Advanced Photoshop Issue 062

36 HIGH-QUALITY
BRUSHES
PLUS: STOCK PHOTOS & MORE
ISSUE
ISSUE
6249
47
Build fantasy landscapes | Cinematic lighting | Music design | Self-publishing | Liquify effects | Interview: James White
CINEMATIC
INDUSTRY TECHNIQUES
PA ES
TECHG
LIGHTING
OF
N
TIPS AIQUES,
PRO A ND
DVICE
Add a dynamic edge to your artwork

with these high-end lighting tricks
HOW TO...
• Choose an animation course
• Design for the music industry
• Become a videogames designer
• Use Photoshop to work with type
£5.99
62
771748 727009
ISSN 1748-7277
ISSUE 62
BUILD
5-PAGE WORKSHOP
FANTASY
LANDSCAPES
www.advancedphotoshop.co.uk
ANCEDPHO
.ADV TO
WW SH
W O
Create a magical landscape scene using your own photography
P.C
collection, collage skills and painting techniques

O.U
K
LIQUIFY EFFECTS PUBLISH YOUR OWN ART BOOK

Master this essential tool and An in-depth look at the self-publishing
create vibrant lighting streaks phenomenon and how to get in on it
001_AVP_62_CoverWeek3.indd 6 14/9/09 18:10:40

Cover
Cover image
Adel Adili created this composition for a 3D
challenge run by CGNetwork called Grand Space
Opera. The image depicts the concept of Star
Olympics. Describing it on his website, Adili says: “I
tried to portray the whole atmosphere of a modern Imageer:
world in a planet: the spaceships, the city in the ADEL ADILI
foreground, the people.” We thought that it was a
great blend of 3D and Photoshop work, as well as the
striking colours that drew us into the image. “It is a great blend of 3D and
/ www.adel3d.com
Photoshop work”
3
Advanced Photoshop
003_AVP_62_CoverImage.indd 3 16/9/09 15:19:00

Editorial
Imagine Publishing Ltd
Richmond House, 33 Richmond Hill
Bournemouth, Dorset, BH2 6EZ
☎ +44 (0) 1202 586200
Web: www.imagine-publishing.co.uk
www.advancedphotoshop.co.uk/photoshopfaceoff
www.photoshopdaily.co.uk
Welcome to
ph ligh h h e -
Magazine team
m ed ic nt th try
da nc at o or s
/a va m s m y f du
er d ine hi stl in
ot tin e
Editor Julie Easton
us .a c . T o in
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Advanced Photoshop
p.
k/ w ic ne , m lf
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julie.easton@imagine-publishing.co.uk
.u ww am zi n se
co ts. yn aga esig him
☎ 01202 586243
fe s d m d es
Editor in Chief Jo Cole
ITH
ef ide the and ers
Digital photography has changed the
ov of s m
Senior Staff Writer Adam Smith
pr it tyle im
SM
.
ne d s rly
Designer Stacey Grove
way that we take pictures. It’s easy to
be dar ula
AM
g
Senior Sub Editor Colleen Johnson
an e
st m r
AD
just keep snapping without the fear of
f
Sub Editor Sam Robson
c
Ad
Group Art Editor Lora Barnes
running out of film at the crucial Head of Design Ross Andrews
moment. As a result, it’s not Contributors
Debbi Allen, David Cousens, Derek Emmons, Natalie Johnson,
uncommon to end up with hundreds April Madden, Bret Malley, Kirk Nelson, Elena Savitskaya,
Simon Skellon and Sarah Slee
of photos and no idea what to do Advertising

Digital or printed media packs are available on request.
with them all. Commercial Director Ross Webster
in Se … nc hr er
m l. op va t ut
☎ 01202 586418
co m an ed lls
al el sh ad s his mp
That’s why this issue we have taken a look at the many
i
ross.webster@imagine-publishing.co.uk
te as ot ing ge Co
w. isi n r t
as r p e c
its tfo ld
ya at
.
m
w v ee g en
en e th hi
YA
av or fie
ex ife Ph ch d in
ka lio
.co
things that you can do with personal photography to give Head of Sales James Hanslip
el t h in ap
w k, s b is a em
m ore d
w. l d a n A
at
t
w ed an te a F
KA
a ya g
☎ 01202 586423
w lyw io nd sity is M
e w o h ka na
images a new lease of light. Each of our Workshops takes

or wh its ma
james.hanslip@imagine-publishing.co.uk
ITS
w ud g a ver h
EY
ne al a llin Uni g up
d. e
.
em n a g
rn w o
Advertising Manager Hang Deretz
se do a S tin
photos as a starting point and, from there, builds them

AV
LL
gi ve e in
o n n e
v
☎ 01202 586442
. T Lo le rk
di tra cus ish

AS
MA
rs m , E a
into a Photoshop masterpiece with very different

r
m ra fin
ea ro nd a m
hang.deretz@imagine-publishing.co.uk
fro t Sy y is
EN
e y r f ou m
ET
results. For example, why not use your holiday Advertising Sales Executive Dominic Johnston
t a lle
iv e r ro
EL
r f gn kg f
Ar Ma
BR
fo es bac ing
☎ 01202 586436
t
snaps to create a fantasy landscape with
et
m
dominic.johnston@imaine-publishing.co.uk
Br
Co
simple collage and painting techniques? Turn Cover disc

i
Interactive Media Manager Lee Groombridge

d
to page 54 to see how. Or maybe you’d rather use Head of Digital Projects Stuart Dixon
model shots, in which case we have two great Senior Multimedia Editor Steve Litton
apxtrahelp@imagine-publishing.co.uk
tutorials that incorporate lighting effects with great
International
commercial value and also give your portraits punch. Advanced Photoshop is available for licensing. Contact the
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All of the Workshops will give you great styles, but what
International Manager Cathy Blackman
’s r
he e
to do with your finished artwork? Well, one option is to

g. es or r, s h
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☎ +44 (0) 1202 586401

ish e t pi w ) a g
licensing@imagine-publishing.co.uk
enter the music design industry, a competitive yet fulfilling
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Subscriptions
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SO
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rt is qu ea ng
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re AP’ (ww ep
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LIE
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d
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so e e
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The next issue of Advanced ISSN 1748-7277
Photoshop goes on sale 3 November 2009
4
Advanced Photoshop TORS
004_AVP_62_EdIntro.indd 4 16/9/09 15:20:31
THE ADVANCED PHOTOSHOP PODCAST
www.imaginepodcasts.com
You can now listen to Advanced Photoshop on the move with our new
podcasts, available from the above website. Each month, we’ll be bringing
you entertaining chat with Photoshop professionals to inspire you to expand
your own artwork. We’ll be bringing you a new podcast every month, so
make sure to bookmark the Imagine Podcasts homepage.
ISSUE #62
inside... 36
Learn to create crisp
lighting effects
COMMUNITY
The latest news, website images and readers’
thoughts from our mailbox and forum
08
News 08
Mailbox 14
On the web 16
Web challenge winners 18
INSIGHT 20
The best digital artists around
Andrée Wallin 20
Christopher Haines 42
THE COVER Michal Sycz 60
Find out more about our fantastic cover artist Adel
Adili on his personal website at www.adel3d.com,
Thomas Burden 68
where you can see samples of his other work
HELP 62
Tips, techniques and problems solved
Helpdesk 62
INDUSTRY SECTION 70
b e
Essential advice for becoming a pro digital artist
s cr i Interview: Rolf Jenson 70
ub
S now6!(UK/ )
Feature: Self-publishing
Uni focus: Animation Production
72
78
Career guide: Videogames designer 82
e6
e pag e 12
(US 84 90
Se or pag The latest hardware and Our pick of the best reader
THIS MONTH’S CD 98
)
ROW
software reviewed in detail submissions this month
Superb stock art, project files and more!
CD guide 98
6
Advanced Photoshop
006-007_AVP_62_Contents.indd 6 16/9/09 15:34:25

22
In-depth interview with
James White © James White
FEATURES/REGULAR TECHNIQUES
Insightful interviews and in-depth articles Essential guides to professional Photoshop skills
INTERVIEW: JAMES WHITE 22 CUTTING-EDGE LIGHTING 36

We discover the inspiration behind his retro design style Sharpen up your model stock with our guide to crisp lighting
MUSIC INDUSTRY DESIGN 28 BUILD FANTASY LANDSCAPES 44

From T-shirts and posters to CD covers and logos uncovered Create unique compositions using personal photography
SUBSCRIPTIONS 66 GET ON OUR COVER! 49

Find out about our latest subscription prices and offers here How to enter and what you can win
RESOURCES 84 CINEMATIC LIGHTING 50

The latest hardware, software and books reviewed Transform photos into HDR pieces of Photoshop art
READERS’ GALLERY 90 CREATIVE BOOK COVER ART 54

The very best submissions from our readers this month Design a dramatic scene using these professional techniques
7
Advanced Photoshop
006-007_AVP_62_Contents.indd 7 16/9/09 15:34:46

Community The latest creative news from around the world
deviantART Portfolio
LOW-COST SOLUTION:
Portfolios can be started with
no costs – so it’s ideal if
you’re just starting out
GET STARTED:
Once you’ve selected
the artwork you
want displayed,
setting up a portfolio
takes just minutes
If you’re looking for a way to push your profile and let people
know about your art, then a portfolio site is where most people
start. However, creating a portfolio page that is good to look at,
easy to navigate and shows off your work to its best is often
costly and time-consuming, and therefore left forgotten.
deviantART has developed a new facet called Portfolio, where users don’t have to learn any code, pay for hosting or worry
users can create bespoke pages with unique addresses to display about what format their customers will want their art delivered
their work. Member evile33 (http://evile33.deviantart.com/) in. Our team talked to portfolio experts – school admission
says: “This is hands down the best thing deviantART has come up departments, professional art buyers, headhunters, etc – and
with. The design is sleek, simple and easy to use.” asked them about their preferences. We discussed everything
Creating a portfolio on deviantART saves artists from from portfolio background colour to thumbnail sizes and learnt
spending countless hours designing, programming and that the details in navigation and composition can really make
managing a website, or provides those already with a website or break a portfolio. Our final design reflects all of these
with a sleek and professional-looking, easy-to-set-up additional nuances. Because we went through this process, our members
online home. Ideal for those who may not know HTML or CSS get the peace of mind that their artwork is shown in the best
that well and want a simple solution to market their artwork, the possible light.”
Portfolio feature is free in its basic format. Heidi Chambers, During Portfolio’s first few months, 50,000 were set up, with
director of marketing at deviantART, explains: “With Portfolio, that expected to triple by early 2010. Chambers described the
response as “one of our most well-received launches”.
• Pg 08......................News If you’d like to set up your own deviantART Portfolio, turn to
• Pg 14 .................Mailbox page 10 where you can read our simple five-step guide, which
www.deviantart.com
• Pg 16 .................Website will help you get set up in matter of minutes. All you need to do
now is decide which pieces to display…
8
Advanced Photoshop
008-010_AVP_62_News.indd 8 16/9/09 15:36:08

DigiDudes designed by the quirky
community News
For the photographers among you, the quirky community
– made up of artists who design and develop product ideas
for sale – has released a portable camera tripod and key
chain, which bucks the usual black-and-silver design.
Named DigiDudes, the product is simple to use. Just screw
bites
the head off and put your camera in its place. ISTOCKPHOTO GIVES
Priced at $19.99, the portable supports come in five AWAY $45,000!
designs, which can be viewed on the website (www. iStockphoto’s 2009
Punctum Day
“Just screw the head off rewarded six top
artists for creative
and put your camera in excellence and
“profound
its place” emotional impact”
of their work. Now in its third year, the
THE LINE-UP: The DigiDudes are
available in five different designs, competition finalists were chosen by
and are priced at $19.99 quirky.com/products) and will help rid your shots of the website’s community of over six
unwanted shake and blur without lugging round a million members, with winners being
GET INVOLVED: Got a great cumbersome and weighty tripod. announced for best photo, vector,
idea? Submit it and be in with If you want to see your products developed by quirky, video, flash, audio and design of the
a chance of make your design
a reality – and making some then sign up as a user and you can post ideas to be rated by year. Each victor takes away a $5,000
cash, too! the rest of the community. The lucky designs that make it cash prize.
through to development and sales can make 30 cents of
www.quirky.com/products
every dollar for the community. Here, community covers LAST CHANCE!
both the original designer as well as all people who voted, It’s your final
commented and rated the project idea along the way. chance to
enter the
Digital
Hybrids: the next gen revealed

Photographer
of the Year
Awards 2009,
which closes 5 November. Prizes
IFA convention, include a Canon DSLR kit and the
September saw Berlin hosting the 2009 chance to have your work exhibited
in digit al imag ing were
where the next innovations in an exclusive, three-week showcase
revealed to the worl d. at the New Forest Gallery. Visit www.
ments from the
One of the most exciting announce dphotographer.co.uk for details.
d third
convention was the hotly anticipate
ra, the
generation of Micro Four Thirds came
Panasonic GF1, whic h was show case d to be NEW TECH
test-drive n by a hand ful of UK journ alists . WEBSITE
Designed to be neoclassic, the com
pact After a new camera, lens or
away from photographic accessory? Then look
interchangeable lens camera is a step
a slim body that’ s no no further than the fantastic new site
its predecessors with launched by Imagine Publishing,
a large com pact . Conf irmin g the
bigger than www.digicambuyer.co.uk. The
ufac turer ’s mov e to prior itise size, weight
man innovative new website allows users
d at step-up
and ease of use, the camera is aime to read in-depth reviews of all the
-like capa biliti es in a
users who want DSLR latest gadgets and compare up to
compact , easy -to-u se body . four side by side, making your buying
ces
Pricing has yet to be revealed, but sour choices even easier.
the Olym pus E-P1,
rumour it will be similar to
innovative
and with exceptional image quality,
like Perip hera l Defo cus and My Colors, as well as
features
well worth it.
an on-board flash, the £500+ will be
of the GF1 is that of an
DESIGN CLASSIC: The look and feel
viewfinder is an optional
advanced compact, although the red pounds
www.panasonic.com extra and will set you back a few hund
9
Advanced Photoshop
008-010_AVP_62_News.indd 9 16/9/09 15:36:44

Community
Find work with a little helping hand
In the news: meaning no middlemen and no charges. “It’s a not-for-
Q&A
profit site,” explains O’Shea. “And it’s an attempt to give
young creatives some exposure and help them become
the next big thing.”
O’Shea graduated from Portsmouth with a 2:1 this
summer, but will continue to work with the institution to
get his website off the ground. “We have offered to help
Heidi O’Shea by providing student volunteers as his venture

grows and develops should he need it,” says Helen Fuge of
Chambers the University’s Department Of Employability.
However, O’Shea doesn’t need any help, having already
We speak to Heidi secured a career as a digital media executive. “I was one of
Chambers, director of the lucky ones and got an internship within days of
marketing at deviantART finishing my course and was then offered a full-time job
DIGITAL DISPLAY: The homepage of Digital Creatives two months later, but I wanted to set the website up to
Q: WHERE DID THE IDEA help others who are still hunting for work.”
COME FROM FOR If you’ve just graduated, finding work in the career of your The website will feature two students or recent
DEVIANTART TO CREATE choice will be top of your to-do list. Most artists resign graduates per week within the advertising,
themselves to months – if not years – working in other postproduction, graphic design, animation and other
PORTFOLIO? creative industries. To get involved, visit the site today!
A: The deviantART community has industries, while they wait for that perfect job to arise.
been asking for Portfolio for a long This is where Matt O’Shea comes in. A recent graduate of
time. Many of our members, or the University of Portsmouth (UK), O’Shea has developed a
deviants, are heading into college or specialist website to help creative graduates find work.
are looking for their next freelance Showcasing the work of digital artists looking for
employment, http://digital-creatives.com/ allows http://digital-creatives.com/
creative job and felt as if their
deviantART galleries weren’t potential employers to contact those featured directly –
presented in a format that was
professional enough to show schools
and prospective employers. Portfolio
eliminates community features like
comments and critiques, and allows
Get innovative
artists the opportunity to present ST550 DUAL LCDS: A range of
their artwork in the most professional still and moving
images will be available to down
load to occupy the
way possible. front LCD
Q: HOW MANY PEOPLE HAVE Last month, we reported on the

growing
CREATED THEM SO FAR? trend in digital cameras to push
the
A: In roughly the last month, during boundaries and start adding mor
e innovative
our initial push we easily topped features on board. Heading this
up was
50,000 portfolios created by deviants. Fujifilm, producing a 3D stills cam
era, and
We’re ecstatic about its early success Nikon, with its new projector-cam
era hybrid.
and expect to see that number Now Samsung has joined the part
y with a
double or triple by early next year. camera featuring two LCD screens.
The ST550
and ST500 employ dual LCDs to
help compose
Q: WHAT’S THE self-portraits or to entertain child
ren when
PROCESS FOR SETTING posing for images. In a closed mee
ting with UK
UP A PORTFOLIO? journalists, SS Park (vice presiden
t, Strategy
A: Setting up a Portfolio is done Marketing, Digital Media Business
at Samsung) said: “We users to email images straight from
through a simple five-step wizard: are fulfilling the needs of the cons their camera. And that’s
umer that aren’t met.” not the end of the innovation eithe
First, you choose a colour theme, Talking about digital humanism r, with Park agreeing
– incorporating that the ability to add captions to imag
navigation and layout structure. technology into our lives – the com es via your camera is
Second, title your Portfolio and fill pany is focusing on a possibility for future generations.
designing cameras that will succ
in your contact details. eed to become a truly Finally, the much-anticipated NX came
next-gen device, utilising trends ra prototype
Third of all, you create a personal like social networking. To body has been displayed to the publ
do this, Samsung has also introduce ic amid much hype.
artist statement and upload a photo. d the ST1000 – a Park confirmed that the camera is in
Fourth, upload artwork from your compact with built-in Wi-Fi and “field test stage” so
FPS capability, allowing the camera is likely to appear late 2009
hard drive or import work directly or early 2010. The
new camera is another in the hybrid
from deviantART. sector; it’s not a
compact, not a DSLR and making it
Fifth, you choose a domain to host stand out even more is
your Portfolio and then you publish. www.samsungcamera.co.uk the fact that the NX will feature an APS-
C-sized sensor
– something no other camera of this
ilk can boast! The NX
Learn more at www.deviantart.com will also feature the manufacturer’s
Dream II processor.
10
Advanced Photoshop
008-010_AVP_62_News.indd 10 16/9/09 15:37:47

Community
Mailbox
Do you have a question about the magazine? Email your
thoughts to advancedpshop@imagine-publishing.co.uk or
visit www.advancedphotoshop.co.uk/forum
“We’re not
prejudiced in any
way when it
going to be differences in taste and opinion, and
we do try to include a wide range of styles. It
comes to
seems that you maybe got a bit unlucky as AP 57 selecting models”
was our retro graphics issue, and as such
contained a feature and Masterclass dedicated to SUBJECT: Workshop praise
this particular style, while it is also a popular effect FROM: Thomas Ciccone
to re-create at the moment and we like to stay on First of all, I just wanted to say thanks for the
top of the current trends. Soon enough, no doubt, beautiful Student Showcase in issue 59 of AP. It
a different style will be the one in vogue, and we’ll was so nice to see some of my work in such a
be here to help out again! great magazine!
Next, I absolutely have to say thanks again
for a great Workshop (Paths and the Pen Tool)
SUBJECT: Global warmth to create a disintegrating effect. I was recently
FROM: Polly Carpenter granted a great commission for several print
Hi AP team. I’ve just received my copy of issue advertisements, but I was faced with an
61 and wanted to congratulate you on a incredibly tight deadline to complete them. So
fantastic feature on global design. It gave me a I had to really rely on the many great short cuts
great insight into artists’ attitudes around the and tips that I find in the pages of AP.
world, and has inspired me to vary my style Specifically, I wanted to incorporate a
MORE VARIETY: Do you feel that we’re focusing accordingly! Keep up the good work. disintegration effect into one of the ads I was
too much on one particular style?
working on, and I remembered the Workshop
SUBJECT: Repetitive retro Editor replies: Glad you liked it, Polly! We’ve had a that I had just recently read. So I scanned the
FROM: Jeff Walker very warm reception to that feature, and are Workshop quickly and applied some of the
Hello. I hope that this email finds its way to happy to hear that it was so inspiring. Remember, techniques to my own image. The step-by-step
understanding ears. I have been concerned change is good, so never be afraid to experiment tutorial was so clearly laid out and explained
about the pictures presented in Advanced with new styles – even if they seem daunting at that I was able to quickly grasp the method
Photoshop for many months. There is a first, chances are you’ll surprise yourself with a and applications to help me achieve the effect I
consistent pattern of imagery in the magazine fantastic end product! was going for. That was probably what was so
that is quite concerning. Almost all of the helpful and seriously saved me tons of time,
imagery is the same. The subject is either a and I got what I was looking to achieve.
human, torso, head or face. Surrounding the So thanks again – and again for stuff you’ll
subject matter are whimsical lines, shapes and probably put in future issues! I’m attaching the
patterns. All of these images could have been image for you to see… maybe you can throw it
created by the same artist. For instance, you in one of the next issues to show to people that
can find over 25 examples in issue 57 alone. AP really works!
The cover, images on pages 8, 13, 14 (two), 17
(two), 21, 22, 23, 24, 29, 30, 36, 37, 42-43 Editor replies: Hi Tom, we’re really pleased that we
(three), 68, 69 (two), 78, 79 (two), 91 (two), 93 could help you to create such a striking image as
(without a human) and a few others that are Icarian. It’s always great to see examples of readers’
borderline. I purchase your magazine for work that were inspired by the tutorials in
inspiration, but this monotonous, endless and Advanced Photoshop; they, in turn, inspire us
stale stream of imagery must end. Diversity is back, thus completing the circle of our
desperately needed. community! If any other readers are particularly
GLOBAL DESIGNS: Don’t be scared to try out proud of images that they’ve created after
unfamiliar methods from AP’s tutorials. Practice
Editor replies: Hi Jeff, and thanks for writing in. We makes perfect, although you might land on your feet
following one of our step-by-step guides, then
appreciate that with our vast readership there are first time! we’re always glad to see them.
Write to us : Advanced Photoshop Mailbox, Imagine Publishing, Richmond House, 33 Richmond Hill, Bournemouth, Dorset, UK, BH2 6EZ. Email us: advancedphotoshop@ im
14
Advanced Photoshop
014-015_AVP_62_Letters.indd 14 16/9/09 15:41:08

shop:
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llecti
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ICARIAN: Regular reader Tom Ciccone credits

one of AP’s Workshops for helping him create this
fantastic composition. Have you been similarly
inspired? Email in and let us know!
SUBJECT: Less ladies, more men? cater accordingly. After they read your letter, the
FROM: June Young two men on the AP magazine team offered
I read Jenny Hawkyard’s letter in issue 60 with themselves up as models for future tutorials – for
interest as I had also noticed the same thing, the your sake and ours, they gently declined! Seriously,
tendency to use mainly glamorous female though, we do keep an eye out for the best stock
shop
models in artwork. You only have to look out there, and we’re not prejudiced in any way,
through issue 60 to see that she has a point. Yes, shape or form when it comes to selecting models.
Advanced Photoe 2
eMag Volum
there are tutorials this issue that feature fantasy
trolls or geometric artwork, but you only have to
n one disc
16 whole issues o
look on pages 14, 15 and again on page 56 to
see multiple uses of a woman as the subject.
I realise most of the designers who you for only £19.99
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feature and who you use for tutorials are men,
but I am sure there are quite a lot of lady readers
who wouldn’t object if, occasionally, you used a
good-looking chap for some of your articles.
Seriously, I enjoy your magazine even though
I am very much an amateur and have learnt a lot
from you over the last year, but the photographs
I work with cover still life, children, older women Visit the
and men as well as young women, so it would
be good to have articles and tutorials that
Advanced Photoshop
feature a wider range of people and ones that
online shop at
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014-015_AVP_62_Letters.indd 15 16/9/09 15:41:54

