Tutorial files available at: blog.advancedphotoshop.co.uk/tutorial-files
The magazine for Adobe® Photoshop® professionals NEW MEDIA
EDIT VIDEOS IN CS6 Use the new tools in Photoshop to replicate 8mm vintage movies
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TECHNIQUES
CREATE STRIKING GRAPHICS Work with shapes, colour and type to design a poster with impact
Enhance details
INDUSTRY INSPIRATION
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RETOUCHI TOUCHING Industry experts reveal their top tips on beauty retouching HOW TO:
• Produce emotive images with Viaframe • Build layers to create a distinct pattern • Use automated lens correction ISSUE 103
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DIGITAL PAINTING
PAINT A LANDSCAPE
Build unique environments using a mix of standard and custom brushes
TYPOGRAPHY
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Create dramatic text by adding vibrant detail to images
GRAPHICS
WORK WITH POLYGONS
Combine CINEMA 4D and Photoshop to shape a geometric landscape
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ISSUE 103 CONTENTS
ISSUE 103
WELCOME
Welcome to the latest issue of Advanced Photoshop. And what an issue it is! This is the first month we are displaying our new masthead throughout the magazine. We hope you like it!
ANNA LISA SAYWELL Deputy Editor IN EVERY ISSUE: PHOTOMANIPULATION PHOTO EDITING TYPOGRAPHY GRAPHICS NEW MEDIA DIGITAL PAINTING
COVER IMAGE CLAIRE HARRISON www.claireharrison photography.com
High-end retoucher Guilherme Strecht www.gstrecht.com, make-up and hair Margo Holder www.margoholder.com, Sleek MakeUP Raj Maher www.sleekmakeup.com Rio Debolla, Models 1
Our main feature this month covers commercial retouching, where we bring you top tips from industry professionals and in our Spotlight we also discuss whether good photo-editing software can compensate for bad photography. You can have your say at www.facebook.com/advancedphotoshop. Elsewhere in this issue you can learn how to replicate Super 8mm movie looks by editing videos in Photoshop CS6, use symbolic and geometric shapes under a grid system to create a poster in our striking graphics tutorial and build unique sci-fi environments using a mix of standard and custom brushes in our digital painting tutorial. Once you have mastered these new skills, we bring you our second industryled feature where we explore how to develop a coherent personal brand to present yourself or your design business. See you next month…
54 WORK WITH POLYGONS WORKSHOP:
Combine CINEMA 4D and Photoshop to create a landscape
78 DIGITAL SURREALISM TREND FOCUS:
Artists challenge our perspective with spectacular imagery
FIND US ONLINE: @advancedpshop
/AdvancedPhotoshop
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CONTENTS ISSUE 103
ISSUE 103
CONTENTS EYE ON DESIGN
What’s hot, who’s in and the latest art & design happenings
06 08 18 24
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SPOTLIGHT: Are photo skills being replaced? GALLERY: Great images from the online community INTERVIEW: Commercial concept art, Michael Pedro EXHIBITION: The Dark Side of the Mind, The Luminarium
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WORKSHOP
FEATURE
90 74
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FEATURE WORKSHOP
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ISSUE 103 CONTENTS
TECHNIQUES
Professional artists reveal their high-end skills in our easy-tofollow workshops
26 36 42 48 52 54 60
FEATURE
Commercial retouching WORKSHOP
Paint a sci-fi scene WORKSHOP
Design Neon type WORKSHOP
Edit videos in CS6 HOW I MADE
Our Kingdom WORKSHOP
Work with polygons
62 68 70 72 74 78
WORKSHOP
Create striking graphics HOW I MADE
Laser dancer II
82 86
FEATURE: Portrait Professional Studio 64 APP & BOOK REVIEWS: 123D Sculpt and Voxel
QUICK TRICK
PROJECT FOCUS
Design emotive images with Viaframe WORKSHOP
Manga lighting effects TREND FOCUS
Digital surrealism
TOOL FOCUS
RESOURCES
Automated lens correction
Equip yourself with the most essential advice
SEE PAGE 88 FOR THE LATEST OFFER
WORKSHOP
We put the latest creative kit, books and apps to the test
Add mass and volume
SUBSCRIBE TODAY!
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REVIEWS
68
HOW I MADE
90
FEATURE: How do I build a personal brand?
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ON YOUR DISC
Free with issue 103 of Advanced Photoshop
TWO CREATIVE VIDEO TUTORIALS
Create breakfast-themed text effects in Photoshop and master hair retouching with three different tutorials
72
PROJECT FOCUS SPECIAL RESOURCE PACK
20 photo reference images, 100 Photoshop brushes and 40 free vectors
PLUS:
• Tutorial project files • Exclusive wallpapers for mobile and desktop • 25 free textures
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EYE ON DESIGN SPOTLIGHT
SPOTLIGHT
ARE PHOTO SKILLS BEING REPLACED?
WE ROUND UP A GROUP OF PROFESSIONAL DIGITAL PHOTOGRAPHERS, ASKING THEM IF THEY BELIEVE PHOTO EDITING SOFTWARE MAKES CERTAIN CAMERA SKILLS OBSOLETE GLYN DEWIS
Speaker at Adobe Creative Week’s The Daily Debate www.glyndewis.com
As a Photoshop World instructor and a retoucher, my work relies heavily on the use of Photoshop. We’re in exciting times and the release of Photoshop CS6 has been the upgrade we’ve been waiting for. It’s going to keep getting better and better, allowing more people to embrace creativity. However, I’m also a photographer who works with large companies from Air New Zealand through to Physique Athletes. Despite the incredible rate Photoshop advances at, I’m under no illusion, and nor should anyone else be, that first and foremost great images start life in the camera. Photoshop is an incredible piece of software, but it can’t replace the other vital skills a photographer must possess, such as composition, understanding light and how to interact to get the very best from people, all producing pictures with mood and character.
ANDREW BROOKS
Andrew travelled the UK looking at castles and rock formations,
www.andrewbrooksphotography.com capturing enough material to shape into this imagined scene As a photographer whose work has slowly evolved towards digital art, I prefer to apply photographs that I have taken personally in my compositions. This means I control every image applied. This really connects me creatively to the final image and also means that my work is a mix of desktop work and having fun getting out there in the world, finding the right view or feature, helping create a landscape from my own imagination. I feel that as a photographer and retoucher, having strong photographic skills is really important when achieving unique and compelling imagery. A good understanding of the whole process, from image capture through to post-production, is a big advantage and a massive help to any digital artist.
DAVID BENOLIEL
Understanding light, composition and communication are still extremely necessary skills as a photographer
www.davidbenolielphotography.com The most important thing for a photographer is to understand what functions they specifically need in Photoshop. As a fashion and beauty photographer I’ve had to master precise tools that allow me to improve skin, colour and form. Every other tool is merely a means to extend my creativity.
Even when shooting you can plan the image adjustments you will later make in Photoshop Credit: Model - Courtney O’Connor, Elite. Makeup - Eliut Tarin
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spotlight eye on design
claire harrison
www.claireharrisonphotography.com Being a photographer is not just about taking the image. You have to possess a vision and know how to interpret this, through the use of lighting, posing and styling. You are the person in charge of the shoot. You’re responsible for getting everyone to do their job well through your instruction. Even with Photoshop being as good as it is now, you still need to have something good to work with initially. There are still many things Photoshop can’t cheat.
ERIN MORONEY
Speaker at Adobe Creative Week’s The Daily Debate
www.erinmoroney.com I think that with all of the advances in Photoshop, it is easier for technically challenged photographers to pass as average. But I don’t think Photoshop will make a poor photographer a good image-maker. My background is in stock photography. When I started working in the industry 15 years ago, everyone shot on 100 ISO slide film. There was no exposure latitude in slide film, so photographers had to be technically proficient. Now that most photographers shoot on digital it’s much easier to fake the technical side. But you either have the ability to compose great images or you don’t. Photoshop can enhance a good image, but it won’t create one. I am now working as a consultant at a new photographic gallery in London, Margaret Street Gallery. It’s really refreshing to see a return to film and more traditional techniques.
You either have the ability to compose great images or you don’t. Photoshop can enhance a good image, but it won’t create one Erin Maroney, www.erinmoroney.com
do good photo-editing skills compensate for poor photography skills?
A resounding 95% of you say no and that a good understanding of traditional skills is essential for successful photo editing
Credit: Photography - Claire Harrison, www.claireharrisonphotography.com Model Jessica Ellis Select Model Management. Hair - Renda Attia. Makeup - Celia Burton, Mansy Coakley represents
An underwhelming amount of you said yes, believing editing software substitutes traditional photography skills
chris crisman
www.crismanphoto.com Photoshop is just one tool in my arsenal used to help illustrate my personal vision. But the greatest tool is my mind, followed by my camera. There are some images that just can’t be captured through the means of traditional photography. Photoshop being applied by a talented digital artist helps me complete my vision. If any one piece of mine is better classified as illustration that’s fine by me.
Butterfly Girl is an impossible photograph in the traditional sense
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EYE ON DESIGN GALLERY
SHOWCASE
READERS’ GALLERY WE SHOWCASE THE VERY BEST OF YOUR ARTWORK EVERY MONTH
HOW TO SUBMIT UPLOAD YOUR IMAGES TO OUR WEBSITE OR SOCIAL NETWORKS
01 Create a gallery
Visit www.advancedphotoshop.co.uk and click on the Create Account option to follow the simple registration process.
02 Upload your artwork Upload your favourite images to the gallery for others to view and comment on. We’ll select the best each month to appear on these pages.
/AdvancedPhotoshop @advancedpshop
Search for gian1082 on
.co.uk
I used tools such as Smudge, Dodge and Burn to emphasise the athlete’s attitude in his pose. I worked carefully through the use of colour to create the best representation Gianfranco Gallo, Goodbye London
ABOUT THE ARTIST GIANFRANCO GALLO www.facebook.com/Gian1082 I am a freelance artist living in Salerno, south-west Italy, and have been working on Photoshop for four years. I usually join painting techniques and digital devices together to create strong visual impact.
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GALLERY EYE ON DESIGN
ABOUT THE ARTIST JASPER HAFT WIESE www.jasperwiese.com I am a 25-year-old graphic designer and illustrator based in Oslo, Norway. I am currently working at a Norwegian advertising agency and have been using Photoshop for about eight years.
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.co.uk
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EYE ON DESIGN GALLERY
Inferno is a personal work. I wanted to create a dark advertising image for this 4X4 Mercedes, which is literally uprooted by two sick monsters from Hell. I took a lot of time on these monsters, as I wanted them to be really mad and insane Ludovic Cordeliëres, Inferno
Search for Rusalkadesign on
.co.uk
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GALLERY EYE ON DESIGN
ABOUT THE ARTIST LUDOVIC CORDELIËRES AKA RUSALKADESIGN
www.rusalkadesign.com I’m an illustrator and art director with a background in drawing, also known as Rusalka Design. I work as a graphic designer, mainly on metal music artwork.
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EYE ON DESIGN GALLERY
ABOUT THE ARTIST DIEGO CASTELLO BRANCO PANNONI MARICATO www.diegomaricato.com.br I’m a 29-year-old graphic designer, art director and illustrator from Campinas/SP Brazil. I’ve been working in advertising agencies for the last eight years always trying to use creativity to make things look and work better.
I focused on the fur, made with masks and brushes, using Scattering, Transfer and Shape Dynamics with my tablet. The aviator glasses were a challenge and fully created in Photoshop using Shapes, only the leather is a photograph Diego Castello Branco Pannoni Maricato, Astro Cow
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.co.uk
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GALLERY EYE ON DESIGN
Photoshop was used for compositing the renders into the canvas with the stars and lighting effects. Highlights and glows were brushed in with my trusty Wacom tablet. Colour correction via Colour Panels as well as Sharpening… was then used Joseph Nicklo, Sic Transit Gloria Mundi
Search for josephnicklo on
ABOUT THE ARTIST JOSEPH NICKLO www.behance.net/josephnicklo Entirely self-taught, I’ve been working with Photoshop for over ten years. I’ve recently begun working with CINEMA 4D and am slowly but surely learning other tools such as After Effects and Final Cut Pro.
.co.uk
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EYE ON DESIGN GALLERY
ABOUT THE ARTIST SEBASTIAN ANDAUR www.andaurstudios.com I am 18 and a self-taught digital artist / designer located in Santiago, Chile, and I’ve been playing with colours and shapes since I was 12. In the last few years I’ve been working with clients such as HBO, PUMA and Nestlé.
I used Photoshop CS5 and worked with stock images as well as a few renders of CINEMA 4D to create this unreal image Sebastien Andaur, Beyond the Frame
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gallery eye on design
about the artist jeff langevin www.jefflangevin.com I love creating imagery that is imaginative and emotional, with a fantastical or surreal edge. My work attempts to convey a sense of sadness and longing for a connection to the natural world that may have been lost.
Much of Forest was painted using custom brushes made from a variety of source photographs I have taken. It began as a simple pencil drawing, which I scanned and then painted over in Photoshop
Jeff Langevin, Forest
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EYE ON DESIGN GALLERY
The brief for this matte painting was to create super-natural dark lava landscape with kind of a fantasy-illustrative feeling. The whole scene was built from scratch using textures, tablet painting and 3D modelled rock formations
ABOUT THE ARTIST LUKAS LANCKO www.isisdesignstudio.com I was born in 1984 in Slovakia. I fell in love with digital art and computer graphics four years ago after finishing my university studies. I started as completely self-taught but shortly landed a job as a junior graphic designer.
Lukas Lancko, Sole Method
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.co.uk
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eye on design interview
interview
commercial concept art
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Professional concept artist Michael Pedro explains the importance of detailing images, using Photoshop tool sets
ichael Pedro is a professional concept artist with eight years of experience, who majored in Computer Animation. It dawned on him midway through his junior year that concept art was where he really wanted to be. “I began rabidly searching for whatever training materials I could find in the hope of improving my skillset,” he reveals. However, as his primary focus was 3D, he ended up landing an environment artist job at EA Tiburon. “After about a year I moved to Sony Online Entertainment in Austin, Texas and it was there that I was given the chance to finally move into full-time concept design,” he says. Due to his notable amount of commercial experience, we were keen to ask Pedro where he pools his inspiration from to help him fashion his various concepts and projects. He immediately
answered: “When you think about it, the world around us really is at the root of successful design. Concerning organics, you can’t go wrong referencing plant life and the animal kingdom, especially when designing creatures. Grounding your designs in reality is key to creating believability. I’m also a die-hard advocate of life drawing. This is the best method for honing anatomy skills.” If you are pursuing a career in concept design, Pedro advises you to keep a drawing pad handy at all times. Traditional sketching is invaluable for staying loose and creative, especially on the go. This, in conjunction with photography, builds and reinforces observational skills that are invaluable, especially for a concept artist. Photography is especially valuable when conceptualising mechanical designs. Pedro admits
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Our expert MICHAEL PEDRO
www.ultra-prime.blogspot.co.uk
001 Dell UltraSharp monitors, 24-inch and 22-inch, hooked up to an Alienware Aurora-R3.
002 An essential Wacom Intuos4 large pen tablet, offering authentic brushwork.
003 My iPad is used to play all the Netflix I can handle while working.
004 I like to keep a rotation of inspirational material handy.
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article name article type
Lumina I: “A personal character piece. I was going through a skimpy-spacemarine phase, most likely brought on by my affinity for Heavy Metal Magazine,” Pedro explains © Michael Pedro
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interview eye on design
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001 Stranded: “This image was a speed painting for a personal project. Eventually, I’d like to go back and add indications of a larger ship crew, perhaps more debris,” Pedro further explains © Michael Pedro
002 Avatar of Tech: Boss design for DC Universe Online © DC Comics
003 Ice Dragon Avatar: “Illustration for the Legends of Norrath TCG, published in Spectrum 17 and Art Of The Dragon: The Definitive Collection of Contemporary Dragon Paintings. Fantasy has never been my forte, but I had a lot of fun with this one,” explains Pedro © Sony Online Entertainment, LLC
he loves checking out photo references of motorcycles, engines and exhaust systems, as well as heavy-duty construction machinery. He tells us: “I guess I’ve always been interested in the visual complexity of working machinery and assembled parts. There’s a certain elegance to these systems, a rhythm in the shape that can really elevate mechanical design when done well.” As a concept artist, any skill that improves your ability to communicate an idea within imagery is invaluable. Once visualising your ideas, detailing becomes essential, especially texturing. Pedro honed this while working as a 3D production artist. This is now a principal element in his illustrative style. “A successful application of texture within an image, or on a 3D model for that matter, conveys the surface breakup and tactile details. These subsequently inform lighting and material attributes,” he explains. In short, texturing can make your concept art more believable. The most effective way to understand the physical properties of any texture again involves photography. Take a camera with you wherever you go and shoot anything intriguing you
may happen to find. “Or you can make it easy for yourselves and visit http://cgtextures.com,” Pedro adds. “Also, check out the art of Stephan Martinière and Khang Le. These guys are masters of believable texture in illustration.” It has to be said that without a thorough, practical understanding of how lighting attributes work together, your career can severely suffer. Pedro continues: “Lighting is a tool we use to describe forms, to suggest the mass and weight of an object. Lighting and colour are also primary tools in conveying drama and, as any artist knows, drama is how you really sell an image. The Gnomon Workshop currently provides some great tutorial videos on this subject, applied to both 2D and 3D. Also, check out any film by Ridley Scott or David Fincher as reference.” Many concept artists appreciate the advantages Photoshop options provide, when compositing lighting and texture. Pedro is among these ranks. “One of my most applied techniques involves the Lighten and Darken layer blending modes,” he reveals. “After roughing in some simple lighting I’ll
pedro’s inspirations and resources cghub www.cghub.com “I frequent this website at least twice a day. New and popular images are updated in real-time and the social tools make for a streamlined sharing experience.” ridley scott www.rsafilms.com “Ridley Scott is my favourite visual director. When it comes to lighting and atmosphere nobody does it better. Go watch Alien and Blade Runner if you don’t believe me.” eat 3d www.eat3d.com “One of my favourite CG-training sites. Anyone interested in learning ZBrush should check out the library as soon as possible. These guys are basically my ZBrush gurus.” fzd design cinema www.fzdschool.com/programs_design_cinema.html “Feng Zhu’s Design Cinema tutorials are some of the best on the net, for anyone interested in tips and tricks for surviving in the concept art industry.” steambot studios www.steambotstudios.com “These guys are a formidable force in the world of high-end conceptual art and speed painting – a critical skill in our industry. The studio’s book Steampainting: Spark is a really handy resource.”
