300

47 PAGES OF STEPBYSTEP GUIDES

FREE
ACTIONS
+ $MLRQ UMPRF  m 1K?PR J?WCP IGR

The magazine for Adobe® Photoshop® professionals 139

MASTER POSTPRODUCTION FOR

INCREDIBLE AR
Take control of Photoshop w e amazing pro editing projects

20
EXPERT
TIPS FOR
VECTORS

+ Expert retouch techniques + Enhance your arch-vis + +?ICÍ!%ÍGK?ECQÍQR?LBÍMSR + K?XGLEÍ?SRMKMRGTCÍ?PR

LATEST CINTIQ ON TEST: CHARLIE BOWATER’S TRICKS
THE COMPANION 2 DIGITAL PAINTING
Industry expertise shared by one of
Is this hybrid Windows tablet and
graphics tablet the future of digital art? ISSUE 139 RMKF?UI£Q NPGLAGN?J ?PRGQRQ

+ TASTY TYPE TECHNIQUES CONTROL COLOURS & TONE LEVITATION EFFECTS MAKE INK SWIRL BRUSHES
 ISSUE 139 WELCOME

36
WORKSHOP:
PRO POSTPRODUCTION
IN THIS ISSUE... Discover how Lightfarm Brasil’s Milton
Menezes enhanced this 3D scene

P
ost-production is one of the most Elsewhere in the issue, Michael Herb explains the
interesting industries that a Photoshop process behind creating a levitation effect, from how INSIDE:
artist can go into. Despite (or perhaps to pose and photograph your model to look like POSTPRODUCTION
because of) the fact that it can entail a daily they’re in mid-air, to the photomanipulation and
grind of colour grading, masking and High Pass compositing tricks you need to carry the effect off.
filters, it’s one of the best industries for honing your Find it on p44.
skills. Scratch most creative Photoshop artists and On p54, concept artist Adam Varga walks us
beneath their fabulous personal work you’ll find the through his painting process, explaining how tone
APRIL MADDEN solid foundation of the post-production workflow and colour come together to create a fantasy scene.
Editor LEVITATION
they use in their day jobs. Meanwhile on p62, illustrator Neil Duerden has some
Happily you can achieve the same level of finish, tasty tricks for 3D type to share.
COVER IMAGE and learn the skills you need to compete in the With vectors becoming ever more usable in
AHMAD N TURKI post-production industry, in our feature on p26. Photoshop, and Illustrator becoming even more
http://tinyurl.com/pjtpfs4
For quicker, easier 3D Here four post-production experts from around the integrated with our favourite program in the Creative
post-production in world share their skills, advice and insights into Cloud suite, we’ve also got 20 practical and creative
Photoshop you can’t beat
their workflow for retouching photos, honing 3D tips for creating a wide range of vector artwork in our
PAINTING TECHNIQUES
render passes, and
Ahmad N Turki images, creating atmospheric arch-vis and feature on p72. Plus we review the amazing new
demonstrates how he producing creative automotive art. Plus you can get Cintiq Companion 2 from Wacom (p80) and showcase
used them to create our
beautiful cover image in a behind-the-scenes look at how Lightfarm Brasil a range of incredible artwork from artists, designers
our feature on p26. work on their post-production projects on p36. and illustrators across the globe. Enjoy the issue!

3D TYPOGRAPHY

.co.uk
@advancedpshop /AdvancedPhotoshop

003
 ISSUE 139

CONTENTS
EYE ON DESIGN RESOURCES
What’s hot, who’s in and the Amazing creative resources to
latest art & design happenings enhance your Photoshop work

06 Pro Panel: Meet this

issue’s experts 90 Resource Project:
Create your own ink swirl brushes 80
08 Industry News: New art
resources from Wacom 96 FileSilo: Bonus resources
worth over $130
REVIEW
WACOM CINTIQ COMPANION 2

10 Portfolio Interview:
Inspirational digital painting

16 Project Focus:
Smokin’ typography

18 Studio Interview:
pokedstudio

TECHNIQUES
Professional artists reveal their
high-end Photoshop skills 18
POKEDSTUDIO
26 Feature: Master post-
production for incredible art
BEHIND THE SCENES WITH THIS UK STUDIO

 Workshop:
Pro post-production
68
42 How I Made:
Jar O’Greens
8
HOW I MADE:
44 Workshop: MERMAID’S WISH
Create a flying effect SHANNON MAER’S AMAZING ART

 How I Made:
Wooden Rhinoceros Beetle SUBSCRIBE
 Workshop: Control tone
and colour in scenes
TODAY! SEE PAGE 24 FOR THE
LATEST OFFERS

60 How I Made:
Autumn Forever
10 FOR BACK ISSUES, BOOKS
AND MERCHANDISE VISIT:
PORTFOLIO INTERVIEW
62 Workshop:
Tasty type tricks
CHARLIE BOWATER’S TOP TIPS

68 How I Made:
Mermaid’s Wish

72 Feature:
20 expert tips for vectors

86 Reader Interview:
Stretch yourself PREMIUM PHOTOSHOP CONTENT
Download free Photoshop assets on p96
e /VER  ACTIONS
e &ONTS WORTH 
REVIEWS e 6IDEO TUTORIALS
We put the latest creative kit
and apps to the test

80 Wacom Cintiq
Companion 2 96 90
84 OnOne Perfect
Effects 9
BONUS RESOURCES
FANTASTIC FREEBIES ON FILESILO
RESOURCE PROJECT
CREATE INK SWIRL BRUSHES

004
 72
20 EXPERT TIPS FOR
VECTORS
EXPERT ADVICE FROM INDUSTRY PROS

44
CREATE A
FLYING EFFECT
SHOOT AND EDIT THE LEVITATION LOOK

50
26 HOW I MADE:
MASTER POSTPRODUCTION FOR INCREDIBLE ART WOODEN RHINOCEROS BEETLE
FOUR POSTPRODUCTION EXPERTS SHARE THEIR ESSENTIAL ADVICE A CREATIVE PROJECT FROM JEREMY KOOL

60 54
HOW I MADE: CONTROL TONE & COLOUR
AUTUMN FOREVER LEARN HOW TO CONTROL TONE AND COLOUR
BEAUTIFUL ART FROM GUY SHIELDS FOR BETTER DIGITAL PAINTINGS

62
TASTY TYPE TRICKS
CREATE DELICIOUS 3D TYPE AND ADD
86
SOME TASTY TEXTURE EFFECTS
READER INTERVIEW
RODRIGO MARINELLI’S INCREDIBLE PHOTOMANIPULATIONS

005
 EYE ON DESIGN PRO PANEL

MEET THE PROFESSIONALS SHARING THEIR PHOTOSHOP

PRO PANEL
EXPERTISE AND TECHNIQUES IN THIS ISSUE
ADAM VARGA
www.vargaa.com
Adding a figure to a landscape can enhance the
story and draw the viewer’s attention towards a
focal point. Remember, scale is not as important
as harmony when it comes to depicting a figure.
In this particular piece, the mood is eerie and somewhat ominous
already, so placing a masked man wielding a weapon adds to the
creepy factor.
■ Discover more pro painting techniques from Adam Varga as
he walks us through one of his images on p54

Always remember the purpose of your

artwork. In the commercial sector your
work has to be functional and create the
required message for the client
© Adam Varga

NEIL DUERDEN / WWW.NEILDUERDEN.CO.UK

© Michael Herb

MICHAEL HERB
www.michaelherbphoto.com
Matching tones of multiple elements can
be one of the most difficult aspects of
composites. Getting everything to blend
doesn’t have to be a headache! Import
every element of a composite as a RAW Smart Object and
use the powerful Camera RAW dialog to balance colours
between elements. Do this before rasterizing any layers and
you will find blending elements much easier.
■ Find out more about how Michael Herb creates
composites in his tutorial on p44

006
 The magazine for Adobe® Photoshop® professionals
Imagine Publishing Ltd
Richmond House, 33 Richmond Hill,
Bournemouth, Dorset, BH2 6EZ
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MILTON MENEZES Web: www.imagine-publishing.co.uk
www.lightfarmbrasil.com www.advancedphotoshop.co.uk
www.greatdigitalmags.com
One of the best-hidden tips in Photoshop for the majority of users is Blend If. Blend If is
hidden under Blending Options in the Layer Style window. You can find it by double- Magazine team
Editor April Madden
clicking a layer and then adjusting the levels of black and white of your layer and the [email protected]
underlying layers. The master tip here is to use Alt to separate the cursors so you can  01202 586218
have smoother transitions. Without using the Alt button, this tool is not helpful. Once you master Blend If, Editor in Chief Amy Squibb
Production Editor Rebecca Greig
the possibilities are as big as your creativity. I use it all the time!
Designer Rebekka Hearl
■ Get more expert Photoshop tips from Milton Menezes as he explains his post-production Photographer James Sheppard
process on p36 Senior Art Editor Duncan Crook
Publishing Director Aaron Asadi
Head of Design Ross Andrews
Contributors
Khaled Alkayed, Julie Bassett, Neil Duerden, Michael Herb,
Milton Menezes, Kirk Nelson, Kenneth Shinabery, Ricardo
Thomaz, Ahmad N Turki, Adam Varga, Poz Watson, Mark
White and Fahran Younas
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Contact the International department to discuss
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Always remember the purpose of your artwork. In the commercial sector your work Production Director Jane Hawkins
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has to be functional and create the required message for the client. This has to Finance
conform to their corporate image, yet deliver the message in a creative and Finance Director Marco Peroni

interesting way that will stand clear of the competition. Remember creativity for no Founder
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Disclaimer
The publisher cannot accept responsibility for any unsolicited
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may be reproduced in whole or part without the written
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Although the magazine has endeavoured to ensure all
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Photoshop is either a registered trademark or trademark
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If you submit material to Imagine Publishing via post,
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© Imagine Publishing Ltd 2015

ISSN 1748-7277

007
 EYE ON DESIGN INDUSTRY NEWS

TOP ARTISTS SHARE

THEIR SECRETS IN
NEW WACOM PROJECT
WACOM’S CREATE MORE CAMPAIGN FEATURES SEVERAL SOUGHT
AFTER ARTISTS FROM AROUND THE GLOBE. THE BRILLIANT ARTISTS
SHARE THE SECRETS TO THEIR SUCCESS AND CREATIVE KNOWLEDGE

O
n 15th July 2015, Wacom launched its Create
More campaign. The campaign itself targets
both professionals and enthusiasts in the fields
of illustration and photography.
Create More showcases 11 of the world’s top
artists including: Benjamin Von Wong, a visual
engineer and illustrator from Canada, Lithuanian
digital artist and photographer Natalie Shau, Miss
Led, an illustrator from the UK, American comic book
artist Brooke Allen, Robert Hranitzky, a German
photographer and motion designer, Crystal Kung, an
iIlustrator from Taiwan, Chilean cartoonist Alberto
Montt, Ohagi, a Japanese illustrator, Australian
illustrator Guy Shield, photographer and digital artist
Adrian Sommeling from the Netherlands, and Koji
Yoda, a collage artist and art director from Japan. You can download a complete piece of work from
Until 31st December 2015, the Create More campaign Natalie Shau in the original PSD format, so that you can WACOM CONTINUES TO
offers anyone who buys an Intuos Pro full access to a learn how she creates her wonderful images. Additional SHARE INSPIRATION
value pack, which includes a 30-day membership to assets can be downloaded, such as brushes, on her Wacom is not only producing technology that
online video training from Lynda.com, a free one year increases the workflow of artists, but it is
pro membership to AutoDesk Sketchbook, and a free
software package from OnOne including Perfect Effects
The idea for the campaign continuously encouraging artists to create more.
The company maintains a variety of blogs on the
9 Premium (the free edition is reviewed on p84). was to put the artists, along Wacom InfoChannel.
“The idea for the campaign was to place these
exceptional artists, along with their passions, creativity
with their passion, creativity and By visiting the Wacom
InfoChannel you can learn more
and professionalism, into the foreground of our professionalism into the foreground about campaigns such as Create
communications. We at Wacom believe that creativity is
the power that really drives the world and makes it a
ofourcommunication More, read interviews featuring
talented artists, discover various
Jeff Mandel
better and more interesting place, and are totally contests, find tutorials on how to
committed to enabling creativity through our page of the campaign. In her video Shau says, “ I think create innovative art, and learn
award-winning professional tools. Our hope is that the knowing how to draw and how to paint always helps. about trending themes.
Create More campaign will be inspirational to artists When you paint you learn how to play with colours.” Wacom’s vision to bring
from around the world and help them create their best Robert Hranitzky’s 53-page ebook, entitled Colorize people and technology closer to
work yet,” stated Jeff Mandell, executive vice president of Your Old Photos, is filled with a wealth of knowledge. By together through the means of inspiration has
branded business for Wacom. showcasing three projects, Hranitzky tells you how you proven to be on target. Sharing exciting updates and
The campaign includes links to pages featuring the can breathe life into old photographs. information through its campaigns and the Wacom
artists, as well as videos, tutorials, and ebooks. This bevy London-based artist Joanna Henly (better known as InfoChannel, the company has proven to be
of creative inspiration was developed by Wacom to help Miss Led) shares a 21-page ebook, entitled Refine And dedicated to helping artists evolve.
inspire artists to create more. Colour A Portrait. By learning the process behind her Wacom hopes to encourage artists to share their
Currently the campaign just features Natalie Shau, work, you can find inspiration to create your own portrait. work by challenging artists to express their
Miss Led, Guy Shield, Alberto Montt and Benjamin Visit the Wacom website at www.wacom.com/ creativity connecting their Behance portfolios to the
Wong. The other artists will follow soon as the createmore to view the campaign and to download the Wacom Gallery
campaign continues. resources available.

008
WIN $30,000 AND COMIC ART ADVICE
FROM MARVEL LEGEND STAN LEE
FRESH TALENT WILL BE GIVEN THE OPPORTUNITY TO BE RECOGNISED
IN A SUPERHEROINSPIRED ART CONTEST HOSTED ONLINE
Comic book legend Stan Lee and his company
POW! Entertainment have partnered up with LINE
Webtoon to launch a contest to find brilliant and
talented comic book artists.
LINE Webtoon launched in 2014 in the US and is
already successful at producing contests in Korea.
The Super Hero Contest is their third contest in
their Challenge League System.
“Over at LINE Webtoon we’ve already seen some
incredible content from the Challenge League. It’s
amazing to see what our community has crafted and
submitted and we can’t wait to see even more brilliant
comic work as we get closer to creating the next great
superhero line with the legendary Stan Lee,” stated
JunKoo Kim, founder and head of LINE Webtoon.
Artists over the age of fourteen will be able to
upload at least three chapters of an original
superhero comic to the contest’s website. The POW! Entertainment and LINE Webtoon: Stan Lee
joins forces with JunKoo Kim, founder and head of
grand prizewinner will receive $30,000 and have LINE Webtoon, to produce a new contest to find
the world’s greatest comic book artist
their work featured on the LINE Webtoon site. He
or she will also receive guidance and feedback forward to working with LINE Webtoon to find the Enter the contest this autumn via the LINE
from the legendary Stan Lee himself. talent that will create a great new Superhero!” Webtoon website at www.webtoons.com. You can
“It is always a pleasure and a thrill to discover new Sharing his knowledge with winners of the contest also download the official LINE Webtoon app by
creators and artists,” stated Stan Lee. “I am looking offers comics artists the chance of a lifetime. visiting the Apple App Store or Google Play.

PALETTE’S SENSATIONAL NEW TOOL FOR EDITING

TECHNOLOGY IS ALWAYS CHANGING AND PALETTE IS INTRODUCING A
NEW DEVICE FOR EDITING THAT COULD PROVE TO BE A GAME CHANGER
Editing may become easier with the launch of
Palette’s new customisable modular control
interface. When first viewing Palette’s system
you may think of a sound mixing panel or a light
mix board. However, there is more to the system
than you’d imagine.
Users will have the ability to set up the layout,
function and colour of each control module to the
needs of his or her workflow. Connecting to a
computer via USB, users can add up to 18 modules.
The modules are compatible with any software that
has keyboard shortcuts. The dials will give artists
more precision when editing their projects.
The Palette app is a quick way to assign each
Palette and Ted Belton: Fashion photographer
module according to the software that you will be Ted Belton, seen assembling his Palette modules,
feels that the system enables him to quickly
using the system with. Once the setup is show people what’s going on inside of his head
without breaking the momentum of the shoot
complete users can use the modules to directly
engage with their projects. Their site also broader creative community,” stated Calvin Chu, starters, experts and professionals. However,
features fashion photographer Ted Belton putting founder and CEO. “While studying interface design, Palette is working diligently on software
the Palette to use during a photoshoot. the realisation that everyone has a unique style, a integration, new types of modules, and developer
“After working on a custom DJ controller for a way of working [that] allows them to perform best, tools. According to the Palette website, we might
friend who had his deck stolen at a party, I realised led me to the notion that the ideal interface would expect to see wireless connectivity in the future.
that the advantages of these universally be flexible in both form and function. We designed It has the ability to work with Mac and Windows.
understood tactile controls – sliders, dials and Palette to be modular and user configurable.” The Palette system is available for pre-order starting
buttons – could (and should) be exposed to the Currently there are three kit sizes geared towards at $199 on their website www.palettegear.com.

009
 EYE ON DESIGN PORTFOLIO INTERVIEW

INSPIRATIONAL
DIGITAL PAINTING
CHARLIE BOWATER IS AN INSPIRATIONAL CONCEPT ARTIST FROM
www.charliebowater.co.uk
THE UK WHOSE WORK HAS BEEN FEATURED IN SOME TOPLEVEL
@charliebowater FRANCHISES. WE CAUGHT UP WITH HER TO FIND OUT MORE

I
t takes a highly skilled artist to breathe life into into art, but I wasn’t sure about which area exactly. I There are far too many artists to name that have
characters and Charlie Bowater has accomplished a studied something that I didn’t find all that interesting, inspired me over the years, but artists like Jason Chan
mastery in doing so. Being skilled in conception, but then discovered digital art at 17 years old and set out and Marta Dahlig had a really big impact on me when I
composition, rendering, lighting, and more make to teach myself. I spent a lot of my college classes was in college. I watched and read a lot of their tutorials.
Charlie a pro in the art world. painting and eventually set my sights on concept art I found myself very inspired by my current peers at the
Born in the UK, she is a now a senior concept artist and illustration. time rather than classical artists, that inspiration
at Atomhawk Design. She has played a vital role on definitely shaped my work.
projects such as Pottermore, Project Spark and Dead I HAVE READ THAT YOU GREW UP ON THE
Island: Riptide. Charlie, along with Atomhawk bring CARTOONS OF THE NINETIES, ARE THERE ANY HAVE YOU HAD TO OVERCOME ANY OBSTACLES
forth inspirational concepts such as: characters, SPECIFIC CARTOONS OR EVEN ILLUSTRATORS AS AN ARTIST? AND IS IT CHALLENGING TO BE
environments, props, vehicles and more. THAT HAVE HAD AN IMPACT ON YOU? A WORKING ARTIST?
I did indeed! I watched anything and everything I could. I It’s definitely challenging! Learning art in the first place
YOU ARE A BRILLIANT ARTIST. WHEN DID YOU think Disney had the biggest impact on me, I spent a can be a huge challenge, I’m glad I got an early start as
DISCOVER YOUR TALENT IN ILLUSTRATION AND long time wanting to be an animator and go and work a kid. The wonderful thing about art of course is that
WHAT DID YOU STUDY TO HONE YOUR SKILLS? for Disney as kid. I eventually got to try animation for you never stop learning, so challenges are a constant
Thank you so much! I’ve always been interested in art, myself years later and found it wasn’t for me, but the companion. You just need to have plenty of inspiration
ever since I could hold a pencil as a child. I don’t recall inspiration stayed with me regardless! If I picked out two to pull you through the frustration.
exactly when I started drawing, but I do remember it things that really spurred me even further into art it For me personally my biggest obstacle is time and
was something that was always with me growing up. I would easily be The Little Mermaid and Sailor Moon, I not having enough of it. I work nine to five as a concept
had a lot of encouragement from my family and it was amazed by them. artist, and then freelance on a lot of illustrative work in
naturally became my ambition over the years. My love
of art was nurtured over a long time, rather than Don’t get too fixated on one particular style. I spent a long
[suddenly] discovered.
I was a terrible student when it came to college. I
time getting frustrated with trying to find a style when I
ended up studying Multimedia, I knew I wanted to go started out, rather than just focusing on being a better artist

All images © Charlie Bowater

Ugly Side: Charlie often tries to capture beauty
in her illustrations whether it’s through lighting,
characters, expressions, mood or even drapery.
The great thing about art is there are so many
kinds of beauty, it’s all so objective

010
 Stay Gold: Charlie creates wonderfully
illustrated characters. She has the ability
have a character transcend from the
screen or print into the real world through
her highly mastered lighting skills

Scrap City: Creating images with backgrounds

My advice would be to aim for progress
and multiple characters can be quite tricky.
Charlie believes it’s important to take advantage
of lighting and negative space to separate the
and not perfection. If you want to paint
characters and have each of them stand out
characters, then paint a lot of characters!
Howl: Darkness can really sell a character.
Although your eye is drawn to the rough,
unfinished areas Charlie knows the human
mind fills in the gaps and allows the viewer
to focus on the illuminated areas

21 Draw: You don’t always need to start in black and white,

but Charlie usually likes to when designing characters. She
can chop and change any elements of the character in the
design process, before she gets into colour and details
Sleeping Beauty: Charlie was so inspired by
Disney and fairy tales growing up and wanted to
take inspirations from both the film and folklore
to paint her own interpretation of it in this piece
the evenings and weekends… And then I somehow
manage to squeeze in some personal work here and
there as well. It can be quite challenging to constantly
keep up the creativity and momentum, but I’ve found
having a strong separation between what I do at work
and what I do at home really helps with that.

