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PHOTOSHOP REVIEW
ELEMENTS 12We find out if this version of Photoshophas anything to offer our professionals
EXPERT TUTORIAL
PRO COMPOSITINGExpert advice on blendingphotomanipulation, textures and stock
CREATHIS
COVE
MASTELAYE
MASKWork with liand layers to
a vibrant
ndustryleadersgivetheirtop
tipsonhowtocreateyourbest-everima
BLEND 3D& PHOTOS
ow to create a-fi themedanipulation
ISSUE 11
The magazine for AdobePhotoshopprofessionals
Tutorial files available blog.advancedphotoshop.co.uk/tutorial-
6
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thefoundry.co.uk/mari
3Ddigital paintingNow available on Mac
Justin HolImaginedby
Createdwith
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WELCOME
ISSUE 116
Welcome to the latestissue of AdvancedPhotoshop. This issue wedelve into the world ofexpert tools and techniquesand find out which areessential to a creative
professionals workflow
IN THIS ISSUE:
GRAPHICSDIGITAL PAINTING
PHOTOMANIPULATIONPHOTO EDITING
ANNALISA SAYWELLEditor
Industry leaders have given us their insight into
the most valuable tools and techniques that they
use on a daily basis when creating their work. This
includes 15 top tips in our main cover feature, a look
into layer masks in our surreal landscape tutorial,
and how to use Photoshop as a post-production tool
to blend 3D elements.
Also inside, learn how to combine multiple
assets to build a shatter-effect portrait in our pro
compositing tutorial, or if digital painting is more
your forte, set yourself a time limit and create a
cityscape speed painting from scratch.
Finally, turn to our Reviews section to discover
what our thoughts are on Photoshop Elements 12and whether it has anything to offer the expert
community, and dont forget about the free disc
packed with pro resources and an exclusive video
tutorial. See you next month!
@advancedpshop /AdvancedPhotoshop
.co.uk
00
ISSUE 116 CONTENTS
COVER IMAGE
Yvan Feusi is a 24-year-oldprofessional graphic
designer and illustratorfrom Geneva. We chose
this as our cover becausewe believe his work with
3D and Photoshop issecond to none
YVAN FEUSIhttp://aiven.net
TYPOGRAPHYNEW MEDIA
RESOURCES PROJECT:
WOODBLOCK PRINTING88Discover how to create your own woodblocksand convert prints into digital resources
48 EXPERT TUTORIAL:
PRO COMPOSITINGLearn to build a complex photomanipulation usingmultiple assets in Photoshop
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EYE ON DESIGNWhats hot, whos in and thelatest art & design happenings
THIS ISSUES PRO PANELOur contributors share Photoshop secrets06PORTFOLIO INTERVIEWTurning fantasy into reality08
14 PROJECT FOCUSStronger sports advertising
CONTENTSISSUE 116
14 SPORTS ADVERTISING
58 CITYSCAPE SPEED PAINTING
78 PHOTOSHOP ELEMENTS 12
FOR BACK ISSUES, BOOKSAND MERCHANDISE VISIT:
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TECHNIQUESProfessional artists reveal their high-end Photoshop skills inour easy-to-follow workshops
Photoshop and the 3D pipeline18INDUSTRY FEATURE
REVIEWSWe put the latest creative kit,books and apps to the test
78 FEATURE:Photoshop Elements 1282 REVIEW:Pentax Q7
Free withissue 116
ofAdvanced Photoshop
PREMIUM RESOURCES
PLUS:
TAILORMADECREATIVE CONTENT how to re-create a shatter effect
94 ON YOUR DISC
Aviator46 HOW I MADEBlend 3D and photos40 WORKSHOP
Hello54 HOW I MADE
The ultimate guide to tools & techniques30 INDUSTRY FEATURE
Pro compositing48 WORKSHOP
SEE PAGE 16, 45 OR 72FOR THE LATEST OFFERSSUBSCRIBE TODAY!
58 Cityscape speed paintingWORKSHOP
Hide and seek74HOW I MADE
66 Master layer masksWORKSHOP64 NuntiusHOW I MADE
08 TURNING FANTASYINTO REALITY
Re-imagining Wonderland84 READER INTERVIEW
46 HOW I MADE
ISSUE 116 CONTENTS
Woodblock printing88 RESOURCE PROJECT
83 REVIEW:Extensis Suitcase Fusion 5
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EYE ON DESIGN PRO PANEL
PRO PANELMEET THIS ISSUES CONTRIBUTORS AND FOLLOW THEIR EXPERT ADVICE TO
CREATE EVEN BETTER PHOTOSHOP ARTWORK
EYE ON DESIGN
FLORIAN DEGESINCOURTwww.degesart.com
Using photo stock to build a
concept is an easy way to
quickly render textures and shapes. Import your
photo and set the blending mode to Lighten or Soft
Light, adjust the Levels to fit with your painting and
erase any parts you dont want. However, its still
important for you to know how to paint, otherwise
you wont be able to control the photo.
Turn to p58 to discover more digital paintingtips from De Gesincourt
YVAN FEUSIwww.aiven.net
Creating a highly detailed and high-resolution story-telling image can be complex, and your workflow may become a key factor. Using the right
tools and shortcuts is essential. By doing this you will learn how to work dynamically to avoid any pixel destruction, using layer masks, clipping
masks, dynamic objects, adjustments layers and more.
See how Feusi combined 3D assets and photography to create a sci-fi scene over on p40
aiven.net
Bram Vanhaeren
degesart.com
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Imagine Publishing Ltd 2013ISSN 1748-7277z
Magazine teamEditor Anna-lisa Saywell
anna-lisa.saywell@imagine-publishing.co.uk
01202 586243
Editor in ChiefDan Hutchinson
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Senior Art EditorDuncan Crook
Head of PublishingAaron Asadi
Head of DesignRoss Andrews
ContributorsAdam Smith, Chris McMahon, Amy Squibb, Julie Bassett,Kirk Nelson, Tobias Roetsch, Tomasz Kartasinki, Raul Taciu,David Delin, Archan Nair, James Sheppard, Cidalia Regadode Abrfu, Kirk Nelson and Radim Malinic
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InternationalAdvanced Photoshopis available for licensing.Contact the International department to discusspartnership opportunities.
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Although the magazine has endeavoured to ensure allinformation is correct at time of print, prices and availabilitymay change. This magazine is fully independent and notaffiliated in any way with the companies mentioned herein.Photoshop is either a registered trademark or trademarkof Adobe Systems Incorporated in the United States and/or other countries and is used with express permission.All $ prices are US Dollars unless otherwise stated.
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The magazine for AdobePhotoshopprofessionals
VALP MACIEJHAJNRICHwww.valpnow.com
With every single project I work on,
either personal or commercial, Ialways want to learn something new. If there is
anything Ive done before, be it the concept or the
colours, I always try to avoid that direction and create
something fresh. This often leads me to an
experimental vortex, which is time consuming, but
being proud of the final artwork makes it worth it.
Follow Valps tutorial on pro compositing on p48
JON0 HISLOP AKA KIVEXwww.somethingfresh.co.nz
I like to be as organic as possible the less computerised the better, for me personally.
Throw together natural elements and cut up bits of photos from the least expected places.
Use animals and plants that few people can visually identify. In the piece above, Ive used a
sunflower for the eyes, the fins of tropical fish for the headdress and algae for the morphing texture.
Master layer masks to re-create Hislops surreal landscape on p66
Using the right tools andshortcuts is essential. You will
learn how to work dynamically to
avoid any pixel destructionYVAN FEUSI /WWW.AIVEN.NET Valp Maciej Hajnrich
Jono Hislop
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EYE ON DESIGN PORTFOLIO INTERVIEW
WE TALK TO THE EVERIMAGINATIVE ERIK JOHANSSON ABOUT HIS
UNIQUE AND SURREAL APPROACH TO THE WORLD OF RETOUCHING
PORTFOLIO INTERVIEW
TURNING FANTASYINTO REALITY
erikjohanssonphoto.com
@tackochgodnatt
The work of Swedish photographer and
retouch artist Erik Johansson is a sight to
behold. Not only does his work display a
tremendous amount of technical ability
the seams with which he stitches together his
assorted photography all but invisible but creatively
its the work of an artist with great imagination. From
roads that peel upwards and outwards like the zip ona jacket to rowboats that tear through pastoral,
sun-kissed fields, Johanssons work is like pulling
back the curtain on a dream, revealing worlds that
twenty years ago could only have existed within the
minds eye.
