Photoshop Creative Collection Vol 07 [2011]

CREATING TOOL PRESETS FOR THE CLONE STAMP TOOL Little helpers to make your life a touch easier 09 Resetanytool In the Options bar 10 Default Clone Stamp tool Once again in the 11 Re-creating your settings What you are going to on the far left you will see a duplicate Options bar, click the little black arrow next to do now is re-create the settings learned for the Clone of the Clone Stamp tool icon. If you right-click the Clone Stamp tool icon. This will give you a shortcut to tool, so that you can remove specular highlights without this icon, a small y-out menu will appear that the Tool Presets panel. Now click on the New Preset icon having to remember everything. Repeat steps 3 and 4 by gives you the option to either ‘Reset Tool’ or and name the new preset ‘Clone Stamp Tool (Default)’. setting the Clone Stamp tool to 10px Soft brush, Lighten ‘Reset All Tools’. Choose Reset Tool and this will mode, 35% Opacity, 35% Flow, Aligned ticked, and nally, hit reset the Clone Stamp tool for you. Sample All Layers. 12 New 13 Differentsettings Sometimes you preset need a little more or less opacity and Click the little black ow. It’s a good idea to adjust the Opacity arrow that points and Flow settings for the Clone Stamp tool to downwards next to 15%, 25%, 50%, as well as the 35% setting that the Clone Stamp tool you have already created. Create presets for icon, then click on these as well, so that you can change multiple the New Preset icon settings within a click or two. to save the Clone Stamp tool settings. Call it ‘Hot Spot Removal Settings’ or something else that is memorable. Now you have the setting all ready to go for when you really need it. 14 Current 15 Save your presets Go to Edit>Preset Manager and then choose Tool Tool from the Preset Type drop-down menu. Use Cmd/Ctrl+A to select all Only You may have your tool presets, and then choose the Save Set button to save your tool settings noticed a little tick so that if Photoshop ever crashed you could reload them easily. Remember to box at the bottom back them up! left corner of the Tools Presets panel. It says ‘Current Tool Only’ and if you are working with lots of tool presets, it’s best to have this ticked so that you only see the presets for the active tool. PHOTOSHOP CREATIVE COLLECTION 101

tutorial Secrets of retouching KEY SKILLS COVERED What you’ll learn CLEAN UP BLEMISHES WITH SPOT HEALING BRUSH AND CLONE STAMP DODGE AND BURN WITH CURVES, LAYERS & MASKS SMOOTH WITH GAUSSIAN BLUR LOCALISE ADJUSTMENTS WITH LAYER MASKS RESTORE HIGHLIGHT DETAIL WITH BLENDING OPTIONS SIMULATE SKIN TEXTURE WITH NOISE essentials Secrets of retouching Smooth skin to perfection with the full set of pro techniques including SKILL LEVEL spotting, dodging and burning, Gaussian blur and noise Beginner e live in an age of airbrushed perfection; a fantasy world Our model actually has near-perfect skin, so the job is fairly easy, but Intermediate where magazines neglect to give us the gritty facial you can still see how the nish we add gives that glossy magazine feel. Expert truth with all its spots, bumps and lines. But there is a Subjects with more challenging skin may need a greater amount of market for this. People love beauty as much as they love Spot Healing and Clone Stamp work, but if you don’t have the time, the TIME TAKEN truth, so weaving your way between the two is a di cult task. Gaussian blur smoothing work alone can produce near-miracle results. The fact is that most people will thank you for adding the same 1 hour fantasy element to their own portraits as celebrities get day in and day The key is to strike a good balance between smoothing and noise out. So, as long as you’re not shooting documentary-style work, there’s to simulate skin texture to maintain at least a semblance of reality. YOUR EXPERT nowt wrong with making people feel that little bit more proud of their The viewer should be drawn to the facial features rather than the head and shoulders portrait. retouching itself. If in doubt, knock it back a bit, so nobody will be able Matt Henry to say that anything looks too airbrushed! ON THE DISC Skin smoothing source.jpg 102 PHOTOSHOP CREATIVE COLLECTION

REMOVE BLEMISHES BEFORE SMOOTHING Tip Combine Spot Healing with the Clone Stamp for best work 01 Clean up work Our rstjobistoremoveanymoles,spotsor 02 Set up the brush In the Tool Options bar above, make sure Dodging and other skin blemishes. Start by creating a new layer using the that the Sample All Layers box is checked so the tool doesn’t burning button at the bottom of the Layers palette. Now select the Spot Healing source the new blank layer. Now resize the brush with the ‘[‘ and ‘]’ keys Brush tool (J). to slightly larger than the moles or spots. You can push your curve reasonably hard upwards and downwards for each Curves adjustment, as we’ll be using low opacity brushes to apply the effect. You’ll find you will have greater accuracy using low opacity brushes with strong Curves changes rather than weak Curves movements and higher opacity brush settings like 30%. When you’ve added your Curves adjustments, pressing ‘D’ will reset your colour palette to white and black to begin your work. ‘X’ moves between the two. 03 Spot Healing Click with a single click on any blemishes that 04 Cloning work SelecttheCloneStamptool(S),setittoCurrent Tip are in areas of even tone. If a blemish is located near edge detail and Below, resize the brush again, and use Alt to sample nearby D&B part two such as lips or eyes, you’ll need to use the Clone Stamp tool instead, to good data and click to replace the bad. Now, if there are overly light/dark avoid dragging the edge detail into the skin area. patches on the skin, we can even them out with some dodging/burning. Build up the dodge and burn gradually, 05 Dodgeandburn AddtwoCurvesadjustmentlayersusingthe 06 Merged duplicate With our basic work done, we’re ready to working harder on Layers palette button. Push one up with a single point; one down. apply our smoothing. Select the top layer in the stack and use the centre of the Select the layer mask on each and Hide All with Ctrl/Cmd+I. With a white Ctrl/Cmd+Alt+Shift+E to create a merged duplicate of everything on top. dark or light areas brush, 10% Opacity, build up where needed, with each layer mask selected Now go to Filter>Blur>Gaussian Blur. unless there’s a in turn. sharp transition in tone. If you work at 10% or even 5%, and click and move a touch and brush again each time, you’ll slowly bring the area into line without the work being noticeable. Turn layer visibility on and off for each layer to see the difference you make. PHOTOSHOP CS AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 103

tutorial secrets of retouching Best tools for the joB stArt the smoothing work Below we’ve given you a quick summary of the tools that, used Gaussian blur and layer masks are key together, will provide you with best results when you’re looking to carry out a convincing portrait makeover. Spot Healing brush The Spot Healing brush tool gives us a one-click solution to skin blemishes such as spots or moles. Clone Stamp tool 07 Add blur Use a Radius setting that’s high enough to apply quite a strong blur. We went for When you’re close 10 pixels here. OK the dialog and add a layer mask to the merged layer using the button at to edge detail such the Layers palette base. Invert the mask with Ctrl/Cmd+I to Hide All. as eyes or lips, you’ll need to switch to the Clone Stamp tool instead. Curves 08 Brushinsmoothing Nowtakethe 09 Alteropacity If you make a mistake, adjustments Brush tool (B), set it to white again, and you can use black to brush the Curves adjustment this time back to 100% Opacity and around 30% smoothing out again, before switching back layers allow you Hardness. Carefully brush over any areas of even to white (toggle black and white with ‘X’). to dodge and skin, avoiding detail such as lips, nose outline, When you’re done, you can drop the strength burn certain areas facial outline, and the straw and sunglasses. You of the smoothing if you wish by reducing the without working may need to zoom in for accuracy. layer opacity in the Layers palette. directly onto pixels, 10 Add more if required Toaddmoresmoothing,simplyrunthefilteragainusingCtrl/ Gaussian blur Cmd+F, making sure the layer thumbnail and not the layer mask is selected. You can then Gaussian blur is the drop the opacity to suit if the additional smoothing looks too strong. main ingredient to our smoothing technique, but needs to be localised using a layer mask. Gaussian noise We can prevent skin looking too smooth and artificial by adding a little Gaussian Monochromatic noise to the smoothed- out areas. 104 PHOTOSHOP CREATIVE COLLECTION

RESTORE HIGHLIGHT DETAIL THEN ADD SOME NOISE Tip Blending options and add noise to finish 11 Blending 12 Restorehighlightdetail In the Final check options Blending Options dialog you’ll see a When you’re section called Blend If. On the top ramp, hold It’s a good idea smoothing, any nice down Alt and click the white slider to split it in when determining highlights often two. Drag the left half leftwards until some of whether you’ve get smudged into the highlight detail reappears. We went to a added the right midtones, so we can setting of 145. Hit OK to nish. amount of run an additional smoothing and command to noise to look at knock back some your image at 100% smoothing in the (Actual Pixels), plus highlights area only. at a zoomed-out With the smoothing setting to give you layer selected, click the an overall feel. You fx button at the Layers need to use an palette base, then hit exact multiple like Blending Options. 25 or 5% of 100%, as others give a less accurate picture. Layerstructure How we got that glossy mag look Noise 13 Simulatetexture Now we’re going 14 Addanoiselayer A grey Overlay Skin smooth to add a little grain to the smoothed layer will now appear, which does Curves burn area to simulate skin pores. With the top layer nothing until we add our noise. Go to Filter> selected, hold down Alt and click the Create Noise>Add Noise and select Gaussian and New Layer button at the Layers palette base. Monochromatic. Move the slider to add noise. Select Overlay blending mode when the You can go strong, as we can always drop the dialog appears and tick the box below. opacity afterwards. We went to 7%. Curves dodge 15 Focusnoise Now we want to focus 16 Softenthenoise Finally, we want to Blemish removal the noise on the smoothed area only. blur the noise a little as it’s too sharp Background To do this, we can duplicate our layer mask to be realistic in its present form. Select the from the smoothed layer. Hold down Alt and layer thumbnail rather than the mask, then go drag the layer mask from the smoothing layer to Filter>Blur>Gaussian Blur and run 0.5 pixels. upwards to the noise layer to duplicate it. Alter the layer opacity of the smoothing and noise, if required, to nish. PHOTOSHOP CREATIVE COLLECTION 105

tutorial Removing wrinkles Before image essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 45minutes YOUR EXPERT Matt Henry ON THE DISC Wrinkles before.jpg KEY SKILLS Removingwrinkles COVERED Remove lines, creases and crows feet… and just about any other wrinkle that stands in the way of smooth, ageless skin What you’ll learn ou can roll back the years The Spot Healing brush is fantastic at at a reduced opacity of 50% to prevent any USING SPOT with this wrinkle-removing working away wrinkles in areas of fairly duplication of detail becoming obvious. HEALING technique, or if you’re even tone where there’s little change in Work over the area once, then re-source TO REMOVE working with someone lightness or contrast in proximate detail. and work over it again. BLEMISHES already fairly youthful, use it simply to This means all the areas of the forehead and WORKING ON soften the crease lines of a particularly neck – bar the very edges where hair or The Patch tool works best for larger areas NEW LAYERS expressive face. face edges can spoil the party, leaving you such as the cheeks, where the contours TO PRESERVE with a dark blurry mess. provide subtle changes in shading. Very BACKGROUND We’re making use of three di erent large areas can fool the Spot Healing brush, INFORMATION In these situations, the Clone Stamp tool so the Patch tool rules here. The only REMOVING wrinkle-removal tools: Spot Healing, Clone is king (it’s great for eye wrinkles too). As the downside of Patch is that it can’t be used on WRINKLES WITH Clone Stamp doesn’t have the blending a blank layer, so a merged layer is needed. SPOT HEALING, Stamp and Patch. Each one of them has its properties of the Healing brushes, it’s PATCH AND sometimes best used in Lighten mode and Details of how and when to use each CLONE STAMP own uses and advantages, and they will tool are included in the steps, so get busy! WORKING WITH LAYER MASKS all become obvious as you work through CREATING MERGED LAYERS the steps. TONING DOWN SKIN PORES WITH GAUSSIAN BLUR RESTORING SHARPNESS WITH MONO NOISE WORKS WITH | PHOTOSHOP CS2, CS3, CS4, CS5 106 PHOTOSHOP CREATIVE COLLECTION

