Professional Documents
Culture Documents
6-PAGE MASTERCLASS
VECTORS
INTERVIEW
GARY
TONGE
The digital painting master reveals
the secrets behind his stunning art
HELPDESK
& PHOTOS Learn to create striking photomanipulations:
• Add illustrative elements • Blend with
adjustment layers • Use the Perspective tool
FAKE WIDE
ANGLE
Realistic lens effects SMUDGE TOOL
using Photoshop’s filters
TECHNIQUES
Achieve professional painting results
with this powerful tool
5 0
BRUSH0
ES
FREE O
THE CDN
HOW TO…
Design a retro circus poster
Turn logos into custom shapes
Understand different file types
Create inspirational concept art
Build a professional online portfolio
www.advancedphotoshop.co.uk
9 771748 727009
Cover image
Emeric Trahand aka Tksh (his professional name) is a Graphic design:
French self-made multidisciplinary designer, TAKESHI (WWW.STILLONTHERUN.COM)
experienced in graphic design, illustration and art Photography:
direction. Although he studied management TOR KRISTENSEN (WWW.BESPOKE.ORG)
sciences at the Professional University Institute of
Saint-Étienne, France, he developed an interest for
digital creation. After a couple of years of intense
design practice and devotion to creativity, Trahand
EMERIC IS A
settled down as a freelance graphic designer in 2006.
/
MULTIDISCIPLINARY
DESIGNER
www.stillontherun.com
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Advanced Photoshop
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Advanced Photoshop
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12
Advanced Photoshop
FEMMINE GO
AS: “I’ve tried
out a lot of lig
hting effects,
along with som
e ‘stop speed
motion’ type of
effects. The
title means ‘Fe
male Chaos’”
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Advanced Photoshop
: “One of my
PEACEFUL OUTBURST
st and favo urite piec es. I made a
late
e, again with a
fantasy landscape scen
of colo urs with a ‘big ’ outburst. I guess
lot
nice but pea cefu l view from your
a very
ir whe n you see this ”
cha
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Advanced Photoshop
FLYER:
LOVE-TEC
-tec live
“Flyer for love
oves she,
show. She m
ne work
2007. I’ve do
such as
with brands
iff Records
Converse, St these
and many of ed
stribut
have been di ”
across the UK
ight
piece about the we
WEIGHT: “This is a env ironment and
wth on the
of urban gro s”
have it on our mind
how we all should
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d part of a seaside
H – PART II: “Secon little matte painting”
SEASIDE TRIPTYC ow n pic tures an da
of my
triptych. About 20
18
Advanced Photoshop=
19
Advanced Photoshop
0:
RATION #2
COLLABO
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By Tommas .nvertising.altervista
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designer, w Nguyen (photographe
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Mailbox
Do you have a question or opinion about the
magazine? Email your thoughts to
advancedpshop@imagine-publishing.co.uk
or visit www.advancedphotoshop/forum
SUBJECT: Gender confusion SAMURAI TEMPLAR: This excellent image was printed
with the wrong title in issue 44’s Insight
FROM: Nykolai Aleksander
I just received my copy of the magazine –
thanks very much! However, there are two
mistakes in the Insight article (issue 44, page
18). One painting is mistitled Aqua With Guitar
– I’ve never heard of that title and
the painting in question should be called
Samurai Templar, which is one of the
Otherworld images. And the second thing
is, I’m not male…
“MANAGE YOUR SUBSCRIPTION Smith, is a huge fan of Ben’s work as well and has
been determined to get a tutorial with him for a
ACCOUNT BY GOING TO WWW. while. You can see the image that Ben worked
on in the tutorial on the front of his latest book.
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Advanced Photoshop
On the
forum
SUBJECT: What do you want from
the tutorials?
FROM: jeaston82
In order to improve the tutorials in
Advanced Photoshop and give you want
you really want from the magazine, please
let me know your thoughts on your
favourite types of tutorial, so we can give
you more of these and less of what you
don’t want!
SUBJECT: Too advanced covers the basics of Photoshop, including FROM: revjessecuster
FROM: Sarah James Channels, blending modes, masking, and so on, They all look fantastic. I’d love to see ways
I have just purchased a copy of Photoshop CS3 as well as presenting some really fun, creative of improving photos to make them more
after using it on my university course. I picked tutorials to put your new-found knowledge into commercially viable/portfolio quality. Matte
up a copy of Advanced Photoshop to see if I action. I’d definitely suggest taking a look! painting interests me a lot – still find it a
could glean any information about using the bit mind-blowing.
program better. To be honest, I think that the SUBJECT: Subscription query
tutorials are a little out of my league, as I FROM: Cassie Blackwood FROM: garry79
struggled with them. I will still be buying the Hi. I have just taken out a subscription with Some tutorials from professional
magazine, as I love the interviews and Advanced Photoshop, but I was wondering if portrait retouchers or professional
features, but I was wondering what you would there was any way of logging in online and B&W photographers would be good.
recommend for someone who wants to be checking my details, etc?
‘advanced’, but isn’t quite there yet? FROM: sylgraph
Editor replies: Hi Cassie. You can manage your I would like to have tutorials about digital
Editor replies: Hi Sarah. I’ve come across quite a subscription account by taking a visit to www. illustration, matte painting, digital painting,
few readers like yourself, who aren’t experienced imaginesubs.co.uk. All you need is your Subs ID. photo-manipulation and contemporary
in all areas of Photoshop, but aspire to complete I hope that helps! graphics. Your tutorials are always very
all the tutorials in the magazine. Have you seen ESHOP: For all our products, visit the online store, good. I’ve already learned a lot of
our sister title Photoshop Creative (www. where you can pick up the great-value eMag techniques with your magazine.
photoshopcreative.co.uk)? This magazine
Join the debate at
PHOTOSHOP CREATIVE: Check this out to swot up www.advancedphotoshop.co.uk/forum
on techniques to get you ready for AP’s tutorials
Correction
SUBJECT: University of portsmouth
contact details in Student Showcase
In Advanced Photoshop 44, at the end of
our Student Showcase special feature, we
listed incorrect contact information for the
University of Portsmouth. We apologise for
any confusion caused; the correct details are:
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Advanced Photoshop
On the web
www.advancedphotoshop.co.uk
Our website and readers’ forum is perfect for
showing off Photoshop creations. We present
the best images on the site this month. Log on
and upload to get your images here next issue!
3JANE
ARTIST: Maria Masiar
EMAIL: maria.masiar@gmail.com
WEB: www.advancedphotoshop.co.uk/user/ Masiar SHROOMZEE AND THE
SOURCE: http://tiny.com/5nc49n
“I’m a web consultant for IBM Canada. Lady 3Jane was
CANNONBALL BIRDS
ARTIST: Teodoru Badiu
created for www.ticklists.com where she was a secret
EMAIL: teodoru@theodoru.com
Easter egg in the domain of user profiles. Using a stock
WEB: www.advancedphotoshop.co.uk/user/theodoru
image of a mannequin, I achieved the metallic look of her
“I am a creative media designer based in Vienna, Austria.
body by using the Chrome filter with a Linear Dodge (Add)
This image is based on pen drawings made for a series
Blend Mode. The light effects were created through a
of characters named Skeleton Head Gang. Each
combination of my brushes and some from deviantART.
character of the gang has his own story and personality,
Gaussian and Motion Blur filters finalised the feeling of
and ShroomZee has quite a mysterious origin. One day
light movement near the left eye and various blending
after a warm and rainy day, he suddenly pops up in the
modes were used to infuse the blue and red colours.”
middle of the gang. From the very first day he loved to
chase Cannonball birds, but he is a bit clumsy; he falls
from time to time and gets hurt.
BAD DREAMS “My aim was to create a 3D world and to populate it
ARTIST: Simon Jones with characters that were going to be colourful and have
EMAIL: alchemical_man@hotmail.com a kind of clean vector graphic look. With that aim in mind
WEB: www.advancedphotoshop.co.uk/user/S8Njones I first made a few drawings, then, based on them, I
“I’ve been working freelance for the last two years after started the modelling work in Cinema 4D. One important
graduating from an illustration degree. This image was created task was the texturing; I tried to keep the textures as
entirely in Photoshop and began life as a photomontage. The clean as possible to achieve the look I wanted. For the
original montage wasn’t really working until I cropped it rendering I used VRay for Cinema 4D and I used
severely either side of the face. After overlaying a few texture Photoshop to make some minor colour and layer
layers in specific areas, I then duplicated the background adjustments, and to add the Ambient Occlusion layer.”
layers a few times, blurring them and adjusting their hues
slightly. I then cut away at them with a three-pixel Eraser
revealing the original image beneath. This technique was also
used to create the scratch-like marks.”
CELL MEMORY
ARTIST: Darek Kocurek
EMAIL: darek-k@o2.pl
WEB: www.advancedphotoshop.co.uk/user/
darekkocurek
“I am a self-taught person in the field of
computer graphics. Many of my pictures
are inspired by music. Cell Memory is
inspired by the music of Steve Roach. It is
photomanipulation from several of my images.
I did this picture in about eight hours (of
course with Steve Roach’s music playing in the
background). [To create the] whole effect I
worked with layers, montages, changed
colours and tones, and cut useless parts.”
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Advanced Photoshop
GARY TONGE
Going boldly into other worlds and transforming the
everyday into the extraordinary is all in a day’s work for
freelance illustrator and concept artist Gary Tonge
A
fter 20 years in the digital He describes his introduction to the
arts field, British art director, professional arts field as “unorthodox”, after he
freelance illustrator and concept took an interest in creating art for early
artist Gary Tonge knows a thing or two videogames (in the late Eighties). His parents
about Photoshop, something that he is helped him in the purchase of an Atari ST
keen to share in the form of his first book, computer, a mouse and a digital-painting
Bold Visions. package called Degas Elite. “With this I spent a
This explanatory and tutorial-based tome lot of very late nights painting up images in ‘Full
opens up the world of digital painting 320 x 200 res and 16 colours’ until I had got
to artists of any skill level, breaking down together a selection of images I was quite proud
complex images into manageable chunks. of,” he explains.