WHAT IS A DAY IN THE LIFE LIKE FOR A

CONCEPT ARTIST? DO YOU STICK TO A
DAILY ROUTINE?
I’m a creature of habit and I definitely stick to a
The right insurance
routine. In an average day at Atomhawk the majority
of my time is taken up by painting. I sometimes stick
to one piece of work throughout the day or it may be
for YOU?
smaller chunks of work depending on what projects
we’re working on. A big part of my role as a Principal With a full rang ialist policies
Artist is leading projects as well, so I take time for Photographers, Video-makers, Film
throughout the day to check in with the artists on my Processing Labs and everyone involved in
team to make sure that they’re happy with their
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WHERE DO YOU FIND INSPIRATION WHEN YOU Imaging str ive you excellent cover,
ARE CREATING NEW CHARACTERS?
service, security and value for money.
I find that most of my inspiration comes from a mixture
of movies, books, art and life in general, I also really love
people watching. I have an awfully long list of
characters that I want to paint and the list just keeps
growing! I’ll never get through it all!

CAN YOU SHARE SOME OF THE STEPS THAT YOU

TOOK TO CREATE YOUR PIECE FOOLS GOLD?
I don’t see the techniques that I use as being
particularly special; I think I have a fairly simple
approach, which works for me. My process varies
depending on whether I’m designing a character or
painting a character in a scene, but I usually start with
a rough silhouette and work from there, building up
the design and then taking it through to a more
rendered finish.
Fool’s Gold was a piece I really enjoyed working
on. I took my time and worked on It over a couple of
weeks. I was very inspired by Brad Kunkle and Yoann
Lossel. I knew I wanted to use black, white and gold. I
started with a rough sketch of the central character
and the golden disc, and gradually sketched in the
surroundings. I layered up a few gold foil textures to
get the flaky look on the golden sections and
rendered up the image until it was polished.
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 EYE ON DESIGN PORTFOLIO INTERVIEW

but it was really, really rewarding to see the final

artwork animated in the game.
My process varies depending on whether I’m designing a
character or painting a character in a scene, but I usually start
WHAT ADVICE WOULD YOU GIVE AN ASPIRING
CHARACTER DESIGNER?
with a rough silhouette and work from there, building up the design
My advice would be to aim for progress and not with. I also just really enjoy connecting with artists and
perfection. If you want to paint characters, then paint a sharing work that I like. I have a slight Twitter addiction! MASTER YOUR WORKFLOW
lot of characters! I’d also say cast a wide net of Most clients tend to find me through one online CHARLIE BOWATER SHARES HER ADVICE
inspiration, both in terms of references for designs and avenue or another. My day job provides a certain stability, ■ LET LOOSE
I’m a detail driven individual a lot of the time when it comes
also the work of other artists. Don’t get too fixated on meaning I can have a steady trickle of freelance work to art and sometimes it’s to my detriment. I find it really
one particular style. I spent a long time getting coming in without me having to chase the work down. liberating to paint something now and then, which is really
loose and suggestive. It’s refreshing to just forget about
frustrated with trying to find a style when I started out, those details and paint what you feel.
rather than just focusing on being a better artist. DO YOU HAVE ANY GOALS FOR THE FUTURE? IS
■ TAKE BREAKS
THERE ANY SPECIFIC CLIENTS OUT THERE THAT Remember to take breaks! Not just quick breaks whilst
WHAT TECHNOLOGICAL ADVANCES HAVE YOU DREAM ABOUT WORKING FOR? you’re working, but a longer one once you think you’ve
finished a painting. Come back to a painting the next day and
HELPED YOU AS AN ARTIST? ARE THERE My biggest dream when I started out was to see my you’ll be looking through entirely new eyes, it probably won’t
SPECIAL TOOLS THAT YOU UTILISE? name in credits and have my work on the covers of be as finished as you thought it was.
I’ve used the same tools since I started out really. I books and magazines. Amazingly enough it’s happened ■ CLIPPING MASKS
think if you invest in decent equipment then it will last quite a few times now! And book covers have become I’ve only started using clipping masks over the past year or so,
but they are such a time saver. If you’re working on a character
you a long time. I’ve always used Photoshop as it’s one of my favourite things to work on. for instance (separate from the background) paint anything
the program I first started out with and after ten years More so than working for another client, I think I’d over them on a clipping mask and it will stay within the
constraints of the character. Right-click>Create Clipping Mask.
it’s where I feel most comfortable. love to create a larger body of work for myself, whether
I’ve also always stuck with Wacom Intuos tablets. it’s an art book or an IP, I haven’t decided yet. ■ TEXTURE
I really like adding texture to my paintings in the final stages.
Admittedly, I have had to buy a couple of My work tends to be very smooth and I like to add some kind
replacements thanks to spillages and puppy chewing, ARE YOU CURRENTLY WORKING ON ANY NEW of grungy texture to give it a bit of grit. I like gritty and papery
textures, which are set to Overlay or Multiply, with the
but I couldn’t ever be without a tablet nowadays. PROJECTS THAT YOU WOULD LIKE TO SHARE Opacity around 10-25%.
WITH US?
■ OVERLAY GLOW
HOW DO YOU FIND CLIENTS AND DOES SOCIAL I’m working on plenty of projects, but unfortunately I I get a lot of use out of overlay when it comes to lighting. If
MEDIA PLAY A BIG ROLE IN YOUR WORK? can’t share any of them! you want pops of light or glowing areas, use a mixture of
opaque layers and a big fuzzy brush set to Overlay on top, it
Social media plays a huge role in my work in regards to I can say that I have some more book covers and will give you a nice buildable glow.
promoting it and connecting with new people to work magazine work coming out soon.

Ours: Mastering facial features is really important when designing Submerge: This is a wonderful example of how
characters. It is an ongoing learning process, and your characters Charlie utilises textures in her digital painting. The
will evolve more and more over time. Even professional character flow of her brush strokes allow the viewer to imagine
designers still refine their skill as time passes the character portrayed being lost underwater

014
Sky Full of Stars:
Composition is very
important when
designing characters.
The composition and
stance of a character
will sell the idea to the
viewer and make them
see what you want Declan

Fools Gold: Taking your time to render a

piece can be great practice for actively
understanding form and lighting. You
also get the opportunity to really think
about the textures of different elements
and how they work together

015
 EYE ON DESIGN PROJECT FOCUS

SMOKIN’ TYPOGRAPHY
3D ILLUSTRATOR AND GRAPHIC DESIGNER ZIGOR SAMANIEGO REVEALS HOW
HE CREATES DISTINCTIVE TYPOGRAPHY USING PHOTOSHOP AND CINEMA 4D

Z
ABOUT THE ARTIST igor Samaniego started out studying IT at WHEN DID YOU FIRST START USING
ZIGOR SAMANIEGO university, but quickly realised that he much PHOTOSHOP AS AN ARTIST?
zigorsamaniego.net
preferred designing graphics on computers. I started using Photoshop just to add touches to
Making the decision to quit university after the renderings I did for the local real estate
discovering his passion, Samaniego completed a companies and to resize images before I sent
short course on computer graphics and worked as a them to clients. I soon realised everything I
video post-production assistant for free before being could do with Photoshop and all of the features
hired by a virtual reality company where he spent four and improvements I could add to 3D images and
years creating 3D designs for public real estate and now it is more important to me than the actual
construction companies. “It wasn’t the most fun job in rendering program I use.
the world,” he reveals, “but I learned just about
everything about 3D and lighting scenes.” WHERE DID YOU GET INSPIRATION FROM
After a background in computer
graphics, 3D, and virtual reality, Zigor Samaniego’s persistence payed off. Today, he has FOR RUN RUN RUN!?
Samaniego is currently an artist at free rein to do creative work at a video games The work was inspired completely by an old car
games company Ludei. He also company, as well as working for advertising agencies that my dad had that we used to travel in when I
regularly works for advertising
agencies around the world such as around the world. was a kid. I always remember that car as polluting
Ogilvy and Demension For his latest personal typography based project a lot and that’s why the letters are done in smoke.
NAME OF PROJECT Run Run Run! he was inspired by a time before all the
RUN RUN RUN! success, when as a child, his father travelled in an old, HOW DID YOU DEVELOP THE CONCEPT?
polluting car. I always start with a rough sketch in pencil
done on paper, and, since I don’t have a
Liquid typography App icon for the Fargo original series
scanner, I take a picture with my phone and put
it on a Cinema 4D background to geometrically
model the image.
The smoke in Run Run Run! is made using
an old CG technique that involves cloning small
planes that have a transparent texture so that it
looks more realistic. I also used a smoke
paintbrush on Photoshop to touch it up a bit.

HOW DID YOU APPROACH USING BOTH

App design for Pixfera PHOTOSHOP AND CINEMA 4D?
I always consider that the image I get with
Cinema 4D is the raw ingredient that I have to
slowly cook with Photoshop to get the desired
final result. I do about 60 per cent of my work
with Photoshop and I can spend hours at the
end putting the final touches on a final render.

WHAT’S YOUR TYPICAL WORKFLOW?

The first thing is to have a story you want to tell
or an idea to transmit. When I know what I want
App design for GeoFlight to do I start by making rough sketches in a
notebook, which helps me define the
composition and decide how many objects I
need to model.
All images© Zigor Samaniego

After this, I start working directly in Cinema

4D while looking for references online to find the
correct proportions, [and] materials… When I
have everything modelled and textured, I start
with the lighting, which is one of the most
important things in 3D as poor lighting can ruin

016
“I add little details with artistic Photoshop paintbrushes
to give it the smooth look of a traditional drawing”

“I used Photoshop to add extra smoke here that

wasn’t in the original rendering”

“I like to use Photoshop to add photographic effects to the

renderings, for example, this glow in the bright areas”

a good scene. This testing phase normally takes WHAT WERE THE MAIN CHALLENGES AND gotten in touch with me to do several similar
me a long time, but it is worth it and it is one of my SUCCESSES YOU FACED DURING THE projects. So, I am very happy about that. If I had
favourite parts of the process. COMPLETION OF THE PROJECT? it to do over again, I would do it much faster.
When it’s time to do the rendering, I like to use I look for a small challenge in every project, I do personal projects in my free time and it
many separate layers, the shading in one layer, the something I don’t know how to do, and, in this can take me weeks to finish each one.
reflections in another, and so on, as this gives me project it was the smoke.
the ability to play a lot with the final result. On a previous project I had used the liquid CAN YOU TELL US MORE ABOUT WHERE
Then, I open everything in Photoshop and I spend simulator. In the design world, if you stop learning, YOU AIM TO BE IN THE FUTURE?
hours touching up the images and adding you get left behind. I would like to continue working as I do now. The
improvements. I like to use adjustment layers with design world is tough and I am happy to be
masks and special brushes to add things like smoke DO YOU CONSIDER THE RUN RUN RUN! doing what I do, but I would like to have more
or particles to the image, for example. I also erase PROJECT A SUCCESS? time for personal projects, which are the ones I
any small imperfections that the 3D may have. Thanks to this project, various ad agencies have enjoy the most.

017
 EYE ON DESIGN STUDIO INTERVIEW

POKEDSTUDIO
WE CHAT TO THE TEAM AT POKEDSTUDIO ABOUT ITS
QUIRKY CHARACTERS, MESMERISING WORLDS AND
HIGHPROFILE CLIENTS

V
ibrant colours and quirky characters are all
in a day’s work for pokedstudio, whose
illustrations stand out a mile from their
peers and who aren’t afraid to have fun with
their designs. The international illustration, design
and animation studio, based in Cardiff, was founded
by illustrator Jonathan Ball who already had a solid
reputation for his character designs and the intricate
worlds he created.
“Specialising in quirky characters and wacky
worlds, we have created illustrations, graphics and
designs for mobile apps, videogames, print
campaigns, packaging, books, magazines and
merchandise for many of the world’s biggest
youth-focused brands,” is the studio’s description
of itself.
It’s not surprising, then, that a whole host of
well-known brands have wanted to work with
pokedstudio and have a slice of this colourful,
occasionally eccentric, world to help promote their
products. Clients have so far included MTV, BBC,
FHM, Sony, Microsoft, Fight My Monster, Britvic, the
National Library of Wales, Digit, Argos, Channel 4,
AVG, 02 Mobile, E4 and a plethora of magazines.
These clients are attracted to pokedstudio
specifically for its style, says Jonathan Ball: “[Our
style] is primarily what people come to us for. They
have seen pokedstudio’s work somewhere and
want something similar for their project. I’m happy
to oblige.”
Having such a distinct look and focus is what sets
this studio apart from its peers – it knows what it can
do and it can do it very well indeed, though they are
still incredibly flexible. “We have a unique style and
take on design. It means we can sell ourselves as a
brand. You can go to pokedstudio when you need a
certain look. But we are also open to many other
types of projects and have done work for banks and
very business-orientated companies. We would like
to think we are friendly and flexible too.”
The style has evolved over the years, which can be
clearly seen through Ball’s many social media
presences (find him on Instagram, Facebook,
[Our style] is primarily what people come
Pinterest and more). Browsing through his to us for. They have seen pokedstudio’s
Photostream on Flickr (www.flickr.com/photos/
pokedstudio), for example, you can visually see the
work somewhere and want something similar
change in style from his personal beginnings in retro, for their project. I’m happy to oblige
grunge effects mixed with street art, through to
highly polished 3D renders that his studio is now
famed for. What has remained the same, however, is
the love for quirky characters and intense colours,

018
ABOUT THE STUDIO
POKEDSTUDIO
www.pokedstudio.com
@pokestuff
pokedstudio is an illustration, design and
animation studio based in Cardiff, UK. It
was founded by illustrator Jonathan Ball,
who has built a reputation for wacky and
Jonathan Ball
non-conformist character designs, Owner and Chris Mcfaul Stephen Thomas
intricate worlds and edgy video graphics. principal designer Video editor Motion designer

All images© pokedstudio

Teamwork: The team hard

at work on a project

019
 EYE ON DESIGN STUDIO INTERVIEW

The design team: The design team working

together in their creative space

Atomic Train: From a series on future

cities, showing various visions of the
future. All created in 3D

Studio setup: The team currently

Main office: “The upstairs office is in work on top-end iMacs and make
a large attic space with enough space the most of the latest technology,
for three to four people to work” such as the Wacom Cintiq

which is what makes pokedstudio’s work just so was building a Flash-based game for the National call upon for many larger projects, as well people
visually appealing. Library of Wales. I found a local programmer and we further away, from games developers and animators
The studio was set up somewhere around 2004, both worked on it all summer.” to film crew. They will sometimes work from my
when Ball was studying at college for a Graphic From here, Ball worked on a large online game offices or at their own location. Skype is used a lot to
Design degree. He set up a website with some and had to work with various designers and communicate and keep up to date. We network quite
illustration work that he had created and started to programmers in a number of different fields in order a lot locally and are building up some great contacts.”
receive a few commissions off the back of it. When to bring the game and the various promotional Ball’s own studio space consists of two main
he graduated, he briefly went to work for a corporate pieces together. The project took over a year to offices. The upstairs one is a large attic space, which
presentations company, but he continued to build up complete. “These projects and others helped build can easily fit three to four people in to work: “It has
work for pokedstudio the whole time. In 2008, he experience at managing larger projects and teams of lots of light, which is great, but gets hot in the
reached the point where he could take on the studio people from various skillsets,” says Ball. summer. We have a great sound system and a few
full time. Nowadays, Ball works in his studio alongside a games machines to help get us in the mood.” There
“Most of the first work was for illustrations, but I number of regular freelancers, including video editor is also a smaller office below, which is used for
soon started picking up other more complex Chris Mcfaul and motion designer Stephen Thomas. accounts and admin tasks.
projects, such as games and animations,” explains pokedstudio often engages in projects that need a The studio has four top-end iMacs set up, but as
Ball. “I started getting freelancers to help with the number of team members to complete and Ball has a small studio, the right hardware can come with
various projects, such as coding and rigging built up a network that helps him to achieve this: its own problems, says Ball: “Choosing to upgrade
characters for animation. One of the first big projects “There are a number of local design businesses I can our hardware has proven tricky, as there are so

020
4
 ATOMIC BOY
THIS IMAGE COMES FROM A SHORT ANIMATION CREATED FOR AN ANIMATION FESTIVAL

01 INITIAL SKETCH
This is the initial sketch used to set the
02 PHOTOSHOP ILLUSTRATION
I created an illustration to work out and
experiment with the visual style I wanted in the 03 TEST RENDER
Time to create our test animations.
scene of the animation. It depicts a giant city being animation. I was after a slightly ‘toonish look. To get This was a bit of an experimental animation, so
destroyed by a robot boy. Inspired by iconic 1980s the effect, we took our 3D render into Photoshop we had a lot of fun trying out different views and
Japanese animation Akira, it was to be a 3D and used some style effects such as Find Edges, angles. I realised I would need a lot of buildings
animation, but with a ‘toon look. and used layer blending to achieve the look. to create a large city.

04 COMP RENDER
We edit a sequence of animations to make our story. Although we
05 FINAL RENDERS
We now make final renders of all our sequences, which takes
a week or so. We then comp them all together in After Effects and use
had a storyboard, I wanted to be flexible here. Not all the test animations were the same settings as Photoshop to achieve the desired look. Music and
used; we played around a lot here and experimented with some extra effects. sound effects are also mixed in.

021
 EYE ON DESIGN STUDIO INTERVIEW

many variables it’s difficult to know what to go for.

Heads: “Mutant toys, rendered in
Graphics cards are being used more and more for 3D. A mix of well-known characters
and some of my own”
intensive computing tasks, but the new Mac Pros
are AMD only, which is very limiting.” These
powerful machines are essential to run the 3D
software that is important in getting the distinct
pokedstudio look. Blender and Cinema 4D are the
go-to programs for this, though After Effects,
Illustrator and Affinity Designer are in use almost
constantly. The team is always looking to expand
their skills and are developing their skills in
ZBrush and exploring various side-ware and
visual effects packages.
Even though there is a very 3D feel to the work
that pokedstudio creates, Photoshop is a very key tool
in the production workflow of the studio. “Photoshop
is a lynchpin for the work that we do,” says Stephen
Thomas. “From storyboarding and sketching ideas
and concepts, to creating the final artwork. We work
with a whole toolbox of applications: Blender,
Premiere, After Effects, Nuke… The list goes on.
Photoshop fits very well into our pipeline.”
Because the studio works with such high-profile
clients, many of its projects come with non-
that, as it gave me a chance to use and learn 3D own personal projects, which he sells as a range of
disclosure agreements and they can’t talk about a lot
sculpting techniques.” This is typical of pokedstudio’s prints and art products (see www.pokedstudio.
of what they are working on. Ball reflects on a recent
ethos – they are not afraid to take up the challenge com/shop for details): “These help promote
project that was particularly memorable: “One recent
and accept projects that can be time-consuming or pokedstudio and to build new skills in various
project I enjoyed was developing a set of odd-ball
come with difficulties. “Lots of projects are software and learn new approaches to workflow.”
characters for a local entrepreneur. I really enjoyed
challenging in different ways,” says Chris Mcfaul. Personal work is definitely on the cards going
“Sometimes it’s a tight deadline; sometimes the forward too, as well as expanding into different areas
Photoshop is a lynchpin for client can’t make up their mind and you go through for commercial endeavours. “We are getting bigger
hundreds of amends. We recently had to make an so we will need to take on more people to work on
the work that we do. From animation for a five-minute music video in around larger animation projects,” says Ball. “I am hoping we
storyboarding and sketching two weeks. Jon and I worked night and day to get it can push the animation side of the business forward
done, but we got there in the end.” in the next few years. Also, I am personally working
ideas and concepts, to creating Commercial work takes up a lot of time for the on my own character properties that I hope to
the final artwork studio, but it is important to Ball that he works on his license out or turn into games and products.”

