Advanced Photoshop Issue

8/11/2019 Advanced Photoshop Issue

1/100

Discover which add-ons you should haveto save time & improve your projects

COMPOSITING TECHNIQUES

PHOTOREAL FXWork with colour correction, matchperspective & master selections

INDUSTRY REVIEW

NEC MULTISYNCTake a look at the latest PA272Wdesktop monitor for industry creatives

WHY 3D CANT SURVIVE WITHOUT PHOTOSHO

The magazine for AdobePhotoshopprofessionals

Tutorial files available

ISSUE 122


2/100


3/100

WELCOME

ISSUE 122

Welcome to the latestissue of AdvancedPhotoshop. Can youenvisage a time whenPhotoshop will be the onlysoftware needed for alltasks? This month, we ask

3D artists if its a possibility.

IN THIS ISSUE:

GRAPHICSDIGITAL PAINTING

PHOTOMANIPULATIONPHOTO EDITING

ANNALISA SAYWELLEditor

We all know that for 3D rendering, Photoshop is

not yet up to par. That being said, its likely that most

3D art workflows have involved using Photoshop at

one point or another. So, can 3D live on and render

Photoshop obsolete? Or will the updates of the

future mean that Photoshop will also include

rendering capabilities of its own? We pose this and

many more questions to the industry on page 34.

Elsewhere in the issue, take a look at the top 20

Photoshop plug-ins to see if theres something

youre missing or could do with purchasing. In all

likelihood, you are. If its tutorials youre after, we

have a vast array of photoreal, 3D and graphics

options for you, and we also look at the latestmonitor to join the extremely competitive market.

Dont forget about our free disc, which this month

links up with our 3D theme to give you expert video

tuition on 3D printing.

FIND US ONLINE:

@advancedpshop /AdvancedPhotoshop

.co.uk

00

ISSUE 122 CONTENTS

COVER IMAGE

This 28-year-old artistspecialises in 3D and is

currently working atGuerrilla Games doing

character work so whobetter to work with to

create our VS cover thanhim?! Take a look at his

work on page 34.

BENJAMIN ERDThttp://ben-erdt.de

TYPOGRAPHYNEW MEDIA

WORKSHOP:

BLEND GRAPHICS68Mix Photoshop and 3D software to create asymmetrical and abstract pattern

74 WORKSHOP:

PHOTOREAL EFFECTSLearn to blend and composite images fromdifferent sources to create a dynamic race scene


4/100

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

CONTENTSISSUE 122

004

90 EXPLORING 3D PRINTING

26 20 OF THE BEST PLUGINS

46 COMBINE 3D & PHOTOSHOP

FOR BACK ISSUES, BOOKSAND MERCHANDISE VISIT:

THIS ISSUES PRO PANELOur contributors share Photoshop secrets06INDUSTRY NEWSAdobe Lightroom goes mobile08

10 PORTFOLIO INTERVIEWMaking it big16 PROJECT FOCUSIntricate 3D design18 STUDIO INTERVIEWCarbon


5/100

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

20 of the best plug-ins26INDUSTRY FEATURE

REVIEWSWe put the latest creative kit,books and apps to the test

80 FEATURE:NEC MultiSync PA272W85 REVIEW:Elemente by Divine Project

Free withissue 122

ofAdvanced Photoshop

PREMIUM RESOURCES

PLUS:

HD polygonal backgrounds, Mercenary font, a

TAILORMADECREATIVE CONTENT on how to use the new 3D print tools

96 ON YOUR DISC

Build a fantasy photocomposite52 WORKSHOPCombine 3D & Photoshop46 WORKSHOP

Custom light UI elements62 WORKSHOP

3D vs Photoshop34 INDUSTRY FEATURE

Shiver Me Sneakers58 HOW I MADE

SEE PAGE 24 OR 51FOR THE LATEST OFFERSSUBSCRIBE TODAY!

66 The JungleHOW I MADE

90 Exploring 3D printingRESOURCE PROJECT

68 Blend graphicsWORKSHOP

86 CREATIVE RETOUCHING

Photoreal effects74 WORKSHOP

18 CARBON STUDIO

ISSUE 122

Creative retouching86 READER INTERVIEW

72 LaputaHOW I MADE


6/100

006

EYE ON DESIGN THIS ISSUES PRO PANEL

THIS ISSUES PRO PANELOUR CONTRIBUTORS SHARE THEIR PROFESSIONAL TIPS AND TECHNIQUES TO

HELP YOU GET YOUR OWN WORK UP TO PAR

EYE ON DESIGN

BENJAMIN ERDTwww.ben-erdt.de

For compositing this render of a

3D deep-sea creature, I rendered

many different passes to gain as

much control as possible over the final image

inside of Photoshop. Embedding a creature design

into its habitat can often be a plus when selling the

original design intent, as it tells the viewer more

about its story and how it interacts with the

environment it is in.

Discover more about 3D design in ourindustry feature starting on p34

AMREI HOFSTTTERverticolab.com

If you wish to keep yourself and

your work in constant evolution,

dont limit your perception to

graphic design. Maintain an open and non-cynical

interest in everything that surrounds you, stay ahead

of whats relevant in contemporary culture, science

and technology, music, cinema, literature go

through life with an open mind, perceive and enjoy

everything as much as you can.

Learn how to combine Blender and Photoshop

in Hofsttters tutorial on p68

WILLIAM FUwww.willfu.co.uk

I always use gradients within my images. They are so useful for lighting, mood and

atmosphere. Apply them using layer styles, as clipping masks and especially Gradient

Maps, which are great for giving the shadows, midtones and highlights dramatic colour to

suit the atmosphere and environment of your overall composition. They are also really easy to adjust and

experiment with.

Fu reveals his secrets to creating 3D-looking imagery over on p44

William Fu

Amrei Hofsttter

2013 ben-erdt.de


7/100

007

DENIS KORNILOVwww.deniskornilov.com

At the final stage of my work I

almost always add sharpness. As

a result, I get more details and theoverall image become more attractive. One very

important point here is to not overdo it. Add

sharpness only in areas that you wish to accentuate,

but avoid sharpness in places that you dont want to

bring too much attention to.

Re-create one of Kornilovs images on p46

AMAR KAKADwww.amarkakad.info

It is paramount to organise your layers to ensure quick and easy access to them. I am a big

fan of Convert for Smart Filters, and having the ability to re-apply your effects is also

important as it allows fluidity and saves on time. Also, when necessary, keep merging your

layers as this reduces the file size.

On p74, Kakad shows you how to create a photoreal image using Photoshop effects

If you wish to keep your workin constant evolution, dont

limit your perception to graphicdesign. Maintain an open interest in

everything that surrounds you Denis Kornilov

Makarand Baokar

Imagine Publishing Ltd 2014ISSN 1748-7277

Magazine teamEditor Anna-lisa [email protected]

01202 586243

Editor in ChiefDan Hutchinson

Production EditorAlicea Francis

PhotographerJames Sheppard

Senior Art EditorDuncan Crook

Head of PublishingAaron Asadi

Head of DesignRoss Andrews

ContributorsChris McMahon, Larissa Mori, Julie Bassett, April Madden,Denis Kornilov, Cyril Juliani, Amar Kakad, Amrei Hofsttter,Simon Skellon, Kirk Nelson, Chris Christoforidis, DanielBevan, Steve Mumby, Ben Stanley and Greg Whitaker

AdvertisingDigital or printed media packs are available on request.

Advertising DirectorMatthew Balch

01202 586437

Head of SalesHang Deretz

01202 [email protected]

Account ManagerRyan Ward

01202 [email protected]

Cover discJunior Web DesignerSteve Dacombe

[email protected]

InternationalAdvanced Photoshopis available for licensing.Contact the International department to discusspartnership opportunities.

Head of International Licensing Cathy Blackman

+44 (0) 1202 [email protected]

SubscriptionsHead of Subscriptions Gill [email protected]

For all subscription enquiries:[email protected]

UK: 0844 848 8402

Overseas: +44 (0) 1795 592 88013-issue subscription (UK) 62.3013-issue subscription (Europe) 7013-issue subscription (ROW) 80

Circulation

Head of Circulation Darren Pearce01202 586200

ProductionProduction Director Jane Hawkins

01202 586200

FoundersGroup Managing Director Damian ButtGroup Finance & Commercial Director Steven Boyd

Printing & DistributionPrinted by:William Gibbons & Sons Ltd, 26 Planetary Road,Willenhall, West Midlands, WV13 3XTDistributed in the UK & Eire by: Seymour Distribution, 2 EastPoultry Avenue, London, EC1A 9PT

0207 429 4000Distributed in Australia by: Gordon & Gotch, Equinox Centre,26 Rodborough Road, Frenchs Forest, NSW 2086

+ 61 299 728 800Distributed to the rest of the world by: Marketforce,Blue Fin Building, 110 Southwark Street, London, SE1 0SU

0203 148 8105

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

+44 (0) 1202 586200Web:www.imagine-publishing.co.uk www.advancedphotoshop.co.uk

www.greatdigitalmags.com

The magazine for AdobePhotoshopprofessionals

AMREI HOFSTTTER / HTTP://VERTICOLAB.COM


8/100

008

EYE ON DESIGN INDUSTRY NEWS

008

ADOBE LIGHTROOMGOES MOBILETHE CREATIVE CLOUD PHOTOGRAPHY PROGRAM

IS ENHANCED WITH THE NEW LIGHTROOM

MOBILE LINING UP ALONGSIDE PHOTOSHOP

INDUSTRY NEWS

Lightroom and Photoshop redefined digital photography onthe desktop and now, photographers can perfect images

wherever they are

APP SUPPORTAt present, the Lightroom mobile app is only

available to those on any Creative Cloud

subscription that gives them Lightroom 5, and to

users with an iPad 2 or higher. iPhone and Android

versions are in development.

