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essential skills
from the masters r
of illustration
Photo manipulation
Typographic design
Stunning 3D
Vector illustration
Pixel art


rr yourcD isnistins. ptea.€ contutt your new*senr PRINTED IN ENGLAND

How to take projecGspecilic photos ard get . rearive wlth rhe latesr Pho.oshop plug ins..

72 {}ettLng photos
righi first iiine
Avoid tengihy phor o-d(' ng work by

plinning phoroshoois and qen nqrhe

photogaphs yourctient re6tty wants

92 F hoioshop pl.ug-lns
Arou d Lrpoftlvelve unusual
ptug ins. from fire and iur eflects ro
oLd fashioned JiLm sain Pie 7? c8r rhe rkhr pho6 ror th6 job

Seven masters oi iltusuaLior show you how trey crcaled some seminal works ol arr.
i"tt'' .'. ii r'ti-
12 Manlpulating 44 Bultding a
photos for pr'Lnt pixel art world
Co behind the sceres oflleWalcot Engine exptains the intricate and
SlLdio! recent Ted Eaker photoshoot lime{onsumng proce!! of c,eahng
6omet ( tertand obtects
20 Creating a
vector iLLustratLon 52 Understanding structure
Enterihe vector world ot Jon Bu€eman and composit[on
Magictorch teaches you th-" do\ and
don'rs of eye catching ittustraiion
28 Making a 3D scene
Studio Liddell combires naiu€l media
and Lego chaEcie6 to amusing eltuct
62 Working wtth images
for the Web
36 Usi.ng type as a pattern Cmig GEnnett shows you how he put
ldentilat desi$s a typog€phi%L logether his mages from lcetand' site
iltustration using origiml ietterlorms usnrq Dteanw%vq MX and GaLive Cs
Three Leedin! errislr sli.r-- rlieir iLLL,.rrrtio'i ,-!r)e, r6e

80,-,:.,:. , i
London b.sed team tatks abolt its exacting
stafdards and ils ptanned move to New vork

84 , .r .'
Dellicated Ca tifornian company specia lisi,rg
in cutting-edge broadcast and Webdesisf

gg -. |1.
Protilic U K ittush"ror whose earLy car trtuE
wo* is evident i i his commerc iat por tfolio


Vldeo Tutorials
(Avl iodnat, Equi.es WMP 7 watch ior a QuickTine version ner issue)
Ptus two more basic video turorials frcm Psxr.as io WMV lomar'funlq Sphere and'Layer Scating'

JTools Rash tools

Soltwar€ EEht FU LL nash toots from F{ashJo6tor
MOM STUDIO ([w] wwwjtashj€st€r.com) for u3e
COMPLETE {ch apptt.alton devetopment suite rroh MoM(windo$onty) with Ftash 5. Cfhey mlght work with
C@are screensveF, apptications pr4entatiorc and mor€!
nash MX too , but this is not offi.ciatty
supportod.) Ihoy roqui.rel
A tuttyJuncliona L, 30-day triat version of Adobes €nowd vecror packag€ Windows 95/98/MEINI-/2000,/XP
(demo lorMac OS X-lwindows)

lllustrator Ptug-ins
3DPOPART2.0byVoftlgo(demo.MacCtassic,/osX./Wind s)
3D TIGER by Etystum (d6mo. M.c Cla3sic,/Os X-lwind@s)
CADGATE by Applicraft (demo, Mac classic/Os X,/Wind !)
JToob ts a wholo guite ol user-dosirod
EPS Q(RACTOR by Galfix (lrcewarc, WindoM) add-ons for Macromedia tLash Proj€ctors.
F0LDUP byComnet(defro.Mac Cla$iclosVwindo6) Thoy gve you an €xtra sot ot opttons and
N UDGE PALEfiE by 6raiiix, CS compalibte (demo, Mac OS X,/Windos) capabiliti$
not nativety found Ln the
VECTOR STUDIO 2 by Virllat Mirror (demo. Mac Classic,/Os X./Windds)
Rash-authorirE environment. We hav6
soven on the CD, pLus Jqggtor 6etow)!

Photoshop Ptug-ans
C/alA EGht ptug-ins frcm Cybi6 (lEeware, Mac Cta*iclos X./Windou)
EtC HIONE by Andromeda (d.mo, Mac Clr$ic^Vindows)
HOT TEXT by Vertso 3D (demo, Mac Classic,/os /.,/Windo$)
PHOTOGIF by BoxTop SoftwaE (trcewarc. Ma. cla$ic,/Os X./Windo{s)
PROJ PEG by Boxlop Software (fruewar€, Mac ctassic,/Os X,/WindoB)
REDEyE PRO by Andromeda (demo. lvla. Cla*iclos Vwindos)

showreeLs fbm The Ronti(RobChiu)and yann catochtG
JugglDr G a toot for Enhaicii,g your Flrsh
Projoctors. lt is the ont toot that u$s ths
pbjoctor lil.
Tutorlals as the Flash ptay€r which aLtows

Source images supptied by MAGICTORCH for Seciion A Sttuctu€ & CompGition.

grear€r spo.d on prcjstor playback. h giv.s you
These are supptied so you can try out ourtuto.ial foryoucelt and not forany otner use. an arEy of options 10 cunomise yor proJ.ctoB
They are copyiight and not lor r€disnibution in any fom. Source imag6 arc not inctuded lorother and is setfrontain.d (thar i!, rhe nash ptayer is
tutor'€tlJ because they invotve commercial work subject to clientd cooydqlrs. buitt in). which noans you don t have to
distr'Lbute annhing else wiih your aDpLicaiion.


1 *,-

JAvienabLesyouto launch and play AVI video Rtes

inthE JAvicustom playeiTheadd-on givesyou
ma$ive conrrot overthe way you ditise your AVI Cutunir. ldu rroj.dor b dLct your ldv. drwtld
fiLesand is acc€ssibte byusingthe Fscommand
Exec and JAvi itsett lhe leatures inctude tooping,
ctosowheniinGhed. size of AVl, positior onscreen, JH.lpor b'{dg6 ln. $p!.ssr tL JI6L!s.nd $n 3ofsa6.
One ol the new leatures ii Ftash was that rt alLowed
orc imtance, ctoseatlJAvis plryine. sound onlofl.
J NETCHECK you to toad varilbLes lrom outside fites. lt did not
dEsging onlof l, toobarand controt bardGabti.g/
With this Jlool, you can check lo see if the lser is take Long untit tert fites were b€ingusedtoquickly
eiabting, and bordersize
online or nor by lsing one simpl€ coDmand. $is is updare Ftash files Using ASP FLaSh designeE havo
exrremety !5etu1. b*ao$ you cao then choose not created glestbooks, Ftash datsbases and much
J EMAIL torunacenaincomnand if rheuserisnronline-and more ftis invotved the inlormation being read
ThG is anextremelyeasywaytoensurethatyour you can mesese then to conned to the lniernet. lEh the ASP fites and rhen written ba.k to them.
projecloB inctude an emailaddress. JEMaitis o nce run. J Netcheck d isplays ihe connecliofl However,thccould only be accomptbhed ontiie
so versatlte that it works across aLl Windows sbtus (rue or False) in a rext lite {hich yoo can Jsaveattowsyouto save text entered into Ftashto
ptatlorhsand attFlashlites, untike Flash s native load inlo Flash asvariabl€s. a texr fiLe on the hard driv6. h saves user options,
atlows you to enrer detaits in Flashotftineand
enabtes you to insert yourname. lt witt remember
3uch data lortutu€ launchesofthe Ftash file.
JHELPOR Ihis Jloot enabl€s yoo ro.rcate Fbsn $reeo
JHetpor eradicates the need to use rexr tites to dumps.Ihe aiea you wish ro print can be
cFateyourextermLdataforuse inthe Jloot3 castonised. abwi.g yo! rhe opllon ol prinling the JSHAPOR
series.The easy-ro-use graphicat user interlace entire sc€en, jost a pan ol ii or individual images JShaporatlo$ you to cEate a custom-sizedand
provides a q!ickand simpte b{dge between user liom it.lhis selectior i. done using Jsetecroi a tooL cusrom-shaped projedorf ite.The onty thing youle
and a tunctionins piece ot sof tware. linited by is your imagination and creativily. @

