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DESIGN
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30 PAGE SPECIAL
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Imagined by
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ISSUE 117
CONTENTS
ISSUE 117
WELCOME
COVER IMAGE
DREW LUNDQUIST
www.elevendy.com
A recent graduate in
photography, Drew
Lundquist is one of the
premier artists at creative
support studio Elevendy Inc.
You can check out not one,
but two of Elevendys
tutorials this issue!
FIND US ONLINE:
@advancedpshop
/AdvancedPhotoshop
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34 PHOTO EDITING
EXPERT ADVICE:
TECHNIQUES
26 15 TIPS FOR
INDUSTRY FEATURE:
STRIKING SCI FI
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ISSUE 117
CONTENTS
EYE ON DESIGN
06
08
10
16
18
54 WATCH BLOWOUT
16
66 PROFESSIONAL LANDSCAPES
004
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ISSUE 117
TECHNIQUES
26
34
42
48
54
58
INDUSTRY FEATURE
Advanced compositing
HOW I MADE
Watch Blowout
64
66
84
88
96
HOW I MADE
Bamboo Frog
WORKSHOP
Professional landscapes
READER INTERVIEW
CONTENTS
REVIEWS
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83
FEATURE:
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REVIEW:
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REVIEW:
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EYE ON DESIGN THIS
ISSUES PRO PANEL
Bram Vanhaeren
www.francescocorvino.com
Reflections are essential for
making elements like metallic
surfaces or wet roads look believable. In this
artwork, the main buildings have been flipped
vertically and positioned over the water with an
Overlay blending mode applied. They were then
modified with the Glass filter to achieve a ripple
effect, for a realistic finish.
Turn to p66 to discover how to create a
matte painting fit for the silver screen
Francesco Corvino
Drew Lundquist
DREW LUNDQUIST
www.elevendy.com
Get as much as you can right in-camera. Over-manipulating photos is an easy way to lose detail. Plan your images from start to finish, have a
solution for every prop, model or supporting asset, and know how much you want to create for yourself. The less you have to salvage an image, the
more convincing your end result.
Transform a plain stock image into an ice queen with Drews tutorial, starting on p42
006
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The magazine for Adobe Photoshop professionals
RIYAHD CASSIEM
Riyahd Cassiem
www.riyahdart.blogspot.co.uk
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James Bennett
JAMES BENNETT
www.jamesbennettart.com
I use Photoshop to make the background of a painting disappear, so it can be printed as a
silhouette. Using the Magic Wand or Lasso tool, I left-click the mouse button and drag to
select the desired area of transparency. I save the image as a PNG and its then ready to
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EYE ON DESIGN INDUSTRY
NEWS
FONT INSPIRES
OLYMPIC GRAPHICS
INDUSTRY NEWS
INCLUSIVE ELEMENTS
The Rio 2016 in-house design team paid extra
attention to the additional elements present in each
sport in the Paralympic games. The pictograms
depict the prostheses and impairments that the
athletes bring to each individual discipline in a
balanced and natural way. Special features such the
blades worn by many runners in Paralympic events
are easily identifiable, alongside blindfolds that depict
visual impairments. The sheer number of sports
depicted shows off the range of exciting events that
make up the Paralympic games, an event that has
grown in popularity and is beginning to receive as
much deserved attention as the Olympics.
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RICOH WINTER
CASHBACK
All on site: The Experience Centre has training facilities and staff
members on hand to answer questions about the full range of Wacom
products, to make sure youre clued up before you buy
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EYE ON DESIGN PORTFOLIO
INTERVIEW
PORTFOLIO INTERVIEW
www.gurro.net
@Gurro15
GRAPHIC DESIGN
WITH STYLE
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02
03
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EYE ON DESIGN PORTFOLIO
INTERVIEW
involved in what I really think is my path or at least
the path I decided to build. I left web design behind
and became interested in digital art and started
working professionally on advertising, where I could
develop professional skills as a senior designer, art
director and freelancer.
WHAT LESSONS HAVE YOU LEARNED ABOUT
THE DESIGN TOOLS YOUVE UTILISED?
The tools are just that tools! They are constantly
changing and updating. As such, the lesson I have
learned is that artists need to keep constantly
evolving their main skills, their foundations and their
principles. When you have a strong foundation and
artistic knowledge, you can achieve more quality in
your work no matter what tool you are using. I spent
many painful hours and endured a lot of headaches
trying to do something without knowing the
principles. Now I know that maintaining a constant
knowledge of underlying artistic principles is what
makes you the best artist you can be.
04
04
05
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06
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06
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I think its very important as
an artist to challenge
yourself every time you decide to
create something. Thats the fun
part of creating art for a living!
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EYE ON DESIGN PORTFOLIO
INTERVIEW
Secret Store
014
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PORTFOLIO TIPS
STAY ONLINE
Create an online portfolio and stay in contact with people
that way. Ask for feedback and critiques. Online presence is
your presentation card for local and international clients, art
collectives and people just looking for cool art, so always
keep your web portfolio up to date with your best work.
DONT RUN BEFORE YOUVE LEARNED TO WALK
If you want to make stunning work, there is only one way to
do it: practice and dedication. Never try to rush your skill
development process. If you feel youre stuck, stop, take a
breath and try to make things different. Sometimes, a shift
in the way you are doing things is key.
FRESH THINKING, FRESH WORK
Keep away from stressful things, look forward for new
ideas and concepts, investigate, observe, and you will find
yourself doing more unique work. Keep in mind that it is a
process, so dont get frustrated if one day youre lacking
inspiration. This happens to everyone. Focus on other things
and then come back with clean, new thinking.
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My Windows apps
on the Mac I love amazing!