Community
On the web
Our website and readers’ forum is perfect for showing off Photoshop creations. We present the best images on
the site this month. Log on and upload to get your images here next issue!
GATES OF DELIRIUM
ARTIST: Eduardo Lopez
WEB: www.advancedphotoshop.co.uk/user/edlo
“Vue was used to create the base landscape using a technique called
Hypertextured Terrain. From there, I jumped to CINEMA 4D to render
the ship in the correct position and lighting setup using the base plate
as a background, but rendering only the ship with an alpha channel so I
could have complete control later in Photoshop. Finally, the render was
retouched. From Curves to Color Overlays, several correction layers
were applied to the whole image and to single layers. I used creative
mask brushing so the effect of this layer was applied at several different
levels on selected parts of the image.”
FEARLESS
ARTIST: Deni Dessastra
WEB: www.
advancedphotoshop. ZERO GRAVITY
co.uk/user/29pro ARTIST: Geir Akselsen
WEB: www.advancedphotoshop.co.uk/user/geironimo
Deni Dessastra is the
man behind “The idea for Zero Gravity came one day when I was watching a
doeasembilanpro, a documentary about space. The image was shot in different
tough graphic stages. The first image was of the empty bathroom, then we put
designer hailing from the little girl on a bench inside the bathroom. We had fishing
Indonesia. Now he’s line tied to her braided hair so that it would appear as being in
the base owner of zero gravity. We took a lot of different shots before we were
29pro Studio in Singkawang. “I based the idea for Fearless on a Jay Lim happy with the outcome. All of the elements flying around were
quote: ‘Your first enemy is your mind’. I used collage techniques in also taken hanging from a fishing line one by one. In the end,
Photoshop CS4, and almost all of the images that are used here are free the elements and the girl were cut out in Photoshop and fitted
from www.sxc.hu.” together with the first image we took of the bathroom.”
16
Advanced Photoshop
016_AVP_62_WebShowcase.indd 16 16/9/09 15:43:20

Join for free! www.advancedphotoshop.co.uk
The Advanced Photoshop website is a
A
thriving online community of Photoshop
ATE users of an advanced level.
CRE EE • Upload your work and share it
FARLLERYY
with others
• Rate images and leave comments
• Get honest feedback from
G ODA your peers
T Get online and create your own gallery

for free today!
Over 0
LEE GOUGH
WEB: www.advancedphotoshop.co.uk/user/
generallee
6 ,0 0
“I visit the Advanced Photoshop website
almost every day. Checking out the
galleries of other creatives is such a
1
imag a
lready
es a ded!
uplo
valuable source of inspiration and the
feedback from my own gallery has been
absolutely amazing.”
SCOTT POLLARD
WEB: www.advancedphotoshop.co.uk/user/
scottpollard
“I have been a designer for around five

years now and throughout that time it has
become extremely important to show my
work online. Advanced Photoshop’s
online gallery helps me further my
presence across the internet and it allows
so many people to enjoy my work. Since
setting up my gallery I have had over
40,000 views and a lot of them take a
further look on my main website, so I
highly recommend setting up a gallery!”
COMPARE GREAT ARTWORK FROM THE GALLERY: www.advancedphotoshop.co.uk/photoshopfaceoff
017_AVP_62_WebHouseAd.indd 17 16/9/09 15:44:55

Community
Web challenge
The winners T
HI
Challenge reference: AP 061
MO S
On our website, www.advancedphotoshop.co.uk/competitions.php, we run a web
P NTRI H’
challenge where you are asked to create an image in Photoshop using at least one
of three images provided. These challenges are updated monthly and they are
ZE S
becoming increasingly popular, so get your entries in for a chance to win.
Check out the website for details of our latest challenge and how to enter. The
winner will collect a special prize for that month (prizes change frequently) and will
also have their design printed in the magazine, along with the runners-up.
Our prize this month for the Web Winner is a copy of Art
Challenge start images and Design in Photoshop by Steve Caplin courtesy of Focal
Press (www.focalpress.com). In this unique book, acclaimed
master of photomontage and visual trickery Caplin shows
you how to stretch your creative boundaries. It also comes
with a free CD-ROM.
MIDNIGHT SYMPHONY
ARTIST: Meg Pietrzyk
“This image was inspired by an original photo.

When I first saw it, I exactly knew what my work
should look like. Birds are very strong creatures, but
also soft and beautiful. I tried to show those
attributes with the structure of ribbons emanating
from it, making all of them using the Pen tool. Next,
using Photoshop’s blending options I applied a
Gradient Overlay in the proper direction. The
background was made using a soft brush and
Motion Blur, created over several layers. The moon
was an unplanned thing, as I decided that this detail
would be an ideal closing element.”
FEATHERS IN THE CLOUDS

ARTIST: Elkilani Maliuna
WEB: www.elkilanimaliuna.co.uk
“My aim for this design was for it to be a modern, stylish

and vibrant work, hence the use of different shapes – such as
squares, circles, lines and others – used in various sizes to
add some harmony. I began the design process by cutting
out the bird by using the Pen tool, then duplicating the layer
and keeping it for further use. I started arranging the other
birds around and behind the main object. To achieve the
final result I used loads of techniques, from the Pen tool and
adjustment layers to the Brush tool, as well as my own
photography in the case of the pillars and flowers. Organic
items were used to give the composition a natural and lively
finish, while flying birds were added for movement and a
colour was added to complete the vivid look.”
18
Advanced Photoshop
018-019_AVP_62_WebWinners.indd 18 16/9/09 17:11:27

DAWN
ARTIST: Attila KeresztÈnyi
“I like the atmosphere of a dawn,

and tried applying this mood to
the picture. When I saw the
picture of the rock, it reminded
me of the island from The Count of
Monte Cristo. The only original
parts are the rocks on the right
and the water. Everything was
placed in Photoshop and then a
lighting effect rendered by hand
was applied.”
B E R
E
TRICK OR TREAT? W I NN
ARTIST: Parinaz Shajareh
WEB: http://parinazshajareh.cgsociety.org/
W
“I regard anthropomorphism as one of the best ways to tell a story, especially when a great deal of
personification can be used. So my goal was giving the bird human traits, while keeping it as a
logical extension of its individual personalities and also give the viewer some surprises! After doing
some initial sketches (in Photoshop) while remaining faithful to the viewing angle of the bird in the
photo, I did a monochrome underpainting using the original bird as a collage piece. Gradually, I
defined shapes, added colour and built up textures. I gave the bird a Halloween costume so that it
felt more like it belonged to the environment.”
19
Advanced Photoshop
018-019_AVP_62_WebWinners.indd 19 16/9/09 15:47:02

insight
e
Jane: “Jane is on
of the few
in
characters I have
re
my gallery, and he
a
she is posing with
giant metal squid”
20
Advanced Photoshop
020-021_AVP_62_Insight1.indd 20 16/9/09 15:48:18

Andrée Wallin
Website: www.andreewallin.com
Clients: Sony, Disney, concept artist for RealtimeUK (www.
realtimeuk.com)
Swedish concept artist Andrée Wallin clearly remembers his venture into art and
design, and has taken much from the experience. It wasn’t long after being
introduced to digital media and Photoshop that he experienced his first
commercial brief, obtained through the most random of circumstances, as he
explains: “My first commission was for a company in Sweden that did graphic
design for the web. I met the company director on a forum for progressive metal,
of all places, where I had posted some of my paintings. I was commissioned to do
a couple of designs for a web page, which later led to a couple more for Windows
Media Player skins.”
This was a low-profile beginning but a very good start for him, as Wallin admits:
“I was stressed out at first and completely devastated when my initial designs got
some bad feedback. But, as time passed, I learnt how to turn off my personal
attachment to work-related design. That’s an important skill for every artist,
because it can be very painful to get negative feedback on something you’ve put
your heart and soul into.”
Wallin took a lot of confidence from this commission and has gone on to work
on many impressive projects, including matte paintings for Sony’s MotorStorm
Arctic Edge PSP trailer and Disney’s Split/Second teaser trailer. With every creative
venture he has evolved his design capacity, as he reveals: “I often use tons of
photos and textures to create concept art, and this is where Photoshop really
stands out. The way you are able to cut them up and reshape them by adjusting
the colours is so easy and efficient. However, the way I create a painting is chaotic.
I switch between different brushes, play around with the Lasso tool, create tons of
layers, merge them and adjust the curves. The trick is not to think too much about
what you’re doing. Just let your creativity control the workflow.”
Soldiers: “A
speed painting of
soldiers inspecti tw
ng an old industria o
warehouse. This l
took me about thr
hours to produce” ee
Jungle
outpost: “This
is a scene
depicting a
futuristic military
outpost within a
jungle setting. It
was heavily
inspired by the
videogame Halo”
21
Advanced Photoshop
020-021_AVP_62_Insight1.indd 21 16/9/09 15:48:35

Interview
JAMES WHITE
With a love for retro graphics, James White’s artwork is an explosion of colour and sharp lighting. Here, he talks
about his inspirations and how Photoshop brings his designs together
I
n any feature on modern retro graphics, indulging in personal projects inspired by retro references continued, with White drawing his
James White is one name that crops up classic films, such as Tron. favourite comic-book characters throughout his
time and time again. His clean, crisp style White has always been artistic, as he explains: “I school years until he began a more formal art
mixes the best of modern Photoshop application took a keen interest in art at an early age and education through a graphic design course at a
with the colour clash and lighting effects of never strayed very far from seeking out inspiration local community college in 1995. White used all
design from the Seventies and Eighties. in its various forms.” He describes one of his his various levels of education to his benefit,
Describing himself as a visual artist, the 32-year- earliest memories of creative thinking: “I flipped shaping the way that his art was to develop:
old has been working as a professional designer over a school assignment at the age of four or five, “During elementary, junior high and high school, I
for 12 years, based out of Nova Scotia, Canada. He and drew a picture of Superman carrying a giant learnt to control the materials I had to create what
works on a blend of projects for clients, as well as pumpkin.” His obsession with popular culture I thought was cool. College taught me to use a
22
Advanced Photoshop
022-027_AVP_62_Interview.indd 22 16/9/09 15:51:43

Inter
James White
view
AWESOME: “Awesome pays homage to Eighties

heavy metal, inspired by the likes of Iron Maiden and
Judas Priest. Created with a combination of
Photoshop and Illustrator”
© James White
computer to push my creations in new and

powerful directions, and working in the design
field taught me discipline and focus.”
Modern technology
It was during his time at college that White was the internet to explore as I see fit.” Signalnoise LIQUID GOLD organiser at a time when the rave scene was still
first introduced to FreeHand, Illustrator and gives White the chance to experiment and push 77: Created with prominent. “I had never designed a flyer before,
Illustrator and
Photoshop, before embarking on a more website- the boundaries of what he is capable of beyond Photoshop, paying
which is why the organiser asked me as he
based early career. “I furthered my study of design his education. “I saw a long time ago that art and homage to the wanted something outside of the styles being
after I enrolled in Interactive Technology where I design education stops at a point and it was up to golden styles of done at the time,” he says. “I approached the job
the Seventies
learned how to create websites, CD-ROMs, 3D me to hit the gas when it was over to really make © James White from a hand-drawn perspective to go against the
animation and was introduced to Flash. All of this something of myself,” says White. “They gave me big 3D type being done at the time, and
compiled study led to my being swept up in the the hammer, but it was up to me to swing it. This illustrated the front cover with a lady spinning a
web boom, where I landed my first professional is why I haven’t stopped for the past 12 years, turntable surrounded by moths. Everyone was
job designing websites right out of school.” whether I was working on a comic book, thrilled with the result, and it was exhilarating to
During this time he continued to work on designing my website, creating animation tests, see it in music stores and cafes throughout the
personal projects, be it illustration, animation, experimenting with sculpting, etc. I wanted to do city.” This was a turning point for White, realising
writing or digital creation. This is when the idea of everything, so I gave it a shot.” that he could earn money outside of his day job.
Signalnoise (White’s online alter ego) came to be, White remembers his first creative commission White’s style now is obviously influenced by
which he describes as his “own personal corner of vividly, designing a flyer for a local events retro design, something that he is very fond
23
Advanced Photoshop

Interview
SIGNALERA: Signalera was created with a
combination of Photoshop, Illustrator and Flash,
originally serving as a colour study
© James White
logo at the top with stars shooting out of it. It was

the same feeling I got when the CBS Special
Presentation animation would appear on-screen
with its bold colours, as I thought it might be Star
Wars or something that followed. As a youngster it
was a rush and it was pure.” Now in his early
thirties, he tries to tap into that excitement
of, as he says: ”I started looking to my LA FEMME: This plenty of change. “The Seventies is when through his artwork. “Nothing makes me happier
childhood interests for inspiration. With the rise of is a re-creation of television really started pushing its way into the than when someone sees my work and is
the poster ‘La
YouTube I suddenly had access to all of these Femme est l’avenir living room with bright colours and rock ‘n’ roll, reminded of something from their childhood and
wonderful commercials, TV shows, cartoons and de l’europe’ by when Star Wars and G.I. Joe revolutionised the toy it excites them even today.”
Roman Cieslewicz
other things from when I was a kid growing up.” industry and we were introduced to home White’s influences might be rooted in days
© James White
The Eighties was known for its bright colours and videogames. In the Eighties we had a plethora of gone by, but he stills find inspiration in his day-to-
heavy use of stylised lighting, which is certainly colourful action figures that coincided with day life, as he says: ”I’m very open to inspiration,
apparent in the works over these six pages, cartoons of all kinds. We also had the rise of heavy wherever I am. I could be walking down the street
although it is clear that they have been injected metal with bands like Iron Maiden and Judas and notice the way that the sun is bouncing off
with a modern touch of Photoshop. “The work I Priest, whose album covers were unlike anything I the window of a 20-story building and think that
am doing now takes cues and styles from that era had seen.” effect would be a wonderful addition to my next
and appropriates them using modern software to White is a nostalgic person, which is why he is poster. I never turn that sense off, as inspiration
create something new,” agrees White. “What I try so inspired by turning to the past that he can hit you at any time.”
to do with my work now is create something remembers so fondly, and he describes himself as
seven-year-old James would think is cool enough being unable to let go of the things that he loved Bringing it all together
to hang on his wall.” as a kid. “I remember my mother buying me a All of these elements are then brought together
Green Lantern action figure for passing grade almost exclusively in Illustrator and Photoshop
Nostalgic influences three and marvelling at the package the toy was CS4, but White’s ideas always start in the
Growing up in the Seventies and Eighties has left in. It was so colourful, with a drawing of Hal sketchbook. When he has a composition that he is
its mark on White, as the era brought with it Jordan on the front and the giant Super Powers happy with, he will move into Illustrator and do a
24
Advanced Photoshop

James White
“I took a keen
interest in art at a
very early age and
never strayed very
far from being
creative or seeking
out inspiration in
its various forms”
few basic vector layouts to see how the elements Reckless Love (above): Cover created for the
fall together, what colours might work and what Finnish rock band Reckless Love. They wanted something
explosive, colourful and ultimately retro
content or logos can be worked into the design. © James White
“After I have a few good concepts, I’ll begin
creating any vector assets I might need for the Robot Rock (right): Robot Rock was inspired
construction of the piece,” White continues. “I tend by the sounds of Daft Punk and their stage presence.
Created with a combination of Photoshop and Illustrator
to stay away from ready-made assets found online © James White
because, although there are wonderful resources
at hand, a personal bank of original elements will polish to the piece. “I really study television
always work better in the long run.” network promos from the Seventies to help with
From here, all of the elements are taken into this phase, as all of their logos and type had extra
Photoshop and brought together, building them flair to push colours over the top.”
into the final piece. “I sometimes bring elements
together in greyscale to focus only on Professional success
composition before adding colour, and other White is self-critical, getting excited when a piece
times I create my vectors in full colour to see how is going well but anxious when things take a
the colours may shift when overlaid on one downward turn, as he says: “When I start to feel
another,” says White. “Even though I have a general agitated, I need to step back from the piece and
idea of the direction I want to move in, I always let my eyes readjust or I won’t be able to correct
leave the opportunity open for a happy mistake the problem, whatever it may be. If I get away
and what unexpected results it may wield. I might from the computer for a bit, then I can normally
drag a layer by accident and the results are return and see exactly where the problem lies and
unexpectedly better than previously.” The final then work to correct things. I have to keep my
touch is to add textures, effects, colour bursts and personal criticisms in check as I work,
25
Advanced Photoshop

Interview
26
Advanced Photoshop

James White
SOLID GOLD BOMB: Solid Gold Bomb pays tribute
to the sights and sounds of Motown Records in the
Seventies. Created with a combination of Photoshop,
Illustrator and Flash
© James White
TRON LEGACY (LEFT): Unofficial poster created for

the 2010 Disney film Tron Legacy. Created with
Photoshop and rendered objects in Illustrator
© James White
because it is my only way of gauging how

the final piece will turn out.”
His style has attracted some notable clients,
including VH1 Latin America. “I was contacted by
VH1 Latin America to create some mood boards
for its Lightswitch campaign. I created the general was contacted by Toyota to create some custom NETWORK: Looking to the future, White has plenty of work
style and design for the screens, and the designs on its newest Matrix model promoting Network pays to keep him busy. He’s organising a Signalnoise
tribute to the 1976
campaign was launched this past April on South the launch of the car. As well as these professional film of the same Apparel T-shirt line, which will display retro style
American television.” This took White out of his clients, White’s personal work has featured heavily name, expressing designs prevalent in the Seventies and Eighties.
comfort zone and forced him to push the on top design sites like PSDTUTS and Abduzeedo, the dangers of “I’m making a big effort to create shirts that look
controlled
boundaries of what he could do. “I had very little and earlier this year he featured in an article in DT television like the ones the older kids wore when I was six.
experience with motion yet had to design Platinum magazine: “I was included in the article broadcasting. My shirts will eventually be available through
Created with a
concepts to appear on TV. It was a challenge, but I ‘21 People of the Century’ alongside people such combination of
Signalnoise.com.” He’s also working with a Finnish
learnt a great deal about what they were looking as Jack Dorsey (co-founder of Twitter), actress Photoshop and band called Reckless Love, for whom he created a
for and how I had to deliver my work.” Zooey Deschanel, Jay-Z and Alex Turner (the front Illustrator logo and CD design. Finally, he’s working on his
© James White
White has also been working with the man of Arctic Monkeys) to name a few. It was an Art of Signalnoise: Vol 2 book, which will compile all
International Year of Astronomy board to create honour to be included among such a variety of of his latest work from the past two years. “My first
some posters promoting global events aimed at talented personalities, and has certainly motivated book was released through the print-on-demand
bringing interest to astronomy. Additionally, he me to stay fresh and current with my work.” vendor Blurb, but this time around I would like to
work with a publisher to do an official release.”
“I always leave the opportunity open for It seems that White’s dominance of the reborn
retro art craze is set to continue for a little while
a happy mistake and what unexpected longer yet.
results it may wield” Find out more at www.signalnoise.com 5
27
Advanced Photoshop

© TRAFFIC WITH ALEXANDER BROWN, ANDREW WHITTON AND LA ROUX
Feature
28
© DENNIS SIBEIJN © JONATHAN FOERSTER
Advanced Photoshop
028-035_AVP_62_MusicFeature.indd28 28 16/9/09 16:56:34

Music industry design
© BARTON DAMER
© MACIEJ HAJNRICH

MASTER THE ART OF MUSIC DESIGN
WITH ADVICE AND TECHNIQUES FROM
PROFESSIONALS WORKING IN THE
BUSINESS. UNCOVER THE SECRETS OF
CREATING DESIGNS FOR CDS,
POSTERS AND T-SHIRTS , PLUS INSIDER
INFO ON HOW TO GET A FOOT IN THE
MUSIC INDUSTRY DOOR
29
Advanced Photoshop

Feature
T
he music industry is dominated by design, many styles being presented. Photomanipulation,
as producers use it as a device to maximise retro graphic design, abstract collage as well as
the appeal of their commercial projects. The hand-drawn illustration are all prevalent. There does
DISC
two art forms share an almost symbiotic relationship, seem to be a hierarchal-style system in this creative-
ONatuTreHhEas inspirwendmyouusic one personifying the other with the intention to

advertise product and content.
related industry.
In most cases, commerciality is a determining
If this fe ating your o free CD
cre e
to start , then open th vanced Over the decades, the album cover became the factor. Dutch graphic designer Dennis Sibeijn (www.
e sig n s of Ad l industry’s dominant marketing tool. Many have now damnengine.net), who works with popular metal
d is issue ssentia
with th p for some e upplied become desirable artifacts in their own right, and the bands such as Chimaira, Aborted and Job for a
to sh o ha s s
Pho Media plates for
tes. Go m transfer from 12-inch records to smaller compact sizes Cowboy, explains: “It’s pretty hard to see what a
templa lar T-shirt te nd we’ve
u a has had a detrimental effect on this art form. The popular style is because there are so many bands
its pop our designs, jewel
y r
testing d a PSD file fo modern digital era is influencing its own new creative these days and so many releases throughout the
create CD cases. reflux, with integrated themed websites, expressive music genre. What you do see is that when a band
and unique CD packaging and design, as well as has a really popular-selling album, a lot of other
external promotional devices like artworked posters bands want designs in a similar style.”
and branded apparel. This archetypal attitude to design can mean that at
This is a lucrative market, with avenues into this times approaching bands with your artwork, although
industry varied. Modes of design are becoming never futile, may not have the desired effect, says
extremely diverse. Just how much capability is there Sibeijn. “I personally think it’s a waste of time to email
for invention and
artistic expression 3
within these latest
formats? We question
some of the foremost
designers working in
music design, discuss
1: LIL’ WAYNE STARSHIP BOOMBOX
some of their most
“THE FULL-COLOUR T-SHIRTS I’VE DONE FOR BANDS
notable photographic,
ARE SEPARATED BY THE PRINTER INTO 12 SPOT
graphic and multimedia
COLOURS. THIS GIVES THE ILLUSION OF FULL COLOUR”
projects, and discover
© BARTON DAMER
what creative notes are
being played out in the
2: SHONLOCK PORTRAIT ARTWORK present arena.
“I WAS ABLE TO EXPERIMENT WITH THE ARTWORK IN AN Flick through the
EFFORT TO REPRESENT THE ARTIST WELL. I TRIED GOLD AND shelves in your local
DIAMONDS BUT WE AGREED IT WASN’T THE RIGHT FIT” music store and you will
‘‘
© BARTON DAMER discover that there are
A personal website is
always a great tool in
getting noticed.
1 Participating in art and
music online
2
www.konvulse.com
‘‘
communities, such as
P
and www.behance.net,
can also be beneficial
3: PENDULUM NORTH AMERICAN TOUR
“THE MOST FREQUENT TOOLS USED WERE BRUSHES AND LASSOS FOR MASKING. EVERY
SMALL DOT OR COMET WAS DRAWN AND THEN COLOURED. SOME OF THE LAYERS HAVE
OUTER GLOW EFFECTS FOR A COSMIC FEEL”
© MACIEJ HAJNRICH
30
Advanced Photoshop

labels, or bands. They usually pick what they like
4: WOLFMOTHER TOUR POSTER themselves after looking online.”
“I USE LAYER MODES AND SOME AIRBRUSHING TO COME UP WITH INTERESTING Publicising your work in the right places will
COLOUR COMBINATIONS. I WILL AIRBRUSH ON A LAYER ABOVE MY OBJECT SO dramatically enhance your opportunities of obtaining
THAT I CAN EXPERIMENT” commercial work. A personal website is always a
© BARTON DAMER great tool in getting noticed. Participating in art and
music online communities, such as www.konvulse.
5: WOLFMOTHER PROMO POSTER
com and www.behance.net, can also be beneficial.
“I USED PHOTOSHOP FOR PRETTY MUCH EVERYTHING EXCEPT THE 3D
These enable you to upload digital and video file
WOLFMOTHER TEXT AND THE ARCHED COSMIC EGG TEXT. I USE TONS OF LAYER
formats, and can help you make influential friends.
MODES TO GET MY COLOURS”
Forging relationships is a key factor and word of
© BARTON DAMER
mouth becomes essential in this creative industry
area, as American designer Barton Damer (www.
alreadybeenchewed.net) knows all too well. Creating
apparel and CD cover artwork for close band friends
4
My Favorite Highway led to further opportunities, as
‘‘
Damer reveals: “My Favorite Highway signed with
Virgin Records at
the beginning of
this year. It pays
to have a good
relationship with
the decision
maker in a band,
If my artwork is centred as when lead
singer Dave Cook
but not symmetrical, I was at dinner
have to pay attention to with his new
manager, he
the weight of the piece. discovered that
Three objects allow for
a focal point, whereas
two objects tend to
compete with one
another
– Barton Damer
‘‘ she also managed
Wolfmother.” He
immediately
endorsed
Damer’s work.
He went on to
produce artwork
for full-colour T-
shirts, and was
asked to generate
album cover
ideas based on
the title Cosmic
Egg. “That final
artwork is available as a promo poster. They went
with a different album cover, but it’s all good.”
Damer’s working experience was a liberal one, with
him later left to devise designs for the band’s tour
posters. “Andrew Stockdale has this rock god stage
presence much like the original arena rock bands. I
had this pyramid idea in my head, with steps leading
up to the Wolfmother logo,“ explains Damer. ”The
bright colours are inspired by old Hendrix album
covers. I love the old Journey album covers, too. Ideas
5
POSTER DESIGN
came relatively easy for this. I’m a huge fan of
31
Advanced Photoshop