Tako advanrageofthis sp€ciatupgrade ofturlrom RashJesterandtakoa15 p8rco

discount oll rh6 normal prico of the comptete Bundtel,
which giv€s you sven more tooLs to oxt€nd th€ capab(ittes of Ftash. these are lhe other faDtasiic JToots you tt g€t in Bundlel:
. Jstart. With Jstart, you can taunch any tlLe - AVl, PDF, doc, MP3, { Ff and many more - and it witt opan in the program tha{s been
specified for tha{ fite.

. JWeb. This Jlool is dssisned to op€n Web tinks from your Ftash tite, with the bro*ser window atways appearing on top of th€
projector fLts and notb€hind it.

. JMAPI. Creats mait-snabt€d appticarions and display rhem within the end usert em.it ctient in the projector llte. JMAPI is compalibte
with att major email ctients - Outlook, Outlook Exuess, btus Notes, Etdoraand I'letscape ,Iail.
. JMovie. Enabtes you to plry AVls as wett as MPEC fites, som€ Quickruno movies and hany others directty from your projector fites.
Ihis ctever cinematic teature G made possibt€ by Windovs Medra Ptayer Activex controts-

To lind further detaits and to order, visit: lwl http:/ tashjsstsr.com/index.htmt?$crion=ordertng*bundtes-bundtel.

To claim your discount, enter the fottowing coupon numbet shenuo'iipted, 24247222.
Walcot Studio in focus...

O Eanh Gl contrast, cotour and cuiouts

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.r ![. r]aa ri.. df !\ ng rre tre( mdde s ..ntnu ly ol.! ourihrouBtrotrr Ltr! who.
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diff.r.rtangle! Thr reantwervo!d snral.rxthry rer.hed ci,tl' neted ? m.del!. buLlr. de. ded aga Ettrs

Fart {: Merying the figures into the backgound
Prepare the background, retouch the clothes, position the figures
and smooth the edges...

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Fart 2: Focussing on the face
Use layers and the Lasso tool to pedect the model's face...


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$sa* *: Finishing touches
Make some adjustments to the moon, hair and shoe. Then add a company logo .

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Creating a
Vector illustrations can be coloured, transformed and
,il, .l modi{led with relative ease. Jon Burgerman explains
how he created a poster image for Don't Panic...
f,;ftr ll' onr Prnrc i5a fredG.lhtiburion r Lighrhpa,tcd ind3Lmosrentlre yvrcuoue
ccmDJiyJndp landdc:isn
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: n-dw r-r:I r r6te3sed aroundt.pniihlspols. l)3ughip, (a mir hptween $teMossand
a;rs 3Rd untve sitieriitlreLl( Prvi.0s Stepher l lawl\Lnn aid the Ioureft e. Bonoho
..siertininar:e., r.L!i1," Dr P3rsons. &ku. the humouroilhe Dielr," obyiously had to be
F!t! Fr'1LeL NeLi^1.Fariand. Shrn and &nkgy erl,".len nrheimac,"s :ndrhewhol-"thinc
lrea, .l.otritr!.vertii.e01 Donl PrnLr 1. had robe,pp.alinse,'ou:qI lorsdnreorc to
2:l :net.poduce some an!orklor tlrem. wanlro[an!iLupoilhe(watt
lhet€n Serd Lirrreatoneiivhichyol lcroseto.orv-" imy usuatdrawinlis fl.
dan sgei:furioverihe pe!elwar w'illen by v,adorobjp.brorrherobloaid wo,khswilh
Ca:rMrs.iea,dilt l-rboy Pinp3 hrshaholnE oiiLtustaied eteme rsa t
.hilc'lio.ie afi h3 begLnnir€ olthelob The enabte nrclo nrake ohanges guickty lhe
a{J:iislexrrooilhe jdrm ole newsrepon limef r2m€ lDr.ompteiion wa5 abo!l f ive
aiodre.€qrad!3nc.Feds Ln.Lotring Vr'e weekt whichwasihen.ulrosirdaysabout
*.8 tun 3.nrnj,g rhe p.reilial ol Ltoni.g in
Th r.harad8w:3 r-Aared n rh.
\'nr. shelh.i h3d bsrins
'o,nr n,6h1ry avJiy I.om he.o!rdes
nroved ies
1o ftrr. af Drf 43nr.n'oi elle.r.


i., l

*([; \
by cary Muscle and
with flatcolou6 help unit The Ratboy Pimp
.lored fr.m e. yoi iilhe
elenents. Herc, they.an be bitmap process. lf the bottle
seen dov'ne thrcuehouithe had been closed afte. il was
ln.oding transmission>>>


Fut!re applications include: q1





- l

$ v
.-=;? qf,



The doiocolour kiock.out sedions

featuad Irrhe poste.ha.kba.k to
lradiiioial sdeenpinting etf ects. <<<end transmission

:1ll *,**."*'"".- **-
Ten expefttips
Keep a 6ketchboo*
1 PtanaheadandlearnfEmothec.Beinga.ompdrerwhiaorhavisgdebestequipmemdoesn!seanyoutl
thar you lind panic!br(v insDirinq.

Custombe your workspace

Set up yo! r prosra m s to suit you r way o I wdrking €( pbre the Preterences opr'bns a nd c usro mise lhe bru sh
shtp4andunirmeasuramenrsMak.su.erheparesn€isapproprEtetory.!rcu enrprojedandaLrerlhe
grid s€ting3 to assist yo!r layout.

Use spacewlsely
Seluperidsard ruten to h€lporianiseand tayodyou.projecl.Nesarivespacearou.diexr ardobisls
shoutd be balancedandcar€luttyweighied.Space isa tlxury: ky nolrocranroosuchi oa spa.ercr
speceeverythiitour roo much Relertopi€c€solworkyoulikeandseehowthedssignechavelliLise!

lnpressive shoncuts
Leanattlhe shorlculs loryourp€terred pograhsandcreateyourown use.delinedones Commiirhem
to memoryaid shoaoffarpartiesbyrecountinghowro Fr€e {Enslord and Biend ixrwoeasyraps ofrhe
keyboard Poputaityandadmiration lromlhoopposte s6rwiltbeyolrsin norime

Help fttes can help

theressom.dringinrheToolsp:lelleyouneveruso iind oor whar ir i3- ir mightbereallyhandy. bwiv.Ltro
Expertment w lth shapos
Crcateshapesoutofprihilivestupes 0y usingpathlinderloolssuchasUnireand Exclude,youcai produce
Lo oLs. Used c teverly, skewins objecG rnd rex I ca n add a o exrra ele m enr ot persp€tive ro you r rork Mod iiv