A DAY IN THE LIFE OF JONATHAN BALL

JONATHAN LEADS US THROUGH A TYPICAL DAY, COMBINING CLIENT AND PERSONAL PROJECTS

09:00 GET STARTED

Have a large coffee and pick up
14:00 SOME ADMIN
the projects I need to work on today. Typically
there will be more than one, so I will be spending
a few hours on each. If someone else is in, I will
10:00 COMMERCIAL PROJECTS
More coffee. Working on today’s
main projects. Often creating some animations or an
I often do any accounting work,
sending and chasing invoices, and working out
tax and wages, etc, just after lunch. I find I’m at
go over the day’s work, or Skype them if they are illustration. I mostly work on the commercial my least creative after [I] have just eaten so it’s
working remotely. projects in the morning. best to do more menial tasks then.

022
040
 [Personal projects] help
promote pokedstudio and
to build new skills in various
software and learn new
approaches to workflow
Garden: A rare image showing a
departure from colour, though
maintaining the usual quirkiness
that the studio is known for

TOP 5 PRODUCTION TIPS

■ UNDERSTAND THE BRIEF
Get all the information that you can from the client first, before
starting on any work. Clarify deadlines and size requirements from
the outset.

■ CONCEPTS
Get going on the concepts once you have clarified the brief,
but only share the best with your clients, or the ones that you think
are achievable.

■ KNOW YOUR TEAM

Get to know your own skills and the skills of the team you are working
with, so that you can assign the best people to the right jobs.

■ CHECK YOUR SOFTWARE

Make sure your software is up to date, and you have any plug-ins or
side-ware installed before you start; don’t find out halfway through
that everything is incompatible.
Avatars: From the Fight My Monster
online game (www.fightmymonster.
■ STAY EDITABLE com), created by Dominic Williams.
Make sure you have easily editable versions ready at the end of the pokedstudio has created nearly all the
artwork, illustrations, characters,
project in case you need to go back and redo anything. adverts, animations and merchandise

All images: © pokedstudio

15:00 PERSONAL PROJECTS

If I have time, I have a look at some
personal and promo projects. I always have a few on 17:00 TOMORROW’S PREP
Review the day’s work, make final
19:00 INTERNATIONAL CALLS
Due to having international clients,
sometimes I have to do evening conference calls. I
the go and they are largely what brings in the new adjustments and prepare for tomorrow. I also make try to make sure they are not too late, though I have
work and stimulates interest in the company. sure I have sent and read all the emails I need to. been called a few times at one in the morning!

023
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 MASTER
POSTPRODUCTION

DISCOVER FOUR CREATIVE POSTPRODUCTION PROJECTS THAT WILL

HELP YOU TO IMPROVE YOUR PHOTOS, 3D ART AND COMPOSITES

026
 MEET THE EXPERTS
RICARDO THOMAZ AHMAD TURKI FAHRAN YOUNAS KHALED ALKAYED
WWW.BEHANCE.NET/RTHOMAZZ AHMADTURKI182.WIX.COM/AHMADTURKI WWW.ARQUI9.COM 777+(!,%$˶!,+!9%$#/-
Ricardo Thomaz A self-taught 3D
is a retouching artist with six
artist from years’ experience
Brazil. He in the industry,
specializes in Ahmad Turki has
portrait work won five
and advertising excellence
images, and awards from 3D Khaled Alkayed is a Jordanian
works as a finaliser, finishing Total and has been featured in 3D Fahran Younas is lead artist artist working as a 3D artist at
images to a high degree using his World magazine, 3D Artist magazine, at Arqui9, a high-end studio Team Y&R, where he’s
specialised post-production 3D Creative magazine and INCG specialising in developed his 3D skills in the
techniques in Photoshop. Showcase magazine. architectural visualisation advertising industry.

P
ost-production represents a huge chunk of

KEY POSTPRODUCTION TOOLS the Photoshop industry. For every illustrator

or digital painter working in the field, there
THE ESSENTIAL PHOTOSHOP TOOLS YOU NEED TO MASTER are many more Photoshop experts whose
job is to use their skills to enhance photos, make 3D
1. SPOT HEALING BRUSH 6. CLONE STAMP TOOL artwork look realistic and bring their professional
Remove blemishes while matching the colour, lighting, Clone out blemishes by sampling and overlaying nearby techniques to advertising and other commercial
shading and transparency of the surrounding pixels – pixels. Good for retouching large areas of similarly projects. For many Photoshop artists, post-
perfect for detailed areas of the face and hair. coloured skin, like the cheeks. production is their day job, and its rigorous discipline
fuels the technical skills that allow them to create
2. PATCH TOOL 7. FILTERS such high-quality images in both their professional
Repair an area with pixels sampled from another area of Process the entire image, to sharpen, blur or add
and personal work.
the image, or a pattern. In Photoshop CC it has noise that replicates the look of a photograph. More
You can learn a lot from a post-production
Content-Aware functionality for added accuracy. creative filters are available, but are seldom used in
workflow, whether it’s for photos, 3D graphics, or a
post-production.
3. DODGE AND BURN mix of the two. After the basic skeleton of the artwork
Enhance shadows and highlights. Use on a 50% 8. BLEND MODES is produced – the studio photo, or 3D render – it’s the
Gray layer set to Overlay for a more subtle result, Change the appearance of layers, introduce colour post-production artist’s job to add the icing to the cake,
as Dodge and Burn can introduce odd colour shifts and transparency, and add light and shadow. performing the edits and enhancements that will really
artefacts sometimes. Blend modes are particularly useful when used in make the image shine. Most post-production artists
tandem with render passes and adjustment layers. have a clear process that they follow for doing this. It
4. RENDER PASSES may seem that post-production is strict, and indeed it
Created when rendering in 3D, these different ways 9. LAYER MASKS is sometimes, with its adherence to particular tools
that the render engine represents your image can be Add and erase image elements non-destructively. Pixels
and techniques, like dodging and burning, adjustment
used to make masks and selections, or duplicated to on a layer mask can be painted (or selected) in and out of
layers, or working with render passes. But within
use as adjustments. your composition, but unlike erasing, the data is not lost.
those defined parameters – which post-production
5. ADJUSTMENT LAYERS 10. SELECTIONS artists have created in order to streamline their
Enhance and change colour, tone and the overall Select an area of the image to make changes and workflow and improve their images – you can also
feel of the image, from simple Hue/Saturation adjustments to. There are lots of different ways to select find a lot of creative freedom. Master the post-
adjustments to Color Lookup, which replicates the image areas in Photoshop; in post-production Color production workflow, and you’ll discover the tools and
look of particular kinds of lighting or camera film. Range and the Pen tool are powerful, popular tools. techniques you need to take your Photoshop work to
the next level.

027
 OUR EXPERT
RICARDO THOMAZ
www.behance.net/rthomazz
Ricardo Thomaz is a retouching
artist from Brazil. He specialises in
portrait work and advertising images
and works as a finaliser, finishing
images to a high degree using his
specialised post-production
techniques in Photoshop.

RETOUCH PRO TIP

Create a new layer, name it Skin,
select the Mixer Brush and set it
to Wet 10%, Load 10%, Mix 20%
and Flow 20 %, with Sample All
Layers selected. Now smooth it
over the transitions in the
model’s skin tone.

ESSENTIAL RETOUCHING TOOLS

+%9ď0(/4/3(/0ď4//,3ď&/2ď0/242!)4ď0/34˶02/$5#4)/.
Tools like the Spot Healing brush, Clone Stamp be completely editable. Refine Edge is a
tool and Patch tool are fundamental for fantastic solution for cutting out hair. There are
retouching and removing noise and dirt. Use several ways to cut out hair, but this tool is the
these tools when cleaning up the image, before most effective and can be really useful when
applying other adjustments. Even if you’re you want to fine-tune a mask.
working with a JPEG rather than a RAW file, the Use and abuse filters, they are there to help
Camera Raw Filter is a very welcome addition to out, to facilitate all your work. Make several
Photoshop’s post-production workflow. You can tests with them, play with all of the filters and
make adjustments using this filter, creating you will learn a lot of things that you can do
multiple layers of separate settings; the result will with them.
 MASTER POSTPRODUCTION FOR INCREDIBLE ART TECHNIQUES

RETOUCH LIKE A PRO

MASTER THE TOOLS AND TECHNIQUES YOU NEED IN A
PORTRAITBASED POSTPRODUCTION WORKFLOW
Even with a full studio setup portraits will still the image. The Brush and Mixer brush tools as a key part of the portrait post-production process
often need post-production. Retouching well as the Spot Healing brush, Clone Stamp in Photoshop today. Finally, Color Lookup filters
techniques can be used to even out skin tone and and Patch tool are all used to clean up and adjustment layers allow for precise colour
correct minor imperfections, smooth down hair imperfections, and each has its own advantages control. The image used here is available to purchase
and enhance eyes. Camera Raw makes a great Dodging and burning is a classic technique first from www.shutterstock.com (135988079), as is the
starting point as it gives you full tonal control over used in traditional darkrooms, and it still forms background design (157853540).

02 RETOUCH AND SOFTEN SKIN

Remove any dark or strange spots on the
skin with the Spot Healing brush (J); you can also

01 CREATE THE BACKGROUND

Create a linear gradient of colour R245,
G217, B172 to colour R197, G159, B107 in Normal
use the Clone Stamp tool (S). Go to Filter>Camera
Raw Filter and set as follows: in the Basic tab:
Temperature +5, Tint 0, Exposure +0.10, Contrast -8,
03 RETOUCH EYES, LIPS AND EYELASHES
Create a new layer, name it Eyes. On this
layer you will give a highlight to the eyes, making
mode at 100% Opacity. Then create a new layer and Highlights -21, Shadows -11, Whites -1, Blacks +14, them more alive. Using the Brush tool, select the eye
fill it with color R154, G123, B85 in Multiply mode at Clarity -20, Vibrance 20, Saturation -30. In the Tone colour itself, a brown tone, set the layer to Soft Light
20% Opacity. Now open the image of the stars with Curve tab set Highlights to +5, Lights 0, Darks +5 and and go around the iris. For the lips, create a new layer
black background (Shutterstock 157853540), put it in Shadows to 10. On the Detail tab set Sharpening to: called Lips and do the same, choosing a pink tone
Screen mode and position the image in the form of Amount 30, Radius 1.0, Detail 10 and Masking 0. On from the mouth of the model set to Soft Light at 40%
an S. The radial gradient will be behind the model, so the HSL/Grayscale tab set the Hue as follows: Reds Opacity. For eyelashes, take the Brush tool and make
make a selection with the Lasso tool, not too close to +10, Oranges +5, and the other colours to 0. Under it 20% black at a size of 2px and set to Multiply. Create
the edge, and create a Curves adjustment layer with Saturation set Reds +10, Oranges +5 and the other more eyelashes and a few hairs on the eyebrows, and
Input set to 60 and Output set to 30. The edges will colours to 0. Under Luminance set Reds to 15, lightly go around the rims of the eyes as if applying
be harsh and lighter in the centre. Oranges to -10 and all other colours to 0. eyeliner – this will give the eyes more prominence.

04 DODGE, BURN, AND CUT OUT THE MODEL

To Dodge and Burn, create a new layer set to
50% Gray in Overlay mode and call it ‘Retouch’. With the
Brush tool, and using either default black or default
white, both at 7% Opacity, highlight the lightest areas
using white and darken the darkest parts with black. To
cut out the model, create a path skirting the model,
05 FILTERS, HIGH PASS AND NOISE
Create a Color Balance adjustment layer at
80% Opacity and set as follows: Shadows: Cyan-Red -2,
adjustment layer set to Soft Light with Opacity and Fill
both set to 35%. Under Preset set it to High Contrast Red
including the hair, using the Pen tool. Select>Refine Edge Magenta-Green -3, Yellow-Blue -10); Midtones: Filter with Default settings. Make a Vibrance adjustment
is a very effective tool for such job. Make the selection of Cyan-Red -3, Magenta-Green -1, Yellow-Blue -5; and layer and set it to Vibrance +80 and Saturation -20. Hit
the model using the path and with the Retouch layer Highlights: Cyan-Red -18, Magenta-Green -3, Cmd/Ctrl+Shift+Opt/Alt+E to create a stamped duplicate
selected, click on Select>Refine Edge at the top. Under Yellow-Blue -7. Create a Color Lookup adjustment layer of all layers, go to Filter>Other>High Pass, set Radius to 7
Edge Detection, tick Smart Radius and choose 5px. and in Properties set the 3DLUT File to LateSunset.3DL and click OK. Set this layer to Soft Light at 50% Opacity.
Under Adjust Edge set Smooth to 5, Feather 0.0, at 20% Opacity. Create another Color Lookup Finally, create a new 50% Gray layer set to Soft Light, go
Contrast 0 and Shift Edge to 0. Under Output set Output adjustment with the 3DLUT File set to Crisp_Warm.look to Filter>Noise>Add Noise, set Amount to 10%,
to New Layer With Layer Mask. at 20% Opacity. To add contrast, create a Black & White Distribution to Uniform, and click OK.

029
 3D POSTPRODUCTION
WITH RENDER PASSES
DISCOVER HOW THE RENDER PASSES GENERATED WHEN YOU EXPORT
3D IMAGES CAN SPEED UP YOUR POSTPRODUCTION WORKFLOW
Here you will learn how to do some quick
compositing with your render passes using
Photoshop. Photoshop is a great program for
post-production, it gives you free control over your
image, it’s got lots of tools that can be used to
enhance your work, and it ties your designs together
with colour adjustments, letting you control the
vibrancy of your elements, and adjust your levels OUR EXPERT
paving the way to balanced lighting. Gradients can AHMAD TURKI
boost colour and merge all the elements together, ahmadturki182.wix.com/
ahmadturki
In this tutorial you will learn how to arrange Colour, @AhmadNTurk
Ambient Occlusion, and Object ID render passes, edit A self-taught 3D artist with six years’
experience in the industry, Ahmad
them and combine them all together to produce a Turki has won five excellence awards
great result. We’ll also show you some techniques for from 3D Total and has been featured
in 3D World magazine, 3D Artist
making your image sharp and crisp while still magazine, 3D Creative magazine and
retaining all of the details, and how to use the gradient INCG Showcase magazine.

map as a colour theme using the layer blending

modes. This tutorial starts with render passes created
in Maya. You have to make sure to save your renders
01 GATHER YOUR RENDER PASSES
We start by opening Photoshop and creating a new file (Cmd/
Ctrl+N), then we grab all the render passes we did in Maya (Colour,
in PNG format; PNG files are not compressed and will Occlusion, Object ID) and then we start by arranging the layers. The
not lose quality. Also, it saves the image with background should be the first layer and then we add the Colour pass
a transparent background. on top of it. Then we put the Occlusion and Object ID on top of that.

030
 MASTER POSTPRODUCTION FOR INCREDIBLE ART TECHNIQUES

02 MASK THE OBJECTS

After getting the layers ready, we move on
to masking the Colour pass. We use the Object ID
03 ADD MORE SHADOWS USING
AMBIENT OCCLUSION
Now is the fun part! After finishing with masking
04 ADD THE BACKGROUND AND
MATCH COLOURS
Selecting the background image starts off with
pass to isolate elements and then post process them and adjusting your Colour pass, we move on to the knowing what to look for in a great
if you need. Each render pass can act as a mask. By next level, which is to add the Ambient Occlusion background render. Sure you can choose any
using the Magic Wand (W) you can select a colour or layer above the Colour layer and change the layer picture you want, but a carefully selected
object on any of the passes and then copy (Cmd/ mode from Normal to Multiply. Ambient Occlusion image is proven to give you far greater results.
Ctrl+C) the object you selected and paste it (Cmd/ allows you to simulate the soft shadows that occur So, after selecting my background layer (the
Ctrl+V) into a new layer to create a mask, or work in the cracks and crevices of your 3D objects when sea and sky) I have to make sure to match the
with the outline of the selection to make indirect lighting is cast out onto your scene. The colour. I tend to use Hue/Saturation as a start
adjustments. You can use Hue/Saturation, soft shadows that are created from ambient (Cmd/Ctrl+U), and for more colouring and
Brightness/Contrast or Auto Contrast from the occlusion can help to define the separation matching, I can create a new layer (Cmd/
Image>Adjustments menu to post-process details between objects in your scene and add another Ctrl+Shift+N), fill it with blue colour and then
from each pass. level of realism to your render. play with the layer mode.

05 MAKE THE IMAGE CRISP

Now this is one of the best tricks if you’re after a crisp look or you want
more contrast in your image. What you do is, after finishing with all the layers you 06 GRADE COLOURS
After getting everything almost ready for your image, now we move on to
have (Background, Foreground and so on), combine all the layers by hitting Cmd/ grading and creating a general colour theme. Go to Layer>New Adjustment
Ctrl+Shift+Opt/Alt+E. This command will create a new layer with all the layers Layer>Gradient Map and you can select any two colours (You can adjust those
combined together. Set it to Overlay and go to Filter>Other>High Pass, playing colours later) and then change the layer mode to Soft Light. Of course if you feel the
with the levels until you get the effect you want. gradient is too much you can always reduce the opacity.

RENDER PASSES AND

HOW TO USE THEM
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-!+).'ď53%ď/&ď$)&&%2%.4ď2%.$%23
Render passes, or render elements, are the raw
elements generated by the rendering engine that are
composited together for you into the final output render.
Some of these elements are Lighting, Shadows,
Reflections, Specular and Global Illumination just to
mention a few. We can extract and customise these
elements and put everything together ourselves in

07 FINALISE THE IMAGE

Now we’re almost there, you can always go
back and re-use your Object ID layer to re-mask some
brush with Hardness set to 50%, Now you can start
painting the glow. After finishing you will need to go to
most post-production software that supports the
compositing of layers. Going about it this way will give
us much greater control over the look of the final result,
of the objects in the image, in case they need tweaking. Filer>Blur>Gaussian Blur. A Radius of 25 pixels should as render passes can be used to select and mask
For this outdoor image you will be adding some glow by be enough. Choose the Lighten layer mode for the glow colours and elements across multiple layers, allowing
creating a new layer (Cmd/Ctrl+Shift+N) and selecting a layer, a white colour should be good for the glow. us to make granular adjustments.

031
 OUR EXPERT
FAHRAN YOUNAS
www.arqui9.com

Fahran Younas is lead artist

at Arqui9, a high-end studio
specialising in architectural
visualisation.

DYNAMIC POSTPRODUCTION
TECHNIQUES FOR 3D ARCHVIS
LEARN HOW TO TAKE YOUR RENDER TO THE NEXT LEVEL IN
PHOTOSHOP AND CREATE AN ATMOSPHERIC ARCHVIS IMAGE
These tips and tricks can be used to add that bit of
flair and spark to your new or existing renders. A lot
of people today aim for achieving the perfect render GET MORE FROM
straight out of their 3D software and working up
every last element in 3D. As we all know this can
BLEND MODES
sometimes be quite time consuming as well as rigid. THE KEY TO A FASTER WORKFLOW
Adding details in afterwards in programs such as Blending modes are an integral part of
Photoshop can not only be quicker, but also more Photoshop and they are essential to us
dynamic. As most artists, especially those new to this
field always tend to strive for the best render possible,
we thought it would be good to share how flexible
here at Arqui9. They enable us to
experiment and overlay textures, layers
and just about anything almost instantly.
01 THE PASSES SERVE YOU
Having render elements at your disposal
will allow you to take your render into another
and free it can be to explore what is possible in the From screening over highlights to dimension. They can serve you beyond the typical
post-production phase. Keeping yourself loose and multiplying grunge textures, blend modes scenario, for instance your Z-depth pass instead of
flexible with your tools allows your creativity to take are integral to any visual artist using being screened over can be used as a mask to brush
hold and push past the technical restraints. In this Photoshop. Here we’ve used them to apply in your own custom depth. As you can see here, we
tutorial you will see a few tips and tricks that can help reflections and rim lighting to add realism have used our Z-depth as a mask for our group,
you add that spark to your images. If you want to see to the image. With blend modes your which will allow us to manually paint where we think
more, please head over to the Arqui9 YouTube page workflow will increase in speed and open the depth best serves the image. The layer has been
(www.youtube.com/channel/UCBzPV2uSji-Z5-x_ up a door to pushing your creative limits. set to the Screen blending mode and the depth
svnZV1w) for more in-depth tricks. painted with a large soft brush.

032
 MASTER POSTPRODUCTION FOR INCREDIBLE ART TECHNIQUES

RETOUCH PRO TIP

Use a textured brush with Scattering switched on
as this helps add interest by breaking up the
surface. Increase the scatter count and overall
percentage to give the brush some detail.

