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CS0907981
ISSUE 110
WELCOME
ANNALISA SAYWELL
Editor
IN THIS ISSUE:
PHOTOMANIPULATION
PHOTO EDITING
GRAPHICS
DIGITAL PAINTING
TYPOGRAPHY
NEW MEDIA
COVER ARTIST
PETE HARRISON
http://peteharrison.com
12
PORTFOLIO INTERVIEW:
THE PURSUIT OF
LIGHT AND COLOUR
FIND US ONLINE:
@advancedpshop
/AdvancedPhotoshop
.co.uk
44 ABSTRACT GRAPHICS
DIGITAL COVER ART:
003
ISSUE 110
CONTENTS
EYE ON DESIGN
06
08
12
18
PRO PANEL:
Our contributors share Photoshop secrets
INDUSTRY FEATURE
Adobe reveals Photoshop CC
PORTFOLIO INTERVIEW:
The pursuit of light and colour: Marta Nael
28
PROJECT FOCUS:
Stunning mosiacs in CS6
ILLUSTRATION TIPS
FOR BACK ISSUES, BOOKS
AND MERCHANDISE VISIT:
56
CHARACTER CONCEPTS
76
36
004
DIGITAL
ALBUM
ARTWORK
ACTIONPACKED
COMPOSITES
TECHNIQUES
20
28
36
44
50
56
STUDIO INTERVIEW
DKNG Studios
INDUSTRY FEATURE
Abstract graphics
WORKSHOP
Character concepts
62
68
72
76
88
92
WORKSHOP
Atmospheric landscapes
WORKSHOP
REVIEWS
82
86
FEATURE:
Head to head - Raw war
REVIEW:
Wacom Cintiq 13HD
HOW I MADE
Action-packed composites
READER INTERVIEW
SUBSCRIBE TODAY!
SEE PAGE 22 FOR THE LATEST OFFER
62
ATMOSPHERIC
LANDSCAPES
96
ON YOUR DISC
TAILORMADE
CREATIVE CONTENT
72
SHINE
88
ENGAGING PHOTO
ILLUSTRATION
RESOURCE COLLECTION
PLUS:
EYE ON DESIGN
PRO PANEL
GREG DAVIES
www.gregdavies.co.za
Nothing imbues crispness in an image quite like a
High Pass-Overlay layer. Its effect can be applied to
any image, and we can all achieve this look by first
duplicating our image and then selecting Filter>Other>High Pass. Once
complete, set the new layers blend mode to Overlay, adjust the Opacity
to taste and then the image will look much sharper.
Greg shows how to create photo-based album artwork in our
main feature on page 36
Greg Davies
MARTA NAEL
http://martanael.daportfolio.com
Dan Kuhlken
006
Marta Nael
PETE HARRISON
www.peteharrison.com
Pete Harrison
Magazine team
anna-lisa.saywell@imagine-publishing.co.uk
01202 586243
Advertising
Cover disc
Head of Digital Mat Toor
Multimedia Editor Steve Dacombe
apxtrahelp@imagine-publishing.co.uk
International
Subscriptions
Shotopop
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For all subscription enquiries:
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Circulation
Production
Founders
Disclaimer
LUKE CHOICE
www.velvetspectrum.com
My work was based heavily in Photoshop before I learned to use C4D. Once I was able to
blend the two programs together, I realised how important it was to pay attention to the
direction of light and shadow in when creating artwork. To amplify the contrast of certain
areas in this image I used the Dodge and Burn tools, creating a greater range of depth.
More of Lukes work can be seen in our album artwork feature on page 36
007
ADOBE REVEALS
PHOTOSHOP CC
008
PHOTOSHOP CC TECHNIQUES
NEW SMART
SHARPEN FILTER
When we say new Smart Sharpen filter, what
we really mean is revamped to the hilt. Adobe
has thought long and hard about supplying
intelligent resizing and sharpening functionality
in Photoshop CC. This latest revision shows a
great deal of diligence.
The Smart Sharpen dialog is now resizable, so
we can better scrutinize our working area. This is
something that we Photoshop users have been
persistently calling for, across all filters.
This version still operates through a set of
sliders, which makes the improved outcomes
that are applied even more outstanding. There
are only three in total (with Basic options),
including the regular Amount and Radius types.
However, Adobe has also added a Reduce Noise
slider in reaction to the haloing that occurred in
the results of previous versions.
This may seem such a small addition, but it
shows how Adobe is paying attention to even the
most specific usability issues we encounter.
009
Techniques PhotoshoP cc
other ChaNges
010
aDobe Camera
raw filter
Adobe Camera Raw 8 (ACR8) can now be
applied to any layer or file inside Photoshop by
using the Camera Raw filter, but theres much
more to this than previous versions. ACR8 has
been treated with new technologies to
complement the Photoshop users workflow.
The enhanced Spot Removal tool is just one
of the latest features in ACR8 and this looks to
improve photo retouching inside the app. This
tool now functions much like the Spot Healing
brush inside the standard Photoshop version.
Retouchers can use this tool to paint to
non-circular areas of an image. ACR8 will
automatically remove artefacts for us. Press V
to see the green marker, which highlights the
replacement area that ACR8 amended from.
Simple drag-and-drop this point to tell ACR8 to
sample from a new area, which we may feel
achieves better results.
New shaPe
ProPerties PaNel
Photoshop CS6 took the Shape tool to a whole new
level with an new set of dialog options and vector
technology. These made designs more customisable
than ever. Photoshop CC continues to champion
flexible shape creation with its own new options.
These can be found in the Properties Panel and
allow Photoshop CC users to edit shapes after
theyve been applied to a design. Now we can adjust
individual corners or all of them at once, affecting
shape radius and size in real-time. We can also
select multiple shapes and control these at the same
time, conforming each one to specific settings.