Us6 step-and-repeat
Genemte q

uk k backd ops and 3tucru Es by oxperimenr ing wirh ep-andjepear tu nc I ions A ppty { ro obj*r
a nd rotations ro p ron uc6 s p n [inr patre. ns Us€ fte Deline Pat rern learuc ro apply panerns r-\\
Combine vectors and bitmapB
Mir impon ing bitmaps with vecrdh nteresling resuirs can be found bylsing Prdrosrop
th ings up by
im g ra i. a E oiren d ifiicu tr to reprod uc e sotety wiih vec 106 Make
ages with in /l/rls.Etor TextuF and
sure f ites are emLedded belo€ print

Cotour matchtng
wheiworkinsona prcj€ct makesurerhedocumenl\colourmo{eandcolourpaldt€isset!prorlhejob
athantl:CMyKlorprinl,RCefors.Een,andwebSaleio ne web.Ihis shduld save you the irusrmrion
of ofl-cotodre in the iinat ouiput of you wdrk. Use the handy Sare lorweb oprion ro pe.erat€ quick Glls

l0 Check carelutty
Keep an e}t out lor stby aichor poinis and tenlields. F@r 6 distance, rhey mQhr nor be noliceabtq but it
yourwork is goingto be btownup,theymayenduprlinirgir Before sendirE yourwo* b lhe prinrers. scour
Jon! Wabsid rd sd rle illt
ol hi: quirky chaftc6E.

guides and not€s Fot equired for print are ctearty tabetted and in rheirorn print-dsbted lzyer
Fart 1: Hail to the brief
Cet started and think about how to avoid thinking..

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prp{ i.vluiriorc!io I'ow
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h.p ni to Lml h i iftt nsaro o,r klway! ndy) ind lo(aon thcapp ntionorlhc
'irorm "'c woJkl lom tu bftrbo rc or llk po!r,

Part 2: Drawing and cleaning up in Photoshop

Prepare images before converting them into vector objects...

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Faft 3: Converting bitmaps to vectorc

Different techniques for converting bitmaps, and choosing the right one for the job...

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rhe feehrid P,qr. r.. tNldthepoiirp.tiiSPen Beidt o twl i$el.din8rmktooh cL.k.n
tmltPl rt.an be usetultod m ihe b nrapyodp aid hav. dif,pmt rhtkiesps and styres (snok?n
tDo wi attcmptlo.ratcanout ncarclnd t lts
for rhe ,earrn or 5mm1h bodercd mases palean.es .an be a teren in File>Prcferen.es ,
Converting bitmaps to vectorc continued...

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obrcdvl .*,EroDind Lr.loos np r.1r FJ Dy
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Fart 4: Compositional layouts

Create compositions on the hop, add text and be flexible enough to accommodate changes-of-mind..

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ro ser Rarrrthai \p9r,"8ite lres i edion!.J rhe text I
iee ihdrr p.nswo!rd bc nrorciirp'esiveif
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aod.iick on rrrc paih oryou drion s rap. b-.rtrch; r. E.l3sisrt0ri rroo mrrwtrr
Part 5: Technical bits
Close paths, amend and edil shapes, and add colour to the composition..

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obF.tsrh mn trompere lrc L nr ns
open end aftr seh.l opfr
onc w(h poinlircw rhe whire S :i:ttr""fl ,lh",T J!::i.1"1,.'r',lii';:t:"i1,"
ooinls.an h. done wlh the Pen roor{9J Hove' rhe Ih€ DiRr sdetm boilAi) rh. irow wrr +:peri q!edon rnd th.n ire Pen. too and driR
.utror over onc.pen eid nnd y.u r nol,.e i .nan he h.vearanwhilc5{ua.eurdcmeath r lo nd ale ihe too fteehiid un1
ipFa'ingUndglh|furcrcdrndthePa|hlml a pornt 6 be'n8 *le.(ed wh'le holdrnB dow i s hifi do.siotAu aireedosin*cnd.poinrsand.anin
Lak6 thal po nl a\ lhd l3l one you v€ pbned (you ere.l aiorherend po'nl Prc$ c$+J ind lhey llbe lr.i chafse . osed path5 10 open ones but I s a
wantloron Iloanolhaend pod.hovsrh8.uer pn.d roserherwllh a palh rl t alo posrbh 1o driS a !sei! tdcl whetryouwanttoiusrtweikorsmooLh
over il u iil you ser a . o5ed drcb ion lnd .ahns that maqR rhrclsh eo open p.'nr ro sre.t thcm outancx+nscord path fyou makc, nshkc
d ckns w to i \hc palhr and .ooplele the lhap€ theeme tme ll helps rhe dnG af d6.loecth.l

O i::T;'JL&i*i;ilHI :liiliilli"il: "

rew way! oncwotrd bc ro urd thd ki$otr rrcrtcl
to.ut th.ouAh pnlhr b'e.kit th.nup&d lh.n
de€rins rh€m.aqukkerwiyir to crcitc a crpp,n8
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Mask cni tc a sh ape over i chorn oqed, s,"kd brr Lrkd dlpe. a d,edvrdaf'e ol tr& n3 bilhips Lhe coou.palelt! nto llE swarchcr pd 0ttc
them both an,l ( .k obre.bclipp nsMtrsbMike ,n rhJ, rl rhp wh& i.rpio6
0r lh e coiverred Dolble{L.r n3 on the rwalch wi brnS up iLr
orct+7 c ppnfMrsks.an b. myrhapo, rhoufh blmaps had be. emowd ba.k wh-Ai nakha ihem dcta sard you.an rcirmeil wo&n8 w th n I
irlhey re loo.omp crkd it.inctui prnlnE rhsi {par r€ lhap6 would hav€ been i ed cd t' xcd corofpacrt..an hcp lecprh.(hemeor
pmbl.ms ro rcbase F m+ed obFdr dd 'n
k'ilurinbrhclxler atrlerr(he{h'leriltuk yomwo* h.rmoi osiidcoisncnt Usnstlrc
olJle.bc ppnSMi+>R..aRorcr +At-7 an nmpry rc{olou. rho{ a.d ev,a 3 ror or 1 mr Tnnsp cn.ypaeneGn i so yed peaenlre ts

Pail 6: Polishing up the piece

Double-checking the copy and previewingthe results...


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the ten .h€.lins
.npty len fieHs rl thc tcxt ha b.en .pabd in a
lonr unlikely lo be narive d
the prrnter s .omputer
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thcim4ceremencare as ihey <hourd be (il an N€hl'ghtthedanrcdb{wlhlh25e]edoitoo cr+sh n+At+y)+owsan est mated deao{how
beal teeasytoaccd.ntanymoveobie.bures and .lnk lyrDcrak oudines or at +shfi-o tratrpa€n.y efie.b. g€d entsafd coou6w
lhey?e ocked down tctrl+2D wh.n zoofledin, rhir mans lhat lhe pmsrim now .onsidp6 all the appear naorourseparated output Ar mirar
nav gate aouid lhe pa€," by ho dins thc spa.ebr len lo be a $ape. and Ihe ilrt w,l1 not aeed to be preview.an be obra ned lDr{€en based wo&by
indalled on lhe pinler! .onpuler c ck isvei>Pixe P€vewo,ctr+At+Y E!!