But today we’re more interested in the man He sent out numerous discs of his images to
behind the images, his inspirations and his local games companies and landed his first job
artistic indulgences. at 17, straight out of school. He reflects honestly
The 37-year-old is currently working as a full- on this role: “I was quite seriously out of my
time art director for Vivendi/Swordfish Studios, depth and the learning curve was steep.”
fitting in freelance work when time allows and But, despite this, Tonge soon picked things up
immersing himself in personal projects, and his skills grew with the burgeoning games
including the aforementioned book (see the industry: “I weathered this in the end and
‘Bold Visions’ boxout for more information) and managed to sync up well with the ever-
the portfolio he holds at www.visionafar.com. increasing complexity of computer games
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Advanced Photoshop
and the art required, learning all the time. In Having never gone to art college or formally
many ways my art matured at the same pace studied digital art techniques, Tonge is self
and time as the games industry itself.” taught, but sees both the pros and cons in this
approach: “Being self taught has a number of
Moving into Photoshop disadvantages, I guess, maybe not experiencing
Tonge briefly entered the world of high-end 3D art as widely as you might if you take it to the
art and animation, but the costs involved meant very highest level in education, for instance, but
that the industry as a whole looked to other I tend to focus on the advantages myself. I
options for game design. It was around this time would definitely say that there is a lot to be
that he began to become interested in painted learned from being dropped into a professional
art again and used Photoshop (Version 3) for the job you’re not quite ready for and having to
first time. “I was smitten immediately and I swim to survive.”
started to diversify from creating mostly 3D art
and only using PS for textures, to wanting to Developing a style
spend more and more time painting digitally,” he Over the years, he has experimented with a
describes. “I think the ease of use of Photoshop variety of different styles, but has, in the last few
and the frustration that it was quickly becoming years, made his biggest transition: “I think my
many, many peoples’ work to create cutting- style has changed quite a lot in recent years. For
edge 3D art, made me very keen to move into a long time I created my art with a mouse – for
the conceptualisation of ideas and illustration far too long, in fact! Using a mouse to paint
field. I very much enjoy creating art from my made my style very precise and quite time
heart, and painting it is the quickest and most consuming. Changing over to using a tablet
rewarding way I can think of.” quickly helped me loosen up, and the work I
These paintings were showcased on his produce now can vary from very precise and
website, which led to his first freelance photographic to very speed painted and loose.
commission. “I had started posting my sci-fi work It’s great to be able to vary style dependant on
onto my personal site and I was beginning to project or image, in my opinion.”
receive some nice emails from people,” he Despite this new-found freedom, there are
narrates. “Out of the blue, I was asked to create certain ‘rules’ that he sticks to in his artwork: “The
an ‘Atlantian’ image for a private client. I was cornerstones of my art are colour, light,
amazed and surprised that somebody looking compositional balance and perspective. I love
for commissioned work had found me, but I very projecting images of things in interesting and
much enjoyed taking the work on.” different ways, capturing the essence of
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Advanced Photoshop
I STARTED TO DIVERSIFY
FROM CREATING 3D ART, TO
WANTING TO SPEND MORE
TIME PAINTING DIGITALLY
atmosphere and depth at the same time as pencil when the mood takes me, but I would
realistically and believably nailing down the much rather scribble away on a Cintiq for an
light and colour of a subject.” hour in Photoshop.”
Photoshop still plays a large part in the It appears to be a winning formula for Tonge,
creation of his images. “To be honest, I pretty as his work has become more widespread and
much use Photoshop for all of my art,” says recognisable. During his videogames career, his
Tonge. “I don’t know if that makes me a little too art has been used in over 50 products, from
rigid in my approach, but I rarely feel I need to Tomb Raider to The Simpsons (the 1992 version),
move out of Photoshop for my projects. I will but he is now better known for his personal
work up 3D block models for complex, work, which has been used for book covers,
challenging, or quick-turnaround commissions album art, business prospectuses, snowboards,
or illustrations. I definitely see the value in being magazine articles and interviews, television,
able to finesse a composition before getting advertising, concept art and all sorts of other
down to painting. I will also sketch things in arenas. His work has also been published in the
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Advanced Photoshop
GEOTHERMAL:
“A suspended superstructure in any field, you stop progressing. What a
converting geothermic energy horrible feeling it would be for an artist to know
into power for a planet.
Imagining a future where things they had already created their best piece.”
are very different from now is all Luckily, Tonge is not afraid to approach a new
part of the joy of sci-fi for me” project outside of his comfort zone: “I think it
can be very uncomfortable starting out on a
project or image that you are not sure how to
complete well, and that is not a great sensation.
Exposé series of books from Ballistic Publishing, Tonge’s work certainly sits up there with his But from that tribulation can come an energy
as well as art competitions when he has the idol’s, but his intricate designs hide the fact that inside to understand and overcome the various
time to indulge. he thinks of himself as “scatty”. “I have the built-in challenges before you.”
ability to take on too much, not take care of it Always on hand with practical advice, we’ll
Influence and inspiration right away and then have to work really hard to leave you with an invaluable bit of advice from
Tonge’s work is influenced by what he sees and deal with all my new obligations,” he reveals. him: “If thought through and roughed out well
what he has experienced, reflecting his hopes “Interestingly, my work does not really show enough, a good artist will find a way to not only
for a beautiful future for this world, many times that. I guess it is very much the antithesis of how to represent the image in their own way
under the ruse of the image being alien or sci-fi I am in many ways: organised, precise and successfully, but it will, in the long run, add more
in origin. When asked about his favourite artists, elegant.” As with all artists, he is self-critical, skills and knowledge to their gamut of
he is enthusiastic: “I have a lot of artists I love to claiming that there is “very little of my art that I experience. Obviously sometimes things don’t
look at the work of, but, for me, Craig Mullins is actually like after finishing it”. Yet this drives him work out at all, but even from that a lot can be
my favourite. I love his work, love his many styles forward: “One of my strongest beliefs is that as learned – mistakes are useful experiences too.
and he captures light exquisitely.” soon as you start thinking you are good enough Nobody ever said being an artist was easy!” 5
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W
photo textures used, two colour tables, a
hat we’ll be learning in this tutorial will be the creation of an imaginary creature based off what we few custom brushes (.abr files) and patterns
know about existing animal anatomy. We’ll also be covering textures, iconic designs that relate to the (.pat files). We’ll also be including the
original sketch used for the final concept
creature and how they help in creating a concept design layout.
painting at high resolution.
In preparation to starting this tutorial you’ll want to find some references of the human skeleton and some photo
OUR EXPERT Mike Corriero
references of animals such as lions, buffalo, alligators and chimps. If you can find photo references of the skeletal system
Mike is a freelance concept artist and illustrator for the
for some of these animals, it will help prepare you to design a creature similar to what we’ll be designing in this videogame and film industries. His work has been featured in a
workshop. This specific creature and the design layout for it was inspired by prehistoric mammals, dinosaurs and the number of promotional outlets including ImagineFX, Ballistic
textured feel of cave paintings. Photoshop is much more suited for this type of design for its user-friendly interface, Publishing series like Exposé 4 and 5, 2DArtist and Corel
Painter. Some of his clients include Radical Entertainment,
quick and easy custom brush and texture design and its ability to handle complex brush patterns at a high resolution. ImagineFX and Liquid Development. His work can be viewed at
To start, we’ll discuss the basics of proportion. www.mikecorriero.com.
Quick
tip
When designing a creature, always ask the
question ‘why?’ This is important to creating a “ALWAYS ASK THE QUESTION
plausible design, questioning why the creature
has horns, why the proportions are the way they ‘WHY?’... THIS WILL HELP YOU
are and so on. You can continue to ask yourself
anything that will help you revamp what you REVAMP WHAT YOU MAY NOT
may not be able to answer, which might be a
useless part of design for this creature.
BE ABLE TO ANSWER”
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Advanced Photoshop
7 Cleaning up
The photo-textured background’s Opacity has
been lowered and cleaned up around the edges of the
creature. We want some of the texture to show up in the
background, but we want most of it on the creature to
serve as an underpainting. Most of this may get covered
Brainstorming and up but even if a small portion remains it will still be
8 9
help you become a better designer? You need to
recognise the difference first. Don’t just slap the Glazing and shadow Light, dark and colour
head of a crocodile on the body of an elephant, A glazed layer set to Overlay has been added by Using a custom chalk brush, we’re starting to
give it some horns and a bunch of fur. You need duplicating the entire image after it was flattened and define some of the facial features with light and dark
to work the design out so it makes some sense, then erasing certain areas and lowering the opacity. values while working out the colour scheme. The face
and so that the elements of anatomy and bone We’ve then darkened various portions on a Multiply layer, will be the highlight of the design for this specific action
structure you’ve accumulated are meshed so
reinforcing the silhouette, the fire, the rocks in the pose, so a complementary colour that works in contrast
well together that you no longer really recognise
foreground and streaks implying motion. All background to the background will work best. In this case, the blue,
which parts of which animals you used to create
this unique design. line sketches are being erased at this point. pinks and purples set against the orange background.
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Advanced Photoshop
13 Mirrored adjustments
The entire image has been flattened and
duplicated in order to fix some problem areas. A quick
14 Focal point
Back to the head – because
this really is the most important part of
boost to the Levels and Saturation is made. The major the whole design – we’re going to
issue here is aligning the torso, abdomen and legs to fit provide some extra details. Refining
correctly with the action pose. These kind of changes are the lighting and shape of the teeth, as
extremely quick and easy to make if you select an area well as the overall mouth, will go a
and just Transform>Rotate, while mirroring it and long way. Other little details, like taste
repainting or touching up areas that show through the buds on the tongue and skin spots on
re-posted portion. the nose will also help draw more
attention to him.
15 Lighting adjustment
When zooming out, we’ve
noticed that the background is a bit
too washed out and light around the
lower portion of the composition. In
order to keep our background texture
consistent, we’re just going to make a
quick fix with the Stamp tool by
sampling areas of the background and
painting over portions to help keep
the focus where it belongs. We’re also
going back in and refining the
silhouette of the legs and the light that
is hitting them and showing through
from behind.