REMOVENECKLINESTOSTART Tip A SpotHealingandCloningcombodoestheworkhere 01 Examine 02 Spot the blemishes We rename our new layer ‘Spotting’ and Brush cursor the face start by removing any small blemishes. Select the Spot Healing The rst thing we do brush and make sure it’s set to Sample All Layers in the Tool Options bar, The default cursor is create a new layer then work away all spots and moles. Avoid taking out blemishes near in Photoshop is with the appropriate edge detail such as the lips. set to Normal icon at the bottom Brush Tip, which of the Layers palette. means the area Next, we move inside the brush around the image to circle is where have a good look at most of the work any problem areas is concentrated, by hitting ‘F’ for but some spills Full-screen mode, outside (unless holding down you’re working at the spacebar and 100% Hardness). then dragging. This is quite an inaccurate way to work and can cause problems when cloning and healing – you may stray into unwanted areas. To avoid this problem, go to Edit>Preferences> Cursors and change the Painting Cursors to Full Size Brush Tip. 03 Cloneforedgedetail For 04 Removethenecklines Next, 05 Underchinlines For the very blemishes near edge detail, switch create a new layer and name it ‘Neck stubborn crease lines just under the to the Clone Stamp tool (S), set it to Current Lines’. Select the Spot Healing brush and click chin where Healing tends to make a mess, and Below in Tool Options, source from an away at the neck lines bit by bit with a brush we’re better o using the Clone Stamp tool set appropriate adjacent position and click over larger than the line thickness. Again, switch to to Lighten mode at about 50% Brush Opacity. the blemish. Use Ctrl/Cmd+Z to Undo if the the Clone Stamp tool for areas that are near Source underneath and work over the area result isn’t great, and have another go. edge detail. a couple of times, re-sourcing the second time. 06 Create a merged layer Now create a new layer and hold 07 Maskout down Alt/Opt while you click the triangle at the top right of the neck the Layers palette to access the menu. Keep the button pressed, and layer To ensure that select Merge Visible. A merged version of all your corrections so far is we can still control created on the new layer. Name this layer ‘Laughter Lines’. the strength of the Neck Lines layer if necessary, Ctrl/Cmd- click the Neck Lines layer to load it as a selection, then with the Laughter Lines layer active, click the Add Layer Mask button in the Layers palette base and invert it with Ctrl/Cmd+I. PHOTOSHOP CREATIVE COLLECTION 107

tutorial Removing wrinkles CHEEKS AND EYES ARE NEXT Patch, Spot Healing and Clone are all put to use 08 WorkthePatchtool Select the 09 Cleanupifneeded Repeat for the 10 Spot the crows feet Now for the crows feet on the outside of layer and not the mask, press Shift+J laughter line on the other side. Use each eye. Create a new layer and name it ‘Eye Wrinkles’. Work to cycle through to the Patch tool, then a combination of Spot Healing and Clone from the outside, clicking in bit by bit with the Spot Healing brush, but carefully draw around your rst laughter work to clean up any areas that don’t look stop about a quarter of the way before you get to the eye. crease line, including a fair bit of surrounding quite right. Repeat this technique for any other information. Now move the pointer inside the creases in the cheek area. selection and click and drag to an area of clean skin further out on the cheek. Spot Healing 11 Clonein close As SmartObjectsdohavetheir quirks! you get close to the eye, switch to the There are a few things worth noting about the Spot Healing Clone Stamp tool. Set brush. The first is that the results can on occasion be quite it to Lighten mode random. You can click one place, Undo and click again, and get in the Tool Options very different results – so it’s always worth having a go again Bar and 50% Opacity. if it doesn’t do as it should. Keep a close eye too on texture, Alt-click to source because on occasion it’s apt to smooth out textured areas good information by mistake. Either Undo and have another go or simply click between the over the area again to try to replace with surrounding texture. wrinkles and then Its results are also dependent on the size of the brush, so brush over them, try resizing if you’re not getting what you want. Wrinkles are stopping just before generally best removed with a few clicks of a smaller brush bit the eye each time. by bit, but if this doesn’t work you can try removing the same wrinkle in one or two goes with a larger brush instead. 12 Knock back the If the texture is starting to look smooth or blurry, Undo and have another go, eye bags Next, perhaps with a smaller brush size repeat the process for the other eye. When you’re done create a new layer and name it ‘Eye Bags’. Select the Clone Stamp tool and set it to Lighten and 50% Opacity. Sample underneath the eye bag with Alt and brush over once or twice. Repeat for the other bag. 108 PHOTOSHOP CREATIVE COLLECTION

FOREHEAD AND SKIN PORES Tip Finish off the wrinkles and knock back prominent pores 13 Foreheadwrinkles Create another 14 Dropthestrengthtosuit We’re 15 Createanothermergedlayer Next, Useful new layer and name it ‘Forehead done with the wrinkle removal now, create a new layer and hold down Alt/ shortcuts Wrinkles’. Work over each wrinkle with the so before we apply some optional smoothing, Opt while you click on the triangle at the top Spot Healing brush a bit at a time. If you get you can knock back any of the individual layers right of the Layers palette to access the menu. Keyboard shortcuts near to edge detail such as the face edge, to add back some authenticity. We knocked Keep the button pressed, and select Merge will speed up the switch to the Clone Stamp tool in Normal Eye Bags back to 60%. The rest we left as is. Visible. Name this layer ‘Skin Smoothing’. process. You can mode and 100% Opacity. access the Stamp with ‘S’, and the Spot Healing brush and Patch tools via ‘J’ (hold Shift to cycle through). The brush sizes can be altered with the ‘[’ and ‘]’ keys, and the number keys from 1 to 0 can be used to select opacity from 10% to 100%. Layerstructure We reveal our secrets of eternal youth Skin Smoothing 16 Blurtheskin Now go to Filter> 17 Brushintotheskin With the layer Forehead Wrinkles Blur>Gaussian Blur and adjust the mask selected, use Ctrl/Cmd+I to Eyebags slider to get a suitable blur for the skin. With invert it. Now take the Brush tool (‘B’) set to Eye Wrinkles the high-resolution version of this image, 5 100% Opacity and white, and brush into the pixels was enough to soften the pores a little. skin on the top half of the face only to avoid Add a layer mask using the button at the the stubble, missing out detail such as lips and Layers palette base. nose edges, eyes, eyebrows and face edges. 18 Addsome Laughter Lines noise Neck Lines To bring a bit of Background sharpness back into the smoothed area, select the layer (not the mask) and go to Filter>Noise>Add Noise. Add 3% of Gaussian Monochromatic noise to nish. PHOTOSHOP CREATIVE COLLECTION 109

Artistic Although Photoshop is famous for its image- editing properties, there are also a wealth of tools and techniques that will allow you to create your own masterpieces. If it’s your creative side you wish to explore, then we’ve got plenty of tutorials on offer to guide you along the way. From designing text using milk to producing stunning mosaic images, Photoshop is the perfect outlet for your inspirational ideas. Page 122 Page 126 Page 112 Page 130 112 Feature: 30 digital 133 Five-minute fix: Set off 148 Drawn from life Create coloured pencil sketches painting tips some digital fireworks 152 bCoreoaktelayaofuunt photo Top advice to create digital Light up the skies of your photos Design a background for your snaps masterpieces 134 Conquer the Pen tool 157 Five-minute fix: 122 Make a mosaic with Master this essential aspect of Photoshop Use photos in type actions and filters 140 tMhaekPeeanmtoaonlnequin using Add impact to your titles Combine your photos to create one Give still life a new meaning with this stunning image funky technique 158 Understand blending 126 Manipulate photos into art 144 Make a splash with modes and layer styles Use smoke to produce attention- grabbing creations Photoshop Add stunning glow effects 130 Stitch effect text If you like milk, you’ll love this… Put this embroidery effect to good use 110 PHOTOSHOP CREATIVE COLLECTION

Page 166 Page 144 Page 134 Page 140 162 iCnrsepairteedorairgtawmoir-k 176 wReitahlibsrtuicswheastercolour Forget paper, create your own Transform your photography into origami on-screen fabulous watercolour paintings Page 148 166 Chinese brush painting 182 Shape shifters An Asian inspiration for your Create complex scenes using personal photos just one shape 172 Compose a panograph 186 Wet sand text effects 194 Create a photo album Dissect your images into Carve message into sand using these scrapbook individual segments impressive effects Build your own album 175 Five-minute fix: Merge 190 Create a photo illustration 199 Five-minute fix: Quick modes for dramatic images Give your photos an illustrative feel with sketch effects Use colour effectively these simple steps Transform your photos PHOTOSHOP CREATIVE COLLECTION 111

feature 30 digital paint- 112 PHOTOSHOP CREATIVE COLLECTION

30digital painting tipsRdeigvietaallipnaginthtientgopflo3w0tmiposrteosmmaokoethyloyur ot many people can lay claim to being able to create real painted masterpieces – so stay clean and don’t get out your paints and brushes just yet. Why not grab your Wacom pen or mouse and open up Photoshop instead? Possessing real artistic skills can, of course, ultimately boost your paintings. However, you can make things easier for yourself by preparing properly and knowing the basic techniques. Your painting style will improve and you will see your skills flourish with just a little bit of practice. Digital painting can be just as tricky to master as the ‘real thing’. A Wacom tablet will be a great boost; these tips can be followed with a mouse, but your brush strokes might be less accurate than you wish and it will be a more frustrating process. In this feature we reveal 30 top digital painting tips that professional Photoshop users feel are the basis of digital painting. A great image doesn’t come together instantly – but learning all the simple elements will point you in the right direction. We’ll show you how to start at the beginning by loading your brushes, then how to create your own brushes, and lastly, when you feel ready, how to paint with them. Putting all these 30 tips together will leave you feeling motivated and inspired to begin painting. So turn the page and get prepared to put our tips to practical use. PHOTOSHOP CREATIVE COLLECTION 113

feature 30 digital painting tips Brush types Brushes palette 8 01 02 If this palette is not already showing, go to Window> Brush Tip Shape Brushes (or F5). This is where all of your brush There are 12 qualities are determined. We have broken the palette Where your brushes are preset brush down for quick referencing… packs already displayed by their shape. in Photoshop. Go to your Dual Brush You can 7 Brushes palette add a second brush to and click on 1 8 your stroke if needed the small black arrow at the top right of 5 – great when adding the palette. At the bottom of the list you texture to your work. will find the brush sets. To load one of 3 the sets, simply click it. If you want to add Brush Presets Where your 4 Other Dynamics Alter 6 these brushes to the ones already in your brushes are displayed with 6 the opacity and flow palette, click Append when the Option box a line example drawn. 7 jitters quickly here. appears. Now the brushes are loaded and the thumbnails are visible. 2 The most useful painting brushes: 1 5 OWiletbrMushedia: Other options In the 2 Shape Dynamics Here you can control your PDasrtyelMbreudsiha: bottom half of the Brushes brush size, angle and jitter (which is the palette you can select other variation of the brush). option styles to add to your brush, including Noise, Wet Edges, Airbrush, Smoothing and Protect Texture. Some are suited to certain brush styles, but it’s all about experimenting. Texture You can add texture 3 4 to your brush when painting Color Dynamics Vary the colour here. Select from the drop- options to your brushes here, down menu or load your own allowing the foreground/background textures. You can also control colours to alternate mid-flow. Other the blend mode options and options include Hue, Saturation and the strength of the texture. Brightness levels. Note that you can alter the brush controls as well. SNtiaptpulreabl rMusehdia: Loading & resetting brushes 04Shortcutsop]asnpkciumreietmyypssslbo.ytTfehp3oresr5a,ekhlesatebgsieTntyrrtofd3buhooioadsrepnhanae[acrcndcsradreiin5etzay.daess,ee SBoafsti/chbarrdu-sehdegse:d 03 Loading brushes is simple – just go to your Brushes palette and click on the top right arrow. In the list you will see the Load Brushes option. Click on this and locate the brushes you wish to load, then hit OK. They will be added to your brush library instantly. In this list you can also reset, save and replace brushes. 114 PHOTOSHOP CREATIVE COLLECTION