Feature
CASE STUDY:
OMEGA CODE
PROJECT
‘‘ These days music is totally

attached to visuals, and if
we don’t address this
carefully we can ruin the
whole project
– Marcelo Baldin
‘‘ © KEAT LEONG
32
Advanced Photoshop

The Omega Code Project is one of the
most adventurous band brandings in
recent times. Becoming a worldwide © JAMIE KWANG PETERSON © VINI NASCIMENTO
phenomenon, Marcelo Baldin – founder,
composer, art director and guitarist for the
Omega Code band – explains: “The idea
grew fast and suddenly designers from
across the globe started to send their own
art with the band logo. After this, we
created the competition so people could
feel connected.” Artists were supplied
with a template, given tag words such as
‘spirituality’, ‘mystics’, ‘religion’ and ‘space’,
and were free to interpret.
The project’s creative liberty attracted
an assortment of artists all wanting to test
the boundaries of their design. Most of
American designer Jamie Kwang
Peterson’s (www.melonfresh.tv) work
revolves around motion graphics. However,
he didn’t want to miss the opportunity of
trying something new. Incorporating a
stereoscopic 3D style, he explains: “I’m
sure most people don’t walk around with a
pair of 3D glasses. But I decided that it
was a risk worth taking on this project, as
something unique would stand out from Wolfmother, so it was very natural while small, so personally I try not to make the image look
the other 400 submissions.” listening to their music.” too cluttered otherwise it won’t communicate or
Brazilian 3D enthusiast Vini Nascimento There are compositional rules to adhere to when stand out. If the design is for a jewel case and not
(www.vininascimento.com) found the producing promotional posters so they don’t get Digipak packaging, don’t forget that there will be a
experience both emotively and technically sloppy, as Damer reveals: “I use depth to move the eye layer of plastic between the artwork and the viewer.
liberating. “I believe that music has the along to some of the more important visual areas, Sometimes that can tone an image down.”
power to subconsciously influence. My including the title and logo. Alignment is also an Stuart Hardie, graphic designer at multidisciplinary
goal was to convey an idea that the
‘‘
important factor. If my artwork is centred but not design studio Traffic www.traffic-design.com, has a
Omega Code was hidden within the
symmetrical, I have to pay different opinion, as he
human being, inspired by philosophies
that say mysteries are inside of us.” attention to the weight of elaborates: “Sleeve
Modelling and rendering his design in the piece. Three objects allow design along with
ZBrush took place before applying organic for a focal point, whereas two editorial design is
textures, as he reveals: “The next step of
textures objects tend to compete with probably responsible for
my process was to bring it together inside one another.” breaking most rules
Photoshop, scaling, moving, duplicating Maciej Hajnrich (www. outlined in graphic
and adding lighting effects and having
When a band has a
the maximum amount of fun until I had the
desired composition.”
Digital designer Jonathan Foerster
((www.atleastwedream.com) certainly
(www.atleastwedream.com
enforces Nascimento’s previous attitude,
as he says: “Their sound drew me in right
away. I wouldn’t have even started the
piece if it weren’t for their music. I
immersed myself in it and through that I
valpnow.com), graphic
designer for the Pendulum
North American Tour 2009
poster, explains the
necessities: “300dpi and a
CMYK profile are
fundamental rules. I worked
on the Pendulum project in
RGB for better effect, while
really popular-selling
album, a lot of other
bands want designs
in a similar style
– Dennis Sibeijn
‘‘ design. There are certain
ones that come with the
genre of the artist,
though, outlined by the
label. For example, a
mainstream commercial
artist would need the
name and title to be
legible and their image
developed a vision of something very previewing in CMYK Proof to be recognisable.”
powerful, very ancient, living, mystic and Setup. It is all about Another issue
all-knowing.” The project has certainly knowing the difference. occurring is the need to
seen Foerster receive more attention. When producing album produce artwork
In turn, our artists’ efforts benefited covers, it’s good to know the functioning across
Omega Code, as Baldin reveals: “These meaning of bleed, slug and trim to avoid any several formats. “Most campaigns will run across print,
days music is totally attached to visuals, problems with printing.” web and television,” explains Hardie. “With the
and if we don’t address this carefully we Dennis Sibeijn also works directly with his clients, invention of iTunes, the size of the canvas for the
can ruin the whole project. The material
starting out similar to Damer. After producing a CD designer is reduced from the golden age of the 12-
enforced the band’s logo all over the
design for his friend’s band KillTraitors, French metal inch record to a 150 x 150px square. These are
internet, making our already-strong brand
extremely recognisable
recognisable.” If you’re band Scarve saw a short 3D animation on his website. elements that you have to consider.”
interested in the material then look out for They insisted he create a CD design based on this. He This also means that at times artists will have to
the feature book that will launch with IdN has since immersed himself in this format, creating accept working in a more dynamic team environment.
and include a DVD with some interactive many stunning album covers and sleeve artworks. Traffic experienced this on the recent Polydor pitch
experiences and the music videos Delivering aesthetic impact with this format can be for electropop duo La Roux (www.laroux.co.uk), as
prepared by the band. precarious, as he explains: “Working areas are pretty Hardie reveals: “We were told that the artist
33
Advanced Photoshop

Feature
1 7
6 8
For the main cover image, the

The La Roux logo was placed artist was photographed in a
across the width of the cover for studio with the car. A
KILL maximum impact and references combination of lights and gels
ER C
iconic sleeve designs from the were used to achieve a
Seventies and Eighties futuristic night-time,
D DE S
streetlight mood
IG N
© ALEXANDER BROWN WITH TRAFFIC, ANDREW WHITTON AND LA ROUX
– DE
CON
S TRU
CTED
CD DESIGN
34
Advanced Photoshop
The photographs were retouched
and the illustrated skyline was added
in the background. Rising steam was
added to the foreground, further
enhancing the night-time feel

6-8: LA ROUX , BULLETPROOF
9 “ALL ARTWORK WAS PRODUCED USING A COMBINATION OF LAYERS,

MASKS, LAYER TRANSPARENCIES, LEVELS, CURVES AND BRUSH TOOLS”
9: RETURN OF REASON, TIMES ARE CHANGING

“THESE GUYS ARE ACTUALLY FRIENDS OF MINE AND THEY WANTED ME
TO VISUALISE THE PROGRESS OF THE BAND WITH THIS RELEASE. I TRIED
TO DO THAT BY SHOWING AN EMPTY CHAIR AND AN UPWARDS LADDER”
© DENNIS SIBEIJN
10: NEURAXIS, THE THIN LINE BETWEEN

“THE IDEA WAS TO SHOW AN ANCIENT CULTURE THAT WAS
TECHNOLOGICALLY ADVANCED. I VISITED AN ANTHROPOLOGICAL
MUSEUM AND WAS INSPIRED BY ALL THE MASKS THEY SHOWED THERE”
© DENNIS SIBEIJN
wanted to work with a personal friend on the

project, Alexander Brown. It’s not uncommon to work
with illustrators and photographers specified by the
10 music artists.”
There was a clear idea to produce a futuristic
Brixton that stylistically took reference from Blade
The typography for the single’s
title was custom designed to To add narrative to the design, Runner, Akira and other tech noir references. The label
complement the futuristic secondary photographs were taken of wanted the artist to feature on the front cover so
atmosphere of the cover image. the artist in the car to support the international photographer for NME Andrew Whitton
The overall design and main cover image. These were to be (www.whitton.tv) was called in. Traffic was left to
composition of the cover also used across the back cover and inner supervise the print quality and produce important
references classic film posters spread of the CD packaging logo branding.
The studio, having worked for Universal and
Vertigo, realises the importance of these production
areas: “The logo is quite an important piece of
branding for every artist. If you isolate the logo
without any other elements, it should still be
reflective of the artist and their music. The La Roux
letterforms were developed from classic Art Deco
designs but modified to have a contemporary feel. It
needed to be feminine but strong, reference the past
but be relevant in a futuristic landscape.”
Generating the future environments was
‘‘
completed with a combination of photographic and
illustrative techniques. This is where Alexander Brown
stepped in. Photoshop was integral when providing
scenario effects, as he admits: “I think gradients and
adjustment layers were the big guns I used, and I
really enjoyed using layer styles. I gave new layers
Outer Glow effects, and then drew thin white lines
with the stylus to instantly create cool fluorescent
I gave new layers Outer light effects.”
The typeface Serif Gothic was

chosen for all accompanying text and
‘‘
Glow effects, and then
drew thin white lines
with the stylus to
instantly create cool
fluorescent light effects
– Alexander Brown
He was also responsible for the La Roux website,
which presents a real-time interactive experience,
with the site graphics evolving with the hours of a
day. Brown explains the important function of the
website in the present music industry, as he says: “It’s
a focal point where you go to get a flavour of the
campaign. It makes the music theatrical and
cinematic more than musical. You begin to imagine
the singer as a character in a movie rather than a
singer in a studio.”
track titles. It has a retro-futuristic
feel that sits well with the logo and
other custom typefaces developed
throughout the project 35
Advanced Photoshop

MASTERCLASS
36
Advanced Photoshop
036-041_AVP_62_CuttingEdgeMC.ind36 36 16/9/09 16:06:54

Cutting-edge lighting
Master clean light effects and pseudo-3D abstraction to create
a vibrant piece of art
I
n this tutorial we will try to show you how to way to learn how to use all those tools even if you’re not ON THE DISC
create striking yet smooth lighting effects. You at a professional level yet. Surprisingly enough, there’s not many
will also find a new use for the Liquify tool, learn to We will also explain why the Pen tool is the best tool things needed to complete this tutorial.
create pseudo-abstract 3D effects and experiment with to use when cutting out objects. This will also give you On the CD you will find links to the
original model image and one free stock
blending modes. some ideas on how to create abstract 3D effects in your
image that was used, but you can
You will not need a graphic tablet for this tutorial, projects without using any actual 3D programs. complete this tutorial with any model
which is good news for those who still haven’t bought The inspiration for this lighting tutorial came from the image. There’s a layered version of the
final artwork on the CD so you can see
one! We will also use just one stock image – again, great theory that all people have a colourful aura that is
how it was built up.
for those on a budget. We will not use any plug-ins, but invisible to the human eye. So let’s get started on
instead we will stick to Photoshop’s standard filters, tools, creating your own aura artwork with a pinch of magic OUR EXPERT Elena Savitskaya
brushes, layer styles and blending modes. This is a great and 3D. Coming from a marketing management background, Elena
Savitskaya is a graphic designer from London who has been in the
field for five years. To see more works, visit her portfolio at www.
1 2
elenasavitskaya.com.
Cut out the model Fine-tune your selection
To start the tutorial, open up your chosen model Make sure that your selection is accurate and that
image. Now pick the Pen tool and make sure it is set to you’re not leaving any white bits of the background
Paths in the top Options bar. Next, click once in order to
create a starting point, then click and drag, following the
unnoticed. Duplicate the model layer (click on the layer,
then hit Cmd/Ctrl+J), then create a new layer
“The inspiration for
body lines as accurately as possible. Once you have underneath the model layer and fill it with black. Now this lighting tutorial
closed the path, Cmd/Ctrl-click on it and then choose
the Make Selection option, ensuring that the Feather
you will be able to see if there are any background
leftovers. Just as you can see in the screenshot, there is a
came from the
value is set to 0. small white line on the model’s hair. theory that all
people have a
colourful aura that
is invisible to the
human eye”
Selection techniques
Everyone who works with Photoshop will have
3
their own favourite selection technique. Some
Prepare the use the Lasso tool, some people even use the
final cutout Magic Wand. But nothing can beat the precision
Next up, blur out the edges of you get with when using the Pen tool. When
the model and make her working with the Lasso tool you can get jagged
blend with the background edges, while the Pen tool lets you almost literally
slightly more. Now go to cut pixels in half and it puts transparency on the
Layer>Matting>Defringe, bit of the pixel that exists outside the selection.
Once you understand how to use it and get used
setting it to about three
to it, you will never want to come back to other
pixels, and then click OK. You
ways of selecting objects. The secret of the Pen
will need to make the model tool is predicting where it’s going to go next.
blend with the dark Click once to create a starting point, then click
background a bit better, so to again somewhere else and drag your mouse
do this, first pick the Burn tool about. The additional curve that you see will
and then set the Exposure show you where your third curve will be heading.
value in the top Options bar Unfortunately, a lot of people neglect to use the
to around 40% as well as Pen tool, considering it too complicated, but it
setting Range to Midtones. At only takes a little practice to master it. And once
you do, you will be asking yourself why you’ve
this point, you have almost
never used it before.
prepared the model cutout.
37
Advanced Photoshop

MASTERCLASS
4 Final preparations
Pick a big soft-edged brush and start painting
along the edges of the model where her body parts
5 Create a warm background
Create a new layer behind the model, fill it with a
soft brown colour (‘#3b2a27’) and set the blending
6 Create soft light
Create a new layer behind your model. Pick a big,
soft-edged round brush and a bright orange colour, then
need to be a bit darker in order to look real on a dark mode to Color. Create another new layer underneath the paint a big colour blob, setting the blending mode to
background. If you want to darken the highlights on the brown one. Pick the Gradient tool, set it to Radial, pick Overlay. Go to Filter>Liquify. This is where you will shape
model, set Range to Highlights. Basically, just set Range the default black-and-white colour for it and create a your light. Pick the Twirl Clockwise tool in the left-hand
accordingly to what you want to appear darker: Shadows, gradient similar to the one in the screenshot to imitate menu, and start clicking and dragging your mouse in
Midtones or Highlights. studio lighting. and out of the blob. Create an abstract shape similar to
the one on the screenshot, then click OK.
“If you want to darken

the highlights on the
7 Give the light more definition
Create a new layer on top of your blob layer. Set
the blending mode to Pin Light. Hold down Cmd/Ctrl
8 Purple two-colour light
You are going to use the same technique for this
one. Create a new layer underneath your model and
model, set Range to and click on the blob layer’s thumbnail. This will select
everything on that layer. Make sure you still have your
then set the blending mode to Overlay. Next, pick a big
soft round brush, find a dark purple colour and then
Highlights. Set Range new layer active, then go to Select>Modify>Contract. paint a medium-sized blob behind the model. Now pick
to what you want to

Set it to 40-50px and hit OK. Using the same soft brush, a much brighter purple colour and paint a little inside
paint all of the selection area with the same colour. the main blob.
appear darker:
Shadows, Midtones
or Highlights”
9 Shape the purple light

Now go to Filter>Liquify. Play around with the
shape of this light, too. You can also try to use the
Forward Wrap tool instead of Twirl Clockwise tool, as on
the screenshot. Try setting different brush sizes while
using Liquify (using [ and ] shortcuts to increase or
decrease the size of the brush).
10 Create sub-light
Take a step back from your
composition and return to it after five or
ten minutes with fresh eyes. This is
important in keeping track of how the
effects you apply are working overall.
Next, in order to add a bit more depth to
the light, we’re going to use a little
Photoshop trick. On top of your purple
light, first create a new layer and then set
it to Screen. Select a fairly bright purple
colour and a soft-edged round brush,
then just click once to create a shiny blob
close to the model’s elbow.
38
Advanced Photoshop

11 Give highlights to the purple light
Duplicate your big purple blob layer and
drag it on top of your model in the Layers panel. Pick the
12 Purple light on the shoulder
Create a new layer on top of the model, and
paint a big purple blob. Now select a slightly brighter
13 Give highlights to the
shoulder light
Create a new layer on top of the first purple shoulder
Eraser tool and a big soft round brush, then erase the colour and paint a smaller blob inside it. Select an even light. Pick a bright pink colour and paint a big round blob
edges of it a little. Drag it on top of the model so that the brighter colour and paint an even smaller blob inside. with one click over her shoulder. The best way to imitate
part behind the model will now create a highlight on her Erase the edges to create some peculiar abstract shape the coloured highlight on her shoulder is to position your
arm. Link it with your two purple layers so you can easily as shown in the screenshot. Once done, set the layer’s brush directly over natural photo highlights on her
move them about together later. Refer to the Quick tip blending mode to Overlay. shoulder. That way it will look more natural and blend in
boxout on linking techniques for more. better. Next, set the blending mode to Overlay.
14 Create a deep
red light
Next up, create a new layer
behind your model, setting the
blending mode to Saturation.
Now pick a bright red colour
with a soft-edged round brush
and then paint a big blob
behind her naked shoulder,
making sure that you overlap it
with the purple blob a little to
Quick tip
create a nice mixed-light effect. To link a few layers together, hold down Cmd/Ctrl
Once this is done, shape it up and click on your layers one after another. Once
with the Eraser tool and a large you have selected all the layers you want to lock
soft brush. together, click on the Link layers icon in the
bottom left-hand corner of the Layers palette.
This helps a lot when creating layers that work
15 16
together, but are spread apart in your artwork’s
Create highlights for the red light Make adjustments to the red light Layers palette to achieve a particular effect.
Create a new layer on top of the red light highlights layer
layer. Link them together. Using a small round soft-edged Drag the red highlights layer on top of the model. Now
brush and the same colour, paint a smaller blob or a few you can play around with your highlights a little and you
of them. Then go to Filter>Liquify, pick the Twirl tool and can fine-tune them using the Smudge tool. Set it to
try creating something similar to the screenshot. If you about 50%, pick a small brush and drag some colours “The best way to
are not happy with the result once you hit OK, you can
always hit Cmd/Ctrl+Z to go back a step and try again.
onto your model’s shoulder so that the light blends in
with the model. Use the screenshot as a reference. imitate the coloured
highlight on her
shoulder is to position
your brush directly
over natural photo
highlights on her
shoulder. That way it
will look more natural
and blend in better”
39
Advanced Photoshop

MASTERCLASS
17 Create the green light
Create a new layer behind your model, just
on top of the orange light’s layers. Pick a big soft-edged
18 More work on green light
Here’s a different trick. Create a new layer on
top of the green one and set the blending mode to
19 Create green highlights
Now create a new layer on top of your
model. Link it with the two other green layers. Pick a
round brush and paint another blob of colour behind Color Dodge. Using the same colour, paint along the bright yellow but slightly green colour, and draw a shape
the model’s arm. Next, go to Filter>Liquify. Using the model’s arm using a big soft-edged round brush. This similar to in the screenshot. The screenshot has other
same techniques that you used before, create an will bring up the colours in the light and create a nice green layers switched off to give you an idea of what sort
abstract shape similar to the one on the screenshot and gradual light effect. of shape you’ll need to paint, but you don’t need to
then hit OK. switch them off, you can just paint over. Set the blending
mode to Screen.
20 Smudge the highlight in

Now pick the Smudge tool set to a medium
size and smudge the yellow highlight on the model’s
21 Lights behind the model’s head
Create a new group underneath all the layers
and call it ‘Head Colours’. Create a new layer inside it,
22 Create fire
Create a new layer on top of all other layers in
the Head Colours group. Pick a bright orange colour and
elbow in. Refer to the screenshot to get the shape right. painting one big orange blob behind the model’s head paint a big colour blob. Now go to Filter>Liquify and
Once this is done, create a new layer underneath it, pick a and one purple one on the side overlapping the red create a shape similar to the one in the screenshot. Make
bright green colour and set the blending mode to Color area. Set the blending mode to Pin Light. Create another sure you have pointy edges in your abstract light, as
Dodge. Paint a big round blob to give the light more layer on top, set it to Color and paint a big red blob on that’s what gives it this fire-like look. Hit OK and set the
definition and brightness. top of the red area. Experiment a little with colours or layer’s blending mode to Linear Dodge.
the Eraser tool.
“Don’t be afraid to
experiment with 23 Repeat the effect
When you have completed
the fiery lighting effect, all that you then
different colours, need to do is just repeat the previous
shapes and different two steps for other parts of the model.
Additionally, you can also use
Liquify brushes. Also, techniques from other steps. Don’t be
afraid to experiment with different
remember that you colours, shapes and different Liquify
can always tweak brushes, and take a look at what you

can come up with. Also, remember that
the effects you you can always tweak the effects you
applied with the

applied with the Eraser tool and the
Transform tool (Cmd/Ctrl+T) if you want
Eraser tool and the to add to the composition by turning

them around, flipping them horizontally
Transform tool” or vertically, etc.
40
Advanced Photoshop