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eye on design interview
004 Black Widow Stance: “Illustration for the Legends of Norrath TCG, published in EXOTIQUE 6. The brief involved a female warrior… guarding the opening to a cave,” Pedro explains © Sony Online Entertainment, LLC
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005 Kronis: “A buddy and I were reminiscing about the Eighties cartoon series Masters of the Universe, which prompted this original creation,” Pedro says © Michael Pedro
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004 often bring in photo elements to superimpose over the forms, instantly achieving the complex breakup of light and colour across all surfaces.” Photoshop brushes also feature heavily in any concept artist’s workflow. Many will rely on a core set of styles to render effectively, regardless of the project’s subject matter. Pedro elaborates: “That way, you can minimise time wasted on importing sets and creating new brushes you don’t really need. I used to do this a lot, actually. I use a fairly small number of textured, more traditional-looking brushes on a daily basis, which I can use for sketching, painting, you name it. I also have a few specialised sets of shape brushes I’ll import for rendering different subjects, such as robotics, landscapes, artificial structures and ships.” Pedro shows the same diligence to detail with every project he creates. However, he does admit that lighting plays a very specific role in producing the dynamism and atmosphere. He once again refers back to his biggest inspiration: “This is a product of the films I grew up watching, such as Alien and Blade Runner, which employ a certain
Solitude: Pedro explains: “This image is an environment concept from the DC Universe Online project. This was the first pass, focusing on the entry hall of the Fortress of Solitude,” he says © DC Comics
006 amount of depth to enrich each scene and shot. It’s just so much more immersive. I continue to hone methods through my observation of dramatic film and photography, and by studying older painted works, such as those crafted by the Hudson River School artists.” However, although certain cinematography has played a major part in fashioning the looks in his work, he admits his styles are multifaceted. “My personal illustrations tend to be fairly moody in terms of both subject matter and colour,” he explains. “Also, as a huge fan of Tim Burton’s early work, I tend to use palettes that are somewhat drab and desaturated. My favourite subject matter of late seems to involve bizarre, cybernetic creatures. Commercial work tends to incorporate very specific requirements of colour and mood, so in that case I’m forced to be stylistically agile.” Pedro fully displayed all his creative skills and talent in his commercial work developed for DC Universe Online. He found this an interesting experience, as the team of concept artists were encouraged to create believable worlds, while also preserving the aesthetic styling that fans have come to enjoy in the comic book medium. He continues: “Similarly when designing multiplayer maps for my most recent project, Halo 4, the biggest challenge was crafting
Grounding your designs in reality is key to creating believability. I’m also a diehard advocate of life drawing. This is the best method for honing anatomy skills
environments, each with a defining theme, while maintaining the high visual quality established in the campaign missions.” What Pedro has learnt from his commercial experience is that being a talented artist isn’t enough, it takes something further. “You have to be effective within the production environment,” Pedro urges. “When you’re young, passionate and new to the industry, it’s easy to think you can conquer everything by yourself. The reality is that the best product comes from teamwork.” Also, everything comes down to quality versus speed, so workflow must always be shifted accordingly. Pedro adds: “In a production setting, time is money. The challenge for me then is to hone a workflow that enables me to be more creative yet faster in execution. It’s something that can take years to master.” However, once perfecting these core skills the commercial arena is ripe with working opportunities and budding concept artists should stay positive and eager. Pedro reinforces this point, revealing: “This may sound like hyperbole but it’s true, concept art completed during the pre-vis period is arguably [the] most important because this is where the trial and error happens. Sketches, paintings and sculptures are created [and] iterated upon as the defining style emerges and is refined. Concept art is essential to the visual direction of any project… It establishes consistency and quality if done correctly and provides the framework for the entire visual experience.”
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eye on design exhibition
exhibition
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The dark side of the mind
The Luminarium’s latest exhibition explores deep into the dark arts
ew exhibition ‘The Dark Side of the Mind’ is the latest show-stopping project from modern, international art collective, The Luminarium. Fresh from an impressive back catalogue of exhibitions, with ‘The Dark Side of the Mind’ the collective asked digital artists to explore a theme that has produced a number of eye-catching entries. As you can see for yourself, the community responded with some truly captivating pieces. The Luminarium release a fresh exhibit with a new theme every few months. Its exhibits aim to give artists the freedom to interpret the theme and produce organic and exciting artwork. Previous exhibitions include ‘A Soldier’ and ‘Genesis’. The use of dark imagery has been part of social conscience for some time now and it has once again proved a highly popular entry into The Luminarium’s substantial repertoire.
The Luminarium is an impressive collection of super-talented digital artists with a keen eye for producing stunning artwork
We’ve been astounded by The Luminarium for a while now and many of its exhibitions have featured here before. ‘The Dark Side of the Mind’ does nothing to change our mind – The Luminarium is an impressive collection of super-talented digital artists with a keen eye for producing stunning artwork. “We love sharing our work with others around the globe and hope to continue doing so and providing inspiration to those who enjoy our work,” says contributor Bobby Myers, a self-taught digital artist from Orlando, Florida currently studying visual effects. “We at The Luminarium appreciate the support we get from everyone, from artists like us to everyday people who just happen to visit our site.” If you have been inspired by the exhibition and wish to take part in a future exhibition from The Luminarium, you can register on www. theluminarium.net and apply to become a member of the team by filling in a form found on the website. “We’re always on the look out for talent and if we spot someone that we think really has it we will send them an invite to join us,” confirmed Myers. So, what are you waiting for?
Interview with
bobby myers
The Luminarium’s Bobby Myers gives us the low-down on ‘The Dark Side of the Mind’ AP: Tell us more about ‘The Dark Side of the Mind’ theme… Bobby Myers: The theme is about finding the darkness within yourself and the world around you. Not necessarily to bring out evil or anything of the kind, but to see the world, and yourself, from a different perspective. It’s about finding new definitions and ways to interpret the message. AP: Why do you think it’s such a popular theme? Bobby Myers: I think it is popular because it can be something that we don’t see every day. Darkness can be interpreted in many different ways, so I think for somebody to be interested in something that revolves around a dark theme you need to be able to put something unique in there. It is fun to explore and create new ideas based off older themes and concepts. AP: Some of the artwork is stunning – could you pick a favourite and explain why? Bobby Myers: One piece that really stood out to me was Creating a Nightmarish Creature by Vincent Lefèvre. It was great to see how he took the mechanical aspects of the piece and shifted them towards a more organic creature, as if they were engineering a monster. When you have a theme such as this, it’s often hard to think of what you can do that would be refreshing for an audience to see, and I think he did it very well. AP: What is the secret to The Luminarium’s success? Bobby Myers: For me, The Luminarium means more than just being in an art group. It’s a place where an artist can come in and be a part of a tight community. If it’s one thing I hope to hear out of those already in the group is how The Luminarium has helped them grow.
If you’d like to see your collective featured, email advancedpshop@imagine-publishing. co.uk
www.kaioshen.deviantart.com
Timeline of chapters A Soldier – December 2010
Energy – March 2011
Asylum – December 2011
© Thor Johannessen
© Tobias Roetsch
© Chris Cold
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exhibition eye on design
THE scream Richard Davies (www.turksworks.co.uk)
creating a nightmarish creature Vincent Lefèvre (www.ptitvinc.deviantart.com) Illuminate IV – February 2012
Gaia – June 2012
© Christian Hecker
© Matthew Attard
where children have to go Kuldar Leement (www.kuldarleement.eu) three sides of me Leandro Bordoni (www.leandrobordoni.com)
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© Claire Harrison www.claireharrisonphotography.com, High-end retoucher Guilherme Strecht www.gstrecht.com, make-up and hair Margo Holder www.margoholder.com, Sleek MakeUP Raj Maher www.sleekmakeup.com Rio Debolla, Models 1
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COVER IMAGE AND OPENING IMAGE COURTESY OF
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COMMERCIAL RETOUCHING TECHNIQUES
PRE PRODUCTION SHOOT
PROFESSIONAL PHOTOGRAPHER CLAIRE HARRISON EXPLAINS THE IMPORTANCE OF A GREAT SHOT BEFORE YOU BEGIN TO RETOUCH WWW.CLAIREHARRISONPHOTOGRAPHY.COM HAIR AND MAKE-UP Studio light can be harsh, so it’s vital to have a make-up artist who knows how much to apply, ensuring it shows up. It’s also important to hide blemishes, but not totally conceal detail.
PREFERRED CAMERA LENS With beauty photography it’s important to shoot close up, so you can capture as much detail as possible. I enjoy using a 70-200mm lens for hair, as it gives me the option to crop in-camera while shooting, which I prefer to do to obtain DOF.
THE CORRECT LIGHTING SETUP
ENVIRONMENT CHOICES
The most common way to light a beauty shoot is to use a beauty dish. This is an attachment for a flash or strobe photographic light. It reflects light back on itself from a small dish, which is directly in front of the light bulb. This spreads out evenly to the bigger round dish around the light, creating a direct but evenly spread source of light.
We shot against a dark-blue background, with a spotlight behind the head. Another way to add contrast to the skin is to use black poly-boards or deflectors either side of the model.
PERFECT SKIN CONDITIONS I prefer to use a model with naturally clear skin, keeping retouching to a minimum and retaining as much detail in the pores as possible.
WE DISCUSS COMMERCIAL EFFECTS WITH PROFESSIONAL RETOUCHERS AND PHOTOGRAPHERS, REVEALING HOW TO CORRECTLY WIELD PHOTOSHOP’S TOOLS
B
eauty retouching is one of the more common processes practised by Photoshop users. However, many of the tutorials supplied online yield unconvincing effects, which won’t suffice if you want to show off your skills in the professional arena. Commercial retouchers know what it takes to work efficiently and in this feature several of them share their secrets, exploring plenty of techniques that will ultimately transform your beauty retouching
for the better. However, before we dive in and start discussing these effects, it’s important to understand what defines a beauty image. Facial retouching in fashion photography is less invasive than beauty, which needs to be absolutely flawless. Beauty images have significant styling – separating them from fashion photography – and images are more natural with both clean light and colour. Where fashion is energised, beauty is subtle and sophisticated.
Composition is also a key signifier of a successful beauty image, in turn prompting many applicable effects. “This type of photo editing is more about perfecting the model,” explains professional retoucher Oliver Ingrouille (www.ingrouille.com). “It’s about creating pristine skin, perfect lashes and flawless make-up. As beauty images are usually close-up head shots with softer, flatter lighting, there will always be a huge amount of skin and hair detail to work with.”
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TECHNIQUES COMMERCIAL RETOUCHING
SHOWCASE YOUR SKILLS
DANNY MEADOWS (WWW. DMD-DIGITAL-RETOUCHING.COM) EXPLAINS WHY IT’S GOOD TO SHARE
Marketing has changed and the world seems a much smaller place thanks to the internet. Jobs once confined to the world’s capitals are open to anyone with the talent and drive to find them. Make good use of the tools available to you so you can showcase your skills to the world. Start a blog, develop a portfolio page to go with it and update as often as you can, especially while you’re starting out. Your readers may be potential clients. It’d be disingenuous to pretend that retouching is a secret art. We’re using updated decades-old techniques with a lot of new tricks, but above all else we love the challenges each new brief brings. I’ve always been more than happy to share that excitement with my readers and in turn other bloggers have become friends, clients and advisors over the years.
CLEAR SKIN Skin is the foundation of every professional beauty retouch image, with great make-up and hair supporting this. Photoshop supplies a host of photo-editing tools, all geared towards improving, enhancing and ultimately perfecting these elements. Many beauty retouchers will apply tools rapidly, as freelance photographer Joanna Kustra (www. joannakustra.com) admits: “I always work in a loose way, not focusing too long on a single area. I move around quite freely and remove the worst spots. I use the Patch tool to replace blemishes, by selecting and dragging them into nearby areas of clear skin with a similar texture.” This is standard application. Many find it a relatively quick fix, but Ingrouille warns: “There should be no cursory method when correcting skin,
only time and patience coupled with experience and professional techniques.” He often ventures into this stage by applying a combination of the Spot Healing tool, Selective Color adjustments, with Dodge and Burn application to clean and smooth. SMOOTHING On rare occasions Ingrouille will vary his technique to smooth out particularly porous or downy skin. He explains: “This consists of two layers, the original below and a duplicate above with Gaussian Blur applied. I blend this layer using the split control in the Layer Style>Blend Options>Blend If sliders. This brings back skin details where needed. I then invert this top layer and use a layer mask to lightly paint effects back in where applicable.” Once clearing skin this softening phase often automatically begins.
There should be no cursory method when correcting skin, only
coupled with experience and professional techniques
OLIVER INGROUILLE / WWW.INGROUILLE.COM
SEE THE DIFFERENCE
BEFORE AND AFTERS SHOWING SKIN SMOOTHING, DETAILING, DODGING AND BURNING
Merge into a blending mode layer. Apply Gaussian Blur and High Pass to soften skin © Joanna Kustra Credit: Model - Liza Serepova at Premier Model Management/Make-up: Kate O’Reilly
Splitting Blending Options>Blend If sliders in your smoothing layer allows pore texture to show through © Oliver Ingrouille/Photo Credit: Rhys Frampton
These two images show the retouching layer structure before and after Dodge and Burn application © Joanna Kustra
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Many photographers will not go near a retoucher who produces synthetic looks, but that’s not to say subtle skin smoothing is entirely objectionable, as Ingrouille has shown. Kustra concurs, as she reveals: “I create a new layer, change the Blend Mode to Vivid Light, invert it (Cmd/Ctrl+I) then convert to a Smart Object. I apply Filter>Gaussian Blur until I see skin pores break through. Then I apply Filter>Other>High Pass. I add a mask to this layer and apply a soft brush, targeting skin areas I want to soften, tweaking opacity to determine effect strength.” REINTRODUCE PORES Over application will more than likely obscure pores entirely, totally destroying authenticity. However, several remedies present themselves, with the High Pass filter a solution once more. Retouchers will duplicate their image, applying Filter>Other>High Pass to sharpen. A Soft Light blending mode is applied to this layer, as is a layer mask that is then inverted and applied to with a soft brush, reintroducing distinct pore texture. Others will apply pore maps, which Ingrouille explains as a base image of pores taken and applied from other model photos. “I personally wouldn't use this method, as images I work on are of a very high resolution and have all the detail I need,” he explains. “If part of the skin does feel too soft I would either sample and then heal, or cut and paste from another part of the existing skin with detail.” COLOUR CORRECTION Colour correction, not to be confused with grading (discussed later), is also a subjective process. Many will apply this in pre-production phases even before applying retouch effects. Others apply after or during retouching, believing it helps visualise the finished image. Much of this process will be completed using a combination of Photoshop’s numerous colour adjustment controls, specifically Color Range, Hue/ Saturation and Color Balance.
Use colour adjustments. Selective Color was applied to the shadows to add tone back into these and enhance exposure © Joanna Kustra Credit: Milk Model Management/Make-up: Marina Keri
HOW TO APPLY PORE MAPS
HIGH-END RETOUCHER GINA HERNANDEZ (WWW.GINAHDEZ.COM) SHOWS US HOW SHE REINTRODUCES SKIN TEXTURES AFTER APPLIED SMOOTHING EFFECTS
01
PREPARE TO REPLACE PORES
Duplicate your image, naming it ‘Low’. Duplicate your Low layer and name this ‘High’. Apply a 10px Gaussian Blur to your Low layer. Activate your High layer and select Image>Apply Image. Set Layer to Low, Scale to 2, Offset to 0, check the Inverted box and set the Blend Mode to Linear Light.
02
CLONE PORES
Low now holds the colour and High the texture in your image. Apply the Clone Stamp Tool with Sample set to Current Layer to a section of pores in your High layer. Replace bad pores or add where the image doesn’t have them. We can also use it to remove wrinkles and facial hair.
03
ADD PORES TO A LARGE SECTION
For adding pore texture to a large section of the skin, use the Lasso tool to select the pores you want to use from the High layer. Hit Cmd/Ctrl+J to duplicate that part. Hit Cmd/Ctrl+T to place and rotate the pores. Adjust the opacity to determine the texture’s strength.
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PERFECT FINE DETAILS
MIKHAIL MALYUGIN ENHANCES SPECIFIC FACIAL ELEMENTS AND CREATES STUNNING BEAUTY IMAGES WWW.MALYUGINPHOTO.RU
001
001 APPLY LIQUIFY I start by applying the Liquify tool with Brush Density set to 50-100 and Brush Pressure to 100 to reshape the facial structure. I recommend doing this first. Apply this tool correctly just the once, or you’ll experience distortion.
002 RETOUCH MAKE-UP
003
002
004
If you use a competent make-up artist, editing make-up becomes easier. Simply correct and enhance tonality in these areas by dodging and burning, reinforcing the shadows and highlights. Apply to hair, eyes and lips.
003 DETAILED HEALING Follow Liquify treatment with some healing and cloning. I perform this by creating a low layer (beneath) with a 25px Gaussian Blur applied, then a high layer (on top). I add Apply Image, with Layer set to Low, blending mode to Subtract, Offset at 128 and Scale at -2. Apply the Healing Brush and Clone Stamp tools, set to Current Layer.
005
004 PERFECT EXPOSURE Work carefully with dodge and burning, painting shadows and highlights in the hair by applying to a 50% grey (808080) layer set to Soft Light. On a Color blending mode layer, sample colour from your image and brush those areas that need to be corrected, for example red spots on the skin and different shades.
