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DESIGN AN
INFOGRAPHIC
Discover how to use typography,
icons, colour and hierarchy
ACTION
COMPOSITES
Unify lighting to combine
photos into an action scene
2FC J?RCQR #'8- KMLGRMP ML RCQR m
Make your own ice textures m
*C?PLRMSQC$GJRCP$MPECm
SELECTIONS
PHOTOSHOP EXPERTS SHARE THEIR KILLER TIPS ON
GETTING THE MOST FROM SELECTION TOOLS
HOW TO CREATE
ARCHVIS
FlyingArchitecture Studio on how
they mix 3D and Photoshop
COMIC COVERS
ISSUE 130
mgzn.me
Welcome and download all your favorite
magazines!
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colours, or add noise and randomness to make your engraving look like it was made by hand. Finish your composition by
choosing paper colours and textures. Even add embossing effects to simulate the look of an old printing press.
AlphaPlugins Engraver III comes with a group of factory presets to let you dive right in and experiment with the plugins power.
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ISSUE 130
WELCOME
APRIL MADDEN
Editor
IN THIS ISSUE:
ARCHVIS
COMPOSITING
PHOTOMANIPULATION
ILLUSTRATION
GRAPHIC DESIGN
COVER IMAGE
ANDRE VILLANUEVA
http://000-000-0000.com
Photoshop expert Andre
Villanueva created our
selection-based cover
image this issue. Check
out his website for more
of his creative projects or
take a look at his work for
our sister magazine
Photoshop Creative.
FIND US ONLI
@advancedpshop
/AdvancedPhotoshop
.co.uk
46
WORKSHOP:
MASTER ARCHITECTURAL
VISUALISATION
Create an eye-catching image using striking mood,
colour combination and well-defined detail
74 UNTITLED
HOW I MADE:
PROJECT
003
ISSUE 130
CONTENTS
EYE ON DESIGN
06
08
10
16
18
PORTFOLIO INTERVIEW
A collective tale
18
PIXELFLAKES
56
CREATE A DYNAMIC
COMPOSITE
004
PRO PANEL
Meet this issues experts
INDUSTRY NEWS
The Foundry snaps up Mischief
PROJECT FOCUS
Surreal photomanipulation
STUDIO INTERVIEW
PixelFlakes
26
TECHNIQUES
26
36
46
52
56
FEATURE
Shhh
WORKSHOP
62
68
74
86
90
WORKSHOP
A guide to infographics
WORKSHOP
REVIEWS
80
84
FEATURE:
EIZO ColorEdge CS240
FEATURE:
Top ten art and design books
Untitled Project
READER INTERVIEW
SUBSCRIBE TODAY!
62 A GUIDE TO INFOGRAPHICS
96
RESOURCES
TAILORMADE
CREATIVE CONTENT
68
P US:
e4UTORIALPROJECTFILES
e6IDEOTUTORIALS
e"ONUSRESOURCES
PRO PANEL
Andre Villanueva
http://000-000-0000.com
Experiment! In the lulls between your usual work, have some fun and play with Photoshop features you dont normally use. Going down untrodden
paths can lead you to some unexpectedly rich outcomes. Try some new filters, apply adjustments youve never employed, or use a tool that
everyone says is no good. Process, transform, and blend unrelated photos for surprising results.
See more of Andre Villanuevas work on our cover and our feature on selection tools on p26
BRANDON CAWOOD
www.brandoncawood.com
NEVER STOP LEARNING!
Constantly challenge yourself to
do new things. My work usually
involves high-energy composites
with people as my main subjects. For this image I
stepped out of my comfort zone and shot these
trucks. While editing this photo, I learned and
developed many techniques that I now use in other
images! Never put a limit on what you can do!
Learn how to create an action-packed
composite in Brandon Cawoods tutorial on p56
Brandon Cawood
006
ANDY HAU
www.andyhau.com
A lot of my work requires quick-fire repetitive use of the same tools Polygonal Lasso
and Gradient Fill. On simple images, you can of course click on the tools from the Toolbar
but for more complex images, using shortcuts (L for Lasso, G for Fill) can increase your
productivity by twice as much trust me, Ive actually timed it!
Discover more about how Andy Hau can improve your productivity with his How to choose a font
infographic on p62
Magazine team
Editor April Madden
april.madden@imagine-publishing.co.uk
01202 586218
Advertising
Digital or printed media packs are available on request.
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01202 586442
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Sales Executive Tim Hawkins
01202 586437
tim.hawkins@imagine-publishing.co.uk
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Assets and resource files for this magazine can be found on
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International
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Contact the International department to discuss
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Head of International Licensing Cathy Blackman
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Disclaimer
Andy Hau
007
MORE INFORMATION
For more information on Made With Mischief,
including how to purchase, product features,
system requirements and supported platforms,
visit www.madewithmischief.com.
