Project files, desktop

designs, stock art

ISSUE 34

TECHNICAL
Technial drawing | Photoshop and Vue 6 | Digital Painting | Martin Bland Interview

DRAWING
Master detailed line art using
paths, channels and shading
1
BRU160
FR SH E
THEE ON S
PHOTOSHOP E
AND VUE 6
Get professional results by CD
teaming up Photoshop with
e-ons powerful software

HOW TO
Understand Blend If commands
Give life to typography
Draw convincing clouds
Grasp Web 2.0 design
Get creative with Kuler

AL
ITAL PADI
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DIG
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8P

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Build

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www.advancedphotoshop.co.uk

SHAREYOUR
ARTWORK NOW
VISIT OURWEBSITE AT
www.advancedphotoshop.co.uk
ALBUM ARTWORK INTERVIEW ISSUE 34
ISSN 1748-7277 5.99
34
How Photoshop has changed The conceptual art
the face of the music industry of Martin Bland 9 771748 727009

001_AVP34_Cover Char4.indd 1 25/7/07 17:58:17

 Cover

Cover image
This months cover image is an elegant example of a
Photoshop design making use of a natural, painted
style. Created by David Levy, whose Insight portfolio Imageer:
you can view on page 20, Astronaut is a character DAVID LEVY
sketch developed after concepts created by the
Steambot team, testing portraits mixed with custom
brushes. David Levy has been credited for work on
such titles as Turok, NBA Jam and Prince of Persia.
DAVID HAS BEEN
/ www.vyle-art.com
CREDITED FOR WORK ON
PRINCE OF PERSIA
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 Keeping an eye on the latest trends in contemporary photography, art
and design, Insight sets out to snapshot innovation in the making

Panic attack
Barbican Art Gallery, London, proudly presents an arts event
that reflects the cultural consequence of the subcultures of
punk and post-punk. Until 9 September, the gallery will stage
the major exhibition Panic Attack! Art in the Punk Years,
exploring art works produced from the mid-Seventies to the
mid-Eighties in productive breeding grounds Britain
and America.
Ultimately known for its musical genre and distinct fashion,
this exhibition sheds new light on the punk period, exposing its
vivid, vibrant art scene that emerged during these years,
notably within London, New York and Los Angeles. It considers
the many intersections between the world of art and music at
this time, using prime examples such as Robert Mapplethorpe,
a contemporary of the first generation of punk stars in New
York, and London-based filmmaker Derek Jarman, who was
making films with the punk icon Jordan, among many
prestigious others.
The event also subjects visitors to an exploration of the way
social issues influenced the methods and emotive responses of
artists throughout the period, many, such as Stephen Willats,
turning to the imagery of urban decay and using it as a symbol
of public crisis. Others drew on the physical urban fabric to LINDER: Untitled, 1977,
make their work, such as British artists Tony Cragg and Bill Photomontage on card
Courtesy Stuart Shave/
Woodrow, who both created their art from found objects
insight
Modern Art, London
and detritus.
Fundamentally, this show brings together over 150 works by JAMIE REI
D: God Save
around 30 artists, including photography, painting, film and the Queen
(Single Cove
other media, demonstrating how their work embodies the 1977, newsp r),
photocopy rint,
concerns and attitudes associated with the punk era. and paper
Courtesy th
e artist and
For more information on this must-see event visit The X Marks
Barbican website.

TONY OURSLER: The Loner, 1980,

www.barbican.org.uk
videotape, still
Courtesy the artist and Lisson
Gallery, London

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010-013_AVP_34_News.indd 10 18/7/07 17:42:17


A sketchy situation
Cartooning no doubt has an unrivalled heritage within
Britain, going back over many hundreds of years, and so the
Political Cartoon Society is also unrivalled in its enthusiastic
promotion of the style, notably the political cartoon, as an
amusing, informative and educational art form.
The worlds only centre dedicated to political cartoons
and caricature, here you can purchase the finest original
cartoons by leading artists past and present and submerge
yourself in the well organised exhibitions of original work
based on political and historical themes. And so theres no
better place to stage such a contemporary exhibition.
09.07
PETER SCHRANK: Shranks first cartoons
appeared in Time Out, Basler Zeitung, The
Independent and many Times supplements
HOT
or
NOT
HOT
CHARITY PRINT FOR
THE MS SOCIETY
Price: 40
Website: www.bentheillustrator.com
This special print, entitled Hope Is
Where The Heart Is, is on sale at the
Buy Ben The Illustrator Shop in aid of
The Multiple Sclerosis Society.
VOICES IN MY HEAD
cartoonists, including Steve Bell, Peter Brookes, Martin
Rowson and many more. This exhibition of original cartoons BY JEREMYVILLE,
will surely be thought-provoking, engaging and at times THE VADER
sardonically amusing, with works echoing the cartoonists PROJECT CUSTOM
views of how the on-going war in Iraq has been a folly from HELMET SHOW
its very beginning. Website: www.jeremyville.com
For further information on the Political Cartoon Society Another masterstroke from apparel
and to be the one of the first to find out about forthcoming king, Jeremyville. This cool creation
exhibitions visit the website below. was showcased at The Vader Project
custom helmet show in May check
out others on MySpace.com.

NOT
Blairs Legacy: The Iraq War in cartoons will run until 1 www.politicalcartoon.co.uk
September, consisting of 60 cartoons from Britains foremost

STEVE BELL: The Political

Cartoon Societys aim is to promote
the political cartoon by way of NEW ERA NEW
amusing, informing and educating
APPAREL 2007
Website: www.hypebeast.com/2006/
CHRIS RIDDEL 11/new-era-apparel-for-2007
there are m L: Today
or
cartoonists e political Theres retro and then theres oh no!
employed
newspaper by British
s an This new apparel could have been
than ever be d periodicals
fore. The Po pulled from Bertie Bassetts closet.
Cartoon So lit
ciety mines ical
vein of visu th Surely Shell Suits were a mistake the
al history th is rich
both quarte rough first time round?
rly newslet
and exhibi ters
tions

PUCHIPUCHI
ELECTRONIC
BUBBLE WRAP
Prices: $59.00 (29.40)
Website: www.asovision.com/
putiputi
It may offer fun fart sound effects
after 100 presses, but nothing beats
the simple pleasures that only real
bubble wrap can provide.

11
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010-013_AVP_34_News.indd 11 26/7/07 15:26:57

 insight
Comic genius
Saul Steinberg gained early fame as a
cartoonist, best known and loved for his
creative ventures in The New Yorker. He went on
to become a propagandist, illustrator, fabric,
card and stage designer, muralist, and fashion,
advertising and exhibiting artist. In the Sixties,
he began to concentrate his efforts on gallery
art and The New Yorker.
So, in honour of his contributions, the
Cincinnati Art Museum presents the nationally
recognised retrospective exhibition, Saul
Steinberg: Illuminations.
This exhibition sheds light on the prolific and
diverse creativity for which Steinberg has been
celebrated since his arrival in New York in 1942.
There is plenty to digest with well over 100
drawings, collages and sculpture assemblages
displaying his amusing and insightful
perspective on the world around him.
Among Steinbergs notable works is the 75-
foot long Mural of Cincinnati, created for the
Terrace Plaza Hotel of Cincinnati. It is one of
only seven murals Steinberg created during his
entire career and the Art Museum will be
exhibiting it for the first time in 25 years. The
mural depicts Cincinnatis landmarks and
people in Steinbergs graphically witty style,
and presents visitors with a large-scale display
of his inventive use of line.
Aaron Betsky, director of the museum
endorses this exciting exhibition by saying:
Steinbergs art helps us better understand
our time and culture with a dose of humour. I DO I HAVE I AM: This is the first review of Steinbergs entire career,
The exquisitely detailed mural and the spanning from the Thirties to the Nineties and including some of his
world-famous published illustrations
retrospective exhibition complement each
other well and are sure to please visitors of
all ages.
Both the mural and retrospective will
remain on view through to 23 September.
www.proud.co.uk
TECHNIQUES AT A PARTY: Visitors can further explore
Steinbergs comic and artistic genius through this
nationally recognised retrospective exhibition

Interstellar attraction
Until 31 August, the Proud Galleries, Camden, presents an exhibition that is
literally out of this world. On show for the first time will be this unprecedented
collection of official NASA photographs, with authentic NASA serialisation and
signatures of the original astronauts, following the journey from Apollo 7 to
Apollo 17.
This exhibition celebrates a fundamental chapter in Americana, as Proud
Camden puts the spotlight on images that ultimately changed the world, as we
know, in an effort to recapture the glory of these golden years in history. This
collection is unique not only for the attached signatures of the original
astronauts but the vast part of the collection that includes personal inscriptions.
The original text offers diversity, from Dante and Kipling excerpts, to comical
monologue spoken during the image capture, to descriptions of chilling
moments which gripped the world.
And whom can we thank for such a breathtaking collection? None other than
UK-based collector Leslie Cantwell. Cantwells collection is distinguished not
only by its scale but also by the time and thought that has gone into every
aspect of it. After studying the usual NASA imagery, he realised the wastefulness
of showing some of the most memorable images of all time in the usual 8 x 10
and thus developed the 16 x 20 format. His decision to combine text with
imagery represents an originality of approach, a concern with posterity and an
understanding of the potentially transcendent importance of the Apollo print
when it becomes not only an image but also poetry and art.
Cantwell has gone far beyond just a collection of autographs, amassing an
astonishing collection in an honourable tribute to the efforts and courage of the
original moon-walkers and American heroes, which, of course, Proud is only to
pleased to present.
For more information, visit the Proud website. MAN ON A MISS
IO
Buzz Aldrin Gemi N:
ni XII
EVA, by NASA, co
urtesy
of Leslie Cantwell.
Th
www.proud.co.uk his record-breakin is is
g EVA
on the very last
Gemini mission

12
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010-013_AVP_34_News.indd 12 26/7/07 15:28:25

 Eyeka is here
Its no secret that digital and mobile technology is
09.07
expanding at an astonishing rate, with new habits and

DIARY
customs steadily appearing. Many believe that these
technologies are set to dramatically change the way in
which the creative individual tells stories and that these
emerging media are where the star photographers and

DATES
filmmakers of tomorrow are to be found. Perhaps no one
more so than Eyeka, the new kid on the block when it
comes to online photo and video sharing.
Eyeka has a vision and that is to offer these new creative
talents, along with millions of other passionate and aspiring
amateurs, a showcase for their work and, just as importantly,
a means to make money from it. Eyekas business model GLOBAL CITIES
does not rely on advertising but rather on sharing revenue
NEW HAVEN: Eyekas aim is to create a communal space that offers
EXHIBITION
generated by selling content at market rates to media amateur and professional creators alike the opportunity to broadcast Until 27 August
partners. Simultaneously, the company offers its technology their work in a totally new way, compared to existing platforms Tate Modern, London, England
and content in white label form to media, mobile phone
operators and other brands, and also edits and packages So for all you photographers, movie and video-makers, ROCK N ROLL CINEMA
creative culture and entertainment programmes for their graphic designers and netizens out there, including 2 September-2 December
Web-TV or mobile channels. amateurs or professionals wishing to showcase, broadcast 93 Feet East, London, England
There are lots of things to do at the Eyeka site, allowing and syndicate creative work, get signed up at the web
you to share and promote your quality photos and videos address below. DESIGN FOR THE
from the web and from your mobile. You can also upload OTHER 90%
content that appeals to specific communities and rate,
Until 23 September
highlight and comment on other peoples creations as well www.eyeka.com
Cooper-Hewitt National Design Museum,
as get discovered by media professionals. New York City, USA

Learn fast with the only guide with tailored

workflow practices for each major area of
professional photography.
Version
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Order your copy at www.focalpress.com and get

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ISBN: 978-0-240-52067-4

010-013_AVP_34_News.indd 13 26/7/07 15:28:38

 Letters

Mailbox
Do you have a question, rant or rave about the
magazine? Email your thoughts to
advancedpshop@imagine-publishing.co.uk
or visit www.advancedphotoshop/forum
back. Dont worry if you cant; I still love it and
will still subscribe.

Editor replies: Thanks for your email Adam. Were

very proud of our cover images and like to show
them off as best as we can by keeping the cover
as sleek as possible. We think a CD on the front
would rather spoil the view! Unfortunately, too,
we receive numerous emails from readers who
have bought the magazine only to find the CD
has been half-inched by some plucky young
scamp. Sticking the CD on the front of the cover
would make it more susceptible to being stolen
in shops. Sorry.

SUBJECT: Getting published

FROM: Kino Lee Pressure. Peer Pressure doesnt have a set
I have some questions. How can I put my theme; it can be anything you like! If were
artworks in your magazine? It could be just 2D interested in printing your work, we will be in
artwork or tutorials. What is the Peer Pressure touch to get a bit more information about you
SUBJECT: Flick through current challenge? Can you explain more and to obtain the high-res images. Its worth
FROM: Adam Weatherley about that? remembering that in order to get your images
First, best mag ever. My favourite subscription of in print we can only accept images that
all time. Second, can you stick the CD to the Editor replies: For work to stand a chance of measure no less than 15 x 15cm at 300dpi.
front page? Just got Advanced Photoshop 32 getting in the magazine, send low-res images of
through the post and tried to fan through it (as I your work to advancedpshop@imagine- SUBJECT: The new Advanced
often do), but Im obstructed by the CD on the publishing.co.uk with the subject header Peer Photoshop website
FROM: Tori Sharp
I just thought Id drop you a line to let you know
[
]M
VQY
KP

how much I appreciate your new website. To be

<M

Our pick of the best reader submissions Comic print THE WING COLLECTOR: This was my first piece from my duel with
sent to us this month
honest, when I first logged on to the site a few
NAME: Oliver Fluck AutumnsGoddess at Neosynthesis
EMAIL: oliver@fluck.de

P
WEB: www.fluck.de
eer Pressure has once again been inundated with a volume of great artworks. Oliver occasionally experiments with image-processing tools and
The chosen entries this month offer an array of insights into the creative

months back, I was a bit disappointed. It all

mind, sharing and revealing individual approaches and skills. Read on, enjoy
and if you feel that you have what it takes to showcase your work and join the ranks
of your Peer Pressure fellows, then dont hesitate to send us your entries.
We always include your email and web address, so anyone interested in your designs
created this comic out of two main components. The street picture is
a High Dynamic Range image created out of several exposures. In a
good HDR image, all areas are well-exposed, even if the contrasts in
the original scene were far beyond what a camera can capture with a
single exposure.

seemed a little complicated and there wasnt

can get hold of you. All you have to do is send us high-quality TIFFs or JPEGs (RGB or
CMYK) at 300dpi minimum, which can be printed at a minimum size of 15cm x 15cm.
Send us low-res versions to advancedpshop@imagine-publishing.co.uk
well get back to you for higher resolution work if needed. Alternatively, log on to our
Oliver noticed that a perfect balance of exposure showing a lot of
detail throughout a whole picture can sometimes make the viewer
believe theyre looking at a painting. Once you have a good HDR, you
can easily create a comic-style image by applying the Poster Edges

much going on! The new site is much more user-

filter. The head in the foreground was processed in a different way.
forum at www.advancedphotoshop.co.uk/forum. Unfortunately we cannot provide Oliver explains: To stress wrinkles, pores and facial hair I draganised
individual image criticisms. the head, before I applied Poster Edges. At the end, I eliminated shiny
details using the Burn Tool.

Building Blocks
NAME: Nick Lay
EMAIL: nick.dww@gmail.com
WEB: www.nicklay.info
Nick is a graphic artist from Sault Ste. Marie, Ontario, Canada. He has
four years worth of experience at Digital Webworks, but recently
switched to being a part-time freelancer.
After reading the Poser tutorial in Advanced Photoshop 30, Nick
tried the demo and was instantly hooked. He has recently purchased
the software to add to his tool kit and has found it a great resource
for figurative illustration. David Hos art inspired this piece, Nick
friendly and I enjoy logging on every day to look
tells us. His work that incorporates 3D illustration and Photoshop into
one piece has always fascinated me. Nicks technique involved
modelling a 3D character and using the geometry to determine
gridlines. I rendered the 3D character and the gridlines separately
and combined them in Photoshop. I used Cinema 4D for the blocks,
then clipped them out and added it to the Photoshop file, explains
Nick. After that if it gets a little tricky, you have to use the gridlines
as a reference and start erasing the 3D character. Then take your
paintbrush (this takes a bit of practise) and paint the appearance of
at the new image submissions and to check out
the galleries of the week. I havent as yet
STAGE BEAUTY: Melissa
the broken 3D onto the character. Find a suitable texture (I used a created this piece using a base
mixture of multiple textures to achieve the effect here) and paint to stock image from AttempteStock
these textures to achieve depth.

uploaded any of my own images onto the site,

POSER: After I tried the demo I was hooked

but Im just finishing off some projects and I

METAMORPHOSIS IV: When
I display my images I hope they
take the viewer away from reality
for a minute, in the same way
creating them has done for me

hope to be posting very soon. I just have one

Away from reality
question: is there a section where we can upload
work for your Insight pages in the magazine? Its
NAME: Melissa Nucera
EMAIL: MelissaLN@verizon.net
WEB: http://thisyearsgirl.org
Darya Melissa started out in photo-manipulation as a hobby around

my dream to have a full spread at the start of

three years ago. In her spare time she likes to turn to this as a more
personal and expressive way of creating, experimenting with
different styles and concepts and developing her skills with
Photoshop. I start all of my work with a single stock photo that
interests me. I dont usually have a specific idea in mind of how a
piece will end up, says Melissa. I continue building and adding to it
with stock photos, textures and digital painting. It takes me several
weeks to finish an image. I experiment with many different
techniques and I let the piece evolve until I am satisfied enough to
the magazine!
call it finished. I love to get lost in the process of creating and see
where it takes me.

68 69
Editor replies: Thanks for your email, Tori. At the
moment, the website is still in its early days, but
)L^IVKML8PW\W[PWX )L^IVKML8PW\W[PWX

068-072_AVP33_Peer Pressure.indd68 68 28/6/07 14:39:53 068-072_AVP33_Peer Pressure.indd69 69 28/6/07 14:40:18

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016-017_AVP_34_Letters.indd 16 26/7/07 10:22:47

 I ENJOY LOGGING ON EVERY
DAY TO LOOK AT THE NEW
IMAGE SUBMISSIONS
On the
its very encouraging to see so many users
posting their creations regularly. Other users
can also comment on your work and give
forum
images a star rating so you can get some SUBJECT: A bit of a dislike about the
valuable feedback from your peers. As for the tutorial pictures
Insight sections, artists featured here are FROM: Psychobobb
generally approached by us rather than taken First of all I want to start off by saying that
from galleries or Peer Pressure. However, any this is a great magazine and I do enjoy
publicity is good for getting your name known, reading it. It has lots of interesting articles
both by Advanced Photoshop and the design and has a nice section for artists work. It has
world. We have already spotted several pros some great tutorials, tips and information.
with their own gallery on our website, so if its However, if there is something I have to
good enough for them... complain about, its probably that I
sometimes want to follow your tutorials

Readers Challenge through step by step, but I cant. The reason

for this is not all pictures are always
provided with the disc; instead, to obtain
THE RESULTS JULY some pictures needed to follow the
Due to popular demand, you can now take part in a monthly online readers challenge. tutorials, you need to go to www.
Take a trip to our forum website by visiting www.advancedphotoshop.co.uk/forum and istockphoto.com, where you can only get
scrolling down to the Peer Pressure section. Keep an eye out for the most recently them for a fee.
announced challenge. Readers are welcome to post one Photoshop creation up in Again, it is a great magazine and I really
response to the theme and all visitors to the forum are welcome to post their vote for the do enjoy it, but do you think there is any
winning design in our online vote. Were pleased to announce the winner of the Drowned chance of including ALL pictures for the
theme, Holli Alvarado. Heres a little bit about the piece from Holli: tutorials in the future?
This challenge had an interesting theme, I wanted to try more of a photomontage. I
usually try to manipulate multiple photos into a new photo, but this one was less about FROM: Revjesscuster
making selections and connecting shadows and more about just using blending modes iStock is pretty cheap or you could use
and brushes to create a feeling. The bubbles are a custom brush. The reflections in the sxc.hu and find a similar picture. The reason
bubbles are a copy of the image transformed smaller and painted glossier. The girl the iStock photos arent provided with the
originally had her eyes open; I painted them to be closed. The water is actually a photo of a magazine is due to licensing.
fish tank mixed with some photos of trees and rocks.
FROM: Cake
We do always try to include all images on
the CD, but sometimes images that allow
the best potential in terms of showing off
techniques cannot be placed on the CD
due to copyright issues. Sometimes I am
able to get round this by asking permission
for iStock to place the images on the CD,
but this always depends on the
photographer/illustrator, and as some
artists are very protective over their images,
this isnt always possible.
We always aim to inspire you to try out
the techniques in the tutorial and Im well
aware this wouldnt happen if the image
looked dull and dreary; sometimes an
image needs a bit of life injected into it. The
most common solution, both in the mag
and in general practice, is to go to a picture
library. But like I said, this is something I do
try to avoid as much as possible.