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Advanced Photoshop
20 21
predator. What would be the reason for the
horns? Most animals who possess horns use Cave story Story wall texture
them for defence, rivalry during mating season Working back into the initial inspiration for We’ve duplicated and adjusted the colour,
and the appearance of horns distinguish the this design, we’re using a cave painting as reference to levels and size of a photo texture to use as the wall
animals gender in most species. Thinner hind add an element to tell a small story. The story is surface pattern for our cave painting story. We’re just
legs may not allow the creature to run very
extremely primitive and crude, but it’s more about the filling in the animal silhouettes with the Stamp tool and
quick, at least not for long periods of time. The
reference of the era this sort of drawing and storytelling the dry mud flake texture, which we also turned into a
overall proportions along with its sharp claws
and teeth could mean that this creature is a came from than the actual actions taking place. brush pattern.
scavenger as well as a predator that would stalk
its prey and overpower it instead of wasting
much time and energy trying to run it down.
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Passionfor
40
Fashion
Advanced Photoshop
© Patrick Morgan
We investigate the competitive world of fashion
illustration and questions those who are
exploring the creative cocktail of new and
nostalgic trends BY Adam Smith
A
n established art form for over 500 years, the
world of fashion illustration has experienced its
fair share of recession and revolution.. In decline
from the Thirties through to the Seventies due to the
development and phenomenal popularity of photography
within the industry, fashion illustration began to claw back
some recognition in the Eighties and its popularity has been
steadily rising ever since.
Among other factors, this can be attributed to the wave of
‘technocrat’ artists. These artists value the freedom to design as
they wish, using a liberal style to create images from their
imagination. Since the emergence of digital technology and
photo-editing functionality, their methods have developed
and evolved, with the artists re-evaluating and reinventing
their approach.
In the world of fashion illustration, computers are rapidly
becoming a vehicle for innovation and experimentation,
injecting new life into traditional styles and techniques. Thanks
to this evolving technological approach, fashion illustration
has developed from a basic ornamental representation of
the latest trend into an individual interpretation and
expression of the fashion world. But along with this surge in
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Advanced Photoshop
Feature
popularity emerges some strong commercial the re-emerging competitive edge of the fashion Yojhi Yamamoto. Exhibiting since 1982, having
competition. So how does the latest generation of illustration industry. However, sceptics may say that witnessed the escalation of the genre, she offers
designers cope with providing innovative aesthetics to current styles are mere regurgitations of previous fads – an authoritative insight: “In the fashion world, the
a demanding consumer world? but is this through a lack of ideas or is it deliberate? previous season is supposed to be ‘old’, but the
Should this really be acceptable in such a progressive customers’ closets are filled with old and new clothes,
The commercial sector art form and competitive market? five-year-old clothes, ten-year-old clothes, all mixed
The world of fashion has become an integral part of our Minako Saitoh Botsford, popular Japanese fashion together. A person with style always mixes and
daily lives over the decades, and has a continuing high illustrator, has worked with international clientele coordinates the old with the new. I like to draw that
profile in the commercial sector. Trends are accepted such as Sony Creative Cosmetics, Mazda and Honda, as kind of person, so I choose a wardrobe that she might
and followed on a global scale, which in turn has led to well as with renowned Paris-based Japanese designer choose. I follow her taste, picking and choosing from
various wardrobes to get the most exciting and fresh
PATRICK MORGAN look I can. All the files I have kept over the years reflect
really hold all the keys to how far artistic and independent.”
However, Patrick Morgan, successful commercial
British illustrator and prestige tutor at Istituto Marangoni
you can push the job creatively” UK, shaping the next generation for the fashion, styling
and graphics industry, explains that this liberal approach
42
Advanced Photoshop
© Corinne Brun
© Patrick Morga
n
© Patrick Morgan
to creation in illustration is dependent upon many Rather than restricting creativity, this situation
factors: “In the commercial sector people are always can give impetus to the ‘hungry’ attitude needed to
trying to calm the style down and give people a succeed within the illustrative arena. Successful French
more diluted version. It all depends on the brand and artist Corinne Brun, aka Coco, is also one of the people
the creative direction. The creatives giving the brief behind Get Confused (http://getconfused.net), a
really hold all the keys to how far you can push the design and marketing studio specialising in
job creatively.” providing creative solutions to brands within the
In a lot of cases, commercial demands can take beauty, fashion, luxury and travel industries.
precedence over content and personal style. So the She says: “I collaborate regularly with Scott
dynamic between the fashion illustrator and the Stephen to illustrate the visual universe and
designer is key to maintaining a personal touch. They themes of his collections, http://scottstephen.
are two very different creatures, and as an illustrator co.uk. This may be demanding, as one has to
there will no doubt be times when your services will be adapt to another language, to somebody else’s
required by designers with less artistic aptitude. “Most vision, which requires a necessary dose of empathy.
clients now know what they want, so you’re wasting So there has to be some symbiosis in that sense, yet
your time trying to change their vision or thoughts – it’s there is definitely room for the encounter of two
time-consuming,” explains Morgan. creative visions.”
43
Advanced Photoshop
MONTAGE 2 (ABOVE):
“I have noticed that my
style seems to find a
particularly favourable
echo in France and
Scandinavian
countries,” says
Corinne Brun
FASHION CHICK
(RIGHT): “As an
MASCARA PRINCESS illustrator you become
(BELOW): “Branding makes work very chameleon-like
go smoother, making it easier for and adapt,” admits
the client to know what to expect,” Patrick Morgan
admits Minako Saitoh Botsford
© Patrick Morgan
This can surely be accredited to digital media and its With a distinctly classical aura about her style, with
ability to come up with refreshing creative cocktails. perhaps unconventional Bauhaus and Art Deco
“Fashion illustration itself is becoming more and more influence, she admits: “I compose the final montages in
crossover, and the surprising thing is that because of the Photoshop. I feel this hybrid work offers me an opening
digital photo, photography has become more like into possibilities, which I am still exploring.” With digital
illustration. Now there are many photographers drawing software no doubt having an influence, it seems the
on their own photos, more than just simply retouching,” technocratic approach is still in its infancy and there are
explains Saitoh Botsford. modern fashion illustrators seemingly at odds with this
mantle – still enamoured with the perceived romance of
traditional approaches. Such individuals approve of the
CORINNE BRUN use of digital only for practical purposes, but endorse
which I am still exploring” which is a drawback. But the rest is all positive. That’s
why more and more people are now creating digitally.
44
Advanced Photoshop
Cultural significance
Does your location influence your style?
45
Advanced Photoshop
PRIM-VER
COLLECTION (FAR
LEFT): Requena reveals:
“Most of the time I begin
with pencil or watercolour
drawings. I scan them, and
then with Photoshop I
introduce filters and
vectors and play with
tsford
different layers“
FASHION MANDALA
© Minako Saitoh Bo
FACE NEW 1 (BELOW LEFT): “I’m
(LEFT): “Once you create
seeing a lot of decorative work happening
a brand, you may come
recently, which is a real interesting style,”
up against your fixed
reveals Patrick Morgan
image. It limits you and
OTOÑO – INVIERNO 07/08 you may not want to stay
COLLECTION (BELOW): “I’m still looking in the same place,” says
constantly for my own style. However, when Saitoh Botsford
I see my work with perspective, I feel a
similar atmosphere,” explains Requena
their nostalgia much like the fashions they help to on an expanding image bank of which I reuse
create, but are also striving to stand out from the crowd elements in compositions for different projects. In this
with new and innovative designs. But is this in turn, as sense, there isn’t much room for any preliminary
Morgan suggested, diluting the beautiful side of the sketches.” Requena agrees: “I don’t make conventional
style? Are digital influences having a detrimental effect sketches. I begin with ideas. Through them, I generate a
© Patrick Morgan
on traditional rules and techniques? basis with different graphics, then transform them with
Croquis, or live model sketching in laymen’s terms, digital applications.”
and the ‘9 to 10 head lengths’ model type are disciplines Yet, as the saying goes, old habits die hard. There are
that appear to be in decline. Concerning both, Brun those who refuse to be limited, as Saitoh Botsford
explains: “This stems from convention more than reveals: “Since I draw from photos for assignments,
necessity. For efficiency’s sake, my work relies essentially sometimes I enjoy sketching ‘live’ models for fun and
exercise. When you face the ‘live’ model, you feel in awe.
NOÈLIA REQUENA Everything in the universe feels extremely fluid because
when you look at a thing and try to draw it, it really
“Nowadays with all the visual moves. Through Croquis you may discover a deeper
inspiration rather than just staying in front of the
information in constant
computer all the time.”
Inspiration certainly seems integral to the survival
of this style and its future around the world. Yet
metamorphosis, there are no perhaps even this has its bearing on an artist’s need to
sustain his or her identity as a fashion illustrator, not a
contrived technocrat. Morgan reflects poignantly,
closed concepts” saying: “I do feel that people are constantly chasing the
money side, so styles are all becoming similar, with the
46
Advanced Photoshop
Artists’ agencies
Brands and studios from fashion illustrators
OBVIA
www.obvia.es
Founded in 2005 by Barcelona-born Noèlia Requena,
OBVIA is her trademark. Upon visiting the innovative
animated OBVIA site, you will be presented with a
fresh branding experience. She has already
collaborated on clothing lines in 2006 and 2007 with
painter Sergio Romero, and painter and web designer
Sergio Fores. Requena reveals: “OBVIA is a brand with
a clear style, but open to our own professional
evolution. The identity is building from its own course.”
She adds: “My commercial net doesn’t make any
requirement over style. People’s tastes are changing
fast. For this reason, the success or failure of a brand,
OBVIA included, is closely related to them.”
Get Confused
www.getconfused.net
Already a leading marketing and technology
consultancy specialising in providing creative
solutions to brands within the beauty, fashion, luxury
and travel industries, Get Confused is in joint
operation with Corinne Brun, aka Coco. Harnessing the
© Patrick Morgan
skills of an extensive network of creatives, Brun’s own
involvement in the branding sector is key to her
creative development. She explains: “I do work better
JIMMY 2 (RIGHT): ”I am teaching at a fashion with brands that belong to the universes I know.
school, Istituto Marangoni, and we really push the Through Get Confused, the communication agency
students to draw, draw, draw – and this is a real I co-run, I get to work closely with a variety of creative
bonus for them getting a job,” explains Morgan individuals with a strong aesthetic universe already in
place. This has given me over the years a strategic
innovators creating new and different styles that are understanding of the constraints and needs of creative
businesses and the usefulness of building a good
more creative and harder to copy. I loved it years ago work relationship.”
when different countries had styles and looked more to
their roots. This is really not enjoyed now, but will no
doubt come back.”