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running Windows and Mac OS X applications on a Mac, side-by-side
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EYE ON DESIGN EYE
OPENING ILLUSTRATION
EYE OPENING
ILLUSTRATION
PROJECT FOCUS
I
ABOUT THE STUDIO
JAMES BENNETT
www.jamesbennettart.com
NAME OF PROJECT
EYE SEE SHAMIR LENSES
ADVERTISING CAMPAIGN
016
040
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A dozen unique images make up the
full Shamir Eye See campaign, and
each work is recognisable by the
distinct style and humour injected into
the images
Digital meets traditional art in
James Bennetts work, as he uses
the power of Photoshop to refine,
adjust and isolate elements
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EYE ON DESIGN STUDIO
INTERVIEW
STUDIO INTERVIEW
TAYLOR JAMES
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EYE ON DESIGN STUDIO
INTERVIEW
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BRICKWALL MAN
01
CONCEPT DEVELOPMENT
04
RENDERING
02
CHalk: pre-vis
05
PHOTOGRAPHY
03
06
RETOUCHING
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EYE ON DESIGN STUDIO
INTERVIEW
After Effects and NUKE for animation purposes.
With grading being such an important part of the
process, its not that surprising that Rogers says that
his favourite tool in the program is the Gradient tool:
This allows subtleties in creating gradients and
vignettes on masks, and is key for me in creating
good colour grading.
Taylor James is certainly not a studio that is afraid
of change and development to keep itself at
cutting-edge, as Rogers explains: We have always
been keen to stay at the forefront of the industry and
Client - Red Bull; Agency - Red Bull Creative; Photography & Retouch - Taylor James
THE STUDIOS CREATIVE DIRECTOR SHARES WITH US A TYPICAL DAY AT TAYLOR JAMES
10:00
WHATS NEW?
022
040
11:00
PHOTO SHOOT
13:00
CONCEPT DEVELOPMENT
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TOP 5
PRODUCTION TIPS
Client FIAT; Agency - The Richards Group; Photography - Andy Glass; CGI & Post - Taylor James
UNDERSTAND COLOUR
Set up Photoshop to suit your workflow: colour profiles, colour
spaces, CMYK separations, gamut, monitor profile... a calibrated
workflow is vital to creating colour-accurate images!
AUTOMATION
Use the actions and automation features to quickly load layers
into a stack, stitch panoramas or apply filters.
USE CAMERA RAW TO EDIT YOUR IMAGES
Even if your image isnt a RAW file, you can use Camera Raw. Go
to Photoshop Preferences>Camera Raw>JPEG and TIFF
Handling>Open all supported TIFFs/JPEGs.
15:00
17:00
CLIENT REVIEW
19:00
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TECHNIQUES 15 TIPS
FOR STRIKING SCI FI ART
FIFTEEN
TIPS FOR STRIKING
SCI FIART
15
BLEND 3D AND
PHOTOSHOP
EDDIE DEL RIO
www.eddiedelrio.com
This concept illustration
was part of a personal
project, Speeder Mechs. Del Rio had a rough
storyline in his head before he began working
on preliminary sketches and referring to all the
research that he had gathered. [At the end of
that process], I had a 3D model (in Maya). I
rendered it out with realistic lighting and took
that render into Photoshop. I then pumped up
the drama and atmosphere to take it from a
photoreal render to something that had a little
more soul. At this point, I also added all the
background details and characters to the scene.
Painting metal really just means looking at
your sky and surroundings and painting them
reflected in the scene. Working with a 3D render
means you get a lot of detail, and sometimes
too much especially in reflections. I often find
myself editing out detail. What I try to do is
balance the look of reflections so that they dont
overpower the shape language that I worked so
hard to incorporate. My job is to find the design
in the story that a 3D program will take out of it,
and that is usually when my painting and
Photoshop skills come into play.
026
www.riyahdart.blogspot.com
Riyahd Cassiem explains how
important it is to search around
for inspiration when creating alien environments.
Designing science-fiction art gives you the
opportunity to create a universe based on imagination
and expand on it. Take inspiration from real-world
sciences, technology, biology, robotics, industrial
design etc, as well as science fiction. There are
numerous science-fiction artists and writers with a
gamut of material to explore. Just to name a few, H.
R. Giger (Alien), Syd Mead (Blade Runner), Isaac
Asimov (I, Robot) and H. G. Wells (War of the Worlds).
These influential artists help to inspire my art.
I use a combination of 3D sculpting in ZBrush,
rendering in KeyShot and post-work in Photoshop to
create my concepts. Photoshop helps to bring more
life into the renders, including subtle details that help
to develop the concept further, and extra design
elements, decals, textures, lights and atmosphere.
Textures are important to help distinguish differences
between materials and can help to highlight details.
Painting details onto the render using photographic
textures and custom texture brushes helps to create a
more aged and worn look if required. It helps to have
a resource library of reference, textures and custom
brushes to speed up the workflow.
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Riyahd Cassiem
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TECHNIQUES 15 TIPS
FOR STRIKING SCI FI ART
BUILD UP A SCI FI SCENE
JOHNSON TING
www.johnsonting.deviantart.com
Ting is a concept artist for Passion Republic, a
studio that produces game, cinematic and CG
content. He has been working professionally in
the industry for almost three years. This image is part of a series of
sci-fi artworks set in the fictional Neo Japan 2022, a personal project
by Ting. Here, the Malaysian artist shares the secrets behind how he
builds up his concepts, using photo references and Photoshop tools.
www.gtgraphics.de
Jeff Michelmann thinks that he has found the secret to striking sci-fi
designs, and here he shares it with us: When it comes to space art, I
personally have noticed two important aspects. First, having a high
level of detail throughout your image is a desirable feature. This is not very intuitive, but
often helps to spice up your space artwork and give it a final touch. And second, dont be
afraid to use bold colour combinations to create dreamlike sceneries. Space is vast with
many possibilities, so dont limit your creativity.