17
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016-017_AVP_34_Letters.indd 17 26/7/07 10:23:06

 insight

strator, while the

ers were made in Illu
SID E: In thi s im age, the custom lett es
I AM DEAD IN the hair and outlin
g and drawing out
rest was just layerin DEATH MOSS METAL
: This is a portrait of Kate
composed in Photoshop. Moss,
I used custom brushes and
written letters to compos hand-
e this image

Raphal Vicenzi l Vic en zi kn ow s comes from the int

ernet, books and sh
of illu str ation .
owing an
Th is
Everything Rapha s the tre nd s be ing set in the world y as a su cce ssf ul
ard wa
attentive nature tow thing that has seen Raphal make his do es admit, Its not
ality is so me t. Ho we ve r he
valued qu self-taugh I
r, being completely ion myself and try to improve my skills.
freelance illustrato I co ns tan tly quest s; wh at I lack in
cau se thi ng
the easiest way be ion and way of doing y to make it work.
to forge my own vis wa
think it helped me , wi ll pu sh me to think of another es Raphal, not
technical skill, for ex
ample m va rying influences se
rce ful ne ss an d ins pir ati on fro
hio n: It s be au ty, mindlessness
This resou wo rk in a most diverse fas re clear-cut,
ibe his ep ts. Mo
surprisingly, descr so cia l, po litica l and esoteric conc me dia te, fresh and
wi th ls illustration is im
and fashion mixed os itio n. Ra ph a mo te several
for comp thusiastically pro
however, is his eye t it has been used to en the String Republic.
mu ch so tha ad rilles for
dynamic, so iph and esp
ing T-shirts for Gran llection.
clothing lines, includ to feature in String Republics new co
re de sig ns are so on the de ma nd ing world of freelance
Mo
did Ra ph a l ma ke his way into ic ed uc ati on, but I always
But ho w ist
He ex pla ins : I ne ver followed an art wi th Ra y Gun magazine ba
ck
illustration? d
ss my sel f cre ati vely. I was impresse rea kin g. He the n made
wanted to expre was really ground-b other people doing
es and I thought it
in the early Nineti int o wo rki ng digitally: When I saw t I was aiming for
tion firs
the successful evolu ught I could give it a shot as well. At r. It all happened
this grungy style,
I tho
t illu str ati on wa s suiting me bette
bu t I rea lise d tha wa s do ing .
graphic design, ople to like what I design, he admits
that
never expected pe
by itself because I pre cia tes the rol e of Illustrator in his sca n a lot of
Although Rapha
l ap thod. I
t and instinctive me
s him a more direc to use. I also create
many
Photoshop afford on the int ern et for thi ng s
sh es. I draw many
aro un d in bru
images or look sp lat ter s tha t I use as they are or en the re are
an d let. I like it bette r wh
watercolour stains th an old Wacom tab kept under control. He added: I als
o
in Ph oto sh op wi
things s, bu t it ha s to be Ph oto sh op,
d thing ed within
mistakes, unexpecte strator to be rework
I have built with Illu ty.
bring in elements dir lour
and making them from real waterco
painting over them est wo rks tha t I get my inspiration wh ere I ha ve to get
Its obvious in my
lat
pro du ce d the re is always this part
digitally
paintings, even if its
cut-up and collage
thing. my hands dirty.
D DEATH: A simple ether
ABOUT DEATH AN were processed and then worked tog
pony.com
/ www.mydead
ours
Basic layering of col
s
using selected brushe

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018-019_AVP34_Insight.indd 18 27/7/07 11:09:30

 NO EMPATHY TH
OF BO TH WO
custom-made the
RL

patiently in Illustra
the n wo rke d up the
E BEST
DS: I
letters
tor and
rest of
09.07
im ag e in Ph oto shop
the

FEED ME YOUR SOUL:

This is one of my textual
pieces. I did the letters and
shapes in Illustrator and
again, reworked
everything together
afterwards in Photoshop

colour background I did on paper

PUSSYCAT FEVER: I used a water
some more watercolours in
and then layered the cut-up images and
and its pretty close to my
Photoshop. I wrote the title in Illustrator
legibly
handwriting if I make an effort to write

THE GODS OF FASHION HATE ME: I made the letters in Illustrator and
then used custom brushes for a watercolour effect. My wife came up with the
original catchphrase when she couldnt find anything to wear

19
Advanced Photoshop

018-019_AVP34_Insight.indd 19 27/7/07 11:12:39

 insight
Insight: David Levy cribe his own style he wo
uld probably tell you he
was
If David Levy were to des ser iou s dos e of ste roid s. His
y painter mixed with a has
trying to be a 19th centur eogames industry and he
tua l des ign is app rec iated throughout the vid and Prin ce of Per sia. But
concep NBA Jam
rk on titles such as Turok,
been credited for his wo ead further afield. He has also produc
ed matte
que sts spr direction for
his professional con the ABC Fam ily, art
Channel, storyboards for books with
paintings for the Disney will soon be putting his
han d to com ic
us ani ma ted DV Ds and
numero ics.
in the industry, DC Com t job was in a
one of the biggest hitters it so goo d, as he explains: My firs
alw ays had ved aboard a
But David has not st. How eve r, he arri
Paris as a concept arti 3D model of
videogames company in os hindered the projec t of cre atin g a
pro jec t. Com ple te cha loso phi cal view on the
terrible takes a phi
100 polygons. Yet David bably the best
Pamela Anderson using firs t exp erie nce is pro
a way, having a bad er
situation as a whole: In that I should travel to oth
taught me what not to do, ary strength that I would
kind for a young artist; it necess
jobs, and it forged me a
countries to find better yea rs to come.
y tou gh
have to use in the ver tive, first studying in
erience was just as produc d.
Davids educational exp arc hite cture in Maastricht, Hollan
eiving a BA in interior
industrial design, then rec eog am es, mo vie s and usin g
ady passionate about vid e range of traditional
At that time he was alre g and drawing using a wid
, on the side pai ntin puters could afford to
digital media pot ent ial tha t com
ld foresee the
media: Nevertheless, I cou
le. He
artists; it was unavoidab per cent of his projects.
mu ch so tha t now Dav id uses Photoshop in 99 -ma de bru she s. I hav ea
So y custom
in Photoshop: I use onl ations. Mostly, it
produces most sketches dep end ing on the situ
I decide to use s not
wide array of those, which in a drastic way. David trie
to speed up my workflow lt
offers me the possibility s wh en fac ed wit h diff icu
, developing new system his thought processes
to stick to one technique his digital experimentation,
atio ns. Yet for all colours, shapes and
working situ I wo rk wit h ligh t,
e ways in which rs of design helped
are artistically similar: Th is wh ere the yea
sical painting. This natural move, and
depth, are all based on clas y log ical and
wh en I sta rted usin g digital media. It was a ver
me
ited by the technology.
at no point did I feel lim
/ www.vyle-ar t.co m

.org has FLOATING DEVICE: [I] try to kill the usual shapes seen in spaceships
tArt.org thread. ConceptArt
ON: Created for a Concep to thank them enough
by giving them a more poetic look and a less military feel. I consider
SPEEDPAINTING DEM tha t I will never be able myself another Moebiuss (Jean Giraud) child; this image is probably a
ugh the years,
given me so much all thro very weak unconscious attempt at showing it

CITY BOMBING:
Inspired after noticing
how light played with
reflections on a plane
pilot helmet on a
YouTube video one of my
friends was playing on his
computer. I was
interested to play with
how reflections affect a
dark object, in a dark
lighting environment

FOLLOW THE LEADER: Inspired many years

after reading Ann Rice books, where a vampire
uses peoples religious beliefs to attract them and
use them to their own good against their will, and
towards their own death
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020-021_AVP_34_Insight.indd 20 19/7/07 12:59:10

 09.07

WELCOME TO STEAMBOT: Sketch originally created

for last years Gnomon Workshop, for which the Steambot
team was presenting a demonstration. Created mostly
using custom brushes

UNDERWATER SU
B: Back with
the exploration sub
ject and
extreme situations.
Also to play
with how light is aff
ected in
underwater situati
ons

GNOMON DVD: Image

was
done during the develop
ment of
the tutorial DVD From
Speedpainting to Concep
t Art
available at The Gnomon
Workshop (www.
thegnomonworkshop.c
om)

UT: One of
ASTRONA sketches
ch ar ac te r
the ts
after concep
developed
te d by th e
crea g
team. Testin
Steambot with
ra its m ixed
port
hes
custom brus

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020-021_AVP_34_Insight.indd 21 19/7/07 12:59:42

 insight

as I love to
DAYDREAM: As much nes many
sketch ideas out until Im
sure of s piece combi has its
LD ST AT EMENT: Thi er yt hi ng
get the best BO tely. Ev
everything, sometimes I drawn separa em many times to get
a project very elements all th
results when I approach d I re-ordered st right
example of ow n la ye r an ing though ju
loosely. Daydream is an un de rn ea th colour show
th e
minimal planning

FOOT WEAR: Fo
r this piece I combin
my drawings. I am ed many different
heavily influenced hand-painted textur
all of that together by surface design an es with
d fashion; this piece
brings

GREEN TEA FOR TWO: This piece started as a simple drawing and quickly
became a
densely layered Photoshop file. Each area of watercolour is its own layer, so
it was easy to
manipulate colours and move things around. I love that Photoshop allows
me to make
something that looks like a traditional painting but has the flexibility of manipulat
ing each
element separately. I could never do that by hand

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022-023_AVP_34_Insight.indd 22 19/7/07 13:02:01

 Insight: Jess Volinski
Jess studied traditional illustration at the School of Visual Arts in New York
City. During her four years at SVA she took only one computer course
09.07
BEAUTY: This
drawing was
scanned in,
a cleaned up, an
foundation year requirement. Her digital education began in her second d
year coloured with
when she acquired a job working as a freelance graphic designer at a childrens several
book company. overlapping lay
ers
As much as Jess loved creating traditionally, she soon became frustrated of washes
by the
limitations of working directly on paper and the difficulties of making changes.
As
a result, since graduating several years ago everything she now makes
is done
digitally. I love that Photoshop allows me to retain the handmade look
of
traditional illustration, with all the flexibility of working digitally, says Jess.
For me
it really is the perfect balance between nature and technology.
Jesss style is a fluid mix of flowing shapes, florals and figurative forms:
I strive
to create a balance between nature and technology, with half my time
at the
drawing board and the other half on the computer. I am always on the
lookout for
new techniques to stay fresh and propel my work forward.
To aid her design work, over the years Jess has collected a vast digital archive
of nsparent colours to achieve
the
textures, drawings, doodles, paint strokes, spills and anything else interesti y different layers of semi-tra y
scannable. She refers to this ever-growing collection all the time for creative
ng and MEDITATION: I used man ing. The bac kgro und was created by layering man
an meditat h into the whole shape
inspiration and many of the elements from this digital sketchbook make ethereal quality of the wom ld mas k a pain ted was
them so I cou
their floral elements and merging
way into her illustrations. Jess cites her favourite digital artists as Vault49,
Sophie
Toulouse and Kustaa Saksi: They all have unique and beautiful styles. I
first saw
Kustaas work in the Diesel campaign he did several years ago, explains
Jess. It
was right as I was trying to move away from working traditionally and I
wasnt
familiar with many digital artists at the time. I just remember how blown
away I
was. It was a real wake-up call.
Jess is currently working on creating a line of products, including apparel
and
stationery. Keep an eye out for her latest ventures on her website. Or alternativ
ely,
you can purchase limited edition prints at www.bluefoliage.com.
/ www.jessvolinski.com

PERFUME: I love surface

design and textiles, so tha
just about everything I crea t sensibility finds its way
te. Every element of this is into
with the order just right so a separate (well-labelled)
the washes show through layer
in some areas and not in
others

y different. After
this piece looked ver and watercolour
e ori gin al ha nd -drawn elements for e sub tle spl atters
DOODLE: Th many parts. Som
d and repositioned
scanning it, I remove
ded
effects were ad

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022-023_AVP_34_Insight.indd 23 19/7/07 13:03:07

 Inter
view
MARTIN BLAND
Martin Bland is one of Britains
finest conceptual artists, with
works that are as simply
breathtaking as they are
elaborately produced. Take a trip
through his vivid pieces,
witnessing worlds that might
have been

W
e all have the occasional creative
nightmare and all artists at one
point or another face dark times,
struggling to find where they belong, to find
that elusive niche. Yet its always worth
committing to the cause and never losing
sight, nor hope, of achieving your goals. After
SERAPH CITY (TOP): The Iron PEARLY (BELOW):
all, patience is a virtue and good things come Angels watch over me I wanted a Gateway for soul filtration, pure CRAW OBELISK
to those who wait, as the sayings go. Then constrictive feel to this image, like you souls travel high, dark souls (OPPOSITE): Magnum opus
could see the iron angels from every roof travel low, your destination is of distant Gods, pilgrims gather
again, being too lax isnt a good idea, and in prayer to the lady of the lake,
in the city, height restriction in place, a predetermined; face the light
staying proactive, taking risks and making menacing undertone to an idyllic image and enjoy the ride the vestige of unknown origin
sacrifices achieves goals.
Well, believe it or not, these are all sentiments
shared and expressed by rising conceptual artist
Martin Bland. Martin seems to present
contradiction in both profession and production.
Starting out his professional life in the print
industry, this was far removed from where he
finds himself now as one of digital illustrations
leading lights. Martin explains: The career path I
took when I was young was more through
circumstance than anything else; I hadnt set out
to be a printer. However, Martin showed
dedication and spent ten years being head-
hunted by different print companies.
Deep down, Martin wasnt happy; regardless
of his status, he knew that this wasnt the
profession that made him happy and couldnt
see much of a future in what he was doing. So
Martin sacrificed the security of his career and set
out on a new path, taking his time over the
coming years to experiment, feeding his creative
urges and trying to discover his preferred
creative outlet. Only after putting his hand

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 Martin
Bland

27
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026-031_AVP_34_Interview.indd 27 26/7/07 10:25:42

 Inter
view

28
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026-031_AVP_34_Interview.indd 28 26/7/07 10:26:18


to web design, creating tutorials and even
commercial design, Martin finally found his
passion: It was only when I received a Wacom as
a gift that I knew Id found something that
satisfied my needs and brought me back round,
full circle, into what I enjoyed so much growing
up. Having been a keen sketcher at a young age,
Martin eventually rediscovered a lost passion for
illustration: It just felt right, as Id been a prolific
drawer when I was younger. I hadnt picked up a
pencil in ten years before that moment, but I
knew Id found what I wanted to do for the rest
of my life. showing great enthusiasm to learn, he did take
Learning the trade
Martin went on to embrace digital media and, as
in all he does, soon mastered its application: I
spent a long time studying the ins and outs of
Spyrotek Dekonstrukt (opposite):
Experimental self portrait. I wanted to put onto canvas
what I felt represents me more than a straight portrait
or photo ever could
Its a form of
catharsis; my mood seeps
into my work without
much control from me
026-031_AVP_34_Interview.indd 29
Martin
Bland
The Medusa Fields (above): Thirty years have passed, and still the
Photoshop, working out the possibilities of the epitaph of past conflict stands the legacy of that fateful day, when the weapon was
program, extracting new ways of using tools and deployed. A permanent reminder of our failings, a permanent lesson for future
society; these fields are sacred, doomed, cherished
challenging the constraints. So whats his single
weapon of choice? Its brush engine is very
intuitive and Im comfortable with the setup. The Self Portrait in Grey (below): Experimental self portrait, which was
a contest entry. The brief was, yourself as a thunderdome warrior, so here I am all
power it has seems more like a pure medium kitted up
than the alternatives for digital painting; it
doesnt pretend to be something else. If I want to
paint something resembling oils or watercolour,
Ill pick up a brush.
Martins lack of formal art education has never
deterred him from his goals either. Although
his time when introducing himself to the creative
industry and before taking his first big steps: Im
self taught, but studied (and continue to study)
online every day. I observe a lot and am naturally
curious, so I seek out knowledge where I can get
it. Most of what Ive learned has been through
general observation: how light reacts with
different surfaces, how colours react to one
another. I observe other artists methods through
watching a few speedpaint threads on busy
29
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26/7/07 10:26:56
 Inter
view
art forums. He goes on to add: I entrenched
myself into the large online communities,
offering tutorials and actions, and built up a
good reputation before I painted my first image.
Securing many fans and friends from online
communities, unsurprisingly Martin has gained
quite a few honours for his art. Achievements
have included Elite at GFXArtist, Senior Member
at deviantART and an image in the hall of fame
at ConceptArt.org. However, Martin is modest
about all of these accomplishments: I do see
these as honours to receive, but Im not sure if
they inspire me as such. He explains further: I
dont really go out to get awards or credentials; if
they come, they come. Ill be very grateful for the
extra exposure and respect they bring, but I
dont have much of an ego. I tend to create for
myself. If my art gains attention, then fantastic,
but foremost in my mind I do what keeps me
sane and happy.
I LIKE TO FILL AN IMAGE WITH CONTRADICTIONS,
ENGAGE A VIEWER FOR LONGER THAN A GLANCE
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026-031_AVP_34_Interview.indd 30
EXIT SCENE
(ABOVE): The
final scene
planned for my
personal project,
an idyllic point to transfer whats in my imagination onto canvas
end a story Finding inspiration as purely as possible.
Martin hastens to add: Theres a danger of falling A lot of my work also mirrors the current
into the trap of believing your own hype if you feelings towards world politics and possible
have any sort of ego when it comes to popularity futures we have to face. I do have a dark
or awards being bestowed. My main source of apocalyptic theme running through my work,
RAKSHASA
(ABOVE inspiration is to leave behind a small legacy for mostly subconscious, but a lot of what happens
RIGHT): Gods others to enjoy when Im gone and something around the world filters into my thought
of past a rare my son can make money on. processes. However, Martins work, for all its
break into
straight-up So where does he draw his inspiration for his despondency, still bears messages of
fantasy imagery subjects? What serves to arouse such a fruitful redemption: I tend to paint images of dark and
for me imagination as his? Martin explains: Personal unwelcoming places and emotions, but fill them
experiences always make an appearance in with messages of hope or beauty. I like to fill an
there somewhere. Its a form of catharsis; my image with contradictions, engage a viewer for
mood seeps into my work without much control longer than a glance. I dont usually add a huge
from me, as my work process has been description or back story, as Id prefer people
streamlined over time. It has allowed me to found their own meanings.
26/7/07 10:28:02
 Martin
Bland

RISE (ABOVE): Spectacular this word conjures up so many meanings, all of which are
personal perceptions. This is mine, how in one instant you can make a spectacular decision that
affects your whole life; like some outside force, you receive an epiphany where a split second can
seem an eternity. This is my representation of how that feels

But what does Martin make of his rapid
success? I hope that I challenge the hierarchy in
some way. One for the little guy, that you can be
successful without studying for years, that it
depends more on talent and determination to
succeed than anything else.
And how does he keep such a determined
attitude, helping him endure in such a
competitive market? Im hypercritical, he says
astonishingly, but its always been a catalyst for
improvement for me. I hate pretty much
everything I put out and always think I can do
much better. Its a blessing just as much as a
curse, because if I was happy with what I was
doing Id stop trying so hard, maybe rest on my
laurels. It forces me forwards.
Looking forward
So where does Martin move forwards from here?
What hopeful new horizons does he envisage for
himself and his young family? With a growing
reputation within the music, entertainment and
publishing industries, having
produced work for various album
covers, novel covers and sci-fi
publications, Martins evolution from
novice to professional freelance artist
has been faster than anyone could
have imagined. With Martins creations
on tour with BT/Thomas Dolby this year
in Hype (Tate) and currently showcasing
in Bucharest as part of the 115 Digital Art
Gallerys Art: Part Two exhibition youd be
forgiven for thinking that he is very comfortable
with his future plans.
Well, youd be wrong, as Martin explains: The
future is uncertain for me, more by choice than
circumstance. But Im enjoying the freedom that
comes with not having any concrete plans or
goals one day at a time. Saying this, he is
keeping himself amused and admitted to us: I
do have tentative plans in place for a number of
side projects. Ive been building a little universe
for a couple of years and have a solid back story
and a lot of visuals I can one day turn into a
LESA 02 graphic novel and pitch for movie/game thats
(ABOVE): This
is one of many if it isnt snapped up in the meantime, as I have a
conception pieces movie producer waiting in the wings.
and pre-designs of
He goes on to explain: But, commercially, I
Martins; this one is
the main have an open door and open mind. Theres an
character of a awful lot more to come though. Im relatively
personal project,
flanked by a new to the game and have a lot to learn and put
couple of out, and can safely say Ill be painting for the rest
Pol sentries of my life. Whatever should happen, one things
for certain: he sure is going to enjoy the creative
journey, wherever its final destination. Were
confident we will too, for as long as he continues
to produce such majestic artwork. 5

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 Create a dramatic landscape
painting with Photoshop
Looking to add some life and mood to your environments or
landscape scenes? Tom Borowski talks you through this digital
painting technique
I
n this tutorial we will be taking an original
sketch and turning it into a digital painting of a
stormy landscape. The goal is to establish
mood and atmosphere, which will help set up the
eerie pre-climatic scene.
For this, I will be using a 6 x 8 Intuos3 Wacom
tablet. This tutorial will rely heavily on painting
techniques, so it would be to your advantage if you
were familiar with the use of the tablet. A certain
32
Advanced Photoshop
032-039_AVP_34_Storm.indd 32
aspect of this painting will rely on your own
creativeness, as it is hard to recreate brush strokes. I
will outline my thought process for each step, as
well as show you quick tips for painting.
For this tutorial, I have used a very small variety of
brushes. I typically use a chalk brush to rough in
objects, a flattened brush to draw with and, as my
main painting brush, a soft round brush set to
around 40% Opacity and 50% Flow.
ON THE DISC
You can recreate this image by using the files on
the CD. I have also included some supplemental
textures from my personal library. I encourage
you to sketch up an original drawing and see
what you can do by following my techniques.
OUR EXPERT Tom Borowski
At the age of 22, Tom Borowski (www.tomborowski.com) is
enrolled at the prestigious Art Center College of Design in
Pasadena, CA. While currently a student, Tom also spends his time
working as a freelance illustrator and is currently developing a
career in film or videogames as a matte painter and concept artist.
Visit his blog site by logging on to tomborowski.blogspot.com.
19/7/07 10:24:13
 1 Getting started
To start with, open up a new file and make it
460mm wide by 297mm tall, and set the resolution to
3 Add some tone
A big part of painting is being able to use value to
best communicate the scene. In this step we want to fill
300 dpi. If the resolution will make the file size too large a layer with a 50% grey tone and set it to Multiply so that
for your computer to handle, setting it at around 150-200 the original drawing will show up from underneath.
dpi will also work for your own personal use.