How to paint skin 02Base Double-click your Opacity from a photo original photo to make it editable and add a new layer above 06 Use 05 Therearemanywaystodigitallypaintskin. it. Fill this with a midtone skin colour your Starting from a sketch and building up gradually and then lower the opacity so the brush is a great choice. Here’s an easy technique. photo is visible. Select a small brush at a – we used a Hard Charcoal Edge low opacity when 01Swatches If you don’t feel brush. Sketch out the edges to the painting, either con dent about creating image, varying the brush size and on one layer or skin tones from scratch, open up opacity as you go. building up your a photo with good colouring for image slowly reference. Select the Brush tool and 03Graduallybuilditup Create layer by layer. then Alt-click on a light skin tone. a new layer at the top of the Painting with this With your colour selected, go to the palette. Using the newly lled layer as technique will Swatch palette and click. Repeat for your medium skin tones, select a shade mean you won’t the midtones and shadow tones. darker and begin painting the natural overwork your darker shades on to your newly added image too quickly 04Shadowsandhighlights Select a shade layer. For this example we used a large and the effect is darker and begin on a new layer to paint in soft-edged brush at 30% Opacity. more natural. the darker face areas. Repeat the process with the You would paint highlighted areas. Remember that less is more at this 05Slowly like this with real stage – the nishing touches will be added soon. does it paints, This process is all so the technique 06Pushing about low opacities should still further Once and plenty of be applied in your skin is complete, layers. Work slowly, Photoshop. add a mask to your altering tones only rst lled-in base layer. slightly so that Create swatches See tip 9 for mask the impact isn’t help if unsure. Paint instantly sharp. 07 If you want to save colour away on the mask the Make sure you swatches while painting, unwanted areas of label your layers simply have the selected colour in the hair, eyes well, so you can go colour in your foreground/background and lips. Use the same back easily and edit (side toolbar), and hover over the Swatch gradual technique to layers as you paint. palette and click. Name your swatches add eye and lip colour. for ease of reference if saving a selection. Pwhiotohtordtrriegaficetearealnprocaeuinsntadinresghp.aUeprsfeeestchitfefyomorugtoceatptniicn’tkgdcsroatalworut.erds “This process is all about low opacities and plenty of layers. Work slowly, altering tones only slightly so that the impact isn’t instantly sharp” PHOTOSHOP CREATIVE COLLECTION 115

feature 30 digital painting tips Feature How to paint foliage Masks 08 Tree embellishments can be created by using a 09 When painting, we have all selection of the Stipple brushes found in the Photoshop at some time made changes presets or by making your own custom brushes. to our work but then changed uacapbanbnowswstdwuhvuraieetatcoovthelhsoeplwr.keayldTayosnrooithoeuyiduneiu’orsesnsgwrrruth.eececeSoaahenuctebnwdUohtstattrhytbwnnusoutt.eoriodepmqsutbouhubscyahbsoeeumureruesissiulsatidrtzhskSaoiehneetlmlseegmapsn,3d0 our mind when it’s too late; 02 Backtobasics To create a basic this is where masks are invaluable. They leaf texture, start by selecting two allow you to easily make non-destructive nice leaf colours in the side toolbar. Open the changes to your artwork. Brushes palette and pick a basic Watercolor To add a mask simply go to the foot of brush, then go to Color Dynamics, set it to the Layers palette and press the Layer Pen Pressure and Foreground/Background Mask icon. A new thumbnail will appear Jitter to 50%. next to your chosen layer. Set your foreground/background saetlAetShLcGlhetaeeoaaNnatpvatodafoeleyptlssuTaDDpe.renrNiliaeygeixadnnothtcmPtuiawBtteanrmerPatrceugttrenrAeeirsaeocnorrhnnasnwttPgsdToocser6l>iaeept60MthIs0vetSsdeoy%giuhneaorai.gemrLrporyfaeeuousemrnatslldyt.e, r colours to Black/White in the side toolbar (quick key ‘D’). To erase a section, click the mask thumbnail, select the Brush tool and paint over the area you wish to erase. To paint back into the area, simply press X to switch the foreground and background colours. Now, with white selected, the deleted area will reappear. Remember, it’s black to delete and white to bring back. Dodge and Burn tools 10 These are excellent tools for adding shadows and highlights to your digital artwork. They are especially great on top of a painting with texture, as they bring the richness out. The tools work like the Brush tool – which makes them nice and simple to use. Keep the strength at a low percentage when using, and build up slowly so you don’t overwork your image. In the top toolbar you can select to alter Midtone, Highlights and Shadows. Stick to the Midtone option for most work to alter all tones. Before After 04 Thenaturallook Go Wacom pen pressure to Edit>De ne Brush Preset and save. Now, on your 11thWesheeefvnoeruntshmIibenntroobgutrhesaseeeshWmttBsrtaerhaeuctgsetousiitchnmolategoslsyslt–ootpgoiuaitwvPlmneeoeetaryntekekoPdeuwarstleooilttspthhashtel.uietoeprnere.sn bare tree paint with the blend mode set to Multiply. Keep altering the brush size and angle so that the leaves look natural. 116 PHOTOSHOP CREATIVE COLLECTION

Creating vignettes Building up texture 12 Most 13 Creating convincing oil paintings are paintings requires a nice nicely finished thick paint effect. For a off with a vignette. Choose a large great texture brush pick soft-edged brush at a low opacity. Alt-click a dark the brush with Thick Flow Medium Tip area of your image and add some black. Set your brush from the Wet Media brushes set. In the to Multiply and on a new layer paint over the corners Brushes palette go to Texture and click in a curved motion. on the swatches, then choose Weave. Layers palette Go to the Other Dynamics option and 14 When digitally painting you set Opacity Control to Pen Pressure if will end up with tons of using a Wacom. In the Shape Dynamics layers. To keep order in what can easily become chaos, section increase the Minimum Size to label each layer. If working on a massive image such as 100%. The last effect in this palette is in a face, try to group areas of your painting – hair, face, the Brush Tip Shape category. For the In the Layer Styles dialog you can add a lips, etc. To group layers Brush Roundness enter 50%, and an BevelandEmbosse ect,whichwilladdto Cmd/Ctrl-click on each layer Angle between 20-40 is enough. you wish to group and then the strong textured look of your image press Cmd/Ctrl+G. These settings will create a nice textured brush, but if this is still not enough for your painting needs then add a Bevel and Emboss effect. At the base of the Layers palette go to the Add a Layer Style option and pick Bevel and Emboss. For Style select an Inner Bevel and a Smooth Technique. Keep the Depth low for a natural effect and the Size and Soften options to 0 pixels. Apply these techniques to a thick painted image for a strong textured effect. “These settings will create a nice textured brush, but if this is still not enough for your painting needs then add a Bevel and Emboss effect” Retouching directly onto photos 15 Use a soft-edged brush at a low opacity to produce some dramatic results 01Whitenup Begin by making a 02 Digitalmakeover Create a new 03 Finishingtouches Keep duplicate of your background layer and select a light skin tone, building up on new layers, layer (double-click to make it editable using the following settings: Cyan: 0%, darkening the colour tones so the image then drag over the Create New Layer icon Magenta: 6%, Yellow: 12%, Black: 0%. On remains natural. Don’t forget to brighten at the base of the palette). Select a soft your new layer paint over the model’s the lips, and perhaps even add some brush set to Multiply and 20% Opacity. face. Build up a few layers at low opacity. colour to the eyelids and irises. Use white paint over the teeth and eyes. PHOTOSHOP CREATIVE COLLECTION 117

feature 30 digital painting tips Tracing a photo Dpi 16 Mostofuscan 17 Always remember when only dream about creating a new canvas painting something to make it as large as truly realistic from possible and always at scratch, so why not use something 300dpi or higher. You can downsize, real to work from? Create your but you will be disappointed if your document to paint on and drag masterpiece becomes pixelated when the in your reference photo. Resize it to fit your new canvas (Cmd/ size is increased. Ctrl+T) then add a new layer on By using one of your own photographs top to begin painting on. To make to trace over, you’ll be able to create a painting easier, reduce Opacity convincing painting of your own in your reference photo to about 50%, so you can still see the image but your new artwork will be easy to see as it develops. Quick hair/fur cheat Highlighting 18 To add the final touches to your painted hair or 19 A really good way to finish fur, use the Smudge and Blur tools for natural- an image is by adding some looking effects. highlights. Just add a lighter Select the Smudge tool, and in the top toolbar choose a small brush between 1-5 pixels and set the Strength tone where needed. Along to 90%. Simply drag a section of hair or fur outwards. Vary the brush size so you get a convincing selection of fly-away hairs. the bridge of the nose and forehead in To finish this effect off, use the Blur tool at a low opacity and simply paint over a few of the newly appeared hairs. portrait images can add enough impact. This is an effective cheat not only in paintings but on photos and cutouts too. Just try not to overwork the image Use photos as references; try taking your – keep it natural. own photos with different light settings to find out where light naturally falls. “Try taking your own photographs with different light settings to find out where light naturally falls” 20 Creating sea and spray Paint beautiful seas easily with a simple technique The Smudge and Blur tools can create 01Set up Set up a new canvas and ll 02 Build up your scene Create a awonderfullynatural-looking nal it with an ocean base colour – here new layer under your rocks and touch to hair or fur we used C:69, M:13, Y:7 and K:0. Alter this to select a lighter blue to start with. Select a suit your project. To create great spray, an large soft-edged brush, set it to Multiply in 118 PHOTOSHOP CREATIVE COLLECTION object like rocks or a boat will be needed. the top toolbar, with Flow at 70%. Lower Opacity to around 30% to start with and begin painting in some water swirls.

Texture 21 The preset Photoshop textures often look too fake. Adding a nice scanned or bought texture and placing it underneath or on top of your painting can add true realism. When you have placed the texture onto your artwork, experiment with the different layer blend options and opacity levels. The texture that we used here is an old sheet of paper set to Linear Burn and 45% Opacity. This is a strong example of what effects can be achieved – have fun and be bold. “Vary the blue shades to bring in the lights and darks of the water, and use different flow and opacity values in order to keep the colours subtle” 03 Water treatments Continue 04 Spray time Select the Dry Brush Tip brush. Lower 22choSseeenyboruurshyour cursoTDPsrohiiazsobspeteilownaasybhthhaleoeennptsdo>pcPCasrreeiueneerftnseyionsroehrgusno,r.cgtSb.eoersutt>osh to build up your water gradually, Flow to 30%, use Normal blend mode and vary the always on new layers. Vary the blue shades opacity to get the e ect. Paint with a dotted motion and UsePtrheofepeDrtbeiiornsunpcsleihansyiPtcoaohnanodltytohCoseuuhrrsotsehpoee’rss to bring in the lights and darks of the water, keep altering the brush size to build up gradually. and use di erent ow and opacity values 06 Rounding to keep the colours subtle. Use photos for off On a new reference if you’re struggling to visualise. layer draw a straight line (hold Shift) along 05 Finishing off the spray Revert the horizon. Select a to the soft-edged brush, select softer, small brush and white, and with a low opacity paint around blend in with a lighter the edges of the spray to add some blur. blue so the line isn’t too Finally, select a harder-edged brush, darker harsh. This will separate blue and Multiply blend mode. the sky and sea. Finish o with your own embellishments. PHOTOSHOP CREATIVE COLLECTION 119

feature 30 digital painting tips Blend modes Eparainsetirntgool 23 When painting in different mediums, try 25 Youcanalways experimenting with the layer blending modes. try reverse All 23 options can be found in a drop-down menu painting if at the top of the Layers palette. These effects can you’re bored be applied to a whole layer or to individual brushes as you with the more traditional paint. If you like the effect but not over the whole of your techniques. Why not start image, use masks to erase some areas – see tip 9. Here are a with a dark canvas and work few examples… back into it with the Eraser tool? You can set it up just as Wnsoeamwn?etRtinoetvtereryressseotimtnhgeetroherisdnueglrtsf!or you would a brush, and it’s a fun twist. Colour and lighting tweaks Multiply The most useful blend Color Burn This blend mode darkens 26 Colour balance and lighting are just mode, especially when adding your image using the content of the as important at the end of a digital textures to artwork. It multiplies top layer – great for a colour boost painting as they are when working on layers’ colours to increase dark tones. in this example. photo projects. There are many different ways to alter these factors – the most useful and easy to use being Before the Levels tool. This can be applied directly to Color Dodge This one works best Overlay Another great blend mode an individual layer, Image>Adjustments>Levels, when a mask is applied to the layer. to use when applying a texture, it or as an adjustment layer. For this option go to Not a great overall effect, but nice for combines the Screen (lightens) and the base of the Layers palette and select from the creating depth where needed. Color Multiply (darkens) effects to give a Adjustment Layer menu options, Levels. Dodge lightens an image. more subtle appearance. A new layer will appear which can be moved anywhere in the Layers palette. In the dialog box which has opened, experiment with moving the sliders left and right, or if you want to target specific colours select one from the drop-down menu. In the Adjustment menu list are some other great editing features. Try them all out and find the ones that fit your needs best. Create straight lines After 24 Creating a straight, precise line when painting couldn’t be simpler – just hold down Shift while drawing your stroke. “Colour balance and lighting are just as important at the end of a painting as when working on photo projects” 120 PHOTOSHOP CREATIVE COLLECTION