005 HAIR SMOOTHING Create two layers, low and high. Use a Gaussian Blur at 30-50px to your low layer. Add Apply Image to the high (top) layer, with Layer set to your low layer, Blending Add and Invert active. Blur your high layer by a third of the blur amount, invert your layer, add a Linear Light blending mode and a layer mask. Apply a 100% white brush to your layer mask.
BEFORE © Mikhail Malyugin, Anna Nerezova, Credit: Photographer - Mikhail Malyugin, Model - Alina Efremova, Make-up and hair - Anna Nerezova (Nerezova.com)
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HAVE YOUR SAY
HOW MUCH IS TOO MUCH? WWW.FACEBOOK.COM/ADVANCEDPHOTOSHOP DAVID FAJARDO When the retouching doesn’t add value…
JULIE ROHWEDDER When you can’t see any facial structure and natural wrinkles. These can be reduced, but in a natural dose.
REBECCA OLSEN It depends what the purpose of the image is… It’s the artist’s impression of the world, just like any painting or sculpture. Their use of manipulation tools isn’t right or wrong. No one berates Picasso for his work, saying it doesn’t look realistic. OK, maybe they do. But it’s art, and the point is to convey your view of the world and elicit some kind of reaction from the viewer.
AI IMAGE EDITING Retouching people is not good in my eyes. I can’t stand an unnatural look.
TOMÁŠ BOJKO There is no such thing as too much or too little retouching. There is only good and bad retouching.
ESSENTIAL COLOURING Commercial retoucher Danny Meadows (www. dmd-digital-retouching.com) puts the importance of colour correction into perspective, explaining: “Perhaps you have decided a green dress isn't quite green enough. This is a bit of a tricky one for beginners who haven’t mastered the Selective Color dialog box. The answer is to pull the magenta out of the greens. Colours have an opposite partner on the colour wheel, so make life easier and download one, using this as a reference when editing.” Selective Color is particularly useful when targeting specific areas, with its ability to alter process colours (CMYK) in each of the primary colour components – reds, yellows, greens and so on. If it’s a more generic colour correction, such as fixing colour casts, then the Color Balance adjustment is perfect. Colour relationships come into play once again, pushing blue into the shadows to remove a yellow cast for example. DETAILING LIPS Many retouchers believe that true skill lies beyond these corrective phases, existing in the perfection of details. This is the real difference between a competent retouch and a great one. Hair and lips are always particular problem areas, but practise and
learning from professional blogs makes perfect. Working with the highest-resolution files you can get, at a 100% zoom level, is the only way to truly appreciate the complexity of these areas. When working up-close and personal you’ll be less likely to miss imperfections, such as smeared lip lines. Stray lipstick can be remedied using a hard-edged Clone Stamp Tool. Sample slightly above the lip line and use your tool to paint a more pleasing line below. Work on a new layer and reduce the opacity where necessary. Perfect lip definition is complete with specular highlights. Meadows explains: “You might find one or two missing or a couple in places they shouldn't be, particularly with dry, cracked lips. Clone these in where necessary and remove them where they don't follow the flow. You can also make lips fuller by dodging the lighter central line of the lip and burning the darker areas that recede from the camera.” DETAILING HAIR When retouching hair, the artist is presented with a whole new set of issues. Perhaps even more so than with other elements, working with hair becomes a question of patience. Procedures can consist of fixing a few stray edge hairs to a full head retouch – reshaping, aligning and strand-by-strand retouching.
A white brush on a new layer set to Overlay is great for bringing life to a model’s iris Credit: Adam Browning Hill
Use the Clone Stamp Tool to clean up any lipstick that isn’t where it should be, use a harder brush for edging Credit: Tim Johnson
A good part of the fringe was copied onto a new layer and used to fill gaps in the hair © Oliver Ingrouille/ Credit: Elisabeth Hoff
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Cross or stray hairs can be tidied using the Clone Stamp Tool once more, set to Normal, Darken or Lighten blending modes accordingly. While it’s easy to use the latest Content-Aware Spot Healing Brush settings, adding hairs is more difficult. However, the key is getting your brush shape and properties right, matching the natural tapered shapes of hair. Once again, practise makes perfect. To fill gaps in the hair, retain defined edges and straighten fringes, Ingrouille will comp from good parts of existing hair when possible. “If nothing is available I will look at other images from the shoot or sometimes a different shoot to use as donor shots,” he reveals. “Then I will blend these using layer masks and Dodge and Burn techniques.” APPLYING MAKE UP Detailing is taken to the very extremes in commercial beauty retouching, with little left to chance or half measures. Even redefining or creating make-up where none existed before is common. Kustra demonstrates this perfectly, as she explains: “I apply a Selective Color layer, invert the mask to black and paint to the lips, adjusting colour controls to achieve the look I want. I do the same with eye-shadow make-up.” Enhancing blusher is similar, using Color Balance adjustment instead, improving tonality by dragging sliders towards reds, magentas or yellows. Kustra will even work with the most obscure details, such as eyeliner, to ensure everything is of a uniform high standard. It’s this attention that really pays off in commercial projects. “I create a new empty layer on top of my photo and draw a rough black line in place with a small brush,” she reveals. “I set the blending mode to Color and apply a black Color Overlay layer style, with Blend Mode set to Overlay, tweaking opacity and reshaping the line with a hard Eraser.” COLOUR GRADING All the levels of perfection mentioned are applicable until the last stages, where colour grading comes to the fore. Dissimilar to colour correcting, this is a definite post-production phase. Instead of changing colours, retouchers look to enhance existing tonality. Part of this involves boosting exposure and lighting. Ingrouille explains: “There is always going to be a time when you need to add or change the lighting and shadows in an image. You can paint these to a new layer using a low-opacity brush, set to either Soft Light or Hard Light blending modes. These layers can then be controlled and manipulated in various ways, including an applied Gaussian Blur to soften, edited layer masks and tweaked opacity.” Retouchers will also apply a dodge and burning technique of sorts, using two Curves layers. One curve is pulled up to increase highlights, another pulled down to burn shadows. The attached layer masks are now effectively Dodge and Burn masks,
BEFORE
AFTER
To create blusher, paint your colour to a new layer using a soft brush. Set this layer’s blending mode to either Overlay or Soft Light © Joanna Kustra/ Credit: Virginia Kiss - IMG Models, Make-up: Yuka Hirata
I apply a Selective Color layer, invert the mask to black and paint the lips, adjusting colour controls to
I do the same with eye-shadow make-up
.
JOANNA KUSTRA / WWW.JOANNAKUSTRA.COM
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applied to subtly with a 3-5% Opacity white soft brush, showing through enhanced exposure. A Hue/Saturation adjustment layer is a great finishing device, used to target and enhance your final colours. Retouchers will simply apply one on top of all other layers, setting Opacity at 30%, with the blending mode set to Overlay. From here, preset colour ranges can be added and tweaked using Hue and Saturation sliders, effectively boosting vibrancy and contrast. With these techniques you can add drama to your image, particularly in the hair, carefully managing light and colour information in multiple areas. However, beware of excessive increases in saturation, which will need to be corrected, unless favourable of course.
Color Balance has been added to brighten shadow and correct skin tones. Selective Color is applied to enhance hair and lipstick
To achieve this lighting effect, transform bokeh stock to fit around your model then apply a Screen blending mode to this layer. © Joanna Kustra, Credit: Milk Management, Make-up: Simona Vankova
HOW TO COLOUR GRADE SKIN AND HAIR
PROFESSIONAL RETOUCHER GINA HERNANDEZ (WWW.GINAHDEZ.COM) EXPLAINS HOW TO TARGET THESE AREAS USING PHOTOSHOP USING CURVES AND BLENDING MODES
01
DODGE AND BURN
Add a new layer and set the bending mode to Soft Light. Fill this layer with 50% grey, select the Brush tool, set the brush’s Hardness to 0%, Opacity at around 5% and Fill at 50%. Then you can simply paint the shadows with black and lights with white to enhance the exposure.
02
HAIR HIGHLIGHTS
Add a Curves adjustment layer and pull the middle of the RGB curve up. Hit Cmd/Ctrl+I and paint with a soft white brush to areas where you want to enhance highlights. Select Image>Apply Image, setting a Multiply blending mode. Tweak the opacity of your adjustment layer to get the right strength.
03
ADDING DIMENSION - CONTRAST
Hit Cmd/Ctrl+Opt/Alt+Shift+E, merging all into a new layer. Go to Add Image>Adjustments> Desaturate to this new layer. Change the blending mode to Soft Light. Select Image>Adjustments> Shadows/Highlights. Set Amount between 35-90%, layer Opacity at around 40% and Fill at 50%.
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RETOUCHING RESOURCES
LOAD THE FREE ACTIONS AND BRUSH SET ON THE DISC TO HELP WITH RETOUCHING
LIP CANDY ACTION
SMOOTHING HAIR
Find a starter and stock image from the royalty-free examples available at sxc.hu. You’ll also need to resize accordingly to fit the lips and obtain detail.
Once you’ve cleaned all the stray hairs, apply this finishing effect to smooth out the hair element. Combine Gaussian Blur, Apply Image and blending mode techniques to effectively lighten shadows and flatten contour, giving the impression of silky-smooth hair.
WHITER WHITES Yellow-tinted teeth are normal, but do not sell a winning smile. Fixing colour here is easy when you know how, using just one Photoshop Hue/Saturation adjustment layer. You can also use the same layer to improve eye whiteness.
CLEAN UP Sometimes you’ll want your model to pop, but still look natural. Beautifying can be as easy as simply boosting in colour vibrancy and this Action will let you achieve this. Admittedly, this effect works best with Caucasian models.
FRECKLE BRUSH
RESTORE NATURAL FRECKLE EFFECTS WITH THIS FREE TOOL
It’s harder to work around naturally occurring skin artefacts like clustered freckles. Sometimes these elements should stay to ensure authenticity. However, if you have no option but to remove, use this handy brush to reintroduce fresh freckles.
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TECHNIQUES PAINT A SCI FI SCENE
DIGITAL PAINTING
PAINT A SCI FI SCENE
I
ADD COLOUR AND DETAIL TO A SKETCH USING THE TOOLS IN CS6
n this tutorial we will create a feeling of distance, space and atmosphere in the background and focus on a central, detailed subject. This will be firmly planted into the foreground with the use of shadow, texture and an assortment of overall image adjustments. For this work we will be using Photoshop CS6 Extended for its diverse array of tools, adjustments and brushes. Initially we will apply the colours in block form, fading the shades, using lighter tones for distant objects and more saturated colours for our quadruped in the foreground. Then, using the default Erodible Tip brushes, some free brush packs and some photographic textures (that you will need to source yourself), we will improve the realism and detail of our quadruped and its surroundings. Next we will make use of the latest Gradient Maps, which like the Erodible Tip brushes come with CS6 to improve the mood and overall temperature of the scene, which is hot, dry and dusty. We’ll Finish off with a spree of fine detailing, adding wires, flowers and highlights. This attention to detail is a key aspect of our painting, adding realism and immersion.
OUR EXPERT CALLUM LEWIS
www.outtheredesign.com
My artwork blends an interest in natural environments and structures with science fiction to create on- and off-world scenarios with unique habitations and concept vehicles. I am a self-taught artist.
@OutThereDesign
SOURCE FILES
For this tutorial we will be using one free downloaded brush pack by Geoffroy found at www.djahalland. com in the Goodies section. At stages you will need to source your own textures from stock websites.
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01
MAKE AN INITIAL SKETCH
On a new layer, using the default Erodible Tip Pencil brush, we’ll begin our initial drawing. First, create a simple, sketchy background of the skyline, landscape and distant structure, adding a higher level of detail to our main foreground subject, the quadruped (four-legged) vehicle and figures.
02
BRING IN BASE COLOURS
On a new layer behind your initial sketch, use the Polygonal Lasso tool to select different levels of distance (starting with the furthest away), filling each selection with the Paint Bucket tool. We’re going for beige/tan sandy colours for our desert-like terrain and a higher-contrast, blue-tinted tone for the metallic body of the vehicle.
03
MERGE ELEMENTS WITH BRUSHES
Using the same technique as with the terrain, apply a shadow beneath the vehicle. Create a new top layer and, using the default brushes Round Watercolour and Round Point Stiff, blend the layers of distance on the terrain layer, defining the hard edges of vegetation. Add subtle, lighter tones of paint to the vehicle’s armoured plates to add a sense of depth and variation.
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techniques Paint a sci-fi scene
04
paint more texture
quick tip A number of keyboard shortcuts to use on a regular basis include desaturating with Cmd/Ctrl+Shift+U, resetting the Background/ Foreground colour by tapping D and swapping Background/ Foreground colours by tapping X. A great feature of Photoshop is you can temporarily use a tool by simply holding its hot key rather than tapping it. Try Opt/ Alt and H, for instance.
On a new layer use two brushes from the Rock Brush pack. Blend the terrain distance layers with the Rocky 1 brush, sampling neighbouring tones and applying one layer’s tone to the next. We’ll use this technique but with the Forme Echantillonnee brush for the mountain range. Add a new top layer, set the blending mode to Overlay and begin adding lighter tones to the vehicle armour. Add some rough details using the Rocky 1 brush.
05
detail the vehicle
Now, on a new top layer using the hard round pressure default brush, we’ll sample the neighbouring colours. Go over the entire vehicle again, zooming and panning over each part, defining the edges and cleaning up details. This is quite a lengthy stage. To perfect the shape of the radar dome, use the Circular Marquee tool to make a selection the same diameter as the dome. Use the Dodge tool with a soft round brush to highlight the dome, making it more three-dimensional.
08
06
focus on the environment
Using the same brush, apply detail to the environment using adjacent tones. Work on the grass and reduce the size of the brush the further away the vegetation is. With the Foliage small leaves brush, using the same colour-sampling technique, add foliage at different distance levels. This brush uses both the Background and Foreground colours selected to add variation. This is great for blending colours introduced earlier when painting the different distance levels, leaving us with a natural transition.
07
add texture to the vehicle
Now you need to locate a suitable texture for your vehicle. Desaturate it, drag it into the painting document, resize it to roughly the vehicle’s size and set the blending mode to Overlay. Now we’ll edit the curves of the texture. Keeping the midtones at the same level, raise the dark tones until the texture appears to blend more naturally. Add a layer and, using the hard round pressure brush, reset the Foreground/Background before masking away the texture overlapping the vehicle.
add some texture to the ground
Locate a ground texture of your choice and repeat the process, desaturating and bringing it into your document. Resize this texture to the same width as the entire document, then align and transform it to the bottom of the document with the top at the horizon. Reposition this layer below the terrain texture layer and set this to Overlay. Use the Paint Bucket and mask black using the chalk-textured brush. Start painting back in white where you wish the ground texture to appear. Repeat this technique with the texture file you used for the vehicle, applying a linear gradient to mask away.
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Paint a sci-fi scene techniques
final touches
add mood and lighting Any subtle change in the colour ranges used for the lighting will alter the mood in a big way and there are a number of ways to achieve this. A favourite of mine is using Gradient Maps. Layer blending modes are another feature to experiment with. You’ll notice the big change from Stage 10 onwards, where we add a substantial amount of colour to the scene using a single layer set to Overlay.
Enhance results with shadows, dust and other details
09
bring in lighting and shadows
For this stage we’re going to be using the Polygonal Lasso tool to select areas. We will then be using both the Gradient tool and a large soft round brush to add shadows to the vehicle. During this stage the vehicle will really take shape and look far more three dimensional.
001 You’ll need to find a couple of effective textures to add a realistic grunge to the vehicle’s armour and the sparse desert that surrounds it. 002 We’ve applied shadows using the Overlay layer blending mode to preserve texture highlights, using selections, soft brushes and choice gradients.
During the lighting and shadows stage the vehicle will really take shape and look far more three-dimensional and clearly defined
001
002
003 We’ve put noticeably less texture and detail in the distant structure to make the foreground subject far more prominent and stand out better.
003
004 For the later stages we’ll be going through a process of adding overall colouring to various areas of the image.
10
apply dust and paint
Focus on the overall feeling of the picture by adding dust and some paintwork. Using a soft, low-density, grainy airbrush, sample neighbouring colours and start applying dust to the scene. After dusting things up, let’s work on the paint. Using the Square Selection Marquee tool, pick strips to paint, set the layer to Overlay and fill with the Paint Bucket tool. Duplicate the paint layer to brighten it further. Place both paint layers in a folder and, using a mask, paint away the dust with the airbrush.
004
11
work on colour toning and the wider environment
Now we’re going to work on the environment colour and vapour in the atmosphere. Create a new layer set to Overlay. Using a blend of greens and blues at a high saturation, but about 50% Brightness, apply colouring to the scene with a very large soft round brush. Next, use a Gradient Map to apply contrast and toning. Choose Photographic Toning from the Gradient presets and, using Gold-Copper, set that layer to Soft Light, bringing the Opacity down to 70%.
12
add in figures
On a new layer, work on the human figures with a small hard-pressure brush. Erasing some of the unwanted pencil sketch layer will refine the edges. Aim to maintain the theme of the durable, armoured vehicle and build on the armoured outfits before working on the specular highlights and details such as wiring between the helmets and equipment. Sample neighbouring colours from the vehicle and surroundings, authentically placing the figures in their environment.
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TECHNIQUES HOW I MADE
HOW I MADE
NEOBLEU
M
MARIE BRUN, MUTE
THIS DIGITAL ARTIST SHOWS US HOW TO USE STOCK IMAGES ALONG WITH LIGHTING TO CREATE A BEAUTIFUL COMPOSITE
arie Brun founded the creative agency Mute (www.agence-mute.fr) with three partners. Working as one of the art directors, she conceives creative and digital strategies, ensuring that projects are consistent. This image in particular was a brief for an
COMPOSITION The image composition is based on the centre white circle. I built the water landscape around that focus, adding little details to make it relevant.
aquarium design company “that needed a poetical and aesthetic way of branding. I designed an aquatic landscape that could inspire serenity and grace”. Using a mix of online stock photos and elements created directly in Photoshop, Brun does just that. She also talks about composition being the main
theme of this image, stating that she wanted to make “eyes focus on the centre and then slide to the left or right to create a panoramic feeling”. As with all digital artists, Brun took inspiration from others, such as Takashi Amano, and used this to develop the image into what you see today.