L

ightroom users can now view and edit

their photographs on the move with the

new Lightroom mobile app for iPad, the

newest member of the ever-expandingAdobe Photoshop family.

The app, which is only available as part of the

Creative Cloud, offers some powerful new

features for editing on the go. It offers non-

destructive editing on files, with Smart Previews,

usually reserved for more powerful desktop

editing. It can process everything from photos

taken on the iPad itself to RAW camera files,

making it a great companion on location shoots.

Files taken on the iPad are also automatically

synced into Lightroom 5 when connected.

It syncs seamlessly with Lightroom 5 on a

desktop, including mobile edits, metadata and

collections. The tools are also instantly familiar to

Lightroom users, so the app will fit easily into the

professional workflow.

This app is likely to appeal to professional

photographers, as well as creative studios whouse Lightroom to process and manage large

volumes of images before taking them into

Photoshop for remastering.

With the launch of Adobe Lightroom mobile,

weve unlocked professional-class photographic

workflows from the confines of the desktop,

says Winston Hendrickson, vice president of

products, Creative Media Solutions, Adobe.

Lightroom and Photoshop redefined digital

photography on the desktop and now,

photographers can perfect images wherever

they are and, via Adobe Creative Cloud,

seamlessly synchronise them back to their

desktop catalogue.

Easy syncing: Automaticallysync iPad edits to Lightroom 5 onyour desktop, and syncLightroom desktop edits back toyour iPad

CREATIVE CLOUD

PHOTOGRAPHY PROGRAM

For photographers and retouchers who dont use any

of the web or design programs produced by Adobe,

then the most cost-efficient way of accessing all of the

relevant software via the Creative Cloud is through the

Creative Cloud Photography Program. This is a

dedicated package that includes Photoshop CC

alongside Lightroom, and now the new Lightroom

mobile. It still offers all of the benefits of Creative Cloud,

like the latest updates as soon as they are available for

no added cost, and 20GB online storage space, plus the

ability to share files with others. Subscribers also get a

Behance ProSite included in the package.

At the moment, this costs just 8.78/$9.99 a month,

which is a significant saving over the full Creative Cloud

Suite (at 46.88/$49.99 a month). However, this is a

limited-time offer so get it before it expires.


9/100

009

Photoshop 1-2-3, a new digital magazine

available now on the Apple Newsstand, is

designed to offer Photoshop users a quick and

easy way to learn new skills and techniques.

Created by the team behindAdvanced

Photoshopand Photoshop Creative

magazines, the new title offers advice and

inspiration for digital artists and image editors

of all abilities, from beginner to experienced.

Each task is broken down into three key steps.

The first explains the goal of the project, the

second shares the essential techniques that

users need to master to reach that goal, andfinally it reveals the tricks of the trade to take

your Photoshop work to the next level.

Editor of the title, Charis Webster, says:

Photoshop 1-2-3is unique in that it delivers

expert Photoshop advice in easily digested

bite-sized chunks. Weve worked hard to create

something different, and something tailored to

the digital audience, and Im incredibly proud of

the team and the final outcome.

Value for money is also assured, with a

monthly issue costing just 0.69/$0.99 and a

years subscription weighing in at 3.99/$4.99.

Find it now by searching for Photoshop 1-2-3

on the Apple Newsstand.

PHOTOSHOP DUE A SPRING CLEAN

INTRODUCINGPHOTOSHOP123 MAGAZINE

THE NEXT REVISION OF PHOTOSHOP WILL STRIP AWAY SOME FEATURES THAT

ARE USED LESS TO MAKE ROOM FOR NEW ADDITIONS TO THE PROGRAM

009

D&AD has launched a new digital platform, which

offers free memberships for all for the first time in

its history. This is part of D&ADs commitment to

supporting the global creative industry.

The free membership will give users access to

the very best work from the archives of the

prestigious awards from the last 52 years, to help

inspire the next generation of creative talent. This

means that every ad, design, campaign, product,

agency and creative that has won an award since

the first ceremony in 1963 will be available tobrowse through. The full archive will be available by

August this year; currently it goes back to 1990.

Tim Lindsay, chief executive at D&AD, says: A

look at D&ADs history tells a wonderful story. In

1962, the organisation was formed by a special

group of designers and art directors, who came

together to celebrate the best in commercial

creativity, and thats the spirit we continue today...

The new digital archive is a wonderful illustration of

the rich history of the industry and a fantastic

resource; one that we believe should be accessible

to all, regardless of who you are, or where in your

career you may be.

Members will also be able to explore and

interact with fellow creatives by highlighting work

they particularly admire through a new online

community. It also enables users to enter the

awards easily, download briefs and sign up to

events. Find out more at www.dandad.org.

Digestible content: Each Photoshop task featured is brokendown into three steps to ensure that readers learn the skilland then enhance it

Flash extension panels replaced:Flash-based extension panels, suchas Mini Bridge and Kuler, will nolonger be supported in favour ofHTML extensions

Digital platform: The free membership option is part of the newdigital platform recently launched by D&AD

The Oil Paint filter and Flash-based extension panels are among the

features that wont be available in the next version of Photoshop.

Jeffrey Tranberry, senior product manager for Adobe Digital Imaging,

made the announcement on the Photoshop.com blog (https://blogs.

adobe.com/photoshopdotcom ). He says: With each release of

Photoshop, our development team needs to do some architectural

spring-cleaning. As we modernise our code and add cool new

features, we sometimes have to make tough decisions to cull existing

features from the herd.

The decision on which features are cut is made based on a number

of factors, including customer usage and the cost involved in

maintaining and supporting changes in underlying technology. The

loss of the Oil Paint filter is unlikely to affect many professionals, but

the removal of Flash extension panels means no more Mini Bridge or

Kuler, as well as any third-party extensions installed that use Flash.

However, the migration from Flash-based panels to HTML has already

been introduced with Photoshop CC.

A change that is more likely to have an impact is that Photoshop

will no longer support Mac OS X 10.6, requiring 10.7 or later. Adobe

recommends that those who will be affected begin migration now

before Photoshop is released. The new version of Photoshop will

install side-by-side with older versions of the program, so you can run

two versions if you wish to maintain these features. No date has been

issued officially as to when the update will be released.

D&AD INTRODUCESFREE MEMBERSHIP

THE CREATIVE INDUSTRYS LEADING PROFESSIONALAWARDS OPEN ITS ARCHIVES TO ALL UPAND

COMING AND ESTABLISHED DIGITAL ARTISTS AND

DESIGNERS FOR THE FIRST TIME

IMAGINE PUBLISHING LAUNCHES

NEW DIGITALONLY MAGAZINE TO

SHARE TIPS AND INSPIRATION WITHPHOTOSHOP USERS ON THE GO


10/100

040010

EYE ON DESIGN PORTFOLIO INTERVIEW

ANTHONY GARGASZ TELLS US HOW A BELIEF IN YOUR OWN

ABILITY IS KEY TO CREATING THE ART THAT WILL GET YOU NOTICED

PORTFOLIO INTERVIEW

MAKING IT BIG

www.anthonygargasz.com

@anthonygargasz

Self-described as a 21-year-old obsessed

with digital art, design, and the

progressive development of both, the

L.A.-based Anthony Gargasz is one digital

artist with big dreams and the passion to get where

he needs to be.

Gargaszs love for creating digital art was

discovered at the nascent age of 11. I originally used

MS paint because I became frustrated with how

difficult I found drawing to be, he tells us. A friend

then introduced me to Photoshop and I instantly

became infatuated with art and design. I dont know

what it was about it but there was something

unexplainable about creating digital art that made

me fall in love with it.

Gargaszs first jobs were web-related, with the

young artist designing forum skins a task that he

quickly grew out of. His deep-seated passion for

design saw him move onto bigger and better things,

from web forums to gig posters and print

campaigns, to setting up the international media

collective EvokeOne and beyond.

Throughout his career Gargasz has refused to

settle for anything less than that which he loves

design imbued with passion, love and the simple

desire to create

CAN YOU TELL US A LITTLE ABOUT YOUR

EDUCATION? HOW DID YOU DEVELOP

YOURSELF AS AN ARTIST?

