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, 00 FREE RESOURCES!

$300 20
VALUED AT

909 BRUSHES, 289 TEXTURES, 194 IMAGES, 93 ACTIONS, 12 FONTS AND MORE
www.photoshopcreative.co.uk

PAINT SIMPLE
LANDSCAPES
Essential techniques for painting
textured outdoor scenes

Use real media

ALSO INSIDE!

Create cool effects

Work up in Photoshop

Produce artwork

PLUSs!of
ge

14 pa ers
Create fractal
beginnes
animal images
guid
Get creative
with selections
Design your
own newspaper
Drop rain into
your photos
Manipulate a variety of images
Apply spooky
ISSUE 132
to create a fantasy world
special effects

SURREAL ART
USING MASKS

A ARTISTIC
PHOTO EFFECTS
Learn how to create a stunning double exposure
using photos, blending modes and layer masks

Free step-by-step tutorials online

photoshopcreative.co.uk
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Magazine team
Editor Sarah Bankes

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 01202 586252

Senior Designer Dan Bevan


Editor in Chief Amy Squibb
Senior Staff Writer Mark White
Photographer James Sheppard
Senior Art Editor Duncan Crook
Publishing Director Aaron Asadi
Head of Design Ross Andrews
Contributors
Matt Bennett, Jo Cole, Sarah Cousens, Rebekka Hearl,
Moe Hezwani, Kirk Nelson, Sarah Shirtcliffe, Daniel Sinoca
and Andre Villanueva

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Making your own resources to use in


Photoshop is becoming more and more
popular. Most of us like to demonstrate
originality in our artwork, and customising
assets from the outset is the perfect way to
achieve this. Turn to p12 and follow the
step-by-step guides that show you how to make your
own brushes, textures, backgrounds, gradients, fonts,
stock images and actions. And to accompany these
practical guides, we have a bumper FileSilo this issue.
With 2,000 free resources for you to download, youll be
inspired to put all those hands-on tips into practice and
create your own! The issue is also packed full of creative
tutorials, such as compositing a double exposure, making
out-of-bounds images, adding special effects with layer
masks, designing your own newspaper in Elements, and
much more. Enjoy the issue!

Imagine Publishing Ltd 2015


ISSN 1747-7816

Sarah Bankes Editor


sarah.bankes@imagine-publishing.co.uk

NEXT ISSUE ON SALE 12 NOV 2015!

Contents
www.photoshopcreative.co.uk

Essentials
gallery
06 Readers
Take a look at what your fellow
readers have been up to this issue

Q&A

Your Photoshop
questions
answered
P90

Tutorials
a double exposure
24 Create
Mix photos and textures using layer
masks and blend modes

challenge
10 Readers
surreal art with masks
28 Make
Enter our competition for a chance
Create a fantasy landscape using
to win a top prize worth $145!

12

Feature: Make your own


brushes and more
Learn how to make your own
assets to use in Photoshop

24 Tutorials
Start learning new skills this issue
with a host of creative tutorials

82 Reviews
A Panasonic camera, an Epson
printer and a Totally Rad! plug-in

88 Never miss an issue when you


Subscribe

essential Photoshop tools

your photos
34 Supercharge
Add re effects to portraits with a
range of lters and brushes

how to play with


40 Learn
out-of-bounds effects
Make a steam train pop out of an
image from the past

YOUR FREE PHOTOSHOP


RESOURCES ARE HERE!
 This issue: brushes, stock images, textures,

backgrounds, fonts, actions and more


 Plus files to follow the tutorials
 Free and ready for you to download today!

a simple landscape
44 Paint
Discover how to paint a basic but
eye-catching landscape painting

have it delivered (US readers p66)

essentials
90 Q&A
Your Photoshop Elements, CS
and CC problems solved

94 FileSilo
This issue we have a whopping
2,000 free resources for you

98 We talk to Helder Borghi about his


Expert interview

surreal work in Photoshop

special effects with


48 Add
layer masks
Create a sinister effect to
transform your portrait shots

creative compositions
52 Build
Essential techniques to create a

2,000

person swimming in concrete

free
resources!

fractal animal art


58 Create
Use brushes, layer styles and the
Pen tool to make glowing effects

selections creatively to
62 Use
make a puzzle face

94

Jumble up facial features and turn


them into 3D segments

Photoshop for beginners


Top tips
of the best stock-photo
38 10
internet sites
Find out which sites you must visit
for great stock images

of the best tips for


56 5creative
macro effects
Learn how to make macro magic
with these essential tricks

Photoshop Creative

the Content-Aware
68 Master
Fill Move tool
Learn how to quickly move
subjects in your photos

your own
70 Design
personalised newspaper
Make your own newspaper using
photos and personalised text

composition in
76 Improve
your photos
Apply the rule of thirds, add a
vignette and straighten horizons

multi-coloured hair
80 Create
Take ordinary-looking hair and give
it a rainbow-style makeover

SUBSCRIBE NOW!
rain to your photos
74 Add
Create realistic rain effects to apply Turn to page 88 to get this amazing
to images for added atmosphere

deal! US page 66

SAVE

30%

Visit the Photoshop Creative online shop at

12

for back issues, books an

62

your own
Learn essential skills and techniques for creating
p projects
osho
Phot
al
origin
and
oke
besp
ve
resources to achie

52

34

58

40

24
Photoshop Creative

DERS IMAGES

inspirational round-up of great Photoshop


ated by none other than your fellow readers

BE A PART
OF IT!
rst volume
digital Hall of
Fame series is out now! Were
continuing to select our favourite
entries from the Readers Gallery
o showcase in forthcoming
volumes. To be in with a chance of
being featured, submit your best
digital art today!

Jimnah Njue
www.photoshopcreative.
co.uk/user/jimnah

Image of the issue


I used the Pen tool a lot
on this project, as well as the Soft Light
and Color blend modes. I then used
the Dodge and Burn tools right at the
end of the editing.

Elissandro
Pinto
www.photoshopcreative.
co.uk/user/Elissandro

These two pictures were


created with the help of a few friends
for a Photoshop contest. The main
focus for both of them was on
all the textures that I integrated into
each piece.

Photoshop Creative

Jim Gade
www.photoshopcreative.co.uk/
user/Jimmyg

I gathered the images I needed:


the elephant, monkey, water
slide tube and water. The water I used for the
splashes came from everything from ocean
pictures to images of clear splashing water.

Lisa Bagherpour
www.photoshopcreative.
co.uk/user/fairiegodmother

I love hummingbirds. I
already had the picture of
them and kept trying to nd something
that worked well with the image. I wanted
something vibrant and summery so I
played with these images and found out
they worked well together.

Ocelio Targino
www.photoshopcreative.co.uk/
user/Ocelio%20Targino

This composition used a


number of contradictory
stock images, such as the two subjects,
plus the re and the lightning images, to
create a fantasy effect.

Photoshop Creative

Arvydas
Butautas
www.photoshop
creative.co.uk/user/
Arvi

The layers of broken glass in


this picture were drawn using the
Pen tool, lled with a black and
white gradient and duplicated. I
then applied two blend modes:
Multiply and Overlay.

Photoshop Creative

Marcos Nogueira
photoshopcreative.co.uk/user/
Marcos%20%20Nogueira

This image was based on


Japanese traditions of the
samurai. It was created for a Photoshop
challenge in Brazil and the colours were
important to get right in the picture.

Tibor Nagy
www.photoshopcreative.co.uk/user/
Adax

First I masked out the original


picture, then I inserted two
different pictures with different blend modes
(Normal and Lighten). I colourised it using a
sepia-cyan gradient map, and after that I played
a little with the colours and Levels.

Robart Kaeler
www.photoshopcreative.co.uk/user/
NOMIE87

My ideas come from everyday life,


what I see and experience. With
this image, I wanted to convey how children are
manipulated through TV.

Get in touch Send us your images now for the chance to appear in future galleries
Create your own gallery online
PhotoshopCreative.co.uk

Upload your images to Facebook


Search PhotoshopCreative

Tweet us your creative artwork


@PshopCreative

Alternatively, you can email:


pcr@imagine-publishing.co.uk

Photoshop Creative

READERS CHALLENGE
Upload your images to photoshopcreative.co.uk

Challenge
entries
The best entries and

rs
Readleen
ge
Chal ER
WINN

overall challenge winner

1 Zoran Bojovic
Out of the Box
I managed to use all four of
these images, turning the leaf
image into my own brush that
was then scattered across
the sky, to help create this
final composition.

2 Samir Jagtap
Limited Freedom
This image used the box
image and the girl to form the
focus, along with a colourful
background to help pad out
the image.

3 Bob Parsi
The Sound of Music
I created this piece using
all the elements provided.
All kinds of techniques were
used, including clipping masks,
blending, brushes, blurs and
much more.

4 Anita Elder
Floating Away
I opted to turn my images into
more of a cartoon look, using
adjustment levels, blending
modes, the Pen tool and
more. All four pictures were
used for this composition.

This issues
challenge
Think you can do
better? Prove it!

Get creative with the supplied


images and you could win a
fantastic prize! Use as many of the
images as you like (from previous
issues too!) and include your own
photos if you wish. Head to
www.photoshopcreative.co.uk
and simply hit the Challenge link.
Good luck!

2
10

Photoshop Creative

We challenged you

In Issue 130, we
challenged you to get
creative with these four
images. You were
allowed to use any or all
of the pictures, and
whatever other
resources you chose.

WORTH

THE
PRIZE

$145!

InstantLab
Universal

Thewinnerofourchallengethisissue
willwinanamazingInstantLabUniversal
worth$145,courtesyofTheImpossible
Project.TheInstantLabUniversalisa
portable,easy-to-use,analoguedevice
thattransformsdigitalimagesinto
classicPolaroid-typeinstantphotos.Its
compatiblewithiOSandAndroid,and
allyouhavetodoisdownloadtheappin
ordertogetstarted!

WORTH$145!
RUNNERS-UP
PRIZE
Replichrome III:
Archive

Aswellasthis,thewinneralongwiththree
luckyrunners-upwillreceiveacopyof
ReplichromeIII:ArchivefromTotallyRad!
ReplichromeIIIincludes183totalpresets
basedonrare,expiredandeclecticfilms
fromacrosstheworld.

WORTH$99!

4
Photoshop Creative

11

STOCK PHOTOS
If youre tired of trawling through
stock sites or want something
specic, have a go at shooting
your own imagery. We have top
photography tips, as well as advice
on how to keep your shots organised.

r own resources to
Learn essential skills and techniques for creating youprojects
achieve bespoke and original Photoshop
s your projects will

in
aking your own resources either in Photoshop or
is
on
later
shop
Photo
into
the real world to then take
so
up
opens
It
ar.
popul
more
and
more
ing
becom
to the
many possibilities and means youre not restricted
et.
intern
the
on
here
elsew
or
shop
Photo
in
tools you find
arent
ble
availa
fonts
and
b ushes
ometimes you might want
eing able to customise your work

M
12

Photoshop Creative

by making your own resources mean


to show
achieve a higher level of originality. We are going
es,
textur
es,
brush
own
your
you how easy it is to make
actions.
and
s
photo
stock
fonts,
nts,
gradie
s,
round
backg
real
Whether youre creating your own effects in the
if youre
or
shop,
Photo
to
in
scan
or
graph
photo
to
world
lf
creating some new assets within the progra
fun!
some
have
to
going
youre

TEXTURES
Capture textures from objects
around you, whether that be
fabric, road surfaces, rusted
metal or something even more
abstract like macro shots of
ornaments or cupboard doors.

BRUSHES
Learn how to photograph realworld effects, such as ink splatters
and smoke, and turn them into
brushes. Plus, transform existing
photos into brushes.

FREE
RESOURCE
S!
This issue th
ere are mo
reso
re

urces th
assets inclu an ever! The 2,000
de
and more fr images, brushes
o
Head to ww m this feature.
w.lesilo.c
o.uk
/photosho
pcrea
download th tive to
em!

13

BRUSH

One of the great differences bet


digital art and real media tends to be the
lack of random energy that flows from ou
physical world. Drops of paint, swirls of
smoke, ripples of water all beautiful in
their own right and created by a different
set of rules than the mathematical
perfection of a machine built on binary
codes. To help bridge that gap, digital
artists can capture images of real media
and use them as assets in their digital wo
This approach brings a welcome sense of
disorder and energy to any design.

AL-MEDIA SPLATTERS
Convert real-media ink splatters
into a digital brush in order to add
realistic grunge effects to your
next project.

A common method of making your own


brushes is to create paint or ink splatters
using real paint and ink, as we have done
here. Its easy and amazingly effective.

CREATIVE APPLICATIONS
Use the splatters as direct paint,
with blending modes, or on a layer
mask to create a variety of eyecatching effects.

Gather the materials

01

The materials for good splatter brushes


are simple and easy to obtain. Start with a
brush, a bottle of black ink, and high-quality
cardstock that is thick enough to resist wrinkling
when it gets wet with the ink.

Paint splatter

artsplattering

Scan and adjust

Define the brush

03

04

Dip the brush into the ink and use a quick


flick of the wrist to splash it onto the
dstock. Its surprising just how much the ink
splash, so be sure to work in an area where
flying ink wont ruin anything.

hotoshop Creative

Once the ink dries, scan or photograph


the cardstock to digitise the splatter.
Open the image in Photoshop and go to Image>
Adjustments>Levels. Use the adjustment
handles to increase the contrast of the image.

Clean up the image with a soft white


brush to remove any marks near the
image edges. Go to Edit>Define Brush Preset
and give the new brush a name. Then t
will be available in your Brush Preset lib

Brushesonmask

Black and white splatters

Colour splatters

05

06

07

From the FileSilo, open TexturePaper.


jpg and PrettyProfile.jpg. Layer the
profile over the texture and add a mask. Use the
new splatter brush on the layer mask and vary
the Opacity and Angle to start the grunge effect.

Add new layers for black splatters and


white splatters. Use the splatter brush to
create a chaotic effect around the profile. To get
the black ink to fit around her facial features, use
the Eraser tool to shape the splats.

Add more layers for colour splatte


Experiment with different blend m
and layer opacity settings to get various ef
Here we used a blonde colour with the ble
mode of Color Burn d O
ity of 79%.

Turn photos into brushes

Splattered adjustments

08

Add a Black & White adjustment layer


clipped to the profile layer. This
desaturates the photo. Now use the splatter
brush with black paint on the mask to reveal the
colour again in literal splashes of colour!

It can be easy to forget that


brushes can be used to enhance
any photo, and you might choose
to create some specific to a
photograph or project youre trying
to enhance, such as this tree.
Rather like actions, brushes can be
a quick way to apply a shape all
over a picture; here, we simply
altered the Scattering settings from
the Brush palette to create a
scattered leaf effect, blowing from
this tree.

ADOBE BRUSH APP


You can create brushes from all sorts of objects
and items. Just by photographing things around
you and turning them into brushes with
Photoshop, you can build a bank of resources to
use in all kinds of projects. Anything at all can be
turned into a brush in Photoshop.
This smoke, for example, was
photographed and used as a brush
to make the delicate image below.

Smoke effect

The Adobe Brush app is a


great way to create brushes
wherever you are. You can
place any object onto a white
surface, capture, and the app
will create a Photoshop brush.

Photo

TEXTU

an
de the most
resting textures.

EXPERT TIP
Use default colours

When creating any textures with lters, its


always a good idea to use default colours
(black and white) to get the most traction
out of your lters. Begin your textures
using a lter that creates something
you can easily work with, like
Clouds, Fibers or Lens
Flare.

The best way to find high-quality,


interesting textures and patterns is to
simply look closer at the world around yo
Almost every physical surface has an
interesting texture that might be useful a
a digital asset, whether its a tree, road,
rock or desk. We often overlook these
textures simply due to their familiarity.
The very chair you are sitting on might
have a captivating fabric pattern that
could bring an interesting visual element
to a digital design. Check out the
step-by-step guide below and see how
we created eye-catching artwork using
the texture from an old armchair!

Start with a photo

Clean up the texture

Layer and clip

01

02

03

Start by photographing some fabric. Find


the flattest, tightest area of the fabric to
work with. Try to compose the shot with the least
amount of perspective and as even lighting as
you can manage.

Open the photo in Photoshop and crop


the photo down to remove any edge
wrinkles. Use the Spot Healing Brush to remove
any small spots or stains and a Levels adjustment
to create better contrast.

dother effects

With the base effect complete, consider


additional effects, like a layer style with a
ern Overlay to simulate wrinkles. Or a grey
d layer set to Overlay blend mode to use for
ge and burning.

hotoshop Creative

LAYER STYLES
Creative use of layer styles
is a great way to enhance
the nal appearance of
textured elements.

Open the WoodenMap.psd file from


the FileSilo. Place the fabric texture into
the file as a layer and clip it to the World Map layer
by going to Layer>Create Clipping Mask. Move
the fabric for the best pattern position.

SAVE TIME
To avoid re-creating
textures, set up as an
action. Get the action for
this texture on the FileSilo!

Textures can take your imagery to the


next level. Weve shown how you can
use photos as textures, but did you
know you can make your own within
Photoshop? Combining filters can
result in some incredible texturing.
Well show you how to create a
texture in just a few steps. Well then
apply it to a photo for an instant
boost. Afterwards, see what you can
come up with by using the Filter
Gallery to combine multiple effects.

Prepare

01

Open up the document that could b


from some texture. Create a new lay
press D for the default colours (black and w
then fill with the Background colour (Cmd/
Ctrl+Delete/Backspace).

oughen the layer

02

Now lets roughen the layer. Go to


Filter>Render>Fibers. Fibers is a great
arting point for filter-borne textures. Set
riance to 17 and Strength to 17. You can click
ndomize button to shake things up.

TEXTURED ARTWORK
This texture was created
with just a few lters. Use the
recommended settings we give,
modify them, or experiment
and create your own texture.

nderpainting filter

03

Well follow with another filter. Go to


Filter>Artistic>Underpainting. Set Brush
Size to 0, Texture Coverage to 40, Texture to
Canvas, Scaling to 58%, Relief to 19, Light to Top,
and keep Invert unchecked. Click OK.

textures

Once you begin to train your


eye to find textures in the
world around you, every
surface you see becomes a
treasure trove of available
textures and patterns. Even
the most mundane objects
can hold a fascinating surface
texture that can be used to
add depth, realism and visual
interest to your digital work.
So grab your camera and go
for a walk to find some
textures. Youll b
at what you find.

TREE BARK

ROAD SURFACE

An excellent rough texture.


Try to get even lighting on the
rounded surface of the trunk.

Wonderfully bumpy and


evenly coloured, just be sure
you et dont get in the shot!

