Photoshop Creative Collection Vol 07 [2011]

“SURE, I DREW THE WHOLE THING MYSELF…” Tip How to simulate that sketchy look 09 Underpressure Imagine that you 10 Followthecurves Change the 11 Deeppurple Once you have Experiment are sketching with a pencil on paper, direction of your strokes occasionally sketched over all of the areas of colour and move your pencil quickly in a zigzag to create a crosshatch e ect, but don’t overdo on the image with blue, choose a new purple Every photo is motion across the image. Because the brush is this or it’ll look messy. Let your pencil strokes colour of R:113 G:70 B:149 and sketch over the different; it can vary set to your graphic tablet’s sensitivity, you can follow the curves of the woman’s face/ gure. areas over the top right portion of the image. on the film stock, vary the pressure you apply as you would with Don’t worry if you go over the edge of her skin This will help vary the colours, making them lighting conditions a real pencil. onto the hair – we’ll be scribbling over this later. look richer. or make of camera, so if you use your own photos you’ll probably have to alter the opacity settings. Play with the image and judge it by eye, dragging the sliders until you’re happy. Also, use different pencil colours to affect the mood of the image. Layerstructure Creating our pencil portrait 12 Pokeitintheeye! Once the 13 Bordercontrol Create a new layer Sketch the hair to finish sketching is done, the Pencil Colour (Ctrl/Cmd+N), name it ‘Pencil Edits’ Build up the sketch should look something like this when viewed and move it to the top of the layer stack. Use Start scribbling on its own. To check yours, hold Alt and click this layer to add darker edges and de nition the eyeball next to the Pencil Colour layer in by tracing lines along the borders of the jaw, the Layers palette to hide all other layers. Click shoulders and ngers using a dark blue colour the eyeball again while still holding Alt to picked from the image (hold Alt while using make them visible again. the Brush tool and click the colour). Allow some colour through 14 Traceelements Add some 15 Revolutionarynewhairtreatment Invert the canvas de nition to the eyes, eyebrows and –becauseyou’reworthit No matter Original photo mouth. Don’t worry if your drawing skills aren’t how much you drew on the overlay layer, the the best – simply trace the image’s details to hair will still look like a photo, so cover this e ect make them darker/more pronounced. Now by scribbling on the Pencil Edits layer using a colour pick from the skin shading and shade mix of pinks for midtones, purples for dark tones the left ear, as the layer e ects have made it too and white for highlights. Use the original hair as white; it should be in the shadow of the face. a guide, but feel free to add extra strands. PHOTOSHOP CREATIVE COLLECTION 151

tutorial Create a fun photo book layout 152 PHOTOSHOP CREATIVE COLLECTION

Cphreoatotebaoofuknlayout Discover how to make your own bespoke background and lay out your snapshots in this do-it-yourself photo project KEY SKILLS e’ve all seen those photo books of certain our summer-themed snapshots. We’ll go out in the sun essentials COVERED creative people where the background and show you how to photograph the props without image perfectly matches the contents of any professional photography gear and still get high SKILL LEVEL What you’ll learn the snapshots. quality results. The layout itself seems to draw you in and invites you Beginner ALIGNING to explore the moments in time captured for memory’s We’ll go through how to retouch the background Intermediate MULTIPLE PHOTOS sake. The presentation of the photos is incorporated image to prepare for the snapshots and then how Expert ADJUSTMENT with a matching background image lled with props to convincingly incorporate the photos into the LAYERS that somehow directly relate to the theme. These photo composition. By the end of the project not only will you TIME TAKEN SMART OBJECTS books put to shame our boring white pages and grid have a fun photo book layout worth showing o , you’ll layouts. If you’re anything like us, these types of layouts also have learned how to create your own perfectly 4 hours ll you with inspiration – and maybe just a touch of envy. propped themed for all your snapshots. While we have the utmost respect for stock image YOUR EXPERT sites, there never seems to be just the right background We hope this tutorial not only gives you a few more theme for our always odd assortment of photographs. Photoshop skills but also a well of inspiration to create Kirk Nelson So in this project we’ll create our own background for more themed photo book pages. And play around with the designs and images to make them speci c to events ON THE DISC and occasions, and make sure you have fun! PhotoBook Background. jpg GO OUTSIDE AND GET SOME SUN This tutorial begins outside with nary a Photoshop tool in sight 01 Preparetheprops The right 02 Poorman’scamerarig If you don’t 03 Clickety click Begin arranging your props and take photos location and props are essential for have a professional camera rig, try as you build your scene instead of waiting until the end – this the success of this project. We used an old securing a regular tripod to an adjustable allows more options later on. Keep all your camera settings the same picnic table and an assortment of summer- ladder with ga er tape. You will be taking between shots so the photos will be as similar as possible. themed props: watermelon, lemonade, hot several photos, so it’s important to be able to dogs, mask and snorkel – and of course the keep your camera steady. You will also need brightly coloured ip- ops! shade to prevent harsh shadows, so if you don’t have a photographer’s screen, a big beach umbrella will do. WORKS WITH | PHOTOSHOP CS3 AND ABOVE PHOTOSHOP CREATIVE COLLECTION 153

tutorial Create a fun photo book layout ENTER PHOTOSHOP Get cracking in PS to create your photo book layout 04 Outofthesun Once back inside, 05 Pickandchoose Sort through the 06 Brighten your day Add a Brightness/Contrast adjustment launch Photoshop and go to File> layers to nd where each element layer to pump up the light. If you don’t get good results, try Scripts>Load Files Into Stack. Browse to select has the best lighting and focus. Select those using a Levels adjustment layer rst to balance out the lighting. The goal the shots to use and check the Attempt To elements with either the Pen tool or Quick is to get the tabletop to look brightly lit even though it was in the shade. Automatically Align Source Images checkbox. Selection tool and use layer or vector masks Photoshop will bring each selected image in (both in the Layer menu) to isolate them. Save 07 Sun- as a separate layer. a copy of the layered composition, then go to soaked At Layer>Flatten Image to combine all the layers. this point the scene is looking a touch Working with Smart Objects too cool in hue. To warm it up a bit, SmartObjectsdohavetheir quirks! add a Photo Filter adjustment layer. You may run into the problem of warp handles being too far In the Filter drop- outside the photo to provide any fine control. This happens down menu select because the canvas size within the Smart Object is the same Yellow and set the size as the source photo, and that’s probably bigger than the Density to 15%. We snapshot template. Open the Smart Object, Ctrl/Cmd-click on used the Preserve the WhiteMatte layer and go to Image>Crop. Then close the Luminosity option; Smart Object file and try your warp again. experiment with it to see what works best for your scene. When the Transform tools don’t fit the visible areas of the Smart Object, you can tell 08 Snapshottemplate To create the 09 Touchoftexture Go to Filter> something is amiss… snapshots, rst begin a new le at Noise>Add Noise and set the a size of 450px by 630px. Set the foreground Amount to 14%, Distribution to Uniform, and colour to a pale grey and background colour check the Monochromatic box. Follow this to white. Now go to Filter>Render>Clouds with Filter>Blur>Gaussian Blur with a 5-pixel to generate a very subtle e ect to break up Radius. This increases the texture appearance the stark white. but keeps it from being distracting. 154 PHOTOSHOP CREATIVE COLLECTION

THAT’S SOME SERIOUS SUMMERTIME FUN! 11 Photoready Create a Fun photo book background for the do-it-yourself fan in all of us new layer named ‘BlackMatte’ and 10 Subtlestyle make a rectangular Double- selection near the click the background top of the canvas. thumbnail to change Fill the selection it to a regular layer; with black and press name it ‘WhiteMatte’. Ctrl/Cmd+D to cancel Now add a Gradient the selection. Select Overlay layer style both the layers and with the gradient press Ctrl/Cmd+G to set to Foreground to group them together. Background. Reduce Call this group Opacity to 30% and ‘SnapshotTemplate’ adjust the angle to and save the le. around 30 degrees. This gives a gradual Tip fade to the texture and an easy way of updating the e ect. 12 Drag and drop Next, drag the whole Snapshot group onto 13 Adding the fun Go to File>Place and import a digital photo of In case of your project le. If you are using the tabbed layouts, you’ll your own. PS brings the photo in as a Smart Object; place it over rain, load CD have to drag the objects onto the Target tab and hold for a moment the snapshot template and commit the transformations. In the Layers while Photoshop switches documents, then you can drop it onto panel, make sure the Photo layer is in the Snapshot group just over the Even though this your composition. BlackMatte layer. Go to Layer>Create Clipping Mask to clip the photo. project features a significant 14 Getsmart Right-click (or Opt-click) 15 Drop photography on the Snapshot Group folder and shadow To portion, we don’t select Convert To Smart Object from the ground the photo want that to keep context menu. Go to Edit>Free Transform in the scene, add you from trying it to rotate the snapshot as needed. Now go a Drop Shadow out. We purposely to Edit>Transform>Warp and use the warp layer style to the aimed the tutorial handles to gently bend the photo edges, Smart Object. Set at a beginner giving it a slightly curved appearance. the Opacity at 50%, photography level Distance at 3px, – we didn’t use Spread to 20% and expensive rigs or Size to 18px. lights or screens. Instead we used a sunny day, a standard tripod, a beach umbrella, a household ladder and some gaffer tape. If that still doesn’t help (hey, these things happen) then load the CD – we’ve helpfully provided the blank background for you to use! PHOTOSHOP CREATIVE COLLECTION 155

tutorial Create a fun photo book layout WORKSMARTER,NOTHARDER Layerstructure Learn to use Smart Objects to your advantage How we created our photo book SprinklerJump group SprinklerSmile group 16 Slideunderneath To have the 17 Paintedshadows Add a new MonkeyBars group photo appear to be under other layer called ‘Shadows’. Clip it to the SwingFun1 group objects in the scene, you need to use a mask. Photo layer (Layer>Create Clipping Mask). Use the Quick Selection tool to select the Use a medium sized soft-edged brush with objects, then with the Snapshot layer targeted, black paint and low opacity to gently paint in go to Layer>Layer Mask>Hide Selection. shadows from the objects onto the Photo layer. BeachFun1 group BeachFun2 group 18 Addsomeglare Addanothernew 19 SmartcopiesGo to Layer>Smart Sprinkler photo group layer called ‘Glare’ and clip it to the Objects>New Smart Object Via SwingFun2 photo group Photo layer as well. Make sure your foreground Copy. This duplicates the photo object but colour is white and grab the Gradient tool. In the disassociates it from the original. Now you can Options bar choose the Re ected mode and double-click the layer thumbnail and open the the Foreground To Transparent preset. Drag out new Smart Object to swap out the photo with a thin white line over the photo and reduce the a new one. Don’t forget to readjust the warp Layer Opacity to 30%. and masks, then add new shadows and glare. 20 More Photo Filter adjustment layer and more Brightness/Contrast photos Continue Background to add more photos to your scene until your composition is nice and full. If keeping track of the layers become unmanageable, group each photo with its glare and shadow layers to help keep things neat and tidy. 156 PHOTOSHOP CREATIVE COLLECTION

