Advanced Photoshop - Issue No. 121.Bak

8/12/2019 Advanced Photoshop - Issue No. 121.Bak

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WELCOMEISSUE 121

Welcome to the latestissue of AdvancedPhotoshop . Beautyretouching is one of thekey reasons thatPhotoshop is used soextensively by industryprofessionals.

IN THIS ISSUE:

GRAPHICSDIGITAL PAINTING

PHOTOMANIPULATIONPHOTO EDITING

ANNA LISA SAYWELLEditor

In the competitive world of beauty photography,you need to know how to produce finishedretouched images. This issue offers you just that awealth of tips and techniques from retouchprofessionals and a step-by-step tutorial that willteach you the essential processes used within thebeauty industry.

Elsewhere in the issue, take a look at our gameart feature, in which pro artists share their secretson how to create epic concepts. Also learn to buildstriking graphics using a grid system, and create arealistic image using seamless lighting techniquesin our cityscape composite tutorial.

If that wasnt enough, we ve even covered thewonderful world of 3D for you. Transform a CGrender using Photoshop tools and master mattepaint techniques at the same time. All of thisamazing content should keep you busy until nextmonth. Enjoy!

FIND US ONLINE:

@advancedpshop /AdvancedPhotoshop

.co.uk

00

ISSUE 121 CONTENTS

COVER IMAGE

A er working as a model,Capitaine decided to use

her beauty expertise as aretoucher. Since founding

One Hundred Berlin,Capitaine has worked

with high-end editorialclients including ELLE , GQ and Vogue . Re-create hercover image on page 42.

BRIVAELLE CAPITAINEwww.onehundredberlin.com

TYPOGRAPHYNEW MEDIA

WORKSHOP:

TRANSFORM 3DRENDERS

52

Bring your CG work to life using Photoshoptricks and matte painting techniques

24 INDUSTRY FEATURE:15 TIPS FOR CREATINGGAME ARTPro artists share the secrets of creating strikingvisuals, from concept through to final product


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EYE ON DESIGNWhats hot, whos in and thelatest art & design happenings

THIS ISSUES PRO PANELOur contributors share Photoshop secrets06PORTFOLIO INTERVIEWThe evolution of an artist08

14 PROJECT FOCUSA new perspective on advertising

CONTENTSISSUE 121

004

58 HOW I MADE

60 SEAMLESS LIGHTING

32 FROM SHOOT TO PHOTOSHOP: RETOU

FOR BACK ISSUES, BOOKS AND MERCHANDISE VISIT:

16 STUDIO INTERVIEWSomeOne


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TECHNIQUESProfessional artists reveal their high-end Photoshop skills inour easy-to-follow workshops

15 tips for creating game art24 INDUSTRY FEATUREREVIEWSWe put the latest creative kit,books and apps to the test

80 FEATURE:CorelDRAW Graphics Suite X784 REVIEW:Top 10 Photoshop books

Free withissue 121

ofAdvanced Photoshop

PREMIUM RESOURCES

PLUS:

TAILOR MADECREATIVE CONTENT

96 ON YOUR DISC

Tree Of Life48 HOW I MADEProfessional portrait retouching42 COVER WORKSHOP

Typography ManufacturingHOW I MADE

From shoot to Photoshop: Retouch32 INDUSTRY FEATURE

Transform 3D rendersWORKSHOP

SEE PAGE 22 OR 71 FOR THE LATEST OFFERSSUBSCRIBE TODAY!

60 Seamless lightingWORKSHOP

90 Beautiful bokehsRESOURCE PROJECT

66 Work with colour and textureWORKSHOP

66 WORK WITH COLOUR AND TEXTURE

The Four Seasons76 HOW I MADE

48 HOW I MADE

ISSUE 121

Living the dream86 READER INTERVIEW

72 Build striking graphicsWORKSHOP


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EYE ON DESIGN THIS ISSUES PRO PANEL

THIS ISSUES PRO PANELBROADEN YOUR CREATIVE HORIZONS WITH A LITTLE HELP FROM THIS MONTHSCONTRIBUTORS, WHO UNVEIL THEIR EXPERT PHOTOSHOP ADVICE HERE

EYE ON DESIGN

FERDINAND D.LADERAwww.ferdinandladera.comUse Curves to colour your artby adjusting the channels. This

is how I colour my landscape paintings. It willspeed up your process. Before doing this youshould paint in greyscale first just to establish theright values and depth in your painting. And lastly,always use perspective in your art, as this is veryuseful as a landscape painter.

Check out more of Laderas work in his HowI Made tutorial on page 48

BRANDON CAWOODwww.flash-light-productions.comShoot what you love. Never let anyone tell you that something isnt possible. You will never catch your dreams if stop chasing them. A vividimagination has far more value than a budget. Make friends, not clients. Take a look at Cawoods photography and re-create his looks on page 66

Brandon Cawood

Ferdinand Ladera


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Imagine Publishing Ltd 2014ISSN 1748-7277

Magazine teamEditor Anna-lisa [email protected]

01202 586243

Editor in Chief Dan HutchinsonSub Editor Alicea FrancisPhotographer James SheppardSenior Art Editor Duncan CrookHead of Publishing Aaron AsadiHead of Design Ross AndrewsContributorsChris McMahon, Larissa Mori, Julie Bassett, April Madden,One Hundred Berlin, Anton Erogov, Brandon Cawood,Jorge Marin Gispert, Simon Skellon, Kirk Nelson, EdvinPuzinkevich, Dan Bevan, Steve Mumby, Ben Stanley, GreggWhittaker, Alison Innes and Charlotte Crooks

AdvertisingDigital or printed media packs are available on request.Advertising Director Matthew Balch

01202 586437Head of Sales Hang Deretz

01202 [email protected] Manager Ryan Ward

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InternationalAdvanced Photoshop is available for licensing.Contact the International department to discusspartnership opportunities.Head of International Licensing Cathy Blackman

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DisclaimerThe publisher cannot accept responsibility for any unsolicitedmaterial lost or damaged in the post. All text and layout is thecopyright of Imagine Publishing Ltd. Nothing in this magazinemay be reproduced in whole or part without the written

permission of the publisher. All copyrights are recognisedand used specifically for the purpose of criticism and review.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.

If you submit material to Imagine Publishing via post,email, social network or any other means, you automaticallygrant Imagine Publishing an irrevocable, perpetual, royalty-free license to use the images across its entire portfolio,in print, online and digital, and to deliver the images toexisting and future clients, including but not limited tointernational licensees for reproduction in international,licensed editions of Imagine products. Any material yousubmit is sent at your risk and, although every care is taken,neither Imagine Publishing nor its employees, agents orsubcontractors shall be liable for the loss or damage.

Imagine Publishing LtdRichmond House, 33 Richmond Hill,Bournemouth, Dorset, BH2 6EZ

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The magazine for Adobe Photoshop professionals

EDVIN PUZINKEVICHwww.edvin.lv

Sometimes when I need to compa CG object into a photo-based

image, I apply some additionaltexture from a photo of a similar real object. Usinglayer blending options like Multiply, Overlay, Darken,Lighten and Screen with different transparency levelsis extremely helpful for applying texture to an object.Filter>Distort>Displace is another powerful tool fortexturing using a pre-existing PSD file with texture. Create seamless composites on page 60

ANTON EGOROVwww.behance.net/egorovPeriodically check your work using these techniques: merge all the layers on the top(Cmd/Ctrl+Opt/Alt+Shift+E), flip it horizontal and you will see flaws that you havent noticedbefore. Desaturate it and you will see troubles in the contrast. Zoom out of your work

hugely and youll be able to catch sight of weaknesses of the composition clearly. Learn to master Photoshop post-production techniques with Egorov on page 52

Flip your image horizontal andyou will see flaws you havent

noticed before. Desaturate it and you

will see troubles in the contrastANTON EGOROV / WWW.BEHANCE.NET/EGOROV Edvin Puzinkevich

Anton Egorov


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EYE ON DESIGN PORTFOLIO INTERVIEW

DO YOU HAVE ANY TIPS FOR OTHER ARTISTS

WHO WANT TO CHANGE THEIR PERSONAL

STYLE, AND THE BEST WAY TO APPROACH I T?

It is again a complicated question. It is a difficult

exercise to change a personal style and Im really notsure I succeeded at it myself. There are obviouslymany risks in changing style. You might confuseyour audience or clients. You might lose track ofwhat you are good at. How are you going to build aconsistent presence online? Especially when yourincome depends on it. Are you ready to be less goodat what you do now, versus being much better atwhat you used to do?

