THE ADOBE PHOTOSHOP’ “HOW-TO” MAGAZINE > » MAY/JUNE 2013 Create custom brushes Snapshots or vital opis? to quickly add grungy Leamn the differences and when frames to your images to choose one over the other gS 06> 92sits) Msi you need Tn SS SFIS nH CoI AAR e= Ses of choice. It gives mea faster, smoother and richer experience AWA em all OUiaTe aoe PATA Te LAN, creative vision to life, The amazing meus Necd can =Le-]o) 0 (=) post-process and share my work Srey (C UNIONS ea] 0)[01(=\) ip (crevemin (oN elaK= (en VN eh 0. (6 90) high-res images and multilayered PSDs, and best of all, my work has: I=N cm (ee > NEWCINTIQS Just ke always, there were big crowds around the Wacom booth at Photoshop World. Using a tablet for mouse control while editing in Photoshop is lke giving yourself an unfair advan: tage. So, as longtime fans of tablet input (all the Photoshop Guys use ‘emi, what could possibly be better than a pressure-sensitive tablet and stylus? How about working directly fon a screen that has all the characteristics of tablet input? Wacom has actually ‘ven us this option via their Cintiq lineup for years, but their big announcement at Photoshop World was the new, surprisingly affordable, Cintiq 13HD (1920x1080) ‘model. In spite of being bigger than the 12° model it replaces, the 13HD is more portable because of the new cable system and desktop standisupport system, I's aso brighter, higher resolution, and has even more accurate color reproduction. If you're a fan of ExoressKeys,you'love thatthe new tablet has four of them, and in lace of the Touch Ring there's now a Rocker Ring, giving you even more access 10 Expresskeys. The stand is not only more adjustable, it can be removed altogether, ‘making the 13" Cintig even more low profile and lightweight. There's no longer a ‘breakout box" of cables, just a thin, simple cable. I's shipping now, so if you've always wanted a Cintiq and you have a budget of around $1k, this isa great, high 01.28.2013.) CRIKX=RAYLENE resolution option, Fritsch ‘A couple weeks after Photoshop World, Wacom had yet another major announce- ‘ment with the introduction of their Cintig 22HD touch. Because of its larger size, this 21,5" model comes with an ergonomic rotating stand and 16 ExpressKeys. By ite, this is an impressive, colorful, full HD display (1920x1080) that would make lots of ass happy, but this Cintiq also adds multitouch features. Now you can use a stylus fr touch on @ Cintiq! Suggested retail wll be $2,499 and it should be available in mid-May. Visit www.wacom.com for more information SEASONS Popular digital Photoshop arts, Fay Sk, has recorded a multipart master class on digital painting called the Four Seasons, and NAFP members have fl access to this video-based training right from the members’ website Starting with “Spring,” Fay covers the digital painting techniques people want to understand, and she even provides specially crafted Photoshop brush and texture pattern presets to get you up to speed more quickly. Verner, You'll learn how to laok at light and use it to craft beautiful paintings with season- spectic imagery and color. Fay sa popular trainer at Photoshop World and she's back with Us for yet another dass because NAPP members tll us they get so much from her taining, What's more, these are complete classes, not simply short tutorials, So grab a cup of cof- fee, goto the NAPP site, and get ready to leam from a Photoshop master. 1 IN DEPTH Na Cansei FRU sa MTASARAH LANE OTS OAV E eS WUTY IT evr i ppNAPP COMMUNITY > > FROMTHE a DESK PETER BAUER >» Angwersto Photoshop, Lightroom, and gear-related questions HOW WAS HELP DESK LIVE! AT PHOTOSHOP WORLD THIS APRIL IN ORLANDO?—CHRIS HRIS FROM: NAPP HELP DESK ‘As usual, it was outstanding! it’s always great to see the faces behind the email questions we receive, And, as always, some of our longtime NAPP members made it to yet another Photoshop World. (A big shout out to Vaneli!) [A this 27th Photoshop World, | answered some 400 ques- tions about Photoshop from about 320 members, and Rob Sylvan handled I-don‘-know-how-many hundreds of Light- room questions. (As usual, Rob answered most of the Light- room questions inthe back of or just outside the classrooms (of the Lightroom Track.) We had a number of members who came to HL! several times, and some who just hung out to hear what others were asking. Rob not only fielded lots of {questions about the then-just-announced Lightroom § public beta, but aso addressed a number of issues involving eater versions of Lightroom, Help Desk Livel was often about fixing problems with Photoshop (replace the program's Preferences file, reset the tool through Right-clicking on its icon to the let in the Options Bar, or reinstall with all spywarefantivrus software cisabied) and ways to improve images. it seems that more and more of our members are adding photo scanning and restoration to their arsenals of services offered to their cents ‘And some of those images are in very poor condition. In a couple of cases, entire areas of the photo were missing or badly faded because of the way the image was stored or displayed. (The NAPP member website has several tutorials involving photo restoration and repair) ‘One image was stuck to the glass and our member scanned it into Photoshop with the glass. As right be expected, the places where the photo was stuck to the lass HELPDESKS hada different tnt than did areas not stuck to the glass. The Color Range command wasn't of much help in selecting those areas, so a masked Hue/Saturation adjustment layer was off the table. Calculations and Channel Mixer didn't help ruch because the problem was throughout all three RGB. color channels, So, when life gives you lemons, make lemonade! We converted a copy ofthe image to CMYK, checked each color channel, and saw that the problem was almost nonexistent in the Magenta channel. Copying that channel's content and pasting it into a new grayscale image was a start. We then added a Curves adjustment layer to improve tonality, used the image>Mode>RGB command to make the document color, added a new