Ive always liked photography, but somehow I
wanted to do something different with it. I wanted to
capture the ideas I had in my mind, just like I did
when I did drawings, says Johansson of his first
steps into the world of retouching. In the past I
would come up with an idea and use a pencil to
create it, and somehow the process was the same
when I discovered Photoshop. I could realise ideas
and places that didnt actually exist, creating them
using my photography. I wanted my images to look
like they had truly been captured in real life, despite
their surrealist quality.What started out as a hobby for Johansson
placing family members in strange situations and
taking hundreds of photographs, and then shifting
and changing these images in Photoshop soon
became something much more. I simply wanted to
do something more with the pictures. I wanted it to
be a process just like drawing. I started working on
more complex images like the ones I do today, and
thats how it all got started.
HOW DID YOU START OUT IN THE WORLD
OF RETOUCHING?
I learned mostly by simply experimenting. I actually
started in computer engineering, which I did for five
years. I was doing photography and retouching as a
hobby, but I never thought I could make a living from
it. However, I found myself taking more and more
pictures, so I decided to go into freelance full-time.Although I dont really have any use of my
computer engineering studies, the problem solving
part has certainly been helpful for me. I always break
my pictures down into their smaller parts and try and
figure out how to use the different parts to create
something much larger. Any time I dont know
something, I just look in magazines or at tutorials
online to see how to achieve certain techniques.
Learning is always a natural process.
01
01Fishy Island:Whether his work is subtleand understated or outright bizarre,Johanssons retouching work is neveranything less than visually arresting
02Deep Cuts:Johanssons ideas tend tooriginate from something small andsimple. He then allows the idea t odevelop and grow organically as heworks on it
03Go Your Own Road: Blending two imagestogether in Photoshop can be difficult,but Johanssons output proves thatcomplete integration between two verydifferent images is certainly possible
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02
ages Erik Johansson
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EYE ON DESIGN PORTFOLIO INTERVIEW
LAST YEAR YOU GAVE A TALK AT THE TED
CONFERENCE. WHAT CONCEPTS DID YOU
DISCUSS THERE?
The conferences all have a specific theme, and when
I did my talk the theme was Travels Through Space,Time and Imagination. They wanted a retoucher who
could discuss creating a space that isnt really there.
They found me, asked if I wanted to contribute, and
discuss how imagination plays a part in creating
something. I thought it was a great opportunity. I had
six minutes to talk, so I discussed my work and the
processes I use to create images, and how the only
limitation is your imagination.
HOW DO YOU GO ABOUT CREATING ONE OF
YOUR IMAGES? WHERE DOES THE
INSPIRATION COME FROM?
Its difficult to define. It always starts with something
really simple; something I see, like an object or
something in a magazine. Ill then start to think abouthow I can make it different. I might try and combine
two objects or two places somehow. So it always
starts small and simple and then I just let the idea
slowly grow and evolve.
I usually try to work with several different ideas in
parallel. I always have different ideas and Im always
looking for inspiration. It mostly boils down to
looking at the world through different eyes and
coming up with something new and fresh.
DOES THE FINAL PRODUCT USUALLY MATCH
UP TO THE IDEA THAT YOU HAD INITIALLY
ENVISIONED OR DOES IT DIVERGE?
It changes. The idea is still there but the look will be
different from the initial sketch. The sketch is usually
just a simple way to capture the idea. Its when I take
the first pictures that I know what the work is going
to look like and how I want to define it. However, its
tricky because you dont alwaysknow what it will
end up looking like. Although that said, the base idea
tends to remain the same throughout.
YOUVE EMBARKED ON STREET ILLUSIONS
AND PRANKS USING PHOTOSHOP. WHAT
EXCITES YOU ABOUT THESE PROJECTS?
Most of the time I just sit in front of my computer, so
I always try to find ways to get away from the desk
and use the technology that I know for something
else. I want to try and make something different with
it. Ive been doing perspective street illusions,
because I wanted to see if I could create something
in a real environment, and try and trick reality. I
wanted to see if I could create something that felt
truly real, despite its strange appearance. There are a
lot of artists doing perspective paintings on the
streets and things like that, but I wanted to see if I
could do it with Photoshop, to make the illusion
appear even more realistic.
The other thing was the bus stop Photoshop
prank (tinyurl.com/APStreetRetouch) . I was
04
05
06
06Arms Break, Vases Dont:Johanssonsgoal is to make surreal imagery thatlooks as if it could exist in real life. Evenhis most bizarre images have a photorealelement to them
05End Of Line:Johansson tends to findthat the more personal work he creates,the more he can enjoy his professionalwork, as clients will tend to ask for moreof the same
07Expecting Winter:Johansson remains aphotographer at heart, using his camerato capture real-world images and thenstitching the images together in analmost literal sense in Photoshop
04Cut & Fold:For Johansson, Photoshop isalmost as much of a toy as it is a seriouswork tool. Just check out his streetpranks for evidence of that: tinyurl.com/APStreetRetouch
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actually approached by an advertising agency in
Stockholm that wanted to do something for an
Adobe Creative Day, using Photoshop in a public
space. We talked about how we could do it and we
decided on live retouching. It was really fun to be a
part of and it worked really well. It was really intense
because I had to cut out people in just a couple of
minutes before the next bus arrived!
DO YOU BELIEVE SOME IDEAS OR CONCEPTS
ARE UNATTAINABLE, OR IS ANYTHING
POSSIBLE USING PHOTOSHOP?
If you can imagine something, you can probably
realise it in a piece of art, although there are some
limitations. For instance, I have never learned how to
use 3D software, so I have to shoot every element
that I want to incorporate in my work. I cant create
something on the computer, so thats one limitation
in a way. That said, I think the more pictures you take
and the more you create, the more you will start to
think in a way that you know will work and you know
will be possible to create.
HOW IMPORTANT IS YOUR PERSONAL WORK?
Personal work has always been what I love to do; its
my creative outlet. I just have so many ideas I want
to bring to life! Thats what I started doing in the
beginning and thats how I started to get my
commissioned work, because people saw my
personal work and asked if I could do something for
them. Its still that way, really, because if I do
personal work then people will tend to ask for more
like it, so I get commissioned work that I also like. Its
a creative investment, in a way.
If I could choose I would only do personal work,
because it can be a challenge attempting to realise
someone elses idea. However, the commissioned
work is necessary to make a living out of this.
WHAT ARE YOUR PLANS FOR THE FUTURE?
DO YOU HAVE ANY PROJECTS LINED UP?
Its hard to say. I would like to do a book at some
point and I would like to do more behind the scenes
stuff to showcase my process. Id also like to do
more big perspective illusions and installations.
Other than that Im just trying to work as hard as I
can on my personal work. I still have a lot of ideas
that I want to realise.
LEARN BY TRYING
This might sound like a simple tip but I think its the best wayto learn how the various tools work. Tutorials are great, butthe only way to truly understand what a tool does to apicture is to try it out, a lot.
FIRST QUANTITY, THEN QUALITY
In most cases, you will hear that quality is more importantthan quantity. However, I believe that you need quantity toachieve quality, otherwise there is a risk that you will just sitaround waiting for the perfect idea. You should always try torealise as many ideas as possible. You will keep improvingwith every picture.
GET FEEDBACK
Feedback is a great way of improving. When you work onsomething for a long time it can be really hard to de cidewhat works and what doesnt. Try to get feedback on onlineforums and communities, or ask friends. An honest opinioncan be very hard to find.
PORTFOLIO TIPSFOR JOHANSSON ITS ALL ABOUT EXPERIMENTING,WORKING HARD AND ACCEPTING CRITICISM
Drifting Away:Its odd to hear an artist emphasisequantity over quality, but for Johansson, producinglarge amounts of work gives you the scope toexperiment and improve
012
EYE ON DESIGN PORTFOLIO INTERVIEW
I want my all images tolook like they have truly
been captured in real life, despite
their surrealist quality
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EYE ON DESIGN STRONGER SPORTS ADVERTISING
WE SPEAK TO NIKOLAY KVARTNIKOV FROM FIERO ANIMALS ABOUT HOW HE
CRAFTED THIS HIGHPOWERED, STRIKING SPORTSWEAR CAMPAIGN FOR ADIDAS
PROJECT FOCUS
STRONGER SPORTSADVERTISING
Nike, Adidas, Puma, Rebok, Umbro these
are all massive brands in a highly-saturated
market, trying to compete with each other
for prominence. Their ad campaigns play a
big part in what makes them stand out from the
crowd, so the importance of originality while
maintaining brand values within them is paramountto their success. In the saturated sportswear sector,
then, coming up with a creative and original idea for
a massive client like Adidas is no mean feat, but its
one that Nikolay Kvartnikov and his team managed
to pull off with aplomb.