24
to the image
Add
abstractions
Next, you will want to create a More secrets

random selection on the dress
If you really want to master blending modes,
overlapping the light areas
concentrate on steps 24, 25 and 29. Experiment
with the Lasso tool. Hit Cmd/ as much as you can. The idea is that by naming
Ctrl+Shift+C (Copy All Layers) the layers according to the blending mode, you
and Cmd/Ctrl+V (Paste) and will see how it affects the colours and the way
then erase the edges of the they work together. Move them about, duplicate
shape. Now apply the Liquify Overlay layers on top of one another and see
tool and create an abstract what happens. This can lead to inventing new
swirl out of your shape. Once techniques for yourself to use in the future
you are completely happy projects, as well as a deeper understanding of
how blending modes work.
with the shape, click OK and
When it comes to image manipulations,
then set the blending mode
blending modes are the most powerful yet
to Lighten. easiest tools to use. It is also a good idea to keep
your layers organised while working with light
25 26
effects; at some point, you will have so many
More abstract shapes Play around with abstract swirls layers that it will be too hard to manage if you
Create a new random selection over the Using the same techniques, you can create don’t use groups, relevant names and linking. To
dress of the model, copy and paste it the same way and numerous abstract swirls and place them one on top of make it easier for yourself, associate groups with
set the layer’s blending mode to Luminosity. Select another. Try setting the final blending mode to Hard body parts. For example, name a group ‘Left
everything on the layer (Cmd/Ctrl+C on the layer Light, or use the Polygonal Selection tool to create a Hand Lights’, ‘Right Shoulder Lights’, etc. This will
make your workflow much more optimised and
thumbnail) and hit Cmd/Ctrl+Shift+C again. Delete the completely random edgy selection over it and erasing
you won’t spend ages looking for that little
selection layer and then hit Cmd/Ctrl+V for a new layer the selection. To give it more of a 3D effect, give some of
purple blob among 300 unsorted layers.
to play with. Use the Liquify tool to create another the layers Drop Shadow styles to add depth. Use the
abstract swirl, then set the blending mode to Vivid Light. screenshot as your reference.
27 Magic dust
Open the desert image from the CD and
duplicate the main layer (Cmd/Ctrl+J). Delete the locked
layer underneath. Pick the Magic Wand tool, setting
Tolerance to 20. Start selecting and deleting parts of the
sand as shown. Once done, pick the Lasso tool and
create a random selection similar to the screenshot, then
hit Cmd/Ctrl+C to copy.
28 Adjust dust and add glow

Paste the layer on top of your abstract swirls.
Open Brightness/Contrast and bring the Brightness value
to the maximum. Repeat the step until the dust turns
white/bright yellow. Bring up the Layer Style box, tick
Outer Glow, set the blending mode to Color Dodge,
Opacity to 100%, Spread to 0 and Size to 24px.
29 Finishing touch
It’s time to experiment with blending modes.
Using all the colours that you used in previous steps,
paint some colour on the model according to the lights
behind her. Create a few layers, give them the following
blending modes and name them accordingly: ‘Color’,
‘Color Dodge’, ‘Screen’, ‘Overlay’ and ‘Hard Light’. Hold
down Cmd/Ctrl and click on the model layer thumbnail.
Paint different colours within the selection on different
layers according to the background colours. The more
you experiment, the better the outcome will be.
41
Advanced Photoshop

insight
Go: “Speed and a
futuristic design
was the objective
for this piece.
Creating the
mechanical
muscles for the
figure was the most
rewarding part”
CORE,
s created for depth
Casino: “This wa the cards, vectors and
tin g 3D for
incorpora heist-
n to create a stylish
photomanipulatio
themed im ag e”
Christopher Haines
Website: www.neondreams.com.au
Clients: METAphrenie Studios, CG World – China, Dreambox
Design Studio, Funkrush
Christopher Haines is a 20-year-old designer/graphic artist from Perth, Western

Australia. Multi-talented, Haines indulges in creating music and art, freelancing and
also working at a local design studio. He started young, knowing early on exactly
what he wanted to do in life, and after discovering Photoshop 5.0 in a photography
class there was no looking back.
“The first time I received money for design was just a CD design for a friend, which
included the big payday of $50 and some studio time to record music,” says Haines.
Now he is working on a new blog and a few things for depthCORE and Abduzeedo,
and has picked up some notable commissions since that CD design.
When asked to describe his style, Haines says: “My style is surreal but involving at
the same time. I often try to convey an epic and iconic atmosphere, and draw the
viewer’s eye in with the composition. While not intentional at first, I think I have
developed a fairly spiritual theme to some of my works, too.” He uses 3D renders,
photos and extensive hand painting and colour matching to achieve the unique
look, as he says: “The best way to describe my technique is matte painting meets
photomanipulation meets 3D art. Photoshop brings everything together; I spend
most of my time using it and could not live without it.”
42
Advanced Photoshop
042-043_AVP_62_Insight2.indd 42 16/9/09 16:11:34

Atargatis:
“Atargatis depicts
an
angry sea goddess
terrorising fishing
boats. It was create
d
using Poser, CINEM
A
4D and Photoshop.
For this image, I
wanted a dynamic
perspective and a
sense of realism”
43
Advanced Photoshop
042-043_AVP_62_Insight2.indd 43 16/9/09 16:12:04

Step-by-step
Workshop
BUILD FANTASY
LANDSCAPES
Take your own photography and create the
seemingly impossible
P
hotography rocks. It’s not only in the
name of our favourite application, but it is
soon becoming internationally ubiquitous
to boot. It’s been in long development for many
years and is now saturating our everyday lives.
Whether you own a digital camera or have one
built into your phone, most people can capture
their experiences in a photographic sense.
If you take this phenomena and combine it
with some wicked travelling plans, an ounce of
creativity and the dynamic power of Photoshop,
the wildest and most fantastical of scenes can
easily emerge, a new photograph of what is on
your brain.
While this mode of brain photography sounds
disturbing and perhaps overly complicated and
dramatic, it most closely resembles a simple and
custom-built jigsaw puzzle. In this tutorial you will
be able to take your own photography, whether
from your Canon 5D Mark II or simply from your
1.3-megapixel mobile phone, and create an
impossibly awesome and original scene that is all
your own and not simply a replica of this one!
44
Advanced Photoshop
044-048_AVP_62_PhotopaintWS.indd44 44 16/9/09 16:14:24

ON THE DISC
Start images
This tutorial relies on your own
photography and inspiration,
however, there are a few images
included on the CD to help get
you started and to help add
some finishing touches.
OUR EXPERT Bret Malley

Bret Malley is finishing up his MFA in Computer Art at
Syracuse University and gets his thrills from travelling and
teaching advanced digital audio and Photoshop… and
newlywed life as well. You can see more of his work on his
website at www.externalmind.com.
1 Do some photography!
It all begins with your own imagery, so go
somewhere, even if it’s just a trip to your local
park. Start thinking about point of view, lighting,
details, textures, sense of scale and diversity when
shooting. Overall, this will drastically raise the
potential for each image. Pictures are not just
memories but fantastic resources, too.
2 Browse and pick

You want to be looking through your images and finding ones that
are rich and particularly striking to you. After shooting some photographs
of the Swiss Alps and the Louvre’s Winged Victory, the next step is all
about honing the image’s inspiration into a dramatic narrative.
45
Advanced Photoshop

Step-by-step
Workshop
Take a break! 3 The sketch
Begin by imagining a narrative, mood and a sense of overall depth
and scale that you would like to convey from at least one of your
4 Get it (mostly) right
As you start drawing different scenes, be
mindful of perspective and scale. It helps to open
Staring at your screen for too long can images. Once you have some ideas floating somewhere in your head, another layer and create some basic
sometimes cause things to appear better open a new layer and name it something exceedingly original such as compositional guidelines first. Always test new
than they really are. In the audio world ‘Sketch.’ It will help if your image starts with a minimum of three test changes to your sketch by flipping the image
we call this ‘ear fatigue,’ where we cannot layouts and compositions. horizontally to refresh your eye and to spot
sense things as well or as critically as possible problems. The statue is still too large so
when we first sat down for editing. Give you’d have to shrink it down a bit.
your eyes a break so once you come back
to your work you will be able to find
things that don’t fit nearly as well as you
first thought. If you are feeling rather
brave, try taking a quick screen capture
and flipping it horizontally before you go
for a break. The next time you’re ready to
go for another staring match with your
computer, everything will immediately
“Always test new changes
jump out at you. to your sketch by flipping
the image horizontally to
spot possible problems”
5 Where to put the puzzle pieces

Open up a new document and save it as
‘palette.psd.’ This is where you will keep your
6 Organise from the start
This is done with several initial group
folders that separate the various parts of your
images without bogging down your main image image. Go to your bottom layer and press Cmd/
file. Having a separate ‘palette.psd’ allows for a Ctrl+G, then name the group ‘Background.’ Create
less cumbersome editing file and also allows you more groups for the middle ground, foreground
to take small sections of an image rather than the and lighting on top. This can be tedious, but you
entire photograph. Once you have your images will be thankful once you are juggling over a
7
together, save your palette! hundred layers!
Search and select
Select your palette file and start scoping
images one at a time for parts that match the
perspective and overall shape you’ve sketched.
As if it were an actual jigsaw puzzle, this is where
you match the general pieces to the puzzle’s box
cover (represented by the sketch). View the
palette layers one at a time by hitting the eye
symbol to the left of each layer thumbnail. Keep
in mind that one image may contain several
great pieces that fit.
8 Spot a working image

Bring the two PSD files side by side in Photoshop. Select the layer
of interest within the palette file and then press M to get the
9 Time for the mask!
Add a mask to the image and hide all of
the unwanted portions with a soft round brush
Rectangular Marquee tool. Select the desired area you want moved. at 100% Opacity. This is where you can begin
Press V and then drag the selection from your palette to your main creating specific shapes out of the photographs.
image file and the appropriate group folder. Rotate and resize as Don’t worry about getting too sharp with mask
necessary while it’s in Transform mode. details yet, as things are still moving around.
46
Advanced Photoshop

10 Does this match?
With each new layer, you want to
start creating continuity for curves and colour.
11 Colouring time
Once you have the levels looking
better, you need to do the same for the colours
12 Stay smart and sharp
Unfortunately, not every picture
comes out as sharp as you may like, and if you
For now you just need to get everything to so things don’t get too wild by the end. This have also scaled your images up to work in
match in how it looks relative to the whole. Start time press Cmd/Ctrl+B to bring up the Color higher detail it’s time to use the Smart Sharpen
with individual curve adjustments by selecting Balance window. Subtly play around with the filter. Work in small increments in order for
the layer’s image thumbnail. Press Cmd/Ctrl+M sliders until you match a nice colour palette things not to be too obvious, just a little clearer.
to match the dynamics of another image that that you’re willing to at least be temporarily Start with a 1.5 Radius at an Amount of 60-80%.
you find more balanced. stuck with. Match all adjacent images to these Adjust as you see fit, but less is usually more.
hues as well.
13 Sharp and noisy

Depending on the image and how
severe your sharpening tendencies are, there
14 One more continuity trick
It’s enjoyable at times when things can instantly match
across all group folders. This cheat step will be a part of your initial
15 Fill in the pieces
From your Palette file, keep adding
new layers to the image and place them into
may be some graininess and pixel noise left lighting group, so create a new layer in that folder and call it ‘Glow their respective groups of Background, Middle
over, so you need to go over it with another Filter.’ Press G to get your Bucket tool, then spill a rich orange. Change and Foreground until you are near a fairly close
filter aptly called Reduce Noise. Set this Strength the layer’s Opacity to 20% and change the blending mode to Overlay. representation to your sketch. Again, make
to 10, Preserve Details to 100% and set Reduce This is similar to a photo filter but without muddying up highlights. sure you flip the image horizontally to get a
Color Noise to 80%, and you should be able to fresh perspective.
see the difference in colour noise.
16 Renaissance it
It is important at this
stage to make continual
“Take pieces of
photos and place
them as close as
adjustments to perspective
and scaling in order to give it a
full range of depth. Press V to
adjust the sizing and
possible to their
positioning of both individual original position.
layers and entire groups. In
addition, it is a critical step to Our brains and
take pieces of photographs
and place them as close as
eyes are clever, in
possible to their original that they tend to
perspective position. Our
brains and eyes are clever, in know when things
that they tend to know when
things are not where they
are not where they
should be. should be”
47
Advanced Photoshop

Step-by-step
Workshop
17 The head
If your statue’s head is also missing,
it’s time to make your own. Take some pictures
18 Flatten your face
Select the head’s layers and press
Cmd/Ctrl+E, merging them as one layer to
19 Mist and clouds
Clouds can be a bit overwhelming
with their limitless possibilities. When taking
of a statuesque friend, matching perspective as easily mask out the background and resize/ pictures of them, be aware of lighting and not
best you can. White out the eyes in Photoshop rotate the image where you want it to be just their beautiful shapes, as both are critical for
and alter features as you like; think like a statue buried. Add a new layer above it in the Head editing. Piece them together roughly by
and don’t worry if it comes out creepy, as this group for additional shadows and highlights to sunlight and composition. If it helps, make a few
will be a small detail in the end. Add a picture of better blend everything into the scene. sketches of possible compositions. As with the
a marble tile with a Multiply blending mode and other layers, get the levels and colours to match.
finish with a desaturating adjustment layer.
20 Lights and darks

Color Dodge and Burn have their
uses, but they are not exceedingly forgiving. For
21 Secret ingredient to vivid lighting
Take pictures of sunsets whenever you can. When Overlay is
the blending mode of choice on top of a finished composition, it can
22 Fun with lava
Make a new group and blank layer
called ‘Lava.’ Choose a brush that has a little
the flexibility of creating your own fantasy create an amazing palette and richness of colours, and can even bring texture to it and select a pale yellow for the
lighting, you may need to use a different out highlights that really make the image pop. Bring these images colour. Add a layer style by pressing the FX
method for lighting corrections. Create a new over and resize and mask them like everything else. Duplicate and button at the bottom of the Layers palette
layer in your Lighting group and change it again shift them until you get the vividness you’re looking for. window and add an Outer Glow effect. Set
to an Overlay blending mode. Paint with black Opacity to 100% and Size as 2px, and change
and white and notice the power you now have! the colour scheme to fade from a deep gold to
a deep red to a bright red. Then start painting.
23 End adjustments
Bring in a few mask-controlled layers
that tone down and heighten saturation in
24 Atmosphere
Finally, this is what gives you your
depth just as much as your initial perspective.
certain parts. Add your Hue/Saturation Using the standard soft brush and very low
adjustment layers above the previous Vivid Light opacity or a soft tablet touch, paint on a
additions. Press G and spill a solid black over the separate layer called ‘atmosphere’ placed below
adjustment layers. Select the standard soft circle the Lighting group folder. Using white, start
brush and paint white over spots that need a subtly with a large diameter and layer it on
little saturation adjustment. thicker the further the distance is suppose to
be. Then blend the horizon in with the clouds.
Quick tip
While it can severely eat up refresh rates
and saving time when you start piling up
the images, it is still critical to keep the file
dynamic so you can use images multiple
times and continually make changes,
adjustments and improvements
throughout the process.
48
Advanced Photoshop

Step-by-step
Workshop
50
Advanced Photoshop
050-053_AVP_62_LightingWS.indd 50 16/9/09 16:26:52

ON THE DISC
This tutorial was produced using
high-quality stock from www.
istockphoto.com and www.sxc.
hu. On the disc you will
find some alternative models
and backgrounds .
OUR EXPERT Adam Smith

Advanced Photoshop’s senior staff writer Adam Smith
regularly immerses himself in industry-standard styles
and design, mostly for the benefit of the magazine. This
month he provides dynamic types for you to digest and
experiment with.
P
hoto retouching and dynamic
lighting are some of the most
recognisable effects in the
commercial graphic design industry. These
really excel at creating hyperrealities and
entertaining photorealism. They are often
displayed in advertising projects, both in print
and digital formats. Look to examples such as
the Ford Endeavour print advertising campaign
and you’ll see just how effective results can be.
Undoubtedly, these are industry-led styles.
This means it’s essential that Advanced
Photoshop reveals ways in which to achieve
such advanced effects. Not only is this an
entertaining tutorial, but it will also provide
methods that will serve you well when
deployed and presented to clients in your own
photographic portfolios.
You’ll discover enhanced sharpening
techniques, which will add more to the visual
delineation of your stock photos and image as
a whole. We’ll show how to prep your images,
ways to easily composite photographic layouts,
which advanced layering processes to apply
when heightening lighting effects, and a whole
lot more! Once done, you’ll be able to replicate
these commercial styles time and time again.
High-resolution stock
It’s essential to get the best standard of
photo stock available. Obtaining crisp,
CINEMATIC
clean imagery with high resolutions and
print sizes is essential. This means that the
sharpening techniques and effects you
apply will likewise look crisp and to a
professional standard. We recommend
purchasing stock from sites such as www.
LIGHTING
istockphoto.com, www.corbis.com,
www.shutterstock.com and www.
gettyimages.com.
However, there are some model
options on the disc that you can use for
practising the tutorial, or you could
even try taking your own shots to get
We deliver first-class industry techniques, which shed exactly the pose that you are after for a
light on creating commercial photo effects personal finish.
51
Advanced Photoshop

Step-by-step
Workshop
1 Isolate selections
Open your model image (ours is from
iStockphoto.com, image number: ‘9814192’) and
2 Paint out
With only the Blue and Alpha 1 channels
visible, and the Alpha 1 channel selected, pick a
3 Hair strokes
Cmd/Ctrl-click your Alpha 1 channel
thumbnail to create a selection. Make the RGB
select the Marquee tool from the toolbar. Ctrl/ hard-edged white brush. Zoom in and paint out channel visible and hide the Alpha 1 channel.
right-click your image, select Color Range from all the detail you wish to keep, and vice versa Activate your Layers palette and press Cmd/Ctrl+J
the pop-up options and choose Highlights from with a black brush. You can alternate brush sizes to create a duplicate model. Using a hard-edged
the dialog box’s Select options. Activate the when applying by using the bracket keys. When Smudge tool set to 95-98% Strength, stroke the
Channels palette and click the ‘Save selection as you apply to the hair, use a soft-edged brush. model’s hair strands. Invert and then trace from
channel’ icon. This creates a new Alpha channel. the original model layer when you’re zoomed in.
Press Cmd/Ctrl+D to deselect your selection.
5 Orientation and scale

Add a Levels adjustment layer and set the
values to 15, 1.00 and 235, sitting it at the top of
6 Brushed skin retouch
With this brush activate, hold Opt/Alt and
click. This activates the Color Picker to select a skin
4
the layer stack. Now copy and paste your model tone color. Use the brush with this colour to
Tonal adjustments above all other layers, flipping her horizontally smooth over blemishes in that colour range, then
Open your background image (ours is from iStockphoto.com, and rescaling as shown in the example given. repeat to smooth the whole of the skin. Take your
image: ‘4461088’) and add a Hue/Saturation adjustment layer. Set Hue at Create a new blank layer named ‘Retouch’. time and once you’re satisfied, select Filter>
180 and Saturation at -80. Select a soft-edged black brush at 10% Opacity, Choose a soft-edged brush at 30% Opacity, 10% Noise>Add Noise. Set Amount at 1%, Distribution
applying this to the streetlights and reflective surfaces where light would Flow and enable the Airbrush icon. to Gaussian and activate the Monochromatic
fall so that it bleeds through the image colour. Drop the Saturation of your option. This will add some organic texture.
original background to -50 via Image>Adjustments>Hue/Saturation.
“Obtaining crisp,
7 Sharpening
filters
Cmd/Ctrl+Opt/Alt+Shift+E
clean imagery with

to merge all of the layers
into a new whole layer
high resolutions named ‘Sharpen’. Next,

select Filter>Sharpen>
and print sizes is Smart Sharpen, setting
essential. This Amount at 300%, Radius at

1.0 pixel, Remove to Lens
means that the Blur and then activate the
More Accurate option.
sharpening Click OK then select
techniques you Unsharp Mask from the

same option set. Apply an
apply will look Amount of 300%, a Radius
of two pixels and a
likewise crisp” Threshold of two levels.
52
Advanced Photoshop

8 Directional lighting
Lower this Sharpen layer’s
Opacity to 50% and select the
9 Applied lighting
Apply a layer mask to your Sharpen layer
and apply a 20% Opacity brush to the windows in
soft-edged Blur tool set at 20%. your background, bleeding light. Press Cmd/
Apply sparingly to facial T-zone Ctrl+Shift+Alt+E to merge all layers into a new
areas such as the cheeks, whole layer, named ‘Merged’. Hit Cmd/Ctrl+J to
forehead and nose. Apply to instantly duplicate this merged layer and apply an
other noticeable noisy areas. Overlay blending mode. Next, set the Opacity to
Next, select Filter>Render> 30% and Fill to 50%.
Lighting Effects. Choose a
Spotlight, casting across the
model from the streetlight. Set
Intensity at 30, Focus at 70,
Material at 30, Exposure at 5 and
Ambience at 8.
10 Bleeding focal light

Create a new black-filled layer named
‘Light rays’. Set the layer’s Opacity to 50%. Apply a
11 Dynamic light layers
Hit Cmd/Ctrl+J to duplicate this new
merge layer and rename it ‘Highlights’, applying a
50% Opacity, 100% Fill soft-edged white brush Screen blending mode. Set this layer’s Opacity at
from the streetlamp to your model (holding Shift 90%. Duplicate your Highlight layer in the same
to create straight lines), creating light rays. Drop fashion, renaming it ‘Shadow’, applying a Multiply “Photo retouching and
the layer’s Fill to 50% and set a Soft Light blending blending mode. Reset Opacity to 70%, Fill at 80%.
mode. Cmd/Ctrl+Opt/Alt+Shift+E to merge all dynamic lighting… really
layers into a new whole ‘Merged 2’ layer.
excel at creating
hyperrealities and
entertaining photorealism”
Minor adjustments
The general effects applied in this tutorial
are good, but there are a few added
extras that you can apply in order to
12 Hued light effects

Apply a layer mask to your Shadow
layer. Apply light rays in the same position as
13 Apply special effects
We got a lighting image from www.
sxc.hu (image number: ‘1089931’). Select Image>
make your image more composed. First of
all, apply layer masks and tidy the visual
edge value of your hand-lighting effect
layers before merging all into a new
before, with a soft-edged 10% Opacity black Adjustment>Desaturate. Select Image> whole image layer. Make detailed lighting
brush. Create a new layer, set to a Color Dodge Adjustments>Levels, with settings 70, 1.00 and amendments to this by applying an 80%
blending mode. Activate your swatch palette, 255. Select Blending Options from the Layer Dodge tool set to Highlights to the edges
selecting and applying blue, pink and purple palette’s FX options. Holding Opt/Alt, drag and of model where the light is more
tones to hands, arms and facial reflection, using a split the Blend If This Layer shadow cursor to concentrated. For example, the hair, iris
20% Opacity brush. Make sure Pen Pressure is set 0/255. Create a new layer and select Layer> and facial contours. Heighten shadows
in your Brush Settings when applying to hair. Merge Visible, then copy and paste into your using a 70% Burn brush set to Midtones.
image. Apply a pink-to-blue Overlay Gradient You can also apply any extra lighting
effects you see fit before applying an
from the FX options set to Screen, then change
Unsharp Mask to everything, with
the layer’s blending mode to Hard Light, rescale
Amount set to 15%, Radius at 10.0 pixels
and position over the model’s hands. and Threshold at two levels.
53
Advanced Photoshop

Step-by-step
Workshop
CREATIVE BOOK
COVER ART
Learn how to combine photos to create a fantasy scene
54
Advanced Photoshop
054-058_AVP_62_CoverartWS.indd 54 16/9/09 16:29:41