2 Import the drawing

From the CD, import the file stormy_drawing.psd
that I have scanned from an original drawing and copy
and paste that file into the new file that you just created.
Once you have placed the file, feel free to make it fit on
the page however you feel best. I drew it to allow for
some manipulation.

33
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 MASTERCLASS
4 Pull out some highlights
It is very important to loosely
rough out an idea of how you want to
5 Establish a mood
It is important from the very beginning to have
your piece set up a mood or feeling to build off of. One
arrange your darkest darks and lightest of the best ways to do this is to use the Gradient Tool
light. For this, use a round brush that has with the Opacity set to around 10% and drag it over the
been flattened in the Brush Preset painting in order to create a few more levels of value.
section. Lay down some whites within
the piece and some blacks in the
foreground and changed the Layer
Blending Mode to Multiply.

6 Re-establish your highlights

Go back in again and select a few areas that you
want to make sure the highlights are on. Also re-
establish the blacks once again in the foreground.

8 Block in the sky

The sky is one of the easiest ways to set the tone of
the piece. With just a chalk brush and the Other
Dynamics setting turned on, start to roughly lay in some
ideas of where the clouds will be. It helps to just sample
colours from the sky and use the HSB sliders in the Color

7
Settings menu to change the lightness or darkness.
Choose a colour
You will find it very helpful to use a regular chalk
brush and lay down a few colours in the general area
that you think is most important. I like to start off really
saturated, as I find that it is much easier to desaturate a

9
colour than to boost the saturation later on. Once you
Add a sky photo have laid down a few colours, use the Gradient Tool at
Open up the clouds_2.jpg file on the CD. Copy around 10% again and continue to build up the colour
and paste into your piece and, by using the Transform around the piece. Also experiment with throwing a
Tool, manipulate the scale so that it fits over a small complementary colour in there and see what colours
section of the sky. Use the Overlay setting. At this point can be made right there on the canvas.
were trying to start getting a realistic look to the clouds
so dont be afraid to be random in your positioning. Keep
in mind that you will have to repaint this. If you painted it
once you can paint it again!.

Wacom
friendly
The best part of using a Wacom tablet is
taking advantage of its pressure sensitivity to
paint with. Under the Brush Presets, I always
have the Other Dynamics setting turned on and
set to Pen Pressure. This is my personal
preference. I really enjoy using the pen and the

10
Alt button to select colours quickly and
Back to the brush
blending tones together that way instead of
Use a flat brush, again with the Other
using opacity. Working this way, however, can
Dynamics turned on. We just want to continue to add to create a very muddy and blurry painting if you
the sky and create direction with our marks while are not careful.
keeping it loose.

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 11 Darken the sky
For this step we want to open up the clouds_
3.jpg file and paste it into a new Overlay layer. Then use
13 Make the sky dynamic
Open clouds_4.jpg file for this step. Copy and
paste into the file and then set to Overlay . Do this five
the Edit> Transform>Flip Horizontal command. Once this more times. It sounds repetitive, but it is very useful to
is placed over the area we just painted, you can begin to just duplicate the layer and then rotate or flip the image
soften the edges with the Eraser Tool set to a low opacity. in order to add variety. When youre happy with your
placements start blending in the pastes with a low
opacity Eraser Tool.

12 Add another cloud

In this step, once again, use the cloud_2.jpg
file and apply it to the top of the other cloud in order to
create a highlight.

14 Work the middle ground

Now youre going to want to pick
a neutral colour and, with the chalk brush,

15
very loosely block in some of the foreground
shapes. After you block these shapes in, Cool off
change your brush to a round brush with a For this step we want to open the Photo Filter
soft edge and set it to 40% Opacity and 50% under the Image>Adjustments menu. Set this to the
Flow. Lightly add in some soft areas where Cooling Filter (LBB) at 25% Density. This is going to kill
the light might affect the middle ground. that toxic green colour that we have going on and make
Next, open an adjustment layer from the the piece seem more believable.
Layers menu and fix the Output levels so
that the black is set to 25.

16 Make some mountains

Use your Chalk brush with the Other
Dynamics setting on to start to draw in where the
edge of the mountains will be. Be a painter at this
point and let your instincts take over. Pick a neutral
colour. It is best to just sample from your piece from
this point on.

18 Describe the shapes

Working very loosely, use some tones and
start painting over the drawing that we have, pulling out
shapes. At this point we just want to focus on keeping

17
the value right to describe the depth within the piece.
Bring the drawing back
We want to duplicate the layer that the line
drawing is on and bring that to the top with a Multiply
blending mode. It is important at this point that we dont
lose the original drawing that we created.

I LIKE TO START OFF REALLY

SATURATED, AS I FIND THAT IT IS MUCH
EASIER TO DESATURATE LATER ON
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 MASTERCLASS
19 Section off the focal point
Next we want to use the Lasso Tool and
section off our focal point, which will be the large rock
in the centre. Use the Gradient Tool and apply a
gradient from a dark green to a light green. And then
use the Opacity setting and set to 50%. We can also
begin to draw on the mountains in the background
and focus on making interesting shapes.
22
Set the lighting up
Create an Adjustment Layer and select the
Gradient Fill so that it goes from white to transparent.
Once that is laid down, select the colour black as the
Foreground Color and use a large soft brush to erase
along the top and also in the centre rock. It helps if you
hold the Shift button down for this and make straight
gradual marks from the top to the area where you want
the most light.
Something
to think about
One of my favourite parts of digital painting is
being able to create textures and use the layer
effects to apply them to an object. Some of the
best textures you find can come from some of
the most unlikely places. I use my digital camera
all the time, but I also use the camera on my cell
phone as well. Keep your eyes open and your
camera ready at all times.
36
Advanced Photoshop
032-039_AVP_34_Storm.indd 36
21 Add a texture and then cool it off
Open up the rock_texture.jpg file and copy
and paste over the centre rock. Use the Overlay setting
and then erase around the shape of the rock. Repeat in
other locations. Also use the flat brush to continue to
block in the mountains. Next, use the Photo Filter on the
adjustment layer and set it to the Cooling Filter (80) at
20% Density.
20 Atmosphere and highlights
First we want to use the Flat Brush Tool and
block in some highlights around the piece and also
begin to fill in some of the areas that still need to be
painted. Focus on maintaining shapes and value still.
Also at this point we want to add the highlights to the
foreground mountains, and very loosely block them in.
After this, use the round brush with the soft edge and
low opacity to begin to pull the light from the sky
around the centre mountain.
23
Start to make progress
At this point we still want to just paint loose
in the mid-ground. We also still want to gradually work
the mountains up in the back by copying and pasting
the rock texture again and using a soft eraser to blend it.
24 A mass of texture
Using that same rock texture, apply it
numerous times to the middle ground and path and use
a variety of layer effects such as Multiply, Screen and
Overlay to see how the same texture can look different.
This is where you can begin to flex your imagination and
creativity and let the rocks form themselves.
25 Frame the piece
Block in the foreground mountains in the
front as black shapes. Since they are in the foreground,
the blackest black in the piece will be here. Next, grab
your round brush with a soft edge and low opacity, and
begin to paint over the shapes and textures that we have
placed on the ground. Finally, use the flat brush to paint
the highlight on the top of the mountain path.
26 Move on to the foreground
Use a flat brush again and block in some
random loose shapes with a tone of red. There is no
formula to this; it will be covered up with the rock
texture. Next, we want to paste in the rock texture and
enlarge it because it is closer to us, so we dont want the
size of detail to be the same in the foreground as in the
background. Paste the texture in and set it to Overlay.
19/7/07 10:38:29
 27 Build the foreground mountains
Follow the end of step 26 and continue to
apply the texture to the whole mountain. Using a flat
28 Pull out the details
Look for the ways that the textures meshed together and begin to pull out the shapes within the mountain.
It helps if you block in the shadow shapes first and then use a light accent colour on the edges. Also, at this point you
brush, paint on a highlight and start to form the edge of can begin to use the flat brush to shade just by using its pen pressure.
the mountain, separating it from the middle ground.

29 Dont forget the other side

The other side of the mountain is easy.
Simply copy the textures that you placed on the other
side and use the Edit>Transform command to flip it
horizontally, then follow the same process. This
mountain side, however, will have less detail for the
sake of composition.

30 Out of focus
Since we want
the left side of the mountain
to have the most detail so it
leads you down the path,
we will use a soft round
brush to make the mountain
on the right have less
texture contrast.

31 Darken the mountains

At this point, because of the textures and
airbrushing we did, the mountains have become
considerably lighter. We want to create a Levels
adjustment layer over the mountains. This can be done
best by selecting the shape of the mountain first and
then boosting the black in this area.

32 A final pass through

the piece
Now that we have all of the pieces really
fitting into place, we can begin to go back
through the piece and add the rock
texture to certain areas. Also, use our flat
brush to begin to push and pull certain
areas of interest.

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 MASTERCLASS
33 The focal point
Its very important that the focal point in
these pieces has the highest level of detail. Here, we are
TAKE A DAY WITHOUT LOOKING AT
YOUR PIECE. THEN COME BACK AND
going to want to go back into the centre and begin to
make the rock coexist with the path. That can be done
best by just using your eye and imagination. Let all the
CHECK IT OUT AGAIN
34
previous work you have done work for you now.
Lightning anyone?
I feel like adding something, but dont really feel like taking a very long time to do something new that may
not work. Once again, using what we have already created and some of the edit tools, take the cloud_4.jpg file and cut it
apart into the shape you want the stylised lightning to be in. If this doesnt work then youve only wasted two minutes.

35 Expand upon the lightning

Since you have already made one bolt
formation, you can copy that and use the Warp Tool to
manipulate it and make it behave differently.

36 An urge for a little atmosphere

Since putting the lightning down its
become apparent that there needs to be some light
refracting off the ground and the clouds at the top.
Using the soft round brush, brighten up a few areas
around the bolt. Since we have the brush out already, we
may as well hit a few lighter areas around the piece too.

Adjustment
layers
Adjustment layers are great because they dont
compromise the quality of the image. They
allow for a quick edit (see step 14) of the entire
piece. Also, once the adjustment layer is
applied, by using the Brush Tool set on black or
37 Add the spark
Next we want to rotate the second cloud
formation we made in order to complete the bolt. Also,
white, you can erase out or re-add the
by using a small, hard detail brush, we can select a very
adjustment layer that you are working on.
light yellow and add in a few highlights to the bolt.

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032-039_AVP_34_Storm.indd 38 19/7/07 10:42:12

 38 Finish the middle ground
The middle ground is calling for some more shape and texture. So, much like before, apply the texture in the
same process we have been using in order to make the focal point jump out even more.

Inspiration
Here are some of the artists that I draw my
inspiration from: J.M.W. Turner, John Constable,
Claude Monet, Winslow Homer, John Singer
Sargent, Rembrandt van Rijn. Check out their
work to get an idea of what we are trying
to achieve.

39 Almost finished
Put the final textures on the middle ground
and use your eye to search through the piece and see if
there are any details or edges you may have missed.

40 Done!
A final walk-
through will let you fix any
minor things you want to
adjust. Also, take a day
without looking at your piece.
Then come back and check it
out again when your eyes
have rested. Any problem
areas will be more apparent
after this break.

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 Feature

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 PHOTOSHOP + MUSIC = PERFECT HARMONY

Photoshop + Music
= Perfect Harmony
The record sleeve may be approaching 70 years of age, and facing a slow
demise in favour of MP3 downloads, but as Nick Spence discovers, stunning
visuals still help define musical generations and genres

F
or many, record sleeves are the first
introduction to the alluring combination of
design, illustration, photography and
typography. Over the years, pouring over the racks
of local record stores has undoubtedly sparked
numerous creative minds into exploring a career in
art and design.
Since their introduction in 1939, at the suggestion
of Alex Steinweiss, a designer at Columbia Records,
mini masterworks have adorned record shop
windows and bedsit walls across the land. The record
sleeve has been central to every youth movement
since the Fifties, helping to define generations and
musical genres. On a more personal level, they also
record a time and place in peoples development,
particularly their youth, evoking strong emotions,
memories and a sense of belonging. Books, T-shirts,
posters, limited-edition prints and museum and
gallery exhibitions have all helped curate and
celebrate the visual side of music.
Eye-catching
Its still generally true to say that if you want to gauge
what the music will sound like, judge a record by its
cover. Few people buy records solely on the strength
of their sleeves, but many will be attracted by them.
The look fundamentally helps to create an affinity
between musician and listener. Even at the most
basic level, a record sleeve offers information the
band, the title and a track listing to help you make
an informed decision. Its hard to imagine The
Beatles, The Velvet Underground, The Sex Pistols and
The Smiths all stripped of their iconic record covers.
More recently, a band like Arctic Monkeys still insist
on cover art that strongly reflects the music and
lyrics within. No band shots will do when a photo
booth snapshot of a drunken friend smoking a
cigarette best reflects the often brutal stories and
scenarios the band so realistically convey.
Liverpool-based design studio Juno (www.
junostudio.co.uk) is the creative force behind Arctic
Monkeys record sleeves, as well as producing
stunning visuals for the likes of The Coral, The
Zutons, Klaxons and The Pipettes. Like many new
studios, Juno started off simply trying to make a
living while building up a client base. We all started
off doing independent design work upon leaving
university, says Juno designer Liz Harry. We

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 Feature
Case study
STARTING OFF: THINK LOCAL,
THINK INDEPENDENT
For many, designing record sleeves, band
posters, T-shirts and flyers is a dream job.
However, getting started in the music industry
can be tricky, but with so many local bands and
venues wanting strong visuals, the
opportunities are always there. Illustrators
David Bailey and Lucy Jones, known
collectively as Mount Pleasant, began
unassumingly, creating work for local venues.
Lucy and myself have made a lot of flyers
around Manchester and other places for the
past three or so years. These act as business
cards in a way, because they have our website
address on each one, explains David. Flyers
and posters are a good way of building up a
portfolio of band-related artwork. Approach
small venues or independent promoters to ask
about making flyers for their night.
Contacting bands directly is another way of
getting your work seen, particularly early on
when budgets for artwork may be tight. I
started by asking friends of friends if I could do
some drawings for their bands. Its easiest to
get in touch with local people who play regular
gigs, says David. Working with independent
labels can mean a lot of interaction with the
band, while more people can be involved when
dealing with the majors. I do a lot of work for
bands that put out music on independent
labels, so there is always direct contact with the
band, adds David. You have more interaction
with management and label people with bands
on major labels, which is to be expected I
guess. I dont find this a bad thing though; the
people Ive worked with on big labels have
always been very nice. The artistic decisions are
still made by the band in these instances.
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040-046_AVP34_Music.indd 42
were stuck in that middle ground of not being
qualified to get a proper job, and still wanting to
make a living out of what we loved doing. So we
opted to rent a studio space and touted for work
around clubs and bars, anywhere that needed
design work but only had shoestring budgets, so
were willing to give new designers
a try.
The Juno founders carried on that way for a
couple of years sometimes with part-time jobs,
sometimes being able to live off the jobs they were
sourcing locally until eventually they were able to
generate a sustainable income and work full-time at
what they did best. When ex-Shack drummer Alan
Wills formed the Deltatronic record label to
showcase up-and-coming local band The Coral,
things began to look up, especially when they were
picked up by a major label. Alan introduced us to
The Coral, who had been signed to Sony and needed
a website. The Corals sleeve artwork was created by
the bands drummer, but the label needed a whole
campaign building around the band in a similar
collage style, using both a good old hands on
JUNO: Based in Liverpool, Juno
produces artwork, digital content for
a number of bands including the
Arctic Monkeys, The Coral and The
Zutons, working with major and
independent record labels
approach and Photoshop, explains Liz Harry. We
created everything for the band from the website, T-
shirts and singles to adverts and billboards, even the
pin badges.
The Coral deal proved to be a turning point for
Juno, as work thankfully began to flood in. We
didnt actively promote ourselves after that, as Sony
were really happy with the work wed done for The
Coral and kept giving us loads of work, enthuses
Liz. In the time that followed, we created campaigns
for The Zutons and The Dead 60s, and worked for
artists Toploader, Rhianna and even Andrew Lloyd
Webber. As our list of clients grew, we became a
known name. The Zutons campaign was really
JUNO: Photoshop plays an essential part in what
Juno does, being able to expand the images it has
created to fit various limited-edition designs and
promotional material is vital. Photoshop is one of
the main tools we use in the studio for getting a job
ready for print, and since weve expanded into video
work, we also use it to create graphics for our music
videos, says Junos Liz Harry
27/7/07 13:01:59
 PHOTOSHOP + MUSIC = PERFECT HARMONY
JUNO: Juno started locally, producing designs for
indie bands, but when The Coral were signed to Sony,
the Liverpool studio had its hands full. Liz Harry, one
of Junos designers, says: Using both a good old
hands on approach and Photoshop, we created
everything for the band from the website, T-shirts
and singles to adverts and even pin badges
successful; a look that we transferred into TV ads and
eventually a music video for the band. More interest
followed from London-based record labels including
Virgin, EMI, Domino, Atlantic, Mercury, Polydor and
Mute. After the success of The Zutons video, we also
decided to expand into music videos, which led to us
being snapped up by production company Partizan
in 2006, as an up-and-coming director.
For Juno, Photoshop has been vital to their
exceptional success, even assisting in their video
productions. Photoshop plays an essential part in
what we do, not so much as an origin for the work we
produce, but definitely for being able to expand on
images that have been created, explains Liz. For
example, with the Klaxons we are provided with
rough collages that we have to add to or adjust for
the covers, then well have to expand on that and
create limited-edition releases and all the
promotional bits and pieces for each release. Aside
from creating art, Photoshop is one of the main tools
we use in the studio for getting a job ready for print,
and since weve expanded into video work, we also
use it to create graphics for our music videos. We
created all the comic backgrounds for The Pipettes
video for Judy using Photoshop.
Many of the bands that Juno has worked with
have also helped revive the humble 7-inch vinyl
single, which in recent years has enjoyed a new life
as a cheap but highly sought-after medium. Often in
limited runs with unique b-sides, they offer yet
another format to display cool collectable artwork.
Nick Levine recently set up Index7 (www.index7.
co.uk), an online resource for all the latest news on
7-inch singles and has seen bands and artists pay
particular attention to the format. Any unique
artwork enhances a records collectibility, whether
it be a handmade or feature spray-painted sleeve,
says Nick. Most people these days tend to listen to
music via their iPods or computers. The vinyl format
is more cherished, as its a lot harder to digitise
the tracks. Also, in the modern climate, 7-inch
singles tend to be limited pressings, increasing
their desirability.
Keeping vinyl
Illustrator David Bailey and creative partner Lucy
Jones, known collectively as Mount Pleasant (www.
itsmountpleasant.com), form another team that still
creates artwork for vinyl. The format is the lifeblood
for many small independent labels and adds an air of
credibility to major labels that sign indie acts.
Between them, David and Lucy have produced
artwork for bands and artists such as Kathryn
Williams, Nine Black Alps, Mr David Viner, Tiny
Dancers and Former Bullies.
Although much of David and Lucys
work is handcrafted, Photoshop is
still an important tool for getting the
look right, especially when drawings
and paintings are scanned in. I
always scan work into Photoshop and I use it to drop
artwork onto templates. Aside from that, Im a
regular user of the brightness/contrast and hue/
saturation options, says David. Working with small
labels can mean budgets are small, so Photoshop
plays a part in preparing artwork for print that might
be produced in-house by a major label: Lately Ive
been asked about a couple of jobs to supply the text
that goes on covers and packaging as a separate
layer so Ive been having to write out the details
on a separate bit of paper and then overlay that
n Photoshop.
Working with bands and artists can set new
challenges, especially trying to balance the interests
of band, band management and record label.
Although artwork can often look evocatively eye-
catching, creating design and packaging requires
the ability to mix creativity with commerce. No Days
Off (www.nodaysoff.com) founder, Patrick Duffy,
worked previously as art director of famed
alternative style and fashion magazine Sleazenation.
More recently, Patrick has specialised in graphic
design and art direction, and has been responsible
for outstanding cover artwork for bands including
Basement Jaxx, The Shortwave Set, The Rifles,
Whitey and Elektrons. For Patrick, keeping so many
interested parties happy can produce some
unexpected solutions. Sometimes its easiest to
deal directly with the artist, sometimes
management can be a handy buffer and sometimes
the record company takes the lead, says Patrick.
Every artist is different and each one handles their
artwork in a different way. This can sometimes make
life difficult for the designer, but it can also lead to
some great, unexpected solutions.