I believe any artist who feels the need to changetheir style should first of all consider why they aredoing it: if it is simply a phase, a temporary lack ofsatisfaction, or a deeper need to grow and freethemselves from a style they feel isnt right. My bestadvice would be to follow what feels right for you as

a genuine, creative person. The risks areconsiderable, but unless an artist is fulfilled I dontbelieve you are able to produce your best works. Ithas to be a necessity.

03

04

03Castle: Personal work and commissionedartwork like this piece sit alongside eachother in Trahands portfolio

04Kuruma: A promotional piece forColagene.com , an illustration clinic inthe UK representing digital artists

05Air:This is a piece of pitch work for NikeAir, which showcases Trahands newerstyle perfectly

My personal work differs alot from my commercial

gigs, unless Im lucky enough tofind a client with a bit of love andtrust for what I do

CAN YOU TELL US A LITTLE BIT ABOUT YOURWORKFLOW PROCESS? HOW DOES A DESIGN

GO FROM IDEA TO COMPLETION?

Im still at a very experimental stage of what Imtrying to do these days. Ideas often come from apiece of art I might come across. By this I dontnecessarily mean the reproduction of something Isaw; I guess its more what door it opens in my mindwhen Im taken into a new territory. From there,once a visual concept is defined, I try to understandhow I could translate it with the visual language Imtrying to build, how it makes sense in the middle ofwhere I am with work these days. Then theproduction happens, which is a succession ofmistakes and steps back before somethingacceptable comes to life, and finds its own space.

DO YOU STILL FIND TIME TO WORK ON

PERSONAL PROJECTS, AND DO THEY DIFFER

FROM YOUR CLIENT PROJECTS?

I have, through the years, been quite squeezedin-between a lot of client works. The visual industryis a very demanding, quite frustrating industry thatvery often does not leave much space for building apersonal body of work. My personal work differs alot from my commercial gigs, unless Im lucky


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EYE ON DESIGN PORTFOLIO INTERVIEW


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enough to find a client with a bit of love and trust forwhat I do. I mean, this is the struggle most of theillustrators I know are facing; there is nothing newhere. Id just be unhappy if every piece I was doingwas marketed or branded; I need to do my own stuffin order to breathe.

WHATS YOUR FAVOURITE PROJECT THATYOUVE WORKED ON TO DATE, AND WHY?

I dont really have one. Im very unsatisfied with mywork generally. I believe I have a soft spot for acouple of them, for the visibility or love they got me,but no real favourite.

WHERE DO YOU LOOK FOR INSPIRATION FORYOUR ARTWORKS AND HOW DO YOUTRANSLATE IT INTO YOUR DESIGNS?

I buy art books, I read, I listen to music and let myselfdaydream a little. I usually dont look at muchillustrative work, or things that are close to what I do.I find it more satisfying to get inspired from very

unrelated styles or techniques. Inspiration is overall avery vague and fuzzy science.

HOW DOES PHOTOSHOP FIT INTO YOURWORKFLOW PROCESS?

Im an all-Photoshop guy. I literally never touchanother software and my drawing skills are prettylimited sadly. I have probably spent a good 100,000hours on Photoshop in my life; it just became anextension of me really.

WHAT KIT DO YOU HAVE IN YOUR STUDIOTHAT IS ESSENTIAL TO YOUR DESIGNS?

I need a clean desk, a very minimal setup. Most ofthe time I use a Wacom tablet connected to myMacBook Pro, sometimes an extra display. I have afew sheets of paper and a pen to draw concepts, andthats it really. Anyway, living in New York doesntallow you to have a big workspace or studio. Theprice of life is so high, you often have to do the bestwith the space you have.

TAILOR YOUR CONTENTDont expect art directors to always be able to imaginewhat you could do with your skills if its not explicitlyvisible on your portfolio. Be specific and show preciseexamples of what you want to work on. If you want towork on sport illustrations, lead your client to it, and havea ton of sport illustrations in your portfolio.

FIND A BALANCEClients love passionate illustrators with a nice body ofpersonal work, but what they love even more is creativeswith a strong experience of commercial projects. Makesure your professional work has a lot of space in there; itwill make clients much more confident in hiring you.

MAKE IT STRIKINGWith thousands of portfolios available, clients barelyspend more than a few seconds on a page. Make sure thevery best of your work is immediately available once youland on the homepage and forget about anything that willdelay someone from accessing the content, such as long,animated introductions, subcategories, multiple pages,loaders, etc.

PORTFOLIO TIPSTRAHAND UNVEILS HIS ESSENTIAL TIPS FORCREATING A STANDOUT PORTFOLIO

07

07A Circular Shape: Trahandsays that he is stillexperimenting with his newdirection, making plenty ofmistakes along the way untilhe is happy with the outcome

06Paper, Cuts & Tape: Trahandtries to make time tocomplete self-initiatedprojects, such as thisartwork, though he admitsthat being a professionaldigital artist does not leave agreat deal of time forpersonal endeavours


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EYE ON DESIGN A NEW PERSPECTIVE ON ADVERTISING

CO FOUNDER OF MIAGUI IMAGEVERTISING CSSIO BRAGA DETAILS HOW THETEAM CREATED ONE OF THEIR MOST SUBMERGING CAMPAIGNS

PROJECT FOCUS

A NEW PERSPECTIVEON ADVERTISING

Having only opened its doors in 2011, MiaguiImagevertising is a studio that is alreadymaking a name for itself, with internationalclients such as Nike, Massey Ferguson, Fox

Sports, and recently, National Geographic . Inpartnership with art director Gregory Kickow from

Loducca Agency, the company was approached tocreate a campaign to promote National Geographic snew television programme while creating asignificant visual impact for the audience, drawingtheir attention like never before.

This was no easy feat, but the Brazilian-basedcreative production studio certainly proved it was upto the challenge. In order to create an image with somuch impact, the team used the yellow border socharacteristic of National Geographic to highlight thesimulated perspective of the observer, giving themthe impression that they were next to fall into a poolwith an alligator. Using Photoshop together with 3Dmodelling, a major challenge for Miagui was todevelop an image so realistic it would sell the ideaperfectly, despite it being almost impossible tophotograph a real alligator in the right position!

HOW WAS THE CONCEPT DEVELOPED?

The visual design was developed entirely with a 3Dillustration, following the concept of the campaign.

The image itself was first modelled in ZBrush andrendered in Mode, before Photoshop was used forpost-production. Throughout this process, the colourswere calibrated, some imperfections were correctedand some key points of the image were enriched toproduce the final result.

DID YOU HAVE A LOT OF CREATIVE CONTROL,

OR DID NATIONAL GEOGRAPHIC NEED A

PARTICULAR MESSAGE TO COME ACROSS?

The message was very specific: to announce the startof a new show on the station. We are convinced thatwe do not create copyright images, but wecollaborate with the agency, which in this case wasLoducca Agency, from which the project wasdeveloped in partnership with art director GregoryKickow. Throughout the project, we had the exclusivegoal of producing the image to exactly communicatethe concept created by them.

WHAT DID YOU WANT THE AUDIENCE TO TAKE

FROM THE ADVERTISEMENT?The aims were to cause shock and create a largevisual impact for the audience, drawing their attentionto the new programme, which was the purpose ofthe campaign. We had some great results for thetime we invested towards making that happen!

CAN YOU TELL US ABOUT YOUR PHOTOSHOP

WORKFLOW DURING THE PROJECT?

To achieve the degree of realism in high-impact

ABOUT THE STUDIO

Brazillian-born Cssio Bragadouble-majored in marketing and

creation at one of most prestigiousuniversities in the country, ESPM.As an art director, Cssio Braga

worked at several agencies beforeco-founding Miagui in 2011. The

image production studio iscomposed of specialists in

photography, 3D illustration, 2Dillustration and image treatment.

CSSIO BRAGAwww.miagui.cc

MUNDO SELVAGEMFOR NATIONAL

GEOGRAPHIC CHANNEL

NAME OF PROJECT

040014

National Geographic render passes

All images Miagui/National Geographic

Work in progress water


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come across the animal, causing a strong emotionalresponse. The result was quite impressive rightbecause of that.

IS THERE ANYTHING ABOUT THE FINAL AD

THAT YOU WOULD LIKE TO CHANGE?

Not at all. We had complete freedom to add all ourexpertise and knowledge from previous projects inthis work and to develop the image in the bestpossible way. This successful piece is the result of along relationship of trust between the art directorfrom Loducca Greg KicKow, and the Miagui team.That certainly is reflected in the final outcome.

WHAT TIPS WOULD YOU GIVE TO OTHERS

HOPING TO CREATE EYE CATCHING GRAPHICS?