27 Top brush downloads There are many great sites where you can download free Photoshop brushes. Here are our top five inspiring sites… Brusheezy myphotoshopbrushes.com Brush King PSBrushes Get Brushes.com www.brusheezy.com www.myphotoshopbrushes.com www.brushking.eu psbrushes.net getbrushes.com A great, clean, inspiring site. Easy Great for brushes, especially the Some of the same brushes as the Not a good site aesthetically An easy-to-navigate site which is to navigate and the brush selection blood splatter ones. Also good for previous site, but some other great speaking, but don’t be put off – there quick with good content and looks is extensive. shapes, gradients and patterns. stuff is found on here too! are some gems to be found here. good as well. Lock Transparent Pixels Research your colour palette 28 This is a great tip to make sure you 29 If painting in a particular artistic period, paint within the lines or only on a set remember to pick your brush correctly area of a layer. and also your colours. You don’t want Click on the layer you wish to keep to ruin a lovely Art Nouveau piece with neat and tidy, then at the top of the Layers palette garish Pop Art colour! There are many sites to research click on the Lock Transparent Pixels button and from, including wikipedia.co.uk. Just spending a few a lock icon will appear on your layer. minutes will help your image to develop well. You can now only paint within the constraints of this layer. To unlock it, simply press the button again. This is very useful when painting precise areas such as faces, lips and hair. Custom brushes 30 Custom brushes can be used for many purposes. Here our example is hair, but all custom brushes are created in the same way. Select a small hard-edged brush and draw a few lines that could resemble hair. Go to Edit>Define Brush Preset and name your brush. You can now use your newly created brush to paint as desired. This is such a handy technique when creating images from scratch. Just create a simple pattern, for example a strand of hair or a leaf, and then imagine it being repeated. Custom brushes are very versatile, and one of their many purposes is to create a pattern that can be repeated, eg hair or leaves PHOTOSHOP CREATIVE COLLECTION 121

122 PHOTOSHOP CREATIVE COLLECTION

aMcatikoenasmanodsfiailctewrsith essentials Unlock the power of actions and use this creative Photoshop technique to e ortlessly transform hundreds of tiny images into one great mosaic SKILL LEVEL hoto mosaics are awe- the heavy lifting for you and present a same tools, but in a variety of di erent places. Beginner inspiring pieces of art. The technique that produces a very convincing If you can’t nd something in your version, Intermediate very idea of meticulously cheat without the pain of hand-placing a few check out the video tutorial on our website Expert placing hundreds of smaller thousand thumbnails. (www.photoshopcreative.co.uk) for more images to create a larger image is enough information on where the features are hiding TIME TAKEN to make any digital artist shudder. This tutorial presents some creative in earlier versions. applications of tools you may not have used 1.5 hours The thought of analysing each tiny photo before, such as Actions, Batch Processing and To create a photo mosaic you need a bank Bridge’s Contact Sheet output. The technique of photos to use. The more the better. They YOUR EXPERT for colour, tones and lines, then placing it is unexpected yet elegant in its simplicity. We needn’t be of anything speci c, there just has think you’ll be surprised at just how easy this to be a lot of them! So create a new folder and Kirk Nelson exactly where it ts into the larger image is e ect is to accomplish. This tutorial is written start depositing images into it, then follow us with CS4 in mind – earlier versions have the on a journey you won’t soon forget. ON THE DISC maddening at best. iStock 5134227. Well, in the next few pages we’re going jpg © wbritten to show you how to make Photoshop do KEY SKILLS COVERED What you’ll learn ACTIONS BATCH PROCESSING BRIDGE OUTPUT MOSAIC FILTER BLENDING MODES CREATIVE MASKING MANAGINGTINYIMAGES Let Photoshopdothesizing,croppingandarrangingofallthosetinypictures 01 Thesetup In order for the technique 02 Takeaction Create a new action 03 Cross the bridge Launch Bridge and navigate to the to work, the images must all be called ‘HorizontalSquare1’ and begin folder that contains your image bank. Go to View>Sort>By square. After you’ve deposited all your images recording. Go to Image>Image Size. Check Dimensions and Shift-select all the images that are landscape into a folder, open one of them that has the Constrain Proportions box and set Height orientation. Go to Tools>Photoshop>Batch, and in the dialog box set landscape orientation. Also open the Actions to 500px. Now go to Image>Canvas Size and Source to Bridge, Action to HorizontalSquare1, and Destination to a new panel in Photoshop (Windows>Actions). set Width to 500px with the anchor set to the folder called ‘Processed’. Now click OK and let Photoshop do the le left of the document. Click Proceed on the resizing for you. clipping warning and then stop the recording. PHOTOSHOP CS2 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 123

tutorial Make a mosaic with actions and filters DON’TEVENBREAKASWEAT Use automatedprocessestomakethisprojectasnap 04 Batchafterbatch The rst batch 05 Herecomesthemagic! By now 06 Creative pattern Back in Photoshop open the PDF that action showed how to create square you should have around 400 square Bridge created. When the Import dialog appears, be sure to images from the left side of all the landscape- images to work with. In Bridge select all the set the Width and Height to 800px and the Resolution to 300 pixels per oriented images. Now go and do the same les and open the Output panel to export a inch. Take note that the images are all aligned and there’s no spacing for the right sides by creating another action PDF. Set the Width and Height to 800 pixels, around them. Now go to Edit>De ne Pattern and give the pattern a with the Canvas Size operation anchored to Quality to 300ppi. In the Layout area set the memorable name such as ‘PhotoMosaic’. the right. Then repeat the process to create columns and rows to 20 and all the Spacing images from the top and bottom areas of the elds to 0px. Now click the Save button to portrait-oriented images. generate the PDF le. Building up your scene Get those image details right Grid it Gridlines at every Filters and masks The O set Blend modes Details and 40 pixels helps to ensure lter in combination with some colour adjustments are that everything lines up creative masking can easily handled by an assortment properly. This requires some prevent distracting repetition of duplicate layers and planning, but the nal e ect in the photo mosaic pattern. a combination of layer is worthwhile. blending modes. 07 Somefilterfun Grab the image ‘Lighthouse.jpg’ from the CD. Notice that the image dimensions are multiples of 40 – this ensures that the mosaic will line up properly. Duplicate the background layer and run the Mosaic lter (Filter>Pixelate>Mosaic) with a Cell Size of 40. Set the layer’s blending mode to Hard Light. 08 Patternuse Create a new layer Processing Batch processes can be Do it yourself For certain details it’s called ‘Photos’ between the used to painlessly size and crop all the best to hand-place selected imagery. background and the duplicate. Go to Edit>Fill smaller images, as well as rounding By repeating a selection and using the and set the Use to Pattern. Now set the out the image bank with additional Paste Into command, PS creates an Custom pattern to the new PhotoMosaic les. Exactly 400 square images are unlinked mask from the selection. pattern you just de ned. This will ll the used for the mosaic e ect. canvas with the photos without the pain of meticulously placing them by hand. 124 PHOTOSHOP CREATIVE COLLECTION

AFEWGOODFILTERSANDABLENDMODEORTWO To createaneffectthatwouldhavetakenhours… Tip Custom 09 Attacktherepetition The mosaic 10 Hidebehindamask Add a layer 11 Magicmask Keep the mask grids probably has some areas that are mask to the Photos Copy layer and targeted and go to Image> distracting in their repetition. Duplicate the run the Clouds lter (Filter>Render>Clouds) on Adjustments>Threshold. As you slide the Thesuccessof Photos layer and go to Filter>Other>O set. the mask. With the mask still targeted, run the Threshold slider handle, watch the image thistechnique This will slide the pixels vertically and Mosaic lter again (Filter>Pixelate>Mosaic); be closely – you will be able to see mosaic dependsheavilyon horizontally around the canvas. Enter values sure to use the same 40px setting as before. tiles toggle on and o in a random fashion. everythingliningup that are multiples of 40 to ensure proper Experiment until you nd a setting that breaks correctly.Thephoto alignment. We found a Horizontal shift of 200 up the repetition, then hit OK. tilesandtheMosaic and Vertical shift of 240 worked pretty well. filterarebothsetto 40px,andtheimage Layerstructure sizeisamultipleof 40px.It’shelpfulto How we created our mosaic haveagridthatfits exactlyaswell. Colour gradients GotoEdit> Preferences> Guides,Gridsand Slices,andsetthe gridlinestoappear every40pixels.This willbevaluableifyou wanttotrytomove thingsaroundor createselections withoutdisrupting themosaiceffect. Background copy 3 12 Hand placement Some areas will bene t from hand selection and placement. Open a Background copy 2 sunset image and copy a square selection from around the sun. Return to the Lighthouse document and create a new layer over the Photos layers. Create a small square selection over the lighthouse bulb and go to Edit>Paste Into. Now scale and position the sunset image accordingly. Background copy Photos copy 13 BetterdetailsDuplicate the original 14 Colourpop Create a new layer at Photos background layer twice and move the very top of the stack and set the Background image these new layers to the top of the stack. Set the blending mode to Color. Set the Gradient tool topmost layer blending mode to Hard Light to Re ected mode and use the Foreground To and the second one to Soft Light. This should Transparent preset. Add a blue gradient to the accentuate the details of the lighthouse and sky, red to the horizon and green to the grass. create some very rich colours as well. A layer mask can be used to softly paint out the colours in unwanted areas. PHOTOSHOP CREATIVE COLLECTION 125

tutorial Manipulate photos into art KEY SKILLS COVERED What you’ll learn MANIPULATING SMOKE PHOTOS WARP TOOL LAYER BLENDING MODES ERASER TOOL BURN TOOL BRUSH TOOL NON- DESTRUCTIVE EDITINGTHROUGH USE OF LAYER MASKS 126 PHOTOSHOP CREATIVE COLLECTION

pMhaontiopsuilnattoeart Make any object out of smoke using theWarp tool, the Brush tool and layer blend modes n recent years the digital art to draw or smudge any necessary detail that A good way of creating the overall shape essentials community has seen a rise in you can’t cover using found assets or your is to modify your source image using the the trend of creating images own photos. Glowing Edges lter. It isn’t great on very dark SKILL LEVEL by manipulating photos of images but you can always draw in missed smoke, ink in water and various other From source photos of smoke, shot against detail using the Brush tool. If the shape is too Beginner real-world substances. This tutorial black (or nearly black) backgrounds, we can perfect, distort using the Smudge tool. Intermediate takes you through the basics, using create pretty much any shape or form. First Expert techniques suited to beginners through manipulate the shape by using the Warp Further realism can be achieved by adding to intermediate users. tool and the Free Transform tool. Then use some smoke that breaks outside of the form TIME TAKEN layer blending modes to knock out the black you are working within, particularly in areas We’ll guide you through what to look for in background, making only the light pixels (in where the smoke would naturally disperse. 2 hours this case, smoke) visible. You can build your We couldn’t put any of the source images on source images, and how this can reduce the composition through copying layers and the disc but they are all from www.sxc.hu and YOUR EXPERT further manipulating their shape. the reference numbers are in the text. amount you’ll have to draw yourself. Ideally James Davies though, you’ll have access to a graphics tablet THEDANCERTAKESHISFIRSTSTEPS Tip Prep your canvas, get your source images and get going 01 Begin Create a new document as in 02 DancerforPhotoshop Open the 03 Dancerinthedark Select the Burntool the screengrab. Set your foreground ‘Dancer’ image (ref no. 11615_8633) Magic Wand tool and use it to colour to #343434 (the eld marked ‘#’ in the and import it into your document. Go to Edit> select the white background of the Dancer The Eraser is fine in Color Picker window) and your background Transform>Flip Horizontal. Now go to Edit> layer. Delete the selection. Change the layer most cases to blend colour to black, and use the Gradient tool (set Free Transform and resize to 173.3% and rotate blending mode to Screen and adjust the Input the smoke and to Radial Gradient) to draw in the background. to -5.7 degrees. Apply the edits. Desaturate Levels to read 46, 0.80, 184. Finally, apply a 2px remove unnatural (Image>Adjustments>Desaturate) and then Gaussian Blur (Filter>Blur>Gaussian Blur). hard edges. But adjust the Levels (Image>Adjustments> sometimes it can Levels) as in the screengrab. create an obviously feathered edge which looks false. Using the Burn tool can be a way around this. With the layer set to Screen mode (rendering the black background invisible), try using the Burn tool (set to Midtones to not damage the lighter tones) around the edges of the smoke and watch it retreat. PHOTOSHOP CS2 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 127