However, taking into account all the opinions given
over the last eight pages, it seems that no matter what
stance the fashion illustrator takes, there is little time to
stand still in this competitive arena, or a new-breed of
young illustrators will take your place.
Requena sums this up when she concludes: “I need
to take pencils and inks, smell the colours, feel the piece
of paper. I don’t reject anything. I try to adapt techniques
to the result I want to get, and I never want to get the
same. We waste a lot of time categorising things, and
nowadays with all the visual information in constant
metamorphosis, there are no closed concepts. Now
everything is a mix.” So it seems that everything goes in
this essential and innovative field. © Patrick Morgan
47
Advanced Photoshop
48
Advanced Photoshop
C
lassical character illustrations and portraits character portrait in Photoshop, using simple tools
ON THE DISC
have been around in many forms since we and almost solely depending on painting rather than
The sketch at full resolution, the custom
first began to try and convey the world filters and plug-ins. brushes used for this painting, the brocade
around us, from real to imaginary. During the Here you will learn step-by-step how to take an pattern files and the Fibonacci Spiral can be
found on the CD. Hopefully these will help
Renaissance (14th-17th Century), the human form in idea from sketch to colour, render a convincing you get started and inspire you to create
paintings moved from static and flat to alive and character, fabric and brocade, and add those little your own illustrations.
deep, truly capturing the likeness, motion and details that are often overlooked but will really make OUR EXPERT Nykolai Aleksander
emotion of the people depicted, as well as showing any portrait come alive. Nykolai is an award-winning freelance illustrator mainly
off the most gorgeously painted drapes or elaborate Ultimately, this tutorial is about creating a strong working on character concepts and illustrations for books,
games and graphic novels. Her work has been seen in Ballistic
garments you can imagine. Today, paintings such as character portrait that not only speaks to us, but also
Publishing’s Exposé series, and was the cover image for Exposé
these are mostly seen in the game and graphic novel entices us to read a story into it. To get the best 5. She can be found online at www.admemento.com.
environment, or as book illustrations. This tutorial will results, it’s advisable for you to have a graphics tablet,
show you how to create a realistically rendered as it gives you much more control than a mouse.
Classical
composition
3 Clean up colours
Sticking with the round brush, set
Opacity and Flow manually to around
Fibonacci Spiral.
It shows how a
painting should
‘flow’. If a
70-80%, while keeping the Opacity composition
Jitter switched on. We want to smooth doesn’t feel
out and clean up the edges and quite right,
colours, and these settings will help. At apply the Spiral
this point, you can already reduce the to your painting
Opacity of your ‘sketch’ layer. Setting it to help you.
to Overlay is another option.
49
Advanced Photoshop
PERSONALITY,
the reason is the neutral background – it was a good
colour to start off with, but it’s time now to add a hint
EXPRESSION IS
good coverage.
NEUTRAL.
SPENDING SOME
TIME ON THEM 5 Refine the face
Having laid down our main ‘bulk’ of paint, we can
IS VERY
start refining the face. Picking the Smudge tool, set it to
Finger Painting, then choose a speckled brush tip and
REWARDING”
set the Strength Jitter to Pen Pressure, as well as Scatter
to around 30-40% – this will aid the blending and
prevent it looking plastic.
6
adjustment could
Flip the canvas change the overall
To get a fresh view on things, flipping the canvas expression. In this step,
horizontally is helpful. You will be able to see where we just concentrate on
things have gone a bit wrong and can adjust them. getting the expression
Often the face can get a bit lopsided, so this is a good right, without adding too
way of preventing that. many little details.
8 Hair – the
bulk of it
Once you are happy
with the face, you can
move on to the hair. The
trick is to think of hair as
‘strands’, rather than as
single hairs. Speckled
9
brushes instantly give
the impression of Hair highlights and lowlights
strands, so pick one and Now that the basic hairdo is laid down, start
set the Brush Spacing to adding some highlights and lowlights according to the
5%, Opacity to Pen light source. This will add depth to the hair and refine it
Pressure and switch off even more. Stick with your speckled brush for this, but
the Size Jitter. maybe reduce its size a little.
50
Advanced Photoshop
Painting
fabrics
Fabrics can be daunting to paint, especially
11 Fabric flow
Let’s move on to the kimono. First we want
to smooth out the colours a bit and give the fabric
when they are very elaborate, but starting off
with a good base helps. Using a simple round
brush, roughly apply your base colour with
broad strokes in the direction of the flow and
some more flow. We can use our already much used folds. Then add highlights and shadows with
round Paintbrush for this, with Hardness set to 60% and the same rough technique. After that, you can
Opacity to Pen Pressure. Always work with the direction define and refine the folds using lower opacity
of the fabric flow to get the best results. settings and also the Finger Painting tool with a
speckled brush tip. Not too much though;
keeping it slightly rough adds life to the fabric.
13 Touch-ups
Add some silky highlights with a round
Paintbrush to bring out a soft sheen. The obi knot at the
back needs more work and the front panel of the
kimono. Even though it looked good, it was wrong.
Something to remember when painting kimono: they
are worn with the panels left over right; right over left is
reserved for the dead.
Apply a base colour with broad strokes,
sweeping in the general direction of the folds
14 Design the
brocade pattern
Now that the fabric looks just
right, we can start working on
the brocade pattern. Open a
new file that is big enough in
proportion to your painting,
add a new layer, then pick a
small round Paintbrush and
sketch your designs. Check out
Use a lower opacity to refine the fabric. A hint
some embroidery patterns to
of texture will add life to your design
give you ideas.
51
Advanced Photoshop
17 Make it move
15
Often a pattern can look superimposed
Apply the brocade pattern when applied like this. To avoid this, we can go
We can do one of two things. We can make a Filter>Liquify, select the Forward Warp tool, tick the
new brush from our design by going to Edit>Define Show Background box and set Blend Mode to Behind.
Brush Preset, then add a new layer to our painting and You may want to adjust the Brush Density and Pressure
stamp the pattern onto it. If the pattern is too large, we to 50-70%. We then gently push the pattern to warp
can simply drag it onto our painting. with the fabric folds.
19 Part of
the fabric
Now unlock Transparent
Pixels. To make the pattern
truly look like part of the
fabric, we can go to
Filter>Blur>Gaussian Blur,
18
and set it to 1-5%. To have
Adjustments and colour more control over the
Set layer to Overlay to give it an unobtrusive blurring, we can instead
silk brocade feel and adjust the Opacity as needed. To choose the Blur tool and
give it a different colour Lock Transparent Pixels, then gently blur the edges here
paint over the pattern with your colours of choice, and there. Make sure to
shadows and highlights included. Using contrasting not overdo it; you want
colours can achieve a nice effect so play around. the pattern discernible.
21 Hair
adornments
Having completed the
biggest part of our painting,
we can now move on to all
20
the small details. We add a
Repeat as necessary new layer behind the
Now that we’ve decorated the obi, we also character, choose the round
want to give the kimono some pretty patterns. Repeat Paintbrush with Opacity set
steps 14-19 for this. To make a pattern a repeat pattern, to Pen Pressure and paint the
stamp or drag the pattern onto a separate layer each hairpins. Add another layer
time, then rotate each one slightly to make it look less over the character for the silk
‘pasted’. Make sure they don’t overlap, then merge them. flower.
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Advanced Photoshop
23 Skin texture
Choose a rough texture brush with Angle
Jitter at 50%, pick an almost white colour and stamp the
texture onto a new layer over any exposed skin. Repeat
this with a shadow colour picked from the portrait on a
separate layer.
25 Finalise the
background
Now that the character is
finished, we can go back
over the background once
more. Painting a wall, you
can go as smooth or rough
Custom
as you like. Here, we want
something in between, so
brushes
use the round Paintbrush as
well as rough texture The main brushes we used for this
brushes set to Angle Jitter painting are the default round Paintbrush,
and Opacity to Pen Pressure various custom speckled and texture
to get the desired effect. brushes. The round Paintbrush is good for
pretty much anything, but we used it here
mainly to lay down colours and refine
26 More textures
To give the painting even more realism and
also a little edge, we add more textures, and this time all
facial features, hair and paint the brocade
fabric. The speckled brushes are not only
good for hair, they also add some variation
over. The procedure is the same as with the skin texture to the skin (and are great for creating
(step 23 and 24), only this time with two different large freckles). We used the texture brushes to
brushes. Stamp them once each on separate layers, then add life to the background, the skin and
adjust the size of layers to cover the entire painting. the overall painting.
27 Final tweaks
Gently blur some parts with the Blur tool – it
will also help to integrate the character a little more.
Flatten the layers. Now see if the painting may benefit
from adjustment of the Levels or even Variations. To
boost the colours, Duplicate the layer, set the Opacity to
either Vivid Light or Overlay and reduce it as much or
little as you like.
53
Advanced Photoshop
54
Advanced Photoshop
W
orking illustrative or abstract renders in with multiple photographs is available stock, as well as on using the illustrative renders to add perspective and
an excellent way to create a high-energy artwork. When blended intrigue to the composition.
properly, illustration can do a wonderful job of bringing a composition In this tutorial we will look at ways to adjust and blend multiple stocks together to
together, by adding depth and movement to what can otherwise be quite a staid scene. create a seamless kaleidoscopic foundation for an artwork. We will also cover basic
While creating compositions based entirely around photographic materials is both extraction techniques, look at some innovative layer-masking methods and have a play
challenging and rewarding, nothing stands out quite like a piece built around some very around with different kinds of blur effects. We’ll also cover a sneaky way to create some
unnatural elements. Our focus in the construction of this piece will be upon applying nifty brush effects and cap it off with some adjustment layer fun. Plenty to sink our teeth
some unusual kaleidoscope-like effects to our photography, all of which is freely into with this one, so let’s get started!