Essentially, you need more than a good image. Thecampaign needs to have a good creative concept. Ialways maintain that a good image simply magnifiesa good idea, and no matter what, you can never savea bad idea. In my opinion, the merit of this campaign

was the ability to be very creative and to then to havethe creativity very well executed.

It is fundamental to be relevant, creative and wellexecuted. The coolest thing about this campaign isthat it is complete in all those aspects, from idea toexecution. And most important of all is that itmobilises people to pay attention to the message thatNational Geographic wants to pass on.

The Miagui team also usedPhotoshop to make colourand volume adjustments tothe image with the Curvestool, then made saturationadjustments to adjust thecolour, purity, andlightness of the final image

Miagui Imagevertising initiallycreated the design for the image asa 3D ZBrush piece, paying particularattention to creating the correctproportions, using as manyreferences as possible, and settingup realistic materials and light

Work in progress alligator

Photoshop was used forpost-production, where thecolours were calibrated, someimperfections corrected and anypoints that needed to be moreaesthetically eye-catching wereenriched using the famousDodge and Burn tool to enhance

image, it was necessary to work various differentelements before beginning to finalise the image inPhotoshop. It was essential to create a 3D model withthe correct proportions, to always use as manyreferences as possible, correctly set up the realisticmaterials and light, and add as much detail aspossible. With the rendering done, Photoshop thenhelped to correct the colour and let us include the finaldetails that completed the image. The tools that I usethe most in my Photoshop workflow are masks andCurves. With them, you can really take a picture toanother level.

WHAT WERE THE MAIN CHALLENGES AND

SUCCESSES OF THIS PROJECT?

The main challenge was to produce a realistic imageusing illustration. It had to look like the alligator hadactually been photographed in that environment which would be very difficult to reproduce and thatit was created to give the viewer the impression thatany people who would go down that escalator would


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Great design is at the heart of all goodstudios, but nowhere more so than atSomeOne. The London-based agency isnominated for a plethora of awards in 2014

ten and counting by the end of February alone and the reason for this is because the studio putsdesign at the core of everything it does. As founderand executive creative director Simon Manchipp iskeen to point out, the studios raison dtre affectseverything from the projects the team works on to

the studios location and layout.SomeOne started with a simple aim: To remove

the fluff and nonsense surrounding the launch,relaunch and management of brands. To do the bestwork, and make enough money to have fun whiledoing it. That focus on the best work aboveeverything else is the reason why the plaudits justkeep piling up, and why SomeOne is the go-toagency for developing and redeveloping brandidentities. The studio has just completed work onUrica (www.urica.biz ), a UK government-backedservice that helps small businesses to get theirinvoices paid more quickly; creating a bold, graphicalbrand identity strongly influenced by placards. OtherSomeOne clients include Royal MuseumsGreenwich, Eurostar, Zinc and Weve.

The studio started out in 2003, founded by SimonManchipp, David Law, Gary Holt and Laura Hussey,and has been evolving ever since. We were fourpeople. We are now around 34 people. But wevestayed remarkably close to our launch objectives. Weare still very lean and can rapidly work aroundproblems to get projects solved in very little time. Webelieve that you dont build a company, you buildpeople. And its those people that are essential tolook after above all other aspects of the day,Manchipp explains.

Founder Laura Hussey was the one who saw thepotential of what was, in 2003, a run-down area andis now the centre of Londons art and design scene.We are in the heart of the creative industries inShoreditch. Laura found it and stuck to her gunswhen we all freaked out as we were used to theWest End and Soho, the then so-called murder milerather worried us but now it is unrecognisable!Everyone walks around with an iPad or laptop undertheir arm, coffee is exceptionally good (andimportant) and you are simply a door or two awayfrom something fascinating or intoxicating (or both) its really useful for the studio to be so connectedto an environment that is all about tomorrow.

STUDIO INTERVIEW

MEET THE UK BASED STUDIO THAT HAS BECOME AWORLD LEADER IN BRAND IDENTITY

SOMEONE

EYE ON DESIGN STUDIO INTERVIEW

016

S

o m e O n e


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Founded in 2003 by Simon

Manchipp, David Law, Gary Holt andLaura Hussey, with the aim ofputting all aspects of the business inthe hands of the designers,SomeOne focuses on every area ofbrand identity.

SOMEONEABOUT THE STUDIO

www.someoneinlondon.com@SomeOnes_Tweet

Karl Randal,Design Director

Simon Manchipp,Founder andExecutive CreativeDirector

Location, location, location -studios placement in edgy and creati

Shoreditch reflects its own bra


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That location is a key part of the SomeOne brand,which pitches itself with masterful delicacy ason-trend, all-encompassing, future-focused andendlessly adaptable. Their studio reflects that brandidentity perfectly: We have a three-floor space with aloft boardroom, ground-floor cinema and flexiblemeeting space; we have all the usual stuff like freebeer and wine, bike racks and Nespresso coffee, butalso more quirky elements like a library and bowlerhat lighting. Everything about SomeOnes workingspace showcases who they are and what they do.Its designed to make the most of chance.Everything is open plan; everyone can see everyoneand the spaces are connected so the chances ofconversation are increased. People work moreeffectively as they are more likely to share ideas.

Everything is open plan;everyone can see

everyone People work moreeffectively as they are morelikely to share ideasIdeas are our business, so weve made the most ofthe space to make the most of the people.

This is vitally important in an agency thatsbecoming increasingly well known for its sometimesoff-the-wall, but always successful, approach. Wework in all sectors, all countries, all of the time. Weinvent brands with clients. Or re-invent them readyfor new business challenges, Manchipp explains.

Ideas excite us, they shape the future, add value andsignal change. We help organisations, products andservices profit from change. Thats why weconcentrate on creating big ideas first, then go aboutmaking them beautifully. We create monopolies forbrands by employing supercharged creativity toconnect business strategy with memorable andadaptive executions.

SomeOne specialises in the whole package, fromlogos, graphics and type to film, sound andanimation. Collaborative and creativity-focused, ithas grown from its founding in 2003 to become oneof the UKs most highly respected design andbranding agencies. A key part of SomeOnesapproach is to embrace change. To be consistent isto be predictable. Yet its what many brand owners

Consistent type - The use of typographybecame a key signifier of the RoyalMuseums brand identity

Studio space - Everything in the st udiois designed to maximise the chancesof chance.

Complete branding solution - SomeOne produced Weves logoand then extended this t o cover the mobile commerce platformsentire identity, including company stationery and business cards

Royal Museums Greenwich

SomeOne

Weve


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WORLDPAY ZINCMONEY IS EMOTIONAL STUFF, BUT THEBRANDS THAT SURROUND IT ARE DULL ANDPREDICTABLE. SOMEONE CHANGED THIS

WorldPay Zinc is a new way for smallbusinesses to take card payments. Its apin pad that connects to your mobilephone. We worked with WorldPay fromthe birth of the idea through to thelaunch based on a credentials-only pitch.Since launch, the client has beendelighted with the outcome and its beendiscussed and recognised at the BrandImpact, EuroBest and TransformAwards as an outstanding example ofbrand work within the financial sector.

01 KEEP IT PAINTERLYWhen relying on paths and masks, theimage can feel a little clinical. By taking a freehandapproach and painting in and erasing back, areascan be blended, softened and highlighted in a moresubtle way. Photoshop can be used in a way thatssimilar to painting, albeit in a very technical context.

03 OPACITYIts always easy to get lost in the layer youare working on and then to take it a step furtherthan you had intended. Knocking back the opacityof that layer once you have finished playing aroundwith it often helps to blend it back enough to feelright again.

02 ADJUSTMENT LAYERSA designer in my first ever job saidadjustment layers would change my life. Im notsure they made me a better person, but [beingable] to adjust your layer and then brush backareas you dont want to appear is very useful increating small changes that make a big difference.

04 RETAIN REALITYOften retouching goes too far and the sense that the subject matterexisted in real space is lost. It might seem obvious, but a photograph is madeup of light and shadow and this gives it its depth, but I find that with heavyretouching, unexpected highlights and shadows are taken out. These give lifeto the image and in the end make it feel more like reality.

05 PERFECT DOESNT EXISTWhen making an image composite, Im conscious not to try andmake everything perfect. Sometimes a slightly awkward composition or anelement that sits slightly askew can add character, resulting in a moreinteresting image. Arguably perfection doesnt exist in nature, so therefore itdoesnt need to exist in the created image.