tutorial Manipulate photos into art WITHOUTFLINTORTINDER Start the fire and work up some smoke using the Warp tool 04 Wherethere’ssmoke Download 05 Tidyingup With the Joss Sticks layer 06 Warp tool Download image reference no. 601693_92992724 image reference 855757_87997583 selected, go to Layer>New Layer and import it into your working document. Call the layer and import into your working canvas. Use Mask>Reveal All. Select the Eraser tool and set ‘Smoke 1’. Desaturate it, change its layer blending mode to Screen the Free Transform tool to resize it to t your it to around 230 pixels with 0% Hardness and and adjust the Levels so the lowest (far left) Input value reads 9; image (34%). Set the layer blending mode to 19% Opacity (Options bar at top of window). this should knock out the background. Finally, use the Warp tool Screen. Select the Burn tool, set it to Shadows Select the layer mask by clicking its thumbnail (Edit>Transform>Warp) to manipulate the shape of the smoke. with an Exposure of around 50%. Now take on the Layers palette and start erasing the a soft-edged brush and burn out the lighter hard edges of the smoke. Keep clicking away background pixels, avoiding the foreground. until you have a blended edge. Tip It’s a match! 07 Layer mask Apply a layer mask to Smoke 1, select it and use Fixitup,look a soft-edged Eraser with a low opacity to blend the smoke. It’s sharp Match the smoke to the form best to keep running the Eraser over where you want to blend until you can’t see the join. This may take several clicks and sweeps of the mouse. Some of the smoke We’ll build up the image using Smoke 1, 2, 3 and 4 from appears soft, so StockXCHNG, but if you want to go deeper try iStockphoto.com, 08 Shapeup run it through a as this site has some higher quality images. The trick is to look for Duplicate Smart Sharpen filter contours within the smoke that match the contours of the dancer. Smoke 1 by selecting (Filter>Sharpen> They don’t have to line up completely, but it will make your job it and going to Smart Sharpen) easier to manage. Then flip, resize, rotate and warp to manipulate Layer>Duplicate over some of the the smoke where you want it. You don’t even have to use the Layer. Apply the layer smoke layers. Set whole of the smoke image. By applying a layer mask and using mask (Layer>Layer it to about 100%- the Eraser tool on the mask, you can get rid of any excess smoke Mask>Apply). Flip it 180% with a 2-6 and blend what you want to keep into the image. horizontally as we pixel radius. Flatten want to bend it the the image when We’d like to thank Clix for the joss sticks photo, Cholin for the other way. Select the you’re done editing, Smoke 1 layer photo and Crojet for the Smoke 2 layer photo. Warp tool and begin duplicate it and go When you download the images, be sure to check out the rest of manipulating the to Filter > Other > their images and leave feedback. grid squares, points High Pass. Run it at and lines to shape around 2-3 pixels, the smoke. These are and set the layer the tools we’ll use to blending mode to layer up the smoke. Overlay. Finally, apply noise. 128 PHOTOSHOP CREATIVE COLLECTION

BUILDINGUPTHEIMAGE Increase the realism and add some dispersed smoke 09 Naturallydisperse Download 10 Purification Select the layer mask by clicking 11 Selectivesmoking Download image ref image ref 1063679_75653222 and its thumbnail. Select the Eraser tool (soft- 788872_54454328 and call the layer ‘Smoke 4’. Look import it into your working document. Call edged, low opacity) and use it directly on the mask to at the bottom right portion of the image. We want to select the layer ‘Smoke 3’. Press Ctrl/Cmd+I to invert eliminate hard edges and blend. Do further blending this portion with the Rectangular Marquee tool, then copy the image so that the background becomes using the Burn tool set to Midtones on the actual layer and paste it into the working document. Part of the smoke ts black and the smoke becomes shades of (not its layer mask). This will remove any unnatural perfectly where the right thigh meets the torso. Use the Warp grey. Change the layer blending mode to feathering caused by the Eraser. tool to make it t better. Screen. Now add a layer mask (Layer>Layer Mask>Reveal All). Layerstructure Creating our smoke art Finishing the smoke effects 12 Takingshape As usual, we need 13 Selectivemasking This time, import Smoke the body and head to blend the smoke and erase the the whole of the image used on the Add smoke to the limbs overspill by applying a layer mask and using ‘Smoke 4’ layer. Select the Dancer layer and the Eraser (soft-edged, low opacity). Keep on use the Magic Wand (default settings) to select building up the smoke by identifying lines outside of the dancer then invert the selection. within the smoke that match the body of the Select Smoke 4 and go to Layer>Layer dancer. Use the same techniques to resize, Mask>Hide Selection. Apply a 92px Gaussian rotate, warp, mask and erase. Blur to the layer mask and reduce Layer Opacity to around 40%. Draw in a subtle outline Add a smoking image 14 Details Create a new layer and call it 15 Drawingtakestime Use the Eraser Start with the dancer ‘Drawn’. Select the Brush tool and set it (with 0% Hardness and a low opacity) to 14px with 0% Hardness. Use the Eyedropper to blend in the drawn smoke. Then select a (I) and select a light grey from the smoke area. lighter colour and a thinner brush (around Reduce the Dancer layer’s opacity to around 5 pixels) to sketch in some of the smoke 50%. Draw onto Drawn by picking up the highlights. Using a brush with a low opacity contours from the smoke and drawing them means you can blend the lines in by building through to the contours of the dancer’s body. up strokes. Use the Eraser to blend further. PHOTOSHOP CREATIVE COLLECTION 129

tutorial Stitch effect text essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 2 hours YOUR EXPERT Tim Shelbourne ON THE DISC Stitcheffecttext Severe needle phobia?Try some Photoshop embroidery! Stitch brushes Fabric.jpg eedlework might not be to everyone’s taste, and brush so it stitches as e ciently as any seamstress, even to the point 609851.jpg © it’s a craft that can take years of practise and lots of where the individual stitches follow the direction of the strokes. Daniel Tan patience to be really good at – but there’s a great 480201.jpg © Photoshop alternative to the time-honoured real- For the main stitched letters in the design we can use the Type tool Sarah Williams world avour of embroidery and cross stitch. and simply generate a path from the type itself. After this, adding the stitches is a simple process of stroking the path with the brush. For the VIDEO TUTORIAL Without a needle and thread in sight, and with the clever use of more freehand lettering we’ll use the Pen tool to create the paths to be stroked. We’ll add a super-realistic e ect to each stitch by using a Stitches tips. custom brushes, layer styles and paths, we can create a digital version couple of layer styles, and even ll each letter with an appliqué e ect mov via a little simple copying and pasting. of a traditional embroidered panel that’s virtually indistinguishable KEY SKILLS So, put away that bent needle and burnt thread, and try your hand at COVERED from its real-world equivalent. We’ll start by creating the custom Stitch some digital embroidery! What you’ll learn brushes from scratch – and this task is not half as di cult as it sounds, CUSTOM as you’ll see. Via the magic of the Brushes palette, we can modify the BRUSHES LAYER STYLES CREATE PATHS STROKE PATHS WITH BRUSHES WORKS WITH | PHOTOSHOP CS AND ABOVE 130 PHOTOSHOP CREATIVE COLLECTION

CHOOSEYOURFABRICANDTHREADTHATNEEDLE Create thefabricbaseandaddsometype 01 Choose 02 Loading Tip your fabric custom Pathsfrom We’ve supplied a brushes You’ll nd a selections scan of embroidery selection of custom material to use as a Stitch brushes on Fortheborder base, but you could the disc, and also aroundtheoutside scan your own. Open a video tutorial on oftheimage, the fabric on the disc how to make your simplymakea and go to Layer>New own custom brush selectionwith Adjustment Layer> variations if you’d like theRectangular Hue/Saturation. to. To use the supplied Marqueetoolon You can change the brushes, choose the anewlayer.Add colour of this base Brush tool, click in the anewpathinthe fabric by checking Brush Picker, hit the Pathspalette.Now Colorize and dragging palette arrow in the hittheMakeWork the Hue slider. top right and choose PathFromSelection Replace Brushes. buttonatthebase 03 Addtype ofthePathspalette. Navigate 04 Pick a font and set tracking Hit Centre Text in the ChoosetheCross to the folder with the Options bar. To follow our example pick the Cairo SF Stitchbrushand Stitch brushes on the font at the largest size, although any bold block font will do. Click settheSpacingand CD, click the ‘Stitches. your document, type ‘Home’, go to Window>Character and set AngleControlinthe ABR’ le and hit Load. Tracking to 100 to allow plenty of space between the characters. Brushespalette. You’ll see the Stitch Nowright-click brushes in the Brush thenewpathinthe Picker ready to use. Pathspaletteand Now choose the chooseStrokePath. Horizontal Type tool. Finally,duplicate It doesn’t matter what thelayerandaddthe colour you use for the layerstyles. type, but pick a dark one that’s easy to see from the swatch in the Options bar. 05 Scaletransformationand 06 Createapath Right-click the 07 Stitch brush settings Select the Brush tool, click in the Brush position Move the type into type layer in the Layers palette Picker and choose the V-Stitch brush. In the Brushes palette position by dragging outside the bounding and choose Make Work Path. Hide the type click Shape Dynamics and set Angle Control to Direction. Now click box, and commit it via the tick in the Options layer via its visibility eye and add a new layer Brush Tip Shape and adjust the Spacing slider until the separate stitches bar. You can make the type larger via Edit> (Ctrl+Shift+N). Go to Window>Paths – you’ll join together, overlapping very slightly. Transform>Scale, and Shift-dragging on one need the Paths palette open as you work of the corner handles around the bounding through this project. Now go to Window> box. Double-click within the box to commit Brushes to display the Brushes palette. the transformation. PHOTOSHOP CREATIVE COLLECTION 131

tutorial Stitch effect text DOWNTOTHENEEDLEWORK Now it’s time to add the stitches 08 Choosecolourandstrokewith 09 Addlayerstylesforrealism Go to 10 Darker stitches Pick a light shade of your Layer>Layer Style>Bevel and Emboss. thread Now stitch colour for the Foreground swatch. Set the Choose Inner Bevel for Style, and for Technique duplicate this layer brush to a suitable size. In the Paths palette right- choose Smooth. Set Depth to around 100, (Ctrl+J). Click the lower click the Work Path and hit Stroke Path. Pick the Direction to Up and Size to 10. Now click on layer of this pair, hold Brush tool and ensure Simulate Pressure is NOT Drop Shadow (on the left), set Distance to 7, down Ctrl and click checked. Hit OK to stroke the path with stitches. Spread to 6 and Size to 8. Set the Angle to 120 the layer thumbnail to degrees. Click OK to apply the layer style. generate a selection. Go to Select>Modify> Tip 11 Appliqué Contract, enter a fill Click the value of 1 pixel and Grouping 13 Tracetheletters Use the Pen tool original type layer. hit OK. Choose a layers to carefully draw a path following Open the fabric image darker version of your the centre line of each letter, hitting the for the appliqué ll stitch colour and go Tohelpyoucreate ESC button on the keyboard after you’ve and copy/paste it into to Edit>Fill, choosing thesecond‘Home’ completed the path for each letter. For more the composition. Use Foreground Color word,it’suseful help on using the Pen tool for this, refer to Edit>Transform>Scale for Contents. tomakeagroup the video tutorial on the cover disc. When to size and position fromtheoriginal you’re done, hide the type layer by clicking its the fabric over the 12 Pentool homelayers.Todo visibility eye in the Layers palette. word ‘Home’. Ctrl-click paths this,clickthefirst the thumbnail for the Select the Type tool homelayer,hold type layer to get a and choose a script downtheCtrlkey selection. Hit Select> style of font from the andclicktheother Inverse; hit Backspace Font Picker. Type the homelayerandthe to delete unwanted word ‘sweet’, sizing originaltypelayer. areas of fabric. and positioning it GotoLayer>Group as before. Now add Layers.Now,to 14 Anewkindofstitch Add a new a new layer and createthesecond layer (Ctrl+Shift+N). Choose the Brush choose the Pen tool. ‘Home’inyour tool and select the Chain Stitch brush. Choose Make sure that you image,right-click a new stitch colour and adjust the brush as hit the Paths button directlyonthegroup in step 7, but this time in Shape Dynamics set in the Options bar. barintheLayers Size Control to Pen Pressure, and Minimum In the Paths palette paletteandchoose Size to around 50%. In the Paths palette, right- click the Create New DuplicateGroup. click the new path and choose Stroke Path. Path button. UsetheMovetool tomovethenew 15 Repetitivestrain In the Stroke Path wordtoitsposition dialog, choose the Brush and check onthecanvas. Simulate Pressure. Hit OK. Repeat steps 9 and 10 to add the embossing and shadow to these stitches. The second ‘Home’ is simply a copy of the other two home layers, with a di erent fabric ll, and you’ll nd details about this in the video tutorial on the disc. 132 PHOTOSHOP CREATIVE COLLECTION