1 2
ON THE DISC
Getting started Etch the model from the background All of the stock images used here are freely
The first thing we’ll need is a model! You can find This is a very dark shot that makes some edges available from sxc.hu. On the disc you will
find a PSD file of a 3D render, as well as a
the model that we used at sxc.hu, image number hard to spot – a trick here is to add a Levels adjustment Word document with links to all the stock
‘764732’. This is a good shot in that the model is well lit layer and drag the Midtones sharply towards the images used. These images are also
and very obviously focusing on a point directly above shadows. This will blow the highlights up and make referenced in the tutorial.
her – a strong beginning that suggests a direction for etching much easier. Zoom in nice and tight on the OUR EXPERT Justin M Maller
the piece. photograph – around the 400% mark should get you a Justin Maller is a graphic artist from Melbourne, Australia. He is
currently working as a full-time freelance graphic artist, while
nice accurate result.
also creatively directing the crew over at depthCORE.com. Check
out his personal folio at superlover.com.au.
56
Advanced Photoshop
Essential checks:
work in
15 Double
abstract fun
Open up ‘renders.psd’ again and
progress
bring in the ‘Double’ layer. While creating a detailed piece like this, we
Throw it behind the ‘abstract create previews at random intervals throughout
kaleido’ layer and rotate it so the production process and will often save
that the form disappears out of multiple versions of the layered PSD. This allows
screen. Duplicate and Flip us to backtrack throughout the history of the
Horizontal to maintain the piece at times when we get stuck – we can see
symmetry of the piece. Set the the things we liked at different times and ensure
that the changes we are making are truly
layer Opacity to 75%.
benefiting the piece. There have been many
times when we have had to admit that the last
five hours have been for nothing and revert to an
old version. It’s hard, but your work will be
stronger for it, so be brave!
57
Advanced Photoshop
16 Position
the layers
Duplicate these two layers and
flip them vertically. Position the
abstract ‘clump’ above the
model’s head (below the
‘abstract kaleido’ in the Layers Focus on
palette). Add a layer mask and
drag out a vertical gradient adjustment
running white to black from top
to bottom to hide the tendrils. layers
We talk about adjustment layers a lot and there’s
a very good reason for it; we have never released
a finished piece of artwork that didn’t have at
17 18
wonders. First we added a Color Balance
Brush effects Fine details
adjustment layer and moved the Highlights
Create a new square document (300 x 300) Open the Brushes palette and select your quite significantly (around the 25% mark)
and fill with black. Render a Lens Flare in the precise newly made brush. In the Shape Dynamics, turn Size towards Yellow and the Midtones fractionally
middle. Reduce Saturation to 0 and crunch the Levels by Jitter up to 100%, then Scattering up to 1,000% on both (around 5%) towards Cyan. Setting the blending
sliding the Midtones towards the Highlights as before. axes. Create a new layer and brush liberally behind the mode to Lighten completed this effect and really
Hit Cmd/Ctrl+A to select all, then Cmd/Ctrl+I to invert. model, erasing unwanted parts as you go. Less is more, made the image pop a little more, while infusing
Define this as a brush (Edit>Define Brush Preset). but make sure the effect is present! it with a lovely warm tone. To balance this, we
then added a Channel Mixer layer and upped the
contrast in the Blue Channel by 10%. Select the
automatic layer mask, drag out a Black to White
gradient running diagonally from the top right
and you have a subtle effect that further breaks
symmetry without creating imbalance.
Experimentation is key with adjustment layers –
play with their position in the layer hierarchy,
play with their opacity, but always make sure
they are there.
19 Finishing off
Now that the basis
of the image is complete, it’s
time to put the finishing
touches in by adding fine
details. We’ve made a couple
of extra kaleidos from the
shapes and positioned them
symmetrically. We also etched
out the lily images (sxc.hu,
image numbers ‘831903’ and
‘915051’) and scattered them
around before adding more
lighting. This is where the
magic happens, so take your
time to enjoy the techniques
we have discussed.
58
Advanced Photoshop
60
Advanced Photoshop
SIDESHOW ART
‘Poser_render.png’, ‘Curtain.jpg’,
‘Banner.png’, ‘Skulls.png’, ‘Distress_
1.jpg’ and ‘Distress_2.jpg’
1 Square up
Open ‘Backdrop_1.jpg’ from this month’s
CD and you will notice that the scan is not
square – this is easy to fix. Select the Measure
tool (found under the Eyedropper fly-out menu)
and drag a line corresponding to the bottom
edge of the illustration. Next go
Edit>Transform>Rotate and hit OK. The
complete image was too large to fit under the
scanner, so it was scanned in two parts, as you’ll
see next.
2 Perfect alignment
Use the Crop tool to extend the right-
hand canvas, then open ‘Backdrop_2.jpg’ and
straighten using the Measure tool as before.
Now drag/drop as a new layer into ‘Backdrop_
1.jpg’ and position – lowering the Opacity of
the top layer will help you align the two
images. Set the Opacity back to 100% and hit
Cmd/Ctrl+E to Merge Down.
THROUGHOUT ART HISTORY, Select a dark green as your Background Color (R = 35, G = 41,
and B = 13). Create a new RGB document (21.6cm x 30.3cm), set the
BAROQUE PORTRAITURE” shifts when it’s converted to CMYK. Drag/drop the backdrop image as
a new layer, Flip Horizontally and position as shown.
61
Advanced Photoshop
5 Precise guides
Set the gradient layer’s blending mode
to Multiply and adjust the Opacity to 90%.
Open ‘Poser_render.png’ and drag/drop into
your working document as a new layer and
position as shown. Remove the white halo via
Layer>Matting>Defringe by 1px. Now go
View>New Guide and add two horizontal
guides (6.7cm and 28.6cm), then two vertical
guides (1.70cm and 21.9cm).
IN ORDER
TO FULLY
UNDERSTAND
THESE
FEATURES”
62
Advanced Photoshop
14 Add a shadow
Create a new
15 Circle graphic
Create another new layer beneath the banner and pick a
burgundy Foreground Color (R = 125, G = 18 and B = 28). With the
layer beneath the banner Ellipse tool set to Fill Pixels, draw a circle and position top left. Next add
and drag a Marquee within an Outer Glow layer style and pick a dark yellow (R = 215, G = 155 and B
the border guides. Add a = 19). Set the Spread to 100% and the Size to 10px.
linear gradient (as in Step 4).
Set the blending mode to
Multiply and adjust the
Opacity to 70%. Delete the
central area by Cmd/Ctrl-
clicking on the ‘curtain’ layer
to generate a selection and
inverse it. Ensure your new
layer is targeted and hit
delete. Repeat using the
yellow keyline (from Step 7)
as a selection.
16 More
graphics
Duplicate the circle and
then Shift-drag it over to
the right. Add another
smaller circle with the
same layer style (with the
colours transposed)
bottom left. Continue to Fantastical figures
add further graphics such
as the red stars using the We used Poser for the character in this tutorial – it’s ideal for
Polygon tool with Fill Pixels creating fantastical creatures like Chumana. She started out as
selected. Check over the the Victoria 3 base model (available from DAZ); her physique
image and carry out final was shaped using morph injections, then posed. Then the
tweaks – we decided to reptilian skin (also from DAZ) was applied along with some
alter the figure’s Color freebie clothes and a skull prop. For more information see
Balance adjustment layer http://graphics.smithmicro.com and www.daz3d.com.
to 30%.
63
Advanced Photoshop
64
Advanced Photoshop
d e r’sp
Rea r k s htheoartists
wGreo o
ages
op
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a
at imn the Adv website
tail
osh de
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exp
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“IT’S VERY
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IMAGES THAT
BUILDING BLOCK”
INSPIRE YOU”
66
Advanced Photoshop
T
his tutorial is based on masking, options are at the top and the command
ON THE DISC
layer blending modes and menus are represented as symbols at the
You will find the document titled
adjustment layers – three of bottom. There are various others there too, ‘Anais_colour.psd’ on the disc,
Photoshop’s most vital abilities. which include the ‘Add layer mask’ symbol. plus all the elements and the mist
and mask brush set, which I
There is a wide variety of layer commands The inspiration for the Emel1 image came
created for this image.
that all react differently in various situations from the original photography by Emel
OUR EXPERT Dean Gartland
and all have their own in-depth settings. The Bayram (memelsteak.deviantart.com) and
Dean is a self-taught artist from Newcastle upon Tyne in the
combinations and results of them working the styling by the Sebastien Coiffeur Studio. UK, who started out in digital art in 2006. He mainly works in
together and individually seem endless. It sounds obvious, but it’s very important collaboration with photographers and models on photo
You can access the layer commands by to work with images that inspire you. Don’t illustration and manipulation projects with a simplistic style.
You can see his Advanced Photoshop profile by taking a
going to the Layer tab on the top toolbar, or forget to save the image after each step. And visit to www.advancedphotoshop.co.uk/user/Low Winter
by looking on the Layers palette itself. The remember, when masking, black hides and Sun; more of his work is also available to view at www.
behance.net/Lowwintersun.
blending modes and Opacity adjustment white reveals.
1 Getting started
The source files for this tutorial are
available on the disc. First, the open
Masking: settings and tips
‘Papertexture.psd’ and ‘Anais_colour.psd’ files.
Drag and drop the model image onto the paper I have supplied a set of my own brushes called ‘mist_and_
mask.abr’ to help with the masking process and for the
texture and place it in the centre. Add a layer
coloured mist. For this image I used a Size range of 226 to
mask and duplicate the layer, renaming it ‘Grey,’
145 and an Opacity range of 15% to 30%. I find it is always
then move it under the model image in the
better to mask out or in, gradually and subtly when
Layers palette. Save as ‘Emel1’.
blending layers as it creates a much softer, natural effect.
Don’t worry about getting it all perfect straight away,
2
though – the complexity and overall look of the whole
First adjustment layer image will change as it evolves, so it’s often best to wait
Switch to full-screen mode by pressing ‘F’. until the final stages, then go back and fine-tune the
Select the ‘Grey’ layer and press Cmd/Ctrl+U. Set masking and blending.
the Saturation to -100 and Lightness +50, then
select the model image and set the Opacity to
60%. Add a Levels adjustment layer via
Layer>New Adjustment Layer>Levels, making
sure it is sat at the very top of the layer stack,
then set the black adjuster to +44 and click OK.