WorldPay


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A DAY IN THE LIFE OF KARL RANDALLNO TWO DAYS ARE EVER ALIKE FOR SOMEONES DESIGN DIRECTOR

10:30 DEEP IN WORKIn full flow, a typical day at SomeOne couldconsist of idea creation, strategy and naming, client-sidemeetings or getting deep into the meat of design. At SomeOne,designers are involved in all aspects of the branding process, not just the behind-the-scenes work. This makes the wholebusiness run that much more smoothly.

12:30 BEASTSAPPROACHTHE WATERING HOLELunch, usually taken in thebasement, is a big social eventhere, or at your desk if you arestacked with tight deadlines.

13:00 LUNCHFUSSBALLFast, frantic and competitive,getting ten-balled by theopposing team in a game oftable football entails a nakedlap of the studio.

ask for. But if they truly get it, the approach killsbrands, or at the very least stifles them. If you are acontrol freak, you are not going to like the future.Brand control is an illusion. We dont own it, or

control it, the audience does. So we like to create aplatform for things to adapt and change on ratherthan traditional brand guidelines that are essentiallya bible of no.

Photoshop is an essential part of that. [Digitaldesign has] empowered the individual to get exactlywhat they want. Collaboration is the way forward, butwith collaboration you never really get exactly what

you intended (if you do it right). With the tools at yourfingertips you can get precisely what you hope forIts on everyones computer [] and actually they allreally seem to take it for granted. I think its such animportant part of the landscape its become a kind ofautopilot. I dont think many people realise howuseful it is. Perhaps we should take it away for a dayand then people would really see how valuable it is!Manchipp adds with a flash of typical SomeOneout-of-the-box thinking.

Photoshop is an essential for a studio that worksacross all aspects of branding, as a quick look at thekind of package SomeOne produces for a client

proves. Manchipp gives an example: Zinc wasexciting. We worked with WorldPay on creating anew brand to launch a new way for small businesses

to take card payments. We worked on everythingfrom the name to the mark to the photography to theend production, even what the point-of-sale wouldlook like in John Lewis sites around the country. It

was a totally integrated project and we weredelighted with the outcome.

With that kind of all-encompassing projecttypifying SomeOnes client work, the studiosdesigners have to be open to all challenges, creativeand corporate. We all do everything. There are nodivides. If you are a designer you are expected to beable to do pretty much anything, Manchipp says. 95per cent of the people in SomeOne are designers.Three per cent are project-management focused.Two per cent sort the money bit out. We have a veryhigh ratio of designers and thats very deliberate.

We only hire very capable people. So while manytraditional design companies keep designers awayfrom the realities of running a project, our designersrelish the chance to meet the client and get involved.

It makes for a far better end result.Great design is at the heart of SomeOne, but the

studio also sees its philosophies, and collaborativedigital workflow, as key to the great design of thefuture. Theres never been a more exciting time tobe a designer, particularly in branding it kind ofmeans you can do anything now. Its amazing. Oneday you can be doing sculpture, the next illustration,then typography. It appears the landscape is simplyevolving to involve more and more platforms, moreand more people and more and more ideas. All ofwhich is a real thrill for those involved.

While many companieskeep designers away from

the realities of running a project,ours relish the chance to meet

the client and get involved

09:30 STUDIOAWAKENSAll the SomeOne employeesarrive at work and settle into anew day, news is discussed,hangovers are dismissed andstudio banter begins.

Branding in a digital age The SomeOne service extends todeveloping a look and feel for client websites

Weve


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TYLER WEST FOR WEST STUDIOwww.weststudio.comTyler West, an experienced concept artist, founded WestStudio, which has worked with notable clients throughoutthe videogames world. This concept environment is an early

visual exploration piece that West Studio created for Playdek for its gameUnsung Story , a tactical RPG. For West, it is important that concept art not onlylooks great, but that it also does its job and helps further the rest of the

production line: The philosophy that I have always used as a designer andillustrator is to create designs that not only inspire but also inform production.What makes a concept artist good at his or her job is their ability to createdesigns. They need to not only excite those working on the project, but alsoinform artists who rely on those images (modellers, lighters, animators, etc).Concept art is not just about expression; it is also about fabrication.

01. CREATE CONCEPTS THAT AID PRODUCTION

GAME ART15 TIPS FOR CREATING

PROFESSIONAL GAME ARTISTS SHARE THE SECRETS OF CREATING STRIKINGVISUALS FROM CONCEPT RIGHT THROUGH TO THE FINAL PRODUCT

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15 TIPS FOR CREATING GAME ART TECHNIQUES


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TECHNIQUES 15 TIPS FOR CREATING GAME ART

2013 Ubisoft Entertainment. All Rig hts Reserved. The trademarks, copyr ights anddesign rights in and associated with L amborghini vehicles are used under licence fromLamborghini ArtiM arca S.p.A., Italy. General Motors Trademarks used under license toUbisoft Entertainment. Ford Oval, Lincoln Star and nameplates are registeredtrademarks owned and licensed by Ford M otor Company. 3400k emblem and RUF bodystyling equipment are trademarks and/or intellectual propert y of RUF Vertriebs GmbH

XAVIER THOMAS FOR TWO DOTSwww.thetwodots.comThis striking visual was created for Ubisoft title The Crew by Two Dotscreative studio. It is part of the final key art for the game (http://thecrew-game.ubi.com/portal/en-gb/home ), which is an action driving

adventure game for next-gen consoles. Xavier Thomas, creative director at Two Dots, explainshow he creates concept art that excites: My objective when Im creating game art is to dosomething that is going to emotionally and visually affect people somehow. Therefore, I like tohave time during concept phase to assimilate the project, understand which feelings the teamwants to give to the gamers and explore various creative paths. If needed, I challenge the briefand clients expectations to not over-limit myself; the idea is to take into account a maximumof constraints and play around them. Finally, I make sure I have fun before anything else; agood tip is to be a gamer, who fundamentally enjoys being part of this industry.

02. DESIGN POWERFUL CONCEPTS

TOP RESOURCES FOR CREATING GAME ART

03. VISIT CONCEPTARTWORLD.COMThis website acts as both a blog and adirectory for artists working in theentertainment industry. It profiles andshowcases artwork from the latestreleases and is frequently updated.

04. CATCH UP ON YOURREADING LISTVideogame designer Sam R.Kennedy presents How To Become AVideo Game Artist (14.99/$21.99),which features interviews with prosand step-by-step tutorials.

05. TAKE A COMPUTERGAMES ART DEGREEThis course at Teeside University, UKlooks at 3D character modelling,environment modelling, vehicularmodelling, basic real-time animationand 3D effects over its three years.

06. SIGN UP TO DIGITALTUTORS.COMOnline digital art training courseslook at the basic principles ofdesigning a videogame character inPhotoshop, including sketching,design, rendering and more.


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HUGO CENEVIVA FOR ELEVENDYwww.elevendy.comSenior visual artist at Elevendy, Hugo Ceneviva,explains how he uses Photoshops tools to get thisdistinctive videogame look for key art, as shown in

this example for Tom Clancys Splinter Cell: Blacklist for Ubisoft.

07. MASTER PHOTOSHOP EFFECTS

I m a g e

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ContrastWork with Brightness andContrast levels to create a

dramatic effect on your character

TexturesUse a variety of textures to add

realism, blend with differentmodes and use High Pass to

increase detail moderately

Colour Use colour layers (onOverlay) to make thelighting effects more

realistic and believable

LightingPlay with highlights and shadowsto make the action or storyline of

the game come to life


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www.thomasbrissot.comThomas Brissot is a concept artist andillustrator who has worked for a number ofgame clients. Here he shares three essentialtips for creating striking game art designs

THOMAS BRISSOT

Inspiration is your fuel. You should recognise whenyou have enough to get your engine started, butalso notice when your tank is empty. When westruggle to draw or paint, often it is less because ofa lack of technique than a lack of inspiration.

08. MANAGE YOUR INSPIRATION

If your reference is an awful photograph, you willprobably incorporate this into your artwork. That iswhy movie snaps, fashion photos and well-litproduct photos are often popular among pros; theyhave a quality that you can add to your artwork.

09. CHOOSE GOOD REFERENCES

If you try to apply a process that you see on the web, you willget frustrated because it relies on another persons way ofthinking and understanding things. If it makes sense for you tostart with flat colours or lines or scribbles, then go ahead. Ateach stage, choose the way to work that seems logical to you.