WOODEN PLANKS

RU

The pattern of grain and

Me
tex
to a

Blend it in
ome
s.

04

Now its time to meld the texture into the


image. Use the blend mode drop-down
at the top of the Layers palette to test out various
modes. Here we used Overlay. If you need to
reduce, lower the layers opacity.

BACKG

DETAIL IN IMAGES
In recognisable images like this
dog, use smaller triangles to
achieve the necessary detail.

To create a low-poly effect in Photoshop


requires patience, but the final result is
worth it. Go to View and check Rulers
and Snap. Now go to View>Show>Grid
and then Edit>Preferences>Guides, Grid
& Slices. In the Grid section choose Style:
Lines, set the Gridline Every: 20 pixels,
Subdivision: 1 then click OK. Grab the
Polygonal Lasso tool and create a triangle.
Apply the Average Blur filter to create flat
colours for each triangle. Continue
creating adjacent triangles and applying
the Average Blur filter until you fill your
image. Use this technique for eyecatching graphic designs.

Before

PERSONALISE GADGETS
Be sure to save your image with
the correct screen size. Then
plug your device into a computer
and copy the image.

POLYGON SIZE
The triangular polygon size will
vary; try to follow the areas of
your image that have specic
angles or colours.

oose your tool

Draw the paths

Repeat the steps

02

03

Go to File>Open background.jpg. Hit


Cmd/Ctrl+J to duplicate it. Now grab the
gon Lasso tool. In the Options bar, click the
w Selection icon and uncheck Anti-alias to
id having any transparency along their edges.

hotoshop Creative

To create the polygons, click the corner


of the grid and start creating triangular
shapes. When complete, it automatically
changes into a selection. To create flat colours
go to Filter>Blur and apply the Average Blur.

Make more triangles adjacent to each


other. Vary the size and angle. Hit Cmd/
Ctrl+F to re-apply the Average Blur filter.
Continue all over the image. When you
with the results, hit Cmd/Ctrl+S to sav

Producing your own background is a lot easier


than going online and hunting for one. By
creating your own, you can design the exact
style you are after and reuse it as many times
as you like. Discover how to design your own
floral background by using the Brush tool, layer
styles, custom shape tool and channels in four
very easy steps. You can apply this technique
with any illustration or even a photograph.

1. DRAW

2. COLOUR IT IN

Draw an illustration or
use Flower_SI.jpg. Go
to the Channels palett
click the Blue one to
make a selection. Go to
Select>Inverse, duplicate
the background layer.

On the duplicated layer, set


the Stroke layer style to Size:
1px and Position: Inside.
Create a new layer behind the
cut-out illustration. Select a
soft brush and colour in

EXPERT TIP
Use a black pen

After you have drawn your illustration and


before you scan it, ready to be used in
Photoshop, its a good idea to use a black
ink pen or ballpoint pen to draw over
your illustration. By doing this, you
will nd that cutting out your
illustration is a lot easier.

4. FINISHING TOUCHES
Create a green to white gradient behind the
image. Select the top layer, Cmd/Ctrl/Alt/Shift+E
to merge. Go Filters>Render>Lens Flare, move
the plus to the top-left hand corner, change
Brightness to 100% and pick 150mm Prime.

3. BOKEH EFFECT
With the hexagon Custom Shape
tool (U), draw white hexagons. On
a new layer, with a soft white brush,
dot a few circles. Change Opacity of
both layers to 35%.

ADD COLOUR
Create a new layer and ll with
your favourite colours. You can
use the Gradient tool to create an
interesting background colour.

Creating seamless patterns in Photoshop is


very straightforward. First you need to create a
square document. Hit Cmd/Ctrl+N then set the
Width to 400px, Height to 400px and click
OK. Go to File>Place Ornament.png and hit
Return/Enter. To create the pattern, go to
Filter>Other>Offset. In the Offset window, set
the Horizontal to 100px right and Vertical to
100 pixels down, select Wrap Around and click
OK. Now go to Edit>Define Pattern, rename it
and click OK.

APPLY THE PAT


Go to Layer>New Fi
In the new layer win
In the Pattern Fill wi
Scale and then click

multiple
ll layers and is
the FileSilo!

GRADI

Gradients let you create blends of


colour, which you can unleash
upon your artwork. Choose
from the plethora of presets
or find packs on the FileSilo.
Create noise
Well show you how to start You are able to create noise gradients easily
and quickly, just by changing the Gradient
with a preset and
Type in the Gradient Editor. By doing this,
personalise it, altering colour
youll nd that colours are randomly
and even adding areas of
distributed using your specied
colour range. Its a great way
transparency. After naming and
to achieve unexpected
saving the preset, you can then
results.
deploy it as a raster fill using the
Gradient tool, a non-destructive gradient
fill, a layer style or gradient map.

EXPERT TIP

Before

Set up

01

Set your Foreground/Background colours.


Select the Gradient tool. Click the gradient
sample in the options bar. Choose the
Foreground to Background gradient to blend
between those two colours.

GRADIENT FILL
A gradient ll layer is perfect
for laying out non-destructive
colour blends. Add black to
the mask to reduce.

Use a gradient map

Not only can you deploy gradients as solid


blends of colours, you can apply them to
images. Choose a Gradient Map adjustment
layer. Pick your gradient. The images
grayscale range will now be mapped to the
gradients colours

tthe gradient

The gradient is displayed at the bottom.


Use the colour stops below it to edit the
urs. Click to add a new stop. To introduce
sparency, use the opacity stops above the
ient. Slide midpoints to adjust the blend.

hotoshop Creative

Save it

03

When finished, change the name, then


click the New button. Your gradient will
be added to the presets. You can now choose it
when working with the Gradient tool. You can
also use it for Gradient Fill, Overlay and Map.

CU
Apply
clipping
grouped le
merge group

FONTS
Photoshop isnt the first program you might
associate with creating fonts, but it does have its
benefits. By creating high-resolution characters
and saving them as a PSD file, you can edit your
font easily and adapt it. The other great thing
about creating a font in Photoshop is that youre
not limited by monochrome; you can add photos
or icons to your characters.

Create the guidelines

Start drawing lines

Draw rounded elements

01

02

03

To create the font, were going to need to


insert five guidelines (View>New Guide) for
the letters to fit into. Place them at 1cm, 5cm,
8cm, 11cm and 15cm respectively. Lower case fits
between the middle three.

Hit Cmd/Ctrl+ to show the Grid and start


drawing a letter with the Pen tool. Were
going for an Art Deco font with plenty of individual
lines; hold Shift down for perfectly straight lines
and drag for curved lines.

Create in the real world


Mask further

04

You can get creative with masking with an


Art Deco font; weve touched up the
intersections of the letter here to create this fancy
effect, but you might just want to mask the ends of
letters for perfectly straight edges.

Make the rest

05

With one letter complete, group your


lines and go ahead to create a whole
alphabet. Duplicate
elements of your fon
e first letter on low

Making a font can also be a physical process,


particularly if youre into calligraphy or you just
want to create a font of your own handwriting.
Photoshop can be great for editing individual
characters, if you draw out your alphabet and
scan it into your computer. Use Select>Color
Range to get rid of the white from your scanned
letters, so you can place them anywhere.

Use the Elliptical Marquee, holding S


to keep a perfectly circular ratio, to c
rounded elements of letters. Use the same t
to select within your circles, and hit the mask
to erase the middle sections.

ST
PH

K
O

otos
available to you
iting stage if you shoot
ameras RAW format. The les
e bigger but the results are worth it.

One of the most potentially lucrative


resources that you can create for
yourself relatively easily is a catalogue
of stock imagery. You dont necessarily
have to be the worlds most
accomplished photographer to do this,
particularly not if you are able to make
use of your Photoshop skills to
enhance your work. However, its not
just as easy as pointing your camera at
absolutely anything and everything and
hoping for the best. Follow th
ti
to improve your chances of s

Practise gett
ing
central autofo images in focus. Your cam
eras
cu
locking onto th s point is usually reliable;
e subject with
accuracy, and
gr
being more se eater speed and
nsitive in poor
light.

Keyword images
At the end of the day, all of the
effort that youve taken to research
potential topics, capture strong
images and retouch your photos to
perfection will be wasted if, when
someone asks you if youve got a
photo depicting love, you cannot
find the files in question. The
solution to this is keywording.
Applications like Bridge and
Lightroom are both ideal for this.

hotoshop Creative

USE A ZOOM
The most useful bit of kit to have is
a zoom lens. It gives you complete
compositional exibility and enables
you to capture the widest possible
variety of images without the need to
change optics.

this can give


as histogram, as
Check your camer about your exposure. Auto
ion
rfect job
you vital informat
e usually does a pe es.
od
m
ce
lan
Ba
e
tim
Whit
all
at
is
th
e
us
ce, so
of the colour balan

Look at the images use


d in editorial pieces
online. These are the
instances in which you
r
stock images might be
used. Consider theme
s
and concepts that mi
ght have pote

No matter how good your photography skills,


your images will almost always benefit from
some time in Photoshop. The basic Exposure
and White Balance sliders are obvious starting
points, but you should also consider boosting
contrast and adding local contrast enhancement
in the form of the Clarity
slider. A little extra
Saturation can also help,
but be cautious here, as
you dont want to end up
with garish results. Finally,
consider adding a little bit
of extra sharpening.

ACTIONS
Many of us would welcome the ability to speed up our
workflow, and this is where recording actions comes
in. Actions can speed up your workflow dramatically.
Youll find an array of actions online, but creating your
own will inevitably have its advantages, as you can be
more specific to suit your personal requirements.
Actions are shortcuts for commonly
used tasks that you find yourself
needing to perform time and again, such
as quick sharpening or photo-editing
techniques, but theyre also useful for
making all kinds of long, laborious tasks
flash by. Most commonly, actions are
used for making edits to photos, such as
applying a retro filter. Record the process
once and you have it ready to apply to
other pictures with just one click.

EXPERT TI
Common uses

Its not just creative photo-editing ta


that actions can have a role in, althou
they can be useful for cutting out th
repetitive effort of sharpening, blurr
or adding a vignette. Actions can a
be used for resizing your images
or saving in a certain
format.

Create a new set


ACTION PANEL

01

Click on the arrow icon on the right-hand


menu and in there, youll find all of your
actions. Click the Create New Set button: this is
where you can store actions. These ones are
going to be a set of retro filters for photos.

Use the Actions panel on the


right-hand side to store all your
action sets and return to them
when you need them.

Create a new action

Build your action

Hit Stop

02

03

04

You create actions within the set. Click


the Create New Action icon: from here,
you can also choose to give your action a
keyboard shortcut and assign it with a colour for
e of use. Hit Record to get started.

Edit your photo, and the action will


record what you do. Remember that
any edit you make specifically to your photo will
not work on other pictures. For retro actions,
stick to the Filter menu and Adjustments.

When finished, g
palette and click
save. Think of actions as t
action to do little things a
things, such as setting a

Tutorial Create a double exposure


On the FileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

Expert

Create
a double
exposure

Andre
Villanueva

Mix photos and textures using layer masks and blend modes
to create a nature-themed, double-exposure portrait

Essentials
Works with

Elements

CS

CC

What youll learn


How to blend photos
with layer masks and
blending modes

Time taken

1hour

Blending images is one of


my passions, whether its
thematically linked photos
or wild juxtapositions. I
remember learning how
to use layer masks and
dreaming of the possibilities
for imagery, especially when
allying with blend modes.
I discovered Photoshop
when studying web design.
Im now art director for a
tech company, soothing my
inner instructor by sharing
techniques with readers.

ayer masks are one of the cornerstones of


creative Photoshop imaging. Without them,
wed be hard-pressed to blend imagery with
any degree of subtlety or elegance. A mask
attaches to a layer and enables you to add black to
it to hide parts of the layer. You can then paint
back with white to reveal. When using a soft-edged
brush or smooth gradients, you can fade the edges
of boxy photos to make seamless transitions.
When you add in the power of blend modes, which
alter the rules whereby a layer blends with the
image below, you have the ability to make just
about any type of merge.

Here were inspired by the double-exposure


imagery thats so popular these days. Marrying
two (or more) images via masks and blend modes
can be just what your next project needs. Use
compatible images or even unlikely pairings to form
presentations. In the tutorial, well mix a model
with wildlife and forest imagery to create a
nature-themed portrait. Textures and various
adjustments will be recruited to make sure
everything meshes just right.
After completing the tutorial, try using your own
choice of images and be sure to upload your
creations to your free Photoshop Creative gallery.

Blend the forest

01

Open Start.psd from the FileSilo. Go


to File>Place (Place Embedded in
CC) and grab Forest.jpg. Situate it at the
bottom and confirm. Set blend mode to
Hard Light. Click the Add Layer Mask button
in the Layers palette. Select the Brush tool.
Paint black with a Soft Round brush at
60-80% Opacity to blend.

24

Photoshop Creative

Add a waterfall

02

Start image

Next, place Waterfall1.jpg and


confirm. Set the blend mode to
Subtract (try Exclusion if you dont have that
mode). Drop Opacity to 50%. Add a layer
mask, as in the first step, then paint black at
40-60% Opacity to reduce on the model.

Mountain and trees

03

Place Mountain.jpg in the upperright section. Option/Alt+click the


Add Layer Mask button. Press Cmd/Ctrl+J to
duplicate, move down a bit with the Move
tool, and set the blend mode to Darken.
Paint white in both masks at 40% Opacity to
add trees. Paint black to remove excess.

Share your double exposures Search for photoshopcreative

Photoshop Creative

25

Tutorial Create a double exposure


Experttip
Mastering
composition
In creative writing, its often
a good idea to write your
rst draft freely. Just write;
let your words come out
without excessive censure,
then edit and ne-tune later.
Exactly the same can apply
to creative imagery. Just
start blending and layering,
letting intuition guide you.
Your main goal is to get
the base composition as
you want it. You can rene
adjustments, masking and
positioning afterwards. The
more you do it, the easier this
process can become.

04

Place Tree.jpg, set the blend mode to Pin


Light, position to get a part of the tree on top
of the models head, then confirm. Rotate with Free
Transform (Cmd/Ctrl+T) if needed. Option/Alt+click
the Add Layer Mask button. Paint back with white at
60% Opacity to add.

05

Place Birds1.jpg, set to Hard Light,


and position in the left central area
and confirm. Place Birds 2.jpg, set to Hard
Light, position to the right of the model and
confirm. For each, select the layer and
Option/Alt+click the Add Layer Mask button.
Paint white at 40-60% Opacity to add.

Mergethewaterfall

Add some texture

Insert woods and deer

06

07

08

Place Waterfall2.jpg, set to Hard


Light, and position on the right side
of the models head before confirming. Add
another Hide All layer mask (Option/Alt+click
the Add Layer Mask button). Paint white at
60-80% Opacity to add.

Place Woods1.jpg and confirm.


Drop Opacity to 10%. Place Sky1.jpg
and confirm. Set both layers to the Color
Burn blend mode and add layer masks to
them. Paint black at 60-80% Opacity to
reduce the effect.

Place Woods2.jpg, set to Overlay,


position to the left of the centre and
confirm. Place Deer.jpg. Position on the
models body and confirm. Add a Hide All
layer mask to both layers. Paint white at
60-80% Opacity to add back.

Desaturate

Use the Divide mode

09

10

Click the Create new fill or adjustment layer button located in


the Layers palette and choose Hue/Saturation. Slide Saturation
all the way left to -100. Paint black at 60-80% Opacity to reduce, bringing
back some colour.

26

Introduce some birds

Place a tree

Photoshop Creative

Place Sky2.jpg and confirm. Set the blend mode to


Divide (try Linear Dodge if you dont have that mode).
Drop Opacity to 70%. Add a layer mask, then paint black at
40-80% to reduce.

Share your double exposures Search for photoshopcreative

Use texture

Add a cool colour

11

12

Place Texture.jpg and confirm. Set


the blend mode to Hard Light and
drop Opacity to 20%. Add a layer mask.
Press Cmd/Ctrl+j to duplicate. Set the
duplicates blend mode to Vivid Light. Paint
black at 30-60% on each mask to reduce.

Increase saturation

Click the Create new fill or adjustment


layer button in the Layers palette,
and choose Solid Color. Pick #126fcd. Set
the blend mode to Hue. Click the mask and
press Cmd/Ctrl+I. Paint white at 30-60% to
add a bit of coolness to the right side.

13

Click the Create new fill or adjustment


layer button in the Layers palette and
choose Hue/Saturation. Increase Saturation
to +10. Next, add a Levels adjustment layer.
Set the blend mode to Soft Light and drop
Opacity to 75%. Paint black in each mask at
20-40% to reduce.

Adjust Color Balance

Add more colour

14

15

Photoshop only: Click the Create new fill or adjustment layer


button in the Layers palette and choose Color Balance. Set
Midtones to (from top to bottom): 0, +24, +100. Duplicate with Cmd/
Ctrl+J. Adjust the duplicate to: 0, +100, 0. Paint black at 40-60% in each
mask to reduce.

Add a Color Fill layer (#c1c720) and set the blend mode
to Color Burn. Add two others (#16adf0 Color Dodge,
#9bafe0 Color Burn). Drop the third Color Fill to 10% Opacity.
For the first two, click on each mask and Invert (Cmd/Ctrl+I).
Paint white at 20-50% to add.

What can go wrong


Blending correctly
When creating a double exposure (or if youre
simply blending multiple images together), you
need to be able to really scrutinise your work.
Zoom in and out and sweat the details. If you
see any chinks in the armour of your illusion, its
crucial to shore them up.
Layer masks factor heavily when blending
images. Using the right brush to paint on a layer
mask is key. A Soft Round brush at a fairly large
size can be great for getting a good amount of
transitional fading. Adjust the size and/or
hardness for detail work, and be ready to swap
the Foreground colour between black and
white to hide and reveal respectively. Inspect all
edges to ensure theyre properly faded.

Photoshop Creative

27

Essentials
Works with

Elements

CS

CC

What youll learn


Manipulate different
images with adjustment
layers and simple masks

Time taken

2 hours

Exper
Daniel
Sinoca
I enjoy creating surreal
worlds using simple tools,
and you can transform and
blend images using just
masks and adjustment layers.
I started to get involved in
the digital world more than
10 years ago and have been
working as a freelance artist
ever since, creating all kinds
of multimedia projects and
tutorial guides.

28

Photoshop Creative

Make surreal
art with masks
Create an incredible fantasy landscape using basic Photoshop tools

n this tutorial youll learn basic techniques to


create an entire surreal landscape from scratch.
Well work with multiple images and show you
how to edit them using adjustment layers, layer
masks and basic tools. Youll learn how important
layer masks are when it comes to making elements
blend together. Well take a look at how Levels,
Hue/Saturation and Color Balance adjustment
layers can be used to make tonal corrections.