FINAL IMAGE
028
Markus Vogt
www.markusvogt.eu
Vogt has been working as a graphic designer for ten years. For this
image, he built his design up in three key steps. First was, creating,
modelling and rendering a scene in 3D. From here, the rendered
image was imported into Photoshop and extracted using the provided Alpha Channel. For
Vogt, Photoshop then became a key part of the process, using it to do all kinds of
post-work, background changing, lighting improvement and clean-up. Photo stock was
also important, and this scene used a base image of Mars from NASA, as well as textures
from CGTextures.com.
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BUILD CONCEPT
DESIGNS
MIKE HILL
www.heavyunitdesign.com
Hill explains his photorealistic
concept designs: I will sketch
out a idea using a tablet straight into Photoshop,
placing simple linework and values to establish my
scenes content. I will then, where appropriate, paste
in photographs as a texture base. I use tools like the
Puppet Warp to distort certain imagery (such as the
reflections on the visor), and then I can go and paint
in the remaining details in a much looser fashion.
For edges that need real definition, I will use the
Polygonal Lasso tool to make a selection and then
paint into it. This maintains some solid edges to
avoid things getting too fluffy.
USE REFERENCES
ARNAUD VALETTE
www.arnaudvalette.com
Science fiction is often less
about invention than it is
re-invention. Arnaud Valette
explains: Before you create any pictures, the first
step is to gather references of the idea you have in
CREATE GLOW
EFFECTS
CLINTON FELKER
clintonfelker.blogspot.com
With 15 years of experience,
Felker knows a thing or two
about creating striking sci-fi art. This image,
Gaiden Inferno, is a visual for top-down shooter
game Steel Grit, due to be released by PolySauce
Interactive in 2014. I used Photoshop CS5 and a
Wacom Intuos5. I really didnt need anything else.
Photoshop has great tools for sketching and
painting, and having all the tools in one spot is
incredibly efficient. With all the improvements
Adobe has made over the years, I find myself
using less software packages but still achieve
the same, if not better, results.
One thing that stands out in this artwork is the
glow effects: Hitting glows and highlights is
usually the last thing I do. I flatten the pieces and
make a copy, then [set] my brush to Overlay and
start hitting it with white or very light hues. I
painted the lens flares in freehand and played
with Screen and Overlay [blending modes].
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TECHNIQUES 15 TIPS
FOR STRIKING SCI FI ART
COMMERCIAL
PAINTING
TOBIAS ROETSCH
www.gtgraphics.de
These images were created for
Aidan Fraser (visual effects
artist for King Kong and Star Wars: Episode III), who
was looking for a concept artist for his personal
science-fiction short film, Space Out. The images
were turned into matte paintings used in the film.
Roetsch uses a medley of Photoshop tools to create
his designs: If I had to name some favourite tools, I
would go with the Brush tool, Clone Stamp tool,
Healing Brush tool and transformation tools
(especially Warp). But only the combination of all the
tools makes Photoshop the powerful program it is.
He suggests that wannabe sci-fi painters take
time to develop their skills: It is the same for sci-fi
spacescapes as for every other artwork: you have to
be patient and try to develop your skills step by step.
You cannot expect to read a tutorial and come up
with industry-standard images right away. Art, in
most cases, is a slow process of learning. For the
field of sci-fi images, its helpful to learn some facts
about our universe, for example. That might help to
get the right relation of scale and distance.
STAY CONSISTENT
PAUL CHADEISSON
Paul Chadeisson
030
www.paul.chadeisson.fr
Strike Vector is a third/first-person person air
shooter game, and will be available on Steam
(www.steamcommunity.com) in early 2014. Paul
Chadeisson is one of eight developers on the title, which has a distinct
old-school feel, reminiscent of games such as Crimson Skies, Quake 3
and Unreal Tournament. This image is part of the pre-production
artwork for the title, showcasing a massive airport to support
important, commercial exchange in the Strike Vector universe.
Chadeisson uses Photoshop to create his concept art for the game.
Part of the challenge when working on a game title like this is to
ensure that each image is consistent with the others in the same
series, so that they come together as a cohesive whole. Its difficult to
keep a consistent look across a series of graphics, because with each
one, you will have learnt from your previous painting and have more
ideas. To overcome this, once a series has been completed, its
important to go back to the first paintings you did and make
improvements to them, so that they match up to the more recent ones.
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Color Dodge
Using Color Dodge can achieve realistic
highlight and specular areas for metal
material, but be cautious not to overdo
it. A Color Dodge layer is also practical to
add light glow effects
Jianli Wu 2013
www.jianliwuart.blogspot.ca
The robot image above
was created using the Brush tool, Lasso tool
and layer adjustments during the colouring
process. When painting sci-fi characters, Jianli
Wu suggests: Try and experiment with
different tools in Photoshop to get familiar with
their functionalities. Being able to utilise the
right tools with the appropriate settings
enables the great editing flexibility Photoshop
offers. It allows artists to modify and refine
their ideas at pretty much any stage during the
working process.
WORK FROM A
BRIEF
DENNIS CHAN
Dennis Chan
www.dchan.se
Dennis Chan is used to working
from a client brief, as he
explains here: If I have an idea or a brief description
from a client, I usually start by making quick
sketches. The sketches may be quick line drawings,
or I start roughly painting with black and white or
colours using the Brush tool with the normal round
brush or a custom brush. My main tool is the Brush
tool, second would be the Polygonal Lasso tool, and
third would be Smudge. I frequently jump between
these during the process of painting.