New Radial
FilteR tool
Adobe Camera RAW (ACR) has always been revered for its
ability to stylise photos and this reputation doesnt look like
it will be waning any time soon. Not with the inclusion of
the new Radial Filter tool in ACR8, that is.
This tool lets users target a specific area of an image
using a circular selection. The dimensions of this can be
controlled and edited live by using control points. Applying
the Radial Filter tool opens its own extensive set of
options, which allow us to affect existing light, colour
temperature and sharpness within our targeted area.
Other cool functions of the Radial Filter tool include the
ability to create a new selection, which will duplicate the
settings applied previously. We can also move our
selection on-screen, with ACR8 affecting the original
image beneath in real-time. This is a great way of instantly
seeing how effects look in other areas of an image.
New toNe iN
aCR optioN
Photoshop has always recognised the
impact of HDR photography, with its
Merge to HDR Pro and HDR Toning
options both implemented and updated
in Photoshop versions CS5 and CS6.
Now users of Photoshop CC can load
Merge to HDR Pro images straight into
ACR8 and edit them.
All we need to do is set Mode to 32 Bit
and select the Tone in ACR option, which
appears at the foot of the dialog. All ACR
controls are applicable to our images.
This means we can add all of the new
ACR8 tools to retouch and perfect looks.
steve mCaleNey
I have to agree that I will never rent software.
Adobe are making a big mistake as most
people will look elsewhere for their photo
editing needs jolly bad show.
bRad stRiCkmaN
Love it. The subscription option seemed like
a great idea to bring in more customers who
would normally just pirate it. If you want to
always keep up with the latest updates then
its cheaper in the long run. I dont understand
the hate.
RobeRta kelley
Havent decided yet.
Jay leviNe
At first I wasnt thrilled about this, but there
are a lot of pros. I am always upgrading to the
latest versions anyway. [Photoshop CC] will just
spread the cost. You get a lot for $600 a year
FoR moRe iNFoRmatioN oN CReative CloUd aNd photoshop CC bUy issUe 111 oN sale 11 JUly
011
portfolio interview
martanael.deviantart.com
@Martanael
The pursuiT of
lighT and colour
Marta Nael reveals her secrets oN how to create a
colourful portfolio but still preserve realisM
001
001
002
012
040
002
003
portfolio tips
014
004
003
005
Be my valentine:
This image was created for Valentines
day. i wanted to portray a couple feeling
the passion of love instead of a cheesy
romance image ediciones Babylon
004
005
My biggest
learning curve
from this experience was
use layer blending modes.
These let me integrate photos
with paintings a lot better
Bridges Island: The birds-eye view in this artwork was intended
to dramatise the scene. Here, I tried to push my skills in painting
light and colour even further Ediciones Babylon
016
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project FocUS
stunning
mosaics in cs6
name of project
values+
@tsevis
Alternative collage
ORIGINAL IMAGE
Rejected mosaic
019
studio interview
DKNG StuDioS
020
021
022
040
DKNG PRESENTS THIS EXCITING POSTER FOR A ROCKUMENTARY ON TWO BANDS: PASSION PIT AND WILDCAT! WILDCAT!
01
3D PLANET
Here you can see how we created a threedimensional planet to use as the centrepiece in this
project. We fused together an image of a spherical ball
with a textured terrain, which we first created using the
3D modelling tools in Photoshop.
02
IMAGE TEXTURE
03
023
Dave Matthews Band: This is a diptych poster series created for dave Matthews Bands
2012 two-night performance in West Palm Beach, Florida 2013 dKng studios
Creating something
we can be proud of
is a big part of what
we do
While many artists choose to illustrate using a Wacom tablet or similar device, the vast
majority of dKng illustrations are created using this Apple trackpad
Eric Claptons Old Sock: A promotional poster created for eric Claptons latest album old sock. Portraits are always tricky
in terms of subject representation and, in this case, dKng went through a few variations 2013 dKng studios
024
040
An aerial view of goldmans desk; since Kuhlken and goldman spend so much time at
their respective desks, layout and ergonomics become very important
08:05
10:42
ongoing work in
photoshop and illustrator
08:05
10:42
11:15
12:50
11:15
13:48
transnational client
meetings on the go
14:33
gathering research to
spark new perspectives
16:42
18:34
evening tunes to
close the day
12:50
13:48
16:42
14:33
18:34
025
in c
en t e
G ar c i
a Morillo
www.vicentegarciamorillo.com
To promote DJ sessions by
electronic music label Black Book Sessions, Vicente
Garcia Morillo created the Alive Objects series, which
encapsulates the artists and presents them as just
one entity: In this case, I was playing with the
combination of elements that represent two of the
most popular musicians in Chicago and the L.A.
scene, respectively.
The first step is always to conceptualise the piece.
I consider this one of the most important phases of
the development process as this is the base of the
piece. I like to invest all the time thats necessary to
come up with a good idea. Once I have the concept, I
start doing sketches of the composition and also the
analogue elements, such as drawing and painting, in
case I want them later. I create the vector elements
in Illustrator then import and edit them in Photoshop,
fitting them together like a jigsaw, then apply effects
like gradients, layer styles, shadows and noise. I like
to experiment, mixing methods and software in my
projects, adding elements like pencil drawings to my
artworks when I get the opportunity. I usually play
with Photoshop to edit the compositional elements
and finish my pieces, but I avoid photographic
finishes as I like to preserve an illustrated element.
Diego L. Rodriguez
1. INVEST IN
A CONCEPT
VINCENTE GARCIA
MORILLO
www.paranoidme.com
Diego L. Rodriguez set about creating options for HBOs How To Make It In America and
drew on inspiration from the Big Apple: Once I presented this idea, the agency loved it
and they gave me the green light to create the poster. The brief came with some
promotional images for the second season of the show. They were good, but not exactly what I had in mind.