Nearly everything I learnt was from networking

online with fellow passionate artists, who simply

wanted to share and develop their work. I attended

the Art Institute of Pittsburgh for about a month

before coming to the conclusion that art school

wasnt for me. There were some very basic

fundamentals that I had skipped over in my own

pursuit of digital art, but other than that I felt like I

was relearning what I already had in tutorials. The

graduating portfolios were very generic and not very

impressive, so I decided to take things into my own

hands. Dropping out of college really lit a fire [in me]

to take my career to the next level. I began spending

my time much more wisely and quit settling for less.

I believe that if there is a secret to getting good at

anything it is simply practice. A little talent will go a

long way if youre not afraid to work [hard].

TELL US A LITTLE ABOUT YOUR STYLE, AND

WHAT MAKES IT DIFFERENT FROM THE REST?

My work is my work because Im always focusing on

versatility and creating a wow factor. I combine

organic elements, unique 3D forms and explosive

colours to create an aesthetic harmony. Fresh and

exciting work is created by always switching things

up. Whether it be learning a new program, trying a

new technique, or experimenting by merging styles,

01

01Nick: One of several style frames madefor Nickelodeon that showcasesGargaszs versatility, offering a colourfulcontrast to other works Nickelodeon

02Running: Theres a clear understandingof shape and form in Gargaszs work, andhow they govern the way the viewertakes in the image Anthony Gargasz

03Art Junks: Gargaszs work is alwaysvibrant and chaotic, yet held together bya very apparent grasp of visual designs Anthony Gargasz


11/100

03

02

The challenge inspires meto show the world what Im

made of and express that Im not

a gun for hire, but more of aweapon of mass creation


12/100

012


the more you innovate the more valuable your skill

set becomes.

When I first began creating digital art I didnt know

why I enjoyed it so much. I would get frustrated with

learning curves, finding inspiration and executing myconcepts flawlessly. I then realised that I enjoyed it

because the rush of creating made me happy. That

realisation instantly made the frustration disappear.

When you really enjoy what you do, you create fresh

and exciting work without even noticing.

WHAT IS IT LIKE DESIGNING KEY ART FOR THE

ENTERTAINMENT INDUSTRY IN L.A.?

Its been an extremely fun, educational and

challenging experience. It turned out to be very

different to what it appeared to be, just as most

things in Hollywood are. The key art industry is

dominated by a select handful of companies who

handle the major blockbuster film and TV marketing,

while the rest of the smaller agencies deal withlower budget, yet still handsomely profitable, film

houses and television networks.

The process of creating key art usually begins by

reading a script and/or watching a screener, then

rounds of creative explorations are executed based

on appropriate creative directions and client

feedback. Sometimes the rounds are directly

commissioned, but usually there are multiple

agencies bidding on the job. Once final artwork is

chosen, it is then finished to perfection, mechanicals

are created to scale to size and prepare for print.

My experience working at one of the largest

agencies was the complete opposite of what I

thought it would be. Its no secret that movies and TV

shows of similar genres have similar-looking

artwork. These tacky trends make getting innovative

ideas through to the client very difficult. However, the

thing that really drives me crazy is not being able to

show any of your work to the world. The business

side of me understands why so many NDAs are

involved, but the artist in me has a burning passion

to share everything I create with the world. I felt like I

was settling for less by accepting the role of being a

small cog in such a large machine of an agency, so I

decided to quit. I had the opportunity to work on films

such as World War Z, Now You See Me, The

Conjuring, Divergent, and many more, I just didnt

have the comfortable employee mindset to keep my

head down, mouth shut and execute prescribed ideas.

I then became partner in a small start-up agency

called SLS Ad Co to pursue every designers dream

of having creative freedom. Since then Ive had the

pleasure of working on films such as Hercules, Miss

Meadows, Life Of Crime, Garden Of Last Daysand

The Most Wonderful Time. The projects Ive worked

on with have been the most challenging, because the

success of the project is completely up to my curated

team and I. This has forced us to be resourceful and

courageous. The challenge inspires me to show the

world what Im made.

04 05

06

07

06The Legend Of Hercules: The projectsIve worked on with the start-up havebeen the most challenging, because[their success] is completely up to mycurated team and I Millennium Films

05Enduro: Working for a smaller agencyoffers Gargas much more creativefreedom, and a chance to diverge fromthe tacky trends of the blockbusterindustry SLS Ad Co

07DMT: Gargasz originally started out as aweb designer on various forums, butsoon grew out of the role, looking forbigger and better ways to explore hisartistic talent Anthony Gargasz

08Anxious: Personal work is still incrediblyimportant to Gargasz, and oftencombines organic elements, unique 3D

forms and explosive colour to create anaesthetic harmony Anthony Gargasz

04Hercules poster:Gargasz is currently apartner at the LA-based advertisingagency SLS Ad Co, focused on creatingmarketing for the entertainmentindustry Millennium Films


13/100

08


14/100

HOW DO YOU GO ABOUT SETTING YOURSELF

UP AS AN ARTIST WHO WORKS FOR SUCH BIG

NAME BRANDS?

The most important piece of career advice Ive ever

been given is that saying no creates value. So many

upcoming designers have adapted the mindset that

theyre going to have to settle for less at the

beginning of their career. From spec work, to pitches,

to itll be worth the exposure. [But thats not true]. If

you want to work with big brands, then you have to

truly value your work. If you want to value your

work, then you have to fully commit yourself to it.

Become obsessed, suffer, and commit yourself as a

samurai or monk would. Hard work and dedication

will never go unnoticed, regardless of what you think.

If you dont think your skill set is worth it to a big

brand, then they certainly wont either.

CAN YOU TELL US ABOUT EVOKEONE?

EvokeOne is an international media collective

founded in 2007, with a mission to develop and

showcase digital artists, musicians, and

photographers. It was started by a few creatives who

met online, worked together, and decided to bring

other creatives together to create brilliant work

together. Every few months our hand-picked artists

secretly develop an exhibition based on a central

theme to release to the public. It is a great example

of the power of collaboration and feedback. I would

say it has been the most important method of my

artistic development. In the near future we are

developing a new front-end of the site, cleaning up

the members list, and eventually leaning towards

hosting gallery events. We had our first live exhibition

release in Baltimore in November of 2011. The

publics reaction to tangible digital art in a gallery was

very inspiring to me. Im looking forward to seeing how

far the amazing artistic energy of the group can go.

WHAT ARE THE MOST IMPORTANT LESSONS

YOU HAVE LEARNED ABOUT THE INDUSTRY?

You have to keep an open mind, accept forward-

thinking styles, and be willing to share ideas with

other great minds. Digital art moves at a very fast

pace. Many people underestimate how competitive it

can be. There are always young, fresh artists

emerging, as well as artists who shift focus and give

up on the industry. The programs are developing just

as fast as the artists who use them. You have to be

willing to dedicate time to always be learning new

things. If youre not working as hard as you can to be

the best, there are plenty of other people out there

who are. Stay inspired. I love the feeling of seeing

something so beautiful and awe-inspiring that I have

to stay up all night creating and trying to pass on the

inspiration I felt. Personal work ensures that you

always have creative momentum and has helped

me avoid the nightmare of creative block.

BE OBSESSED

Not everyone has the courage and bravery to fully dedicatethemselves to their work. The ones who spend countlesshours perfecting it are the ones who will get the big projects,be recognised and rewarde d. Working smarter, harder, andfocusing on the big picture w ill take you to great heights.

COLLABORATE

Its common sense that two heads a re better than one.Working with others helps prepare you for workingprofessionally, gives you the opportunity to exchangetechniques, and create amazing artwork unlike anythingyou couldve created on your own. P ut your ego to the sideand allow others to help expand your artistic vision.

SAY NO

Saying no creates value. Dont let anyone say youre notgood enough. Your self worth will determine your successas a designer. If you dont believe in quality over qua ntitythen youll be stuck designing whatever small businesseswith small budgets want to send your way.

PORTFOLIO TIPSGARGASZ SHARES HIS TOP TIPS FOR SUCCEEDING IN

Delusions Of Grandeur: Ive always been intrigued by birds flying inflocks, and imagine them being capable of forming into largermasses Anthony Gargasz

014



15/100

30-daymoneybackguarantee

Powerfulwebsite

builder withonline shop

25GB Exchange 2013 mailbox& FREE.co.ukdomain included

Fasthosts keepsmy websites upand running

fasthosts.co.ukor call0808 1686 777

SERVERS WEB HOSTING DOMAIN NAMES EXCHANGE EMAIL

* Free domain includ ed for 1 year, includes .co.uk, .me.uk and .org.uk doma ins. After 1 year regular prices apply. Visit www.fasthost s.co.uk for full product details, terms and condition s.

