two combined techniques. Soini reveals: I used various paint splatter images. I placed these into position, hid visibility and made a selection. Then I copied a part of the original image, moving it to a new position. I finished the effect by using a custom small particle brush, adding more detail.
WorldMags.net
WorldMags.net
I copied a part of the original image, moving it to a new position. I finished the effect by using a custom small particles brush, adding more detail
First I set up the model image, separating it from the background with the Pen tool and then making small adjustments to the skin, hair, lips and eyes.
WorldMags.net
WorldMags.net
I applied the main design elements into the image with the Pen tool, I then added and experimented until I had the desired layout.
ADD MARKINGS
The markings on her body were created in Illustrator and then imported into Photoshop. I used the Transform>Warp tool to place these around her body.
069
WorldMags.net
digital painting
TRICK
start image
ere we will teach you how to take an otherwise flat shape or texture and quickly turn it into an object that looks 3D. The easiest way to achieve this is to fully paint the object, adding texture and brushstrokes while keeping its local colour (in this case grey) very uniform. Well start with our big shape, painted flat-grey, and then lock the layer. This enables us to paint freely within a shape without having to worry about coming too close to its edges. Once the shape is painted and finished, we implement the very simple strategy of adding a shadow and bounce light to our form. This helps ground an object in the entire image. Once the shadow is in place, well select some colour from the ground plane and paint it softly into the lower half of our shadow, so as to show the ground being reflected into the shadow.
01
Here we have created an enormous rock by painting a flat shape and locking it with the Lock Layer button. Using a photo reference, paint your shape to your liking. Make sure that you lock the layer so you can paint close to the edges of the piece without ruining the background.
02
Now its time to add a shadow. After creating a new layer, hover your cursor in between the new layer and previous layer and hit Opt/Alt to tie them together. Anything you paint will now only show up on whats painted on the layer below. Set the layer to Multiply and begin to paint in a shadow.
03
Using the same method as before, create a new layer that only affects the Multiply layer (Opt/ Alt-click between the layers). Within the shadow, carefully begin adding in sky colour near the top of the rock (ensuring you stay close to our shadow colour) and ground colour near the bottom.
070
WorldMags.net
SPECIAL OFFER
* e e fr s e u s is 6 t e g d n a 4 0 Subscribe today for only $1
Each issue, Advanced Photoshop delivers all the Photoshop inspiration and advice you need
WorldMags.net
* This is a US subscription oer for new subscribers only. Subscribers will actually be charged 65 which is equivalent to $104 at the time of writing, although the exchange rate may vary. Imagine Publishing reserves the right to limit this type of oer to one per household. Your subscription will start from the next available issue and will run for 13 issues. This oer expires 28 February 2013.
www.imaginesubs.co.uk/aps
To order securely online, visit the website below and enter the offer code USA3
To order by phone, call the number below and quote the offer code USA3
WorldMags.net
WorldMags.net
project FOCUS
O
Sebastian Mildenberger and Steffen Kirschner
www.viaframe.de
Viaframe is a creative studio located in Nuremberg, Germany, with services ranging from planning and concept development right through to compositing and post-production. Whether its CGI, photography or photo-processing, Viaframe can excel at it. The companys clients include Ferrari, Siemens and Olympus among others, with projects that range from stylish reinterpretations of fairy tales to imaginative 3D experiments with shape.
ver the past two years, German photography and post-production studio Viaframe has worked with Swiss fashion chain Charles Vgele on both its Spring and Winter collections, creating fluorescent oil swirl flowers and a frozen winter wonderland respectively. Back on board for this years Autumn campaign, Viaframe had to utilise its photography, CGI and Photoshop skillset in order to represent the seasons darker hues. Viaframe needed to capture the atmosphere of this season without instilling any depressing or miserable sentiment something autumn can often be associated with when beautiful summer days give way to longer and colder nights! Viaframe achieved this by using inviting autumn photography, highlighting the autumnal colours and crafting a cosy ambience with careful utilisation of contrast. It then filled these late-season scenes with animal outlines created by those elements we associate with nature fallen leaves, droplets of rain and soft billowing clouds. The result is a selection of manipulated photography that conveys all the positive aspects of autumn its warmth and tenderness without also recalling the somewhat depressing loss of those long summer days. Can you tell us about Viaframe? Viaframe is a creative photography, CGI and post-production studio located in Nuremberg, Germany. We predominantly work for advertising agencies but also develop concepts and campaigns for our clients directly. These campaigns capitalise on our well-rounded knowledge in almost every aspect necessary for conceptualising and realising a successful production. Being designers, we combine powerful [digital] techniques and develop innovative and unique aesthetics for the image. We embed this in a clearly defined communication purpose, specifically directed to the [target market]. The fact that the entire production cycle is integrated within Viaframe allows us to give our customers insight on the ongoing design process on
a regular basis. This transparency during the collaboration with the customer and the pinpoint adjustment on their ideas guarantees quality. How did you obtain this commission and what ideas were discussed? Actually the Autumn campaign was our third campaign for the Swiss fashion store Charles Vgele. We had completed two successful collaborations before. One was the Spring campaign 2011 and we also had the pleasure to produce the Winter campaign in the same year. Depending on the client we usually offer about three to five concepts with moodboards and first layouts. The final decision made depends a lot on the target group. In this case the goal was to reach the core clientele of customers aged 40 and over. How did you achieve your goal? We developed a total of five motifs for the Autumn advertising campaign: animals in leaves, clouds and rain shapes that are placed into autumn landscapes. The motifs we created were used in different formats at the Point of Sale of over 850 stores located in Switzerland, Germany, Austria, Belgium, Netherlands, Slovenia and Hungary. How did your ideas evolve throughout the production stage? The campaign motifs were partly realised with photographs and then completed computergenerated images. With Viaframes workflow we plan as much as possible in the pre-production process. We spend a lot of time concepting with our customers and try to focus on approved layouts. We organise our Photoshop files as open as we can to offer the possibility to enhance our work using additional elements during the production stage. How did you develop the piece? After the approval through the client we started experimenting with different techniques in our 3D software and Photoshop. In this case we chose a mixture between both solutions. Using moodboards helps a lot to communicate the desired look.