layer, changed the layer’ blend mode from Normal to Color, and then painted in color on that layer: flesh tones over the skin, yellow over the blouse, blue for the eyes’ irises, and so forth. The resuit used the color ofthe Upper layer and the luminosity (lightness/darkness) of the lower layer. The final result looked very much like a Polaroid photo from that era (the early 1960s was my guess as to the age of the origina). Another altemative to be presented to the member's client converted the grayscale image (created from the Magenta channel) to RGB and added a Hue/Saturation adjustment ayer with the Sepia preset (You did know that Hue/Saturation adjustments include presets, right?) (Oh, and let's not forget that other question we'e regularly asked at Help Desk Livel, “Where's the nearest restroom?” Right over there, behind the stairs.of light SP 24-70mm F/2.8 Di VC USD full Meee Pre nekeT AA AAA AAA AAA AA AAA AAaAA aM ws AfORATION Fa Ta a aT aaa aT aT ae aT a Tae aeT aT aT Taw.EJelinchrom “in my studio we do everything with Cee eee say err aed eee ee tts Pree nin rer) doing my live training sessions around the pera ceed eee eee ered Skee g os en eet ceed Cer aoa Sot een Lad ee ety Se ead ms, oF getting out of the zone” just to Peirce ert a ee eos ee ee Brrr: hes ered my but on mere tan ona — entipat rade deanigle, 3 appeermnnereirey _uaieieentearen rennet) Reharearevenrnaiiinepineily peepee aininrtsiomrogn 3 POE eee Oi eae cee eee Peery neers CRS ea if peas8 ‘commercial photographer, you're going to wan leazn techniques that will change the waxy 3s wt it UECHOEM Ny = LIGHTROOM 5 Inst y Sct Koy 2 Imagine how much you can learn, and ute by Ben Wile Fn how much farther along you'l be after Ben Wlinorebes-sling auto rencnned spending a full-day immersed in just the photographer, and legendary Photoshop ‘most important, the most impactful, and expert is back in 2013 with a brand new ‘he most fun photograph techniques. tour packed wth only the hotest tps and comnero: ticks, and most sought-after Photoshop 2 techniques for photographers. : : comin ro: rst y Mat Keston ma Sight as Mat shows you an insider's ‘ew of Lightroom, From stat-o-finsh, from image capture to fra print —you' see unfold ghtin fot of you. ONLY °99 Sea) CUE pocmarrn Pr eee ed Inst by Joe Mealy ‘Al day, ighting problems, solutons, tactics and stateges willbe demonstrated ne, stub Rates ‘0° Concagcon @) pACiFIE using simple gear and smal fases. ts This tour focuses on nothing but the FAN a about producing stunning resuts hat will most requested, most useful and most ee. thr ents wihout tugging an eightsen important Adobe Photoshop techniques c eee for photographers. Whether you're a YiSt-KELBYTRAIINGLIVE com portal, landscape, wedding, ravel, or scene sponsors [BHStop Guessing. Start Knowing. Color Perfection : owned phe Kohanim, don’t guess about color. Th ColorMunki i1 Solutions Simply. Amazing. For demanding photographers Color. Perfected. For the most discerning looking for absolute simplicity photographers requiring absolute control. The global leader in Pro lor Calibration Solutions for camera, monitors, projector: scanners and printer a ‘om Color perfectionists uniteBishop Wille E. Bruce, Jr, isan active minster in the suburbs of Washington, D.C., and with his wie, Rev. Dr. Heather Bruce, founded Word Healing Outreach Ministries, Inc. (WHOM!) ‘about 10 years ago. The Bruces do missionary work in Jamaica, Lesotho, and Trinidad, and they have @ mission in the town of, Mbale, Uganda, WHOMI's mission is “one of service,” says Bishop Bruce. They each people how to use local resources, extend microcredit tohelp them sta nutrition, and disease prevention Bishop Bruce launched the V sineses, and hold w rkshops on hygiene, OM, website (www. worcheal ingl-com) in 2006—updatng it alittle in 2009—in order to show vistors their ac ‘age readers to contribute to WHOM's efforts financial. Bishop Bruce promotes the site with fers, mars, and posters, as wel as at events and at thelr annual fundeaisers ities in Uganda. The main goal as to encour- In Bishop Bruce's opinion, though, the site's not doing all it could, Even though mos vistors arive through word of mouth, with some idea of what WHOM is about, he thinks there shouldbe something onthe homepage that piques their intrest. “There's no activity, no bells and whistles,” he says, He wishes the homepage were a litle more exiting He would also like a way to share more of the photos of what WHOM, does on the homepage. The organization has 2 SmugMug gallery (http:/iwordhealing.smugmug.com), but vistors have to find ther way toa link on the Mission's page in ‘order to look att. lke people to be able so: photos without leaving the website,” he says. With that in mind, we asked three designers to give WHOM a homepage to match their efforts, 1e more oftheThe first thing | noticed on the client's website was the large group photo, a great illustration of the organization's purpose Simla, | wanted the images ofthe missions to take center stage on the redesigned homepage. My fist step was to create a rotating photo gallery that's easy to na added the photos atthe upper right, which will persist through- cut the site along with the logo. Speaking of the logo, that was the next part | worked on. The orginal logo had too much going on: a dove, a globe, 2 e Bible, et I wanted to create a simple design that ‘wouldn't distract viewers from the reason they visited the site in the fist place. | separated the cross into two halves to show two different worlds being brought together by the banner. | wanted the logo font to have a warm and weleoming feel t TUE MICHELLE KRUEGER ‘ Michal Kreger ound her way to ran then she ant looks ack she acted with a Tcl busy wth design feb design an feign in a roundabout way. She was lays interested landscapes a biking ung he favor mec, Lagos As I chose to.g0 with a serif font, Aldine, which | also used through ‘out the header and for other main elements of the site, For the body of the homepage, however, Thonbut, for a more straightforward look chose a sans-serif