In addition to that, youll learn how to work with


embedded and linked Smart Objects. Remember
to take a look at the Expert Tip to discover the
difference between them.
Finally, youll work with basic selections and
painting tools to create this fantastic landscape
scene. Visit the FileSilo to download all of the
images to get started, master our techniques and
then apply to your own images!

On the FileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

Set the stage

Place the first image

01

02

Go to File>New (Cmd/Ctrl+N). Name


it Surreal Landscape. Set the Width
to 460mm, the Height to 190mm,
the Resolution to 300ppi, then click OK.
Now that the stage is ready, lets start by
placing our chosen images.

Go to File>Place (Embedded) and


add Sky.jpg. On the tool option bar,
set the Width to 170%, align the image and
hit Return/Enter. Now go to Layer>New
Adjustment Layer> Levels. Set the Midtone
Input Level to 0.70.

Work with masks

03

Go to File>Place (Embedded) Night


Sky.jpg. Scale the image and hit
Return/Enter. Go to Layer>Layer Mask>
Reveal All. Grab the Brush tool (B). Choose a
large, soft brush, set the Opacity to 20% and
gently start painting to blend the image. Now
set the layers Opacity to 80%.

Photoshop Creative

29

Tutorial Make surreal art with masks


Experttip
Place Smart
Objects
Since Photoshop CC, you
have had the option to Place
Embedded or Place Linked
Smart Objects. But, what
exactly is the difference
between them? Basically,
Place Embedded places
the Smart Object inside
the Photoshop le, so if you
want to make changes you
have to open the PSD le to
edit it. However, the Place
Linked option puts a link to
an external le so you can
directly edit the le and
Photoshop will update every
time you change it.

Place the moon

Create the planet ring

04

05

Go to File>Place (Embedded) Moon.jpg.


Resize it around 55% and hit Return/Enter.
Change the blend mode to Screen and Fill to 60%. Go
to Layer>New Adjustment Layer>Levels. Clip the
layers (click on the first icon at the bottom of the
Properties panel). Set the Input levels to 40, 1.20, 255.

Add a layer mask

06

Go to Layer>New Adjustment
Layer>Levels. Set the Input levels to
40, 1.10, 255 and clip the layer. Now create a
layer mask. Grab the Brush tool (B). Choose
a small, soft-tip brush and paint over the
mask to hide part of the ring, to make it look
like it surrounds the moon.

Refine edges

07

Go to File>Place (Embedded)
Landscape.jpg and hit Enter. Grab
the Quick Selection tool and select the
mountains. Now go to Select>Refine Edge.
Set Smooth to 25, Shift Edge to -100%.
Choose Output to layer mask and click OK.

Place the statue head

09

Go to File>Place (Embedded) Statue.jpg. Grab the


Quick Selection tool (W) and select the head. Create a
layer mask and again use a soft-tip brush (B) to blend the hard
edges with the mountain.

30

Photoshop Creative

Now go to File>Place Planet ring.jpg.


On the tool option bar, set the Width
to 50% and the Height to 5%, rotate the
image around 45 degrees and then place
over the moon. Now go to the blend modes
and set it to Screen.

Bring in more images

08

Go to File>Place (Embedded) and


add Mountain.jpg. Grab the Lasso
tool (L) and select around the mountain.
Now create a layer mask and use a soft-tip
brush (B) to brush away the hard edges.

Correct the colour

10

Go to Layer>New Adjustment Layer>Hue/Saturation. Set the Hue


to 0, Saturation: -14 and Lightness: +9. Add a Levels adjustment
layer and set the Input levels to 0, 1.00 and 211. Finally, add a Color
Balance adjustment layer. Choose Tone: Midtones, Cyan/Red +38,
Magenta/Green -14, Yellow/Blue -25 and check Preserve Luminosity.

Share your surreal landscapes Tweet us @pshopcreative

Add another image

Place the waterfall

Bring in the columns

11

12

13

Go to File>Place (Embedded) River.


jpg. Add a layer mask and brush away
the hard edges, the sky and the mountains.
Now lets boost the colours. Go to Layer>
New Adjustment Layer>Vibrance, clip the
layer and set the Vibrance to +50.

Go to File>Place (Embedded)
Waterfall.jpg. Grab the Lasso tool (L).
Select the waterfall and create a layer mask.
Drag the image to the bottom left. Now add
a Levels adjustment layer, clip it and set the
Input levels to 0, 1.25 and 230.

Go to File>Place (Embedded)
Columns.png. Resize the image and
then place it over the waterfall. Create a layer
mask and then with a soft brush mask the
bottom of each column to ensure it blends
with the rocks.

Use shadows

Place the linked file

14

15

Go to Layer>New Adjustment Layer>Color Fill. Set colour


#796447 and click OK. Add a layer mask. Grab a small,
soft brush and paint the top and the front area of each column.
Add a Levels adjustment layer, clip the layer and set the Input
levels to 0, 1.00 and 220.

Go to File>Place (linked) Tree.psd. Go to Window>Properties and


choose Edit Content (the original image will open as a separate
PSD file). Go to Window>Channel. Select the Blue channel and duplicate
it by clicking and dragging over the Create New Channel icon at the
bottom of the Layers palette.

Make adjustments
Adjust the channel

16

Hit Cmd/Ctrl+L to open the Levels.


Set the Input levels to 172, 0.70, 247
and click OK. Press F7 and go to Select>Load
Selection. Choose Channel: Blue copy,
check Invert and click OK. Now add a layer
mask and save the image (Cmd/Ctrl+S).

18

Free transform

17

Go back to the Surreal landscape file.


Hit Cmd/Ctrl+T to open the Free
Transform command. Scale the image,
rotate and place over the waterfall. Add a
layer mask and hide the tree base.

Go to Layer>New Adjustment
Layer>Hue/Saturation. Set Hue: -30,
Saturation: -46 and Lightness: +4. Add a
Color Balance adjustment layer. Choose
Tone: Midtones, Cyan/Red +25, Magenta/
Green -11, Yellow/Blue +5 and check
Preserve Luminosity. Boost the colour using
a Vibrance adjustment layer. Set Vibrance:
+75 and Saturation: +14.

Photoshop Creative

31

Tutorial Make surreal art with masks

Create a light source

Place more images

Complete the landscape

19

20

21

Create a new layer (Shift+Cmd/


Ctrl+N) and name it Light. Grab the
Paint Bucket tool (G) and fill it with black. Go
to Filter>Render>Lens Flare. Choose
105mm Prime, Brightness: 110% and hit OK.
Go to Filter>Blur and apply a 50% Gaussian
Blur. Change the blend mode to Screen.

Go to File>Place (Embedded) Rock.


jpg. Grab the Quick Selection tool
(W) and select the rock. Add a layer mask
and move the image to the bottom right.
Now go to File>Place (Embedded) Camels.
png, Tree2.png and Eagle.png. Resize and
place over the rocks.

Load brushes

Add final touches

22

23

Select the Brush tool (B) and press F5. Click Brush
Preset. Click the upper-right menu and pick Load Brush.
Select Brush pack and hit Load. Create a new layer. Set the
Foreground colour to white and add some little splashes over
the waterfall.

Expert tip
Add shadows & highlights
You can use neutral layers to add extra
shadows or highlights to your images. To
create a neutral layer go to Layer>New>Layer.
In the dialog box, name it Neutral layer, check
Use previous layer to create a clipping mask,
change the Mode to Overlay, check Fill with
overlay-neutral colour (50% gray) and hit OK.
Now grab the Dodge/Burn tool (Shift+O). On
the tool option bar set the Range to Midtones
and use a low Exposure of around 25%. Vary
the brush size and gently start painting with
the Dodge tool to add the highlights, and the
Burn tool to add the shadows.

32

Photoshop Creative

Go to File>Place (Embedded)
Temple.jpg. Grab the Quick Selection
tool (W) and select the temple. Add a layer
mask and brush away the hard edges to
blend with the trees. Add a Hue/Saturation
adjustment layer and set Hue to 0,
Saturation to -25 and Lightness to +3.

Create a new layer and use the Starburst brush over the tree. Go
to Filter>Blur>Gaussian Blur, set Radius to 40 pixels and then
change the layers Opacity to 70%. Now go to Layer>New Adjustment
Layer>Color Lookup. Click Load Devicelink Profile and pick Smokey. Set
the layers Fill to 60%.

Tutorial Supercharge your photos

34

Photoshop Creative

Check out the latest blog www.photoshopcreative.co.uk


On the FileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

Essentials
Works with

Elements

CS

CC

What youll learn


Use the Render Flame
lter and incorporate it
into compositions

Time taken

3 hours

Exper
Mark
White
There are so many different
superpowers that you can
create in Photoshop you
might want to assemble a
team of heroes with different
effects using photos of your
friends. I love ery effects
in Photoshop because they
really grab your attention.
As senior staff writer on
Photoshop Creative, Ive
learned all kinds of quick tips
to help with even the most
impressive-looking effects.

Use filters and brushes to turn an ordinary portrait into a


dazzling, fiery superhero composition

ost of us have had a conversation at


some point about which superpower
wed love to have. Photoshop is a kind of
superpower itself: it supercharges your imagination
and enables you to create things that you never
thought possible before.
The appeal of superhero effects is clear to see.
They are vibrant, exciting and demand your
attention from the offset. Fiery effects are just as
thrilling, and the warm shades can ignite any
portrait with a passionate blaze of colour.
Photoshop CCs Render Flame filter is perfect for
adding simple blazes to your work; the truly

creative side of this project is how you use it and


what you do with it. The Liquify tool is capable of
twisting licks of flame into fantastical shapes, and
adding sparks and colour effects can really bring a
picture to life. At its essence, creating a superhero
like this is simply a lighting tutorial. The skill comes
with applying the yellow brushwork on the
reflection of your subject and judging the overall
light in the picture.
Its a stunning effect if you study exactly where
the light should fall in your picture. Lets delve into
how to add superhero effects to your portrait and
reveal techniques you can use in other images.

Cut out your subject

Insert your background

Make a flame

01

02

03

Open superhero_before.psd. If using


your own image, photograph your
subject (or find an image of someone)
raising a hand. Weve used an image where
the subject has a flat palm to place the
effect onto. Use Quick Selection to cut the
subject out and Refine Edge to tidy edges.

Open City.jpg to add a background.


Weve chosen a dark city to
enhance the flame effect and evoke the
superhero spirit. Over the background, add
a new layer with 20% Opacity and paint an
area of black with a big soft brush around
the subject, so she stands out more.

Grab the Pen tool and make a basic


S shape resembling a flame, like we
have. Go to Filter>Render>Flame, and
choose One Flame Along Path, adjusting
width and colour to suit the effect youd like
to create. CS users can use yellow and white
brushes to create a similar effect.

Photoshop Creative

35

Tutorial Supercharge your photos

Layer structure
A breakdown of the process

Camera
Raw

Swirl with Liquify


Final
adjustments

Smoke

04

Head to Filter>Liquify. This is where


you can create swirly effects for
your fire; you can be as realistic as you like, or
simply create fantasy-like effects. Pick the
Forward Warp option, and simply push the
flame wherever you want it to go. Use the
Smooth tool to correct.

Add sparks

05

A nice touch with any fiery image is


to place sparks into the flames
(File>Place). You can find brushes all over
the internet that create spark effects, and
you can download some royalty-free ones
from WeGraphic (http://bit.ly/1Qaw1OC).

Glowing
hand

Fire

Subject

Background

Recolour the hand

06

07

Once youve built up a good


collection of fire layers, group them
and click the mask icon. Using a soft, black
brush, mask the fingers back into the picture.
Dont mask up to the edges, to help suggest
the fire swirling around the hand.

Build up colour

Enhance the eyes

08

09

Soft Light and Overlay reflect colour,


Hard Light absorbs. Add layers with
yellow shades in places that would reflect on
the subject, and add black in places you
want to darken. Reduce these layers in
opacity and set to Soft Light and Overlay.
Add clipping masks for these layers.

36

Mask fingers in

Photoshop Creative

Give your subject bright, comic


book-like eyes by adding a Curves
layer and tweaking the individual channels,
before masking just over the irises.
Alternatively, you can download our set of
actions from the FileSilo, press Play on one
and simply mask in the colour.

With a soft brush selected, hit Alt/


Opt and select a yellow from your
fire. On a new layer, brush over the hand and
set your layer to Soft Light, Opacity: 75%.
Duplicate this layer, reduce to 30% and set
to Hard Light. This will make the hand glow.

Recolour the hair

10

As youve altered the colour of the


eyes, you might also want to edit the
hair. Bright hair suits comic-style heroes, so
use the same Curves and masking
technique as you did for the eyes. Clip this
layer to the subject layer to avoid bleed.

Check out the latest blog www.photoshopcreative.co.uk

Add smoke

Apply more shading

11

12

Add a new layer and fill with white, making sure you have black and
white selected in your swatches. Go to Filter>Render>Clouds. Hit
the mask icon on your clouds and then Cmd/Ctrl+I to invert. Turn the
layer to Screen, 25% Opacity and mask in over the fire to create smoke.

Were going to step up the shading by creating another


new layer, selecting a big, black, soft brush and painting
over the subject where the fire wouldnt reflect. Reduce this
layer to 25% Opacity, duplicate and set to Soft Light.

Make adjustments

Add an HDR effect and sharpen

13

14

To tweak the colour of the picture, add a Curves layer


similar to this one. Add a Warming Photo Filter (20%
Density), a Soft Warming Colour Lookup, a black-to-white
gradient map set to Soft Light, and a Vibrance layer of +75.

Finally, press Cmd/Ctrl+Alt/Opt+Shift+E to merge all layers to one.


Hit Cmd/Ctrl+Shift+U to Desaturate, and change to Overlay, 25%
Opacity for a subtle HDR look. Merge all layers again, go to Filter>High Pass,
Radius 2.5 and set layer to Linear Light, 60% Opacity to sharpen.

Closer look
Add superhero effects
ADJUSTMENTS
Your adjustments should create a dark
and eerie tone, as they have here; be
sure not to make your picture too bright
or vibrant to avoid a whimsical tone.

EYE/HAIR COLOUR
Your eye and hair colour should
complement the overall tone of the
picture; the red of this subjects hair
reects the colour of the re well.

FLAMES
You can create ames of any colour
using the Render Flames tool, but the
most natural-looking are the preset
orangey-yellow re settings. Add a
gradient map to tweak this shade.

FIRE REFLECTION
The reection of the re
should be most prominent
on your subjects chest,
under their neck and on their
face. Avoid brushing yellow
reection anywhere else.

Photoshop Creative

37

10

OF THE
BEST

stock photo sites


to source images

Improve projects with high-quality pictures

02 ADOBESTOCK
Launched this year, Adobe
Stock is the perfect answer for
CC users because it allows you
to try photos in projects before
you buy. Plans start from
19.99/$29.99 a month.
www.stock.adobe.com

03 PIXABAY
Pixabay has over 440,000 images
and most of them are really very
high quality. The licenses can vary,
but its all completely free, and it
also contains images from other
top sites, such as Unsplash.
www.pixabay.com

01 SHUTTERSTOCK
With over 60,000,000
incredible images, Shutterstock
is perhaps the leading stock site
on the web. Prices start from
32/$49 for five photos.
www.shutterstock.com

04 STOCKSNAP
StockSnap has a search bar
for scouring through the shots.
There are hundreds of
uploads every week, so there
are always new ones to find.
www.stocksnap.io

38

05 NEW OLD STOCK

07 SPLITSHIRE

09 SNAPWIRE SNAPS

If youre working on a vintage project, New


Old Stock is the site for you; it collects vintage
photos of yesteryear, completely clear of
known restrictions and its all free!
www.nos.twnsnd.co

SplitShire is completely free and contains


various different categories of stock images,
including some mockups, and even a few
low-poly backgrounds.
www.splitshire.com

Snapwire uploads seven free images every


week. Theyre mostly of landscapes, and
theres even a button to contribute your own
to the site if youre a budding photographer.
www.snapwiresnaps.tumblr.com

06 SUPERFAMOUS

08 GRATISOGRAPHY

10 TOOKAPIC STOCK

Dutch photographer Folkert Gorters


Superfamous site consists mostly of aerial
photographs, which are all free to use in
projects, so long as Superfamous is credited.
www.images.superfamous.com

Ryan McGuires Gratisography offers free


images every week, mostly consisting of
subjects in quirky situations. Every image has
a download icon hovering over it.
www.gratisography.com

Tookapic is a stock site that includes both


free and premium pictures. You are able to
filter between the two, and even search
specific categories.
www.stock.tookapic.com

Photoshop Creative

IMAGE
IS
EVERYTHING
www.advancedphotoshop.co.uk

Available
from all good
newsagents and
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Tutorial Play with out-of-bounds effects

Essentia

On the FileSilo

Works with

Download your free


resources at www.lesilo.
co.uk/photoshopcreative
Elements

CS

CC

What youll learn


Use layers and masks,
Shape properties, blend
modes and adjustments

Time taken

1 hour

Exper
Kirk
Nelson
I love crafting images that
are impossible to take with
a camera. Out-of-bounds
images are lots of fun, and
spark the imagination. Im
a pro graphics artist with
nearly 20 years of experience
in photomanipulation and
digital illustration. At the
heart of it, though, Im just
your friendly neighbourhood
graphics geek.

40

Photoshop Creative

Createafuneffectofatrain driving right out of a vintage photo

he very idea of a photograph being a


window into a different place and time is fun
and intriguing. Its certainly tantalising to
think about what it would look like if that window
could be breached, and objects could pass from
one world into another. The bigger and bolder the
object, the more fun the idea becomes. In this
project we explore the concept of having a vintage
train break through from an old photograph into a
modern world.
Photoshop lets us bring that type of fantasy to
life with a few simple photomanipulation

techniques. The basic approach is to use a vintage


train photo and cut away enough of it so it appears
that the massive steel locomotive has emerged
from a flat photo. The addition of a white border
photo frame provides the visual cue that the photo
is a physical piece of material that somehow
spawned a train! To make the effect believable, we
will use a sepia tone to indicate the vintage photo
and differentiate it from the modern environment.
The techniques are not difficult, and once you use
them here, we hope you will use them on your own
images to make all sorts of out-of-bounds fun!

Download free resources here www.filesilo.co.uk

Work on the railroad

01

Open up both BlurryCity.jpg and


Tracks.jpg from the FileSilo. Layer the
track image over the city image. Use the
Polygonal Lasso tool to create a selection
around the tracks and the platform. Use that
selection as a layer mask.