The Become Stronger series of print adverts was
created by a wider team, with Kvartnikovs
retouching studio, Fiero Animals, in charge of art
direction and the post-production side of things. A
concept intending to show the sheer power proper
sportswear can bring athletes, Become Stronger
consisted of three adverts Dumbbells, Treadmill
and Training Machine with each one connected to
each other by the same minimalist style and look.
We caught up with Kvartnikov to find out more about
how he created this series and what concepts
brought it about.
THE BECOME STRONGER ADIDAS CAMPAIGN
IS A VERY ORIGINAL CONCEPT. CAN YOU TELL
US A BIT ABOUT THE PROJECT?
Adidas released a new sportswear collection and
approached advertising agency TBWA\Moscow to
create an ad campaign for it. They developed the
Become Stronger concept, the
basic idea of which was that
your sports and exercise
equipment will not be able to
sustain your power and force if
you are wearing Adidas
clothing. For the role of the
main character of the
campaign, the agency invited
along the famous Russian
football goalkeeper Igor
Akinfeev. Ball-Park Production
organised the work on TV
commercials and photo
shooting with photographer
Vlad Loktev, and our studio
(Fiero Animals) were invited to do post-production
and art direction for the prints. All the work we did
took about three weeks.
WAS THE MINIMALIST AND STRIKING LOOK OF
THE SHOT SOMETHING THE CLIENT HAD
SPECIFIC IDEAS ABOUT?
The brief provided us with a lot of freedom in our
work, as the agency had just described a basic idea
different sports equipment melts and breaks down
under the pressure of the main character and thats
it, so we had to find the interesting visual style and
the main look by ourselves. We started with very
rough sketches made in 3ds Max, in which we built a
low-poly 3D model to understand the perspective
and angles of the composition before shooting.
At the shooting stage we tried many composition
and light options and various sports equipment like
weights, skipping ropes and an exercise bike. We
tried putting them into two different environments
one with a white background and another with a
black background. We had to figure out how we
could put focus on the athlete, his sportswear and
fitness equipment at the same time. In the end, it
was decided to use a black, minimalist background
with lighting accents on the athlete and equipment.
DID YOU ONLY USE PHOTOSHOP IN THE
POSTPRODUCTION STAGES?
Photoshop is the main tool in our work; almost
everything has been done in it. The prints Dumbbells
and Treadmillwere made entirely in Photoshop. For
Training Machinewe used 3ds Max for modelling
and V-Ray for rendering, as it was clear from the
beginning that this scene would not be easy to
recreate just through photography, so we did all the
objects and effects entirely in post-production. But a
huge part of the work was done in Photoshop. We
did a lot of retouching and colour correction work, as
well as lots of compositing work on the
photographed elements.
WHAT PHOTOSHOP TOOLS AND OPTIONS DID
YOU USE THE MOST WHEN CREATING THIS?
The Clone Stamp was used to retouch and create the
background. It was very useful to remove lighting
equipment and different, unnecessary objects from
Nikolay Kvartnikov startedworking as a freelance illustratorand retoucher in 2006. In 2008 hefounded creative retouching and
CGI studio Fiero Animals,specialising in the production of
commercial CG and photo-basedimagery for the advertising andentertainment industries. Fiero
Animals has built up an impressiveclient list, including well-known
brands like Nissan, Audi, Pepsi,McDonalds and Schwarzkopf.
NIKOLAY KVARTNIKOV
ABOUT THE STUDIO
www.fieroanimals.com@fieroanimals
ADIDAS. BECOME
STRONGER
NAME OF PROJECT
Another image from the series
040014
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015
the frame. We always used the Pen tool for keying
and to create masks for compositing. Curves and
Levels adjustment layers were applied for colour and
atmosphere, and various brushes in blending modes
like Overlay and Soft Light were used to create
reflections, shadows and the overall atmosphere of
the image.
DID YOU FACE ANY CHALLENGES DURING THE
ARTISTIC PROCESS?
Considering the dark atmosphere of the images and
despite our wish to put more accent on the sports
equipment, we had to keep all the shapes and the
details of the Adidas sportswear. Also, we had to
correctly display relief and lights on the athletes body
via retouching and brush painting. Another
requirement was to perform an interesting colour
correction, and we added cold and warm reflections
in order to give more volume to the image.
DO YOU HAVE ANY ADVICE FOR SOMEONE
WANTING TO CREATE A PIECE LIKE THIS?
The main idea is to make a plan of every stage of
your work. You should know from the very beginning
which elements of your artwork you can take
photographs of and what elements you have to
create in post-production. Also, its important to
research the theme of the project and spend time
studying different references. In our Adidas project,
even though we knew that the training machine
would be done in 3D, we had a huge amount of
photo reference of it, including its different parts in
different perspectives.
WHAT IS THE MOST IMPORTANT FACTOR
WHEN CREATING THIS KIND OF ADVERTISING
CAMPAIGN FOR A MAJOR BRAND?
First of all, its teamwork that is essential to a major
project like this. It consists of so many important
components, beginning with a good idea from the
creative agency, excellent organisation of the photo
shoot by the post-production house, and finally the
work of a photographer and the model. Luckily for
us, we were given great material to work with. And
for us as a post-production studio, it was important
not to overdo the designs with effects and instead
pay more attention to things like composition,
lighting and colour correction.
All images Nikolay Kvartnikov
I really like the created atmosphere andminimalism, Kvartnikov says. We couldhave enhanced all the effects of thedestruction, we could have shown it biggerand more complexly, added sparks, smoke,debris and so on, but I like the balance thathad been achieved here
Along with lighting key areas in thephotography, Kvartnikov used a brush andBrightness/Contrast to set accents in theimage and to bring out the details in theathletes shirt
The heat of the dumbbells was created byusing Photoshop brushes in differentblending modes, as well as extra stockimages of hot metal to help create thedesired texture
Original photography
Original photography
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TECHNIQUES PHOTOSHOP AND THE 3D PIPELINE
PHOTOSHOP
AND THE3D PIPELINE
WE TAKE AN INDEPTH LOOK AT HOW PHOTOSHOP FITS INTO THE
3D WORKFLOW, FROM ITS OWN TOOLS TO THOSE IT ENHANCES
ASH JOSEPHWWW.THEFOUNDRY.CO.UK
Joseph is TheFoundrysin-housedesigner andoversees thecompanystrademarkbranding andvisual design.
BRAD PEEBLERWWW.THEFOUNDRY.CO.UK
Peebler hasworked insoftwareproductmanagementfor 20 years andco-foundedLuxology, partof The Foundry.
COLIE WERTZWWW.COLIEWERTZ.COM
Wertz is aconceptdesigner and 3Dartist. He iscurrentlyworking with3D Systems, a3D printingcompany.
DANIELE ORSETTIWWW.DAYNO.IT
Orsetti startedhis career inItaly. Two yearsago he movedto MPC London,where he is a3D modeller,texture artistand groom TD.
DAVID MUNOZ VELAZQUEZWWW.MUNOZVELAZQUEZ.COM
Velazquezstudied graphicdesign inBarcelona. Heis currentlyworking in thevideogame andanimationindustries.
CONTRIBUTORS
018
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S
ince its creation, Photoshop has made a
household name for itself as the worlds
premier graphics editing program.
Renowned for its incredible 2D
capabilities, its capable of producing some of the
worlds most impressive design and illustration
projects, and has little in the way of competition.
However, less well known or discussed are
Photoshops 3D asset creation capabilities.
Introduced to Photoshop CS3 in the spring of 2007,
users were initially able to create 3D layers, or
import 3D models and manipulate, light and render
them. CS4 allowed for editing of these materials,
and even some limited 3D painting applications,
begins Kirk Nelson, a graphics artist with over 15
years of experience in the industry. Following that,
CS5 introduced us to Repouss, which was a method
of extruding a 2D layer into 3D space. CS6 revampedthe 3D system with tighter tools and on-screen
editing widgets, and now CC has expanded all the 3D
features to be more robust and reliable.