4 Extra elements
Open ‘Wave_lines.
psd’, ‘Strands.psd’, ‘Body_
blocks.psd’ and
‘Whitesplash.psd’ from
the CD. Drag and drop
3
them all into the main
Masking out image, moving them
Select the layer mask on the model image below the model image
(which comes with the adjustment layer as in the layer stack. Position
standard). Start at the bottom of the image and them around the main
softly brush away the colour, completely at first image. You can also draw
then more subtle towards the middle and top your own elements using
of the back. Go gently around the shoulder, arm the Pen tool, or scan in
and face. Switch to ‘Grey’ layer mask and do the some hand-drawn work.
same, but only at the base of the image. It’s up to you!
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Advanced Photoshop
10 Brighten it up
We need to brighten up the whole
image now, which again we will do via an
adjustment layer. Open a Brightness/Contrast
adjustment layer via Layer>New Adjustment
Layer>Brightness/Contrast or with the controls
at the bottom of the Layers palette. Set the
Brightness to +25 and Contrast -20. You can
play around with the three adjustment layers
to achieve the best look for the image.
11 Elements and
blending modes
You now have the basic version of ‘Emel1’, but
ALL THE LAYERS first page of this tutorial. Go back over all the
layers and play with blending modes and
AND PLAY WITH Opacity levels, add more colour or circles, touch
up on the masking layers or even bring in some
BLENDING MODES” new elements to get the image looking 100 per
cent perfect.
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Advanced Photoshop
coin to actually buy the proper gear. You could use FAKE LENS EFFECTS: The Lens Correction filter does as
FAKING WIDE-ANGLE PHOTOS the Warp tool to bend the image as you see fit, but a great a job adding distortion as it does removing it
Hi, I don’t own any wide-angle gear and can’t a more elegant and accurate solution is to use the
really afford it right now either, but I like the Lens Correction filter (Filter>Distort>Lens Correction). Filter>Texture>Texturizer. Check the pull-down menu
‘big’ look on some of those photos and I This filter was designed to help you remove lens for Puzzle; if it’s not there, then click the flyout arrow
figured this must be possible to do? distortions, but can just as easily be used to add them. for Load Texture. Navigate to the Photoshop program
James Richards Use the top Remove Distortion slider to create the files and look for the Presets\Textures folder (this
primary effect, then use the vertical and horizontal will vary depending on your system, but it should
It sure is. I recommend using the PhotoMerge perspectives to enhance the bend. In this bridge look something like: C:\Program Files\Adobe\Adobe
function to stitch individual shots together. This example (above), I wanted the horizon line to rise in Photoshop CS3\Presets\Textures). Find the ‘Puzzle.psd’
feature can save you hours of work in aligning and the middle and the outside trees to bend in towards file. Take notice of where that file is because it’s just a
tone-correcting your photos. Don’t be like me and the centre. So I used a -10 Distortion and Vertical PSD file that can be opened normally in Photoshop
discover the benefits of this tool after doing it the Perspective of 13. If empty areas show up around and abused for all sorts of things! Just be sure to save
hard way… and failing miserably. the edges, use the Scale slider to fill the canvas again. any changes you make to a different file.
So once you’ve got your faux photo panorama,
you want to add the lens distortion you see in those
spectacular photos from photographers with enough PUZZLED OH CROP!
Doesn’t Photoshop have a jigsaw puzzle I have selected the Crop tool, but can’t find
pattern? Where is it? the box that enables me to specify the crop
Sarah Scott area, eg: 100 x 100 pixels
HELPDESK Yes, there is a jigsaw puzzle built in to
aprilfool, on the forum
CALL FOR QUESTIONS Photoshop. The real trick is finding it. Did
you try loading all the pattern files from
Want help with Photoshop? the Preset Manager? You did? Then you
Send your emails to us at: already know it’s not there. Have you
advancedpshop@imagine-publishing.co.uk tried assembling the individual puzzle
pieces from the Custom Shape tool? Did
or post a message on our forum board at it work? Didn’t work for me either.
www.advancedphotoshop.co.uk/forum. Here’s the thing. It’s not a pattern, it’s
Remember to specify whether you’re using a texture. Even Adobe confuses them in
a PC or Mac and the version number of certain places (like the Texture Overlay
layer style). Proper textures are used by
your edition of Photoshop. the Texturizer filter. Patterns are used PUZZLE PATTERNS: The Texturizer has a Puzzle option,
everywhere else. So start by going to but it must be loaded first
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Advanced Photoshop
2
need? Then we watch in bewilderment as the tool still
allows us to drag a rectangle out to be as big or little Path finder
as we want. What’s going on here? Right-click (or Cmd-click) the selection and
Well, the way the Crop tool works is that when choose Make Work Path. Set the Tolerance as needed.
there are values in the Width/Height fields, the tool Then use the Direct Selection tool to clean up and
will automatically resample the image after cropping adjust the path.
to fit that specified size. So it essentially becomes two
tools in one: crop and resample.
To get what you are looking for, first use the
Rectangular Marquee Selection tool and change the
Style to Fixed Size. Enter the values into the Width and
Height fields, then drop your perfectly sized square
on the canvas where you want and use the Crop
command (Image>Crop).
Another, even less obvious (and presumably less
SWITCH PROGRAMS: Getting vectors from Illustrator to
useful) method would be to change the canvas size Photoshop is as simple as Cut and Paste
(Image>Canvas Size) to your 100 x 100 pixel square.
3
Then use the Move tool to reposition your layer so the Photoshop? Well you can do that, as long as you like
desired portion shows through the canvas window. your Illustrator vectors to be converted to flat pixels. Create a shape
“But wait!” you say. “Photoshop has vectors. They’re With your path(s) selected, go to Edit>Define
called Paths and Shapes, but they’re really vectors! I’ve Custom Shape. This shape will now be available at the
ILLUSTRATOR TO PHOTOSHOP seen them! Why can’t I get my Illustrator work in like bottom of your Custom Shapes pull-out menu.
Is there any way of moving vector artwork that?” Okay, calm down, you can do it. It’s not even
from Illustrator into Photoshop without that hard to do, but it certainly isn’t obvious.
rasterizing it? I’d like to keep it as editable Start in Illustrator and select your vectors, then
shapes and/or paths. Why do the Open and hit Edit>Copy. Go to Photoshop and hit Edit>Paste.
Open As functions insist on rasterizing? You’ll get a Paste As… box asking you how you want
Rory Walkman your vectors. Usually Shapes and Paths are the better
choices. Just remember, Photoshop’s paths aren’t
Remember when Adobe first started packaging nearly as sophisticated as Illustrator’s. You’ll want
products together into a suite and proclaiming to simplify your paths as much as you can. Use the
interoperability? Remember the dream of creating a compound paths to define shapes instead of using
file in Illustrator and then opening that same file in covering shapes filled with the background colour.
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Advanced Photoshop
S
aving your imagery in Photoshop couldn’t be easier. A simple trip to
File>Save As, specify a filename and location, and there you have it.
Well, not quite. There’s the matter of choosing Format, which is as integral
as any other phase in the creative process.
No doubt as a digital creative you’re familiar with the file suffixes ‘.jpg’,
‘.psd’ and ‘.tif’, among others. Yet each has its own purpose, designed for a
specific function that enthusiastic creatives may not be aware of. There are also
several unfamiliar and elusive options that can be applied to your saved files,
which will undoubtedly benefit your storage facility. This month’s Insider Info will
disclose the purpose and performance of all the above, helping you optimise your
file production.
image sharing. Essentially a flexible
OUR EXPERT Adam Smith
Bitmap image format, this file type is
Having produced design for both print and web in a
professional and freelance capacity, Adam knows the accepted by virtually all paint, image-
attributes and merits that each file suffix can bring to editing and page-layout applications.
presenting imagery. Here he shares his knowledge.
It comes with its own extended file
options, as with the PSD files, including
PSD: Photoshop Format (PSD) is the Image Compression, which composites
default, and the only file format, besides image data. 32-bit files can be saved
APPLIED ACTION: By activating the Actions palette and selecting Production from the drop
the Large Document Format (PSB), that with predictor compression that menu, you can run the Save As JPEG Medium action, which will automatically and quickly save a
supports most Photoshop features. This rearranges floating-point values, working medium-quality JPEG file
Photoshop-specific suffix works best with both LZW and ZIP compression. The
when applied to an image with large file latter, however, may not be old TIFF JPEG: Joint Photographic Experts Fundamentally created and applied to
capacity. The file type preserves all layer Reader compatible. Group (JPEG) lets users save in CMYK, images designated for the web, this file
and channel information so you can Byte Order concerns the platform in RGB and Grayscale, therefore supporting format is used for lossless compression.
continually edit and adjust images. which the image will be accessed. full colour palettes. This means when you Superior to the more traditional GIF, the
Because of the tight integration between Photoshop, along with recent design save photographic imagery for web- PNG supports 24-bit images, producing
Adobe products and applications, it’s applications, reads images using IBM based projects, this is a preferable suffix background transparency minus jagged
useful for anyone importing images into PC or Macintosh byte order, so this can to use. The JPEG compresses file size by edges. It has two standard options,
InDesign, for example. Upon saving the be valuable in the presentation of selectively discarding data. Be aware that selectable from the Interlaced option
PSD, users will be permitted to maximise correct image quality. once the format is closed, recompression dialog box. The None command will
file compatibility with the Layers Layer Compression specifies a is applied, therefore adjustments should display imagery in a browser only upon
command. This saves a composite version method for compressing pixel data in be done using the layered file to preserve download. The Interlaced command will
of a layered image so it can be accessed layers. Using this option eliminates the image quality. It too comes standard with display low-resolution versions of an
in other applications, maintaining need to manage a separate PSD file to its own options, like the other file types. image within a browser as files download.
blended layers’ integrity in the future. hold layer data, although files that Image options specify picture quality by This option makes for seemingly shorter
include layer data are larger. dragging the Quality slider and entering
TIFF: Tagged Image File Format (TIFF)
is designed to excel in cross-platform
Selecting the Discard Layers options
saves all as a flattened image.
a value between 0 and 12. Format
options specify file format. Baseline Did you know?