.b soitwarecaf add rhal eiva

'illunraiions.dve whenthe subje.l t! pure

fantasyllhis Lego u age.whichbrin!s.
Bionicte roseiher wilh difierent Lelo
a very
' liive6erooxptasiveello.L crlal€d by
Aidylorcsof Sudio Lidd€llasa pie.eol
seLI promorionlor2004. He drptiinstluthe
was ai ring Lo creaL somdhifs tlurJpp,"JEd
str!hrtydiff.renby usiftq sohe ntrtur"tmedia
ard a se$eof
lnrhettroriatonLhc io{ fow pales I'e
showsyo! !.me ol$Frc.nqre\whilrl'.r"
srve ev€nrhis kind.f subtec harexrarolcr
otsotidity nraktr !rie BroiictcliguE pop
irom it.sutrourdii?! asw.ttI t r runderirig
and cornpost$: ti.ks which giv. r re sceir
that al!imponani atrot rcat$n AeLtu llur
thou!h. h. cxptatrtr rM ll,i,rki,rg thrr tqoes
inio a more naruratr{ic mag..r 3luiiiig 3D
r€nder otal.ndLy r,"m,.m beiin s. en e lrorr
rhe.bssi. movie ahe 6r?3i F-s.ap-"
,rlldqnltrioi muriL tlLDnrcd odnt

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. tir!,, (r Llicm,nk.rpli€

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Shrd(r Lralal(.[[ s rca:-or] ttwork tfclLLdes

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Mr:rr,r r(,trrlLl

3 oaYid bwbs{graphic desiqi*)

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Manysampl*of Studio Liddellswo*arca€LlabteonitsWeb.te

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Ten expeft tips

t *:

F!xl:"* 'tl : Preparation
Time spent here wiil pay dividends later on ..

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lii);rLn"l|.Jil: Give him a big hand

ln Lhis parL, we'll moclel ofc of Bion cle's hands Every other cornponent
can also bc modellecl in this way..

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.rrrl].I.I1]f.r1, tr, c, r.r
Give him a big hand continued...

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r rk.d. ih.obrcds Thlcu d i, ru y
mod.L i w.ll lomed, two*5erB I e

Paft 3: Organic modelling

create the Bionicle's face out of a cube in 3d5 max..

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Part 4: Texture, lightingand rendedng

It's time to shed some light on the situation...

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Fart 5: Retouching and compositing

It's time to add the splash effects, silhouettes and keylines

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lid.dncmb{riDbu.torinpi. @

as a pattem
Using originally drawn letter
forms and the Craphic Hose
tool in FreeHand, ldentikal
shows you how to create
detailed and colour{ul
typographic illustrations using
vector-based programs...

/l6rEtoi yo! tt learn how to becom e a n €xpe with the
GEphic HosetooL OnceyouvemasieEdihts€chnique.
you ll be able to create patlerned imqges wilh yourown
unique tellering. ftG inoiEt witt heb you io creat€
iltwaations tult of palterns, using icons and tmced
images as weLl as l€terfoms, atl of whi.h witt give
struduE ro yourd-"sired styb. you lt atso dovetop a eood
underslanding oi coLour and h@rarchy, makins you
something of an expen in iypographic itlustEtidn,

""."'..,.".'''"".,."."'. i;
It you reusingai exktingloni,

*-*"-"^"'-" you may need lo moditea.h

chaacter to wo{ within the

=ll patreh yout€ crcating. odd

shapesand 3teswill destrcythe
Ilow olyourpiece, so make surd
ldentikaL you.hoose wisely. tnsuE !hat
yoo ed punhase! thelontand
that it! not a Pinted .opy. Fonrr
Ihelde ilatC.rpoBtionwaslounded backin1993byidenrcatrwins ard t€ated as soltware, so any
tdJr a dN' t Ha" .,o illeRalcopy ng oI font5 can rcsult
destn indunry SLnceirsfoundarionnsbecdme recognised tor
in the
combiningan 4tecric hinure otsound and vision. capabte ol producr:r
unique worktoranycreativeprcbtem. lmm graphic desigi ro moviig
in.sc. mutiimediab sound. and ryDe desiqn
denlikal s stilLns and innovarive style
$cured them work wirh
.lh$10 i du o,q,5"Eo.rd lte.etrr r.oF (,, f, F
isA, tr ,1T4i d
6uinness in helznd. sonycomput.rEnretuinmenrin Londonand rhe orop
CtLb.nHolsroT.1",e!..e.1"., r'p'h",o pr/, pa,e , ,
flowinstocreateai impre$iveoodlotioolwo* dentikatsreouration has
dtdcredsomcolthewortdsmonde\iohtecti€nB suchassony.
UniversalMusid Vneir,Ministyorsound BBCardmanymon E ]t
ldentikatGaGothotcambehindthecuusrcesiolrheldenrilat IIIt
Foundry lthasc€atedsomeolrh.hotestmodarntonrsobuod.ift [dn's a!
wortd wLd e coltections ot a rcu id 250 fa n ities Pftlicario ns rhat have 6en

$en lontr inc tud e Tnre O0r Oaz'd Ah.i Conlused, aeae. ,1i\r tdg N
M-aazi -. wr n di "r\
a.\-, tl-A roa a ? dro poo.r.', 1.r o.,
nusicacb.including lruo{eppec SheaseserBeve oyKnishr ncogntu
Etisabelhlrcy Mc LlckandDJ Ncd. dvcrtsinscampasnssuchasPS2
The Third Place. rhe b u chofrhcNi erdoCameboyAdvancea^dVirgin
l4onay have atso used Lnc rrcm th. dedik.tFoondrycottectons
Such.tienb hav8heLpedesbblishldentikal!namo inrheworldo,
typosiaphy andthGdrivssthetrLnnovanveapproach ronEnwoli
opticians Shop t. t-


IJ t
t I

1o s.e mo€ ol ldenrikal's work. you can vbn $en

lf you d liko
websil€ at lwl ww.idenrikaLc om Ahernativ6ly ru can ehail
tham.r Io1 inld@idsnrilaLcom or rhone h1020 7263 2129
Don t be atraid t. rseyour
Clyphs at a irgcr sn. than j_DU
hav. w th theglyphs n th.
cEph.Hos.. 3..atrs:this sa
typogrph. lLstrauon,th:
viewerw lbel.okniBlo,r
h dden messge.tsome $rt
Macyour llNtatonmo,.
nleresl nSbyr owliSyou,

choos. you. br.ks,otrnd shape

wtrrly 1!c vcd,osrn oncol
ouresst nr oro!.
This.an bc
t,xcedeas ybyor craPhn
Fose, rid r vJo,k< sefi when
v,evcd lrom tr d stan.c. shapcs

dda Led iend row.,k beter

*hen !si',ErhGie.hnique

*tu. 'r
$01,"'r *
ii-1' ,il
lF, I
Ten experttips
Ustng layers
I When conslrucling iltustEricN as deraited in colour and pan€ms as this, you
need td use laye6 wisety lh€ b€st way to do this is ro mal€ sure you name
FreoHand or lltustrator?
Foryourvedor'LlllstElions, use whichever ptugram you feet mosr ar home
€a.h individual l"yerconectty, and ensure ils lccked whe. nor in use. Limil wir h fr.rHrrd h.s sinpter ed itinq too ls tha. /lrs lhiaa bd rhe hfter has a
your laye6 to eirh€r a cotourbtock orevenanareaoflonewhichisbuihop noe complex ensine whicl ofie6 a varidty ot spec'€t etlecc. At ldentikat.
f rcm yourCraDhic Hose shaDes. eelendto usethebestolborhpbgrams,allowinsourwork,rathe hanthe
sollware, to do the ralking.