OTHER SOFTWARE
008
MOLESKINE CONNECTS
TO CREATIVE CLOUD
MOLESKINE TAKES ITS INSPIRATION FROM THE BASICS WITH ITS LATEST
OFFERING, AS THE SIMPLE PEN AND PAPER HAVE BECOME HIGHTECH
Inviting users to watch paper evolve, Moleskine has
now released a new Smart Notebook, which allows
anyone to turn their hand-drawn sketches into digital
vector files using just an iPhone.
After creating a drawing on the Smart Notebook,
each user can simply download the companion iOS
Moleskine app from the Apple Store to begin
capturing what theyve drawn with the camera on
their iPhone. Then, with the help of a grid of markers
on every page to assist with the processing of
images, any sketch from the new Moleskine will be
optimised as a JPEG file, before being converted to an
editable SVG by the app. The settings are even
specifically designed to detect the orientation of the
Colemans self
portrait
showcasing his
unique style.
Though he hadnt
previously been a
big fan of Paloma
Faith, after this
experience
Coleman aims to
create more album
artwork in the
future, working
with other artists
like her
009
A COLLECTIVE
TALE
010
01277 243016
Or visit our website...
Imitating Echo: This was my first piece experimenting with the mirrors
and reflection. It was originally filled with unnecessary effects, but a lot
of it was removed [in order] to portray the story of ripping off ideas.
www.imaginginsurance.co.uk
Imaging Insuranc
ding name licensed to Vantage Insurance Services Limited (VISL) by Niche Insurance Services Limited.
VISL is authorised and regulated by the Financial Services Authority. VISL is registered in England, No 3441136.
VISLs registered address is: 5th Floor, 41 Eastcheap, London, EC3M 1DT
Imaging Insurance can be contrac
nd Floor, Juniper House, Warley Hill Business Park, Brentwood, CM13 3BE
Tel: 01277 243016, Fax: 0207 6558060, Email: info@imaginginsurance.co.uk
013
Globally, I think the industry is growing really fast and there are
lots of new ways, to create new designs from smartphone
apps to 3D printing, people are pushing the boundaries of being a
creative professional
work and my commercial work. It was also
[difficult] to focus on one project when youre taking
in a range of new ideas.
WHATS NEXT FOR YOU/ WHAT ARE YOUR
FUTURE DESIGN PLANS?
I took one year off from college and I am currently
working as a freelancer, so I can get the necessary
experience before I start working on my own studio.
For the short term, I have new projects coming up
and I have been exploring new areas of design,
including 3D modelling and web design. I am also
planning to go back to art college to get to know the
basic facts and fundamentals of designing. After
that, I am going to help to transform the design
industry of my home country, Myanmar [as design
is not a prominent artform there].
PORTFOLIO TIPS
KEEP IT SIMPLE
Dont confuse the audience by putting too many points in the
composition. With simple direction, the audience can be
more engaged in the story of the artwork. After spending
time on it, take a break and come back later to take out
objects and effects that arent necessary.
TRAIN YOUR EYES
To be a good designer or artist you need to create a good
aesthetic. Your sense of style and how you display it on the
canvas determines the connection to the audience. Train
your eyes by looking at inspiration and browsing other work
from great designers.
BE HAPPY
You cant work if youre grumpy. Take time everyday to do
something that makes you happy. Whether shooting heads
off in a Destiny game or watching Russell Peters clips on
YouTube, keep yourself light and in a good mood.
014
Galleries
Marketing
Selling
Try it free at
zenfolio.com
Visit us at
SWPP
Stand #K106
SURREAL
PHOTOMANIPULATION
THE FOUNDERS OF AGNMG AGENCY REVEAL HOW THEY CREATED THE ABSTRACT
LANDSCAPE TO THEIR FIRST PHOTOMANIPULATION PROJECT TOGETHER
ABOUT THE ARTIST
AGNIESZKA GRYCZ &
-!'$!,%.! '!7$!Founders and CEOs of
agnmg agency
www.agnmg.com
NAME OF PROJECT
THE AGNMG DESIGN FOR
-4%#( #/-0!.9
016
agnmg
The lightbulb
Polygon rocks
017
PIXELFLAKES
018
ABOUT THE
STUDIO
PIXELFLAKES
www.pixelflakes.com
@pixelflakes
Matthew Reid
Visualisation
Director, Partner
Pedro Botelho
Senior Artist
Marvin Nooitgedacht
Managing Director,
Partner
PixelFlakes is an architectura
studio, that specialises in visualising the
un-built. It fuses traditional artistic values together with
branding and multimedia to bring projects to life.