UPTO

%OFF50

2.49for 6 monthsNormal price 4.99per month ex VAT12 month minimum term contract

Hosting from:

So we know a thing or two when it comes to hosting

for business, that's why we're offering up to 50% off

for the first six months to help you get started and get

the most out of having your business online.

With great performance, security and expert support

24/7, Fasthosts is the choice for business.

Fasthosts have been supportingUK businesses for over 15 years


16/100

EYE ON DESIGN INTRICATE 3D DESIGN

JERICO SANTANDER TALKS US THROUGH THE BUILDUP OF THIS COMPLEX

ARTWORK AND HOW PHOTOSHOP WAS USED TO ADD TEXTURE AND DETAILS

PROJECT FOCUS

INTRICATE 3D DESIGN

There are a lot of things that can be used as

inspiration for a piece, from the world

around us to books and films. Having a

strong concept and the right inspiration is

key if you want to create believable, detailed artwork

that captures the imagination of an audience

essential for commercially driven design.

This incredibly intricate image by Jerico

Santander is the proof of this; the concept and

inspiration of the piece was determined at an early

stage, looking to represent the famous musical

masterpiece The Four Seasonsby Vivaldi in a

modern and engaging manner, with reference to

classical 17th Century art. It also highlights how the

use of 3D modelling and Photoshop in combination

can create an almost illustrated look, as well as

high-quality visuals that lend themselves to a range

of purposes and end use. In this exclusive interview

with Santander, we find out more about how this

piece was built up and put together.

CAN YOU GIVE US AN OVERVIEW OF HOW THIS

PROJECT CAME ABOUT AND HOW IT WAS

INTENDED TO BE USED?

Kompost, a Zurich-based creative studio, came tome with a very interesting, challenging proposal

illustration for one of its clients, Zurich Chamber

Orchestra. It was requested to be used as a key

visual for different media in Switzerland, mainly

print and web.

WHAT WAS THE CONCEPT OF THE PROJECT

AND HOW CLOSE TO THE CONCEPT WAS THE

FINAL IMAGE?

The goal was to re-create an orchestra stage

representing Vivaldis piece The Four Seasons. It had

to be highly detailed; 17th Century painting-inspired

yet fresh and modern with regards to technique,

offering something new to the viewer. We [chose]

not to use perfect characters; some of them are

fleshy, some have got bizarre looks and funny facial

expressions, and they are holding stuff related to

their season as if they were instruments. We

needed to encourage the viewer to stop for a

moment to observe some of the little stories around

the piece.

DID YOU WORK FROM SKETCHES BEFORE YOU

STARTED TO MODEL THE IMAGE IN 3D, OR DID

YOU GO STRAIGHT INTO IT?

Yes, we did [do] some sketches for the stage and

the characters. Props to Leandro Panganiban, our

concept artist.

CAN YOU TELL US A LITTLE ABOUT THE 3D

PROCESS THAT YOU USED TO BUILD UP THISCOMPLEX DESIGN?

Most characters were sculpted in ZBrush. An

advantage of 3D illustration, as opposed to

animation, is that we dont necessarily need a

proper characters topology, so we can start

sculpting from a base mesh without caring at all

about edge flow of the polygon mesh. Same goes

with UVs; we didnt need to put much effort into

them since we are not animating. This makes the

ABOUT THE STUDIO

Santander is a talented 3D artist,illustrator and art director from

Spain, whose work is alwayscolourful, detailed and with a

healthy dose of surrealism. He hasworked for agencies from all over

the world and on a range ofprojects with high-profile clients.

JERICO SANTANDER

www.jericosantander.com

THE FOUR SEASONSNAME OF PROJECT

040016

National Geographic render passes Ambient occlusionEarly sketch

Characters sketch


17/100

017

involved with the characters anatomy and creativity,

but mostly regarding the scene proportions,

background, lighting and certain elements

positioning. Feedback is something to expect from

such detailed jobs. Its crucial to define each stage of

the project in a timeline and make sure the client

understands the workflow well; for example, a week

for concept art and sketching, two weeks for

modelling, a week for lighting, texturing and

rendering, and three to four days for retouching.

Otherwise, a lot of time can get lost.

WHAT TIPS WOULD YOU GIVE TO OTHER

DIGITAL ARTISTS WANTING TO CREATE

SOMETHING AS DETAILED AS THIS PIECE?

Start focusing for a while in a field you particularly

enjoy and feel confident working in, say digital

painting, character modelling, or anything else. Then,

start to expand your knowledge by studying other

subjects from out of your comfort zone. Slowly, you

will start to understand everything behind an image

and will no longer wonder How was this piece

done? when you see stunning artwork printed

around your city.

Elements such as the kissing fish, miceand cheese, unicorn skull and knifeunderground are over-painted inPhotoshop. This is done [because]small 3D elements tend to get lost andits hard to recognise them. It alsohelps [to give] an illustration feeling

We started with defaultperfect models, thenwe posed and changedthem a bit in ZBrush;some are rather fat,some have long witchnoses and ugly faces

Sample clay characters

Trees and grass were generatedand shaded in Maya. There aregreat tutorials from Alex Alvarezat The Gnomon Workshop that I

highly recommend if you areusing Maya or Mental Ray

whole thing faster. The software of choice for setting

the scene and rendering was Maya and Mental Ray.

WHAT ROLE DID PHOTOSHOP HAVE TO PLAY

IN THE CREATION OF THIS IMAGE ONCE THE

RENDERING WAS COMPLETE?

Photoshops main role in this project was texturing

the characters, compositing the final render passes

and retouching and detailing the final product.

WHAT PHOTOSHOP TOOLS AND TECHNIQUES

WOULD YOU SAY WERE KEY WHEN BUILDING

UP SUCH A DETAILED PIECE?

For this project, theres no particular technique I

used that brought the magic to the piece, but Id say

masking and colour corrections would have been

the most important part. Digital painting here and

there to try to break the 3D feeling [was also

important to the overall look].

WAS THERE A LOT OF TOING AND FROING

WITH THE CLIENT? OR DID YOU HAVE A LOT OF

FREE REIGN TO ADAPT AS YOU WENT ALONG?

There were several rounds of feedback; not much

All images Jerico Santander


18/100

Most high-end creative studios are based

in capital cities, and Carbon is no

exception. Rather than being

headquartered in the UKs capital city

however, the BAFTA-winning creative team have

gone back to their roots and set up their base in the

Welsh capital, Cardiff. Creative director and founder

Michael Clague explains: Having worked in London

for three years following graduation, I was keen to

move back to my hometown of Cardiff. I found thatno agencies were doing the kind of work I wanted to

do, so I decided to set up my own company with an

aim of bringing exciting creative work into Wales.

And that is exactly what he and senior designer

and illustrator Logan Brinkley have done with

Carbon. Carbon is creative at its core, offering what

we believe to be a comprehensive service in design,

interactive, illustration and animation, explains

Clague. We like to be able to offer our clients the

complete package from concept, through design and

build to the finished product. Weve always actively

pursued creative work, and as a result we tend to get

approached by clients looking for a very creative

solution. This unwavering focus on creative briefs is

what I think sets us apart.

The Carbon team are happy to work across the

four core disciplines that make up their specialities

design, interactive, illustration and animation or

to focus specifically on one, depending on the clients

needs. Our commissions are reasonably well

balanced, with design and interactive being top

followed closely by illustration, then animation

making up a smaller chunk of the work. Some

clients know us just for one discipline while others

come to us for a full end-to-end service. We also

might work with other agencies to bring a single

service to their in-house team, Clague explains.

The majority of projects we do are interactive

websites. These require UX design, illustrated

elements, HTML5 development and occasionally

animated video elements. We find that the client will

come to us looking for one or two particular

services, but in order to make the project the best it

can be, we often find that we inject the various skills

we have to make the project even better.

Carbon is also unfazed by working with other

agencies to complete a client brief. Collaboration is a

key element of our business model, and working

with other agencies is something we really enjoy. We

have some great working relationships with a few

STUDIO INTERVIEW

HOW THIS CARDIFFBASED CREATIVE STUDIO

BRING FUN INTO EVERYTHING THEY DO FOR

A HOST OF BIGNAME CLIENTS

CARBON

EYE ON DESIGN STUDIO INTERVIEW

018


19/100

019

Cardiff, Wales-based studio Carbon offers arange of creative services across its coreskills of design, animation, illustration andinteractive. The team currently focusesmainly on interactive design with a large doseof fun.

CARBON

ABOUT THE STUDIO

www.carbonstudio.co.uk

@carbonstudio

Logan Brinkley,Senior Designer/Illustrator

Michael Clague,Owner, Creative Director

C

arbonStudio


20/100

040020

EYE ON DESIGN STUDIO INTERVIEW

local and international agencies, working on projects

from Cardiff and London to New York. An agency we

have done a few great projects with is Naked

Communications, who have offices in London and

New York. We worked with their UK team to create

an interactive module to sit inside the Cadbury

Joyville website. Our role was to design and build a

self-contained HTML5 module to fit into their existing

Cadbury Joyville website, promoting the new

Cadbury Bubbly bar. This involved working closely

with Nakeds in-house team to ensure design

consistency and technical integration. We wanted to

use the uniqueness of the Bubbly bar itself to its best

advantage. We therefore created a 3D model of the

bar, which the user can explore in order to discover

the multimedia content hidden in the bubbles.