04 CORRECT YOUR ASSETS

Use a Levels adjustments layer and then
correct the black point. Once the value is set, we
move onto colour, using a Color Balance

02 CUT OUT YOUR ASSETS

Once you have a suitable vegetation image,
open it in Photoshop and go to the Channels tab.
03 COMPOSE YOUR SHOT
As you can see, we have three dimensions
to the visual, the foreground, mid and backgrounds.
adjustment layer we are able to bring the Midtones
to a cooler colour. Use the sliders and see what
works best for you. To finish we used a Hue/
Select the Blue Channel and make a new channel, Each area goes hand in hand with and complements Saturation layer to lower the saturation to knock
then using Curves you set your black and white the others. Think about how the trees can help frame the woman back into the view. Here there is a
points. Apply your mask, you will notice it may be a your view and bring the viewer in, or how a person lamp post behind her so we make a new layer, set
little jagged. Go to Layer>Matting>Defringe to fix this. can help bring your eye into the frame. it to Soft Light and brush in a rim light for her.

06 APPLY GRADING
Using a Hue/Saturation
adjustment layer set to Soft Light
can really help unite the various
tones together. Then we either push
the cool or warm tones using a
Curves or Color Balance layer and
tweaking the midtones. A helpful tip

05 WORK ON REFLECTIONS
One of the best ways to bring a sense of realism is through the use of
reflection. Every material reflects in its own manner and sometimes you may
is to view your image in black and
white, then use Levels to adjust the
black and white points. One final
need to break what your brain assumes to be correct. We have brushed in a element not to forget is the addition
reflection onto the road manually. The easiest way to do this is go to Image> of a vignette, which will help you achieve that photographic feel; this can be
Apply Image, right-click and choose Flip Vertical. Then we create a layer mask added by simply brushing in using a large soft airbrush, painting on a Soft Light
and selectively brush in where we want a reflection. layer or a Levels adjustment layer.

033
 CREATIVE POSTPRODUCTION
WITH LAYERS AND FILTERS
LEARN HOW TO COMPOSITE RENDER LAYERS USING
BLENDING MODES AND FILTERS IN PHOTOSHOP
Layers, layer styles, blend modes and filters This tutorial will explain the process
are all essential when it comes to post- behind the artwork and will focus on the
production of any kind. They lend themselves main steps taken in the post-production
particularly well to automotive images, which stage of the work using Photoshop. He used OUR EXPERT
often combine 3D renders with photos, used Maya for modelling the vehicle then rendered KHALED ALKAYED
either as a main part of the composition or as using V-Ray to export the final image with www.khaled-alkayed.com
@khaled_alkayed
textures. The artwork here is based on a what we need from the render passes. With
Khaled Alkayed is a Jordanian artist
personal project that Khaled Alkayed worked those in place for us to build masks and working as a 3D artist at Team Y&R,
on for six months and won some awards for. selections from, we’ll build up effects on where he’s developed his 3D skills in
the advertising industry.
“The idea came when I was watching movies layers and use the Magic Bullet plug-in to
like Death Race and Mad Max. They gave me enhance the image further. The aim is to
the urge to do something similar so I started make this look like a real photo, so we’ll be
with a Maybach Exelero then went onto this re-creating lens effects and depth of field as
one, the Ferrari Enzo,” explains Alkayed. part of the post-production process.

034
 AMBIENT OCCLUSION AND BLEND MODES
THE BEST WAYS TO USE AN AO LAYER IN PHOTOSHOP
This layer contains the Ambient Occlusion effect; it gives the main image. Change the blending mode to Multiply.
shading to the areas hidden to the ambient light and it You can change the layer’s Opacity to soften its effect. You
shades the more obscure parts of the models in the can also apply a Levels adjustment to the Ambient
scene. Using this pass gives more depth to the details. Occlusion layer to change its contrast, brightness,
Paste the Ambient Occlusion render into a layer above and darkness.

01 53%Ĉ:ɎDEPTH PASS
This pass contains the depth map of the
scene measured from the camera. We use this pass
02 MATERIAL ID PASS
These may come under many names:
MultiMate, Wire Colour, Object ID and Render
in Photoshop to create a depth of field effect. Copy Masks. This pass contains the masks for all
the Z-depth image (Cmd/Ctrl+C) and paste (Cmd/ materials in the project; it’s a good way to speed up
Ctrl+V) it into the Alpha channel of our normal the selection using Color Range by going to
render. Now we’ve got the Z-depth render in the Select>Color Range and picking the colour we
Alpha channel. Next apply a Lens Blur filter by going want. Then we can work on selected areas. For
to Filter>Blur>Lens Blur. Turn on the Preview option, example, here the front wheel needs some
and choose Alpha as our Depth Map. brightness and some contrast on the ground area.

04 ADD FILTERS 05 FINAL TOUCH

Using the Magic Bullet Looks filter will

03 MAKE ADJUSTMENTS
Use a Color Balance adjustment by going to
Image>Adjustments>Color Balance to adjust the
The render image is very clean so we
need to add some noise to make it more
realistic. Go to Filter>Noise>Add Noise. Don’t add
add powerful dynamic looks and colour correction
to the image. This is a pro-level third-party plug-in
for Photoshop that you can get from www.
colour temperature according to the feel of the image. noise to bright areas though, as noise can be far redgiant.com (it costs $799). Open it by going to
Then use a Hue/Saturation adjustment by going to too obvious in bright or blown-out highlights. Filter>Magic Bullet. It will now open a new window
Image>Adjustments>Hue/Saturation and increase the After that we need to add some blur by going to for the program. Choose the style you want and
saturation a little bit to increase the dramatic feel. We Filter>Blur>Gaussian Blur, this will blend noise you can add or modify the tools used in every style
also need to increase the contrast by going to with the image for a more natural result – as if (such as Subject, Matt, Lens, Camera, Post), which
Image>Adjustments>Brightness/Contrast. it’s got a tiny bit of ordinary camera noise. gives you even more flexibility.

035
 OUR EXPERT
MILTON MENEZES
www.lightfarmbrasil.com
Milton is a creative retoucher and
director at Lightfarm Studios in
Brazil. He is also a professor at
Miami Ad School and primary
speaker at Photoshop Conference,
Pixel Show and Adobe MAX.

PRO POST
PRODUCTION
LIGHTFARM’S POSTPRODUCTION CREW ARE
LUCKY ENOUGH TO COLLABORATE WITH ONE OF
THE BEST CGI TEAMS IN THE ADVERTISING
INDUSTRY. HERE’S HOW THEY WORK WITH THEIR
INCREDIBLY REALISTIC RENDERS

T
his image came out of Victor Maiorino’s the level of believability that characterises the
head,” explains Milton Menezes. “He’s the team’s work. Their approach means that even the
CG artist at Lightfarm Studios. My job most whimsical subject matter looks as if it really
was to use Photoshop to make the exists, which is an essential skill in producing
image pop, as well as fix reflection problems, believable advertising images.
white balance, colour correction, create extra Founded in New Zealand, but with a creative
droplets and add the overall warmer feel. This team (headed up by Milton Menezes) also based
Photoshop work was supposed to look invisible, in Brazil, Lightfarm is a truly international studio,
as the original render was pretty much half way and as well as commissioned work for its
there. We take renders just as raw shots and treat high-profile clients, Lightfarm also produces
them the same way.” personal projects to help the teams develop their
This approach to post-production – treating a skills. This image is one of those – let’s take a
3D render as if it’s a photograph in need of look behind the scenes at Lightfarm to see how
retouching – is what allows Lightfarm to achieve they produced it.

036
PRO POSTPRODUCTION TECHNIQUES

037
 TECHNIQUES PRO POSTPRODUCTION

WORK IN PREPARE THE BASE

PROGRESS IMPORT THE RENDER PASSES AND CUT OUT THE PLANES
FROM THE RAW RENDER
TO THE FINISHED IMAGE
QUICK TIP: THE POWER OF CAMERA RAW
Before you start adjusting the layers in your file, you should try to
get the most out of your Camera Raw Smart Filter. It’s an incredibly
powerful image editor, and because it’s designed for photographs,
it enhances the realism of post-production on a 3D render.

Progress 1: Raw render

Progress 2: Camera Raw

01 CREATE A BOKEH
By using Filter>Blur Gallery>Field Blur,
you’ll be able to create really cool bokeh effects as
02 MAKE IT SMART
In the new Photoshop versions, you can right-click a layer and
convert it to a Smart Object. Filters can be applied to it such as Camera
if you were shooting a blurred background. Your Raw and stay editable. Just go Filter>Camera Raw Filter once your layer
original image’s resolution doesn’t matter, just becomes smart. This means you can edit your Camera Raw settings at
resize it up to a decent size and apply Field Blur to any time instead of creating presets as it used to be in older versions of the
it. Play with the Light Bokeh, Bokeh Color and software. You can also double-click the layer to adjust the opacity of your
Light Range to get it the way you want it. filter as well as apply a mask to it.
Progress 3: Final image

03 ADJUST THE WHITE BALANCE

Raw renders or photographs usually
come with an unbalanced white balance. This is an
easy task for Camera Raw. By clicking the White
Balance tool on the top left of the window, you can
click and drag to set an average white balance
area. This automatically adjusts the White Balance
accordingly to the area you clicked. Avoid
blown-out white areas and try to get the
highlights. Although let your eyes be the judge –
they do a better job than the software!

038
04 EXPERIMENT WITH THE CAMERA RAW
BASICS
Play around with the Camera Raw Settings. This will
allow you to avoid too much work with your layer
adjustments. Camera Raw works with 16 and 32-bit
range. This means you have double or triple your
usual 8-bit range image. Working with 32-bits gives
you the power to turn a day scene into a night scene if
you wish. Temperature, Exposure and Clarity are very
popular in the Camera Raw world. Although you
should try to do the least work you can. Thinking
about your render and/or your photography first
saves a lot of Photoshop time.

05 ADJUST COLOUR WITH CAMERA RAW

One of the hidden things in the Camera
Raw filter is the HSL/Grayscale tab. In there you can
adjust colours with hue, saturation or luminance. It’s
a kind of super-powered Selective Color. You should
be careful to not damage the pixels as this is a very
selective tool, which separates colours in three
different ways, so you might get colour aberrations if
you play more than you should. Again, let your eyes
be the judge and the Smart Object filter be your hero
if you decide to change it afterwards.

06 BE SURE TO GET THE MOST OUT OF THE CAMERA RAW SMART FILTER
After playing with the Camera Raw settings you will end up with a more
balanced image. Exposure, Temperature, Clarity and HSL balances should allow you 07 USE A REFRACTION PASS
Thanks to the Refraction Pass, there was no need to stamp
to get the most out of your render/photograph. So before you start layer adjusting out the reflection of the light boxes on the surface of the droplets.
your file, you should try to get the most out of your Camera Raw Smart Filter. This is one of the best things when working with CGI.

039
 TECHNIQUES PRO POSTPRODUCTION

Thinking about your

render and/or your
photography first saves a
lot of Photoshop time
08 GET RESULTS WITH REFRACTION PASS
By masking the areas where the light
boxes were reflected, we were able to erase them
from the camera without destroying the data,
meaning that we can bring it back at any time we
choose. It can be useful to leave your layer masks
intact rather than clicking Apply Layer Mask.

09 ADD EXTRA DROPLETS

To add depth to the image, extra
droplets were rendered to give the overall 3D
perspective feel. We always try to play with the
Z axis, meaning the object’s distance from the
camera. Every time you play with out of focus
elements on the foreground and/or
background you add depth to your image.

11 ADD WARMTH WITH COLOR BALANCE

Color Balance is one way to add a nice

10 USE GRADING
Grading is what we call the folder with all of
our layer adjustments. It allows us to keep the file
always good to exaggerate your settings so you
can find the right set. Don’t be afraid to exaggerate.
sunny feel to your image. Click Image>Adjustments>
Color Balance or set up an adjustment layer on the
bottom of your Layers tab and then go to the Yellow
organised and to quickly visualise what the Although ask yourself how much you liked each bar on the Highlights. You will see how it becomes
adjustment layers are doing to the image by clicking adjustment by using the Opacity levels on the top brighter and warmer. You should try a bit of
the eye button on the left side of each layer. It is right side of your Layers tab. Red as well.

040
 QUICK TIP: FADE ADJUSTMENTS
Use Cmd/Ctrl+Shift+F as an alternative way to fade so for example, if you’ve just duplicated your work
any adjustments you make. This keyboard shortcut onto a single layer and run a High Pass filter over it, it
fades the opacity of the previous step you’ve made, will let you fade down the opacity quickly and easily.

13 GET A DREAMY LOOK

Bloom is one of our favourite kinds of
filter. Select your whole image with Cmd/Ctrl+A
and copy with Cmd/Ctrl+Shift+C, paste on top
with Cmd/Ctrl+V and use Saturation set to 0
with Cmd/Ctrl+U. This will give you a greyscale
layer of the image. Then use Levels (Cmd/
Ctrl+L) or Curves (Cmd/Ctrl+M) to darken the
layer to the point you can only see the
highlights. Apply Gaussian Blur from
Filter>Blur>Gaussian Blur. Use something
between 10-30. Convert the blend mode to

12
Screen. Boom! This will give that dreamy feel to
ADD WARMTH WITH PHOTO FILTER
the image.
Another way to give a nice warm and sunny
feel is Photo Filter in Layer>New adjustment layer or
at the bottom of the Layers tab. You can choose one
of the standard settings or apply a custom colour as
14 USE HIGH PASS TO SHARPEN
High Pass is a nice way to make the image
sharper and keep it as a layer. Select your whole image
well as change the opacity of it. Try to not to overdo it. with Cmd/Ctrl+A and copy with Cmd/Ctrl+Shift+C,
Photo Filter can make images look colourised and paste on top with Cmd/Ctrl+V and use Saturation set to
Photoshop looks better when it is invisible! Use 0 with Cmd/Ctrl+U. Then go Filter>Other>High Pass.
Cmd/Ctrl+Shift+F as an alternative way to fade any Use something between 1-5. Then apply Overlay or
adjustments you make. Soft Light as the blend mode.

15 CMYK AND GO!

Once the image is ready, make sure it
looks just as good in CMYK. CMYK should not be
too hard if you visualise it during the process. By
clicking Cmd/Ctrl+Y you can check which colours
are too saturated. There’s no point printing a colour
that only looks good on the screen. Convert your
image to CMYK in Image>Mode. Coated Fogra 39
is one of the popular CMYK settings.
 HOW I MADE TECHNIQUES

JAR OF GREENS
JONLOCK
FREELANCER JONLOCK IS PLANNING TO CREATE AN ILLUSTRATIVE
STORYBOOK, WITH THIS STRIKING IMAGE AS A START POINT

J
on-Lock (jon-lock.deviantart.com), Jon-Lock explains: “I kept on using the Hard then I constantly zoomed out to see how the
who graduated from Cal State Round brush to make the painting more clear overall painting looks. After everything is
University, says that Jar of Greens was and refined, especially for the leaves. I wanted to refined and finished, I adjusted some of the
“inspired by childhood, nature, the make each and every plant look uniform and yet, colours to either make certain colours more
axolotls, and a wonderful watercolor artist who unique at the same time. So, I explored the apparent or heighten the highlights to give
goes by the name Koyamori.” The process was different shades of greens to make things more dramatic lighting.” Some photo references were
one of building up the image gradually. interesting. I zoomed in to make the details and used, but then imagination took over.

I wanted to make each and every plant look

uniform and yet, unique at the same time.
So, I explored the different shades of greens to
make things more interesting

01 ROUGH IT UP
“First, I did a rough sketch with a default Hard Round brush on
the first layer. I always lower the Opacity of the brush to around 40-50%
whenever I do rough sketches. On a new layer, I used the Rectangular
Marquee tool to create the shape of the jar.”
© Jon-Lock

02 CONTAIN THE CREATIVITY

“I used the Gradient tool to make the jar look transparent.
The Opacity of the gradient is around 30-40%. On the next layer, I
started blocking in colours with the Soft Round brush to get the
base/foundation colours needed for the painting. The Opacity varies
03 FINDING FORM
“Then on another new layer, I went back to the Hard Round brush (this
time the Opacity was set to 100%) and I started outlining the plants, animals and
from 70-100%. Since I wanted to make this painting more the figure. After that, I coloured them in with the desired colour palette and gave
forest-like, I used some dark blues and greens.” the painting more form and shapes.”

043
 TECHNIQUES CREATE A FLYING EFFECT

© Michael Herb

044
 OUR EXPERT
MICHAEL HERB
www.michaelherbphoto.com
@mherbphoto
Facebook: MichaelHerbPhoto
Michael Herb is a creative
photographer and digital artist.
When he’s not creating visually
intense imagery he likes to unwind
in front of the fireplace with a glass
of brandy and an illustrated children’s
book with small words.

SOURCE FILES
On www.filesilo.co.uk/
advancedphotoshop you will find
all necessary files to re-create
this image. There are a few extra
images available to take the
composite up a level.

CREATE A
FLYING EFFECT
LEARN HOW TO EFFECTIVELY AND BELIEVABLY
CREATE A LEVITATION OR FLYING EFFECT

L
et’s face it, most of us would love to what is simply not possible in reality. Flying, air. In post-production, you’ll be able to position
break free from the bounds of gravity levitation or floating is really a simple process them to appear much higher off the ground.
and float high above the clouds, soar that can be achieved in several different ways. The third way is always the preferred, but
through the city streets or simply float The simplest way is to use a stool or chair and also the most labour-intensive to set up: a
in mid-air. Unfortunately, aside for a few have your model balance on the stool in a way so suspension harness attached to a suspension
anomalies, humans are just not meant for that you can remove the stool in Photoshop. The rig or properly installed ceiling mount. For the
unaided flight. Fortunately for all of us second way, with the right model, is easier yet. sake of simplicity we are going to discuss
Photoshop addicts, we can achieve digitally Simply have them jump and capture them in the method two for this tutorial.

045
 TECHNIQUES CREATE A FLYING EFFECT

WORK IN
PROGRESS
FROM THE BOTTOM
TO THE TOP

Progress 1: From 3D to 2D

02
Progress 2: Time to add
STEP OUT ON THE LEDGE
some drama!
Click File>Place and find the file ledge.jpg.
You will notice that the ledge isn’t very high up!
When shooting background elements, never take

01 START FROM THE BOTTOM

Open City.jpg. Click File>Place Embedded and find the file
Clouds.jpg. Scale the clouds to cover the width of the image. Hold Alt/Opt
things at face value. Sometimes the most unlikely
object can be the best option. Mask out the ledge
as you see in the picture. The ledge will need to be
and double-click the city background in the layers palette. Hit Cmd/Ctrl+{ skewed. Click Cmd/Ctrl+T and then right-click
to drag the clouds layer below the city layer. With your preferred masking within the box and click Distort. Using the
Progress 3: A finished image! method, mask the original sky out to show the new dramatic sky. reference file match the perspective of the ledge.

When shooting background elements, never

take things at face value. Sometimes the most
unlikely object can be the best option

03 CUT HIM INTO PIECES!

Our model Stephan is a cirque acrobat with the ability to leap
nearly 1.5 metres in the air. However, to illustrate levitation without the 04 JOIN HIM BACK TOGETHER
With both halves of the model masked, drag the lower half into the upper half
need for an acrobat we will merge the lower half and upper half of our comp. You will have to scale the lower half a bit to get the two pieces matching. Once
star to achieve the flying effect. From FileSilo, open Stephan-Lower.jpg matched, group the two halves by selecting both layers in the layers palette and hitting
and Stephan-upper.jpg. Mask out his upper and lower body. Use his Cmd/Ctrl+G. Name the group whatever you’d like as long as it’s descriptive and easily
waist as the border between upper and lower. identifiable. Drag the newly created group into the background comp.

046
05 MAKE THE MODEL FLY
Right-click on the group containing Stephan and click Convert to Smart
Object. This will enable you to scale him up or down without losing quality. Hit
06 ADD HELICOPTERS FOR ADDED CONTEXT
The helicopters serve a few purposes. First and foremost they provide a
source for the excellent lighting Stephan has. Without them you’d be left guessing
Cmd/Ctrl+T, right click and hit Flip Horizontal. Position Stephan so that he appears where the light comes from. They also add a nice touch of awesome to the image.
to be flying off from the ledge. The further you place him the more impressive he Open Heli-Small.jpg and Heli-Large.jpg. Completely mask Heli-Small from its
becomes. Add a layer mask to the newly created Smart Object. With a soft brush background. Mask out only the lower third of Heli-Large. Drag and drop both
set to 30% Opacity, brush around the shirt to help amplify the wet look. helicopters to the main comp. Position and scale the helicopters in the scene.