However, having the figure of Kid Cudi as a graphic inspired me to gather extra material. I had the structure
clear: start with the characters portrait, then the body had to be connected to the buildings in some way, and
New Yorks iconic symbols, and finally the slogan below the illustration. For the New York buildings, I had a
ton of pictures that I took back in 2009. I use a specific technique to manage shadows and highlights I began
using it years ago for high-end retouching in skin or objects, then applied it to manipulations and illustration
work. Create a new layer above your illustration. Go to Edit>Fill>50% Grey and click OK. Put this grey layer in
Soft Light mode and reduce the Opacity to 30-50%. Take a soft brush, with Opacity 30-70%, and paint in those
zones where you would like to increase the shadows or highlights using only grayscale tones. This technique
is similar to Dodge and Burn, but allows more control over certain zones without affecting the main layer.
029
www.noukah.blogspot.co.uk
Concept artist and illustrator Andrea Femerstrand
regularly contributes illustrations to short stories
aimed at younger readers. This piece was created
for a short story in Swedish kids and teen magazine KP (KamratPosten):
Theres always a section where young readers stories are published.
Usually, theyre around 10 to 14 years old. I use Photoshop for drawing
and painting and do all my work from scratch, the old fashioned way.
Layers, custom brushes and adjustment layers make my work much
faster and more efficient. I dont have many secrets; mostly, I just paint.
Line drawing
I always start out with a rough
sketch or line drawing. After that, I
paint a rough colour scheme to
decide upon colours and overall
lighting. This illustration had to
cover a whole spread, with a lot of
empty space so that the text could
be added on top of it.
Andrea Femerstrand
030
www.markverhaagen.com
Tasked with creating 36 robot playing cards for kids magazine
Bonbeck, Mark Verhaagen, the brain behind the Zoobles toy
line, had to build in originality and then deliver uniformity. The
challenge here, says Mark, was to create 36 different robots, each of them looking
interesting. I started sketching a lot of robots, focusing on shape and character, bold
versus fragile, round versus square shapes, etc. I had to think about how the robots
would move and do things, which also helped determine their looks. I tried to keep
things simple, as the final illustrations wouldnt be that big. All the robots and card
designs were made in Illustrator using fairly basic shapes and shading.
Mark then turned to Photoshop for the final touches. To save time and to make
sure each card looked the same, he recorded Actions to use as part of his workflow.
I primarily used Photoshop for adding texture and a glow effect around the robots,
he explains. As I was working with 36 different files, I saved a lot of time by using
Actions for these things. I also used an automate batch Action to save all the files
into formats. The cards were featured in Bonbek magazine, where kids could cut
out the different cards to play with. Later, an actual card game was produced too.
Mark Verhaagen
Block colours
When Im satisfied, I move back to
the line drawing, lower the opacity
and create new layers underneath
it, and then start blocking
everything in with clean, solid
colours. I lock the transparency
for each layer and when Im done
with that, its time to paint.
Simple silhouettes
I started with a blank canvas in
Photoshop and created simple
silhouettes for the robots, working
with big shapes first and details last.
It was important at this stage to work
with speed and boldness because of
the short time I had to create.
5. WORK QUICKLY
WITH A TABLET
BRIAN MILLER
Keep it simple
I use a limited number of brushes in
Photoshop to keep my approach as simple as
possible. This allows me to focus on the strength
of the drawing and design, not the tools.
Brian Miller
www.orlincultureshop.com
Artist, illustrator and
owner of The Orlin
Culture Shop Brian Miller created Totes
Adorbots, a two-hour style exploration in
response to a call for cute vintage robots, for
a potential picture book. I worked from start
to finish in Photoshop CS6 using my Wacom
Cintiq, he tells us. I use the Lasso tool to
quickly create sharp edges where I need
them. However, its the years of study,
practice and exploration that
are most vital, no matter
what tool or medium
youre using.
Mixed-media
Though I often sketch with traditional
materials, I love the challenge of
trying to create pieces in Photoshop
that blur the lines between traditional
and digital mediums.
031
6. LOCK
TRANSPARENT
PIXELS
MARK
VERHAAGEN
www.markverhaagen.com
When faced with a brief to create an image out
of a sound, Mark Verhaagen turned the project
into a vintage science illustration. Audio
designer David Kamp (davidkamp.de) came up
with the Sound Creatures project in which he
first created imaginary creature sounds. He
then sent these audio files to selected
illustrators, including Mark, who used them as
inspiration to create images of fictional animals.
The illustrations and corresponding sounds can
be seen on www.sound-creatures.com. The
audio file that I got featured some sort of sad
trumpet sound, so a trumpet-like nose was my
starting point for the look of the animal, he
says.
Once hed created the main shapes of the
animals and plants in Illustrator, Mark exported
his various objects to Photoshop. I added
shading using the Airbrush tool and then locked
transparent pixels in the Layers palette so I
could easily paint within the shape of an object.
Drawing the birds feathers was a bit more
tricky, but as soon as you have one feather in a
particular shape, you can re-use it. Use the Free
Transform, Skew and Warp tools to make each
feather look different to the last, and draw some
extra detail here and there to diversify them
further. When the illustration was ready I added
some textures so it would have a nice, old look.
Mark Verhaagen
A trumpet-like nose
was my starting point
for the animals look
www.tomskipolanski.com
In order to create eye-catching
packaging for a new vegan brand
started by a friend of theirs, Ila and
Luke of Tomski & Polanski envisioned a vintage feel: We
started with classic floral patterns and then changed the
flowers for cupcakes and cocoa, before adding quality
typography. We used Photoshop to draw in the details of
patterns, to complete the composition and for the final
colouring and post-production, and used a lot of custom
brushes and a variety of preset Actions and filters. Since
we use a lot of textures we often add Smart Object layers,
which saves us a lot of work.