Setoffsomedigitalfireworks5-minute fix dSiegtitoaflffisroemweorks Light up the skies of your photos using downloaded resources essentials ireworks are always fantastic to Before watch but they can be rather slippery SKILL LEVEL customers when it comes to taking After quality photos. Beginner If you haven’t got a tripod you can forget about Intermediate it but even if you have you aren’t guaranteed a Expert perfect shot. You have to get the timings just right, if there is pollution in the air you will just capture TIME TAKEN lots of smoke and if there are crowds you have that to contend with. An easier way is to create reworks Five minutes in Photoshop and then apply to your photo. But even easier is to use reworks that somebody else YOUR EXPERT has made! We’re using les from the Photoshop Daily site to add pizzazz to our sky. Jo Cole Quick tip: Think about KEY SKILLS reflections. Simply paste the COVERED firework into the reflective surface and use a blend mode What you’ll learn to make it look realistic MAGIC WAND LAYER MASKS PASTE INTO COMMAND FREE TRANSFORM ADDANEXTRABANGTOYOURPHOTOS Give anextrasenseofoccasiontoyourimages 01 Selectyourarea We are going to 02 Addsomefire Go to www. 03 No overlap The rework will appear on a new layer, only in be copying and pasting the reworks photoshopdaily.co.uk/news/ the area that was selected. Go to Select>Deselect and use into a photo, using selections to control where rework- les/ and download the free the Move tool to place where you like and the Edit>Free Transform the reworks appear. The rst task is to make rework les. These are .png les, with all of command to alter the size/angle of the rework. To add more, Ctrl/ that selection – the sky of our photo is pretty the transparency intact. Open one up, Select Cmd-click on the layer mask thumbnail in the Layers palette to reselect. uniform in colour, so we just need to select the All and then Copy. Click on your rework Open another rework le, Copy and Paste Into as before. Magic Wand and click in the sky. photo (making sure the selection is still intact) and go to Edit>Paste Into. ALL VERSIONS | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 133

iSmtaargte KEY SKILLS COVERED What you’ll learn PEN TOOL DODGE AND BURN TOOLS LAYERS PATHS SELECTION TOOL FILL TOOL 134 PHOTOSHOP CREATIVE COLLECTION

CthoenPqeunertool essentials Striking vector art is very easy to create when you have a great start photo and some essential Photoshop know-how SKILL LEVEL n this six-page tutorial we are going to show you With patience and some hours to spare, you will soon be creating Beginner how to create stunning vector art from a photo masterpieces, so don’t be put o by rst appearances. Intermediate – and you’ll nd a Pen tool resource page at the Expert end explaining everything you need to know Vector artwork is created using the Pen tool set to Shape Layers, about the Pen tool. so once the Pen tool basics are sorted your images will start to take TIME TAKEN You can follow this tutorial exactly, or just use the techniques and shape quickly. Layers play a big role too, as you need to be organised advice to apply the e ects to a photo of your choosing. The great and label up each shape or you’ll become confused and have things 5 hours thing with vector style drawing is it can be applied to anything in the wrong order. Learn to group and label your layers as you work – people, pets, holiday snaps – you name it, and it can be achieved! to save valuable time when scrolling through the Layers palette. YOUR EXPERT The main example shown here looks complex, but once you break down the starting image into shapes and tones it suddenly So let’s begin by opening the image provided on the free Dani Dixon seems quite achievable. You just need to simplify the image. disc. CS5 has been used to create this piece, but any version of Photoshop can be used – you just need a substantial amount of free ON THE DISC memory space to create such a big le. Start file KNOW YOUR TOOLS Get familiar with the bare essentials 01 Pentooloptions When you click 02 Workingaroundthephoto We 03 Make adjustments If things go awry or you nd that areas on the Pen tool in the toolbar, the show how to create curves and more need to be extended or made smaller, click the Direct Selection top Options bar will change and allow you to intricate shapes throughout the tutorial, but for tool from the toolbar (it’s a white arrow). Click on your path and you will be pick the kind of selection you want to make. a very basic rule, click once to make an anchor able to move the lines. We have mainly used the Shape Layers option, point and then click again to create a line. Hold which creates a new layer lled with the down the mouse as you make the second click currently selected foreground colour. and drag to see a guideline appear. Make this follow the line of where you are going to click the next for a more accurate result. WORKS WITH | ANY VERSION OF PHOTOSHOP BUT NOT ELEMENTS PHOTOSHOP CREATIVE COLLECTION 135

tutorial Conquer the Pen tool START BY CREATING THE MAIN SHAPES Tip Break the image down and work with a simple colour palette for best results Creating a colour palette 04 Colourpalette First create a colour palette to work with (see Reference boxout on the left). With a mid-range tone selected, pick the page Keep it simple Pen tool from the sidebar and choose Shape Layers in the top Options bar. Now start drawing around the main robe shape. On the last page of Start off by creating a simple colour palette. Breaking your the tutorial is a great image down into as few colours as possible will help you guide full of useful no end when deciding what shapes to include and what Pen tool reference to ignore. Try to keep to four or five main shades of one material. So if you main colour for this image, plus a very dark and very light get stuck, take option and several in-between shades that will differentiate a look and your overlapping shapes. question should be answered. If you Sample a still need help, give colour Select the the Photoshop Eyedropper tool in Creative team the sidebar, look at a shout: dani. the start image and dixon@imagine- see what colour will publishing.co.uk. work best as a mid- range shade, then click the Eyedropper on the colour. The chosen colour will appear in the foreground swatch in the side toolbar. Create a colour 05 Createanarchedline Drawing the 06 WhyAlt-click? You need to Alt-click swatch Click dress shape will require curved lines. on an anchor point so that when you the cursor on the Click an anchor point, and then with your nger place your next pointer the line will continue in the grey space in the still holding the mouse button down, move the correct direction. If you don’t Alt-click, the line will Swatches palette mouse around to see the line arch. When you’re go in an unwanted direction – as you may have – an option to save happy, lift your nger, Alt-click on the anchor found at some point when using this tool! and name your point to nish o the line. swatch will appear. Hit OK when named. 07 Lowertheopacity Asyouaredrawing 08 Labelup To nish o the robe shape, Your swatch will the robe shape you may lose visibility place your nal anchor point back where now be visible in the of the starting photo you are working from. To you started. Increase Layer Opacity for now to Swatches palette. overcome this, simply lower the shape’s Opacity 100%. Label this layer, so when you have lots of Repeat the value in the Layers palette to around 30%. This layers each one is easy to nd. To do this, double- process Keep way, you can see the underlying layer and the click on the text on each layer and rename it. sampling colours progress of your shape. and saving them in the Swatches palette until you have a good range to work with. Now every time you need a colour, click on it in the Swatches palette and it’ll be in the side toolbar ready to use. 136 PHOTOSHOP CREATIVE COLLECTION

COMPLETE THE MAIN SHAPES Make sure all the main shapes have been drawn before adding any details 09 Makemoreshapes Move on and 10 Unclear shapes When tracing some areas it may become 11 Createtheface Look at the face in repeat this process on the other main unclear which lines you should be following. To x this, go to the simple shapes and tones. Draw the shapes of the statue, making sure that you Channels palette and switch o some individual colour layers. This will neck as one shape, the chin/face shadow as lower the opacity when working, and labelling improve the visibility on the layer, making tracing so much easier! another. To switch between colours just click each layer when done. If you are having any on the swatch you want, and press ‘X’ to switch di culty at any point, refer to the last page in between foreground and background colours this tutorial for help. in the side toolbar. The facial features Here we simplify the different techniques used to create the face 12 Overlappingshapes If you know Features When tracing elements that one shape will sit under another, of the face, stick to the main tones don’t be too neat with the hidden edge; and shapes only. Vector works best make it bigger so there are no gaps between when simpler – too much detail will layers. If you do discover there are visible gaps just make it all look confusing. between shapes, it’s simple to x. Select the Move tool, and check Auto Select Layer and Groups Options in the top toolbar. 13 Moveanchorpoints Click the shape Dodge and Burn We have used Less is more We don’t Highlights There you want to edit and press ‘A’ on the the Burn tool on the hair to help need to draw every are very limited light keypad. Click on the shape’s edge, making the with shading. If we drew every shape. The lips are a tones in this piece, so anchor points visible. With ‘A’ still selected, click shape in the hair it would look good example here: just when they are used on the anchor point you want to shift. Drag too much, so we Ctrl-clicked the trace the de nable tones they make an impact the anchor point until it’s where you want it. hair shape to Rasterize. Then we to shape elements. – use them wisely! locked the layer at the top of the There’s a small Layers palette so the Burn tool amount just framing only a ects this shape. Use this the eye sockets. tool at a low exposure. Shadows There are a lot of shadows making up the face, so use these to your advantage by utilising shadows to help shape the face. Use a darker colour but lower the shape’s Opacity (40%) so the underlying shapes can still be seen. PHOTOSHOP CREATIVE COLLECTION 137

tutorial conquer the Pen tool Finishingtouches DoDge AnD Burn Addlightsanddarks,plussomeshading to finish off Add highlights and shadows to your image in another way by using the Dodge and Burn tools. Some areas, such as the dress and hair, will look too busy if all the main details are included, so save time and memory space by burning on some depth. Here’s how… select the Burn 14 checkyourprogress To keep an 15 intricateselectionscreated Draw tool Select the Burn eye on how things are going, turn off around the outside of the railing. It tool from the side the starting photo layer by pressing the eye won’t be filled, as we’re not creating a shape. toolbar. In the top icon on that layer and zoom out. With all main Finish the path by ending where you started. bar select Midtones parts drawn, zoom in to the torch. To create Now go to the Paths palette, top right arrow so it darkens all the intricate detail, select the Pen tool and – select Save Path. Click on the newly saved colours evenly. switch to the Paths option in the top bar. layer and go back to your image. Trace all the Lower the shapes that you want erased. exposure Lower the Exposure value 16 createafilllayer With your shapes 17 Keepbuilding to between 30-60% all drawn on one layer, Cmd/Ctrl-click up the image depending on the the Paths layer to make an active selection. In Switch back to Shapes strength of the the Layers palette create a new layer (base of in the top toolbar and effect you are after. the palette). Make sure the colour you want continue adding dark Now select the this to be is selected in the side toolbar, then and light shapes to Dress layer. hit Shift+F5 and select Fill With Foreground your image, building it select the Color. Create the head-dress in the same way. up. Your layers will be rasterize option mounting up, so Shift- Ctrl/right-click on click on a few layers from the Dress layer and the same area in your select Rasterize. At image and press Cmd/ the top of the Layers Ctrl+G to group them. palette select Lock so that the burn only 18 Adda affects this layer. backdrop use downward Add a new layer to strokes Use the bottom of the the Burn tool like stack. Double-click the Paintbrush, on the foreground just painting in a colour in the side downwards motion toolbar and pick a to create the effect rich blue. Double- of fabric. Use this click the background effect on the hair too colour and pick for added depth. a darker shade of blue. Now, with the Gradient tool create a nice, graduated blue backdrop. 138 PHOTOSHOP CREATIVE COLLECTION