10. UNDERSTAND YOUR OWN PROCESS

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CALEB PARRISHwww.artofcalebparrish.comCaleb Parrish is lead artist at Fun Bomb Studios, and has nine years of experience in game art and 15 years in CG. Whether a game is large or

small, Parrish says that a good workflow and the ability to turn images around quickly are just as important. One of the keys to this is having aworkflow that allows you to get feedback and approvals at an early stage, but is still flexible enough to turn into a more polished piece. Keeping

your parts modular while designing is a pretty powerful way to do this, especially when you need to add and remove parts on the fly. Here he shows us how he builtup this image, a concept from a mobile game called Enchant Match.

11. HAVE AN EFFECTIVE WORKFLOW

15 TIPS FOR CREATING GAME ART TECHNIQUES

01 START WITH SHAPESI began by creating basic shapes that Ithought reflected the characters personality. I chosesharp and hard shapes to help reinforce that he is anenemy in spite of a colourful palette. I then collagedthose into a silhouette to build from.

04 FINISHING TOUCHESTo finish the image, I added some finerdetails, as well as upped the overall contrast using aCurves adjustment layer. For the glowing bits, Iadded a Glow layer effect to some simple lines withthe colour set to the same orange as thelines themselves.

02 WORK WITH GRADIENTSOnce the appropriate silhouette wasdecided upon, I jumped straight into blocking out theshapes with colour using gradients. I like to utilise aselection made from the collapsed layers. It wasthen just a matter of adding the details.

03 DEFINE FURTHER DETAILIt can be useful to ground the character; inthis case, using colours found in the shadows of theimage and a couple of radial gradients. This stage isalso about defining forms and separatingoverlapping parts with colour and highlights.

All images Caleb Parrish


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Alien Apple Studios

All rights reserved Titus Lunter

Lisa Liao

12. MASTER SPEEDPAINTINGLISA LIAOwww.lisaliao.com

Lisa Liaos responsibility as anenvironmental artist for

videogames is to create art from concept to production3D scenes. Before I start, I create some speed paintingsor thumbnails. Often, I need to paint different angles forthe same environment. To control the colour and lightingmore effectively, I usually draw two to four speedpaintings at the same time on the same canvas, eachsharing the same swatches. I also put similar elementsinto the same layer for different printings. For example:

warm colours across all paintings are consolidated onone layer, and the paintings cool colours on another.

13 USE CRITICISMCONSTRUCTIVELYTITUS LUNTERwww.tituslunter.com

Titus Lunter is a conceptartist for Ubisoft Massive, s

he is well placed to tell us a thing or two aboutthe importance of concept art in the videogameindustry. Concept art in the media and conceptart that happens behind the scenes are twocompletely different things. Most of the imagesthe public gets to see are marketing approvedand much more like illustrations. The prime goal

of a concept artist is to make sure the rest of theteam understands an idea clearly. Getting to thisidea requires a lot of exploration so an idea cangrow, from line sketches to colour block-outs andcollages. Getting comfortable with reiteratingyour ideas is one of the most important things todo; you have to have a bit of a thick skin when itcomes to dealing with feedback. Its our job to faiand get all the crazy ideas out of the way, andreally push the production into the right channel.


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TIPS FOR CREATING GAME ART TECHNIQUES

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Concept artist Stuart Jennett created this artwork for an

unannounced sci-fi project, in which the player took the role of afuturistic combat soldier who is dropped into a number of tense

combat scenarios against an invading alien species. In order to achieve the graphiclook showcased here, Jennett relied on one of Photoshops key tools: If youd like tobring a more graphic element to your work, make sure you use the Lasso tool to helpdefine and fill areas of your canvas. By adding texture and filter effects on layers overthese areas, you can create some really interesting contrasting techniques. I really liketo combine these approaches with my more traditional painterly style to help createmore layers of interest to the viewer. You can always mask areas as well and applythe same approach if you wish; it is nice, though, to have a juxtaposition of finisheswithin the same piece if possible.

STUART JENNETT FOR ALIEN APPLE STUDIOSwww.alienapplestudios.com

15. USE THE LASSO TOOL FOR GRAPHICS

STUART ELLIS FOR ATOMHAWKwww.atomhawk.comSenior artist Stuart Ellis created this pieceof concept art for Atomhawks work on

Killzone: Mercenary , a first-person shooter game for PlaystationVita, developed by Guerrilla Cambridge Studio and published bySony in September 2013. Atomhawk worked with Guerilla andSony to create character, environment, props and vehicleconcepts for the game. Ellis shares his top advice on how tobreak into the incredibly competitive world of entertainmentconcept art: It sounds like such a clich, but what you need todo is practise constantly.

A lot of aspiring artists see what professionals are producingand think, Yeah, I can do that, and when they cant do it straightaway, they become disheartened. Persistence is key. Keepgoing at it and youll find you get better pretty quickly. There areso many resources, forums and professionals online thatlearning has never been easier. Take a sketchbook out in yourbag and whenever you have a couple of minutes spare you canscribble out a couple of doodles. Surf the net and learn fromthose already established in the industry. Its a very difficultindustry to break into, but once you have achieved it, therewards are great.

14. BE PERSISTENT ANDPRACTISE REGULARLY

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032032

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W i l h e

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WWW.MDFRETOUCHING.COM

Dean-Francisis a high-endPhotoshopretoucher,working onprojects in thecommercialand advertisingindustries.

JULIE MARIE GENE GOBELINWWW.JULIEMARIEGENE.COM

Gobelin is aFrenchfreelancephotographerbased in Lyon,specialising inportraits andfashionphotography.

IVO DE KOKWWW.IVODEKOK.COM

De Kok studiedat the renownedFotoacademiein Amsterdamand now worksfor variousclients andmagazines inEurope.

WWW.JOANNAKUSTRA.COM

Kustra is aPolish fashionand beautyphotographerand retoucherbased in Costadel Sol, workingin the UK, Spainand Poland.

DAVID BENOLIELWWW.DAVIDBENOLIELPHOTOGRAPHY.COM

Benoliel is aFrench fashionand beautyphotographer.He has beenliving in the USbetween NewYork and Miamifor four years.

CONTRIBUTORS

1. Original shot - This is the original shotbefore any retouching has taken place

2. Cleaning and dodge and burn - Using aHealing Brush at almost 200%, Benolielcleaned the skin and small imperfections

3. Shape - Benoliel shaped the face andbody with the Push Left tool on in theLiquify panel and applied sharpening


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FROM SHOOT TO PHOTOSHOP RETOUCH TECHNIQUES

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FROM SHOOT TO PHOTOSHOP

BEAUTY RETOUCHING IS A METICULOUS AND DIFFICULT ART, ONE THAT MUST BEAPPROACHED WITH DELICACY. DISCOVER HOW TO FOLLOW IN THEIR FOOTSTEPS

MIKHAIL MALYUGINWWW.MIKHAILMALYUGIN.COM

Malyugin is aninternationallypublishedphotographerand high-endretoucher, andspecialises inbeauty, fashion,and CG art.

JULIA KUZMENKO MCKIMWWW.JULIAKUZMENKO.COM

Kuzmenko is aRussian,LA-basedbeauty, fashionand portraitphotographer,digital artist,retoucher andeducator.

STEFKA PAVLOVAHTTP://STEFKAPAVLOVA.COM

Pavlova worksas a professionalretouching artistin beauty andfashionpost-production.She has amasters degreein fine arts.

VICTOR WAGNERWWW.VICTORWAGNER.COM

Victor Wagner isa 25-year-oldprofessionalretoucher basedin Brazil,specialising inbeauty, fashionand commercialimages.

FERHAT YURDAMWWW.FERHATYURDAM.COM

After university,Yurdamworked in afashionphotographystudio. Therehe discoveredthe magic ofPhotoshop.

In many ways, the art of beautyretouching could be considered as oneof the most difficult Photoshoptechniques that there is. Were so used

to seeing other humans faces that oursubconscious minds are attuned to thesmallest details if something is off, weknow it instantly.

As such, beauty retouching is no easytask. It requires a delicate balance ofnatural and digitally enhanced beauty,with pixels used to subtly soften pores,remove blemishes, and present a portraitthat could not have existed otherwise.

From the photographers to the

make-up artists to the retouchersthemselves we all create beautiful, evenimpossible things that fill the eyes andtickle the imagination, says beauty andfashion retoucher Stefka Pavlova. As aretoucher, the main task is to detract thatviewer from wondering where and how animage has been enhanced, and to leavethem to just enjoy the beauty, whilemaintaining the details and features thatare present in the original shot.

Read on to learn how our panel ofprofessional Photoshop retouchersapproach the discipline of beautyenhancement, and discover how they

make the final shot rather than theprocess used to achieve it the focus ofthe piece.