07 ADD SOME MOTION

Blurring the rotor a bit will give the
look of motion. Select the Heli-Small layer and
hit Cmd/Ctrl+J to make a duplicate. Right-click
on the copy and hit Apply Layer Mask. Erase
everything but the rotor. Click Filter>Blur
Gallery>Spin Blur. Mark your blur point in the
centre of the rotor. Adjust the blur angle until
desired blur level is achieved. Hit Enter to
commit the blur. Select the mask on your
original Heli-Small layer. With a Soft brush,
mask away the ends of the rotor.

QUICK TIP: MINIMISE HARD EDGES

When masking, remember: nothing has a totally hard edge. To soften the edges of
your masks you can double-click on the mask and adjust the Feather or select your
Blur tool and, with Opacity at approximately 30%, trace the edge of your mask. This
will help add a touch more realism to your composites.

09 TURN ON THE LIGHT

Often in photography we don’t see the light sources and are
left guessing what is causing the harsh edge lights or coloured

08 ADD A ROPE
He may be able to fly but that doesn’t mean you can’t throw him a rope. Click
File>Place and find Rope.jpg. Scale and rotate accordingly to match the reference file. Mask
highlights. We’ve all been there saying, “There’s no way he could be lit
like that!” The helicopters give the light on our model a source. Make
a new layer named ‘heli-lights’. With white selected, use a Soft brush
the rope, cutting off the end in a way that allows a new end to be painted in. Make a new with Opacity between 10-30%. Brush a large circle centering on the
layer named ‘Rope End’. With a hard-edged black brush, paint a semicircle to mimic a rope helicopter’s spotlight. Set Opacity to 100% and paint in the light to
end. Sample a light colour from the rope and make dots on the end to look like rope strands. effectively turn on the light.

047
 TECHNIQUES CREATE A FLYING EFFECT

10 CREATE A BEAM OF LIGHT

The small helicopter also needs its light
turned on. Repeat the process from Step 9 on a new
11 GET THE MODEL WET
Let’s add some fake water. Make a new
layer named ‘water drops’. With a white brush set to 12 MAKE THE WATER CLEAR
With the Layer Style set commit the
layer. However, instead of a large circular pattern, 85% Hardness, make a random line anywhere on changes by hitting enter. The water on the subject
paint a long stroke to achieve a beam of light. The the model. Add a Bevel and Emboss layer style to the should be clear with no tint. To achieve this select fill
light will naturally be more spread out and dimmer water drops layer. Adjust the settings as follows. from the upper right corner of the layers pallet and
the further away from the helicopter it gets. This can Style: Inner Bevel, Depth 40-80%, Size 1-2px, Soften drop it all the way to 0. Paint water drops and drips
be achieved by using a layer mask or simply erasing 1-3px, Shading Angle: -151º, Highlight Opacity: 47%, on him. This will be more or less a matter of taste so
the beam with a low-opacity soft brush set to Erase. Shadow Opacity: 14%. Select the shadow colour and experiment until happy. The internet is the best place
If the beam isn’t right, try adjusting it with Free hover over and select a dark shadow colour within for reference. Search for water on skin or water
Transform before erasing and starting over. the model. It should be a deep brownish-red colour. droplets to see how water will look.

QUICK TIP: PLACING REFLECTIONS

The ‘devil is in the details’ – the more time you spend attention to all the elements in the image. Ask
on the details the more believable the final result will yourself, “What would have a reflection?” Dry areas
be. When adding reflections in the background, pay under cover won’t reflect while wet areas will.

001

14 GET THE WET LOOK

When it rains, several things happen. The
environment darkens and the contrast and
specularity increase. Add a Curves adjustment layer
above the City layer. Click on the lower half of the
Curve to add a shadow point. Slightly drag this down
to deepen the shadows. Repeat on the upper part of
the Curve and drag up to increase the highlights. Add
003 a layer mask and fill with black. Paint white to reveal
the Curves adjustment only on the road.

002

001 INTENSIFY THE HIGHLIGHTS 002 DEEPEN THE SHADOWS 003 DARKEN THE CHOPPERS
Set your brush Hardness to 40% and find
highlights throughout the background. Dodge
With black, deepen shadows in the
background. This will start to give a 3D
Create Dodge and Burn layers. Hit Cmd/
Ctrl+Alt+G to create clipping masks.
15 ADD REFLECTIONS
The next step in achieving the ‘wet look’ is to
add reflections to the road. Select the City layer and
those areas to intensify the wet look. look to the image. Darken areas of the chopper seen in red.
Hit Cmd/Ctrl+J to duplicate this layer. Right-click on

13 DODGE AND BURN

Dodging and burning will not only
accentuate the model’s already muscular physique, it
check the box for Fill with Overlay Neutral Color. Hit
Enter. With a Soft brush set to 0% Hardness and 10%
the layer in the layers palette and select Apply Layer
Mask. Duplicate the layer once more and turn off the
eye directly to the left to hide this layer. Select the
will allow for the adding of specular highlights to Opacity, paint along the natural shadows with black original duplicate and go to Filter>Blur>Motion Blur.
help with the wet look. Hit Cmd/Ctrl+Shift+N, name and the natural highlights with white. Build up the Select an amount that blurs the details of the layer
the layer ‘D&B’, set the blend mode to Overlay and layers of white and black to really make things pop. similar to the step image here.

048
 17 CONSIDER THE SIDEWALK REFLECTIONS
Reflections in the sidewalk will be a bit more
18 WORK MORE ON THE REFLECTIONS

16 WORK ON THE REFLECTIONS

Hit Cmd/Ctrl+T and then right-click and hit
Flip Vertical. Align the top of the layer along the
clear since the concrete is both smoother and
receives less traffic during rain. Select the duplicate
city layer. With your preferred selection method, select
When the angle has been matched, hit
Enter. Change the blending mode to Overlay and
reduce the Opacity of the layer to 30%. Hit Cmd/Ctrl
bottom third of the image. Change the blending the right side of the smaller white building. Hit Cmd/ +L and adjust the slider to match the image. Next
mode to Overlay. Hit Cmd/Ctrl +L and adjust the Ctrl+J to duplicate the selection. Hit Cmd/Ctrl +T to make a layer mask and with a soft brush mask away
Levels to match the image. Add a layer mask and hit Free Transform. Right-click and select Flip Vertical. some of the hard edges and parts of the building that
Cmd/Ctrl +I to invert the white to black. Paint white Right-click again and select Distort. While holding protrude into the street. Repeat this process on as
to reveal the reflections only on the road. Click the Shift and Alt, grab the centre control point and move many pieces of the buildings and objects as needed
eye on the duplicate city layer you made in Step 15. up or down to match the angle of the building. to achieve the effect.

19 MAKE IT RAIN
Install the Real Rain Drops brush from
FileSilo. Load and select the brush. Create a new
layer at the top of your layer stack. Select white
and click and drag around the image. Select
Filter>Blur>Motion Blur and select a distance that
best matches the reference photo. Double-click
on the rain layer thumbnail in the layers palette.
Drag the left-most control point towards the right
until the rain starts to disappear. Hold Alt/Option
and drag the left control point to the left to feather
the effect. This is called Blend If.

Often a very subjective

process, colour grading
20 USE COLOUR GRADING
Often a very subjective process, colour
grading can be the salt and pepper to a finished
layer ‘Tones’ and set the blending mode to Luminosity.
Name the second ‘Colour’ and set the blending mode
image. Sprinkled with care it can elevate the image; to Color. Select both layers and group them. Name the
can be the salt and pepper to carelessly slopped and it becomes a cheap effect. group Colour Grading. Mimic the diagram here. The
a finished image Create two Curves adjustment layers. Name the first reference photo has a few additional enhancements.

049
 I also wanted to create something
from (computer generated) wood
for a long time,” he adds, “so this was
the inception of the idea

© Jeremy Kool

WOODEN
RHINOCEROS BEETLE
JEREMY KOOL
AUSTRALIAN JEREMY KOOL IS CURRENTLY WORKING IN BERLIN AS A GAME
CHARACTER ARTIST, BUT HE STILL HAS TIME FOR HIS PERSONAL IMAGES

J
eremy Kool (www.society6.com/jeremykool) generated) wood for a long time,” he adds, “so this was then rendered the images in V-Ray. From there it’s
has wanted to have a rhino beetle on his wall for the inception of the idea.” back to Photoshop to compile the renders and create
a long time, but he didn’t want to buy a dead His process is a straightforward mix of Photoshop the final image.” And Wooden Rhinoceros Beetle is the
one, so he decided to use his Photoshop, Maya and 3D, with Photoshop used at the beginning as well first in a series. Kool is currently working on a Cicada,
and V-Ray skills to create himself one. “I also as the end: “I use Photoshop to create the textures,” he and then he’s going to tackle a Long Horned Beetle.
wanted to create something from (computer explained, then he “modelled the creature in Maya and “The series will be called Beetles of Wood,” Kool adds.

050
 HOW I MADE TECHNIQUES

01 TIME TO TILE
I sourced photos that are lit evenly so that I can easily make them tile-able. I
02 BACK TO BLACK
I used the same image and Hue/Saturation to create the darker
texture. I also needed a displacement map that helps with detail and lighting at
tiled the image by duplicating the layer and using the Offset filter. Then I masked out render time. To create this it was a simple matter of using a Black and White
the seams and did some hand painting and cloned over problem areas. effects layer and Levels layer to get the black and white details of the wood.

03 THE WINGS OF A BEETLE

I needed some wings for my beetle, so I hand-painted a black-and-
white image that will function as a mask for the fine detail of the wings. Then,
04 MA9!Ĉ4/Ĉ6Ɏ2!9Ĉ4/Ĉ0(/4/3(/0
The modelling was all done in Maya and then I rendered
out the different passes in V-Ray. Now the fun part was ready to
with all my textures set up, I was ready to open up Maya and model. begin, as I went back to Photoshop to finish the image.

051
 TECHNIQUES HOW I MADE

05 SHARPEN UP
Once I had taken the render files back into Photoshop, I then started
06 IN AND OUT OF FOCUS
I then used a Lens Blur using the Z-depth pass as a layer mask.
This created a depth of field effect and really enhanced the realism of the piece.
by using a Smart Sharpen filter on the render to make those details sing. The Lens Blur gives me a lot of control over the blur amount and focal depth.

MATERIALS MATTER
KOOL LIKES TO CHALLENGE HIMSELF TO CREATE
A VARIETY OF DIFFERENT CG MATERIALS
Detailed textures are critical to Kool’s work. As well
as the wooden beetle, he also creates animals that
look like they’re made of paper, and has rendered
himself in soft puppet form. He explains: “I started
by sketching the concept in Photoshop. Once I was

07
happy with the design, I created the mesh in Maya
SHINE A LIGHT
and then spent a long time in Photoshop getting the
To bring the lighting up, I duplicated and merged all layers (Ctrl+Alt+Shift+E) and set this to Screen.
felt texture looking convincing.”
I set the opacity quite low, but I find that this lightens up the details of the image without blowing out the details.

08 WARM IT UP
To finish, I once again duplicated and
merged all the layers (Ctrl+Alt+Shift+E) and set this
to Overlay at 15% Opacity. This really helps deepen
the colours and pop the highlights.

052
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 CONTROL TONE AND
COLOUR IN SCENES
PAINT A WHIMSICAL LANDSCAPE BY USING THE
POWER OF LINE, VALUE, AND COLOUR

I
n the following tutorial, you will become skilled Bierstadt and other Hudson River School painters fantasy-like painting. When following this tutorial,
in painting a digital fantasy landscape in mimicked Romanticism using atmospheric search the web for various landscapes such as
Photoshop that will resemble magnificent perspective in their landscapes to emphasise depth, canyons and waterfalls for inspiration, but do not
worlds like the ones in Nintendo’s Legend of and saturated colours for focal interest. Similarly, be hindered by the laws of nature. Let your
Zelda or Disney’s Maleficent. Since this after we finish sketching the line art and placing our imagination run wild. For an effective painting, it’s
demonstrated painting style is quite loose, a pen grey values, we will explore how different colours also important to understand the elements of
tablet is strongly recommended. Before diving and brush blend modes affect the layer underneath. design, such as scale and balance. If you are a bit
into Photoshop’s intuitive interface, research the Bierstadt also emphasised scale and grandeur. rusty, simply search for ‘design elements and
paintings of Albert Bierstadt, particularly Among Mountain ranges, waterfalls, and vegetation were principles’ to brush up so that you can start this
The Sierra Nevada Mountains. not necessarily true-to-size, which led to a more tutorial with confidence.

054
OUR EXPERT
ADAM VARGA
www.vargaa.com
@avarga89
Adam Varga specialises in
environment concept art and
matte painting. He believes
combining your knowledge of
traditional art fundamentals and
emerging digital platforms is the
key to successful digital art.

SOURCE FILES
On FileSilo (www.filesilo.co.uk/
advancedphotoshop) you can
get the brushes used in this piece,
a greyscale version of the piece
for colour practice, and a real
time video of the painting process.

055
 TECHNIQUES CONTROL TONE AND COLOUR IN SCENES

WORK IN
PROGRESS
FROM SKETCH TO
FINAL PAINTING

Progress 1: Sketch line art

Progress 2: Add greyscale value 01 SET UP PARAMETERS

Before beginning a painting, ensure all
02 DEVELOP LINE ART
Now that all our settings are in place, create a standard hard
round brush at about 7px size and about 70% Hardness. Hit the D key to
settings are correct. Now is a good time to download make sure your default black foreground colour is active, and begin
the brushes from FileSilo. Create a new document at drawing. Sketch outlines of mountain ranges and cliffs, working
2050 pixels width, 1080 pixels height, 300dpi background to foreground. Keeping in mind the rule of thirds, draw the
resolution, and 8 bit with a white background colour. horizon towards the bottom line and major cliffs at the vertical lines.
In the top right corner of Photoshop, make sure your Keep shapes generally loose, as they will be refined later.
workspace is set to Painting. Go to Window>Brush
and check Shape Dynamics and Transfer as well as Flip the canvas often, as elements
the small locks next to them. Selecting pen pressure
Progress 3: Add colour as your control, edit the minimum diameters of both
tend to shift in the direction of your
and details to suit your pen tablet preferences. dominant hand
03 ESTABLISH GREYSCALE
Once you have a decent line art drawing you can begin
placing the greyscale values. First, select a middle grey, #555
in the colour picker window, and change your brush to about
170px in size and about 10% Hardness. At the top, choose
Multiply as the brush’s blend mode and reduce Opacity to
about 30%. Fill in your outlines with grey, using pen pressure
to paint lighter values in the distance and darker in the
foreground. Your line art should still be visible at this point.

04 LASSO IN SHADOWS
To emphasise the shadows on the cliff sides, tap L for
the Lasso tool, and trace around the bottom portion of cliffs or
mountains that will be in shadow. Hold down Shift to add to the
selection, and draw rock shapes on the left and a few more
crystal-shaped ones protruding near the mid-ground. Select
the Charcoal brush from Photoshop’s Dry Media brush set and
paint in a dark grey. Shade in these areas using random
strokes and keeping the Opacity high at around 90%.

05 ADD ATMOSPHERIC HAZE

Flip the canvas often, as elements tend to shift in the
direction of your dominant hand. Now that your shapes are more
solid you can select a large 500px Soft Round brush at 0%
Hardness. Change your painting mode to Overlay and, using the
colour picker (Eyedropper tool), spot-select and lightly paint a light
grey in the background, and dark grey in our foreground. Play with
Color Dodge as well to show a bright light source, which in this
painting is beyond the mountains towards the right.

056
 QUICK TIP: PRACTICE PAINTING
Reading each tutorial step may become technically different settings is highly encouraged. Much like in oil
overwhelming. Viewing the real time video of the painting painting, it’s not always the actual brush and paint that
and practicing on a blank canvas with each brush and its make the piece, but rather your technique.

06 REFINE YOUR SHAPES

Increase the Hardness to about 60%,
reduce the size of the brush, and begin
painting over the general shapes for refining.
Lassoing comes in very handy at this point, as
you can define sharp edges and create jutting
cliffs in a matter of seconds by simply painting
in your selection. Use your Eyedropper tool
(Alt/Opt) continuously in this step to match
the particular area you are painting in. Begin
using the Rock brushes at varied sizes for
rock highlights.

07 REPEAT AND RANDOMISE

At this point you simply repeat the
previous three steps. Lasso, add highlights and
shadows, and refine the shape. Play around
with the downloaded brushes and try the Rock
and Pebble brushes for hard surfaces and the
Cloud ones for haze and our waterfall mist.
08 ENHANCE THE BACKGROUND
Since the background is a bit bland at this
point, use the Lasso tool to carve out large rock
Don’t forget to use your different painting formations and paint a grey darker than the sky
modes to achieve more contrasting values. beneath using a 0% Hardness brush sized at 400px
Multiply adds shadow and Overlay/Color Dodge or above. Keep the selection intact, and paint in
emphasises brights. Staying with a high Overlay mode towards the top to darken and in Soft
opacity, detail the grounds, the underlying Light to add haze towards the horizon. Now, select
rocks, and use a flat brush with a white (#111) the rock brushes and paint textured highlights and
for the waterfalls. shadows, altering size, opacity, and blend modes.

09 ADD SOME LITTLE ROCKS

Use the Lasso tool and scatter several various jagged-
edged small rock shapes around the canvas, emphasising cliff edges 10 FINALISE GREYSCALE
Before heading into colouring, ensure that values, contrast, and details are
and the foot of mountains. Choose a Soft Round brush and fill in with sufficient. Use the Rock small brush at 100% Opacity, 60-80px. In the brush window
grey (#222). Tap V for the Move tool, hold down the Alt/Opt key, and (F5), keep Shape Dynamics and Transfer set to about 10% minimum pen pressure. In
drag a duplicate layer. The layer right under the current one in the brush mode, hold the Alt/Opt key to sample your greys and vigorously detail the
layer window will be used as our shadow layer. Go to landscape, adding grass textures and rock highlights in the distant mountains. The
Filter>Blur>Motion Blur, angle the layer proportionate to your light Kekai brush can be used for small bushes or flowers. Alternate your brushes
source, and lower the distance to about 30 pixels. frequently and don’t stick with just one painting technique.

057
 TECHNIQUES CONTROL TONE AND COLOUR IN SCENES

12 ADJUST HUE AND SATURATION

Create a new Hue/Saturation adjustment 13 ADD SOME COLOUR DETAILS
Now is a good time to open your Color

11 MAKE A COLOUR OVERLAY LAYER

Create a new layer, name it ‘Colour Overlay’,
and change the blend mode to Color. Open the colour
layer and set Hue at -15, Saturation at +41, and
Lightness at +5. Right-click the layer name and
create a clipping mask. Get in the habit of always
panel by going to Window>Color. Use a variety of
the loaded brushes, and set them to an Opacity
above 80%. The Drawer brush is excellent for
window and choose hex# 9daa88. Select a 500px soft using adjustment layers to edit colour or brightness, grass or rough textures, and the Texture Draw
brush and paint the greens accordingly. Select as they can always be tweaked or masked later on. brush, rotated 90 degrees, is great for grass. Use a
another darker green and paint over the shadows. Now, create a Color Balance adjustment layer and big soft brush for the waterfall mist, and a 15px
Choose hex# 7b92b5 for the background, and #bef5ff edit the Shadow, Midtone, and Highlight levels to Hard Round brush for distant lightning. Remember,
for the waterfalls and atmospheric haze near the your liking. For this particular piece, Midtones were Color Dodge and Overlay painting modes can
horizon line. Again, select from various brushes and set at (+8, -7, +2), Highlights at (-11, -12, -1), and convey highlights so use those in conjunction with
alter their settings so you get a precise overlay. Shadows at (0, 0, +13). your brush selection and colour choices.

15 FINALISE COLOUR

14
During the final portion of the greyscale Use a 400px soft brush at low opacity and Color
INSERT RAYS OF LIGHT
painting, you detailed the landscape. Refer to Step 10 Dodge painting mode to really emphasise the
There are two methods to achieving rays of
and repeat this process while exploring all brushes. waterfalls, sun, and clouds. Finally, create a new
light. One is painting with the Light Beam brush in
Load Photoshop’s default Dry Media brushes and adjustment layer for Color Balance, Brightness and
Overlay mode. Or as shown in the video, you can
select the Charcoal Flat brush at high opacity for Contrast, or Hue and Saturation and tweak your
create a new layer and select either the Render
streams, refining the waterfall, and mountain ridges. painting to perfection.
Scratches or Rock Highlights brushes at 1400px and
100% Opacity and paint a light beige and light blue
QUICK TIP: CREATE NONDESTRUCTIVELY
colour. Go to Filter>Blur>Motion Blur and set the
Use all the error-proofing capabilities that Make a habit of using the fill and adjustment
angle to -90° and the distance to about 250 pixels.
Photoshop offers. Once you are confident in the layers, located at the bottom of the layers window.
Then go to Edit>Transform>Distort and pan the
path of your piece, go to Image>Duplicate to These steps will ensure you won’t have to keep
bottom corners outward and the top corners inward
create an identical canvas. tapping Undo.
so the light beams appear more radial.