Usephotosintype5-minute fix Usephotosintype Add pow to your titles with this nifty trick Before essentials lipping masks are a great way of placing objects SKILL LEVEL inside other objects and can be used for all sorts of Beginner wild and wonderful things. Intermediate Expert Our example here may not be TIME TAKEN particularly wild, but it is a wonderful Five minutes way of creating eye-catching titles. The YOUR EXPERT theory is simple. You begin with some type on a document. You open up a Jo Cole photo, copy and paste this into the type document and then use a clipping mask to make the photo appear inside the type. The most obvious use for this technique is in titles (it works especially well in digital scrapbooks) or you could KEY SKILLS create an entire image made from text COVERED and image. What you’ll learn CREATE TYPE Quick tip: Don’t be After USING CLIPPING confined to type – use this MASKS technique to apply a photo APPLYING to any shape or object STROKES CREATETEXTUSINGPHOTOS Give yourtitlesmoreimpact 01 Makeyourtype Create a new 02 Phototime Open the photo you 03 Outline To add more emphasis, double-click on the type document and select the Type tool want to use, Select All and then layer to open the Layer Styles palette. Click the Stroke option from the toolbar. Go up to the Font area and Copy. Click back on your type document and at the bottom and then pick a colour and size. You can also return to the click to see the available fonts. Pick one that is a Paste. It will appear above your type. Go to Background layer and use the Edit>Fill option to change the colour if bit chunky (you want to see the photo, after all!). Layers>Create Clipping Mask and see it cling you wish. We decided black would be more dramatic. Click on your document and type your word. to your text. You can reposition using the Move tool. ALL VERSIONS | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 157

tutorial Understanding blending modes and layer styles 158 PHOTOSHOP CREATIVE COLLECTION

Understandblending modesandlayerstyles Make something magic with your photos by applying stunning glow e ects essentials ainting in Photoshop doesn’t We’ve supplied a custom brush for you to of the image, and then we’ll move on to SKILL LEVEL always have to be about use, and the success of this project depends some carefully controlled brush work. When photographic realism – it can on using your brush in a smooth, uid way, it comes to colouring the stylised fur, we’ll Beginner also be used to create images so it’s useful to practise a few strokes before be using clipping masks to make the task Intermediate with the kind of e ects that no camera you begin. In addition to brush strokes, this much easier. Expert could ever capture. project depends on rich, glowing colour, and this is where brush and layer blending modes Remember that we’re not painting realistic TIME TAKEN Starting with a photographic reference really help. fur here, but rendering it in a very stylised, graphic way, so you can concentrate on the 4 hours here, we’re going to paint with a custom We’ll begin by simplifying the initial decorative aspect of the way the fur wraps start image via a little blur, leaving just the around the form of the subject. Make sure to YOUR EXPERT brush to create a stylised fur e ect, but important areas of the image pin-sharp read the side panel on the next page before for focus. A couple of tweaks to the saturation you begin, and refer to the video on the CD Tim then we will be embellishing this by using and contrast will really pump up the impact for more inspiration and tips. Shelbourne blending modes to add glowing colours, ON THE DISC and layer styles to add a touch of extra glow cat_start.jpg (sxc: 1051131_ and dynamism. 19225305} cat_brush.ABR TONALITYANDFOCUS VIDEO TUTORIAL We’ll begin by tweaking the tones in the start image and adjusting the focus cat_movie. mov 01 Adjustshadowsandhighlights 02 Super-sharpen We need to make 03 Bringinsomeblur We only want KEY SKILLS Open ‘cat_start.jpg’ from the CD and this image super-sharp, so go to certain areas of the image to be COVERED duplicate the background layer. Go to Image> Filter>Sharpen>Smart Sharpen. Set the pin-sharp, so on this new duplicate layer go Adjustments>Shadows/Highlights. Zero out Amount to 174, Radius to 1.5 and set Remove to Filter>Blur>Surface Blur. Set the Radius to What you’ll learn all three Shadows sliders. In Highlights set the to Gaussian Blur. Check More Accurate and 68 and Threshold to 142. Click OK. Although sliders as follows: Amount 63%, Tonal Width click OK. Now duplicate this layer. this layer is now blurred, the Surface Blur lter USING CUSTOM 64%, Radius 174%. Set Midtone Contrast to retains a subtle look of fur. BRUSHES +25, then click OK to apply the adjustment. USING CLIPPING MASKS USING BLENDING MODES WORKING WITH VIBRANT COLOUR PHOTOSHOP CS AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 159

tutorial understand blending modes and layer styles makethemoStofthebRuSh SettingtheScene Using the brush effectively is the key to success in this project. Painting with Blending Modes We’ve supplied the brush complete with all settings applied, but it’s important to use the brush itself effectively. Let’s look at the options. 04 Revealsharpness Add a mask 05 tweaksaturationandcontrast opacity The to this layer via Layer>Layer Mask> The colours need to be quite vibrant, opacity of the Reveal All. Pick the Brush tool with a soft brush. so go to Layer>New Adjustment Layer>Hue/ brush is driven Using medium opacity, paint on the mask with Saturation. Increase Saturation to +21. Now by pressure, so black to reveal some of the sharpness around add a Curves adjustment layer and increase the start by using the the cat’s nose and eyes. You can always return contrast by creating an ‘S’ shaped curve using brush very lightly, to this mask to paint again with black, revealing two points, as shown in the screenshot. slowly building more of the sharpened layer beneath. up pressure and consequently 06 toningdown Add a new layer, 07 Loadthebrush Click in the Brush the opacity. setting its blending mode to Color Picker, hit the small palette arrow at Burn. Using the same brush, choose a very the top right and choose Load Brushes. Locate Size The size of dark brown for the foreground and roughly the ‘cat_brush.ABR’ set on the CD, click on it the brush is also paint around the cat, varying the opacity of and hit Load. Click Append to add the brushes pressure-driven. the brush by setting Opacity Control to Pen to the currently displayed ones. Now select Use the brush Pressure in the Brushes panel. the Cat 1 brush, and choose white for your bigger rather foreground colour swatch. than smaller and use pressure to 08 Setting control the size. up a layer Size fade style Add a new In the Brushes layer and go to panel, change Layer>Layer Style> Size Control to Outer Glow. In the Fade and adjust dialog, set Opacity the Fade value to 95%. Click in the for strokes which Glow colour swatch automatically and choose #c05405. end in a very Set Spread to 0% and fine point. Size to 70%. Click OK Watch your to apply the layer speed! You’ll style. Remember, find that you you won’t see the will create far effect of the layer smoother strokes style until you paint if you draw them on the layer. quickly rather than slowly – it’s all in the wrist! catchlights Towards the end of the painting process, use a tiny hard brush with pure white to exaggerate the catchlights in the eyes. 160 PHOTOSHOP CREATIVE COLLECTION

GOINGFUR-THER! Tip Adding stylised fur and colour 09 Stylisedfur Before you start to paint, 10 Masterthatbrush! It’s important 11 Furvariation We’re actually painting Planahead see the tip about brush settings on here to make use of the pressure you the hidden form of the fur here, in a the far left. Now’s the time to begin adding apply to your stylus to vary the width of the simpli ed, decorative way. You can intensify Ifyou’renottoo the fur e ect with the brush. Start around the brush. Use smooth, icking movements to the brightness within the centre of your confidentabout eyes, using owing, stylised strokes. It’s useful create uid, smooth strokes. Lightly nish o strokes by brushing over these areas again tacklingstylisedfur here to constantly refer to the start image, some of the strokes with a subtle fan shape, and again, slowly increasing the opacity of withoutguidance, simplifying the ow and direction of the fur. using very little pressure on the stylus. the white. giveyourselfarough guidetostartwith. Beforeyoubegin paintingthefur,add anewlayeranduse asmallhardbrushto sketchintheflowof thefur.Reducethe opacityofthislayer anduseitasaguide whileyoupaintthe furforrealwiththe custombrush. Layerstructure Creating that stylised look Finish off 12 Createaclippingmask Add a 13 Warmitup Choose a standard soft Build up the effect new layer above your white fur round brush, and use a variety of Add glowing colour layer. Right-click this layer and choose Create warm bright colours on the fur strokes here Clipping Mask. Set the layer blending mode and there. Add more fur strokes on another to Hard Light. Because of the clipping mask, new layer with the same layer style applied, any colour you apply to this layer will only be repeating the clipped Hard Light colouring visible within the white strokes. layer for each subsequent fur layer you create. Begin using the brush 14 Brushblendingmodes You can 15 Soft,intensecolour When you’ve Blur the fur add coloured strokes directly onto added all the fur strokes, create a Start image another layer. Use the ‘cat_brush1’ brush nal new layer, setting its blending mode to again, but set the brush’s blending mode to Multiply. Use a large soft brush with intense, Hard Light in the Options bar. Use the same dark colours to add more colour and glow to technique as before for these strokes, carefully the larger areas of the image. You can control building up the owing strokes and furry ends. the intensity of these areas simply by adjusting the opacity of this layer. PHOTOSHOP CREATIVE COLLECTION 161

tutorial Create origami-inspired artwork KEY SKILLS COVERED What you’ll learn HOW TO USE MASKS WORK WITH LAYERS BRUSH TOOL DODGE AND BURN TOOLS ADDING TEXTURE PEN TOOL essentials Create origami- inspired artwork SKILL LEVEL Origami is now no longer restricted to paper – open up Photoshop and create some Japanese-inspired art Beginner Intermediate rigami is the Japanese art of paper folding, popular all can be added Use this tutorial as a reference, try di erent starting Expert over the world. It’s a tricky technique to learn, and years sketches and papers to see what amazing e ects you can create. can be spent mastering the art. By using Photoshop you TIME TAKEN can create realistic origami images that look just like the In this tutorial we show you how to create a stunning yet simple original art form but which don’t need years of practice. origami bird by rst using the Pen tool to create shapes then adding 1.5 hours Type ‘origami’ into your internet search engine and thousands scanned paper textures to nish o the e ect. The textures are applied of inspiring pieces of art will ood your screen, so start by browsing to the shapes using masks, and then simple shadow techniques are YOUR EXPERT through some of them before choosing what you wish to create in PS. used to create a convincing three-dimensional e ect. There are no We’re creating a bird as the example here, but the techniques can be paper-cuts to be had during this tutorial! Dani Dixon applied to any image you want, and any textures and scanned patterns So let’s begin by opening all the relevant starting sketches and ON THE DISC textures from the disc – or perhaps use your own sketches or photos. Sketch and textures 162 PHOTOSHOP CREATIVE COLLECTION