032
8. REFINE YOUR
COLOUR PALETTE
STEVE SIMPSON
www.stevesimpson.com
Steve Simpson was given a brief
to create packaging for a frozen
yoghurt start-up that required a loud message to
kids declaring its contents yummy while also telling
parents it was healthy: To do this, I decided to create
kid-friendly, energetic, cartoon-ish characters but
make the fruit more realistic.
I was brought into the project by Dublin design
agency IDEA, Steve tells us. I was trusted to create
the look and feel for the project while the agency
looked after the client liaison and production. After
scanning my pencil sketch and setting up the size,
colour mode and resolution of the artwork usually
at least twice the size thats needed I copied the
sketch to a new layer, reduced the Opacity and
Multiplyd the layer. This allowed me to trace the
artwork onto multiple layers beneath it. Once I had
the eyes, eyebrows, mouth, head, jumper, etc on
separate layers I looked at tweaking and balancing
the colours. Steve also has some advice on colour:
Try to pick a limited palette of colours before you
start. I put mine in a small swatch somewhere in the
image as a reminder while Im working on it. I then
swap the colours around between elements until Im
happy with the balance. Dont be afraid to experiment
grass isnt always green and cows can be blue.
Rough sketches
All my work starts with
pencil sketches lots and
lots of them. Over a couple
of days my extremely
rough ideas are moulded
into something more solid
and presentable. Usually,
Ill present my rough
sketches, but with this
project I wanted to take
them a little further.
Label Top
Each of the Chilly
Moo characters
was adapted so
that it would fit the
different areas of
the packaging, such
as the lid label.
Final product
The three flavours of Chilly
Moo yoghurt Strawberry,
Banana Strawberry and Mixed
Berry are easily identifiable
by their completely distinct
but also complementary
colour palettes.
Steve Simpson
9. UTILISE COLOR
OVERLAY
MAX GREGOR
Max Gregor
10. SKETCH
WITH WACOM
WANCHANA
INTRASOMBAT
www.kun-victorior.com
Wanchana Intrasombat, aka Vic,
created a series of character designs for a project
entitled Life. One is a mischievous boy scout on a trip
with his classmates: My paintings and illustrations
are all done with Photoshop and a Wacom Intuos. Its
the main tool I use and I just used the normal Brush
here. I also use the standard brush to sketch, and
sometimes create my own brushes for projects. For
me, the Brush is Photoshops most important tool; I
use it for all my work as though it was a traditional
tool. Its similar to using real pencils and brushes.
Syd Brak
Wanchana Intrasombat
www.maxgregor.com
11. DELVE
INTO FILTERS
SYD BRAK
www.sydbrak.co.uk
For this delicious array of
fruit, Syd Brak reached for the
Filter menu: The idea was to illustrate a products
ingredients in a clean, healthy and appetising way.
I created rough images then enriched the colours
to an attractive and appetising level while retaining
a believable realism. It was important to ensure
the light source was constant on every object,
with an enhanced gloss to emphasise the liquidity
and create a sunny feel. I rely fairly heavily on the
subtleties of the Filter dialog to achieve a realistic
but painter-like quality, and avoid a plastic feel.
033
www.vicentegarciamorillo.com
Vicente Garcia Morillo worked on Converses Pro
Leather campaign: I had to present a graphic
interpretation of the Converse logo based on
concepts relating to urban street culture. Here, I represented basketball.
Once I got the concept, I did sketches of the composition on paper for the
client. After the concept was approved I started to develop the digital
phase. I created all the vector elements in Adobe Illustrator and then
imported these into Photoshop. Here I applied the Noise filter, which
helps to provide a uniform aspect and give the artwork some vibration.
14. ILLUSTRATE
IN 3D
SASHA
VINOGRADOVA
www.behance.net/MelaMel
Working to create four
characters in a detailed environment under the
heading of Mercenaries, Sasha Vinogradova
choose a funny and quirky style: The first step
was character design and deciding how they
would look. Next I made a rough sketch of
compositions, colours and lights and then
created my scene and 3D models in 3DS Max
and ZBrush. I set up lights and materials in a
3D scene then rendered my image. After that I
added details like eyes, grass and hair, and also
some postproduction edits like air perspective
and colour/contrast correction. I created all the
sketches and textures for elements such as the
scarf in Photoshop. I also added some details in
postproduction. When you create an image, try
to keep the final result as clear as you can in
your mind and never ignore composition. I love
to add details, but if you start adding them too
soon without keeping the entire image in mind
then you risk losing the integrity of your image.
Finding your favourite artists and researching
their work is a great way to improve your own.
Work in lead
I create the base of my illustrations using 5H
to 8B pencils. This achieves a fantastic tonal
range, adding the depth and textures that
clients request.
Clean up
For the retouching stage I use tools such
as the Clone Stamp and Healing Brush to
remove unwanted imperfections caused
by the traditional stage.
el
tch
l Ne
Pen Pressure
I tend to use a hard round brush
with Pen Pressure set to Add
Details and like to add softened
tonal areas, as seen in the waves.
Sasha Vinogradova
034
l so
Add colour
I add base colours using a
Selective Color adjustment,
altering the White, Neutral
and Black channels. I create
these colour layers until I
achieve the desired look.
www.behance.net/mitchellnelson
Mitchell Nelson was asked by California-based publisher Devious
Publications to create a quirky and unique logo, which had to tell a
story reflecting classical and vintage qualities: I drew the illustration
with pencils and then scanned this into Photoshop for postproduction and retouching.
Subtlety is the key; I try to remember why I start with pencil in the first place and enhance
its qualities rather than destroy them. However, if you are after a highly digital piece but
still mix with traditional media, strong contrasts of the two can give contemporary looks.
Yana Beylinson
Logo application
The next step was
the typography and
logo design. Several
versions were
suggested and a
seal option was
selected. Several
variations and
colourings were
then presented.