058
 LEARN TO INSPIRE
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 © Juan Manuel Molleví

© Guy Shields

AUTUMN FOREVER
GUY SHIELDS
MELBOURNEBASED ILLUSTRATOR GUY SHIELDS CREATED AUTUMN FOREVER
FOR THE QUARTERLY KILL YOUR DARLINGS. HE EXPLAINS HOW HE DID IT

I
llustrator Guy Shields (www.guyshield.com) vibrant red foliage onto the wall behind an Shields explains that sometimes he splits his
explains “They give me free rein with the otherwise naked tree. To make the narrative more images “into foreground, middleground [and]
cover concept… And with autumn around the interesting, I introduced some police officers on the background layer sets, so I can control the sense of
corner, I decided to make that the focus of that left, spectating rather than arresting, as if to depth. I’ll set about building up the colours over
cover. I just remember having a bit of a brain spark suggest that in this case, admiration of culture several layers (in some cases, hundreds) and finish
and imagining someone super-imposing the overtook persecution.” the piece by adding shading and adjustment layers.”

060
 HOW I MADE TECHNIQUES

I just remember having a bit of a brain spark and

imagining someone super-imposing the vibrant red
foliage onto the wall behind an otherwise naked tree

02 PERFECT THE TREES

Once scanned, I moved things around to work better within the

01 SKETCH START
I started with a pencil rough, and then refined it over a lightbox onto a fresh sheet
of paper. Then I used a sable brush and india ink to make it nice and black and white.
composition, and I ended up redrawing the tree digitally as I wasn’t quite
happy with it in the end. Then I converted the line art into layers. I like to
work using colour fill layers, which ensures that I have the flexibility to go
I scanned it into Photoshop at 1200dpi, and then downsampled it to 600dpi. back and easily change certain colours throughout the process.

03 SHADES OF AUTUMN
Now I introduce toning and shading,
using additional colour fill layers set to
Multiply. Then I use key adjustment layers
and Gradient Fills, set to Overlay, to bring
warmth to the piece and to make the colour
a little more harmonious and dynamic.

061
 TASTY TYPE TRICKS TECHNIQUES

TASTY
TYPE TRICKS
A SIMPLE WAY TO CHEAT AT COMPLEX 3D FOOD TYPOGRAPHY
OUR EXPERT

W
NEIL DUERDEN
www.neilduerden.co.uk
e have a tastetastic 3D tutorial for you, those of CS6, and promising updates on the @neilduerden
A self confessed Mac monkey,
a way to create complex 3D horizon. So it is perfectly possible to create 3D exceeding briefs for blue chip
clients globally.
typography effects without the use of typography exclusively in Photoshop, although if
separate rendering programs. It’s a you’re a 3D whiz then you may want to create SOURCE FILES
simple way to get the rendered effects expected some base renders in an alternative program to There is a glint overlay supplied for
this tutorial on www.filesilo.co.uk/
from other software without needing to learn a experiment further with the style. The text here advancedphotoshop. It can also be
whole set of other programs. Usually Neil Duerden was created in Illustrator and then imported into used for many other applications
from car highlights through to
would render these in a separate program, so we Photoshop, but CC’s improved typography tools cheesy packaging highlights if that’s
the look you are after.
issued him the challenge to create food typography mean that you could also create your text in
within Photoshop as much as possible and this is the Photoshop, either from scratch or using a
way to do it. pre-existing font.
It’s worth noting that both Photoshop CS6 (used The tutorial will let you use your own personal
here) and Photoshop CC both have 3D rendering judgement and artistic skill so you get the results
capabilities, with CC’s significantly more evolved than you want. Let’s get ready to render.

PREPARING THE BASE

IMPORT THE RENDER PASSES AND CUT OUT THE PLANES

WORK IN
PROGRESS
FROM BASIC TEXT TO
EDIBLE LETTERING

Progress 1: Prepare the base

01 PREP THE COMPOSITION

Create your text in Illustrator or using a
pre-existing font and consider how the image will
look and the way the text will interact. Use
different colours for each word – although these
02 GET STARTED WITH 3D
Select the layer you wish to render and go
to 3D >New 3D from selected layer. Wait while the
won’t be the final ones to be used, they help you computer builds a rough preview. Then in the 3D
see the interaction between the words. Paste the selection palette, click on the Front Inflation. Look in
letterforms into Photoshop, making sure the the Properties palette and you will have many
documents are the same size, and arrange them options for texture and colour. Choose the one that
correctly. Make sure each word (or even letter) is looks right for your treatment. You can also alter the Progress 2: Add the details
on a different layer, and labelled properly. colour here by changing the Diffuse values.

03 PLACE THE BASIC LIGHT

Choose your light source direction,
select the Global Light from within the 3D
palette and then, with the Selection tool, move it
to the desired light direction. This can be used
for the whole piece in one stroke, but to simplify
the tutorial and give us more options later we
will do it on a layer-by-layer basis. Progress 3: Final touches

063
 TECHNIQUES TASTY TYPE TRICKS

04 CREATE HIGHLIGHTS
Click on the new layer icon at the bottom of the 3D palette and
select New Spot Light, move this to give the lighting that suits your piece 05 RASTERIZE THE LAYER
With the layer you have been working on selected in the Layers palette, right-click
the best. Remember that this will affect all the edge highlighting further and rasterize it. Then go back to your Illustrator file (if using Illustrator; if not, do this in
down in the process. Then go back to your lighting layers and adjust to get Photoshop) and create the same text with a stroke on. Paste into the document onto a
the best look you desire for the type. Now duplicate the layer you are layer above the rasterized layer. Repeat the 3D steps as before, but reduce the Extrusion to
working on. At the bottom of the Properties palette is a small isometric- a level that looks good. We’ve used a value of 165 for the example. Also on the 3D palette,
square icon. Click it to render your text. This may take a while on older or select Environment, then in the Properties palette put the Shadows down to 0%. This will
slow machines. remove the shadow over the main rendered body.

QUICK TIP: PLENTY OF RAM

Save regularly as when rendering Photoshop does much and does put a bit of strain on some machines.
sometimes decide to throw a spanner in the works! So if you have the choice, work on a machine that
The complex mathematics is sometimes a little too has loads of fast disc space and plenty of RAM!

08 FOOD TIME
Next we are to add the food element.
Choose stock photography food textures that fit into
your chosen theme, think of how they will work

06 DUPLICATE IT
Duplicate and then rasterize this layer
07 CLEAN UP THE MATHS ERRORS
As this is a simple tutorial, we have not
rendered this text in a 3D program. Photoshop quite
within the letterforms and then draw Paths around
the selected areas you wish to add to your piece.
Activate these Paths and then copy the area. Return
as in the previous steps. Then complete the 3D often throws up errors in its mathematics. Simply back to the master artwork and then draw a Path
treatment for the rest of the text using the steps zoom around your text and, using the Clone tool, clean around the area you wish the food to feature on,
as before for your guide. Remember to arrange up any areas that have abnormalities, Some edges ideally below the outlined section we created in 3D
the lighting to work the same as the other layers may have slight edge artefacts; draw a Path the correct earlier. Then make the Path active and paste your
and to get the look you require for the final piece shape using the Pen tool, select and delete the extra imagery into the area you require using the Edit>
as you see it. angles, then clean the areas with the Clone tool again. Paste Special>Paste Into command.

064
 ADD AND REFINE THE DETAILS
IT’S TIME TO MAKE THE TYPE REALLY TASTY

09 MASK OFF LETTERS

This layer will now have a layer mask.
Click on the mask in the Layers palette, and using
10 CONTINUE MASKING
Once you are happy with the area on one
letter move on to the next. In your original sketch you
cake and chocolate, or mixed colour fillings. Have fun
and create something that works for the look you are
the Brush tool, carefully remove sections of this should have thought about how these letters look and going for. Remember to allow sections of each layer
mask by painting white on the mask. Think about the colours of the fillings, for instance all browns, like to show through slightly to add interest.
allowing areas to break through, be visible and
interact with the lines of the text to add interest
and interaction. If you make a mistake simply
Undo or alternatively paint black instead, which
will stop that area being visible.
001

002

003

Consider how details will

interact with the filling: is
the solution gloopy like honey or 001 CAKE 002 SWEETS
A cake effect is applied to the letter T on The candy texture on the left-hand side of
003 FRUITY TEXT
A strawberry texture is used on the letter S.
the word tasty, and masked so that the T the letter A is duplicated onto its right arm The Clone tool can be used to extend the
solid crumbs that bounce? on type swirls around it to form the symmetrical arms of the letter. texture if it doesn’t fill the entire letter

12 GROUP, DUPLICATE AND MERGE

Combine all the layers together in a single
folder and then duplicate it. Then select this folder 13 ADD MORE DETAIL
Source some photography or take your own

11 ADD DETAILS
Add details above this whole section:
drops of chocolate, apples falling from the stack,
and merge the layers using the command in the
Layers palette. Next move this down the layer stack
to above the background and, using the Edit>
shots of some food-related items that add interest to
the piece, for instance strawberries, and draw a
Clipping Path using the Pen tool in the Tools menu.
drips and drops. Consider how these will interact Transform>Perspective or Distort commands, make Then copy and paste these items either in front or
with the filling: is the solution gloopy like honey the reflection look either forward or backwards behind the typography section. Add shadows either
or solid crumbs that bounce? Add as much or dependant on the look you require. Once you are by hand on a separate layer below the item, turning
little as you feel is necessary without making happy with the look, reduce the opacity of the layer to the layer mode to Multiply and changing the opacity,
the legibility suffer. Sometimes less is more in a look that you think is best. You can also add a layer or by using the automatic Drop Shadow facility in the
these cases. mask and fade it off if you require. Layer Styles palette.

065
 TECHNIQUES TASTY TYPE TRICKS

FINAL TOUCHES
NOW ADD HIGHLIGHTS, MAKE THE COLOURS POP AND SHARPEN

14 ST/0Ĉ!.$Ĉ2%Ɏ%6!,5!4%Ĉ
Have a brew, walk away from the design and
take a break, you will have been staring at the screen
QUICK TIP: EXPERIMENT WITH ADJUSTMENT LAYERS
Adjustment layers can really make parts of your image pop, but sometimes the overall effect isn’t what’s
required. Adjustment layers come with a layer mask already built, so simply mask out the bits you don’t want.
for a while now and may have gotten too familiar
with your artwork. Come back and take a new look at
it. With fresh eyes you will spot any errors or glaring
sections that don’t work together more easily as you
will now be looking at this as a whole. Now if you are
happy, proceed, if not correct the individual areas or
entire composition until it looks its best.

15 AD$Ĉ4(%Ĉ',).4
A glint is included in the files supplied with
this tutorial on FileSilo. Simply paste the layer over

16
the top of your design, position it where you think it
AD$Ĉ()'(,)'(43

17
should go, and then change the layer mode to
Add a layer at the very top of the layer stack, MA+%Ĉ4(%Ĉ#/,/523Ĉ0/0
Screen and the glint will be added. Adjust the
set the blending mode to Overlay and then simply Adjust the colours now to make it pop. This,
opacity to customise the effect.
paint white sections over the top of the image. The again, is down to personal judgement. Go to Layer>
opacity of this layer will need to be reduced down to New adjustment layer and select Vibrance. Now
a level that suits the look you are after. Try to adjust the sliders to get the balance you think looks
highlight areas to create more interest and create right; this can be from less saturated to mega-
focal points to lead the eye around the design. saturated dependant on the feel you wish to achieve.

TASTY INSPIRATION
Food-based typography is a big trend at the
moment and it offers you almost limitless
possibilities depending on the message you want
to convey and the foodstuff you use. Consider your
choice of typeface wisely – for example, a font
with long descenders will be good for an
illustration based on the melting cheese and
dripping sauces of a burger, while an illustration of

18
fairycakes will suit a whimsical serif or cursive
SH!20%.Ĉ7)4(Ĉ()'(Ĉ0!33
style. Consider font combinations and how they’ll
Duplicate all layers into a single stamped layer with Cmd/
express your message, and the colour
Ctrl+Shift+Alt/Opt+E. Change this layer’s mode to Overlay and go to
combinations that your chosen foodstuffs will
Filter>Other>High Pass. Play with the levels of this filter until you find a
provide – follow the same rules of good
level that suits you and gives the detail a little more presence. Reduce
illustration you’d use in any other piece!
the layer’s opacity and that’s it! All done and your piece should be ready!

066
 BUILD A BETTER WEB
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 In the early stages I use
countless layers, but
eventually I will merge down
to a single layer to work on

© Shannon Maer
 HOW I MADE TECHNIQUES

MERMAID’S WISH
SHANNON MAER
DISCOVER HOW SHANNON MAER MADE THIS ETHEREAL DIGITAL PAINTING

F
or US-based comics and cover artist Shannon For this personal art piece, Mermaid’s Wish, Maer part of this iterative process, although Maer says “I
Maer, “dedicating yourself to your passions is was “exploring a more natural and organic feel in my like to approach the image with as much of a
always an arduous journey. It is both rewarding work… And what better way to explore that than by traditional method as possible. In the early stages I
and a difficult path to follow. The time and attempting to capture the ethereal essence of a use countless layers, but eventually I will merge
energy I invest in my art can feel overwhelming at mermaid? For this very reason, you will see that down to a single layer to work on. Retaining separate
times, but as for the experience of it, each image is a throughout the process, I made several changes in masks and alpha channels however, is a powerful
world that I get to live in during its creation.” pursuit of this goal.” Photoshop is a fundamental asset that Photoshop excels in.”

01 INITIAL SKETCH
Getting an overall feel for the direction of
a piece is vital at an early stage. Limiting it to black
and white helps me to focus on the image in a
purely graphic manner.

02 UNDERPAINTING
Laying down a base for all the colours as
well as the basic shading, sets a tone before all the
03 CONTRAST AND LIGHTING
Here, I both adjusted the pose to add some
life to the figure as well as the early stages of adding
heavy lifting goes into detailing. some contrast and lighting to the environment.

069
 TECHNIQUES HOW I MADE

04 ADDING ATMOSPHERE
With the base already laid in, I could see
that a warmer tone for the atmosphere would both
complement and draw your attention, while still
retaining a separation from the background.

05 UNIFYING THE COLOUR

In order to solidify the picture as a whole,
it is important to maintain a unified colour palette
throughout the entire image. Here I brought much
of the background colours into the foreground
06 REVISE THE COMPOSITION
I wanted the mermaid to feel more inviting
and open to the viewer. Here I feel the image took a
elements as well. step forward and became more interesting.

WORK WITH REFERENCES

3D MODELS MAKE A GREAT POSE REFERENCE
It is vital to lay down a design foundation, prior to
getting carried away with detail work. I like to
begin with small thumbnail sketches. This gives
me a good idea of how strong a composition is. At
this point I began matching my pose in DAZ Studio
in order to generate my base reference. From
here I went back into Photoshop to rough out my
line work and begin to block in my colours.

07 DETAILING
With the revised posed in place, the
same colouring and lighting needed to be
08 DYNAMIC CHANGES
You might hesitate to make a significant
change to your work because of all the time that
matched. The warm glow of the environment you’ve invested, but often these choices are what
lighting is beginning to take shape. brings your characters to life.

070
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 XPERT
VECTORS

© Ladislas Chachignot 2015

DISCOVER PROFESSIONAL ARTISTS’ SECRETS FOR WORKING WITH

VECTORS, INCLUDING HOW TO CREATE VECTORS IN PHOTOSHOP AS WELL
AS BLENDING VECTOR AND PIXELBASED ELEMENTS SEAMLESSLY

072
01. LEARN THE DIFFERENCE: VECTOR VS RASTER
It’s important to note the difference between Photoshop is raster-based, but it can handle Most of the artists featured here will work between
raster and vector artwork. Raster images are vectors. Especially in the most recent versions, it has the two programs, for example designer and illustrator
made of pixels, which are tiny squares that sit its own vector tools to create shapes and type, which Ladislas Chachignot (www.ladislasdesign.com)
together to form an image. These are resolution- can easily be filled with colours or patterns directly explains, “For this portrait [on the page opposite] I’ve
dependent and if you enlarge a raster image, you from the toolbar and using the Live Shape Properties created some coloured shapes in illustrator, then I’ve
will start to pixelate the image. in CC. However, you may need to rasterise these imported them into Photoshop. I can still change the
Vectors are geometric shapes that are created vectors to apply some Photoshop effects, which only size and they will remain perfect. If I want to change
by mathematical lines and curves, and they are work on pixels. Illustrator is vector-based and its main something in the vector shape, I go back to Illustrator,
not resolution-dependent, meaning that you can purpose is to create complex geometric designs. The modify it and re-import it in Photoshop. When you
enlarge them as much as you like without losing two programs work together exceptionally, meaning bring the two pieces of software together, you will have
quality or form. you can blend the best of both worlds. a new source of possibility and freedom.”

02. BUILD A SUCCESSFUL ILLUSTRATION

),,5342!4/2ď!.$ď$%3)'.%2ď34%0(%.ď#(!.ď˴77734%0(%.Ɏ#(!.#/5+˵ď3(/73ď53ď(/7 (% 53%3
TECHNIQUE, COLOUR AND EFFECTS TO BUILD A STRIKING VECTOR ILLUSTRATION © Stephen Chan

Layers to build: “The background

and foreground are built up from
several layers set at different
opacity to blend and create the
floating space scene”

Isometric blocks: “The machine is

made up of many parts, all drawn
separately and randomly.
Everything’s the same angle, so
they fit together like building
blocks. This is the benefit of
isometric illustration”
Aged look: “The top Grain
layer softens the sharp
lines, which gives it an
aged look and the feeling
of static and space”

In the details: “The problem with

Colour choices : “The this method is that you have to draw
monotone colour choice everything. Even if parts are
reinforces the retro look, like blocked/behind other parts, you
it was being viewed on an old need to draw them so that you have
black-and-white monitor the flexibility to move things around”
(with a purple tint)”

03. BLEND PIXELS AND VECTORS

© Ladislas Chachignot 2015

Combining the crispness of vector with the textured, digital painting and flat vector elements.
tangibility of digital painting and making a cohesive I import these vector elements and sort them
design is no easy task. It is the signature style of using separate layers in Photoshop. I often use
French illustrator and designer Ladislas Photoshop to give depth to my images and vector
Chachignot (www.ladislasdesign.com), who elements by adding a Gaussian Blur under the
combines the best of both Illustrator and shapes. I mix Photoshop and Illustrator to give
Photoshop: “I’m attracted to two things in art: the images a modern and geometric look that
digital painting in Photoshop and vector art in would not be possible to do easily only with
Illustrator. I couldn’t choose between them, so I Photoshop. My artworks have a bit of the vector
decided to mix them and take the best aspects [of] art look, but Photoshop allows me to overpass
each. I use Photoshop for its amazing brushes and this and give the image something more
to draw [or] paint directly in the software. I use a interesting. I think my goal and graphic identity is
lot [of] clipping masks, as it’s easy to add texture to mix a painterly style with some flat geometric
without paying too much attention to the outlines. I shapes, as shown in my image here.” You can see
use Illustrator to create a contrast between an overview of this process step by step in Tip 4.
 TECHNIQUES 20 EXPERT TIPS FOR VECTORS

04. COMBINE DIGITAL PAINTING 06. DESIGN A WEBSITE

WITH VECTORS WITH VECTOR ELEMENTS
,!$)3,!3ď#(!#()'./4ď˴777"%(!.#%.%4,!$)3,!3˵ "2%!+3 $/7. /.% /& !$2)ũ. '!2#ų! !+! /7) 3)83%6%.
()3ď34!.$/54ď$%3)'.3ď4/ď4!,+ď53ď4(2/5'( ()3 -%4(/$ 34%0 "9 34%0 ˴WWW.SIXSEVEN.ES˵ %80,!).3 (/7
(% "5),$3 ()3 7%" !.$ 5) $%3)'.3
02/6).' 4(!4 6%#4/23 !2% ./4 *534
&/2 ),,5342!4)/. 7/2+

02 PHOTOSHOP TEXTURE EFFECT

“I isolate my vector shape and paste it into a

01 DESIGN THE VECTOR ELEMENTS

“I create my design in Illustrator, as it’s easier
for me to build complex geometric shapes. I use rotation
new file. I use Image>Mode>Grayscale and add
contrast, then Image>Mode>Bitmap (300 Pixels/Inch,
Method: Halftone Screen). On the next screen, I use
Basic shape tools: ‚5SUALLY TO CREATE AN ENTIRE 5) OR
WEBSITE ) WORK WITH BASIC GEOMETRIC SHAPES IN
0HOTOSHOP SQUARES CIRCLES TRIANGLES AND WILL MODIFY
THEM ACCORDING TO MY IDEA 7HEN IT COMES TO MORE
COMPLEX SHAPES THE 0EN TOOL ALSO HELPS TO DRAW SUCH
or symmetry to create my design and keep the layers Frequency: 15-30, Angle: 45° and Shape: Round. I LINES BUT ;AT THIS POINT= ) USUALLY COME INTO )LLUSTRATOR
and [design] the iconography of the site and combine it
simple. As many shapes are grouped in a few layers, it’s paste my halftone on my colour design and play with WITH 0HOTOSHOP ELEMENTS 4HESE TWO TOOLS COMPLEMENT
EACH OTHER PERFECTLYƒ
[easier] to manage and import in Photoshop.” layer blending modes, like Multiply.”