Another high-end client Carbon has recently

worked with is the World Wildlife Fund, and this

project also tied into their location in the Welsh

capital. We have been working with WWF for the

last few years creating various interactive projects

for Earth Hour. When WWF approached us to look at

the issues of renewable energy, we wanted to do

something different to a standard website. WWF

had already gathered their findings on renewable

energy usage and energy waste and briefed us to

present these facts back to the user in an engaging

way. They also wanted to take their findings to the

Welsh Assembly Government to highlight the issues.

Our idea was to create an interactive quiz centred

around the WWF renewable energy facts. The quiz

would allow the user to select from three options,

each giving a relevant animation. It would be created

in HTML5, allowing the team to take it and place it

directly in the government members hands. Mike

started by creating the framework layout and UI. It

needed to be a responsive design to work across

different devices and browsers. Alongside this,

Logan created bespoke illustrations for the quiz

questions. We then worked with our developer to

create the quiz. Once completed, WWF decided to set

up a campaign stand in the Welsh Assembly building

with the aim to engage with ministers directly. We

also went along with iPads all set up to run the

website on the 3G network.

Both members of the team have distinct roles in

which Photoshop has a huge part to play, as Clague

explains. I have a strong focus on UX design,

WWF website -We worked with WWF to c reate a campaign website centredaround renewable energy. We used a mixture of bespoke illustration and thelatest HTML5 technologies to ensure a multi-platform solution

Just Skin And Bones Digital type exhibition

Museum Of Childhood, AMV BBDO Weteamed up with CIA and AMV BBDO tocreate the campaign, Mind of a child eyeof an artist, which ties in with the t hemeof this years Big Draw project, DrawTomorrow.

Second opinion -Brinkley talking through his latestproject with Kath. We always like to get a fresh pair of

eyes on a project we been looking at for a while

WWF

C

arbonStudio

Carbon Studio

C

arbonStudio


21/100

021021

CADBURY DAIRYMILK BUBBLYTO COINCIDE WITH THE RELEASE OF CADBURY

DAIRY MILK BUBBLY, CARBON WERE ASKED

TO CREATE AN INTERACTIVE MODULE

We were approached by Naked

Coms to bring our creative edge to a

self-contained part of the Cadbury

Joyville website. We had worked with

Naked Coms before on a Virgin

Atlantic project and recommissioned

from the success of that. Creating

such a fun project for such an

exciting brand was a dream brief for

us. And being a part of a national

campaign gave us great pride as we

saw our work reach millions. See it

for yourself at http://vimeo.

com/52382128.

01CREATING THE CASINGI started drawing three Smart Objectcircles. The bottom one has a rounded gradient to

make it seem circular, the next has a pattern

overlay for texture and the top one has an inner

shadow to make it seem recessed.

04WIRES AND BUTTONSNext I added more detailing to the case.The wires were created by cutting out an image of

a hoover hose and making it metallic by

desaturating and adding highlights. The Close

button and plaque were drawn with the Pen tool

with layer effects to give a 3D feel.

03SPEAKER CONE AND CHOCOLATEI took a real chocolate texture and usedContent-Aware to fill the circle. Using Smart

Objects again, I created four circular shapes to

create my speaker cone. The cone part was

converted to a Smart Object and noise was added.

06THE REST OF THE DESIGNThe remainder of the design was createdin much the same way: Smart Objects with

gradients, layer effects and textures. We created

the bar in 3D, which tilts left and right on mouse

movement. We exported the video as frames and

treated each frame to get the colours right.

02PIPING AND SPEAKERSNext, using Smart Objects and the Pentool, I created the shapes for the piping and

speakers. I then used gradient overlays, inner

shadows and drop shadows to make them look

3D. I used a texture to make the speakers.

05SHINE AND NOTESTo finish I used the Circle tool with a whiteto transparent linear gradient on. I set it to 0% Fill

and 30% Opacity to give a glass shine finish. The

chocolate notes were drawn in Illustrator and

imported. I then added a bevel layer effect in

chocolate colours.

Cadbury


22/100


23/100

023023

15:00STORYBOARDINGANIMATIONI then swiftly move onto another BBC

project, illustrating and storyboarding

for an upcoming animated video for

their new iWonder brand. This will see

me through to the end of the working

day at 6pm.

18:00READY FOR THEWEEKENDI save and back up todays work,

then grab a quick beer at the

waterfront with the guys at work

and friends from another design

agency. Around 9pm I head to the

centre for dinner with my girlfriend.

10:00FRAMINGI continue wireframing for a newDoctor Whoproject were working on for the BBC,

a regular client of ours. This is an invaluable

process to carry out before I move onto the design.

I can clearly plan the design direction while also

giving the client a better understanding of how it

will work.

13:00TIME FORLUNCH!I managed not to eat at my

desk today (for once) and

instead grabbed some

gammon and eggs on the

waterfront in Cardiff Bay. It hit

the spot!

TOP 5PRODUCTION TIPS DO IT RIGHT THE FIRST TIME

By making your designs perfect from the start they will getsigned off quicker and will already be ready for production.

USE SMART OBJECTS AND EFFECTS

This will allow you to easily make changes, wrap up complexlayers into a single object and create double-sized Retina assets.

USE GRID SYSTEMS

Setting up a grid should be the first thing you do, no matter howsmall the project or design. This will enable pixel-perfectdesigns every time.

CREATE DEVELOPERFRIENDLY PHOTOSHOP FILES

Structure and name your layers perfectly so your developer canunderstand them. Dont use any effects that cant be mergeddown into a single asset.

KEEP EVOLVING

Dont be afraid to relearn new techniques for processes youvebeen using for years. Discovering new Photoshop features candramatically improve your workflow and creativity.

Mizuno app TheMizuno touch screen app

in Amsterdam

Universal Scene User

interface illustration Carbon

Mizuno


24/100

YES! I would like to subscribe toAdvanced Photoshop

our detailsle First name

rname

dress

stcode Country

lephone number

obile number

mail address

irect Debit paymentUK Direct Debit paymentill pay only 18 every 6 issues saving 50%

ayment details13-issue subscription onlyUK 62.30 (save 20%) Europe 70 World 80

heque

I enclose a cheque for ade payable to Imagine Publishing Ltd

redit/Debit card

Visa MasterCard Amex Maestro

ard number Expiry date

sue number(Maestro)

gned

ate

ode: PAL142Q

ase tick if you do not wish to receive any promotional material from Imagine Publishing Ltdpostby telephonevia email

ase tick if you do not wish to receive any promotional material from other companiespostby telephonePlease tick if you DO wish to receive such information via email

eturn this order form to:vanced Photoshop Subs Department, Dovetail, 800 Guillat Avenue, Kent Science Park,

tingbourne, ME9 8GU or email it directly to [email protected].

o manage your subscriber account, visitwww.imaginesubs.co.uknd enter your subscriber ID

Instruction to your Bank orBuilding Society to pay by Direct Debit

Signature(s)

Date

ank/BuildingSocietyaccountnumber

BanksandBuildingSocietiesmaynot acceptDirectDebitinstructionsforsome typesofaccount

Instructionsto yourBankor BuildingSocietyPleasepayImaginePublishingLimitedDirectDebitsfrom theaccountdetailedin thisinstructionsubjecttothe safeguardsassuredby theDirectDebit guarantee.I understandthatthisinstructionmay remainwithImaginePublishingLimitedand,if so,detailswillbepassedonelectronicallytomy Bank/BuildingSociety

anchsortcode

OriginatorsIdentificationNumber

ame(s)ofaccountholder(s)

To: The Manager Bank/Building Society

Address

Postcode

ReferenceNumber

5 0 1 8 8 4

ameandfull postaladdressofyourBank orBuildingSociety

Please fill in the form and send it to:Imagine Publishing Limited, Dovetail, 800 Guillat Avenue, Kent Science Park, Sittingbourne, ME9 8GU

ease complete your email address to receive news and special offers from us

BACK ISSUESComplete your collection for only 6.00 per issueby calling 01202 586200 or shop direct online atwww.imagineshop.co.uk

0844

8488402

CALLNOW

orsubscribeonline

Terms & Conditions

This offer entitles new UK direct debit subscribers to pay just 18 for six

issues, a massive saving of 50% off the cover price. Pricing will revert to

our standard offer of 25.15 every 6 issues on the third payment made.

Subscribers can cancel this subscription at any time. New subscriptions will

start from the next available issue. Offer code PAL142Q must be quoted to

receive this special subscription price. Details of the direct debit guarantee

are available on request. Offer expires 30 September 2014. Imagine

Publishing reserves the right to limit this type of offer to one per household.