072
WorldMags.net
WorldMags.net
002
There is a high contrast between the beautiful golden glow emanating from the right of the image and the dark surrounding the left. This use of contrast creates the impression of a warm, rising sun on a rainy day.
photography is striking in and of itself. Even before the Photoshop manipulation these are beautiful scenes. all images www.viaframe.de
How did you create The fish image? The fish was created using photographed water splashes. The biggest challenge was to find a natural shape that illustrated the fish without looking too detailed. The splash layer was combined with the background using the Screen blending mode. Additional sprinkles and drops were added afterwards to integrate the animal even more into the background. What Photoshop tools proved pivotal in the creation of this piece? We worked a lot with the Liquify tool to connect the single splashes or clouds to shape the fish, the rabbit and the eagle. The Puppet Warp is also a nice tool to work with in this context. For two other images in the series we used external 3D software to generate particle clouds and formed the animals in 3D space. How would you advise someone wanting to create a similar image? As most of our work is created for advertising agencies we find it important to produce targetoriented imagery and within deadlines. We use scribbles to get an idea and discuss it with the client before we start producing the final image. This ensures that every person involved has the desired result in mind.
Charles Vgele
073
WorldMags.net
WorldMags.net
074
WorldMags.net
WorldMags.net
digital painting
he clean, simple lines of manga lend themselves well to magical effects, providing a strong foundation for you to build on with colour. Tones and values are key factors in a magically themed piece, being dramatic and hinting at the arcane powers that your character possesses. Consider that the magic your character is using is a form of energy, expressed through their pose. If your character is hurling fireballs, for example, thats going to take more exertion than if theyre swirling cosmic smoke. So communicate the level of effort
your character is making through their stance to express it effectively. The magic itself should look and feel tactile. The viewer should have a sense of whether its hot or cold, gentle or aggressive, slowly building or ready to strike. You can manage all of these effects through your use of colour, lighting, opacity and shapes. All of these hints are useful for the viewer to understand the context of the painting and should be fully utilised by the artist. Here we reveal how to create this mysterious blue sorceress casting beautiful lightning from her hands.
www.schin-art.com
Based in Las Vegas, Schin is an illustrator and tries to draw more when she has time. Her paintings of pretty female characters started after watching Sailor Moon as a child.
Work in Progress
01
sketch a pose
First come up with some simple sketches for how you want your figure to pose. This character is a mysterious blue sorceress who may or may not be evil, but we want her to be beautiful and deliberate in her spell casting. Have her looking directly at the viewer while holding her hands up.
02
clean it up
Clean up the line art with neater lines so it will be easier to paint over. Weve left the hair and eyebrows alone as they are meant to be fine and free flowing
Choose one of the sketches and expand on it a little more, building up where to place the hair and the hands and adding details. Clean up the line art with neater lines so its easier to paint over. Weve left the hair and eyebrows alone as they are meant to be fine and free flowing.
075
WorldMags.net
WorldMags.net
03
Set the line art layer to Multiply and place a layer under it to be the background. This will largely dictate the mood of the painting. We want this sorceress to be ice cold and mysterious, so choose a gradient of suitable blues, greens and mysterious hues that will help strengthen her personality.
04
Block out the skin colour but keep as much of the underlying blue as possible so you can keep her inside her surroundings instead of floating up over them. We want the light source to come from her hands so her face is lit from underneath, another trick to make her look imposing and mysterious. Start with the face first, shading in the eyes and nose, and painting on very dark eye make-up. We want to make it so dark that you can barely see her eyes. To add to the unique appearance, give her white eyelashes over dark eyeliner.
quick tip Layer styles are your friend. Experiment with everything Photoshop has to offer, from filters to layer styles, to brush presets and image adjustments to get as familiar as you can with the different features available. If you get stumped there are tons of resources and tutorials that will help you form the perfect painting. Spend a little time researching these to build up your arsenal of techniques.
05
Little white highlights in the eyes are all thats needed to bring life to her face. Be careful not to overdo this, as you dont want her to look too sparkly. Keep her lips nude so they dont distract from her eyes too much. Play around with her surroundings, lighten up her dress and scarves and experiment with lighter hair. Brighten up her hands where her magic will be strongest.
06
Add some points of light on the canvas to remind yourself where the light source will be coming from. If you find that the thick line art is getting distracting you can erase the majority of it. Make other adjustments at this point, for example changing the colour of her hair to white to contrast with the dark background. Also, add a bit of an expressive blush to her eyes and lips.
07
tweak textures
Try making her larger for more impact and play with the colours. Saturating the tones and highlighting the hands can show more clearly where the magic is coming from. Centre your character more and embellish the flowing scarves around her to give a kind of frame. Lay a smoky texture over the painting to create movement and finally paint bright points of highlights to give her an eerie light.
076
WorldMags.net
WorldMags.net
lighting in photoshop
different things. A longer face with smaller cheekbones and a sharper chin is more mature or feminine. A chubby face with rounded cheeks and chin suggests a clumsy but cute character.
08
Eyes: Smaller, darker and longer eyes suggest a sultry attitude. Full, long eyebrows can be manipulated for all kinds of expressions. Bright, shiny, large eyes are innocent and cute. Arching eyebrows can present a sweet and cheerful face.
Create some highlights and experiment with various Blend Modes for the layers here we settled on Color Dodge and Overlay. A few strands of really saturated glowing white hair finish off the effect. Using Outer Glow on the layer preset, paint dots swarming out of her hands. This really contrasts with the dark painting to stand out. Also play some more with the background and change the colours to enhance the sense of a magical environment.