font, The final thing | wanted to achieve with this redesign was ter ste traffic and visitor involvement, I wanted to make an ‘easy and obvious place for visitors to co so ladded 3 Donate bar on the right side ofthe design | also added a socal media sharing section; anyone who wants to share the website can easly do so by clicking on each lnk ribut Overall, | wanted to make the website easy to navigate and understand, I also wanted to make it more exiting for vistors in the hopes they would get caught up in the client's mission and want t help. got oer, that medium changed oa ca re a new up dering 9 nc ands mouse cry Unversity Spring, Masoun, Michel tried tating graphic design Ces a ete, Since in Design Arts and Vial Communicaton raphy she sao the graphic att at 2 mie theate company in Downes Grove, Hino. Michele cre lvesin West Chieago with er dog, aly. She vually can bef ere ees idetty and iogo design, publica Adobe Photoshop C36 and Adobe lustrator C568 8 It was evident to me right away how much Bishop Bruce cares about the ministry's work in Uganda, and the origina ste simply didn’t convey this feeling. When | looked at the homepage, | wasn't drawn in; nothing really piqued my interest or moti- vated me to learn more. These were the two biggest issues ted to canguer in my redesign To help me better understand the mission some ofthe ph Hooked through ins in Uganda, The photos 0s taken on the were so engaging and made me fee an instant connection to the mission, | knew | wanted them to be featured. | presented them in a slide show format that not only brings mavement to the home: page but also allows viewers to browse through multiple photos easily, | also added a caption to help explain the connection itself. Th jhotes and information about thei other work tothe side show. urch could add between the photos and the ch MOLLY PIKE-ECKARD Fromthe tine she coul had a perc sued graphic design and um nthe Gu of eno, ke card was eramved th roving and reve Denby 2 dese to make a caer of Perceste abies, Moly atended Reging A focus on donating to the church was something else | thought Bishop Bruce's website lacked. I not only added a Donate page to the navigation, but puta call to action right on the homepage. | liked the idea that if people re moved by the photos, they could easly access information about getting invaled with or donating to the cause, Because the main thing that Bishop Bruce said he liked about the current site was the color scheme, | wanted to come up with ‘2 way to incorporate the existing colors that matched the more modern style ofthe redesign. This began with using the colors ina simplified and updated version of the church's logo. Then, allowed the rich purple to serve as an accent color, highlighting important elements on the page while adding visual appeal, nyubere tout pond fl of pape lege of a and Design n Sata, oid, where she ‘fer grungy of as yer, Moy eure to her sal hometown in Mae ola nd ny he at srr vacton before eter the “el wat." Desite bing eco ‘wing cl wth ar cents Mal’ mae hea far had 1's her desig il isp people change the wel, Se curenty es st use im etbehing he ar a tance cesaner, ard ey ee (of Barton, and when het esi, he ens hiking, snging, coking sling, ane adning ‘Adobe Photoshop C36 and Adobe lustrtor C55 continued on p32THE FASTEST, EASIEST RETOUCHING SOFTWARE Portrait Professional 11's cutting-edge algorithms produce high-end photo touch-up in seconds. The software automatically detects and enhances faces and features, letting you preview and modify the enhancements as you please, Photoshop User readers get an EXTRA 10% DISCOUNT OFF any SALE or LIST PRICE - use the code TS3875 ‘at PortraitProfessional.com. “The most comprehensive portrait retoucher we've seen.” Photoshop Creative Editor’s Choice award. “Remarkable retouching software that makes the process pain-free.” MacUser fn, vom Practical im C-* = “ Photoshop Eaton Choice ag cD AWARDS] ‘Gold Award DOWNLOAD YOUR FREE TRIAL NOW FROM WWW.PORTRAITPROFESSIONAL.COM!8 ae rE = PAUL SHRYOCK > Fortis projec, ated to realy breathe some Ife into the design vid Healing Ministries websit of the W seems tobe about spreading Iie in their community and the world {around them, and felt that a good way to bring that idea into the design of the website could be to bring ina lot more color, Under standing The vision of the ministry hat the cent was already happy with the purple white, {and yellow color scheme from the old design I chose to use large ck of those colors to separate sections ofthe website and break up the monotony ofa solid white background forthe whole thing. Another choice I made was to incorporate more photos— especially a large image sider across the top to catch viewers! attention and dra {an interest in what the following paragraphs might say. To make the remaining tex fe! less lke a book, | arranged it into three narrower vertical columns. Solid block headers and a couple them in. My hope in doing ths was to create photos seemed to be a nice way to break things up as well as I hoped to create a nice flow and keep the reader's attention. eel that any website normally ought to have solid consis: tency, especially when it comes to site navigation, and with this site| decided to match the header and footer. The les time that users spend trying to think about where they're going, | decided, the more time they would spend with the site \When it comes to typography, | ike to keep things simple, 0 lused two fonts: Museo Slab for headlines and Delicious for body copy. Using Goudy Bookletter 1911's ampersand in the subhead brought in just the right amount of elegance without making things too busy. Faul Shryock a graph and Web desgne fom Pacha whois az Joma, nd Jesus, He has mace than four ya experi 2 rune of lea coraries. inthe graphic den fd, between working forthe pit newspapers, Felancng, nd hang al graphic and Web des dues fot eundaton of degre with honors graphic design fam Delaware County Comerunty allege, and Inde to ep hs st upto dt, he's ring the test Web Techaques and ends rm an olin schoo