Mikhail Malyugin, Model:Kseniya Balakhnina, Make-up:Anna Nerezova www.nerezova.com

F

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Human retouching requires a great degree of skillwith Photoshops tools, with incredibly fine settings

and careful use required to augment anotherpersons beauty without shifting too far into therealms of complete fantasy.

The tools and panels I use for beauty retouchingare very basic, begins beauty photographer and

retoucher Julia Kuzmenko McKim. I mainly workwith the Healing Brush, Clone Stamp tool and thesimple Brush tool, and some layer masks, a handfulof adjustment layers, a few blending modes, andsome custom Actions that I created to speed up myworkflow thats basically all I need. I also use somePhotoshop filters such as Gaussian Blur and HighPass as part of the Frequency Separation technique,

which allows me to work on skin texture and skincolours and tones independently. I also use the

Liquify filter thats one of the tools that requires veryaccurate handling. All these basic tools are verypowerful if you know what they are capable of aloneand in combination with one another.

Three tools are used generally across all theartists we spoke to the Brush tool, the Clone Stampand the Healing Brush a simple yet practicalcombination that can be incredibly powerful whenused with care and skill. The Liquify tool is also usedfor making body parts proportional or slimmer, whileDodge and Burn, as always, come in useful whenworking on lighting.

I also use Curves adjustment layers to dodge andburn any patches on the skin, which are often justpixels of the same colour as the surrounding skin but

different colour values, continues Kuzmenko. Byslightly brightening and darkening those patches, Ican even out the skin surface further withoutaffecting its texture. The trick here is to not over-do it,otherwise the skin may end up looking plastic.

However, knowing the tools is one thing, but theprocess doesnt start and end with Photoshop. Im astrong believer that retouching itself cant reallyensure that the image will end up being outstanding,

Retouching cant ensure anoutstanding image. Its the

combination of the quality of thesource material, the artists visionand his or her technical skills

Julia Kuzmenko McKim, www.juliakuzmenko.com

THE RETOUCHING TOOLKITcontinues Kuzmenko. Its a combination of thequality of the source material not only its technical

quality, but also the scene and/or emotions itcaptured the artists vision and his or her technicalskills. I create my images from start to finish. Toensure that the final image stands out from thecrowd, I have to shoot it with good lighting and getinteresting emotions, facial expressions and posesfrom my subject.

TECHNIQUES FROM SHOOT TO PHOTOSHOP RETOUCH

Before I start an image I make sure I have a goal in mind, saysStefka Pavlova. Once the concept is clear, the task is easy.

I always use a mix of the Patch tool and Healing Brush for remosmall skin imperfections, states Joanna Kustra

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Joanna Kustra, Model: Abigail Gotts


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SETTING UP A SHOOT

BEAUTY MAKEOVER

DAVID BENOLIEL AND JULIA KUZMENKO MCKIM OFFER ADVICE FOR SHOOTING WITH RETOUCHING IN MIND

STEFKA PAVLOVA DELVES INTO SKIN RETOUCHINGAND COLOUR CORRECTION

035

David Benoliel: If I decide to shoot a black and white series with a model with strong features, I willuse really hard light, even if the skin will not look as good. This is because I want my shadows to bedark and the photo to have a lot of contrast. I know it means more editing, but thats okay. Anotherthing to do is to work closely with your make-up artist to place your highlights, by adding shimmeron the cheekbones and nose, for example. This will help contour the face, and not only will it help tobetter place the lights on your set, but also during the editing process, where the shadow/highlightswill only need to be accentuated rather than created from scratch.

Julia Kuzmenko McKim: In beauty retouching, like in most retouching types, the source materialsand their quality are of high importance. You should always keep an eye on the things that can beeasily fixed during the shoot, and will take a lot of time and effort to doctor in post-production if youdont. Im talking about frizzy hair, smudged make-up, flyaway hairs that are crossing the face, oraccessories that got tangled. If you have an experienced team of creative professionals on set, allowthem to stay right outside the frame and watch your models make-up and hair during the shoot.They should be able to jump in to make corrections when needed.

03 FINAL COLOUR CORRECTIONThis is the fun part the final colouring ofthe image. You can experiment with different colouradjustments and blending modes for hours. Tocreate this cold yet warm look, I used severaladjustment layers with specific settings for shadows,midtones, highlights, blacks and whites.

02 RESHAPING AND CLEANING YOURPHOTOGRAPHYou can now move into Photoshop to start theretouching process. Here a few things are done:subtle reshaping of the face, teeth replacement,cleaning of all the skin, overall and detailed dodgeand burn and some extra local colour fixes.

01 CROPPING AND COLOUR CORRECTIONThe first task is to get to know the sourcefile: dimensions, colour space, quality, details and soon. You can then rotate and crop the image accordingto your own needs. This is a beauty shot, so the croparea should cover the face and part of the neck only.At this stage I usually do a basic colour correction.

Julia Kuzmenko McKim, Concept, Make-up & Hair: www.sherrijessee.com/Sherri_Jessee/SHERRI_JESSEE.html, Model: www.modelmayhem.com/773686 Jamillette Gaxiola, Las Vegas, NV, Photo & post: www.facebook.com/JuliaKuzmenkoPhotography - Julia Kuzmenko McKim

Joanna Kustra


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Kuzmenko has a theory that its usually the signs ofageing in the human face that need to be toned down

or completely removed from a retouched image. If Iam working on a 45-year-old clients portrait, andshe is a regular woman, I will soften her fine lines,nasolabial folds, any deeper wrinkles around theeyes and lips, but I wont completely remove them,she says. If I am working on a beauty shot for amagazine, and the models skin looks tired, patchyand dehydrated, I will gently remove all that, trying tonot destroy her skin texture. However, no matterwhat type of beauty image I am working on, themain goal is always to preserve skin texture, whileremoving blotchiness and temporary imperfectionssuch as acne, make-up mistakes and smudges.

Retoucher Ivo de Kok agrees that the skin cant beoverworked, as perfection is a dead giveaway of a

retouched image. Nobody is perfect, and humansknow that, so its important to leave some flaws in say some lines under the eyes or a freckle. Whenapproaching lighting, shadows and dark circles, deKok uses the Split Frequency Separation for eveningout transitions between light and dark. I use theHigh Frequency layer to clean up the image and I usethe Low Frequency to smooth out the tones andtransitions, he explains. For dark circles I often usethe Patch tool to select a dark area and pull it to alighter area of the skin. I then fix the texture by usingthe Healing Brush tool.

Retoucher Ferhat Yurdam considers the cheeks tobe a particular area of attention when preservingskin pores. When smoothing out skin pores I usethe Healing Brush to clean the skin, then I generallyuse a Soft Light layer at 50% Gray to lighten thewrinkles and pores, he tells us. A Black & Whitelayer under the Soft Light layer helps to see thewrinkles better, but be sure to work on the Soft Lightlayer. If I dont have enough time for a solid few daysof work, I use the Clone Stamp tool with low Opacity(10-30%) and cloning from around the problematicareas. An example of this process can be seen attinyurl.com/APFerhatYurdam .

If you feel more pores are needed, then there areprocesses that can help you add them back into animage, as Joanna Kustra reveals. I try to copy themfrom the original picture or one with the same modeland a similar lighting setup. However, if I need tore-create texture, this technique works best for me:on top of my picture I go to Edit>Fill and create a 50%Gray layer. I convert my new layer to a Smart Object,which allows me to be flexible with the opacity of mynext Smart Filters. I change its blending mode to SoftLight and go to Filters>Noise>Add Noise. I then addtwo Smart Filters as following: Blur>Gaussian Blurand Stylize>Emboss. At this stage my skin textureshould already be visible, and because I am workingon a Smart Object, I can adjust the blur and embossdepending on the strength I want to achieve.

AFTERBEFORE

TECHNIQUES Joanna Kustra

Mikhail MalyuginModel: Kseniya BalakhninaMake-up: Anna Nerezova,www.nerezova.com

Spend a lot of time on skin texture, says Mikhail Malyugin.Keep the skin texture, radiance and natural colours

Its important to enhance the objective of the photo, whetherthats the lipstick, eyelashes, hair or nails, says Victor Wagner

Renan Prando


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004 PLAY WITH COLOUR

Apply colour grading locally.Create a Selective Coloradjustment layer separately forthe hair, face, eyes, lips, cheeksand backdrop, masking theseareas with a soft brush. Adjustcolours, moving the slider untilyou are happy with the outcome.Play with the black tones, addinga magenta and cyan tint. Push thewhite tones brighter, especially on

the face and hair, adding a bit ofyellow to them.