(‘Standard’) is recognised by most web
There is a time and a place for
browsers, whereas Baseline Optimized
JPEG problems creates a file with optimised colour and a
ZIP filing. Providing lossless
compression and supported
slightly smaller file size. by PDF and TIFF file formats,
Some of you may encounter difficulties with applications unable to read this compression is in fact most
CMYK files saved in the JPEG format. This may coincide with Java applications PNG: Portable Networks Graphic effective with design and imagery
not reading your JPEG file in any Color mode. If this occurs, save files without a (PNG) is a reasonably recent graphic that contains large areas of a
thumbnail preview activated. addition to the suffix genus. single colour.
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Advanced Photoshop
es
iqu
INFO
n
ch
Te
OPTIONS: Coming as standard with six preset
mixing options, Channel Mixer offers the user
many colour and greyscale solutions to enhance
their artwork
AUTOMATED PROMPT: TIFF files have plenty of options that can be customised, and they can save layers. You can choose to be notified when saving
an image as a TIFF with layers by going to Photoshop>Preferences>File Handling and selecting Ask Before Saving Layered TIFF Files
Did you know?
“USERS BEWARE – NOT ALL WEB TIFF is a versatile format that
supports images in CMYK, RGB,
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Advanced Photoshop
P
eer Pressure has once again been inundated with great artwork. The
chosen entries this month offer an array of insights into the creative mind,
sharing and revealing individual approaches and skills. We always include
your email and web address so that interested parties can get in touch.
All you have to do is send us high-quality TIFFs or JPEGs (RGB or CMYK) at 300dpi,
which can be printed at a minimum size of 15 x 15cm. Send us lo-res versions to
advancedpshop@imagine-publishing.co.uk – we’ll get back to you for higher-
resolution work if needed. Alternatively, log on to our forum at www.
advancedphotoshop.co.uk/forum. We cannot provide individual image assessment.
Each issue we select one image to be Best In Show, and that lucky person will win
a fantastic prize, courtesy of The Illustration Source (www.illustration-source.com),
which is a great way to get your work seen. So, what are you waiting for?
WELCOME TO THE FREAK SHOW: “Probably my most LES RUSSES: “A great team consisting of Ken Decooman (drummer from the audiovisual music band Motek),
recognisable style: creating an ‘irreal’ story with unnatural elements” Wes Degreef (a great architect to be) and plain old me”
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Advanced Photoshop
BEST
IN SHOW
Traditional feel
NAME: Bernt Kristiansen
EMAIL: osing@mac.com
Bernt was born in 1946 in Os, a small township just south of Bergen,
Norway. For many years he was a journalist for the leading newspaper
of Bergen. He also held several other positions on the paper, including
the role of picture editor for quite some time. Ending his newspaper
career in 1995, he set up his own one-man business for writing,
illustrating, and layout. Book design is his main occupation, but he is
also an author and is occasionally asked to perform illustrations –
graphics and maps, but also reconstructions, portraits, scenes, and so
on, to go with specific texts.
Bernt has always been interested in the arts, which has led him to this
point: “My background as an illustrator is merely my interest for drawing
and painting, which I was born with. I have trained myself with natural
media – mostly charcoal and oils – as well as with our the fantastic
electronic tools of our day.”
Keen to fully embrace the digital era, Bernt tells us about his software
of choice. “The applications I use for drawing and painting are
Illustrator (previously Freehand), Sketchup, Painter, and above all,
Photoshop. I use Photoshop daily for editing photos for books, but I still
have a lot to learn to take full advantage of the application as an artistic
paint medium. So I hope to live until I am 147,” he admits. We hope he
SURGEON: “Made for a local exhibition last year. Some sketch work by hand, painting in
Painter, then background, finish and tuning in Photoshop” does too, so we can see more of his artwork!
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Advanced Photoshop
Making a
statement
NAME: Hayley Clifton
EMAIL: d.christian@ntlworld.com
CHILD SLAVERY:
“I wanted the child’s eyes to
touch the viewer into
submission, feel their
despair but also their
vulnerability and sensitivity”
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Advanced Photoshop
Rod is a self-taught photographer and the digital artist behind Blue Fin Art. He has been living in
Scotland for the last 18 years and selling unique photographic art canvases online and through
galleries for just over a year. Having originally tried painting but found the final result was never what
he wanted, he was soon mucking about with photo applications experimenting with different effects.
He tells us more about this progression into using digital applications: “At this time I only had a
show
compact two-megapixel camera and wanted to find a way of working with my photographs to produce
large prints. I had purchased a copy of Photoshop and was using this to experiment with the
landscape images that I had taken previously. After a few months I had refined my technique and
managed to produce an image suitable for printing onto large canvases of 120 x 60cm (at 5,000 x 2,500
pixels) from the original image size of 1,600 x 1,200 pixels.”
He has now refined his technique. “General improvements such as levels, contrast, and saturation
Sponsored by…
Not only is Bernt Kristiansen this
are applied before starting my process. My main technique is to use the Noise filter, which reduces month’s Best in Show, he has also
the pixellation and softens the image to give it a more painted feel. I pick out key colours in the image won a year’s full Option 3
– for example a blue in the sky or greens in a field – and using a Smudge brush I can push the pixels membership to The Illustration
across the screen using my mouse to produce the desired effect.” Source, worth £150 and Featured
Artist slot for July. The Illustration
Source Ltd is the newest source of
original art, freelance illustrators,
photographers, artists and
designers on the net. Visit www.
illustration-source.com for more
information. If you’d like to stand a
chance of winning an Illustration
Source portfolio, send your images
to advancedpshop@imagine-
publishing.co.uk.
Image requirements
You’ll stand a better chance of
seeing your work in print if you
BARNS NESS adhere to the following criteria:
LIGHTHOUSE: “In this image make sure that your images are
the sky and waves were added in high-quality TIFFs or JPEGs (RGB or
from two other images and the CMYK), 300dpi minimum, and can
colour from the sky was used and be printed at 15 x 15cm minimum.
airbrushed onto the lighthouse
Don’t forget to include a small text
and waves at a low opacity”
file detailing how you created your
work as well.
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Advanced Photoshop
Websites
without
the tears
Your website can be a
F
or the busy artist, designer and illustrator, flexibility of creating and updating your own website
getting a presence online beyond a blog can within a third-party professional template and website-
window to a world of be the last thing on your ‘to do’ list. Your
computer skills may be limited to browsing your
management tool. Frequently embracing drag-and-
drop simplicity, these require little or no understanding
opportunity, but when favourite websites, sending emails and working with
Photoshop, so the thought of getting online alone could
of the building blocks that make your online presence
possible. Ideally suited to those on a budget, many
you need a helping hand seem daunting. Getting started online will often mean a providers offer a free trial. PayPal integration is often
should you turn to? pros and cons. The DIY option can take up time and
money, but offers self-sufficiency and proves rewarding
between a free blog and a bespoke purpose-built
domain, they can offer a stepping stone between
BY NICK SPENCE as you develop new skills that might lead to future simply getting online and having a professionally
revenue opportunities. Web designers can be costly, produced, customised and highly optimised website.
additionally so when you need regular updates, but you
should at least have a professional-looking site that Look beyond blogs
works smoothly and showcases your work effectively. While blogs can be great for showing work in progress,
A third option, which in recent years has become highlighting recent jobs and client updates and
increasingly popular, is to combine the two, having the showcasing things that enthuse and inspire you, for
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Advanced Photoshop
Have all
of this
and more
at your
fingertips!
many a dedicated website is invaluable. “Having an determine how you are viewed and seen by that their portfolio pages and, if possible, the sites they claim
independent website in today’s competitive world has audience, framing your work in the right environment to to have designed. Don’t be shy to ask them for a
become a crucial element in a successful artist’s career,” ensure your work alone is the centre of attention: reference from one of their clients. If they don’t want to
insists Chris Kirkland of The Artists Web (www. “Having your own website, rather than simply a space on give that, ask why.” You will need to clarify any additional
theartistsweb.co.uk). “Not only is it expected, not having some shared gallery or social network site, gives you costs, including maintaining domain names, paying for
a website is like having no business cards to give control and enable you to develop your own brand. It additional webspace, general maintenance, exceeding
potential clients and customers. But an artist‘s own, keeps clients focused on your work while they browse.” monthly bandwidth restrictions and all-important
independent and professionally created website with a website updates. It is also important to clarify what will
carefully chosen domain name brings numerous Do some research be done to ensure that once built, your own website will
opportunity and benefits. Your website is working for As with internet providers, a number of companies are be visible online. “Any good website design agency will
you as an agent 24/7; it welcomes visitors while you competing for your business, so it‘s important, as ever, to optimise a website for search engines from the start
sleep and it emphatically talks about your style and CV.” look around and research your options before you using relevant keywords, keywords in content, textual
With work increasingly delivered digitally and artwork commit your time and cash. A good place to start is the links and thoughtfully named page headings. Likewise
shipped internationally, your own website also gives you web designer‘s or provider‘s own website. “Check their they should ensure cross-platform and browser
access to a potential global audience. “A website own website thoroughly – if they don’t have a good site compatibility,” adds Matt Hill.
transcends any geographical boundaries – your work is then it’s not likely they can design you a good site,” If you opt for the skills of a professional web designer
permanently on show in Tokyo, New York, Paris and suggests Matt Hill of OH Creative (www.ohcreative.co. ask how easily and regularly websites can be
Timbuktu,” adds Chris Kirkland. You can also better uk) and ohfolio.com (www.ohfolio.com). “Also check updated, and by whom and at what cost. “Most of
83
Advanced Photoshop
© Ashby Design
Clikpic
© Famous When Dead
www.clikpic.com
Cost: £35 (Standard), £50 (Intermediate), £80
(Professional), £180 (Super Pro) per annum plus
domain name from £5.
Services offered: Template-based web design
in a wide variety of designs and colours to suit your
needs. Cheap domain name service, plus the ability
to sell prints with a PayPal account for ease of use.