019
020
4
NORD MALM
THIS IMAGE WAS PART OF A WINNING COMPETITION BID FOR A NEW SCIENCE MARINE CENTRE IN MALM, SWEDEN
01
!.',%3!.$,)'(4).'
04
02
"5),$4%8452%!.$&/2%'2/5.$
RE2%.$%2!.$!$*534
Well re-render any new geometry updates from our clients and drop
them in at the bottom of our stack. That way none of our foreground elements
are affected. We then use masks and selections to refine our painted light. Our
approach allows us to create atmospheric pieces for our clients without having
to step back into 3D to render them.
05
03
RE&).%4(%)-!'%
PR).42%!$9
Well round off the image and facilitate any minor client comments.
We will then save the images at print ready. A lot of clients print our images
out over multiple A0 boards, so the colours need to be calibrated correctly. We
always ensure we work at 300dpi and a minimum resolution of 5k.
021
09:00
MORNING MEETING
022
040
11:00
HARD AT WORK
13:00
PHOTO REFERENCES
REFERENCES
Ensure you collate as many references as possible for all aspects of
your image, especially the lighting. How dark are the shadows? How
reflective is aluminium in an overcast scene? References will help
with initial direction.
COLOR DODGE LAYERS
Fill a layer with black and change the blending mode to Color Dodge,.
Then paint in highlights and glows on new layers applied as clipping
masks throughout your images.
PHOTOGRAPHY
Photography is one of the most useful skills a visualiser can
develop. A keen eye for lighting, composition and perspective are all
learnt through this medium.
SMART OBJECTS
A lifesaver if you have to distort textures into awkward positions and
update them later. Make a grid, convert it to a Smart Object and then
edit. You can easily swap out new textures or patterns for old ones.
Pull together: Teamwork and
communication are important
to the team when it comes to
bringing clients designs to life
HUE LAYERS
Fill a hue layer with black and place it at the top of the layer stack.
This will show you a greyscale image the lighter the object the
further away from the camera it should be, the darker the object
the closer.
15:00
SEEING CLIENTS
17:00
FINAL CATCH UP
18:00
END OF DAY
023
30
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026
SELECTIONS
LEARN HOW TO SELECT WITH EASE, AS OUR EXPERTS GIVE THEIR ADVICE ON
THE BEST SELECTION TOOLS AND TECHNIQUES TO USE IN PHOTOSHOP
CONTRIBUTORS
ANDY POTTS
JOHN ROSS
!.$90/443#/Andy Potts is a
London-based
illustrator and
motion designer.
He has worked in
illustration, design,
animation and art
direction since
graduating in 1995.
7774(%!24/&2%4/5#().'#/John Ross
founded The Art
of Retouching
and has been
working in
photography,
retouching and
graphic design
for over 20 years.
ROLF A. JENSEN
WWW.ROLFJENSEN.NO
Rolf A. Jensen
is an
international
award-winning
art director,
designer and
co-founder of
design agency
Good Morning.
MILTON MENEZES
DAVID PADILLA
777,)'(4&!2-"2!3),#/Milton Menezes
is the director of
creative
retouching at
Lightfarm Brazil.
He previously
worked at
Lightfarms New
Zealand studio.
$!6)$0!$),,!",/'%3
David Padilla is
an artist from
Spain who
specialises in
photo-based
compositions.
He primarily
works in
advertising.
027
COMBINING WORLDS
Blending the spectacular vision of Geirangerfjord with Norwegian
folklore was a real challenge of selections for Rolf A. Jensen
Rolf A. Jensen
028
John Ross
SCANNED SELECTIONS
Lightfarm Studios
long hair lines that are too hard to get from brush
strokes. I had issues with this mermaid image [called]
Harmful Nature. As we shot underwater, the hair had
motion blur and too much noise to use a simple
Channel selection or blend modes. So I mixed three
techniques I love to work with there is no easy way
[to do it]. Hair is hard, it takes time and patience,
although there are shorter or more effective ways of
doing it. Youll need to go step by step. Think big to
small. You wont get everything at once. Get the head,
main hair mass, a little brush stroking hair and path
strokes with simulating pressure for precise selection
with thick hair and smooth tiny endings.
01
LEVEL THINGS UP
02
FEEL FUZZY
Rolf A. Jensen
03
AS IF BY MAGIC
029
John Ross
SELECTION IN PRACTICE
In this image Milton Menezes (Lightfarm Studios)
had to contend with the fact that the model had
been shot underwater. This meant that there was
too much movement and motion blur for a
Lightfarm Studios
030
Lightfarm Studios
QUICK FIXES OR
THE PEN TOOL?