DAVID BAILEY AND LUCY JONES:

As Mount Pleasant, illustrators David
Bailey and Lucy Jones combine their
talents to produce work for a number
of up-and-coming bands and artists.
Although much of their work is hand-
drawn, Photoshop plays an important
part in preparing artwork for print

DAVID BAILEY AND LUCY JONES:

Working mostly with small
independent labels, illustrators David
Bailey and Lucy Jones will often work
with bands and artists direct to perfect
a look for their record sleeves, posters,
T-shirts and even stage backdrops

CREATING DESIGN AND PACKAGING REQUIRES THE

ABILITY TO MIX CREATIVITY WITH COMMERCE
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 Feature
NO DAYS OFF/PATRICK DUFFY: Patrick Duffy of No Days Off worked extensively with Photoshop creating artwork for new band Elektrons, including new album Red
Light, Dont Stop, billed as the freshest, most dynamic, confident and sexy British dance record youll hear this year
Consider the format
Patrick is another who regularly works on different-
sized musical formats, both CD and vinyl, tailoring
artwork accordingly, making the most of size and
format differences rather than compromising an
image. Different formats just allow you to come up
with different solutions. I never see any particular
NO DAYS OFF/PATRICK DUFFY: No Days Off is a
creative studio, specialising in graphic design and art
direction. The studio works on a diverse range of
projects, including design for the music industry, art
direction for magazines and fashion clients, book
design and corporate identity
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Advanced Photoshop
040-046_AVP34_Music.indd 44
compromises when designing for any format, CD or
otherwise, says Patrick. For the debut album from
Manchester-based group the Elektrons, Patrick
worked hard to ensure all formats complemented
each other and the band. In the case of the
Elektrons, it was great to be able to tailor the
artwork to work on different formats. The inside of
the six-panel digipak and the inside of the gatefold
LP are both designed especially for that particular
space. Considering the format in this way allowed us
to create our dual spirals for the LP gatefold, which
we were very pleased with. One spiral contains all
the credits for the songs and the other contains
details of all the separate elements contained
within the artwork itself, which isnt something you
would normally see.
The level of detail and colour variation found in
such intricate artwork means Patrick will use
Photoshop rather than attempt to create such
complexity by hand. Photoshop can obviously be a
great help in certain circumstances, but it really
depends on the client and the job. Originally, we had
planned to make the collages for the Elektrons the
old-fashioned way, with paper and glue, explains
Patrick. Though that would have still resulted in a
very interesting sleeve, without Photoshop theres
no way we could have achieved the level of colour
and interest that we did. Although Photoshop can
add a layer of sophistication, you shouldnt lose
sight of strong, simple, visual ideas, suggests Patrick:
Its horses for courses. Some of my favourite No
Days Off sleeves are the simplest ones that use
Photoshop very little.
Saving artwork
A third format is quickly gaining ground and
those who feel confined by the physical
dimensions of a CD case should brace themselves.
MP3 downloads are becoming increasingly
popular as many music fans replace the physical
with the digital. Thankfully, digital rights
management restrictions are being eased a little,
allowing you to play your tunes on more than one
MP3 player so attracting further potential digital
switchers. The iPod has revolutionised the way
people listen to and buy music, but in the worst-
case scenario could put an end to album art as we
know it.
However, Nat Hunter, managing director at
Airside (www.airside.co.uk), the design studio
responsible for the gorgeous, award-winning
Lemon Jelly packaging, believes that despite the
popularity of iPods and MP3 downloads, artwork
is still an essential part of the listening
experience. Album art is a way of distinguishing
one track from another. On my iPod I always use
the option where you can see a picture of the
artwork as then my brain has an increased chance
of remembering it, says Nat. And while we still
have visual ways of advertising billboards,
videos, TV adverts we need to maintain that link
with the end product, in order to have a coherent
picture of the brand/band in our heads.
With MP3s here to stay, Nat suggests you take
the format into consideration when designing
artwork, creating something that will still work
well when reduced to the size of a stamp:
27/7/07 13:03:16
 PHOTOSHOP + MUSIC = PERFECT HARMONY
Case study
BRAND NU CREATES NVL A VISUAL MIXTAPE
The links between music, art, design and fashion have long been established,
with many a rock star forming a band while at art school. Today, numerous
designers share a love for music that is reflected in the work they produce and
the clients they work with.
As Brand Nu, award-winning freelance illustrator, graphic designer and
Photoshop guru Radim Malinic has built a strong portfolio, including many
music-based clients from ultra-cool DJ compilations to trendy dance clubs and
bars. I used to DJ for about ten years and, when record shopping, I always
listened to the records with great artwork first, says Radim. You could almost
say the label put more effort into the release. Radim is currently the driving
force behind Nu Visual Language, an innovative project designed to create
visuals based on various songs and lyrics. The visual mixtape combines the
talents of Radim and his creative collaborators who were given tracks randomly RADIM MALINIC/BRAND NU: As Brand Nu, Radim Malinic is an award-winning
to trigger their inspiration and spontaneous feelings. freelance illustrator and graphic designer, based in Southampton, whose
An NVL exhibition and online gallery is planned for the autumn, where continued love of music has led him to create 12 alternative pieces of cover
visitors will be able to listen to the individual tracks on headphones. The 12 artwork, a visual mixtape for a forthcoming exhibition Nu Visual Language
tracks I have chosen have been somehow inspirational to me and triggered the
whole idea of this project, explains Radim. Being commissioned by dance
labels means Radim still produces work for 12-inch vinyl, the classic format for
displaying record sleeve artwork. The record labels I have been working for
put more emphasis on the artwork, still putting out colour sleeves and giving
customers a better product, even though the vinyl record sales are dropping,
adds Radim. Its nice to work with the artist and hear their vision on the album
artwork. Trying to shape up their ideas.
Visit Radim at www.brandnu.co.uk.
Visit NVL at www.nuvisuallanguage.co.uk.

RADIM MALINIC/BRAND NU: NVL projects are led by Radim Malinic, a freelance
designer and illustrator creating visuals for the likes of Tricky, Herbert, Charles
Webster and Bugge Wesseltoft

REMEMBER THAT IMAGES HAVE TO

Remember that images have to work at about 2cm
square, on iPods and magazine reviews. Make a
mock up of it, take it into a record shop, put it on a
shelf and see if it stands out. With a MySpace full of
potential takers, Nat suggests you seek out new
talent to kick-start your record designing vocation:
Find a band thats just starting out who need a
sleeve made and let your imagination run wild.
With illegal downloading on the rise, record
companies have to think of new ways to convince
people to buy CDs legitimately across the counter
and online. Many now offer limited-edition
packaging, particularly digipaks packed with
posters, bonus tracks and DVDs. These are intended
WORK AT ABOUT 2CM SQUARE, ON
IPODS AND MAGAZINE REVIEWS
to boost sales in the all-important first week of
release and give ample opportunity for designers to
be extra creative. Deluxe packaging of back
catalogue material has also meant new
opportunities to add content, particularly archive
photos, memorabilia and extended sleeves notes to
classic releases.
Self-taught designer Marc Bessant (www.
realworld.co.uk and www.myspace.com/marc
bessant) has been creating artwork and videos for
the likes of Portishead and Peter Gabriel over the
years. For Marc, the budgets associated with limited-
edition packaging and lush reissues can sometimes
distract from the idea. Budgets are a consideration,
but a good idea costs nothing to start with and its
the idea thats paramount. After that you figure out
the best way to execute it, insists Marc. Good ideas
also have to take into account the commercial and
practical aspects that can play a role in how your
finished artwork will look: There are boring
practical considerations, like knowing what the
prime design real-estate of a cover is, with so

MARC BESSANT: Marc Bessant has designed over a

hundred record covers and numerous posters. He
started with a Mac Performa 6500 and a copy of
Photoshop 3 and hasnt stopped since: I thought it
was amazing. No more paint on the carpet!

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 Feature
many stickers, prices and promotions being financed album sleeves for new bands, thats where
plastered on the cases, you run out of room you can get your ideas through, enthuses Marc.
quite quickly. Make personal progress, where you get the space
Starting with an Apple Mac Performa 6500 and to experiment and make errors without big
Photoshop 3, Marc has designed over a hundred consequences. Work gets done quickly with a
record covers, and many posters and prints minimum of fuss and then gets put behind you.
promoting touring bands and venues. Photoshop Thats where the real buzz is at: [saying] that was
has been central to much of that prolific output, an good, whats next? 5
indispensable tool in his creative armoury:
Whether its painting, screen-print or chunky knit MARC BESSANT: Whether its providing artwork and
embroidery, its going to go through the machinery video to the likes of Portishead and Peter Gabriel, or
creating posters for movies and bands that play to one-
sooner or later and Photoshop is always the weapon
man-and-his-dog, self-taught Bristol-born Marc Bessant
of choice. Its a fantastic tool, the best brush in the is an artist of no fixed discipline, who blames comic
box as far as Im concerned. books, prog rock covers and vintage movie posters for his
Ultimately, creating artwork for bands and record inability to find a different vocation
companies clearly has great appeal. Having your
work in thousands of homes, and seen by thousands
more, will spur on any budding designer. Be
prepared, however, suggests Marc, to have your
vision compromised, particularly when working for
international labels with so many more wanting a
say. The bigger the band, the more people want
their two-penneth, suggests Marc. Be happy if you
get 33 per cent of your original idea to the finish line;
it never goes all your own way, so dont beat yourself
up about it.
For Marc, the real deal is working with new bands,
free of the corporate trappings, who are happy to
embrace ideas that encapsulate their musical
identity. Im lucky enough to have done work thats
seen by many, but I get more out of the work seen by
the few, the posters for independent movies or self-

Case study
FURTHER READING: SUPERSONIC
In recent years, a plethora of design publications and coffee-table hardbound books have sought to
document all that is great about current music design. Supersonic, the follow-up to the best-selling Sonic, is
the latest lush compendium. Combining recent CD covers, record sleeves and concert posters across more
than 300 pages, its a must-have source book and ideal inspirational introduction to contemporary design.
Proof, if needed, that high-quality graphics are still prevalent, despite the popularity of MP3 players and
music downloads. Great songs sell records, but visibility brings definition in the market place, explains
Gerard Saint, creative director for Big Active (www.bigactive.com), whose work with Beck on The
Information, featured in Supersonic, recently won a prestigious Yellow Pencil at the D&AD Global Awards.
Beck was keen to work with Big Active, being a fan of many of the artists it represents. Invited to spend a
few days in LA together, Gerard and Beck developed the idea of a DIY sleeve made up from numerous
stickers. There is no front cover as such; the CD contains one of four different sticker sheets, each
featuring original images by 20 different artists, explains Gerard in Supersonic. Given a blank canvas of
graph paper, the listener is encouraged to get creative and design their own cover or customise the
package using the kit of stickers supplied within. The idea proved a hit and encouraged many to pay a visit
to their local record store. The main feedback we have been getting is that many fans who buy pretty
much all of their music online felt that this package has given them a reason to actually want to own the
physical album, which is exactly what we set out to do.
Supersonic (ISBN: 978-3-89955-186-0) is published by Die Gestalten Verlag (www.die-gestalten.de) and
costs 32.50.
SUPERSONIC: Supersonic presents over 300 striking
pages of todays best-designed music products with a
focus on independent and alternative rock, as well as
electronica, including award-winning artwork from Big
Active and Beck

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 MASTERCLASS
ON THE DISC
If you fancy trying your hand at this technical
illustration tutorial, then take a look at the disc
attached to the back page of this issue. Here you
will find a selection of reference images of cars
and bikes. Youre free to use these however you
like for your own projects.
OUR EXPERT Adam Smith
Advanced Photoshops Staff Writer, Adam Smith has previously
worked on commissions for The NSDF, as well as having work
published in The Times and other publications.
1 Preferred choice
Before youve even started with Photoshop, its
worth doing a little homework to find a vehicle that is
dynamic, looks cool, and for which parts can be found
readily (this could be on the internet or through third
parties). Get your camera out and look around car parks,
streets, and motor shows. Ive always been a big fan of
the Vespa, so its my vehicle of choice.
48
Advanced Photoshop
048-054_AVP34_Technical drawing.48 48
Technical illustration
Rev your creative engines and create a technical
illustration with these Photoshop techniques
E
ver looked at one of the many technical
illustrations out there, marvelled at the mastery
of the application and thought that would
drive me mad? Sure, technical illustration may appear
to be a specialist technique and a daunting task, but
we all have to start somewhere. This months tutorial
shows you how to take your first steps in this style and
use some of Photoshops most common tools to make
this process as straightforward as possible. Using core
swatch tones, various sizes and opacities of brushes,
the Pen and Path Tools, and a couple of blend modes
for good measure, you can learn to evolve your
application process. You will be more comfortable in
your approach to such a task and, therefore, more
confident in your own creative skills.
You wont become a pro over night though; the
project isnt a mechanical guide showing all the parts
that make up the vehicle. You will, however, learn the
essentials, like ways to create substance and realism, and
most of all youll have a lot of fun. For a technical
illustration tutorial it really isnt, well, very technical. So
get stuck in and youll soon be firmly in that creative
driving seat.
3 Cut it out
Youre bound to have a interfering background
object, so select the standard Pen Tool and create a
path around the vehicle structure. Once complete, Ctrl-
click this new drawn layer and Rasterize. Choose the
Magic Wand Tool and select your drawn shape. Choose
Select>Inverse and highlight your original photo layer.
Next, press Ctrl+X to delete. Now youll be left with just
the vehicle.
2
Adjusting exposure
Select an inspiring example, which will allow
you to create an illustration of visual interest. The
more exposure within an image, the better, as it gives
you substance when applying tone. Choose
File>Open, accessing your document. If the image is a
little dark, as in our example, simply select Image>
Adjustments>Variations, and use the Lighter
thumbnail to lighten your image.
GET YOUR CAMERA OUT AND LOOK
AROUND CAR PARKS
27/7/07 11:06:46
 4 On the inside
Use the Pen Tool again to the areas that include
unwanted background detail. Rasterize these drawn
shapes, Ctrl-clicking them, and select Merge Layers to
group them. Apply the Magic Wand Tool, but dont select
Inverse. Instead, press Ctrl+X to delete. Once satisfied with
the cut-out scooter, erase these Pen Tool layers.
6 Handle your lines
Now create another layer, naming it according to
the part of the vehicle you are drawing. Begin to draw
this section, much the same as when using the shape
drawing Pen Tool. Once you have completed this, make
sure your foreground colour is set to black, selecting a
hard round 1-Pixel brush.
7 Invisible marker
Once you have drawn around your selected
area, youll notice that there are no markings present.
To change this, select the Path palette (next to the
Layers palette) and Ctrl-click on your new drawn path.
Name it appropriately to keep order. Select Stroke
Path from the Options, choosing Brush, and press OK.
048-054_AVP34_Technical drawing.49 49
5 Pick up the pen
Without any visual interference, you can now concentrate on application. Create a new layer, choosing the Create
New Layer icon at the bottom of the Layers palette, and select Edit>Fill with this layer activated. Set Contents to white
and Opacity to 100%. Then, choosing the standard Pen Tool, activate the Path function in the upper toolbar.
8
Developing sections
You should now have applied lines that define
your drawn shape. Any problems and you can take a
few steps back or start again. This next bit will take
time and patience, as its time to draw the other
sections of your vehicle. Create as many parts
necessary, as each will be subjected to its own tonal
treatment. Once you have finished, youll have
something that looks like this.
Calibration
celebration
Colour is an important factor in technical
illustration, especially when supplying
professional work to print. Thats why it is a
smart investment to purchase calibration
software. The slightest conflict between what
we see on screen and what is printed is an
annoyance and could create havoc, perhaps
even costing you the commission.
Calibration will provide you with a process
whereby the device is brought to a standard
state. In this case, it improves the monitors
ability to handle colour characteristics,
achieved effortlessly by investing in easy-to-use
monitor colour-correction tools. Take, for
example, the Pantone Huey, which will
automatically adjust the colour of your
monitor, and all you have to do is follow a step-
by-step installation, working on both Mac and
PC platforms.
49
Advanced Photoshop
27/7/07 11:07:01
 MASTERCLASS
9 Rubbing out
You will notice that you have a lot of layers and HAVING A VISUAL AID WILL HELP YOU
lines that overlap at this stage, so lets quickly assemble
them for easy access. Start with the related bodywork TO IMAGINE HOW LARGE AN AREA YOU
layers. Select your Magic Wand Tool, clicking inside your
drawn shape. Select the Eraser Tool, 100% Opacity, and
then activate the layer where the lines converge before
WILL AFFECT
10
simply rubbing them away.
Be selective
Do this for your corresponding wheel and other necessary layers. There will be stand-alone sections, so
leave these. Also, for structures made of numerous parts, such as steering and front rack sections, dont apply this
process. Well start painting these first and assembling them accordingly. Lets begin by selecting (Mac)
Photoshop/(PC) Edit>Preferences>Cursors.

11 Pixel perfect edge

Before starting the painting process, set the
Painting Cursor to Normal Brush Tip and set your
Other Cursors to Precise, if they are not already. The
reason for doing so is quite simple: these settings will
make sure you have a round cursor, roughly the
diameter of the pixel dimension for the selected brush
size. Having this visual aid will help you to imagine
how large an area you will affect.

13 Laying a base
Now select a
section of the scooters

12
front rack. Select the Magic
Tone of choice Wand and highlight the
Now we can apply some paint. Well start inside area. Choose Edit>Fill
with a simple task of reproducing all chromed areas of and select White Contents.
our vehicle. To do this, youll need blue (C:50, M:15, Y:2, Then set a Multiply blend
K:0), brown (C:5, M:35, Y:80, K:40), black and white. To mode to this layer, with your
add these specific tones to your swatches, create original photo layer active,
them using the Color Picker Dialog box and then, allowing transparency.
activating your Swatches Dialogue box, choose Create Press Ctrl/Command+H,
a New Swatch, for the foreground colour. hiding your marching ants.
Choose a soft round 13-
pixel brush, black with an
Opacity of 20%.

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 14 Layering colour
Now apply your brush, dragging it back and forth as horizontally as possible. Keep the brush half way
out of the selected area. You can hold the Shift key, ensuring the stroke is a perfectly horizontal line. Then, with a
smaller soft round brush, set your Opacity to 50% and Blend Mode to Multiply, running it along the foot of your
bar, giving the shadows a hard edge.

