Documente Academic
Documente Profesional
Documente Cultură
NEW FOR CC
Volume 8
PREMIUM COLLECTION
Build advanced composites Discover digital painting Construct stunning graphics Build fantasy landscapes Create surreal effects Enhance portraits
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Welcome to
Its an exciting time to be a digital artist, and a detailed knowledge of Adobe Photoshop is now a valuable asset. With that in mind, this book compiles the best content from the last 12 months of Advanced Photoshop magazine, consisting of immersive features and top tutorials to help you develop expert Photoshop skills. With sections covering photomanipulation, digital painting, photo editing, typography and graphics, all the essential techniques are accounted for. Follow the guidance of experts and creative industry professionals, who have drawn on a wealth of knowledge to bring you in-depth example projects incorporating a wide range of tricks, secrets and shortcuts. In addition, this book comes supplied with a free disc containing asset files to use alongside many of the tutorials, plus free fonts worth $60, brushes, wallpapers, textures and more. We hope you enjoy the book.
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Imagine Publishing Ltd Richmond House 33 Richmond Hill Bournemouth Dorset BH2 6EZ +44 (0) 1202 586200 Website: www.imagine-publishing.co.uk Twitter: @Books_Imagine Facebook: www.facebook.com/ImagineBookazines
Head of Publishing Aaron Asadi Head of Design Ross Andrews Production Editor Mike Hine Senior Art Editor Greg Whitaker Design Sarah Bellman Photographer James Sheppard Printed by William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT Distributed in the UK & Eire by Imagine Publishing Ltd, www.imagineshop.co.uk. Tel 01202 586200 Distributed in Australia by Gordon & Gotch, Equinox Centre, 18 Rodborough Road, Frenchs Forest, NSW 2086. Tel + 61 2 9972 8800 Distributed in the Rest of the World by Marketforce, Blue Fin Building, 110 Southwark Street, London, SE1 0SU Disclaimer The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the bookazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This bookazine is fully independent and not affiliated in any way with the companies mentioned herein. Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated in the United States and/or other countries and is used with express permission. Advanced Photoshop Premium Collection 8 2014 Imagine Publishing Ltd ISBN 978 1909 758 612
Part of the
bookazine series
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Contents
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DIGITAL PAINTING
62 Expert matte painting 70 Paint a fantasy snowscape 76 Create a cyborg 82 Produce fantasy lighting 88 Character design and illustration 94 Paint a steampunkinspired portrait
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Great art is most often reached through a patient use of your basic tools
PHOTOMANIPULATION
22 Creative retouching 32 Create dynamic lighting 38 Master layer masks 44 Advanced compositing 50 Apply liquid paint eects 54 Expert blending
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PHOTO EDITING
100 Photo-editing techniques 108 Retouching in Photoshop CC 114 Stylise architectural images 120 Expert automotive retouching 126 Cra atmospheric landscapes
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TYPOGRAPHY
134 20 type secrets 142 Design illustrative type 146 Design 3D Type 152 Create stylish vintage type 156 3D type projects
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GRAPHICS
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Both illustrative and collage type are a growing trend in digital art
178 Blend graphics and type 182 Master polygons 188 Metro-style websites
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8
here are various ways to use Photoshop successfully, and it is likely that many of you will already have a set routine for creating great effects quickly and efficiently. But a little help cant hurt, right? In this mammoth tips feature, youll find everything you need to know to use Photoshop to its full potential across a plethora of themes and subjects. Weve got 75 tips from some of the creative arenas biggest and best digital artists, covering tools,
graphics, photography, painting, new media and Photoshop CC, all ready for you to put into practice. Weve also provided you with some of the most essential shortcuts to help you speed up your workflow even further. Over the next few pages youll find great advice on creating inspiring effects, mastering specific tool techniques and improving your productivity. Weve gone into detail with an array of relevant topics, including commercial lighting effects, ways
to tackle 3D with Photoshop, professional retouching tricks and more. We pore over Photoshop tools old and new, from the latest CC options to wielding the always-reliable Pen tool. You can put these tips into action in the tutorials throughout this book. Photoshop CC is explored in particular on page 11, providing you with creative tidbits you may not even know about. So read on, grab a tip and get creating now!