PULL IT APART
Andy Potts style mixes a range of different elements, so being able to
select and control them precisely is of paramount importance
Andy Potts
031
John Ross
NATURAL SELECTIONS
David Padilla
01
032
02
03
TACKLE IMPERFECTIONS
John Ross
Andy Potts
033
Andy Potts
Andy Potts
034
COLOUR ME SIMPLE
Lightfarm Studios
John Ross
035
COVER DESIGN
COMPETITION 2014
A LOOK AT THE BEST ENTRIES FROM THIS
S COVER DESIGN COMPETITION
036
MAHMOUD EL ZAHAR
WWW.MELZAHAR.COM
CGI AND DIGITAL ARTIST
037
RACE HORSE
LOWPOLY
STEVE BERRINGTON
QUANTITY SURVEYOR
!.$0!244)-%
FREELANCE GRAPHIC DESIGNER
038
WE ARE
NOT ALONE
JOSEPH XERRI
WWW.BEHANCE.NET/
JOSEPHXERRI
GRAPHIC DESIGNER AT BETSAFE.COM
With 19 hours of work put into it, We Are Not
Alone was a pretty mammoth project for graphic
designer Joseph Xerri. However, part of the reason
this digitally painted photomanipulation took so long,
is because Xerri abandoned some of Photoshops
more advanced functions, to concentrate on the
fundamentals. I mainly used basic techniques and
tools, including the Brush tool, masking and blending
modes, he explains. I love creating non-realistic and
epic photomanipulations [with a] composition that
makes the viewer think that they are real. This
particular style is relatively new in Xerris repertoire:
I have been exploring new techniques and tools in
Photoshop for around four years now, but creating
photomanipulations for the last nine months, he
says. So whats his advice for other artists? I
recommend Photoshop users to always keep their
work organised and make use of adjustment layers
such as Selective Color and Curves, he says.
039
A great demonstration
of what a bit of clever
photography and Photoshop
work can achieve
April Madden, Editor
CHECKING
MY BRAIN
ACHRAF BAZNANI
WWW.BAZNANI.COM
ARTIST/PHOTOGRAPHER
Self-taught artist, Achraf Baznani, began using
Photoshop 5.0 in 1998. This image, which he based
on self-portraits and that he photographed himself,
took him just 25 minutes to complete in Photoshop
CS6 and Lightroom 4. The important thing [to me] is
to make a picture almost perfect in record time, he
explains. Baznanis favourite style to work in is
surreal, because we need a break from reality.
Surrealism takes us from the real world into a
dreaming one. We can recreate and share our
dreams or surrealist ideas in real life through
photography. So whats his advice for other artists?
Its never easy to succeed and sustain going
professional and freelance in the beginning.
[Remember] that the knowledge and skills you have
will not be taken away from you by anyone. It is a
treasure that you will [have forever]. I never give up,
no matter how hard it is. If you love something, just
dont stop trying.
040
THE PIONEERS
041
POST OFFICE
ON THE
DISTANT LAND
042
NEON
JAMES GODDEN
JAMESGODDENDESIGN.COM
GRAPHIC DESIGNER AT
WHITEHYPE STUDIO
I dont really have a favourite kind of image to
create. As long as the end result looks cool then Im
happy, says graphic designer James Godden, who
has been using Photoshop for about ten years. For
this image, titled Neon, the initial inspiration came
from a set of sports fashion graphics, pioneered by
Whitehype director Chris Whitehorn (www.
whitehype.co.uk), where sports-people were defined
using neon lines. I thought that it would be cool to
integrate this line work with photographic elements,
he explains. I created all of the lines using the Pen
tool in Illustrator. I then exported the file as a PSD to
Photoshop, and used Color Dodge groups to add
glows to the lines. The distressing of the model was
done using layer masks and cloning. The blue nebula
effect was achieved by adding stock images on a
Screen blend mode. The whole process took Godden
around five hours to complete. Always strive to learn
new techniques and practices, he advises.
043
REBIRTH
PAUL OWEN
WWW.BEHANCE.NET/
PAULDOWEN
IT PROFESSIONAL
I have been a lifelong science-fiction fan and that
represents the majority of my inspiration, says Paul
Owen, who has been using Photoshop for four years
to create sci-fi and fantasy imagery. As a long-term
fan of Frank Herbert, Philip K Dick and Marvel
Comics, Owens explains that his career has also
inspired him: my background in IT and as a chemist
also adds a dimension to my preference to create
abstract and science fiction or fantasy images. For
this image, he used Photoshop CC with a Wacom
Cintiq Companion, and the whole process took
around four hours to complete. Owens idea came
from watching the ESA comet landing, [which]
inspired me because the scientist in me was
intrigued. We could all be made of the same material
as the stars, and the comet is all about looking for
the very building blocks of life. As a former chemist, I
have always loved considering these kinds of
questions. This piece illustrates how I feel [that] we
as human beings are made of the same intrinsic
materials as the universe.
