Photoshop Creative - Issue 144 2016

MORE THAN 450 FREE RESOURCES BRUSHES TEXTURES  BACKGROUNDS  STOCK IMAGES  FONTS  ACTIONS OVERLAYS THEWORLD’SNO.1FOR 18PpuLmaidUgeeenSsst!sof PHOTOSHOP & ELEMENTSBlend incredible scenarios by combining layermasks, adjustment layers and much more BeforeBUILD AWITH PATTERNSMake vibrant patterns from stock photos usingthe Rectangle tool, Pen tool and shape layersCREATEMORE INELEMENTSProduce a dramaticpost-apocalyptic cityISSUE 144 MIX SHAPES COMPOSITE AND COLOUR FUN SCENES Craft a 2D landscape in the style Combine multiple photos to of video-game promotional art create imaginative artwork



® Free step-by-step tutorials onlineImagine Publishing Ltd photoshopcreative.co.ukRichmond House 33 Richmond HillBournemouth Dorset BH2 6EZ Join thousands of like-minded creatives +44 (0) 1202 586200Web: www.photoshopcreative.co.uk search for photoshopcreative www.greatdigitalmags.com Tweet us your Photoshop questionsMagazine team follow us @pshopcreativeEditor Sarah Bankes It’s easy to take layers for granted, as they’re at the centre of everything we do [email protected] Photoshop. It’s therefore important to re-visit some of the most basic but essential 01202 586252 tricks that enable us to work moreDesigner John Ndojelana efficiently to ultimately ensure we’reEditor in Chief Amy Hennessey creating the best art possible. Check out our how-toSenior Staff Writer Mark White guide on p18 for 25 tips on using layers, then have a go atPhotographer James Sheppard creating this issue’s layer-intensive cover image on p24!Senior Art Editor Will Shum We also have step-by-step tutorials on making a mosaicPublishing Director Aaron Asadi portrait by creating patterns from stock images,Head of Design Ross Andrews compositing multiple photos to produce surreal effects, and experimenting with blend modes for creative doubleContributors exposures. There are advanced guides on mastering branding in Photoshop and creating video-game art, plusJulie Bassett, Geneva Benton, Jo Cole, Sarah Cousens, Andy Elements tutorials that show you how to get the most outHau, Moe Hezwani, José Augusto Hykavy, Rodrigo Marinelli, Kirk of brushes and much more. Enjoy the issue!Nelson, Daniel Sinoca, Andre Villanueva and Caroline Watson Sarah Bankes EditorAdvertising [email protected] or printed media packs are available on request.Head of Sales Hang Deretz 01202 [email protected] Manager Simon Hall 01202 [email protected] and resource files for this magazine can be found onthis website.Register now to unlock thousands of useful files.Support: [email protected] Creative is available for licensing. Contact theInternational department to discuss partnership opportunities.Head of International Licensing Cathy Blackman +44 (0) 1202 [email protected] all subscription enquiries:[email protected] UK 0844 848 8415 Overseas +44 (0) 1795 592 871www.imaginesubs.co.ukHead of Subscriptions Sharon ToddCirculationCirculation Director Darren Pearce 01202 586200ProductionProduction Director Jane Hawkins 01202 586200FinanceFinance Director Marco PeroniFounderGroup Managing Director Damian ButtPrinting & DistributionPrinted by Southernprint Ltd, 17-21 Factory Road, UptonIndustrial Estate, Poole, Dorset, BH16 5SNDistributed in the UK, Eire & the Rest of the World by:Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU 0203 787 9060 www.marketforce.co.ukDistributed in Australia by: Gordon & Gotch Australia Pty Ltd,26 Rodborough Road, Frenchs Forest, NSW 2086, Australia + 61 2 9972 8800 www.gordongotch.com.auDisclaimerThe publisher cannot accept responsibility for any unsolicited materiallost or damaged in the post. All text and layout is the copyright ofImagine Publishing Ltd. Nothing in this magazine may be reproducedin whole or part without the written permission of the publisher. Allcopyrights are recognised and used specifically for the purpose ofcriticism and review. Although the magazine has endeavoured to ensureall information is correct at time of print, prices and availability maychange. This magazine is fully independent and not affiliated in any waywith the companies mentioned herein. Photoshop is either a registeredtrademark or trademark of Adobe Systems Incorporated in the UnitedStates and/or other countries and is used with express permission.If you submit material to Imagine Publishing via post, email, socialnetwork or any other means, you automatically grant Imagine Publishingan irrevocable, perpetual, royalty-free license to use the material acrossits entire portfolio, in print, online and digital, and to deliver the materialto existing and future clients, including but not limited to internationallicensees for reproduction in international, licensed editions of Imagineproducts. Any material you submit is sent at your risk and, althoughevery care is taken, neither Imagine Publishing nor its employees,agents or subcontractors shall be liable for the loss or damage. © Imagine Publishing Ltd 2016 ISSN 1747-7816NEXT ISSUE ON SALE 13 OCT 2016! 3

Contents Subscribe www.photoshopcreative.co.uk today and you’ll SAVE 30% Turn to page 108 to get this amazing deal. US page84Essentials Tutorials 06 Reader Survey 24 Add fun effects with layers Take our three-minute survey and Make an unrealistic scenario look you could enjoy fantastic benefits realistic by utilising layers 08 Trending gallery 30 Build a mosaic with patterns Check out some of the most Transform portraits using shape popular artwork that’s trending layers, the Pen tool and patterns 10 Readers’ gallery 36 Composite with masks Have a look at what your fellow and layers readers have been up to this issue Create a floating island with layers, YOUR FREE PHOTOSHOP RESOURCES ARE HERE! 12 Readers’ challenge filters, masks and blend modes A chance for you to win PortraitPro  This issue: brushes, stock images, fonts, so ware or the Pixelmator app 42 Experiment with actions, backgrounds, fonts and more blend modes 14 Inside the studio Layer up textures and colours to  Plus files to follow the tutorials We take a look behind the scenes of  Free and ready for you to download today! interactive Park.Agency create a double-exposure effect 18 Feature: 25 tips for using 46 Use adjustment layers layers – a how-to guide creatively Everything you need to know about Composite a surreal scene using layers, all in one place multiple images 60 Resource project Transform your favourite photos 52 Create smoke effects into custom spray-paint stencils with brushes Adopt the Pen tool, shapes, align 63 How I Made Abesalom Kavelashvili reveals how options and Path Selection tools he created photomanipulation Hello 56 Produce fantasy art 64 Project focus using masks Andreas Varro’s underwater ad Transport a model to a fantasy commission that went viral realm using masks and more104 Reviews Pixelmator 3.5 Canyon, olloclip 78 110 Studio and olloclip Active Lens Advanced Photoshop110 FileSilo This issue there are more than 450 66 Branding in Photoshop free resources worth $200 The secrets behind pro branding and the role Photoshop plays112 Portfolio interview José Augusto Hykavy shares his influences and favourite tools114 Reader interview Stephen Proctor reveals his Photoshop secrets and meanings 72 Composite a world under water Advanced techniques for using filters, layers and much more 36 78 Create vibrant 72 video-game art4 Use a combination of basic shapes and tools to achieve a rich artwork

Take a look at our fantastic online shop at18 for back issues, books and merchandise LAYERS 30 Read our how-to guide for everything you need to know about layers, from copying to finalising your work56 52 4694 42Elements creative86 Tool focus: Discover the 94 Surreal art: Composite power of brushes an apocalyptic scene Unleash your artistic side with Create a post-apocalyptic city a range of brushes using masks and adjustments88 Creative project: Create 98 Digital art: Design a digital textile designs geometric map Design your own repeating Create colourful national icons pattern and print it on fabric with selections and brushes92 Photo edit: Make stylish 102 Q&A: Common problems photo collages in Elements Create collage effects with 24 We answer your questions and layers and clipping masks find solutions to your problems 5

® Reader Survey Have your say!Join our team today!Take our three-minute survey and…  Get 10% off our books and magazines  Get access to an exclusive monthly subscription offer  Become eligible for exclusive competitions & free gifts We love making Photoshop Creative and hope you love reading it too. But we want to keep making it better, so we’re asking for your help. By answering a few questions, you could be selected to join our latest Photoshop Creative panel. We’re so excited to hear what you have to say and can’t wait to learn more about you. Sarah Bankes ® Editor

Reader Survey ® Four changes you asked for in 2015… Last year we used your input to make some fantastic improvements, including… 1 More for Elements users We launched a new Elements- only section that includes basic tool guides as well as challenging El nts users Only takes 3 mins!Take part in our 2016 reader survey and yo Mor can enjoy these fantastic benefits You wanted to understandExclusive discount subscription to the magazine Photoshop’s 3D capabilities, so we regularly include tutorials on how to Incredible savings for new and existing subscribers create 3D art using just Photoshop. Plus Free delivery direct to your door 3 Industry insight Exclusive savings on mags and books We increased the size of the magazine to feature expert guides, Get a 10% discount code to use at our online shop advanced tutorials, and interviews with professional artists and studios. Competitions Free gifts Have your say Get the chance Become eligible for Gain a place on our to enter exclusive free gifts including reader panel, giving competitions for digital editions for you regular input onmoney-can’t-buy prizes phones and tablets the magazine Step 1 Step 2 Step 3Complete Get Earn rewards survey involved Complete our survey & join the team today 4 Resource projectswww.photoshopcreative.co.uk/survey2016 Every issue now includes a resource project that shows you how to make your own assets in the real world to take into Photoshop.