I n this tutorial, you will learn how to take
a series of photos and combine them into
a fantasy scene.
This kind of art is commonly used in
book cover design for the fantasy genre, so
a rough sketch of the initial idea. If you are
creating for a book cover, then it is handy to
make a few notes of the plot and use these to
build your initial sketch. Acquiring the actual
photos simply requires browsing through
ON THE DISC
There are no files on the CD.
However, throughout the
tutorial we will point you
towards the stocks that we used,
or you can source your own
here we will look at creating a scene that has multiple stock sites (like deviantART) or even before getting started.
both narrative and enough room for the title going out with a camera to shoot your own
and author details to sit at the top of the and collecting them all in one place! OUR EXPERT Derek Emmons
page. We’re not going to finish the artwork off deviantART also has a plentiful supply of Derek has been creating digital artwork for around five
with these details, though, as it’s a great piece great three-dimensional stock that covers the years now and has many different techniques and styles
of art in its own right. However, we want to spectrum from dragons to fairies. Most of the in his arsenal. Aside from the work he has done for
Advanced Photoshop, he has a freelance photography
show you how this particular style can be used stock is free to use, but there are also exclusive business where he lives in Hamilton, Ontario, and a
for commercial purposes as well as for packs available from stockers and all they gallery showcasing his many artworks. Online he is
practising your photomanipulation skills and require is a small donation. known as Shadowelement, and his galleries can be found
at http://shadowelement.deviantart.com/ and on the
blending techniques. This particular image was inspired by a
AP website at www.advancedphotoshop.co.uk/user/
Prior to creating the image, it is best to fascination for magic, wizards and dragons, shadowelement.
visualise what you plan to execute by creating but you can create anything you like.
1 Prepare your canvas

Open up Photoshop and create a new
document using a photo portrait that’s preset at
2 Placement of images
Dragging the three stock images (or as
many as your composition requires) onto the
Masking or Eraser
8 x 10” and 300dpi. Next, open up the photos you canvas and placing them in a rough proximity of For many artists it is far more beneficial to
want to use as your background and foreground. how the final image will look is a great starting use layer masks on images, especially
Our images are from www.sxc.hu (image no: point. This way, if something doesn’t fit, other when removing sections of a layer. The
‘76377’), http://gilraen-stock.deviantart.com stock images can be found. best way to describe this is as follows:
when you use the Eraser tool you are
(Apocalypse) and http://sun-stock.deviantart.
removing parts of the actual photo, but
com (Ruins II).
when using a layer mask your actual photo
remains intact and you still achieve the
effect of erasing parts of an image. If you
decide later that there was an error, you
can brush the section back into your photo
by brushing with the opposite colour that
you removed the section with, ie if you
used black to remove it, then white will
bring it back.
3 Masking
In order to prepare the individual images
for blending, you must apply a layer mask to all of
your images, so click Layer>Layer Mask>Reveal
4
All. Once this is done, removing all of the clutter
around the objects will be a lot easier. Mask brushing
Take a hard round brush (start big at around 100px), choose black
as your Foreground Colour then begin to brush out the sky around your
mountains. Repeat this on the castle or foreground element. When you
get close to edges and tricky corners, just use the left bracket key to
shrink your brush size on the fly.
“Visualise what you plan to

execute by creating a rough
sketch of the initial idea.
Acquiring the photos simply
requires browsing through
multiple stock sites or going
out with a camera”
55
Advanced Photoshop

Step-by-step
Workshop
5 Color Balance
You can either apply the masks, which was done here, or leave
them intact. Now you have to balance out the images, as the mountain is
6 Perspective clouds
The clouds seemed a bit flat so they are
stretched out via Edit>Transform>Perspective.
“When using a
layer mask, your
far too blue to match the castle. Select the mountain layer and choose
Image>Adjustments>Color Balance (Cmd/Ctrl+B). For this particular
By dragging the top points outwards, they
begin to have a much more appealing look in photo remains
image, Shadows is checked and the Color Levels are +35, 0, -50. The same
is applied to the clouds.
the scene. You can also duplicate the clouds a
couple of times and play with sizes to create a
intact and you
more intense look. Naming the layers can be achieve the effect
done now due to the fact that other elements
are going to be added to the scene.
of erasing parts of
an image. You can
brush the section
back by brushing
with the opposite
colour that you
removed the
section with”
7 Characters
The dragons and demons that were
provided by JLStock from deviantART save a lot
8 Drag and drop
Start with the easiest images first (the
dragon and demons), and begin dragging
of time in extraction due to the fact that they are them into your canvas and placing them
PNG files and have a transparent background. where you plan on having them for the final
The main character/wizard was provided by image. Flipping and scaling can either be
Cobweb-stock and the door for the castle is from done now or when you find it appropriate to
Lugubrum-stock, both from deviantART as well. do so. Once you have them placed, simply
name them and you can move on to the
next step.
9 Castle doorway
The next step was finding a doorway for the wizard to exit
10 Wizard
extraction
Now that all the easier stuff
the castle. Adjust the doorway to scale by using the Edit>Free
is out of the way, we can
Transform option, and to make it fit the wall just switch to the
get to work on the good
Distort feature in the Free Transform command and play around
guy! In order to extract the
with the points until you are satisfied. Open Image>Adjustments>
wizard, it is best to work on
Brightness/Contrast and drop the brightness until it looks right.
the original photo itself
and use whichever tool
you are most comfortable
with, whether it is the Pen
tool, Magic Wand or in this
case the Quick Selection
tool will do just fine since
our character is going to
be shrunken down enough
in order to fit the scale of
the image.
56
Advanced Photoshop

11 Battle ready
Once the wizard’s
selected, just drag him onto
12 Cloud work
Duplicate your cloud layer and shrink
it down until it fits proportionately above the
your canvas and apply Free mountain tops, then use the Free Transform
Transform again until he fits command to readjust the perspective by
correctly. Go to Image> dragging out the upper points until you have a
Adjustments>Color Balance looming darkness above the mountain tops.
and blend him into the Duplicate and resize a few times or just
scene. Midtones and experiment until you are happy. If you find it is
settings of +10, 0, -25 are too light, just use the Brightness/Contrast
used for that. Also, go to adjustment to make it darker.
Highlights and bring the
yellow to -25. Now your
wizard is ready for battle.
13 Playing with fire

Stocks for fire can be found all over,
so choose one or ten – the more the merrier!
14 Burning down the house
Once again, you have to start
manipulating the fire. Take bits and pieces,
Change the blending mode to Screen or Linear erasing sections, resizing sections and putting
Dodge and resize it small (keep an unaltered them all around the castle until you have
layer of fire for later and duplicate one so that
you can smudge it). Take your Smudge tool and,
created the illusion of an epic battle scene.
Also, don’t be afraid to smudge bits of it to give
“Don’t be afraid to smudge
with the #63 default brush, smudge the fire and it a more painted effect. The choice is yours; bits of it to give it a more
create some burning clouds. Duplicate and
smudge some more, placing them strategically.
just have fun with creating the image and don’t
be afraid to experiment!
painted effect. The choice
is yours; just have fun with
creating the image and
don’t be afraid to
experiment!”
16 Castle shadow
Duplicate your castle layer and then
go to Image>Adjustments>Brightness/Contrast
and bring the slider right down to -150. Then
begin to erase everything except for the left
section where there should be a strong dark
shadow. The Opacity value of this layer can be
changed to fit the scene further down the road
if necessary. This is done to create some depth
15
that will be needed for later on when additional
Bits and pieces lighting is added.
Now we must clean up some of
the edges of the castle and smash them into
little bits! Patience is always rewarded when it
comes to parts like this. Take your Quick
Selection tool and begin grabbing sections of
stone around the wizard’s feet. Take big
sections, and even go as far as taking single
bricks from around the castle and moving
them to give the illusion that the ground is
coming out from under him. The more you
keep doing this, the better the outcome.
Also, take sections and place them around
the demon to make it look as though the
wizard is hurling bits of stone at him.
57
Advanced Photoshop

Step-by-step
Workshop
17 Demon
Activate the layer of your red demon
and Cmd/Ctrl-click to select the area of where
18 Light effects
Choose a soft round brush and switch the brush blending
mode to Linear Dodge. Create a new layer and switch the layer
19 Dynamic lighting
Creating some dynamic lighting will
definitely bring out the elements a bit more in
your demon is, then switch to your cloud layer blending mode to Hard Light. Brush with the colour at ‘e27b00’ once, any image. For this one, we want the impression
and go to Filter>Blur>Gaussian Blur and use a and brush again to create an ambient light for the top of the staff. Take that the wizard is calling multiple elements to
Radius of 250 pixels to add atmosphere. Drop the same brush and just draw a circle freehand and go over it once his arsenal. The blinding light cascading from
the Opacity of the demon layer to around 60- again in Linear Dodge to create an inner highlight. Take the Smudge the back of the castle is done by taking the
70%, then duplicate the demon, bring the tool and begin smudging your ring. Try different brushes and different Lasso tool and creating a series of lines, and
Opacity back to 100% and erase everything strengths to see how various brushes can create various effects. Resize then filling this with a foreground to transparent
except his chest and face area. the ring and put it on the demon’s chest. Using the Free Transform gradient of a very light almost white colour (just
tool’s Distort option, manipulate the points until it looks right. a slight hue, as white can be rather too
dynamic). Switch the blending mode of the
layer to Lighten for this.
20 Added extras
Using the same colour as earlier (‘e27b00’) for your
Foreground Colour, switch the blending mode to Dissolve. Brush in a
21 Dodge and Burn
Start with the Burn tool with the
Range set to Midtones and Exposure between
Adjustment layers
dab of colour and, using the Free Transform command, stretch it out so 35-50, then zoom into your image. Burning will Aside from layer masks, another of the
that it’s long enough to go from the staff to the demon. Switch to a help create any shadows, so take your time powerful features in Photoshop just as
Screen blending mode and erase any overhang that may be behind with this. Next, switch to the Dodge tool with important is adjustment layers. Not only
the staff. Implement things like fire in the dragon’s mouth, flames along the Range set to Highlights and the Exposure can you be presented with problems and
the demon’s wings, torches along the walls – the choices are endless! at 35-50, then brush over the right side of your want to go back and change a colour or
hue, but if you affect the image directly the
wizard where the light from the wand is hitting
choice of going back is no longer available.
him. Zoom right in for this. Also, apply Dodge
With adjustment layers, you can change
where the fire hits the demon and the bricks. anything from the colour to desaturation
of an image without actually affecting the
image itself. Also, once you have a Color
Balance adjustment layer or black-and-
white adjustment layer, you even have the
ability to change the blending modes of
that layer and can present yourself with a
great selection of colouring techniques!
“Implement fire in
the dragon’s
22 Final atmosphere and colouring
Open up Layer>New Adjustment
Layer>Curves and go to the Blue channel, then
mouth, flames take the sliders on the left and right and adjust to
give the image a bluer tone. Leave the blending
along the demon’s mode as Normal and drop the Opacity to 37% to
create a nice murky atmosphere. Options from
wings, torches here are plentiful. Duplicate that curve layer and set
along the walls – the blending mode to Multiply to darken the

image. Using Color Balance, you can create an
the choices are overall mood change by simply playing with the
sliders. Gradient maps can be added to colourise
endless!” areas like the sky.
58
Advanced Photoshop

insight
Michal Sycz
Website: www.noeeko.com
Clients: Factory 311
Michal Sycz, aka Noeeko, is a freelance digital artist based in Cracow, Poland,
specialising in illustration, web design, branding and interactive media. From humble
roots designing a poster for a local punk band five years ago, Sycz has just completed
a high-profile project with Factory 311, working on a photo by Lionel Deluy (find out
more at http://dsevo.com/).
Sycz is self-taught, but he has always had artistic passions, as he explains: “I have
always loved drawing and sketching objects around me, but one day someone gave
me a copy of Adobe Photoshop and I realised this was what I really wanted to do. I
started creating digital images just for fun, but it became a big fascination and finally
a profession.”
Looking to the future, Sycz hopes to one day open a studio, but for now he is
concentrating on improving his techniques and focusing more on interactive media
and experimentation. His personal technique involves use a mix of 3D shapes,
photomanipulation and 2D Illustrator shapes. “I usually start by doing a quick low-
resolution sketch,” he says. “When an idea comes into my mind, the first step is to
search for photos, the next is to make some 3D renders and the last is to apply some
Photoshop tricks.”
This results in his personal style, which Sycz describes as varied: “I try out different
styles instead of mastering a specific one. There are a lot of reasons why I’m trying to
use different styles and applications. It’s quite important when you work for clients or
agencies to show that you’re flexible and could solve a graphical problem in more
than one way and use a lot of different tricks.”
Heart Beats: “An

illustration made for
k X. To
slashTHREE Art Pac
n, I used
create this illustratio
ct
3D shapes (the abstra ated
re cre
liquid speakers we
re) mixed
by using 3D softwa
tion. I
with photomanipula
time
have spent a long
and I’m
making this image
results”
quite happy with the
60
Advanced Photoshop
060-061_AVP_62_Insight3.indd 60 16/9/09 16:33:29

War Br
in
brings ch gs Chaos: “The
Nuclear War: “Another work ao m
the war. Th s. This illustration ain idea is simple
created for slashTHREE. The e wa –w
the grena hand is a symbol s my manifestatio ar
theme was ‘Order vs Chaos’. We de of n
experimen is a symbol of wa oil and human gre against
were allowed to focus on one of ta r. It ed, while
illustratio l typography work was supposed to
the two, so I chose chaos. This n with ma , but it turn only
ny layers
and deta ed into an be
illustration is one of my ils”
experimental/freestyle works”
61
Advanced Photoshop
060-061_AVP_62_Insight3.indd 61 16/9/09 16:34:21

Q&A
Helpdesk
OUR EXPERT Kirk Nelson
Kirk has been a graphic artist for over 11 years
in the Washington DC Metro area. He writes
tutorials for our sister publication Photoshop
Creative, and opens letters, checks emails and
hangs around the AP forum online, all for the
good of our Helpdesk. If you’re having
quibbles with Photoshop, Kirk’s your man with
the plan!
This month, Kirk cleans out the Helpdesk inbox by answering all the text-based
RAPHY questions that have been piling up!
TYPO
G
CIAL
SPE
HORSING AROUND: Text icon change to have a pair of rounded dotted lines on
doesn’t always have to be in
squares, you know! either side. Click once and lay in your text. It will conform
to the shape. The path can even be edited for further
control. You can pretty much come up with any shape
depending on your Pen tool skills – see our example on
the left to see it in action
Paragraph Text? Point Text?
Q
Hey there Helpdesk guru.
If anybody can shed some light on this, I Lorem Ipsum
know you can. When I’m working with
text in Photoshop, I’ve always entered line breaks
manually by hitting Cmd/Ctrl+Return at the end of a
line. This clearly isn’t the best way to manage long
Q Hey Advanced Photoshop Helpdesk guy,
great job on the magazine! I never miss an
issue and I’m constantly blown away by the
depth of tutorials and techniques being presented. Even
paragraphs because it’s a real pain to try to edit and shift your Helpdesk seems to tap into a vast bank of
words from one line to the next. Tell me there’s a better Photoshop-related knowledge. So I figured you would
way! I know that Photoshop isn’t really designed to be
a super text editor, but this would really help me out with
my project.
Tool tip
Matt Rorbark
It’s helpful to address some shortcuts for working
A
with text that can save you frustrating moments
Matt, there’s a better way! That’s what you
and gain you a higher degree of efficiency.
wanted me to say right? Oh! You wanted to
While typing out a line of text, hitting Return
know what that is as well? Okay, here’s the deal. Controlling Text Wrap
Q
will start a new line but hitting Cmd/Ctrl+Return
Photoshop can treat blocks of text in two different ways: Dear Advanced Photoshop Helpdesk. will commit the text edit. While editing text, you
as Point Text and as Paragraph Text. I have a confession to make. I’m doing desktop can move or rotate the entire line of text by
Point Text is essentially a single running line of text publishing layouts in Photoshop. I know, I holding down the Cmd/Ctrl key and adjusting the
unless a hard Return is entered. This is done by the normal know, that’s not what it’s for, but right now it’s all I can get transformation handles. An easy way to cycle
method of grabbing the Text tool, clicking on the canvas without investing in yet another piece of software, much through fonts on text that’s already set is to click in
and typing away. as I would love to get my hands on InDesign as well. the Font drop-down box found in the Options bar
Paragraph Text is where Photoshop fills the So lecture me if you must, but please tell me how and then use the arrow keys to navigate down the
list. The currently selected text layer will update on
text field with text that automatically wraps each line to get Photoshop to get text to wrap
the screen. If you use the Type tool to select text,
tip
as needed. To get this you use the Type tool, but around other layers, as doing that by
Quick
hold down Opt/Alt and the up and down arrows
drag out a rectangular text box instead of hand is simply torture! will adjust the text leading (or line spacing), while
clicking a single insertion point. This box can k now Simon York the left and right arrows will adjust the tracking (or
u
then be adjusted as needed by dragging the Did yo p has a character spacing).
sho er
A
corner handles. You can also convert Point Text Photo r? It’s und Desktop publishing in
he c ke in g
to Paragraph Text by going to Layer>Type> spellc heck Spell Photoshop!? Simon says
C
Convert to Paragraph Text. I hope that helps you Edit> he knows better but
with your problem! doesn’t have a choice in the matter. So
let’s have a heart and help him out, shall we?
While Photoshop doesn’t have the robust Text Wrap
controls that a program like InDesign does, the
rudimentary capability is there. While it’s not the most
elegant of solutions, it will keep you from laying out every
line of text manually to get it to flow as you want it. The
key is to draw out a shape to contain the text first. This can
be done with either the Pen tool or a Shape tool. Then SPEEDING UP WORKFLOW: Text hot keys can make
TAKE TYPE DOWN A NOTCH: Use Paragraph Text your texting a breeze
instead of insanely hitting Return at the end of each line grab the Type tool and hover over the shape. You’ll see the
Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.
62
Advanced Photoshop
062-065_AVP_62_Helpdesk.indd 62 16/9/09 16:39:23

Rorschach inkblots
Q Dear Helpdesk guy. Congratulations on

the continued success of the Helpdesk.
Every month I make sure I read it because I
pick up something new every time. So this month, I
to remove the hyphenation without adding the figured I’d send in a question of my own. Do you
carriage returns? know of a good way to generate those Rorschach
Cyndy Bythe inkblots in Photoshop?
Nala Ronshesh
A
Cyndy, I have to level with you here. I
A
hate hyphenation, too. Ridiculous little lines Thanks for the encouraging words, Nala! I’m
busting up words where they have no right to really happy my silly little Q&A every month
do so, leaving partial words dangling on the next line like is helpful to somebody. The real Rorschach
a bunch of orphaned letters that have lost their family. It’s tests are done by splashing ink on thick paper, then
so sad! folding the paper in half to create a symmetrical
Anyway, you might be surprised to know that design. That’s not too hard to simulate in Photoshop.
1
Photoshop not only offers the ability to toggle
hyphenation on and off, but also offers a ridiculous level Splatter brushes
of control of its use. Open up the Paragraph panel To really generate a believable inkblot, you will
(Window>Paragraph) and see that little checkbox at the need some good inkblot brushes. Our site www.
THE MADNESS OF LOREM IPSUM: Lipsum.com has a bottom? That’s right, the one labelled Hyphenate. That’s photoshopdaily.co.uk has a good set freely available
free Lorem Ipsum generator
what you’re looking for. for download. Look for the post labelled Ink Splat
be the one guy who might give a good answer to a Now, just for kicks, go to the fly-out menu in the top Brushes.
question I’m rather embarrassed to ask. It’s not right of the panel, select Hyphenation and you will get a
technically a Photoshop question, but I figured I would dialog box that lets you set all sorts of rules to control your
give it a shot! What’s a ‘Lorem Ipsum’? And why would I hyphens and the way that they act. These are things like
need one? Thanks in advance for helping me out. hyphen limits, how many characters to put before or after
Hank Matherson the hyphens, even defining a hyphenation zone. This is
the type of thing that lovers of hyphens just go crazy for,
A
Hi Hank, thanks for your question. It takes a the mad bunch…
brave man to ask one of those questions that
you know everybody is wondering but nobody “Lorem Ipsum is
asks. Like how do they get those little Ms on the
chocolates? Typewriter? Elves? Why doesn’t anybody ask placeholder text that’s
these things out loud? Or maybe they do and they’re
swiftly taken away by men in white coats…?
used by designers
Anyway, Lorem Ipsum is simply placeholder text that’s
used by designers when working on a layout before the
final copy is ready. Many people think it’s Latin, but that’s
when working on a
layout before the final 2 Splat away
Create a new document and add a grid line in
the centre. On a new layer, create several inkblots off
not entirely true. There’s some resemblance to Latin as it
was developed from a Latin work, but attempting to
copy is ready… to one side of the centre line. There can be some
translate it leads to massive headaches and a bunch of attempting to translate overlap, as that will create a more realistic design.
scrambled nonsense! The point of it is to have a block of

realistic text to work with when working on a layout.
it leads to headaches!”
Traditionally, the first two words are always Lorem Ipsum
for no other reason than because we graphics geeks are a
strange collective and tend to enjoy inside jokes, no
matter how trivial.
So where can you get some? There’s a number of
Lorem Ipsum generators online. I tend to use www.
lipsum.com because it allows you to specify a number of
words or paragraphs. Then you can easily copy from the
site and paste directly into your layout, helping you to
create perfect designs while waiting for the right text to
3 How can you not see the butterfly?
Duplicate the layer and hit Cmd/Ctrl+T to
bring up the Transformation controls. Move the pivot
come in. point to the centre line and scale the layer to -100
along the horizontal. Commit the transformation and
tell the good doctor what you see.
Hyphenation
Q Dear AP Helpdesk, thanks in advance for
helping me. You guys always seem to have a
way of explaining obscure answers that make
sense even to me!
I have a text-specific Photoshop question I’d like
your help with. If I have a block of text in Photoshop, HY PHIVE: More hyphen controls than you’ll know what to
it automatically hyphenates the words. Is there a way do with
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
63
Advanced Photoshop

Q&A
More history
Q
Technique tip To Helpdesk,
I’ve recently started doing more digital
painting in Photoshop and I am really
Have you ever tried to use the Eyedropper tool to enjoying it! My one big complaint is that the Undo
sample a colour and have it pick a hue that doesn’t function is nearly useless when painting. Even the History
even appear to be in the image? Wonder what’s
panel only goes back about two dozen brushstrokes.
going on with that? That’s because usually the
That’s not nearly enough! I find myself having to save
coloured areas of images are not made of a solid
field of colour. They are comprised of many every few minutes or so. Do you ever do any digital
different colours at individual pixel levels. If you painting in Photoshop? And if so, how do you deal with
were to zoom the image to 800%, you would see this problem? CONSIGN IT TO HISTORY: Adjust your History States as
the assortment of hues that make up what seems Edgar McCormick needed, but watch out for the performance hit!
to be a single continuous colour.
A
By default, the Eyedropper tool selects the Edgar, I know what you mean. When painting, create an archive of your work in different development
colour from a single pixel. So what’s happening is those default 20 Undo steps get eaten up fast! states, which might be more handy than having hundreds
that you are getting the colour from that one If you go to Preferences>Performance, you’ll of Undos.
point, not the area. To counter this, check the
see an area towards the right that contains a setting for
Options bar along the top of the screen when the
History States. This slider can go all the way up to 1,000. Be CD shading
Q
Eyedropper is active. Change the Point Sample
setting to one of the other options, like 5 by 5 warned, though, the higher the setting, the more of a Dear Helpdesk,
Average. This will yield a colour sample much performance hit your system will take as a result. You’ll I’m working on an illustration of a CD and I’m
closer to the apparent colour of an area. need to find an even balance between a number that’s having some trouble getting the gradient
useful and a number that’s not going to bring your colours to wrap around the disc. I’ve tried using a Linear
machine to a crawl. Gradient then warping that layer, but just ended up with
It is also worth considering using the Snapshot a mess! If you have any advice, I’d be eternally grateful.
feature in the History panel. This will save the current state Ashley Friarson
of your painting and you can always get back to it with a
A
single click. You can even save multiple snapshots to Ashley, CDs do have a unique sort of colouring
about them, don’t they? The bright colours
“If it’s CD design that gradually change as they go around the disc,
and attempting to illustrate that can cause fits if you don’t
you’re interested in, know the trick to it.
then it might also be There’s a rarely used gradient function that

seems to have been custom-made for this very task. It’s
worth checking out the Angle Gradient. That’s found in the Options bar
our special music

when the Gradient tool is selected. It’s the one right next
to the Radial Gradient. Now open up the Gradient Editor
IMPROVE YOUR HUE: Get a more effective

feature on page 28 and create a multicoloured gradient as you see fit.
The trick is to be sure that the colour stops on both
Eyedropper setting
this issue” ends are matching in colour. That way, when the entire
Stamping your authority