Richard Curtis is a principal solutions consultant at
Adobe, and has a deep knowledge of Photoshops 3D
tools and capabilities. Currently, Photoshop CC
provides users with the ability to create 3D text and
objects, assemble them together with other 3D
objects imported from external sources (Photoshop
can read OBJ, KMZ, STL COLLADA and 3DS files)
and then change the aesthetic of the assembled
scene using all of the texturing tools within
Photoshop CC, he tells us. The 3D capabilities in
Photoshop CC are most often used to produce 3D
effects that are output in two-dimensional form forprint or online consumption.
Although 3D can often seem like a difficult and
challenging subject to tackle, the 3D capabilities
within Photoshop CC have been designed to work in
tandem with the rest of the application. Any
reasonably experienced Photoshop users should be
able to quickly learn how to work with and design in
3D using Photoshop CC, says Curtis.
Nevertheless, both Curtis and Nelson assert that
Photoshops 3D tools are supplementary, rather than
intended as any kind of competition to the thriving
CGI market that has existed in some form since the
late Seventies. Photoshop CC is not intended to be a
complete or robust 3D modelling tool, asserts
Curtis. There are plenty of other tools on the market,each with unique capabilities depending on the type
of content that needs to be produced.
THE 3D CAPABILITIES OF PHOTOSHOPA NEW DIMENSION
JAHIRUL AMINWWW.JAHIRULAMIN.COM
Jahirul Amin is ageneralist with aparticularpassion for 3Drigging andanimation. Helectures incomputeranimation.
JESSE SANDIFERWWW.CHICKWALKER.COM
Sandifer is a CGIcharacter artistat Blue Studio.His work hasbeen featured infilms, games,toys, tradeshows, booksand magazines.
KIRK NELSONWWW.THEPIXELPRO.COM
Adobe CertifiedExpert KirkNelson is anaward-winninggraphics artistwith over 15years experience,appearing in 200publications.
MARTIN MAYERWWW.MARTINMAYER.CA
Mayer is a CGIgeneralist. Hisrecent worksinclude severaldocumentariesfor DiscoveryWorld, HistoryUS/Canada andthe BBC.
MAURICIO RUIZWWW.MAURICIORUIZDESIGN.COM
Specialising asa conceptualdesigner in theentertainmentindustry, Ruizhas worked forfilms includingStar Trek andRobocop.
RICHARD CURTIS
A principalsolutionsconsultant atAdobe with afocus on digitalimaging, Curtisis the UKcontact for
Photoshop.
SRGIO MERCESWWW.SERGIOMERECES.COM
Merces hasbeen working inthe 3Dvisualisationbusiness for thepast ten years,working onprojects around
the world.
YASIN HASANIANWWW.SUPERHERO.CGSOCIETY.ORG
Hasanian is afreelance CGIartist with apassion for artand science,and has workedfor many majorclients over the
last five years.
CONTRIBUTORS
019
Sergio Mereces
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TECHNIQUES PHOTOSHOP AND THE 3D PIPELINE
020
Although Photoshop offers many capable 3D tools in
order to quickly and easily create three-dimensional
imagery inside the software itself, its never going to
quite match up to the utterly exhaustive feature sets
offered by the likes of Maya, 3ds Max, CINEMA 4D,
LightWave, ZBrush and the many other modelling
products currently available.
Nevertheless, as mentioned, Adobe doesnt intend
for Photoshop to be positioned as a competitor to
these products. In fact, it sits rather capably
alongside them, Photoshop being an incredibly vital
and complementary part of the 3D artists workflow.
I simply couldnt work without it. The legs on
Photoshop are unreal, begins concept designer and
3D artist Colie Wertz. I had the pleasure of working
with co-creator John Knoll at ILM, and hes nothing
short of a genius. He doesnt add a lot of frivolous
stuff to anything Ive ever seen him do, and that
shows itself in Photoshop.
Wertz uses Photoshop for a number of processes
in his workflow, from touching up his final 3D
renders to compositing various render layers in 2D. I
send out renders, composite them, and Im well on
my way, he tells us. Marrying all the stuff in your
image together so it looks like one image instead of
20 different elements is so rewarding. I also use it for
texture mapping. In my world of hard-surface
modelling, its irreplaceable.
Texturing, and specifically texture mapping, plays
a huge part in the 3D process, with many artists
using Photoshop to create realistic UV textures that
can then be wrapped around a 3D objects X, Y and
Z planes. Once a 3D asset has been created and is
ready to be textured, it will first need to go through a
stage of UV mapping, says Jahirul Amin, computer Colie Wertz
Render passes:In this example I have several passes that Iwish to compose in Photoshop. One has some variety in thetextures, one is the ambient occlusion map to enhance the softshadows, and finally theres a sort of fog map to add depth.
Compose, overpaint and adjust:Here I have startedoverpainting on the image, creating a vignette effect, ad dingdust and fog and painting in areas w here the corners are toosharp or clean. I still need to add details, effects and so on.
Final image:Here is the final image. It is eas y to see whatPhotoshop has brought to this 3D render. The details a dded byoverpainting are quite visible and bring the image together,making it feel more cohesive.
ENHANCING 3D IMAGERY IN PHOTOSHOPDAVID MUNOZ VELAZQUEZ REVEALS THE MAJOR STEPS FOR MIXING 3D RENDER LAYERS USING OVERPAINTING IN PHOTOSHOP
TOP ARTISTS DISCUSS HOW PHOTOSHOPS 2DELEMENTS FIT INTO THEIR 3D WORKFLOW
AIDING 3D CREATION
Colie Wertz
Colie Wertz
All images David Munoz Velazquez
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animation lecturer at Bournemouth University. This
is the process of mapping coordinates for each
vertex and laying them flat onto a 2D plane. If you
imagine taking a cardboard cube and then unfolding
all of the sides and laying it flat, you have a kind ofcross. Thats UV mapping. The resulting UVs would
be exported out as an image into a 2D package, such
as Photoshop.
Photoshops excellent illustrative capabilities
mean that any texture imaginable can be painted
onto the UV of an asset. You can paint the desired
texture onto the UVs using all of the many glorious
tools available, continues Amin. Once you are
happy with the painted textures, you can then apply
the image onto a shader in your 3D package and
apply that shader to the 3D asset.
Another important feature in the 3D creation
process is that of compositing render layers. Instead
of affecting the entire image at once, as a 3D artist
might do when retouching elements of their finalimage, they can work with specific components that
make up the image. For example, an artist may
want to reduce the amount of specularity on an
object, or increase the amount of reflection. Havingthese passes rendered out separately will allow
them to make these changes with ease.
Think of render layers as pieces of a puzzle.
When theyre put together they result in a completed
image, explains freelance 3D artist Yasin Hasanian.
They are components of the render that, when
added together, form the beauty (final) render. The
advantage of them is that if you wanted to increase
or decrease the reflection amount on the materials
or shaders, you wouldnt need to do so in a 3D
program. You can do it directly in Photoshop by
adjusting the levels of opacity.
The most common render passes are Diffuse
and Reflection. To composite them, they are usually
layered over each with different layer blend modes tocombine the passes together.
Some common render passes include Diffuse,
Specular, Reflection, Shadow, Ambient Occlusion and
Z Depth. For instance, you may want to multiply the
Ambient Occlusion pass with the Diffuse pass and
you can screen the Reflection and Specular pass
over the Diffuse, adds Amin. Its worth
experimenting with the blend modes in Photoshop,
as you can get some unexpectedly good results with
trial and error.
021
Mauricio Ruiz
Yasin Hasanian
I use Photoshop for anumber of things in my
work. I finish all of my 2D conceptwork in it, and for compositing in2D it is unparalleledColie Wertz, www.coliewertz.com
AS A 3D ARTIST, HOW DOES PHOTOSHOP USUALLY FIT
INTO YOUR WORKFLOW?
I rely on Photoshop for all of my final 3D composites, includingtexture touch-ups, creating the backgrounds and details likesaliva for creatures.COULD YOU WORK WITHOUT PHOTOSHOP?
Photoshop is the cornerstone of my design process. With over
eighteen years of Photoshop experience, I find it critical intaking my 3D work to a level where its ready for presentation.I recommend exporting out renders from 3D software such asZBrush and creating composites in Photoshop. With only ahandful of layered render passes, a background image inproper perspective and some general atmosphere to unify thecomposition, you can convey a strong 2D-assisted 3D modelwithin the speed of a production environment.WHAT KIND OF TASKS IS PHOTOSHOP BEST SUITED TO
IN 3D WORK?