calle TreeHouse, Poul’ design tol of choice include Adobe basis of socal networking rom Facebook and Twitr to YouTube andPinterest. Pou plays guitar n tues bands and ens the outdoors wen tie alloys. MCD ‘Adobe Photoshop 36photobacks FUL ee CD Prema nseert ied TUT Se UT WHAT DOES PHOTOBACKS D0? Photobacks offers diverse packages of Photoshop ‘Templates, Digital Backgrounds, Textures, ‘Overlays, Actions and Video Tutorials to help you create amazing images in Photoshop! We also include an exclusive panel for Photoshop to make your use of our products in Photoshop seamless and efficient. Customize with ease and quickly see how Photobacks can save you allot of time and energy! Plus, take advantage of our exclusive Photoshop Video Tutorials and extended training with free Webinars and Photobacks Backstage online. And, with your My Photobacks account, you'll have anytime download access to your purchased products from the Photobacks Cloud. SAMPLE PROJECT: 1. Add your photo 10 Photobacks Signature Package “Template with one _ Photobacks Control pane! 2. Select Photo Mask layer and rotate using Free Transform www.photobacks.com CCSD a aCe eS eas (9)YDOWN & DIRTY TRICKS FELINELSON The Bourne Legacy Poster Effect There are a number of tutorials out there that emulate the grungy, segmented effects used on The Bourne Legacy promotional posters—and that speaks to the adaptability of Photoshop. There are several different ways to accomplish the same effect, depending on the Photoshop tools you're most familiar with. It like that old saying: There's more than one way to skin a cat. Not that we're skinning any cats. or anything. 'm just saying, D> ster one: Open the image to which you wish to apoly the effect. Go to Image>Duplicate. When the Duplicate Image dialog appears, simply click OK (there's no need to name the file since we'll be discarding it vole: United og [nied coy i i i : : i i : STEP TWO: Make sure you're working on the duplicated image and go to Image>Adjustments>HDR Toning. When the HOR Toning dialog appears, enter —1.04 for Exposure, 4+300% for Detail, -100% for Shadow, ~60% for Highlight, ‘and ~100% for Saturation, Click OK STEP THREE: Using the Move tool (V) while holding down the Shift key, dick-and-drag the du plicated image document directly onto the original document, which will add ‘a new layer (Layer 1). The Shift key wil align the du- plicated image with the original image. Change the ayer blend ‘mode to Overlay near the top lft of the Layers panel. You can lose the duplicated image document, as you no longer need it 8Hyou the image to look a bit more ‘grungy, go to Fiter>Noise>Add Noise. Enter 15% for Amount, set Distribution to Uniform, check on Monachromatic, and ick OK. Use a higher Amount for high-res images. nt Click on the Create a New Layer icon at the bottom of the Layers pane! (Layer 2) Press D to set the Fore ground color to black. Choose the Gradient ‘001 (G) from the Tool- 'box. Click on the gradient ‘thumbnail in the Options Bar, choose the Foreground to Transparent preset, and click (OK. Now cick the Linear Gradient ican in the Options Bar, then lick-and-irag a gradient from the left side toward the center of the document to darken the left side, Lower the layer Opac ity to 75%. Create a new layer (Layer 3). Press Option-Delete (PC: Alt Backspace) to filthe entire selection with black. Lower the layer Opacity to 0% (this is only a temporary setting so we can see whats beneath Layer 3), Choose the Rectangular Marquee tool (M) from the Toolbox, and make a selection across the image about where the eyes are in your image. 8 &8 8 STEP SEVEN: With the Rectangular Marquee too! stil selected, add more horizontal selections to the current selection by holding down the Shift key. Vary the height and length of the selections, and don’t forget to leave some unselected areas for text (bottom left and various areas from top to bottom in our example) STEP EIGHT: Raise the layer Opacity of Layer 3 back to 10096. Now, press Delete (PC: Backspace) to knock out the selected areas of the solid black layer. Press Command-D (PC: CCW-D) to deselect. Note: Knocking out the selected areas of a sald black layer isa very basic way to achieve the effect, but you can also use a layer mask or a vector mask, making the layer much easier to edit or change at a later time. STEP NINE: Click on the Foreground color swatch at the bottom of the Toolbox. Choose a gray color (R:169, 6:169, 8:169) and click OK. Choose the Type tool (7) from the Toolbox and enter some text at the lower left of the d the font, Right-click directly on the type layer and choose Rasterize Type iment. We used Helvetica regular and Helvetica bold as.With the rasterized type layer active, choose the Rectangular Marquee tool and make a thin horizontal se lection beginning at the base of the letter Y (see example) N from hoose the Gradient tool, and click-and-drag a gradient he left side toward the right sie of the selection, Deselect Click on the Add a Layer Style (2) at the bottom ofthe Layers panel, and choose Gradient Overlay, Click directly on the Gradient thumbnail. When the ‘appears, choose Foreground to Transparent. Double-click the color stop on the lft side under the gradient ramp, choose 3 dark-gray color (8:88, 6:89, B:89) in the Color Picker, and click OK. Now, click OK twice to close the Gradient Editor and to apply the layer style jent Editor ‘Add some type to the open black spaces to complete the effect. HOPE8 8 YDOWN & DIRTY TRICKS FELIKINELSON Simple Neon Effect (Bates Motel) A few months ago, A&E began running promos for their new television series Bates Mote! (a prequel based on Alfred Hitchcock's 1960 film classic Psycho). While the show looks interesting enough, what really got my attention was the neon hotel sign graphic used in the promos. There are tons of neon type effects out there, ranging anywhere from the extremely intricate to bare bones basic, This one is of the basic variety, but it's still very effective. D> STEP ONE: Open the Bates psd. Create a new layer (Layer 1) by clicking on the Create a