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TECHNIQUES 15 TIPS
FOR STRIKING SCI FI ART
CREATE VIBRANT COLOURS
MACIEJ REBISZ
www.macrebisz.deviantart.com
Maciej Rebiszs image Island Dock is a refreshing change from
the dark and moody sci-fi images that we are so used to
seeing. He tells us about how he managed to get such vibrant
colours in the artwork: I start with a bright and saturated
background, and then paint everything towards the foreground. In landscape shots
like this one, the background is also the sky and affects the entire colour palette of
the image. If you start with a dark background, usually you will end up with a dark
and grim mood, so do the opposite to get bright and vibrant colours. You also need
to keep an eye on colour saturation levels. If the art starts to look muddy, make
some colour adjustments and add some saturated colours to bring it back to life.
Ediciones Babylon
The image began with a sketch. I like to build my forms by painting a large shape
and erasing around the edges; its like sculpting by removing excessive material.
www.martanael.deviantart.com
This image brings together the past and
future in one scene, reflected in the style and
process. Nael explains how she did it: I mixed photo textures with
painting. I started with a blank canvas and began painting, first in
greyscale. I then used the Gradient Map to add some colours.
Afterwards, I created a new layer set to Color blending mode and
[started] adding colour strokes. On another layer set to Normal
blending mode, I started painting in colour in order to render the
image. Once the image was pretty well defined, I used the textures
mixed with the previous painting by setting the blending mode to
Soft Light to achieve more realism.
After some refining, I used photo textures to add more details to the structures.
Next, I overpainted them to blend them in a bit better with the other elements.
www.nedrogers.com
You really want your lighting to pull the viewer
into the scene, says Rodgers, so you need to
make sure that you choose a lighting setup that
helps to direct focus towards important areas of the image. Light will
bring out fine details in an area, so you want those details to be the
ones that are important to telling the right story in your images. The
type of light is important as well. If you know how fog and cloud affect
the way light travels around an environment, you can create a
completely different feeling than if you just light everything directly.
I did overall colour corrections by adding a couple of adjustment layers like Color
Balance and Curves.
FINAL IMAGE
Ned Rogers 2013
032
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Plankton Group
Aitor Santome
Katie Nattrass
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PHOTO EDITING
TECHNIQUES
TOP INDUSTRY EXPERTS OFFER THEIR VIEWS ON ADVANCED PHOTO EDITING DISCIPLINES
PROFESSIONAL
RETOUCHING
CONTRIBUTORS
MONICA CHAMORRO
PLANKTON GROUP
WWW.TOMFAIRFAX.CO.UK
WWW.MONICACHAMORRO.COM
WWW.NEOSCAPE.COM
HTTP://DYNAMICHROME.COM
WWW.PLANKTONGROUP.COM
Plankton Group
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TECHNIQUES PHOTO
EDITING TECHNIQUES
Katie Nattrass
OUR PANEL OF EXPERT ARTISTS DISCUSS THE BEST APPROACHES TO COLOUR GRADING AND
LIGHTING WHEN WORKING WITH PHOTOGRAPHY
WORKING IN RAW
OUR INDUSTRY PANEL DISCUSS THEIR
TOP TIPS FOR WORKING IN RAW
Plankton Group: Sometimes we are asked to
place a rendered building onto a photograph. In
this case, RAW photography is very useful.
When opening with Camera Raw, we try to
take out as much contrast as possible from the
original photo. We bring the highlights down,
take the shadows up and take out some
saturation from the colours that we dont want
to stand out. This flat look allows us to apply
contrast selectively where needed.
Katie Nattrass: I always work with RAW
images. If a client or photographer cant supply
me with them, I will add a disclaimer in there
and then. The benefits of working with RAW
images are that you have more shoot
information to use; details in the highlights and
shadows can be utilised and pushed forth from
the RAW shot. Many top photographers will
shoot feathers using programs like Capture
and Phocus. I have both of these, so when I
have images supplied as file libraries, it means
I have all the information from the shoot.
Aitor Santome
036
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COMPOSITING TIPS
PLANKTON SHOWCASES ITS WORKFLOW FOR COMPOSITING A CONCEPT TOWER INTO A PHOTO
All images Plankton Group
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037
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TECHNIQUES PHOTO
EDITING TECHNIQUES
PHOTO COLOURISATION
Plankton Group
Adam Kuczek
038
RESTORATION TOOLS
JORDAN LLOYD DISCUSSES THE BEST TOOLS FOR
RESTORING DAMAGED PHOTOGRAPHS
Im a huge fan of the Spot Healing brush and
Clone Stamp as my main tools, along with a
lot of patience. Depending on the image,
sometimes Ill deploy a Content Aware Fill,
but really the idea is to restore physical
damage like scratches or burns, rather than
replace whole areas.
When there is a large plate to process, I
also find it helpful to divide the image into
squares. For this, I set Photoshops Crop tool
to Grid view and use the crop grid to then set
out where Im putting my guidelines. I then
cancel the Crop tool and tackle one square at
a time. Its a great way of helping you break
down an image into chunks.
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BASIC COLOURISING
Skin base layers : This restored image has two base layers:
a red Solid Fill layer is set at 15%, painted in using a layer mask
applied with a soft brush at 100% Opacity, followed by a main
flesh layer at 70%. Set the layer blend mode to Color.
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039
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TECHNIQUES PHOTO
EDITING TECHNIQUES
EDITING ARCHITECTURAL IMAGERY
Aitor Santome
040
Neoscape
WorldMags.net
Plankton Group
Neoscape
Tom Fairfax
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ENHANCING 3D VEGETATION
Neoscape
COMPOSITING TIPS
GRAPHIC DESIGNER TOM FAIRFAX OFFERS HIS TIPS FOR COMPOSITING IMAGERY
AND SELECTING SOURCES THAT WORK
The real secret to seamless compositing is to use the right sources.
The sources have to share the same or very similar light sources of
course, but also be of a suitable quality. I believe that generally
speaking, the more you have to work on an element to integrate it, the
lower in quality the achievable result gets.