Using Outer Glow on the layer preset, paint dots swarming out of her hands. This really contrasts with the dark painting to stand out
much expression, but this doesnt mean they cant be part of the visual narrative. Our sorceress has a perky, long nose that fits her slender face.
mouths are small and demure, with only a few lines to suggest full lips and a little smirk. If laughing, a manga mouth can form a perfect triangle.
09
touching up
Now for the fun part. Add white lightning streaks coming out of her hands to seal her sorcery. Create a new layer, set it to Outer Glow and apply to your hearts content. For the final touches, tweak the details, enhance her eyes even more and make some compositional adjustments. Erase some of the lightning too, if you feel its detracting from the effect. Just keep working until you feel youve finished.
077
WorldMags.net
WorldMags.net
Trend FOCUS
digital surrealism
Artists challenge our perspective and make way for the spectacular with imagery that lures viewers out of monotony
us the opportunity to make those crazy, wild dreamscapes a reality. But creating surrealist images in the context of Photoshop requires skill. Snyder continues:Compositing is most important to me.You have to be able to take a bunch of different pieces of images that could have come from a different day, a different camera, in different lighting circumstances, and bring them all together realistically and convincingly These skills are equally as imperative for my work as a retoucher Understanding how light works, or how to work non-destructively with colour, helps tremendously when making an image seamless. While techniques have evolved, ideas and expressions are still critical. I like to show how things could be and not how they are, to give soul and meaning to imaginary worlds. says digital artist Teodoru Badiu (www.apocryph.net). Its a similar story for Godoy, explaining that his ultimate goal is to make people realise that reality is just a matter of perspective If you reorganise some aspects of life [it] can result in something completely new and meaningful. I want [the viewer to] understand that they can apply the same thought [to] their lives.
he Surrealism movement of the Twenties saw artists define a new visual language. Turning the world on its head, teaching viewers to strip the ordinary and question the expected, compelling images by the likes of Ren Magritte and Salvador Dal changed the face of art forever.Surrealists wanted to make people think, explains fashion and beauty retoucher Paul Snyder (www.paul-snyder.com). Messages about the reality of how we perceive time or even how we as humans perceive our own thoughts and dreams are recurring themes throughout the genre. Digital art has empowered a revival of Surrealism. The desire to transform what is around is inherent to the human being and art has always been an important part of our soul, says psychology student and photographer Felipe Morin Godoy (www.flickr. com/photos/metabolico). Technology [has given]
You have to be able to take images that could have come from a different day, a different camera, in different lighting circumstances, and bring them all together realistically
Paul Snyder, beauty retoucher, www.paul-snyder.com
paul snyder
AP: What do you recognise as the key symbols of a surrealist image? Paul Snyder: I wouldnt necessarily consider myself an art historian, but to me surrealism is a paradox of simplicity and complexity. AP: What different messages do you try to convey to the people viewing your work? Paul Snyder: I like to make people think about identity; what theirs is, how they perceive themselves, how others perceive them, how theyd like to perceived Self-discovery is a major theme in my personal artwork I like for people who view my work to walk away a little contemplative.Theres also nothing wrong with a little provocation, so I sometimes like to use dark, uncanny, or even maybe slightly sexual imagery and context to spark those thoughts. AP: Can you offer any tips for seamless results? Paul Snyder: The most important tip I can give is to have patience, especially with compositing. Its easy to want to be in a rush when youre excited to get the image completed, but youll save yourself a ton of frustration if you take your time and do things with focus and precision Theres a common misconception that there are all these really complex techniques that experts are hiding away, but there really arent many at all. Its just about knowing how to use all of the simple ones together in an efficient way.
www.paul-snyder.com
>
Inspired by the song of the same title by New Zealand singersongwriter Brooke Fraser. Somethings still gonna grow, she aint leaving till it does, says Snyder Paul Snyder
078
WorldMags.net
WorldMags.net
www.flickr.com/photos/metabolico
>
Godoy is quite the perfectionist. Hell spend up to 32 hours getting an image just right, and enjoys feeling proud of the results and effort. For him, its all in the details Felipe Morin Godoy
www.paul-synder.com
www.apocryph.net
> >
>
This image symbolises an artistic rebirth and the rush of creativity that can come after a long winter. Snyder says that spring usually brings a surge of inspiration and life back to his artistry Paul Snyder
Badiu uses Photoshop and a digital camera to create his surreal illustrations, incorporating other media such as 3D, drawings and scanned images to create truly unique visions Teoduru Badiu
www.paul-snyder.com
www.flickr.com/photos/metabolico
>
Also inspired by song lyrics, this time by the Australian songwriter Missy Higgins. This portrays keeping your eyes on the future and the self-discovery you find on the way Paul Snyder
Things like shadows and edges will be noticeable to the viewer. Godoy advises that, with enough practise, anyone can create meticulous artwork with impeccable detail Felipe Morin Godoy
079
WorldMags.net
important part of our soul, says psychology student and photographer Felipe Morin Godoy (www.flickr. com/photos/metabolico). Technology [has given]
WorldMags.net
Paul Snyder, beauty retoucher, www.paul-snyder.com
things could be and not how they are, to give soul and meaning to imaginary worlds. says digital artist Teodoru Badiu (www.apocryph.net). Its a
aP: What do you recognise as the key symbols of a surrealist image? Paul snyder: I wouldnt necessarily consider myself an art historian, but to me surrealism is a paradox of simplicity and complexity. aP: What different messages do you try to convey to the people viewing your work? Paul snyder: I like to make people think about identity; what theirs is, how they perceive themselves, how others perceive them, how theyd like to perceived Self-discovery is a major theme in my personal artwork I like for people who view my work to walk away a little contemplative. Theres also nothing wrong with a little provocation, so I sometimes like to use dark, uncanny, or even maybe slightly sexual imagery and context to spark those thoughts.