New Layer icon at the bottom of the Layers panel. Now, clck on the Foreground color swatch at the bottom of the Toolbox, choose a blue color (R:3,G:90, 8:128), and click OK. Command.click (PC: Ctl-click) on Path 1 in the Paths panel to make ita selection. Press Option-Delete (PC: Alt-Backspace) to fil the selection, WWAPP members may download the file used in this tuto ‘ial from bttp:imembers photoshopuser.commagazinelssuel ‘mayjune-2013. All files are for personal use only. STEP TWO: Click on the Add a Layer Style icon (fs) at the bottom ofthe Layers panel, and choose Inner Glow. Choose Multiply as the Blend Mode, click on the color swatch, choose black as the color, and click OK to close the Color Picker. Enter 10 px for Size. Now, choose Outer Glow from the Styles lit on the left sie of the Layer Style dialog. Choose Multiply 2s the Blend Mode, lower the Opacity to 0%, click on the color swatch, choose black as the color, and click OK. Enter 2 P 10 px for Size. Don’t lick OK yet = - STEP THREE: Choose Drop Shadow from the Styles Ist. Uncheck Use Global Light, enter 105°for Angle, 11 px for Distance, 9 px for Size, and click OK to apply the = three ayer sve STEPFOUR: Create another new layer (Layer 2). Change the Fore- {ground color toa lighter blue (8:74, G:122, 8:145). With Path 1 as the =a active selection, go to Edit>Stroke, == Enter 1 px for Width, choose Center “ewes for Location, and click OK. Press ‘Command-D (PC: Ct-D) to deselect.STEP FIVE: Click on the = ‘Adda Layer Style icon and os choose Bevel & Emboss Enter 1 px for Size, Choose ‘Outer Glow from the Styles list. Choose Multiply as the Blend Mode, click on the color swatch, choose black {as the color, and click OK Enter 1 px for Size and click OK to apply the two layer styles STEP SIX: Create a new layer (Layer 3) and change the blend mode to Overlay near the top left of the Layers panel. ‘Change the Foreground color to a lime green (R:83, G:198, 8:18). Choose the Brush tool (8) from the Toolbox, Right: lick in the document to open the Brush Preset Picker, and set the Size to 9 px and the Hardness to 0%. Click on Path 2 in the Paths panel to select it, and choose Stroke Path from the pane!’s flyout menu at the top right. When the Stroke Path dialog appears, choose Brush from the Tool drop-down ‘menu, tum on the Simulate Pressure checkbox, and click OK. STEP SEVEN: Create another new layer (Layer 4). Change the Foreground color to light aqua (R:145, G:247, 8:25). With the Brush tool selected, choose a S-pixel, hard-edged brush (set the Hardness to 100%). Click on Path 2 in the Paths panel again, and choose Stroke Path. When the Stroke Path dialog appears, make sure Brush is chosen for the Tool and the Simulate Pressure checkbox is turned on, and lick OK. STEP EIGHT: In the Lay- ers panel, click on the Add a Layer Stye icon, and choose Bevel & Emboss. Enter 150% 2 for Depth, and 1 px for Size. Click on the down-facing arrow next to the Gloss Contour thuminail and choose Ring. Lower the Shadow Mode Opacity to 42%. Choose Inner Glow from the Styles ist. (Choose Multiply as the Blend Mode, click on the color swatch, choose a teal color (R54, G:133, B:151), and clck OK. Enter 1 px for Size. Dont lik OK yet STEP NINE: Choose Outer Glow from the Styles list Choose Overlay as the Blend Mode, click on the colar swatch, choose a light-green color (R:0, G:255, 8:198), and click OK. Enter 6 px for Size. Choose Drop Shadow from the Styles Toot (7 trash seas Pressore DOWN & DIRTY TRICKS 039g DOWN & DIRTY TRICKS st. Click on the black color swatch, choose blue as color (R:7, G:110, 8:145), ‘and click OK. Enter 100% - for Opacity, uncheck Use Global Light, enter 3 px for = Distance, 1 px for Size, and lio click OK to apply the four aoa layer styles, STEPTEN: Adda new layer (Layer 5). ‘Change the Foreground color to a light teal (R137, G:238, 8:255), Using the Brush tool with a large, softedged brush around 25 pixels), paint in some hot spots on the neon ight you've created (see example). Change the layers blend mode to Overlay and lower the Opacity to 50%. STEP ELEVEN: Add a new layer (Layer 6) and drag it just above : Layer 1 in the Layers ee 1. PressD to change Bee : the Foreground color to ck. Using a 10-pixel, hard-edged brush, paint in some spots at the points where the neon lights would begin and end (see example). Lower the layer Opacity to 50% STEP TWELVE: Add a new layer (Layer 7) and move it be low Layer 1. With the Foreground color stil set to black, Com mand-click (PC: Ctrl-click) on Layer 1 to load it asa selection. Press Option-Delete (PC: Alt-Backspace) to fil the selection with black. Press Command-D (PC: Ctr-D) to deselect. Go to Filter>Blur>Motion Blur, Enter -90° for Angle, 100 pixels for Distance, and click OK. Now, go to Fiter>Blur>Gaussian Blur Enter 5 pixels for Radius and click Ok to complete the effect Qen eta ae Nester tt fh eacm date) mes Make changing orientation quick, easy and secure, ares eege ek ccs Sey Ea COE Tee Se Rares 4.g YDOWN & DIRTY TRICKS COREV BARKER Old-Fashioned Photo Effect Here's a nifty little technique for creating that old-fashioned photography look with a few simple textures and a couple layer tricks. You'll also see how smart objects can be useful in turning the image into a tem- plate, in which you plug in a new photo without having to re-create the effect all over again. D> STEP ONE: To begin, we have a photo that |shot recently at ‘a workshop. You may download the model_1.jpg fle to follow ‘along or fel free to use one of your own. | felt this one had the right look for this kind of effect. [NAPP members may download the files used in this tutorial at http:limembers photoshopuser.com/magazine! Issuelmayjune-2013. All files are for personal use only.) ‘STEP TWO: Next, open the main background image called ‘ld_photo psd. This contains a background texture that | got ‘rom a collection of textures by PhotoArtTextures.com. It has a nice bit of aging and grain on it to help achieve that worn-out look, but it's only start. STEP THREE: Let's darken the edges a bit more by adding a layer style