DEPTH Using black and white smooth brushes, with different opacities and settings, I created shadows and lights. This added a sense of depth.
HARMONY To achieve the image’s harmony I applied different blue and orange colour layers, with the blending mode set to Screen.
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HOW I MADE TECHNIQUES
This image is really about composition. Eyes focus on the centre and then slide to the left or right to create a panoramic feeling
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techniques design neon type
typography
design neon type
H
Learn how to create Glowing Light Effects using Shapes and Blending Modes in Photoshop
ere you’ll discover how to create an attractive typography piece using light effects, shapes and blending modes inspired and based on art from the past. As Retro Futurism is a trend in the creative arts, it’s always been a true influence to designers from an old-fashioned future perspective from the Sixties. With very simple shapes, lighting and glowing effects, we’ll be creating a piece with layered effects
Work in Progress
Combine shapes and lighting effects for a vibrant result
Our expert François hoang
www.aoirostudio.com/v4
while experimenting with creativity. Play with the different settings, opacities, glowing effects and blending modes to try to see what works better for you in terms of your imagination. This step-by-step guide will help you master layers, gradients and effectively use blending modes. All the files you’ll need that are referenced in the steps are hosted online for free download via http:// blog.advancedphotoshop.co.uk/tutorial-files.
I am a self-taught freelance designer from Montreal, Canada. I’ve been designing for the last five years and have a huge passion for creative work that makes an active difference in our community.
@AoiroStudio
source files
You need to download all files from http://blog.advancedphotoshop. co.uk/tutorial-files.
build your background
use shapes and light to start creating
01
set your scene
Start up Photoshop and create a new document of about 235mm x 302mm. Add a new layer and use the Gradient tool set to Linear Gradient mode (Foreground to Background). Fill the first colour stop to black and the second to a navy blue.
02
Download the ‘Space-Texture.jpg’ file, then select, copy and paste it into your piece. Set the layer blending of the texture to Screen and put the Opacity to 60%. This texture will ensure a better support in lighting to our upcoming shapes and background.
Step 5: Set up your background
Step 10: Create your striking central element
Step 17: Overlap your piece
03
Place a space texture
add the shapes
Now we’ll begin placing scene elements. You need to download the file ‘Shapes.psd’, then either copy and paste this into your piece or duplicate the layer to your original canvas. Now fill this new shape layer with a darker purple, set the blending to Linear Dodge and drop the Opacity to 80%.
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techniques
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techniques design neon type
quick tip While working with a large quantity of layers and duplicate layers. It’s always a good thing to save them into groups from your Layers panel. This is an easy tip to keep your workspace clean, organised and accessible.
04
define the shapes
Duplicate the shape layer you’ve just created several times and start placing these around the canvas to cover most of the areas. You can also place them randomly and go with your own instincts. Create a new layer and use the Line tool to make some thin lines for adding depth. Use the corner of one of the shapes as reference and angle it accordingly down to the bottom. Filling that line with a Cyan colour, you can either include all the lines into one single layer or make and duplicate the layer.
05
06
07
overlay gradients for effect
Create a new layer and pick the Gradient tool, with the Radial Gradient active, setting it to Foreground to Transparent. Fill the first colour stop with orange and the second with black. With this new setup, create small- and medium-sized gradients all around the area just like the image shown. We’ll need to keep them all in the same layer. When you’re totally happy with the result, set the layer blending mode to Overlay.
bring more definition to the background
Download the ‘Shapes.psd’ file again. Now fill this new shape layer with an orange, set it to Linear Dodge blending mode and set the Opacity to 60%. Start placing the orange shape just like Step 4, duplicating the same layer and playing with the opacity. As you can see from the image shown, the two orange shapes of the middle are slightly darker because the Opacity is set to 30%. At this point the effects of playing around with blending modes are starting to show.
play with the opacity
Now we’ll repeat the process of Step 6. Create a new layer, use the Gradient tool with Radial Gradient and set it to Foreground to Transparent. Fill the first colour stop with orange (#f35c3e), the second with a black (#000000), leave the blending to Normal and drop the Opacity to 100%. Don’t be afraid to play with the layers, use different colours and progress into the unexpected, as sometimes you’ll get better results.
08
add the shapes
Insert your text, tagline or anything that will be the central element of your piece. In this case, we added text and used the font called ECHELON by Samuel Mensah. Type the word ‘Neon’ with the font size set to about 136pt. Fill it with a beige and a light yellow. Now go into your layer’s options and give it some shadow. In the Drop Shadow set Blend to Multiply with an Opacity of 50%. The angle is set at 120 degrees and Distance at 36px.
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design neon type
techniques
develop your central object
Unify all your elements, focusing on your main point of interest
09
Reflect on your progress
At this point you’re halfway through completing this piece. This is where you can make the last changes before continuing the steps to add more glow and apply the details that will pretty much produce your final result. If you’re not happy with your canvas, this is where you can make things happen. The central focus of the piece, for instance, is clearly an essential element and will be undergoing more changes as we continue. Make sure you’re satisfied with the form you’ve opted for and the direction the piece is going in. 001
002
001 We placed shapes all around this piece to give a base to your main focal point.
11
003
002 We used different tones of gradients to create a cool variation of colours.
Enhance the lighting
This is the part where you’ll give the vibrant look to your canvas. Create a new layer, naming it ‘Light’. Take the Ellipse tool, create a circle and fill it with white. Rasterise this and give it a Gaussian Blur of about 50px. Now you’ll set the layer to Overlay blending mode and place it where you want to give a little touch of lighting to your piece. Don’t be afraid to duplicate the layer and place it all around.
12
003 Here we’ve put our focus on the central type element.
set the shadow
After giving so much lighting to your piece, it’s time to add some shadow. You need to add fade and create a contrast so your colours and flares will come up more smooth and subtle. Repeat Step 11 for speed but now instead of white, you’ll use black and put the blending options to Normal. Play with the opacity and see what works better for your canvas. Here we’ve set the Opacity at 80%.
10
add a focus factor
Duplicate your main text layer and the Neon text layer and rasterise. Go to the Layer Options, select Stroke and set the Size to 18px. Fill the Stroke with a light orange and set the Fill Type to Color. Order this new layer behind your main text layer and place it accordingly to create some kind of an extension to your central element. Duplicate the layer that you’ve just created and repeat the process but with another colour. Here we’ve chosen pink, but obviously you can opt for anything you feel suits.
Don’t be shy to let loose with the blending options and opacity
13
detail your canvas
Going back a few steps, download the ‘Shapes-2.psd’ file. Once again, choose your method for importing it into your canvas. It’s an ensemble of elements taken and put together to give an edge to your piece. As you’ll eventually put the ensemble on Overlay or Soft Light from the blending options, you’ll see the variation of colours and how your background elements will react.
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make final adjustments
edit the finishing touches, inserting more lighting effects and details
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bring out the flares
Now for the fun part. Import the file ‘Flares.psd’. You can either copy and paste into the piece or duplicate the layer to your original. Don’t be afraid to place around your text or central element but make sure to put it underneath your main text layer in the layer order. Now you can play with the blending options and you’ll see how it merges within your canvas and the background you created earlier. Here we set it to Screen. The result will always depend on how you adjust the colours, so take a little time to find the best blend for you. If using a different colour scheme and/or central element, there are numerous ways you can approach this!
15
place some more overlays
Add a new layer, take the Ellipse tool, make an oval of about 20 x 130mm and fill it with cyan. Now use the Gaussian Blur at 50px and place it where you want to give a blue atmosphere to your canvas. Duplicate your new layer and don’t be shy to let loose with the blending and opacity.
quick tip When working with either a creative or commercial work, it’s always a challenge to get the right effect. As you progress in your work, don’t be afraid to experiment with your blending modes and layer order. You’ll be surprised how randomly you can achieve a better, more unexpected result.
creativity is your boss With the randomness of overlapping layers with gradients and modes, it’s hard to guide into creating glowing light effects. As you progress, play with your components and elements. Go with your own techniques, your colours and your creativity, those are the key to leading your piece into something more subtle and complex. There’s nothing more educative than learning from your own mistakes and sometimes making mistakes is excellent. Overall, keep practising on your skills and always be passionate. Both together never die hard with time.
16
apply the sparkles
This is where you get to add everything you think will contribute well to your canvas. Here there were some particles following the lines created with the mix of layers and overlays. We also added a texture for the corners to give a grunge look.
17
use one last overlay
Select all your layers and every element except your central one. Duplicate it all and merge the layers. You’ll find you have one layer with all your work except for the piece of resistance. Set an Overlay blending mode and put the Opacity to 20%.
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TECHNIQUES edit videos in cs6
NEW MEDIA
edit videos in cs6
Use Photoshop CS6 video tools to replicate Super 8mm movie looks
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EDIT VIDEOS IN CS6 TECHNIQUES
I
n this era of handheld devices capable of capturing HD video, fully equipped with image stabilisation and high-resolution sensors, our modern video is very clear, crisp and pristine. However, some see this as sterilised video, lacking much of the character and personality of old film. This may simply be our nostalgia calling, but there’s no denying that there’s a certain charm to the old Super 8mm film with its shaky camera focus and visible film grain. If you’ve ever wanted to send your video clips back in time you now can, by simply following the steps in this tutorial you’ll be able to simulate an aged appearance in Photoshop. The starter video for this project is freely available on the website www.stockfootageforfree.com. However, we fully encourage you to apply this technique to your own video clips. We will show you how to achieve an authentic aged-film look with desaturated colours, 4:3 aspect ratio and clouded edges. We’ll even show you how to create your very own animated film grain, complete with dust and scratch textures. Alternatively, feel free to grab the file supplied and use that. This project does require Photoshop CS6 and assumes your video card is capable of performing video work.
OUR EXPERT KIRK NELSON
www.thepixelpro.com Kirk is an all-round graphics geek in the Washington DC area. He routinely annoys those around him with inane knowledge of visual design tools. More of his tutorials can be found in our sister magazine, Photoshop Creative.
@thepixelpro
SOURCE FILES On the disc is a video file to use as reference for the final effect. The file ‘VerticalGrain.jpg’ is also included to assist with the steps at the end of the tutorial.
WORK IN PROGRESS
FROM HD TO SUPER 8
AGE A VIDEO CLIP
CREATE A VINTAGE VIDEO EFFECT FROM A MODERN HD CLIP
Step 4: Round the frame corners
Step 9: Animate film grain
01
FREE VIDEO CLIP
The video can be found at www.stockfootageforfree.com. The clip is named ‘Young Woman in Wheat Field’ and is free to use. Once you’ve found the clip, open it in Photoshop and ensure the Timeline panel is visible. Old Super 8 video playback was always a little quicker than reality, so to simulate this effect adjust the video speed by Ctrl/right-clicking on the Video layer in the Timeline and set the speed to 125%.
Step 12: Add dust and scratches
02
COLOUR CORRECTION
Vintage film lacked the depth of colour seen in today’s technology. To replicate this, start with Hue/Saturation with Saturation set to -40 and a Lightness of +16. Use an S-shaped Curves adjustment to increase contrast then add a Photo Filter adjustment, set to a deep sepia, with Density just below 50%. Make sure these adjustment layers are stacked above the Video Group, not in it.
03
AUTHENTIC FRAMING
Add a Frame layer on top, fill it with white and set to Multiply. Use the Rectangular Marquee tool with a fixed ratio of 4:3 to create a selection around the girl. Add Select>Modify>Smooth>50px, then Feather by 25px. Inverse, fill with black, then cancel the selection and use the Filter Brush Strokes>Spatter with a Spray Radius and Smoothness set at 10. Finally add a Gaussian Blur.
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TECHNIQUES edit videos in cs6
04
colour bleed
quick tip An issue with editing video in Photoshop is that halfway through a playback one or more layers will seem to disappear. This is caused when a new layer is created and it doesn’t have time to span the entire project. Check the Timeline to make sure layers go from start to end.
Another aspect of aged film is that the edges tend to discolour faster than the central area. Create another new layer for a coloured frame. Use the same selection process as the previous step, but this time fill the frame with a deep green (#194715), set the layer to Multiply and continue to add Gaussian Blur filters until the green bleeds into the view from the borders.
05
handheld motion
The clip is currently stable, solid and not at all reminiscent of an old shaky Super 8mm film effect. First convert the Video layer to a Smart Object. In the Timeline, Ctrl/right-click on the video and choose Zoom from the Motion presets. Open up the Layer Properties in the Timeline and adjust the Transform keyframes so the zoom happens just before the girl looks up and smiles. Next add several more Transform keyframes to slightly move and rotate the clip, so it appears to be handheld.
06
drop the detail
The clear, crisp focus is another modern element that needs to be eliminated if the effect is to be believable. Add a Smart Blur filter to the video Smart Object. Use a Radius of 5, Threshold of 7 and set Quality to High. Follow this with a Gaussian Blur of 2px. These blurs are added as Smart Filters and will greatly slow preview playback. If the performance is an issue, hide the Blur filters until the project is ready for exporting.
07
the tell-tale flicker
Another rich aspect of old film is the bright flickering. This can be mimicked by animating the opacity of a Brightness/Contrast layer, added above the other adjustments. Set the Brightness to around 70 and drop the Contrast to around -5. Reduce the Opacity to 0% then go to the Timeline and engage the animation for the adjustment layer’s opacity. Set several pairs of keyframes along the span of the project. Add a keyframe between each pair with the Opacity set at 100%.
08
Add film noise
One of the most noticeable characteristics of this vintage effect is the film grain. The older the film is, the more pronounced the grain appears. Photoshop actually has a built-in grain texture that looks very similar to the real thing. Start by creating a new file at 1,900 x 6,500px with a white Background. Open the Filter Gallery and browse the Texture folder. Select the Grain filter and set the Grain Type to Clumped. To finish the effect, set Intensity at 75 and Contrast at 66.
09
grain movement
Drag the grain file over onto the main project file. Drop it as a layer just below the frame layers. Set the blending mode to Overlay and reduce the Opacity to 75%. To get the film movement, this long grain layer needs to move quickly upwards. Set a starting position keyframe, so the top of the grain layer aligns with the top of the project canvas. Set another keyframe about a quarter of the way through the video, with the bottoms aligned. Repeat this behaviour until the motion fills the Timeline.
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edit videos in cs6 teCHNIQUES
working with the timeline Working with the Timeline in Photoshop can be a daunting task if you’ve never tried keyframe animation before. The Timeline resembles the Layers panel, but includes the element of time flowing from left to right. The sub-layers display properties of a layer that can be animated. This is possible when assigning keyframes, which define the setting for that property at that exact time. The property then changes to meet the next keyframe definition over that span of time, between keyframes. The longer the time span between the keyframes the more gradual the change. To create a sudden change, simply place the keyframes closer together.
10
vertical grain
The final aspect of the process is adding dust and scratches. While these elements are the most unique and interesting of the entire effect, they’re also the most challenging to get right. This effect gives vintage films even more character and personality. Begin with another new file sized the same as the previous grain texture file. Fill it with white and add Vertical Grain from the Grain filter, setting both Intensity and Contrast at 50.
11
a fair dusting
Add a new layer and select roughly half the canvas. Fill with white and run the Noise>Add Noise filter at 3%, with Monochromatic activated. Use Levels to drastically squeeze the contrast until only a sprinkling of dots is visible. Add a Gaussian Blur to soften this noise, then set the mode to Multiply and scale the layer up to cover the entire canvas. Add a layer mask and run the Render>Clouds filter on the mask to create an uneven dust dispersion.
The final aspect of the process is adding dust and scratches. While these elements are the most unique and interesting of the entire effect, they’re also the most challenging to get right
13
add some character
Flatten the layers of the vertical grain texture file. Drag it onto the project file, drop it just over the previous grain layer and set it to Multiply. Adjust the start and end times to cover the first quarter of the Timeline. Add keyframes to the position to create the same vertical motion. Apply a central keyframe and shift the texture. Place keyframes at each end for the opacity, with a middle keyframe set so the Opacity drops to around 75%.
14
easily replicate looping
In the Layers panel, drag the Vertical grain layer down to the New Layer icon to create a duplicate, which includes your animated properties. In the Timeline slide this copy to the right until it begins where the first one ends, but keep it on its own layer. Next, adjust the middle keyframes for lateral movement and opacity to prevent obvious repetition in the animation. Make two more copies in the same way to fill out the Timeline.
12
hair and scratches
Individual hairs and scratches need to be drawn by hand to be convincing. For the best results use the Pen tool to create several short, curled and twisted paths for the hairs, then a few elongated straight paths for the scratches. Add a new layer and set your brush at a 1px width. Switch to the Paths panel and select Stroke Path from the Panel menu. Afterwards, the hairs can be softened with a slight Gaussian Blur applied.
15
export the movie
Preview the clip and look for any obvious issues or problems that need troubleshooting. Remember to turn the Smart Blur filters back on. When you’re totally happy with how everything looks, it’s time to export the movie. Go to File>Export>Render Video. Apply the settings as you want them and launch the render. Be warned, this could take a while. We’ve supplied our end result as reference and inspiration.
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TECHNIQUES HOW I MADE
HOW I MADE
OUR KINGDOM
T
Mateusz Chojnowski
MASTER VIBRANT LIGHTING EFFECTS WITH TYPE AND PHOTOS, USING COLOUR ADJUSTMENTS, LAYER MASKING AND BLENDING MODES
his image was influenced by both the natural and the man-made worlds. “The lion embodies valour, strength and courage. The two horses embody freedom, spirit and gentleness,” explains artist Mateusz Chojnowski (www.ikaami.com). The broken type symbolises how the former world destroys the latter. To look at this image you would think 3D elements had been applied throughout, but that’s not the case, as Chojnowski reveals: “Only the text is 3D.