The greatest position to be in is to be able to produce your own
sources and control the lighting conditions, but failing that, its well
worth being open-minded with a creative approach to sources. For
example: if I want a WWI British soldiers helmet lying upside down on
the floor maybe I cant find a helmet lit that way. However, a food
colander is a similar shape and material, and usually photographed the
way up I need. Its no bother to heal out a few holes and manipulate
more of a rim almost certainly less effort than completely reworking
the lighting on an actual helmet in a satisfactory way.
Tom Fairfax
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041
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Before
042
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PRO PHOTO EFFECTS
TECHNIQUES
PHOTOMANIPULATION
01
OUR EXPERT
DREW LUNDQUIST
www.elevendy.com
@drew_lundquist
SOURCE FILES
Go to blog.advancedphotoshop.
co.uk/tutorial-files to find a small
gathering of the supporting images
used to create atmosphere, the
model start image and a PSD file to
speed up your process.
GETTING STARTED
WORK IN
PROGRESS
FROM GLOOMY TO
GLISTENING
02
03
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043
TECHNIQUES PROWorldMags.net
PHOTO EFFECTS
QUICK TIP
Using multiple texture layers scaled and warped differently can add believability to an image and be a
deterrent against flat surfaces. Using Perspective and Distort to mimic the surface youre texturing can
really sell some depth. No ones fooled when one flat rock texture is over the models entire face.
04
BLENDING MADNESS
05
06
08
07
SKIN FROST
Now its time to grab the frost texture. You can use image #5179760 from www.depositphotos.com,
which will work perfectly. Be sure to select Advanced Search on the site or it wont show up. Position the
texture over the models chest and set the blending mode to Overlay. Use a layer mask to hide and feather the
edges of the texture image so there arent any harsh lines (seams) all over the image; you want seamless
transitions between textures. Group this texture and title it Skin Frost Texture.
044
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STEP BACK AND ADMIRE YOUR WORK
09
Getting this far is not easy considering how much experimentation this image requires, so pat
yourself on the back, stand up, stretch and then buckle down because youre not out of the woods yet. Lets
take a look at whats been done so far
001
002
12
11
14
003
10
13
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045
TECHNIQUES PROWorldMags.net
PHOTO EFFECTS
CREATE A THRONE FOR YOUR ICE QUEEN AND LAYER ON SNOW TEXTURES
15
16
17
QUICK TIP
Layer organisation is key when working with so many duplicates of the same layer, or just an extensive
amount of layers in general. It will simplify your whole experience in Photoshop if you use a group mask
as a cutout rather than applying 16 clipping masks to one layer.
18
046
19
FINAL ADJUSTMENTS
WorldMags.net
The images shown originate in part from WhiteWall.nl, Whitewall.de, S. Schwind, Sraficus, R. Pretot, C. Wakefield, A. Hansen, B. Kurrer, U. Zimmer
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from
3.
90
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WhiteWall.co.uk
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TECHNIQUES ADVANCED
COMPOSITING
PHOTOMANIPULATION
ADVANCED COMPOSITING
BLEND MULTIPLE ITEMS TO CREATE THIS HIGH ENERGY SCENE
048
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OUR EXPERT
WIL WELLS
www.elevendy.com
Wil Wells is the creative director
and lead artist at Elevendy, a
creative support studio based in
California. His work has been
used on numerous videogames,
including Splinter Cell: Blacklist.
@wilwells
SOURCE FILES
Textures, particles, 3D renders, as
well as the RAW camera files are
available for your use on this
project. Download them from
http://blog.advancedphotoshop.
co.uk/tutorial-files.
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049
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TECHNIQUES ADVANCED
COMPOSITING
Add a motion blur to the background layer to give the
artwork a feeling of speed
01
02
03
WORK IN
PROGRESS
FROM CAMERA TO ACTION
04
Progress 3: Colour and grain
050
Click OK to apply the Vanishing Point Clone to your composition. You now need to add motion blur to the
background to give the feeling of speed. Since this is a dynamic scene with a car moving towards the viewer, the standard
motion blur filter will not give the look you want. This can be done better using Filter>Blur>Radial Blur. Set the Blur Method
to Zoom and position its source at the far end of the street. Set the Amount to 5 and click OK.
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05
06
07
QUICK TIP
Blur methods are a tricky thing to master, especially when you need to account for objects going in
different directions. With its different blurs, Photoshop can handle nearly anything. However, when
working in 3D, most applications have the ability to add motion blur. This can increase the quality of the
final image exponentially.
09
08
Its always great to collect textures. In this case, youll be using scratched metal textures, available in
the tutorial files. To keep the textures organised and make sure they adhere to the constraints of the car body,
drop them into the masked group that you created for the car. Set these textures to assorted blend modes
such as Overlay, Hard Light and Darker Color. Its better to experiment with different blending modes to find
the best match, but weve also provided the modes in the file names of the scratched metal images.
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051
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TECHNIQUES ADVANCED
COMPOSITING
12
Drop and size the villain into the composition. Like you did with the cars body, create a group folder
by selecting the layer and pressing Cmd/Ctrl+G. To add more detail to the photo, duplicate the villain layer and
set the blend mode to Overlay. Navigate to Filters>Other>High Pass and set the pixel radius to 5.0. On the top
layer of the group, add a new mask to account for the dash. Paint in black along the outline of the dash.
10
ADD SHADOWS
11
13
THE GUNSHOT
052
QUICK TIP
Sometimes you get lucky and can use contrast to make a perfect hair mask. We were able to use the
Screen blend mode because our heros hair contrasted the darker background. The same method can be
used on dark hair with a light background by using the Multiply blend mode.
14
15
HAIR DETAILS
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16
17
18
HITTING BRICKS
20
19
LITTLE DETAILS
Now that all of the elements are in place, its time to add some smaller details. Place the Smoke.jpg
file at the base of the tyres and set the blending mode to Lighter Color. Again, use the Particles.png file to
create small bits of gravel being thrown by the tires. You can also use the particle file behind the car to show
the path of debris caused by the collision with the brick wall. Finish off by adding a little more orange to the
cabin of the car from the flare.