Enter the train

02

Open up the vintage train image,


steam-locomotive-588647.jpg,
and position it as a layer above the tracks.
Use Edit>Free Transform to scale and
position the train image to fit on the tracks.
Use the tracks in front of the train as a
reference for positioning.

Add a picture frame

03

Use the Rectangle tool with a white


stroke of about 10pt and no fill, to
draw out a box for the photo frame. Use the
Edit>Transform>Perspective tool to add a
touch of perspective to the frame to make it
fit better in the scene.

Frameitin

Selectthetraincarefully

04

05

Duplicate the train layer and move the copy above the
frame, then hide it. Click on the original train layer to
make it active. Then Cmd/Ctrl+click on the picture frame layer
to create a selection. Use that selection as a layer mask on the
train layer.

Now select the Pen tool set to Path and then take your time to
carefully trace along the outline of the train engine. The Pen
provides a smoother selection around curves and mechanical objects
than any other tool in Photoshop. (Elements users can use the Quick
Selection tool.) Use the path as a vector mask around the train layer.

Darken the tracks

Add night lights

06

07

Add a Curves adjustment layer over


the tracks. Clip it to the tracks layer
with Layer>Create Clipping Mask. Then
deepen the curve to dramatically darken the
track layer. Elements users should use a
Brightness/Contrast adjustment layer.

Now add a new Solid Color fill layer


above the Curves layer and clip it.
Use a dark blue colour of #2f405c, set the
blend mode to Multiply and reduce the
Opacity to 74%. This helps to give the tracks
a night-time hue.

Reveal some steam

08

Copy the train layer. Delete the


copys vector mask. Desaturate this
layer with Image>Adjustments>Desaturate
(Elements: Enhance>Adjust Color>Remove
Color). Hold the Alt/opt key while adding a
new mask then use a soft white brush on the
mask to reveal the steam around the wheels.

Photoshop Creative

41

Tutorial Play with out-of-bounds effects


Experttip
No shape
stroke
Elements doesnt have the
same shape properties as
Photoshop, so you cant
use the Shape tool for the
frame. Instead, draw out
the selection using the
Rectangular Marquee tool.
Use the Select>Transform
Selection and hold down
Cmd/Ctrl to drag the corners
and add perspective. Fill the
selection with white and use
Select>Modify>Contract to
reduce by 50 pixels. Finally
hit Delete to remove the
inner portion and leave the
outer frame.

Insert the vintage photo

Treat the transition

09

10

Clip a Black & White adjustment layer to the


train layer that is within the photo frame.
Check the Tint option for the adjustment layer and
use a sepia tone (#e1d3b3). This gives the photo an
older, vintage appearance.

Place a train shadow

Let off more steam

11

12

Add a new layer for the trains shadow


under the engine layer, but above the
photo frame layer. Then use the Soft Round
brush with black paint to paint in dark
shadows underneath the train. Reduce the
brush Opacity to 50% so you can build up
the shadows gradually as you paint.

A good cloud of steam will add some


drama to the shot, plus help the
transition between the train and the tracks.
Open the Steam1.jpg file and layer it over
the train layer along the front wheels.
Change the blending mode to Screen and
reduce the Opacity to 56%.

Add steam at the front

13

Use the TopSteam.jpg file from the


FileSilo to layer in steam coming from
the top stack at the head of the train.
Change the blending mode to Screen and
use a layer mask to remove the hard edges
and fit the steam to the rest of the image.

Work on the headlights

Form the cone of light

14

15

Add a new layer for the headlights. Use the Elliptical


Marquee tool to create a selection around one of the
headlights. Then add to this selection with the Polygonal Lasso
tool to create a cone shape in front of the train.

42

The transition between the colour


effects is too abrupt, so use a soft,
round brush on the mask of the Black &
White adjustment layer. Paint with black to
soften the transition.

Photoshop Creative

Use a Radial gradient going from a pale blue (#bae0ee) to


transparent to fill the selection and form the cone of light. Cancel
the selection, use a Gaussian Blur of 25 pixels and set the blending mode
to Overlay. Then copy the layer to form the second headlight effect.

Download free resources here www.filesilo.co.uk

Adjust ground effects

Add even more steam

Apply extra effects

16

17

18

The headlights need to look like they


are shining on the dark ground in front
of the train. Go to the Curves layer that is
clipped to the tracks layer and use a soft
brush on the mask to remove the darkening
effect inside the cones of light.

What youll learn

Add in more steam layers to give the


entire scene more life and
atmosphere. Not only does the steam
effect enhance the overall image, but it also
serves well to hide the difficult transitions
between the train and the background.

Putting it all together

Finish off the piece by adding your


favourite finishing effects. We added
a Dodge and Burn layer to enhance the
shadows and highlights, then created a
merged layer and used the Camera Raw
filter to add clarity, vibrance and a vignette.

THE STEAM
The added steam images are what really add
to the illusion of realism in the overall scene.
Pay attention to how the steam reects the
transition between classic and modern.

ORIGINAL PHOTO
Its critical to start with an
original photo that contains
the entire object in the
original setting. In this case it
was the classic locomotive.

MODERN CITY
The choice of colour palettes is
intentional. The warm sepia tone is
visually offset by the cooler toned
lights of the city backdrop.

VINTAGE PHOTO
By adding a sepia tone and a white
border, the effect of the photograph
is unmistakable. But making the
shape have a slight perspective
cements it as part of the scene.

Photoshop Creative

43

Credit: thinboyfatter

Tutorial Paintasimplelandscape
Reference images
Credit: Jeffrey Beall

Essentials

OntheFileSilo

Works with

Download your free


resources at www.lesilo.
co.uk/photoshopcreative

Elements

CS

CC

What youll learn

Expert

Paint a simple
landscape

Rebekka
Hearl

Learnessentialtechniques for painting your favourite scenery with


thiseasy-to-followdigital-painting tutorial

Use brushes, choose


colours and discover basic
painting techniques

Time taken

2 hours

I thoroughly enjoy painting


landscapes, and my favourite
Photoshop tool is denitely
the Brush tool. I also illustrate
stories in my spare time. Im
a designer, illustrator and
animator, and have been
using Photoshop since I
was young. As the designer
of Advanced Photoshop
magazine, Im happy its now
part of my day job.

44

Photoshop Creative

f your interest in digital painting has ever led you


to browse the internet for the work of
established digital artists, you may have
stumbled across a stunning landscape painting or
two or more likely a few hundred! Its a very
popular subject among concept artists, and you
can find some absolutely stunning examples.
Although, depending on how you look at it, you
might find this work to be very inspiring, or very
intimidating. Whatever your thoughts on the
matter, this tutorial is a great place to start.

Before you begin, youll find it useful to have a


photo to hand one you have taken yourself
(perhaps while on holiday) is a good choice. Weve
included a few on the FileSilo that inspired us to
paint this piece and make good reference images.
Well cover the landscape basics here: which
colours to choose, how to best prepare your digital
painting, and how to paint trees and mountains
using textured brushes. Well also touch on a few
more advanced techniques, such as how to give
your work a sense of depth and perspective.

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Choose your colours

01

Before we begin, we must prepare!


Create a new canvas at 2800 width
and 5300px height, and decide on your
colour palette. Weve selected a natural
colour range of greens and blues.

Arrange the palette

Ready your brushes

02

03

Use the Color Picker to select a


deep, saturated green; create a new
layer, and use a hard brush to draw a circle.
Select the next colour (a little bluer, a little
brighter), and draw a circle for that, too.
Repeat until you have two blue-white
colours in your palette.

Well be using two brush presets to


paint our trees: a textured brush
and a leaf brush. To use the leaf brush, load
up Photoshops Special Effects brush set,
and find the brush called Falling Ivy Leaves
(83 pixels). Open up Brush Settings and turn
off the Scatter setting.

Sketchaway

Laydownthebasiccolours

04

05

Start the basic sketch of your landscape painting. Use the


textured brush and your darkest colour to draw a straight line
across your canvas, which will indicate the top of your landscapes
horizon. Plan out each layer of trees (which should get thinner as they get
closer to the horizon line).

Sketch the trees

06

Using your leaf brush (83 pixels) and


the darkest green, sketch in the first
layer of trees in the foreground. Draw in
sharp peaks and troughs to make the trees
look tall and thin. Then select a Hard Round
brush (100px) and fill in the trees.

Create a new layer beneath your sketch, fill it with blue,


then create a new layer above that. Starting from the
horizon line and working your way to the foreground, lay down
the basic colours. Use a normal hard brush at 200px, and your
second lightest blue-white.

Add some leaves

Repeat the process

07

08

Now select the textured brush


(83px) and use it to draw over the
basic tree outlines youve just drawn. Define
a recognisable tree shape as you draw. Try
drawing in zig-zag motions as you move
down the tree, sketching left to right to draw
leafy branches.

Create a new layer below, select the


next, lighter colour in the palette,
and repeat the process, but make sure the
trees arent as steep. If youre using CC, you
can quickly select the leaf brush from the
Brush window. If youre using CS6 or earlier,
use the History window.

Photoshop Creative

45

Tutorial Paint a simple landscape


Experttip
Dont stick to
your sketch
Remember your sketch
is there to guide you, not
control everything you
do. Your nal product
doesnt have to match your
initial sketch. Youll nd it
rewarding to look back at
your original, messy sketch,
and compare it to your nal
work. See how you expanded
upon your ideas as you went,
how you made it better
than you rst imagined.
Allow yourself the creative
freedom to experiment!
The same also goes for any
reference photos you use.

Finish off the foreground

Start the middle ground

09

10

Repeat the last step, remembering to select


the next brightest colour in your palette, and
make sure that the trees you draw arent quite as tall.
Be sure to taper the trees using a textured Eraser
brush for a more natural-looking finish. And your
foreground is done!

Sketch smaller trees

Draw a hill

11

12

Forego the leaf brush in favour of the


textured brush and eraser (50 pixels)
and, much like we did with the foreground
trees, sketch in some more defined tree
shapes. Again, make them smaller than you
did in the previous layer, and use the
textured eraser to refine their shapes.

Create a new layer below, select the


next brightest colour and the leaf
brush (50px), and draw a hill on that side,
too. Make sure it overlaps with the trees on
the above layer to give it depth. Use the
textured brush and eraser (50 pixels) to
refine the trees.

Create distant hills

13

Create a new layer below, select the


next brightest colour, and repeat the
process, but draw a hill that stretches
horizontally across the canvas. These hills
are getting pretty far away now, so the details
should not be as defined!

Finish off the trees

Start the mountain

14

15

Take up your textured brush and eraser, set to 30 pixels


or less, and draw some trees. Keep your zig-zag motions
short and controlled so the trees look smaller. Once done,
repeat two more times until you have three distant hills.

46

The middle trees shouldnt be as


finely detailed. Create a new layer
beneath the foreground layers, grab the leaf
brush again (84 pixels) and, starting from
about a third of the way into the canvas from
the left, draw a hill shape.

Photoshop Creative

Next is the mountain. Select a white-blue colour. From the default


Photoshop brush collection, select the Pastel on Charcoal Paper
(63 pixels) brush if youre using CC, or the Watercolor brush if youre using
CS. Use this brush to both draw and erase the edges of the mountain.

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Finish off the mountain

Paint some clouds

Draw the river

16

17

18

Create a new layer below, and select


your second brightest colour, which
should be a blue-white. Repeat the process
in the last step, making sure the next layer of
mountain is slightly taller than the last, and
positioned slightly off to the right, to ensure a
sense of depth.

Make your sky layer visible again. Using


your brightest blue-white, create a
new layer above the sky layer, and use a large
airbrush (500 pixels) to roughly paint in
some cloud shapes. Use a smaller airbrush
eraser (100-250 pixels) to taper the shapes
of the clouds.

Select the blue you used in the first


mountain layer. Create a new layer
above everything except the three tree
layers in the foreground. Select the Pastel/
Watercolor brush (63 pixels) you used earlier,
and draw a meandering line from the base of
the mountains to the foreground.

Taper the shape

Add the final touches

19

20

Using the Pastel/Watercolor brush as an eraser (30-50


pixels), taper the shape of the line you just drew. Erase
more of the sides of the river that are closest to the foreground
to make it look like there are trees standing in front of it.

Return to the first three layers of trees in the foreground. Create a


new layer above the first layer of trees; right-click and select
Create Clipping Mask. Set the layer to Multiply, and use an airbrush (1000
pixels+) to softly shade it. Repeat this for the other two tree layers.

Whatyoucandowithit
Frame your painting
To showcase your work, print and frame it!
You can use a home printer, or opt for a
more professional look by sending the image
to a printing company. If you choose the
latter, remember that printing companies
will prefer the image to be set to CMYK
colour mode (Image>Mode>CMYK). So,
instead of framing a typical holiday photo,
why not transform it into a simple painting
that no one else will have on their walls? This
is especially effective if a holiday shot hasnt
turned out quite the way you had hoped.

RESTORE PHOTOS
If a holiday snap just isnt doing the
location justice, be original and turn
it into a simple landscape painting,
like this. Then print and frame it. You
will feel proud to have it on your wall!

Photoshop Creative

47

Tutorial Add spe

48

Photoshop Creative

Get 30% off your subscription www.imaginesubs.co.uk


On the FileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

Essentials

Start image

Exper

Add special
effects with
layer masks

Sarah
Cousens

Makethissinister,horror-themedimageusinglayermasks,a
custombrushandadjustmentlayers

Works with

Elements

CS

CC

What youll learn


Use masks, transform,
add adjustment layers,
apply blurs and Liquify

Time taken

2 hours

As a fan of horror, Ive seen


a lot of monster movies
and TV shows, and they
often have a certain mood.
Photoshops editing tools
are brilliant for emulating
that feel in an image like this.
I am a freelance illustrator,
designer and writer, and
have been using Photoshop
extensively since forming my
own illustration and design
company, Cool Surface, eight
years ago.

he horror genre has always had a huge fan


base, with zombies, vampires (sparkly or
otherwise) and werewolves featuring heavily
in popular culture over recent years. As
technology improves and special effects become
ever more impressive, and the monsters become
more terrifying and vivid, you may have wondered
what you would look like as one of these creatures.
So, were going to show you how to create this
creepy and menacing monster effect. Is it a
zombie? Is it a demon? Who knows! But it
certainly doesnt look friendly.

Get started

01

Open the media_militia_skulls_040.


JPG image from the Media Militia
Skulls download pack, press Cmd/Ctrl+A
then Cmd/Ctrl+C to copy it, open skull face
start image.psd and paste (Cmd/Ctrl+V) in
the skull. Change the skull layers blending
mode to Multiply.

So, if you fancy giving your friends and family a


fright, you could take one of your own photos and
give yourself a monster makeover. Youll need a
high-resolution portrait shot, and wed recommend
you adopt your most menacing stare. Or download
our start image from the FileSilo. The skull image
well be using in this tutorial is taken from a free
download pack from Media Militia (http://bit.
ly/1JAJxGT), which is on this issues FileSilo. It
contains 54 skull photos taken from various angles,
so if you use your own portrait photo, you should
be able to find an appropriate skull image in there.

Transformtheskull

Masktheface

02

03

Press Cmd/Ctrl+T, right-click it and


then choose Flip Horizontal.
Transform it to roughly fit the womans face.
Then move the skull layer below the face
layer, and change its blending mode settings
back to Normal.

Add a layer mask to the face layer,


and use a black hard-edged brush
to reveal the lower portion of the skull, down
to the chin. Use the cs scratches brush and
go over the edges gradually, using a variety of
brush sizes, to create a rough appearance.

Photoshop Creative

49

Tutorial Add special effects with layer masks


Experttip
Match the
colours
One of the key areas to
creating an effective and
realistic photocomposite
image such as this is
ensuring that the colours
of the different photos all
relate to each other. If you
are using your own photo,
then the adjustment layers
that we have used wont
necessarily work for your
image. You will therefore
need to experiment in order
to bring it all together. This is
why adjustment layers are so
useful; they can be edited at
any point in the process.

Add a drop shadow

Adjust the teeth

04

05

On the portrait layer, click the Add a layer


style icon at the bottom of the Layers
palette and choose Drop Shadow from the fly-out
menu. Set the Blend Mode to Multiply, Opacity: 75%,
Angle: 51, Distance 45px, Spread: 4% and Size: 116px.

Levels adjustment layer

Change the colours

Use shading

06

07

08

Hold Alt while clicking the Create


new fill or adjustment layer icon in
the Layers palette, choose Levels, tick the
Use previous layer to create clipping mask
box and hit enter. Move the black slider to 10,
grey slider to 1.38 and white slider to 237.

Add a Solid Color fill layer, again with


a clipping mask, and choose a
colour of R:167 G:0 B:0, click OK. Change the
fill layers Opacity to 10%. Now add a Hue/
Saturation adjustment layer, again with
clipping mask, and change Saturation to -40.

Add a new layer (press Shift+Cmd/


Ctrl+N) below the portrait layer and
name it Shadows. Change its blending mode
to Multiply and layer Opacity to 55%. Use a
black airbrush to add shadows either side of
the exposed jaw.

Make red grooves

Make black grooves

09

10

Add a new layer below Shadows, named Red Lines. Use a 30px
airbrush with R:173 G:0 B:0 to paint vertical lines in the grooves
above and below the teeth. Change the blending mode to Multiply and
Opacity: 50%. Go to Filter>Blur>Gaussian Blur, and enter a value of 20px.

50

On the skull layer, go to Filter>Liquify.


Use the Forward Push Tool to make
the upper teeth shorter and bring the jaw
inwards slightly from the right side. Click OK
to apply the changes.

Photoshop Creative

Create another new layer, name it Black Lines and repeat


the previous process to add blurred black lines to the
grooves above and below the teeth, this time setting the layer to
Multiply and 40% Opacity.

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Make the eye black

Make the eye red

11

12

Create a new layer (Shift+Cmd/Ctrl+N), move it above the


Portrait layer, name it Black Eye, then paint over the left
eye with a black airbrush. Add a layer mask and use the black
airbrush to reveal the iris.

Add a new layer below the Black Eye, then name it Red Eye.
Change the layers blending mode to Multiply, then use the
airbrush with R:185 G:0 B:0 to colour the iris red. Add a new layer above
Black Eye, and name it Red Glow.

Inject some glow

Place a paper texture

13

14

Change the blending mode to Screen and use the red airbrush
again to add a glow to the eye. Add layer masks to the Red Eye and
Red Glow layers and use a black airbrush to conceal the glow over the
pupil and the skin around the eye.

Open cs dirty paper.psd, select the canvas (Cmd/


Ctrl+A), copy (Cmd/Ctrl+C) and paste (Cmd/Ctrl+V) it at
the top of the layer stack. Change its blend mode to Multiply.
Press Cmd/Ctrl+T and transform to fit the canvas.