Everything else is made out of stock photography, applied brushes and layer blending modes. I treated 3D elements in this image like salt and pepper in a soup – a pinch adds a bit of extra flavour, but doesn’t necessarily hold it all together.” The special effects were achieved by matching the contrast, tonality and light direction in the stock images. Chojnowski used Color Balance, Vibrance and Curves adjustments, with brushwork. “All the main elements were equally sharpened,” he adds.
I treated 3D elements in this image like salt and pepper in a soup – a pinch adds a bit of extra flavour, but doesn’t necessarily hold it all together
To get the type-shatter effect I used the Polygon Lasso tool to select, copy, cut and paste parts into different areas. I added a clipping mask on the layer and used the Brush tool to add colour to the type.
To create each horse I duplicated the original image layer, applying the Glowing Edges filter to one, the Chrome filter to the other. I added a golden colour using Color Balance and Curves.
A golden gradient that fades to transparency created most of the lion’s aura. I applied the Warp Transform tool to shape it and applied a Screen blending mode. I repeated this several times around the lion’s head.
To achieve the light effects on the rocks I applied a soft brush, with Opacity and Flow set at 20%. For edges I used the same colour, but a smaller and harder brush at 50% Opacity and Flow.
The whirlpool is created from a stock image, adding several other images of water splashes around it. I used Color Balance to merge the overall tonality of these different stock images.
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HOW I MADE TECHNIQUES
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techniques WORK WITH POLYGONS
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CREATE A POLYGONAL LANDSCAPE TECHNIQUES
NEW MEDIA
WORK WITH POLYGONS
T
COMBINE CINEMA 4D AND PHOTOSHOP TO CREATE GEOMETRIC LANDSCAPES
OUR EXPERT J.R. SCHMIDT
www.cargocollective.com/jrschmidt
J.R. is a 3D artist and motion designer based in New York. His favourite things are bad weather, old castles and nostalgia. He does believe in extraterrestrial life, but not to the extent that it distracts him from thinking about pixels and polygons.
he inspiration for this illustration comes from low-poly modelling techniques used in videogames by 3D artists. When videogame designers were first beginning to break into the third dimension, these techniques arose from the need to converse processing power. Today those limitations are less of a problem, but enforcing constraints on your work is an excellent way to inspire creative thinking. We’ll use the low-poly constraint to drive our design process throughout the tutorial. Here we’ll be using CINEMA 4D and Photoshop. A basic understanding of the
software as well as general 3D modelling practises is required. While we will be using CINEMA 4D for the modelling, texturing and rendering, the techniques covered are fine for any 3D software. Photoshop becomes essential in compositing and colour correcting the elements rendered in CINEMA 4D. By using Photoshop to assemble the image pieces we retain far greater creative control than if we try to do everything in the 3D software. Photoshop is essential for keeping our workflow non-destructive. That means it will be easier to fine-tune our image without having to re-render. We will also use the software to apply useful colourcorrection techniques.
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TECHNIQUES WORK WITH POLYGONS
WORK IN PROGRESS
FROM MODEL TO FINAL 3D ILLUSTRATION
01
GET STARTED
Begin by modelling your base terrain. Select Create>Object>Landscape and activate Soft Selection to manipulate geometry, in turn forming the mountains and carving the river. Once you’re happy with your look, extrude the edges around the border straight down, revealing the layers of earth underneath.
Progress 1: Reduce polygons
Progress 2: Apply the materials
Progress 3: The final piece
02
We need to create more variation within the mesh itself. Create a Displacer deformer on the landscape group, above Polygon Reduction deformer
POLYGON REDUCTION
Select Create>Deformer>Polygon Reduction. This deformer automatically triangulates the mesh and reduces the number of polygons, by merging the points that are closest to one another. The problem now is that this has greatly reduced the level of detail. To add more complexity, select Create>NURBS>HyperNURBS.
03
DEFORMATION
Next we need to create more variation within the mesh itself. Create a Displacer deformer on the landscape group, above Polygon Reduction deformer. In order for it to affect the geometry, we need to give it a shade that tells the mesh how to deform, so click on the Shading tab in the Displacer properties and add a Noise map.
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WORK WITH POLYGONS TECHNIQUES
04
MAKE THE WATERFALL
QUICK TIP Always try to work non-destructively. Use HyperNURBS objects instead of the Subdivide command. Avoid converting your objects to editable meshes until it’s absolutely necessary. Keeping the topology on your base mesh clean and manageable will save you headaches later. Especially if you decide you need to change something.
Start with a long vertical Plane positioned where the river ends. We can give geometry the same treatment we gave the landscape, by adding the Displacer and Polygon Reduction deformers. In order to create the polygonal mist at the bottom, we’ll use a PolyFx deformer. Go to Mograph>PolyFX, then add a Random Effector by going to Mograph>Effectors>Random. By default the Effector will affect all polygons in the geometry. Go to the Falloff tab, change the Shape to Linear, then rotate the effector so that it’s only displacing the bottom portion of the geometry.
05
POPULATE THE SCENE
Use the modelling techniques discussed so far and continue to create the items that will add detail to your scene – for example clouds, huts, plants and trees. Sometimes it’s best to scrap the deformers and just do this by hand. If you find that you can’t achieve desired effects, don’t be afraid to use the Knife tool and start making a few random cuts. When modelling non-organic objects, like the huts in this scene, you may want to use a more calculated, symmetrical process of cutting faces and welding points personally.
06
CREATE MATERIALS
All of our materials will share the same simple structure. Create a basic material, leaving only the Color channel enabled then add a Fresnel shader to it and adjust the colours on the ramp. The Fresnel shader uses the angle a polygon faces the camera and remaps it across a gradient. In addition to emphasising the faceted look, it also enables us to use a variety of colours in a way that is less uniform than if we had used a Gradient shader.
All materials
Rock
07
LIGHT THE SPACE
To simulate sunlight, use a Physical Sky object. Under Time and Location, adjust the time of day to change the position of the sun. In the Sun tab, be sure to enable Area Shadows. In the Render Settings, enable Global Illumination and Ambient Occlusion. Keep your Global Illumination settings low to speed up the render times.
08
Grass
Snow
Water
SEPARATE RENDER PASSES
We want to be able to control some of the objects in our scene separately once we get into Photoshop. Do this for the Sky object first. Add a Compositing Tag and assign a number to the Buffer. In the Render Settings enable Multi-Pass, adding channels for Ambient Occlusion, Global Illumination, Shadow and Diffuse. Also add an Object Buffer for each element we isolated, using this with a Compositing Tag. In the Save tab, under Multi-Pass Image, specify your preferred file format and uncheck Multi-Layer File.
Ambient occlusion
Global illumination
Save
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TECHNIQUES WORK WITH POLYGONS
COMPOSITE IN PHOTOSHOP
BRING TOGETHER 3D ELEMENTS USING LAYER MASKS AND STYLES
09
ASSEMBLE THE RENDER PASSES
In Photoshop go to File>Script >Load Files into Stack. Browse to the images we rendered and hit OK. Now we will set the correct Blend Modes to each of our render passes. The Ambient Occlusion and Shadow layers should be set to Multiply. Specular, Global Illumination, and Ambient should be set to Screen. Refer to our example for the correct layer order. 001
002
001 FINALISE THE MODEL So far we have finished modelling, texturing and lighting the landscape. Now we can render.
11
003
002 GET THE RIGHT RENDER Be patient when rendering and take time to experiment. It is very much a process of trial and error.
CLEAN UP THE EDGES
Sometimes Alpha channels leave traces of the original background around the edge of your image. In our case, this appears as a thin dark line. To get ride of it, Cmd/Ctrl-click the landscape group mask, make a selection then delete the mask. Increase with the selection still active, select the Marquee tool then activate Refine Edge. Set Feather to 0.4px and decrease Shift Edge to -60%. Click OK and reapply a mask to the landscape group.
12
10
PREPARE THE MASKS
Opt/Alt-click the eye icon on one of the black-and-white object buffer layers to make it the only layer visible. Cmd/Ctrl-click the RGB channel to make a selection, create an empty group and apply a mask to it. Repeat this procedure for the other object buffers we rendered. This will enable us to isolate our adjustment layers to specific portions of the image. Add the image layers (Ambient Occlusion, Global Illumination, Shadow, Specular and Diffuse) to the Sky object’s group. Invert the mask by pressing Cmd/Ctrl+I, creating a transparent background.
003 PUT IT ALL TOGETHER Next we will take the render passes and composite these into one image, to complete the final effect.
ADD COLOUR TO SHADOWS
Now we’ll take advantage of the individual render passes. Shadows are almost never black and we should avoid using solid colour, so apply a blue Solid Color adjustment layer, set its blending mode to Screen and clip it to your shadow layer. Do the same for your Ambient Occlusion layer, but using a dark-brown or rust colour instead. The difference these colours make is subtle yet very important. We can now continue to adjust our render passes.
13
COLOUR CORRECTION
When using a Curves adjustment layer, pleasing results can easily be achieved by manipulating the RGB channels separately. This treatment creates a wider range of colours and adds more life to your scene. Try this on a black-andwhite gradient to see the full effect. Use a Gradient adjustment layer for the background, then add a pink near the horizon, shifting to lighter blue further up, then finally a clear cyan.
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TECHNIQUES AUTOMATED LENS CORRECTION
TOOL FOCUS
AUTOMATED LENS CORRECTION
Use Photoshop’s library of camera lenses to quickly correct lens distortion in your photographs
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t’s commonly accepted that pictures never lie. Now, despite the obvious irony of printing that statement in a magazine about Photoshop, one of the truths about photography is that lenses don’t truly depict reality. Lenses are round, so light travelling through them bends with their curvature. This is most noticeable near the outside edge of images from wide-angled lenses. Architecture provides the best means of highlighting this skewed reality. Long, flat horizontal or vertical lines tend to bow when viewed through a lens. Edges of opposing colours might display a fringe of tones, or the corners of the image may appear darker due to a lens vignette. Each of these issues is the result of how the rounded camera lens broadcasts light onto a flat image. However, the manner in which these issues are created can be calculated and predicted.
desirable for either artistic reasons or because the automated response doesn’t quite match the expected results. The left side of the dialog box houses tools that provide intuitive on-canvas adjustments. The Remove Distortion tool lets you drag the centre in or out to compensate for barrel or pincushion distortion. The Straighten tool enables you to draw a line to create a new horizontal or
vertical axis. These settings can be made in addition to the auto-corrected settings. Along the right side of the dialog box you’ll see two tabs, Auto Correction and Custom. The former tab enables you to specify which issue you wish the auto correction to address by simply enabling that topic with a checkbox. The Auto Scale Image feature counters any edge distortion and provides a
before
The Lens Profile Library Each make and model of lens produces a nearly unique combination of these issues and Adobe has produced a library covering the majority of lenses available on the market today. Most raw photos contain the camera’s EXIF data and Photoshop automatically reads this and matches the lens, aperture and camera body to a profile in its library. It then makes the appropriate corrections. If the image is missing the EXIF data or the assigned profile doesn’t match, there’s a Search capability so you can find the proper profile yourself. The search narrows down the potential profiles by beginning with the camera make, then the model and then lens model. There’s even a Search Online button that provides access to a broader database.
after
Manual settings While you’ll find the automated response is moderately adequate, additional adjustments are
If you prefer an enhanced vignette, use the custom vignette control in the Lens Correction filter
Photoshop’s Automated Lens Correction can automatically detect an image’s lens profile and correct common lens errors, with little to no input from the user
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AUTOMATED LENS CORRECTION TECHNIQUES
REMoVE LENS distortion
Use these Auto correction options to undo camera lens distortions 001 MANUAL TOOLS These tools provide an intuitive way of making adjustments on the canvas. You can remove distortion simply by clicking and dragging the centre of the image. 002 PREVIEW This checkbox enables you to quickly toggle back and forth between the original image and the newly corrected one, making for added flexibility. 003 EDGE APPARITION When the distortion of an image is corrected, the edges are frequently misaligned and will need to be dealt with. 004 CHOOSE YOUR CORRECTION The three major categories of lens flaws are listed here. Just check the ones you want Auto Correction to address. 005 LENS PROFILES If Photoshop can’t automatically detect the lens data from the image, it gives you the opportunity to specify one of your own choice.
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dropdown menu. With this menu you can specify how to treat those edges. The lower portion of the tab displays which lens profile is being used. Usefully, Photoshop will automatically assign one according to the EXIF data in the image, but it also enables you to override this assignment by searching and choosing a profile. The Custom tab gives further control over the lens issues through an assortment of sliders. These provide you the means of correcting issues, by dialing in settings manually to correct the distortion,
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colour fringing, vignette and so on. The Custom tab also provides an additional control to correct keystoning and remove any exaggerated perspective from an image. These manual controls should be used if the lens profile is unknown, if the automated results are unsatisfactory, or to add some other personalised effect. This is frequently the case with adding an artificial vignette to an image. Many photographers prefer the appearance of an enhanced vignette and will use the Custom Vignette control in the Lens Correction filter.
Adaptive Wide Angle It’s certainly worth noting that Photoshop CS6 pushes the automated-lens-correction technology even further with the handy Adaptive Wide Angle filter. This feature processes the lens profile in a similar way to the Lens Correction filter. The main advantage of the Adaptive Wide Angle filter is its intuitive ability to draw polygonal constraints that follow the curves of the edges. The filter then gradually works the image to flatten these lines and removes any of the lens distortion.
Work with auto correction
See how to use this powerful tool to correct this cathedral image
01
begin with auto correction
Retrieve the ‘Cathedral.jpg’ image supplied online at http://blog.advancedphotoshop.co.uk/ tutorial-files. Go to Filter>Lens Correction and in the Auto Correction tab ensure that the Lens Profiles box is populated with at least one lens profile. In the Correction area check the Geometric Distortion and Chromatic Abberation checkboxes, but leave the Vignette box. Engage the Auto Scale Image box and set the Edge to Transparency. To see the effect of the lens correction toggle the Preview checkbox.
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manual adjustments
Switch to the Custom tab for additional adjustments to set by hand. Begin with the Transform area, setting the Vertical Perspective to -40. This removes the exaggerated vertical perspective in the image. To compensate for some of the other distortions introduced, set the top Remove Distortion slider to -2. Then set the Vignette amount to -45 for a more artistic appearance. These corrections will push the top of the structure out of frame. To recover it, reduce the Scale to 93%.
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corner treatment
Click OK and Photoshop applies the correction. To address the hole at the bottom of the image, first create a selection of the layer by Cmd/ Ctrl-clicking on the layer thumbnail. Invert the selection, then go to Edit>Fill and set the Use to Content-Aware. Photoshop fills in the hole with resampled pixels from the rest of the image. Hit Cmd/Ctrl+D to cancel the selection. If there are further visible lens distortion issues, you can run the Lens Correction filter again to refine further.
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CREATE STRIKING GRAPHICS TECHNIQUES
GRAPHICS
CREATE STRIKING GRAPHICS
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CREATE SYMBOLIC AND GEOMETRICAL SHAPES UNDER A GRID SYSTEM THAT DEFINES TEXT LAYOUT
n this tutorial we will learn how to use a grid to determine the placement and hierarchy of text, which will dictate the balance of your graphic patterns. These give rise to the visual metaphor linking with the main concept of the poster. We will explore how to set abstract shapes from some simple patterns using a geometric and conceptual approach. Many steps in this tutorial can be made by alternative design modes, meaning this project is subject to your own creative vision, imagination and preferred methods. Using similar techniques you’ll actually be able to achieve very different graphic expressions and
WORK IN PROGRESS
FROM GRID TO FINISHED GRAPHIC ARTWORK
OUR EXPERT JORGE MARÍN GISPERT AKA METRIC72
therefore support a wide variety of concepts. Treatment in Photoshop enables us to illuminate the scene correctly and also texture the image. Layer options are applied to achieve quick results and generate multiple effects, while creating minimalist graphic expressions. We'll show you how to achieve great balance in your design, exploring each element’s weight according to its position and angle. This poster was in fact inspired by quotes about one of science’s latest discoveries – the Higgs Boson. So we have also applied effects and other visual cues inspired by this theme.
www.metric72.com
Jorge is a graphic designer who allied himself with geometry, using the universe as inspiration to create personal artworks. These support concepts related to all kinds of data that he considers outstanding, constructive or innovative.
SOURCE FILES
Advanced Photoshop magazine has supplied a selection of basic objects created in Illustrator and a couple of vector groups applied throughout this tutorial. Please remember, however, these assets are to be used in non-commercial projects only.
BALANCE BETWEEN TEXT AND GRAPHICS
CREATE SPECIFIC SPACES FOR DIFFERENT DESIGN ELEMENTS
Step 2: Establish symmetry and layout with a grid
01 Step 12: Layer shapes and place
in text
CREATE YOUR LAYOUT
We will start by applying a grid or squared pattern, which will help us place balanced graphical elements. We will also apply an adapted version with the golden ratio to the top of our layout, in order to provide us with new spatial references that we will see applied in the final design.
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You can see the grid study dictates shape weights, which will be evenly distributed between the text and applied shapes. Also, we will determine the direction that we want our shapes and texts to adopt. In this case the direction of our shapes will be set to diagonals with an inclination of 61 degrees.
03 Step 20: Develop looks with
diagrams and textures
DETERMINE DIRECTION
PLACE TEXT
We will make an initial placement of text, with a standard weight applied to all fonts. We have selected a font suited to the style of our intended design, which in this case is Avenir Lt Std. The hierarchy established by our initial grid determines the position of this text.
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techniques create striking graphics
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define text styles
Once we have placed our starter text we can define text styles. Pay attention to the grid, as it helps you establish a new balance between the boxes of text and the space reserved for our graphics. Once applying your styles to the text, and after modifying the position, we will alter the colours of the texts to make them heavier or lighter. In the case of the header we will choose a dark colour and a clearer tone for the smallest text. This game of contrast is defined by the results we envisage for the design.
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create vector patterns
Here you can see the kinds of shapes we’ve created using Illustrator, due to the vector nature of its tools. Resizing and applying gradients and outlines becomes much simpler, unless you have CS6 that is, as it now has the same shape engine. Open Illustrator and create a document to construct the first parallelogram. We can construct it from a rectangle, which we will displace horizontally by shifting the top two vertexes right. We will clone this first piece multiple times to create different elements by changing size, thickness, colour and transparency.
quick tip To continue expanding the image you can duplicate the major vector groups and modify them to your taste. Experiment with size, inclination and colours. You can get great effects by duplicating and flipping horizontally.