CMY-OK
There may be good reasons for working in RGB
for this kind of project, but for all other
purposes CMYK is a better choice. This is due to
the fact that it is a subtractive colour. In
printing, as in illustration, you already start with
white (the surface of your paper, blank digital
file), and since CMYK is the colour space that is
used in the four-colour printing process, it
should be used if your design is to be printed, as
it probably will be if you create professionally.
Its also handy to have a 100% black tonal value,
as this will be used exclusively for your line art.
It will minimise the smallest error in registration
when printing, which prevents lines from
thickening or losing sharpness.

15 Defining colour

16
Now repeat this process at the top of your chrome section, adhering to the same properties, but changing brush
size if required. Select your brown tone from your Swatches palette and a soft round 13-pixel brush, Opacity 15%, applying it to Chromed out
the foot of your selected area. Select your blue tone with the same settings and apply to the top of your selection. Now apply these settings to the other
chrome sections of the scooter. If you are attempting
this for the first time, be persistent. However, tackling
curves can be made easier. Simply activate the Path
Pen Tool and trace the contour you wish to shade.
Then, in the Path layers, activate this new work path
and save it. Select the required brush and settings and
apply a Brush Stroke Path.

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 MASTERCLASS
17 Polished off
This will give you a really quick base to then BIT BY BIT, YOUR IMAGE WILL START
work over, and if you familiarise yourself with the
process, you can build up your applied tonal layers. Bit TO RESOLUTE AND YOULL SOON HAVE
by bit, your image will start to resolute and youll soon
have a shiny chrome layer. To add the finishing touch
to this, set your foreground colour to white, a Hard
A SHINY CHROME LAYER
18
Light blend, and touch up your highlighted areas for
maximum exposure and shine. Use the Blur Tool to Slow down
soften any hard edges. Once more, be
confident and liberal in your
application. Always set
opacitated black as your base
tone and build upon it as
much as you see fit. Focus on
changing your Opacity and
brush sizes according to your
shapes size and tone. There
really isnt that much to it,
except taking a little time,
experimenting, and focusing
on the tones applied to
create form.

19 Accelerate design
Once you are satisfied, apply tone to your larger sections. As you can see, the bodywork, although one
single structure, displays a lot of exposure and shadow, so lets start to simplify it. Select your Pen Tool, set to
20 Bodywork
Again, this is a process that takes time and
adds layers but it all contributes to the detail of the
Shape Layers, ensure Foreground is set to 35% Grey from your Swatches palette and draw the basic shaped artwork. Select your drawn shape and apply Multiply
section from the vehicle. Rasterize and erase overlapping where appropriate. Blend so you can see the layer beneath as guidance.
Start to apply tone, very much like before. You will,
however, notice that some areas have large cast
shadow or lighting and can be frustrating to paint if
starting out, so simplify once more.

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 21 Applying shadow
Select your Pen Tool,
set to Shape Layers and begin to
draw out the areas of shadow on
your selected area. Now apply an
Overlay blend mode to each of
these drawn shapes and edit
Model
Opacity until you are satisfied that
they match the actual shadow.
material
Dont worry if you overlap your So, how do you get hold of photos or images to
outline, simply Ctrl-click your work with? The options are certainly not
drawn shape and Rasterize, using limited; visit car showrooms, car parks,
the Magic Wand to erase mechanic yards, or even the garage, and get
unwanted value. snap happy with an old camera. If you really
long for a specific vehicle then why not contact
the dealership or manufacturers directly? Most
have their own websites and would be only too
happy to provide photos as well as interior

22
illustrations and manuals. Below are a few
Integrate gradient
specialist manufacturers websites:
Now youll need to www.vespa.com
integrate these shadows. We have www.porsche.com
applied Gradient Overlay (Add www.mclaren.com
Layer Style button at foot of
Layers palette) to shape three, set
65% Opacity, and Angle to 65%,
according to the lighting position.
Make sure that your foreground
colour adheres to the grey tone
creating your base colour. Also, try
using minimal blurs with the Blur
Tools and a soft-edged Rubber
Tool. Set to a low Opacity to fade
hard edges.

23 Soft touch
Having built up the bodywork in some
sections, you may find that you incur hard edges
24 Remember, remember
Time, patience, perception and persistence are key here. Different Gradients with alternative Opacity
and Angle values will need to be utilized and, of course, the applied Eraser Tool, Blur Tools and Paint strokes will be
where the sections meet or where light varies. If you individual, but do remember to only use the appropriate blend modes mentioned when painting; Multiply when
have enough overlap between sections you can applying colour and shade, Hard Light when highlighting.
always select a small soft-edged or splayed style
brush, set to a low Opacity between 20% to 30%, and
zoom right in to rub away edges and integrate
matching applications and tone as you go.

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 MASTERCLASS
25 Hot wheels
Next, set your brush Opacity to 30%, Blend
Mode to Multiply, selecting black tone and paint your
27 Easy rider
With all the method knowledge youve
acquired through extended practice, you should be
tyres like you did on all other sections. Then, selecting ready to tackle your internal mechanical sections. This,
the Path Pen Tool, you can draw your path, following again, will take time but the more familiar you
the tyre pattern. Select a hard round brush of 5-pixel become with your application, the more enjoyable
width. Multiply Blend Mode, Opacity 10%, save your this becomes. I have chosen to recreate the engine
Path as shown before and apply Stroke. If the marking section. Not strictly a Vespa engine, but in the case of
edges are too hard use a light blur to soften. learning not really that imperative.

26 Other colour
When applying concentrated colour areas
within your technical painting, apply as before,
creating definition. However, you can use the Color
Picker to apply the necessary tones at this stage,
rather than stick to your original four colours. You can
also hasten the process by colour-picking the
strongest tonal value, using the Shape Pen Tool,
Rasterizing, and then using this as a template to
develop application. Blur all joining edges if necessary.

28 Begin ghosting
With your mechanics complete, simply Copy>Paste them into the
illustration and drop the new layer at the very bottom of the Layers bar, excluding
29 Transparent
transport
Now deactivate all
your background layer. Now its time to ghost your image. Start by identifying the unnecessary tonal layers as
tonal layers that need merging, if any, to enable coherent erasure and merge them. these will distract you, and
Once done, select the Add Layer Mask icon from the foot of the Layers palette, select your Magic Wand
applying a mask to this newly formed layer. Tool, selecting inside the
areas according to where
you will be ghosting your
image. Upon selection,
proceed to choose a large
soft-edged round brush.
Set the Opacity to around
20/30% so as not to apply
too harsh erasure and click
the airbrush icon in the
upper toolbar to activate
its capabilities.

30 End of the road

Press D on your keyboard to reset your foreground
and background colours to default setting. Select the Add Layer
Mask icon from the foot of the Layers palette. Now, with your
foreground colour set to black, all thats left for you to do is be
attentive in your erasing. To reapply visual value at any time, set
your foreground colour to white and apply your brush. You may
also wish to repeat this process with any other layers that
disrupt your ghosting process, such as line sections.

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 Part four
We continue our exploration
into the hidden gems of
Photoshop and explore tips
from letters N to Q

N avigator palette
The Navigator palette is used to
quickly alter the view of your
image using the thumbnail display.
The coloured box within the Navigator,
the proxy view area, corresponds to
the current viewable area. You can use the
Zoom slider to scrutinise working areas. It can
become a valuable tool when editing detailed
compositions. To display the Navigator palette, simply
select Window>Navigator. To move the view of an
image, drag the proxy view area in the image
thumbnail. You can also click the image thumbnail to
designate the viewable area. To change the
magnification, type a value in the text box, click the
Zoom Out or Zoom In button, or drag the Zoom slider.
N ew document preset
By selecting File>New you can go about
setting your document size in the Preset
menu. Here you can set the width and height by
choosing a preset from the Size menu or entering
values in the Width and Height text boxes. Set the
Resolution, Color Mode and Bit Depth. If youve
copied a selection to the clipboard, then theres no
need to worry as the image dimensions and
resolution are automatically based on that image
data. Advanced options allow you to choose a colour
profile, or choose Dont Color Manage This Document.
For Pixel Aspect Ratio, choose Square unless youre
using the image for video. When you finish, you can
save the settings as a preset by clicking Save Preset, or
you can click OK to open the new file.
O verprint
colours
This adjustment offers
users the ability to test the
results of overlapping any two
colours. For example, when
you print a cyan ink over magenta ink, the
resulting print colour would be purple. Keep in
mind, however, that this adjustment affects only
how the overprint colour appears on-screen, not
when printed. A handy hint before using this
effect is to recalibrate your machine and to predict
how the colours look when printed, use printed
samples of the overprinted inks, adjusting your
screen display accordingly. To apply Overprint
Colors select Image>Mode>Duotone, setting your
image to Greyscale beforehand. Select your Type
from Monotone, Duotone, Tritone and Quadtone,
depending on how many inks you wish to
overprint. Select your colours and you can also
apply a Duotone Curve for specific treatment.

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 A TO Z PHOTOSHOP TIPS

P atch tool
The Patch Tool is a quick and
easy way to repair an area with
pixels from another area. Similar to the
Healing Brush Tool in principle, it matches
the texture, lighting and shading of the
sampled pixels to those of the source pixels. You can also
use the Path Tool to clone isolated areas within an image.
It couldnt be simpler to use. Just activate the tool in the
toolbar and select the desired area you wish to edit by
drawing around this area. Once you are satisfied, click and
hold your selection, dragging it in the desired direction to
edit. Selecting small working areas works to best effect.
This tool is a lot less time intensive than other similar tools
and works with both 8-bit and 16-bit-per-channel images.
P attern maker
The Pattern Maker filter is a tool that slices and
reassembles an image to make a pattern. This
pattern can then be saved as a preset pattern and used
with other imagery, accommodating Brush Tools and
Blending Modes to create great effects with your
photography and artwork. Start by selecting the layer that
has the area that you wish to generate your pattern, but
be aware the generated pattern will replace your layer, so
work with a duplicated layer. Proceed by selecting
Filter>Pattern Maker and then specify the source of your
pattern using the Marquee Tool in the dialog box. To
move your selection, use the Hand Tool to drag your
selection. You can specify pixel dimensions in the Width
and Height boxes or click Image Size to generate a pattern
with one tile that fills the layer. When satisfied, click
Generate and your pattern be created, tiling your preview
area. You can Generate again until youre happy with the
result and then use the Tile History dialog box to scroll
through generation, saving or deleting effects.
P hoto filter
The Photo Filter command mimics the technique
of putting a coloured filter in front of the camera
lens to adjust the color balance and color temperature of
the light transmitted through the lens and exposing the
film. The Photo Filter command also lets you choose a
colour preset to apply a hue adjustment to an image. If
you want to apply a custom colour adjustment, the Photo
Filter command lets you specify a color using the Adobe
Color Picker. To activate the filter effect, choose Layers>
Adjustments> Photo Filter or select the New Adjustment
Layer icon at the foot of the Layers Palette. Then proceed
to choose the colour filter of your choice either from the
preset options or setting a custom colour by clicking the
coloured square, using the Color Picker. To adjust the
amount of applied colour, use the Density Slider to apply
a percentage. A higher density results in stronger colour.
Tick Preview if you want to see your image adjusted on-
screen as you make your changes.

Q uick mask
Quick Mask is a special
mode in Photoshop that is
completely devoted to defining a
selection. While in Quick Mask
mode, every Photoshop function,
tool result, and menu command is
related to defining the selected area. Start with a
selection and then add or subtract from it to make
the mask. Much like other mask-related tools, colour
differentiates the protected and unprotected image
areas. To apply, simply select your desired areas using
any one of the standard selections tools and then
proceed to select the Quick Mask icon on the toolbar.
Youll notice a Color Overlay covers and protects the
outside area. With your swatches automatically set to
black and white you can edit your image accordingly
white selecting and black deselecting image areas.
Click the Standard Mode button to deactivate the
Quick Mask and a selection border will appear around
your unprotected area so you can apply any desired
changes. Choose Select>Deselect to deactivate your
selection when finished.

57
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056-057_AVP_34_A-Z.indd 57 18/7/07 17:59:42

 THE NEW ADVANCED
PHOTOSHOP WEBSITE
Showcasing your work to fellow Advanced Photoshop
readers is now even easier with our new web gallery

T
heres now a very easy way to get your images seen by the
Advanced Photoshop community. As well as being able to
submit your images for our Peer Pressure gallery, you can now
create your own online gallery for the whole world to see.
Just like creating your own Flickr account, you can add images to
your gallery whenever you like. Although all galleries can be viewed
by any member of the website, every week a selection of images are
chosen for Pic of the Week and Editors Choice Gallery Showcase.
These winning images are then included on the website home page
for all to see.
Although the gallery is very simple to use, there are a few tips and
tricks that can help you to get the most out of the feature. Lets take
a look at how to use our gallery

1 The main site

To add a gallery to our site, first you will need to sign up. You
can create a new user profile by selecting the Sign-up option under
the Galleries header, and then filling out all the required information.
Here, you can also pick an avatar and write your own biography.

2 Upload images
Once youve created a profile, the next
stage is to add some images to your gallery.
With the home page displayed, click on the
Click here to view your profile option next to

www.advancedphotoshop.co.uk
your user name at the top of the page. From
this section, you can view all sorts of
important information, such as the number
of views, comments and ratings your
pictures have received. Under the Gallery
section, click on the Add new image option.

3 Edit your image

The next step is to upload your

image. You can locate the file on your
computer by clicking on the Choose File
icon, then select a title, description and
Image Category. For the image to upload,
you must remember to tick the small print
box and check through the image
requirements at the bottom of the page.
Once youre done, click on the Submit
Image button.
4
Your image on display
Dont be worried if youve gone
through all these steps and you cant
find your image in the Latest Images
section. In order to avoid inappropriate
content and spam from flooding the web
page, all images have to be approved by
an Administrator.

The Advanced Photoshop official website will only be as good as you make it. Were hoping this can be a buzzing community
where you can quickly post and critique images. Log on and register to play your part!

www.advancedphotoshop.co.uk
59
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 Insider
Info
INSIDER
INFO
Using Blend If for conditional masking
Blend If is an enigma to most Photoshop users, yet it is a powerful, unique masking
tool that lies hidden behind the face of layers

B
lend If is not a feature you will find in Photoshop Help or Photoshop
books, though it has been around since Photoshop 3. One thing that
Blend If does better than any other feature in Photoshop is mask or
target ranges of tone or colour. Coupled with Actions, Blend If comes in handy
to make quick work of highlight and shadow masks.
Where is Blend If?
You can find Blend If on the Layer Styles screen. To get to the Layer Styles dialog
box, open the Layers palette and double-click in a layer anywhere but on the
name (Figure 1). You can also activate
any non-background layer and choose
Blending Options from the Layers
palette menu (Figure 2). Either of these
actions will open the Layer Styles
screen, where you will find the Blend If
panel at the bottom in the centre of the
screen (Figure 3).
What Blend If does
Blend If targets changes based on the
FIGURE 1: You can double-click the colour or tonal content of the active
thumbnail for the image or the area layer (using the This Layer sliders) or
outside the name
content below the active layer (using
the Underlying Layer sliders). It will
create transparency in the layer where
it is applied and mask the content
without using a layer mask or
permanently deleting the layer content.
To look at the basic functionality, lets
FIGURE 2: Also
make a sample gradient that will help
find Blending
Options by right- you see the effects:
clicking on a layer 1. Open the Blend If Test.tif file.
(PC/Windows), or 2. Double-click the Layer 1 thumbnail.
holding down the This will open the Layer Styles.
Control key and
clicking the layer 3. Click on the black This Layer Blend If
slider and drag it to the centre of the
(Mac/OS X)
slider range at 128 (Figure 4).
FIGURE 3: The Layer Styles screen is FIGURE 4: As you drag the cursor,
full of features, including other little- the gradient vanishes from left to right,
used Advanced Blending gems, like but the layer in the Layers palette does
Knockout and Channels not change
Richard Lynch
OUR EXPERT
Richard Lynch has published seven books on
advanced topics for Photoshop and Elements, most
recently releasing The Adobe Photoshop Layers Book
(July 2007). He teaches image editing online at
betterphoto.com, and maintains websites, blogs
and forums at photoshopcs.com and
hiddenelements.com.
The change in position of the This
Layer slider limits the range of what is
visible in the layer so it blends with
what is below (in this case, to
transparency as there is nothing
below). Everything to the left of the
black slider and everything to the right
of the white slider becomes
transparent (try moving the sliders to
other positions and youll see). The
same concepts hold true for using the
Underlying Layer sliders, the difference
in that case is that the content of the
current layer will blend based on the
content of the layers below.
Practical application of
Blend If
Blend If works great for creating
highlight and shadow masks without
spending the utility of your layer mask
you can keep your layer mask free to
use for other purposes. Say you want
to burn in the highlights for your
image. You could make a layer mask, or
you could do the following:
1. Create a new layer at the top of the
Layers palette.
2. Press Cmd+Option+Shift+E/
Ctrl+Alt+Shift+E (Mac/Windows).
3. Change the Blending Mode of the
layer you created to Multiply.
4. Play the Mask Shadows action in the
Richards Quick Blend If Masking.
atn file included on the CD to set the
Blend If sliders so they reveal the
highlights in the current layer.
The Action positions the Blend If
sliders so the current layer blends only
with the highlights into the layers
below. You can open the Layer Styles
for the layer you added to see the
Blend If slider positions. Other actions
Converting levels
Blend If is measured in levels of
0-255 (black to white). To convert
levels to a percentage of black,
divide levels by 2.55 and subtract
from 100; to convert percentage
black to levels, subtract black
percentage from 100 and multiply
by 2.55.
in the set allow you to mask highlights,
or target shadows or highlights below
the current layer.
Many other uses for Blend If include
targeting colour ranges (perhaps skin
tones and red eye), and colourising
black-and-white images. Anything
with a set tone and colour range can be
targeted while leaving other powerful
masking tools free for fine-tuning your
results. Consider trying Blend If next
time you need to target a specific tone
or colour range!
BEFORE (LEFT): The highlights in
this image are a little hard. Blend If
can help target changes and burn in
the highlights
AFTER (RIGHT): Following the steps for
change, a composite layer is created
and shadows are masked so highlights
targeted by Blend If will burn in
Split the sliders
Blend If sliders can be split to
soften Blend If applications. To
split sliders, view the Blend If
sliders, hold down the Alt key (PC/
Windows) or Option key (Mac/OS X)
then click-and-drag on one half of
the slider.