Photoshop is very proficient in its ability to churn out colourvariations and final layouts. All of my 3D concepts requirebackground, colour/texture comprehensives and generaltouch-ups, which under the clock of a film production are bestaddressed in Photoshop.
IN THE 3D PIPELINE3D DESIGNER MAURICIO RUIZ DISCUSSES THE USE OF
PHOTOSHOP IN HIS DAILY WORKFLOW
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Jahirul Amin
Jahirul Amin
Adam Kuczek
Although Photoshop continues to play a hugepart in the 3D artists workflow, its not the only
software available to get the job done. Indeed,
there are a number of tools that allow artists to
approach their texturing work without once
needing to open Photoshop.
For instance, theres Pixologics sculpting tool
ZBrush. Approaching 3D modelling as if the artist
were working with digital clay, ZBrush enables
users to push, pull, prod and play with pixels in
order to find the desired look. Furthermore, it
allows artists to paint directly onto the models
surface without first needing to assign a texture
map. Polypainting may not be as precise an
approach as the detail offered via Photoshop and
UV maps, but it does allow for instantaneousfeedback on textures. I mostly use polypainting
for quick stuff, says Jesse Sandifer, character
artist at Blur Studio. Since Im usually in a
production setting where UVs are king, I use
polypainting for blocking and conceptual painting
of my characters, then I commit those strokes,
colours and suggestions to the UV map later on
and start building texture maps from there. The
main benefit of this approach is to paint without
worrying about connecting the seams of your
textures, or getting into tough areas that would
be difficult to line up just using Photoshop, such
as the spaces between a characters fingers.
There are other tools too, such as Autodesks
Mudbox, which supports PSD layers and blend
modes. However, the main player in the digital
painting field is currently MARI, developed by The
Foundry. MARI was originally developed at Weta
Digital in New Zealand during the feature film
production of Avatar, says The Foundrys creative
WE TAKE A LOOK AT TWO ALTERNATIVES TO
PHOTOSHOPS 2D TEXTURING APPROACH
3D DIGITAL PAINTING
TECHNIQUES PHOTOSHOP AND THE 3D PIPELINE
ORIGINAL RENDER WORK IN PROGRESS
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Yasin Hasanian
Jahirul Amin
specialist Martin Mayer. The software simplifies
the process of painting textures for digital assets
by allowing artists to paint directly onto their 3D
models. From the artists point of view, texturing
in 3D simply makes more sense, as there is no
visual disconnect between the model and the
texture work. This allows you to develop the
perfect texture much faster, more accurately and
decrease the number of required iterations.
MARI 2.0 was recently released, boasting a
new and much requested layers system. The
functionality should be immediately familiar to
anyone who has used Photoshop, with options to
create masks, adjustment layers and set blending
modes. MARI also integrates with Photoshop
itself. MARI can actually work well with PSD
files, explains Mayer. You can even input your
Photoshop brushes right into MARI. It makes the
production of large resolution image data quite a
pleasant experience, since it is fully GPU
optimised and supports bigger, faster brushes
comparatively to Photoshop.
MPC artist Daniele Orsetti believes that a
workflow that incorporates both MARI and
Photoshop is the best way forward. MARI has
become my main software for texturing props
and characters, particularly when I have to deal
with multiple UV tiles per channel, he begins. It
lets me work directly on the 3D model, and as
such has replaced Photoshop for most of my
everyday texturing tasks. However, Photoshop is
quicker in performing filtering operations such as
Gaussian Blur or High Pass, he continues. MARI
doesnt have a vector path creation tool at the
moment, so I have to use Photoshop every time I
want to use Bezier curves to trace my strokes. As
such, I generally still use Photoshop when I need
to do very detailed artwork in my textures.
MARTIN MAYER SHOWS YOU HOW
TEXTURING IN MARI
Prepare the UV space :For an efficient workflow inside ofMARI, you need to lay out your UVs in a specific way. MARIutilises a UDIM workflow where ea ch UDIM patch can haveindependent texture resolution. In this case its 4k.
Start a MARI project :Once youre in MARI, go to File>New.You will be presented with a New Project window where you canimport your models and create the initial channels you wouldlike to paint. Additional channels can be added later.
Apply base image layers :Open up the colour channel anduse MARIs triplanar texture to quickly cover the model with abase paint texture. Once done, repeat the process and bring in arust tileable texture into another layer inside the colour channel.
Paint the rust in :Now, you can go ahead and ad d a simplemask to your rust la yer. Since the mask contains black colour,the image will disappear. Use the brush tools with a white colourto reveal rusty areas.
Quickly create the bump :Thanks to MARIs layers, you canshare data between multiple channels, layers and stacks. Linkthe colour channels into the bump channel to use all possiblecombinations of layers and stacks and create a unique texture.
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Create the basic shape:For an efficient
workflow inside of MARI, you need to lay out your
UVs in a specific way. MARI utilises a UDIM
workflow where each UDIM patch can have
independent texture resolution. In this case its 4k.
Create layers and groups:You can do this inside
the Rotopaint panel, so if you want to use multiple
paths, you can add as many layers as you like. You
can use blending modes on every path or feather
each path individually, like masks in Photoshop.
Per point feathering:Once you have completed
your path, you can use per point feathering to clean
up the mask, which can be manipulated separately.
The feather path initially follows the same curve as
our bezier. Its a really intuitive way to work.
Its not only in the digital painting domain that
there exist Photoshop alternatives. When itcomes to image composition, both NUKE and
Adobes After Effects offer viable alternatives.
Although more commonly used for the
creation of 2D animation, After Effects can also be
utilised for visual effects compositing, image
adjustment, colour correction and more.
Photoshop represents an important and
indispensable tool in my workflow, and I use it for
60 per cent of my post-production work, says
architectural visualisation artist Srgio Merces.
However, After Effects stands as a nice
complement to Photoshop. Its a powerful
program for post-production for still images. I will
do all initial post-production tasks in Photoshop,
such as texture fixes and adding 2D elements,and then finally I take the image into After Effects
where I do the colour correction, lighting effects
and filters. I tend to use both programs, although
for me After Effects is more powerful when it
comes to colour grading and effects.
Another powerful compositing program and
more or less the industry standard when it comes
to visual effects is NUKE, also maintained and
sold by MARI owners The Foundry. NUKE was
developed by VFX studio Digital Domain in the
Nineties, originally for use on their feature films
A WORLD BEYOND PHOTOSHOPIMAGE COMPOSITING
ROTOPAINT IN NUKEASH JOSEPH REVEALS HOW TO COMPOSITE TWO IMAGES IN NUKE USING THE ROTOPAINT NODE
TECHNIQUES PHOTOSHOP AND THE 3D PIPELINE
Srgio Merces 2013
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TECHNIQUES PHOTOSHOP AND THE 3D PIPELINE
WHEN IT COMES TO TEXTURING, WHAT TOOLSDOES MODO 701 OFFER ARTISTS?
Being an end-to-end 3D content creation package,
MODO allows an artist to paint directly onto 3D
models. The paint system, like the rest of MODOs
architecture, is extremely flexible. In the example of
painting, MODO allows users to utilise a combination
of tools, brushes and inks to achieve many different
paint effects and styles. Good examples of the paint
tools in MODO are Airbrush, Clone, Smudge and Blur.
These tools are paired with your choice of brush,
such as soft or hard edge, or procedural. You can
also, for example, add an image link where you paint
an existing image onto a 3D model. The results of
painting are also stored in a bitmap, and that map
can be driving anything in MODOs shader tree. Thus,you can paint into a map that is acting as a bump
map and see the bumps in real-time in the viewport.
HOW DOES PHOTOSHOP COMPLEMENT MODO?
Photoshop and MODO work very nicely side by side.
While an artist could choose to make a fully realised
image inside of MODO from start to finish,
Photoshops filters and effects can greatly enhance
the process whether during the production or to
composite and colour correct the final image.
THE FOUNDRYS BRAD PEEBLER DISCUSSES3D SOFTWARE PACKAGE MODO
MODO 701
WHATS MISSINGKIRK NELSON SAYS WHATS LACKING
FROM THE PHOTOSHOP CC 3D TOOLS
The modelling aspect is the most apparent
shortcoming. There are clever tricks you can
perform with the Extrude function, but those only
go so far. The same goes for the simple shapes
how many situations do you really need a soda
can model for? However, to try and build a full
modelling system would really be biting off more
than Photoshop could chew. I think adding
simple Boolean operations to models would be a
great compromise. Being able to carve out
shapes by intersecting simple geometric shapes
would open up huge possibilities for the
modelling generation.