acloserlookatthepentool Let’s delvealittledeeperintothecreativeprocessofvectorartwork pentooloptions creatingaselection If you are working with the Shapes option shape shown as a work path thumbnail. Go to the In the top bar there are different options for the Pen tool checked in the top Options bar, this is how to arrow at the top right of the palette and select Save depending on what task you’re carrying out. Select Shape create a selection. Path, name this path accordingly and hit Enter. Your Layers if you wish to draw a filled shape. If you want to create Once your shape has been created, go to the path has now been saved in this palette. Cmd/Ctrl- a path and cut out an object or create intricate selections, Paths palette and you’ll see your newly created click on the new Paths layer to create a selection. select the Paths option. In the top bar there are also the Pen tool and Freeform Pen tool options. Always make sure you are using the Pen tool only. The Freeform Pen tool allows you to draw custom shapes – but by keeping your mouse button down, not by making individual anchor points. If you wish to create a selection using the Paths in the same way and make an active selection. To option, it’s just as easy. Simply trace around the remove the selected area from a layer, go to the object you wish to be selected, save the work path Layers palette, click the correct layer and hit Delete. goingaroundcorners An arched line created with the Pen is called a Bézier can be seen protruding from an anchor point that’s curve. We’ve shown you how to create an arched on an arched line. Moving one of these lines will alter line already, and going around a corner is very similar the curve of the line – which is useful when drawing All tool options can be found in the top Options bar for every but you can use the Bézier lines to help. Bézier lines around complex shapes with continuous curves. Photoshop tool createanaccuratepath create the first curve Click on unwanted direction Do not Alt- Fix the angle To fix the line, click your first anchor point then click click on the anchor point this time your last anchor point. The point The Pen tool does take some practice, but it’s the best tool to the next one, keeping the mouse – just click the next anchor point in front will have a Bézier line use if you want to achieve an accurate path. Zoom into your button down. Move the line so where you want it to be placed. coming from it. Move the line image and place your first anchor point. it arches around the curve, but You can see in the example towards the centre of the anchor don’t worry if you can’t get it in the above that the line has shot off in point and see it bend and shrink. creating a slight bend exact correct curve. an unwanted direction. Release the line when in position. With your first anchor point placed, click the ctooorlreercrtionrgspen Multiplepaths next one where desired. If the line needs to bend If you put an anchor point in the wrong place, it’s very You can create more intricate paths, like the top slightly, keep the mouse easy to get rid of. If Cmd/Ctrl+Z doesn’t retrace your iron part of the Statue of Liberty’s torch. Choose button down and move steps far enough, simply Ctrl/right-click on the anchor Paths in the top Pen tool Options bar and draw it around, watching point for a menu to be displayed. Select Delete Anchor around the outside edge of the iron railing. Save the line move with the Point. Once you have finished a shape, you can still the path (top right arrow in the Paths palette) and mouse. When it’s in the remove anchor click on the saved Path layer in the Paths palette. correct position release points from it in the mouse button. the same way. The Now you’re working on this layer, everything Finish the line If you anchor points on else drawn will be included. We want to cut away have arched the line, either side of the inside chunks of this shape, so draw around the you need to Alt-click deleted one will on the anchor point to simply join up and smaller parts to finished the line off. If continue the line. be excluded from you don’t do this, the Delete anchor points your selection next section of your with a single click when made. To line will curve in an stop drawing on a unwanted direction. See layer, click off it in Going Around Corners the Paths palette. for more information on this. PHOTOSHOP CREATIVE COLLECTION 139

tutorial Make a mannequin using the Pen tool essentials uMsainkgetahmeaPnennetoqoulin Have some fun with your photos by giving them a mannequin look. SKILL LEVEL It’s a great technique, especially for mastering the Pen tool Beginner hotoshop allows us to manipulate photographs to We will concentrate on just creating a part of the illustration, Intermediate amaze and challenge the viewer. What can appear which will give you the skill set to create this style of illustration Expert to be one thing can actually, on close inspection, be yourself. You will learn how to break down the illustration into something else. separate elements, building the e ect piece by piece. Use the Path TIME TAKEN This illustration at rst glance is a pretty model, but on a second tool to create clean shapes and layered masks to give intuitive and look it’s been given a mannequin e ect. This technique and style is remarkably subtle control. We will also look at opacity and the layer 8 hours used for many advertising campaigns and magazines. Successful blending modes to give depth and realistic shading e ects. The photorealism is dependent upon high quality originals, for close- work is time-consuming and made of many little elements, but the YOUR EXPERT up attention to detail. e ect is worthwhile. In this tutorial we will take you through layers, opacity and using Jonny Gibbings the techniques of ‘patching’ to achieve incredible photorealistic You can access the tutorial start le from the included disc and results. Using multiple layers is key, as is understanding paths. then once you are familiar with the technique, try it on some of ON THE DISC your own photos. Start image © Vincent Boiteau Studio.es PATH–PATCH–REPAIR Buildthefoundationsandget readytocreate Tip Patchwork 01 Pathstosuccess Each part of the 02 Patchitup Patching is very 03 Afineselection Before we can illustration, such as ngers and joints, important to allow you to break get creative we have to clone in Don’tworryifyou needs their own path. Using the Pen tool on down the artwork into steps that are easy areas for repair, such as the wrist. Select the paintoverelements the Paths setting, carefully draw each element, to work on. Select the area to work on (the Right Hand path and make a selection. Then oftheoriginalimage, for example the back of the hand, as a separate right wrist/hand) with the Rectangular select the Lower Right Arm Opening path and suchasthefingers path. Pick an area you want to work on, such Marquee tool, hit Ctrl/Cmd+J to create a new again make a selection. This time click Add To onthelaststep.This as her right hand. We will add more and more layer with only this selection, and name it Selection in the Operation menu. Repeat this iswhatpatches paths throughout the process. ‘Right Wrist Hand Patch’. with the Right Lower Arm path. You should arefor–remember now have a group selection. youhavethe backgroundlayer thatisnotdamaged. Youcansimply createanother patchorremovethe problemareaswith theEraser. WORKS WITH | PHOTOSHOP CS2 AND ABOVE 140 PHOTOSHOP CREATIVE COLLECTION

KEY SKILLS Start image COVERED © Vincent Boiteau (studio.es) What you’ll learn PHOTOSHOP CREATIVE COLLECTION 141 LAYERS AND LAYER CONTROL PEN TOOL AND PATHS LAYERED MASKS ‘PATCHING’ AND AIRBRUSH PAINT TECHNIQUE Tip Fakeskin? Togivetheeffectof rubberyskin,copy theimageanduse theGaussianBlur filteratasettingof 5.NowgotoLayers andcreatealayered mask.Hideall,and thenpaintback areasofskintogivea falselook.

tutorial make a mannequin using the pen tool payattentiontoDetail Digitalsurgerytime Being methodical with paths, patches and layers allows your Here is where the creativity begins creativity to be released. Shortcuts like ‘jumble sale-ing’ (finding elements on the web to use) will make your images more realistic. 04 Cloneandrepair Use the Inverse 05 giveyourselfahand Time to start Jumble sale-ing Selection feature (Ctrl/Cmd+Shift+I) creating! Load the Right Hand path Search the internet to select everything outside the original as a selection and then select the background for free stock selection; you should have the ‘marching ants’. layer. Hit Ctrl/Cmd+J to create a new layer of images that you Using the Clone tool, carefully remove parts just the back of the hand. Visit the Tutorial Files can cut out parts of the illustration such as the wrist, giving the section of www.photoshopcreative.co.uk of and then use illusion that the area is cut out and the skin and download the extra files for this tutorial. as elements. showing behind. Repeat for each piece, such Open the Steel Ball file and simply click and MorgueFile (www. as the knees and neck. drag it over your illustration. morguefile.com) is one good example. true path When illustrating paths, get in close but try to use as few points as you possibly can. Make sure to keep each path separate. a bit shady 06 layersoffun Use Transform to scale 07 it’sallinthewrist Now we need to When painting in down the steel ball (Ctrl/Cmd+T) and create the lower right arm layer (see shadows, select the drag it into position. This is a good place to tutorial file). This needs to go above your patch colour and set the look at the ‘fall and name’ of your layers. Simply but below the steel ball, with the right hand blending mode in click on the Steel Ball layer thumbnail and drag at the top. Create a new layer, ‘Wrist Opening’, layers to Multiply it below the hand. Double-click the names of and again use the Pen tool to create the wrist for natural shading. the new layers and name them ‘Wrist Ball’. aperture path, make a selection and fill with a see-though? dark colour shade. When building up layers such as 08 Buildingtheeffect Now to start on 09 moreballsplease From the highlights or shade, detail work. Select the Lower Right downloaded folder, copy and paste play with the layer Arm layer. Select the path Lower Right Arm one of the finger balls into the image. You will opacity for extra Opening, then select the Wrist Aperture path have to change the colour of the image. Select subtlety and control. and click Subtract From Selection (all these Hue/Saturation (Ctrl/Cmd+U), click Colorize a bit patchy? paths are on the tutorial file). This has selected and then play with the sliders to achieve the Patching allows the sleeve. Using the Eyedropper to pick desired colour. you to work shadow and highlights, paint over using the on elements of Paintbrush on Airbrush settings. the illustration without harming the original. 142 PHOTOSHOP CREATIVE COLLECTION

BRINGINGITALLTOLIFE Layerstructure The stepsthatputtherealityinphoto-reality Limb by limb Add the neck joint Make the neck hole 10 Evenmoreballs Use Transform 11 Mergeitdown Once happy with Emphasise the seams (Ctrl/Cmd+T) to adjust the size, and the size and position of your knuckle Add in the seams drag into position over one of the knuckles. We balls, select each of them in the Layers palette are now going to drag-duplicate the knuckle by holding down Shift and clicking each one. ball over each knuckle by holding down Alt Then merge the layers to make one le. As and dragging the image to duplicate. Repeat before, name it ‘Right Knuckles’, and slide this the above so that you have all the knuckles at layer below the right hand layer. the right sizes and places. Shade and highlight the arms 12 Gettingshady Select the knuckle 13 Keepingitreal Now cut out Work up the ankle joints balls (Ctrl/Cmd-click on the sections of the balls to give the Add joints to the left hand thumbnail in the Layers palette) then create appearance of them under the ngers (see a new layer (Shift+Ctrl/Cmd+N) and name it original le). As the hand has cast a shadow on ‘Ball Shade’. While selected, airbrush in (using the knuckle balls, so must the knuckles on the the Brush>Airbrush setting) black paint in the ngers. Select the knuckle balls (Ctrl/Cmd-click shade. Set the layer blending style to Multiply, the thumbnail) then go to your patch (right and slide down the Opacity setting for wrist patch), and using the Burn tool (O) gently realistic-looking shading. burn in some shade. Add joints to the right hand 14 Bigcuts We are now going to work 15 Ontheedge Using the Eyedropper Original image on the patch and the knee. Using the tool (I) select a highlight colour such skills learned, we need to draw a path for the as on the knee, and airbrush the selection. gap and again repair the gap with the Cloning Again with the Eyedropper, pick the darkest tool, giving the illusion that a piece of the knee area of shade and paint in the shade. To lift the is removed. Now create the path to work on gap further, inverse (Ctrl/Cmd+Shift+I) and the inside of the knee (you can paste the path airbrush in a highlight to the outer knee. Use from the layered le in the tutorial folder). these techniques to complete the image. PHOTOSHOP CREATIVE COLLECTION 143

tutorial Make a splash with Photoshop KEY SKILLS COVERED What you’ll learn TRACKING AND KERNING TEXT GRADIENTS MERGE IMAGE COMMAND ALPHA CHANNELS GLASS FILTER MASKS SELECTION TECHNIQUES LAYER STYLES SMART OBJECTS essentials Makeasplash withPhotoshop SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 1.5 hours YOUR EXPERT Once you’ve mastered these cool text tricks, you’ll never cry over spilled milk again! Mark Mayers hotoshop’s ever-expanding toolset enables us to You’ll discover how to use the Apply Image command to create visualise artwork that would have been virtually composite layers. You’ll also use a modi ed channel in conjunction ON THE DISC impossible 20 years ago: imagine trying to re-create an with the much overlooked Glass lter, then use layer styles for re ective image such as this armed with only a camera! glass, which you’ll then ll with owing milk. Next, you’ll learn how Paint splashes: The main hurdle would be to capture the perfect shot of cascading layer styles can be released and masked. Finally, you’ll polish o the http:// milk – a task requiring countless attempts using a high speed shutter illustration by adding a mirror-like re ection. mediamilitia. to freeze the action at just the right time. The text would need to be com/paint- manufactured, probably in clear plastic, by a modelmaker. Unfortunately we couldn’t include the photo of milk being poured tossing/ All this would not come cheap, so in this tutorial we’ll reveal how to on the disc. If you’d like to use it, it is le number 000010125955 from achieve convincing glass text and perfect splashes every time. iStockphoto.com. Alternatively check out www.sxc.hu and download image numbers 1155002, 1129471 or 577438 for free! 144 PHOTOSHOP CREATIVE COLLECTION