Graphlc Hose techniques

Bo legat
Ih€ Graphic Hos6hasanuntimibd ahountofcetlsavailable
placeshapes.solrytobeadventuoushwharyouaddto( Mak€sureallol
in whi.h

yourshapesaresimilarinsiz€ and nelaiive/positiveshapes IhGwilthetp

5 Whenusingtonts.b€suDihaiyouvepurha*dthemlromth.iroriginal
source.Atltonhcomewitha u*rticence.whichaLLusersshoutd abideby.
give an even flow to your paterns onc," you t€ce over your 3etecr€d imases Since tom are re.ognised as sollware. you lt b€ liable to pros€ution lor
using them wfholl a recognBed ticence. Piraring ionts Ls as bad a3 pirating
copies ot Pho.oshop or any orher pograms. To be sale, be legat.
Alwaysb€w.tt organised.{he€s nothing{oreethanhavinsanillustr.uon
that!disorganG€d Makeslr€ yoq.l,yersaGinthecon*tpositions Use a grld
andthalyou re tockinq each tayerwhi.h isnt in use Nam€younibsand Always work io a solid grid when punins losethor your ittustrations. Make
GDphic Hos,ac,Al6conect(y soyou.an rememb€rea.honoindividutty ilre yo! wo'i oul accurate roreEnce srids tor bleeds as wetl as work areas.
Whenyouie plcirAsraphicobjeciswiihLnyourworkaEa. bssur€toworkro
yourgrid,andyourhierarchy.Onceyou v6becomeaccustomedlo usLnga
!t{ srid,you llreatisehowmucheasierand Lesslime-consumins itis.
[, Iypographlc structur€
WilhrnlhG iltustErion.wewuseda block styl€ lypelace we desrgned. you tt
-l.! nolicerhd all of ihe chaBcie6 aE eecltythe sam6 siz€. so rhdwhenue
uselhoGmphicHose.lh€saparh6sid6sandthelopoi€.cht ttarfomis
rhesane.This givesatyposraphicltowtorhe nrucu€of vouritlwrnrions
and helps ro dbrircukh rones within yourwork.

it Sans and sertt
ul A sif islhesbbortaitonlheend ota terrerform*hichcametrcmrhe
chilpine ol a letrer rom $one in ancieft limes. Fonts which have thG derait.
suchasGanmond aresaidrobe moraLegibto atleastinprint.blncan took
moe {us5y Sans s$et rin word rofwirhoul. and ssns s.riftonts suchas
Helverica,.an look cloarerand more modern, especiattyat laree siz*, rnd
canadlaltybemoe Lesibleonsc6en Borhcan make imerestihgpatl€rnsi

EJitnap-styte fonts
tonlsihalare basedon LCD rEentechnotosy,such ascatcul,ioBand
airpondepanu€$€ens a e gedr tor pallern usale, beca use they re
inilalions ot bitmap orceltlyperaces.Ihis means they E buitt up of shapes
rhal beietir being used at smatter si2es. They dont break up tike other fonrs
when reduced or enLBed in pixel progmms such as Phoroshop btrause
t rheyie buih u p rirhin s imibr spac es.
l0 HItJ:$",,",,icshapeorrosotouseinyourGraphic Hose rry
somethingthatcanf itimoa square shape The tess detaityouricon has, rhe
beffer il is lo u$ for yolr pattern at sfialter si2es. Try to use only one colour
roo.beauseaniconusineloo manycotouBcanmakeyourimcedimages
Palt 1 : Designing your lel*er forms
ln this part of the tutorial, we show you how to create letterforms, which you'll
eventually use as your Craphic Hose as weil as within your illustration...

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nec..n) byou,.akd lch.tiis rh.
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w lor RML ml,{t,av y n I rw [r] 'llst.orrh'slrlpsbke.ptiph.obJctsi{:y
r,orrl}.L kr. trd.$you crr (n"mol l]r I pl(!d o, L iy.- orrewo(t\iu{Jt,.crn

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li. h{l, d,{\d..rh dri.q c kar)ds
wc s hdrh
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.a, ri!.lho r r,g!: rid !,?e I rFyrowAy,,i

Palt 2: Buildinga Graphic Hose

Now that you've created your letter forms, we show you how to build
a Craphic Hose using your glyphs...

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c,apht You
tsosa to*ed tl'ec'?ph.
ieed !i mredr ou ro!* rh ! mei,s yo! .ai .opy
ard pAe a
ol ihe o|rar ererfoms, oieby.n.
r e.tins trre pr dovrnmcn! b.owth.Ho{ itoyo!,craph. Hose sin,plydolhis by repeatig

".,."",,,".''-"."."'", rl-
Building a Graphic Hose continued...

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:ll"llf "lf,i:l ; ::llll'i:;::'J:;1, i#":,ft i :l'l,lllll'',::i",,
lv'nnow YoL rolor Lon olnlr n8si. ",:.ii"',fi doir wor! 60"'irlii#l':1fi
r i lrx Ho\,"
),rr lo rhr opro
.lroos. rronr '.. p ri t...,n4,n,,I{sf,
flol rh r[n wll{cv,i,ryo!dcr . rd rhsrJk. wf ndi w )dow'rd. rrl rrirr.n.r !riLir 'r ra rl
sird whrl trr8hr rrihJi !pi!.r1

Paft 3: Tracing an image

Once you've created your Craphic Hose, we show you how to accurately trace
images whjch will eventually be used in your final piece...

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.ir.tur!y your'1(1,n w. v..hor.f

rrr rr trkre .arr?eirh,!erd*youspiyyou,.oi.i. he
rc <rcrcrcd oirp we!( r o Jhcd tr n3:mufd I

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rishterir.asrordd deplh
m.rc thtbyr oo
pnninsyour.ndfo,nE ii.rn,"!Ho5e(o[or
Prdz) b!rua a srrrr.oou.r(r6,a yor've doie br the dirker ton.s pr.v ou. y
g :T:[]Hlriifi:i:l llii;fl * O l,lil;'il',1"',,i il'iili'.iiill,lllili'fi1l; Eil'itiliilll,lil""j'ii1";i
tr l
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i{robe trrrd r biturirl':i
ron\ T[n \ iio to'n
1o b, ir.Lrri. pi'lolrh4 onnton

Part 4: Layout and finishing

letter forms and shaPes, You'll
Now that you've created Your patterns and rmages using Your
how to do it correctly..
need to fine-tune your image. This last section shows You

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qhrL!tsr du"r0r
". '-rd"d. "dUd"d
"ii,, w Lrrod lortrrr nar:c Lvdlltrent.oorr
r orhe;ho! re! ko' wrb^0,i D! cei ihc cficd y"u ic irLel
:fii$4n!& adf{l'rs

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gl"{ri::;TSii:{*iili[iir]ili. ;;il;'.tt^,.0t. Li,"d'! t.t"
rslt'8*"*a- *e* da"d ler *a "o* ;,b ,, -.,Jp"*.p" """"rdd"'d




art world
ffiili lains the intricate process of creah;!& 1'y' ..
bjecls in Photoshop for use in prinl... "

ixel art is syno.ymous wilh the

videogapr_. generation Ltl a
and rutes lr'saninticar,"businessand
desiqnersofrei sayihatwhereyoudont
placeapixetGevenmoreimporra ihan
adphrqtylctMt s ner and
.oroui{i ,id -rr. *ty!,i* where you do pLce one. Wiih ihG
coftunil4 lo creare, requiring a huge amouni Derrecti.nism inmind. Eiqinequid€syou
rhroughlhe innicate stepsne€d€drocEate
.n isometicsign /ou (then be shotn how
.'C lril' r.1
1opbcapixelsoi€rscanned imasesand add
cotourand shadowsio vouroblecr
Iherinat! rolLh6sdj\5 eDllms hlw
'.o,"o,*v.*,t*r,'"'*"' D'i,'li,

Ij ,.,i'
\if i,i
Pixelart in detail...
P xelstyles can vary, On these pages you llsee a larae-scate ittustaiion (betow) using
anu ii-coloui palette and non,tnditional melhods, such a, snooth gradients and
reJlections, io givea mor€ realistic approach. The smalt-s@te ittuitratior lor Loaded
fragdine (piciured rignt) stickt rigidly to a limited palette ofcolouts ad a strict
someir cgid, echoing classic 90s videogames such as S imc,ty and Thene part,

Future Home for Internet Magazine

O Reflections
copycldh€nt iromthemain lr!lntlon'nlolloou windows,warft and
mir.o6lo g vethc unon dI rclledions. set lh. rcllecriont ro in opa.iry ot

g Gtow
Fo,,rd al,nB ,Ehi source5 olhothid yourmain ight'ouEc(torexampte
f,on IVs and ampt, b ur r hycrol highright co otrr$ovcrhe.brectind sct
the opac ty Io 20 r5 per cent.

g Put yourselt in
lorllokc a ololp'telillunraloGputlhensevesrndtherr$mmemb.ts
inlothen lnratois( lrheycangctawayw h o. Depend ne on rhe scate
3nd dela ofydur ilustnllon lhG shouldn tbe roo hard..