TRENDING IMAGES Check out some of the most popular artwork that’s been rocking the internet over the last few weeks, and take inspiration from what’s currently trendingThere’s nothing more inspiring than Photoshop is a useful tool to even the most Cornelius Dämmrichsurfing the internet and seeing what talented 3D artists, as Cornelius shows. It’s easyother artists are creating, and we to see why he has more than 180,000 views on www.zomax.netencourage you to do so. Here are DeviantArt; his attention to detail is perfect, andsome of our favourite pictures that the atmosphere in this piece is brilliantly realised. Photoshop adjustments in thiscaught our attention recently, from piece were crucial. Besidessome of the world’s most exciting overall Levels and basicartists and designers. colour changes, I isolated everything with masks, giving each 3D element (the phoneFeatured by Wacom’s online gallery, Abdelrahman’s booth, advert signs and so on) in the scenedouble exposures feel warm and haunting. its own contrast and colour correction.Abdelrahman blends other techniques into quite asimple style, and this picture is a fine example of that. Alessia’s illustrations have been viewed thousands of times online, and we particularly love the use of lighting to really bring out the colours. It just shows that blend modes can be extremely important in digital art. Abdelrahman Mohamed www.behance.net/i- Manipulate I used the Brush tool and textures to make the background, and the Smudge tool to manipulate the model. I masked the face, used black lines and dragged it with the Smudge. I added orange and red to help brighten the atmosphere. Alessia Trunfio alessiatrunfio.blogspot. co.uk First I did a rough pencil sketch, then I made shape layers with the Pen tool for all the objects and the body part, then I started shadowing and highlighting sections. Finally I gave the illustration some finishing touches, using filters and playing with blend modes.8

Maïté Franchi Domenico has more than 1,000 followers on Behance where he creates all styles and kinds www.behance.net/maitefranchi of art, but we love the playful aspect to this photomanipulation, which shows that a good I was invited to illustrate these pictures for an app concept can o en make an image. that teaches you how to strengthen your skills in the kitchen. First, I worked with vectors. As I find it o en Domenico Sellarotoo cold, I like bringing in coloured atmospheres and textures. I usedbrushes, lights and curves. www.domenicosellaro.com This was a personal project I worked on to celebrate Adobe Photoshop’s 25th anniversary. I retouched everything in the photo before combining them! I have loved Photoshop and photography since I was a child. Mr Xerty’s mixed-media pieces are popular online and a testament to picking the right stock images when building a composition. Adjustments are key to blending these aspects together, something that he does very well.Maïté has more than 220,000 views on Mr XertyBehance, and has been featured by the site’sgalleries. We love the detail and use of texture www.nomastaprod.comin this particular project, which has beenviewed more than 45,000 times alone. I made this picture with Photoshop and my Wacom tablet. I mixed some different pictures from DeviantArt and personal stock, plus some stock photos from Fotolia.com. It took me 20 hours to complete. 9

READERS’ IMAGES Welcome to an inspirational round-up of great Photoshop artwork created by none other than your fellow readers GET IN TOUCH Send us your images now for the chance to appear in future galleries Create your own gallery online PhotoshopCreative.co.uk Upload your images to Facebook Search PhotoshopCreative Tweet us your creative artwork @PshopCreative Alternatively, you can email: [email protected] Matheus Albuquerque photoshopcreative. co.uk/user/Matheus%20 Albuquerque Image of the issue In this image I explored light, using Color Dodge and hot colours for the sun. Inspired by the artist Cintya Warmling, I wanted to give the message of life beyond Earth. Alexandre Perez www.photoshopcreative. co.uk/user/alexandreperez This is an image about how a child can imagine their own world. I used a playful theme in this picture, working carefully with the lighting, mainly using green and yellow colours in my adjustments.10

Manon Moreau photoshopcreative.co.uk/user/manon.M To create this picture, I first made a landscape. I changed colour filters to give a golden appearance to the scene by adding orange, yellow and brown tones. I placed the key elements of the girl and the crow based on the rule of thirds. Katie Lupa www.photoshopcreative.co.uk/user/ SkyLemonBerry28 Using my own images and stock from the FileSilo, I composed multiple layersand effects together to create a celestial cloud temple.I used different shades of pinks and purples, and SoLight to give the image an inviting and dreamlike feel. David Padilla Moreno Matkovic www.photoshopcreative.co.uk/user/Davidpadilla www.photoshopcreative.co.uk/user/DarkIndigo I came across great landscape photography This is an experimental artwork – an and had a vision for my next photomanipulation. interpretation of deformation as a main I started arranging elements, played with the element. This scene rises from a model; colour Color Lookup adjustment, then I smudged the image withis not used, so it doesn’t interfere with the environment, and custom brushes to get a painted effect.it is complemented with more elements so it can producethat feeling. 11

READERS’ CHALLENGE Upload your images to photoshopcreative.co.uk We challenged you with these In issue 142, we challenged you to get creative with these four images. You were allowed to use any or all of the pictures, and whatever other resources you chose. Here’s what you created. Challenge RCWehaaIdlNleeNrnsEg’ Re 1 entries 2 The best entries and overall challenge winner 1 Trevor Budd Surreal Beach Cave Only the four images supplied for the challenge were used to make this surreal cave scene. Combining these images was a real challenge using cutouts, blends, distortion and then manually adding all the lighting. 2 Alex Coleman Globe This image uses all four images required. The snowglobe was made out of the tennis ball image and the beach is the background; the deer is placed in the snowglobe. 3 Bill Bonaros Inside the Forest This is an artistic double exposure that I created, combined with some vector art. That was the first image that I imagined when I saw the deer photo. 4 Corine Spring The Deer I created this image with three of the four pictures supplied. I wanted an atmospheric vintage poster. The tennis ball stock image was used for some decoration.12

3 THE WORTH PRIZE…£59.90! PortraitPro 15 One lucky winner this issue will win amazing PortraitPro software, worth £59.90! PortraitPro is a fantastic tool for retouching your snaps, with its accurate sliders and features that can enhance anything in a subject, from eyes to hair. It’s a perfect software package for photo editors or anyone looking to improve their subject before editing it into a project.4 WORTH £59.90!This issue’s RUNNERS’-UPchallenge PRIZE… Think you can do better? Pixelmator app Prove it! This issue three runners-up, plus the Get creative with the supplied images winner, will receive a copy of the awesome and you could win a fantastic prize! Use Pixelmator software! Pixelmator is as many of the images as you like (from fantastic for photo editing and adding previous issues too!) and include your effects to your snaps – check out our full own photos if you wish. Head to www. review on page 104. photoshopcreative.co.uk and hit the Challenge link. Closing date: 13 Oct 2016. WORTH £22.99! 13

Inside the studio Park.Agency Previously known as Workfilms Agency, Park.Agency is just beginning to get a name for itself – particularly with its work for Disney Park.Agency was founded by Andrew ABOUT Andrew Aden Alina Grinpauka Aden, an interactive art director and THE STUDIO Creative director Graphic designer and graphic designer with more than 10 Park.Agency illustrator years of experience in the digital design industry. But until this year, he was working www.park.agency with partners and they were called Workfilms @park_agency Agency. Now Aden is going it alone – well, as a team of five – working between the main Park.Agency is one part of what used creative office in Nice and the sales team’s to be Workfilms Agency, with creative office in Santa Monica. director Andrew Aden in the process of getting the company known all over Aden explains: “Our company started its again. It is an interactive agency, story as a software production company, but focusing on graphic design, web we moved into digital and graphic design. For design and development. many years, we have been working in the entertainment industry, building websites for movies and artists. We had a chance to work for such brands like Disney, Universal, Bacardi, Sony and many others.” Through Sony Music and Universal Music, the company developed a reputation for working with singers, and now Park is “mostly doing work for Disney and Disneyland. We are running a production for its social media and some websites. Working for big clients is never easy, so we try to always get small ones so we can take a break; take a deep breath before we smash into something new and big.” Switching between big projects and small allows the workers to recharge creative batteries, and Aden says “we always keep our eyes open on modern things that are running so quickly now in design trends, so we try to implement that in clients’ work, so our work looks modern.” He stresses that the “clean style in web design” is growing in popularity, so they use that on a lot of web projects. The Disney work is dominating the company’s time at the moment, but it has also been working on a new site for singers – one of them Grammy-Award-winning and “very famous” – and these should be live soon. Despite having worked and excelled in their area for many years, it’s been hard – given the agency changing and rebranding – to keep their experience front and centre. “It’s sad to change your name and it requires more effort to get known as a new brand in the industry, which has lots of competition these days,” says Aden. When they were Workfilms Agency, “we had three partners and owners of the agency; now we’ve all split, and everyone is trying to run their own business.”14

A day in the life of © Park.AgencyAlina GrinpaukaPark’s graphic designer explains howshe manages her dayPlanning and prepping08:30 First of all, I answer emails and make plans for the day; ithelps me to be more productive. Beyond that Iprint materials and ready sketches for the firstbrainstorm and meeting of the team.Getting the ideas09:00 On average, it takes a couple of hours to brainstorm withthe team. Then, inspired and full of ideas, wecan proceed to business.Monitoring the plan11:00 This lasts from four to six hours with breaks for coffee. Often Ihave a second project on the go that allowsfor periodic distractions, and maintains myenthusiasm for what I’m doing.Client catch-up14:00 Discussing and agreeing the details of projects withcustomers face-to-face or by Skype is anintegral part of the working day.Using real-world materials15:00 As I work as an illustrator too, I work not only on the graphicstablet but also with real materials. PeriodicallyI have to prepare the materials, such aspulling the paper to the frame. This is goodrelaxation time.Midnight oil?20:00 After doing the basic planned work, I often realise that it’slate in the evening. It sometimes seems moreconvenient to not go home, because it’salmost the next working day! 15