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 Step-by-step
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GIVE LIFE TO YOUR TEXT
Weve all made the shiny metal text, the translucent glassy text, and the glossy plastic text.
But what about something more organic? Something more life-like? Kirk Nelson takes some
inspiration from the backyard and shows you how
C
reating interesting text effects
requires constant innovation. How
many times have we seen text thats
just another combination of Bevel & Emboss
and Drop Shadow?
Those were impressive back before the days
of Layer Styles, but not any more. Even more
complex effects like metal, plastic and glass
seem to be almost routine these days. As
graphics technology races forward, artists
have to strive to stay ahead of the curve to
create something new, different and
1 Snap, snap, snap
Grab your digital camera and head out
into the backyard. Well need good, even shots
of grass, mulch and dirt. If you can find an odd
bug or two, thatll be great. Also try to get some
shots of other garden items, like gloves, a spade
and a hose.
4 The shape of things to come
For the text to look organic it needs to have
imperfections. The letters should be slightly out of
line, slightly different sizes, have small rotational
differences, etc. These details will help sell the
illusion later on. Convert the text to a shape layer
(Layer>Type>Convert to Shape) and pull the
vector path points around a bit to break up the
perfect text alignment.
062-066_AVP_34_GrassType.indd 63
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interesting. Instead of imitating something ON THE DISC
manufactured, what if we try to make our On this months CD you will find all
text look like something living, something the source imagery you need to
complete this tutorial through from
organic, as if it grew that way? Over the next start to finish. Alternatively, why not
couple pages well explore a technique for get snapping in your own garden to
creating a grassy text effect in Photoshop. add personal elements?
This tutorial makes good use of several OUR EXPERT Kirk Nelson
Photoshop power features like layers, masks, Kirk Nelson has been a graphic artist for ten years in the
Washington DC metro area. His work has appeared in such
paths, custom brushes and filters. There are
publications as the Marine Corps Gazette and Transition
also some great tips for adding realism to Point. He utilises several media types and is constantly
your artwork. So lets get started with striving to enhance his concept visualisation products with
innovative new ideas and techniques.
creating some unusual text effects.
3 Lets get started
Create a new file nice and big at 300 x
300mm at 300dpi. Add some text to work with.
Big blocky letters work best. We used Arial Black
for the words Giving text and Cushing Hv BT for
the word Life.
2 Seamless
Now, using those digital images, create a
seamless pattern for both the grass and the dirt.
Photoshop has a Pattern Maker filter that will
work, but if you want to do it yourself, try using
the Offset filter (Filter>Other>Offset) with the
Wrap Around option selected. This will reveal
the edges so you can use the Clone Tool to
cover over the seams. When you are happy with
your grass and dirt textures, define them each
as patterns for later use with Edit>Define
Pattern. We called them GrassPattern and
DirtPattern, because were the creative sort.
Early morning photos
When snapping pictures to use as patterns in Photoshop or
textures in a 3D application, its best to avoid hard shadows
in the shots. Youll want to control how the shadows fall in
your design according to the lighting you set up, so you
want as few shadows as possible in your textures. Achieving
this requires very soft, even lighting, which can be difficult
to achieve with outside subjects like grass or mulch. One
trick is to get up early and venture out just before dawn,
when the light is soft and ambient just before the suns rays
breach the horizon. The light is good and the shadows are
minimal. This magic hour is a daily miracle for the artist in
need of turning photos into patterns.
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 Step-by-step
Workshop
5 Cut the grass
Switch over to the Paths palette and
duplicate the path for later use by dragging the
text shapes vector path down to the New Path
icon. We called this path EdgePath. Create a
new layer called Grass and fill it with the grass
pattern you created earlier. Ctrl-click the Text
Shape vector mask to create a selection in the
shape of the text. Then use this selection as a
mask on the Grass layer.
8 Adding depth
Things are starting to shape up, but still
look rather flat and lifeless. Duplicate the Grass
layer, name it GrassDepth and place it under
the original in the Layers palette. Then move it
down a bit on the canvas so it looks like the
front edge of the grass text. Darkening it adds to
the realism. We used a Hue/Saturation
adjustment layer with the Saturation at -21 and
Lightness at -32, and then clipped it to the
GrassDepth layer.
REALISM IS ALL
ABOUT THE SUBTLE
DETAILS, THE SMALL
IMPERFECTIONS
OF LIFE
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7 Sprayed strokes
The text edges are too straight to be
realistic. Select the Grass layer mask and apply a
Sprayed Stroke filter (Filter>Brush Strokes>
Sprayed Strokes). We set the Stroke Length to
20, Stroke Radius to 20 and the direction to
Right Diagonal. Apply this filter twice. The
Sprayed Strokes made the edges pixelated.
Make sure you are still on the mask and use
Filter>Blur>Blur More.
6 Add a shadow
Use the Layer Styles to add a slight Drop
Shadow to the Grass layer. We used a 44%
Opacity, 9px Distance and 9% Spread. Turn off
the Text Shape layer visibility to get a better
view of the shadow.
9
Grass brush
Use the Color Picker on the grass to sample a light green foreground (we used 65be56) and a
dark green background (we used 1e4419). Select the brush called DuneGrass and open the Brushes
palette to make the following settings. Under BrushPresets, change the Master Diameter to 60px.
Under Brush Tip Shape, change the Spacing to 16%. Under Shape Dynamics, change the Roundness
Jitter to 38%, Min Roundness to 8%, and check the Flip X Jitter. Under Scattering, make sure the Both
Axes box is checked and change the Scatter to 38%.
10 Use an edger
Create a new layer over
the Grass layer and name it Edges.
Make sure this new layer is active
and then switch over to the Paths
palette. Select the EdgePath and
from the Paths palette menu select
Stroke Path. Make sure the Tool is
set to Brush and hit OK. This
command uses your new custom
grass brush to paint blades of grass
all along the edges of your text.
18/7/07 17:49:52

NOTICE HOW USING THE
SMUDGE TOOL ON THE MASK
CHANGES THE SHAPE OF THE
LAYER AND AFFECTS THE
LAYER STYLES, BUT DOES
NOT DESTROY THE LAYER
11
Trim the edge
The new edging looks good, but it is
covering up the depth layer. Ctrl-click the
GrassDepth thumbnail to make a selection of
that shape, invert the selection (Select>Inverse),
and use that as a mask for the Edge layer. Using
a fine black brush on the mask, paint out the
unwanted stray blades of grass. Add a new layer
at the bottom of the Layers stack and call it Dirt.
Fill this with the dirt pattern you created earlier.
14 Muck it up
With the mask still highlighted, go to
Filter>Filter Gallery and add a Spatter filter with
Spray Radius = 20 and Smoothness = 3. On top
of this add a Glass filter with Distortion = 5,
Smoothness = 3, and Texture set to Canvas. Hit
OK. Follow this step with a Blur More filter to
remove the pixelation (Filter>Blur>Blur More).
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Respect the offset
The Offset filter is one of those Photoshop features that you
either never use or you use it almost all the time. For texture
artists, its the latter. The Offset filter has the lowly
distinction of being the last filter of the last group in the
filter list. Offset feels more like an afterthought than
something really useful. But if you want more control than
the random and sometimes unexpected results the Pattern
Maker provides, Offset is the tool for you. Use it to wrap the
edges around the canvas so you know how the image will
tile as a pattern or texture map. With the edges moved
toward the centre of the canvas, its easy to paint or clone
over the seams. When the name of the game is seamless,
nothing else allows you to attack those visible seams quite
like the Offset filter.
13
Dirty mask.
Turn off all the grass layer visibilities
and Ctrl-click the texts vector mask thumbnail
to create that as a selection. Expand this
selection by 30 pixels (Select>Modify>Expand)
and make it the mask for the GrassBed layer.
12 Getting dirty
Add another new layer on top of the
Dirt layer and name it GrassBed. Use the
eyedropper to sample a light brown foreground
and dark brown background from the Dirt layer.
Now well use a few filters to make some dirty
soil for our grass:
a. Filter>Render>Clouds to fill the layer with a
brown texture.
b. Filter>Brush Strokes>Spatter with a 25 Spray
Radius and a 10 Smoothness.
c. Add Noise ( Filter>Noise>Add Noise)
Uniform, Monochromatic, 5%.
d. Filter>Blur>Gaussian Blur, set to 1.4 pixels.
You should end up with a grimy-looking layer.
15 Mud in your I
We want this layer
to look a bit muddy, like the
grass is growing from wet soil.
Open the Layer Styles and add
a Bevel and Emboss. We used a
171% Depth, 7% Size, and 30%
Shadow Opacity. We also
darkened the layer by adding
the Colour Overlay style with
the colour set to black and
13% Opacity.
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 Step-by-step
Workshop
Strange perspective AS GRAPHICS TECHNOLOGY
RACES FORWARD, ARTISTS
HAVE TO STRIVE TO STAY
Why did we use the Perspective Tool in this tutorial when
the text looked just fine without it? Its one of those subtle

AHEAD OF THE CURVE TO

details that add to realism in a piece. Imagine if this were
actual sod cut into the shape of letters, laid out on a plot of
dirt, and then photographed. Where is the most likely place
for the physical camera to be? Probably in the hands of the
gardener standing over the work. It would be impossible for CREATE SOMETHING NEW,
that gardener to be hovering directly over the top centre of
the text to get a perfect straight-down view. Instead the
picture would be taken from the front looking downward at
DIFFERENT, AND INTERESTING
an angle, creating the perspective. We sought to imitate

17
that here.
Just add water
Add a new layer over the GrassBed

16
layer and call it WaterSpray. Set this layers
Push the dirt around Blending Mode to Soft Light. Set the
Turn all the grass layer visibilities back Foreground Color to black and use a large, soft
on and move the GrassBed layer down on the Spatter airbrush set to 25% Opacity to spray the
canvas so the grass appears to be growing out ground. This technique will give the impression
of it. Use the Smudge Tool with a soft brush on of that dirt having been splashed with water.
the mask to push the mud around and make
some uneven areas. Notice how using the
Smudge Tool on the mask changes the shape of
the layer and affects the Layer Styles but does
not destroy the layer.

18 Putting things in perspective

Group all the layers together and use
the Perspective Tool (Edit>Transform>Perspective)
to push the top of the canvas in about 30% and
pull the bottom out about 20%. Use the Crop
Tool to crop out the invisible background.

19 Adding optional extras

Now is a good time to pull in the
extra pictures you took and add them to the
scene. Open the files and drag them on as new
layers, position them, and use layer masks to
blend them into the scene. Here we added the
mulch, trowel, gloves, and hose.

Uneven light
A close examination of the world around us reveals that in

20
reality, lighting is never fully even. Light fades as it travels.
The wall next to you is brighter at one end than at the other. Top it off
This very page you are reading right now is probably darker On the top of the Layers stack create
near the binding, brighter at one corner and has a a new layer called Gradient. Fill this with a
spectacular highlight running along it. We need to keep this gradient from white on top to light gray on the
reality in mind as we light our designs. In the final step of bottom (we used cfcfcf). Set this Blending
this tutorial we added a white/gray gradient set to Multiply Mode to Multiply and lower the Opacity to 50%.
at the top of the Layers stack. This gradient provides a
Realism is all about the subtle details, the small
subtle change to the way the light falls in the scene: slightly
imperfections of life. This very subtle change
brighter at the top than at the bottom, which also matches
the way the shadows fall from the grass. makes the lighting slightly uneven across the
image, adding a further touch of realism.

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 Step-by-step
Workshop
CREATE WEB 2.0 BADGES
Master the art of sleek Web 2.0 design with this quick tutorial to creating
simple but effective badge art
ON THE DISC
If you want to create your own Web 2.0
style badges take a look on the CD
where you will find the layered PSD file
of one of the brushes used. With this as
a basis it will be easy to reconstruct and
tweak to create your own.
OUR EXPERT Emma Cake
Emma took some time out from editing the magazine to go
geeky and make these quirky little Space Invader badges.
W
hether youre a web designer or
just an avid internet surfer were
sure you havent been able to
avoid noticing the contemporary form of
design known as Web 2.0. Sleek and
simple, the Web 2.0 design trend can be
easily tracked with its simple use of
gradients, bright fresh colours and
distinctive reflections. There are design
companies out there who are getting paid
big bucks to create elements for web pages
using these simple rules. But the truth is,
with some simple layering and effects in
Photoshop its possible to create effective
illustrations in a matter of minutes. In this
short tutorial you will find out how to design
a Web 2.0 style badge that would sit
perfectly on a home page. Most of the steps
are used to create the main element of the
badge, giving it colour and shine. Once
youve mastered this you can decorate the
badge with anything that tickles your fancy.
Here, we show you how to create some very
basic block pixel art, a simple project that
will take you minutes!
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068-069_AVP_34_Badges.indd 68
1 A simple circle
Open a new canvas and add a new
layer called circle. Choose the Ellipse Tool
from the Tools palette and alter your
foreground colour to a bright poster red.
Hold down the Shift Tool to keep your
shape dimensions even and drag to create
a bright red circle. Double-click on the
background layer to unlock it and
then delete this layer to leave a
transparent background.
2
Drop shadow
Select your circle layer and click on the
Add a Layer Style button in the Layers palette.
We want to add a Drop Shadow to the image.
The settings will vary depending on the size of
your circle so you may need to experiment a
little, but for a circle that fits snug onto an A4
page choose the following options: Blend
Mode = Multiply, Opacity = 63%, Angle = 120,
Distance = 22px, Spread = 0%, Size = 87px with
a Gaussian contour.
3
Satin sheen
Its time to start giving a 3D quality to our
badge. Add another Layer Style on the circle by
clicking Satin. Alter your Blend Mode to Screen
and change the Color of Effect to white, then
use the following settings: Opacity = 53%, Angle
= 19, Distance = 84px, Size = 70px. Again, the
settings will depend on the size of your circle,
but as long as the end result looks similar you
dont have to be too precise.
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4 Fake horizon
One of the most distinctive
qualities of a Web 2.0 badge is a big,
5 Mask the white
At the moment, the white overlaps the
edges of the circle so we need to make a quick
over-the-top reflection. Create this by mask. Apple/right-click on the circle outline to
adding a layer called reflection and create a selection around the circle. You can
drawing an ellipse with the Ellipse then use this to create a mask on your
Tool in white. An angle that looks like reflection. Select the reflection layer and then
the circle is wearing a beret is the choose the Add Layer Mask button at the
best option. Tweak the angle of the bottom of the Layers palette.
Ellipse using the Transform Tool and
once youre happy with the position,
take the Opacity down to 31%.

6 Contract and feature

With the selection still active create a new
layer in the Layers palette and call it gradient.
We want to give the badge a more dynamic
look by adding darker shades. Choose the menu
options Select>Modify>Contract and Contract
by 20 pixels, then Select>Modify>Feather by 20
pixels. Notice how the selection around the

8
circle closes in slightly, but is still centred in
the circle. Adding your elements
Now youre free to add any elements you
want to your badge. Create a new layer on the
top of your stack and choose a Square Brush
from the Tools palette. Change the foreground
palette to white and start drawing! If you dont

7
want to create an image you can always add
Adding the gradient text with the Text Tool.
Select the Gradient Tool and create a
gradient that goes from black to white with a
Linear Gradient. Click from the bottom right-
hand corner of the circle to top left to add a
subtle shade to the circle. When youre happy,
alter the Layer Blending mode of your gradient
layer to Overlay and then nudge the gradient
up slightly.

9 Easy
alterations
Once youve created
your basic badge
design, as long as you
keep your layered PSD
file its very easy to
create new badge
designs in just a few
clicks. Basic colours will
completely transform
Convincing reflections
your image. To tweak When creating your fake horizon its
colours double-click on important to stop and think about where
Fill in your circle layer to it would lie. For this badge, as we have
Pick a new solid colour already created a highlight on the bottom
and choose a new right-hand side of the circle, the fake
horizon reflection should have a curve
colour using the
that works in unison with this shine.
Eyedropper Tool.

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 Step-by-step
Workshop

3D bottle mesh used with permission of Robin Wood: www.robinwood.com

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KULER COLOUR HARMONIES
Ever been stuck looking for that perfect colour combination? Look no further; Adobe Kuler
is an interactive web-based application that is both slick and fun to use

A
good colour scheme should engage the viewer, creating a sense of order and balance. ON THE DISC
When something is not harmonious, its either boring or chaotic. For centuries artists and You will find all the files you need to
designers have used the colour wheel to help them understand the structure of colour. complete this tutorial on the cover
disc. Thanks to Robin Wood for
Adobe Labs has brought the colour wheel into the digital age with Kuler, an interactive web-hosted permission to distribute the bottle
application, available free of charge. Designed to complement the Adobe Creative Suite software and mesh on the CD.
built using Flash and ActionScript, Kuler is all about colour: colour for exploration, inspiration,
OUR EXPERT Mark Mayers
experimentation and sharing. Kuler lets you quickly create colour themes based on predefined
Mark Mayers is a freelance Illustrator and designer based in
formulas or mix your own using an interactive colour wheel. Themes can be created in a variety of Cornwall. He was recently awarded Designer of the Year by
colour spaces, including RGB, CMYK and LAB, and can also be represented as HEX values for use on the MetalFX Technology. To see more of his work visit www.
web. You can tag themes, comment on them, and share them with others. You can also search the markmayers.co.uk

Kuler online community for top-rated or most recently created themes, or search for themes by tag

2
word. In this workshop youll create a soft-drink label design using an existing Swatch Exchange file
generated with the help of Kuler. So head over to www.kuler.adobe.com and see what its all about. Load swatches
To start, create a new CMYK document

1
16.7cm wide x 18.3cm high, set the resolution
Complementary colours to 300dpi and the Background Contents to
Once youve signed up to obtain an Adobe ID you can start creating, saving and downloading. white. Copy the Apple & blackberry.ase
Hit the Create link to access the colour wheel and have a play around; it really is intuitive and fun. We supplied on the CD to your hard drive (you
chose complementary colours (any two colours which are directly opposite each other on the colour could, of course, create you own swatches if you
wheel) to create our theme and maximise contrast and stability. wish) and ensure your swatches are visible.
From the pull-down menu at the top of the
Swatches palette select Load Swatches and
navigate to them.

Colour theory
Sir Isaac Newton developed the first circular diagram of
colours in 1666. Since then, scientists and artists have
studied a multitude of definitions and variations of this
concept. Colour is considered one of the most useful and
powerful design tools because people respond to different
colours in different ways, and these responses take place
on an emotional and subconscious level. Colour can also
have other meanings. For example, blue is associated with
the sea and the sky and it has come to symbolise serenity
and infinity. Thats especially true of the more greenish
shades of blue, such as aqua and teal. On the other hand,
cooler shades of blue can have a tendency to cause feelings

KULER IS ALL ABOUT COLOUR: of sadness. You should also be aware that cultural
differences affect how colours are perceived. In Western

COLOUR FOR EXPLORATION, culture black has long been associated with death, while
white is believed to signify life and purity. In the Orient,

INSPIRATION, EXPERIMENTATION however, white is the traditional colour of mourning. Make

sure that you not only understand the psychological effects

AND SHARING of colours but the nuances of the culture and audience you
are designing for.

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 Step-by-step
Workshop
3 Colour fills
By default swatches are labelled with the
CMYK breakdown, but to make things clearer
rename them in the screen grab. Select mid-
green as the foreground and mid-purple as the
background colour. Add central guides and go
View>Snap To>Guides. Now create selections
with the Rectangular Marquee Tool and fill with
the opposing foreground/background colours.
6 Hide selection
Create a new layer, fill with mid-green,
and set the Layer Blending Mode to Multiply.
Now Apple-click on the New Channels
thumbnail to generate a selection, switch to the
Layers palette and go Layer>Layer Mask>Hide
Selection. This new layer has now darkened the
green areas. Name the layer Mid-green multiply.
BY CREATING
EXTRA CHANNELS
YOULL HAVE EASY
ACCESS TO
COMMONLY USED
SELECTIONS
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5 Extra channels
By creating extra channels youll have
easy access to commonly used selections. Make
an extra channel by using the Magic Wand Tool
and Shift-click to select the two purple areas. In
the Channels palette click on the Save Selection
as Channel button (indicated in red). Your
selection is now stored for future use.
4 Twirl it
By distorting the opposing colour blocks
youll create an interesting background for your
label. Its surprisingly easy to create a complex
design by going Filter>Distort>Twirl and
entering a value of 428, although youll need
to zoom out to around 12% to get a better
view of the filters effect.
7 Reveal selection
Create a new layer and fill with the dark
purple from your swatches and set the Layer
Blending Mode to Multiply. Make sure your
channel is selected again and follow the same
procedure of creating a mask, but this time
choose Layer>Layer
Mask>Reveal Selection.
Name the layer Dark
purple multiply.
8 Save selection
Make sure your guides are visible by
hitting Apple+;. With the Elliptical Marquee
Tool draw a selection from the centre by
holding Alt+Shift and extend the selection out
almost to the edges of your document. Next
Select>Feather, enter a radius of 80 pixels, and
click on the Save Selection as Channel button as
you did in Step 5.
9 Mask modifications
You need to mask off the central part of
the design, if youve deselected Apple+click on
the Channel thumbnail (Alpha 2) to generate a
selection, make sure Foreground colour is set to
white. On your Mid green multiply and Dark
purple multiply masks hit delete. Adjust the
Opacity of the Dark purple layer to around 50%..
26/7/07 15:33:41
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10 Blur the mask
Create a new layer, fill with
dark purple and set the Layer Blending
11 Duplicate the channel
Highlight Alpha 1 and click on the
arrow (circled in red) to access the pull-down
Mode to Multiply. Make a selection from menu, select Duplicate Channel and select New
Alpha 1 and go Layer>Layer Mask> for its destination (if youd left the default setting
Reveal Selection. Make a selection from you would get a duplicate channel in the same
Alpha 1 and go Select>Modify> document). Also check the Invert box. OK these
Contract by 70 pixels, then with the settings and youll get an inverted copy of your
mask targeted hit Delete. Make a channel as a new document.
selection from Alpha 1 again and give
the mask a Gaussian Blur of 40 pixels,
adjusting the Layer Opacity to 58% and
naming it Dark purple multiply 2.

12 Halftone screen
In your new document go Filter>
Blur>Gaussian Blur and enter a value of 100
pixels. Now go Image>Mode>Bitmap, make
sure the output is set to 300dpi and under
Method use Halftone Screen. In the next dialog
box enter a Frequency of 10lpi, an Angle of 45

14
and choose Round for the shape.
Coloured halftone
Apple-click the New Layer icon to
generate a selection and fill with mid-purple.
Set the Layer Blending Mode to Multiply and

13
name it Mid-purple dots. Next inverse the
Convert to greyscale selection, create a new layer and fill with mid-
Bitmaps are very high-contrast, green. Set its Blending Mode to Multiply and
black-and-white 1-bit files and therefore cant name it Mid-green dots.
be pasted into other bit file types. Go Image>
Mode>Grayscale and check that the Size Ratio
is set to 1. Next with the Magic Wand Tool
select a white area then go Select>Similar and
Copy>Paste into your working document as
a new layer.