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J. R. SCHMIDT
Before
Kirk Nelson
A er
ADAM SPIZAK
Adam Spizak
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KIRK NELSON
light a scene by using a high dynamic range image. This was used to control light sources and variations in ways that would be nearly impossible to accomplish when setting up lighting rigs in the 3D space. This is known as Image Based Lighting (IBL). Renders using IBL are more realistic and convincing because lighting and shadows better mimic a real-world environment. In Photoshop CC, IBLs are the default setup for 3D environments. This alone improves the quality of 3D renders many times over previous default lighting setups. Use it as the starting point for any 3D scene, then add lights to further develop the appearance you want. Adobe even offers additional IBL images to freely download and use on its website, available at www. photoshop.com/products/photoshop/3d#.
Kirk Nelson
PHOTOSHOP CC SHORTCUTS
Automatic enlarge Let the new Image Resize command do the hard work for you. Always make sure its set to resize fast by hitting Opt/Alt+1.
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Affect multiple shapes Photoshop CS6 supplied us with completely new Stroke and Fill shape options. Now you can add these to a number of layers at once by activating layers simultaneously.
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Path Isolation mode Double-click on any path with the Path Selection tool to isolate that path for easy editing. Turn off the isolation mode with the switch at the top-right of the Layers panel.
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3D object management In the 3D workspace, Ctrl/right-click on a mesh in the 3D panel to add, delete, group or duplicate objects within the 3D scene. Its now even easier with the upgrades to CC.
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Kirk Nelson
Instance 3D objects Create instances of 3D objects that can be moved independently, but will reflect edits made to the source. Links to the original can be broken by freezing the instance.
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KRZYSZTOF DOMARADZKI
PRO TIP
GRADIENT IMPACT
GRZEGORZ DOMARADZKI
http://iamgabz.com/
025 A lot can be achieved when you are shading graphics using the Gradient tool (G). Make a whole selection of the graphic then use a Linear or Radial gradient set to Foreground to transparent. Try out different opacities and blending modes. Here, a red to transparent gradient was used to accentuate the mystery behind the character.
Grzegorz Domaradzki
RAPHAL VICENZI
the previous screen, beginning with an angle of 22.5 degrees for the first screen. For example, a four-colour poster would have screen angles of 22.5 degrees, 52.5 degrees, 82.5 degrees and 112.5 degrees respectively. The pattern that these complementary 30-degree angles create is called a rosette and is considered the pattern most pleasing to the eye.
PRO TIP
027 INNER SHADOW
www.middleboop.com A good tip for using Inner Shadow is to add a small distance, around 15% choke and 45px size, which will give you a fantastic shadowed effect. To add a worn effect to your piece as a finishing touch, use Filter>Noise>Add Noise and set it to Gaussian, check Monochromatic and keep the amount between 20% and 40%.
GORDON REID
DKNG STUDIOS
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029
Add depth Build up depth in your background by using a mix of textures. Start with a base image and use adjustment layers to darken or lighten, then add Watercolour texture on a new layer set to Multiply mode.
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A sense of movement Using a custom brush, target an area or element to accentuate. Add the brush to that area on a new layer then add a mask to the layer and mask out parts, leaving only a trail of paint that gives a sense of movement. Varied detail Use Particle brushes, or make your own on a new layer. Duplicate this multiple times, then resize, rotate, reposition and re-colour each one. This will help to avoid repetition of detail.
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Creative masking Add in a Watercolour texture then add a layer mask to it. Use a few Watercolour brushes to mask out parts of that texture, creating an entirely new one that works better in your composition.
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Nike
Organise adjustments Create a folder above all other layers. Now add adjustment layers to this, such as Levels and Gradient Map. Play around with them to try out different colour options that can dramatically change the mood of your image.
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Paragraph Text Use Paragraph Text to fit type to a design space without distortion. Ctrl/ right-click your text layer then select Convert to Paragraph Text. Continue typing before resizing points.
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Editable boundary Create a shape path then add your Type tool in this, mapping text to the shape boundary. Now you can use the Anchor Point tools to edit the path and how text interacts with this.
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Select all layers This is especially useful when looking to merge all to create a group from all existing layers. Simply hit Cmd/Ctrl+Opt/ Alt+A. All layers will become active simultaneously.
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Reselect layer This Adobe Photoshop shortcut saves any designer from performing accidental clicks away from a section. Just press Cmd/Ctrl+Shift+D to reselect your layer.