www.paul-synder.com
>
This image symbolises an artistic rebirth and the rush of creativity that can come after a long winter. Snyd spring usually brings a surge of inspiration and life back to his artistry Paul Snyder
aP: Can you offer any tips for seamless results? Paul snyder: The most important tip I can give is to have patience, especially with compositing. Its easy to want to be in a rush when youre excited to get the image completed, but youll save yourself a ton of frustration if you take your time and do things with focus and precision Theres a common misconception that there are all these really complex techniques that experts are hiding away, but there really arent many at all. Its just about knowing how to use all of the simple ones together in an efficient way.
www.paul-snyder.com
>
www.paul-snyder.com
www.flickr.com/photos/metabolico
>
>
Inspired by the song of the same title by New Zealand singersongwriter Brooke Fraser. Somethings still gonna grow, she aint leaving till it does, says Snyder Paul Snyder
Also inspired by song lyrics, this time by the Australian songwriter Missy Higgins. This portrays keeping your eyes on the future and the self-discovery you find on the way Paul Snyder
Things like shadows and edges will be noticeable to the viewer. Godoy advises that, with enough practise, anyone can create meticulous artwork with impeccable detail Felipe Morin Godoy
078
103
103
Commercial retouching | Work with polygons | Edit videos in CS6 | Create striking graphics | Design neon type www.advancedphotoshop.co.uk
NEW MEDIA
TECHNIQUES
RETOUCHI TOUCHING
Industry experts reveal their top tips on beauty retouching
HOW TO:
Produce emotive images with Viaframe Build layers to create a distinct pattern Use automated lens correction
ISSUE 103 ISSN 1748-7277
9 771748 727009
COMMERCIAL
INDUSTRY INSPIRATION
5.99
03 >
PAINT A LANDSCAPE
DIGITAL PAINTING
TYPOGRAPHY
GRAPHICS
001_AVP_103.indd 1
WorldMags.net
WorldMags.net
www.apocryph.net
>
Badiu uses Photoshop and a digital camera to create his surreal illustrations, incorporating other media such as 3D, drawings and scanned images to create truly unique visions Teoduru Badiu
079
WorldMags.net
WorldMags.net
61/ $90
082
WorldMags.net
WorldMags.net
RESOURCES
Controlling effect strength in specific areas is easy using the Touch Up brushes and editable layer masks (in Skin and Hair controls)
Portrait Professional Studio 64s effects are all applicable through easy-to-use sliders, preferable to those used to editing in RAW
The work area takes up two-thirds of your onscreen real estate, making comparison in your edits easy
f youre an aspiring professional retoucher youve most likely been left scratching your head, pondering the question: should I invest in plug-in software? First, theres the matter of money, some types are more cost-effective than others, but startup capital isnt always readily available. Second, and more importantly, theres the matter of production, namely how a plug-in enhances the quality of the images you produce. When encountering software like Portrait Professional Studio 64, which promises an ultimately fast, easy photo-editing experience with the highest-quality touchup, your interest is bound to peak. And if there is one constant in the retouch
business, it is that time equals money, so from this point of view, Portrait Professional Studio 64 seems like a great investment. AUTOMATED FACE RECOGNITION What you get for your buck with Portrait Professional Studio 64 is an easily acclimatised interface and functionality, which ultimately speeds up the entire retouch process. Upon firing up the plug-in youre
asked to open your start image and are then prompted to determine the gender of your model. Subsequent options continue in the same vein. Portrait Professional Studio 64 will ask you to map out your models face in the Locate Features options easily done by quickly dragging and dropping selectors onto key facial areas. Here the plug-in works its magic, effectively determining improvements automatically.
What you get for your buck with Portrait Professional Studio 64 is an easily acclimatised interface and functionality, which ultimately speeds up the entire retouch process
083
WorldMags.net
WorldMags.net
We will warn you not to take too long deliberating over the following Adjust Outline options. Portrait Professional Studio 64 operates here much like Photoshop Paths, targeting eye, eyebrow and mouth regions. Selections are manipulated through point controls, but for the best results, just tweak regions that are drastically out of sync. You can trust the plug-in to automate skin refinement and tweak facial contour, the default settings will return impressive results. We also found customisation to be abundant in Portrait Professional
Studio 64 more than we thought. Seven categories are made available, including Face Sculpt, Skin, Eye, Mouth & Nose, Hair, Skin Lighting and Picture. Customise with sliders Each dropdown menu provides specific option sets, controlled through simple sliders. These will appeal to photographers and retouchers who work extensively in Camera RAW. Dedicated Photoshop users may be apprehensive, perhaps preferring hands-on application. They shouldnt worry, as
Portrait Professional Studio 64 has already isolated affected areas, so editing becomes meticulous. There were several categories that really grabbed our attention, most importantly the Skin Controls, we discovered that it was easy to over-egg edits here, so the subtle application of sliders was key, while increased Skin Smoothing augmented default settings. Combining the Remove Pores slider and Texture controls produced commercial looks. Spot removal was also highly intuitive, with Portrait Professional Studio 64 applying effects through strength levels from 1 Only Prominent Spots up to 10 Maximum Sensitivity. We recommend setting to 6 Medium Sensitivity, working out more noticeable artefacts with the responsive Touch Up Brush tools.
Left: Eye controls are so detailed they even provide the option to take out reflections, increase pupil size and brighten the whites of an eye
Dedicated Photoshop users may be apprehensive, perhaps preferring hands-on application. They shouldnt worry though, as Portrait Professional Studio 64 has already isolated affected areas, so editing becomes meticulous
Smooth skin doesnt need to be as literal as you see in most external software and plug-ins. Heres a great way to achieve improved commercial effects in Photoshop
01
Recording imperfections can be troublesome, as many hide among your midtones and shadows. Target these easily by selecting and copying the channel that shows distinct exposure, such as shadows and highlights. Apply a Levels adjustment (Cmd/Ctrl+L) to further enhance these.