What you can do with it


Display your handiwork
An image like this is so fun to make when you
use a photo of yourself or a friend or family
member. In fact, its too fun not to show it
off! This particular effect would be a great
addition to the dcor for a horror-themed
party. Why not transform every member of
your household, print the images, frame
them and hang them up ready to greet your
unsuspecting guests? You could even send
the images off to specialist printers to have
them printed onto edible paper, making the
perfect toppings for spooky cupcakes!

FIND A RESOLUTION
Ensure your image is an appropriate
resolution for the size you plan
on printing it. We recommend a
minimum of 300ppi.

Photoshop Creative

51

Tutorial Build creative compo

Essentials
On the FileSilo

Works with

Download your free


resources at www.lesilo.
co.uk/photoshopcreative
Elements

CS

CC

What youll learn


Essential editing skills
and how to use the
Camera Raw lter

Time taken

2 hours

Exper
Daniel
Sinoca
There are so many incredible
tools in Photoshop that have
helped me to develop a wide
range of editing styles and
photomontages. I started
to get involved in the digital
world more than 10 years
ago and have been working
as a freelance artist ever
since, creating all kinds of
multimedia projects and
tutorial guides.

52

Photoshop Creative

Build creative
compositions
CreateafunphotomontageandimproveyourPhotoshopskills
usingmasktechniquesandtonaladjustments

orking with photomontages is one of


the best ways to improve your
Photoshop skills. In this tutorial well
show you how to create fun artwork using masks,
adjustment layers, filters and brushes. Well start
by working with layer masks to mask out the
images, then well apply several adjustment layers
to make tonal and colour corrections. Finally well
use filters to create a cool water-reflection effect,
then custom brushes to complete our work.

There are several basic techniques involved here;


the more you practise creating images like this, the
more you will evolve in the digital world and these
techniques will become natural. Youll soon be able
to apply the right tools and techniques, knowing
exactly the results you are going to get.
In the final part of the tutorial well explore the
Camera Raw filter. Despite this tool being designed
to work best with raw files, you will be amazed
with the results using common JPEG files.

Watch our videos on YouTube Photoshop Creative Magazine

Set up the document

01

Create a new blank file. Go to File>New (Cmd/Ctrl+N).


Name your project Swimmer, set the Width to 230mm,
Height to 200mm, resolution to 300ppi. Click OK. Add a guide
line; go to View>New Guide. Set Orientation to Horizontal,
Position 100mm and hit OK.

Place the buildings

03

Go to File>Place (Embedded)
Buildings.jpg. From the top options
bar, set the Horizontal/Vertical scale to
100%. Drag the image up until the yellow cars
are directly above the guide line, then hit
return/Enter.

Place the sky

02

Go to File>Place (Embedded) Sky.jpg. Move the image up. Grab


the middle-bottom handle and drag it over the guide line and
then hit Return/Enter. Lower the saturation a bit; go to Layer>New
Adjustment Layer>Hue/Saturation. Set the Saturation to -30.

Make the adjustments

Add a layer mask

04

Now lets mask the buildings in the


background. Grab the Pen tool (P)
and create a path around the buildings.
From the tool options bar, hit Make:
Selection and click OK. Go to Select>Inverse
(Shift>Cmd/Ctrl>I), then go to Layer>Layer
Mask>Reveal Selection.

05

Go to Layer>New Adjustment
Layer>Levels. Set the Input levels to
5, 1.30,255. Clip the layers (click the first icon
at the bottom of the Layers palette). Add a
Hue/Saturation adjustment layer and set
Saturation to -35 and Lightness to -5. Apply
a Photo Filter adjustment layer and choose
Filter: Warming Filter(81).

Place more images

Adjustment layers

06

07

Now go to File>Place (Embedded) Asphalt.jpg. From the tool


options bar, set the Horizontal/Vertical scale to 150% and hit
Return/Enter. Add a layer mask. Go to Layer>Layer Mask>Reveal All. Grab
the Brush tool (B). Choose a soft brush and start masking out the asphalt
to blend with the street.

Go to Layer>New Adjustment Layer>Color Balance. Set


the Tones to Midtones, Cyan/Red to -15, Magenta/
Green: +5, Yellow/Blue: -15 and uncheck Preserve Luminosity.
Clip the layers. Now add a Hue/Saturation layer and set Hue: 0,
Saturation: -40 and Lightness to 0.

Photoshop Creative

53

Tutorial Build creative compositions

Place the fin

Refine and adjust

Add the swimmer

08

09

10

Go to File>Place (Embedded) Fin.


jpg. Set the Horizontal/Vertical
scale to 45% and hit Return/Enter. Now grab
the Magic Wand tool (W), set the Tolerance
to 30 and select the water. Hit Shift+Cmd/
Ctrl+I to invert the selection. Now go to
Layer>Layer Mask>Reveal Selection.

Grab the Brush tool (B). Choose a


small, soft brush and start refining
the mask around the fin. Painting with black
hides areas and white reveals areas. Go to
Layer>New Adjustment Layer>Hue/
Saturation. Set Hue to -30, Saturation to -55
and Lightness to 0.

Adjust Hue and Saturation

11

Lets apply a Hue/Saturation adjustment layer to change the colour


of the water. Grab the Lasso tool (L). Set the Feather to 5 pixels and
make a selection just around the water. Hit Cmd/Ctrl+U and set Hue to
-15, Saturation to -80, Lightness to 5, then hit OK. Hit Cmd/Ctrl+D to
deselect the image.

Duplicate and merge

13

Hold Shift and click on the Swimmer,


Vibrance and Brightness/Contrast
layers. Now hit Cmd/Ctrl+J to duplicate and
Cmd/Ctrl+E to merge. Rename the layer
Reflection. Go to Edit>Transform>Flip
Vertical. Drag the Reflection layer and place
under the Swimmer layer.

54

Photoshop Creative

Make more adjustments

12

Go to Layer>New Adjustment Layer>Vibrance. Set


Vibrance to -35 and Saturation to 0. Clip the layer. Now
add a Brightness/Contrast adjustment layer. Set Brightness to
20 and Contrast to 10, and clip the layer again.

Apply filters

14

Now go to File>Place(Embedded)
Swimmer.jpg. Resize and hit Return/
Enter. Grab the Pen tool (P) and create a
path around the swimmer. From the tool
options bar, click Make: Selection and create
a layer mask. Grab a soft brush (B) and
refine the mask.

Lets turn the image into a Smart


Object. Go to Layer>Smart Objects>
Convert to Smart Object. Go to Filter>Blur>
Motion Blur. Set the Angle: 90, Distance: 100
pixels and hit OK. Go to Filter>Distort>Ripple.
Set the Amount: 500%.

Mask and blend

15

Add a layer mask. Grab the Gradient


tool (G). Open the Gradient Editor
and choose the Preset: Foreground to
Background. Make sure the mask is active.
Place the cursor over the swimmer
reflection and drag down. Change the blend
mode to Hard Light and Fill to 60%.

Watch our videos on YouTube Photoshop Creative Magazine

Experttip
Use Adobe
Bridge

Load brushes

Choose a custom brush

16

17

Download the supplied brushes from


this issues FileSilo and go to Edit>
Presets>Preset Manager. Click Load and find
the Brush132.abr file, then click Load.
Create a new layer (Shift+Cmd/Ctrl+N) and
name it Brushes.

Select a layer style

18

Go to Layer>Layer Style>Bevel &


Emboss. Set the Style: Stroke
Emboss; Technique: Chisel Soft; Depth:
100%; Soften: 10 pixels; Angle: 90; check
Global Light; Altitude: 30. Now click the
Stroke. Set the Size: 10 pixels, Position: Inside
and then click OK. Set layer Opacity to 80%.

Grab the Brush tool (B) and hit F5. Set the
Foreground colour to white. Choose a custom
brush, set the appropriate size, and paint over the
arms and hand. Now create a layer mask. Grab
another custom brush, resize it and paint over the
mask to hide unwanted areas.

It may not be something you


do very often, but without
doubt, the very best way to
open any image in Camera
Raw is by implementing
Adobe Bridge. Launch
Adobe Bridge, select the
image, then go to File>Open
in Camera Raw. The Camera
Raw dialog box will give you
precise control over how
to edit your image. Even if
you are using JPEG les,
you can still greatly improve
the colours and the overall
quality by exploring the
Camera Raw interface.

Apply the Camera Raw filter

19

Hit Shift+Cmd/Ctrl+Opt/Alt+E to
create a snapshot. Now go to
Filter>Camera Raw filter. Set the Exposure
to 0.45; Contrast: 9; Highlights: -25;
Shadows: 40; Whites: -15; Blacks: 10; Clarity:
+10; Vibrance: 5; Saturation: 10. Select HSL/
Grayscale, click on the Saturation panel and
set the Greens and Aquas to -100.

Make final adjustments

20

Keep the Camera Raw filter open.


Under the HSL/Grayscale tab select
Luminance and set the Reds to 20; Oranges:
5; Yellows: 10; Greens -100; Aquas: -100;
Blues: 10; leave the Purples and Magentas: 0,
and then click OK.

Closer look
Discover simple
commands
WORK WITH BRUSHES
Use a low opacity value to create
partially covered effects and resize your
brush as many times as needed to paint
the masks or create other effects.

HIGH PASS FILTER


Duplicate the nal image, change
the blend mode to Overlay and then
apply the High Pass lter to sharpen
and add more detail to your work.

FREE TRANSFORM TOOL


Use the shortcut Cmd/Ctrl+T every
time you need to transform, change
the size of or adjust the perspective
of an image.

AUTO ADJUSTMENTS
Most of the adjustment layers have
an Auto command available. This
adjusts colours, levels, brightness
and contrast automatically, and
usually produces good results.

Photoshop Creative

55

OF THE
BEST

tips for creative


macro effects

Make macro magic with these tricks

56

01 PICKTINYSUBJECTS
The idea of a macro shot is to magnify small subjects to
bigger sizes, so by picking small subjects for your
pictures, you can create a realistic macro effect. Birds,
flowers and bugs are particularly popular, but you might
want to create a fantasy shot of a miniaturised person;
the key is to make it look believable.

02 SHARPEN YOUR SUBJECT

03 BLUR YOUR BACKDROP

Placing detail on the subject is one of the most important things to


remember in any kind of composition, but when creating macro
effects its even more key. Sharpening your subject directs attention
to the scale of the composition, so duplicate your layer, set to
Overlay and head to Filter>Other>High Pass to add a little more
detail to your picture. You might also choose to go to Filter>Sharpen>
Sharpen More to add even more detail.

While sharpening your subject can really draw attention to the


action of the image, blurring the background can also help with this.
There are all kinds of blurs for all kinds of images you can use too; the
Blur Gallery is particularly useful here (Filter>Blur Gallery) and the
Field Blur is great for keeping focus on the subject in your image. The
Tilt Shift can also help radiate a subtle blur from the centre of a focus
out to the edges of your picture.

04 SHOOT WITH A MACRO LENS

05 CONSIDER LIGHTING

If youre an artist who prefers to shoot your subjects before you


create in Photoshop, shooting with a macro lens can do a lot of the
hard work for you. Macro lenses are flat field, meaning that they
curve slightly differently to ordinary lenses. This means that theyre
better at magnifying your subject before you shoot, and this cuts the
amount of sharpening youll have to make on your subject before
you add it to the composition.

As with all kinds of compositions, lighting and shading is imperative


for believable artwork. It has even more importance in macro shots
though, as it helps blend together the small subject with the bigger
surroundings. Use the Lighting Effects filter (Filter>Lighting Effects)
to place a Point Light on your finished picture. This can add to the
contrast between the blurring and sharpening in your picture, and
create a subtle vignette.

Photoshop Creative

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Tutorial Create fr

Essentials

On the FileSilo

Works with

Download your free


resources at www.lesilo.
co.uk/photoshopcreative
Elements

CS

CC

What youll learn


Use the Pen tool,
paths, shape layers, layer
styles and blur

Time taken

2 hours

Expert
Moe
Hezwani
I really enjoy experimenting
in Photoshop; I can easily
spend an entire day nding
new ways to transform any
photo and give it a totally
new look. I particularly like
mixing photography and
illustration to build up a piece
of artwork. Im a professional
graphic designer/illustrator,
and Photoshop is my go-to
platform for my designs.

58

Photoshop Creative

Create fractal
animal art

Use simple brush, layer-style and Pen-tool techniques to turn an


ordinary photo of a tiger into an electrifying silhouette

hen creating digital art, the temptation


to use a large selection of resources
often lurks in the background. There is
a preconception that using plug-ins and so on will
give a better result. However, if you enjoy the
challenge of enhancing and transforming a photo
without add-ons, this is the glowing tutorial for you.
It is possible to get an advanced-looking piece of
artwork by combining several relatively
straightforward techniques. In this tutorial, well
examine methods that involve no extraneous

materials. Absolutely everything we add to this


tiger will be generated using tools and filters. Well
reveal lighting, colour, Brush and Pen-tool
techniques to create bright, glowing neon lines. If
youre working in Elements, check the Expert tip.
Youll also discover how to boost the vibrancy of
artwork using adjustment layers, plus how to fake
fur with a grass brush and the Smudge tool.
The final result may look complex, but the actual
process is surprisingly straightforward. It is just a
matter of trial and error.

Want a more vibrant light and glow? Set the Color Mode to RGB!

Sharpen the image

Add light

01

02

Open tiger-407007.jpg from this issues FileSilo and duplicate


the Background layer (Cmd/Ctrl+J). To sharpen the image in order
to bring out some detail, head over to Filter>Sharpen>Unsharp Mask and
change the following: Amount: 90%, Radius: 5.0px, leave Threshold: 0
levels, then hit OK.

Its time to completely transform the tiger to make him


glow. Begin by duplicating the new sharpened layer
(Cmd/Ctrl+J), then go to Filter>Stylize>Glowing Edges. Change
the following settings: Edge Width: 5, Edge Brightness: 14 and
Smoothness: 15.

Darken the background

Bring back the eyes

Adjust midtones & shadows

03

04

05

After making the tiger glow, you will


notice the leaves in the background
were also affected and they are quite
distracting. To remove them, create a new
layer (Shift+Cmd/Ctrl+N), grab a soft black
brush and simply paint around the tiger to
darken the background.

After creating the glow edges, the


eyes of the tiger look alien. To bring
his eyes back, select the layer with the glow
effect and create a layer mask by clicking on
the Add Layer Mask icon at the bottom of
the Layers palette. Use a soft brush to brush
around his eyes.

Make a channel selection

06

Head to the Channels palette and click on the Blue


thumbnail to make a selection. Go back to the Layers
palette and with the glowing edge layer selected, hit Cmd/Ctrl+J
to duplicate it. Youll notice that only parts of the image have
been duplicated.

To brighten the tiger, adjust the


midtones and shadows. Click the
adjustment layer icon at the bottom of the
Layers palette, select Color Balance. Alter
the following: select Midtones and make
Cyan: -49, Magenta: -42. Select Shadows
and make Cyan: -56 and Yellow: +20.

Select Outer Glow

07

With the new duplicated channel layer selected, double-click on


the layer to open the Layer Style window and select Outer Glow.
Change the Opacity to 80%, Size: 10 and the colour to #00ffff. Next
create a new layer, fill it black and place it below the duplicated layer.

Photoshop Creative

59

Tutorial Create fractal animal art


Experttip
Dont have
the Pen tool?
We have marked this up
as a Photoshop tutorial
because of using the Pen
tool. However, if you are
working with Elements, you
can use the Brush tool (B)
to create a similar effect.
For example, in step 8 when
drawing the whiskers, use
the tool to paint them onto
the tiger using a medium to
small brush. The Pen tool
lets you create a Simulated
Path Stoke that thins out
the edges, but you can
manipulate this by using a
smaller brush to ick out.

Draw the whiskers

Stroke a path

08

09

Start by creating a new layer (Shift+Cmd/


Ctrl+N) above the Color Balance layer. To
create the whiskers, select the Pen tool (P) and set to
Paths in the Options bar. Draw a curved line by clicking
once to create your first anchor point and then click
again, but before releasing the mouse move it to
curve the line.

Make the whiskers glow

Give it some extra glow

Create a glowing outline

10

11

12

Double-click on the whiskers layer to


access the layer styles and select
Outer Glow. Set to: Opacity: 75%, Size: 13px
and colour: #00ffff to create a glow around
the newly drawn whisker. Repeat steps 9 and
10 to draw the rest of the whiskers. Ensure all
his whiskers are drawn on the same layer.

Duplicate the glowing whiskers layer


(Cmd/Ctrl+J), Ctrl/right-click on the
duplicated layer and select Clear Layer Style
from the menu. Go to Filter>Blur>Gaussian
Blur and change the Radius to 20 pixels to
make the whiskers pop out a little more from
the rest of the tigers face.

Add stripe details

Create fur

13

14

Boost the detail of the stripes because they diminish


slightly from the Glowing Edge filter. Create new layer and,
using the tigers existing stripes, trace over them using the Pen
tool. Create a path stroke but this time with a Brush Size of 15px,
40% Hardness, and add an Outer Glow layer style.

60

Now select a soft, white brush and


change the Size to 5px and 40%
Hardness, with 100% Opacity. Next Ctrl/
right-click on the newly drawn path and
select Stroke Path from the menu. When the
dialog box appears, select Brush and check
Simulate Pressure.

Photoshop Creative

Create a new layer (Cmd/Ctrl+Shift+


N) above the whiskers layer, grab the
Pen tool (P), then draw an outline around
the outside of the tiger. Create a path stroke
using the same technique as step 9. Add an
Outer Glow layer style using the same
settings as step 10.

Hide the layers from steps 8-13 and select the Color Balance layer.
Merge the layers below (Cmd/Ctrl+Alt+Shift+E) and duplicate the
merged layer. Next, grab the Smudge tool and change the Strength to
75%, then pick a 8px hard-edge brush. Now pull out parts of the whole
animal to create hair strands.

Want a more vibrant light and glow? Set the Color Mode to RGB!

Dodge and burn

Fake the fur

Duplicate the fur layer and select the


Dodge tool. Set Exposure to 70% and
use a large, soft brush. Start painting over
the stripes to increase the highlights. Switch
to the Burn tool and set Exposure to 70%,
then brush around the darker areas to
enhance the shadow of the tiger.

15

16

Fake fur glow

Apply finishing touches

Add some pink

18

19

20

Create an Outer Glow layer style, set


to: Opacity: 75%, Size: 13px and
colour #00ffff. Duplicate the layer and turn
the layer style off. Go to Filter>Blur>Gaussian
Blur and set Radius to 3.6 pixels. Next, select
the Levels adjustment and change the
settings to 23, 1.00 and 255.