effect. To do this, we need to unlock the Background layer, so click-and-drag the Lock icon on the Background layer fonto the Trash con atthe bottom of the Layers panel. Now click (on the Add a Layer Style con (fx) atthe bottom of the Layers panel and choose Inner Glow. Click on the yellow color swatch inthe Structure section and choose a darker brown color. Then, change the Blend Mode to Color Burn and drop the Opacity to around 50%. Next, in the Elements section, increase the Size to around 160 px. This number may vary depending on the size of the canvas, but what you're going for is a darker edge effect that fades to the center. Click OK when you're done.STEP FOUR: Retumn tothe photo of the model and, using the Move too! (V),click-and-drag the model onto the back- {ground image. The model photo will be large, but before you scale it, Right-click onthe layer inthe Layers panel and choose Convert to Smart Object. Ths will maintain the high-res quality and aso come in handy later. Press Cornmand-T (PC: Cir-T) to lente Free Transform, and position and scale the photo down to fit the subject onto the backaround, leaving the gridded ight {and other distracting elements outside of the working area. Change the layer blend made to Lumines, then drop the ayer Opacity to about 25%, STEP FIVE: We're going to darken the edges abit to help enhance the effect. Go to Fiter>Fiter Gallery, cick the Artistic folder, and choose Poster Edges. In the settings on the right, set the Edge Thickness to 0, the Edge Intensity to 1, and the Posterization to 6. Click OK. STEP SIX: Because the layer isa smart objec, it applied the effect asa smartfilter, which allows us to adjust it whenever needed. Below the layer, you can see the fiter name, and to the right there's a smal icon. Double-click that icon to open the Blending Options dialog, Set the blend Mode to Soft Light and the Opacity to 75%, and click OK STEP SEVEN: Even though the layer blend mode is blend ing the image with the background texture, i’s not enough, We need to take it further by using the Blend If feature. Click Con the Add a Layer Style icon and choose Blending Options. {Go down to the Blend If section and begin with the Underly- ing Layer slider. Click-anc-drag the black sider on the let over 10 right. You'l see the texture show through as you drag the slider. Stop at around 150, then hold down the Option (PC: Alt) key, and cick on the right side of the slider to spit it. Drag the right half toward the right to make a smoother transition. Set this around 220. Next, split the white sider on the right side and drag it to the left to around 190, Notice how the texture looks in the image window as you move the slider. These numbers are merely a guide, so tweak your settings, if needed. —— Vndeg per 159 / 22011 / 255 — DOWN & DIRTY TRICKS Bending Options Copy css Duplicate Layer Delete Layer (Group from Layers. wo Create Clipping Mask Moe: (Sf taht ) = psc [75 2) a reve so @ Steph gg g Go up to the This Layer section, split the white sider, and drag it tothe lft to drop out some ofthe highlight: ed areas of the model. Again, how much is entirely up to you. Click OK when you're done. E Now the image is really taking shape, but it's somewhat light, so we're going to enhance it with an adjust ‘ment layer. Click the Create New Adjustment Layer icon (hat black, hal-white cc) and choose Black & White. immediately change the layer blend mode to Mutiply. Ths wil darken the image more and open the Properties panel so you can make 1 few changes. The only two slders that wil affect the image here are the Reds and Yellows. just set al the others to -200, ‘Then just play around with the Reds and Yellows sliders to ad- Just the image further. Because this isan adjustment layer, you can tweak it at any time, EN: That's pretty much it! You have an old-fashioned, ‘aged photo effect in a matter of minutes, Now, remember when ‘we made that model image a smart object in Step Four? Ifyou Right-click on the layer, ou can choose Replace Contents from the pop-up menu, and then you can select another photo to re- place the existing one. Because the fters are applied to the smart ‘object and the Blend If features are stil intact, the new image will update automatically, thus creating an old-fashioned photo template to which you can add a whole series of photos. Here, | have two versions with different model shots All| needed to do was swap out the photo, mc Blending Options. Duplicate Layer. Delete Layer Group from Layers. Convert to Smart Object New Smart Object via Copy Edit Contents Export Contents : iRWG oat esac © VANGUARDCEC Using the Right Tool for the Right Job syomecios Years ago, | worked for a company where the accountant used Excel for everything— ETN ice Cod te NaN oc==16 Neg iM oo Coa are NO RONAN TIN (STE Ke oro ne ere MORN AUC e Mieco aie lee 1a ee er-loie NON Len folole Oe Nuno Vota =e hoKe oN oN aun NCa-lNAcD oe EIuelN oUt gre nao) Grol tar-aice lai 9(eloM MM UNEE- [aCe (MU ll Move) lear Maaco) Corsaro) oN holies co OTANI E best to use Illustrator or InDesign, and how to combine all three for the best results. eyTHE BASICS Before we get too far, let's take a quick look at nce ete nena eet eee ccm Mca cme tito) rectangular arid of pixels: zoom in really close in a photoshop document and you'll see the grid of Preece eae se aco ene eae DE ed esc eroe but if you scale them to a larger size there will Peete MR Cee escg un? Pee icine mee eal Pelee ete er uae images can be scaled up in size without loss of quality and, therefore, are referred to as resolu- ete en enc eck cs Pema mn na ec ont Se Ac owe CR ns Ronen eeu clues em ars Ret endemic ane ice Poe ys US ecw ie PRS ec site ase, zoom in, The vector version stil looks very smooth and crisp, because that's the scalable Pete n secdeciem Mnsaky eee} on the Photoshop (raster) version, the pixels become more obvious and the edges of the eee ees ORC N eee eg enemy a PEPER cana een ne erie nT Ronan o gem nec ulead made up of pixels, so they must be raster grap! ics. To oversimplify things, we could successfully