02
Copy and paste this duplicate channel into your Layer panel, above your original photo layer. Use the pasted channel layer as a guide to target blemishes you want to work out, applying the Healing Brush and Patch tool to the original layer. Deactivate your channel layer to make comparisons.
084
WorldMags.net
WorldMags.net
Mask controls Admittedly the plug-in isnt particularly frecklefriendly, but if youre looking to remove these, along with spots and wrinkles youll find results extremely satisfying. Portrait Professional Studio 64 takes customisation further by supplying masking options with Skin and Hair controls. Here you can extend or cut back applied-to regions, determined through Brush Size and Detector (density) Size Area Brushes. We were especially impressed with the way these interacted with hair targeting is quicker than wed experienced with Alpha Channel and Refine Edge application, which are standard practise with Photoshop users. Those who love to work with detail will also be impressed with the Eye controls. As an essential focal area of any portrait, you can target and affect colour, intensity, size and density of the pupil and much more. Throw in the ability to reshape facial contour increase neck size for added elegance, eye size and redefine jaw outlines to create a slim or full look and youve got an entire gamut of essential edits.
So, the essential question is should you invest in this plug-in software? This is a tricky question to answer. If youre trying to fill in the blanks left behind in your technical skills, wed say educate yourself further and keep practising. This software is simple to apply, but easy to abuse. However, it will complement the pre-production workflow of those who understand the requirements of a good retouch. Portrait Professional Studio 64 is also a wonderful solution for commercial photographers who want to simply push fantastic photo visuals that extra mile.
Founder of DM High-End Photo Retouching, Danny Meadows takes an exclusive look at the Beta version of this yet-to-be-released software, exploring improved functionality
For the busy portrait photographer without the time to dedicate to learning retouching, this beta could be a great timesaver once released. Version 11 includes a host of new and improved controls. The software now makes far faster and more intelligent facial selections for you (see Example 1). This fully automated process impressed, with applied masks holding up pretty well throughout any changes. New face-slimming controls are also presented, which may still seem restrictively on rails for the experienced Liquify tool user, but for those without the time or familiarity with Photoshop, the sliders will once again prove useful. I did find myself wanting to make changes the sliders didnt enable, so itd be straight into Photoshop with the result. The new Hair Recolor tool yields impressive enough results for subtle changes, with the click of a button rendering a new hair colour from a preset selection. It does, quite understandably, struggle with more extreme alterations, like black to blond. New Plump Lips sliders extend the upper and lower line of the lips, the addition of some automated light carving would be welcome, but again the mask holds up well (see Example 2). In many respects Version 11 still has the same flaws as previous versions, lacking the complexity of working entirely in Photoshop. However, we have to once again question the target group. The plug-in certainly improves on the benefits in Version 10 for beginners and busy professionals.
Example 1
portrait professional 11
Verdict
Features: 9/10 Ease of use: 9/10 Quality of results: 7/10 Value for Money: 8/10
Final Score:
8/10
If by chance default retouching doesnt quite fix everything, the plug-in provides the Touch Up brush for manual amendments
Example 2
Much like the hair type, Skin Selection tools make targeting facial and additional skin areas super-easy with the intuitive tools
085
WorldMags.net
REVIEWS APPS
WorldMags.net
123D SCULPT
MASTER MODELS WITH THIS HANDS ON 3D SCULPTING TOOL FOR IPAD USERS
www.123dapp.com/sculpt 6.99 to export OBJ $9.99 to export OBJ iPad, iOS 5.0 or later
utodesks 123D Sculpt is a great way to create detailed 3D models on the iPad, then take them into Photoshop either as 3D objects or rasterised flat images. This app provides basic starting model presets, including human heads, spheres, shoes and various animals. When creating, you can apply intuitive strokes to push, pull and mould the model as though working with clay. The iPads interface lends itself perfectly to this kind of modelling work, with Autodesks welldesigned tools reinforcing application. Stroke gestures add bumps, create creases, or smooth out rough areas. These are established in the app through visual diagrams, so you can begin quickly. Switching to the supplied paint options, you can daub your choice of colours, but more impressive is the ability to rub in textures from a still image. For example, users can paint a model head with textures from a photo to create a virtual look-alike. The apps main limitation is that you have to start from one of the built-in models. If you could import your own 3D models from another program, then 123D Sculpt would be a far more productive tool.
A useful study app, which can only get better when the ability to import, not just export 3D objects is added
VERDICT: 8/10
Because you can export OBJ files from 123D Sculpt, you can continue to work on your model in 3D desktop applications, adding lighting and further material options
01
Choose a model from the apps presets and pick a brush. We started with the Grab tool and a large brush, pulling to reshape the model into roughly the right proportions, then moving to the Pull and Push brushes to create finer detail. The Symmetry button in the top toolbar keeps alterations from looking lop-sided.
02
PAINT IN COLOUR
Switching to the Paintbrush tool, you can use basic paint application to colour your model, but its only useful for broad strokes or cartoon characters. For authentic looks, use the Image Rub tool to pick a texture and simply rub it onto your model. Here you can use in-app-supplied textures or any image on your iPad to paint from.
03
MOVE TO PHOTOSHOP
You can import your model into Photoshop by emailing it to yourself and it will arrive with a handy transparent background. However, you can also save the model itself in standard OBJ format. This enables you to reposition, repaint and light it inside Photoshop, using standard and 3D option sets.
086
WorldMags.net
WorldMags.net
APPS REVIEWS
VOXEL
www.flatbackfilms.com
3D MODELLING RESOURCES
CGSOCIETY
www.cgsociety.org
A great forum for all things 3D and a place to show your work. If youve got questions about 3D, youll find the answers here from some of the worlds leading 3D artists.