SET UP YOUR SHAPES Tip Get the base of your origami bird ready 01 Sketch or trace Beginbyeitheropeningupthesketch 02 Trace the shapes Select the Pen tool, set it to Shape Layers in Pen tool provided on the free disc or by sketching and scanning in your the top Options bar. Pick any colour to work with for now – we’ll jargon own origami animal. The sketch used for our example was drawn from alter them later. Begin tracing around your sketched shapes with the Pen examples found during our research. tool; click a starting anchor point and keep clicking your way around the Anchor point shape, then end the shape by nishing on the rst point you made. Every time you 03 Curved click the Pen tool lines To 04 Label well Keepyourshapessimpleandmakethingseasierby an anchor point make a curved line on labelling all of your shapes in the Layers palette. When your bird is is created. These a shape, eg the beak, complete, open up the texture images from the disc. anchor points click an anchor point all link a shape but don’t let go of together. the mouse; move the Bezier curve mouse up and down The name given to a and see the line curved line made by curve. When happy the Pen tool. with the shape, let go Bezier lines of the mouse. Alt-click The lines which the anchor point you appear around an just made to nish o anchor point when the line – or when you a Bezier curve is click the next anchor created. Move point it’ll go in an these lines around unwanted direction. to alter the shape of the curve. Tip 05 Build up your bird Drag one of the texture images into your 06 Correct the mask if needed Now a mask should be applied Add some bird canvas and move it to the top of the palette. Find the main to the texture layer so the wing is transformed into paper patterns wing shape in your Layers palette and Cmd/Ctrl-click on the layer to texture. If the mask has hidden the wrong part of the shape, click on the make it an active selection. With the shape active, click on the texture black and white thumbnail on the texture layer and press Cmd/Ctrl+I to Bored with plain layer and then press the mask icon (grey rectangle with a white circle in invert the mask. paper textures? the centre) at the base of the palette. Try adding a touch of glamour by scanning in and using patterned papers. Wrapping paper or old wallpaper samples work well – or even more obscure textures like bubble wrap creates a fun effect, although not so traditional! PHOTOSHOP CS AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 163

tutorial create origami-inspired artwork MAKe good droP ShAdowS build uP the PAPer effect We’ve painted on the shadows with a soft brush set to Multiply Add more texture for a realistic origami effect and a low opacity, but here are some other shadow options for you to try if you don’t feel confident with the Brush tool. 07 Addingrealism Drag over Texture 08 Keepittidy Repeatthepaper 3 and lower its Opacity to 40% so you process for each shape. Use the folds Traditional can position it over the chest area of your bird. in the paper as they would naturally appear on a drop shadow This texture has a nice paper fold in the middle, real origami piece. To keep your palette tidy and The traditional which will help add realism to the bird. Repeat more manageable, hide the original grey shapes method for the selection and masking process to create a when finished with by pressing the eye icon next adding a drop paper chest – increase Opacity to 100%. to the shape in the Layers palette, then group. shadow is by going to Layer Styles at the base of the Layers palette and selecting Drop Shadow. Always make sure that the blending mode is Multiply, and choose a natural colour. You can alter the angle, opacity, size and strength of the shadow in this window. Less is more though, so don’t make it too dark or heavy. The subtle shadow Duplicate the shape you wish to add a 09 Stamptool If when using the paper 10 Setupforshadows SelecttheBrush drop shadow to. Make it active (Cmd/Ctrl-click on the mask with folds in it for a larger shape, you tool, and in the top Options bar select thumbnail), in the toolbar select a dark brown, press F5 and fill with find it isn’t quite long enough, use the Clone a large soft-edged brush set to Multiply, Opacity foreground colour, then deactivate the selection. Now go to Filter> Stamp tool to fill in the missing texture. Simply 30%. Alt-click on one of the texture shapes to Blur>Gaussian Blur and select 15 or whatever amount suits your Alt-click on a textured area and paint over the select the colour. Double-click on the coloured needs. Lower the layer opacity and set it to Multiply, then shift it white to see the texture fill the space needed. square in the side toolbar, and in the Color Picker over a bit so it can be seen. Move this layer so it sits under the solid increase the colour so it’s a dark brown. shape in the Layers palette. A soft shadow has now been created. Burn in some shadows Shadows can also be created by the 11 Paintonthe Burn tool – great on a textured background because it brings out shadows the layer’s natural colours. Set the tool in the top bar to Midtones Start off by selecting with a strength of 50%, and then simply paint over where you wish the chest shape. It the shadow to be. is now important to make sure your shapes are in the correct order in the Layers palette. Click on the coloured thumbnail on this layer – not the mask – then just paint a shadow next to where the head layer sits against the chest. Instant natural drop shadow! 164 PHOTOSHOP CREATIVE COLLECTION

COMING TO LIFE Now see your origami bird really take shape 12 Shadow Layerstructure help Continue to paint Our bird is ready to fly! with the same brush set up, so all 13 Addmorerealism With the main Beak the shadows are drop shadows in place, paint on some Head appearing where lighter shadows where the paper is creased, Chest they naturally adding more depth for greater realism. When would. Making sure you do this, lower the Brush Opacity down to your shape layers 10% and try using a slightly brighter tone of are stacked in the brown. Remember to alter your brush sizes correct order is vital – the quick keys are ‘[‘ and ‘]’. now. If you’re having problems, just keep moving your layers around or check with our Layers palette for help. Front wing 14 Addsomecolour If you wish to take 15 Duplicatetheeffect You can go Rear wing your image a step further, try adding back and edit the colour or opacity End of the tail a colour overlay to each layer – found at the strength by double-clicking the icon on the Tail base of the Layers palette under Layer Styles. layer. To add this e ect to each layer quickly, Choose Multiply as the blending mode and Alt-click the icon on the rst layer and drag to lower the opacity, then just hit OK when you’re the layer below, copying the e ect across. happy with the colour. Legs and feet Back of the bird’s head 16 Moredefinition To add a bit more 17 Alittlemoredepth Select the variety, try editing some of the shape Burn tool and in the top bar set it colours which are furthest away so they look to Midtones, Exposure 50%. Paint over any darker, or lightening the nearest shapes. creases or shadow areas which you feel need Simply double-click the icon on the individual more de nition. The Dodge/Burn tools are layer and alter the tone and opacity. great at bringing out the texture. PHOTOSHOP CREATIVE COLLECTION 165

tutorial Chinese brush painting Simtaargt e 166 PHOTOSHOP CREATIVE COLLECTION

bCprahuiinnstheinsge essentials In this project we look to Asia for inspiration, SKILL LEVEL and to Photoshop for the tools Beginner he art of Chinese brush painting dates back thousands of Intermediate years, and the brushes themselves are the most expressive Expert and responsive tools you’ll ever paint with. Sadly, Photoshop doesn’t come with a selection of ready made Chinese TIME TAKEN brushes, but some of the standard stock Photoshop brushes can easily be adapted to behave in a similar way to their Asian counterparts. 3.5 hours So, this project is not just about creating a beautiful, highly stylized painting, it’s as much about how we can adapt a digital brush to bend to our will, quite YOUR EXPERT literally! Traditional Chinese brushes are in nitely responsive to pressure, and by simply varying the pressure applied you can go from a needle- ne point Tim Shelbourne to a broad, expressive stroke, and that’s what we’ll make Photoshop brushes do here. The trick for this to work is to use the brush at a much bigger size than ON THE DISC you would normally use brushes, and rely on your skill to control the marks the brushes make. tiger_start.jpg This is also a project that requires you to make plenty of artistic decisions along the way and resist the temptation to describe every whisker and claw, KEY SKILLS and instead rely on the kind of illustrative devices that have been used in COVERED Chinese art down through the centuries. Having a photo reference helps and we’d like to thank LisaD for allowing us to use her tiger image for this tutorial. To What you’ll learn see more of Lisa’s work head over to www.sxc.hu/pro le/Lisa2324. LOADING BRUSHES ADJUSTING BRUSHES LAYER BLENDING MODES ADJUSTING TABLET SENSITIVITY WORKS WITH | PHOTOSHOP CS AND ABOVE PHOTOSHOP CREATIVE COLLECTION 167

tutorial Chinese brush painting FIRST MARKS Tip Preparation and a little tracing 01 Canvasandtracingimage Go to 02 Scalethetracinglayer Go to 03 Settingupforthesketch Using Saving File>New. Enter 300mm for Width and Edit>Transform>Scale. Hold down the button at the top of the Layers theday 280mm for Height, with 300 for Resolution and Shift to constrain the proportions and drag a palette, lock this layer. Add a new layer and White for Background. Open the start image, corner handle to size the tracing image. Position name it ‘Sketch’. Choose the Brush Tool and After going to go to Select>All, and Edit>Copy. Return to your the tiger by dragging within the scaling from the Brush Picker choose a hard round all the trouble new canvas and go to Edit>Paste. In the Layers Bounding Box. Click the tick to commit. brush. Set the Opacity to 30% in the Options to adjust your palette, set the Opacity of this layer to 30%. bar and ensure your Foreground colour is black. brushes to suit this technique, you’d be crazy not to save them! In the Brushes panel, hit the small arrow in the top right and choose New Brush Preset. Give your modified brush a name and it’s ready for another day. Tip Style school 04 Sketch! Set the size of the brush to around 15 pixels. The object Tablet here is to trace over the reference image, creating a quite simple adjustment The art of Chinese painting outline drawing. It’s worth taking your time here to trace quite carefully, especially over the tiger’s stripes. Pressure control Chinese brush painting is characterised by very fluid lines and is vital in Chinese a minimum of essential details. The danger with a project such 05 Alittle Brush painting, as this is that you might be tempted to draw too carefully, and shading even when you’re doing that will quickly lose the whole effect. Remember, this is Once the outline doing it digitally! To a very stylized art form, and details need to be indicated rather drawing is complete, make this easier, than described very accurately. It’s really worth taking your it helps to gently adjust your Wacom time to practice with the brushes we’re setting up here, and it’s shade within the tablet settings. Go vital to use plenty of movement and draw from the wrist rather dark areas, such as to your Wacom than from the hand. the stripes, so that tablet Properties you have a guide and adjust the Tip for when you start Feel to the last but inking. Don’t worry one position on about these marks the slider. This will being too heavy as mean that it will you can reduce the be much easier opacity of the layer to make very fine once you start the ink lines with the drawing proper. Use brushes, and the brush at a slightly you’ll be able bigger size to do this. to apply more pressure to make broad strokes. 168 PHOTOSHOP CREATIVE COLLECTION

A TIGER IN YOUR TANK! Tip With just a few simple strokes, resolve the subject! 06 Loadthebrushes Click the eye to 07 Setupthebrush In the Brushes 08 Asubtlefill Click the Loading the left of the reference layer to hide panel, un-check Wet Edges. Click Background layer and then click brush it. Now add a new layer. Click the small arrow on Shape Dynamics and set Size Jitter to Pen the Foreground colour swatch. Enter textures in the top right of the Brush Picker and choose Pressure. In Brush Tip Shape set the Size to 75 dfcb88 in the “#” box. Click OK, click the Wet Media Brushes. Click OK. Choose the pixels. Click on Dual Brush and increase the Background swatch and enter this code: To load textures, Watercolor Textured Surface brush and go to Size slider to 55 pixels, so the brush has a nice f4ebce. Go to Filter>Render>Clouds, then click Texture in the Window>Brushes (or Brush in CS5). ragged edge in the Stroke Preview window. Filter>Blur>Gaussian Blur. Set Radius to 60. Brushes panel and then click in the texture swatch. Hit the small arrow in the top right of the swatches panel and choose Artist Surfaces. Click OK to load these textures and then simply choose the required texture. Building the image All the important elements 09 Carefulbrushwork On a new layer, Final finish A simple Pattern Brush control By using layer start to carefully ink over the main layer adds just a touch of subtle blending modes we can control the facial features of your sketch with black. This paper texture in the nal stages way the di erent layers of brush brush is very pressure sensitive, so use very of this project, coupled with a strokes interact with each other for light pressure for ne lines, and increase the suitable layer blending mode. an e ective translucent ink e ect. pressure to broaden the brush. Set the Brush to around 70 pixels and control line thickness with pressure. 10 Sinuousstripes! Add a new layer Pressure point In Shape Tactile touch Texture is Make tweaks The Brushes panel is vital and set its Blending Mode to Linear Dynamics the Size Jitter added to the brushes via this to this project. It allows us to adjust the Burn. In the Brushes panel (F5), increase the Control is set to Pen Pressure section of the Brushes panel. individual aspects of standard brushes Dual Brush Size to around 130 pixels. For so that the brushes respond From here we’ll control the to make them work like their Chinese Foreground choose colour #b68e56. Increase to pressure from your stylus scale of the texture and the cousins! Display it by hitting F5. the size of the brush to around 175 pixels and in regard to line thickness. way it interacts with the brush. then start to brush in the stripes over the rest of the tiger. PHOTOSHOP CREATIVE COLLECTION 169