25/100

SUBSCRIBETODAY & SAVE

50%Pay only 3.00 for every issue,

saving 50% on store priceFree postage & packaging in the UKFree CD every issueDelivered to your door

Exclusive subscriber benefits

1. Onlinewww.imaginesubs.co.uk/apsand enter code PAL142Q

2. Telephone0844 848 8402Overseas: +44 (0)1795 592 880and quote code PAL142Q

3. Post or emailPlease complete and post the form to:

Advanced Photoshop SubscriptionsDovetail800 Guillat AvenueKent Science ParkSittingbourneME9 8GU

Alternatively, scan and email the form to:

[email protected]

THREE EASY WAYS TO SUBSCRIBE

USA

READERS

TURNTO

PAGE51

*


26/100

026

01. ONONE SOFTWARE PERFECT

EFFECTS 8

ONONE SOFTWAREwww.ononesoware.com / Approx 89/$150

onOne Software does a wide range of high-end plug-ins for

Photoshop that help you to edit, retouch, enhance and get creative with your

images. Perfect Effects is just one of these and is designed to add filter effects to

your photos. The filters can be customised to suit your needs and there are

various presets to help you get started. It can be used to replicate the look of

certain film effects, add dynamic contrast to photos, place selective lens blur and

emulate a HDR style, among other effects.

One of the reasons that we like onOne Softwares range of products is that they

are easy to use, but actually make a big difference. Many of the effects could be

created in Photoshop using the built-in tools, but it would take a lot longer to do

and would be more difficult to amend. Perfect Effects enables you to build up

filters in a Filter Stack, so you can combine different effects to get a distinct look.

You do pay a premium for a good filter package such as this one, so it is worth

reviewing the online supporting material to see what the program can do, as well

as make the most of the free trial available.

PLUGINSOF THE BEST

20WE LOOK AT THE BEST PLUGINS AVAILABLE TO HELP YOU BE MORE PRODUCTIVE,SAVE TIME, GET CREATIVE AND DESIGN PROFESSIONAL PROJECTS IN PHOTOSHOP

slusarenko on www.freeimages.com

slusarenko on www.freeimages.com


27/100

027

02. TEXTURE ANARCHY

DIGITAL ANARCHYwww.digitalanarchy.com / Approx 77/$129

Texture Anarchy is a plug-in that lives up to its name, giving you access

to textures and borders that can be infinitely scaled without losing

quality, as well as giving you the ability to create your own designs. It is

split into three key plug-ins: Texture Explorer, which is the main area to

create seamless textures; Tiler Anarchy, for creating repeated

seamless designs; and Edge Anarchy to create borders. You use one of

the many built-in presets as a starting point from which you can begin

experimenting. The textures are created by layering one of 38 different

noise types on top of each other and combined to give different effects.

The textures are great for using in both 2D and 3D workflows, and they

can help to bring your typography to life. Once you have mastered the

basics, then there is a Lighting Editor and a Bump Well that enable you

to create powerful textures that have myriad professional applications.

03. NKS5 NATURAL MEDIA

TOOLKIT

www.nkurence.com/blog / Free (donations accepted)

This plug-in is one for digital painters. In fact, its not

a plug-in as such; it is an extension that is installed

through the Adobe Extension Manager. It has been

created by an artist and it is a collection of natural

media, texturing and production tools. When you

install it, it adds a new palette into the Photoshop

workspace and it is packed with tools. You can use it

to create documents that look like real-media

products, such as paper, notepad, graph paper and

more. From there, you can draw with pencils, pens

and markers, as well as paint with watercolours.

There are texturing tools, guides and margins and

brush presets as well. When it is all put together, it

becomes a powerful alternative to Photoshops own

painting toolset, as the brushes are very realistic,

and simply the way that everything has been

collected together in one place means that there is a

lot less trawling through menus to complete

different tasks leaving you to get on with the actual

painting. This sort of extension for Photoshop shows

that its not just the well-known and expensive

packages that make a difference to your workflow.

20 OF THE BEST PLUGINS TECHNIQUES

04. MACHINE WASH DELUXE

MISTER RETROwww.misterretro.com / Approx 59/$99

Machine Wash is a set of texture filters that add an aged look to your designs. It

can make photographs look worn and vintage, but it is probably better applied to

graphic design projects, especially poster layouts and text. There are over 3,000

presets available within the program that offer different looks, and these effects

can be applied to your whole image or in a more targeted way.

01BASIC SETTINGSUnder Basic you can select from preset filters to apply to your design. Ifyou tick Filter Settings, you can see the textures that have been layered up to

create the effect, which helps you to see how filters are generated.

02WASH OPTIONSGo into the Wash tab and you can begin to create your own look. Click onTexture to load up the textures available and apply, then customise to suit your

needs. You can save any looks that you like so that you dont have to remember all

your combinations.

03SURFACE DESIGNOnce the texture is in place, add depth with the lighting and contrastcontrols in the Surface tab, which help to add realism to the final design. Select the

Generate Effect in New Layer Above option before applying, so you can continue

working on it in Photoshop.


28/100

028

05. SILVER EFEX PRO 2GOOGLE NIK COLLECTIONwww.google.com/nikcollection / Approx 89/$149

This plug-in is designed especially for creating striking black and

white photography. It emulates old film types, as well as adding

tones and borders to finish the look. The algorithms that are used

are very powerful so that you get a realistic result, but the whole

process is editable so that you can tweak it to get the image that

you want. There is a built-in History Browser so that you can

undo adjustments easily and re-apply, as well as a whole host of

tools to selectively alter your photo. The price quoted here is

actually for the Nik Collection bundle (you cant buy the products

individually any more), so for that price you also get Analog Efex

Pro, HDR Efex Pro, Dfine, Color Efex Pro, Viveza and Sharpener

Pro, which makes this quite a bargain.

06. FILTER FORGEFILTER FORGE INCwww.filterforge.com / From approx 89/$149

Filter Forge is a plug-in that works in two key ways. First, it gives

you access to over 10,000 filters that have been created by its

community, which means that you can create some interesting

effects with little effort. The real power comes from the fact that

you can use the plug-in to create your own filters using the visual

node-based editor. It can be a bit complicated to get your head

around at first, so it is worth exploring the Support section on the

website, which has tutorials to follow to get started. Filter Forge

comes in three versions Basic, Standard and Professional so it

depends what functionality you need. For example, if you wanted

to create your own filters, you couldnt do that with the Basic

version, so it is worth considering one of the more advanced

suites. The Professional version is available on a subscription

model, which helps to manage the cost.

Preset Library

Choose a preset from the panel

on the left to start your edit. You

can save your own presets to

appear here too (under Custom)

and import others

Global Adjustments

Here you can make adjustmentsto your whole image by playing

with the sliders. You can always

undo if you are not happy with

the results

Selective Adjustments

By setting control points on your

image, you can target where you

make adjustments, which is

good for fine-tuning your effect

Further controls

You can also set Color Filter,

Film Type and Finishing

Adjustments using the panels

down the right for a more

precise result


29/100

029

07. SITEGRINDER 3

MEDIALABwww.medialab.com / TBC

SiteGrinder is one of the best-known web design

plug-ins for Photoshop. It is designed for those who

want to create striking website designs, but dont have

the skill or the inclination to do any coding. You can

create a design using Photoshop, and SiteGrinder will

slice it and code it for you, which makes life a lot easier.

When you first get the plug-in, there is a sample PSD

for you to play with to understand how it all goes

together, but there is also an extensive Help section on

the website. There are various templates available as

well to give you a starting point if you need something

to base your design on.

08. NOISEWARE

IMAGENOMICwww.imagenomic.com / Approx 48/$80

Noise is a problem many photographers

have to deal with. Photoshop can do a fair

job of removing it, but there are plug-ins

available that do the work quicker and

with better results, making a worthwhile

purchase. One of the best of these is

Noiseware by Imagenomic, which uses a

powerful algorithm to eliminate different

types of noise from your photos. It

manages to retain image quality and detail

during the process, which is the biggest

problem with any process that affects the

pixels in a photo. There is a free trial

available, so you can try it out, and it can

also be bought as part of a bundle with the

companys other plug-ins, including

Portraiture, which is also featured here.

09. FLUID MASK 3

VERTUSwww.vertustech.com /

Approx 89/$149Vertus Fluid Mask is one of

the best-known plug-ins for

masking in Photoshop, and it

is now in its third version. Its not cheap, but it does

offer a high-end solution to creating complex

masks on any subject and is a real timesaver if

you need a lot of extracting done. There is a free

trial available. Image processing time has been

greatly improved and it is packed with tools to help

you target image areas, no matter how finely

detailed.