Yasin Hasanian
Srgio Merces 2013
Colie Wertz
Kirk Nelson
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Srgio Merces 2013
Colie Wertz Colie Wertz
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TECHNIQUES PHOTOSHOP AND THE 3D PIPELINE
EASY 3D TEXT IN PHOTOSHOP CCCREATING AND EDITING TEXT AS ACTUAL 3D LETTER BLOCKS HAS NEVER BEEN EASIER OR FASTER, REVEALS KIRK NELSON
Regular text:Add in
some regular text using
the Type tool. Choose a
font face that is big and
bold. Letters that are too
thin or intricate do not
translate well into 3D
objects. In this example
we used Bauhaus 93.
Instant 3D:Go to 3D>
New 3D Extrusion from
Selected Layer. Photoshop
switches to the 3D
workspace. Change the
appearance of the letters by
selecting a different Shape
Preset. The preset for Bevel
Frame is shown here. Click
on the Current View in the
3D panel and use the Move
tool to adjust the camera
angle and position.
Render it out:The letters can be split into separate 3D objects by
3D>Split Extrusion. Then each letter can be positioned using the 3D
Move tools. The Materials tab lets you assign materials to the letters.
We used Ruby. After positioning the light, you can render the image.
Srgio Merces 2013
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Richard Roberts 2013
RICHARD ROBERTSwww.richardbroberts.com
Richard Roberts built this
piece using brushes ofdiffering hardnesses: The hard brush was used
to add rim lighting to different parts of the
illustration; the soft brush was used to add light
gradients coming from different light sources. A
combination of the soft and hard brush is key to
blending a rim light into the edge of an object.
Using the hard brush on the edge of an object to
add a coloured glow works great, but for the
lighting to be correct, it needs to be softly blended
into the rest of the object.
USE SOFT ANDHARD BRUSHES
Lighting on the chin
I used an 8px hard brush with
Pen Pressure turned on to paint
the rim light on the edge of the
bottom of her chin. I then used a
large soft brush at around 30px
with Pen Pressure activated, and
lightly painted in blue tones
Oil leak
I used a hard brush to paint the
base of the oil dripping down
from the broken pipe. I then
lightly painted in different shades
of black and grey to give the leak
more dimension. Finally, I
brought in a light grey-white and
added in the highlights
Exhaust smoke
This effect can be achieved with
brush. Choose different grey tone
lightly start brushing in a base fo
smoke. Apply a Scatter setting in
Brush Settings and play around u
get an effect that looks like smok
sure to lower the opacity when w
on this, as it can be very delicate
Spark effects
Paint the spark using one shade
of orange, then pick a brighter
colour and paint a smaller
highlight in the middle. You can
set these sparks to Linear
Dodge, Screen or Color Dodge
for extra intensity
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PROFESSIONAL PHOTOSHOP ARTISTS SHARE WITH US THEIR FAVOURITE TOOLS, HOW THEY
USE THEM IN THEIR OWN WORK AND THEIR TOP TIPS FOR GETTING THE MOST OUT OF THEM
PHILIP DUNNEwww.lovetherobot.com
BENJAMIN MOUNSEYwww.benjaminmounsey.com
For the past six years, Philip Dunne has
been working on a variety of commercial,
published and personal art projects. He finds the Lasso tool
essential for all his work: It helps to single out sections of an
illustration and to build up depth and detail within a particular
area and on a particular layer. I used the Lasso tool in this piece
to create the background around the robot. I highlighted
sections of the clouds and, by using the Shift key, I then created
multiple areas for which to draw on using the Brush tool. I also
placed scans of acrylic and watercolour paintings and used the
Lasso tool to cut around them. Then I combined each layer to
create the cloud/energy effect.
Mounsey has been working as a freelance illustrator for two years. He is a
fan of using custom brushes to create his designs, thanks to their
versatility and adaptability, and believes that they are critical to creating a
convincing level of detail. He has this advice for other artists: The quickest way to create
custom brushes is to sample a section of a stock texture. Anything like rock or metal with a
really visible texture will work perfectly. Use the Levels menu to ramp up the contrast until its
just a black and white pattern. These brushes are very versatile, and can be tailored to many
different purposes easily with the Brush Presets. In this particular piece, Mounsey used a
variety of brushes to create the different effects, such as the steam, mist and grime on the
surfaces of the structures.
MASTER THE LASSO TOOL
TO BUILD UP DEPTH
GET TO GRIPS WITH CUSTOM BRUSHES
Benjamin Mounsey 2012
Philip Dunne 2013
031
THE ULTIMATE GUIDE TO
TOOLS AND
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ANTHONY GIACOMINOwww.agiaco.net
The Puppet Warp tool was introduced in Photoshop CS5, yet many of us are still unsure of
its uses. One artist who makes the most of the feature is Anthony Giacomino, whoexplains: Puppet Warp allows for versatile manipulation of an image to execute something
in a way many other tools, such as Warp or Liquify, cannot do. He tells us how he created this particular image
with the Puppet Warp: The base was from a stock photo of braided hair, but it was straight and I wanted it to be
curving and appear to be swirling toward the viewer. Once I had extracted the hair from the background, I had a
piece that could be puppet warped. After placing a few to start, I scaled the next one up slightly and played with
rotations and warping to match the part before it. I generally used about five points on the Puppet Warp mesh.
Turn the mesh on and off regularly so you can see what is being warped without the mesh blocking your view.
MASTER PUPPET WARP
This image shows the second piece of the braid
being warped using a number of points. Dont force it
too much or it will generate polygonal edges.
Similar to the previous image, you can see that
the scale of this piece of hair has enlarged and also
taken on a new shape as a result of puppet warping.
This image shows the completed swirling with
additional colours, blending and blurring. This is not
the final piece, but the technique worked out.
This shows the rough plan without any depth of
field blurring or blending between each plait.
TECHNIQUES THE ULTIMATE GUIDE TO TOOLS AND TECHNIQUES
All images Anthony Giacomino
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Use layer masks
I used this technique combined
with a layer mask to paint on
coloured highlights to the outer
edges of the alien, which help to
balance the image
Neon glow
Coloured radial gradients were
used to create the glows on the
fluorescent light bulbs
Create texture
Several differently warped glow
shapes were used to help give the
blue pyramid a shiny, futuristic look Add depth
This technique was applied onto the arms of the
alien to help give the structure form
DEAN FALSIFY
COOK
behance.net/FalsifyCook explains the
best way to add glows to your art: If
you create your glow shape on a
normal layer, then group that
layer and change its blending
mode to Color Dodge, you will
notice that the glow acts kind
of like a digital torch. I often
start out by drawing a white
alpha radial and use the
Warp/Liquify tool to bend
the radial into the shape I
need. This is usually made
to fit the image and hug the
contours of the elements Iwish to give a little glow to.
MAKE MOREVIBRANT GLOWS
Dea
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FOUR DIFFERENT WAYS WITH BRUSHESVALP MACIEJ HAJNRICHwww.valpnow.com
Here, Valp (Maciej Hajnrich) talks us through his top tips for making
the most of the key brushes used in this artwork.
Standard Brush tool
Change the brush size by holding Cmd/
Ctrl+Opt/Alt, and click and hold the
mouse/pen, sliding it from left to right. The
same shortcut but sliding up and down
changes the hardness of the brush. I use itconstantly when painting roots like this
History Brush tool
I applied the Minimum filter to the mask,
but I wanted to use it on just some parts.
Go to the History panel and click on the
icon to the left of the filter. Then go back
and press Y for the History Brush tool and
paint in areas to bring that filter back
Eraser tool
I use the Eraser in a similar way to the
Brush tool by changing opacity andbrush size with the same shortcuts. It
helped to give the roots more custom
and random shapes. In some cases, its
better to fill a layer with one colour and
paint and erase on the layer mask
Smudge tool
This works great with bristle brushes.