O Shadows
To give a bettersens. ol deplh and to'srcund obj4l, oeate shadows Do
th s by addinBa aye, ol black ordalk bluc pixeG behindyourobtecrar
vary,ng degre€s otopa.U, lrur y 30 70 percenr.
Death At Dasney tor Loaded magazine

I lextures g Grids
Srmple repeatedpixeltexluEs and palten! can rcally heip add detaillo Ia.ge llal2rc35 Using an isonetic 8 d helps you contbl positioninS. .onsisten., depth and5@le.
5uchas walk, srassland andtamac. us€one as the bottom layerofyourillustotion.

3l Dupltcatton tl Base human

stuckJortim€? Lagd 0nused spa.e tofill?Thendupl6rionand rcperilion oJ obied6 Forrmallscale illustalions, builda basic hunan and lhen hoditand coloulteclones
su.h as rocks, folia8eand buildings.an help. unlil you haveasmall anyotcha6cteE lo populateyour!.en€.
Six expert tips
3D guides
1 lvou ira,p irD skilLs dselh€m turhe hai
rtr.nr! trpenciL!ker. r bu drhebas'.
ieom.rL.sol an obrdin a3D ippti.alion
Aken:rirety. you.outd use rr-Ac rn.d.ts
f .d rhEWetiorl,ormalazi'recove disci
ilernsrrh€ obre.rand lseir.syoursuide
byerj..t rinsov€ upir.h o suririgrhp
r.nd.:virspoinr G ser up Bomerically

lmage resource
2 Nowad:yl rha b.n pLrce lo mreni.re
,0setrr.rr isrhe maq. Search Dplionon
lwl?vrwsoosLe.om rLL.krilrr I oush rhp
thtr nbrinrd rcsuLr Daq,.s wLtl ccfl tri',ly
!pr,k olf $ fe idp;.loi yotr LLlui mion

rjff {f* E.
Extra detail
lo, in *r'r LpypL!rdsriiLLdn r)Lri'r n d.d
olijd 6 Jrl(L r)ixprtxtrr.lrnrt t)rr$i1
/du !ltr,utd buiLa upi LLb I y!l1h\.1o rn,

Vr'hon 7o.mcd.!t IFr rlewr)'xpLsIai
took tiip r ianLL ai obJ,!!rrlcrJrL ni:h
35 a ri.i.L.iDre.sior Bep.o io ric.Lwilh

r .].- your pLX.Ls son,-{inpslpwe' tru.LswilL

5 f LxeLro,[ tr €atLyr m-" corsuritrr! 5ory
r.dLpti.l.r d,eus-a obJecrs as uchas
p.:sib(e by JLrppnr!.mDdily,isind.c
rotourLni K,.ep alLbriry in a Lsycr-Ad
Fr.r.si,.p psd b€.ou!r prc .rerr€d
.bre.I.., L! used Lnnnrre iLtu!rdions.

Shon on tme?
f,/.! rd rp rsa(n*a deadtrnc use a low
res.MLoi ol between:10 and /2dpr.TherelL
li!, Lot LessFireLsro DUsharouid. buryour
(lusrd.ns *iLL.bviousty took more btocky

Part 1: Creating isometric type
Conveft flat type into an isometric sign to go on the front o{ a building.

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on wlh
wh tc Dlp.aLriheliytrr
rh.:d.pth yo! nFd lrsc
l tr.(
thc 4Eor
nshr rhdin€ i .rtrm oI rr. fn!l\ hc , I me
hrv. tc{tr r a!n3 tuned ondd rhennnenll mdnrvi'ElhevlcdM o elJ*.1!|n das You, ru r Dtmovcn.ir rwo p,rskrrrrftlroor.
obie.l will*)i ii4l. rilc. ii".nAlr:nalc

o *ti iii:i'"'"irfli#:,1:"Jitl,i:l): * E iyitil'l"lixiliJlirlll':,i11 llHfi; ili:\"

!hiposwirh thr infbli.r dtrlri{ uro(
loo lll F lhr oltc.lu5trs lr'c Prid 8u.rd
rhe Pcnor
look ro
scrc.l ind
lool lwl \ril1
pi,illlsllh. g i:rl:i iiii'. i'il,lt ri]|.r li ;ii::I"
lc w lh.o or r lon$ r.ryd ns to rrrdrcdonot .onl'suouriidntiiidnuoil rid l rcn'od rl rolou, ro,onn d{,pih idd a40.pn{ontopr. ty

Part 2r To the gallows with him!

Build some isometric gallows and send a pixel man lo hrs dea1h.

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g *r.lr:fi:x:':,'5Ti'J $:ililix'"",
drcdon (hmit3.omhsnom the rpper eJi)aid
I eadla.ewtha.on!nenLb/* i dEd.tr/
E ;:H:l!$ li fii""i#:,-:rf '#'rf,* ronewth a r p {clh gh Chi
somenha y ( t docsn t hav. io b. pedcd bc.rur hrsDAdjunmmblevels to boost the dar ty ol shad4 ro m:k-" are the dlp .ared po+s n. rp
tsru+tr!udc) 5.ai t nand use ila5asuide rayer tlre rhes rhen el lhe rayer op,c ly 1o 50 per .eir somdr.a y re the ru c Dl movem.nl tw! pixes
?1i/rrsht to one plxel up/do\rn
The gallows continued...

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glt. r;r,r|,.1,:,i iltl'it,'l:lt,

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(b ad as tr ql.ty maN ) .hooie you. +.dow lone det2ih s.h ,s the b.ll rnd linseG ror the q.k
'heaLorhtr( AdjunnedreHue^atuhlon when lnshed,
aid painl n the shadovr rfto'd ng to the d'rcdd .owins lhe h.ad. mde lones havc b€en usd lo tum of.llthc aye6 to rcvealthe.ompleted
ofyour shl'one Thei pn dl lhehiShlBhle

Paft 3: The end is nigh

Prepare your illustration for print...

g :*ilrift
op€nr*o!i.do6orrhe smed,menl one
lorde upwo*andoncat10oper.c^tioi
E :9"i1;i:1'*",tix'"*xf :H* '.rercn@
ro do tha, op€i r .ew w ndow
Mi.doDDorumei$NewWidow) lsing
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p ':$iff
xer push ng. sc e.t thc P3dti! lml IBI .id lhe lhir nethod. you ll always b€ able 10 ee whai5 anli aliasiiBtumed ofi TheMagcwand ha5a
sma cst bilsh ava $b n pixeD