1 Border setup
2 Custom brush
Q Okay, Helpdesk expert. I’m working on a First up, start with your image on one layer, and Open up the Brushes panel and select a round
design that includes a stamp collection, but beneath it put another layer that’s slightly larger and hard-edged brush. The Diameter will be dependent on
all the stamps are custom snapshots from filled with white. This will be the border that will have the size of your artwork. In the Brush Tip Shape area,
my vacations. I’m struggling with an easy method of the scalloped edges. Next, add a layer mask to the adjust the Spacing to around 120%. You can also adjust
creating the scalloped edges without having to make border layer. the Roundness to vary the depth of the scalloped edge.
tons of small circular selections. Ideally, it might even
be handy to have a separate stamp border where I can
swap out the image easily. Any ideas?
Paul Zschock
A
Paul, what a cool and creative idea. That’s a
very clever way to repackage those old
holiday snapshots. I’ve got a technique for
you here that I think you’re going to like. When you’re
done with the design, we’d love to see it! Feel free to
post it on our forum at www.advancedphotoshop.
co.uk/forum.
Send your emails to us at advancedpshop@imagine-publishing.co.uk or post a message on our forum board at www.advancedphotoshop.co.uk/forum.
64
Advanced Photoshop

CS4
spotlight
Smooth zoom
As you’ll have heard, much has been mentioned
about the new GPU-enabled abilities present in
Photoshop CS4. But few have mentioned the
amazing new animated zoom feature. And
believe us, it’s worth mentioning!
For years, adept Photoshop users have almost
reflexively banged away at Cmd/Ctrl+plus or
Cmd/Ctrl+minus to quickly zoom in and out of
an image. For a long time, they also lived with
the fact that only at certain percentages would
the image appear properly. The dreaded 33%
and 66% views were blurry and smudged. But
now, CS4 not only renders the previews sharp
and clear at any percentage view, but there’s a
much better method for zooming than the
clunky hot key steps.
With the Zoom tool active, simply hold down
uhanigcekyoutr birupshe
on the mouse button without moving. After a
Q
moment the image will start to smoothly zoom
AN ELUSIVE GRADIENT: Mix it up and use the rare
Angle Gradient in until you release the mouse button. Add the
To c ou tlin Opt/Alt key and the image will smoothly zoom
from an gage
gradient wraps around, their ends will match and won’t Photoshop! It’s a cursor irs, en out. Add this functionality to the new sticky key
s ha
to cros ey
leave a hard line. technique that I have s Lock k feature and you don’t even have to change tools.
the Cap
If it’s CD design that you’re interested in, then it might been dying to use in one Simply hold down the Z key (or Opt/Alt+Z) and
also be worth checking out our special music feature on of my designs. the mouse button to zoom in or out. It might
page 28 this issue, which is great for finding fresh Seymour Franklin take a bit to break the practice of whacking at
inspiration when working on music-inspired artworks those plus and minus keys, but try it for a day.
A
Okay Seymour, challenge accepted! Start with We think you’re going to fall in love with the new
a single looping path drawn by the Pen tool. smooth, animated zoom!
Spirographs, Photoshop style! On a new layer, stroke this path with a small-
Q Hi Helpdesk, I hope you can help me out with

something. I know you must remember the
old spirograph toys we had as a kid. You know,
the ones that would create all those cool, swirly,
tipped paintbrush. Then deselect the path and make sure
the layer is active. Press Cmd/Ctrl+Opt/Alt+T to apply
Transformation on a duplicate of the original layer. Rotate
the duplicate slightly until the ends line up, then press
geometric designs. I challenge you to try that in Cmd/Ctrl+Opt/Alt+Shift+T repeatedly to create multiple
copies until the shape is copied all the way around. Merge
3
the layers together and you’ve got your spirograph!
Edge treatment
Make sure the border layer’s mask is the active IRREGULAR ZOOM: Clear and sharp images even at
odd percentages like 223%
element and run the brush along each edge of the
border. Holding down the Shift key will keep your
brushstrokes in line. Now you have an easy scalloped FLY-OUT: Hold
edge border that’s independent of your image! down Opt/Alt+Z
and the mouse
button to watch
the image
smoothly fly
away from you
SMOOTH
ZOOM: CS4’s
OpenGL Drawing
must be enabled
in Preferences
OLD-SCHOOL TECHNIQUES: That’s right, you can do for the smooth
spirographs in Photoshop! zoom to work
Remember to specify whether you’re using a PC or Mac and the version of Photoshop you have.
65
Advanced Photoshop

insight
My previous
homepage: “This
is my
previous homepage
for my
own designs and it’s
still a
firm favourite of min
e”
Homepage
image: “The second
of two promotional
images also used on
the homepage of my
personal website”
68
Advanced Photoshop
068-069_AVP_62_Insight4.indd 68 16/9/09 17:15:27

Thomas Burden
Website: www.therewillbeunicorns.com
Clients: Disney, Superdrug, Faber & Faber, Nokia Interactive
Thomas Burden’s digital experience was a baptism of fire. Throughout college his
software knowledge was minimal, concentrating more on squeezing out original
ideas, as he recalls: “Luckily, some of these were noticed by John McFaul (www.
mcfaulstudio.com), who gave me that illusive big break that all graduates would
firebomb an Apple store for.” Burden was thrown in at the deep end at the studio,
learning Illustrator and Photoshop comprehensively, while working on a complete
graphical overhaul of Liverpool Airport among other projects.
However, having gained experience in pretty much every possible application of
design and illustration, and although grateful for this wonderful opportunity, Burden
was no longer feeling as challenged and excited as in his early design days. He has
recently set up his own new design studio called ‘And there will be unicorns’ (www.
therewillbeunicorns.com).
Working across a multitude of professional briefs for a range of industry clients,
Burden denies a distinct style but admits to an apparent accent in his work. “I would
like to think there is a certain tonality to everything I do, but I’m not someone who
can stick to one vein of reference for long,” he admits. “I think there’s a definite erring
towards the retro, but I never set out to create pastiches. However, I was always
encouraged to draw and paint from an early age, while being denied every toy going
in the Eighties. This helped me develop an understanding of colour and composition,
while also making me concentrate even harder on all that great colourful packaging
and advertising.”
He admits to two distinct sides to his portfolio: “The vector stuff and the less vector-
based stuff. Each side has slightly different influences and styles. The vector design by
its very nature is more bold and simple, whereas the non-vector design is more hazy
and dreamlike. But this often changes, as I’m not one for doing the same thing twice.”
illustration for
Liner: “This is an
Disney Cruise e wo rk included anoth
er crazy
cy pitch. Th
an ad agen asi ng ”
results were ple
deadline, but the
69
Advanced Photoshop
068-069_AVP_62_Insight4.indd 69 16/9/09 17:16:00

I N D U S T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S
INDUSTRY
INGLOURIOUS BASTERDS OFFICIAL WORLDWIDE
MOVIE WEBSITE: Working on this particular project
was a personal favourite for Jensen
Design and concepts proposal agency: DSIRE
An interview with…
ROLF A JENSEN
The designer of some innovative interactive online projects,
Rolf A Jensen shares his passions with Advanced Photoshop
R
olf A Jensen started out earning designers who have a passion for interactive
pocket money creating low-end campaigns. Also, being able to work with other
website for friends and smaller talented people to make a great experience of a
business corporations in his native Norway at great movie online is fantastic. In general I enjoy
the age of 14. doing theatrical sites a lot, as the time frame
After leaving school at 16, he started never kills you in terms of the length of the
freelancing and quickly picked up his first project itself. Inglourious Basterds was one of the
serious contract before moving to New York to few projects I actually wished would keep on
further his career. He speaks to Advanced going, as I never got fed up with it.
About the Photoshop about what the future holds.
studio Advanced Photoshop: Hello Rolf! We hear on
Advanced Photoshop: What would be your
dream job?
Current job role Creative
director/art director the grapevine that you have just moved to Los Rolf Jensen: I’m still hoping to do more Flash
Clients DSIRE, Haven Angeles from New York. What was the reason sites for videogames. This has become even more
Interactive, The Weinstein
Company, NBC Universal, behind the change? interesting after I got my first smaller commission
Paramount Pictures, Rolf Jensen: I found out that it was within on this subject a few months back. Coming from
DreamWorks, Citroën, Visit
Sweden, Warner Bros, Ford entertainment campaigns where I was really
Mustang, Lionsgate and able to express myself, so I packed my things
Twisted Pictures, Samsung,
Jägermeister, CE Studios and moved to Los Angeles with nothing but 50
Awards Featured in Web bucks in my hand and my fingers crossed.
Design Index, awarded Site Of Working in Flash for bigger movie campaigns
Inside guide to everything The Day at FWA
might be one of the coolest things you will be
that you need to know to Website www.
sunnyumbrella.org allowed to do as a creative person. Beautiful
make it as a professional Biography Jensen is about imagery, large-scale animations, amazing video
digital artist, including to enter a new age of his
and audio footage are just some of the many
career, having recently moved
university and college to LA after working full time in things that attracted me to this specific corner
courses, industry advice New York for a while doing a
of the industry.
lot of corporate online
and interviews with pros campaigns. He now
does more entertainment- Advanced Photoshop: What has been your
» Pg 72 ...................................Self-publishing based campaigns
» Pg 78 .......................................................Uni focus favourite commission to date?
» Pg 82...........................................Career focus CABELA’S OFFICIAL SITE: A website for
Rolf Jensen: Inglourious Basterds, no question.
games based on the hunting industry, produced
Being able to work with such great imagery and for Activision
content is a dream, and should be for most Design comps agency: Haven Studios
70
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070-071_AVP_62_IndustryIntro.ind70 70 16/9/09 17:17:59

INTERVIEW
SAMPLE OF JENSEN’S WORK (RIGHT): All of the
interactive projects that Jensen has worked on utilise
different skill sets and techniques
UFC 92 DESIGN PITCH (MIDDLE): Website pitch

created by Jensen
Design and concepts proposal agency: Red Interactive Agency
TOUCH BY INGI (BOTTOM): Jensen’s first and only

fashion designs
Design and Flash development agency: Soulpolice
an artistic point of view, these types of projects give you

the deepest and most open-minded workflow you could
ask for. Everything from creating an interactive user
experience for a battlefield with stunning sound effects
and 3D to creating a charming and touching fantasy
world complete with matte painting and mellow ambient
video renders.
Advanced Photoshop: Do you have any current

projects you’re working on/projects lined up for
the future?
Rolf Jensen: So much! The problem for me is to be able
to prioritise them. As for major larger projects lately, I got
to work with the team at Neoganda and Matt Cooper
doing a lot of stuff to promote Lionsgate’s latest Saw film.
Another major project would be helping out my good
friend Dickon on behalf of Peter Jackson’s latest title –
you’ll have to wait and see for that one, though!
Advanced Photoshop: What’s your usual workflow

process on a project?
Rolf Jensen: My process would normally start with
reviewing a brief and reading a script. From there, I
normally talk a lot with the team to share ideas around
“Being able to work

with such great
imagery and content
is a dream”
the technical execution and what type of treatments
would be needed. I would sketch out the grid and how
things should work from an interactive perceptive and
show it to the client before starting up Photoshop. These
sketches are mostly done by hand, but sometimes I also
use a program called ConceptShare, which allows you to
share handmade concepts with your client in real-time by
painting in a workspace using a tablet. The client can also
comment on everything. When the client signs off on a
concept or a composition, I normally go straight into
Photoshop and start working for real.
Advanced Photoshop: What would be your advice for

those hoping to follow in your footsteps?
Rolf Jensen: Work hard, be passionate and wear a smile.
Reach out to people. Show the industry your work
instead of it sitting and collecting dust on your hard drive.
Don’t be afraid to seek out a job or a project because you
think your work isn’t good enough. Have a lot of faith and
believe in yourself, but never cross the line to become
stuck up with an ego! I’ve always been very open towards
new styles and people trying new things, even if it’s very
edgy and nuts. I still respect artists and designers that
break the rules to get from one place to another.
71
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070-071_AVP_62_IndustryIntro.ind71 71 16/9/09 17:18:15

INDUSTRY Self-publishing
I N D US T RY ● E D U C AT I O N ● R E C R U I T M E N T ● C A R E E R S
F A NY
GET £5 OF BLURB
ORDER ATE CODE
ENTER TH PS2009’
D
‘ADVANCE0/09 TO TAKE
1 / 1
BEFORE 3 TAGE OF THIS
ADVAN TORY OFFER
C
INTRODU LURB.COM
WW W .B
tip
keep hold of a book than a CD of images
who you are and what your work is about. People are more likely to
Why not send a copy to potential clients? It sends a message of
SPEND MONEY TO MAKE MONEY
BEST OF THE BEST

tip
It goes without saying, but if you don’t think an image is up to

par then don’t drag down the overall quality with its inclusion.
The book is an extension of you, so don’t pad it with pap
72
Advanced Photoshop
072-076_AVP_62_SelfPublishFeat.i72 72 16/9/09 17:56:01

F E AT U R E
Your in-depth guide to…

SELF
PUBLISHING
Got an urge to get your work in print? Natalie Johnson explains
how it can be achieved
V
iewing your freshly completed digital designs on a
monitor is undoubtedly an experience that will induce
goose bumps, but the sensation is ultimately stunted
by the lack of tangibility. Whatever your motivation, whether it’s
tip
to produce a keepsake, portfolio, promotional material or simply to
sell, self-publishing has become a reality for thousands of creatives.
People still adore the printed form, and having your art pressed
and printed is a thing of beauty and something more digital
marketing or self-promotion areas of the site to find out more
to write press releases and web buttons. Head to the
creatives to market their products, including lessons on how
Self-publishing sites offer promotional resources for
MARKET YOURSELF
creatives are exploring. Thankfully, the days of yore are behind us

and no longer do penniless artists need to struggle to secure a
publisher or starve themselves to afford the titanic costs involved
with self-publishing. Instead, the open market has forced
manufacturers to reduce costs and, with the explosion of online
book-publishing facilities, the process and the price tag are very
attractive options.
Get your hands on your own work

‘Is self-publishing for me?’ Perhaps it is a question you are
pondering as you glance over this feature, and the truth is that it’s
not for everyone, but should you crave a tangible product of your
best work – whether as a simple keepsake to someday show
unborn grandchildren or as a portfolio to dazzle prospective
employers or clients with – then the answer is almost definitively
yes. What is more, the possibilities don’t stop with simply owning a
handful of copies. There is the potential to create a tome and sell
the result to anyone and everyone, from art lovers to design
students, recouping costs and getting your name out there.
Nowadays, everyone has a website, and producing a physical
example of your talent goes one step further than most are
prepared to do, as entrepreneurial digital artist Chuck
73
Advanced Photoshop

tip RESEARCH
Anderson (www.nopattern.com) confirms: “Anybody can be
a designer and get a site set up. That’s a good thing to have and
very important, sure, but designers can make so much more of it in
print. I couldn’t stand the thought of falling into that trap, so I’ve
research and find the right publisher for you
If you want something different from the rest, do some
publishing sites, there are hundreds of competitors out there.
Although Blurb and Lulu are two of the most high-profile self-
invested in printing books over the years. Not only is it a great

feeling to get them back from the printer and hold them in your
hands, but the best reward is in giving copies to your friends, family
and clients, as well as selling them to people who appreciate your
work and want to invest in it.”
There are two main methods creatives can exploit to realise their
paper dreams: use a specific online resource or go it alone. The first
of these options takes advantage of the growing number of all-
encompassing websites that allow customers to build, order and
sell their product – a one-stop shop.
Book-making services
Two of the most heavily subscribed self-publishing on-demand
services that are currently operating at high levels are Blurb and
Lulu. But how do they work? “Web 2.0 and participation-enabling
technology has created a user-generated content movement that
has reshaped many traditional industries, including journalism, film,
video and music,” CEO and founder of Blurb, Eileen Gittins, reveals.
“Our platform provides total
above the base price to make a profit

INVISIBLE LIVES COVER: With
control for the creator, right down services like Blurb you can set a price
to the pixel”
– Eileen Gittins, Blurb
“Our platform provides total control for the creator, right down to
the pixel. Designers use our book-creating app Blurb BookSmart,
and within this program you can create your own page layouts,
on sales
book templates, etc. We’ve also just launched PDF to Book, which
means customers can now design the book in Adobe InDesign,
iPhoto or a design tool of their choice and then simply upload the
PDF to Blurb.” Producing such books in as low a quantity as one is
an enticing draw for artists on a shoestring budget, and a service BLURB
JEWELLERY: This is an example of
properly bound with high-resolution

the kind of book produced by Blurb,
that would not have been available a decade ago. Gittins maintains www.blurb.com
that is not the only winning factor of the relatively new concept. Blurb is one of the most
“The quality of the product itself is a main selling point. Our books popular services that’s
really are bookstore-quality, and that separates us from the photo available for creative folk to
and quality imagery
exploit. Users can opt from a

album-type companies out there. Deeper than that, there’s a variety of designs and sizes,
fundamental human need for self-expression and we believe including square, black-and-
white text, standard portrait, standard landscape,
everyone wants to be creative. We help unlock that creativity, allow large landscape or landscape square.
people to express themselves and share that accomplishment with
LULU
Interested in producing a book of your very own?
others in their communities and around the world.”

www.lulu.com
TOP PRINT-ON-DEMAND SITES
A feature-clad fun-filled
self-publishing website.
One of our favourite areas
of the stacked website are
the author success stories.
There is also a section on the site to help authors
market their wares.
Here are a trio of top services
BOOKMARK SELF
PUBLISHING
www.
bookmarkselfpublishing.com
One of the lesser known

self-publishing websites,
BookMark attempts to be
good value for money, with printing options starting
as low as $5. The range of binding options available
is another bonus, including spiral, saddleback,
74 hardcover or softcover perfect binding.
Advanced Photoshop

F E AT U R E
WHY DO YOU USE SELF-PUBLISHING WEBSITES? and if someone picks it up you can take down the online
SELF-PUBLISHING SITE
With three successful self-published
books in the can, Marc Scheff (www.
dangermarc.com) is one happy
customer of online production sites
Put simply, it was fun to make and people liked it. I’ve store. Small local stores may also take a stack on
also seen a lot of people using this format for many consignment and pay you when they’re sold.
different reasons, both personal and professional.
WHAT HAS THE RESPONSE BEEN TO YOUR WORK
HOW DO YOU GO ABOUT SELF-PUBLISHING – IN THIS MEDIUM?
WHAT PROCESS DO YOU FOLLOW? People really like it. Most people see my work on the
CASE STUDY: Because there are great places that provide free internet, and it’s novel to see it in print on a page. I think
software for bookmaking, my process is just about the you can get a little closer to the work than you can on a
ideas involved. I have an idea for a topic, usually image- screen. Plus, not everyone buys prints or originals, and a
based, I gather the images, organise them using a site book is a nice way to have access to the art without
like Blurb, Lulu or even Apple’s iPhoto software, and shelling out a lot of money.
that’s it. I usually order one to make sure it looks good
before putting it up in a store. HAVE YOU BEEN ABLE TO RECOUP YOUR COSTS?
It costs nothing to put a book out there. Zero. You do
WHO WOULD YOU LOOK TO RECOMMEND THE pay money if you order one to proof. Lulu, Blurb and
SERVICE TO? Apple all have competitive prices there. You actually set
Anyone wanting to see their work in print! Additionally, the price of the book, and I don’t add much on top of
a lot of people use the self-publishing route to break the base price because I’m more interested in people
into a publishing house. Make a book, shop it around, having the work.
The process is a simple and all-encompassing one. Visit a website

such as www.blurb.com or www.lulu.com, choose a specific book
design and size with the style of cover you desire, then begin
importing or dragging your JPEG files onto the awaiting frames.
Some templates allow users to add text, but it’s advised to employ
the services of several well-educated friends to proofread your
copy. Once completed, customers simply need to hit Done, select a
quantity to order and opt to use the site to sell the tomes to Joe
Public. “Any mark-up between the cost of the book and the price
you set is yours. We take nothing and we’ll send you a cheque each hand page vs left-hand page, etc. With BookSmart as your guide,
you lay out images and text exactly as you want
put in a self-published book

(ABOVE, BOTTOM): Dedicated software can help
FAMILIAR JOURNEYS SPICES PAGE
TOP): There are no restrictions with what you can

FAMILIAR JOURNEYS TITLE PAGE (ABOVE
month,” says Gittins. “If you want a bound-and-printed copy for your book should look pretty good.”
yourself, you can order one or one thousand books, depending on
your budget.” Going it alone
To maximise your chances for success, invest some time learning On-demand self-publishing sites will also stock various promotional
about the art of book design. “Being a good artist doesn’t aids to help you market the book to others in the hope that they’ll
necessarily always translate to being an artful book designer,” the stump up some cash and order a copy. Blurb and Lulu both offer
Blurb founder offers. For starters, Blurb stocks oodles of tutorials on web tools, such as badges that link back to your book in the
its website, and has a directory of independent book designers bookstore, book previews so people can take a look inside your
called BlurbNation that you can tap into if you decide you’d rather book, announce tools to get the word out and social media tools to
let a professional help you design your book. “Bookmaking should share on Twitter and Facebook, among others.
be fun, not intimidating, and our BookSmart software makes it easy The second and perhaps less common route for production is the
for your best work to shine. We brought in professional book DIY approach. The idea here is that you, the artist, design the book
designers to help us build the software, and they thought of all the yourself from scratch using a dedicated software package, secure a
things you wouldn’t want to know about – gutters, bleeds, right- relationship with a printer, buy the copies and sell the books
75
Advanced Photoshop

tip SET YOUR PRICE RIGHT

too low, it could translate as bargain basement fodder
People are prepared to pay more for quality. If your price is set
Don’t be afraid to charge what you think your product is worth.
on yourself. A much more complex approach, but one that

allows for greater control over the layout, a chance to be unique and
you can sell it directly from your website. The main motive why
someone would choose this method over the ‘clone copy’ avenue of
Chuck Anderson’s self-initiated