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import vectors
Once we have created a sufficiently diverse gallery of vectors, we will have to import these into Photoshop. You can easily do this by directly copy and pasting them. Also we will be able to import them as a Path and then define styles by adding a new Gradient Fill adjustment layer. Using any of these two techniques will support the ability to rescale these shapes without losing any quality. Continue to duplicate imported elements, but name each one according to the order it’s placed.
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begin cloning and inserting your graphic elements
Now we will begin to duplicate the shapes and start defining the volume that will occupy our design. To obtain the effect that is observed in the supplied example we will have to apply the Multiply layer mode to each one of the layers that contain the imported vector elements. Initially we don’t have to conform to any specific structure or template. What we achieve here is simply a study of space, trying to simulate the illusion of a collision between particles.
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initial placement of patterns
Later we will start defining the order of our elements more accurately. It’s advisable to merge the layers to exercise control over your graphics. We will start by ordering and grouping the biggest elements and continue expanding graphics by incorporating the rest of the smallest or subtle shapes. When overlapping layers, make sure you create a visual balance of sorts through the applied Multiply blending modes to your red and blue shapes, which create your gradient effects.
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CREATE STRIKING GRAPHICS TECHNIQUES
PLACE AND COVER DESIGN PATTERNS
CLONE ELEMENTS, MAKE GROUPS AND MASK THEM USING WHITE SHAPES
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CLONE AND PLACE COLOURED SHAPES
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After obtaining balance in our larger, denser shape layering, start applying smaller white elements. Merging this group of elements becomes an effective way to create visual dynamism, due to the great quantity of vector pieces that we will incorporate and juxtapose. The placement of these smaller graphics generates a certain amount of complexity and movement in the piece, so take your time with this step.
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ADD WHITE PARALLELOGRAMS
Now we’ll import white parallelograms to create the illusion of empty spaces in our graphics, placed at points of interest. These extend the possibility of creating minimalist yet complex design. While applying this new graphic we will make visible and use the golden ratio grid as before to respect the key areas of the design. Modify the size and transparency of the parallelograms to obtain subtler effects in the graph.
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001 BUILD IN LAYERS We’ve simply layered our shapes with blending modes, yet the amount of duplicate layers can determine the complexity of your graphic
002 BALANCING SHAPES Applying solid colour shapes with outlines creates visual dynamism, one fitting yet contrasting the other
003 NEGATIVE SPACE In the following steps we will create the illusion of cutouts in our graphic by applying white shapes
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CREATE A SECOND PATTERN GROUP
Once we have obtained a group of graphical elements that we like, we will merge (Cmd/Ctrl+E) and lock these layers, ensuring that none of these shapes break away from our defined graphic layout. Again import more shapes from Illustrator and start covering the design space with these, applying Multiply blending modes. Add to areas you think will benefit most. Once again we will begin to duplicate dense and dark elements first.
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FIND NEW SHAPES AND ANGLES
We’ll place white parallelograms, used once again to create empty spaces and further complexity on a minimalist design. Instead of masking the design with these shapes you can use alternatives. In this case we’re happy with the direction of our graphic, which moves only in one direction on the same axis. We’ll respect the angles of the initial parallelogram and pay attention to the grids when creating these new hollows in our graphics.
EXTEND AXES TO INCREASE SYMMETRY
Initially we don’t have to conform to any specific structure or template. What we achieve here is simply a study of space, trying to simulate the illusion of a collision between particles
To signify the geometry and direction of the collision that we are portraying, we’ll add grey lines (2px Stroke) that will lengthen existing angles making three axes. Consider points where the new axes should cross at the centre of the shapes and other general points of balance. Making the axes of co-ordinates visible and projecting them on the canvas enables you to obtain solidity and balance, at the same time reducing the weightlessness of shapes.
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illuminate and detail
Apply white gradient lights, change the background colour and create texture
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group graphic layers to modify
We’ll edit our shapes and make small modifications to any of the groups containing graphical elements. For more rapid and concrete editing it is advisable to group all the layers in each set of vectors that we have designed. One of the most visible modifications is the placement of a new hexagonal white element at the ends of our white parallelogram shapes, which generates new geometry in the empty spaces of the design.
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be critical
establish your layout The styles and the layout that we choose for our text content will have a great influence on the style of a design. In this case, using a layout justified to the margins of the workspace offers a comfortable reading experience. It’s important to create a visual hierarchy with text. On the basis of this criterion, and respecting the grid, we will set our different texts styles as such:
Erase all those small details that break the symmetry or differ from the geometric criterion. Continue applying the grid pattern and the crossing points that this generates. Ensure the image is balanced correctly, with graphical physics that easily relate to the weight of the text. Once we have grouped all the existing shape layers that compose this version of our graphic, we can once more duplicate and look for new graphical alternatives.
Header1: Font: Avenir LTstd Black 150px Header2: Font: Avenir LTstd Book 133px Subtitle: Font: Avenir LTstd Light 86px Emphasized Header: Font: Avenir LTstd Heavy 51px Emphasized: Font: Avenir LTstd Light 37px Copy: Font: Avenir LTstd Light 24px
quick tip To enrich your graphics you can incorporate additional effects such as small soft lights and contrasts. You can also include new parallelograms or clear colour outline layers set to Soft Light or Overlay blending modes, over the existing graphics. This will improve the areas that remained too dark before.
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balance design and add more text
Place smaller text in the bottom-right corner of your canvas. This will balance all existing boxes of copy. Before establishing the style of this new text we will study the space that has been allocated to house this design element. We have decided to reserve a space in this area to incorporate a minimalist graph. This ensures all of the text aligns to the grid and so is cohesive with the whole design.
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text style and location
Now we will decide the styles of the texts applied and place where they best affect the balance of our design. Thanks to the previous step it will be simple to determine placement, type scale and weight. To balance text effectively, create a grey line of 2px in the bottom-right part of the canvas. This will support future graphics and text placement by creating an imaginary grounding.
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apply triangles
Having reserved certain space for the minimalist graphic, create a small triangle in a new layer by applying the Polygon tool, set to 3 Sides and a #d3cbbd tone. Duplicate this shape and construct the rest of the graph, referring to Fibonacci’s sequence. The size of the graphic and its colour will determine visual weight and therefore the presence this will have on the design in general.
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CREATE STRIKING GRAPHICS TECHNIQUES
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INSERT SOME DATA
Now we’ll incorporate some relevant information through graphic elements. The look of these was inspired by a network of equations for infography, based on information about the Higgs Boson. We’re using four Feynman diagrams for Higgs production that serves our intentions. Now we need to adapt these diagrams to our own design and provide complementary details. We create diagrams using the Pen tool, applied to angles that coincide with those present in our shapes.
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ACHIEVE SHADOWS
We will start creating discreet shades to be able to give our design an almost third dimension and more movement. Make a selection of an existing parallelogram shape (Cmd/Ctrl-click the layer thumbnail) and place it where you want to incorporate a drop shadow. We’ll create a new layer and apply a grey-to-transparent gradient (#e7e4e4). Repeat the process in other areas of the graphic structure to add further interest, but without overcrowding the piece.
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SHADOW PLACEMENT
Once we have incorporated small shades inside the graphical structure, we will proceed to create major ones in order to force the general perspective of our graphics and create a general environment. In this case we will use the Polygonal Lasso tool to select six areas, based on the perspectives that we’ve created in our design. Once your selection is set, apply the gradient from the previous step and edit opaqueness until the obtained contrast is convincing.
QUICK TIP To illuminate, we can clone and place the new cap below the lights created for the backlight. Give a new value of opaqueness of 1 % to each of the two caps, preserving the contrast obtained.
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INJECT ILLUMINATION
It’s time to proceed to create more intense lighting. First apply a darker colour (C=9, M=7, Y=11, K=0) to your background. Add a group of lights to your graphics by making a selection of a parallelogram layer, applying a white-to-transparent gradient to these on a new layer. Repeat this process and once you have illuminated the graph internally, simply apply a new white-to-transparent gradient over your background layer. This will create the effect of a backlight in your design.
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APPLY A VIGNETTE
Now we apply gradients to each side of our workspace, much like we have in previous steps, only this time we use a darker colour. We’ll add this to our image margins (edges), as generating focal lighting draws the viewer’s gaze to the spaces with major contrast inside the most illuminated zones. Also it will enable us to refill those empty zones in our design, bearing in mind that these are the spaces that offer relief and a clean finish to frame our various elements.
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INCLUDE TEXTURE AND BORDERS
Create a selection of 21 x 9px and fill this with a solid colour (C=22, M=20, Y=19, K=37), on a new layer. Duplicate this, forming a pattern that resembles a chess table occupying the whole canvas – or apply the ‘texture_bg.psd’ supplied. Merge all these new layers to create your texture, setting layer Opacity at 1% and the blending mode to Multiply. Duplicate this layer and place one over the entire design and another just over background layer. Finally add a solid white frame.
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I copied a part of the original image, moving it to a new position. I finished the effect by using a custom small particles brush, adding more detail
his image is in fact a redux of an earlier existing piece with massive Eighties influences. Artist Sakke Soini (www. sakkesoini.com) wanted to create a similar work, but with a modernised look, hence the cool laser effects. These lasers consist of three layers each. “First there is a white line with an outer glow set to Linear Dodge blending mode,” explains Soini. “On top of that there is a blurred light-blue laser set to Screen blending mode to apply depth. Finally there is a noise layer consisting of white particles again set to Linear Dodge…” The displacement effects are the result of two combined techniques. Soini reveals: “I used various paint splatter images. I placed these into position, hid visibility and made a selection. Then I copied a part of the original image, moving it to a new position. I finished the effect by using a custom small particle brush, adding more detail.”
DIGITAL ARTIST SAKKE SOINI TELLS US HOW HE CREATES DISPLACEMENT AND LIGHTING EFFECTS
Sakke Soini
LASER DANCER II
HOW I MADE
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TECHNIQUES HOW I MADE
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The markings on her body were created in Illustrator and then imported into Photoshop. I used the Transform>Warp tool to place these around her body.
ADD MARKINGS
I applied the main design elements into the image with the Pen tool, I then added and experimented until I had the desired layout.
SKETCH WITH THE PEN TOOL
First I set up the model image, separating it from the background with the Pen tool and then making small adjustments to the skin, hair, lips and eyes.
PREPARE THE SUBJECT
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techniques add mass and volume
digital painting
Add mass and volume QUICK
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Learn to apply weight and form to a flat shape
TRICK
start image
ere we will teach you how to take an otherwise flat shape or texture and quickly turn it into an object that looks 3D. The easiest way to achieve this is to fully paint the object, adding texture and brushstrokes while keeping its local colour (in this case grey) very uniform. We’ll start with our big shape, painted flat-grey, and then lock the layer. This enables us to paint freely within a shape without having to worry about coming too close to its edges. Once the shape is painted and finished, we implement the very simple strategy of adding a shadow and bounce light to our form. This helps ground an object in the entire image. Once the shadow is in place, we’ll select some colour from the ground plane and paint it softly into the lower half of our shadow, so as to show the ground being reflected into the shadow.
01
define the shape
Here we have created an enormous rock by painting a flat shape and locking it with the Lock Layer button. Using a photo reference, paint your shape to your liking. Make sure that you lock the layer so you can paint close to the edges of the piece without ruining the background.
02
Multiply the shadow
Now it’s time to add a shadow. After creating a new layer, hover your cursor in between the new layer and previous layer and hit Opt/Alt to tie them together. Anything you paint will now only show up on what’s painted on the layer below. Set the layer to Multiply and begin to paint in a shadow.
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pull it all together
Using the same method as before, create a new layer that only affects the Multiply layer (Opt/ Alt-click between the layers). Within the shadow, carefully begin adding in sky colour near the top of the rock (ensuring you stay close to our shadow colour) and ground colour near the bottom.
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TECHNIQUES emotive images with viaframe
project FOCUS
design emotive images with viaframe We talk to German studio Viaframe about creating emotive images that convey both a fashion line and a season
O Sebastian Mildenberger and Steffen Kirschner
About the studio viaframe
www.viaframe.de
Viaframe is a creative studio located in Nuremberg, Germany, with services ranging from planning and concept development right through to compositing and post-production. Whether it’s CGI, photography or photo-processing, Viaframe can excel at it. The company’s clients include Ferrari, Siemens and Olympus among others, with projects that range from stylish reinterpretations of fairy tales to imaginative 3D experiments with shape.
name of project charles vögele autumn campaign 2012 @Viaframe
ver the past two years, German photography and post-production studio Viaframe has worked with Swiss fashion chain Charles Vögele on both its Spring and Winter collections, creating fluorescent oil swirl flowers and a frozen winter wonderland respectively. Back on board for this year’s Autumn campaign, Viaframe had to utilise its photography, CGI and Photoshop skillset in order to represent the season’s darker hues. Viaframe needed to capture the atmosphere of this season without instilling any depressing or miserable sentiment – something autumn can often be associated with when beautiful summer days give way to longer and colder nights! Viaframe achieved this by using inviting autumn photography, highlighting the autumnal colours and crafting a cosy ambience with careful utilisation of contrast. It then filled these late-season scenes with animal outlines created by those elements we associate with nature – fallen leaves, droplets of rain and soft billowing clouds. The result is a selection of manipulated photography that conveys all the positive aspects of autumn – its warmth and tenderness – without also recalling the somewhat depressing loss of those long summer days. Can you tell us about Viaframe? Viaframe is a creative photography, CGI and post-production studio located in Nuremberg, Germany. We predominantly work for advertising agencies but also develop concepts and campaigns for our clients directly. These campaigns capitalise on our well-rounded knowledge in almost every aspect necessary for conceptualising and realising a successful production. Being designers, we combine powerful [digital] techniques and develop innovative and unique aesthetics for the image. We embed this in a clearly defined communication purpose, specifically directed to the [target market]. The fact that the entire production cycle is integrated within Viaframe allows us to give our customers insight on the ongoing design process on
a regular basis. This transparency during the collaboration with the customer and the pinpoint adjustment on their ideas guarantees quality. How did you obtain this commission and what ideas were discussed? Actually the Autumn campaign was our third campaign for the Swiss fashion store Charles Vögele. We had completed two successful collaborations before. One was the Spring campaign 2011 and we also had the pleasure to produce the Winter campaign in the same year. Depending on the client we usually offer about three to five concepts with moodboards and first layouts. The final decision made depends a lot on the target group. In this case the goal was to reach the core clientele of customers aged 40 and over. How did you achieve your goal? We developed a total of five motifs for the Autumn advertising campaign: animals in leaves, clouds and rain shapes that are placed into autumn landscapes. The motifs we created were used in different formats at the Point of Sale of over 850 stores located in Switzerland, Germany, Austria, Belgium, Netherlands, Slovenia and Hungary. How did your ideas evolve throughout the production stage? The campaign motifs were partly realised with photographs and then completed computergenerated images. With Viaframe’s workflow we plan as much as possible in the pre-production process. We spend a lot of time concepting with our customers and try to focus on approved layouts. We organise our Photoshop files as open as we can to offer the possibility to enhance our work using additional elements during the production stage. How did you develop the piece? After the approval through the client we started experimenting with different techniques in our 3D software and Photoshop. In this case we chose a mixture between both solutions. Using moodboards helps a lot to communicate the desired look.
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emotive images with viaframe TECHNIQUES
To create this image of a jumping fish, Viaframe took
001 photos of splashing water in a variety of shapes. This was then manipulated into the outline of an animal, giving the sense that it’s been shaped out of nature.
002
There is a high contrast between the beautiful golden glow emanating from the right of the image and the dark surrounding the left. This use of contrast creates the impression of a warm, rising sun on a rainy day.
Although it’s less prominent in this image than in
003 others throughout the campaign, the use of landscape
photography is striking in and of itself. Even before the Photoshop manipulation these are beautiful scenes. all images © www.viaframe.de
How did you create The fish image? The fish was created using photographed water splashes. The biggest challenge was to find a natural shape that illustrated the fish without looking too detailed. The splash layer was combined with the background using the Screen blending mode. Additional sprinkles and drops were added afterwards to integrate the animal even more into the background. What Photoshop tools proved pivotal in the creation of this piece? We worked a lot with the Liquify tool to connect the single splashes or clouds to shape the fish, the rabbit and the eagle. The Puppet Warp is also a nice tool to work with in this context. For two other images in the series we used external 3D software to generate particle clouds and formed the animals in 3D space.
© Charles Vögele
How would you advise someone wanting to create a similar image? As most of our work is created for advertising agencies we find it important to produce targetoriented imagery and within deadlines. We use scribbles to get an idea and discuss it with the client before we start producing the final image. This ensures that every person involved has the desired result in mind.
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techniques manga lighting effects
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Paint manga lighting effects techniques
digital painting
Paint manga lighting effects Master magical lighting in your manga-style digital paintings
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he clean, simple lines of manga lend themselves well to magical effects, providing a strong foundation for you to build on with colour. Tones and values are key factors in a magically themed piece, being dramatic and hinting at the arcane powers that your character possesses. Consider that the magic your character is using is a form of energy, expressed through their pose. If your character is hurling fireballs, for example, that’s going to take more exertion than if they’re swirling cosmic smoke. So communicate the level of effort
Work in Progress
from sketch to finished artwork
Step 2: Establish model form
Step 6: Fill in colour
Step 8: Apply image lighting
your character is making through their stance to express it effectively. The magic itself should look and feel tactile. The viewer should have a sense of whether it’s hot or cold, gentle or aggressive, slowly building or ready to strike. You can manage all of these effects through your use of colour, lighting, opacity and shapes. All of these hints are useful for the viewer to understand the context of the painting and should be fully utilised by the artist. Here we reveal how to create this mysterious blue sorceress casting beautiful lightning from her hands.