Create a new layer at the top of the


Layers palette, and change the
Opacity to 30% and blend mode to Color
Dodge. Select the Brush tool, set
Foreground colour to white and go to
Window>Brushes to bring up the Brushes
palette. Select the Dune Grass brush.

Create a new layer and apply the


same Outer Glow settings as in step
18. Grab the Dune Grass Brush once again
and make the brush size 200px (but play
around with this). Create larger strands of
hair around the body, and work round the
eyes and stripes of the tiger.

Brush the fur

17

Using the Dune Grass brush, start


dabbing around the darker areas of
the tiger to create tufts of fur. Move the
Angle circle around in the Brushes palette to
alter the angle of the brush, and also be sure
to vary the brush size.

Set the Foreground colour to


#ed008c, create a new layer and fill
it with pink by going Edit>Fill and setting
Content to Foreground Color. Change the
blend mode to Hue and apply a layer mask.
Select a large, soft brush and brush away to
bring back some areas of blue.

What can go wrong


Simulate pressure
You have to make sure your brush is set correctly
to mimic different pressure. Before you go to
Stroke Path after drawing your lines, ensure you
have selected a fairly soft brush. Have the brush
set to about 40% and make sure that Tablet
Pressure Controls Opacity is selected, which is
found next to Opacity in your Brushes menu. If
this isnt selected, the stroke will have a curved
edge. After you have picked the correct brush, go
back to the Pen tool, Ctrl/right-click on your path
and select Stroke Path from the menu. When the
dialog box appears, be sure to select Brushes and
that Simulate Pressure is checked, then you will
end up with the correct results.

Photoshop Creative

61

Tutorial U

Start images

Essentials
On the FileSilo

Works with

Download your free


resources at www.lesilo.
co.uk/photoshopcreative
Elements

CS

CC

What youll learn


Make selections, paste
into dened areas, edit
layer masks and shade

Time taken

2 hours

Exper
Sarah
Cousens
I sometimes enjoy taking
a traditional approach with
artwork; painting in the
shading for this image takes
time, but that makes it more
satisfying. I am a freelance
illustrator, designer and
writer, and have been using
Photoshop extensively since
forming my own illustration
and design company, Cool
Surface, eight years ago.

62

Photoshop Creative

Use selections
for a puzzle face
Have fun getting your head round this bright and cheery multifeatured jumbled-up face effect

n this tutorial, well be getting our heads in a


muddle literally! With some cutting, pasting,
manipulation of layer masks and handiwork with
the Brush tool, well be turning a head into a
jumbled 3D puzzle. Elements users are able to do
the tutorial too, but should check the Expert Tip for
some alternative methods.
All of the files needed here are available on the
FileSilo. The model stock images used to create
this image were all sourced from pixabay.com, a

fantastic online resource with thousands of


free-to-download images. And there are plenty
more images available to choose from. Better yet,
apply this method to yourself! Find a willing
accomplice to take a good variety of portrait shots,
with different angles and expressions, and combine
them to make a sliced-and-diced version of
yourself. Why not pull some funny faces? Once
you have the method down, the possibility for fun
and experimentation is endless.

Show us your own jumbled faces! Search for photoshopcreative

Experttip
Elements
users

Select with the Pen tool

Open apple-18721.jpg from the


Cut and paste
FileSilo. Select the Pen tool (P) set to
Press Cmd/Ctrl+C, open flower background.
Paths and use it to trace a path around the
psd and press Cmd/Ctrl+V. Press Cmd/Ctrl+T,
figure, excluding the hair and the hand and
and resize and reposition the figure accordingly. Use
apple (Elements users: check the Expert tip). the Pen tool to create a path separating the head
In the Paths palette, click the Load path as a from the neck, load the path as a selection and press
selection icon.
Cmd/Ctrl+X then Shift+Cmd/Ctrl+V.

01

02

If you are using Elements


you will have noticed that
you dont have access to the
Pen tool. No need to worry,
you just need an alternative
method for steps 1, 2 and 15.
Use the Magnetic Lasso tool
or Freeform Lasso to make
an initial selection, then
switch to Quick Mask mode
(Q) and use the Brush tool
with a hard-edged brush to
rene it. Use white to add to
the selection and then black
to deduct from it. Press Q
again when you want to exit
Quick Mask mode.

Draw a guide

Deselect it

Add a mouth

03

04

05

Create a new layer (Shift+Cmd/


Ctrl+N) and name it Sketch. Use the
Brush tool (B) with a round hard-edged
brush at a size of 30px and any colour. Use it
to draw out a grid over the face, splitting it
into the different sections, as shown in the
final artwork.

Ensure no lines are over the ear, and


follow the 3D form of the head.
When finished, hold Cmd/Ctrl and click the
Sketch layers thumbnail in the Layers
palette, hide the Sketch layer, go to the Head
layer and press backspace. Press Cmd/
Ctrl+D to deselect.

Go back to apple-18721, use the


Lasso tool to select the mouth area
and press Cmd/Ctrl+C. In your artwork, use
the Magic Wand tool with Tolerance: 255 to
select the section to the right of the mouth.
Press Shift+Cmd/Ctrl+Alt+V to paste the
mouth into the area with a layer mask.

Flip and Distort

Add more features

06

07

Press Cmd/Ctrl+T, right-click and choose Flip Horizontal. Resize


and adjust the angle to fit the curve of the face. Right-click and
choose Distort, and adjust the right-hand corners to make the mouth
shorter. Use a black airbrush on the layer mask to blend the mouth in.

Repeat this process to copy and paste in features from


the various stock photos, transforming, distorting and
blending them in as necessary. Try to match the angles of the
features with the angles of the face.

Photoshop Creative

63

Tutorial Use selections for a puzzle face

Make features stand out

08

Use a white hard-edged brush on


the layer masks to make any
features protruding over the edge of the
face visible (such as the lips on the left of the
forehead and the nose on the back of the
head), enhancing the 3D effect.

Add some shading

09

10

Create a new layer beneath the


Shoulders layer. Select the Brush
tool with a hard-edged brush and a colour of
R:249 G:212 B:186. Use it to draw in the
interior of the sections of the face, creating
angled edges on the outer sections to give
the segments a 3D effect.

Refine the shading

Add highlights

11

12

Use the Eraser with a 10px airbrush to


create the harder edges of shading. Be
sure to visualise the angle and direction that
the corners would recede towards the
centre of the head. Use the Brush tool and
Eraser with a large-sized airbrush, and 25%
brush Opacity to blend the shading in.

Transform the hair

14

Press Cmd/Ctrl+T and transform the


hair to fit the top of the head. Add a
layer mask and use a black airbrush to
remove the hair layer from the gaps
between segments.

64

Paint the interior

Photoshop Creative

Add a new layer at the top of the layer


stack, set the blending mode to
Screen and the layer Opacity to 25%. Hold
Cmd/Ctrl and click the Face layer to select it,
then use a white airbrush to paint in narrow
lines along the cut edges of the segments.
Then deselect.

Press Shift+Cmd/Ctrl+N, name the


layer Shading, tick Use previous layer
to create clipping mask. Set blending mode
to Multiply and Opacity to 45%. Use an 80px
size airbrush and a colour of R:100 G:43 B:0
to add some soft shading far back within
each segment.

Copy the hair

13

Go to apple-18721 and use the Lasso


tool to select just the top of the head.
Copy (Cmd/Ctrl+C) and Paste (Cmd/Ctrl+V)
it into your artwork just above the
Background layer, and set the blending
mode to Multiply.

Add a mouth

Place hand shadows

15

16

Go back to apple-18721, use the


Lasso tool to select the mouth area
and press Cmd/Ctrl+C. In your artwork, use
the Magic Wand tool with Tolerance: 255 to
select the section to the right of the mouth.
Press Shift+Cmd/Ctrl+Alt+V to paste the
mouth into the area with a layer mask.

Press Cmd/Ctrl+T and position them


so they appear to be moving the
sections of face around. Add a layer below
the hands, set the blending mode to Multiply
and layer Opacity to 30%. Use an airbrush
with R:115 G:51 B:0 to add shadows beneath
the hands. And youre done!

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The easy way to learn Adobe Photoshop

Step-by-steps

Essential editing guides


Master the Content-Aware Fill Move tool................ 68
Design your own newspaper ..................................................70
Improve composition in photos ..........................................76
Create multi-coloured hair ....................................................... 80

Photo edit

AIN TO
YOUR PHOTOS
Create realistic rain effects and add them to your
images for a bit of atmosphere p74

PFB

Essential
tool guides
14 pages of
essential
guides

PFB
What
does it mean?
TRANSFORM ON DROP This
command lets you transform an
object before its placed. Its good to
get in the habit of keeping this box
checked, as there are often tweaks
that you can make to a subject,
even if you dont use the resize
handles every time you use
the Content-Aware Fill
Move tool.

OntheFileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

Tool focus

Start image

Master the Con


Aware
Fill
Move
tool
Use the power of content aware to fill in the blanks on your artwork
When youre turning a sketch into a digital masterpiece, or building a
composition from existing photos, Photoshop is fantastic for
creating something out of nothing. But it also has a set of tools that
can do the opposite; taking a complete photograph and magically
removing an object or subject from the picture.
The Content-Aware Fill command is similar to the Clone Stamp; it
covers a patch of your picture with a patch from somewhere else to
seamlessly cover over something. Its most commonly used by Ctrl/
right-clicking and selecting Fill its available on the drop-down option

68

Photoshop Creative

that appears but also comes in useful when youre moving objects
in your picture.
Content-Aware Fill Move combines the intuition of the ContentAware technology with the basic Move tool. Its a great option for
anyone touching up a portrait, but it can also handle bigger edits,
such as moving a subject to a completely different area of an image.
Its a versatile tool, and one thats been improved further with the
latest Transform On Drop checkbox from the CC 2015 update, so
lets explore how to make a quick but ambitious photo fix with it.

PFB
Move and fill Merge the power of two Photoshop tools into one, quick action

Make a selection

Alter Structure and Color

Start off by selecting what you want to move in your image. Grab
the Polygonal Lasso to select with, as you dont want to be too
precise; the Content-Aware Fill Move tool feathers greatly, so its
important to leave a big enough area around the subject.

01

02

Move your subject

Clone to nish

03

04

Once youre happy with how youve primed your tool and
selected your subject, drag it to wherever you like in the image.
Photoshop helpfully provides a pink line once youve dragged to the
centre of the image; simply double-click to drop the image.

Once selected, grab the Content-Aware Fill Move tool. Across


the bar at the top, youll see options to adjust Structure and
Color. This will handle detail and colour inconsistencies; slide to 7 and 8
to cut down the amount of cloning you have to make.

Its rare that you wont be able to notice a moved subject; you
can often tell at its edges, so its important to tidy everything
up. Select the Clone Stamp with an Opacity of 50%, a soft tip and just
gently touch up to remove any inconsistency.

Transform on Drop Use CC 2015s new checkbox for even more possibility

Make a selection

Move and transform

Clone

01

02

03

As before, select whatever you want to


move in the picture. Weve chosen to
use the Rectangular Marquee this time, but
the Polygonal Lasso works just as well. Check
the Transform on Drop box.

Move the object that youve selected,


just as before, and use the corner
handles of your selection to resize it. You can
skew your selection too, by holding Cmd/Ctrl
and dragging.

Again, clone around where youve


dropped the object with a 50% opaque,
soft brush to hide any noticeable edges. In
this case, clone over the now bigger waves to
hide the fact that theyve been transformed.

Photoshop Creative

69

PFB

On the FileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

70

Photoshop Creative

PFB
Creative project

Design your
own newspaper
Make a personalised family newspaper to remember special times
Were going to show you how to create a fun family newspaper to
send to relatives and friends, or maybe have professionally printed.
You can use a simple email or file transfer to send it to recipients,
giving individuals their own preference of printing options.
A newspaper page is relatively easy to produce if you are strict with
your layout. Making the theme something special that has been a fun
time or holds lots of memories will ensure it is a great keepsake. By
using layers you can build up a project easily and change elements

as it develops. This means that if a photo or section doesnt look


right, its easy to change with one click. Remember that the Text tool
will automatically create a new layer and name it with what you have
written in the text box. This makes your writing easy to change and
spelling easy to check. Experiment with genres, colours, illustrations,
family photos, pet photos, and anything else you can write a story
about. The most important thing to remember is to make your
newspaper the talk of the town!

TECHNIQUE 1 Prepare the basics Set the structure of the newspaper

Create a colour layer

Add a header

Make a box and edging

01

02

03

Once you have a new le, youll need a


colour for the background. Go to the
Layer tab and click a new layer. Click the top
colour box in the bottom left-hand corner of
the interface and choose your colour. Use the
Paint Bucket tool (K) to ll the blank layer.

Create your title using the Text tool in


a central header position. Click the
space bar to open up a space big enough for
your picture, then use the Move tool to
position the text until it is central. File>Place
the picture in the space.

Create a new layer, name it Outlines.


Select the Rectangular Marquee tool
(M) and drag across. Edit>Stroke and select
the width and colour in the pop-up box. Click
the Move tool to deselect. Use this technique
to add a box around the edge.

SELECT THE TEXT


Always select the Text tool
with the required working
layer selected when editing
text, or it will automatically
create a new one.

SET THE TEXT

Insert the date

04

Select the Text tool and insert a date,


month and year. Select the Move tool,
drag over to the right-hand side or the middle
and position in between the two outlines. You
can write this as numbers or words, whichever
you prefer.

Always make sure you


click off the Text tool
when nished. This keeps
it in the place you left it.

DONT BE
AFRAID
If you are not
happy with your
work dont be
afraid to change
it, but always
save before you
change anything.

Photoshop Creative

71

PFB

What
does it mean?

TECHNIQUE 2 Add the imagery


Start to add your chosen images to create the final visuals of your story
Place your images into the file and create the outlines
using Edit>Stroke. Use a line size of 3px, which gives
outlines that are visible but not really noticed. Make

sure images are in the location you need before


creating the outlines, as all the lines are on one
layer and can be awkward to erase.

RULERS The Rulers are useful for


making sure images are level and in
the correct area when placing them.
However, even if Photoshop is telling
you that this is the case, it doesnt
always mean that images are in
the right place for the human
eye. Judge the layout by
using your own inner
ruler too!

Place the sisters

Now the brothers

Add the other images

Use the File>Place function to add


sisters.jpg. It will appear in a box with
two lines corner to corner, and needs to be
resized. Use the small boxes attached to the
corners and sides to move in to the desired
position. Click the Move tool when nished.

01

02

Place brothers.jpg using the same


technique as before. Place it in the
opposite direction so they are not directly
underneath one another. This means you can
add the text either side of them without it
looking like one piece of writing.

03

Keep the images level

Add the outlines

Outline the text boxes

04

05

06

The placed images need to be level


with each other, so take note of the
measurements that pop up next to the cursor
when dragging the images into place. It
doesnt matter where you place them as long
as they all sit directly under each other.

A LITTLE
COMPOSITION
Make sure the images
look right in their
position; think about
composition and where
it is that they will look the
most striking.

72

Now add the outlines of the images.


Select the Outlines layer you created
earlier and use the Rectangular Marquee tool
(M). Use the same methods shown in
Technique 1, step 3, to make sure that all of
the outlines are uniformed.

Position the other three images down


the left-hand column. Place the dog at
the bottom and both parents at the top. Zoom
in using Cmd/Ctrl+ to have better judgement
of the position and get the best t. Leave
room underneath the dog to add text later on.

Create the rest of the boxes needed


for adding your text. Make sure they
are in the correct places using the Marquee
tool before you commit to the Stroke, as
having all outlines on one singular layer can
make removing them tricky.

SIZE AND SHIFT


The Place function adds the
image to t the le, so hold
down Shift when resizing to
keep the proportions.

REFINED EDGE
LAYERS

A PERSONAL
AREA

Remember to keep
all the rened Stroke
edge outlines together
by creating them on
the one layer and
name it Outlines.

Create a box at the


bottom for one nal
bit of text and add
something personal
inside it.

Photoshop Creative

TECHNIQUE 3
Insert your
chosen text
It is now time to add your text
to the newspaper and give the
whole project a story
Now for the imaginative part; adding your
story to the newspaper. Its best to write this
in a word-processing program such as Text
Edit, Pages or Microsoft Word, and use the
spell checker before cutting and pasting it
into your document. To cut and paste,
highlight the text, then use Cmd/Ctrl+C to
cut and Cmd/Ctrl+V to paste.

Use a catchy headline

01

Start off by thinking of a memorable


headline that will stand out and catch
peoples attention. Then use the Text tool to
drag over the area you want your text to be.
Use a bold font at 48px, and one that is
readable rather than stylish, so keep the
fancy fonts for the header.

Add the subtitle

Insert the story

Finish it off

02

03

04

For the subtitles, use bold again but a


much smaller size of 16px, and just
type a ash of information. Poignant and to
the point is all thats needed to make the
viewer read on. Use the Text tool in the same
way as before.

For the main story text, stretch the


Text tool over the box created earlier.
Choose a small 13px font and change to
regular. Cut and paste the prepared text. You
may have to highlight the text and resize it, as
it may paste at a larger or smaller font size.

Insert some text to the box at the


bottom. You could even leave this
blank and when it has been printed, all the
people in the story could sign it before it is
displayed. Just be imaginative and have a
great time creating your own newspaper.

Photoshop Creative

73

PFB
On the FileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

Photo edit

Add
rain
to
your
photos
Create a simple spattering of rain to inject a touch
more atmosphere into your picture
Weather can determine the entire
mood of your pictures. A bright sky
can give a feeling of joy or happiness
to an image, whereas grey skies can
evoke moodiness. Often, you have to
transform your whole image to
change mood so dramatically; its
rarely a quick fix that you can make to
a picture.
Adding rain is good for a few
reasons, though. Not only is it
extremely simple to create a basic
but realistic sheet of rain over your
images, but its an effect that can
create a number of moods. Adding it
to a dark, night-time composition can
give a dramatic atmosphere, perfect
for an action shot. Adding rain to a
landscape can evoke a sad feeling,
and sometimes rain can just be the
missing ingredient from a photo
shoot that turned out to be sunny.
Its easy to add a few showers to
your pictures in just a few steps, and
by altering opacity, you can decide
exactly how heavy you want your rain
to be. Check out our quick guide of
how to achieve the effect.

Start image

74

Photoshop Creative

ADD HDR LAYER


Hit Cmd/Ctrl+Alt/Opt+Shift+E to create a
snapshot, Desaturate (Cmd/Ctrl+Shift+U)
and turn to Overlay to create an HDR
effect that complements the rain.