Change the Strength (tap 1-0 keys for quick
access) to make it change your layer more
or less. Its great to mix up the colour
palette or just smudge textures on your
creatures face, for example
Valp Maciej Hajnrich
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EMERIC TAKESHITRAHANDwww.stillontherun.com
Takeshi (Emeric Trahand)
designed this cover for Fores
debut album, Going Back Is Not The Same AsStaying. He explains how grids and rulers help out:
When it comes to geometrical work involving a
large amount of elements and a focus on
symmetry, I use rulers and the grid to help align,
size and position the objects precisely. It also keeps
from creating gaps between objects; these small
imperfections very often remain invisible when
working on the file at 25 per cent or less of the
high-resolution size, but get revealed once the work
is flattened for export or print.
Lundberg breaks down thestages of this self-portrait in his
own style for &Reach, a boutique artist
management and creative services curatorium. He
says: [Here we will be] focusing on the Brush tool,
and how you can use it to paint highlights and
shadows. Lundberg uses a Wacom graphics tablet
with the Brush tool to create these effects.
GRID & RULER 2013 Emeric Trahand
035
NIKLAS LUNDBERGwww.diftype.com
PAINT LIGHT WITH
THE BRUSH TOOL
All works Niklas Lundberg 2006-2013
I start off with putting all the original, unedited 3D
elements and stock images in place. Its now a
matter of making all these elements work together,
both colour and lighting-wise.
Apply different adjustment layers, such as
Brightness/Contrast, Curves and Selective Color. Set
these as clipping masks and play around with the
settings, painting on the masks using the Brush.
I created a backlight using the same techniques as before, and also by painting with a white brush on top
of the most lit areas. I usually go over my pieces multiple times and polish the lighting.
THE ULTIMATE GUIDE TO TOOLS AND TECHNIQUES TECHNIQUES
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TECHNIQUES THE ULTIMATE GUIDE TO TOOLS AND TECHNIQUES
LIRAN SZEIMANwww.liransz.com
The basic round brush is one of Photoshops staple tools, but that
doesnt mean that its not powerful. Szeiman does almost 95 per centof her work with this essential tool. She walks us through how she
used the brush in this painting: I start by making a sketch in greyscale, then paint the
forms of all elements before starting to add volume to each part. Once it is almost ready, I
start to add colour using layer blending modes and finally I add the detail.
The brushes that I use most are the basic round brush with pressure for detailing, and
without pressure and I use a soft tip for the volume. When it comes to Brush settings, I use
the following: In terms of Brush Tip Shape, you can choose between the brushes you have
loaded and change the size, hardness or spacing. I activate Shape Dynamics and set it to
Pen Pressure with a Minimum Diameter of 0% to activate Wacoms points of pressure. I
also activate Transfer, with Pen Pressure set to Control to manage the flow of paint from
the pen pressure.
Szeiman also has some practical advice on using the brushes alongside a graphics
tablet. She tells us: Use the buttons on the Wacom pen; one of them has a predefined
letter X, in order to switch between the background and front colour; the other acts as a
Ctrl/right-click equivalent, which opens the mini brush control panel to quickly change thesize and hardness. You can also configure the tablet buttons to alter the opacity, among
other parameters.
GET MORE FROM BASIC BRUSHES
Liran Szeiman - OC by Jonathan Forrest
PAWEL NOLBERTwww.nolbert.com
Pawel Nolbert explains how he used the Pen
tool in this self-portrait: I first sketched
everything roughly with a brush (I based the shape of my head on a
photo reference), then used the Pen tool to draw more detailed
shapes of pretty much all the objects within the scene, so every
object has its own Shape layer. After that, I started to apply textures
to the vector elements. I used different types of textures, from a set
of colourful abstract smears that I generated in Photoshop, to stock
textures like leaves and paint textures that imitated tree bark and
ground. Then I added brushing and adjustment layers to every
element to get the right lighting and colours. Layer blending modes
played an important role, too.
I use a huge magnification when working on details, and use the
keyboard arrow keys to nudge the points of the vector shapes. The
amount of nudge is different according to the zoom level you set. If
you zoom to 100%, it will nudge by 1px, then with 200% it will be
0.5px, and so on, so the more zoomed the view, the smaller and
more detailed the nudge is.
CREATE WITH THE
PEN TOOL
Pawel Nolbert 2013
Work to a huge magnification to ensure that the vector shapes are in the ri ght position
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ENHANCEBRUSHWORK WITH
LAYER STYLESMIKE CORRIEROwww.mikecorriero.com
Concept artist and illustrator Mike Corriero uses layer
styles to help enhance his brushwork in digital
paintings. He regularly uses the Outer Glow and
Inner Glow styles, which help when painting floating
embers, stars and other elements or objects that
would give off any form of light or energy. His top tip
for using styles in this way is: If you duplicate the
same layer, lower the opacity and add a Motion Blur
to it, you can give glows a more dynamic and unique
effect. In addition, if you erase any portions or
enlarge any of the areas on that specific layer, it will
help to push the glowing embers, particles or stars
closer or further back in space. Mike Corriero 2013
SUSANNE
RADERMACHERwww.surama.net
Susanne Radermacher, aka
Surama, is a self-taught digital art hobbyist who creates
fantasy wonderlands with her painting skills. Her work
is always rich in colour and detail and very well thought
out. The main character in this image was created in 3D
modelling software Poser, and the rest was painted in
Photoshop using the Brush tool. She explains the key
way in which she uses this basic tool and why: I mostly
use the Brush tool to refine the many layer masks that I
use when I want to merge in stock images. That
happens very often, because there are so many ideas in
my mind. As I change my mind, I need to go back and
change the image to suit, so layer masks being
non-destructive are incredibly helpful with this.
USE BRUSHES TO
EXPERIMENT
Susanne Radermacher
037
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TECHNIQUES THE ULTIMATE GUIDE TO TOOLS AND TECHNIQUES
JEFF HUANGwww.thefihorder.net
Jeff Huang is a huge fan of
the different brush tools
within Photoshop, including some of the more
recent additions, such as the Mixer Brush tool.
He combined this tool with the basic brush tool
for this digital painting, but he also uses it for
his photo retouching and illustration projects.
This piece was done strictly with a brush
tool as a digital painting experiment that I
wanted to challenge myself with. I used a small
pencil brush preset to draw the initial line art,
then used a hard round brush to block in the
initial colours. Afterwards, the shading and
painting was done with a combination of
brushes: I used a painterly bristled brush, as
well as the Mixer Brush tool to smooth certain
parts out.
When painting with the default brush tools,
it can be hard sometimes to achieve a smooth,
blended look. Try using the Mixer Brush tool on
Very Wet, Heavy Mix at 50% Load. Those are
the settings that I use with my Mixer Brush tool
when I want to blend certain colours together. It
creates an almost smooth gradient effect when
used, and it will allow you to achieve the evenly
blended look instead of harsh brush strokes.
SMOOTH WITH A
MIXER BRUSHUse the MixerBrush tool on
Very Wet, HeavyMix at 50% Loadto blend colours
JEFF HUANG /
THEFIFTHORDER.NET
Ain Soph 2013
JOSH THOMASwww.ainsoph.net
Josh Thomas is an illustrator,and another of our artists
with a passion for the Brush tool. He uses it to add
extra detail to his work: I like to use a lot of thin
lines in my works to imply speed and motion.
With complete control over line strength and
density, the Brush tool makes creating depth
much more natural. A great way to add extra
detail to a piece is to paint in some subtle dust or
specks. Playing around with Scattering, Opacity
Jitter and Size Jitter, you can control how sparkly
or dusty you want your image to look in the end.
This also adds some sharpness to your final
image when zoomed out. Applying this technique
with a pressure-sensitive tablet will allow for even
more control and accuracy.
ADD PRECISE DETAIL
TO YOUR ARTWORK
Jeff Huang @ The Fifth Order
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ADAM SPIZAKwww.spizak.comThe Oil Paint option provides a great base
for both digital painting and 3D post-
production for unifying colours and textures, says artist Adam
Spizak. He shares this top tip for making the most of it: The Oil
Paint filters use is not just limited to reproducing a paint effect;
on a relatively low setting, the Oil Paint filter can behave as a
Smooth filter and effectively remove noise and imperfections. On
high settings, with Stylization and Cleanliness set to 7 and 7
respectively, the filter works as a Smudge tool, impacting the
contact between the lines.
USE OIL PAINT FOR
DIGITAL PAINTINGS
Adam Spizak
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TECHNIQUES BLEND 3D AND PHOTOS
YVAN FEUSIhttp://aiven.net
OUR EXPERT
Yvan Feusi is a 24-year-oldprofessional graphic designer andillustrator from Geneva, Switzerland.After working at an agency for acouple years, he left to work as afreelancer. He is part of the digitalart collective Slashthree.