003

Add a new layer, set Mode toOverlay and tick the box Fill withOverlay neutral colour. On anew 50% Gray layer, paint overthe area you want to affect. Use asoft white and black brush ataround 5% Opacity I haveseparate layers for highlights andshadows. I edit my picture as if itwere in 3D closer parts arebrighter, further away are darker.

001 MAKE FRECKLES POP

Add a Selective Color adjustmentlayer, darken the reds and yellowsand brighten the whites. Thenchange the layers blending modeto Darken and with a soft brushon the layer mask, bring outfreckles you want to be darker.

002 ADD HAIR VOLUME

Copy hair from another picturefrom the shoot where it looksbigger and transform it aroundthe existing hair with the FreeTransform and Warp tool.Remove unwanted areas andadjust it with the Liquify tool.

JOANNA KUSTRA REVEALS HOW TO

APPLY CREATIVE COLOUR GRADING

TO ENHANCE NATURAL FEATURES

ADDING AROMANTICTOUCH

Joanna Kustra

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FROM SHOOT TO P HOTOSHOP RETOUCH TECHNIQUES

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We sat down with professional retoucher Marina Dean-Francis tolearn about her techniques, tools and processes

Can you please tell us a little about the techniques you usedto create this image?To create natural-looking skin I used the Healing Brush to removeblemishes and imperfections while maintaining the natural skintexture. Next I used Dodge and Burn to make the skin looksmoother and more polished. I never remove natural lines andbone structure of the forehead or the face unless its distracting orrequested by the client. To get rid of stray hairs I used the Clonetool in Darken mode on an empty layer, also in Darken mode. Itmakes it quite easy to remove the visible strays and make thesurface of the hair cleaner. Next I copied the best parts of thespare pictures from the shoot and composited them to create theperfect flow of the hair. I blended it together using either theEraser or by simply painting the missing parts, although I always

try to avoid painting the hair as it can look cartoonish sometimes.I prefer to borrow some good parts from the spare images. Toadd shine I simply used the Lasso tool and Curves and put inhighlights and lowlights where I felt they were needed.

How did you make the most important areas stand out?I paid most attention to the hair. Luckily, as this was my ownshoot and I was both the photographer and retoucher for theproject, I had a lot of control during the shoot, and paid a lot ofattention to ensuring the hair was as perfect as possible on theday. That helped me to create natural-looking, beautiful hair in thefinal images.

What was your approach to the hair?The art of creating great hair images is firstly to have good-qualityoriginal images. Then you need a few spare images with somegood hair parts to lift additional hair from if needed. Clear yourschedule for the day, dont try to rush and accept the fact that hairretouching takes ages to do. You only need to use basic tools tocreate fantastic-looking hair. You just need to use them in thecorrect way. I can do all my hair retouching using just the Clone inDarken mode, Dodge and Burn on layers, the Eraser for blendingand compositing, then the Lasso and Curves for enhancinghighlight areas. Sometimes if there are loads of stray hairs I useFrequency Separation to remove and smooth it. Try to avoidover-sharpening the hair. Keep a few strays in the image alongwith some gaps to make the hair look more natural. Dont makethe edges of the hair too sharp and perfect. Using FrequencySeparation can be a good trick for removing stubborn stray hairs.

Can you please tell us how Wacom technology was beneficialto the process of creating these images?When it comes to retouching I only use Wacom input devicesbecause they offer great-quality creative tablets, which makesyour work easier and more enjoyable. I program the buttons onthe side of the tablet to use as shortcuts to Photoshop functions,which saves me time. The tablets are very sensitive so its likeusing a real pen or brush. Even if you are drawing hair you canmake it more realistic than when using a mouse or track pad. Iwouldnt use any other tool simply because my work would notbe the same quality without it.

RETOUCHING HAIR

Marina Dean-Francis


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A LAYERED APPROACHOUR PANEL OF EXPERTS DISCUSS THE AMOUNT OF LAYERS USED IN THEIR WORKHOW THEY APPROACH THEM

Starting out in the beauty retouching industry can bechallenging, and unfortunately there are no magic

workarounds to attain a professional level of quality.Practice, practice, practice! exclaims Julie MarieGene Gobelin. I dont think there is really any secretfor good work. Its the same in every field; you haveto practise a lot to learn, be better and to be faster!

Mikhail Malyugin is quick to agree. Practise, domore research and then practise again, he says.Dont be lazy the hours of practice and patiencewill be worthwhile. You might spend 4-7 hours on aphoto at first, but the more you practise, the fasteryou will become. Your retouching skills and the useof the advanced techniques should become yoursecond nature.

Its important, however, to remain observant ofothers work, and not get too caught up in your own.Look at the top photographers and retoucherswork a lot, continues Malyugin. Observe and workon developing your own sense of style and vision.Watch the industry trends and innovations and

constantly work on your own skills.

Ivo de Kok suggests learning as many differentprocesses and approaches as possible will help

when it comes to working to deadlines. Read asmany books, watch as many tutorials, and follow asmany workshops as you can even those aboutselections, masks, brushes and so on. It will speedup your workflow if you know a range of differenttechniques that can be used to reach the same goal.

For complete beginners, Kuzmenko emphasisesthe importance of pacing yourself, and learningcommercial retouching techniques from the groundup. I always recommend learning the software first:all the basic tools, panels, layer masks, filters,blending modes and adjustment layers. Practise verysimple retouching with them to know how theywork. Read as much as you can on colour theory andcolour management. Learn the visual arts basics,

such as composition, visual weight, rendering of lightand shadows, human anatomy and start payingmore attention to the current global or local beautytrends (make-up, fashion, colours). When you arefamiliar with the fundamentals and current beautytrends, you have a lot more chances to succeed atlearning more advanced retouching techniques andnot get discouraged.

However, as with all things based in art, itspassion that matters most. Anyone who has foundtheir satisfaction in being a retoucher, who is willingto jump in with both feet into a boundless field full ofbeauty, will succeed, says Stefka Pavlova. Just beextremely patient and prepare for very hard work.Your skills will evolve with experience!

Joanna Kustra: I rarely flatten layers while working on a PSD file, so I can alwayscome back to a certain stage and adjust again if needed. My average PSD filecontains from 30 up to 50 layers. I keep my layers in a few named folders usuallythey are grouped by a few stages of my retouching: overall touch-up, skin and hairretouch, local and overall colour adjustments, highlights and shadows.

Mikhail Malyugin: On average about 20-30 layers. It all depends on the photo andassignment. Sometimes I use more than 100 layers. I always name my groupsHealing, Colour, Hair, D&B, Hands, Background and so on. Sometimes in each groupthere are several groups.

Stefka Pavlova: I try to keep my workflow as simple as possible. My average filecontains around 6-20 layers, and most of them are for colour adjustments only. Ilike to keep everything under control so I work on all layers simultaneously.

Julia Kuzmenko McKim: Over the years Ive worked out a routine that suits myretouching workflow perfectly I create new or duplicate layers while working oneach segment of a photo, then merge them, duplicate the merged layer, and startworking on the next part. This way, if at any point I want to take something back, Ican simply retrieve it from one of the merged layers in my stack.

STARTING OUT

I dont think there is reallyany secret for good work.

Its the same in every field; youhave to practise a lot to learn, bebetter and to be faster!

Julie Marie Gene Gobelin, www.juliemariegene.com

Fernando Tomaz

Hugo Toni

It can be really hard, but here is always someone looking foryoung, new retouchers in the industry! says Victor Wagner

Julia Kuzmenko McKim, For LA Fashion magazine, December 2013 issue, Los Angeles, CACreative Director: Matthew Mitchell, Hair: William W illiams, Make-up: Gabriel Valdez, Model:Amanda of PhotogenicsLA, Photo & Post: Julia Kuzmenko McKim


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03 FREQUENCYSEPARATION

I then do a round of the FrequencySeparation technique and somedodging and burning to finalisethe skin. If you are not familiarwith the concept of the FrequencySeparation technique and thesettings, google FrequencySeparation, and my Fstoppersarticle will be at the top of thesearch list.

01 CREATE VIRTUALCOPIES AS LAYERSOnce I have chosen a strongphoto for retouching, I normallycreate a few virtual copies withdifferent exposure and coloursettings, then take them intoPhotoshop as layers in one PSD.To do that I select all the virtualcopies Ive created, Ctrl/right-clickon them and then go to EditIn>Open As Layers In Photoshop.

04 FINAL TOUCHES

My final touches areusually colour grading and around of global Dodge and Burnwhere I enhance some shadowsand highlights, which I could haveflattened a bit while retouchingthe skin. When its a client shot Idouble-check with the client whatformat, colour space, colourmode and resolution they wouldlike the final file in.