Inside the studio TOP 5 TIPS Enrique’s image: Artists – including singers – can be some of the trickiest clients, but their passion wins out 1. Think, and think again “Always, always make dra s in Photoshop, as the so ware allows you to find great ideas by overlaying layers and multiply them to each other. The more options you save, the more possibilities you have!” Andrew Aden 2. Details, details, details “Play with colours, contrast and sharpness at the end of your process – you can always find that little bit of extra magic. Also, always use grids while you’re working on web- design projects. Knowing exactly how your image measures up will give you so much more control.” Andrew Aden 3. Perfect people “When you have to cut out someone from a foreground, and there are a lot of flyaway hairs floating around, the best way to get rid of them is to use Photoshop with a Wacom tablet to get the perfect result.” Alina Grinpauka 4. Build your own brushes “When I paint with watercolours and then move my project into Photoshop, it’s always good to have my own brush set, so you can make it absolutely realistic, as if it’s a real watercolour painting. So spend some time and customise things you need for future artworks!” Alina Grinpauka 5. In the mood “I also use Photoshop to colour- correct my photography and play with layers, for example if you duplicate a layer of a photograph, make it black and white, then select Overlay to give yourself a nice moody picture.” Alina Grinpauka Into the light: No matter how many clients you have, or how high the company is more like “a lifestyle that we paper to sketch and brainstorm our ideas, profile they are, keeping the art alive is key have chosen to live with.” because nothing can kill the old-school way of planning and working around.” And then it’s All of these changes have happened in the The Park.Agency gang is currently five- into Photoshop. It’s the expanse of possibilities last few months, but Aden is confident that strong, and Aden says: “We are that small on that it offers that so enthralls artists, he his Nice-based team are hitting the ground purpose; we’d rather work on interesting believes: “One of our lead designers is mixing running. “The most problematic thing was to projects and be creative as much as we can, Photoshop with watercolour, which look very keep projects on track, because when the than be a huge production shop, where people interesting and creative.” issue happened, we still had ongoing are robots.” He does not have ambitions to projects,” he explains. “People were very make the company much bigger, at least in And it will be with Photoshop that Park stressed trying to keep track of both. But I terms of personnel. “When there is a need for carries on creating a name for itself. When think we did it well, and our clients never felt more people and we win a big project,” he pushed on his ambitions for the company, any change, as we are almost the same team. explains, “sometimes we hire freelancers, who Aden says: “To keep working like we are. As I Park.Agency now has just one owner, because work either from their home, or our office. said, we aren’t planning to grow much. It’s all all of the previous owners were designers as Lots of talented people are based worldwide, about trying to get better and better; to well. We always had to find solutions and a so outsourcing a project is something we do.” produce better-quality products for our compromise between all of us, as every artist clients. We are also launching a filmmaking has their own point of view. Yes, artists are And with those talents, Photoshop is where division, where we are going to produce more the hardest clients!” they plug in. Quite simply, “Photoshop is the videos and animation. From shooting, to key player in our team,” says Aden. “Since we post-production, music videos and Aden chose to base the company in Nice do a lot of illustrations and graphics for commercials – maybe feature films. It’s hard “because of the palms and beautiful sea. I’ve Disney’s social media, Photoshop is something to say, but that is something we have started always thought that how you build that we couldn’t live without. The ability to to work on. We have already signed contracts atmosphere and the exterior of your business work fast, to make the changes that a client with very well-known directors. Stay tuned!” is very important. As a team, we spend a lot needs… it’s just an awesome tool to use. of time outside; we hike and play sports – There’s a combination of Photoshop and Using Photoshop: All of the projects the company has designed watersports, of course!” He stresses that they Illustrator that can turn you into a rockstar. are made with Photoshop. “Combining Illustrator and Photoshop don’t work rigidly from 9am to 6pm, and that We use Photoshop to comp prototypes, and is the best mix,” says Aden then create website designs there, we use it for illustrations like I said before. We use it on every single project we touch.” Aden has been using Adobe’s killer app since version 4.0, when he started to become interested in photomanipulation. Now, the typical Park process is to start with “pen and16

© Park.Agency/DisneyIndiana Jones How the Indiana Jones Island for Disney Parks’ social media came to fruitionDare to dream 3D base01 Aden explains that: “We normally proceed with a sketch 02 “After the sketching, the project was modelled in 3D. It’s before we move on to production of an image. Either digital always easier to work in Photoshop when you have a 3Dor pen is always a must for creating an artwork piece like this.” base already built for the illustration.”A Photoshop finish Above and beyond03 “Since we do a lot of illustrations and graphics for Disney 04 The final step is the “colour correction and polishing before social media,” Aden explains, “Photoshop is something we sending to the client,” says Aden. And he counts the work forcouldn’t live without. The ability to work fast, to make the changesthat a client needs, it’s just an awesome tool to use.” This is the Disney as a major highlight: “We have recently designed adetailed work, where you zoom in and put Photoshop to the test. promotional website for Disney. After Disney launched the new Star Wars movie, it launched also in Disney Parks. We have made a social-media campaign for fans of Star Wars and Disneyland.” 17

25 TIPSFORUSING LAYERS LAYERS Read our how-to guide for everything you need to know about layers, from copying to finalising your work The Layers palette is a cornerstone for Photoshop creativity. It’s surprising how much managing your layers can help with your It’s hard to imagine building an ambitious photomanipulation – or a even making a simple edit to a photo – without them, artwork. The difference between good artwork and great artwork is and it’s actually through layers that you can add masks, apply adjustments or create clipping masks. often in the detail, so getting in the habit of colour-coding certain It’s easy to forget that layers were initially introduced to layers, naming layers and finding the perfect blend modes can give Photoshop for a simple reason: to keep your work organised. They can certainly help you to build a picture and reorder elements of you complete control of your compositions. Also, becoming familiar your project, but at their core, they’re a tool to help you stay on top of what goes where in your project. with the shortcuts can cut even more time arranging the Layers panel for you to spend actually creating. On the FileSilo Get to grips with all that layers offer, and Download your free you will find it easier to create your best-ever resources at www.filesilo. Photoshop projects. co.uk/photoshopcreative WHAT YOU WILL LEARN… SHORTCUTS ADJUSTMENTS ORGANISATION DEVELOPING PLUS! Discover quick and Use the Layers panel to Manage your layers by How to clip layers, use Learn how to create this issue’s eye-catching simple ways to tweak brightness, unify controlling transparency, Smart Objects, link your cover image using layers duplicate, merge and colours, add gradients using layer masks and layers and take them – turn to page 24 arrange your layers. and do even more. working with type layers. even further.18

HOW TO... 01 Adding layers The easiest way to add a layer is to 03 Copying a layer on the ‘Create a New Layer’ button found To copy a layer, click and drag e bottom of the Layers panel.one or more layers over the ‘Create a natively, you can choose Layer>New>New Layer’ button at the bottom of the r from the menu bar. Enter a name forLayers panel. Alternatively, you can ew layer and change the opacity andchoose Select>All (Cmd/Ctrl+A) and ding mode settings if necessary.then go to Edit>Copy (Cmd/Ctrl+C). 02 Selecting layers To select a layer, click on it in the rs panel. To select multiple contiguous s, click on the first layer then hold Shift click on the subsequent layers. To select ple non-contiguous layers, hold Cmd/ nd click on them in the Layers panel. 04 Cutting and copying To cut and copy a layer, select alayer in the Layers panel and choose Select>All (Cmd/Ctrl+A). Go to Edit>Copy (Cmd/Ctrl+C) and then Edit>Paste (Cmd/Ctrl+V).If you want to paste in the same place, thenchoose Edit>Paste Special>Paste in Place(Shift+Cmd/Ctrl+V). HOW IT WAS MADE 05 Naming and 3 colour-codingTo create this composition, we masked 1the image and used custom brushes to To name a layer, double-click on the layer’s label, enter blend it with the background. Next, we 19added a new layer and created a circular the new name and then press Return/Enter. Alternatively, shape. We changed the blend mode toOverlay and reduced the opacity setting. choose Layer>Rename Layer. To colour-code a layer, Then, we copied and pasted the circle around the image a few times. Finally, right-click on the eye icon of the active layer and from we added more shapes and finished the fly-out menu, select the colour you wish to assign it. by applying some filters. Download the files from the FileSilo.

25 TIPSFORUSING LAYERS HOW TO... 06 Duplicating layers 07 Merging to a new layer 08 Arranging layers The quickest way to duplicate a Click on the top layer to make it active, To arrange the layers and group layer or multiple layers is using the shortcut then press Cmd/Ctrl+A to select the layer. Now go layers, simply click on the layer or group in Cmd/Ctrl+J. You can also click and drag the to Copy Merged or press Shift+Cmd/Ctrl+C and the Layers panel and then drag them into a layer over the ‘Create a New Layer’ button at press Shift+Cmd/Ctrl+V to paste in place. This will new position in the layer stack. If you wish to the bottom of the Layers panel, or choose create a merged copy of all the visible layers. add a layer to a group, just click and drag the Layer>Duplicate Layer. Alternately, hit Cmd/Ctrl+Alt/Opt+Shift+E. layer into the group layer. 7 Create the background Place the skaters Create abstract shapes 01 Place the sky. Create a new layer and 02 Place the skaters and mask them. 03 Add a new layer, fill it with black and apply the Extrude filter to create the Duplicate the layer and then go to paint random lines and shapes, then effect. Grab the Lasso and select an area in the Filter>Blur Gallery>Path Blur. Adjust the Speed use the Liquify filter to enhance it. Add vibrant middle of the image and then delete it. Add a and Taper, drag the path to define the direction colours and set to Screen. Duplicate and arrange new layer and paint some vibrant colours, then and then click OK. Drag and place the blur layer the layers. Create a merged layer and use change the blend mode to Color Dodge. under the skater layer. adjustment layers to boost the colours.20