PHOTOMANIPULATION
BLEND 3D ANDPHOTOSBUILD A COMPLEX SCIFI PHOTOMANIPULATION BY
WORKING ACROSS MULTIPLE PLATFORMS
Creating a piece of art that is as detailed and
complex as this one may seem like a
mammoth task, but with the right stock
imagery and software, photomanipulation
can be a breeze!
In this tutorial, we show you how to go about
building a futuristic museum scene, starting with 3D
modelling in CINEMA 4D and creating vectors in
Illustrator, which you will then learn to piece together
in Photoshop. Details are important, so have fun
rendering less obvious elements like the floating
holographic displays and dust particles in the space
scene. A big focus has been put on how to handle
large Photoshop files within a dynamic workflow,
so we give you some top tips for dealing even with
hundreds of layers.
If you can, take your own stock photographs in
order to get the most convincing results, but many
of the textures and images for elements like the
holograms can be found through a simple web
search. Not every step is explained in detail here, so
you will have to use your own initiative and
imagination for some aspects of the image. But
remember; the more unique the better!
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04PREPARE YOUR PSDCreate your main Photoshop document inhigh resolution (A3 at 300dpi) and set the
Colorimetric Profile to RGB this helps to make it
universally accessible. Now import your renders into
Photoshop and keep the document clean, create
groups and name layers. When you import external
files into your main PSD, import them in HD and
convert the layer to a Smart Object. This way, you
can always double-click on that layer and change its
content without any loss.
01SEEKING INSPIRATIONUnless your aim is to create something completely random, never start a project like this if you dont know exactlywhat you are looking to achieve. Going out without a plan can often lead to problems later down the line. Set aside some
preparation time to search for creative and technical inspiration, develop an original idea, draw some sketches on paper for
the composition and set yourself a quick task list. Dont block yourself with technical limits during the creative stage. Every
challenge surpassed is knowledge for later.
033D RENDERINGAs you are going to work mainly inPhotoshop, you dont want a flat render of the whole
scene. It is more interesting to render each important
element individually with their alpha masks and
recompose the whole scene in Photoshop. You will
then be able to work on each element in a separate
layer. You can also render in multi-passes if you
want to adjust the lighting, shadows and reflections
later. You can render the scene with various shaders,
and alter their opacity in Photoshop.
023D MODELLINGCINEMA 4D software was used to createthe base of the scene. You only need basic
knowledge of any 3D program to create something
similar. However, you could also work your scene
from a photo of a room, street, landscape or
whatever fits your concept. Use imagery from stock
websites or take your own photos to fit your ideas.
Its just about having a base for the perspective. You
will be able to modify everything during the process
in Photoshop anyway.
COMBINING ASSETS
WORK IN
PROGRESS
Progress 1:3D sketch
Progress 2:3D render
Progress 3:Fix in Photoshop
Dont block yourself with technical limits during the creative
stage. Every challenge surpassed is knowledge for later
TECHNIQUES BLEND 3D AND PHOTOS
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QUICK TIP
Learn as many Photoshop shortcuts as possible and later you can create your own by going to
Edit>Keyboard Shortcuts. Using the menus and searching for an option slows down your workflow
massively. You have to become a shortcut pianist to be able to work fast enough and do more. It makes
a lot of difference.
08INTEGRATE THE WINDOW
Once you have finished creating the space scene, Select All (Cmd/Ctrl+A), Copy Merged (Cmd/
Ctrl+Shift+C) and paste it (Cmd/Ctrl+V) into your main PSD file. Convert the layer to a Smart Object before
modification and then adapt the perspective. Add some layers on a clipping mask where you will import the
vector sci-fi textures to bring some more details to the window. Then use layer styles to add an orange Inner
Glow to the window.
09DESIGN AND INTEGRATE THE DOOR
Create a new PSD file again (square size)
and start to design a futuristic-looking door. You can
do this in Illustrator or directly in Photoshop using
vector shapes. Add some volume via Layer
Styles>Bevel & Emboss. You are not looking to add
textures or complexity here, as you can do that in the
main file with clipping masks later. When you are
happy with the design, import it into the main file as
a Smart Object, then adjust the perspective and
finish the integration.
07CREATE A SPACE SCENE
In a separate PSD, import image 9115887
from Dreamstime.com and duplicate it to create a
bigger texture, then rasterise it. Once you have yourtexture on a single layer, make a round selection and
use Filter>Distort>Spherize to create the planets
volume. Then add lighting and shadows using
clipping masks or layer styles. Use the same method
to add more details like lava, clouds and lakes. For
the nebula, you can paint it or use pictures of smoke.
Mix them using layer styles and play with colours.
06TEXTURE THE SCENE
Import your vector patterns into Photoshop
and adjust their perspective to fit on the wall. Apply a
soft Inner and Outer Glow layer style so they look abit like a hologram. You can also apply Filter>
Render>Clouds with black and white on the layer
mask. It will make the texture look less vector-like
but more transparent in some parts. Remember to
work the reflections, lighting and shadows but dont
spend too much time on the colours, as you will
re-work them in the final step.
05
Now using Illustrator, prepare a few sci-fi
themed vector forms that will be incorporated into
the main file later to create holograms or textures.For example, you can use the font Bank Gothic to
make lines of the digits 010101 and some technical
circles and lines. You dont need to worry too much
about texture and colour here, as you can apply
them later in Photoshop. You will also need to
import the vectors as Smart Objects, so you can
modify your forms further down the line if needed.
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TECHNIQUES BLEND 3D AND PHOTOS
12CREATE HOLOGRAMSCreating a hologram in Photoshop is simple. Here is one method you can use if you are starting froma photograph; create an 85% Opacity layer with Inner and Outer Diffuse Glow. Then add your photograph on a
clipping mask and apply Filter>Render>Clouds (grey and white) on a layer mask. Change the layers blending
mode to Linear Dodge (Add). Add a layer of black horizontal lines with an Overlay blending mode at 50%.
10PHOTOGRAPHY AND ISOLATIONYou dont need a professional camera or to work in a studio to take these kind of photos. The goal isjust to have a base. There are various methods that you can use to isolate the models from their
backgrounds; it all depends on the original image you use. Quickly cut out the model using the Polygonal
Lasso tool or the Pen, but not the head. Apply your selection on a layer mask. Then its best to use a tablet to
re-paint the hair of the model, unless with a flat background, when its better to use Select>Color Range.
11INTEGRATE AND ADAPT THE MODELSImport the isolated models into your mainfile as Smart Objects, then resize them and fix their
perspective. Directly add a Dynamic Smart Sharpen
filter with Amount at 100% and Radius at 0.6px.
Superpose adjustment layers on a clipping mask to
fix colours. On a new layer, you can paint the
shadows. On a second layer, paint the lighting. When
you are done with the integration, improve the
models by painting in some more details like floating
holograms as well as reflections and shadows on
the ground.
QUICK TIP
Using Smart Objects, dynamic filters, adjustment
layers, clipping masks and layer masks all help
you to avoid having to directly manipulate the
original layer. In huge photomanipulation projects
with 100+ layers, you can always edit what you
have done even days after without any loss.
14QUICK 3D LOGO
If you want to create a quick logo in 3D, use
Illustrator to make a type logo and vectorise it.
Modify the font to look futuristic and import it into
CINEMA 4D to generate a render with a transparent
and reflective shader. Import the result into
Photoshop with an alpha mask and complete the
integration by changing the layer styles and blending
mode to Screen, for example. Bring in more details
around the logo, like the holograms made in the
previous step.
13MORE HOLOGRAMS
At the centre of the scene, you can see a
storm of floating data. You can use the textures you
made in Step 5, including the series of digits, to
make your own. Flip the texture vertically and
colourise it in yellow/orange. Change the blending
mode to Linear Dodge (Add), set the Opacity to 80%
and add a layer mask, then paint the edge with a
smooth black brush. You can then duplicate the layer
any time you want. Resize it so that its small enough
to not be readable.
15FINAL LIGHTING FIX
When you are done with everything, its time
to fix the global ambiance of the scene with a group
of adjustment layers on the top of your document.
Remember that you can add a layer mask to
adjustment layers, and benefit from more control by
painting directly in black and white on the mask with
a smooth round brush at 50% Opacity. Make sure
that you bring enough contrast into the highlights
this is especially important due to the holograms.
Your scene is now complete!
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TECHNIQUES HOW I MADE
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