tutorial chinese brush painting Different stroKes PolishtoPerfection The brushes are at your command, so it’s worth taking the time to Less is more! get to know them. The possibilities are endless, but lets just look at a few options for getting the best from those brushes! express yourself! 11 Keepingcontrol Once again here, 12 Addingdefinition Choose a darker In less important use smooth, controlled strokes, brown (colour #4a1d10). Reduce the areas surrounding varying the stroke width via the pressure you Opacity of the brush to around 50%. With this the tiger, make sure apply. Brush control is vital here, but remember darker colour start to outline the tiger’s body to use your brushes you’re working on a separate layer, so if you using smooth strokes. Using a tiny amount of expressively, using make a mistake just erase and try again. pressure on your stylus you can create super- lots of pressure fine, super-sharp lines which really add to the variation. Keep Chinese brush effect. movement fluid. felling the pressure It’s worth practising controlling these brushes. You’ll soon find that you can easily move from very fine lines to broad ones with the same brush! sharp as a tack 13 spontaneousbrushwork Outline 14 roughitup! Choose the Rough Dry For sharp focus, the rock very simply, using quick Brush from the Brush Picker. In the especially around strokes. You can suggest some natural plant Brushes panel, click Texture. Click the texture the head of the tiger, details in a very stylised way, as shown in swatch and choose Oil Pastel Light from the you need to use very the screenshot. Don’t be tempted to draw Artist Surfaces textures. Set the Scale to 146% fast, deft flicks of the carefully, but rather indicate these details in a and the Mode to Linear Burn. Click Dual brush wrist. Try the strokes very free, fluid way. This is a good time to add and set the size to 74%. In Shape Dynamics set out before starting some very fine details around the tiger’s head. the Size Jitter Control to pen Pressure. the painting. character addition If you’d like to add the Chinese characters, create these very quickly, using any of the brushes so that they look spontaneous. There are plenty of sites that you can use to reference the characters or find a certain phrase. Au naturel! The natural plant elements 15 simplestrokes Add a new layer, 16 Vitalhighlights Using the same work well here and give the tiger a sense of setting its blending mode to Screen. brush with very little pressure you place, but don’t try to ‘draw’ them too much. Choose White for Foreground. Now roughly can add some vital sharp highlights to the It’s amazing how expressive and effective paint around the back end of the tiger, using tiger’s face and ears, this will really give the quite random marks and shapes can be. the brush at 175 pixels. This will push the tiger impression of detail and heighten the face, forward. Use broad, lively strokes here. These drawing attention to it. Very light, deft flicks areas are all about energy and really making with the brush work well here. that pressure sensitive brush work for you. 170 PHOTOSHOP CREATIVE COLLECTION

FELINEFINE! Layerstructure Almost there, just a few final touches! How the painting emerged Chinese characters Stripes midtones 17 Anotherbrush,anotherlayerFrom 18 Expressyourself! For Foreground Rock dark tones the Brush Picker, choose the Rough choose colour # 6d6441 and reduce White Highlights Ink Brush. In the Brushes panel, click Shape the brush Opacity to 50% in the Options bar. Outlines 2 Dynamics and set Size Jitter Control to Pen Now roughly add the shading to the rocks. Pressure. Click Texture and change the Mode Don’t be too careful here, and have some fun to Linear Burn. Set the Scale to 145%. Add a with this very expressive brush. You can use new layer and set its Blending Mode to Linear really abstract strokes here, overlaying dabs to burn. Reduce the layer Opacity to around 80%. create lovely dark areas with lots of texture. Outlines 1 19 Alittlemoretone From the Brush 20 Paperpattern Click on the lled Stripes Picker, choose Watercolor Heavy canvas layer and go to Layer>New Fill Head inking Loaded. Again in the Brushes panel, set Size Layer>Pattern. In the Pattern Fill dialog click in Sketch layer Control to Pen Pressure. Use the brush carefully the pattern swatch, choose Artist Surfaces and Reference layer with varying pressure to reinforce some of the then choose the Burlap pattern. Increase the Paper pattern stripes on the tiger and to add a little more Scale to 420% and click OK. Set the Blending Filled background shading to the face. Make sure to follow the Mode for this layer to Overlay. form of the tiger’s body here. 21 Taming the sketch Finally, return to your original sketch layer. You can delete this layer altogether if you like, but having it partially visible can actually add to the texture and tone in the nished image, so rst experiment with reducing the Opacity of this layer to keep it still visible but just a little less intense. PHOTOSHOP CREATIVE COLLECTION 171

tutorial Compose a panograph KEY SKILLS Start image COVERED Compose a panograph What you’ll learn Dissect your image into multiple segments using actions and blend modes ACTIONS anography is an art form in itself, and can be you would with a jigsaw. The expandible canvas in Photoshop makes BLEND MODES described as a more creative way of forming it easier to work on one document, to separate your main image and FILTERS panoramic images. The e ect comes from the the panograph, so that you’re working with them side by side. You ADJUSTMENT process of taking multiple photos of one scene, can then move and spin images freely in their own space. LAYERS covering the full panoramic view and then combining these to RECTANGULAR create a large image. We also found the Free Transform tool useful to spin the main MARQUEE TOOL image randomly to mix up the angles of each segment in the nal Photoshop has made this process simple with the help of the panograph. This comes from the original process, as the camera essentials would never be at a set angle. For a rst attempt, try starting with Actions function. Here we show you how to set up your own action a well-de ned subject such as a building or car to turn into a SKILL LEVEL panograph. Then move on to more complex subjects such as a for cutting your image into smaller segments with the help of the landscape or cityscape. Beginner Intermediate Rectangular Marquee tool (it’s also supplied on the disc). These Expert segments can be moved to one side and ‘pieced’ together, almost as TIME TAKEN 2-3 hours YOUR EXPERT Simon Skellon ON THE DISC Start file Panograph action WORKS WITH | PHOTOSHOP 6 AND ABOVE 172 PHOTOSHOP CREATIVE COLLECTION

READY FOR ACTION Setting up your canvas and tools is essential to the action Tip 01 Prepare for action Grab the image from the disc, double- 02 Hit Record Position the rectangular marquee selection Compositional click its layer and hit OK in the New Layer dialog box. The anywhere on your image. Open your Actions palette thoughts layer is now editable. Select the Rectangular Marquee tool, and in the (Window>Actions) and click the Create New Action button. Give it a name Options bar choose Fixed Sized, with Width at 600px and Height 350px. and hit Record. Every command is now remembered and recorded. Panographs have the exciting trait 03 Take 04 Expand the canvas Go to Image>Canvas Size, and of being very control in the Width and Height elds double the existing adaptable in terms With the selection dimensions of your image. Hit OK and then select the Move of composition. active and the action tool. In the Options bar set it to Auto-Select: Layer, and move Study the direction set to record, go to your main image to one side and the newly created segment of the composition Edit>Copy. Now click to the other. in your image and on the Create New use the layout of Layer button in the each segment in Layers palette, and your panograph to go to Edit>Paste. its advantage. Try Change the layer’s leaving out certain blend mode to ones, as this not Multiply, and then hit only adds shape to the Stop button in the panograph, but the Actions palette. also helps to put more focus on the main subject and its movement. In our main image for this tutorial, we decided to leave out the distracting grass verge in the foreground. 05 Startcomposing Select the 06 Applytheaction Before hitting the 07 Straighten up Move this new segment o the image and main image layer, go to Edit>Free Play button for any action, always hit Ctrl/Cmd+T to rotate, and line up and overlap with the Transform (Ctrl/Cmd+T). Rotate the image make sure the main image layer is selected previous segment created. By randomly rotating the main image and slightly and hit Enter. Using the Rectangular (layer 0). Hit Play in the Actions palette to rotating each segment back, panographic angles are made. Marquee tool with the set dimensions, click apply the same commands to the rectangular just below where the rst segment was marquee selection. created and allow for overlap. PHOTOSHOP CREATIVE COLLECTION 173

tutorial Compose a panograph PIECING TOGETHER THE PUZZLE Tip Overlap and align each segment to form the complete panograph 08 Furtheractions Continue to 09 Organisinglayers When you’ve 10 Reachingtheedges When Helpful randomly rotate your main image, reached the tenth segment it’s a you’ve completed the inner area of shortcuts and using the Rectangular Marquee tool and good idea to place all ten in a new group. In the your panograph, try to push the rectangular the action to create individual segments for the Layers palette click on the New Group button marquee as close as you can to the edges When you’re panograph. As you gradually compose and and drag each segment into the folder, and without going onto the chequered canvas. composing the align each segment, the original image will continue the next ten in another group. panograph with the start to form. action and moving each segment, 11 Tweaking there are some gaps With useful shortcut so many layers, lining keys to speed up each one up can this process. For get a bit tricky at instance, pressing times. Try nudging the spacebar each segment of activates the Hand the composite using tool for panning the arrow keys for the whole canvas. ner control when ‘V’ is the shortcut positioning. When key for the Move the entire photo tool, and keeping has been made up Auto-Select: from segments and Layer activated pieced together, crop allows you to move the panograph. any layer at any time. Also, using Ctrl/Cmd with the +/- keys allows you to zoom in and out quickly without having to select the Zoom tool. 12 Brightentheimage The Multiply blend mode can cause some areas to look dark. Add the Brightness/Contrast adjustment layer (Layer>New Adjustment Layer), move to the top of the layer stack and boost the two sliders to add punch. 13 Merge 14 Sharpen to a new up the layer To place the composition With composite onto a the ‘stamped’ layer new layer of its own, selected, go to hit Shift+Alt+Ctrl/ Filter>Sharpen> Cmd+E. This stamps Unsharp Mask. Set everything that’s the Amount to 50% visible, while retaining and the Radius to all of the layers 2px. Hit OK, and your beneath so you can panograph should be go back and edit bright and sharp to them if needed. complete the e ect. 174 PHOTOSHOP CREATIVE COLLECTION