HOW TO... 09 Using Curves Use the Curves to make tonaladjustments in an image. Go toLayer>New Adjustment Layer>Curves. Toadd a control point to the curve, simplyclick on the curve. Drag the point aroundto edit it. You can also use the arrow keyson your keyboard to move the points.10 Tweaking brightnessTo tweak the brightness in an image, usethe Brightness/Contrast adjustment layer.Simply go to Layer>New AdjustmentLayer>Brightness/Contrast. Drag thearrow back and forth to adjust the settings.Sliding it to the left makes the imagedarker and sliding to the right makes theimage brighter. 11 Unifying colours To unify the colours, add a SolidColor adjustment layer on top of the layerstack, then use the Color Picker to choosea nice colour. Now change the blend modefor the layer to Multiply. This will createmore consistent and harmonious coloursacross the whole image. 12 Adding block colour Create a selection on a layer. Click n the Foreground/Background swatch at he bottom of the toolbar and then select our desired fill colour. Choose Edit>Fill. In he dialog box that appears, select the ontent, the blending mode and the fill pacity, then click OK. 13 Creating gradients Select the Gradient tool (G). In the ool Option bar, open the Gradient Editor nd choose one of the preset gradients or reate your own. Select an option for the radient. Position your cursor to set the tart point and then simply drag to define he end point. 21

25 TIPSFORUSING LAYERS HOWMTO...anage layers 14 Controlling 15 Locking layers 16 Filtering layer types transparency To lock an entire layer, click on the Lock You can search for filter multi- All button or press Cmd/Ctrl+/. To lock only the layered documents based on different criteria. Use the Opacity option in the Layers panel to set transparent pixels, press Lock Transparent Choose ‘Pick a Filter Type’ by clicking the pixels or press /. To lock multiple layers or a drop-down menu at the top left of the Layers transparency. Enter a value or use the slider control group, select the layers, press Shift+Cmd/Ctrl+/ panel. Then select the different options to help and choose the options from the fly-out menu. narrow down your search. to define the transparency level. Alternatively, you can add a layer mask and apply greyscale tones to make the content more or less transparent. 17 Using layer masks 16 Layer masks hide or show portions of a layer. Painting a layer mask with black hides the layer. Painting with white reveals it. Using greyscale 15 tones makes the layer 18 semi-transparent. To create a layer mask, go to Layer>Layer Mask>Reveal All or Hide All. 18 Work with type layers Select the Type tool (T). In the Options bar, choose the desired font and size then type some text. Now press Return/ Enter to create a type layer. You can also edit the text at any time, and as with regular layers, you can move, change the opacity, copy and so on. 19 Applying blend modes The blend modes enable you to make subtle or dramatic changes to a layer by controlling how the pixels in an image are affected by another image or the painting and editing tools. The blend modes determine how two layers are mixed into each other. HOW IT WAS MADE To create this composition, each image was first edited on separate layers using masks. Various adjustment layers were then added to enhance the contrast and colours. Custom brushes were used to create the splash effect on top of the waves. Clipping masks and blend modes helped to achieve the liquid effect. Finally, a text layer was added to finish up the composition. The files are on the FileSilo, so have a go yourself!22

HOW TO... 22 Clipping layers You can clip a layer or create a clipping mask by selecting a layer and pressing Cmd/Ctrl+Opt/Alt+G. A clipping mask uses a shape’s outline or the content in the base layer in order to define the effect or the mask. 20 23 Using21 Smart Objects Smart Objects are layers that contain an image source with all its original characteristics. You can add effects, adjustments, scale, rotate and transform the layer without losing the original data. If you want to transform an image into a Smart Object, select the layer and then navigate to Layer>Smart Object>Convert to Smart Object. 24 Linking layers To link layers, select two or more layers. Then click the Link button at the bottom of the Layers panel. Notice that a linked layer icon appears to the right side of each linked layer. To unlink the layers, select one or more layers and then click the Link button again.24 25 Converting a background 20 Using Fill and Opacity 21 Tweaking layer visibility When you create or open an image for the Use the Opacity to control the transparency You can toggle the layer’s visibility onof every image and element in a layer. Use the Fill and off by clicking on the eye icon in each layer. To first time, Photoshop automaticallyoption when you apply a layer style to a layer, and the view a layer in isolation, hold the Opt/Alt key andeffect will only affect the layer style. When you reduce click on the eye icon of the desired layer; this will creates a default layer, called Background.opacity, the layer style acts as part of the layer. hide all the other visible layers. To covert it to a regular layer, just click the lock icon on the right side of the layer’s name. Or double-click on the name Background and add a new name.Create the background Place the roof Make enhancements01 Create a new document and fill with 02 Place the roof and mask the image. Go 03 Apply a Levels and Hue/Saturation black. Duplicate the layer and name it to Filter>Color Lookup and choose adjustment layer and other effects toStars. Apply the Noise filter and then apply the Moonlight.3DL then clip the layers. Grab a soft enhance the images. Now create a merged layer.Gaussian Blur at 4 pixels. Adjust the Levels to brush and paint over the adjustment mask to Add a new white layer and place the ‘Frame.jpg’create the stars. Now place the Moon and set its create the lighting on the roof. Place the cat and image on top. Drag the merged layer and placeOpacity at 80%. the balloon, and add shadows and highlights. on top of the layer stack and then clip the layers. 23

Tutorial Add fun effects with layers On the FileSilo Start images Download your free Add fun resources at www.filesilo. effects co.uk/photoshopcreative with layers Essentials Works with Elements CS CC What you’ll learn How to use layers, masks, the Pen and more to create a realistic image Time taken 5 hours Expe Even unbelievable compositions need to look realistic – we reveal the techniques you need to achieve cohesion in your creativity Rodrigo Marinel Photoshop makes it possible to create literally interesting, the animals and the passenger all have anything. All you have to do is experiment a range of facial expressions, giving the impression “Since I was a kid, I always with the tools and give life to your that there are lots of different emotions being loved VW Beetles. I had one imagination. Before you start a fun composition like experienced by the subjects. as my first car, so to use this, it’s important to think about the concept, Photoshop to create a scene make some sketches and consider which tools will To create this image, we’re going to adopt a with one is great fun. There is a be the most appropriate for your creation. In this realistic style, which will involve focusing on every saying that everything fits in a tutorial, the idea is to transform a Beetle into a single detail of the scene. To do that, we’ll use the Beetle; this image is the proof mobile zoo with animals at the helm. Pen tool, feathering, masks, Gaussian Blur, Motion that this is right. Blur and colour tone adjustments. Once you have the idea, it’s very important to “I’m an art director and invest a good chunk of time in choosing the right Now, download the images from the FileSilo, and have 11 years of experience in photos. To make this scene humorous and let’s see how many animals we can fit into and on advertising agencies. I learned top of a Beetle! and am still learning to use Photoshop through following many tutorials.” Place the sky Apply a feather Transform the road 01 First create a new document (Cmd/ 02 Now add ‘mountains.psd’ and place 03 Let’s start to make the road. First Ctrl+N) that is 230x310mm. Then it above the sky layer. Select the add ‘road.psd’. To adjust the angle of place ‘sky.jpg’. Because the image is going to layer and apply a feather (Shift+F6) of 2px, the photo, use the Free Transform tool (Cmd/ be vibrant, use the Levels tool (Cmd/Ctrl+L) then invert the selection (Cmd/Ctrl+Shift+I) Ctrl+T), click on the little squares at the base with the configuration 0, 1,00, 190. and press delete three times. This will make of the photo and drag the sides until the angle the edges of the photo look smoother. of the road is correct.24

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Tutorial Add fun effects with layers Expert tip Add road markings Warp the side Using layer 04 The details are very important for 05 Add the corners of the road, add the Right masks the composition, so add ‘street_line. layer from ‘road_side.psd’. To adjust the shape psd’. Adjust the colour tone using the Hue/ of the grass to follow the road, use the Warp tool (W), Masks are one of the most Saturation tool (Cmd/Ctrl+U) set to as above. Then add the Right layer from ‘side_ useful features of Photoshop. 0, -100, 0. Then, to make the edges softer, mountain.psd’ and place it above the Road_side layer. Once you get into the habit select the layer and use a feather of 2px. of using them you’ll find it is possible to do many things, such as erasing areas of a photo to make the edges look smoother. It gives a similar effect to applying a feather. The process of making a mask is always the same, but if you choose a so brush with a low opacity and are careful with how you apply it, it’s possible to erase only a specific area of a photo. Work on the left side Make the sun shine Place the Beetle 06 Add the Left layer from ‘road_side. 07 To add the sun to the scene, make a 08 Add ‘beetle.jpg’, apply a feather of psd’, and repeat the procedure from circle with the Elliptical Marquee tool 2px, then use Hue/Saturation (0, +35, the previous step. Add the Left layer from and paint it white, then use the Gaussian Blur 0). With the Pen tool (P) cut out the glass, ‘side_mountain.psd’ and put it above the (Filter>Blur>Gaussian Blur) set to 200 px. To leaving only the steering wheel and the mountain. Finally add ‘flowers.jpg’, make a make it more evident, duplicate the layer windscreen wiper. To fix the missing part, mask, erase the edges and place on both (Cmd/Ctrl+J). use the Pen tool to make a selection and then sides, as shown above. the Clone Stamp tool to fill the space. Add the tyres Work on the Beetle 09 Add ‘tires.psd’ and apply a feather of 2px. Make the shadows 10 With the Pen tool, cut out the top of the car, as shown above. using the Elliptical Marquee tool (M). Make a circle and paint it Make a selection, Ctrl/right-click and choose Layer via Copy. black, change the blend mode to Multiply and then apply the Gaussian Then activate the selection of the car’s top, select the original layer Blur filter set to 31px. and press delete. Finally make the top a little lower.26