044
WE ARE NATURE
DAVID MEDRANO
ARTISTRX.COM
FREELANCE GRAPHIC
DESIGNER AND
ILLUSTRATOR
045
N
O
I
T
I
T
E
P
COM
!
R
E
N
WIN
MASTER
ARCHITECTURAL
VISUALISATION
FROM 3D TO PHOTOSHOP
OUR EXPERT
TEFAN TURCOVSK
yingarchitecture.com
@ying_archi
SOURCE FILES
Organise your workflow with the
supplied layer structure PSD and
youll find it easier to manage
hundreds of layers without losing
track of your edits.
WORK IN
PROGRESS
PREPARE YOUR PSD FILE BEFORE YOU START WORKING ON POST PRODUCTION
01
02
047
03
06
05
048
04
QUICK TIP
Dont be afraid to try more assets or reference pictures, because you never know what can inspire you to
create a different mood or story. Usually we have an exact idea about the image, but spontaneous
inspiration is great when experimenting. There are no rules, just use what is working best for you.
07
08
09
To create the water surface you can use different techniques. We recommend using Flood by
Flaming Pear (download this plugin from www.flamingpear.com/flood). Merge all layers on top of
everything (Cmd/Ctrl+Shift+Alt+E). Press Cmd/Ctrl+A, then Cmd/Ctrl+Shift+C to copy the layer to the buffer,
and then select Cmd/Ctrl+V. Go to Filter>Flaming Pear>Flood. Adjust the Curves, Brightness and Selective
Color to make it more realistic.
001
002
11
003
001 BE READY
10
12
13
049
FINAL EDITING
14
15
17
FINISHING TOUCHES
050
16
18
QUICK TIP
In general, if you are just getting started with Photoshop post-production, start with 2500px renders. Then,
as you gain more experience, switch to 3500px. When you are confident enough, try using 5000px.
Anything above 5000px can be done for personal projects or to suit the requirements of a client.
Free Delivery
on all print using this code:
FDM-5MQ48
(Expires 1/3/15)
Gary Bedell
052
SHHH
GARY BEDELL
SELFTAUGHT ILLUSTRATOR GARY BEDELL REVEALS
HOW HE WAS INSPIRED BY THE PSYCHOLOGY OF FEAR
02
01
THUMBNAIL
03
BASIC LIGHTING
053
04
07
05
06
ADDING COLOURS
ILLUSTRATING HORROR
08
FINISHING UP
054
Learn to inspire
www.dphotographer.com
Available
from all good
newsagents and
supermarkets
SOURC
RE
VERY IS
DE
E FRE
E
SU
WN
DO LOA
ON SALE NOW
> Top focusing tricks > Winter shooting advice > ND lters on test
LANDSCAPE TIPS
SHOOTING ADVICE
WILDLIFE PHOTOS
PORTRAIT GUIDES
CAMERA REVIEWS
facebook.com/DigitalPhotographerUK
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OUR EXPERT
BRANDON CAWOOD
www.brandoncawood.com
@Brandon_Cawood
Brandon Cawood is a commercial
and advertising photographer from
Dalton, GA, USA. He specialises in
high-energy composites and does
his own retouching and Photoshop
work. See his work at www.
brandoncawood.com.
CREATE A DYN
COMPOSITE
056
057
WORK IN
PROGRESS
FROM BACKGROUND TO
FINISHED COMPOSITE
background image
to finish
01
02
For a composite to be believable, the depth of field needs to match. If something in your foreground
is going out of focus but your background is tack-sharp, it is going to look off. If the foreground is starting to
go out of focus at all, then the background should do the same. You can blur the background image by
pressing Filter>Blur>Gaussian Blur. Adjust the Radius until the blur matches the depth of field in the
foreground image. The further away the background is supposed to be, the more blur it will have.
058
04
03
QUICK TIP
Always save periodically throughout your workflow. There is nothing worse than spending hours on a
project, to have Photoshop crash and lose your work. When you have multiple ideas on the direction you
want to go in, save your PSD under different names. Then you will have a variety of copies and options!
05
08
06
CLEAN UP BLEMISHES
09
07
Before moving onto the final colour grading, you should go back over everything
youve done. Investigate your document one layer at a time and make sure that everything
is done to a high standard. Ensure your masks are clean and that you didnt leave anything
unwanted. Check your highlights, your shadows and anything else that may need
adjusting. Click your layers on and off to see all the before and after images. Go ahead and
delete any layers you arent using and make sure you save your PSD.
059
10
11
12
QUICK TIP
Look at the proof of your final image on multiple computer screens, tablets, phones, and have your
image printed on different mediums. If anything stands out, open the PSD back up and try to address the
issue. Sometimes it helps to create different versions depending on the medium it will be viewed on.