Mergemodesfordramaticimages5-minute fix Mdrearmgaetmicoimdeasgefosr If you can’t decide whether to make your photo black and white or colour, why not use both? Before essentials very e cient way to draw After attention to certain areas of an SKILL LEVEL image is to make those areas in colour and desaturate the rest. Beginner This can transform an image and give it a Intermediate sophisticated look. You can use layer masks or Expert select the area, paste it on another layer and desaturate the layer below – but we’re going TIME TAKEN to use the History brush. This is an ingenious tool that lets you paint with a past state of your Five minutes image, so you can use selective colouring to make one element stand out. YOUR EXPERT Quick tip: To set an overall Zoe Mutter tone to your image, choose Image>Adjustments>Hue/ KEY SKILLS Saturation and check Colorize COVERED What you’ll learn HISTORY PALETTE HISTORY BRUSH SPLASHOFCOLOUR Make partsofyourphotographstandout 01 Drainthecolour Open your image 02 Colouraddition The History palette 03 Rectify mistakes Chances are you’ll go over the edges and and duplicate it to a di erent layer lets you revert the image to a state colour the bits you don’t want. You can easily sort this out by so it’s protected, by right-clicking on it in the by clicking, and also paint selected areas by clicking the box in the History palette next to the Desaturate stage. Layers palette and selecting Duplicate Layer. clicking the square to the left of a state you This allows you to go around the edges and make the places you’ve Select Window>History to bring up the History want to work from in the History window. accidentally coloured black and white again. Use the History brush on a palette. This is where you can choose which A brush icon appears, setting the source for small size setting for greater accuracy. History state you’ll be using to paint. Select the History brush. To add colour, click the Image>Adjustments>Desaturate to remove left-hand box at the top before desaturating. the colour from the entire photograph. Zoom in, pick History Brush, set its size to 70px and paint over the main areas. CS2 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 175

tutorial Realistic watercolour with brushes Start image essentials SKILL LEVEL Beginner Intermediate Expert TIME TAKEN 5.5 hours YOUR EXPERT Tim Shelbourne ON THE DISC venice start.jpg wwReaitahtelbirscrtuiocslohuers By choosing and tweaking your digital brushes carefully, e ective watercolour from photographs is just a few brush strokes away atercolour is one of the and versatility of digital brushes. We’ll will supply. Before you even think about KEY SKILLS trickiest mediums for any use two kinds of brushes here – those watercolour, think about brushes! COVERED traditional artist to master, found within the Wet Media brush due to its quite unforgiving library in Photoshop, and also some Splodgy wet brush dabs that merge What you’ll learn and unpredictable nature, but when super-realistic watercolour brushes by and run together, sharp areas of rough it comes to simulating the e ect of BittBox, (download from www.bittbox. dry brush and lovely at hard-edged WET MEDIA watercolour digitally in Photoshop, com/freebies/free-hi-res-watercolor- brush marks of super-saturated colour BRUSHES things get easier. photoshop-brushes). – that’s what watercolour is all about, BITTBOX Anyone who’s ever tried the rather and watercolour is what we’re all about BRUSHES misguidedly named ‘Watercolor’ lter in Essentially, successful digital here! We couldn’t supply our start le on LAYER MASKS Photoshop will know how disappointing watercolour relies on convincing paper the disc, but we did supply an alternative REALISTIC the results are, but in this project we’re textures, translucent colours that subtly start le that works just as well. If you WATERCOLOUR going to concentrate on replicating combine together, but primarily the would like to use the image we chose, EFFECTS watercolour simply through the power e ects rely on the variety of brush marks head over to www.istockphoto.com and textures that our chosen brushes and search for image number 10927792. 176 PHOTOSHOP CREATIVE COLLECTION

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tutorial Realistic watercolour with brushes GETBRUSHING First steps in watercolour effects 01 Alittleblur Open the start image, 02 Papertexture Set the blending 03 The brushes Ctrl/Cmd-click the visible layers below and go to hit Ctrl/Cmd+J twice to make two mode for the upper layer to Screen. Layer>Group Layers, then Layer>Layer Mask>Reveal All. Click copies of the background layer and hide the Go to Layer>New Fill Layer>Pattern. Load the the layer mask in the Layers palette. Hit the foreground colour swatch and rst via its visibility eye. Click the background Artists Surfaces pattern library and pick Berber. pick # 9c9c9c. Go Edit>Fill, then Foreground Color for Contents to ll the layer and go to Edit>Fill, choosing White Set the Scale for the pattern to 400% and hit mask. Select the Brush tool and load Wet Media brush set. for Contents. Click the upper copy and set OK. Set the blending for this layer to Color Opacity to 80%. In Filter>Blur>Gaussian Blur, Burn. Go to Layer>New Adjustment Layer> set Radius to 40px and hit OK. Duplicate this Hue/Saturation. Increase Saturation to +25. blurred layer (Ctrl/Cmd+J). Tip Myoaukreown 04 Paintbacktopaper PicktheLarge 05 Texturalinterest Painting on the 06 Paintandreveal Still using the watercolour Texture Stroke brush. In the Brush group layer mask, the more you paint brush at 7% Opacity but with White brushes palette (F5) click ‘Texture’ and via the Pattern over a particular area with this brush, the more as Foreground, use some of the longer BittBox swatch load the Artists Surfaces patterns. Pick white paper you will reveal. Using a variety of brushes, again with single clicks in the broad It’s easy to make the Berber pattern and set Pattern Scale to 150%, the BittBox brushes at large sizes with black areas of the scene. Using white here will reveal your own brushes Brush Opacity to Pen Pressure. Use this brush at set to just 7% Opacity, add lots of brush marks more, darker colour from the layers within the to use in digital a large size with black around outer edges of the across the scene using single clicks. This will group, creating more tonal variation. watercolour painting to reveal grainy white areas. introduce a more watercolour-like feel to the painting. Make a painting, adding subtle tonal variation. stroke on some watercolour paper 07 Soft strokes, soft colour Pick the Watercolor Fat Tip brush 08 Simplify with Smart Blur Click on the hidden image layer with a conventional from the Wet Media brushes. In the Brush palette add the same at the bottom of the layer stack and duplicate it (Ctrl/Cmd+J). watercolour brush Berber texture to the brush. Set Brush Opacity to Pen Pressure. In the Drag and drop this layer at the top of the stack above the group. Expose and paint. Scan Options bar, set Brush Opacity to 100%. Use this brush with white to paint the layer via its visibility eye. Go to Filter>Blur>Smart Blur. Use Radius 30, your stroke using with short strokes over the main building to intensify its tones and colour. Threshold 55, Quality: High. Set the Opacity of this layer to 55%. a flatbed scanner. In Photoshop, desaturate the scanned brush stroke, go to Select>All, followed by Edit> Define Brush Preset. Using this method, you can make countless brushes, just like the BittBox ones we’ve supplied, and use them in your paintings by simply clicking with them. WORKS WITH | PHOTOSHOP CS2 AND ABOVE 178 PHOTOSHOP CREATIVE COLLECTION

BuildingontheBasics Usingbrushestobuildonwhat we’vegot 09 anothergroup,anothermask 10 Moredefinitestrokes Choose the 11 lost and found Make sure to leave gaps between your Duplicate the layer and set the blend Watercolor Textured Surface brush. In strokes to create lost and found areas and develop a convincing mode for the copy to Screen, Opacity 60%. Add the Brushes panel, set the texture to Berber as watercolour feel. To get the best from the brush, vary the size of the a Hue/Saturation adjustment layer, increasing before and set the mode in the Texture panel brush and the pressure you apply. Short dabs work best for watercolour, Saturation to +30. Group the three layers, click to Color Burn. Set Opacity for the brush to Pen especially around the boats by the quayside. the group and go to Layer>Layer Mask>Hide Pressure. Now, painting with white on the group All. Click on the layer mask in the Layers panel. layer mask, add short vertical and horizontal strokes over the foreground buildings. 12 Vitalpapergrain To vary the grainy 13 drybrush The Rough Dry brush 14 another brush, more adjustments Right-click the Group 2 appearance of the brush, regularly from Wet Media can also be used group in the Layers palette and choose Duplicate Group. Click alternate the Texture mode in the Brushes here and there on this group layer mask to the layer mask attached to the duplicated group and go to Edit>Fill, panel between Color Burn and Subtract, and create sharper, more grainy dabs of colour. choosing Black for Contents. Pick the Brush Light Texture Medium Tip experiment with different settings for the Once again, set the brush to use Pen Pressure brush in Wet Media brushes. In the Brushes Panel (F5) check Wet Edges. Depth slider in the Texture settings. for Opacity in the Brushes panel. Make sure to use short, sharp strokes, especially along the quayside and around the boats. 15 Brushinginmoredetail Painting 16 Moredrybrushdetail More of the 17 overlaid textural interest Use one of the large, long BittBox with white on the mask for this group same short strokes with this brush brushes to add broad strokes via single clicks to give texture and making sure to vary the opacity via Pen will also add suggested dry brush details to to the water expanse. Control the angle of the brush via the Brush Tip Pressure, start to add short vertical strokes the boats and the surrounding details. Vary Shape section of the Brushes palette and use a very low opacity setting to the foreground buildings. This brush the size of the brush and follow the form with for the brush to create a subtle, overlaid effect. uses texture, and as it intensifies the colour your strokes. and tone here you’ll really see the buildings emerge. Concentrate mainly on the dark areas. PHOTOSHOP CREATIVE COLLECTION 179

tutorial Realistic watercolour with brushes BRINGINGITALLTOGETHER Layerstructure We needmoresoftareasanddetail How we built the scene Finishing details Multiply blend 18 Bluryourwaytosuccess 19 Sloppybrushwork! Choose the Detail in the distance Duplicate this group and ll the mask Drippy Water brush in the Wet Media Add some detail with black. Click on one of the image layers in set. Use this brush (again on the group layer the group and go to Filter>Blur>Gaussian Blur. mask) using White as Foreground to gently Use a value of around 50%. Repeat this for the paint over the distant buildings, using the other image layer. Increase the opacity of both brush at a medium size to reveal the blurred these layers by around 15%. Now click again wet wash areas on the layers in the group. on the group’s layer mask. Larger dabs 20 Confusingthings Use this brush 21 Detaillayer When you’re happy Define brush strokes over the distant areas of water in with the overall feel of the painting, Begin painting loose vertical strokes, and also use it at a atten the image via Layer>Flatten Image. small size here and there over the tops of the Add a new layer above the attened image foreground buildings to soften and ‘confuse’ and set its blending mode to Multiply, Opacity these outlines a little. Using this same brush to around 60%. Now we’ll add some strokes of on the mask for the group below will restore a colour. Choose the colour you want to paint little detail to the distant buildings. with by Alt-clicking while using the brush. Paper texture Blur background 22 Indicateddetailwithbrushes Start 23 Detailinterest By using the brush at Start image to add detail using the Light Texture a bigger size, you can add small blobs Medium Tip brush at a small size, choosing and touches of local colour. Make sure to refer colours as you go. Use nice calligraphic lines to to the watercolour notes on the right-hand delineate features in the scene and reinforce page to see how you can simulate various the focal areas. This is really just indicated detail watercolour e ects. to catch the viewer’s eye in important areas. 180 PHOTOSHOP CREATIVE COLLECTION