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053
TECHNIQUES HOWWorldMags.net
I MADE
HOW I MADE
WATCH BLOWOUT
DEVIN
SCHOEFFLER
THE CALIFORNIAN ART DIRECTOR AND WEB DESIGNER LETS US
IN ON THE CREATION PROCESS OF HIS WATCH
054
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01
QUICK SKETCH
02
03
INITIAL RENDER
The initial render looked okay, but needed a lot of work to match my vision. So I brought it into
Photoshop and started by first adjusting the Levels to give it stronger contrast. Then I made some colour
corrections using Color Balance to enhance the overall tone of the watch and make it redder.
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055
TECHNIQUES HOWWorldMags.net
I MADE
04
ADD BEVELS
05
MORE LIGHT
07
ADDING FLARES
06
DARKER SHADOWS
08
THE 3D ADVANTAGE
HOW CINEMA 4D HELPED TO CONCEPTUALISE
THIS COMPLEX MANIPULATION
I decided to build the watch in CINEMA 4D as
opposed to finding photos, because I really
wanted the watch angled at a certain
perspective. The program allowed me to
quickly model a watch using some basic
shapes and techniques, then light it and
produce a high-resolution render suitable for
my needs in Photoshop.
056
040
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058
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MASTER SELECTIONS AND THE CLONE TOOL
TECHNIQUES
PHOTOMANIPULATION
MASTER SELECTIONS
AND THE CLONE TOOL
ACCURATELY CUT OUT STOCK IMAGES AND STITCH THEM
TOGETHER TO CREATE AN EYE CATCHING ADVERTISEMENT
THE BACKGROUND
www.jaroslavstehlik.com
Stehlik studied applied cybernetics in
the visual arts and previously
worked as a freelance photographer
and retoucher. He is now team
leader at Silicon Jelly gaming studio
in Prague (www.siliconjelly.com).
@jaroslavstehlik
SOURCE FILES
01
OUR EXPERT
JAROSLAV STEHLIK
CLEAN UP THE
BACKGROUND
WORK IN
PROGRESS
02
03
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Progress 3: Airbrushing
059
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TECHNIQUES MASTER
SELECTIONS AND THE CLONE TOOL
QUICK TIP
It is recommended that you use a Wacom tablet every time you have to do a lot of airbrush or relighting
work, because every brush stroke is crucial for a natural look. With a mouse, it is much harder or near
impossible to re-create that organic feeling.
04
05
06
08
07
You may find that the actors are badly lit or do not match up to the lighting in the scene. You will need
to manually relight them to make them fit better into your composition. Create a new layer and paint on it with
a regular soft brush (B) to make lit areas look unlit. This is done by selecting the skin tone colour with the
Eyedropper tool (I) and then simply painting over that area with the Brush tool (B). This is much faster than
using the Clone Stamp tool.
060
RELIGHTING CONTINUED
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09
You still need to create deep shadows for better realism and contrast. Create a new Levels
adjustment layer, hit Cmd/Ctrl+A to select all, then Ctrl/right-click and press Fill to fill the entire mask with a
black colour. Then paint onto the mask with a white brush to only darken the areas that should be in shadow.
002
001
003
10
13
PLACING SHADOWS
11
12
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061
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TECHNIQUES MASTER
SELECTIONS AND THE CLONE TOOL
BRING IN THE BULL
14
15
AIRBRUSHING
16
QUICK TIP
For best grading results, use an interesting colour contrast with cold shadows and warm highlights in
mostly complementary combinations. However, dont be afraid to experiment. For good colour schemes,
you can use Adobe Kuler by going to Window>Extensions>Kuler, or https://kuler.adobe.com.
17
062
18
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AIRBRUSHING TECHNIQUES
Airbrushing can be done in many different ways.
The easiest way is to create a new layer on top of
your image with a Soft Light blending mode and
paint with a regular soft brush with black or white
tones to enhance shadows or highlights. You can
also use colour to enhance the vibrancy. The
second more difficult technique is closer to
classical painting. You paint mostly with a
hard-edged, half-transparent brush and create
stacks of layers, which you then blend with a less
transparent brush.
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064
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Ivn Pawluk
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HOW I MADE
HOW I MADE
TECHNIQUES
BAMBOO FROG
IVN
PAWLUK
SEE HOW THIS DIGITAL ARTIST USED COLOUR INTENSITY WITH
SHADOWS TO CREATE THIS FUN DIGITAL PAINTING
01
FIRST SKETCHES
Initially, I drew everything by hand onto paper and defined the lines and
where the shadows would be. I then created the shadows with pencil and blended
them with my finger.
03
I created a new layer and used a cloud brush to equalise the colours of
the frog with the background to create a 3D effect. I then copied half of the
background and added a Gaussian Blur at 9,0 px. I simulated a line on the image
that the pen would have drawn and on a new layer, applied a pattern.
Pawluk used a colour palette compiled from stock photos of frogs to create an
essence of realism. Pawluk tells us that the idea for the Wacom Bamboo pen
was to unite nature with [his] world of painting. [He is] a fan of both frogs and
Wacom Bamboo the image is the result of the union of hand drawing and
digital painting.
02
04
TEXTURES
To make the frog look more realistic, I created a new layer and added
texture to the frog using various brushes. To finish, I adjusted the opacity and
effects in each individual layer.
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065
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TECHNIQUES PROFESSIONAL
LANDSCAPES
MATTE PAINTING
PROFESSIONAL
LANDSCAPES
LEARN HOW TO CREATE A MOVIE QUALITY
LANDSCAPE USING EXPERT TECHNIQUES
066
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OUR EXPERT
FRANCESCO CORVINO
www.francescocorvino.com
Corvino is a professional concept
artist and matte painter who has
worked on several feature films, as
well as commercials and TV series.