TOP 5
oxel is a fun tool for creating a very specific 3D look, much like that seen in Eighties videogame graphics. Users simply build 3D objects, using identically sized coloured cubes to create some retro pixelated styles. You can tap to create a cube then pick one of its faces to add another attached to that side. The premise is simple, but you can quickly build up complex models by switching tools to delete cubes, move them around or change their colour. You can even animate your cube designs using simple Timeline and Keyframe options, which is slightly more complex. Finished models can be saved as PNG files, which can then be imported into Photoshop for texturing
TURBOSQUID
www.turbosquid.com
Voxel models can be a little difficult to manipulate. However, their distinctive style will make it a worthwhile download for lovers of retro
VERDICT: 7/10
If you need 3D models, you can buy anything here, from photorealistic rigged animated creatures costing hundreds of dollars, down to free low-res models designed especially for games.
SHAPEWAYS
001 002 003 004
www.shapeways.com
If you fancy turning your 3D work into real objects, you can upload your model and have it produced using plastic, glass, ceramics or even solid silver.
BLENDER
www.blender.org
Blender is a free, open-source 3D application. Its a bit on the complex side, but is capable of producing work right up to the standard of the top 3D packages.
CGTEXTURES
www.cgtextures.com
A library with hundreds of high-res images of brickwork and tarmac might not be for everyone, but CGTextures is perfect for creating realistic surfaces and materials.
001 There are intuitive tools for adding, removing, colouring and positioning blocks.
003 The 3D display is responsive and works with standard iPad gestures.
004 The Timeline enables you to create animations by setting keyframes for movement.
087
WorldMags.net
Your details
Title Surname Address
Complete your collection for only 6.00 per issue by calling 01202 586200 or shop direct online at www.imagineshop.co.uk
First name
Postcode Country Telephone number Mobile number Email address Please complete your email address to receive news and special offers from us
Reference Number
Postcode
Name(s) of account holder(s)
Instructions to your Bank or Building Society Please pay Imagine Publishing Limited Direct Debits from the account detailed in this instruction subject to the safeguards assured by the Direct Debit guarantee. I understand that this instruction may remain with Imagine Publishing Limited and, if so, details will be passed on electronically to my Bank/Building Society
Signature(s)
Date
Banks and Building Societies may not accept Direct Debit instructions for some types of account
TO SUBSCRIBE
3 EASY WAYS
Cheque
I enclose a cheque for
Made payable to Imagine Publishing Ltd
NOW!
Credit/Debit card
Visa Card number Security number Issue number Signed Date Code: PAG103 MasterCard Amex Maestro Expiry date
0844 2 0 4 8 8 4 8
nline or subscribe o
CALL NOW
(Maestro)
Tick this box if you do not wish to receive any promotional material from Imagine Publishing Ltd Tick this box if you do not wish to receive promotional material from other companies
Terms & conditions apply. We publish 13 issues a year; your subscription will start from the next available issue unless otherwise indicated. Direct Debit guarantee details available on request. This offer expires without notice. I would like my subscription to start from issue:
Start a Direct Debit today from just 25.15 every six issues and save over 23 a year
To manage your subscriber account visit www. imaginesubs.co.uk & enter your subscriber ID
WorldMags.net
WorldMags.net
Subscribe &
Exclusive subscriber benefits Save 30% on the cover price US A READE Free CD every issue RS TURN T O Delivered to your door PAGE 71
30%
Please complete and post the form to: Advanced Photoshop Subscriptions Dovetail 800 Guillat Avenue Kent Science Park Sittingbourne ME9 8GU Alternatively, scan and email the form to:
SAVE
adphotoshop@servicehelpline.co.uk
WorldMags.net
WorldMags.net
090
WorldMags.net
WorldMags.net
Developing a coherent personal way to present yourself is seen by experts as the key to success. we look at the design industry to see if its done, how its done and whether you should be doing it too
our personal brand is the face that you put forward into the working world. It's what someone will think about you when they find you online, the impression you leave when you hand over a card and the idea they'll have of the email you send back when they get in touch. Personal branding has been toted as a must-have for anyone, anywhere as a way to stand out whatever industry you're in. Here we look at how personal branding translates into the design industry and whether you should be putting pen to paper to develop your own unique brand. Personal branding expert Marisa Murgatroyd (www.liveyourmessage.com) consults with businesses and individuals. She explains what personal branding means. Your personal brand includes the subjective attributes that make you who you are: your core values, your personality, how you show up in the world. [This is] in addition to how you represent yourself through your signature photo, your personal story, your physical appearance or style and your portfolio. Being clear about who you are and what you do is a way to attract clients and make impact. Branding is perhaps one of the most misunderstood business practises out there. When most people think about branding, they think of logos and catchphrases. But things like this are just visual representations of a brand, she says. It's a business practise that isn't just applicable to companies, however, as it also encompasses freelancers and individuals in the marketplace looking to make an impression. So, where to begin? Chances are that if you know something about design you probably come across a thing or two about branding along the way too. If you're planning to set in stone your personal brand, do the same principles apply? John Clifford, creative director at Think Studio (http://thinkstudionyc.com), believes it does to an extent. I think, as a creative business, you can take more risks than a huge corporation, but the core principles are the same. Be consistent yet flexible. Dan Schawbel (www.danschawbel.com) believes that knowing who you are is the first step
Jaeger builds his brand on the principles he applies to all his client work. Hes created striking visuals that cleverly blend his motto into his identity Tom Jaeger
and that being consistent when putting it into practise is key. You should think about your colours, fonts, shapes, and the overall visual appeal of your brand as it relates to the impression you want to create for your customers, he says. Your brand should be managed on your own website, as well as photo-sharing sites like Flickr and prominent social networks like Facebook and Twitter. Your brand on these sites should be consistent with your website and leave the same impression for your customers. Designer Tom Jaeger (www.tom-j.com) has put a lot of thought into his approach to design and has translated this into an intriguing concept. Having a unique visual identity is essential, says Jaeger. Ideally it illustrates who you are and how you work it's a conversation starter. He's taken five terms that lie at the heart of what he does and shaped them to represent his own identity. Jaegers advice to anyone starting out is to put strong emphasis on digital. 90 per cent of