15 New group folder

Generate a selection from
Alpha 1 and with your Mid green
dots layer targeted hit delete. Inverse
the selection and with the Mid
purple dots layer targeted
hit delete again. Create a
folder by clicking on the
New Group folder button
(indicated in red) and drag
your two dot layers into it,
name the folder DOTS. Add BITMAPS ARE
a mask to the folder and
use the Radial Gradient VERY HIGH-
Tool to mask the centre.
CONTRAST, BLACK-
AND-WHITE FILES
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 Step-by-step
Workshop
16 Add some text
Open the Text.tif and Shift-drag the layer thumbnail into
your working document as a new layer above the DOTS folder. Next
17 Linear gradient
Open the Fruit_fizz_logo.
tif and drag into your working
add a Layer Style by clicking on the Add Layer Style button at the document at the top of the layer
bottom of the layers palate, we used a black Outer Glow set to Multiply stack, position it centrally and name it
with an Opacity of 48%, a Spread of 11% and a Size of 24 pixels. Fruit fizz. Generate as selection and
with dark purple as Foreground and
pale green as your Background, Shift-
drag a vertical Linear Gradient. Now
add a Bevel and Emboss Layer Style,
we used a smooth Inner Bevel with a
Depth of 351%, a size of 8 pixels,
Soften of 2 pixels and selected dark
purple for the Shadow Mode.

19 Bitmap conversion
To get the fizzy effect around the
brand. Generate a selection from the Fruit fizz
outline layer, expand it by 20 pixels and save a
new Channel, duplicate it exactly as you did in
Step 11. In your new document add a Gaussian
Blur of 30 pixels. Now convert the image to

18
Bitmap using the same settings as Step 12.

20
Brand recognition
The label is starting to take shape Fizzy dots
but the branding needs to be more visible. The Convert your new document to
next few steps will really give it some shelf greyscale and Shift-drag the layer thumbnail
appeal. Generate a selection from your Fruit fizz into your working document as a new layer.
layer and go Select>Modify>Expand by 15 Position it underneath the Fruit fizz outline
pixels, create a new layer underneath it and fill layer and name it Fruit fizz dots. Select the
with dark purple. Name the new layer Fruit fizz background white area and go Select>Similar,
outline and set the Layer Blending Mode to hit Delete, inverse the selection and fill with
Hard Light. white. Now generate a selection from your
Fruit fizz outline layer, target your Fruit fizz dots
layer and hit Delete again.

21 Add a little punch

To tidy things up create a new
Group Folder at the top of the layer stack,
select your top four layers by Shift-clicking their
thumbnails and drag them in. Name the Group
Folder MAIN GRAPHICS. To add more punch to

Background graphics
The background graphics should reflect the label design
without overpowering it. We used a similar approach to that
detailed in Step 4, but used two files with opposing black
and grey quarters that were distorted using the Twirl Filter at
your label design select the MAIN GRAPHICS
Group Folder and using the Move Tool click on
the centre crosshair to bring up the Rotation
settings and enter -10 then hit Return to
accept the transformation.

22
different settings. These were then blurred, bitmapped,
Get fruity!
halftoned and made greyscale.
The two files were then pasted Create a new Group Folder below
into a new same pixel-sized the Main Graphics and name it FRUIT. Open
CMYK document where colours the Apple_1.jpg and youll see weve already
were added from selections and supplied a path. Apple-click on the path icon
the white areas deleted. The to generate a selection and Copy>Paste into
same technique as that detailed your new folder. Do the same for the second
in Step 19 was used to create apple and blackberry photo and build up a
the halftone fizzy glow around composition by duplicating and rotating the
the bottle.
fruit until youre happy.

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23 Fruit shadows
Make a selection THE NEXT FEW
from Alpha 1 and create a new
layer at the bottom of the stack STEPS WILL REALLY
in the FRUIT folder, setting the
Layer Blending Mode to Multiply. GIVE IT SOME
Select dark purple and using a
soft-edged brush paint shadows
inside the selection around the
SHELF APPEAL
24
fruit, varying the size and opacity
of the brush as you work. Try Scale the label
sampling a darker purple for Once youre happy, save a flattened
more intense shadow areas. version of your label. Re-size the file by going
Next inverse the selection and Image>Image Size, ensure the Scale Styles,
use the same technique but Constrain Proportions and Resample Image
switch your brush to dark green options are checked and under Width select
for the remaining areas. Percent instead of Pixels and enter a value of
50%. This has halved the file size without
altering the resolution.

25 Add a background
To add the label to a 3D bottle
render open the Background.jpg and Shift-drag
the Bottle_render.tif in as a new layer. Next
Shift-drag your resized label in as a new layer as
well and nudge the label layer down so that it
sits just below the bulge on the bottles neck.

26 Follow the contour

To wrap the label around the bottle
go Edit>Transform>Warp. Use Arc Upper from
the default drop-down menu, and Shift-drag
down the middle handle so that it follows the
contour of the bottle. You may still need to
nudge the label down a little, but when youre
happy hit Return to accept the transformation.
Other palettes
Kuler is ideal when you need to design a set of graphics in
the same range. These other flavours shown below were
created using different colour themes. Kuler also gives you
seven options to choose from. There is Analogous: matches
colours with adjacent hues, Monochromatic: focuses on one
colour with varied intensity and lightness in a single hue,
Triad: spaces colours in a triangle around the wheel for a

27 Wrap it up
Use a Lower Arc warp to a
much lesser degree for the bottom of
contrasting theme, and Complementary: uses opposite
colours on the wheel for a simple theme based on two hues.
There is also Compound: combines interesting colours from
multiple hues, Shades: creates subtle variations of the base
the label and Shift-drag up the middle colours hue, and Custom: allows you to drag colour circles
handle until it looks right. Wrap again, around the wheel with complete freedom.
but this time fine-tune the label by
manually dragging the handles. Apple-
click the bottle layers icon to generate
a selection, Inverse it and with the label
layer targeted hit Delete. Finally, add
some highlight (white, set to Screen)
and shadow areas (black, set to
Multiply) on separate layers. Delete
excess areas by making an Inversed
selection from the label layer and
hitting Delete on both these layers, and
youre done.

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Character building
NAME: Jack Dixon
EMAIL: hello@bishbo.com
WEB: www.bishbo.com
Jack formed an alternative record label four years ago, under the
name Alaska Recordings. He designed releases and promotional
material for all of Alaskas artists, and after the label came to an end,
the design studio carried on. Olli joined forces with Jack to create
Alaska Design, which was fairly successful within the alternative
music scene. After Alaska ended in 2005, both Olli and Jack went on
to work for the biggest alternative reality game ever made Perplex
City, for Mind Candy. Now back on the freelance scene with Bishbo,
Jack and Olli are on the hunt for new challenges.
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076-080_AVP_34_Peer Pressure.ind76 76
Our pick of the best reader submissions
sent to us this month
P
eer Pressure has once again been inundated with a volume of great artworks.
The chosen entries this month offer an array of insights into the creative
mind, sharing and revealing individual approaches and skills. Read on, enjoy
and if you feel that you have what it takes to showcase your work and join the ranks
of your Peer Pressure fellows, then dont hesitate to send us your entries.
We always include your email and web address, so anyone interested in your designs
can get hold of you. All you have to do is send us high-quality TIFFs or JPEGs (RGB or
CMYK) at 300dpi minimum, which can be printed at a minimum size of 15cm x 15cm.
Send us low-res versions to advancedpshop@imagine-publishing.co.uk
well get back to you for higher resolution work if needed. Alternatively, log on to our
forum at www.advancedphotoshop.co.uk/forum. Unfortunately, we cannot provide
individual image criticisms.
Bishbo is inspired by food, film, family and friends: Ideas can pop
in to your head at any time of the day. We try not to plan things too
much as we find that calculative, well thought out and planned
artwork can lose that spontaneity we embrace, says Jack.
With a style that relies on vector character art with heavy
Photoshop influence, Bishbo certainly produces plenty of fresh ideas.
Weve also been known to mix a lot of gritty, collage-style mess
together with anything we can find!
Technically, Bishbo uses a few set tools in particular to create
designs. Blending layers is hugely important. Also, perhaps
shamefully, the Shape Tool can be really useful. Possibly the most
important thing is Clipping Masks, which makes such a huge
difference getting the lighting perfect or texture right on a
certain layer.
26/7/07 10:11:50
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IN ST

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SH
OW Dream machines
NAME: Steven Rubenstein
EMAIL: steve@icon-media.com
WEB: www.icon-media.com
Steven Rubenstein has travelled a very rocky path to
become a graphic artist. He explains: It sounds like a
clich, but if it wasnt for my Dad I definitely would not be
where I am today. One day, he saw me playing around with
an old version of Photoshop 4 on my slow machine. The
next day, I get home and BAM! Theres a brand new HP
Pentium 4 sitting on the table and next to it, my old man
with the proudest grin on his face. So I made the decision
to enrol in school and off I went with big dreams and high
hopes, but it wasnt what I expected at all. I made it through
five or six classes before I decided that school just wasnt
the route for me.
Shortly after, while driving, some guy stopped me to
comment on my car and asked if he could shoot it for a
catalogue. It turned out that he was the owner of a then
small automotive ad agency. I interned there five days a
week for eight months before being hired as a production
artist. Not long after I was hired, my world quickly fell apart.
I was in a violent accident and lets just say I didnt get up
and walk away. Then my father went in for surgery and
passed away. As I was clearing out his hospital room, a
nurse tapped me on my shoulder and handed me a
crumpled piece of paper. In his last few days my father
couldnt speak due to the respirator and had to resort to
writing to communicate. Barely legible were the words
hes a graphic designer... yes, very proud. That was a life
changing moment. I owe everything to him; he is my
inspiration. So I dived headfirst into design and over the
course of six years Ive worked my way up the ladder,
improving my skills, feeding the brain and striving to be
the best I can be.

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 Discover the thinking behind the art

Amalgamation nation
NAME: Ian Carr
EMAIL: ian@artinfocus.net
WEB: www.artinfocus.net
Before making it as a graphic artist and illustrator in Bath, Ian
Carr spent the first 18 years of his life in the Yorkshire Dales. He
was always collecting, photographing and recreating textures
from an early age: I basically had a sketchbook strapped to
me, which has always been a daily necessity, Ian says. But as I
grew older my images bound together with the introduction of
Photoshop and digital photography. This wasnt accepted by a
town fueled by big-eared farmers and their sheep. Then I
developed my ideas and current topics into illustrations to give
a meaning to my work. This made me think what am I
actually about and what do I want to say?
Ian left the Dales to study Fine Art at York, which swiftly
delivered him into a thriving graphic art career. Throughout
my time at university I found that my strengths were in
composition, collage, mixed-media (with paint) and digital
imaging. At the time I never thought of amalgamating them all
together. Now I am always experimenting with different
processes such as screen-printing, cut and paste collage,
Photoshop, and many more techniques. However, I mainly stay
organic and textured, and let accidents happen. That is the
best and most surprising part.
Inspired by patterns and textures all around him, Ian creates
pieces that reflect a very urban style. He hopes to be globally
recognised as an artist, illustrator and designer in the near
future, and dreams of being part of a multi-disciplinary studio,
getting involved and starting a collective.

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Darkness and light
NAME: Lisa Sweet aka Fanged Femme
EMAIL: lsweet@gmail.com
WEB: www.creativeemotion.com
Someone once told me that they were both repulsed and delighted at the same
time from looking at my work. I like to think that anyone viewing my work will
experience a wide range of emotion. Some of it they will connect to and other
pieces they wont, explains Lisa Sweet, also known as Fanged Femme to those
who follow her work online. One of the most commonly asked questions about
my work is why the bloody, grotesque images? Well, I have always loved the
horror genre and to me its not only a tribute to all that is scary, but a way to
express the darker side of fear and pain.
Due to financial restrictions, Lisa didnt own a computer until the mid-Nineties
and it wasnt until later in the decade that she first discovered Photoshop. It blew
my mind because Id been looking for something that would enable me to take
my photography further. I saved up money and dived into the digital world to
find so many more creative outlets. It was frustrating because I am not very
patient at times and learning software can be tedious when all you want to do is
create the imagery flowing in your head. I just stuck at it and little by little
understood things more on a digital level, and the fact that I found Photoshop to
be user friendly was a big help! I am still learning new things and always trying
different ways of expressing myself. However, Photoshop is definitely my number
one tool.

Darkness and light continued overleaf

By submitting images to Advanced Photoshops Peer Pressure, you hereby grant Imagine Publishing
and, if relevant, clients to whom the relevant work has been provided, an irrevocable, perpetual,
royalty-free licence to use such intellectual property in relation to work similar or equivalent to the
work. This includes the right to showcase work on multimedia formats. By submitting work you also
confirm that your images do not infringe any copyright regulations should they be published.

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 Discover the thinking behind the art

Darkness and light continued

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 Resource reviews
resources
Even the pros need a little helping hand now and
again, so take a look at this little lot
BenQ MP721c Digital Projector
Show off your Photoshop designs to an impressive
size with this digital must-have
Manufacturer: BenQ
Web: www.benq.com
Price: 501
Video compatibility: NTSC/PAL/SECAM
Throw distance: Min 1.00m, Max 10.00m
Resolution support: 640x480 to 1280x1024
Display colour: Full 16.7 million-colour palette
F or many, the leap from amateur digital artist to a pro
or semi-pro inevitably involves some kind of
promotional show somewhere along the line. Now, with
more scope for low cost exhibitions and many new art
spaces opening up here and there, the equipment
needed to put on a good display has lowered
considerably in price. BenQs MP721c Digital Projector is
one such affordable model and at 501 it is great value
for money with good solid performance, in terms of
both handling and image quality.
The body of the MP721c is stylish and fairly compact
with a glossy, dark blue plastic casing that remains
inconspicuous in a show setup. The Perspex-style casing,
although very shiny and durable, did, however, attract a
Software Cinemas Pro Studio Retouching
Software Cinema delivers yet again with a DVD that teaches you
how to master retouching photos
Manufacturer: Software Cinema
Web: www.software-cinema.com
Price: $125.00 (around 63)
Requirements: Windows 2000 or XP/ Mac OS X
Minimum 1024x768 screen
resolution
I n the last issue we noted that visual training can be a
tricky thing to do effectively, due to tutorial videos
giving you too many unnecessary details, as if none of us
have ever used a mouse before! However, there was one
DVD, Fundamental Techniques of Adobe Photoshop CS2
from Software Cinema, that found the balance of
giving you all the information you need without being
patronising. Gladly, we can tell you that this was no
fluke, as yet again it delivers a well-presented and
informative DVD.
This time, training duties are handled by Jane Conner-
ziser, an accomplished photographer who specialises in
retouching portraits in Photoshop. Breaking from form,
this DVD begins with a PowerPoint-style presentation
that covers the fundamental concepts connected with
portraits, such as light sources and differences between
portrait styles; retouching a fashion portrait is sufficiently
different from how you should treat a family portrait. The
DVD then returns to the established presentation style of
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082-084_AVP_34_Resources.indd 82
lot of dust so
would need to be
packed away after
every use.
Packaged with
the MP721c is the
MyScreen guide which
walks you through the setup process,
ensuring the projector is connected to your PC
correctly and talking you through the settings to make sure
that the image display is the best it can be. Large and easy
VALUE
FOR MONEY: This
consumer-targeted model is a good
to use buttons are positioned on the top of the casing for option for those who want to
control over image setup, and the lens zoom controls are showcase their work on a large scale
easily accessible through a peephole at the front of with minimal cost
the casing.
Most importantly, the image quality of the MP721c is
very good for a 500 model, with several display options Summary: A great first projector model
for whiteboard, blackboard and theatre setup, as well as an for under 500. Good colour results
sRGB option for accurate colour profiling. Design work mean that graphics will project well
looks accurate and impressive with black and white tones onto most display surfaces. Easy to use
and durable.
giving good contrast. Oh, and when youre not showing off
your Photoshop work its great to watch films on too! 5 Rating: 5/5
focusing our attention on the screen without needless
cuts to the narrator or trendy segues. Each topic is
covered in depth and in a comprehensive yet clear
manner. The sessions are viewed in an easy to use
customised player that is divided into 17 chapters, so you
have the luxury of being able to view them in any order
you choose. The running time is over five and a half
hours and each session comes complete with project
files provided on the DVD for you to work with. They
include everything you need, even the custom brushes
that Jane Conner-ziser personally uses! The topics cover
everything from learning to use the Healing Brush,
Blending Modes and Layer Masks to Burning, Dodging
and Painting. It also teaches methods of skin smoothing,
enhancing eyes, whitening teeth, fixing drooping skin,
minimising wrinkles and enhancing make-up without
making your work obvious. 5
Summary: The Photoshop Pro Studio Retouching DVD
offers a comprehensive look at portrait retouching and
would be invaluable for anyone looking to become a
professional in the field.
Rating: 5/5
GOOD VALUE: The DVD runs for over five and a half
hours with each section including its own project files
26/7/07 10:09:17