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067
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TECHNIQUES PROFESSIONAL
LANDSCAPES
Its useful to work with a pretty wide frame in order to get a
nice panoramic view of the environment
01
02
03
WORK IN
PROGRESS
Progress 1: Background
Progress 2: Foreground
04
Progress 3: Final refinements
068
ROTOSCOPING
Go to the Channels tab and select the channel with the most contrast. If you Ctrl/right-click on the channel and click
Duplicate Channel, youll create a copy. Now select it and go to Image>Adjustments>Curves. By moving the sliders, you can
crank up the overall contrast of the image, making the clouds pure white and the surrounding sky pure black. Now click on
the selected channel and you should have a nice and precise selection of the clouds.
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05
06
07
QUICK TIP
Mastering the fundamentals of an image is the most important tool that any artist can have. Perspective,
composition and lighting are the essential elements that will decide the success of your creation. After
acquiring this knowledge, you can spend plenty of time honing your skills and refining the details.
08
ADDING DETAILS
09
Choose the photographic elements wisely, considering where the light is coming from and the
correct scale and perspective of all the objects in the scene. Composition is critical at this stage. Think about
how the viewers eyes will move around the canvas. In this case, they will probably start reading the image
from the left, the darkest area, and instinctively move to the right to reach the brightest spot on the canvas
the sun. This composition will make the viewers eyes explore the image diagonally through the entire frame.
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069
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TECHNIQUES PROFESSIONAL
LANDSCAPES
13
Adding some images of dirt at the bottom of the car will make the integration believable and will
force the viewer to move their eyes around the canvas to pick out every little detail. Refining the shadow is
equally important, giving the illusion that the car is actually touching the road. Select the Polygonal Lasso tool
(L). Draw a rectangle under the car and hit Shift+F5 to fill the selection with black. Use Motion Blur as before to
blur the shadow.
10
11
12
070
QUICK TIP
Creating photoreal images in a short amount of time is an invaluable tool for every artist who wants to
break into the film industry. These kinds of images, used for the design process, can give every director a
reliable tool to accurately envision the final frames of the movie.
14
15
FINAL TOUCH
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Learn
to inspire
www.dphotographer.com
Available
from all good
newsagents and
supermarkets
ON SALE NOW
> Night shoots > Architectural photography > Shoot at high speed
LANDSCAPE TIPS
SHOOTING ADVICE
WILDLIFE PHOTOS
PORTRAIT GUIDES
CAMERA REVIEWS
facebook.com/DigitalPhotographerUK
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twitter.com/DPhotographer
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072
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DESIGN YOUR OWN APP
DESIGN YOUR
OWN APP
TECHNIQUES
NEW MEDIA
OUR EXPERT
DANIEL BRAMHALL
www.radanapps.com
SOURCE FILES
Included in the resource pack is the
background for the application
interface along with the reindeer
image, as well as the final PSD file
with an exported version displayed
on an iOS device.
THE GROUNDWORK
WORK IN
PROGRESS
PHOTOSHOP CANVAS TO
RETINA IOS INTERFACE
02
NAVIGATION BAR
01
SETTING UP
03
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073
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TECHNIQUES DESIGN
YOUR OWN APP
QUICK TIP
To create a non-Retina version of your interface, simply go to Image>Image Size and change the height to
480px and the width to 320px this is the standard size of an iPhone 3GS. All you need to do then is refine
and smoothen your interface elements.
04
05
06
GIVING THE REINDEER STYLE
08
07
Select the Rectangle tool (U) and create a black, rounded rectangle with a radius of 5px just below
the two buttons you created. Give it a height of around 380px and a width of 590px. In a new layer, create a
normal black rectangle about 80px by 80px. Select the Transform tool (T) and rotate it 45 degrees. Position the
new rectangle with just a tip showing out below the About button. Ctrl/right-click both the first rectangle and
second rectangles layer you created and select Convert to Smart Object, then change the Opacity to 60%.
074
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09
By this point, you should have created the reindeer image container and given it some style, as well
as refined the navigation bar and its text. From here, youll be adding some text to the description and also
adding a caption box to give the design some more pep.
001
002
003
12
EXPORTING
11
10
Next, youll add another rectangle (516px in width and 262px in height) for the caption area. Change
the Opacity to 30% and make sure its black. Position it using the Move tool (V) at the bottom of the other
container you just created. Next, select the Text tool (T), and on a new layer type reindeer with Georgia font at
40px. Change the layer of the text to 10% and make sure the fonts colour is black to start off with.
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075
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REVIEWS WACOMWorldMags.net
CINTIQ COMPANION
078
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WACOM CINTIQ
COMPANION
1,650/$2,000 (256GB)
1,999/$2,499 (512GB)
Just in case: The Pro Pen comes with a practical and well-designed
travel case that keeps accessories, including its nine additional nibs,
close at hand
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079
REVIEWS WACOMWorldMags.net
CINTIQ COMPANION
THE CLOUD
CONNECTION
080
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The Companion features four customisable
shortcut buttons down one side, which sit around a
home screen shortcut. We could set this to our
favourite commands, which was especially helpful
inside Photoshop when we were without the
presence of a keyboard (Wacom has also designed
an optional Bluetooth keyboard priced at 45/$50).
Unlike the Android model, the Windows 8
Companion features an auto-rotate lock function that
freezes the screen in either a landscape or portrait
orientation. The Companion also features a
headphone socket as well as a Mini DisplayPort for
VERDICT: 7/10
A remarkable tablet that will clearly
benefit artists, but at such a price and
with a few minor details to iron out,
some of us might not see eye to eye.