RealisticwateRcolouReffects A little knowledgewilltakeyoualongway n Photoshop, digital watercolour So here we’re going to take a look at the main, has on the canvas, and the qualities of the image effects are some of the most signature watercolour effects and give you the information you’re revealing via the layer mask challenging natural media effects, lowdown on exactly what you need to create them you’re painting on. but as you’ve seen in this tutorial, and the best way to use the most suitable brushes. using a combination of image effects, layer masks One vital aspect that any successful watercolour and most importantly specific brushes, it’s quite There really are no hard and fast rules here, similar effect needs is a paper pattern overlay layer, possible to simulate watercolour in its many guises. to real-world watercolour techniques, but the key because the grain of paper is one of the most vital is the appearance a stroke from a particular brush components in traditional watercolour paintings. washeffects detaileffects fine, responsive, calligraphic brushes. Some ‘single- Wash effects in watercolour no hard edges here! It’s also click’ brushes such as the BittBox ones are great for are characterised by very important to use the brushes Adding detail happens at the end of any suggesting detail here. soft areas of colour that at very low opacity, which is watercolour painting. In this defining stage it’s readily merge together, so it made much easier by setting important to have good brush control, using a few makes sense to use very soft the Opacity control for the brushes for this. There are brush to Pen Pressure. The Brush Light Texture Medium Watercolor Textured Surface can The Rough Dry brush is great for Tip is ideal for fine, spontaneous provide broader strokes which patches of heavy colour that can defining-detail strokes. indicate indistinct detail. refine small areas of detail/tone. The simplest washes, Over the initial wash, use textuReeffects variety. Another way to create texture is to overlay created with the Watercolor the same wash with more dabs from BittBox brushes used at very low opacity Heavy Loaded brush, opacity in order to add It’s vital to introduce texture via the Texture section on top of each other. use a very low opacity in some darker but still quite of the Brushes panel. Pick the Artists Surfaces long strokes. liquid areas. textures and experiment with the Depth slider for Use the single-click BittBox Experiment with blend modes The Watercolor Textured Surface Use single clicks on some of the Remember brushes at very low opacity to of the paper pattern layer to brush has texture built in. Use lots BittBox brushes to introduce to use that add interest to the wash. change the look of the wash. of short strokes for more texture. more texture. vital Texture section of the Brushes panel here! splodgyeffects dRybRusheffects This is where paper grain comes to the the Wet Media set ideal for this effect. Think Once again, the brushes you use make all Water brush. As you’ll see below, when fore, where in real-world watercolour a dry obvious grain/hard edges. The Dry brush is the difference. Many of the Wet Media set you’re painting on masks, you can always brush just skims the highest points of the also great for ‘lifting’ sharp white highlights are invaluable here, especially those that soften edges using one of the softer paper surface. There are specific brushes in by painting with white at 100% Opacity. scatter dabs around such as the Drippy brushes afterwards. Use the Drippy Water Take advantage of its Using the Watercolor Use the Rough Dry brush The Large Texture Stroke Use the Rough Ink brush brush at very low opacity to pressure sensitivity by Heavy Pigments brush on with lively strokes, varying brush will create even with Texture added in the create quite random, loose varying the pressure you the layer mask with black, the pressure for good dry more texture in your Brushes palette to ‘lift’ dry areas of colour. use to overlay colours. you can soften hard edges. brush effects. digital painting. white areas. PHOTOSHOP CREATIVE COLLECTION 181

tutorial Shape shifters 182 PHOTOSHOP CREATIVE COLLECTION

Shapeshifters Start image There are thousands of shapes in every image, right? Not always. Here we’ll create a complex scene from just one! s a general rule, any image is made up of countless Essentially, we’re going to use two separate method of copying, pasting and transforming essentials di erent shapes, but in this techniques here, rst using the shape as a few many copies of the shape to create the project we’re going to create custom brushes, and then using many copies vital visual framework of the animal itself. SKILL LEVEL an entire scene from just a single shape. of the shape itself. Although this stage is quite laborious, it’s In isolation this is a very simple shape worth the e ort to slowly build up the form of Beginner indeed, but as you’ll see we can create We’ve supplied the custom brushes you’ll the animal, and is made much easier with the Intermediate quite a complex image from it. need, and each uses the host of shape, use of keyboard shortcuts. Expert We’ll start by generating the shape from a spacing and Jitter dynamics you’ll nd in the photographic reference, but from then on it’s Brushes palette for any brush in PS, letting us So, if you think of simple shapes as a bit TIME TAKEN a case of building an illusion of form and detail cover a great deal of ground with brushes that uninteresting and limited, try your hand at via our chosen shape in many guises. inject a lot of randomness to the shape itself. the Photoshop collage technique in this 5 hours tutorial and create the complex from the very Within the focal point of the image, namely simplest of elements. YOUR EXPERT the gira e, we’ll use a rather more manual Tim Shelbourne FIRST THINGS FIRST ON THE DISC Generate a mask and load the brushes Shape brushes. ABR Shape.psd Silhouette_ref. jpg VIDEO TUTORIAL giraffeshapes. mov 01 QuickMask Open the start image 02 Addalayermask In the Layers 03 Loadthebrushes Refer to the KEY SKILLS from the disc. Hit ‘Q’ to enter Quick panel, hit the Add Layer Mask button. video on the CD and load the COVERED Mask mode and use a hard brush with black Click again on the background layer, add a supplied custom brushes from the disc. With to paint over the gira e. You can easily correct new layer and ll it with white via Edit>Fill, the brushes loaded, click on the masked layer, What you’ll learn the mask by simply painting back into it with choosing White for Contents. choose the colour #fcecb0 and ll this layer white. Once the mask is complete, hit ‘Q’ to exit via Edit>Fill, then choose Foreground Color USE CUSTOM Quick Mask and add a new layer. for Contents. BRUSHES QUICK MASK USING FREE TRANSFORM USE BRUSH DYNAMICS PHOTOSHOP CS AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 183

tutorial shape shifters ManipuLaTing shapes Magic brushes Placing the main detail shapes within the animal’s silhouette Brush dynamics save you work! requires a pasting and transforming routine. It’s worth taking your time with this, using keyboard shortcuts to make it quicker. 04 Lookingskyward Return to the 05 cloudingover Add another layer, a little paste! white filled layer and add a new layer. setting its blending mode to Lighten. Having copied Load the Giraffe brushes from the CD and Choose two shades of very light blue/grey and the shape from choose the Sky brush. Pick a light blue for the add in the suggestion of clouds by painting the supplied Foreground swatch, and a midtoned blue for with the brush. You can also add some darker PSD file to the the Background. Now start to paint in the sky, blue just above the horizon line. clipboard, hit using the brush at around 175 pixels. Ctrl/Cmd+V to place a 06 Thegreen,greengrass Add 07 hittingthehighlights Add another copy onto another layer and choose the Grass layer, setting its blending mode another layer. brush. Choose two shades of very dark green, to Color Dodge. For the Foreground and one for the Foreground swatch and one for Background swatches, choose two shades Free Transform the Background. Use this brush at around 100 of yellow/green. Using this brush you can Hit Ctrl/Cmd+T pixels to paint in the distant grass, increasing add some highlights to the ground. Once to invoke Free the brush size towards the foreground. again, use the brush at a larger size towards Transform. Place the foreground. your tool pointer outside one 08 shaping of the corner up Click handles to rotate on the masked layer the shape. and duplicate it. Go scale it up to Select>All and hit Scale the pasted Backspace. Open shape simply ‘shapes.psd’ from by dragging a the CD, click on the corner handle. upper layer, go to You can also Select>All, followed move the shape by Edit>Copy to by dragging copy the shape to within the the clipboard. Now bounding box. return to your giraffe Layer lore composition and Continue to go to Edit>Paste to paste and paste the shape to a transform more separate layer. shapes. Every now and then, Ctrl/Cmd-click the pasted layers and go to Layer> Merge Layers. a little preservation Having merged the pasted layers, go to Layer> Merge Down and click Preserve to keep the underlying layer mask intact. 184 PHOTOSHOP CREATIVE COLLECTION

BUILDING UP THE SHAPES Tip Building the image little by little 09 Routinesteps Refer to the 10 Lightershapes Copy the ‘Light 11 Buildingdetail Return to the Brush Lovely layers! side panel and begin to add the Shape’ from the supplied PSD; copy tool and choose the Gira e Detail darkest shapes to the gira e using the Paste/ the masked layer. Click the lower masked layer brush. Once again, this brush is set up as it Don’t be afraid to Transform routine. This can be quite time- and go Select>All, Edit>Clear to clear the layer. needs to be, but adjust it to a suitable size and use multiple layers consuming, but worthwhile, as doing this Use Paste/Transform to add the lighter shapes set the Opacity to 50%. Ctrl/Cmd-click one of in this image. Each carefully will give the animal mass and form. below the dark ones. Place the shapes carefully, the layer masks to generate a selection and time you paste a new Ultimately you’ll nish with a single masked using the nal image as a reference. add a new layer (Ctrl/Cmd+Shift+N). shape it’ll be pasted layer containing all the dark shapes and detail. to a new layer. Every Layerstructure so often, merge all these shape layers. Our own tall story You can generate another mask for the merged layers by Ctrl-clicking the original layer mask to generate a selection, then hit Add Layer Mask in the Layers palette. Add the mane 12 Morebrushwork Choose the 13 Littledetails Using the Copy/Paste/ Dark shapes colour #cfb76e for the foreground. Transform technique, you can add Light shapes Now stroke with this brush to add a little detail small details to the gira e’s head. The eye Base shapes to the gira e, especially the legs and any areas needs to be black (do this with a single click Giraffe silhouette which are still too blank, adjusting the brush with one of the brushes), but add a tiny white size as needed. The active selection will restrict shape for the highlight in the eye. the brush to within the silhouette. Grass lights and darks Start brush detail 14 Furringup For the fur along the 15 Polishtoperfection You can now Fill the background neck, Ctrl/Cmd-click one of the layer use a combination of the above Reference image masks and add a new layer. Choose the Gira e techniques to add polish and detail to the Solid brush in the supplied brushes, with very nished image. Make sure that you target the dark brown for the foreground. Invert the appropriate layer to add more shapes and selection via Select>Inverse. Stroke along the targeted brush marks. Take your time here to outer edge of the neck with the brush, starting build up the complex patchwork of shapes with heavy pressure and slowly reducing it. on the body. PHOTOSHOP CREATIVE COLLECTION 185

tutorial Wet sand text effects Before image 186 PHOTOSHOP CREATIVE COLLECTION

Wetsand texteffects Use channels and lighting e ects to carve a message in the sand! ost of us have fond memories kerning for professional-looking results. Next, surf (feel free to skip this step) and then apply essentials of seaside holidays. Playing you’ll reshape an existing letterform into further techniques and layer styles to keep the along the shoreline, dodging a heart shape and discover how to store a lighting conditions consistent. SKILL LEVEL the waves and writing modi ed selection within an Alpha channel. messages in the wet sand with a stick You’ll then be using paths and a custom brush Before you dive in, take some time out Beginner was all part of the fun. So in this issue’s to create the rough-edged sand within a to study how light behaves in the natural Intermediate Text E ects instalment we’ll recreate that second channel. world. Our brains assume light shines from Expert experience using some of Photoshop’s above, either directly or from the side, so basic tools. We’ll reveal step by step how to ‘sink’ the it’s important to establish your light source TIME TAKEN lettering and ‘raise’ the ‘disturbed’ sand using accordingly so the viewer is in no doubt To start o , you’ll prepare a suitable sand the often overlooked but powerful Lighting where the light is coming from. Bear this in 3 hours E ects lter. As a nal ourish to the e ect mind when using the Lighting E ects lter backdrop on which to write your text. You’ll we’ll add some sea creatures and some foamy and when creating Drop Shadow layer styles. YOUR EXPERT then compose your text layers and apply Mark Mayers PREPARATION AND INITIAL STEPS ON THE DISC Add the beach, then your text ‘Sand.abr brush’ preset sand start.jpg water.jpg You’ll also need this free font: www.dafont. com/scriptina- pro.font KEY SKILLS COVERED What you’ll learn 01 Sandlayer Create a portrait RGB 02 Thesummeroflove Add your text 03 Heartshape Now we’ll create the CLONE TOOL canvas 2835 x 3425px, then add within a group folder called ‘Text’; heart shape. Add a lower case ‘k’ and KERNING TEXT ‘sand start.jpg’ as a new layer and rotate for exibility stack each word on independent rotate -45° (1), then choose Layer>Rasterize ALPHA CHANNELS 90° counter-clockwise. Enlarge it to ll your layers. Choose a font that’s both elegant and Type and use a small, hard-edged eraser to LIGHTINGFXFILTER canvas. Duplicate the layer, change its mode looks hand-drawn – we opted for ‘Scriptina’ at remove parts to create half a heart shape (2). BRUSH TOOL to Multiply and Opacity to 53%. Next, hit 117pt. Next, use your judgement to optically Duplicate the layer, hit Flip Horizontal and MASKS Ctrl/Cmd+E to merge down and name the reduce the kerning (or spaces) between Shift-drag left to complete the shape. Finally, LAYER STYLES resulting layer ‘Original Sand’. character pairs by using the scrubby sliders erase any overlaps, merge the upper layer and ADJUSTMENT next to the entry eld. position centrally (3). LAYERS PHOTOSHOP CS3 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 187