Automatic image watermarking is also available FORMAT: Self-
styled artist and
if required.
part-time superhero
Famous When Dead’s
(www.fwdead.co.uk)
website uses Pixel
Presence’s drag-and-drop
formatting to great effect
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Advanced Photoshop
PIXEL PRESENCE: “A
website is an essential part of
© Famous When Dead
an illustrator, designer or
photographer‘s marketing
campaign. A professional
web presence can mean the
difference between getting a
job or not,” says Pixel Presence
co-founder Darren Di Lieto
Keep it simple
Another key question to ask is how easy it is to build a
ready-made website in reality. Anyone who has come
home from IKEA and found themselves trying to put
together furniture that bears a passing resemblance to
the photo on the packaging will know instructions are
not always easy to follow. “Generally speaking,
customers are amazed that they can have a professional
website within a few hours and are thrilled that they can
create it themselves without having to be a super-tech,”
enthuses Tim Hunt of Clikpic. “The ability to update and
change the site whenever they want is a major benefit
and many actually find it great fun.” Lots of sites will offer
step-by-step guides, some video based, which can save
© Caroline Harris
important job of creating new work to display, promote CAROLINE HARRIS: Keen
and hopefully sell and help generate further sales and photographer Caroline Harris (www.
carolineharrisphotography.co.uk)
commissions. “The tools are often a lot easier to use lives and works in Eccleshall,
than bespoke web design packages such as Staffordshire. She sells her work
Dreamweaver,” suggests Stuart Spice of Mr Site (www. partly from a Clikpic-powered website
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Advanced Photoshop
86
Advanced Photoshop
Creative Q&A
Critical Exposure
www.criticalexposure.com
Aaron Guldberg launched Critical Exposure with
SAM GARTON (ABOVE): These evocative the main focus of helping emerging artists and
illustrations by Sam Garton can be seen on their small businesses succeed online. As well as
The Illustration Source, an excellent resource
custom-built website design, Guldberg offers a
powered by OH Creative
website review service that gives an in-depth
analysis of your website and suggests ways of
maximising your online presence.
MIRANDA ADRIA: Based in Miami, Q. Generally, what does your website
Miranda Adria has a growing reputation
review service involve?
© Miranda Adria
enhance your business prospects are gaps in their online sales process. We compile all
context of a good marketing plan” Tim Hunt, Clikpic it to the client in PDF form and answer any
questions they may have. Average turnaround for
this service is approximately 7-10 days.
photographers, for instance, which might be most and £99.99 per annum each. “Mr Site’s Takeaway Website Q. And what kind of benefits do clients
sympathetic to your needs. “OH Creative’s website Pro, our more feature-packed product, is now selling get for their money?
template service (ohfolio.com) is specifically aimed at equal to the Mr Site Takeaway Website Standard A. Our clients love the fact that the advice we
illustrators and photographers, using their imagery in a product, accounting for 50 per cent of all our sales,” says provide them with is very specific to their website
big way for the construction of the site,” adds Matt Hill. Stuart Spice. and tells them what they need to do meet their
website’s goals. Clients of ours who have had their
Ultimately, whichever option you choose and
Cost effective whatever the cost, an online presence will pay dividends
website reviewed and acted upon our
recommendations have seen increased website
As well as finding a suitable website provider, you’ll over time, rewarding your investment, acting as an
visitation due to becoming more visible on the
need to determine which price plan and package is best additional platform and a vital tool to showcase and search engines along with more qualified sales
suited to your needs. Many companies and individuals market your talents. Your own website should be leads to their product offerings due to the
offer a range of services aimed at both enthusiasts and viewed as a beginning not simply the end result of you improvements to their online sales process.
professionals, with template-based providers particularly trawling the internet for a suitable provider. The real Q. What advice can you give for artists
offering a basic but perfectly respectable option from as work starts once your website is up, making sure people wanting to improve their online presence?
little as £35 a year. One simple solution is to start know you are out there and readily available. A. Think about who your audience is for your
modestly, upgrading your options over time. “Most “Use your website as part of a broader marketing website and cater to their needs. You never know
who the next visitor on your website might be; it
customers go for the cheapest price plan, £35 a year for plan, be clear on what and who you are targeting. Is it
could be a person just surfing the internet to view
up to 60 images, which allows them to dip their toes sales of prints? Portraits?,” concludes Tim Hunt. “There’s
artwork, it would be an art collector, a publisher, or
into the online world without having to splash out that no doubt about it, a good-looking and easy-to-use
someone looking to apply artwork in a new
much,” explains Tim Hunt of Clikpic. “Many of them go website will enhance your business prospects application you hadn’t even considered. Make sure
on to upgrade to higher-spec packages later on as their tremendously, even more so if within the context of a you’re representing yourself, your business and your
confidence builds and their needs change.” Companies good marketing plan. Whatever plan you come up with, artwork in its best light so you can maximise the
such as Mr Site offer a clear comparison chart listing the you will be able to use your website as a very cost- impact you make on that visitor. You never know
difference between standard and pro options, at £34.99 effective tool to achieve your goals.” what opportunities may result from their visit.
87
Advanced Photoshop
Specifications
Manufacturer: ohfolio.com
Web: www.ohfolio.com
Price: £108 (approx. $213)
About: Professional Flash templates
designed by artists for artists
Easy-to-use Site Editor to add text
and images at any time
Personal domain name and
hosting provides gallery space
for over 2,000 images
Summary: A professional website service for
people without the time or expertise to build
their own. It’s hassle free, and at £9 per
month, it’s not too expensive either.
Rating: 4/5
A new website service for artists, starting from just £9 per month
I
n our resources feature on page 82 this The newest of these services is ohfolio.com, at you can keep the wider world abreast of the
issue, we take a look at a number of www.ohfolio.com. This comes from the OH latest developments in your career. There is also a
different website services designed to Creative stable run by Matt Hill, which specialises homepage with plenty of room for a good
cater for artists and designers who need an in illustration, photography and bespoke website description of who you are and what you do, as
online presence without the hassle. Designed design, as well as running popular illustration well as an easy-to-find contact page for when the
as a professional portfolio, these services are used agency The Illustration Source. commissions come rolling in.
by commercial artists to present their work to This latest venture offers Flash templates for The templates are beautifully designed, using
potential clients. photographers and artists, as well as hosting. The Flash to its full benefits. Key to these is the fact
Of course, there are plenty of free sites out company website itself proves the calibre of the that images are embedded into the Flash site, so
there, like deviantART or CG Society, where you service, presenting a sleek finish and an easy-to- they cannot be downloaded or saved to the
can have a profile on show, but there is nothing navigate interface, which is exactly what you viewer’s computer, which means your images are
like having your own website, tailored to your would want from a service such as this. protected without having to plaster them with
needs and showcasing your work. Many are put There are a number of templates available to nasty watermarks. Second, Flash allows for
off the idea of building a website by the costs of suit your needs, each presenting you with rollovers, which have been used subtly here to
hosting involved, the technical knowledge enough gallery space for over 2,000 images – give an air of professionalism about the site. For
needed to put everything together and the time plenty for even the busiest of commercial artists. example, roll over your image in the Portfolio
taken to maintain the site. Website services take Each shows your images at a good size to present section and the image caption pops up, giving
away all this hassle and replace it with a fully your work to its full capacity and there is space for essential information, but hiding discreetly away
functional, professional-looking website, with all image information to caption your work. On when it’s not needed to let the viewer see the
the hard work done by someone else. some templates, a blog space is also included, so image in all its glory.
The service comes with a Site Editor (the OHFOLIO.COM: The ohfolio.com website is clean
content-management system, or CMS) that you and easy to navigate, which makes it the perfect
promotion for its services
can log into at any time to change your site, add
in more information, news or images. And you
don’t need any web design expertise to use it.
There’s no limit on how often you can update
your site, so you are fully in control at all times.
“A YEAR’S SUBSCRIPTION IS £108,
You can customise your template to suit as well,
which is a simple process but ensures that your
WHICH WORKS OUT AS JUST £9
site will look like your site and not anyone else’s,
even if you do use the same basic template.
In the Site Editor, you will see a drop-down
PER MONTH”
menu asking you which page you want to edit,
for example ‘gallery.xml’, which is the Gallery time to import all your text and images when you few friends and get some of your money back,
section. Hit Edit Page when you’ve chosen the first set up the site, but once you have done this, anyway – a £10 referral fee will certainly get you
one you want to tweak and you’ll see the making updates, even daily, is a fast process, so talking to everyone you know!
different elements you can change listed in the there’s no excuse not to stay up to date. With an online order form, signing up for the
main window. Click the arrow next to the You might be thinking at this stage that it must service really couldn’t be easier. You simply
element you want and you can simply start cost a lot for this service because you are getting provide your personal details, then decide on
typing to change text, or use the Upload New so much with it, but that’s not true. A year’s the type of domain name you wish to use: your
Image button to change a logo or gallery picture. subscription is £108 (payable in advance), which own that you already have, a personal domain
We definitely recommend that you close a tab works out as just £9 per month. We reckon that name from the company or an ohfolio address
after you have finished editing, or you’ll end up this is a perfectly acceptable cost for getting a (ohfolio.com/domainname).
with a really long list of open elements, meaning professional site without the hassle. It even This is the first in a new breed of website
you are scrolling up and down for ages! But it’s still includes the template, the hosting, unlimited services for artists, and we would definitely
easier than many behind-the-scenes website- changes to the site through the CMS and a recommend it if you want a professional
editing solutions we’ve seen in the past. It will take personal domain name. You could always refer a showcase site with the minimum of hassle. 5
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Advanced Photoshop
Olympus SP-570UZ
The look and feel of a professional SLR for the price of a compact camera
well at both ends of the zoom range, with
Manufacturer: Olympus barrel and pincushion distortion the usual,
Web: www.olympus.com and visible, effects. However, Olympus
Price: £390/$500 seems to have upped the game here, with
About: 10-megapixel resolution very little distortion apparent in any of the
f2.8-8.0 aperture and a 35mm test shots we took. Zooming does take a
equivalent lens of 26-520mm
little getting used to though, as the
2.7-inch HyperCrystal LCD screen
camera utilises the DSLR camera’s popular
31 shooting modes, including full manual
operation, an Auto option and scene modes zoom ring rather than a zoom lever. But
High ISO to 6400 for movement and low light once you get used to it, it gives incredibly
xD card required, 45MB internal accurate results.
memory provided Of course, with a zoom lens this long,
Runs on 4x AA batteries you need stabilisation to prevent blur, and
that comes in the form of Dual Image
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