What
does it mean?

STYLES The Styles tab is there to


showcase some of the most popular
and most-used layer styles that you
can apply to your pictures. You can
download more styles online, and
you can nd styles that create
colour effects, add patterns or
simply change whether your
layer is bevelled or
embossed.

PFB
Make it rain Use filters to give the illusion of a downpour

Add noise

Blur the rain

Create a new layer and ll it with either black or white. Go to


Filter>Noise>Add Noise, choose the Gaussian option and check
the Monochromatic box. Set the Amount right up to the maximum
400%, and click OK. This is going to form the basis from which well
create the rain.

01

02

Set the Levels

Mask

03

04

Now were going to bring more of the white raindrops into the
picture and remove the grey blurring. Hit Cmd/Ctrl+L to bring up
the Levels panel and move the three stoppers closer together. Adjust
them to up the contrast; this will not only make the whole image clearer,
but it will make it look more realistic, too.

Set your noise layer to Screen to reveal the white of the noise
but make the black invisible. Go to Filter>Blur>Motion Blur and
tweak the Angle to make it believable with the picture; here, the subject
is tipping her umbrella back, so it makes sense for the rain to come
from behind. Set the Distance to 40.

Right now, the rain looks like its falling down in sheets
everywhere, evenly and all in the same direction. This isnt how
rain falls naturally, so hit the mask icon and grab a big, soft, black brush,
with 20% Opacity, and just touch over areas of the image to lessen the
effect in certain places, such as over the subject.

Use styles Create the effect using Photoshops built-in Rain style

Load Image Effects

Create your layer

Edit further

01

02

03

Over by the Adjustments panel in


Photoshop, youll see a tab for Styles.
Click this, then on the four lines to the right of
the styles to nd the Image Effects option.
This is where the Rain style is.

Create a new layer and just the same


as with the noise method, ll with
either black or white. Click on the Rain style to
apply it to your picture; you might choose to
nish here, as the effect might be ne.

If you want to edit your effect a little bit


more, Ctrl/right-click the layer and
choose Layer Style. Alter the Opacity or
choose to tweak the scale of the rain, just as
with any other Pattern Overlay.

Photoshop Creative

75

PFB
SPACE
Think about how an image falls in the
grid and how much dead space is in the
nal image. Space isnt necessarily a
bad thing when used correctly.

Photo x...

Improve
composition
in photos
Fix the basics of your
photos with these
three simple projects

What
does it mean?

RULE OF THIRDS The rule of thirds


is a common term and states that an
image is most pleasing when its
subjects or regions are composed
The rules of composition in photography are
along imaginary lines that divide the
often overlooked. Many photographers
image into both horizontal and
vertical thirds. Use Photoshops
simply shoot on instinct rather than angles,
guides to align the subject
and its not particularly vital to give your picture
with an intersecting
the perfect crop or vignette if it looks great as it is.
point.

There are certain rules, though, that can improve


any picture, and theyre some of the subtlest tweaks
that you could possibly make to a project. Cropping
and straightening your pictures is a given, but
Elements and Photoshop make it easier than ever to
be 100 per cent accurate. Whether youre a
photographer who has taken the perfect snap, or
youve created a composition with hundreds of
layers, using one of these simple composition-fixers
as a finishing touch can be a great way to end your
work. Ultimately, these are the kinds of fixes that
correct the structure of your pictures, shift the focus
to the right part of the image, and give your shots the
correct perspective and visual balance.
These arent the most creative projects that youll
ever master, but theyre some of the most important.
Theres more to a picture than whats in it: its about
how you frame it, too.

Start image

On the FileSilo
Download your free
resources at www.lesilo.
co.uk/photoshopcreative

TECHNIQUE 1
Rule of thirds
Learn to correct any picture
with a crop using the
precision of thirds
Cropping your images is
important to control the focus.
Get in the habit of seeing your
pictures through a viewers eye,
and notice what your attention is
drawn to. Photoshop and
Elements can make your cropping
even more accurate with its Rule
of Thirds option.

76

Photoshop Creative

Enter ratio

01

Hit the Crop icon, and use the two


boxes from the top panel to enter a
ratio to crop to. A drop-down menu contains
some popular preset ratios too; this just
keeps your crop neater.

PFB

OFF-CENTRE
Dont automatically place
subjects in the middle of
the frame an off-centre
arrangement works well.

RULE OF THIRDS
This splits your preview into
nine squares. Keep the focus on
the intersecting points for the
ultimum impact.

Set Rule of Thirds

Crop

02

03

To the right of the Straighten icon,


youll see an icon with a grid on it.
Click this to see the Rule of Thirds option.
Click on this, along with Always Show
Overlay, and youre ready to crop.

GRID
The Grid option splits your
picture into multiple squares.
The Grid is particularly useful
when it comes to busier
pictures of cities or crowds.

Using the corner handles, resize


your crop area to t over your
subject. Ensure that the main subject ts
over the intersection of the Crop preview
grid, and simply hit Enter/Return to apply.

Photoshop Creative

77

PFB
DARKER EDGES
Vignettes make your image
look cinematic but theyre also
good for focusing in on the main
subject of your picture.

TECHNIQUE 2
How to add
a vignette
Use simple layer techniques
in Elements to create
darkened edges
A vignette is often seen as a
creative technique. Its an effect
that can add drama or style to your
pictures, and its possible to
create in the Camera Raw
section of Photoshop.
But if youre simply looking
to create a centre of attention
in your picture, a vignette is
perfect for adding focus and
dulling the edges. Use your
cropping skills to give your
picture a neater finish.

Start image

Duplicate your layer

Darken the layer

Add a gradient mask

This effect works best on pictures with


a strong subject that isnt as
prominent from the background as you would
like. Open your image and begin by duplicating
your layer (Cmd/Ctrl+J).

01

Hit Cmd/Ctrl+L to access the Levels.


Move the middle stopper to the right
and the white stopper of the output levels into
the centre to darken the image. This is the
basis of your vignette.

02

03

Mask

Crop

Lower opacity

04

05

06

Using the Gradient tool, hold down


Shift and drag from the centre of your
subject to the edge of your picture to create a
perfect vignette. You may have to do this a
couple of times to get the right amount of
darkness from the edges.

78

Photoshop Creative

Grab the Crop tool and resize the box


to take the centre of your subject into
account. This is going to frame the picture and
the vignette helps; you can now see exactly
what needs to be cropped out, as its darker
than the rest of the shot.

Press the mask icon on your darkened


layer. Go to the Gradient tool, select a
white to black gradient and click OK. The
gradient will give a perfect nish on the mask
to bring the subject back into the picture.

You can inject a little more subtlety


into your vignette by lowering the
Opacity slightly down to 85%. You might want
to go for a stylish, fully opaque vignette, but
even the lightest ones can still enhance your
pictures hugely.

PFB
STRAIGHT ON
A wonky horizon can ruin
an otherwise stunning
shot, but its easy to x.

TECHNIQUE 3
Straighten
horizons
Use the Straighten tool in
Elements to correct those
annoying crooked skylines
It can often be hard to tell if a
picture is straight or not, whether
its a framed painting on a wall, or
just a photograph youre editing in
Photoshop or Elements.
Unlike the other two
techniques here, this is a project
that you can undertake before
you start editing, rather than afte
Straightening shots is a great
habit to get into, and makes you a
better picture editor.

Start image

Select the Straighten tool

Prime the tool

Go to the left-hand menu of Elements, where youll nd the


spirit-level icon for the Straighten tool. You can straighten by
rotating or transforming your image, but this is the easiest way to
swiftly level off a wonky horizon.

01

02

Straighten

Crop to nish

03

04

Now its a case of simply dragging your cursor from left to right
across your horizon to straighten your picture. Elements will
automatically crop your shot with this line as parallel to the top and
bottom edges of your picture.

Across the bottom menu of Elements are the options for the
Straighten tool. Click the Remove Background option to prevent
needing to crop afterwards, and if youre straightening a composition,
hit Rotate All Layers to apply your straightening to everything.

Finally, grab the Crop tool again and use the Rule of Thirds grid
to re-frame the shot. This is only an optional nal step, but
sometimes its a necessary one, as straightening your picture can
affect the original composition.

Photoshop Creative

79

PFB
OntheFileSilo

CHOOSE CONTRASTING
COLOURS

Download your free


resources at www.lesilo.
co.uk/photoshopcreative

Reds and yellows are good to


throw into the mix of hair, but
use bright, different shades
like blues and pinks.

Creative colour

Create multicoloured
hair
Re-colour a subjects hair with brilliant,
vibrant highlights using Elements
Altering the colour of a subjects hair is a
great creative edit. While you might want to
enhance natural tone, there is great fun to
be had breaking from convention and
creating incredible highlights.
Elements can excel at creative photo fixes
for a number of reasons. The Brush tool
makes it easy to apply any colour to a
subjects hair, and both the Color and Soft

80

Photoshop Creative

Light modes can blend colour to create a


less obvious edit. But why stop at one
colour? By mixing shades you can create a
dramatic and eye-catching multi-coloured
set of highlights in no time at all.
Check out how to create the effect in just
four simple steps, and learn also how to use
the Pen tool in Photoshop to give the look
more precision and finesse.

Start image

PFB
Dye the hair Use layers, colours and brushes to create the look

Start brushing

Add another colour

Grab a soft-tipped brush and select a bright colour, such as pink,


that you can paint onto your subjects hair. Follow the contours
of the hair from the root to the tip, and brush big strokes over the hair
to create wide sections of colour. Dont worry about straying over the
edges right now.

01

02

Mask

Soft Light layer

03

04

Repeat the rst two steps over the subjects hair until it is
completely re-coloured. Go through your layers, lowering the
Opacity of each one to anywhere between 20 and 50% depending on
how bright you want the look, and then mask where the colour spills
over the edges of the hair and onto the subject.

Select a new colour in the swatches; pick something that


complements the rst colour youve added, but looks different
enough for you to notice. Repeat the same technique of adding big
swathes of colour to the hair, in the same direction that the hair falls
over the subject. Change the blend mode of this layer to Color.

Adjust each layers colour by altering the Hue/Saturation (Cmd/


Ctrl+U) to get the perfect nish. Select all of your colour layers
and duplicate, before merging to create one nal, nished layer. Change
the blend mode to Soft Light and reduce the Opacity to no more than
20% to give the hair more tone.

Use the Pen tool Create the effect in Photoshop

Wield the Pen

Stroke

Repeat and mask

01

02

03

Grab the Pen tool and click at the root


of the subjects hair. Drag to follow the
direction of the hair. Simply hit Cmd/Ctrl+Z to
undo a move if you nd that you have dragged
in the wrong direction.

Go to the Path tab. Select a brush rst,


and choose a size that you would like
this strand of coloured hair to be. Select a
soft tip, and then click on your path, Ctrl/
right-click and Stroke Path.

You will have to mask the ends of the


hair to keep the realism, as well as
change the blend mode and lower the opacity.
An advantage of using the Pen tool is that
curves are more uid.

Photoshop Creative

81

REVIEWS
CAMERA

PANASONIC GX8

Price From1,049/$1,199.99US Web www.panasonic.com

The specs

Panasonic GX8
The CSC marketplace is already a crowded one can the
GX8 outplay the competition?

ts important first to note that this is not an


instant upgrade of the recently launched G7
the GX range is a separate product line.
This is the latest GX camera from Panasonic,
replacing the 16-megapixel GX7. If youve
glanced at the tech specs, youll have already
noted that the GX8 boasts an increased
megapixel count of 25%. This is, of course,
good news, but were talking about a fourthirds sensor here, not the rather larger APS-C
sensor size that youll find in many
comparable cameras on the market. Having
20.3-megapixels on a camera with a
(relatively) small sensor is rather a lot
indeed, its Panasonics first four-thirds sensor
with more than 16-megapixels on offer and
so a high-quality performance is not
necessarily a foregone conclusion.
Digital photography is not all about
megapixels. One of the main reasons to use a
dedicated digital camera instead of your
smartphone is the increase in sensor size, not
an increase in megapixels. Megapixels
produce better results when they have space,
rather than packed in as tightly as possible, so
is the sensor in the GX8 pushing its luck?
According to Panasonic, its not. It says that,
in conjunction with the Venus Engine image

processor which has previously featured in


other Panasonic cameras with quad-core
CPU, theres a 15% increase in resolution in
the GX8 when compared to the GX7. In fact,
Panasonic says Venus Engine boosts a range
of key performance characteristics, including
clarity and colour.
The good news is that the images the
camera produces are indeed very attractive. If
youre moving up from a smartphone or
camera with a 1-inch sensor or smaller, you
will be delighted with the results. Detail is
readily apparent, with lots of clarity without
any hint of over-sharpening. Zoom in close
and youll be impressed.
The cameras sensor and processor seems
to handle exposures superbly. Shadow detail is
retained but so is contrast and highlight detail.
Colours are punchy but not excessively so.
Noise is well-handled, with perfectly
satisfactory results right up to ISO 3200. At
ISO 6400, chroma noise is more apparent but
not really a significant issue, though at ISO
12800 and ISO 25600, chroma noise and
luminance noise both have more of a
destructive influence. Incidentally, it was hard
to see a huge difference between ISO 12800
and ISO 25600 in terms of noise handling.

Company Panasonic
Additional specs
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/`bWQcZObSR:12aQ`SS\

The ergonomic performance of the GX8 is


excellent. The camera feels really good in your
hand and the buttons and dials are positioned
intelligently. The GX8 is unabashed in its retro
styling and its a good-looking camera, but
theres no suggestion of style over substance
here. Its very easy to pick the GX8 up and
start using it immediately. However, it should
be noted that some may consider the body a
touch bulkier than ideal. Its bigger than the
GX7 and bigger than a four-thirds sensor
really demands.
The articulated LCD makes composition
trouble-free and focusing via the touchscreen
is quick and effective. The new Dual Image
Stabiliser system (based around a
combination of both stabilisation systems in
both lens and body) and the cameras 4K
Video capability are both great features to
have onboard.

The verdict

The GX8 is a very good camera


and a pleasure to use. Its not the
cheapest camera on the market
and at this price-point you are
better served by a DSLR.

Capture shallow depth of field Draw attention to specific subjects within the scene

Set the aperture

Extend the lens

Focus close

01

02

03

Set a wide aperture using the


command dial on top of the camera;
f5.6 or wider is preferable for shallow depth of
eld, but the very widest aperture you can
access with the lens youre using is ideal.

82

Photoshop Creative

If you are using a zoom lens, extend to


its longest focal length. The depth of
eld will appear shallower if you use a longer
focal length. If you only have a wider angle,
you can make up for this in the next step.

Focus as closely to the main subject


as you can in order to make the depth
of eld as shallow as possible. If you have a
wider-angle lens, you will be able to focus a
little more closely than with a telephoto lens.

ARTICULATED SCREEN
The camera features a ip-out
articulated LCD screen, which is
touch enabled. It can be rotated
to enable easy composition even
at difcult angles.

SUNSHINE EFFECT
There are plenty of in-camera
special effects. Thankfully, you
can set the camera to record a
normal version alongside, but
theyre fun to try.

TRADITIONAL CONTROL
The camera is equipped with plenty
of controls and dials that will be
familiar to traditional photographers,
making it easy to use. The exposure
compensation dial is excellent.

RETRO LOOKS

DUAL STABILISATION

Though its hardly anything new these days,


the retro-inspired design of the GX8 is
undeniably appealing and serves to make
the camera very attractive.

The camera boasts a dual


stabilisation system that combines
stabilisation functionality in both
the lens and the body.

Create an adjustment layer

Adjust the reds

04

05

Now head into Photoshop. Head over


to the Layers palette and look for the
Create new ll or adjustment layer icon at the
bottom of the palette. Create a new Hue/
Saturation adjustment layer.

Standout feature
Tilting EVF
Yes, the GX8 retains the lovely tilting
electronic viewnder that was showcased
on the GX7. Better still, its not excessively
squinty, unlike so many EVFs. In other
words, it doesnt feel like Panasonic
is assuming users of the GX8 will
automatically favour the LCD screen. With
automatic eye detection, this really is a
lovely feature.

Go to the Reds in the Hue/Saturation


adjustment layer dialog box. The goal
is to adjust the Saturation and the Luminosity
(via the Lightness slider), decreasing both to
draw attention away from the red owers.

Photoshop Creative

83

REVIEWS
HARDWARE

EPSON EXPRESSION PHOTO XP-55

Price 140/$216US Web www.epson.com

Epson Expression
Photo XP-55

The specs

How does the low-cost XP-55 compare to other Expression models?

Company Epson
Additional specs
#%$f"2>7^`W\bW\U
!'f!!&f"[[
=\Zg#YU

CONNECTIVITY

Five great features Where does the XP-55 really excel?

Detailed print

Dual trays

Step-by-step guides

01

02

03

Although the colours might not be as


crisp and precise as other Expression
printers, printing high-resolution artwork is still
a relatively satisfying process, and the XP-55
delivers on detail.

84

As well as a cable to plug into the


back of your computer, the XP-55
can also print wirelessly, via Epsons
own iPrint app.

Photoshop Creative

The dual-tray setup is easy to load any


kind of paper into, with the plastic
sliders meaning you can adjust the size of
paper that youre printing onto. Theres even a
slider at the bottom for printing onto CDs.

The printer might not be the most


futuristic-looking, but its adorned with
step-by-step illustrations in various places,
explaining tasks, such as replacing ink
cartridges or loading sheets of paper.

SIX-INK PRINT
All of Epsons Expression range
of printers use Claria six-ink print,
which incorporates an added
magenta channel and an added
cyan channel.

CARD TRAY
The XP-55 has a specic
tray located at the back of
the printer, for when you
want to print onto more
professional-feeling paper.

echnology might be moving online, but


that doesnt mean that printers have
become obsolete. These days if you
create something in Photoshop, youre more
likely to export for web than you are to head
to File>Print onto A4 paper, and social media
has become the prime location for sharing
your shots. But printers can be useful for a
whole host of reasons, and Epsons Expression
Photo XP-55 is one that aims to slot into a
modern artists life.
Epsons Expression Photo XP-55 is one of a
series, and places itself as the most costeffective, lightest member of the family, yet it
still has Epsons six-ink print and offers a wide
range of paper-size options. It may be the one
in the range that youd go for if you were a
beginner, or on a budget, and its one that you
might choose as a printer to print your work
as youre creating. Printing as you work gives
perspective, as you can judge colours, how
your picture resolution looks, and generally
just take a step back. The XP-55 is quick
enough, quiet enough and compact enough to
deliver. It is designed for photo enthusiasts to
print their work, but can be more resourceful
than that.