tutorial Wet sand text effects CUSTOM CHANNELS AND FILTERS Prepare channels for use with the Lighting Effects filter 04 Dimension 05 New Copy channel the folder and hit Load the Text Ctrl/Cmd+E. Name Merged layer as the copy ‘Text a selection, then Merged’ and disable switch to the visibility in the Text Channels tab. Click Folder layer beneath. the Create New To thicken the text, Channel icon at the Ctrl/Cmd-click the foot of the palette, new layer thumbnail then hit Shift+F5 to create a selection, and ll with 50% expand by 6px and grey. Contract the ll with black. Go to selection by 9px Edit>Transform> and ll with white. Perspective to add Deselect, then apply some dimension. a Gaussian Blur of 4px. Tip 06 Sinking In 07 Adda Cloning the top RGB mask Grab around comp channel, hit the Magic Wand tool, Layers, disable visibility uncheck Contiguous, When using the in Text Merged. Copy switch to your Clone tool (as in Original Sand, name it Channels tab and step 1 to remove ‘Sand Inner’. In Filter> target Alpha 1. Click the shell), it’s good Render>Lighting to select all the black practice to work FX hit Light Type areas, activate the on an independent Directional; Negative composite channel layer above the 28 (# f4edd1 swatch); and then switch original. For this to Gloss -34; Material -43 to your Layers tab. work you’ll need (white sw); Exposure 0; Target the Sand to select Current Ambience 8; Texture Inner layer and & Below from the Ch Alpha 1; Height 100. now choose Layer> drop-down menu in Drag light direction Layer Mask> the Options bar. Any points as shown, save Hide Selection. cloning will now be and name ‘Sand’. non-destructive to the original pixels 08 Rough edge Load the ‘Sand.abr’ brush preset and set the 09 Refine the effect Select white as your foreground colour and and mistakes can Diameter to 50px, the Opacity to 100% and the Flow to 78%. stroke the path again, but use a 25px brush. Now paint directly easily be rectified. Choose # 2d2d2d as your foreground colour. Ctrl/Cmd-click the Text on the channel using # 2d2d2d, then white to add some random sand You’ll also need to Merged layer to generate a selection and add a new channel. Switch to debris. Next, apply a Gaussian Blur of 3px. use a medium to the Paths tab and select Make Work Path. Target your new channel, then hard-edged brush back in the Paths tab choose Stroke Path. in order to preserve the graininess of the sand. 188 PHOTOSHOP CREATIVE COLLECTION

POLISH OFF THE EFFECT Add some sea critters and surf 10 Raisededge Duplicate the Original 11 Emphasisethegrain We’ll intensify 12 Life’s a beach If you would like to add the shell and star sh, Sand layer again and rename it ‘Sand the sand grain a little. Duplicate the head over to www.sxc.hu and download les 1093266 and Outer’. Re-apply your Sand lighting e ect Original Sand layer again and name the copy 1259868. Isolate the shell with the Pen tool and add it as a new layer. preset, but choose Alpha 2 from the Texture ‘Sand Lighten’. Hit Ctrl/Cmd+Opt/Alt+F to Transform and position, add a soft Drop Shadow layer style and use the drop-down menu and check the White Is High bring up the last Filter window, but choose the Angle to follow the established light direction. Repeat for the star sh, button. Now reduce the Layer Opacity to 90% Green channel from the Texture drop-down but adjust the Distance setting accordingly. Use the Dodge and Burn to slightly lessen the e ect. menu. Now change the mode to Lighten and tools to add highlight and shadow to both creatures. reduce its Opacity to 50%. Layerstructure Creating the message in the sand Tip Adjust the levels Let there 13 High tide Import the ‘water.jpg’ le as a new layer at the top of Water’s edge be light the stack. Hit Ctrl/Cmd+T to resize, then press Ctrl (right-click) Add starfish to access the Skew, Rotate, Distort and Perspective transformations as Add a shell The Lighting Effects required. Add a mask, and then carefully remove the sand using a small Refine the effect filter is an invaluable soft-edged bush along the lip of the foam, then a large hard-edged Writing in the sand tool for generating brush over the larger areas. Original sand believable dimensional effects. 14 Lighten up To nish, we’ll lighten the overall image a touch. It uses greyscale Add a Levels adjustment at the top of the layer stack and slightly information in much reduce the midtone Input slider to 1.15. Reduce the adjustment’s Opacity the same way as a to 65%. Delete the Text Folder and Text Merged layers, and you’re done. bump map does in a 3D application, and goes a step further than layer styles’ pseudo- lighting. We’ve only skimmed the surface of what’s possible here, so take some time to familiarise yourself with its other features, such as applying additional lights or using omnidirectional (like a glowing bulb) and spotlights in order to create dramatic pools of light. PHOTOSHOP CREATIVE COLLECTION 189

tutorial Create a photo illustration 190 PHOTOSHOP CREATIVE COLLECTION

Cphreoatoteilalustration essentials Turn a stock photo into a painterly photo-illustration using just a few brushes and textures and the Displacement lter SKILL LEVEL hoto-illustration can yield random with your brushwork; you’re not e ect or download our one from www. Beginner very di erent results from trying to be neat with anything here, in fact photoshopcreative.co.uk/tutorials.php. Intermediate both standard photography try to avoid a clinical approach. The wolf image can be found on the disc. Expert and traditional illustration. All you need is a good photo and an idea of We’ll show you how to randomise Once you have all these les, create a TIME TAKEN what you’re going to do with it. things further with the Displacement lter new document 41.5cm width by 29cm and also how to make your own custom height at 300dpi, then paste in the wolf 2-3 hours In this tutorial we’ll add a hand-made variable stamp brushes. stock image and Free Transform it to t the image as in the screenshots (hold Shift YOUR EXPERT feel to an image based on the story Little For this tutorial you will need to while dragging the handles to constrain download the concrete texture from the image proportions), and you’ll be ready David and Red Riding Hood. We’re going to go for an Mayang.com at http://tiny.cc/r0icn. You to get started. Sarah can use your own le for the displacement Cousens, aka analogue feel as opposed to an entirely Cool Surface digital look. Feel free to be playful and ON THE DISC Wolf image and brush IF YOU GO DOWN TO THE WOODS TODAY… With your file set up, let’s get cracking 01 Lasso a border Press Shift+Ctrl/Cmd+N to create a 02 Going blue When you are happy with your selection, click on the KEY SKILLS new layer named ‘Blue’ and click OK. Use the Freeform Foreground colour palette and choose a colour with values of R:142 COVERED Lasso tool (press ‘L’) to select a border around the wolf. Keep G:198 B:226 and click OK. Press Shift+Backspace, select Use Foreground Color, it simple and irregular, with stylised tufts of grass around the click OK and your selection will be lled with the colour. What you’ll learn wolf’s feet. Press Shift+Ctrl/Cmd+I to invert the selection. DISPLACEMENT FILTER CREATING CUSTOM BRUSHES LAYER BLENDING MODES PHOTOSHOP 7 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 191

tutorial Create a photo illustration ADD A PERSONAL TOUCH WITH HAND-MADE EFFECTS Tip Timetousethosecustom brushes 03 Brushwork Create a new layer 04 Maskoutthebackground On the 05 ConcreteTexture Open the Displacement called ‘Lines’. Select the Brush (‘B’) wolf photo, click the Add Layer Mask concrete le. Press Ctrl/Cmd+A to and use the DC Ink brush on the CD to trace icon in the Layers palette. Using a standard select the whole image, then Ctrl/Cmd+C to This filter offers an the outline of the wolf and also his features hard-edged brush with the colour black, paint copy it. Go back to your artwork, press Ctrl/ easy way to alter the – eyes, nose, tail, etc. Vary the pressure of your over the remaining grass background right up Cmd+V to paste it in above the Blue layer in the look of an image, brush strokes to create variation in the lines. to the wolf’s lines to hide the grass completely. Layers palette and name it ‘Concrete Texture’. and the effect With the wolf photo hidden, your lines should differs depending look something like the screenshot above. what image you use as the displacement map. You can use any flattened PSD file to distort the pic, and alter the amount affected. It’s rare to have a displacement that suits an image perfectly, but using a layer mask will fix things nicely. 06 Applyaclippingmask Right-click 07 Hand-drawntext Create a new layer Make your own custom brush the thumbnail of the Concrete to add some text on, and place this Texture layer and select Create Clipping Mask layer below the Lines layer. To retain the hand- Photoshophas allthe tools you need from the y-out menu. Set the layer blending drawn illustrated style of the piece, use the DC mode to Linear Burn and the Opacity to 54%. Ink brush to add text rather than the Text tool. To make the custom wolf’s head brush Finally, press Ctrl/Cmd+I to invert it. preset, select the head with the Lasso. Hit Shift+Ctrl/Cmd+C to select visible layers, then make a new doc (Shift+Ctrl/Cmd+N) to paste the wolf into. PS will suggest right size based on the clipboard image. Go to Edit>Define Brush Preset and you’ll have created a new brush tip shape to select. Close the new doc (don’t save) and return to your artwork. Select the Brush and open the Brush Settings menu. In Brush Tip Shape change Spacing to 122. Tick Shape Dynamics; change Size Jitter Control to Pen Pressure; Angle Jitter Control to Pen Tilt. Your brush is ready! 08 More stylised fur Create a new layer named ‘Fur Painting’. To make it look less photographic, use the ‘Streakya’ brush (on the CD) to paint areas of the wolf’s fur using colours picked from the wolf itself. Hold Alt to bring up the Eyedropper. Paint over his eyes with a solid yellow (values R:250 G:213 B:63). 192 PHOTOSHOP CREATIVE COLLECTION