communication will be digital. An identity based on a concept for a printed piece of stationery isn't going to do such a great job when you hardly get to use it. Digital is a blessing in that it's inexpensive to access. A blog, Twitter presence and Facebook page are all easy to set up and maintain once you've got a direction to move in. For Jefferson Perky, the direction he found himself moving in was something a little nostalgic. Perky Bros (www.perkybros.com) is a Nashville-based design studio that oozes old-fashioned values. The Perky Bros name is steeped in history and founder Perky wanted to pay homage to that. Myself and a friend Mihae Mukaida, who was working with me at the time, beat our heads against a wall for a few weeks. We wanted to keep the studio's identity simple, hardy and honest. Do a lot with a little. Especially in the sense we were a simple startup. The heading Established in 1883 & 2009 is a unique addition to a logo and gives the brand some weight and longevity. We wanted to be
091
WorldMags.net
WorldMags.net
to that point and totally transparent, says Perky. He took time to develop a design that looked just as good on stationary as it did online. While for Perky building a personal brand is a strategy that has worked very well for him, he recognises that others in the design industry see otherwise. I suppose one popular school of thought among design studios/designers is that it isn't critical, he says. A lot of studios prefer to allow their work to speak for them. And to be honest, I think this approach is valid. It's a brand decision too and says something about your company, whether it's clear or not. You can see what Perky means by taking a quick tour in your browser across some of the biggest names in the design industry. You may notice
that white is a popular tonal choice and that a logo is often non-existent. But you'll also notice that the whole website is built around one thing client work. If you adopt this strategy, Perky says, having something good to show is vital. Your work better be good though, or you'll find yourself in the No Sizzle, No Steak category. Freelance designer Lee Mason wholeheartedly agrees with this way of thinking. I believe in letting my work speak for itself, he says. I want people to see the brands I have made not a brand I have made for myself. This approach is what you can call my brand. I don't package myself as a product because my interests change from day to day. I don't want to be seen as a specific type or style of designer
by doing too much styling of my own brand. A glance at Lee Mason Designs web presence (www. leemasondesign.com) and you'll see what he means. The most important aspects of selling yourself as a designer are your skills and experience, he adds. No amount of fluffy or glossy branding changes this or makes up for a lack of work. If you have a portfolio of strong projects then you don't need any sort of personal brand to help you win projects. Your portfolio will always be the most powerful pulling tool when it comes to clients. John Clifford at Think Studio has also picked a simple visual approach to the way he presents his brand. For him, there's more to it than just creating a brand that acts as a shell for your work. It would be
Expert Interview
A leader in the field, Marisa Murgatroyd tells us why having a personal brand is vital for designers too
Job title: Founder and lead web strategist, Live Your Message Website: www.liveyourmessage.com
How important is it for designers and studios to spend time developing a personal brand?
Marisa Murgatroyd: The most successful designers in the new economy are creating businesses and jobs around who they are, what they love and what they know. Developing their personal brand enables them to take charge of their career. Nobody is looking for a generalist designer. Everyone wants to hire someone who understands them, their business and their market. So the key to success in this economy is branding you as different from everyone else out there. What different elements make up a personal brand? Marisa Murgatroyd: Your personal brand is the first impression you make when you walk into a room, write an email, or show up on camera. Its also the second impression, and the third, and the fourth, and the fifth, and every single impression you make every day. The key to branding is making a consistent impression. If you are the face of your business brand, then it also includes your company name, URL, tagline, logo, colours, fonts, business card and all the materials you put out into the world. What is the starting point for thinking about and developing a personal brand? Marisa Murgatroyd: The biggest achievement and the single biggest hurdle of any branding process is getting to [simplicity]. Getting to that core idea that encapsulates what really makes you different in a way that actually means something to your ideal client. Im not talking about vague universal concepts such as innovation or contribution, but something focused and crystal clear that can claim a unique space in your clients' minds. Im not suggesting you be something that youre not because youll exhaust yourself trying to maintain an image that isnt you and people are smart enough to sniff out a fake. But it does mean stepping into and sharing the best version of yourself or that part that you find is uniquely you.
A brand that speaks to old-fashioned value, Perky Bros logo and stationary matches an online presence that gives clients a sense of value and personal touch Jefferson Perky
092
WorldMags.net
WorldMags.net
nice if it could be all about the work and we could just sit back and let the work speak for itself, he says. But, that's not reality. There's a lot of quality work out there (and, let's be honest, a lot of horrific work as well). Along with the great work, you need a point of view and a personality. Not just to stand out, but to help you connect with the right clients the clients that are best for you, not best for the designer next door. Clifford explains that by building a personality into your brand you'll attract clients that fit the way you think and work. If you're a designer with a twisted sense of humour, don't hide it. A client with a similar sense of humour will enjoy spending time with you. That is a key part of a successful working relationship.
At Think Studio, clarity is one of the most important values. I like my wording very clear Clifford continues. For example, on our site, the About Us section says: We love making something out of nothing. We also love making the ugly beautiful, the dumb smart, the complex clear and the average exceptional. We make things better through design, clear and simple. Alex Colley is the creative director at Karnatarka (http://karnatarka.com) and he thinks the right ratio of client work to personal branding sits at about 80-20%. With his 20% he's crafted a simple design that reflects things that are personal to him. The name comes from the Indian state Karnataka, he says. This is a very special place for
One aimed directly at creatives, this book bypasses the boring business lingo that threatens to turn you off. Its punchy, coherent and very importantly its designed well.
Along with the great work, you need a point of view and a personality. Not just to stand out, but to help you connect with the right clients the clients that are best for you, not best for the designer next door
John Clifford, creative director and founder, http://thinkstudionyc.com
A collection of great visuals from some heavy hitters in the industry, this book is sure to give you something to turn your creative mind on.