Share your amusing photo edits Tweet us @pshopcreativeGroup the masks Give the Beetle details Expert tip11 Add the layer License_plate from ‘license_ 12 With the Pen tool, select the glass and Make the plate.psd’. Make a new layer, create a group paint it white, then change the Opacity to highlights(Cmd/Ctrl+G), activate the selection of the license 30%. With the Brush tool, pick white as yourplate, select the folder, and press Add Layer Mask. colour and make a spotlight on the left headlight. When you’re creating a scene,Add ‘license_plate_texture.jpg’ and ‘license_plate_ With the Pen tool, draw the rear-view mirror every detail is important, buttexture_02.jpg’. Change the mode to Soft Light. Add and fill it with #e8cf8b. one of the most vital is thethe Letter/numbers layer from ‘license_plate.psd’. highlights. There are many ways to add highlights into a scene; you can use the Pen tool with the Gaussian Blur, or you can quickly create the highlights using just the Brush tool, with white as your colour and changing the blend mode according to the scene’s characteristics. The most common blend modes that work for this method are So Light and Overlay.Introduce the driver Draw the highlights13 Let’s add the erratic driver, the gorilla. First add ‘gorilla.jpg’, flip 14 Add ‘elephant.jpg’. Use Levels: 19, 1,00, 191, Brightness/ it horizontally (Edit>Transform>Flip Horizontal) then adjust the Contrast: 6, 15, Hue/Saturation: 0, -28, 0. Create a group with acolour tone using the Levels set to 37, 1,00, 239. Finally give the gorilla mask (see step 11) and with the Pen tool draw highlights. Apply thesome new hands, by placing ‘gorilla_hand_01.psd’ as shown here. Gaussian Blur filter at 30px and change the blend mode to Soft Light.Add the elephant details Introduce the passenger Apply the High Pass filter15 Use the Pen tool to select the end of 16 Place ‘passenger.jpg’ next to the 17 Now add ‘lion.jpg’, place it behind the the elephant’s trunk, duplicate it and gorilla. To enhance the shadow made passenger. To enhance the details,put it in front of the car. Duplicate it, paint it by the elephant, use the Burn tool on the duplicate the layer and use the High Passblack, place it behind the original layer and passenger’s face. Don’t overdo it! filter (Filter>Other>High Pass) set to 1.0px.change the blend mode to Soft Light. Use the Then change the blend mode to Soft Light.Warp tool to adjust the shape. Finally add‘elephant_legs.psd’. 27

Tutorial Add fun effects with layers Apply the Dodge tool Place the giraffe Insert the koala 18 Add ‘ape.psd’ and place it on top of the 19 Add ‘giraffe.jpg’ and use Brightness/ 20 Add ‘koala.jpg’ and place it as shown elephant’s head. Use a feather of 2px, Contrast: 11, 09, Levels: 10, 1,00, 244 here. Make some colour adjust the colour with Hue/Saturation (0, -33, and the High Pass filter set to 1px. With the adjustments using Levels: 5, 1,00, 211 and 0) then use the High Pass set to 1px. Observe Pen tool, draw the highlights, apply a Brightness/Contrast: 8, 18. Make a layer the brighter part of the photo and use the Gaussian Blur of 6px and change the Opacity group, as in step 11, and draw in highlights Dodge tool to enhance the highlights. to 70%. Finally add ‘giraffe_hat.jpg’ and, to with the Pen tool. Use a 10px Gaussian Blur make it realistic, draw in a shadow. and change the blend mode to Soft Light. Apply the Smudge tool Create the monkeys’ shadow Add the iguana and duck 21 Use ‘meerkat.jpg’. Apply a feather of 22 Add ‘monkeys.jpg’. Duplicate the 23 Add ‘duck.jpg’, apply a feather and 2px and the High Pass filter also at monkeys’ layer, place behind the High Pass of 2px, then make the 2px. When the image is cropped, some fur original layer, flip vertically and paint it black. shadow, as in the previous step. Add detail may disappear so, to correct this, use Change the blend mode to Overlay and use a ‘iguana.jpg’, apply a feather of 1px and a High the Smudge tool. Select a small brush (7px) Gaussian Blur of 8px, then use a Motion Blur Pass set to 2px. Draw the shadow, as shown with 50% Strength and pull out to emulate fur. with Angle: -90 and Distance: 50px. in the image above, and change the blend mode to Soft Light. Open the hood Plant leaves and flowers 24 Duplicate the layer group Car_01 and merge it. Use the Pen 25 Add ‘leaves.jpg’. To make it more realistic, duplicate the layer tool to select the hood, invert the selection (Cmd/Ctrl+Shift+I) three times and place as shown here. Then add ‘yellow_ and press delete. With the Transform tool (Cmd/Ctrl+T), press Alt, flower.jpg’ and ‘white_flowers.jpg’. Finally make a layer group with a hold the little square on the base and make the hood shorter. Finally mask, as in step 11, and use the Brush tool to make the shadows. add a black layer behind the hood.28

Share your amusing photo edits Tweet us @pshopcreativePlace a tiger in the boot Add a goldfish Adjust the scene26 First add the body of the tiger (‘tiger. 27 Let’s make a fish tank in the 28 We need to add highlights in some psd’) and place behind the leaves. headlight. Create a layer group with a parts of the scene. Make a circle,Then add the tiger’s face (‘tiger_face.psd’) and mask the shape of the headlight. Add ‘fish.jpg’ paint it white, change the blend mode to Softput it above the hood, giving the impression and change the Opacity to 80%, then add Light and use a Gaussian Blur set to 95px.that the tiger is getting out of the car. Use the ‘gold_fish.jpg’. Finally add ‘bubbles.psd’ and Duplicate the layer and place the highlights inWarp tool to fit the tiger’s face onto the body. change the blend mode to Screen. front of the car and at the sides of the scene.Make colour adjustments Apply Motion Blur29 Use two Levels layers, one set to 12, 1,00, 255, and 30 Let’s use the Motion Blur. First duplicate all the layers and merge another set to 20, 1,00, 255, then use the Photo Filter them, then go to Filter>Blur>Motion Blur and use it with an Angle(Warming Filter 85, with 25% of Density) and Brightness/ of 0 and Distance of 50px. Finally make a mask and erase the centre of theContrast: 0, 10. Make a new layer, paint with yellow (#fff6d6), image, leaving only the background blurred.change the blend mode to Color and Opacity to 10%. THE GOLDFISH Closer look To make the goldfish The fish headlight the main element of the headlight, use ‘gold_fish.psd’ DRAW THE HIGHLIGHTS and place it in the centre, then make a mask to erase With the Pen tool, draw the highlights the edges. and place on the headlight edges. This will give more depth and will make the scene look realistic.USE MASKS THE DETAILSA er placing ‘gold_fish.jpg’ make a First duplicate ‘bubbles.psd’ threemask and with a so brush and low times. Then duplicate all the layers,opacity, erase the background until merge, apply the High Pass filter at‘fish.jpg’ appears. 1px and change the blend mode to So Light. 29

Tutorial Build a mosaic with patterns On the FileSilo Start image Download your free Build resources at www.filesilo. a mosaic co.uk/photoshopcreative with patte Essentials Works with Elements CS CC What you’ll learn Use the Rectangle tool, Pen, shape layers, Pattern Overlay, blur and modes Time taken 6-7 hours Expert Create a mosaic effect and transform your portraits using shape layers, the Pen tool and hundreds of patterns Moe Hezwani It’s so rewarding when you finish a complex example, in this case we used lighter tones of tan piece of artwork. This image has been created for the lighter areas of the model’s face to create “I love a challenge; I’m using hundreds of small rectangles, triangles and highlights, and then darker tones to create constantly faced with difficult squares. They have been layered up with swatches shadows. This principle was then repeated for her commissions almost every of other African-style lifestyle or still-life images. headdress, neck, shoulders, hand, earrings and day, and finding the best necklace. It’s really a matter of experimenting way to execute them is my When you look at this piece of artwork from afar – have fun with it and play around with the types of favourite part. Making a piece you can see a beautiful lady, but get a little closer textures you use to build up the image. of artwork like this mosaic and you’ll see all the different patterns and textures portrait certainly takes time used. The key things to think about when creating Download the start image from Dreamstime (ID: and patience, but finishing it is this mosaic effect are the colours and tones; you 40782560) and use the patterns provided on the so satisfying. don’t want to start placing in patterns simply FileSilo to build up the portrait. We’ve also because they look nice; you want to start gathering provided the original stock images, so you can have “I’m a professional graphic patterns that will help to build up the image. For a go at creating your own patterns. designer/illustrator, and Photoshop is my go-to platform for my designs.” Create a new canvas Soften with Surface Blur Start making shapes 01 Make a new canvas size of 02 Start by softening the image slightly 03 Grab the Rectangle tool and make 240x320mm. Download the start using a Surface Blur; you want to do sure Shape Layers is selected. Then image from Dreamstime using image ID this so you don’t get too much of her natural make a layer folder by clicking the drop- 40782560. Paste it into your new canvas and features coming through the background. To down menu of your Layers palette and use the Free Transform to make it bigger. soften the image, go to Filter>Blur>Surface selecting New Group. It will be easier to keep Blur and change the Radius to 20 and the your shapes together in a folder. Then make Threshold to 30. your first rectangle.30