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i(mtiolt (or asdm 25 po$ibl?) !si'8 multpleolT2 is233 n ProtoJhop Solo naAe>
, engineE ieneti. s.id pape. w lr
pad or ma8e s re add changerhe dpi*ttngto ?33. rnthe
o 5r"Tru ffJ.,1"T5Hjfi
aid shadod
[ "ir"$#,",f, @tuinly h.lp witl this str in wur skekh
and ue it a r EUid: hls lor ha.lng Yolr mage s now rcady lor outpur @
oa nt ne in h ah €hts


structure &
Magictorch shows you how to compose a
balanced, eye-catching magazine illustration...
ln the spotlight...
by Sam Chivers
Thlrrmase 5 aboutrheevilthat lier wilhin;lh?

darkd recessds ollhc human bnin;themonsterin

the !hadow5. L.ahe up with itonealtenoon when I

Und lhal (eanru nn inagd isan intuitive poces -

belig pre.planned. Ll\ ints.e!ting to d ssectan frage
aftd ts n(epi dn and undsrbnd rhed frercni forcds
al wo'k wilhin t 6any otwhrh o

o l,:;:tili:;:* i:J: tii::l:'i:l: ::*;1 ;i

th. irlullrarron by l.r ofJ nB trr'u c ol llrird!

a :':i1?; llil#J ;"lf :::1"'ti:,:';:'

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ol lhcwlD6lh. niin lo.i porDl ol i1r. i'ni!.

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Thc5e lroesheghtei the ldnse olang5twith n the
.oFposition rhn ough hewn f?elrl5ogve5 the
imrgean mpre$ onol v branryand mmediacy
Don t centre 6tngs Let lt breathe
Always place your subj€ct matter off-cenhe lhiswil immedaiey Don i b. afraid lo leave b ank space in your image-the lastihing
1 make yourcomposilon norc dynamic. synmetr.al composll ons ,ou rrrlFd crr'l', d Tn. MJ." \urp yoL l,dp b,'thtr 8.., m
in cvitably fee I staid and static

Look at the hori-ron Magazine artwork

2 Use yourhorizon to mdimum eftect. To create dista.ceand space
inacompostion place the hoizon low in the picture Tobrng
Rememberioalowlor'pageflrnitlre Favcyouleft enoughspace
lorihe text and headiine? ls the me$age i your idage obrur.ad by
ihings closerto the viewer, p ace t high up in the imaSe At wiih ihe page fold? You hlstthtnk aboltthes.ih n8se tyintheproteci.
the subiect malt.r, avoid placinsthe hor zon lineacro$ the.e.t.e
of your mase Use white space
Try brenklng oLt ol the.anvas if yo! re work ng in pnnt You can use
Choose your subject thc whiie space of thc page in your illustaiion - al owlng cl€ments
ChoGd yourhain porntofinterest and stck to li. Use liner to lead to breal out of the:mage and onlo lhc whit. ofihe pa*e adds an
the eye around the imag€ and ultmately towards yourrlbieci
D agonal I fe5 c.eate a dynadic dfiect, wh le cu&ed li.er are Eracelul
Name your tayers
Vary your speclllcattons Onceyo! siart workingon an magein Prolorhop, ilteasyto
Iydfrp'p.t,drva.o,"rrdror\ Jlen/o ? proou448 aa ,adse Seica(edawaywithlhe ayeu-you'lloftenendupwithan
tospccificd mensons, trycharAnsthe aspectratio of t
Chooie imaSe ihal contains ovcr 100 aycrc. UnsLrprsinglt thiscan get
.Lperwidp.!'ppn o o podla'rl"roLl I you.o.rd ly so !o rather conlus ng, ,o it s Bood work nEpracticeto name your layeB
/andscape Ths shouid liven thngs up a bit and preventyou fiom as you go, puiling simllar layers ntolaycrsch. Thismay sound
produ.ingihe same compositon Ume and agal. bonng, but t llsaveyo! limc nthe long rLn
Try cropptng
Cropp ng you r image n different ways .af create entirey new
conrpositons. lf yourimage r argeenoughthenyo!canirya 1O T::::","" 1'p.,, o.e oo. dl n da,s.ou?np 1,n,aJz
A\r vouncl, s \y some (on il'oa. I e
mulitude of vertkal, square and horizonta rcps -you'llbe 'po
moie succe$ful than olhe6 and lhen app y the [iowledseio


Fart'l : Setting the foundations

Let's start by creating a new document for our magazine DPS illustration. We'll do it at half size
because this file will soon become unwieldy when we start chucking a lot of layers around...

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Pad 2: Putting it all together

Leave a relatively clean area for text at the bottom-right of the image and take care not to
put anything important across the centre or it could get lost in the page gutter...

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Pmr{f i*: Emphasising the focal point
Frame the sun with darker areas to increase contrast and pul the eye towards it...

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Fart 4: Giving the image some sweep
Linl<the two sides of the image to give the whole thing a greater sense of narrative,
distance travelled and time passed...

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Fart 5: Bad weather

Add a bank of cloud and a map to highlight the UK and reinforce the idea of ajourney taking place.

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Part 6: Finishing touches

All that remains is to add some final graphics and make the odd tweak.

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Working with
i-iit: E

T?l, ;R
+A*Bs rif: Download-speed, compression, compatibllity and
compromise soon become familiar words when
working with images for the Web. Craig Crannell
shows you how to avoid the traps...

-.cause( scunred to appP3rirom atl ir5 resri.r iom i€carniig fite lonmrs
nc?h-cE af d has l.en wrdeLy ..mpresiionand EsoLLri.n $cWdbra"
acccpred asiLFamrher nedr!or bea veriiabtc min.tictil wh€n ii..mesro

com,nuri.dion many lorger thal
theWeb is t(ii|!tn,ltrn!r n13.r.atlhoulh Ov," he nexllewpalcs. Craiccrann,"(
maryf cwrLyoi ndun13thpirwo*rng(iv.s. showi yo0 how he.r.aLed Lhe srarhic5tor
tire D.puLnrlrieb hasonLybleninexisron.e his magestro,il.cta W-"bsir," Alongth.
f o'ab.d eilhr rsaE. And qhiLelhere hav. way. herrcvidesyousiLha numb-croltips.
been s.Fp qieattechiotogi.aL L*ps Ln v3)io!s aiilexptainshowt workw{l's!n'eofrhe
a:es the techn.Lo?,r qovcriing rhe dispby.t cu{tru cdqe new rooLs iI orcrnw.rycr ,4.11
!n39.:n rptrhasnr been oreolrhcm Wirh
CraigGrannell Your guide to lceland...