01277 243016
Package label
An intricate pattern based on the cacao
branch illustration was decided upon. Again,
several versions and colour options were
shown in order to select the strongest version.
www.imaginginsurance.co.uk
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: info@imaginginsurance.co.uk
Provider
036
DIGITAL
COVER ART
WE DISCOVER HOW MODES OF DESIGN ARE CHANGING IN REACTION TO
THE DIGITAL AGE AND EXPLORE EXACTLY WHICH ASPECTS MAKE THE
MOST POPULAR ALBUM COVERS
However, the print space is not wholly forgotten and lavish styles are
still being produced. Panel foldouts are being utilised as a continued
canvas space. Here artists produce complementary visuals and
material from the album artwork to create a completely new design.
HANI ABUSAMRA
WWW.BEHANCE.NET/
HANIABUSAMRA
GREG DAVIES
WWW.GREGDAVIES.CO.ZA
JORGE EL SOTO
WWW.JORGEELSOTO.COM
LUKE CHOICE
WWW.VELVETSPECTRUM.COM
MATEUSZ SYPIEN
WWW.BEHANCE.NET/
DIGIMENTAL
KITTAYA TRESEANGRAT
HTTP://CARGOCOLLECTIVE.COM/
KITTAYATRESEANGRAT
037
CONFORM TO CORPORATE ID
Going commercial certainly means that we not only
have to work within the constraints of the art
directors wishes, but are also bound to an existing
corporate identity at frequent times. This was
certainly the case for graphic artist Luke Choice
(www.velvetspectrum.com), with his work for The
Ministry of Sound The Annual 2012 project.
As a brand, The Ministry of Sound places a lot of
importance on logo integration within its album
covers. Having an eclectic range of genres under
PULLOUT EXAMPLE
This psychedelic design by Kittaya Treseangrat is instantly arresting. It lends a perfect visual complement
to the exciting musical experience that is the Black Moth Super Rainbows kaleidoscopic sound
038
Graphic desiGner JorGe el soto explores how to successfully pitch album artwork
Jorge El Soto (www.jorgeelsoto.com) tracked this project down personally. In the winter of 2012, DJ
Jorge Prida released his first EP debut with Planet Acetate and obtained international popularity, he
explains. El Soto liked what he saw and heard, so decided to contact Prida and enquire about working
on his visual identity. I pitched him a series of proposals that I thought matched his style of producing,
El Soto reveals. At the end he loved the concept and decided to use it.
adjusting colours
The original colour of the background in both
booklets was changed with Hue/Saturation layers
Build identity
Branding this album began by creating a logotype.
Its concept was influenced by retro references
from the Eighties. El Soto considered the visual
imagery being used by Pridas competitors and
decided to create a form that had a futurist style.
This fresh approach corresponded with the type of
music that Prida produces.
stylise type
There was no existing font that matched the
design El Soto had produced, so it was decided to
create this example exclusively from scratch. This
calligraphy was modified inside of Photoshop. It
was built in layers, then treated with a metallic
effect, which was created by applying gradient
styles and manual lighting.
drawing shapes
The Pen and Polygon tools were used to draw all the
basic shape and line adjustments
Jorge prida
039
STAY IN TUNE
In almost all cases, the music itself becomes as
essential as any brief or direction, with the music and
the art fulfilling one another. Music inspires artists as
creators, letting them feel and look for ideas for
visual elements that appear in projects. This was
certainly the case for graphic designer Greg Davies
(www.gregdavies.co.za) when working on the
Lacrimosa EP cover artwork for Durban band
Provider (www.facebook.com/providermusic).
Davies admits to being lucky that the lyrics had such
a rich narrative and meaning. They were written
about the vocalists grandparents in particular the
period after one of the couple had passed and the
loneliness that followed, he explains. I wanted the
artwork to link directly to the feeling of age and loss,
by using an image of a withered apple. This kept
nagging at me, so I explored this direction.
But which aspect inspires the album cover the
most the commercial singles or the entire track
list? Visually summarising the first seems far easier
to accomplish. However, Abusamra deters us from
this way of thinking, saying: If Ive done my job
correctly then the work should be a perfect visual
representation of an entire album. I dont think its
ever a good idea to focus on certain tracks to
interpret visuals. The goal should always be to have
a final piece that seems as though it was recorded
and designed simultaneously. Each aspect is
mutually important, so focusing on one thing more
than another is simply a bad idea.
Essentially, a piece of album artwork should at
least reflect an artists profile, if it doesnt personify
the entire album. Thats why its recommended by all
our artists to listen to the music and connect with it
during the creative process. Only then will you create
something inspiring that fulfils the music artists and
their audiences requirements.
PHOTOSHOP PRODUCTION
Photoshop has enabled all our artists to evolve their
styles, as it works on so many levels to improve
workflow. The program makes the process of
GREG DAVIES (WWW.GREGDAVIES.CO.ZA) REVEALS HOW HE USES PHOTOSHOP CS6 FILTERS TO CREATE THE
MIXED-MEDIA EFFECTS, APPLIED TO THE LACRIMOSA ALBUM COVER, FROM DURBAN BAND PROVIDER
QUICK MOCKUP
After scouring Shutterstock, searching for photos of
old men and withered apples, the Background
Eraser tool was quickly applied to test the selected
images seeing if they worked when combined.
Once we decided what looked best, images were
deep etched and Content-Aware Fill was applied,
expanding the image to the size of the cover.
BASIC ADJUSTMENTS
It became necessary to match lighting across all
the different stock images. This was done using
Curves, Hue/Saturation and Shadows/Highlights
adjustments. Contrast was boosted by applying
Gradient Overlay to all layers. A grunge texture was
applied and simple airbrushing accentuated the
shadows and contour.
FONT TYPES
Multiple iterations of cover type were created.