10. TOPAZ

REMASK

TOPAZ LABS

www.topazlabs.com /Approx 42/$70

This plug-in is designed to

make masking tasks

quick and easy, saving you time when working

on complex compositions. It is available as a free

trial, so you can try before you buy, but it lives up

to its promise of being simple to use with fast

results. It is designed for difficult masking tasks,

like hair or similarly coloured objects, and it

works using a painting system where you brush

over areas that need to be kept or discarded.


Sample of website created in SiteGrinder - www.missiondesign.co.nz


30/100

030

11. TOPAZ SIMPLIFY

TOPAZ LABSwww.topazlabs.com / Approx 24/$40

Not everyone is a natural with a paintbrush, digital or otherwise, which is why there are plenty of filters and

plug-ins for Photoshop that look to turn your photos into works of art in minutes. As with many filters of

this ilk, there are the good, the bad and the downright ugly. Topaz Simplify is one of the best, thanks to its

ability to create realistic results that look as though you have painstakingly painted in every minute detail.

There are various looks you can achieve, from watercolour to oil painting, and pencil sketch to charcoal.

The plug-in opens from within Photoshop and there are a number of presets to get you started with the

vague look you are after. You can customise all of the filters that you want to use with sliders down the

right of the screen. Its easy to completely change the look of a filter into something right for you, so not

every image will come out looking like a carbon copy of the one before it.

Despite the quality results, this is actually one of the cheaper plug-ins that we have looked at here. If you

need fine-art results, then this is definitely worth your consideration.

12. BLOW UP 3ALIEN SKIN SOFTWAREwww.alienskin.com / Approx 59/$99

Sometimes there are photos that you want to use in your

designs and they are just not big enough. Its a cardinal sin

to simply upscale them without thinking about the result,

but there are plug-ins that enable you to get more inches

without losing quality. Blow Up uses a similar system to Photoshops Resize

command, so its instantly familiar. The difference is that it uses powerful

algorithms to maintain high quality without introducing any artefacts.

ENLARGE YOUR PHOTOS

13. PERFECT RESIZE 8ONONE SOFTWAREwww.ononesoware.com / Approx 89/$150

This is an industry-standard resizing application that uses

interpolation algorithms to enlarge photos to a high

standard. It comes in two versions: Standard and Premium. Weve only looked

at the Premium here as it works as a Photoshop plug-in, whereas the

Standard version is standalone only. Aside from that, the Premium option

also lets you batch edit, resize CMYK, Lab and Greyscale images, and opens

RAW camera files, making it the more appropriate choice.

Andreas Krappweis on www.freeimages.com


31/100

031

14. EXPOSURE 5

ALIEN SKIN SOFTWAREwww.alienskin.com / Approx 89/$149

Alien Skin Software creates a wide range of

high-end plug-ins for Photoshop users, but

one of the best is Exposure. It is designed to

help you emulate various traditional film

looks, such as lo-fi and old-school film types.

The results are realistic and professional,

unlike some of the cheaper filter programs

available that can look cheesy and over the

top. There are hundreds of presets built in that

apply different effects with a single click, and

these can be previewed before applying.

However, when you are using the program, it

is best to consider these presets as a starting

point for experimentation, as the best results

come from combining filters in different ways,

layering them up subtly to create something

completely unique.

The presets can be customised individually

too, so it is possible to have countless

combinations, ensuring that you dont get that

straight out of the box look. Those

customised presets and combinations can

then be saved so that you can build up a

library of your own personalised effects that

can be applied to any of your future projects

quickly. Version 5 of Exposure has been

updated with a brand new look and features,

so it is always worth an upgrade if you have

tried an earlier version, and there is a free trial

available too.

Photoshops Extension Manager has opened the

door for developers, artists and designers to come

up with panels and scripts that enhance the

functionality of Photoshop in a simple way. The

best part is that these are usually free, they are

easy to install and try out, and you can even create

your own (have a Google search to find out how).

We round up three extensions that we reckon are

worth a look.

17. FONTSHOP

PLUGIN

FONTSHOPINTERNATIONALwww.fontshop.com / Free

This panel is linked to the

FontShop website and enables

you to browse any of its

150,000-plus fonts from within

a panel in Photoshop. This

comes in handy when working on layout

designs, as you can try out a font and see if it

works. You can get a preview of the font in your

document, search for a particular font and tag

your favourites.

16. BLENDME.IN

BLENDME.INwww.blendme.in / Free

This handy little panel gives

you access to thousands of

assets, such as vector icon

packs, that you can drag and

drop into your work. The

assets are all under the

Creative Commons Attribution Licence, which

means you can use them in your commercial

projects too. Its easy to install, and in the latest

version of the extension, you can add your own

files as a Collection to browse in the same way.

15. GUIDEGUIDE

CAMERONMCEFFEEwww.guideguide.me / Free

This simple palette isdesigned for those who

work with grid layouts on a

regular basis web

designers, app designers and so on. It gives you

pixel-accurate columns, rows, midpoints and

baselines, created based on your documents or

selections. You can also save frequently used

grid setups for future use.

THREE FREEEXTENSIONS WORTHTRYING


2013 peter nguyen


32/100

032

18. 3D INVIGORATOR

DIGITAL ANARCHY/ZAXWERKS INCwww.digitalanarchy.com / Approx 119/$199

Although Photoshop now includes 3D-editing

capabilities, those with older versions or those who

want a little more control over their 3D objects can

give this plug-in a go. It gives a true 3D environment

inside Photoshop, using vector tools to draw and

edit 3D shapes. There is a Material Editor to build

textures and create striking 3D designs. You can use

vector shapes, text or Adobe Illustrator files to create

the base of your 3D object, so there are lots of

possibilities for creating all kinds of 3D graphics. In

the most recent version of the program, it is now

possible to import an image and map that image

onto a 3D object, as well as see shadows updated

live thanks to an improved OpenGL.

19. PORTRAITURE

IMAGENOMICwww.imagenomic.com /

Approx 119/$200

This is an incredibly powerful plug-in

and one of the best for retouching

that we have come across. It does a

great job of auto-masking an image

to isolate skin tones and apply

smoothing based on a number of

presets. It can be customised andedited to get the look you want, but

for batch retouching it does save a

lot of time over doing the whole

process manually.

RETOUCH PORTRAITS

IN MINUTES

02PREVIEWMake sure that you have a Preview view selected so that you cansee both the before and after, and zoom right in. This will enable you to work

with more precision. You can also save presets based on your edits if you get

a look you like.

03PRESETSThere are a selection of presets that come in handy if you arelooking for a specific effect, such as High Key or Low Key. These are again

really good for setting the base look, which you can then tweak to suit your

final image.

01AUTO ENHANCEMENTSWhen you start the filter, it will automatically apply default retouching to your image, which givesyou a good base to work from. You can then use the sliders on the left in order to customise the finish.

TECHNIQUES 20 OF THE BEST PLUGINS

Image courtesy of Colin Cheer,Electric Eye/Mighty Dots


33/100

20. SOCIAL KIT

SOURCEhttp://socialkit.madebysource.com / Free

This is a Photoshop extension that is designed to make light work of

creating templates for use on social media websites. It creates correctly

sized and ready-sliced templates for Facebook, Google Plus, Twitter and

YouTube, which you can use to make customised designs for yourself or

your clients. It is automatically updated as you work so that you can see

exactly what your layout will look like before it goes live, and the extension

is updated as the social media sites implement new changes. This is the

kind of app that seems a bit simplistic at first, but actually there are some

very clever Facebook designs out there that use the profile picture and

cover design in a unique way. This extension will help you come up with

your own ideas and test them out before uploading to Facebook or any

other social media site.

The right insurancefor YOU?

Imaging Insurance is a trading name licensed to Vantage Insurance Services Limited (VISL) by Niche Insurance Services Limited.

VISL is authorised and regulated by the Financial Services Authority. VISL is registered in England, No 3441136.

VISLs registered address is: 5th Floor, 41 Eastcheap, London, EC3M 1DT

Imaging Insurance can be contracted at: 2nd Floor, Juniper House, Warley Hill Business Park, Brentwood, CM13 3BE

Tel: 01277 243016, Fax: 0207 6558060, Email: [email protected]

With a full range of specialist policies

for Photographers, Video-makers, Film

Processing Labs and everyone involved in

Image-making, Imaging makes insurancesimple, effective and hassle free.

Imaging strives to give you excellent cover,

service, security and value for money.

For a quote or more information.Call Imaging Insurance now on...

01277 243016Or visit our website...

www.imaginginsurance.co.uk


34/100

034034

CONTRIBUTORS

JAHIRUL AMINWWW.JAHIRULAMIN.COM

Amin is ageneralistwith apassion forrigging andanimation.

He lectures in computeranimation at the NCCA.

BENJAMIN ERDT

Erdt is acharacterartist forGuerrillaGames inAmsterdam

with a focus on next-gengame characters.

ALEKS KIRILENKO

.COM

Kirilenkocurrentlyworks atPlatigeImage in

Warsaw as a 3Dcharacter artist.

RICHARD CURTIS

Curtis is aprincipalsolutionsconsultant atAdobe and is

the UK contact forPhotoshop software.