13
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14
ADD GRAIN
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TECHNOLOGY
VIDEOGAMES
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062
OUR EXPERT
ANDY HAU
www.andyhau.com
@andykwhau
Im a London-based architect and
designer and the owner of A.H.A
Design. For me, design is an escape
from the futility of modern life, not
an endorsement of it.
A GUIDE TO
INFOGRAPHICS
LEARN HOW TO DESIGN AN INFOGRAPHIC
AND MAINTAIN A SENSE OF HUMOUR
063
WORK IN
PROGRESS
#2%!4% ! 4/.'5%).
CHEEK INFOGRAPHIC
01
MAKE A PLAN
02
04
03
As we move further away from the primary questions, we can space the blocks out more. This
creates a tunnel vision effect that will help to guide the reader and make the infographic more visually
exciting. We also need to block out areas for images to make the infographic more pleasurable to follow.
However, restrict the amount of images so that they dont become distracting. Placing images at the beginning
and end of each path will help to draw the eye to these areas.
064
QUICK TIP
Keep the flow simple. If the flow diagram is too
complicated, people will get confused and give
up trying to read it. If your infographic spans over
two pages, make sure that the crossover
happens on a flow line and not a decision box to
help legibility.
05
08
06
CREATE A HIERARCHY
07
Following the rules that you established in step 6 and using the
information that you put together in step 1, place the text within the
decision boxes using the Type tool (T). You can also adjust the spacing in
between the letters to make sure that the text is formatted to fill the
boxes comfortably. Simply open up the Character panel (Window>
Character) and change the figure in the Tracking option. This will help
with the way that the text reads, as well as creating a more attractive
layout.
09
OPTION BOXES
065
10
12
INCLUDE THE ARROWS
11
QUICK TIP
Preparation is key when it comes to creating infographics. Even the worlds most impatient person can
gather all the information together before opening up a new canvas. Do not be tempted to skip this
stage youll only regret it later!
13
IMAGES
066
14
15
ZOOM OUT
BUILD
A
BETTER
WEB
www.webdesignermag.co.uk
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068
CUSTOM FILTERS
IN FILTER FORGE 3
DISCOVER HOW THIS POWERFUL PLUGIN ENABLES YOU
TO DESIGN AND BUILD BESPOKE EFFECTS FILTERS
01
02
OUR EXPERT
MATT BENNETT
Matt Bennett is features editor of
Advanced Photoshops sister title,
Digital Photographer. A former
professional photographer, he is
used to editing, retouching and
adding effects to portrait images.
SOURCE FILES
Get Filter Forge 3.0 Standard Edition
(as sold for $249) completely free on
FileSilo. You can also get a discount
on Filter Forge 4.0 too!
WORK IN
PROGRESS
PHOTOSHOP TO FILTER
FORGE TO PHOTOSHOP
unedited photo
03
069
04
From the list of components, drag a Tone Curve to the stage and
connect the Image component from the previous step to the Source. Tone
Curves need a separate Curves component in order to function. So, from
the Curves components menu, drag the Gain component to the stage and
connect this to the Tone Curve. Finally, go to the Controls menu and drag
a Slider Control onto the stage. Connect it to the Gain component in order
to make the Gain adjustable.
06
05
ADD A GRADIENT
If you head to the Gradients components menu, youll find a range of Gradient
types that you can add to your filter. The Free Gradient is one of the most flexible and is
excellent for lighting effects. Drag this component onto the stage. For this effect,
Radial, Mirror and Image Bounds have each been selected. There are presets for the
Profile built into the Free Gradient, but this can be better controlled using the Curves
components, which youll add in another step.
07
ADD A PROFILE
08
070
09
As the Free Polygon component has so many different settings, youll want to add various controls
to the most important ones among them. The first of these is the Color. You should set a Color Control
variable from the Controls components menu, so that you can match the colour of the Polygon against that of
the Gradient later.
001
10
002
11
003
ADD A BLEND
12
13
071
DRAW THE COMPONENTS THAT YOUVE BEEN CREATING TOGETHER TO FORM A FILTER
14
15
16
QUICK TIP
Filter Forge can appear daunting at first, as its a detailed application with a lot to learn and get to grips
with. However, you can find inspiration by selecting an existing preset and there are many of these
available for free download opening up the Filter Editor and looking at how the filter has been
constructed, component by component.
QUICK TIP
Although components such as Perlin Noise in
Filter Forge 3 are excellent for adding textures to
your filters or creating arty frames and border
effects, you can also bring in external files using
the Color Control component, as discussed in Step
6. These could be photos that youve taken
yourself of surfaces that you think will make for
interesting effects in Filter Forge, or textures
youve downloaded from websites such as www.
texturepalace.com. If you are going to hunt
online for textures, be aware of any usage and
copyright restrictions that may have been
imposed by the original author.