These evolved from large bold font styles over and
behind the image, into subtle font styles you see in
the final artwork. The script font of the Provider
logo was created using handwriting found in a
letter, written by the vocalists grandfather who is
also the inspiration for the musics lyrics.
040
Provider
FROM 3D TO 2D
042
FINAL LAYOUT
Rendering out the background
from C4D as a matte makes it
easier to target the designated
areas for Pantone assignment.
Background elements were
pieced together in Photoshop
to make sure that all colour
corrections were consistent.
These were then placed into
the InDesign file to support the
label copy, track listing and
album credits.
RENDER LIGHTING
This is the straightforward
render in C4D. The
brightness of the lighting and
materials was pulled back
intentionally, so colour
corrections were much
easier to manipulate once
the image was exported to
Photoshop. Its key to make
sure the render doesnt
come out looking bleached,
as youll lose the wider
range of depth within the
different elements.
043
ABSTRACT GRAPHICS
OUR EXPERT
NEIL STEVENS
www.crayonfire.co.uk
Stevens is a one-man studio
working from St Albans, UK. With a
background in design he made the
transition to illustration by creating
prints, which he sells online,
editorial illustrations and work for
the advertising industry.
@Neil_A_Stevens
SOURCE FILES
WORK IN
PROGRESS
01
03
02
ADJUST COLOURS
045
04
05
ConTour paTTern
06
quick tip
When adding a shadow to an object, its always
good to use a dark colour with your brush. By
using the Multiply blend mode it adds a more
harmonious feel to your shading. You can always
decrease or increase the layers opacity for even
more subtle changes.
07
046
08
To make sure that the glasses pattern isnt too flat, simply use a soft Eraser with an Opacity of
between 80-90% to delete the areas above the eyes of the model so they are just visible. Delete the white
areas of the pattern, then add glare on a new layer with a soft white brush, set to 360 pixels in Diameter and
60% Opacity. Paint a small dab onto each lens that will add a subtle touch to the whole look of the face.
SuBTlE AlTErATIoNS CAN BE MAdE To Your AlBuM CovErS lAYErS For A MorE HArMoNIouS ovErAll look
09
In order to finish off the whole look and feel of the cover artwork, you can add the small detailed elements for that final touch. Open the Illustrator file
Elements.ai, add the graphic red line and diagonals to the far left of the cover, the text and logo to the bottom-left, and be sure to place each element onto a separate
layer for added flexibility. Once complete, you can now move on to adding the final colour adjustments.
001
001
002
003
002
The edges of objects on a layer may look too sharp, so you can
always either delete the edges with a high-opacity Eraser or
even add a shadow above them with the Brush tool. For greater
accuracy, you can select the negative space of an object with
the Marquee tool, add a new layer above, invert the selection
and then apply your subtle shading.
003
Its often good to take a step back, look at the whole picture and
have a play around with various colour adjustments. Flatten the
whole image and make subtle changes to the contrast or
brightness. Have a look at tweaking the colour balance and
even the exposure and Curves until you are happy with the
overall balance of your artwork.
047
LAYER MANAGEMENT
It really is important for you to name your layers
when your artwork contains a lot of subtle
shading across numerous objects. The more you
build up your collage, the more detailed the stack
of layers becomes. So if you name as you go with
clear and relevant labels, it makes it so much
easier in the long run. Alterations are always
needed and you want to be able to find those
individual layers easily in order to amend them,
and more than anything it saves valuable time.
You can group and link layers for even more
flexibility and can always save the unflattened
version before merging them all together.
10
11
14
BRIGHTEN THINGS UP
12
048
13
THEFOUNDRY.CO.UK/MODOTOUR
ORIGINAL TUTORIAL
FILES USED
For those interested in applying
the exact stock images Pete
has use, make sure you head
over to dreamstime.com.
Below are the image IDs for you
to search for:
//27702508
//14257226
//14257319
//15233790
//17285721
050
PHOTOMANIPULATION
OUR EXPERT
PETE HARRISON
http://peteharrison.com
Pete Harrison masterfully wields
light and colour in many of his digital
images. Here he obtains the same
energy, but instead works with paint
stock to create believable looks.
@pete_aeiko
01
02
WORK IN
PROGRESS
03
051
04
BACKGROUND WORK
06
RETOUCH PHASE
052
05
Click on the model layer and zoom in; we will start fixing up areas of the mask that dont look right,
especially around the hair. Select a black flat brush then start painting around the black areas of the hair and
the parts that we want to hide from our model layer. Lower the brushs Flow to 12%. If you make a mistake,
hit X then paint areas back in with a white brush. Also fix areas around the outline that may have been missed
during the initial Pen tool selection.
07
CHANGE COLOUR
08
053
10
ARRANGE LAYERS
11
12
CREATE DEPTH
13
ALTER BRIGHTNESS
054
14
MANUAL EFFECTS
Learn to inspire
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LANDSCAPE TIPS
SHOOTING ADVICE
WILDLIFE PHOTOS
PORTRAIT GUIDES
CAMERA REVIEWS
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DIGITAL PAINTING
CHARACTER
CONCEPTS
056
057
OUR EXPERT
TOMMY KINNERUP
www.tommykinnerup.com
Tommy Kinnerup is a concept artist
working with films, games and
illustrations. He is known for his
stylised character artwork skills,
which have served him well over the
past nine years of his career.
@pete_aeiko
WORK IN
PROGRESS
FROM SKETCH TO
FINISHED ARTWORK
01
THUMBNAILS
03
02
SHAPE LANGUAGE
04
Progress 3: Render it out
QUICK TIP
To save time when youre
adjusting your steps, use
Hue/Saturation or Color
Balance for any colour
adjustments, and Levels or
Curves for the contrast
adjustments. Layering with
different blend modes can also
be useful, and using layer
masks for controlling the
affected area is handy indeed.