02 START RETOUCHINGAfter my final image iscomposed out of different parts, Imerge all the layers in the stack this will be the background layerin my master file. I normally startwith a round of the Spot Healingbrush, targeting spots, blemishes,fine lines and stray hairs on theskin. I work with a very smallbrush and jump to the HealingBrush tool or the Clone Stamp.

THE PERFECT RETOUCH JULIA KUZMENKO MCKIM ON HER APPROACH TO BEAUTY RETOUCHING

Kuzmenko McKim, Model: Carolina of Aston Models, Make-up &Germaine Nichols, Photo & Post-production: Julia Kuzmenko McKim


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PROFESSIONALPORTRAIT RETOUCHING

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PROFESSIONAL PORTRAIT RETOUCHING TECHNIQUES

STRIKE A BALANCE BETWEEN NATURE AND PERFECTIONWITH EXPERT TECHNIQUES AND LIGHTING ADJUSTMENTS

Portrait retouching is a delicate skill, one thatdemands a balance between enhancingbeauty digitally and ensuring that theportrait stays believable. But this tutorial will

show you how to master it like the pros. I personallyprefer it when the retouch is not too obvious and theidentity of the photographed person is maintained,so here you will learn how to enhance the naturalbeauty of the model rather than fake it.

The first step of a good retouch is a gooddevelopment. You will find the RAW file on the disc,which you will need to open with Capture One,

Lightroom or Camera Raw. I recommend usingCapture One, as I find this software very easy to use.When you open the file, you will immediately seethat the right side of the models face appears darkerthan the rest. The idea will be to develop the imagetwice: one normal development with nice details andskin colour, and another development for the darkpart of her face.

So grab your start image, fire up Photoshop, andget ready to transform the portrait from a naturalbeauty to a flawless piece of art that could grace thecover of any high-end fashion magazine.

GETTING STARTEDDEVELOP YOUR RAW FILE BEFORE MOVING INTO PHOTOSHOP

03 STAMP, STAMP, STAMP

To clean up the skin, usethe Clone Stamp. The secret isthat the brush size should be alittle bit bigger than the things youretouch (hairs and spots), theOpacity should be on 85-100%and the Hardness close to 0%.The idea is not to remove all theimperfections, but more toreplace imperfections withnatural pores, and keep as muchtexture as possible.

01 GET THE BEST OUT OF RAWOpen your image in Capture One and adjustthe Kelvin and Tint, then adjust the Clarity,Accentuation and Shadow to bring out details. Copythose presets, create a new variant and add thepresets to it, then change the exposure until you seeall the details in the shadow areas. Develop the twoversions and open them in Photoshop.

02 MERGE THE IMAGESSelect the Move tool, Shift+Opt/Alt-click thebrighter image and bring it over to the normal one.Select the shadow area on the brighter image andcreate a mask, Ctrl/right-click on it and select RefineMask. Paint around the masked area with a blackbrush at 30% Opacity to fuse the bright and darkareas together. Merge the layers and duplicate.

PHOTO EDITING

FROM RAW DEVELOPMENTTO THE FINAL LOOK

WORK INPROGRESS

Progress 1: Develop RAW file

Progress 2: Smooth skin

Progress 3: Layer adjustments

BRIVAELLE CAPITAINEwww.onehundredberlin.com

OUR EXPERT

After five years working as a model,

Capitaine decided to use her beautyexpertise as a retoucher. Shegraduated with a masters in digitalart and later founded her ownagency: One Hundred Berlin.

SOURCE FILESOn the disc you will find the RAW fileof the model (Untitled Catalog4130.nef) so you can follow this tutorialstep by step.


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13 HAIR HIGHLIGHTSThe hair must be adjusted too, so select thehair area to bring in some highlights, contrast andcolour. Create a Levels layer and refine the mask.Add some highlights by moving the white slider tothe left and the black cursor to the right. You can alsoadjust the colours with a selection of a different partof the hair (top and left) and create a Levels layer,then adjust the red and yellow tones. The left part ofthe models hair appears darker, so select this areaand adjust the levels, and as usual, refine the mask.

12 ADD TONE TO THE SKINTo add colour and brightness to the skin,simply select it, add a Curves adjustment to bring insome light, refine the mask and add a Selective Colorlayer that you can clip to the Curves layer (in the grey,add more yellow, magenta and eventually red.) Onthe right side of the face, it is possible to soften theshadow by selecting the shadow area, creating anew Selective Color layer, and in the grey tone,remove some black and add colour instead.

11 BRIGHTEN THE EYESThe light in the eyes is not the same; use aLevels adjustment layer to balance this area, andbring in highlights in the whites of the eyes alsousing the Levels command. You can then create anew layer and simply draw a bit of white on the pupil(with the brush at 50% Opacity) in the eyes, then setthe layer to Overlay or Soft Light mode and add a softGaussian Blur.

09 CREATE SYMMETRY

Create guidelines to help see what needs to be transformed. Place these under the eyes and in themiddle of the nose, then Transform the image (Cmd/Ctrl+T) to straighten it. Open the layer in Liquify tochange the shape of the nose, eyes and lips. The Pressure of the brush should be close to 100%.

10 LIGHT AND COLOURS

To soften the dark circles under the eyes,select the area and brighten it using Levels. Thencreate a Selective Color layer and attach the Levelslayer as a clipping mask to correct the grey tone (addcolour in the grey to match the skin tones), thenrefine the mask. To reduce the highlights on the face,select the area, create a Levels adjustment andreduce the Midtones. Then refine the mask. On thisimage the nose appears slightly magenta. Select thearea on the nose and balance the colour to the green.

001 EyesMove the outside corner of the eyes upslightly and increase the size if necessary

002 NoseBring in the sides of the nose to make itslimmer, as well as the tip

003 LipsBring up the left side of her lips tomake them more symmetrical

001

002 003

RETOUCH THE FEATURESCHANGE THE SHAPE OF THE NOSE, EYES AND LIPS AND ADD TONE TO SKIN AND HAIR


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COLOUR AND LIGHTCREATE A COLOURED BACKGROUND AND ADD DIMENSION WITH ADJUSTMENT LAYERS AND CHANNELS

14 COLOUR BACKGROUND

For the background, create a mask of themodel and add a colour. First you will need to convertthe image to 16 bits. This will improve the quality ofthe gradient. I generally use a Curves adjustmentlayer to make this mask, because the Refine Mask isvery easy to use on a desaturated layer but doesntwork on a colour layer. Select the model, create aCurves layer and refine the mask. Clip a colour layerto this. To make it look more natural, its a good ideato reduce the Opacity of this layer when possible.Here it is set to 67%.

15 ADD DIMENSIONNeutralise the colour of the original imagewith a Desaturate layer. Place it under the colourlayer, so it doesnt affect it. You can also brighten thelight behind the models head. Do this by creating anew layer, clip it to the colour mask (attached to theDesaturate and Curves layer) and simply make awhite circle gradient behind her head. Create a Black& White adjustment layer set to Soft Light mode onlyon the model (30% Opacity) to bring some dimensionto the image.

16 LEVELS ADJUSTMENTTo create even more relief within the image,use Channels. Go to the Channels panel and choosea channel, generally blue or green. Duplicate thischannel and go to Image>Adjustments>Levels.Select the white pipette and click on a highlight point(like on the nose, for example), then select the blackpipette and click on a dark part (for example theshadow under the ear). Click OK and activate theselection by Cmd/Ctrl-clicking. Go back to the Layerspanel and create a new Levels layer.

18 OPTIONAL: ADD EYELASHESSelect both the eyes and copy this selectionon a new layer. Sharpen this selection and add amask to soften around it. Create a new layer andselect the brush at 100% Opacity, in black, with 0%Hardness. Then simply draw some new eyelasheswith your brush, generally at 1px Size. Create a maskon the layer and mask the extremities of the neweyelashes with a brush set to 50% Opacity. Duplicatethe layer for more intensity and mask any areaswhere it is too visible.

17 CURVES ADJUSTMENTNext, create a Curves layer under the Levelslayers you just added (with the channel masking).Invert the mask so it is completely black, then take asoft brush (30-50% Opacity) and paint in white on theCurves mask where you want to bring in highlights.It is also possible to activate the channel anothertime (Green copy), create a new Levels layer, invertthe mask, and move the black slider to the right. Thiswill also bring more dimension to the image.

SKIN SOFTENING WITH THE CLONE STAMP

Softening the skin with the Cl

Documents

Advanced Photoshop - Issue No. 121.Bak