Machine Wash Filters Vol. 1-3
A washing machine that makes things messy? Get dirty with the Machine
Wash filters!
Manufacturer: Mr. Retro
Web: www.misterretro.com
Price: Individual volumes 34.95 each, 62 for two
volumes and 92.95 for all three
Requirements: Mac OS 9.0 and above, Adobe
Photoshop 6.0 CS2 (does not
currently run on CS3) and
Photoshop Elements 1.0 and above,
Windows 2000 and above, Adobe
Photoshop 6.0 CS3 and Photoshop
Elements 1.0 and above
A lthough most people these days appreciate digital
art, there are still a few critics out there bemoaning
how clean digital art looks. Digital artists have
responded by using all manner of texture brushes and
overlay layers to make everything seem more gritty and
real. Ironically, the Machine Wash filters from Mr Retro
can help you make your crisp pixel based images look
dirty and used, and not in a bad way!
The Machine Wash Filters create professional quality image
ageing and weathering effects. The only component youll
need to install is the custom Photoshop plug-in that applies
the effects. Theres no need to install the files to your hard
drive as they can run straight from the CD, which is great if
youre worried about space on your computer. The GUI
interface, located in the Filters menu lets you control all
aspects of the wash effects. The Wash Selector gives you
real-time previews for any of each volumes 60 built-in wash
How to Cheat in Photoshop CS3
A book that shows cheating is fun, and isnt always a bad thing
Manufacturer: Focal Press
Web: www.focalpress.com
Price: 24.99
H ow to Cheat in Photoshop CS3 isnt nearly as nefarious as
its name implies. Instead, its a valuable resource that
helps you take advantage of Photoshop. (Take advantage
of/cheat see what they did there?)
Fully updated to include CS3 (although backwards
compatible, its relevant to any version of Photoshop), the book
is authored by graphic artist and journalist, Steve Caplin. It
features loads of time-saving techniques that will improve your
workflow and help solve your creative problems much more
efficiently. The goal of this book is to be useful when your
deadlines are rapidly approaching, but you still need to
produce top quality work. Wed say it succeeds nicely.
The step-by-step tutorials focus on giving you quicker
solutions, avoiding the more long-winded way of tackling a
problem. Each one is designed as a double-page spread so that
you can see everything you need in one glance, as opposed to
flicking through numerous pages. The early chapters deal with
082-084_AVP_34_Resources.indd 83
resources
effects via a drop-down menu. The wash names all make
Summary: A large collection of easy to
sense, which is a nice touch. For example, orangepeel use, high-quality effects filters for
actually looks like orange peel, so you wont spend ages Photoshop. Good stuff, as long as youre
trying to find the effect youre after. There is a Heavy Cycle prepared to pay the price.
option that, instead of revealing layers below the image, Rating: 3/5
creates a rust effect underneath the distressed design. You
can even choose the colour of the rust to ensure it fits with
your image. The effects can be applied up to a maximum
live area of 18 x 18 at 300 dpi. While they can be used for
larger sizes, there can be some reduction in the
quality of the filter, but we doubt many
people will be working on images larger
than that too often. Sadly,
although the filters work in
Photoshop CS3 with Windows
they are not currently
supported by the Mac
version of CS3, although a
free fix is in the works. 5
TAKE IT EASY: With every
volume of Machine Wash
containing 60 wash effects,
making your artwork look
distressed has never
been easier!
the basics of photomontage before getting to the fun stuff of
changing peoples appearance or giving them facial hair! Each
step is accompanied by a high quality image with keyboard
shortcuts represented by red keys for the Mac and blue keys for
Windows and a Hot Tip sidebar that elaborates on a key aspect
of the tutorial. The layout is both aesthetically pleasing and easy
to follow. The book is humorous in tone and features insightful
interludes into an artists life. Adding credence to the book, a
large number of the tutorials use actual commissions as their
basis, or show results of a lesson from the Readers Forum on
www.howtocheatinphotoshop.com (where you can even ask
the author any questions you have).
The book comes complete with a DVD packed with
hundreds of images, project files, not to mention 300 high-
resolution AbleStock images plus over two hours of QuickTime
movies of the projects. 5
Summary: Well written and easy to follow, this is a great
resource for photographers and designers alike. It will help
you work both smarter and faster. Recommended. HOW TO: Want to know how to create every
effect on this cover? All of the techniques are there
Rating: 5/5
in the book!
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resources
Photoshop for Video (Third edition)
Ignore the uninspiring title, this book proves learning can be great fun!
Manufacturer: Focal Press
Web: www.focalpress.com
Price: 31.99
P hotoshop for Video, like a lot of specialist Photoshop
books, could have been a dry and tedious affair.
Luckily, author Richard Harrington, a certified instructor
for Adobe, Apple and Avid, has a fun writing style that
keeps everything light-hearted and interesting. Anyone
that can explain colour rules in video editing by saying
light yellows will look like a dog used your TV as a fire
hydrant is okay by us.
The books layout is varied and interesting, filled with
images and helpful asides/footnotes. Explanations actually
explain what things do and why, as opposed to giving you
a dull list of commands to memorise. Each subject clearly
labels where theres more information to be found on the
DVD, which features hundreds of images to work on,
tutorials to complete and two and a half hours of
video training.
HP Photosmart Pro B9180 Photo Printer
Find space for a clever photo printer that delivers professional quality
Manufacturer: HP
Web: www.hp.co.uk
Price: 600 inc VAT
Requirements: Windows 2000, XP Home, XP
Professional, x64 Edition (x64
Edition only supports USB direct
connect); Certified for Windows
Vista; Mac OS X v10.2.8 (web
download only), v10.3,
v10.4 and higher
L ike all A3 printers, the HP B9180 is a veritable
monolith measuring 673 x 429 x 241mm, so youll
need some space to fit it, and weighing in at 17.1kg, a
sturdy table too! At first, the seemingly lengthy
installation and having to detach the output tray to
simply load the paper may start to make you wonder
whether the printer is worth the hassle, but fortunately
all such worries are quickly dispelled when you run the
HP Photosmart Premier Software.
Ingeniously acting as a plug-in within Photoshop,
Photosmart Pro Print eliminates the need to alter several
different menu boxes, giving you just one window with an
accurate real-time preview panel to display precisely what
will be printed. Its intuitive design lets you easily select
paper format, quality and output, so your borderless prints
will line up exactly where you want them to. You can
simply drag and manipulate the image as if you were using
the Free Transform Tool.
The HP B9180 boasts professional quality borderless
printing up to A3 and we were impressed with not just the
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082-084_AVP_34_Resources.indd 84
Chapters are separated by entertaining interviews with
professionals who offer an insight on the industry and also
let you in on their favourite tips and tricks.
Harringtons irreverent prose makes this book worth
reading even if you arent that interested in Photoshops
video options, and his overviews of Photoshops other
functions are highly entertaining. For example, the Mosaic
filter is referred to as the Cop-blur a cheeky nod to
criminals faces on reality TV and the Fragment filter is
described as having the effect of an editor without coffee!
Dont be fooled into thinking the light style reflects
Look inside: Dont judge a book by its cover;
shallow content, as the information is loaded with Photoshop for Video is an entertaining and
resources to help video professionals make graphics for use informative read for any artist!
in television, video, the Internet and DVD. Topics include
how to combine still and moving images, transparency, Summary: An excellent resource for
anyone looking to expand their skills in
pixel aspect ratio and alpha channels, and advanced
video editing. Simultaneously
techniques show you how to use Photoshop as a character
humorous and informative, and
generator, colour corrector and animation tool. Recent highly recommended.
developments in High Definition video and 32-bit
Rating: 5/5
imaging are also addressed. 5
speed of the prints, but how quiet the machine was while Summary: Professional quality A3
making them. The quality was impressive too; you could printer thats quick, quiet and couldnt
happily print your portfolio with the B9180 and the colours be easier to use thanks to the
matched exactly what we saw on-screen. Although the ink Photosmart Pro Print software plug-in.
cartridges dont come cheap, you get a surprising amount Its worth finding the room for!
Highly recommended.
out of them, much more than some other A3 printers
weve used in the past. The HP Photosmart Pro B9180
Rating: 5/5
Photo Printer comes with display profiling and calibration
software with HP Colorimeter plus ICC-profiles, HP 38
Pigment Ink Cartridges with Vivera Inks (eight individual ink
cartridges), HP 70 Printheads (x4), HP ProPrint plug-in for
Adobe Photoshop, HP Photosmart Premier Software on
CD-ROM, quick start booklet, users guide and power cord.
Our only real gripe is that for the price youre paying, we Top quality: The HP Photosmart Pro
hoped that the USB cable would have been included. 5 B9180 may not be the sexiest printer out
there, but its prints more than make
up for it
26/7/07 10:10:11
 Helpdesk
If youve got a pesky Photoshop dilemma the Helpdesk is the perfect place to come for
an answer BY EMMA CAKE
PRINT SET UP: Photoshop CS3s Print dialog box has changed a little in appearance from previous versions but you should
find the working progress to be just as intuitive as in Photoshop CS2
UPGRADED
Ive just upgraded to Photoshop CS3 and, like
previous version upgrades, am enjoying finding
out about all the new and improved features.
But I have a problem that I cannot resolve.
When I want to send an image to print and
bring up the new all-in-one dialog box, the
image I see in the view panel (and what comes
out of the printer) is a distortion of that which I
have created in Photoshop. If my image is, say, a
portrait shape to start with, it will appear as a
landscape image in the print screen but with
the height squashed down and the width
stretched out.
I have tried playing with the page set-up
controls to alter image orientation, but have
found that whichever way I rotate the page the
distortion remains the same. Any ideas?
AJ David, via email
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The appearance of the Print dialog box in Photoshop
CS3 has changed a little from previous versions, but
the format is basically the same. Select File>Print and
then choose your printer from the drop-down menu.
Your paper size can be defined by clicking the Page
Setup button and you can set orientation here as
well. Alternatively, you can click on the Print paper
in portrait orientation and Print paper in landscape
orientation buttons that are displayed just below the
Print preview window. In order to avoid any unwanted
cropping if your image is larger than the paper size,
you should check the Scale to fit media option within
the Scaled Print Size sections.
WACOM BRUSH
Is there a way to set the brush size in Photoshop
on the Wacom Intuos 2? Im not sure which
button it would be.
Alex, via email
CUSTOM SET-UP: One of the beautiful things about
working with your Wacom graphics tablet is that the
settings are very open to custom alterations. Rather than
just use your keyboard controls you can also alter the
functions of your pen buttons to alter your brush size
It is possible to assign a keystroke function to the buttons
of your Grip Pen. Open up your Wacom preferences and
then select the Grip Pen (or other pen) in the Tools option.
In the right-hand drop-down menus assign a Keystroke
function to the menus that are labelled with the lines.
You need to input the keystrokes yourself. [ and ] are the
standard keyboard buttons that control the size of your
brush and you can enter them here.
CS3 WORKSPACES
Okay, here is a question. In CS2 I knew where
to go to find my saved workspace. So I was able
to take my workspace from work and use it at
home. But now in CS3 I cannot for the life of
me see where it saves my workspace. I would
like to take it home as well, and I need to share
my space with new imageers. I already tried
using my CS2 workspace however, it will not
work on CS3. If anyone knows where CS3 saves
your workspace I would be most excited to
find out!
Halvarado, via forum
It seems that CS3 saves Workspace settings as a
document file in the following destination:
27/7/07 10:14:51
 es
n iqu
ch
Te
REMOVING LOGOS
I have shot a bunch of Diecast Model Race
Cars and have now been asked to remove all
the branding due to legal issues. As you can
imagine, everything is in tiny tight spots and
on curves with flare and different colours due
to lighting. What is the best way to remove
these decals/logos and replace with the cars
body colours?
Cyclopsimages, via forum

There are many ways to remove elements from an

object without destructing your original image. First
FINDING WORKSPACES: For some reason now, its a little more difficult to track down your workspaces. Once of all we advise you to make a copy of your original
you have located your folder youre free to share your fine-tuned workspaces with others
image by dragging the layer onto the Create a New
Layer icon at the bottom of the Layers palette.
Users/[your username]/Library/Preferences/Adobe
Probably the quickest way to go over a logo is to
Photoshop CS3 settings/WorkSpaces.
use the Healing Brush Tool found underneath the
Not sure what it would be on a PC, but presumably you
Spot Healing Brush Tool. This works in a similar way to
could just do a search for Adobe Photoshop CS3 settings
the Clone Stamp Tool in that you have to define an
and it should locate it easily enough.
area to clone from. However, the Healing Brush Tool
Now, we reckon as long as that was in the WorkSpaces
will automatically blend your new clone into
folder you should be able to get it to appear on a
the background.
shared machine.

HIDDEN MENUS
Im enjoying my recent upgrade to CS3, but one
thing is really niggling me and is starting to make
me wish I didnt bother. When I go to select a
menu from the upper toolbar, I cant jump
straight to some options because theyre hidden.
I can temporarily Show all menu items by
MAKING CUSTOM BRUSHES: Its very simple to make
clicking on the option at the bottom of the menu, your own custom brushes in Photoshop and you can
but next time I go back to do the same thing its manage your new designs with the handy Preset Manager.
Once youve started, there will be no stopping you
hidden again! Its driving me insane!
Peter Hamley, Berkshire HIDDEN LOGOS: There are many different ways to
enthusiastically install all the brushes that
heal over a logo. Find the technique that suits you best
come with the Advanced Photoshop magazine
We have to admit, Peter that this frustrated us too when
every month and theyve proved invaluable in
we installed CS3, and were not sure what the benefits are
my work so far. layer. Delete the Background layer so your brush lies
of having hidden menu commands in the Basic menu,
Id love to be able to create my own on a transparent layer, make a selection around your
as this is generally for unspecified workspaces. However,
brushes, but Im not really sure where to start. brush with the Rectangular Marquee Tool and then
you can solve this with a few preference tweaks. Click on
Have you ever featured a tutorial on making select Edit>Define Brush Preset. You can repeat this
Window>Workspace>Keyboard Shortcuts & Menus and
brushes? Im sure it would be of interest to process for as many brushes as you like and then use
then choose the workspace you want to affect. You can
many readers. the Brush Preset Manager to create your brush set and
make all of the menu options visible, getting rid of the
John Spencer, via email select a destination for them to be saved.
need to click Show all menu items by assigning an eye
icon to each option.
Thanks for your email, John. We did feature a
Workshop in making your own Photoshop brushes
CREATING BRUSHES back in issue 25. Making your own brushes is a fairly HELPDESK
easy process and once youve worked out how to do
After treating myself to a new Wacom A5
it there will be no stopping you! Heres a quick run-
CALL FOR QUESTIONS
Intuos, Ive become very interested in Want help with Photoshop?
down: Open a new document and draw an image you
developing my skills with dynamic brushes. I Send your emails to us at:
want to use as a basis for your brush preset on a new
advancedpshop@imagine-publishing.co.uk

MAKING YOUR OWN BRUSHES IS A or post a message on our forum board at

www.advancedphotoshop.co.uk/forum.

FAIRLY EASY PROCESS... THERE Remember to specify whether youre using

a PC or Mac and the version number of

WILL BE NO STOPPING YOU! your edition of Photoshop.

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 Feature

A room with a Vue

Detailed fictional landscapes, distant shores and ambient lighting arent feats only
suited to professional film production companies. We find out how e-on softwares
Vue can spur on some magical image making in Photoshop
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 PASTORAL HOMESTEAD DOM
INIC DAVISON: Rendered in Vue 6
the birds using a custom brush whils Esprit. Photoshop was used to add
t the Burn tool to make the ground
roofs of the buildings too. Photosho more rough-looking, and on the
ps Photo filter was used to make the
more. Buildings, coach and dog from vegetation and trees stand out
Cornucopia3d, horse from Daz3d

THE LOWLANDS DOMINIC

DAVISON: Rendered and
composed in Vue 6 Esprit. The
clouds were painted in Photoshop
using custom brushes. Some of the
terrain was cloned to fill in any
gaps. Buildings are from www.
cornucopia3d.com
s
GOGUS: This image wa
MEMORIES KEREM Sun Goes Down
ry to the When The
Kerems ent
rt.com. Additional clouds
Contest on art4all-all4a
stars and huge planets and
and thin fog, comets, tiny
different blending modes
m colour layers with added

W
hether youre watching Harry whiz his
way round the Quidditch field, witnessing
Jack Sparrow being thwarted by
tribesmen or delving into the magical world of Middle
Earth, one things for certain the magic has returned
to cinema.
Gone are the days of shaky backdrops and dodgy blue
screens with the power of image editing its almost a
requirement of a successful blockbuster to captivate us
with awe-inspiring landscape scenes. A film can even
get bums on seats simply because of the spectacle of its
visual effects and not for the script and story.
Although location is still a big consideration in the
filming process, even the most luscious and impressive
scenery often needs a boost in detail by a special
effects department. The processes used vary from film
to film, ranging from traditional matte paintings to
intricate 3D and 2D merged scenes, but theres one
piece of software thats becoming a favourite e-on
softwares Vue.
When you hear that the likes of Industrial Light &
Magic favour Vue software for producing hits such as
the Harry Potter sequels and Pirates of the Caribbean,
the prospect of using this app does seem daunting.
After all, if the bigwigs are using it, the app must be
impossibly complicated, right? Well, the truth is, as with
any form of digital art, artistic skill is an absolute must
and patience is a virtue, but creating a stunning 2D
landscape is a project that can be easily completed in a
home studio. Of course, as a Photoshop user you have
the advantage of being able to add extra elements once
rendered, and tweak your Vue creations to perfection.
In unison
Istanbul-based Kerem Gogus is an artist who enjoys
working with Vue and Photoshop in unison. With an

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 Feature
ous landscapes, the Vue range is also
As well as being used to create lusci
DEAD CITY ROBERT CZARNY:
city shots
useful for building together CG-style
interest in the digital arts at a very early age, Kerem
first delved into the world of pixel art on his
Commodore Amiga. I played with software like
Deluxe Paint, Imagine and Vista Pro, but computer
resources were always falling short, says Kerem. After
a few years Kerem began working on PCs: With the
progression of graphics cards and CPUs it became
easy to have high performance. I started to work with
Bryce 3D and then moved on to Vue DEsprit and also
learnt to use Photoshop, which was a big milestone.
For Kerem, working with the synergy between Vue
and Photoshop is a crucial work process with huge
potential. I cant think to render out an image directly
without postworking in Photoshop. I always try to do
my best on my 3D scene in Vue from lighting to
texturing. Even on my most successful scenes I use
Photoshop to give life to it and save it from being just
a flat render.
Besides postworking, Kerem also uses Photoshop
to paint planets, clouds, birds and other elements in
order to make the composition stronger.
A quick intro to Vue
For those who feel comfortable working with the
layout of a program from Adobe Design Suite, Vue
can be a bit of an eye-opener. The window structure
couldnt be more different from Photoshop, with a
standard four separate views presenting different
views. Like most 3D applications, Vue works on
the principle of being able to control objects and
terrains through three-dimensional axes. Three
separate windows control the Top view, Side view
ANOTHER STAR ROBERT CZARNY and Front view, and the Main camera view shows
90
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088-091_AVP_34_Vue.indd 90
RENDERING IN
VUE IS A LENGTHY
TASK WITH SOME
IMAGES TAKING A
WHOLE DAY
VUE INTERFACE: The Vue interface can look a
little daunting for those who are used to the
Photoshop interface
a basic view of the final image or a preview of a
Quick Render.
To begin a project, first of all you need to assign an
Atmosphere to your design by clicking on the Create a
New File button at the top of the toolbar. Unlike
Photoshop, this doesnt only open up a new canvas
for you to work on but it gives you the opportunity to
define the light sources that will affect the terrain and
objects in your scene. To make it as simple as possible,
light sources are split into various collections. These
range from standard Daytime lighting to Bad Weather
and Realistic Sunsets. The different lighting affects the
position of the sun, the type of light and the shape
and size of clouds, fog and haze.
One of the most difficult things to get to grips with
is the fact that the Main camera view is the first port of
call when realising an image, and all of the tools and
camera controls influence this preview window. The
detail in this preview window varies depending on the
detail settings you have defined in your Quick Render
options. Even if theyre not that familiar with Vue,
many people can start to create mountains, trees,
oceans and clouds with it, says Kerem.
The most difficult part of the process can be finding
inspiration for a new project. Most inspiration comes
from music, says Kerem. I can imagine images easily
while listening to my favourite songs. When an image
becomes clear in my mind I usually draw some rough
sketches on paper and after that I model necessary
elements with another 3D software program and then
import them to Vue as an OBJ file. During the setup of
a scene Vue can be used to experiment with light and
create atmosphere. In Photoshop I duplicate the
rendered image layer and start to play with
Photoshop using the basic Photoshop tools, adding
some colour layers with different blending options
until I get the results I want, says Kerem.
26/7/07 10:05:20
 HOMELAND KEREM GOGUS: This was a layered render it was easy to work on it in Photoshop for
painting clouds and planets. The sky was completely empty on the 3D scene, only the beautiful soft edged
orange-like sun was there. Those celestial elements and blended colour layers made that simple scene look
rich, peaceful and somewhere worth dreaming about

Vue is capable of automatically populating areas at a professional resolution. A feature film that uses
with foliage and texture using an Ecosystem feature graphics built from a 3D program such as Vue uses a
which seriously cuts down on the amount of work final output of a render in the motion picture. If you
needed to create busy scenes. Before Ecosystem I was stop to think that each cel of graphic began life as
creating trees and plants and managing them one by an unrendered document file, just think of the
one. However, Vue features a technology named Solid staggering hours it took to render these images.
Growth which is able to create a different plant in How do they cope? Well, it wouldnt be economic
every click of a plant icon, Kerem explains. I have to set a design to render and kick back with a cup of dered
MINIC DAVISON: Ren
used Ecosystems on a lot of my work and Im still using tea and a biscuit while your computer processed it THE RIVERBANK DO birds we re pai nted
hop the
them. This feature broadened my horizons and its for hours. Large design companies who have to in Vue 6 Esprit. In Photos kgroun d trees behind
sh. The bac
using a custom bru l brushes.
o painted using specia
now much easier for me to think about vast forest and produce vast amounts of work with Vue tend to the buildings were als er the hou ses has been
n und
mountain scenes. have Render Farms, a number of designated Some of the vegetatio gap s. The clouds
to fill in any
machines that churn out renders while freeing up cloned, which again is Atm osp here Editor.
Vue usi ng the
Rendering were created in
working machines to use for other projects. For the ia3d and Daz3d.com
Buildings from Cornucop
When you first come to use Vue for a detailed solo artist, rendering in Vue isnt impossible but it
project, it can be quite a shock to have to deal with certainly is a lengthy task, with an image sometimes
a lengthy render time in order to achieve an output taking days to print at a high resolution. Although
VUE PACKAGES
If you are a Photoshop enthusiast
file of professional quality which you can then the lengths to obtain a rendered image from Vue or a
professional with a small studio and
import into Photoshop. Even with the hardiest of sound extreme, the benefits of being able to create a
restricted budget, the good news
computer setups, images without the intricacies of a detailed scene from the depths of your is that there
are several Vue packages, all with
Ecosystems can take the best part of a day to render imagination are immeasurable. 5 different
output possibilities. Depending on
how much
control you want over your renders,
and
whether you also require the softw
are for
motion, there are different levels of
packages.
The most expensive and powerful
package is
Vue 6 Infinite, which is used for high
-end 3D
scenery solutions and is a favourite
with matte
painters, architects and CG pros. A
floating
licence copy of this will set you back
572/$1,035. On the opposite end
of the scale,
Vue 6 Easel is an ideal introduction
to 3D
scenery, where you can use a pred
efined set
and begin to customise your composi
tion. This
sells for a very reasonable 55/$99.
If you are
interested in checking out the softw
are first
before you buy then you can dow
nload a free
Personal Learning Edition of Vue6
by logging
GOGUS:
MY HEART KEREM onto www.e-onsoftware.com.
THE WORLD INSIDE 4D and imported
pe in Cinema
I modelled the citysca pe in Pho toshop and
d sky sca
Poser figures. I painte nd
ne to make a nice ble
added it as an Alpha Pla
with the 3D atmospher
e. I took the ima ge to
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