CINTIQ TECHNOLOGY
WorldMags.net
081
WorldMags.net
reviews FACEFILTER3
PRO
FACEFILTER3 PRO
REALLUSIONS LATEST PORTRAIT MANIPULATOR
MAKES BEAUTY RETOUCHING QUICK AND EASY
www.reallusion.com
Before
VERDICT: 7/10
USING FACEFILTER3
FACIAL FITTING
After loading an image, use the Fitting module to
teach the software where the facial features are.
This is as easy as dragging outlines around them
and positioning control points to match the contours.
This helps automate much of the rest of the project.
Aer
Digital make-up
An intuitive Beauty Center interface provides easy
ways to approach major retouching tasks like skin
smoothing, eye shadow, and lip colour. If the myriad
of sliders is overwhelming, try using one of the basic
templates at least for a starting point.
DIGITAL SURGERY
Portrait retouching is as much about knowing what to do as how to do it. FaceFilter3 PRO is like having a
professional portrait retoucher looking over your shoulder
082
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WorldMags.net
PHOTO EDITING APPS
REVIEWS
SNAPSEED
COLOR SPLASH
PIXLR EXPRESS
support.google.com/snapseed
www.pocketpixels.com
www.pixlr.com/express
VERDICT: 8/10
VERDICT: 7/10
PHOTO FX ULTRA
ADOBE PHOTOSHOP
TOUCH
www.adobe.com
6.99 / $9.99 iPad / Android tablets
Photoshop Touch is
a step above most
other photo-editing
apps, and were not
just saying that
because were big Adobe fans.
Its got a massive toolset, from
Curves to Warp, Reduce Noise
and many more. You can add
layers to stack effects too, and
one great feature is being able to
add a layer by taking a photo
using the camera. It may take
some a while to get used to the
layout and what the icons mean,
but once you do its a real joy to
use in all your image editing.
VERDICT: 7/10
VERDICT: 9/10
VERDICT: 8/10
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READER INTERVIEWWorldMags.net
MASTERING MOVEMENT
MASTERING MOVEMENT
IN STATIC DESIGNS
READER INTERVIEW
Nature: This subtle typography takes on the characteristics of the place its describing, and shows
off lighting techniques that bring together the background and the main focus of the image
084
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OUR READER
KEVIN ROODHORST
www.kevinroodhorst.com
@KevinRoodhorst
WorldMags.net
Clockwise from
top;
Fruity:
An experiment in
cross-program
designing, this
image was created
using RealFlow in
combination with
CINEMA 4D and
Photoshop. It
shows off ad-style
typography with a
fruity twist
Transform:
Using a
combination of 3D
techniques and
photography, the
metallic features of
the subject of the
image sit stark
against the
jet-black
background
Scientas
Three-Year
Anniversary: This
piece was created
to celebrate the
third anniversary of
Dutch science
website Scientias.
nl. The image
cleverly combines
the nature and
climate aspects of
the work the
website covers and
shows them off in a
3D numeral
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I drew new hair around the head of the
girl and then added movement and final
adjustments such as light, shadow and
colour to pull it together
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MASTERING MOVEMENT READER INTERVIEW
DESIGN TIPS
ROODHORST ON ACHIEVING PERFECT LIGHTING
NOW
Angel: Starting with a photo of an angel statue that his
grandmother bought in the 1950s, Kevin captured the
weathering that had affected it over the years and added
dramatic finishes to achieve a solemn but beautiful result
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CREATE PAINT SPLASH STOCK
on the disc
RESOURCE PROJECT
CREATE PAINT
SPLASH STOCK
RESOURCE FILES
ON THE DISC
GETTING STARTED
02
01
03
GATHER THE MATERIALS
Youll need a white material background, a mounted light, an old basin, some house paint, water, a
cup or bowl, a camera with either a speedlight or a pop-up flash, and a tripod.
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on the disc CREATE
PAINT SPLASH STOCK
FLYING COLOURS
04
CAMERA SETTINGS
05
06
SHOOTING TIP
090
040
THROWING TECHNIQUES
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DIGITISE THE SPLASH
07
OPEN IN PHOTOSHOP
09
08
Once youve opened your image in Photoshop, use Levels (Cmd/Ctrl+L) to brighten the highlights
and deepen the shadows. This creates more contrast, which makes the paint easier to extract from the
background and gives it more depth in general.
Using the Quick Selection tool, select the main paint splash. Use the Refine Edge tool to ensure accuracy. Increase the edge smoothness and contrast as
much as you feel is necessary for the paint splat to look like it has a smooth edge.
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on the disc CREATE
PAINT SPLASH STOCK
SELECTION OPTIONS
11
CLEAN IT UP
10
12
ON THE DISC
If the splash has lots of smaller droplets around it that you would like to keep, use the Color Range
feature under the Select menu and click the main portion of the splash. Then you can adjust the Fuzziness
slider until most of the splash is selected.
092
040
COLOUR CHANGE
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BUILD
A
BETTER
WEB
www.webdesignermag.co.uk
Available
from all good
newsagents and
supermarkets
ON SALE NOW
Build web apps | Google tools masterclass | 25 ways to make PHP beautiful
DESIGN INSPIRATION
PRACTICAL TIPS
STEP-BY-STEP ADVICE
INDUSTRY OPINION
BUY
YOUR
ISSUE
TODAY
Print edition available at www.imagineshop.co.uk
Digital edition available at www.greatdigitalmags.com
Available on the following platforms
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twitter.com/webdesignermag
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The Organize and
Customize buttons are still in
place, although the Output tab
has been moved to a less in
your face position
EDITING LOW
LIGHT IMAGES
DXO OPTICS PRO 9
096
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ON THE DISC
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EDITING LOW LIGHT IMAGES
ON THE DISC
01
04
TONE
07
02
05
ADD A VIGNETTE
08
03
06
09
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We dont keep
secrets
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