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038 CHARACTERS
www.tommykinnerup.com Designing appealing characters can be a challenge, especially when there are many aspects to be aware of. A crucial thing is to avoid too much repetition. You will only limit your actual capabilities if you draw the same type of characters over and over again. Try to think outside of the box and challenge yourself with new techniques to come up with your initial character sketches. Its very useful to explore new characters by putting yourself in the characters position. In that way you can ask yourself questions that eventually can reveal more of the characters personality and look. Let these thoughts guide you to an expression that reveals a certain emotion and attitude, or an interesting pose that holds a story to make it more believable. All of which should appeal to you.
TOMMY KINNERUP
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Andrea Femerstrand
brush opacity. This created a realistic yellow glow. Smoke effects were also painted in, using smoke texture brushes also at a low opacity. If you need to add believable fire or smoke to your scene, this technique is useful as well as quick.
Tommy Kinnerup
FRANCESCO CORVINO
www.salizabeth.net Add in radiating streaks moving outward from the pupil, using several colours for a realistic effect. Including random dots of colour will also add some variety and uniqueness. For the lashes, use a small brush and paint each one beginning at the eyelid then curve your stroke slightly. Finish by applying small, light-coloured specks, with the brush mode set to Vivid Light, creating eye reflection. Also add this brush around the tissue and bottom eyelid.
MARTA NAEL
Sara Biddle
Francesco Corvino
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Michael Pedro
Custom brushes are a handy alternative to the standard Photoshop airbrush, depending on the kind of atmosphere youre looking for. Using smoke textures in your brushes is a great way to quickly add movement and volume to image atmospherics without too much hassle.
If youre hoping to create a darkened, moody scene, backlighting is the key to achieving this atmosphere. For authentic effects, electively add illuminated haze behind the objects in your scene to accentuate silhouettes and call attention to focal points.
Use Photoshops Lasso tool to isolate objects you wish to backlight. Not only does this allow you to paint illuminated haze only where you want it, but it also keeps your backlit edges as crisp as possible. This is especially effective in higher image resolutions.
Dial through the brush styles in your brush panel more easily using these shortcuts. Hit < on the keyboard to jump to the next brush in the list or hit > to go to the previous brush on the list.
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SWAP BRUSHES
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SAMPLE COLOUR
Activate the HUD Color Picker by holding down Cmd/Ctrl+Opt/Alt when the Color Picker is selected. Swap between wheel and strip views by going to Photoshop> Preferences>General menu.
Quickly sample a colour with one of the Pencil, Paintbrush, Colour Replacement, Gradient or Paint Bucket tools activated by holding down Opt/Alt, switching to the eyedropper tool.
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JOSH ROSSI
To create your hyper-real look, start by applying your black brush. Follow the contours of an object, making them darker and bolder. Now with your white brush, add some shine to the light areas by decreasing the brush size with each stroke. Apply three or four strokes. The shine will start to appear.
You can do 50 percent less work but still achieve credible results by using the right filter
054 WORK WITH BLUR OLIVER WETTER
still achieve credible results just by using the right filter. For example, when adding synthetic tubes, apply the Field Blur filter that can be found in Photoshop from version CS6 onwards under Filter>Blur. The example supplied here shows where the blur is being applied. Similar to a rotary knob, you can perfectly assign the amount of blur desired on a specific part of the canvas. The goal is to make the whole image look artificial with a strong blur and solve the problem of an unfinished look in the painted tubes all at once.
http://fantasio.info/ There is a wide variety of techniques available to you when trying to create realistic robotic looks. One way is to draw and paint using brushes until you reach a point where you obtain the same realism as a photograph. However, you can work smarter and do 50 percent less work but
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Gradient haze A mystical aura can be added using the Gradient tool. Use a Foreground to Transparent style, applied from the bottom to the top of the image. Fog and haze have a higher density at ground level, getting clearer as they near the sky.
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Frontal light An easy but effective method of adding details is to go with silhouettes. Pick a dark colour befitting your haze and paint outlines with a small hard brush. Fill with the same colour afterwards and go for minor detailing.
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Soft edges Its important to soften the edges of your layers when working with stock images. To do this, make a selection of your layer, set Select> Modify>Contract at 2px then Select>Modify> Feather at 2px. Invert the selection and hit Delete.
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Monochrome noise To add some monochrome noise, create a new layer, fill it with solid black and place it on top of all the other layers. Go to Filter> Noise>Add Noise set at 50% with Gaussian and Monochromatic active. Change the layers blending mode to Soft Light and Opacity to 15%.