Consider navigation: A website interface needs to be

NAVIGABLE WHICH IS IMPORTANT TO KEEP IN MIND WHEN
DESIGNING THE DIFFERENT ELEMENTS OF YOUR LAYOUT ‚) OFTEN
COMBINE COLOURS IN USER INTERFACE ELEMENTS AS THIS CAN
GREATLY HELP IDENTIFY THE USER…S NAVIGATION 5SING A SIMPLE
RHOMBUS THIS SCREEN IS WHERE THE USER CAN NAVIGATE
AROUND THE INTERACTIVE MAP !LL THESE ELEMENTS AND FORMS
WERE CREATED IN 0HOTOSHOP AND THE ICONS ARE CREATED
WITHIN )LLUSTRATORƒ

03 CREATE A TEXTURED BACKGROUND

“Here, I’m adding textures comprised of
photos and also adding some light effects to the eyes
of the bat using soft brushes, with the layer blending
mode set to Lighten. My goal is to [contrast] the
clean aspect of the Illustrator shapes, with some Keep it clean: It is easy to overpower designs with too
MANY VECTOR ELEMENTS BUT THIS CAN MAKE IT HARDER TO GET
textures and brushstrokes using Photoshop.” AROUND A WEBSITE ‚)T IS ALSO IMPORTANT TO DESIGN A CLEAN
INTERFACE WITHOUT DISTRACTIONS -Y STYLE IS USUALLY MINIMAL
© Ladislas Chachignot 2015 so I use spot colour combined with fine lines [to achieve
THIS= )N THIS SCREENSHOT YOU CAN SEE THE SILHOUETTE OF THE
05. WORK BETWEEN ILLUSTRATOR USER CREATED WITH A SIMPLE LAYOUT IN 0HOTOSHOPƒ

AND PHOTOSHOP
If you have Creative Cloud, then you have access to
qď-ICHAELď7ILLIAMď,ESTER
both Illustrator and Photoshop. In the latest
versions, the two programs work together
seamlessly and they have also closed the learning
gap, by ensuring that if you know one program, you
can pick up the other due to similar interfaces and
tools. We recommend that if you’re unsure with
Illustrator, you spend some time getting to know it,
as it can be used to enhance your Photoshop work.
“Photoshop is the perfect companion to Illustrator,”
says freelance designer and illustrator Michael hand-finished touches while retaining the edibility of Think about structure: Some pages in your design will have
TO STRIKE A BALANCE BETWEEN THE VISUALS AND TEXT WITHOUT
Lester (www.michaelwilliamlester.com). “From a your vectors. Vector Smart Objects in Photoshop are BREAKING THE CONTINUITY THAT YOU HAVE ALREADY ESTABLISHED
© Owi Sixseven

‚7HEN YOU GENERATE THE PAGES WITH MORE TEXT ALSO DESIGN A
technical point of view, it allows you to get your integral to my workflow allowing me to edit my NUMBER OF VECTOR 5) ELEMENTS TO CONTAIN THE PARAGRAPHS 4O
EACH OF THESE ;ELEMENTS= ) ADD A STYLE THAT BALANCES BETWEEN
illustrations print and web ready, while from an individual vectors in Illustrator while preserving the COLOUR AND THICKNESS AND ) WILL RE USE THESE IN OTHER SCREENS
4HIS IS IMPORTANT TO MAINTAIN A HOMOGENEOUS STRUCTUREƒ
artistic point of view it gives you the ability to explore composition in Photoshop.”

074
 07. BUILD VECTOR ILLUSTRATIONS FROM PHOTOS

© CranioDsgn. All rights reserved

Vector designs don’t always have to start from Once the vector design has been built up, Garcia
scratch. By using photography, you have a guide to finishes the look of the illustration using Photoshop
work from to build up vector elements for an textures: “When I’ve finished ‘vectorising’ the
effective illustration. This is a method that Alejandro illustration, I apply a texture that I have generated
Garcia of CranioDsgn (www.craniodsgn.es) often previously in Photoshop in order to give the vector
employs: “My artwork is always created from illustration a warmer aspect, because without this
high-resolution images to achieve a greater level of texture [the whole illustration] may seem colder.”
detail in the final artwork. They can be personal
photographs, from photographers or supplied by
08. MAKE AND USE
customers. I also work on my illustrations from BESPOKE TEXTURES
collages or compositions prepared by myself and We’ve already looked at using Photoshop to create and
used as the basis for my work.” apply textures to your vector artwork to make it pop,
Once the source material is in place, it is time to but there are more ways of creating textures than
start the process of building a vector design using the using photos. Vector illustrator and graphic designer
guide created. While Garcia switches between Alejandro Garcia uses bespoke noise textures and
Illustrator and Photoshop to create his design, the layer blending modes: “I create textures by
same method can be applied in Photoshop solely, desaturating an image and forcing the levels of black
using the Pen tool to painstakingly trace over all of and white to break the image. After removing the
the elements of the source photograph: “Usually I white areas with a Selection tool, such as the Magic
only use the Pen tool. I know that this may seem Wand, [I create] a personal noise texture. Photoshop’s
laborious work, but it allows me control over the Linear Burn blending mode helps me to integrate
entire process of creating the artwork.” This takes a textures that have previously generated [into my
good knowledge of the Pen tool and how to use it illustrations]. I also use layer effects, such as Color
accurately to be able to build up the small areas of Overlay, applying it to one of the textures I’m using, and
detail. When this is done purely in Photoshop, it is the Drop Shadow effect in a very subtle way, with a
often referred to as a vexel – combining vector tools percentage of Noise between 20% and 34%. Finally, I
and pixel elements. use Curves/Levels adjustment layers to control the
shades and intensities of colour.”
© CranioDsgn. All rights reserved

© Michael William Lester

09. CREATE A VECTORBASED UI
WEBSITE AND USER INTERFACES OFTEN USES VECTOR ELEMENTS 10. ADD TEXTURES
FOR NAVIGATION AND LAYOUT, AS ADRIÁN GARCÍA EXPLAINS
IN PHOTOSHOP
One of the joys of using Photoshop over Illustrator is
the program’s ability to add textures to vectors to break
the clean lines and give them a bit of depth and feeling.
Mobile design: “In the
mobile [version of the] Freelance designer and illustrator Michael Lester says
design, I also used
geometric shapes within that this is one of his favourite processes: “Before you
the user navigation,
Photoshop shapes: “All the modifying them for use open up Photoshop, you have to go through a process
basic elements shown here on a touch device”
have been created using of choosing your textures. There are a lot of
the basic geometric shapes
built into Photoshop” downloadable texture libraries (free and paid) out there,
but they will never beat your own custom textures.
Take a look around your room and you’ll find
endless possibilities. In the past I’ve scanned notebook
covers, wallets, sandpaper and even a basketball.
Make a single PSD file with all the textures to choose
from and start dropping them over your Vector Smart
Central focus: “In the central
Menu bar: “The main menu area, is the main viewing Objects, playing with the blending modes. Before you
© Adrián García

consists of several UI experience. This was created

elements focused on user through the animation of know it you’ll have your own extensive custom texture
navigation, always shown in vector elements, created
an easy and accessible way” with the Pen tool” library, full of new (and possibly slightly strange) ways
to give your vectors some highly unique character.”

075
 13. CREATE
Original vectors: “This is my
[original] composition. All buildings, Before editing: “This is
EDITORIAL DESIGNS
houses, trees and extra elements how the illustration looks MICHAEL LESTER TALKS US THROUGH HIS
are made with rectangles, circles on the Photoshop canvas
and some clipping masks” without any editing” PROCESS FOR DESIGNING CRISP VECTOR
ILLUSTRATIONS FOR COMMERCIAL USE

Colour correction: “I wanted to

get more of a desert look than a
beach look. To achieve this, I
added a Levels adjustment
layer and played with it until I
got the look that I wanted”

01 BUILD THE VECTORS

“I start by building the vectors in
Illustrator, working to a rough format so I can
play with the cropping later. I split the elements
up depending on how complex the illustration
Vignette: “I added a vignette to
the final illustration. The layer is and how many elements I want to be able to
is in Multiply mode at 100%”
© Aldo Crusher

individually work on in Photoshop.”

11. ADD SPECIAL EFFECTS TO VECTORS

Motion graphic designer and illustrator Aldo Crusher correction, I use a Levels adjustment layer. To make
(www.behance.net/aldocrusher) creates mostly a vignette, I duplicate the main layer, rasterise it and
vector-based artwork. “First I make all the primary set it to Multiply blending mode. [On this layer] I
shapes… I use the Shape tools, like the circle or the erase the centre [of the image] with the Eraser tool.
rectangle, and to make more complex shapes, I use For glowing elements, I duplicate the layer, apply a
Paths or the Pen tool. Once I have the element Gaussian Blur and put it in Screen or Linear Dodge
traced, I paste it into a new canvas. I use Photoshop blending mode. [For my handmade look], I re-trace
to get two different final results: colour correction,
vignettes and glows; and/or to achieve a handmade
look with brushes and tool presets. For colour
the basic shapes with chalk brushes to get irregular
edges. I add texture by modifying the flow of the
brush; I like to play with it reducing its percentage.”
02 VECTOR SMART OBJECTS
“I then import these objects as
individual Vector Smart Objects with a simple
copy and paste from Illustrator to Photoshop
12. BUILD BALANCED before rebuilding the illustration. At this point
COMPOSITIONS I’ll play with the composition and scale, not
having to worry about resolution problems
If you’re creating vector designs that need to work
when enlarging the vectors.”
around a photographic central element, then you need
to ensure that there is balance between the different
media. “When mediating photography with vectors, I
recommend pasting the photograph and designing the
vectors based on it. That way, you can assure an
equilibrated composition between the elements of the
photograph and the new vector ones. Also, using the
same colour palette in both will help blend them
together later,” says Carolina Díaz. You also need to
think about the purpose of the photography to ensure
that this is not lost when you are working on the
illustrated elements. “In this case, the purpose was to
accentuate the product. For this reason, the
backgrounds that surround them are lighter in opacity
03 ADD THE EFFECTS
“This is where the fun starts. I begin to
add texture to the blackboard, a perfect example
© Michael William Lester

than the ones in the corners, making the handbag and of how well these two programs work together.
Brand: PuroCorazón Handbags and Accessories the model the main elements of the composition. Brushing away at a layer mask creates a nice
Creative Direction: Carolina Restrepo
Graphic Design: Carolina Díaz Accordingly, blending the photograph not only with chalk effect, which remains unaffected when I
Photography: Alejandra Devescovi and Leslie Spak
Makeup: Luis Salcedo vectors, but also with other image textures and edit the vector file in Illustrator.”
Styling: Lía Lázaro
Model: Mapple Sam illustrations, will create a more sticking design.”

076
14. BLEND PHOTOS WITH VECTOR BACKGROUNDS
Carolina Díaz (www.carolinadiaz.com.co) creates Before
fashion illustrations that use professional photography
and vector backgrounds for commercial advertising
designs. This is a great technique that you can use on
your own portraits to turn them into effective artwork:
“To blend the vectors with the backgrounds of the
photography, I use the Multiply blending mode. That
way, the vectors adjust to the shadows, colours, and
textures of the photograph. I also adjust the Opacity of
each layer. The darker layers are going to look closer,
while the lighter ones appear further away. To intensify background with the Brush tool. Working over the
this effect, I add Inner or Outer Glows in the blending vector mask, and with black as a foreground colour, I
options of each layer. Adding this is not only going to can erase the background by painting over it, or use a
create different levels, but give volume and depth to white foreground colour if I want to uncover Brand: PuroCorazón Handbags and Accessories
Creative Direction: Carolina Restrepo
each element. I separate the silhouette from the something. This is easier than using the regular eraser, Graphic Design: Carolina Díaz
Photography: Alejandra Devescovi and Leslie Spak
photography by adding a vector mask to a duplicated because you can cover or uncover the elements any Makeup: Luis Salcedo
Styling: Lía Lázaro
layer of the photography layer, and erasing the time you want, without permanently erasing them.” Model: Mapple Sam

Brand: PuroCorazón Handbags and Accessories

Creative Direction: Carolina Restrepo
Graphic Design: Carolina Díaz
Photography: Alejandra Devescovi and Leslie Spak
Makeup: Luis Salcedo
Styling: Lía Lázaro
Model: Mapple Sam

15. DEVELOP
ILLUSTRATIONS
IN PHOTOSHOP
Graphic and textile designer Carolina Díaz creates
her striking fashion artwork by importing vectors
and shapes individually into Photoshop: “I bring
© Aldo Crusher

each element in separately or in a small group of

elements with the purpose of each one being on
a different layer. This way, it is easier to treat each
vector. I add textures to the vectors and blend
them together with the Multiply blending mode. I 16. TREAT VECTORS WITH THE CHALK BRUSH
adjust the opacity depending on how saturated I Vectors can sometimes look too crisp and clean for the irregularity it gives to the edges. The vector
want the texture to look. I also add images into your needs. Photoshop’s tools enable you to give a shapes work as a guide for me. I then use the
the blank spaces created by the vectors, which more handmade look and feel. For Aldo Crusher, he same brush with less Flow to achieve some
include geometrical or arabesque patterns. I add achieves this using the Brush tool: “I like to use the texture. I apply these textures into two new
other illustrations made in Photoshop, which are Chalk and Ink brushes for a handmade, fun look layers: one in Multiply and the other in Screen or
mostly images mediated with the Brush tool. that’s full of textures. I start by re-tracing the vector Color Dodge. To finish the illustration I add a little
Finally… I add Inner or Outer Glows [for] depth.” shapes [that I have made] with a Chalk brush. I like bit of noise with the Noise filter.”

077
 TECHNIQUES 20 EXPERT TIPS FOR VECTORS
© Stephen Chan / Coke Asia

17. ADD AGED EFFECTS TO ILLUSTRATIONS

Even though vector illustrations are quite clean setting and applied Filter
when they are first created, you can still add a Gallery>Texture>Texturizer using the Canvas
retro, aged look with various effects in Photoshop, setting. I set both of these layers to Multiply and
which can produce a wonderful contrast in styles. start decreasing the Opacity slowly until you feel
This is something that Stephen Chan applies to that it looks right (usually around 30-40% for a
his vector work: “To achieve the aged effect, I used really subtle look). I felt that my colours started
scans of old papers, converted to black and white, to look a bit dull, so I added a bright orange Color
set to Multiply at a medium opacity. I duplicated Fill layer just above the original. I also added a
the original illustration twice and applied Filter Hue/Saturation layer and a Levels layer to really
Gallery> Texture>Grain using the Regular Grain make the colours pop and look more balanced.”

18. PICK THE RIGHT PROGRAM

Throughout this feature we have explored the example, if I want the illustration to have a looser
different ways of using both Photoshop and and more natural feel I will use Photoshop almost
Illustrator to create striking vector-based artworks. entirely, as the options for layering and texture
However, the key is in knowing which program to control are far greater and more useful than in
use and when, rather than throwing everything at Illustrator. However, if the end product is going to be
a piece of design. Before you begin a new work, sharper or geometric based, I will use Illustrator for
plan the final look and feel, as this will dictate what the majority of the illustration, only bringing the
is the right method to follow for your work. “The work into Photoshop for the final touchups. You can
process I use to create my illustrations varies from create a very dynamic illustration by using
one piece to another. I will use either Photoshop or Photoshop and Illustrator together, if you use each
Illustrator more heavily on a specific piece, program for what it is best at. I find that Illustrator is
depending on the intended overall outcome best suited for complex vector, gradient and 3D
desired,” agrees digital artist Sam Moore of Moore work. Photoshop, on the other hand, excels at
Than Design (www.smooreart.com). “For layering, textures and finishing adjustments.”
© Sam Moore 2015

078
 19. CAPTURE VECTORS ON THE GO
For working on vector illustrations in iPad’s camera to take a photo of an object. There
Photoshop, the Adobe Shapes CC app is is a slider that you can use to change the
incredibly useful. It cuts out a lot of work in amount of detail that you want to include. You
creating custom vectors. Whereas you might can also choose to display the image as a shape Smart Object). However, if you want full access to the
usually take a photograph, import it into on a dark or light background. Take your photo, Live Shape Properties, you can convert it to a custom
Photoshop and use the Pen tool to trace over it confirm it and the app will begin to draw your shape. Cmd/Ctrl-click on the layer’s thumbnail to
to create a Path and save it as a custom shape, shape. Hit Save and name your shape to add it create a selection, then go to the Paths palette. Click on
the app turns your photos of objects directly into to your CC library. the Make Work Path From Selection icon to create a
vector graphics. In Photoshop, open the Libraries panel and find path for your shape. Next go to Edit>Define Custom
To use Shapes CC, you simply open the app your new graphic. You can drag it directly into your Shape. This will create the shape that you can then use
(and sign into your Adobe ID). You then use the canvas and use it as a graphic (it imports as a as you wish, with the Fill and Stroke options active.

20. ESTABLISH A
VECTOR WORKFLOW
When working on a project that involves both vector
and raster elements, you need to have a system
that works for you to ensure the best quality of
artwork, says Sam Moore. “I always fully complete
the vector work first, otherwise it is very easy for me
to waste time redoing raster work that was
flattened or merged with an incomplete vector. That
is not to say you should avoid experimenting, but
there must be a time for doing and a time for trying
new things. Reaching a successful end product is
the most important goal; figuring out how you best
© Sam Moore 2015

arrive at that place is an important part of it.

“My personal workflow is as follows: sketch idea
quickly, refine sketch, create vector lines or shapes,
fill lines or shapes with desired gradient or colour,
finalise vector work by splitting into useful layers or
groups, import Vector Smart Objects to Photoshop,
Layer Brush tool and textures, finalise with
touchups and adjustments. Vector work is easy to
get lost in, but a reliable process will result in a
better Photoshop and Illustrator experience.”

079
Portable: The Companion 2 doesn’t
need to be connected to a computer
WACOM CINTIQ
COMPANION 2
WE PUT WACOM’S NEW COMPUTER TABLET THROUGH ITS PACES TO
SEE IF IT’S AS GOOD AS OTHER TABLETS ON THE MARKET, AND IF IT’S A
TRUE COMPANION TO YOUR DRAWING EXPERIENCE

T
www.wacom.com ablets have evolved, technology’s rapidly drawing machines that best suit artists at home.
caught up with real media over the last Because instead of being a tablet you can connect to
SPECIFICATIONS:
couple of decades, and digital artists are your computer and draw with, it is the computer; it
m -1 5GLBMUQ  A?L @C AMLLCARCB RM
getting closer and closer to the feel of comes with Windows 8 installed, and doubles up as
CGRFCP +?A MP .!
actually drawing with a pen and paper. At first we a laptop.

From£1,200 had pens to replace your mouse and draw onto

pads, and then came fully-fledged drawing tablets,
The immediate impression that the Companion 2
gives is a good one; the size makes it great for
$2,000 which exploded with the global popularity of iPads. on-the-go drawing and the sheer power of the
Every year though, drawing tablets get bigger, Companion is certainly good enough for the office.
better, sleeker and in some cases even better than It’s refreshing to see a tablet so perfect for casual
the real thing. The Wacom Cintiq Companion 2 is use, while you’re watching television, for example.
the latest in a long line of these super-tablets, and But the size and look of the Companion are just the
Portability: The Cintiq more obviously perhaps, it’s the second of the start, it’s only when you delve deeper that the tablet
Companion 2 is a fully
functioning tablet computer Companion series, the powerful yet lap-sized really starts to impress.
as well as a high-end graphics
tablet, so you can work in
professional resolutions and
apps while on the move
Touchscreen: Control the
touchscreen with your
fingertips like you would with
any other tablet device or use
the Pro Pen for accurate
drawing capabilities when
working on your artwork

Hotkeys: The hotkeys

on the side of the
screen are functional
and customisable

Adjustable support: A
support that offers
three levels of elevation
for ultimate comfort and
adaptable drawing

081
 REVIEWS WACOM CINTIQ COMPANION 2

THREE WACOM
PRODUCTS TO
USE WITH
THE COMPANION

Pro Pen: The Pro Pen has fantastic

functionality, and comes with extra nibs

PRO PEN
£72/$80
The Cintiq Companion 2 already comes with a Pro Pen,
one of Wacom’s best drawing styluses, and the perfect
option for the Companion. The pen is a comfortable
weight and includes right-click buttons on the side;
Connectability: The Companion 2’s array of ports there are extra nibs included, and it comes in its own
box too, so you won’t lose it.