argue that you should use vector formats for graphics and raster formats for photographs Unfortunately, i's not quite that straightforward (or this would be a much shorter article). We need to add into the mix the intended use of our project and what tools we have available er aR Ce Cac combining the best of each tool, 0 BLACK/SWAN PHOTOGRAPHY iat) PHOTOGRAPHY eared PHOTOGRAPHY PesceCOMPARING TOOLS Let's start with the tool | would use Perec iurtae ceri) Wee toungeeagnry Meena eecol that’s typically used to compile various elements—text, graphics, En ne emeee Toco Smuts foe eet aeons Ay Oleic Deere uE eo et gent none Giese eae erage Canoe it would be fairly unusual to start with a blank Cece eetUR ee er eure co ics solely in that application. InDesign is the tool Cee Mun ert ital its greatest strengths is creating documents that eur ment eet) Ene nese UCC Cn seuc hte nec ei Lu scrac into the same design, More recently, thanks to Cerda ee Vice = eMart st eevee eae rend neOry tool that can create ePubs and apps Pee ees a eee Rie ap ea) InDesign doesn't mean they can no longer Peer sR eRe ogc token a Pager tate ene ance ie Echo tat ese Meue eee if we typically end up in InDesign, we need to eer eet er keer nn cote ues Prete ARMs see celia uae WRU Genet ice aa ne ee MT tC ry vector design tool with many options for creat- ing graphics and, by nature, creates graphics that are very editable (and as we described before, Rone See acm re cmon vector tools), Photoshop excels at working with ones ees PHOTOSHOP In theory, you could create a one-page flier in Pho- toshop, but that’s kind of like writing a letter using Eee ester une os) Pr esau ty he snc aa equally important, i's usually much more difficult to edit, make changes, or reuse the elements in eee ccome EE ugece ter job with a one-page flier but still doesn't lend itselfto things ke columns of text and wrapping Recent Mem iene mace Smee bara ee aT would be the best tool for the job since things Breese femme ge eT oraic) Beemer um Similarly, you could create a business card entirely in Photoshop, but you're taking a bit of a chance that the graphic elements of that rege trese sehr imetiD) Meme get Marien carer iT neha nee cme eu where you want to work on photos. Period, | a a ILLUSTRATOR Athough both Photoshop and InDesign do have some vector tools, they're pretty limited, so if NoMa Reece Naeger nea tc is the place to start. We can build on graphics that start elsewhere, or create objects from scratch Peru ee uel epee te Pome mee Meet eres will ahways be preserved in vector format and can tee DO CD EScoy i PRN aOR Lore h) Ona ru ae eam eeRr ie eval ean ge Nomen oe ft flexibility ech e'll xO) MNamOlOsin@)a TO ILLUSTRATOR CO aed a ee Meee ee eee Cee eee a emery ee eee Peo 2 Photoshop file (preserving its raster De eae oe te ee) Cee eee eens Link option inthe Place dialog, we're able to edt the placed aac) eee eras uaa the photo inside a circle, Since the placed file links back to CeCe eel Option (PC: Alt) and double-clicking on the placed graphic After changing the file in Photoshop and saving it, the artwork eer tor (here, a Black & White adjustment layer Ree i emt Peco) et eo ne ee Tec cee eee es very much in the way of dlp at, but we can make use of the eae iar or niet ecg STEPONE: In Photoshop, click on the Custom Shape Peta ir emue scar con Uae) and then in the Options Bar, select Path in the drop-down pees a ree Per Bexen THE BEST OF THREE WORLDS Dern TO eAOR a ono re ET eect) Rema Temes cans eee TMT Ei Tmt] tus ee ements © © Markham Meertainment ened PrBorate Se eee ce ie et cs ick on the Shape thumbnal in the Options Barto eae ee etek a (gear icon) at the top right ofthe Picker, choose All, and click ‘Append. Click-and-drag on the docurnent to create the shape (eee Cn ence et a ene ee ae See eee ete ES aS Re eee eee fev create Ceca et eet eee) Sa eee Se ee ee ae ee ee ae eee oa) IRKeR RUMEN Ke rife aR Uy-1a ol] ela R Uy eRe CeT ENCE ech itin Illustrator. | | Oo & Oo a Scand orn Base) aroFROM ILLUSTRATOR TO PHOTOSHOP ‘Again, there are several choices, but the two methods | use the eee eee ee ret Ea closed an ilutrator document, use the Place command in Photo See eee Tee eS ed eee eee ase eee eee eg Cra ee Ue ee rene ‘ranhic appears inthe preview area, and click OK. Intl, the graphic will come in with handles so you can scale it tothe size you want. Once you've finshed scaling the graphic, Dee ee ee eg tenes a ee ee Re ee eo ee oa De ee eee) See eee ee eed SE cee ones ere eaeg you're currently working on a graphic in illustrator, you Ce eee eee ect Peete Pe eas ree ead eee arr aekarne) Shape Layer Sores STEP TWO: Switch to Photoshop and the document into Pere eee re een eetainy) ee eee ee ‘Smart Object, and click OK STEPFOUR: Use the handles to scale the graphic tothe size you want and then press Enter. As with placing, a new layer See eee ead icon. When you copy-and-paste from illustrator, there's no filename, so the ayer will be named “Vector Smart Object. a react eo the smart abject thumbnail the Layers panel. The artwork wil ‘open in tlustrator ina file narned "Vector Smart Object.” Make ‘a change in tlustrator and Save it, and the vector smart object Re ue eee eeCREATE CUSTOM SHAPES IN PHOTOSHOP USING ILLUSTRATOR ARTWORK ee et eal eae ea ee eee ee a) Peet ened ‘his only works with one-color logos because custom shapes in Cee eu eee ee eee eal Se Te ee Se a ed Cee cess et are STEP ONE: In Illustrator, if your logo contains type, select Seer ane eto ee) ores a ae STEP THREE: Switch to Photoshop and with a document Cee eo eee eed Layer. This will create a new shape layer. STEP FOUR: From the Edit menu, choose Define Custom ‘Shape. Name your shape and click OK. You can close this Pee ees Bh nese ge eed Cee eet ee ured ‘your previously defined shape. It will be atthe end of the lst Cees STEP SIX: In the Options Bar, choose Shape in the drop-down Dera eee ee eo ecru Cee ee ae oe the shape layer in the Layers panel. You can change the color of the shape by licking on the Fill color swatch in the Options Bar ; QO)~ BLACHK/ SAD PHOTOBAAPHY