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Tutorial Build a mosaic with patterns Expert tip Rotate shapes Fill in the gaps Don’t have 04 Keep using the Rectangle tool to 05 Grab the Pen tool and make sure Shape Layer the Pen? build up her face with rectangles. is selected, then make your first anchor point Then start rotating a few of your rectangles to in a gap you want to fill. Next make another two points If you are an Elements user sculpt her face. To rotate your shape, go to to create a triangle shape. You will find yourself only and you don’t have access Edit>Transform Path>Rotate, click the side of creating triangles to help fill in the gaps. to the Pen tool, that’s not your shape to rotate slightly, then click the necessarily a problem. Most of shape to move in place. the areas where you want to fill in the gaps will be triangles. This means that you can use the triangle shapes from the Custom Shape tool. The gaps are so small that you won’t even notice them when you zoom out of the image. You only want to fill in the gaps just in case someone does want to take a bit of a closer look at your artwork. Create the eyes and eyelash Cover her with shapes 06 When it comes to re-creating her eyes and eyelashes, use 07 Carry on building up your image using the tools and quite small shapes. Zoom in close to the image using the techniques of steps three to six. Just use one colour to fill Zoom tool (Z) to get a closer look. Then using the techniques of step your shapes; black is best as you don’t want to confuse yourself with four, rotate shapes to create structure around and within her eyes. what is a solid colour and what is going to be a pattern. Download images Turn it into a pattern Place your pattern 08 Download the images provided 09 After creating your square using the 10 Once you have made your pattern, from the FileSilo. Pick the first Rectangular Marquee tool, go to head back to your portrait image. Use image you want to make a pattern out of, Edit>Define Pattern, name it what you like the Direct Selection tool to select the first then grab the Rectangular Marquee tool and and hit OK. Keep grabbing square swatches black shapes you want to fill with a pattern. make a square on a part of the image. Hold all around this image and making them into Go to Layer>Layer Style>Pattern Overlay. down Shift to make a symmetrical square. patterns by repeating the previous step and Click the Pattern drop-down menu and you’ll this step. notice your new patterns.32

Want vibrant colours? Set your colour mode to RGB! Expert edit Soften your shadows and highlightsDon’t make it perfect Make more patterns First shadow layer11 It’s okay if the pattern doesn’t fit your 12 Use all the images provided and start 01 Once you have brushed in your shape perfectly; you’ll notice the creating even more patterns; follow shadows using a black soft brush,pattern duplicates itself inside your shape. steps eight to nine. Think about what textures, select the first shadow layer and go toWhen you have zoomed out of the image you tones and colour you are pulling out from Filter>Blur>Surface Blur, and set Radius towon’t notice the imperfections, plus it will each of the images. When creating a pattern 64 and Threshold to 144.give your artwork some depth and look like you can use the images more than once –you have used two images in one. just grab a different area. Soften the highlightsPlace more 02 Next, grab the highlight layer andpatterns select the Surface Blur filter once again. This time you want to make Radius:13 Head back to 70 and Threshold: 100. your portraitand slowly start tobuild up your shapesusing the newpatterns. When youstart to build up yourshapes, refer to thecolours from theoriginal image to helpyou identify where toplace patterns. Forexample, use tanpatterns for her face,and the white/greypatterns for her eyes. Second shadow layer 03 Select the second shadow layer and use the Surface Blur filter for the final time. Change Radius to 64 and Threshold to 144.Create her headdress Cover her with patter Edit with a layer mask14 When creating her headdress, why 15 Keep filling up all those black shapes 04 There may be areas of shadows not pull out some bright bold reds, with more swatches of the African and highlights that you don’t like. Ifpink, purple and blues from the images images; keep in mind the tones you are using. so, add a layer mask, grab a soft brush andprovided to brighten up the image? You don’t For example, for the shadowy areas of her brush away the areas you don’t want.have to follow the colours of the original face use darker tones of tan patterns and forimage exactly – just use them as a guide. the lighter areas, use lighter tones. Do the same with her neck and shoulders. 33

Tutorial Build a mosaic with patternsCreate shadows Make even more shadows Form highlights16 Give the folder with all the patterns an 17 Make another layer (Cmd/Ctrl+Shift+ 18 Create a layer (Cmd/Ctrl+Shift+N) Opacity of 80%; this is to draw in N) and this time change the Opacity to between the two shadow layers andsome of the portrait’s natural features. Then 40% and blend mode to Overlay. Again, using change the Opacity to 50% and blend modecreate a new layer and change the blend a black soft brush, target the darker areas of to Overlay. Grab a soft white brush and startmode to Multiply, grab a soft black brush and the background, headdress, under the lady’s to brush over areas you want to brighten up:brush around the darker areas of her face. neck and hands, and around her necklace. her cheekbones, hands, middle of her forehead and eyes.Add vibrancy Soften up19 To boost the colours of your portrait, start by selecting the 20 Finally duplicate the layer (Cmd/Ctrl+J) you added a Surface Brightness/Contrast adjustment layer and make Brightness: Blur to (back in step two). Move the duplicated layer to the top10 and Contrast: 30. Next grab the Hue/Saturation adjustment layer of the Layers palette and change the blend mode to Soft Light andand change Saturation to +20. Opacity to 40% to bring out a few more of her natural tones. Expert tip ADJUST THE SCALE Pattern Overlay options Play around with how much you want to see of the pattern. It’s worth having a look at the options You can bring the scale right that are found within the Pattern Overlay down to see more of the image window. For a start, you can experiment or bring it up to see less of it. with different pattern adjustments: you can scale the pattern to give it more SAVE AND LOAD detail, because more of the pattern is showing. The effect is more prominent You can save and load default when using really detailed patterns. settings for each effect in the Layer Plus, checking the Link with Layer Style dialog box. By clicking Make checkbox locks your pattern to the layer Default, you don’t have to keep so that if you move your layer around reapplying the same settings. later, the pattern follows. If you uncheck this box and move your layer, the pattern will not move.34



Tutorial Composite with masks and layers On the FileSilo Start images Download your free Composite resources at www.filesilo. co.uk/photoshopcreative Essentials Works with Elements CS CC with masks What you’ll learn Mask your images and add creative effects with layers and filters Time taken and layers 3 hours Expert Advance your Photoshop skills by creating a fantastic floating island with layers, filters, masks and blending modes Daniel Sinoca In this step-by-step guide we’re going to create a many layers and masks, so try to keep organised stunning floating-island composition using a by placing each image or similar layers into groups. “One thing that impresses me variety of photos. You’ll start with a blank This way, you can easily move the images around, the most with Photoshop is canvas, then use the Gradient tool to create the transform or rotate them, or even apply masks and the ability to create accurate background and other effects. You’ll learn how to adjustments to each group. When using selections using intuitive tools. use the selection tools and masks to isolate each adjustment layers, don’t forget to create a clipping I can easily create a selection image. Then you’ll use filters and other techniques mask – this will help you to apply different around an image, mask it and to create special effects, such as light rays and a adjustments and keep the effect within a single make an entirely new scene. sunburst. Finally, you’ll use the adjustment layers layer. Check the expert tip for extra advice, and and blending modes to complete the composition. take a look at the side steps to learn how to create “I started to get involved in your own custom brush. Don’t forget to visit the the digital world more than Each step contains useful information to advance FileSilo to download all of the files to begin. 10 years ago and have been your Photoshop skills. In this tutorial you’ll use working as a freelance artist ever since, creating all kinds of multimedia projects and tutorial guides.” Set up a new document Add a gradient background 01 Create a new document (Cmd/Ctrl+N), name it Fantasy Island, 02 Grab the Gradient tool (G). In Options, open the Gradient and set Width: 230mm, Height: 310mm and Resolution: 300ppi. Editor and set the first colour stop to #86a6bf and the Now add a few guides to help position the images. Go to View>New second stop to #003a69. Set the gradient to Linear. Now hold Shift Guide. Change the Orientation to Horizontal, Position: 125mm and click and drag the gradient from the top to the bottom. OK. Add more guides, set the Position to 206 and 225mm.36



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Tutorial Composite with masks and layersExpert edit Create custom brushesUse adjustment layers Place the sky Create the ocean01 Use adjustment layers to create a 03 Go to File>Place Embedded>‘Sky.jpg’ 04 Before creating the ocean, hold Shift black and white image. Open the and hit Enter. Create a layer mask by and select all the layers used toimage and go to Layer>New Adjustment going to Layer>Layer Mask>Reveal All. Now create the sky. Press Cmd/Ctrl+G to group itLayer>Black & White. Drag the sliders and hide the big clouds. Go to Edit>Preset>Preset and name the group Sky. Go to File>Placeset all colours to -200. Manager and Load ‘Brushes143.abr’. Grab the Embedded>‘Ocean floor.jpg’. Drag the Brush tool (B). Choose the Cloud brush and handles to resize the image, placing at theAdd more contrast paint new clouds above the guide line. bottom of the canvas.02 Now increase the contrast Radial gradient using Levels. Go to Layer>NewAdjustment Layer>Levels. Adjust the 05 Grab themidtone input level until you see the details Gradient tooland contours of the image. (G). Open the Gradient Editor and set the first colour stop to #d3ffff, the second stop to #005ba5 and change the gradient to Radial. Apply the gradient, positioning over the bottom guide. Change the blend to Multiply and press Cmd/ Ctrl+Opt/Alt+G to create a clipping mask.Clean up03 Hit Shift+Cmd/Ctrl+Opt/Alt+E to create a merged copy of the layers.Grab the Dodge tool and paint over thewhite areas and then use the Burn tool overthe dark areas. Define a brush preset Make ocean waves Apply adjustments 04 Now press Cmd/Ctrl+I to invert 06 Place ‘Ocean-waves.jpg’. In Options, 07 Go to Layer>New Adjustment the image. Crop it and then go to set the Vertical Scale to around 28% Layer>Color Balance. Set the Tone: Edit>Define Brush Preset. Name your brush and click OK. Grab the Rectangular Marquee Midtones, change Cyan/Red: -45, Magenta/ and hit OK. Press F5 and then select your tool (M). Create a selection between the guide Green: 0, Yellow/Blue: 20. Apply Levels and new brush. lines above the ocean floor and then add a change the Inputs to 0, 0.90, 215. Now add layer mask. Brightness/Contrast, set to 80 and -30. Clip38 the layers for each adjustment.