The XP-55 fits really well into your home or


office. Its lightweight, sleek and compact, and
though the white glossy finish means that it
isnt the most stylish of the Expression family,
it is simple to work once youve installed the
drivers and got the hang of it. Theres a slot
for inserting card or photo paper at the back,
and there are different sizes of paper trays at
the front. Theres even the option to print
straight onto CDs; if youre someone who
burns files to discs, the XP-55 can help you
customise them.
The wireless capabilities of the XP-55 are
good too, and it prints quickly and quietly with
little fuss. It runs from Epsons iPrint app,
which makes your life even easier when
printing from your phone and tablet, and it
slots in perfectly with the rest of your life too,
as its great for printing copy. The only thing
that it really lacks from the rest of the
Expression printers is a scanner, which would
actually be extremely useful for creative
minds, but thats only a slight drawback, as it
would contribute significantly to the size and
weight of the machine.
Ironically though, what lets down the
Expression XP-55 somewhat is the feature

that youre buying it for in the first place. The


print quality lacks somewhat on normal paper
when compared to other Expression printers
in Epsons arsenal, especially when printing
darker colours. Despite the six-ink Claria print,
colours can look washed out and can be
replicated from screen badly. The detail and
print quality is good with bright images,
providing you convert to CMYK and up the
saturation slightly, but the XP-55 has a
tendency to dull your images.
Its a small fly in the ointment for the
printer because, aside from the print quality,
its a good all-rounder and easy to get the
hang of. Despite the washed-out quality of the
print, its still a good option for a beginner, and
if youre someone looking to print your drafts
as you create, its a great printer to help with
your workflow.

Theverdict

A good printer let down by its


print quality, the XP-55 is still
a useful bit of kit, just not as
strong as other printers in the
Expression range.

Standout feature
Ease of use
Once set up, the Expression XP-55 is one of
the easiest printers of its range to navigate
through. With separate trays for different
paper sizes, its versatile enough for any kind
of job, and the lift-up lid makes it easy to
replace ink. Its great for beginners and can
even print via Wi-Fi.

Speed of print

Weight and compactness

04

05

The speed of the printer is another


advantage. Epson claims that the
XP-55 can print a sheet of paper in around 10
seconds, and this is accompanied by very
little noise.

Perfect for home printing or even the


ofce, you might not want to take the
XP-55 on the go, but its light and compact
enough for the home. Its unassuming,
understated and easy to transport if need be.

Photoshop Creative

85

REVIEWS
PLUG-IN

REPLICHROME III: ARCHIVE

Price 65/$99US Web www.gettotallyrad.com

PREVIEW
Camera Raw has a huge
viewing space for the
picture youre working on,
which makes it great for
comparing presets.

CAMERA MODELS
Explore all kinds of cameras
for all kinds of photos with
just one click, using the righthand preset panel.

Replichrome III:
Archive

The specs
Company Totally Rad!
Additional specs
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>V]b]aV]^1A$
:WUVb`]]["

Step back in time with this classic guide to photography filters from Totally Rad!

ts a complete paradox of modern society


that despite technology evolving, retro
culture is still big. Apps like Instagram have
made it possible for you to turn your
smartphone snaps into classic photographs,
and analogue cameras from companies like
Polaroid are more popular than ever.
Photoshop has ways to inject a little
nostalgia into your pictures, not least of which
is adjustment layers. These options involve
building up retro filters yourself though;

86

Photoshop Creative

Replichrome aims to cut out the tweaking of


adjustments, as it creates a filter in just a click;
similar to an action.
Totally Rad!s Replichrome series aims to
make filters even simpler than actions, by
making them available with a single click via
the Camera Raw filter. Archive is the third
plug-in of the series, following Slide and Icon,
and is similarly based on old camera effects
and retro filters. The first two in the series
focused on iconic cameras and mostly

discontinued slides, whereas Archive places


itself as something that everyone can enjoy,
from the photography enthusiast to the casual
Photoshop artist. This versatility is reflected in
the fact that Archive is compatible with both
Lightroom and Photoshops Camera Raw, and
the plug-in is quick and easy to install.
Using Replichrome as a final touch to your
pictures is both wonderfully subtle and really
easy. Simply head to Filter>Camera Raw and
the Archive filters are located on the furthest

Kodak Pro 160 (Frontier)

Centuria Super 100 (Noritsu)

Replichrome III at a glance


Which of Archives presets are
worth returning back to?

Agfa HDC 200 (Noritsu +)

Standoutfeature

Colour Darken Skies + +


right tab, Presets. On from there, all you have
to do is click on a preset to apply it to your
picture; if youre not familiar with the models
of camera that theyre based on, you will
probably see the pack mostly as subtle
additions that you can make to your pictures,
such as a touch of sepia, noise or a total
brightness lift of the picture. Even a Photoshop
user who isnt an expert on photography,
though, can see the difference that an Archive
filter can give to your picture; they may be
understated tweaks to add to your images,
but they add a touch of class and
professionalism to your projects.
Archive offers 183 beautiful tints for your
pictures based on classic camera models from
the likes of Kodak, Konika and Fuji, and there
are some fantastic presets that youll return to
time and time again. For example, the
black-and-white Fuji set gives a cool
sophistication to your photos, and at the other
end of the spectrum, the Agfa presets are
bright and exciting without being oversaturated and noisy. There are plenty to play

Kodak Pro 160


Kodak is a huge photography name, and
Archive offers a few presets scanned from
its cameras. One of the most impressive,
though, is the Kodak Pro 160, which can
add a touch more saturation to your
picture, along with a light grain.
Centuria Super 100 (Noritsu)
The Centuria Super 100 set adds a simple
warm lter and grain to your photos that
you can manage in Photoshop without the
Camera Raw lter. The balance is perfect,
and the sepia tone looks great.
Agfa HDC 200 (Noritsu +)
Archive includes presets from the Agfa
HDC, Pro, Ultra and XRG, but the HDC is the
pick of the bunch. It adds subtle noise and
a vivid colour boost without making your
whole picture too oversaturated.
Colour Darken Skies + +
One of the presets created to complement
the established camera names, the Darken
Skies option can inject a sense of moody
dread into previously summer shots in just
a click. Its a powerful preset, and doesnt
have a quick Photoshop equivalent.
Fuji Neopan Acros 100 (BW)
Monochrome photography can be a lot
more difcult to master than it looks.
The black-and-white presets from Fuji,
though, can transform any colour shot
into a perfect monochrome one instantly,
without having to adjust levels or contrast.

and p
,
Tweak Kit from Totally Rad! of simple
adjustments such as vignettes, sharpness,
contrast and grain so that you can delicately
adjust your presets with a click.
Some may argue that aside from the Tweak
Kit, Archive doesnt offer users much in the
way of customisation options, but then thats
what actions and adjustments are for, not a
plug-in based on existing camera settings. The
price might seem a little steep for this pack,
but then it is collating the very best options
from a wide range of cameras. It provides
classy finishes to your pictures, and its
something that can be enjoyed by all levels of
Photoshop user.

The verdict

A beautiful set of presets that can


improve any project, Archive is a
must-have for any photography
nerd and a useful addition to any
digital artist or designers arsenal.

Tweak Kit
It is possible
to make the
slightest of
adjustments to
your pictures
with this handy
set of basic
presets that work
in conjunction
with the camerainspired presets.
You can make
all kinds of cool
adjustments
to your edited
picture, including
adding a simple
vignette or
even adding a
slight split tone,
which works
particularly
well when
paired with the
monochrome
options.

Photoshop Creative

87

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Q+A

PHOTOSHOP
& ELEMENTS

We put forward some burning questions to our panel of experts

HOW CAN I
MAKE CREATIVE
COLLAGES IN
PHOTOSHOP?
When assembling collages in the
real world, you have to be careful
when laying out your composition
An arrangement may look perfect
one moment, but upon returning
to it later, you might be wishing you
had placed an element elsewhere
or coloured something differently.
Layers and history states in
Photoshop let you be adventurous
with your collage. Place your
objects and re-arrange them as
much as you like. Keep layers as
Smart Objects so you can scale
and transform them without
any pixel degradation. Use the
History palette to back out of
compositional dead-ends, and
dont be afraid to save multiple
versions of your PSD as options.
To get a cut-and-paste look,
employ the Polygonal Lasso to
make jaggedy selections of photos
and scanned papers, then copy
and paste into your composition.
To keep things from appearing too
digitally pristine, throw in some
rough textures and old paper, then
mix them in with blend modes.
When working in the lawless
realm of collage, keep your Layers
palette very well-organised. This
will facilitate edits and provide
interface feng shui.

GET
IN TOUCH
Send us your
questions via
email, Facebook
or Twitter!

Before

Meet your experts


Mark
White
Its good to know
that even the
simplest tools in
Photoshop can help you create
the most amazing nal effects.

Get in touch

90

Photoshop Creative

Sarah
Shirtcliffe

Andre
Villanueva

Obtaining fresh
colour gives a wider
creative range and
opportunity to make elements
distinctive and appealing.

Share on Twitter
@PshopCreative

I always relish the


freedom that any
cut-and-paste
collage and mixed-media piece I
create in Photoshop gives me.

Post on our Facebook page


PhotoshopCreative

Moe
Hezwani
Im always
illustrating using
the Pen tool (P) and
constantly learning a new trick
with it every day.

Alternatively, you can email:


pcr@imagine-publishing.co.uk

PHOTOSHOP & ELEMENTS

Common problems solved

PICK STRONG COLOURS


Picking contrasting colours
means that your images will show
up nicely against both the black
background and each other.

WHAT CAN I CREATE


WITH THE SCREEN
AND MULTIPLY
BLEND MODES?
Screen and Multiply are two of the
most important blend modes.
Theyre opposites too; Screen is used
to keep light shades and get rid of
the dark ones, and Multiply does the
reverse. But by using clipping masks
and applying these contrasting blend
modes to objects in the same picture,
you can bring these two blend modes
together to create all kinds of effects.

DESATURATE FIRST
Desaturating your layer rst means
that when you Multiply a colour, youll
only be left with that particular hue.

Marks expert edit Create cool blend mode effects

01

Start off by getting your first


picture, and adding a Hue/
Saturation adjustment layer of -100
Saturation to non-destructively
desaturate. Clip it to your picture.

02

Add a coloured layer


above your image and turn
the blend mode to Multiply. On
another layer, brush black to erase
everything but your subject.

03

04

Set your new images layer


Insert another image to
blend mode to Screen to
overlay with your first.
Repeat the desaturation and Multiply erase the dark in it, and then blend
layer steps. Clip these layers to your the colour with your first image to get
your desired effect.
new image.

Photoshop Creative

91

Common problems solved PHOTOSHOP & ELEMENTS


WHICH SELECTION TOOLS SHOULD I USE
IN MY WORK?
Photoshop offers a whole host of selection tools, and it can be difcult
sometimes to judge which one to go for when youre creating a composition.
But some offer different advantages to others.
The Quick Selection is one of the most common, and as the name suggests,
its great for making rough outlines around subjects ready for rening with the
Rene Edge tool. The Lassos are always good for this, particularly the Magnetic
Lasso, and the Polygonal Lassos straight edges make it an option for skylines.
Overall though, the Pen tool is perhaps the most accurate. It has the pinpoint
precision of the Polygonal Lasso, the curves of the Magnetic Lasso and you can
save your selections as paths. Try them all out yourself to nd your favourite.

Before
DIFFERENT EDGES
Drag the Pen tool to bend
the edge and click to create a
simple, straight line to get the
best of both worlds.

HOW CAN I ADD A LIGHT


SABER TO ANY IMAGE?
First, open golf.jpg from the FileSilo. Delete the golf club
head using the Spot Healing Brush (J) so it looks like shes
holding a stick. Create a new layer (Shift>Cmd/Ctrl+N) and
use the Polygonal Lasso tool (L) to create a thin line. This
will be the centre of the saber. Fill with white using the Paint
Bucket tool (G) and deselect. Now choose a vibrant green
colour using the Color palette (F6) and cut (Cmd/Ctrl+C)
the code in the box. The bright green shown is swatch code
#07f907. Create a new layer style (Layer>Layer Style>Outer
Glow) and click the small colour square. The colour palette
box will appear, so paste (Cmd/Ctrl+V) your code into the
box. Hit OK and make sure you select the neighbouring
gradient box instead. Play around with the Spread and Size
sliders until you have the perfect light saber.

REFINE EDGE
Once youve made your
selection, use the Rene Edge
tool to tidy up the edges and
create a feathered selection.

WHATS THE EASIEST WAY TO


SHARPEN MY PICTURES?

Before

92

Photoshop Creative

Sharpening is a must for any photographer, but its also


paramount to sharpen after creating a composition or after
creating a digital painting. It adds detail, and it makes your
work clearer and often more professional-looking.
While there are numerous ways of sharpening in
Photoshop, there is a simple way to do so with layers.
Duplicate your layer or hit Cmd/Ctrl+Alt/Opt+Shift+E to
merge all your layers into a new layer at the top of the stack
and go to Filter>Other>High Pass. This will create a mostly
monochrome layer, with the highlights and lowlights of your
picture in tact, for you to blend into the image to reveal
more detail.
Set this High Pass according to how sharp you want your
image to be. Usually around 5px is enough, and then set
the layer to Overlay to bring out the detail in your image.
You can also set this High Pass layer to Linear Light for even
more extreme cases of sharpening, and Soft Light for a
more subtle sharpen to your pictures.

PHOTOSHOP & ELEMENTS


CREATE SHAPES
Even though you might have
accidentally created a path,
once it is converted, it means
you can reuse the shape
whenever you want.

Final

Common problems solved


HOW DO YOU GO ABOUT
CONVERTING A PATH
INTO A VECTOR SHAPE?
It can be very frustrating when you have
accidently drawn a path, thinking it was going to be
a vector shape. However, there is a really simple
way to convert that path into the shape you
intended. In case you didnt already know, shape
layers are simply paths that can hold lls and
outlines. A path is simply a series of points like an
outline, which can become a selection. Its the raw
material of shapes but not quite a shape in itself.
If you have accidently drawn a path, create
a new layer (Shift/Cmd/Ctrl+N) and select the
path you created by using the Path Selection tool
(A). Then go to Edit>Dene Custom Shape and
name it if you like. Now go to your Custom Shapes
tool (cycle through pressing U) and you will see
the Custom Shapes Picker icon. Click the arrow to
open it up and your new custom shape will be at
the bottom.

WHAT EXACTLY DOES


THE GRADIENT MAP
ADJUSTMENT DO?

Quick tip

Gradient maps can be useful for a whole host Before


of reasons. Theyre similar to the Photo Filter
command, only they can incorporate more
than one colour into your picture.
The Gradient Map adjustment assigns colours
to the light and dark shades of your picture, in the
form of a gradient. You might want to add a simple
black to white to enhance the natural light and
shade of your picture, or you might want to get
more creative, adding various hues to replace the
duller colours in an image.
By combining a gradient map with a blend mode
though, most often Soft Light, you can enable these
added colours to lter into your artwork. They
make a perfect nal adjustment for providing allover tone and colour correction to your pictures,
and theyre great for subtly injecting a completely
different shade to your layers.

If you want to mimic the


kind of vignette thats
created around a model
when using a ash light
in a studio, try using the
Gradient tool (G), with a
gradient that goes from
Black to Transparent. Set
to Radial in the Options
bar. Click and drag from
the face to outside the
canvas on a new layer
to apply the effect. This
is a quick and simple
technique that adds
a subtle but realistic
vignette to any image.

Mimic a
vignette

HOW CAN I GET INFO


ABOUT COLOURS IN
MY IMAGE?
Colour can make or break a piece of work
and if you spot a colour you really need
but dont know the Hex number, it is very
easy to obtain. Make the colour source
visible. Select the Eyedropper tool and
keep it clicked down while dragging
anywhere over the colour source. You
will see a circle and every time it passes
over a colour it changes in the box. Also
drag the Eyedropper across the image
youre using on the interface as long as
its on the screen it is available. Once
you know the information, you can use
the Color Picker to create the hue and
use it in an edit.

Photoshop Creative

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96

Photoshop Creative

From the makers of


The

Photoshop
Elements

From basic photo editing skills, to colour corrections, filters and


selections, the latest edition of The Photoshop Elements Book
walks you through all the amazing things you can do with

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Interview

Um N

New Life

The Making Of
New Life
Village of Fruits

O Ultimo Guerreiro

Helder Borghi
Helder shares some of his Photoshop wisdom, along
with the source of his inspiration

elder Borghi may not have been working


in Photoshop for very long, but hes
already made great friends from his
hobby. I have about a years experience of
using Photoshop, he says. I entered challenges
and met a lot of nice people of whom I studied
the art to hone my techniques. What advice
does Helder have to new Photoshop users
though? We asked him his secrets.

Youvecreatedalotofgreatartwork,
Helder.Whatmakesagoodpicture?
I dont think theres one thing that will make your
picture stand out; its a mixture of elements,
really. If you spend time perfecting the lighting
and colour in your work though, this will draw the
attention of your viewer. Thats what Ive learned!

you open up the software! Photoshop can


give wings to your imagination, so as long as
your imagination is limitless, your artwork can
be, too.

Doyouhaveanytipsonhowagood
artistcanfindimagination?
I like nding inspiration from everywhere.
Movies are a big inspiration for me, and I like to
sketch. Always check out your friends artwork,
and just draw things that youre interested in.
You never know, you could sketch something
that could make an amazing picture!
To see more of Helders imaginative art visit:
www.photoshopcreative.co.uk/user/
helder%20Borghi

Whatadvicewouldyougiveto
beginners,basedonthethings
youvelearned?
Ive learned a lot, but Id say impeccable lighting
and shading is the most important aspect of
most pictures. Make skies as realistic as
possible, and learn from your friends, as I have.
My other secret is simplicity: dont embellish
everything in your image.

Start off with your


basic mushroom
and add your door
and windows.
This is going to be
the focal point of
the image, so its
important to take
care crafting it.

Lighting and
shadows
Find somewhere
appropriate to
place your house.
Add a light inside
the window, and
judge exactly
where the lighting
and shadows
should fall.

Add more
elements
This is the time
to add a path,
to perfect your
lighting and to add
other elements to
the picture, such
as a few birds in
the distance.

Finally, an overall
tonal fix to the
picture can totally
transform it. Look
at adjustment
layers and lighting
effects to help
give your picture
more colour.

I just try to show that anything is possible when


The Prisoner

Photoshop Creative

The basic
house

Finish off
your work

Doyoutrytoshowanymessagesin
yourartwork?

98

Learn how to create a mushroom house in just


four imaginative stages