ANDY JONES

Jonesstarted outstudyingsculpture,but nowworks as

senior creative retoucherfor Mullen Advertising.

WILLIAM FUWWW.WILLFU.CO.UK

Fu studiesgraphicdesign andcurrentlyworks fulltime

alongside variousfreelance projects.

BRENDAN MCCAFFREYWWW.BMCAFF.COM

McCaffrey isa digitalillustratorwhocurrentlyproduces

promotional artwork fora variety of products.
http://www.bmcaff.com/http://www.bmcaff.com/


35/100

3D VS PHOTOSHOP TECHNIQUES

035

B

enjaminErdt

Photoshop has always been an central part of the 3D

workflow. Raw 3D renders on their own simply lack

atmosphere and visual punch its up to Photoshop

and its powerful suite of post-processing tools to

bring the image to completion. Even animated 3D,

which doesnt require Photoshop during the later

stages of a project, will still make use of it at some

point in the pipeline. I would compare my use of

Photoshop to bookends, says creative retoucher and

3D artist Andy Jones. I use it in the beginning to

concept and figure out where Im going, then again at

the end for texturing and compositing.

Guerrilla Games character artist Benjamin Erdt

uses Photoshop for a number of tasks. Photoshop

has always been a great and useful addition to my 3D

workflow, he tells us. Its a great helper for a wide

range of tasks such as look development, texture

creation and post effects.

A process for which I use Photoshop almost

exclusively is creating texture colour concepts for

creature design, he continues. The layer system

makes experimenting with different skin types less

destructive. If carefully organised using Photoshop

layers, an approved skin colour concept can be easily

rebuilt using 3D painting software.

However, as useful as Photoshop has proven itself

to be over the years, could the 3D process survive

without it? Could we conceive of a future where

Photoshop is an unnecessary tool in the 3D pipeline,

where software such as Maya have evolved to a point

where its own digital painting applications could

perform everything Adobes tools can and more?

Conversely, could Photoshops 3D tools ever become

so refined that applications like ZBrush are no longer

required? We spoke to some of the top 3D artists

working today to find the answer.

PHOTOSHOP IS AN

INTEGRAL PART OF THE 3D

PIPELINE, TURNING RAW

RENDERS INTO BEAUTIFUL

WORKS OF ART. HOWEVER,

WITH PHOTOSHOP CCS 3D

TOOLS GROWING EVER

MORE ADVANCED, COULD

WE ENVISION A FUTURE

WHERE FURTHER CGSOFTWARE WONT BE

NEEDED AT ALL?

ZENO PELGRIMS

WWW.GRAFFIK.BE

Pelgrims isa 3D artistwith apassion fortellingstories

through pixels, currentlystudying at the NCCA.

KIRK NELSON

WWW.THEPIXELPRO.COM

Kirk Nelsonis anaward-winninggraphicsartist, and is

also a recognised AdobeCertified Expert.

ADAM SACCO

WWW.SOULTY.COM

Sacco is afreelance 3Dcharacterartist. Hehas workedon a variety

of different projects forinternational clients.

DAVE SCOTLAND

WWW.CGSWOT.COM

Scotland hasover 13years of CGIproductionexperience,working for

some of the biggestnames in entertainment.


36/100

036

TECHNIQUES 3D VS PHOTOSHOP

THE BATTLE BEGINS

THE PROS AND CONS OF PHOTOSHOPOUR PANEL GIVE THEIR EXPERT OPINIONS ON THE SOFTWARE

Andy Jones

Pros:Photoshop has a great UI, solid core features, robust file

management and almost infinite possibilities once you know how.

Cons: The brush engines are ageing, it has downright shameful 3D

capabilities and some features do not use current computing power.

Adam Sacco

Pros: The best features are really the simple image-editing functions

and the Spot Healing Brush for fixing seams and normal maps.

Cons:It would be great to paint in 3D with realistic shaders. Maybe

Adobe could adopt some real-time viewports for live previews.

Zeno Pelgrims

Pros:I like that you can easily execute certain tasks using Actions.

They allow you to record certain steps and then save those.

Cons:Photoshop needs better EXR support.

Its no secret that there are several tools currently

encroaching on Photoshops dominance. For

instance, while Photoshop has always been anincredibly powerful tool when it comes to creating 2D

textures to wrap around an object, new painting

software such as The Foundrys MARI which allows

artists to paint directly onto a 3D model are

becoming increasingly popular. Could such tools ever

reach the point where it could viably replace

Photoshops job in the pipeline?

Replacement, no, but they work together

wonderfully, explains Jones. I use ZBrush to create

various texture maps, such as diffuse, specular,

glossiness and so on, but I will always make

adjustments in Photoshop for speed and comfort. I

think that Photoshop and other such software must

remain separate. 3D packages do heaps of things

and sometimes its nice to just get into Photoshopand deal with familiar friendly layers and 2D images.

Anything Ive seen in 3D packages attempting to

emulate Photoshop has not been as robust, and at

the same time appears far too complex.

I still take advantage of Photoshops great 2D

features, which are not available yet in 3D painting

software, says Erdt. Personally, when doing 3D

textures, I use Photoshop as a compiler for layers

and maps generated within other programs like

MARI or Quixels DDO, so to me its still a powerful

tool to achieve the desired results.

Like Jones, Erdt believes that the ideal toolset

remains a combination of several programs, with

each tailored to a specific task. Right now,

Photoshop is still an industry standard among 2D

software and there is no similar tool with the same

structure and flexibility, so setting up a Photoshop-

free pipeline can be quite costly, he explains.

Features like Particle Painting in Substance Painter;

the node-based approach of Substance Designer; the

procedural method of DDO; the ability to paint on

millions of polygons inside of ZBrush, Mudbox or

3D-Coat; the support for very high textureresolutions, Ptex and different shading models inside

of MARI and so on theyre all big pluses for 3D

software over Photoshop. However, in order to catch

up more with Photoshop, I think current 3D software

needs to combine more of its features, be more

flexible, stable and less demanding of the hardware.

Nevertheless, while it always remains very

difficult to predict what might happen in the next five

or 20 years, Erdt believes 3D texturing is one area

Photoshop really needs to catch up on. Painting

directly on a mesh provides way more control for

directing colours, tone, patterns and so on, as the

final result can be seen directly on the 3D model

rather than unwrapping a UV. Appropriate software

has existed for many years and it keeps growing fastwhile Photoshop seems to fall behind. So, from a 3D

painting perspective, a future for 3D without

Photoshop is imaginable under the current

circumstances. But then things can always change.

Digital-Tutors

Zeno Pelgrims

Adam Spizak Andy Jones Andy Jones


37/100

037

Anything Ive seen in 3Dpackages attempting to

emulate Photoshop has not beenas robust, and at the same timeappears far too complexAndy Jones, www.andyjonescreative.com

Set up: Start with your render on the bottom of

the stack. Pop a new layer on top, and on this layer

go into layer effects and choose Bevel & Emboss.

Tweak the Bevel settings to match your scene,

choose a dark colour from your scene for the

shadows and do the same for the light. Use the little

preview on the left to help here.

Further prep:Now select the layer and change

the blending option to Soft Light. Go to your Brushes

panel and select a small, hard, round brush to paint

with. You can leave the pressure sensitivity off for

now to get used to how this looks. Next, grab a

medium-grey from the colour picker. Find a spot

that is well lit and lay down a line.

Now for the fun:Start exploring the amazing

options you have here! Play with all the perimeters

and brushes. If youre finding a problem seeing it in

the shadows or highlights, set the blend mode in

the layer effects menu for both to Normal. This

technique has many applications, with just enough

depth to fool the eye.

3D DETAILING IN POSTANDY JONES REVEALS A GREAT TECHNIQUE FOR ADDING BELIEVABLE DETAILS TO YOUR FINAL RENDER


38/100

038

TECHNIQUES 3D VS PHOTOSHOP

Zeno Pelgrims, an animation student at

Bournemouth Universitys NCCA, is in agreement

that when it comes to 3D texture painting, 3D

tools replaced Photoshop a long time ago. While

Photoshop is my image manipulation and

preparation weapon of choice, MARI is my

number one texture painting tool, he tells us.

Very few artists still do all of their texture work

inside a 2D painting package like Photoshop.

The Foundry also develops NUKE, a node-

based digital compositing application that is

currently the industry standard for film and

television projects. Today it encompasses a range

of capabilities that compositing pro Dave Scotland

has found can be an excellent replacement for

some tasks previously completed in Photoshop.

Today I often use NUKE for many of my 2D

paint and rotoscoping tasks, he explains. The

heart of both applications is pixel data processing

manipulation of RGBA data at the pixel level.

Photoshop and NUKE just go about it in a

different way. Having said this, many tools are

quite similar the most obvious being the brush.

Many of the processes are the same and the

settings feel like they come from the same place.

Not only is N

Documents

Advanced Photoshop Issue