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Our expert schin loong
www.schin-art.com
Based in Las Vegas, Schin is an illustrator and tries to draw more when she has time. Her paintings of pretty female characters started after watching Sailor Moon as a child.
sketch a pose
First come up with some simple sketches for how you want your figure to pose. This character is a mysterious blue sorceress who may or may not be evil, but we want her to be beautiful and deliberate in her spell casting. Have her looking directly at the viewer while holding her hands up.
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clean it up
Choose one of the sketches and expand on it a little more, building up where to place the hair and the hands and adding details. Clean up the line art with neater lines so it’s easier to paint over. We’ve left the hair and eyebrows alone as they are meant to be fine and free flowing.
Clean up the line art with neater lines so it will be easier to paint over. We’ve left the hair and eyebrows alone as they are meant to be fine and free flowing
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techniques Paint manga lighting effects
03
set the mood
Set the line art layer to Multiply and place a layer under it to be the background. This will largely dictate the mood of the painting. We want this sorceress to be ice cold and mysterious, so choose a gradient of suitable blues, greens and mysterious hues that will help strengthen her personality.
04
block out the skin
Block out the skin colour but keep as much of the underlying blue as possible so you can keep her inside her surroundings instead of floating up over them. We want the light source to come from her hands so her face is lit from underneath, another trick to make her look imposing and mysterious. Start with the face first, shading in the eyes and nose, and painting on very dark eye make-up. We want to make it so dark that you can barely see her eyes. To add to the unique appearance, give her white eyelashes over dark eyeliner.
quick tip Layer styles are your friend. Experiment with everything Photoshop has to offer, from filters to layer styles, to brush presets and image adjustments to get as familiar as you can with the different features available. If you get stumped there are tons of resources and tutorials that will help you form the perfect painting. Spend a little time researching these to build up your arsenal of techniques.
05
finish the face
Little white highlights in the eyes are all that’s needed to bring life to her face. Be careful not to overdo this, as you don’t want her to look too sparkly. Keep her lips nude so they don’t distract from her eyes too much. Play around with her surroundings, lighten up her dress and scarves and experiment with lighter hair. Brighten up her hands where her magic will be strongest.
06
erase line art
Add some points of light on the canvas to remind yourself where the light source will be coming from. If you find that the thick line art is getting distracting you can erase the majority of it. Make other adjustments at this point, for example changing the colour of her hair to white to contrast with the dark background. Also, add a bit of an expressive blush to her eyes and lips.
07
tweak textures
Try making her larger for more impact and play with the colours. Saturating the tones and highlighting the hands can show more clearly where the magic is coming from. Centre your character more and embellish the flowing scarves around her to give a kind of frame. Lay a smoky texture over the painting to create movement and finally paint bright points of highlights to give her an eerie light.
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Paint manga lighting effects techniques
manga facial expressions discover how every line has a meaning and evokes a different feeling
lighting in photoshop
Apply effects using blending modes and layer styles
Facial shapes: The shape of a face can mean
different things. A longer face with smaller cheekbones and a sharper chin is more mature or feminine. A chubby face with rounded cheeks and chin suggests a clumsy but cute character.
08 Eyes: Smaller, darker and longer eyes suggest a sultry attitude. Full, long eyebrows can be manipulated for all kinds of expressions. Bright, shiny, large eyes are innocent and cute. Arching eyebrows can present a sweet and cheerful face.
Add glow and special effects
Create some highlights and experiment with various Blend Modes for the layers – here we settled on Color Dodge and Overlay. A few strands of really saturated glowing white hair finish off the effect. Using Outer Glow on the layer preset, paint dots swarming out of her hands. This really contrasts with the dark painting to stand out. Also play some more with the background and change the colours to enhance the sense of a magical environment.
Using Outer Glow on the layer preset, paint dots swarming out of her hands. This really contrasts with the dark painting to stand out
Noses: These tend to be very small and don’t evoke
much expression, but this doesn’t mean they can’t be part of the visual narrative. Our sorceress has a perky, long nose that fits her slender face.
Mouth and expression: When smiling mysteriously,
mouths are small and demure, with only a few lines to suggest full lips and a little smirk. If laughing, a manga mouth can form a perfect triangle.
09
touching up
Now for the fun part. Add white lightning streaks coming out of her hands to seal her sorcery. Create a new layer, set it to Outer Glow and apply to your heart’s content. For the final touches, tweak the details, enhance her eyes even more and make some compositional adjustments. Erase some of the lightning too, if you feel it’s detracting from the effect. Just keep working until you feel you’ve finished.
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techniques digital surrealism
Trend FOCUS
digital surrealism
T
Artists challenge our perspective and make way for the spectacular with imagery that lures viewers out of monotony
he Surrealism movement of the Twenties saw artists define a new visual language. Turning the world on its head, teaching viewers to strip the ordinary and question the expected, compelling images by the likes of René Magritte and Salvador Dalí changed the face of art forever. “Surrealists wanted to make people think,” explains fashion and beauty retoucher Paul Snyder (www.paul-snyder.com). “Messages about the reality of how we perceive time or even how we as humans perceive our own thoughts and dreams are recurring themes throughout the genre.” Digital art has empowered a revival of Surrealism. “The desire to transform what is around is inherent to the human being and art has always been an important part of our soul,” says psychology student and photographer Felipe Morin Godoy (www.flickr. com/photos/metabolico). “Technology [has given]
us the opportunity to make those crazy, wild dreamscapes a reality.” But creating surrealist images in the context of Photoshop requires skill. Snyder continues: “Compositing is most important to me. You have to be able to take a bunch of different pieces of images that could have come from a different day, a different camera, in different lighting circumstances, and bring them all together realistically and convincingly… These skills are equally as imperative for my work as a retoucher… Understanding how light works, or how to work non-destructively with colour, helps tremendously when making an image seamless.” While techniques have evolved, ideas and expressions are still critical. “I like to show how things could be and not how they are, to give soul and meaning to… imaginary worlds.” says digital artist Teodoru Badiu (www.apocryph.net). It’s a
similar story for Godoy, explaining that his ultimate goal is “to make people realise that reality is just a matter of perspective… If you reorganise some aspects of life [it] can result in something completely new and meaningful. I want [the viewer to] understand that they can apply the same thought [to] their lives”.
You have to be able to take… images that could have come from a different day, a different camera, in different lighting circumstances, and bring them all together realistically Paul Snyder, beauty retoucher, www.paul-snyder.com
top tips from
paul snyder AP: What do you recognise as the key symbols of a surrealist image? Paul Snyder: I wouldn’t necessarily consider myself an art historian, but… to me surrealism is a paradox of simplicity and complexity. AP: What different messages do you try to convey to the people viewing your work? Paul Snyder: I like to make people… think about identity; what their’s is, how they perceive themselves, how others perceive them, how they’d like to perceived… Self-discovery is a major theme in my personal artwork… I like for people who view my work to walk away a little contemplative. There’s also nothing wrong with a little provocation, so I sometimes like to use dark, uncanny, or even maybe slightly sexual imagery and context to spark those thoughts. AP: Can you offer any tips for seamless results? Paul Snyder: The most important tip I can give is to have patience, especially with compositing. It’s easy to want to be in a rush when you’re excited to get the image completed, but you’ll save yourself a ton of frustration if you take your time and do things with focus and precision… There’s a common misconception that there are all these really complex techniques that experts are hiding away, but there really aren’t many at all. It’s just about knowing how to use all of the simple ones together in an efficient way.”
>
paul snyder: crows & locusts
www.paul-snyder.com
Inspired by the song of the same title by New Zealand singersongwriter Brooke Fraser. “Something’s still gonna grow, she ‘aint leaving till it does,” says Snyder © Paul Snyder
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digital surrealism techniques
>
felipe morin godoy: to dream or not to dream
www.flickr.com/photos/metabolico
Godoy is quite the perfectionist. He’ll spend up to 32 hours getting an image just right, and enjoys feeling proud of the results and effort. For him, it’s all in the details © Felipe Morin Godoy
>
teoduru badiu: cloud scraper
>
paul snyder: Spring awakening
www.paul-synder.com
www.apocryph.net
This image symbolises an artistic rebirth and the rush of creativity that can come after a long winter. Snyder says that spring usually brings a surge of inspiration and life back to his artistry © Paul Snyder
Badiu uses Photoshop and a digital camera to create his surreal illustrations, incorporating other media such as 3D, drawings and scanned images to create truly unique visions © Teoduru Badiu
>
paul snyder: going north
>
felipe morin godoy: I dreamed of another world
www.paul-snyder.com
www.flickr.com/photos/metabolico
Also inspired by song lyrics, this time by the Australian songwriter Missy Higgins. This portrays keeping your eyes on the future and the self-discovery you find on the way © Paul Snyder
Things like shadows and edges will be noticeable to the viewer. Godoy advises that, with enough practise, anyone can create meticulous artwork with impeccable detail © Felipe Morin Godoy
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important part of our soul,” says psychology student and photographer Felipe Morin Godoy (www.flickr. com/photos/metabolico). “Technology [has given]
things could be and not how they are, to give soul and meaning to… imaginary worlds.” says digital artist Teodoru Badiu (www.apocryph.net). It’s a
lighting circumstances, and bring them all together realistically
WorldMags.net Paul Snyder, beauty retoucher, www.paul-snyder.com
top tips from
Paul snyder
aP: What different messages do you try to convey to the people viewing your work? Paul snyder: I like to make people… think about identity; what their’s is, how they perceive themselves, how others perceive them, how they’d like to perceived… Self-discovery is a major theme in my personal artwork… I like for people who view my work to walk away a little contemplative. There’s also nothing wrong with a little provocation, so I sometimes like to use dark, uncanny, or even maybe slightly sexual imagery and context to spark those thoughts.
Paul snyder: Spring aWakening
>
aP: What do you recognise as the key symbols of a surrealist image? Paul snyder: I wouldn’t necessarily consider myself an art historian, but… to me surrealism is a paradox of simplicity and complexity.
www.paul-synder.com
This image symbolises an artistic rebirth and the rush of creativity that can come after a long winter. Snyd spring usually brings a surge of inspiration and life back to his artistry © Paul Snyder
aP: Can you offer any tips for seamless results? Paul snyder: The most important tip I can give is to have patience, especially with compositing. It’s easy to want to be in a rush when you’re excited to get the image completed, but you’ll save yourself a ton of frustration if you take your time and do things with focus and precision… There’s a common misconception that there are all these really complex techniques that experts are hiding away, but there really aren’t many at all. It’s just about knowing how to use all of the simple ones together in an efficient way.”
Paul snyder: gOing nOrTh
>
>
Paul snyder: CrOWS & lOCUSTS
www.paul-snyder.com
Inspired by the song of the same title by New Zealand singersongwriter Brooke Fraser. “Something’s still gonna grow, she ‘aint leaving till it does,” says Snyder © Paul Snyder
078
Text effects and FREE DISC retouching videos
Plus brushes, textures and more
103
The magazine for Adobe® Photoshop® professionals
Commercial retouching | Work with polygons | Edit videos in CS6 | Create striking graphics | Design neon type
NEW MEDIA
EDIT VIDEOS IN CS6 Use the new tools in Photoshop to replicate 8mm vintage movies
103
TECHNIQUES
CREATE STRIKING GRAPHICS Work with shapes, colour and type to design a poster with impact
Enhance details
INDUSTRY INSPIRATION
COMMERCIAL
RETOUCHI TOUCHING Industry experts reveal their top tips on beauty retouching
www.advancedphotoshop.co.uk
HOW TO:
• Produce emotive images with Viaframe • Build layers to create a distinct pattern • Use automated lens correction ISSUE 103 ISSN 1748-7277 9 771748 727009
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DIGITAL PAINTING
PAINT A LANDSCAPE
Build unique environments using a mix of standard and custom brushes
TYPOGRAPHY
DESIGN DES E IGN NEON ES NEO E N TYPE EO T PE TY
Create dramatic text by adding vibrant detail to images
GRAPHICS
WORK WITH POLYGONS
Combine CINEMA 4D and Photoshop to shape a geometric landscape
07/11/2012 16:07
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>
feliPe e morin godoy: her WOrld i dreamed OF anOTher
www.paul-snyder.com
www.flickr.com/photos/metabolico
Also inspired by song lyrics, this time by the Australian songwriter Missy Higgins. This portrays keeping your eyes on the future and the self-discovery you find on the way © Paul Snyder
Things like shadows and edges will be noticeable to the viewer. Godoy advises that, with enough practise, anyone can create meticulous artwork with impeccable detail © Felipe Morin Godoy
teoduru badiu: ClOUd SCraper
>
der says that
WorldMags.net www.apocryph.net
Badiu uses Photoshop and a digital camera to create his surreal illustrations, incorporating other media such as 3D, drawings and scanned images to create truly unique visions © Teoduru Badiu
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reviews portrait professional studio 64
Portrait Professional Studio 64 We explore the capabilities of software version 10.8.2, what it offers both enthusiast and professional retouchers www.portraitprofessional.com Operating system: • Windows 7 or Vista, 64-bit editions only • 64-bit Mac running OSX 10.5 or later
£61/ $90
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PORTRAIT PROFESSIONAL STUDIO 64 REVIEWS
RESOURCES
POST WORK IN COLOR EFEX PRO 4
Controlling effect strength in specific areas is easy using the Touch Up brushes and editable layer masks (in Skin and Hair controls)
Portrait Professional Studio 64’s effects are all applicable through easy-to-use sliders, preferable to those used to editing in RAW
I
Portrait Professional Studio 64 is useful in pre-production phases, when cleaning images for further editing in Photoshop. Sticking with the plug-in theme, another that can be used in accordance with your workflow is Color Efex Pro 4 (www.niksoftware.com). Applied in the post phase, this software is a great asset when looking to colour grade images. Color Efex Pro 4 provides filter parameters that are inviting for new users, through the Visual Presets. Clicking on the stacked window icon to the right of your filter opens single-click starting points, making it possible to explore creative options quickly. Filters can still be applied in multiples, letting you stack effects to create what the software describes as Recipes. These can be saved into the associated folder, letting you master your own presets to apply to future projects. Favourites such as High Key, Low Key and Tonal Contrast have seen significant improvements in both imaging algorithms and new controls systems. Even better, the latest History Browser lets you compare previous edits and different looks intuitively.
The work area takes up two-thirds of your onscreen real estate, making comparison in your edits easy
f you’re an aspiring professional retoucher you’ve most likely been left scratching your head, pondering the question: ‘should I invest in plug-in software?’ First, there’s the matter of money, some types are more cost-effective than others, but startup capital isn’t always readily available. Second, and more importantly, there’s the matter of production, namely how a plug-in enhances the quality of the images you produce. When encountering software like Portrait Professional Studio 64, which promises an ultimately fast, easy photo-editing experience with the highest-quality touchup, your interest is bound to peak. And if there is one constant in the retouch
business, it is that time equals money, so from this point of view, Portrait Professional Studio 64 seems like a great investment. AUTOMATED FACE RECOGNITION What you get for your buck with Portrait Professional Studio 64 is an easily acclimatised interface and functionality, which ultimately speeds up the entire retouch process. Upon firing up the plug-in you’re
asked to open your start image and are then prompted to determine the gender of your model. Subsequent options continue in the same vein. Portrait Professional Studio 64 will ask you to map out your model’s face in the Locate Features options – easily done by quickly dragging and dropping selectors onto key facial areas. Here the plug-in works its magic, effectively determining improvements automatically.
What you get for your buck with Portrait Professional Studio 64 is an easily acclimatised interface and functionality, which ultimately speeds up the entire retouch process 083
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reviews portrait professional studio 64
We will warn you not to take too long deliberating over the following Adjust Outline options. Portrait Professional Studio 64 operates here much like Photoshop Paths, targeting eye, eyebrow and mouth regions. Selections are manipulated through point controls, but for the best results, just tweak regions that are drastically out of sync. You can trust the plug-in to automate skin refinement and tweak facial contour, the default settings will return impressive results. We also found customisation to be abundant in Portrait Professional
Studio 64 – more than we thought. Seven categories are made available, including Face Sculpt, Skin, Eye, Mouth & Nose, Hair, Skin Lighting and Picture. Customise with sliders Each dropdown menu provides specific option sets, controlled through simple sliders. These will appeal to photographers and retouchers who work extensively in Camera RAW. Dedicated Photoshop users may be apprehensive, perhaps preferring hands-on application. They shouldn’t worry, as
Portrait Professional Studio 64 has already isolated affected areas, so editing becomes meticulous. There were several categories that really grabbed our attention, most importantly the Skin Controls, we discovered that it was easy to over-egg edits here, so the subtle application of sliders was key, while increased Skin Smoothing augmented default settings. Combining the Remove Pores slider and Texture controls produced commercial looks. Spot removal was also highly intuitive, with Portrait Professional Studio 64 applying effects through strength levels – from 1 Only Prominent Spots up to 10 Maximum Sensitivity. We recommend setting to 6 Medium Sensitivity, working out more noticeable artefacts with the responsive Touch Up Brush tools. Left: Eye controls are so detailed they even provide the option to take out reflections, increase pupil size and brighten the whites of an eye
Dedicated Photoshop users may be apprehensive, perhaps preferring hands-on application. They shouldn’t worry though, as Portrait Professional Studio 64 has already isolated affected areas, so editing becomes meticulous Working with photoshop
Smooth skin doesn’t need to be as literal as you see in most external software and plug-ins. Here’s a great way to achieve improved commercial effects in Photoshop
01
Targeting faults
Recording imperfections can be troublesome, as many hide among your midtones and shadows. Target these easily by selecting and copying the channel that shows distinct exposure, such as shadows and highlights. Apply a Levels adjustment (Cmd/Ctrl+L) to further enhance these.
02
Use the healing brush
Copy and paste this duplicate channel into your Layer panel, above your original photo layer. Use the pasted channel layer as a guide to target blemishes you want to work out, applying the Healing Brush and Patch tool to the original layer. Deactivate your channel layer to make comparisons.