“ALL THE BETTER TO EAT YOU WITH!” Tip Use the Displacement filter and layer blending modes to your advantage 09 Displacementfilter Press Ctrl/ 10 Hideunwantedareaswithalayer 11 Custombrushstrokes Create an Brush Cmd+A to select the entire canvas, mask Add a layer mask to this layer, ‘Overlay Brush Strokes’ layer (set the settings Shift+Ctrl/Cmd+C to copy visible layers. Hit Ctrl/ and use an airbrush with the colour black to blending mode to Overlay). Select the wolf’s Cmd+V to paste it below the text layer; name paint out some areas on the face and around face brush (see the boxout for instructions on Playing with Brush the layer ‘Displacement’. Go to Filter>Distort> the text to make it more legible. Paint out creating this brush), and using both light and settings can give Displace, set Horizontal/Vertical Scales to 100, the distortion e ect over the majority of the dark colours picked from the wolf’s fur, create interesting results. hit Stretch To Fit and Repeat Edge Pixels, then background, leaving behind a border around some spiral patterns over the image. The Ink brush in the OK. Open the displacement le and click OK. the wolf and the text. tutorial alters its rotation based on Pen Pressure, not Tilt, so you’re not in total control of how the line work looks. Alter the spacing on any brush to see how it affects the stroke. For a totally different result, try Dual Brush settings. Layerstructure Creating our fairytale wolf Distortion texture 12 ALinearBurnlayer Create a 13 Drawsometrees Create a new layer Linear Burn new layer above this one and set named ‘Trees’ and place it under the Lines and brush strokes the blending mode to Linear Burn. Use the Displacement layer. Using a hard-edged brush, “What big teeth” Gradient tool (Linear gradient, Foreground To draw some bold black shapes to suggest trees Transparent, 46% Opacity and the colour black) in the foreground either side of the image, and use it to darken the corners of the image, and also some thinner trees leading into the dragging from outside the canvas inwards. distance behind the wolf. Displacement Texture and trees 14 EasytexturewithanOverlaylayer 15 Boostingthecolours Add a new Blue Open the distortion.psd from our layer called ‘Overlay Highlights’, place Wolf photo site and copy and paste it into your artwork; it below the Distortion Texture layer and set make sure it’s at the top of the layer stack. Press the blending mode to Overlay. Select the Ctrl/Cmd+T and drag the corners so that it lls Gradient tool (Radial gradient, Foreground your image. Set the layer’s blending mode to To Transparent, 46% Opacity) and choose a Overlay and 50% Opacity. Press Ctrl/Cmd+U colour of R:222 G:199 B:185. Apply some small and slide Saturation to -100 to desaturate it. gradients over the wolf and behind the text. PHOTOSHOP CREATIVE COLLECTION 193





tutorial Create a photo album scrapbook 02 Cutting GOTTA HAVE STYLE! corners Go to Select> See how using custom preset styles can be a huge time-saver Transform Selection and hold Shift as you 01 Gather your photos Open the ‘PhotoAlbum.png’ image from rotate the selection the disc and use File>Place to bring in your snapshots as Smart so the rotation snaps Objects. On a new layer, create a square selection over the corner of one to 45 degrees. Scale of the photos. Go to Edit>Fill and select 50% grey from the Content menu. the selection up and reposition it so Tip it touches opposite corners of the grey square. Commit the transformation and press Delete to trim the square. Cancel the selection with Ctrl/Cmd+D. Safety in 03 Doing it with style Open the Style panel and click on the 04 Select a mask Ctrl/Cmd-click on the photo thumbnail to groups small down-facing triangle icon at the top right to activate the create a selection. Go to Select>Modify>Contract and enter y-out menu. Choose Load Styles and browse to the ‘ScrapBookStyles’ a value of 15px. With this new selection create a layer mask by going to This project tends le from the CD. Once the styles are loaded, scroll down and apply the Layer>Layer Mask>Reveal Selection. A small black and white image will to generate many ClearPlastic style. Make copies for the other three corners. appear next to the layer thumbnail – this is the mask’s thumbnail. layers. Each photo has a layer, the 05 Ragged edge Make sure the layer mask is targeted and open 06 Shadow work Give the photo layer a Drop Shadow layer shadow beneath up the Filter Gallery. Select the Torn Edges lter and set the style. The default settings will work for now. Next, right- it is a layer, each Image Balance to 27, Smoothness to 9 and Contrast to 15. Add a new click/Cmd-click the FX icon for that layer to get a context menu. Choose individual corner e ect layer by using the icon at the bottom of the gallery. Select the Create Layers, and Photoshop will then create the drop shadow in its treatment has at Spatter e ect with a Radius of 16 and Smoothness of 15. own layer. least one layer. It’s easy to get lost in a stack of dozens of unnamed layers. Attempting to select exactly the correct layers to reposition a photo and its corner treatments can be maddening! Solve this dilemma by grouping layers intelligently. Select several layers by Shift-clicking on their thumbnails in the Layers panel and pressing Ctrl/Cmd+G. 196 PHOTOSHOP CREATIVE COLLECTION

Touch of realism scan in The caPTions Canned styles and filters can give a realistic effect In any scrapbook or memory album, it’s really the captions that make the pictures come alive and tell a story. Instead of trying to find a convincing script typeface, consider writing out the captions yourself (or have somebody with an attractive print style help you) and then scan them in. 07 shadowWarp On the shadow 08 Jewelcorners Use the Rectangular scan it! Write out the captions on some nice clean white paper. layer run a 2-pixel Gaussian Blur Shape tool to draw a square. Grab the Pen a few variations to choose from and scan the paper in with (found in the Filter>Blur menu). Now go to Path Selection tool and hold down Alt/Opt full colour. Be sure to use a resolution high enough to match the Transform>Warp and pull all the shadow to drag out a copy of the path and position project – in this case 300dpi. corners in to meet the photo. Pull the lower the duplicate as shown. Press Ctrl/Cmd+T to and right sides slightly away from the photo to transform the path and scale it down slightly. give a more realistic shadow appearance. Use the icon in the Options bar to set the path mode to Subtract From Shape Area. 09 crookedPath Use the Alt/Opt- 10 rasterizeshortcut Apply the Blending mode mojo Open the scanned image and drag it drag method to create a copy of Plastic Jewel style to the corner onto the project to place it as a layer. Instead of trying to erase all the duplicate path. Transform this copy to be piece. Now here’s an easy way to rasterize the white area, simply change the blending mode to Multiply. rotated 45 degrees and scaled up to reach both the vector shape and the layer styles To change the ink colour, add a Hue/Saturation adjustment layer opposite corners of the original path. Be sure in one step. Create a blank layer directly over clipped to the caption layer. this copy is also set to Subtract and press the corner shape layer. Shift-click on both copy it in If you used an adjustment layer, merge it to the caption the Combine button to simplify the whole layer thumbnails to select them and press layer before continuing. To position each caption as needed, create network of paths into a single shape. Ctrl/Cmd+E to merge them together. a rectangular selection around a caption and hit Ctrl/Cmd+J to copy that onto a new layer that can be individually placed. 11 Plastic Wrap treatment Ctrl/ Cmd-click the corner piece layer to create a selection. Then using the Select>Modify menu, contract the selection by 15px, smooth it by 15px and feather it by 5px. Go to Filter>Artistic> Plastic Wrap and use a Highlight strength of 15, Detail of 5 and Smoothness of 5. Finish by cancelling the selection. Repeat for the other corners. PHOTOSHOP CREATIVE COLLECTION 197

tutorial Create a photo album scrapbook MEMORY PRESERVATION Old-school scrapbooking with modern tools and techniques 12 Brackettabs Use the Rounded 13 Crosssection Use the Rectangle 14 Mask magic Open the Layer Style box for the crossbar, and Rectangle tool with a corner Radius tool to draw a very thin rectangle under Blending options click the Layer Mask Hides E ects box. set to 25 pixels to draw square tabs just below above the photo corner. Make sure this Add a layer mask and use a small brush with black paint on the mask to the corners of another photo. If you’ve given rectangle has the same colour and style as gently hide the edges of the crossbar. This should seamlessly blend the that photo a custom shadow, the tab should the tab underneath it. Rotate the shape into crossbar into the tab. be under that as well. Apply the custom style position to be a crossbar that the corner of the called Cardboard Tab. photo would tuck beneath. Layerstructure Tip Strolling down memory lane Don’t forget captions Create a 15 Style adjustment Open the Layer Styles again for the crossbar Fill with pictures white photo and add an Outer Glow style. Change the blending to Multiply, Creating corners border Opacity to 50%, Color to dark grey and Size to 13 pixels. This helps give the Place photo album appearance of the photo being curled down beneath the crossbar. Desk layer To create the white border around a 16 Finish up When you are nished with all your photos and photo, create a new corner treatments, put all your groups together into a single layer beneath the group and rotate the entire project to a more eye-catching and photo, then Ctrl/ interesting angle. Put your favourite tabletop texture in the background Cmd-click on the and then enjoy your new digital photo scrapbook! photo thumbnail to create a selection in that shape. Go to Select>Modify> Expand and enter a pixel value of 35. This enlarges the selection but loses the sharp corners. Use the Rectangular Marquee tool and line it up with the selection to grab the corners as well. Fill the selection with white and merge it with the photo layer. 198 PHOTOSHOP CREATIVE COLLECTION

Quicksketcheffects5-minute fix Quicksketcheffects Transform your photos into swift digital doodles essentials nless you’re Before blessed with SKILL LEVEL artistic talent, the thought of Beginner making a digital drawing from Intermediate scratch doesn’t really appeal. Expert But Photoshop has a few tricks up its sleeve to make TIME TAKEN the task easier. When it comes to making a digital sketch, Five minutes your new best friends will be the High Pass lter and the YOUR EXPERT Threshold command. While these two are fairly innocuous Jo Cole on their own, when brought together they seek out the outline of a photo and then turn it into a sketch. KEY SKILLS Quick tip: Don’t aim for too much COVERED detail in the High Pass stage, otherwise you will end up with What you’ll learn heavy black areas THRESHOLD COMMAND HIGH PASS FILTER MAKEQUICKSKETCHES After Take onephotoandturnitintoadrawing 01 Findtheedges Open up your photo 02 Editwiththeslider Your image will 03 Pencil effect Click OK to exit the High Pass lter. Next stop is in Photoshop. If your image is lacking turn a peculiar colour – do not panic! the Image menu and then Adjustments>Threshold. This will contrast, use Levels or Curves to do some The High Pass lter is for you to seek out the turn your image to black and white and once again, there is a slider to boosting. Now go to the Filter menu, down to edges of your image. Use the Radius slider to edit the e ect. In our image, a setting of 58 worked well, and the higher Other and pick High Pass. adjust this – the higher you go the thicker the the setting the more intense the e ect. Click OK when you are happy. lines will be. Go for something like 3.0. PHOTOSHOP 7 AND ABOVE | WORKS WITH PHOTOSHOP CREATIVE COLLECTION 199

Techniques With so much on offer, the selection of tools available in Photoshop can often seem bewildering. In fact, it’s quite possible that even after years of digital creation you may not even come across some of the features. So in this section we’ll take you through some of the most popular tools of the trade and also introduce you to some that you may not know about but could make your digital life much easier! Page 218 Page 216 Page 220 202 Feature: Ultimate guide 218 Photoshop CS5 226 Resolution Understand the magic behind pixels to selections Bristle Tips 228 Create animated GIFs Your one-stop shop for everything you Check out the collection of need to know about selections brushes available to you in Photoshop 212 Depth of field with 220 High Dynamic Get to grips with the Timeline panel Photoshop Range 231 Fstirvaei-gmhitneuntephfioxt:oCsrop and Slanty images are a thing of the past! Recreate this classic Emphasise highlights and photographic technique shadows in your pictures 216 Resizing techniques 224 Match Color Change image sizes in a few Apply colour information easy steps from one image to another 200 PHOTOSHOP CREATIVE COLLECTION