058
06
In order to define the individual shapes, it is crucial to understand the basic functions of light and
shadow and the volume within. In this example we use shadows to create an interesting layer effect on the
three dinosaurs in the foreground. The main function of this is to help us separate the characters from each
other and also to clarify the volumes.
001 SHADOW
05
002 SEPARATION
003 TRANSITION
005 HIGHLIGHT
LIGHT
07
VALUE
08
COLOURS IN LEVELS
09
SHAPES IN SPACE
059
10
13
12
14
LIQUIFY
LAYERED MASKS
15
BLEND MODES
060
11
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PHOTO EDITING
ATMOSPHERIC
LANDSCAPES
OUR EXPERT
MIKKO LAGERSTEDT
http://mikkolagerstedt.com
@MikkoLagerstedt
SOURCE FILES
WORK IN
PROGRESS
01
03
02
EXTRACT ELEMENTS
063
05
NEW DOCUMENT
04
MASK
Select the path then Ctrl/right-click on it. Choose Make Selection, setting Feather Radius to 0,2
pixels. Add a mask to the person layer and invert it with Cmd/Ctrl+I. Select the reflection layer and add a layer
mask to it. Start masking the reflection using a medium-sized standard black brush, with a Hardness of 60%,
to hide the reflection. Once its completely hidden, hit Cmd/Ctrl+I to invert the mask and your reflection should
now be visible. Use Free Transform to straighten the reflection and set the blend mode to Multiply.
06
064
07
QUICK TIP
By using one of the provided cloud/fog brush
presets, or one of your own, with Opacity: 100%
and Flow: 25% you can mask out certain areas to
create more variations in the transition layer, and
when youre smoothing the edges use a big soft
brush with 10% Opacity and 100% Flow.
08
ADD CLOUDS
TRANSITION EFFECTS
09
10
Import the cloud image and place it in the middle of the frame. Add a layer mask to it and start
masking out with the cloud/fog brush preset. Use 100% Opacity and 25% Flow to start revealing the
background with black, using the X key to switch between black and white to reveal and mask out.
002
001
11
001
002
12
003
003
DETAIL ADJUSTMENTS
13
BALANCING LIGHT
065
FINAL ADJUSTMENTS
14
COLOUR CORRECTIONS
15
REFLECTION
ADD FOG
ADD BIRDS
18
17
066
16
FINAL ADJUSTMENTS
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TUTORIALS
INTERVIEWS
INDUSTRY INSIGHT
BEGINNER ADVICE
EXPERT GUIDES
facebook.com/3DArtistMagazine
twitter.com/3DArtist
Typography
Create stylish
vintage type
01
02
Our expert
LOGS MATThEwS
www.logsmatthews.co.uk
Logs Matthews is a 23-year-old,
self-taught, freelance graphic
designer from the north-west of
England. here he shows you how to
create stylish vintage typography
using both photoshop and Illustrator.
@logsmatthews
WOrk in
prOgress
03
ADDING TEXTURE
Now apply some texture. Open up a dark grunge texture in Photoshop and invert it by going to
Image>Adjustments>Invert. Once this is done, drag the JPEG into your document and set the blending mode
to Overlay. To make the grunge texture more intense, go to Image>Adjustments>Levels and increase the
black to darken the texture.
069
04
07
05
06
quick TiP
Try to add layers as you create your type. You can
do this by using the Offset Path tool multiple
times, giving your type very thin borders. Once
you have a few borders, apply gold gradients to
some and fill others with white. This will help
embellish your type further.
08
070
09
10
11
To enhance the colours well need to add a new Hue/Saturation layer above the type layer, increasing
the Saturation to make the colours more vibrant. If theres a specific colour that you want to target, you can
select it from the Hue/Saturation dropdown. Also, add a new Curves layer above the type layer, setting the
Output at 125 and the Input at 137, to make the colours even richer.
SMALL DETAILS
Adding small details can take a lot of time, but
they really add quality to a piece of work. Starting
with the banner, make a thin triangle shape and
place it horizontally at one end of the main
rectangle. Copy and paste this underneath and
use the same blending technique as used in Step
6. The number of steps will vary on the size of
your banner. Repeat this on the other side of the
rectangle and the inside of the banner. Once
positioned, set the blending mode to Multiply and
set the Opacity at 25%.
quIck TIp
Adding noise is great for making a piece of work
look less digitally made. When adding noise to a
piece of work, make sure you decide whether the
piece warrants it. Sometimes adding noise can
make what was a bright glossy image look dull
and washed out.
12
13
drAW IN CrACKS
14
FINISHING TOUCH
071
072
HOW I MADE
SHINE
KRIS
SHIELDS
A.K.A
COLOUR
DRIP
LEARN HOW BLEND MODES AND DODGE AND BURN WERE
02
Im heavily influenced by
anything sci-fi, so I try to
create alien appearances. These
still have a human element so
the viewer can relate
ADD TEXTURE
Adding texture is my
way of turning ordinary
images into something
special. I found photos of
metal and placed them on
the shoulders of my model
to depict futuristic armour.
03
SPACE STOCK
01
FOCAL POINT
I made the chest area the focal point in this image first
by adding a charcoal texture and setting this layers blend mode to
Multiply. I also added white marks using a brush at 100% Hardness.
073
04
05
06
07
ADD DEPTH
074
08
FINAL TOUCHES
BUILD
A
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PHOTOMANIPULATION
ACTIONPACKED
COMPOSITES
076
OUR EXPERT
JOSH ROSSI
www.joshrossi.com
Rossi is a commercial photographer
obsessed with action movies, and
dreams of directing the next Bond
movie. In his spare time he creates
stunning images such as this one
using the photos that he takes.