072
17
18
RETURN TO PHOTOSHOP
An animal in crisis
BUY
TM
ANDHELP
FIGHT
POACHING
@WorldAnimalsMag
animalanswers.co.uk justgiving.com/olpejeta
074
UNTITLED PROJECT
TIAGO DA SILVA
02
BASE COLOURS
01
03
START WITH A SKETCH
I created the sketch digitally in Photoshop; with the colour mode in Grayscale and in a large resolution,
before later reducing the file to a normal, A4 size. Sketching in a big resolution allows me to achieve more detail,
and any imperfections in the stroke will not show up when the file is reduced.
075
04
ADDING SHADOW
05
07
THE FIRST PAGE
076
06
08
Available
from all good
newsagents and
supermarkets
ON SALE NOW
> Falklands War > Battle of Towton > Roman War Machine > Tiger I Tank
GREAT BATTLES
MILITARY MACHINES
HEROES OF WAR
INCREDIBLE PHOTOS
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twitter.com/@HistoryofWarMag
IMAGE ENHANCEMENTS
IN DXO OPTICS PRO 10
DISCOVER HOW TO ENHANCE YOUR IMAGES USING THE
LATEST VERSION OF DXOS FLAGSHIP SOFTWARE
OUR EXPERT
JAMES SHEPPARD
@ jimmilazers
SOURCE FILES
Give DxO Optics Pro 10 a whirl with
the trial version on FileSilo. You can
use it for 30 days with no limitations,
and if you like it theres an exclusive
discount code!
01
GET STARTED
With Optics Pro 10, the interface is basically the same as past incarnations, if a little sleeker. So, find
your image by using the Organize button on the top left. Once you find it, you will notice that Optics Pro will
auto-enhance your image when you hit the Customize button (situated at the top left of the panel). This is a
helpful aid, but we want to learn, so click off all adjustments by Ctrl/right-clicking your image and selecting
Apply Preset>No Correction, and this will take your image to its base RAW setting.
078
02
03
CLEAR VISION
SMART LIGHT
04
WORK IN
PROGRESS
DNG UPDATE
Originally DxO was unable to support DNG files, but now thats changed. Allowing DNG support means
that you will be able to generate DNGs from your RAW files to avoid losing XMP edit data. Any edit from CS
or CC will be transferable to DxO.
05
07
NOISE CONTROL
06
LENS SOFTENING
079
080
www.eizoglobal.com
081
Easy setup: It is incredibly easy to get the CS240 up and running straight
from the box. We plugged it in to a mini display port adaptor and it started
immediately with ease
Get connected: With
DisplayPort, HDMI and DVI
inputs, it is easy to connect
the CS240 to a variety of
devices, and it comes with
DVI-D and Mini DisplayPort
cables in the box
APPLE 27 INCH
THUNDERBOLT DISPLAY
www.apple.com
www.eizoglobal.com
082
www.nec-display-solutions.com
687/$1,079 This device has lower specs than the
ColorSure covering only 75 percent of the Adobe RGB
colour space, which makes it seem quite expensive
for what you get. The monitor chassis isnt slim at 84
mm thick, but its capably supported by an adjustable
stand that also allows height adjustment.
WHAT THE
MANUFACTURER SAYS
Victor Aberdeen
Sales Manager Graphic Displays
VERDICT
Features: 7/10
Ease of use: 7/10
Quality of results: 8/10
Value for money: 7/10
FINAL SCORE:
7/10
083
TOP10
ART AND DESIGN BOOKS
FROM DIGITAL PAINTING TO MAGAZINE DESIGN, WE TAKE A
LOOK AT SOME OF THE BEST BOOKS FOR ARTISTS
003
HIDDEN PERSUASION
001
DIGITAL PAINTING
TECHNIQUES
VOLUME 6
www.3dtotalpublishing.com
29/$49
002
CHARACTER DESIGN
FROM THE GROUND UP
www.ilex-press.com
20/$31
084
www.bispublishers.nl
Approx26/$42
Would you like to know how
to make your advertising
designs grab attention and
sell products thanks to
some secret psychological
tricks? This book will teach
you exactly that. Subtitled
33 Psychological Influence Techniques in
Advertising, it is packed with advice for
increasing the impact of your commercial
designs. Its available for 34.00 from the Bis
Publishers website.