Wacom products are almost unrivalled in terms of drawing

experience, and the Companion is up with the best of them
Because of the laptop-like nature of the slight drawback and doesn’t take away from the
Companion 2, it’s easy to set up and get started, actual drawing process.
provided you set up a Windows account. Calibrating The most exciting thing about owning a
the Pen with the screen is easy too, and holding Companion is that you can simply sketch the base of
down the pen will reveal a ring around the pixels your drawings into Photoshop first, rather than using
you’re touching. a pencil and some paper. The smoothness of the
You can either control the Companion 2 with the tablet is superb; there’s a slight cushion between the
Pen or with your finger – or another Wacom stylus pen touching the device and being lifted about a
designed for touchscreens, such as the Bamboo – centimetre from the screen, perfect for creating flicks
which certainly makes typing easier. The keyboard and flourishes, and the Pen really glides across the SMUDGEGUARD GLOVE
can be revealed from the bottom of the screen and surface with immaculate control. £14/$15
can be split into two sides or one regular, long Wacom products are almost unrivalled in terms of Use the Wacom Smudgeguard glove while you’re
resting your drawing hand on the tablet, and you
keyboard. The big disadvantage of this is that drawing experience, and the Companion is up with won’t confuse the tablet with your hand and your
unlike the big Cintiqs, putting your hand on the the best of them. It’s considered as standard for this stylus being on the same screen. This is a glove that
suits any kind of device, though it’s probably not the
screen can confuse the device, but that’s only a kind of precision, but what about the other features?
most fashionable Wacom product on the market.

Hotkeys: Convenient and

customisable controls

BAMBOO STYLUS SOLO

£17/$19
If you want to use the Companion as a laptop as
much as a drawing device, why not invest in a stylus
specifically for that? The Pro Pen works too, but the
Bamboo stylus has a softer touch. In fact, it’s perfect
for any device, including your phone or tablet.

082
Protection: The tablet comes
with a high-quality case to
protect it on-the-go. The pen
also has its own box

ARTIST Q&A
ILLUSTRATOR AND ADVANCED PHOTOSHOP
DESIGNER REBEKKA HEARL EXPLAINS WHAT
SHE LOVES ABOUT THE CINTIQ COMPANION 2
WHY DO YOU FIND
USING THE COMPANION
SO MUCH EASIER
THAN OTHER
TABLETS, REBEKKA?
The Companion makes the
drawing process much easier because I can
directly look at where my hand is when I’m
drawing. It’s also great for sketching on the go.
Extra support: The
Companion 2 comes with an
adjustable support that offers
three levels of elevation WHY WOULD YOU FAVOUR THE COMPANION
OVER BIGGER CINTIQ MODELS?
On top of the amazing pen control on the The Cintiq Companion 2 is just about the most The portability is a major plus. Artists shouldn’t
Companion, there are controls to the left-hand advanced computer tablet of its kind. Ultimately it’s be put off by its small size; it still offers the same
side of the screen, which make it even easier to the drawing features that you’ll probably buy it for, functionality as the bigger, stationery models. You
control the functions of Photoshop; this makes it a the 2048 levels of pen pressure, tilt and multi-touch can’t curl up on the sofa and draw with a 27QHD!
device also suited to composite creators, and you features, but as an all-round Windows tablet, it’s
can even leave boxes of commands on display also superb: the processor within the machine HOW USERFRIENDLY ARE THE HOTKEYS
while you work. The Companion has all the makes it a great choice of computer alone. But the ON SIDE OF THE TABLET?
necessary ports too, including headphones, USB beauty of the Companion is that it’s not limited just They’re not as sensitive as the ExpressKey Remote;
and charging, and the power switch is a to artists or even just to professionals. It’s beautiful, it’s good to know I can use these convenient
pull-and-hold kind of button, which makes it it’s powerful, but it’s also versatile. hotkeys, and rebind them as and when I need to,
impossible to accidentally knock. without accidentally setting off the zoom.
And on top of all of these fantastic features, the
screen is absolutely perfect and pristine for
working on. The colour is superb, there’s a 4K
VERDICT JUST HOW CLOSE IS THE COMPANION TO
THE FEEL OF A REAL PEN AND PAPER?
resolution of 2560 x 1440, and the 13-inch screen is Features: 10/10 There is a slight space between the cursor and
big enough to work with, but not so huge that you’ll Ease of use: 8/10 the nib of the pen when pressed against the
have to keep it on a desk. It’s compatible with a Quality of results: 9/10 screen; it takes a little getting used to, but once
Mac – so you can plug it in and use it the same way Value for money: 9/10 you get into the flow of drawing, you’ll forget all
as the biggest Cintiq models – and it even has a about it.
built-in speakers and camera set. FINAL SCORE: 9/10

083
 REVIEWS ONONE PERFECT EFFECTS 9

ONONE PERFECT
EFFECTS 9
DOES PERFECT EFFECTS 9 UNLOCK GREAT PHOTO
EDITING POTENTIAL, OR IS IT JUST A LIMITED PLUGIN?

Add perfect effects: Textures: A nice way to finish off your photos
Layer various filters with and compositions, Perfect Effects has an
your work, and mask array of various textures that can transform
them into your picture the look of an image. Try playing with the
opacity and blend mode of these textures to
achieve the perfect look, and don’t be afraid
to layer up these textures to create
something truly unique

Blurring: The blurring Sharpening: Another fantastic feature that

Colour & HDR: A standout capabilities within Perfect Perfect Effects offers is its sharpening, in
feature, Perfect Effects can Effects are simple enough which you tweak amount and detail, as well
add some superb overlays to get to grips with, even if as protecting lights and darks in the
to your work if you’re they’re not incredibly picture. There’s also the ability to protect
looking to make colours powerful. There are a range skin for if you’re working with portraits,
pop, give a dramatic HDR of different blurs to choose which can reduce the amount you mask
makeover, or even just from, depending on where when you’re trying to tone down the detail
sharpen and reduce noise you want to use them in a
picture, and these are
customisable, from the
amount of blur to the halo

www.on1.com tried to crack the market and rival Photoshop by companion to Photoshop and Lightroom, it’s
becoming more user-friendly or more advanced an app that can be used alongside either
PLATFORMS:
as well as trying to be more stylish or offer more program while you work, or as a plug-in. It’s
m 5GLBMUQ +?A
desirable presets. Few can match the a great concept because it takes the best of

FREE sophistication of Adobe, but that’s not to say you

can’t discover some stunning effects for your
an app, and integrates it with the power of the
market-leader.
photos by digging around the competition. What Perfect Effects 9 offers is worth
OnOne are just one company that have checking out too. The program looks like a
released a successful series of apps, and simple alternative to Lightroom; you can start

T
here are programs out there that they’ve done so in a different way to many by dragging your pictures into the main
really test the limits of what you can others. OnOne’s latest offering to photo editors, interface of the software, and there you’ll see
achieve with a little photo editing. Perfect Effects 9, isn’t an attempt to knock various preset filters that you can apply to your
Software companies around the Adobe’s products off their perch as artists’ and work. Rather like actions, these can cut a few
world, some renowned, some less so, have photographers’ go-to software; instead, it’s a corners if you’re used to applying HDR to your

084
 BASIC ADJUSTMENTS
GET TO GRIPS WITH PERFECT EFFECTS AND MASTER HOW TO EDIT YOUR PHOTOS WITH THE PROGRAM

03 MASK YOUR IMAGES

Just as in Photoshop, much of the

01 DRAG YOUR IMAGES

Perfect Effects has a classy-looking
opening screen that provides a user-friendly way
02 APPLY EFFECTS
Perfect Effects offers a whole host of
effects from simple monochrome ones to more
perfecting is in the masking with Perfect Effects.
The masking options are between the left-hand
presets and the preview window; they include
to drop your images straight onto the program. advanced and exciting HDR filters, and even just the ability to simply brush masks away, use
Here, you’ll be able to either edit your original colourful tints to add to your photos. Layer them gradients or even use vector-based masks.
artwork, or a copy, and you can change colour up as you like, and experiment with whichever Mask away the effects that you create with your
settings and file formats too. ones you feel complement your picture. presets to focus your effect.

It’s reliable, great to use with bulk-editing and it provides some

lovely tints for your work… Well worth a download
VERDICT
Features: 7/10
shots or finishing up a composition with a cool mask and blend these filters, but the program Ease of use: 10/10
texture. There are a fair few really useful filters starts and ends with quick fixes unfortunately. Quality of results: 710
that you can apply to your work, such as the That’s not to say that Perfect Effects 9 can’t Value for money: 9/10
Noise Reductions, Sharpening and Vignettes, quickly become a regular app for touching up
and it’s useful that you can add a number of
them to your work.
your pictures; it’s reliable, great to use with
bulk-editing and it provides some lovely tints
FINAL SCORE: 8/10
If you’re looking for deeper cuts though, for your work. The plug-in for Photoshop is A solid piece of software to use
Perfect Effects 9 can be quite limiting. It’s great well worth a download, whether you’re looking alongside Photoshop, Perfect Effects
for building up your work with filters and to retouch a start picture or complete a is useful not only for photographers,
textures, but it’s not an in-depth editor. You can finished piece of work. but also for artists and designers too

085
 READER INTERVIEW STRETCH YOURSELF

STRETCH YOURSELF
RODRIGO MARINELLI IS A SENIOR ART DIRECTOR AT THE ADVERTISING
AGENCY TAGCOM IN BRAZIL. TO KEEP IMPROVING HIS TECHNIQUE, HE
CHALLENGES HIMSELF TO CREATE ONE PERSONAL IMAGE A MONTH

B
y day he’s an art director, but Brazilian artist though when you know that scene will never exist. In
Rodrigo Marinelli doesn’t take any this case there is no trick to know how much to put in,
downtime from improving his artwork, what makes the difference is your daily practice and not
challenging himself to make at least one being afraid of making mistakes. All my work is the
highly polished personal piece every month. We result of many light, shadow and composition tests.
caught up with him to find out more. Don’t be afraid to take risks, this is the only way to
improve your art direction style.
HOW WOULD YOU DESCRIBE YOUR STYLE? OUR READER
I always try to create images that challenge me and HOW AND WHEN DID YOU FIRST START RODRIGO MARINELLI
generate curiosity. I like to merge fantasy with reality, USING PHOTOSHOP? http://rodrigo_marinelli.prosite.com/
always paying attention to the details. I have a vibrant For me Photoshop is an old flame. To work in
style, that’s why I take care in the choice of colours and advertising you have to know how Photoshop works,
pictures to make the perfect composition. so I started using it ten years ago when I was a trainee. I
I always liked a glossy style. In my compositions I had the luck to work with talented people who taught
like to use many pictures, and I always like to explore me how to use the right tools. They helped me a lot to
the lights and shadows as much as I can. I think these be able to develop my own art direction style. I also use
details are what make my images believable, even InDesign and Illustrator, but less.

All article images © Rodrigo Marinelli

Relax Clock: “In this image I wanted to represent

that although we all work really hard, we can’t
forget to have time to relax,” explains Marinelli

Usually the day before, I will have checked

my job list for the next day, so when I start
Gift
my day job I already know exactly what to do

086
 Crocodile: Marinelli’s wife gave him the idea
of a scared person passing close to crocs, and
the big challenge was creating “realistic water
splashes from the crocodile’s mouth”

Giraffe

Metal Heart: “One of my greatest passions is

music,” says Marinelli, “and there’s nothing
better when you hear your favourite song. It’s
like your heart is playing with the music”

Rhino: Marinelli made this image for a

contest, with the intention of “showing to the
world the dangers of extinction of rhinos”

Brain Gym
 I always try to create images
that challenge me and
generate curiosity. I like to merge
fantasy with reality, always paying
attention to the details

Basketball

088
 STRETCH YOURSELF READER INTERVIEW

WHAT’S A TYPICAL WORK DAY FOR YOU?

I start at the agency at 9:00 AM. Whenever I can, I DESIGN TIPS
reserve at least 30 minutes of my morning to read the As Marinelli points out, to
news, sports and see design references. After that I put work in advertising, you
my headphones on and get to work. have to know Photoshop
Usually the day before, I will have checked my job list inside out. But that’s not the
for the next day, so when I start my day job I already only thing that’ll determine
know exactly what to do. During the day, I try to be very whether you succeed. His
focused on the job that I’m developing. I stop just a few advice is to “Try to create at
moments to rest. This is very important because when I least one new image per
go back, I can have a better view of details and improve month. A good job is the
the work that I was doing. result of many hours of
I like to work in an advertising agency because every practice. It’s always
day I need to be creative and this reflects directly in my necessary to learn more to
work. An ad agency has several specialities; mine is the develop your technique.”
art direction, when the idea is approved my job is to “Work hard, but don’t
build the image that was imagined by the creative. forget to relax,” he adds.
“Your brain is not a machine
WHAT HAVE BEEN YOUR CAREER HIGHLIGHTS and tiredness is the worst
SO FAR? enemy of creativity.” But
In my ten years of experience I won three awards. One most importantly, Marinelli
of the them is called Top Rac, I won the silver prize in stresses you must always
the car advertising category. The other award is called be open to “learning more,
Media Fest and in this I won two golds, one in the because this is the only way
category of integrated campaign and another in the to power up your creativity.”
Pinball
category of brand design.

WHAT ARE YOUR FAVOURITE OR MOSTUSED Water Guitar: Water guitar is an early image of
Marinelli’s. He created it for a contest and “learned a
PHOTOSHOP FEATURES? lot about lighting and image manipulation”
There are several tools that I like to use, but my
favorite is the mask, because I can edit and
manipulate photos without losing any information. I
use the Feather tool a lot; it’s perfect to make
compositions. It’s the first step to make a
composition in a harmonic way. I also like the
Gaussian blur a lot, I use this tool for everything, to
make shadows and lights, or dissemble little defects
of the image. My trick is to always use the Unsharp
Mask, this tool brings more detail and reality to your
image. But you must be very careful because if you
exaggerate you will give an artificial style.

WHO OR WHAT INSPIRES YOU?

My biggest inspiration in my personal life is my family
and my wife, who always encourages and supports
me in my decisions. Professionally my inspiration
comes from the big photomanipulation and 3D studios
around the world, every day I try to see their work to
learn more. Another factor that inspires me is the
challenge of always doing a better job than the last
one; the challenge to overcome is the key to
professional success.

WHAT IS IT ABOUT DIGITAL ART AND

PHOTOMANIPULATION THAT YOU FIND
MOST EXCITING?
For me what makes an exciting piece of art is when
you have a great idea that mixes fantasy with reality. It’s
great when you are surprised by an unusual image; it
always expands your creative potential.

089
 GATHER THE PROJECT MATERIALS
ESSENTIAL RESOURCES FOR INK SWIRL BRUSHES

Large fish tank: This is

important especially if you
want large, wide spreading ink
swirls. Be sure it has flat sides

White backdrop: Have some

white surrounding the tank to
keep the reflections to a
minimum. It also gives a clean
background to the ink

Paper towels: You will need

plenty. You will need to wipe the
tank whenever you have
splashes or drops on the glass

India ink: Any black or dark-

coloured ink will work as long as
you have a dropper to go with it

090
 CREATE YOUR OWN INK SWIRL BRUSHES ON FILESILO

CREATE YOUR OWN

INK SWIRL BRUSHES
LEARN HOW TO MAKE INK SWIRL BRUSHES FOR TRADITIONAL ART EFFECTS

F
ew things are as unforgiving as ink; it stains brushes to be used in your Photoshop arsenal. at craft stores, it can be used over and over for
with a vengeance and is often more trouble From the magic of swirling ink in water, to the multiple purposes. Ink has always had power in the
than it’s worth. However, like many dark, simplicity of an ink splash, to the mystery of the ink physical world, from books and printing, to drawing
seemingly destructive objects, it has its blot test, these brushes are sure to be fun to both and sketching. Now you can bring that same power
beautiful and useful side. In this tutorial, you will learn make and use. The darkness of the black ink makes into the digital realm with only a few materials and
how to use black ink to create multiple types of it ideal for brushes, and because it’s readily available a little creativity.

MAGICAL INK SWIRLS IN WATER

DISCOVER HOW TO PHOTOGRAPH INK IN WATER TO CREATE MAGICAL SWIRLS

01 GET SET UP
Setting up the scene correctly is very
important before you begin taking pictures. Be
02 PICK THE RIGHT SETTINGS
Ink in water is not particularly fast
moving, however the image needs to be perfectly
03 INITIATE DROP SEQUENCE
Once prepped, set up your camera and
frame the shot. If you don’t have an assistant,
sure you have white surrounding your tank of crisp to be usable, so use at least a shutter speed use a shutter release button to capture shots.
water and have your camera at the correct of 1/400. The aperture can be at a mid-range of You will need to get clean water every few drops
angle to avoid reflections. f5.6-f8 depending on the light. to keep the contrast.

EDIT INK SWIRLS IN PHOTOSHOP

TURN YOUR INK SWIRL PHOTOS INTO PHOTOSHOP BRUSHES

01 CROP IT OUT
You may have multiple drops close together
02 BRIGHTEN IT UP
Use the Levels dialogue to brighten the
white as much as possible. You can also adjust 03 BRUSH IT OFF
Under the Edit menu, select Define Brush
in one frame, so crop to just the drop you want for a the transparency of the ink here by adjusting the Preset. This will turn your image into a brush. Make
brush. Remember, the less detail in the brush, the Midtones slider. Remember what’s black will be sure your images start out high enough quality to
easier it will be to apply without adjustments. the solid part of the brush. deliver a sharp brush even at a large size.

091
 TYPES OF INK DROPS
OTHER WAYS INK CAN BE USED FOR BRUSHES
Since ink, especially black ink, is so dark, it is perfect for use
in making Photoshop brushes. Here are some techniques to
make interesting ink splashes to be used as brushes.

If you don’t want 100 per cent opaque brushes,

simply dilute the ink with some water before
dropping it on the page. If used on watercolour
paper, you will have some texture too
Drop the ink from hi h above the paper
to create a splattered ink drop. You don’t
need much ink for this, just one drop,
and the brush will be dark and opaque

Drop from close to the page for a

slightly irregular circle shape; this
is useful for painting textures or
anything where a perfectly round
brush is just too artificial looking

Use a straw to blow your ink drop

around on the page to form tree-like
forms. These are fun and random and
can be used in many artistic ways

092
 CREATE YOUR OWN INK SWIRL BRUSHES ON FILESILO

USING THE INK SWIRL RESOURCES

ENHANCE CONCERT PHOTOS WITH INK SWIRLS
Inky swirls are a beautiful digital asset that can Here we created a stunning inky light effect out of accomplish, and very fluid. Experiment with different
be used to add an energetic visual detail to your a concert shot. This gives the image a very energetic, colours, brushes, and blends to create your very own
compositions. The trick is to stop thinking of otherworldly appearance. The primary process is to energy ink effect!
them as a liquid, or fluid substance. See them as use a single brush stamp on a layer and make We also included a video tutorial that walks through
potential smoke or light images, and entirely adjustments to blending modes, transformations each step in creating the Ink Rocker here. Check the
new possibilities open up. and layer masks. The process is remarkably easy to FileSilo to download the video and follow along.

093
 ON FILESILO CREATE YOUR OWN INK SWIRL BRUSHES

RORSCHACH BLOT TEST

HOW TO MAKE YOUR OWN RORSCHACH BLOT ART

01 GATHER MATERIALS
Start with some sheets of watercolour
paper, this makes the process much easier. Also have
some india ink, and a dropper. You will also need a
hairdryer or a sunny day to speed drying time.

02 DROP THE INK

On one side of the watercolour paper, drip
some ink in a random pattern. Be aware that the ink
03 LET THE MAGIC HAPPEN
Fold the paper in half on the fold line
like a card. Use your hand to rub the outside,
spreads a lot, so the more ink you add, the more getting the ink dispersed. Then unfold and let
globular your design will be. dry while you admire your design.

6 RORSCHACH
20 INK SWIRL BRUSHES BLOT BRUSHES
LIQUIDY, INKY SWIRLS WHAT DO YOU SEE HERE?
We hope you’ve been able to capture your own Use these fun inkblot brushes to add a nice
inky resources, but we’ve also offered ours for grunge effect to backgrounds or other
your own personal use. elements in your digital compositions.

094
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098
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