Watch the latest video Search Photoshop Creative MagazineCreate the light rays Use custom brushes Start the island08 Create a new layer (Shift+Cmd/ 09 Create a new layer. Grab the Brush 10 Place ‘Cliff.jpg’ Grab the Quick Ctrl+N). Grab a hard tip brush. Set tool (B) and hit F5. Select one of the Selection tool (W) and select the cliff.the Foreground to white and paint random ‘waves-brushes’. Paint the waves and adjust Add a layer mask then go to Edit>Transform>short lines. Now go to Filter>Blur>Radial Blur. the size. Go to Layer>Layer Style>Drop Flip Vertical. Place the image adjacent to theChoose Blur method: Zoom, Quality: Best, Shadow. Set the Angle to 90° and adjust the top guide line. Use a hard tip brush and paintdrag the Blur Center to the top left and hit OK. settings to create a soft shadow. Select the over the mask to enhance the contour.Hit Cmd/Ctrl+F to re-apply the effect. layers and create a group.Place the grass Mask with channels11 Place ‘Grass.jpg’ over the cliff. Drag the handles to resize the 12 Place ‘Tree.jpg’. Hold Opt/Alt and click on the ‘eye’ icon on the image and adjust the perspective. Add a layer mask and use a Layers palette. This will make only the tree layer visible. Nowhard tip brush to create a new contour around the image. (Use a soft go to Window>Channel. Duplicate the Blue channel. Open the Levelsbrush to blend the grass with the rocks.) (Cmd/Ctrl+L) and adjust the inputs to create a high-contrast image. Hit Cmd/Ctrl+I to invert the image.Create a layer mask Apply the mask Lay some roots13 Keep the Blue channel active and grab 14 Duplicate the tree layer (Cmd/Ctrl+J). 15 Create a new layer. Go to Filter> the Dodge/Burn tool (O). Change the Go to Layer>Rasterize>Smart Object. Render>Tree. Choose Base Tree Type:Range to Highlights or Shadows and clean up Then go to Layer>Layer Mask>Apply. Create 20_Acer. Set the Light Direction: 180, Leavesthe image further. Hold Opt/Alt and click the a layer mask and blend it with the grass. Amount: 0, Leaves Size: 1, Branches Height:eye icon to make all layers visible. Go to Place ‘Bush.png’. Mask it and apply the 240, Branches Thickness: 160 and click OK.Select>Load Selection. Choose the Blue Levels adjustment and Vibrance to enhance Resize, rotate and mask the trunk. Place itchannel and click OK. Create a layer mask. the colours. Duplicate the bushes and place under the rocks. Duplicate it or create around the island. different branches. 39

Tutorial Composite with masks and layers Expert tip Create the ivy Shadows and highlights Working 16 Create a new layer. Go to Filter>Render>Tree. 17 Select the island layers and create a with masks Choose Base Tree Type: 14_Willow Tree. Set the group. Now create a new layer and Light Direction: 180, Leaves Amount: 30, Leaves Size: change the blend mode to Soft Light. Hit Control the intensity of the 60, Branches Height: 70, Branches Thickness: 0, Cmd/Ctrl+Opt/Alt+G to clip the layer with the masks by reducing the brush Leaves Type: 10_Leaves and click OK. Now scale and Island group. Grab a soft yellowish brush and opacity or controlling the mask the images. Place over the rocks. start painting the highlights. Use a bluish pressure. For example, if colour to add the shadows. you want to partially hide an image, reducing the opacity of the brush will create a shade of grey, while the intensity will make the image more or less opaque. In some situations you can use the Gradient tool to create a gradual transition between the layers. This effect is great for underwater scenes, for example to partially hide the whales in the composition here. Place the animals Duplicate the layer More shadows and highlights 18 Place ‘Deer.jpg’. Grab the Quick 19 Duplicate the Deer layer (Cmd/Ctrl+J). 20 Create a new layer and change the Selection tool (W). In Options, pick a Open the Free Transform tool (Cmd/ blend mode to Soft Light. Hit Cmd/ hard tip brush, check Auto-Enhance and start Ctrl+T) and resize the image. Go to Layer> Ctrl+Opt/Alt+G to create a clipping mask. selecting the deer. Go to Select>Refine Mask Rasterize>Smart Object and then go to Grab a soft yellowish brush and start painting and change the settings to enhance the mask. Layer>Layer Mask Apply. the highlights and use a bluish colour to add the shadows. Hold Shift, select the layers and then create a group. Repeat the steps Bring in the orca 21 Open the Island group and drag the Deer group into it, placing 22 Place the ‘Orca.jpg’. Grab the Quick Selection tool (W) and behind the bushes. Now place ‘Zebra.jpg’ and ‘Tiger.jpg’, then select the orca. Create a layer mask. Now duplicate the layer repeat steps 18 through to 20. Create a group for each animal and (Cmd/Ctrl+J). Rasterize the layer, then apply the layer mask (Layer> place them over the island. Layer Mask>Apply).40

Watch the latest video Search Photoshop Creative MagazineMask it Apply the Lens Flare filter Create the sunburst23 Hold Cmd/Ctrl and click on the orca’s 24 Create a new layer behind the Island 25 Create a new layer and fill it with thumbnail layer to select it. Create a group. Fill with black. Go to Filter> black. Go to Filter>Pixelate>layer mask and using a soft brush, paint over Render>Lens Flare. Choose Lens Type: Mezzotint. Choose Type: Medium Dots. Nowthe mask to partially hide the body above the 105mm Prime and click OK. Change the apply the Gaussian Blur filter at 6 pixels. Go towater. Now reduce the brush Opacity to 15% blend mode to Screen. Hit Cmd/Ctrl+T. In Filter>Blur>Radial Blur. Choose Blur Method:and paint the body under the water to create Options change the scale to 200%. Use the Zoom, Quality: Best, centralise the blur centrean opaque effect. Levels (Cmd/Ctrl+L) to reduce the brightness. and then press OK.Enhance the effect Place more images26 Change the blend to Screen. Hit Cmd/Ctrl+F a few times to 27 Place the birds and fishes. Select the images and enhance the re-apply the effect. Now create a layer mask and using a selection with the Refine Edge tool. Create masks and use thelarge soft brush, paint around the effect to hide the hard edges. adjustment layers to improve the colours and contrast. Add shadows and highlights and place the images into groups. Distribute around the canvas.Expert tip ADD MORE LAYERSThe Blend If command Add more layers and paint using different colours. Change the blend mode to Overlay and use the Blend If feature to gradually create the effect.When adding shadows and highlights, you BLEND IF GREYneed to change the blending mode to create arealistic effect. Using a Soft Light or an The Grey channel is the LuminanceOverlay blend mode on a layer will boost the channel, which means that all thecontrast of the shadows and highlights of the adjustments are based on the lightnessimage below when you paint over it. You can or darkness of the image layer or thecontrol the effect by reducing the layer opacity layer below.or using the Blend If slider in the Layer Stylewindow. Go to Layer>Layer Style>BlendOptions. Set the Blend If option to Grey. HoldOpt/Alt while clicking and dragging the blacktriangle to split it in two. Move the sliders tocreate a smooth transition and furtherenhance the effect. 41

Tutorial Experiment with blend modes42

Follow us at www.behance.net/photoshopcreativeOn the FileSilo Start imagesDownload your free Experimentresources at www.filesilo.co.uk/photoshopcreativeEssentialsWorks withElements CS CCWhat you’ll learn with blend modes Use colours, blendmodes and textures for adouble-exposure effectTime taken1 hourExper Explore various blend modes, and layer up textures and colours to create a unique double-exposure effectMarkWhite Blend modes are vital in Photoshop, and can portraits. In this project, we’re going to overlap blue turn ordinary ideas into extraordinary pieces and green to create a red and yellow centre.“The colours for this double of artwork in seconds. But so many of us endexposure were discovered up using blend modes for the same effects in the All good double exposures need to have texturecompletely by accident; it same kinds of projects. What if we experimented and tone, and blend modes can play a vital role ingoes to show what you can with them to create something that we never this, too. Most of the time you’ll use the Screendo in Photoshop when you would have expected? mode for your textures, but other blend modesjust play around with blend such as Soft Light and Multiply can help too. Cyclemodes and colours, and for That’s the aim of creating a double exposure. through the list of blend modes using Shift and theme, experimenting is the best The idea is to mix two or more pictures to create ‘+’ key, and see what looks good in your picture.way to learn and improve. something bright, exciting and original. Bringing Clipping masks are also essential for keeping colours into the mix – thanks to colour fill layers – effects localised – apply them by Ctrl/right-clicking “As senior staff writer on can only make for bigger, bolder, more innovative a layer and choosing Add Clipping Mask.Photoshop Creative, I’velearned all kinds of quick tipsto help with even the mostimpressive-looking pictures.”Cut out the subjects Layer the colours Add the treetops01 Cut out the two pictures we’re going 02 Place ‘right.jpg’ then ‘left.jpg’. Clip a 03 Add Hue/Saturation and Vibrance to use, with the selection tool of your #28c6e3 Solid Color Fill layer to ‘left. adjustment layers to tweak colours.choice. Tidy the selection with Refine Edge, or jpg’, set to Multiply, then clip a Hue/Saturation Add ‘trees1.jpg’, ‘trees2.jpg’ and ‘trees3.jpg’.Select and Mask (Photoshop). Choose two layer of Hue: -5, Saturation: +45, Lightness: Set these to Screen and desaturate (Cmd/images of the same subject – one zoomed in +30. Cmd/Ctrl+click ‘right.jpg’ mask preview Ctrl+Shift+U). Move over the edges of youra little more than the other – and feel free to and fill in black on the Hue/Saturation mask. subjects. Clip Curves/Levels adjustmentretouch facial features, such as eyes, first. Duplicate ‘right.jpg’, set to Difference, then layers to alter the contrast. Brush black on a clip #c13e61 (Multiply) and #ff00f6 (Color). new layer to darken bright areas of fog. 43