004
EDITORIAL DESIGN:
www.laurenceking.com 20/$31
Master the skills you need
to become a print or digital
magazine designer, art
editor and art director, with
this excellent book by Cath
Caldwell and Yolanda
Zappaterra. It examines
everything you need to know about good
magazine design, including the basics of
readability, the assorted formats print and digital
magazines take and the essentials of cover
design. It also rounds up the technical and
practical skills you need to create great
magazines and explains how text, headlines and
gether to create a unified and
005
THE BRILLIANT
HISTORY OF
COLOR IN ART
008
www.getty.edu/publications
Approx 16/$25
If youve ever wondered
why red ochre is the most
ubiquitous paint colour on
Earth or how the Egyptians
made blue faience, then
this is definitely the book for
you. It goes further than
simply exploring colour theory, and explains
how the dyes and pigments used in art were
invented, created and applied to pieces. The
scientific and archaeological background to
colours we take for granted is fascinating.
ILLUSTRATION
NOW! 5
www.taschen.com
25/$39
aschens Illustration Now! series is a
perennial joy, and the latest in the series is
no exception. For art directors and
commissioning editors, this book is a
ust-have, as it showcases some of the worlds
est illustrators, both established and upcoming.
he artwork is the star of the show, but all the
essential info you need websites, client lists,
agency representation is included. A visual coffee
table treat for some, but an essential resource for
those who regularly commission illustration.
006
ART IN TIME: A
WORLD HISTORY O
STYLES AND
MOVEMENTS
www.phaidon.com Approx 4
Most art history books
concentrate on Western
art, but this one views the
history of art as a whole. It
considers the Eastern
canon too, and works
backwards through
stylistic movements, from now to the 5th
Century BC.
007
FIFTY YEARS OF
ILLUSTRATION
www.laurenceking.com 30/$47
This book takes a look at
what is arguably one of
illustrations golden ages,
starting in the Sixties with
Milton Glaser and going all
the way up to the 2010s.
There are plenty of big
names featured across childrens books, album
art and editorial illustration, including Raymond
Briggs, Roger Dean, Gary Baseman and Rob
Ryan. It also highlights the importance of digital
art and how it has affected the way that
illustration is produced.
009
010
www.phaidon.com
Approx 25/$39
The companion to Phaidons iconic The Art Book,
this tome concentrates on 21st Century artists,
rounding up some of the best art made since the
year 2000 until now. It concentrates primarily on
fine art installations and performance art are
heavily represented. Whereas digital art perhaps
the 21st Centurys most predominant art form is
in short supply.
085
COMMUNICATING A
HIDDEN MESSAGE
WE SPEAK TO ANDREW DOBELL ABOUT HIS LOVE FOR DIGITAL ART AND
HOW HIS SKILLS HAVE DEVELOPED OVER SUCH A SHORT PERIOD OF TIME
OUR READER
ANDREW DOBELL
www.creativeedgestudios.co.uk
@CreativeEdgeLtd
087
088
DOBELL DISCUSSES HOW HE BELIEVES HIS WORK HAS CHANGED SINCE HIS FIRST COMMISSION
One of the biggest changes to the way I work now as opposed to in the beginning, is in relation to cutting
out images I now use the Quick Selection tool which saves me endless amounts of time. Overall, I
think I have improved my general Photoshop skills, which means my images are more complex and
theres often more to them as you can see from the images below.
089
01
02
03
START TO PHOTOGRAPH
01
02
03
ADD DETAIL
091
093
FROZEN LETTERS
01
03
02
Once you have a pile of shavings, quickly photograph them before they melt. Then wipe your
backdrop and start again. You should get three or four photos from each ice cube if you work quickly enough.
094
Learn in style
The
TM
Series
Discover more with the Book series expert, accessible tutorials for
photography, 3D art, Photoshop, web design and more
facebook.com/ImagineBookazines
twitter.com/Books_Imagine
RESOURCES FILESILO
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NEED TO FOLLOW
ALONG WITH THE
MAGAZINE AND
CREATE GREAT
PHOTOSHOP ART
FREE
SOFTWARE
YOUR BONUS
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READERS, YOULL FIND RESOURCES
WORTH 317, INCLUDING
Filter Forge 3.0 Standard worth $249
More than 400 textures worth $48
Ten retro-style halftone textures worth $7
Video tutorial on combining textures with 3D
assets from expert Kirk Nelson
Three vintage-style labels worth $9
Ten blurred backgrounds worth $5
All tutorial files for this issue
EXPERT TUTORIALS
THIS ISSUES
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400+ TEXTURES
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096
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RESOURCES FILESILO
HOW TO US
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02
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03
04
Having trouble with any of the techniques in this issues tutorials? Dont know how to make the
best use of your free resources? Want to have your work critiqued by those in the know? Then why
not visit the Advanced Photoshop Facebook page for all your questions, concerns and qualms.
There is a friendly community of fellow Photoshop users to help you out, as well as regular posts
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Issue 131 of
098
photorealism
Mike Campau
Creative Director / Digital Artist
WINNER PHOTOSHOP WORLD GURU AWARD 2014 - COMMERCIAL