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portrait professional studio 64 reviews
Mask controls Admittedly the plug-in isn’t particularly frecklefriendly, but if you’re looking to remove these, along with spots and wrinkles you’ll find results extremely satisfying. Portrait Professional Studio 64 takes customisation further by supplying masking options with Skin and Hair controls. Here you can extend or cut back applied-to regions, determined through Brush Size and Detector (density) Size Area Brushes. We were especially impressed with the way these interacted with hair – targeting is quicker than we’d experienced with Alpha Channel and Refine Edge application, which are standard practise with Photoshop users. Those who love to work with detail will also be impressed with the Eye controls. As an essential focal area of any portrait, you can target and affect colour, intensity, size and density of the pupil and much more. Throw in the ability to reshape facial contour – increase neck size for added elegance, eye size and redefine jaw outlines to create a slim or full look – and you’ve got an entire gamut of essential edits.
So, the essential question is should you invest in this plug-in software? This is a tricky question to answer. If you’re trying to fill in the blanks left behind in your technical skills, we’d say educate yourself further and keep practising. This software is simple to apply, but easy to abuse. However, it will complement the pre-production workflow of those who understand the requirements of a good retouch. Portrait Professional Studio 64 is also a wonderful solution for commercial photographers who want to simply push fantastic photo visuals that extra mile.
Verdict Features: 9/10 Ease of use: 9/10 Quality of results: 7/10 Value for Money: 8/10
Final Score:
8/10
portrait professional 11
Founder of DM High-End Photo Retouching, Danny Meadows takes an exclusive look at the Beta version of this yet-to-be-released software, exploring improved functionality For the busy portrait photographer without the time to dedicate to learning retouching, this beta could be a great timesaver once released. Version 11 includes a host of new and improved controls. The software now makes far faster and more intelligent facial selections for you (see Example 1). This fully automated process impressed, with applied masks holding up pretty well throughout any changes. New face-slimming controls are also presented, which may still seem restrictively ‘on rails’ for the experienced Liquify tool user, but for those without the time or familiarity with Photoshop, the sliders will once again prove useful. I did find myself wanting to make changes the sliders didn’t enable, so it’d be straight into Photoshop with the result. The new Hair Recolor tool yields impressive enough results for subtle changes, with the click of a button rendering a new hair colour from a preset selection. It does, quite understandably, struggle with more extreme alterations, like black to blond. New Plump Lips sliders extend the upper and lower line of the lips, the addition of some automated light carving would be welcome, but again the mask holds up well (see Example 2). In many respects Version 11 still has the same flaws as previous versions, lacking the complexity of working entirely in Photoshop. However, we have to once again question the target group. The plug-in certainly improves on the benefits in Version 10 for beginners and busy professionals. Example 1
If by chance default retouching doesn’t quite fix everything, the plug-in provides the Touch Up brush for manual amendments
Example 2
Much like the hair type, Skin Selection tools make targeting facial and additional skin areas super-easy with the intuitive tools
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REVIEWS APPS
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123D SCULPT
A
MASTER MODELS WITH THIS HANDS ON 3D SCULPTING TOOL FOR IPAD USERS
www.123dapp.com/sculpt • £6.99 to export OBJ $9.99 to export OBJ • iPad, iOS 5.0 or later
utodesk’s 123D Sculpt is a great way to create detailed 3D models on the iPad, then take them into Photoshop either as 3D objects or rasterised flat images. This app provides basic starting model presets, including human heads, spheres, shoes and various animals. When creating, you can apply intuitive strokes to push, pull and mould the model as though working with clay. The iPad’s interface lends itself perfectly to this kind of modelling work, with Autodesk’s welldesigned tools reinforcing application. Stroke gestures add bumps, create creases, or smooth out rough areas. These are established in the app through visual diagrams, so you can begin quickly. Switching to the supplied paint options, you can daub your choice of colours, but more impressive is the ability to rub in textures from a still image. For example, users can paint a model head with textures from a photo to create a virtual look-alike. The app’s main limitation is that you have to start from one of the built-in models. If you could import your own 3D models from another program, then 123D Sculpt would be a far more productive tool.
VERDICT: 8/10
Because you can export OBJ files from 123D Sculpt, you can continue to work on your model in 3D desktop applications, adding lighting and further material options
A useful study app, which can only get better when the ability to import, not just export 3D objects is added
WORK WITH 123D SCULPT
HOW TO MODEL FOR PHOTOSHOP IN THIS 3D-SCULPTING APP
01
SCULPT YOUR MODEL
Choose a model from the app’s presets and pick a brush. We started with the Grab tool and a large brush, pulling to reshape the model into roughly the right proportions, then moving to the Pull and Push brushes to create finer detail. The Symmetry button in the top toolbar keeps alterations from looking lop-sided.
02
PAINT IN COLOUR
Switching to the Paintbrush tool, you can use basic paint application to colour your model, but it’s only useful for broad strokes or cartoon characters. For authentic looks, use the Image Rub tool to pick a texture and simply rub it onto your model. Here you can use in-app-supplied textures or any image on your iPad to paint from.
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03
MOVE TO PHOTOSHOP
You can import your model into Photoshop by emailing it to yourself and it will arrive with a handy transparent background. However, you can also save the model itself in standard OBJ format. This enables you to reposition, repaint and light it inside Photoshop, using standard and 3D option sets.
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APPS REVIEWS
VOXEL
V
TOP 5…
CREATE COOL RETRO LOOKING GRAPHICS ON THE GO WITH THIS 3D APP
www.flatbackfilms.com
• £0.69 $0.99 • iPad, iPhone, iOS 3.2
oxel is a fun tool for creating a very specific 3D look, much like that seen in Eighties videogame graphics. Users simply build 3D objects, using identically sized coloured cubes to create some retro pixelated styles. You can tap to create a cube then pick one of its faces to add another attached to that side. The premise is simple, but you can quickly build up complex models by switching tools to delete cubes, move them around or change their colour. You can even animate your cube designs using simple Timeline and Keyframe options, which is slightly more complex. Finished models can be saved as PNG files, which can then be imported into Photoshop for texturing
and colour editing. Users can also export images as 3D OBJ files, which Photoshop can also import for further editing with 3D options. You can even send designs to a 3D-printing service that creates your model in plastic, which is pretty cool. Voxel images can be displayed in three different ways – as a single connected object, as a series of separated boxes, or as slightly bevelled cubes, giving the image a more polished look.
VERDICT: 7/10
3D MODELLING RESOURCES CGSOCIETY
www.cgsociety.org A great forum for all things 3D and a place to show your work. If you’ve got questions about 3D, you’ll find the answers here from some of the world’s leading 3D artists.
TURBOSQUID
www.turbosquid.com
If you need 3D models, you can buy anything here, from photorealistic rigged animated creatures costing hundreds of dollars, down to free low-res models designed especially for games.
Voxel models can be a little difficult to manipulate. However, their distinctive style will make it a worthwhile download for lovers of retro
SHAPEWAYS
www.shapeways.com
001
002
003
004
If you fancy turning your 3D work into real objects, you can upload your model and have it produced using plastic, glass, ceramics or even solid silver.
BLENDER
www.blender.org
Blender is a free, open-source 3D application. It’s a bit on the complex side, but is capable of producing work right up to the standard of the top 3D packages.
CGTEXTURES
www.cgtextures.com
A library with hundreds of high-res images of brickwork and tarmac might not be for everyone, but CGTextures is perfect for creating realistic surfaces and materials.
001 There are intuitive tools for adding, removing, colouring and positioning blocks.
002 Simply tap here to import or export models and snapshots.
003 The 3D display is responsive and works with standard iPad gestures.
004 The Timeline enables you to create animations by setting keyframes for movement.
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how do i build a personal brand? feature
How do I build a personal brand?
Developing a coherent personal way to present yourself is seen by experts as the key to success. we look at the design industry to see if it’s done, how it’s done and whether you should be doing it too
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our personal brand is the face that you put forward into the working world. It's what someone will think about you when they find you online, the impression you leave when you hand over a card and the idea they'll have of the email you send back when they get in touch. Personal branding has been toted as a must-have for anyone, anywhere as a way to stand out whatever industry you're in. Here we look at how personal branding translates into the design industry and whether you should be putting pen to paper to develop your own unique brand. Personal branding expert Marisa Murgatroyd (www.liveyourmessage.com) consults with businesses and individuals. She explains what personal branding means. “Your personal brand includes the subjective attributes that make you who you are: your core values, your personality, how you show up in the world. [This is] in addition to how you represent yourself through your signature photo, your personal story, your physical appearance or style and your portfolio.” Being clear about who you are and what you do is a way to attract clients and make impact. “Branding is perhaps one of the most misunderstood business practises out there. When most people think about branding, they think of logos and catchphrases. But things like this are just visual representations of a brand,” she says. It's a business practise that isn't just applicable to companies, however, as it also encompasses freelancers and individuals in the marketplace looking to make an impression. So, where to begin? Chances are that if you know something about design you probably come across a thing or two about branding along the way too. If you're planning to set in stone your personal brand, do the same principles apply? John Clifford, creative director at Think Studio (http://thinkstudionyc.com), believes it does to an extent. “I think, as a creative business, you can take more risks than a huge corporation, but the core principles are the same. Be consistent yet flexible.” Dan Schawbel (www.danschawbel.com) believes that knowing who you are is the first step
Jaeger builds his brand on the principles he applies to all his client work. He’s created striking visuals that cleverly blend his motto into his identity © Tom Jaeger
and that being consistent when putting it into practise is key. “You should think about your colours, fonts, shapes, and the overall visual appeal of your brand as it relates to the impression you want to create for your customers,” he says. “Your brand should be managed on your own website, as well as photo-sharing sites like Flickr and prominent social networks like Facebook and Twitter. Your brand on these sites should be consistent with your website and leave the same impression for your customers.” Designer Tom Jaeger (www.tom-j.com) has put a lot of thought into his approach to design and has translated this into an intriguing concept. “Having a unique visual identity is essential,” says Jaeger. “Ideally it illustrates who you are and how you work – it's a conversation starter.” He's taken five terms that lie at the heart of what he does and shaped them to represent his own identity. Jaeger’s advice to anyone starting out is to put strong emphasis on digital. “90 per cent of
communication will be digital. An identity based on a concept for a printed piece of stationery isn't going to do such a great job when you hardly get to use it.” Digital is a blessing in that it's inexpensive to access. A blog, Twitter presence and Facebook page are all easy to set up and maintain once you've got a direction to move in. For Jefferson Perky, the direction he found himself moving in was something a little nostalgic. Perky Bros (www.perkybros.com) is a Nashville-based design studio that oozes old-fashioned values. The Perky Bros name is steeped in history and founder Perky wanted to pay homage to that. “Myself and a friend Mihae Mukaida, who was working with me at the time, beat our heads against a wall for a few weeks. We wanted to keep the studio's identity simple, hardy and honest. Do a lot with a little. Especially in the sense we were a simple startup.” The heading ‘Established in 1883 & 2009’ is a unique addition to a logo and gives the brand some weight and longevity. “We wanted to be
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feature how do i build a personal brand?
to that point and totally transparent,” says Perky. He took time to develop a design that looked just as good on stationary as it did online. While for Perky building a personal brand is a strategy that has worked very well for him, he recognises that others in the design industry see otherwise. “I suppose one popular school of thought among design studios/designers is that it isn't critical”, he says. “A lot of studios prefer to allow their work to speak for them. And to be honest, I think this approach is valid. It's a brand decision too and says something about your company, whether it's clear or not.” You can see what Perky means by taking a quick tour in your browser across some of the biggest names in the design industry. You may notice
that white is a popular tonal choice and that a logo is often non-existent. But you'll also notice that the whole website is built around one thing – client work. If you adopt this strategy, Perky says, having something good to show is vital. “Your work better be good though, or you'll find yourself in the No Sizzle, No Steak category.” Freelance designer Lee Mason wholeheartedly agrees with this way of thinking. “I believe in letting my work speak for itself”, he says. “I want people to see the brands I have made – not a brand I have made for myself. This approach is what you can call my brand. I don't package myself as a product because my interests change from day to day. I don't want to be seen as a specific type or style of designer
by doing too much styling of my own brand.” A glance at Lee Mason Designs’ web presence (www. leemasondesign.com) and you'll see what he means. “The most important aspects of selling yourself as a designer are your skills and experience,” he adds. “No amount of fluffy or glossy branding changes this or makes up for a lack of work. If you have a portfolio of strong projects then you don't need any sort of personal brand to help you win projects. Your portfolio will always be the most powerful pulling tool when it comes to clients.” John Clifford at Think Studio has also picked a simple visual approach to the way he presents his brand. For him, there's more to it than just creating a brand that acts as a shell for your work. “It would be
Expert Interview
A leader in the field, Marisa Murgatroyd tells us why having a personal brand is vital for designers too Job title: Founder and lead web strategist, Live Your Message Website: www.liveyourmessage.com How important is it for designers and studios to spend time developing a personal brand?
Marisa Murgatroyd: The most successful designers in the new economy are creating businesses and jobs around who they are, what they love and what they know. Developing their personal brand enables them to take charge of their career. Nobody is looking for a generalist designer. Everyone wants to hire someone who understands them, their business and their market. So the key to success in this economy is branding you as different from everyone else out there. What different elements make up a personal brand? Marisa Murgatroyd: Your personal brand is the first impression you make when you walk into a room, write an email, or show up on camera. It’s also the second impression, and the third, and the fourth, and the fifth, and every single impression you make every day. The key to branding is making a consistent impression. If you are the face of your business brand, then it also includes your company name, URL, tagline, logo, colours, fonts, business card and all the materials you put out into the world. What is the starting point for thinking about and developing a personal brand?
A brand that speaks to old-fashioned value, Perky Bros logo and stationary matches an online presence that gives clients a sense of value and personal touch © Jefferson Perky
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Marisa Murgatroyd: The biggest achievement and the single biggest hurdle of any branding process is getting to [simplicity]. Getting to that core idea that encapsulates what really makes you different in a way that actually means something to your ideal client. I’m not talking about vague universal concepts such as innovation or contribution, but something focused and crystal clear that can claim a unique space in your clients' minds. I’m not suggesting you be something that you’re not – because you’ll exhaust yourself trying to maintain an image that isn’t you and people are smart enough to sniff out a fake. But it does mean stepping into and sharing the best version of yourself or that part that you find is uniquely you.
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how do i build a personal brand? feature
nice if it could be all about the work and we could just sit back and let the work speak for itself,” he says. “But, that's not reality. There's a lot of quality work out there (and, let's be honest, a lot of horrific work as well). Along with the great work, you need a point of view and a personality. Not just to stand out, but to help you connect with the right clients – the clients that are best for you, not best for the designer next door.” Clifford explains that by building a personality into your brand you'll attract clients that fit the way you think and work. “If you're a designer with a twisted sense of humour, don't hide it. A client with a similar sense of humour will enjoy spending time with you. That is a key part of a successful working relationship.”
Top 5… branding books
At Think Studio, clarity is one of the most important values. “I like my wording very clear…” Clifford continues. “For example, on our site, the About Us section says: ‘We love making something out of nothing. We also love making the ugly beautiful, the dumb smart, the complex clear and the average exceptional.’ We make things better through design, clear and simple.” Alex Colley is the creative director at Karnatarka (http://karnatarka.com) and he thinks the right ratio of client work to personal branding sits at about 80-20%. With his 20% he's crafted a simple design that reflects things that are personal to him. “The name comes from the Indian state Karnataka,” he says. “This is a very special place for
creative personal branding
by jurgen salenbacher £17 www.amazon.co.uk
One aimed directly at creatives, this book bypasses the boring business lingo that threatens to turn you off. It’s punchy, coherent and very importantly it’s designed well.
me 2.0: 4 steps to building your future by dan schawbel £11 www.danschawbel.com While not solely aimed at designers, this book will give you a good overview of the current thinking on personal branding as a way to get ahead of the game.
branding identity: the
Along with the great work, you need a point of view and a personality. Not just to stand out, but to help you connect with the right clients – the clients that are best for you, not best for the designer next door
importance of a good corporate logo £32 www.magmabooks.com
A collection of great visuals from some heavy hitters in the industry, this book is sure to give you something to turn your creative mind on.
John Clifford, creative director and founder, http://thinkstudionyc.com
new super identity: the new era of creative branding £35 www.magmabooks.com A big bold dive into the pond of branding, this offering has a lot to say about brands moving from static beings into ones filled with personality.
brand thinking and other nobel pursuits
by debbie millman £19 www.amazon.co.uk
Think out of the box for this one, it’s a collection of views and insights about why humans have branded the world just so. You might learn a little something.
Think Studio builds a seamless online presence with imagery echoing the same message across web platforms and wherever clients may encounter it. Founder and creative director John Clifford believes that maintaining a consistent brand across all your outputs helps ensure you interest the right clients © Think Studio
With a simplistic look and feel Lee Mason takes the view that it’s better to build a brand that focuses on highlighting client work than overshadowing it with a bulky design © Lee Mason
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Colley built his brand on a place that he loved and crafted simple visuals to place heavy emphasis on the work that he produces © Alex Colley
me and coupled with my love for India it seemed to fit. One of the most important elements was researching colour psychology to ensure my brand portrayed the right message. The colour red symbolises energy and happens to be my favourite,” he explains. “I’ve also combined it with black, which is a very powerful colour and is generally used to market luxury products.” Besides grabbing the attention of potential clients, Colley also uses his branding to show how he works. “As with my
website, there is a strong visual focus with minimal use of text that is something a client can expect when working with Karnatarka. I believe you can tell a story through strong imagery whether that be graphical, typographic, illustrative or photographic, so I stand by the principle that less is more.” No matter if you're drawn to the idea of developing a unique identity that shows off your personality, or you too think that less is more, you should know where you stand and reflect this in the
way you present yourself. It can't be denied that you are judged on what you put in front of people every day, so making a conscious choice about exactly what that is will be the next logical step to take. Finding the time to think about who you are and what you want to achieve can only focus your mind and is never a bad thing. “In the end though nothing substitutes for thoughtful work,” says Jeff Perky. “A good identity should complement it. Not be a cover for a lack of it.”
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