Tutorial Experiment with blend modes Expert tip Apply the marble Place the nebula Enhance 04 Place ‘marble.jpg’ into your project 05 Add ‘nebula.jpg’. Duplicate this layer; set one to the eyes and set to Overlay. Desaturate Overlay, one to Screen and set both to 60% (Cmd/Ctrl+Shift+U), and clip Levels or Curves Opacity. Place ‘nebula.jpg’ once more and mask a Enhancing the eyes of your adjustment layers to increase the contrast of single star over the left subject’s eye, and set to Soft subject can be the difference the texture. Reduce the Opacity of this layer Light, 75% Opacity. between a flat-looking portrait to 50% and mask lightly so that the texture and a really exciting one, so doesn’t appear over the subjects’ faces. pay attention to them when making the finishing touches. Add a Curves adjustment layer to your project – Elements users pick Levels – and tweak the RGB channel to create more contrast. Then use the individual RGB strands to change the colour of the eyes, before hitting Cmd/ Ctrl+I on the mask to invert and brushing the irises back in with a white brush. Edit the background Make adjustments Use Camera Raw 06 Place ‘texture.jpg’ into the project 07 Add adjustment layers to tweak the 08 Merge everything (Cmd/Ctrl+Alt/ and set to Multiply, 50% Opacity. image so far. Along with a Curves Opt+Shift+E). Go to Filter>Camera Mask over the corners of your picture – one (50% Opacity) as shown, add Vibrance: Raw. (Elements: File>Open in Camera Raw.) duplicate if need be – and again clip Curves or +100, Color Balance: -15, +10, +20 and a Experiment with the temperature and whites Levels adjustment layers to lessen the Gradient Map (black to white) one, set to Soft and blacks, increase Clarity to +20 and go to intensity of the effect, as you can see above. Light, 30% Opacity. Elements users can use the Sharpening tab to increase Sharpness Levels and Photo Filter for similar effects. and Noise Removal. Mask lightly over the subjects with a soft, white brush. Add more marble Apply finishing touches 09 Duplicate your marble layer and set to Multiply, 60% 10 Finally, make subtle tweaks just to enhance the image. Mask in Opacity. Mask in over the darker areas of the picture. ‘stars.jpg’ over the left-hand subject and set to Screen, enhance the Then merge all again (Cmd/Ctrl+Alt/Opt+Shift+E) and go to eyes of this subject, use the Spot Healing Brush on the skin, and add a Soft Filter>Liquify (Filter>Distort>Liquify in Elements); just warp the Light, white to black gradient set to 50% Opacity. edges of hair and body to blur the lines between the marble and the right-hand subject.44

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Tutorial Use adjustment layers creatively Essentials Works with Elements CS CC What you’ll learn Use adjustment layers creatively Work with correction tools, adjustment/mask layers and blend modes Time taken 8 hours Expert Discover essential tools and techniques for creative compositions José Over the course of this tutorial, we will use while clipping masks enable you to apply effects Augusto correction tools (Color Balance, Vibrance, only on a specific layer. Hykavy Hue/Saturation and more) to apply uniform colour and lighting to separate elements In a composition such as this, cutting out images “I love to use my imagination, in a composition. We’ll also work with layer masks is essential. As is keeping an eye on the scale, and am careful with colour and clipping masks; layer masks enable you to add brightness, contrast and lighting of elements. If contrast and finer details. effects only to the desired area. Erasing something looks different to everything else, the unnecessary areas on the layer mask means you image won’t work as a whole. “I am 21, fond of art and can return to the appropriate part if necessary, design, live in Brazil, and Once you’ve worked through the tutorial, use work as a freelancer and what you’ve learnt to create your own scenes! designer in a print shop. My first contact with Photoshop was in 2009, practising tutorials, then I started learning on my own.”46

Follow us on Tumblr Search for photoshop-creative On the FileSilo Download your free resources at www.filesilo. co.uk/photoshopcreativeCreate the background Insert the sky01 Go to File>New (Cmd/Ctrl+N), and set the Width to 460mm, 02 Place ‘sky.jpg’, create a layer mask and use the Brush tool Height to 190mm, Resolution to 300 pixels/inch and click OK. (B) to hide the lower part of the image. Create a new Hue/Insert ‘grass.jpg’ and use the Clone Stamp tool (S) to remove the cows. Saturation adjustment layer with Hue: -15 and Lightness: +5.Set up a Hue/Saturation adjustment layer; Hue: -5 and Saturation: -40. 47

Tutorial Use adjustment layers creatively Expert tip Place the door Make door adjustments Use clipping 03 Insert ‘door.jpg’, position in the left 04 Add a yellow Photo Filter adjustment layer, masks corner, create a mask layer and use then a Vibrance adjustment layer set to -20. the Brush tool (B) to hide the area around Finally, set up a Hue/Saturation adjustment layer, with You’ll find that clipping masks and inside the door. Use the Polygonal Lasso Hue set to -69, and Saturation set to -35. are a speedier and much more tool (L) to create a grass-like selection in versatile method for applying front of the door and hide on the layer mask. cut-out effects to images. They are an excellent way to control which parts of an image are visible. Go to Layer>Create Clipping Mask, or hold down Alt and click on the dividing line between the effect and your image in the Layers panel. A small arrow will appear next to your image layer, which indicates that a clipping mask has been made and the effect is applied to the area. Create the bedroom Open the door Brush in a shadow 05 Create a rectangle (U) the same size 06 Insert ‘open door.jpg’, select one side 07 Create a new layer (Cmd/Ctrl+Shift+ as the door, insert ‘bedroom.jpg’ and of the door, adjust the position and Alt+N), create a clipping mask on the adjust the size and position. Create a clipping size, create a Hue/Saturation adjustment door layer and with the Brush tool (B), colour mask and add a Hue/Saturation adjustment layer with Hue: -35, Saturation: -31, black (#000000), make a shadow at the layer, with Hue: -12 and Saturation: -30. Lightness: +24. Use the Clone Stamp tool (S) bottom, near the grass. With yellow (#faebc7), to remove the light under the door. use the brush on the right and near the lamp. Add the first girl Blow some bubbles 08 Insert ‘bubble girl.jpg’, remove the background, adjust the size 09 Insert ‘soap-bubble.jpg’. With the Elliptical Marquee tool and use a Vibrance adjustment layer (Vibrance: -18 and (O) select just the bubble and duplicate three times Saturation: -5). Now apply a Curves adjustment layer and drag the curve (Cmd/Ctrl+J). Change the blend modes to: first layer: Light, down a bit. Create a new layer and use the Brush tool to paint a little bit of second layer: Screen, third layer: Soft Light. Decrease the white on the top of the girl. saturation until the bubble matches the scene.48

Follow us on Tumblr Search for photoshop-creativeCreate more bubbles Introduce a girl at the door Add some shadows10 Insert ‘soap-bubble1.jpg’, ‘soap- 11 Place ‘girl.jpg’ in the middle of the door 12 To adjust the shadows on the girl, bubble2.jpg’, ‘soap-bubble3.jpg’ and and add a yellow Photo Filter create new layers and use the Brush‘soap-bubble4.jpg’. Repeat the process of step adjustment layer. Add a Vibrance adjustment tool (B) to paint black areas. Change thenine, making copies (Cmd/Ctrl+J) and layer (Vibrance: -7), and then a Hue/ blend mode to Soft Light, change the Opacityadjusting the size and position. Saturation adjustment layer (Saturation: -52). of the layer if necessary, and follow the direction of the light.Enhance the light Place the deer13 Create a new layer, choose the colour #fde5a5, and with the Brush 14 Insert ‘deer.jpg’, remove the background, add a Hue/ tool (B), paint near the sky in the middle of the scene. When done, Saturation adjustment layer with Hue: +12 and Saturation:change the blend mode to Lighten and layer Opacity to 45%. +20. For the grass under the deer, add a Color Balance adjustment layer with Cyan/Red: +28, Magenta/Green: -30 and Yellow/Blue: -30. Use the mask layer to apply the correction only to the grass. Insert one bubble behind the deer.Insert floating toys Adjust the toys Place the birds15 Insert ‘doll.jpg’, ‘doll1.jpg’, ‘bear.jpg’, 16 For ‘doll.jpg’ add a Hue/Saturation 17 Insert ‘bird.jpg’ and ‘bird1.jpg’, remove ‘horse.jpg’, ‘book.jpg’ and ‘elephant.jpg’, adjustment layer with Saturation: -38. the background and put atop the door.remove the background, then adjust the size, For ‘doll1.jpg’, use Hue/Saturation with Hue: Create a new layer; make a shadow belowposition and rotation. Place the layers +12, Saturation: -30 and Lightness: +4. For the birds with the Brush tool. Insert ‘bird2.jpg’,beneath the bubbles. ‘elephant.jpg’, use a Color Balance adjustment remove the background and place near the layer with Cyan/Red: +18, Yellow/Blue: -17. big bubble. Duplicate the layer, flip horizontal, For ‘book.jpg’, use Hue/Saturation with Hue: create a mask layer and hide the right side. +12 and Saturation: -38. For ‘bear.jpg’ use Hue/Saturation with Saturation: -15. 49