@joshrossiphoto
SOURCE FILES
077
01
WORK IN
PROGRESS
02
Progress 2: Add and refine
03
EXCHANGE FACES
078
04
05
06
BROKEN BIRD
The free stock images of the birds and feathers that we used
can be found by entering the following search codes into www.sxc.hu:
1387379, 551773, 110238 and 625562. Once the birds are all placed,
take one of them and then flip it vertically. Now set the Eraser tool to a
Grass brush style and erase small parts of the wing. This creates the
suggestion that feathers have fallen off. Now cut out the feathers and
place them sporadically next to the bird. Add a small amount of Motion
Blur to each feather to complete the effect.
07
BOAT REFLECTION
Painting in the boats reflection is a fairly simple process. First create a blank layer
underneath the boat layer and then set it to the Overlay blend mode. Now pick a red colour
to simulate the boats colour and, with your brush set to 50% Opacity, lightly paint in some
red marks next to the boat to simulate a reflection. If the red colour is a little strong then
just add a Hue/Saturation adjustment and set Saturation to -50.
QUICK TIP
When cutting out an object,
feather the edges once youve
placed it into a new
composition that way, each
image will look natural and
wont have that cut-out look.
To do this, simply create your
selection and click Refine
Edge in the top toolbar. Set
Feather between 1 and 3.
09
08
We have our background colours in place, so now well start working on the other images in the
composition. Go to each one and give it similar desaturation and colour adjustments. Use clipping masks so that the
colour only affects the layer beneath the adjustment layer; to create one, hold down Opt/Alt and click between the two
layers. Now that the colours are similar its time to match the brightnesses. Add a Curves adjustment layer above
each layer we want to adjust and then brighten or darken as needed.
079
11
10
Bring Waves.psd into the composition and place it underneath the Boat layer. Use the Lasso tool to
make a rough cutout of the small waves coming from the boat. Once selected, use the Transform tool to
resize and place waves underneath the boat for a realistic look. Erase around the hard edges as needed,
blending waves in with the background water. Set the Eraser tool at 100% Opacity with a Spatter style and
then remove the bottom edges of the boat, simulating water splashes.
12
ADD HIGHLIGHTS
080
13
QUICK TIP
Remember to use a soft-edged brush when
youre painting on most effects. Painting with a
hard brush will create an unrealistic look with
harsh edges. This is especially true when youre
dodging and burning, and adding highlights, so
its good to make a habit of setting a soft edge.
14
BLEND IF
15
16
CREATE SHINE
17
ADD SUNLIGHT
18
MAKE MOOD
19
20
To finish things off, well now manually add flares to our image. Create a blank layer above the rest
and then set it to Screen. Choose a red colour and, with a soft-edged, large diameter brush at 100% Opacity,
start painting in some flares. To create a lens flare effect just dab the brush in a few areas. Applying paint in
this manner means we have more control over the colours and the placement of the flares. Once youre happy
with the result, give your finished piece a final check.
081
RAW WAR
082
083
Editing light in
CamEra raw
01
above: camera raws split toning option can be used to great effect to produce a creative tint that complements the source image. Here you
can see the simplicity of the interface
taCkling raw
ConvErsion
084
02
03
editing Light in
dxO Optics prO 8
01
combat ExposurE
02
imagE rEcovEry
03
above: When using the chromatic adjustments within Dxo, its wise
to zoom in past 75% to see a true reflection of what is happening
above: make use of Dxos dark interface, as it brings out the colours
and will help you cast a critical eye over the image
EdgE dEtail
above: Dxos Comparison view is incredible at highlighting just how much more information is being retrieved from the raW file. Here the lens
softness tool is proving its power
085
COLOURCORRECTION
CAPABILITY
Above: Here you can see the detail DxO has been able to retain, while
bringing back colour detail in the shadows. This creates greater
depth in an image
Above & Left: This close-up image of a tree shows how the image was impeded by
noise. However, by using the Sharpen and Noise Reduction controls in the Detail
tab, distortion has been removed
VERDICT
DXO OPTICS
PRO 8 ELITE
ADOBE CAMERA
RAW 7.4
An outstanding RAW-processing
software, Camera Raw still rides
high as an industry-standard
photo editor, with tools such as
the Adjustment brush and Split
Toning options. It also has the
ability to read, edit and save DNG
files and export images as Smart
Objects for creative application
inside Photoshop.
4/5
086
3/5
www.wacom.com
750 / $999 Windows 8, 7 (32/64 bit), Vista SP1, XP SP3, Mac OS X 10.6.8 or later with an Intel processor
killer features
expressKeys redesIgn
Touch-screen functionality would
have undoubtedly enhanced
application in the lap, but the
programmable ExpressKeys and
Rocker Ring are sufficient for
swapping between the various
Photoshop functions.
new pen
Improved brIghtness
Verdict: 7/10
087
reader interview
Engaging photo
illustration
our reader
Jeff Whitlock
www.jeffwhitlockdigitalartist.com
www.advancedphotoshop.co.uk/
user/Jeffwhitlockdigitalartist
eMS Rescue: add elements to your composition that enhance the energy and mood. For this composite,
i added lights to the cars, several layers of snow and a dramatic sky to amplify the drama of the scene
088
Premonition: Using a very limited color scheme with high contrast can be
very effective at creating a sense of mood and mystery in your images
090
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RESOURCE PROJECT
PRODUCE PAINT
SPLASH STOCK
02
INSTILLATION SET UP
01
03
CAMERA SET UP
092
TUTORIAL FILES
ON THE DISC
THE SHOOT
01
02
03
Perspex or laminated
medium-density fibreboard (MDF)
make a good solid base, which
paint will bounce off
04
CAMERA SETTINGS
093
SMALLEST DETAIL
Add some droplets and finer paint particles
breaking away from areas of movement.
These are applied to create visual interest,
but also more importantly to mimic real-life
effects. Develop other smaller elements that
complement the flow now existing in the
image. Seamlessly merge these elements
with the help of layer masks.
094
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