FILESETUPANDINITIALSTEPS Tip Add your text, then some gradients 01 Got any milk? Createanewdocument2835x1772pxinRGB 02 Radial Optical mode with Background Content as White. Add two guides gradient spacing – one vertical centre and one roughly three quarters horizontal. Add your Grab the Gradient text using a chunky font; we used Poplar at 240pt. Ensure that your text tool and click the When using fonts is centred, then snap it to your guides. Scale horizontally, then adjust the thumbnail in the at a large point tracking/kerning as required. Options bar to size, it’s essential access the Gradient to optically adjust 03 Linear Editor. Create a new letter spacing for Add a layer gradient using # good results. Apply labelled ‘Floor’ above aaf9fa to # 0287a4 tracking to multiple, Radial Grad; Shift- and save it. Add a (highlighted) drag a Linear gradient new layer below characters to in a rectangular the text and name increase/reduce selection. Deselect, it ‘Radial Grad’. Now spacing. To fine- apply a Gaussian Blur drag a Radial gradient tune the space of 10px then add from the guide’s between character a small amount of centre outwards. pairs, place the noise (2%; Uniform; cursor between Monochromatic). 04 Apply the image Disablethevisibilityofyourtextlayer,adda them and apply Target Radial Grad; Levels adjustment above the Floor layer and set the midpoint kerning (we made hit Ctrl/Cmd+F to Input slider to 0.40. Add an empty layer above the adjustment and name it the space between reapply. This reduces ‘Glass’, then go to Image>Apply Image and hit OK in the next window. The ‘L’ and ‘K’ -5). You ‘gradient banding’. Apply Image command creates a composite layer from the visible layers. can also quickly Set the Floor layer format text by mode to Multiply. mousing over icons next to the entry 05 New 06 Glass filter Ensure your Glass layer is targeted, then choose fields and using the channel Filter>Distort>Glass. In the next window click the triangle scrubby sliders. Ctrl/Cmd-click the icon (right of the Texture menu) to navigate/load your ‘Displacement. text layer to get a psd’ le. The remaining settings should be left as default: Distortion: 20; Tip selection, and switch Smoothness: 1; Scaling: 100%. Check the preview window and hit OK. to the Channels tab. Displacement Click the Create New maps Channel icon and ll with white. Hit The Glass filter is Duplicate Channel a quick method of in the y-out menu adding the illusion (top right); in the next of 3D. We used a window pick New for blurred version of Destination and name the text in much the it ‘Displacement.’ same way as bump Add a Gaussian Blur maps work in a 3D of 10px and save. app (lighter areas appear raised). It’s vital to crop your file before applying the filter to eliminate areas that may extend beyond the canvas, as the filter aligns the upper left corners on both the target layer and the file used to create the displacement. PHOTOSHOP CS3 OR ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 145

tutorial Make a splash with Photoshop BLEND THE BRUSHES IN BUILDINGUPTHEILLUSION Fix stubborn halos Because every image is di erent, you’ll Apply layer styles and add milk need to adjust the Fuzziness slider when using the Color Range extraction method; images with less edge de nition will require 07 3D Maketheblendingmode 08 Pourthemilk Addalayerabove a higher setting. When you paste the selection into your project Screen, Ctrl/Cmd-click the Glass, ‘Milk Contracted’; add a mask. Type channel thumbnail; go Layer>Layer Load the Type channel as a selection, go Select> le, you can load it as a Mask>Reveal Selection. Apply Inner Shadow. Modify>Contract: 20px; Smooth: 22px; Feather: selection, contract by Mode: Multiply; Opacity: 54%; Angle: -74; 2px, llwithwhite,don’tdeselect.Expandby 3-4px, inverse and then Distance: 3px; Size: 6px. Check Bevel & Emboss. 10px, nudge it up eight times, hit Shift+Ctrl/ hit Delete to remove edge Style: Inner Bevel; Technique: Smooth; Depth: Cmd+I. Mask bottom of the text for a deeper interference. Another 211%; Direction: Up; Size: 13px; Soften: 5px; glass base. trick is to choose Layer> Angle: 74; Altitude: 30; Contour: Ring-Double; Matting>Defringe; usually Highlight: Screen; Opacity: 45%; Shadow: 1-4px is su cient. Finally, Multiply; Opacity: 20%. set the Dodge tool to Shadows or Midtones and paint over any remaining dark, stubborn halos. Fine-tuning To make the colour paint source le resemble milk, you’ll need to desaturate (Shift+Ctrl/Cmd+U) and apply any necessary Levels adjustments using the Input and Output sliders. A Color Balance adjustment will also be required to marginally increase the yellows in the Shadow, Midtone and Highlight areas. Keep it real When adding your milk splashes, try to visualise how 09 Addshine Apply an Inner Shadow 10 Textshadow Addanewlayerbelow liquid behaves in the real world. The arrows in the screenshot below style. Mode: Multiply; Opacity: 75%; Milk Contracted and name it ‘Thin Illustrate the ow of milk and laws of physics a lot better than words. Angle: -74; Distance: 10px; Size: 35px. Now Shadow’. Fill a long narrow rectangular selection add a Satin style: Mode: Darken; Opacity: 9%; with black where the type meets the ground. Angle: 19; Distance: 40px; Size: 14px; Contour: Add a Gaussian Blur of 12px, then a Motion Blur: Ring-Double; Invert: ticked. Modify the mask Angle: 0; Distance: 419. Change the blend mode using a 2px feathered rectangular selection so to Multiply and reduce its Opacity value to the milk appears just below the brim. around 75%. 11 Milk isolation Now it’s time to open the milk image. Our background is plain, so isolating the subject will be easy. Crop away the bottom excess area, go to Select>Color Range and click on the background with the Eyedropper. Set Fuzziness slider to about 9, Tick Invert, hit OK. Copy the selection to the clipboard. 146 PHOTOSHOP CREATIVE COLLECTION

FINALISINGTHEEFFECT Tip Splash out, then add a reflection 12 Blendin Paste as a new layer above 13 Paintsplashes Next, we’ll use some 14 Splishsplosh Add the paint Work smart Milk Contracted and label it ‘Splash paint splashes as milk. Open ‘2.jpg’ splashes as new layers and label them 1’. Hit Ctrl/Cmd+T and right-click and choose and ‘7.jpg’ from the brushes download and use accordingly. You’ll need to rotate, ip and resize When adding Flip Horizontal. Position over the ‘M’ and resize. the same extraction method as step 11. You’ll so their light and shadow areas are consistent. splash layers Add a layer mask and use a variety of brushes need to adjust the setting of the Fuzziness Position ‘2.jpg’ over the original ‘Splash 1’ layer, you’ll probably to gently blend the bottom edge. You may slider accordingly for each image. Also carry softly blend using a mask, then hit Ctrl/Cmd+E resize/transform also need to use the Clone tool (set to Current out colour and tonal adjustments – see boxout to merge down. Position ‘7.jpg’ as shown and many times, but this Layer) to create a seamless transition. on page 68 for a detailed explanation. also blend using a mask. affects pixel quality. Before transforming the layer, click on Convert To Smart Object in the fly-out menu (top right, Layers palette). The layer can now be transformed or scaled up/down many times with no loss of quality. Layerstructure Making a bit of a splash Finish with a reflection 15 Gowiththeflow Add ‘2.jpg’ again 16 Filteredmilk Now we’ll distort some Splish splosh as another layer and run it vertically splash layers to conform to the glass 3D and shine effects down the ‘M’ and blend with a mask so it rim. Crop the image, then reapply the Glass over ows the glass rim. Continue to add as lter using the same settings as step 6 – we’ve many splash layers as you like – we added disabled the visibility of the non- ltered layers ‘9.jpg’ and extended it over the middle for clarity in the screenshot. You can also characters. Finally, shu e the stacking order of accentuate the e ect by applying the lter a these layers and modify their masks as needed. second time by hitting Ctrl/Cmd+F. Pour some milk 17 Layersfromstyles Next, target the 18 Timeforreflection Add a layer Glass effect Milk Contracted layer and choose above the Glass layer, name it Gradient background Layer>Layer Style>Create Layers. Now both ‘Re ection‘ and use Apply Image again. Go to styles are released as independent layers, Edit>Transform>Rotate 180 degrees, then Flip clipped to the original. Add a mask to the Milk Horizontal. Set Opacity to 20% and Shift-drag Contracted’s Satin layer and use a medium, it down beyond the canvas. Finally, add a mask soft-edged brush at a low opacity to hide any and hide the area above the oor using a black super cial highlights. to white Linear gradient. PHOTOSHOP CREATIVE COLLECTION 147

tutorial DFrixawexnpforosmurelife 148 PHOTOSHOP CREATIVE COLLECTION

Drawnfromlife Coloured pencil sketches are really di cult to create in the traditional way. Read on and discover an easy method of giving your photos a sketch e ect f you’ve ever seen programs need any drawing ability either (well, almost one from www.photoshopdaily.co.uk in the essentials online claiming they can turn none, but if you’ve ever scribbled as a kid Freebies section. Your scribbling will ‘reveal’ a photo into ‘an amazing you’ll be ne). the photo’s details with your brush strokes – a SKILL LEVEL pencil sketch’, you’ve also bit like an image on a scratch card. probably questioned their de nition of We’ll show you how to replicate a genuine Beginner the word ‘amazing’, as the results tend hand-drawn look without needing to actually To avoid confusion, please note that Intermediate to be unimpressive and have clearly just draw, through the magic of Photoshop’s when we refer to using the ‘pencil’ we mean Expert had a lter half-heartedly run over them. layers. Once we’ve taken you through a few the brush you are using, NOT Photoshop’s simple steps where we edit the photograph, Pencil tool. Also, the e ect is achieved by TIME TAKEN But don’t worry – with a little help from we’ll get you to scribble away on an overlay using the pressure sensitivity of a graphics layer to bring in a pencil e ect. You can use tablet. Although possible with a mouse (you 1-2 hours Photoshop it is easily possible to turn a photo the existing Pastel brushes from the Dry could manually alter the opacity), the e ect Media E ects set or you can use a custom wouldn’t come out quite as well. YOUR EXPERT into a coloured pencil drawing without David & Sarah needing to be a skilled pencil artist. You don’t Cousens aka Cool Surface THEAMAZINGDISAPPEARING/REAPPEARINGWOMAN! ON THE DISC Layers andblendingmodescreateablackandwhitesketcheffect We couldn’t 02 Uh-oh!Wheredidshego? Set include the this layer’s blending mode to Color start file used Dodge in the Layers palette, then go to here, but have Image>Adjust>Invert (or press Ctrl/Cmd+I) to provided an invert it. You won’t be able to see anything on alternative on the canvas now, but don’t panic! the disc 01 Goinggrey Open your own image 03 Nevermind,foundher! Go to KEY SKILLS or our alternative on the disc. While Filter>Blur>Gaussian Blur, choose a COVERED on the photo layer, press Ctrl/Cmd+J to make Radius of 163.4px and click OK to apply. You’ll a duplicate. On the photo copy layer, go to notice that we now have some detail back What you’ll learn Image>Adjustments>Hue/Saturation (or press that’s starting to look like a monochrome Ctrl/Cmd+U) and slide the Saturation bar to pencil sketch. CREATING -100 to desaturate the layer. Press Ctrl/Cmd+J EFFECTS USING while on the copy layer to create a new black BLENDING MODES and white duplicate. SKETCHING WITH THE BRUSH TOOL EDITING CUSTOM BRUSHES PHOTOSHOP CS AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 149

tutorial Drawn from life AlTerIng Brush seTTIngs The seTup Although the Pastel brushes work well for this effect, it’s always Because you can’t start scribbling right away… worth playing around with the settings of any new custom brush to see what other ways the brush can work for you. 04 Bleeditout Now go to the first 05 Almosttimeforthefunbit… Create Change the photo copy layer and lower the Layer a new layer (Shift+Ctrl/Cmd+N), pattern Picking Opacity to 57%. This will allow a small amount name it ‘Pencil Colour’ and set the blending a different of colour from the photo layer to bleed mode to Overlay. Move this layer directly texture instantly through to the image. above the original photo layer. alters the brush strokes’ 06 It’stool(preset)time! If you like, 07 pickthebrush Press ‘B’ to select appearance. In get the ‘PshopC Pencil preset.tpl’ the Brush tool, and choose the this case, ‘Kraft from photoshopdaily.co.uk and install it Pencil Brush option from the Tool Presets Waffle’ gives a in your Tool Presets folder (it’ll be named tab – because it’s a preset it will already have ‘fabric’ quality. something like Adobe Photoshop>Presets> the correct settings. Double-click on the switch Tools). Back in PS, find the Tool Presets tab, click Foreground colour palette and select a colour partners Dual the small arrow to access the fly-out menu and with the values Red:47 Green:76 Blue:126. Brush mixes click Load Tool Presets. Alternatively, pick one of the pastel brushes your brush with from the Dry Media Effects set. another; picking a different dual 08 Thefun brush partner bit – start can have scribbling! Using unexpected your brush, scribble effects. on the Pencil Colour Dynamic layer on all coloured colour In the areas of the image. Color Dynamics You will notice that section you can as you ‘scribble’ alter a number of onto the image it behaviours; try starts to reveal more making Saturation of the underlying Jitter 100% for colours from the varied colour in layers below. one stroke. Don’t forget Options such as Noise, Wet Edges, Airbrush and Smoothing have less of an effect but are still worth considering. spaced out When experimenting with brushes, try altering the brush spacing (in Brush Tip Shape). It can radically change the brush’s stroke. 150 PHOTOSHOP CREATIVE COLLECTION