SPACE: This is an example of
WANDERING OFF INTO
an on-demand site is to generate a completely customised result –
whether that’s fancy binding, page cuts or an extrovert design,
there will be a shop that can make it – but be prepared to pay a lot
more for the pleasure. Although illustrator Marc Scheff uses and
printing project
endorses on-demand publishing methods, he appreciates the pros
of this option, as he reveals: “Someone once told me a story about
Kevin Llewellyn, a great painter in LA who made a leather-bound
custom book of his drawings. He’d take it out to bars in LA, and
when he’d get up to get a drink he’d leave it on the table. People The first factor to consider is realistically what your talent and
would pick up the fancy-looking book and ask who did the your budget allows you to do, ie can you justify using this method?
drawings. Now he does work for everyone down there, from “Come up with a few ideas for page counts, paper type and size,
Madonna to Metallica.” then get some estimates from different printers,” advises going-it-
alone expert Chuck Anderson. “From there, you’ll have an idea of
WHAT METHOD DO YOU USE TO GET YOUR WORK IN PRINT? what’s actually possible versus what might be a little far-fetched for
SELF-INITIATED PROJECT
Chuck Anderson (www.nopattern.com) has self-produced two
retrospectives of his work via conventional means: NoPattern:
The Work of Chuck Anderson and Wandering Off Into Space
I design the pages, let a few friends look it over for second your time and budget. Do your research – look at other artists’
opinions, then send it off the printers and wait. It’s pretty much as
simple as that. books. Do you want to do something that will be more of a
WHAT HAS YOUR EXPERIENCE BEEN OF PUBLISHING

BOOKS INDEPENDENTLY AS OPPOSED TO THROUGH A
SPECIFIC WEBSITE?
I’d say either route is great, but serve two very different purposes.
CASE STUDY:
Lulu and Blurb, for example, are really awesome services and great
if you’re on a budget. I’m excited they’re available for anybody to “The response from people has
use. However, you just don’t have the same total control as you
would going straight to a printer who performs custom jobs. been tremendous. People love
WHAT RECEPTION HAVE YOU HAD FOR YOUR BOOKS? books and always will. No
The response from people has been tremendous. I’ve sold a lot of
them. People love books and always will. No technology will ever technology will ever take that way”
take that way. Amazon’s Kindle is great for books you read, but art – Chuck Anderson
books will always be in printed form.
WHERE CAN PEOPLE BUY YOUR BOOKS? giveaway, something like 15 pages that are more for promotion
www.npandco.com – I could get them into stores, and I have in a and have your best work in it? Or do you want something that’s
few instances, but I really like having this as my one DIY operation
and doing it all on my own for now. Eventually, I’d love to do a big thicker and will have more value? Once you’ve got those things
book with a publisher that’s hardcover and has more bells and nailed down, just start experimenting and working.” The next step
whistles, but I can use these examples to get a foot in the door. is to send your work off to the printer, then agree a fee and delivery
HAVE YOU BEEN ABLE TO RECOUP YOUR COSTS? time. Once the stock is received, the next step is to get them
In short, yes. The first book I did cost about $2.50 a book and I sold online, in book shops, book review websites or digital art
them for $10. I had 2,000 printed up and it didn’t take that long to magazines, in libraries, in the mail to prospective clients and
make my money back. The second book cost more per book,
closer to $6 or $7 or so I sold them for $25. anywhere you will get noticed. “Give them away,” laughs Anderson.
“Send them to every client you’ve ever worked with.”
76
Advanced Photoshop

INDUSTRY Uni focus
The best digital art courses and student artwork from around the world
The Arts University College

of Bournemouth
BA (Hons) Animation
Production “I initi
is.
al ly th ou
drawing th orked on the painting

then slowly
w
olour when
ts un
SYRICEL: I started adding the fla another layer above”
on
I was
ght of multic der the sketch laye
r,
B
stodio
© Rogie Cu
A (Hons) Animation Production is a course offering an
all-embracing syllabus, looking to simulate a
professional industry environment. This course explores
and delivers this subject in a broad and holistic way. Students
are encouraged to work in intense team-based situations,
which will offer experience in comprehensive professional
production processes. This course will interest artists looking to
thoroughly immerse themselves in digital design methods.
All campus projects are explored in the University College’s newly
refurbished animation studio, adding to the professional aura of this
Course degree course. Learning begins with the basics, and although a core
details interest in digital media is valuable, students will initially explore
The Arts University College of fundamental practices, such as animation through drawing skills.
Bournemouth
Tel: 01202 363228/363225 Projects later evolve into computer-based or stop-motion practices.
Web: www.aucb.ac.uk Year one of this degree delivers fundamental skills, parallel to
Course BA (Hons) Animation students developing those of an academic sort. Both are achieved
Production
via a series of workshops, seminars and lectures. Year two prompts
Duration Three years
Entry requirements students to evolve visual styles, formulating design ideas and visual
Minimum of five GCSE passes narratives. Second-year students are also encouraged to consider
(including English and Maths)
plus Foundation Diploma in Art
exchange programmes that provide opportunities for study in
and Design professional European and overseas studios. Year three immerses
students in team ethics, with them being asked to direct an
animation film or take on another key production role. This
Artist info
encourages commitment and collective responsibility, as well as a

high level of practical skill in the final major project.
This collaborative nature and logical progression of skills certainly
encouraged second-year student Rogie Custodio, who reveals: “I
strongly recommend the course. You need the strong will and
dedication in your working teams because it’s an intense course.
Rogie Custodio Animating is very time-consuming, but it’s always fun seeing the final
outcome. I could honestly say that I have noticed a huge difference
Personal portfolio site:
www.pokefreak.deviantart. in my initial work after joining this course. The first year of foundation
com drawing really evolves your observational drawing skills.”
Year on course:
Second year
Rogie Custodio chose to

study animation because the
more cartoons he saw, the
more inspired he became. He
has since learnt key
motivational skills to draw
every day, as he explains: “I
take a sketchbook wherever I
go, sketching memorable
things or locations. Not only
do you get to learn about
form in general, but you can
also interpret characters
through movement.”
78
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078-080_AVP_62_IndustryUni.indd 78 16/9/09 17:21:11

UNI FOCUS
“The major skill

I would say I
have learnt is
that I now have
more of an
understanding
in anatomical
forms. I can now
create character
designs easily”
Rogie Custodio
ELIKA: “This im
ag
some custom br e was a speed painting creat
ushes I made, ed with
effect. I limited giving it that ch
my colours to alky
added hints of monotones bu
blue to set the t then
© Rogie Custodio mood”
79
Advanced Photoshop

INDUSTRY Uni focus
The best digital art courses and student artwork from around the world
Course guide
© Rogie Custodio
Animation-based
courses
More of the best illustration animation courses

from a variety of educational levels
Games and BSc Animation Bachelor of Fda Animation

Animation WESTWOOD COLLEGE Applied Arts in LONDON COLLEGE OF
Foundation Year Tel 800 2812978
Web www.westwood.edu/programs/
Animation COMMUNICATION
Tel 0207 514 656
UNIVERSITY OF TEESIDE school-of-design/animation THE SHERIDAN INSTITUTE OF Web www.lcc.arts.ac.uk
Tel 01642 342639 About the course TECHNOLOGY AND ADVANCED About the course
This recommendable animation course LEARNING If you are looking for a course that
Web www.tees.ac.uk
– endorsed by numerous design Tel 519-763-4725 covers a broad base of basics, then this
About the course Web www1.sheridaninstitute.ca is it. Students are introduced to an
portals, including leading resource
The University of Teeside provides a intensive two years of projects that go
www.animationarena.com – looks to About the course
Foundation Year Games and from fundamental drawing techniques
open a world of possibilities in the The Sheridan Institute is one of the
Animation course. This is intended to to advanced digital-based solutions.
commercial arena through its versatile most revered animation schools in the
prepare animation enthusiasts for an This foundation course holds some
syllabus. The course allows students to world. Its BAAA degree has
advanced degree programme. benefits associated with higher-
focus on disciplines including digital transformed previous courses, now
The course is split across five education courses, enabling students
illustration, 3D modelling, 2D including elements of the computer
modules in total, including a main to indulge in exciting and important
animation, advanced digital effects and animation graduate certificate.
foundation project. This enables work-based learning centered on
image editing. The syllabus includes the
students to work to an agreed design outside work attachments. The College
The course looks to get students’ opportunity to explore traditional and
brief. All issues that arise are explored was also designated a Screen
working practice up to an impressive contemporary animation approaches.
in the drawing studio, through related Academy in 2006 by the UK Film
industry standard from the start, Students will work in production teams
tasks and problem-based workshops. Council and Skill set. This means that
encouraging students to manage an as well as personally animate a one-
Students are introduced to drawing as students can highly benefit from the
animation project from conceptual minute animation film as part of the
well as digital skills, and taught to schools networking system with
stage to the final product presentation. senior project. A 14-week work term
understand the basic tools and practising directors, producers and
It also promotes projects that will allow sets this degree programme apart from
techniques of digital art using a range technical experts.
students to evolve their life-drawing others, giving students hands-on
of graphics software, letting students However, the standards set on the
skills and related rendering techniques. experience in an environment related
express ideas and describe objects. course are high and the opportunity
Project management skills are also to their field of study. This is a blessing
This course may be taken as a for progression to BA Honours
promoted by making students for opportunists, considering recent
preliminary year, leading into several Animation is dependent on you
determine client objectives, working graduates have progressed onto
specific further education achieving a Merit classification and
both within a deadline and within a industry projects such as Terminator 3
programmes. These include BA (Hons) completing a short bridging unit.
team environment. and Jurassic Park.
Computer Character Animation,
Computer Games Animation and Duration Three years Duration Four years plus one senior- Duration Two years
Computer Games Art. Entry requirements level Visual Arts credit at the M or Entry requirements
Duration One year Entry requirements: High-school Open Level 1 A-level plus 5 GCSEs (A-C),
diploma or GED Entry requirements or equivalent
Entry requirements
60-100 tariff points English, Grade 12 (ENG4U)
80
Advanced Photoshop

INDUSTRY Career focus
Get the job you want with tailored advice from industry insiders
So you want to be a…
Videogame designer
If you love videogames and like the idea of making your
own for a living, then read on
Introducing
V
ideogames are a serious business. Aside from What about a portfolio?
the experts being a billion-pound industry, their quest for
realism means that they are becoming more and
How easy is it to put together a
portfolio? Any tips?
Shay Casey
Shay is a creative director and more respected as a channel to communicate important Shay Casey: It’s really easy – just design
games designer for H.grenade. He messages to the audience. There’s no doubt that being a games! All good videogame designs are
has worked in videogame design
for five years on titles including videogame designer would be a dream job to many. based on the same principles that make
Silent Hill and for companies like Seeing your ideas come alive on the screen is definitely any game fun: balance, risk vs reward, a
2K Games.
www.hgrenade.com
rewarding. However, in order to be truly successful at this steady learning curve, exciting dynamic
Tom Sloper profession, you’ll need to have more skills than just being events, etc. You don’t need anything
Tom boasts over 25 years in the able to play videogames – although that’s definitely a good special to start. You can create a game
design and production of what he
calls ‘electronic entertainment’.
start! We chatted with three people who each possess very with blank 3 x 5 cards, or a broken pencil, a
He now works freelance as a varied backgrounds in videogame. Read on to find out their coin and Sellotape. There are no limits. A
consultant videogame designer/ top tips for a job in videogame design. portfolio for a game designer is really just a
producer and as an instructor in
videogame subjects at the collection of the best games that you have
University of Southern California. Have I got the skills? made; games that are fun to play.
www.sloperama.com
I love playing videogames, but what other qualities
Brenda Brathwaite
Brenda is a game designer and should I possess? What’s the best way to get work
tutor. She’s worked with games for Shay Casey: Communication and vision are the real keys. experience?
27 years on titles such as Wizardry
and Jagged Alliance. You have to be able to not only show and describe what it I’d like to gain some knowledge in the field.
www.brendabrathwaite.com is that you want to achieve, but you have to be able to sell How should I go about that?
it. You have to be able to get people excited about your Shay Casey: Mod teams are one of the best
ideas regardless of who they are – team members, places to get started, assuming that you pick
investors or publishers. In any scenario, your ideas on the right project. My first real game project
paper will only end up as great software if other people was with an amazing team of guys working on
really believe in them. Strong writing skills are essential, a full conversion Half-Life 2 mod called Nuclear
but being able to illustrate your concepts is even better. Dawn. We were just doing it for free because we believed
In my opinion, the real ninja master skill is being able to in the project. That and the concept art was really
create prototypes of your concepts. A game demo is way amazing. Everyone on Nuclear Dawn ended up working
What else more effective than a Word document with some pretty somewhere in the industry within a year. It was an
could I learn pictures. Unity or Flash are both great tools to nail down amazing learning experience, since the team structure
to boost my the details as you are writing the documentation. was a lot like a typical development studio. I had the
opportunity to become familiar with a lot of industry-
chances of specific terminology and learn how the artwork pipeline,
getting a job? documentation, engine programming, character
modelling and rigging, level design, etc, were all handled
and see at first hand the problems as they came up and
what the team did to solve them. Getting paid would just
“I strongly recommend have been an added bonus!
learning to program. Tom Sloper: It’s tricky because the game industry has
Nowadays, knowing very few entry-level positions for junior game designers.
Flash or some code is Level design and quality assurance (QA) are probably the
nearly required for two best entry pathways for aspiring game designers.
designers hoping to get
their foot in the door”
What’s the pay like?
Brenda Brathwaite Any idea of the sort of salary I can expect?
Game designer Tom Sloper: According to the latest 2008 figures from
Freelance/Savannah WIZARDRY 8: Brenda Brathwaite worked on the Wizardry series since the Game Developer magazine’s annual Salary Survey, a
age of 16. She was involved with the world, level, narrative and system design
College of Art and for Wizardry 8 game designer with under three years’ experience in the
Design © 2001 Sirtech Software, Inc industry earns an average of $44,000. Since that’s an
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CA R EER FOCUS
Industry insight
Brenda Brathwaite
Game designer, game
consultant and
college tutor
Freelance and
Savannah College of
Art and Design
“I have been making games for as long as I can
remember. My first game was a level made out of Lego
when I was about six years old. I started working for Sir-
Tech Software when I was 15 on the Wizardry series,
and made the decision to stay with Sir-Tech against
joining IBM in 1989 when I finished college.
So, I basically got started playing videogames. It’s my
SAVIOR OF THE BROKEN: job to memorise them and then when people call
Casey’s skills in illustration wondering how to kill the wizard on the tenth level, I
are transferable to
game design, giving his tell them how. Gradually, I took on bigger and bigger
interactive projects added jobs. I worked with the designers on little tasks, finding
style as a result items, tweaking missions, doing some writing, editing
© Shay Casey
systems, figuring out maths stuff, until I got in a design
role, too. Ultimately, when I left Sir-Tech in 2001 I was
NUCLEAR DAWN: This
first-person shooter is
working on the world, level, narrative and system
based on the Half-Life 2 design of Wizardry and, to a lesser extent, writing in the
engine from Valve. Casey Jagged Alliance series. The key here is to look up, get
worked on the user
interface and produced the trust of your team-mates and powers that be, and
concept art for the grow. Games are dynamic, and if you want to be
weapons and something in this medium then you need to be
environments
© Shay Casey dynamic, too. From Sir-Tech, I went to Atari for a few
years, then to Cyberlore and finally to freelance and a
gig teaching game design at the Savannah College of
Art and Design. I am presently working on a series of
nondigital art games that explore difficult topics.”
How can I enhance my work or ensure a

project of mine progresses?
average, your mileage could vary – especially if your
experience is far below three years.
Shay Casey “Talk to everyone that you can in the game development industry
Creative director because a game designer needs to understand the artwork, the
and game designer technology, the story and characters as well as basic game
{
Any other advice? H.grenade mechanics. Every project has its own trials and successes”
Do you have any other useful tips?
Shay Casey: Start small and do everything yourself –
art, UI, programming, marketing, branding and so on, Want to know more?
then find a big team to work with. Or vice versa, the Here are some additional resources that may
order doesn’t matter. Identify the parts of the process prove useful to you
that are the same and the parts that are different. Inspirational websites
Figure out how each process could really help inform www.skillset.org/games; www.gamesrecruit.co.uk
the other and make them more efficient. Also, play a Essential training
lot of games and make as many as you can. TIGA Diploma in Game Design
Tom Sloper: Major in whatever interests you. Take Cost: TBC Location: Home (distance learning)
WHAT OTHER
courses in all kinds of subjects, because a videogame SOFTWARE Website: www.train2game.com
essentially creates worlds. You need to know PACKAGES WILL BA (Hons) Game Design and Production
I BE USING? Management
everything about how worlds work. Also, work in a As Brathwaite recommends, Cost: £1,820 Location: Abertay University
collaboration on indie games and take whatever game learning how to program
would definitely be beneficial Website: www.abertay.ac.uk
job you can get. to any wannabe game
designers out there. So if you
Must-have resources
Brenda Brathwaite: Play games every single day and
know how to use Flash or the Inside Game Design
collect game mechanics. Grok the games that must be programming language C++, Author: Iain Simons Publisher: Laurence King
grokked to understand why players got as deep into you’ll definitely be off to a Price: £12.97 Website: www.amazon.co.uk
good start. A popular
them as they did (Civilization, World of Warcraft, Doom multiplatform game- The Art Of Game Design
and so on). You simply must have a head full of game development tool is Unity, Author: Jesse Schell Publisher: Morgan Kaufmann
information to draw upon, the same way that artists in
which Casey tells us he uses. Price: £33.24 Website: www.amazon.co.uk
You’ll also be using MS Office
other mediums do. tools, such as Excel and Word.
83
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resources
Anime Studio Debut 6

Take the plunge into animation with the latest
offering from Smith Micro
Manufacturer: Smith Micro
Web: www.smithmicro.com
Price: $49.99/£29.99
Req: Windows XP, Vista; 500MHz Intel
Pentium or equivalent
Mac OS X 10.4 or higher
(Universal Binary), PowerPC G4/
G5 processor 500MHz or above
250MB free hard drive space
256MB RAM
1,024 x 768 resolution
16-bit colour display
CD-ROM drive (for physical
version of application)
C omputer animation can be a bit of a

daunting area to get started in. Not only
has there been a remarkably high standard out
there ever since Woody and Buzz first hit the
cinema back in 1995 with Toy Story (was it really
that long ago?), but anyone who has ever
opened Adobe Flash can tell you it’s not the most
intuitive program to cut your animating teeth on.
Fortunately, Smith Micro has an option for all of
INTERFACE: Anime Studio Debut 6's
you would-be animators. interface is easy to pick up and avoids the
Anime Studio Debut 6 is an affordable entry- trap of being too technical. Ultimately, this
program is ideal for beginners
level animation program for beginners. Upon
opening the software, you’re offered a useful
tutorial that gently guides you into the general
options Anime Studio can offer you. The tutorial
The layout is clean and will be comfortingly
familiar to Photoshop users; almost everything is “Anime Studio
is short, efficient and wastes no time introducing in the same place, with the toolbox on the left has an easy-to-
use bone-rigging
you to the basics, getting you to the point where and layers on the right. The only real difference is
you’ll feel comfortable to start experimenting on the animation timeline, which is nestled out of
your own. the way on the bottom of the screen. Even the
icons themselves echo our favourite pixel-
system that lets
pushing app; things like the Paintbucket, Text you define the
tool and Shape tools are all there, making it
easier to learn the new symbols quickly.
areas of your
Animating is surprisingly intuitive, especially image that you’d
with a graphics tablet. Drawing shapes is a
painless task, with the option of adding
like to move”
additional editing points at any stage of your
drawing. Of course, you also have the option of straightforward; a little bit of pointing and
scanning in your artwork, but it really is easiest to clicking gives you a fully working skeleton that
work directly into the program. Everything is can be easily manipulated with a single tool. You
vector based so you won’t have to worry about can also control how much influence each bone
artwork scaling causing a drop-off in quality. has on the next one; for example, you can edit
Drawing on multiple layers allows you to the area of influence so that when you move a
approach the elements of your animation one at character’s foot it will drag the entire leg with it,
a time, so everything is easy to manage and you but the head can move independently of the rest
won’t end up accidentally ruining the previous of the body. Things like this take a lot of pain out
elements you’ve drawn. of animating. You won’t have to laboriously
Anime Studio has an easy-to-use bone- render any additional elements for your
rigging system that lets you define the areas of characters, as Anime Studio will generate all of
THE BOX: An easy introduction to the your image that you’d like to move. Giving the in-between art for you from your existing
world of animation characters their skeleton is surprisingly picture; you just need to select the relevant point
84
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resources
MEET FRANK:
During the course of
the introductory
Animation showcase
tutorial, you’ll learn See what other professionals
to animate Frank.
No, we have no idea
have made with Anime Studio
what he is either…
Curious to see what sort of animation you
could achieve if you mastered the Debut
version and worked up to Anime Studio
Pro 6? If you check the Gallery link
from the Smith Micro website
(http://my.smithmicro.com/mac/anime),
you will see not only some video tutorials
but a whole set of examples where
people have used Anime Studio for
professional projects. We recommend
checking out the link for the very funky
music video Soundtracks and Comebacks
featuring a fish-turned-DJ for the music
group Goldfish, whose video was
animated by South African artist Mike
Scott (www.bruandboegie.co.za) – but be
warned, it’s a severely catchy song that will
probably be stuck in your head for the
best part of a week!
The animations from Anime Studio Pro
6 are of a slightly higher quality than can
be achieved by the Debut version of
Anime Studio because the Pro version
gives you a few more versatile options,
while it can also handle more complex
tasks and lengthier animations, but they
will give you a good idea of the style of
animation that you can make with both
versions if you practise with them and
GOOD BONE STRUCTURE: Just a few clicks and DOES WHATEVER A SPIDER CAN: Push and pull help you to see if this software is what
drags of the mouse and we added a working skeleton his limbs on a later frame, and Anime Studio
structure to this little fella automatically fills in the transition stages for you you’re looking for.
in the timeline and move your character’s body remake the Lord of the Rings trilogy if you’re just
parts into place. starting out, so that’s not a major factor.
If you’re not interested in the art side of things The cost is a good few hundred pounds
but still want to make animations, then you’re in cheaper than Adobe Flash CS4 (and dare we say
luck. There’s an extensive library of ready-to-use it, Anime Studio 6 is a lot more stable than CS4,
content, including fully rigged anime-style which still feels like it was rushed to be included
characters and sound effects so you can jump with the CS4 suite) and the learning curve is nice
straight to the action. As soon as you are done, and gentle thanks to the start-up guide’s tutorial.
you can upload your animations directly to The interface and functions of Anime Studio 6
YouTube from within Anime Studio so you can are very intuitive and you will be using it
share your work in minutes. Anime Studio Debut confidently in no time. People with animation
6 also supports SWF Flash files, AVI and MOV experience who are after a more finished quality
movie files. that they can show off will most likely get a bit
JUST MAKE SURE THE BOSS DOESN’T
So, any downsides? Although this is a very frustrated by the limited options Anime Studio CATCH YOU: Smith Micro host links to numerous
good place to start learning, the level of Debut 6 has to offer and would be advised to examples of Anime Studio animations, but don’t
blame us if you’re still humming to Soundtracks
animation you’ll be producing won’t exactly be look towards Anime Studio Pro 6. 5 and Comebacks next month!
giving the guys at Pixar a run for their money;
the appearance of the bone-rigging animation
does give away that you haven’t done all of the
“As soon as you
hard work for yourself. The way some of the are done, you SUMMARY: Great for newcomers to
animation because of an easy learning
animation is stretched or squashed to match the
bones doesn’t always appear natural and you’re
can upload your curve, controls designed to feel familiar and
limited to a flat-perspective fixed view, but you animations directly a very reasonable price. It’s closer to South
Park than Pixar, so experienced animators
could definitely contend with the guys at South
to YouTube from
7/10
may want to look elsewhere.
Park. The animations will only run up to two
minutes, but you’re probably not setting out to Anime Studio”
85
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resources
Poser 8
The latest version of this 3D character modelling software is a great resource for Photoshop portraitists
Manufacturer: Smith Micro
Web: www.smithmicro.com
Price: £189.99/$249.99
Req: Windows XP/Vista
Mac OS X
DVD-ROM drive
512MB RAM
OpenGL-enabled graphics card
or chipset
2GB free disk space
1,024 x 768 screen resolution
24-bit colour display
Internet Explorer 7 or Firefox
equivalent for content add-ons
P oser is traditionally thought of as 3D