061
Tobias Roetsch
PRO TIP
055 LIGHT WRAP
www.yangmedia.com Make it easier to composite a subject into a background with a light wrap. Adding a low opacity inner glow, using the background colour is one way. But for more control, duplicate your background and add a Gaussian blur to it. Add an inverted layer mask, hiding all, then use a soft white brush to paint edges back in around the subject. Change this layers blending mode to Soft Light.
ANDY POTTS
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LUKE CHOICE
ZEE DURRANI
MARC GOODMAN
NIK AINLEY
PRO TIP
066 EXPORT LAYERS
www.digi-mental.com Prepare your work in a way that lets you modify particular elements without touching other parts of your composition. Simply break your 3D scene into objects, textures and lights. Render them separately and combine everything back in Photoshop. This will give you every possibility to experiment with blending modes and apply different effects, and save time.
MATEUSZ SYPIEN
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Puppet Warp on the toe Using Puppet Warp instead of the usual Transform Warp feature allows the user much more accuracy when distorting the object. Play with the density and mode of the mesh to give the desired effect.
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Specular Pass You can add authenticity to 3D elements just be ensuring that you apply light effectively. Using the Specular Pass from the CGI renders on a Screen blending mode adds the extra highlights that bring the metal to life.
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High Pass filter Adding a High Pass over the top of the whole image on Soft Light gives it extra punch. The amount you need depends on the size and sharpness of the image. We used a High Pass of 5 on 50% Opacity for this image.
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Layer cloning So youve applied several layer styles to your web elements and want to add them to other layers in your design. To do this, hold Opt/Alt and drag the fx icon to another layer.
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Tracking This works great with your type logos being designed in Photoshop. Hold down Opt/Alt and press the < key to start decreasing the types tracking, or > to increase it.
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Drag selection You can keep your selection live after moving it. Make a selection with the Marquee tool and hold the spacebar to move. Once released, you can continue to edit your selection.
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Fold all groups When working with web you can have many layer groups open at one time. Close them all at once by pressing Cmd/Ctrl+Opt/ Alt and click the triangle icon. Repeat to open all.
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Photomanipulat
Discover the world of photomanipulation; learn from Photoshop experts and get started with advanced image transformation
22 Creative retouching
Discover the tricks behind creating stunning and other-worldy effects
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44 Advanced compositing
Combine 3D and photographic elements to create an action scene
54 Expert blending
Build a sci-fi floating city by combining multiple techniques
Digital artists are now turning to 3D software in the pursuit of enhanced believability
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CREATIVE RETOUCHING
WE REVEAL HOW DIGITAL ARTISTS COMBINE CG SOFTWARE AND PHOTOSHOP TO ACHIEVE EFFECTS OTHERWISE IMPOSSIBLE IN REAL WORLD SHOOTS
reative retouching is all about the viewers suspension of disbelief. Global advertisers are increasingly turning to digital artists to produce effects that wouldnt be possible in any real-world photo shoot, but that look wholly credible due to creative retouching. As creatives, its our mission to ensure precise colour, sharpness, believable textures and a sprinkling of magic are achieved in our results supplied through a highly technical skillset. Understandably, many digital artists are turning to 3D software to aid in this pursuit of enhanced believability. This is a technique commonly known as CG photography. In this feature we take a look at all the key stages of production. Weve gathered an impressive host of professionals who share their advice and show you how to achieve expert composition, photorealism and special effects. First though, we start with the ever-essential concept stage. Every creative retouch project starts with either a sketch or a photo mockup, with the latter often following the sketch and using it as a blueprint. When piecing together a draft, the reference images used must contain sound aesthetic qualities. These include defined lights and shadows, as well as a high image resolution, so all the details are visible and pliable in the following phases. Factors such as these are crucial to the success of the final outcome. Working with larger resolutions offers the ability to scrutinise a composite more thoroughly. Creative retoucher Radoslav ilinsk, (www.radoxist.com) reveals how he ensures maximum quality in this preliminary stage: I often work [with an image] with a resolution thats at least 30 per cent larger than it needs to be. When you paint something into the image, or cut elements out, you can often miss leftover edges or image artefacts [when working with low-res stock]. However, you wont when working at higher resolutions, which are likely to look just perfect.