Think out of the box for this one, its a collection of views and insights about why humans have branded the world just so. You might learn a little something.
Think Studio builds a seamless online presence with imagery echoing the same message across web platforms and wherever clients may encounter it. Founder and creative director John Clifford believes that maintaining a consistent brand across all your outputs helps ensure you interest the right clients Think Studio
With a simplistic look and feel Lee Mason takes the view that its better to build a brand that focuses on highlighting client work than overshadowing it with a bulky design Lee Mason
093
WorldMags.net
WorldMags.net
Colley built his brand on a place that he loved and crafted simple visuals to place heavy emphasis on the work that he produces Alex Colley
me and coupled with my love for India it seemed to fit. One of the most important elements was researching colour psychology to ensure my brand portrayed the right message. The colour red symbolises energy and happens to be my favourite, he explains. Ive also combined it with black, which is a very powerful colour and is generally used to market luxury products. Besides grabbing the attention of potential clients, Colley also uses his branding to show how he works. As with my
website, there is a strong visual focus with minimal use of text that is something a client can expect when working with Karnatarka. I believe you can tell a story through strong imagery whether that be graphical, typographic, illustrative or photographic, so I stand by the principle that less is more. No matter if you're drawn to the idea of developing a unique identity that shows off your personality, or you too think that less is more, you should know where you stand and reflect this in the
way you present yourself. It can't be denied that you are judged on what you put in front of people every day, so making a conscious choice about exactly what that is will be the next logical step to take. Finding the time to think about who you are and what you want to achieve can only focus your mind and is never a bad thing. In the end though nothing substitutes for thoughtful work, says Jeff Perky. A good identity should complement it. Not be a cover for a lack of it.
094
WorldMags.net
RES
RCE U O
ON SALE NOW: > Photoreal 3D > Arch-vis > Visual e ects > Animation > 3D printing
TUTORIALS INTERVIEWS INDUSTRY INSIGHT BEGINNER ADVICE EXPERT GUIDES
ER
Y ISS
SC DI
facebook.com/3DArtistMagazine
UE
EV
WorldMags.net
WorldMags.net
The magazine for Adobe Photoshop professionals
Imagine Publishing Ltd Richmond House, 33 Richmond Hill, Bournemouth, Dorset, BH2 6EZ +44 (0) 1202 586200 Web: www.imagine-publishing.co.uk
www.advancedphotoshop.co.uk www.greatdigitalmags.com
Magazine team
Reviews Editor Adam Smith Designer Marcus Faint Sub Editor Tim Williamson Head of Publishing Aaron Asadi Head of Design Ross Andrews
Contributors
Lynette Clee, Christian Darkin, Jorge Harin, Matt Henry, Francois Hoang, Angelica Jopson, Callum Lewis, Chris McMahon, Marco Nelor, Kirk Nelson and Jeffrey Schmidt
Advertising
Digital or printed media packs are available on request. Head of Sales Hang Deretz 01202 586442 hang.deretz@imagine-publishing.co.uk Account Manager Becky Palmer 01202 586438 becky.palmer@imagine-publishing.co.uk
Cover disc
Head of Digital Mat Toor Digital Projects Coordinator Steve Litton apxtrahelp@imagine-publishing.co.uk
International
Advanced Photoshop is available for licensing. Contact the International department to discuss partnership opportunities. Head of International Licensing Cathy Blackman +44 (0) 1202 586401 licensing@imagine-publishing.co.uk
Subscriptions
Head of Subscriptions Lucy Nash subscriptions@imagine-publishing.co.uk For all subscription enquiries: adphotoshop@servicehelpline.co.uk UK: 0844 848 8402 Overseas: +44 (0) 1795 592 880 13-issue subscription (UK) 62.30 13-issue subscription (Europe) 70 13-issue subscription (ROW) 80
Circulation
Head of Circulation Darren Pearce 01202 586200
Production
Production Director Jane Hawkins 01202 586200
Founders
Group Managing Director Damian Butt Group Finance & Commercial Director Steven Boyd Group Creative Director Mark Kendrick
Printed by: William Gibbons & Sons Ltd, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT Distributed in the UK & Eire by: Seymour Distribution, 2 East Poultry Avenue, London, EC1A 9PT 0207 429 4000 Distributed in Australia by: Gordon & Gotch, Equinox Centre, 18 Rodborough Road, Frenchs Forest, NSW 2086 + 61 299 728 800 Distributed to the rest of the world by: Marketforce, Blue Fin Building, 110 Southwark Street, London, SE1 0SU 0203 148 8105
Disclaimer
The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/ or other countries and is used with express permission. All $ prices are US Dollars unless otherwise stated.
071
Imagine digital editions are a new and exciting way to experience our world-leading magazines and bookazines.
To get the most out of your digital editions, be sure to enjoy all of our fantastic features, including:
Zoomable text and pictures In-app browsing Searchable text Take your collection with you Read ofine
dows PC
To buy more Imagine digital editions and for the latest issues and best offers, please go to WorldMags.net
www.GreatDigitalMags.com
WorldMags.net
DTurn holiday snapshots into professional photos with this complete guide to mastering travel photography techniques. 12.99
Packed with essential guides and features to help you shoot perfect portraits and landscapes, this book is full of top tips. 12.99
Get the most out of your photography by mastering Photoshops essential tools, filters and features. 12.99
Landscapes/Wildlife Vol. 6
210 pages of in-depth photography tutorials and features. A unique inspiration section that will get you itching to get out and about with your camera. 6.49 with code
For enthusiasts and pros that aims to bring you informative, inspirational and educational features on all aspects of black and white photography. Plus a free CD. 6.49 with code
Discount code
SNAP
Order online
@imagineshopuk /imagineshopuk
MAGAZINES
BOOKS
GIFTS
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net