animation and rendering software, but
for advanced Photoshop users it packs much
more of a punch. The trend for rendered
portraits as opposed to digitally painted ones has
made it a part of the workflow of many digital
portraitists, particularly those whose
requirements can’t be filled by either stock
photos or shooting their own references. Whether
you’re creating concept art for a 3D film or game MORE CONTROL OVER POSING: Accurately
or whether you want to create a figure that’s manipulate a range of models, including eight
completely new figures
more otherworldly than a standard human
model, then Poser is an excellent resource. process unfortunately hasn’t changed from the
The latest iteration of the software is Poser 8 last version. In digital downloads, they’re still
and this sports quite a few advantages over its separated into several files: the install client,
predecessors. Eight new figures are featured, weighing in at nearly 700MB, over a gigabyte of
including males and females that tick all the basic separate content specifically for Poser 8, and that
boxes for natural skin colour and physical build. amount again in legacy models from older
Asian models have suitably lidded eyes while versions of the software. There are also plenty of
Hispanic ones have a subtle skin tone to set them excellent Poser resources on www.
apart from darker and lighter shades. The way contentparadise.com for you to fritter away your
these figures are represented in the interface has SLEEK NEW INTERFACE: Finding your way around download limit on, and we found a great range
the software is simple
changed as well – they’re tighter, smoother and of models and scripts that allow users to create
we found them easier to manoeuvre. The which body part is under your control. Of realistic or cartoonish creatures and figures.
improved user interface means that we can grab course, it is still possible to bend these Smith Micro, the company behind Poser, is
an arm or leg and manipulate it more accurately, mannequins, as they’re now called, into well aware of its utility to digital artists. For
thanks to clear highlighting that shows exactly unrealistic contortions, but you run less risk of Photoshop users the primary focus is on lighting
doing it accidentally. Bodily creases and joints and texture, and these have been improved a
such as knees, elbows and so on have been great deal in Poser 8. Up to eight configurable
smoothed for ease of use, which also makes light sources can be utilised in order to
manipulation easier. Facial morph points are illuminate your model, while a wide range of
also more intuitive and easier to use. Despite the textures can be applied to a figure’s skin or the
program’s size, we found that it didn’t suffer material it’s wearing. 5
from the same memory overload and lag
problems as previous iterations, allowing us to SUMMARY: An excellent upgrade for
make minute changes to facial models in real- previous Poser users and an ideal entry point
time, such as tweaking the size of noses, altering for Photoshoppers who want to experiment
the expression around eyes and narrowing or with 3D manipulation and portraits or
widening chins and cheeks.
9/10
experiment with 3D animation.
EASIER FACIAL MANIPULATION: Morph points are To use Poser 8 to its full potential, you’ll need
now more intuitive to use in the new release all of its default content installed, and this
86
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resources
EIZO ColorEdge CG243W
LCD monitor
We uncover what EIZO’s latest ColorEdge LCD has to offer the creative
Manufacturer: EIZO
Web: www.eizo.co.uk SMOOTH PLAYBACK: The CG243W has a
Price: £1,399/$2,798 excluding VAT 6ms midtone response time especially for
and local taxes video editing and playback of moving
Specs: 1,920 x 1,200 native resolution images, making it a great option for
multimedia designers
850:1 contrast ratio
DUE (Digital Uniformity
Equalizer) functionality
Supplied monitor hood and
cleaning equipment
Five-year warranty
I t’s not so much an issue of size, but more

about technology. EIZO has added to its
ColorEdge 24-inch series with the CG243W LCD
monitor, and this new model aims to cater for a
wider creative audience.
The company has improved the stabilisation
technology for brightness and colour quality in
its latest model, and also includes specific presets
for the optimum setup for moving images. EIZO
has given a lot of focus to make this monitor
ideal for multimedia designers.
Its 24.1-inch screen gleams off its plastic stand,
and the widescreen frame can be spun left and
right, slide up and down, and even pivot 90
degrees to edit in portrait mode. All of the
monitor’s function buttons are aligned along the
bottom of the screen, and never seen before on
EIZO monitors is a user interface that’s been
designed to show the command of each
physical button on screen, which is ideal if you’re standard, with a hand from the monitor’s 16-bit A common problem found with LCD monitors
working in low light. internal processor for this exact purpose. is an inconsistency with brightness and colour
The monitor comes with ColorNavigator, its The monitor has impressive colour and tonal intensity from corner to corner. Fortunately, the
own calibration software. This allows you to set depth, which is down to its native resolution of monitor comes with a DUE (Dual Uniformity
brightness, white point and gamma values, 1,920 x 1,200. Couple this with its 850:1 contrast Equalizer) function to improve performance
although a separate measurement device is ratio and colours truly bounce off the screen. across the entire surface of the screen. For digital
needed. Compatible brands of measurement Let’s not get carried away, however, as its price artists using every last inch of their monitor, this
devices include ColorMunki, Eye-One and tag isn’t easily swallowed. At £1,399/$2,798 this feature makes a noticeable difference.
DataColor. The ColorNavigator software would be a serious first-time buy, and only then The CG243W hits the middle ground on size
synchronises with the monitor’s 12-bit look-up for designers with deep pockets. and does it with superb results. We were
table for a fast calibration to achieve best results. The CG243W reproduces 98 per cent of the impressed with the monitor’s depth and
EIZO’s newest addition uses a 3D look-up table, Adobe colour space. That’s up from 96 per cent contrast, making it the ideal multimedia choice. If
making adjustments on a mixed-colour cubic on the previous model, the CG241W. The subtle you’re not dismayed by its price, we recommend
table rather than assessing RGB values on increase gives an advantage to photographers this ColorEdge screen for digital artists dealing
separate tables. This may sound complicated but shooting in Adobe RGB mode to reproduce with video streams to photo retouching. 5
means neutral greys are rendered to a high more of the colour spectrum on-screen.
SUMMARY: Not only is the CG243W aimed at
multimedia users with improved stabilisation
technology, but it’s ideal for image editing
with its resolution of 1,920 x 1,200. At 24.1
inches, the monitor dominates desk space.
ALL-ROUND ACCESSIBILITY: EIZO points its new model at not only graphic designers and photographers but
for artists using video-editing applications, too 9/10
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resources
Art of Making Marks

Wacom celebrates 25 years of excellence with this inspiring limited-edition resource
Author/Publisher: Ric Holland/IdN apparent the potential for your own artwork when using
Web: www.idnworld.com Wacom devices.
Price: $40 (approximately £25) The hardback book is littered with industry interviews,
About: Discover those who have significantly timelines and case studies from big hitters, such as VFX technical
contributed to Wacom development director Julian Tylney Taylor and Ken Lambert, creative director
Interviews with top industry techheads and at Ink Project. Each of these are presented in a question-and-
designers answer format, which offers an insight into the evolution of the
Eclectic mix of inspiring commercial styles artist or studio, and reveals how drawing tablet technology has
Advice and history from worldwide key contributed to their creative progress. There are also more
creatives, including John Derry and Russell
nostalgic case studies from industry techheads, such as Adobe
Brown
Systems worldwide creative director Russell Brown, who
W acom has been at the forefront of digital drawing

equipment for many years – 25 in total. In this time
the creative industry has eagerly adopted its technology, and Art
endorse or explain exactly how they have contributed to the
Wacom revolution.
Artists can take much from these resources, as they not only Hear from the best: This title presents
some of the world’s foremost design pioneers
of Making Marks is a limited edition title that catalogues its share interesting secrets but also educate you in what to expect and innovators who use Wacom’s digital
progress. Essentially, this editorial resource celebrates the in the commercial arena. This makes Art of Making Marks a highly drawing devices
adaptive and creative nature of the Wacom input device and its enlightening read as well as an aesthetic feast. Each case study
wider range of application uses. comes equipped with detailed, coloured thumbnails of project Summary: A mixed bag of commercial
Digital painters, photo retouchers, graphic designers, workflows and individual art pieces. This title also presents a creative culture and aesthetic delights.
illustrators and 3D artists will all find this book at least Wacom Showcase section. In here, the latest generation of Wacom has come a very long way and
fascinating, if not encouraging. Art of Making Marks serves up an graphics tablet users present their influential design. We found this limited-edition title reveals how it has
impressive mix of styles from top commercial artists, all that Jeff Wong (www.jeffwong.com) and Hui Tian (www. carried artists along with it. Interesting
producing their design with a little help from drawing tablet huitianart.com) were particularly impressive. and truly inspiring.
technology. The works presented are a real tour de force of
commercial design, which not only inspire but also make
Get your copy with free shipping discount for a limited time
from http://idnworld.com/discounts/wacom/. 5 8/10
Big Book of Contemporary Illustration

Indulge in artistic impression hand over fist with this rewarding creative title
Authors/Publisher: Martin Dawber/Anova Books Both traditional and digital styles cohabit the book’s pages.
Web: www.anovabooks.com Textiles, pencil, pen and ink, vector and pixel, mixed media and
Price: £20/$29.95 digital paint are some of the mediums applied and represented.
About: Authored by Martin Dawber, principle Every working example is as unique as the next, which gives the
lecturer in fashion at Liverpool John title a rich aesthetic approach and creates visual interest on each
Moores University page without creative bias.
Over 1,000 illustration examples from 400 Although the Big Book of Contemporary Illustration offers up a
commercial artists
veritable mountain of artwork, it’s all easily digestible for any
Covers a range of core traditional and
level of reader. This title spreads its illustration across themed
digital media
chapters. These include Built Environment, Natural World, Comic,
Eight jam-packed themed creative
Graphic, Technical and Documentary, Lifestyle, Travel and
chapters
Imaginary. We were particularly fond in the Advanced Explore artists: If you are particularly fond
W hen you hear the title of this book, your mind runs Photoshop office of the Technical and Documentary section, of an artist’s imagery, why not divulge in more of
their design? The Big Book of Contemporary
wild with possibilities. The promise of over 1,000 especially the designs of Niklas Lundberg (www.diftype.com), Illustration presents an artist index, including
pieces of art from 400 global artists started us salivating at the Chris Padilla (www.coroflot.com) and Marina Durante (www. email and web addresses
potential creativity at hand. However, once you lay eyes on the duranteillustrations.it).
book’s cover you’d be forgiven in thinking that promises are All of the styles on display inspire across a range of projects, Summary: A wholly inspirational
about to be sorely broken. including web, editorial, comic, architectural, apparel and resource that’s extremely impressive
This title doesn’t make the best first impression, but then advertising design. This is certainly a great resource for those through its diverse styles and mediums.
again looks can be deceiving. Yes, the cover is bland; yes, the creatives in higher education, and will also accommodate This title demonstrates the possibilities
graphical layout of the contents and chapter intro pages are freelancers and design studios looking for inspiration for that big you may never have imagined with an
elementary at best; and yes, this can make you slightly project or personal work. The sheer breadth of design also illustrative approach.
apprehensive. But when this title gets rolling with the presented
imagery, it’s absolutely stunning.
reinforces that illustration is still an extremely commercially
viable styles. 5
8/10
88
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but this was removed and replaced with an AK-47. I
Readers’
really enjoyed working on the composition of this image,

the way it flows. I had a browse on Google and found
some interesting gun-related quotes; I then added these
as a final touch”
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090-094_AVP_62_ReadersGallery.in90 90 16/9/09 17:32:47

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sur crea igh
rou te a .
nd
ing
Tom Starley
WEB: www.tkstarley.co.uk; www.
advancedphotoshop.co.uk/user/tomstarley
“I’m 24 and from Stratford in Warwickshire.

I’m self-employed and have been for the last
four years. I started off designing websites
for local businesses and have since started
the transition from website to graphic design.
Art has always been my thing; I’ve always
loved mixing creative thinking with modern
technology. I’m relatively new to Photoshop
(as previously I used Fireworks), but since
I began working with it eight months ago I
haven’t looked back! I find this magazine a
great source of inspiration and it’s where a
lot of my ideas spring from. As soon as I get
an idea, I write it down on my Mac or iPhone
and sync everything. That way, I’ve always
got something up my sleeve for a rainy
day. I love mixing other people’s styles and
amalgamating them together. Sometimes
this doesn’t work, but it’s fun to push the
boundaries with shapes and composition.”
91
Advanced Photoshop

Readers’ gallery Momentum: “This is a piece that was inspired by
some funky and futuristic artwork showing a woman who
appears to be disintegrating while flying through a
combination of clouds and geometric shapes. I wanted to
convey motion, velocity and speed in a way that is unique
and aesthetically pleasing at the same time”
Er
We ic
ww Va
b: w
“M
wo y p o
.er
ic s
vas qu
s
c o ig n
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d e r k . I ’ t fo l i o
a s ha s
qu
ez.
ne ez
t; w
nn s a t u e ww
pu ec re de v ol .be
g r s h t h t s t h a l r e nt of v e d ha
“My mantra? Always ap
b e h ic e n e e t ad
r ad y w r t , a e r a o v
nce
.ne
a v el it i el r t he t/e
d d c
push the envelope. co
ag
e o e s i g e s i g o p e o n a l l k no h i t e c y e a
n .
vas
qu
ez8
mp f f ive ner, m i x My w w it h w n t u re r s i n
My work? An em
of
my s i no
g
, I w a
a p h o
e d w rk o
?
t h e n
fo r
t h e
a n d d
t o a r e
4
f a m s t o i t A o i r i s
intriguing mixture de e r g i m i l y u s i a l r e g r a h ne n i n nt r ad u n i g i t a l p e c
a p w
t he s i g n ng y , I pu c on d y d he r - e r a r i g u it ion ue s me d e d s
t q t
of old-school e o ,
c o U S , r w i u ng r s ue m y h r a w a n i d i g ng m a l . M t y le , i a , a e t of
l t i l
i
n
e n l a b o I l o v h o n de s d m y o me ng a lu s t r i t a l m i x t u y m a o ne d m
graphic design cu d e r a t
em e
o
ig n c a c o n
r re avou ive i y da f t he er s i l l i ng mpu pa i n r a n ia . I of ol r a? A t
d a t o e d r e n t t h a y
d d
mixed with new-era nt l r s . n i t i y j
yl o f a n th a n
iv i My p at ive b bu stest e Un d to . Wit g. By mus pro hoo y s
t e r t in a a m - sc l w a
ng as s w t a -gr da h t ic i u d l
digital media” in s l o i t e d
Mi ion f it h o so p w i n Sta sta n e lov 15, n . By o
y h a g e a t
l fo o r t a g t d ea Iw
Eric Vasquez rd mu h e r a r t i c i p u b e s . C a s t he
,C p o nd a s
T.” sic i r t ists ate l ish i u r re ne o sup
sa a in ng nt l f p
s s nd fr c o y a t he or t
t ro a ee m t
n g v a r l a n c p a g r ap o p
a s ie t y e p n ie h ic
ev r s
e r. o f c o j e c i n
92 I a re a
m t iv
ts,
Advanced Photoshop e

Fi
pro re:
j “
hav ect th This w
a a
onl ing vie t I fel s ano
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ele wan som ired self
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d r i r o d e
this and us s and some igital after
Amylea
i o e
is t ma tock , aft thin wor
he nip p e r g w k
Zulhilmi
res h
ult ulated otos search ith
tha tha i
t I c Ph t w ng
i n
am oto ere
e u sho Web: www.advancedphotoshop.co.uk/
p w p,
ith!
” user/amylea
“I’m 14 years old. I was born in

Brunei but am currently studying
in the UK. I discovered Photoshop
in May 2009 and it has captured
my interest ever since. During my
free time, I search for inspiration
on the internet and then I’ll let my
imagination spark in Photoshop.
I’m hoping to study Graphic
Design at university when I’m old
enough. It’s also my goal to work
as a graphic designer but, for now,
I still need to improve my skills.”
ided to keep
boy: “I dec ink
Pret ty ce simple. There are er. p
this pie on the pa
nd writing into
blotches a k. He is dissolving m
The man
is in
t th e m a n fro
irls. I go RT”
ink and sw Stock on deviantA
Katanaz-
Colourful Soul: “This is an Gartland Inspired: “This is

experimental, self-initiated piece that I one of my very first pieces! I wanted it to
created using a variety of lighting effects, look vibrant and happy so I chose bright
blending modes and custom brushes. I purple for the main colour so that the
wanted to do something fun, expressive girl stood out. I got the girl from Model-
and colourful, while still being able to ARIA--STOCK from deviantART”
venture into a new style”
93
Advanced Photoshop

Readers’ gallery
What you can win…

Each month, one of
GOOD VS EVIL: “Good vs Evil was produced for the the featured artists is
fourth exhibition of DigitalFlow.org. Normally, good would selected as Best in Show.
be represented with white and bad would be black, but as an
artist who loves working with colours, I had to make my work This artist will win a
ultivate
UR THIRST: “Cthe Coca- and concept stand out and be different” fantastic prize**. This
CULTIVATE YO
piece de dicated to month, the lucky winner
Your Thirst is a of the most we
ll-
ca-Cola is one will receive a year’s
Cola bottle. Co s in th e wo rld. I simply
known soft drink an art piece with the
decided one da
y to make
bottle, and that
’s what I came
up with” Kofi Ansah subscription to Advanced
Photoshop magazine.
WEB: http://degodson.com That’s 13 issues of this
title delivered to your
“I am a 20-year-old self-taught digital artist, originally
born in Ghana but brought up in Milan, Italy. I always
door each month.
had an interest in art from the age of 12 and started
designing using Photoshop at the age of 18 during a
gap year from university. Two years on, I’ve developed
myself and adapted a personal style that makes me
stand out from the crowd. I started off doing large
image manipulation pieces, then my work has recently
H
RT *
developed into being mainly abstract or conceptual
O
8
digital/vector works, created fully in Photoshop. Most
of the time my work is recognised, appreciated for
the colours I use and the concept
finished my two-year Digital Media

behind them.“I I’ve
THE MOVEMENT:
been living in the UK for the past six or seven
exploring
course
hippy era
am
years. I
the American
in 2007
as the subject for a and
W
£7
series of3D
I am currently at university studying pieces that displayat
Animation
Ravensbourne College of Design and
my understanding of that
Communication, • One year’s
particular movement”
based in Chiselhurst, Kent. I’m also the founder of worth - 13 issues
international art group DigitalFlow.org (http://digitalflow. - of Advanced
org/), which was established a year ago with two other
friends. Our aim mainly exists to produce astonishing
Photoshop
artwork with the artists we have on our team.”
• Delivered directly
LOVE AR to your door
T: “I love ar
bythe ‘I Love t and was in
N sp
time are pr Y’ logo, which most ired
was a desi in te d on white of the
T-shirts. Th
• Get it before it
gn piece to
prove my
lo
enthusiasm ve and
is hits the shops
for art”
• Worth £78*
Terms and conditions
By submitting images to Advanced
Photoshop’s Readers’ Gallery, you hereby
grant Imagine Publishing and, if relevant,
clients to whom the relevant work has
been provided, an irrevocable, perpetual,
royalty-free licence to use such intellectual
property in relation to work similar or
equivalent to the work. This includes the
right to showcase work on multimedia
formats. By submitting work, you also
confirm that your images do not infringe
any copyright regulations should they
be published.
94 * Based on UK cover price of £5.99 an issue

Advanced Photoshop **Prizes change frequently

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36 HIGH-QUALITY

Add a dynamic edge to your artwork

collection, collage skills and painting techniques

LIQUIFY EFFECTS PUBLISH YOUR OWN ART BOOK

001_AVP_62_CoverWeek3.indd 6 14/9/09 18:10:40

003_AVP_62_CoverImage.indd 3 16/9/09 15:19:00

of photos and no idea what to do Advertising

with them all. Commercial Director Ross Webster

images a new lease of light. Each of our Workshops takes

photos as a starting point and, from there, builds them

di tra cus ish

into a Photoshop masterpiece with very different

simple collage and painting techniques? Turn Cover disc

Interactive Media Manager Lee Groombridge

to do with your finished artwork? Well, one option is to

☎ +44 (0) 1202 586401

direction that many young artists are choosing to take. We

Subscriptions Manager Lucy Nash

have a big feature dedicated to this, from how to get

Our dedicated Industry section, starting on

☎ UK: 0844 848 8402

your own art book. Whether you want a

13-issue subscription (UK) – £62.30

13-issue subscription (Europe) – £70

or a way to make some extra cash, there is plenty of Circulation

Printing & Distribution

Printed by St Ives Plymouth Ltd, Eastern Wood Road, Langage

Industrial Estate, Plympton, Plymouth

advancedpshop@imagine-publishing.co.uk Distributed by Seymour Distribution, 2 East Poultry Avenue, London,

EC1A 9PT ☎ 0207 429 4000

Publishing Ltd. Nothing in this magazine may be reproduced in whole or part

magazine has endeavoured to ensure all information is correct at time of

Adobe Systems Incorporated in the United States and/or

The next issue of Advanced ISSN 1748-7277

Photoshop goes on sale 3 November 2009

s cr i Interview: Rolf Jenson 70

006-007_AVP_62_Contents.indd 6 16/9/09 15:34:25

INTERVIEW: JAMES WHITE 22 CUTTING-EDGE LIGHTING 36

MUSIC INDUSTRY DESIGN 28 BUILD FANTASY LANDSCAPES 44

SUBSCRIPTIONS 66 GET ON OUR COVER! 49

RESOURCES 84 CINEMATIC LIGHTING 50

READERS’ GALLERY 90 CREATIVE BOOK COVER ART 54

006-007_AVP_62_Contents.indd 7 16/9/09 15:34:46

008-010_AVP_62_News.indd 8 16/9/09 15:36:08

Hybrids: the next gen revealed

008-010_AVP_62_News.indd 9 16/9/09 15:36:44

Heidi O’Shea by providing student volunteers as his venture

Q: HOW MANY PEOPLE HAVE Last month, we reported on the

008-010_AVP_62_News.indd 10 16/9/09 15:37:47

014-015_AVP_62_Letters.indd 14 16/9/09 15:41:08

ICARIAN: Regular reader Tom Ciccone credits

014-015_AVP_62_Letters.indd 15 16/9/09 15:41:54

016_AVP_62_WebShowcase.indd 16 16/9/09 15:43:20

ATE users of an advanced level.

CRE EE • Upload your work and share it

T Get online and create your own gallery

“I have been a designer for around five

COMPARE GREAT ARTWORK FROM THE GALLERY: www.advancedphotoshop.co.uk/photoshopfaceoff

017_AVP_62_WebHouseAd.indd 17 16/9/09 15:44:55

“This image was inspired by an original photo.

FEATHERS IN THE CLOUDS

“My aim for this design was for it to be a modern, stylish

018-019_AVP_62_WebWinners.indd 18 16/9/09 17:11:27

“I like the atmosphere of a dawn,