Bray) ad pony SaUSE ILLUSTRATOR — SYMBOLS IN PHOTOSHOP. Feet ee ic om ea De ee eee eet | libraries that we can easily use in Photoshop. Here's how: oa ee ten ars Era} STEP TWO: From the Window menu, choose Symbol Ree eo ae ie) Sorc @ pa eee ee Be (hearin eae etic eres Pete eee ee ee eet oe eet ee ea | ponyenpiate BRING IT ALL TOGETHER IN INDESIGN PO see ee eee a in Photoshop, i's much more likely that you'll bring files into an ee ee ene) days of page layout, we'd be discussing how to save fle in EPS or TIFF format before importing, but thats no longer necessary. In fact, there are definite disadvantages to using those formats; most nota- Deed oe os cee eS fees ad InDesign can easly work with Al es from lustrator and PSD files from Photoshop, both of which can be edited from within ere ees ee cee nt Seen een en ees) tool (V), double-click on the graphic to open the file in its original software. Make any changes and save the document and it wil update in InDesign eee ere Eee) is that you can show and hide layers right in InDesign. Hf the Bes eg eee ae yu can access the layers and decide which ones to show by using Cement ree ce mney ee a) Pe es en Ree ee eee ecgEDITABLE CAMERA RAW FILES IN INDESIGN PoC eee eer ec Cee ee eee et Cree ara ee er Pee eno STEP ONE: In Camera Faw, cck onthe blue Workflow Options link at the bottom of the window. Choose the settings you ‘want (Size, Resolution, etc.) and—most importantly —check ee ee ee ene ca bbecomes the default, meaning all photos in Camera Raw will ‘open as smart objects from now on. IN ee eae ead eee et ee cet ee ee ‘opened in Photoshop. The smal smart object symbol will appear See ne eer) Cee eeu eee ie ene Re eee eee eee STEP FIVE: Editing the Camera Raw settings takes two steps: Option-double-ick (PC: Al-double-click) on the paced fle in InDesign to edit the Photoshop file, and then in Photoshop, double-click an the Camera Raw smart object layer thumbnail en ce ee eno click OK and it wil update in Photoshop, Save the Photoshop file, Cee ee tend Soren ci oa Sl Co EL) Pe aa ed) ° Sa Sry SraCaAR-FRESHNER ye . Oe - = Ask permission = The Tree design is a registered trademark. This means it can only be used by the owner (that’s us) and those who have permission. To ask permission, email legal@littletrees.com g 4 Can freshnee Corporation USA _littletrees.com Tre Tree design, Can-Freshnen, and LITT. TREES are trademarks. © 2013 by Jus Smann Ltd3 * BEGINNERS WORKSHOP From Portrait to Pencil Sketch LESASNIDER Using the power of layer blend modes, you can quickly turn a portrait into a colored pencil sketch. By shooting your subject on a white or other light-colored background, the technique takes minutes and gives you yet another product you can offer in your photography business. Read on! D> step one: If the soon-to-be-sketched image consists of a single layer, press Command-I (PC: Cts) to duplicate it. f the image consists of many layers (sy, ifyou used adjustment layers 10 correct the image, as we've done here), press Command- Option-Shift- (PC: Ctr-At-Shift-) to create a new “stamped” layer that contains the content of all the other layers. Alterna~ tively, you could convert al of your layers into a single smart object and then duplicate that; however, for this particular technique, a stamped layer is more efficent for your document file size. Double-click the duplicated layer’s name in the Laye’s panel and give it a meaningful name. ‘STEP TWO: Near the top of the Layers panel, change the blend mode of the duplicate or starmped layer to Divide. New in Photoshop CSS, this mode divides the blend color (the color in the duplicate or stamped layer) by the base color (the color in the original layer) in each channel, which significantly bright- tes the image, almost to the point of being sold white, Don't panic! We'll fi that in the nest step STEP THREE: Choose Filter>Blur>Gaussian Blur and, in the resulting dialog, enter a fairly small amount in the Radius field and click OK. I's set to 10 pixels for this 2,500x2, 700 pixel image STEP FOUR: Create a stamped copy of your existing layers by pressing Command-Option-Shift-E (PC: CirbAlt Shift). ‘STEP FIVE: Convert the newly stamped layer into a smart ob- ject by choosing Fter>-Convert for Smar Fiters. Photeshop adds 2 special badge (circled) atthe lower ight of the layer thumbSTEP SIX: Nowit' time to run the Poster Edges fiter. In C36, choose Fitersiter Gallery. Locate the Artistic category at the top cof the center section and single-cck the Poster Edges icon. in previous versions of the program, choose Filter>Artsic>Poster Edges. Either way, enter a value of 1 for each slider and then begin dragging each slider rightward until you produce a pleasing result (every image i different so this pat takes a itle experimentation). Click OK when you're finished. STEP SEVEN: Change the blend mode of the smart object yu created in Step Five to Linear Burn to darken the colors and) ‘add 2 splash of contrast. Ifthe effect appears too strong, lower the Opacity setting near the top right ofthe Layers panel. It was lowered to 75% here, You're basically finished at ths point, but for even more creativity, go on tothe next step, STEP EIGHT: This step s optional, but you want to ceate a single-color sketch or adjust the saturation of the colors in your sketch, you can do it with a Hue/Saturation adjustment layer. Choose Layer>New Adjustment Layer>Hue/Satuation and ick OK in the New Layer dialog. Inthe resting Properties pane! (or Adjustments pane! or dialog in previous versions), turn on the Colorize checkbox to produce a single-color sketch. Experiment ‘withthe Hue sider to get the color you want. f you merely want 10 reduce the saturation of your sketch, leave the Colorize option turned off and drag the Saturation slider sightl to the lft STEP NINE: Save your creation by choosing File>Save As and choosing Photoshop from the Format drop-down menu. This preserves your layers for future editing, ‘Obviously, there are myriad possibilities to produce unique results with this technique and here you're seeing but a pre