Craig has been working with dkik( nedia lor

aboutlenyeaE lirstcuttinghiste.thon

mn m
embryoni. veBions of Phorrshop and ,iEclor
A bve ol wriling. vid.o and intehcrion gEdually
saw h im qravitate toward s th€ Wob where .lt of
rhese th i@s coutd be s ucc esslultv comb ined.
Since I997 his Snub Cdm'hunicatiom ourlithas
oltored cutting-edge d€itat desQn 3eryic*.

typically 6imed at the W€b.
Hb sty[e b fairly minimdt, b$ stylbh, rnd
over$e Fasr re$ yerre he! becom. sherhhr
of asticktertorWebsrsidads soheatways
ensures hG Websires ,re bdth u.abG and
acc€ssLb[a Howev6i Crai! betieves thar
cEattt}g usabh,accessibte.tandard.-
compliant Web3ites needn t come ai rhe

ove yea6, craiq hrs lork€d oi poie6

for. Enge ctleils in very difierent lGks
Ear(y ctGnts included lhe Lik€s oi cardift Ci|y
Counc il. th 6 S ilo-Ations art prcjecl and vin.o
wd*iorZ Prcductions. More r{ently, h€s
cotabomred wirh swih" Recdrds. creabd
designc lor 2000IAs Wehite andLecurenrty
@rkins on seyerat hish-pioliG projecls
Atong wirh deskn. Snub Communication!
ale otle6 copywriling services. and CEig s
words can be lound in a number ol w€lFknown
desknand lnterretnagazines AsMtta3
contibutine lo the pr.ss. he o.casiona(y erireg
books. and his tdest. tuldano, Dre,mwe.yer
/VX 2004 b due for Elsase in s pridg ?004.

tor moro infomltio. .bod ciaE and

h{s toik virn hc W€hsib ar

lol cr.k@snubcommu n icatiotu.com

Ten expet tips
It! atl tow-aEs now
1 * ing in p dnt.
Typicalty, wh en wo the high€ r the raso tution. rhe b3le heresuLt.ThesameisnltueforWebWhen
ourputring images,'ickro 72dpi.

Appropriate forscreen
Nev-"r make the mistake of s imp ly tra Nf€ nins p.ifi des ign t
ihe Web. becalse rhey re very d irfe @m med What ii
works in one ,on t recessa rily wo rk in th€ othe. and cEps, colou^. corlra sr and reada b iLiry vary m ass ively belween
sr,Aen and lhe prinled pase.

Neverr€ire tn HTMI"
Sofr€ designeis niake lhe mistak€ ol r$irry add sirutchi^! imag€s in Web-ediri.g aptli.ations. ,id whiLa some, such
as GoLi@ CS canbesetuptor€sanpLelrcdoriginab this hlally isnrthecas€.lngereBt.im.ges rcsi?ed in a Web
edibr will l@k dGrorted i. web browse^ Ihereto@ resi2eyolrnasespno.6.onsrtucli.gyourwebpases.

MtUtons of colours
suspeclsuchpeopl€atsosritladvoc.tefontra$andthe&oraicWebbrcwsorlhelrdhis.Web saiecolourenevar
reatlyrere andth€vastmaiorityoflvebuse6b.owsewilhdonitoEcapableoldispl,yingdillionsolcoLo!6

Save your origlnats

compressinsthem, savnrgthem overrhooi(ginal,and dGcoveringthequalivistoolow llyou donthave aWeb
qudliry.and re-sava them asJF€6. orGlFswithd dilf.r.nrtite name.Neveroveturiteyouro(!inaLs -1hal way.
you cango ba.k ro them il you ne€d ro

When to u6e JPEG

candisplaymiLtionsoicotou6.ilsbestusedforrhosewithcodrinlous'ones such as phorolraphs

iexi and imageswiftllat.otou6 sucha!logos.Du€rolhewayi.whch6lFcompBssionwoiks.thesmaltestlilcaare
ft! e&€s.rdod s&hprd ilrhlkh! rh' daneE or
h.veihe oplirn oi removif g a singte cotouronly. Biziry Lr€e3ln tfii4L d hy !6rchiig rh6m ti I

Whar about PNG!

t?nspaftn y, bd lntefiel ExpLfttJot Mnd.rc (us.d by over 90 per cent of rhose onti&) d@sn t luppod
ihtsloarure,which isa piiy

Gamma settings
ljntikemanyotheri0dustries.thedesignindu$ryhasmanyMacus€6b1n osiWabusersareWhdows based.
seuinssioPCsammawhe.workirconWebimages.orgdaPctor€ on

Every site ls dilferent

10 Rehenber this point. becaose t\ perh:ps rhe nosr imporrant in lilis adicle ftis is why re v€ avoided such
t $ale ments as no Web inases shoutd ever be b€serrhan 50k" ln sone ca Fs, la.se im3ges may be
6se i:t s
rho coftcr idtud and cohprc$i$ ls
shNn herc. The rop igh!ine4ahas
seEra sLiqhr r P.G compresiotr fte bdton rN sio"s clr
appropute, ahd in other cases,lhey wont. As long as yo! caterforyou.B€et audielce. you should be line.
JFEG with obYious kd qty) andads
Fart {: Crcating a masthead image
lmport your photograph, edit it as desired and export the image rn your chosen format..

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Part ?: Working with text-based images

Choose a suitable font, removed background colours and save lor the Web.

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Falt 3: Retouching photographyforthe Web

Re-colour and resize your image, rernove unwanted lnformation, add detail and export for the Web...

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",,. e:a.r r Th s.n!uE nrarp edses
Retouching photography for the Web continued...

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Part 4: Worhing with thumbnails

Compare and contrast your shots, resize them and export as .lPECs...

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Fail 5: Using Dreamweaver rlnx 2OO4 image tools

Change the contrast and brightness, then sharpen and crop your images..

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Fart 6: Using Golive CS Smad Obiects
Add a Smart Object, edit the compression, save and crop, resize and resample,
make changes and then view the results...


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Paft7= Some finaltips

Use special effects, CSS borders and CSS margins...

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Getting photos
right first tinne
How rnany times have you come to use a photo in design
work only to curse yourself for not being more careful when
you took it? There are plenty of ways to avoid this problem:
it's simply a case of logical thinking and careful planning...

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rrL,-i 3id tali: phor!s.ir.!:ir n1i:idi.ns ihe secondwayirwhich desigieE hk. photos
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yJUd.r,rl..d rte:..:ras'n rr rour.df,,!3lEilhe:e
the/.f garl.ri11r:nuardrt lh.i.i. dayyru irnd
vo!reLl*.rki.q oi 2n-rLilr1.5 rhi.h :eti: soio
p€!:te shJrsor.rn{e a,.hrFaur:.,nage! /.L,re ieir
lhe oLr a bL! tlr? aid trr! u,;qafttihe deaiLii.
bur Lrscb' _r.u'2gr,.Lr,rnarbe'rh.se ih.ros you
lockarhiteai. :cr.r:aijrs: !s.rhrse itc.r6e
wh:n./.! -"reiilaiLr !iid lhe iFr?e:. it.v arerrqur.
whatyru ef --F.-- eil,3idtrr..tancesilrairley r.
era.ii!!f€,y.! .-.:dL'lhe .b arenimir6r!r.r
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(h€ li'd hriely.u !sr forrh€d-"signp'olect rppror.tiit i rc! enrisa!e p Froshp ry shouLddlt.ctlo cdd nno usingphotographic
/ou reJlis,"yo! ltN€n phnrdgrdphy 50 you work$Eits wJy uroyour p ojecr 3rart imag,"si,F1 becau!. i1! rr'N usuatapp oacr
burl!.1{oraph.toshootrnd svrrhore nije. "ou rccd to nalte aiew -"anydecisrors r! rhe kind ot jobonwhich you rewo king.
imp.'l.ntty srtdside enolgh lime \odo rbour equipm-"nr. budoer. rmng rusources loreumpte if you recr-"aringanadverLtuI
lusri.€ rhorogErhi. a5pr.rs Ihis
ro th," Lo.dions rh-" use ol orhei J produ.r 3nd need lo.how ildflabove
f votves gJthennq alt fi e equipmcrr 'nodolsJnd
suble.rsorollcctr neen anyexri everyrhins -.Lsc. Derhrps an ittuiralion would
niodeGand materiaG and lrndn'g d lfrrtion eruipme.r.suchrskipons pitracamems. be l,"ss in your iace ar'dcnabteyoutomore
Dd cipecr therhooto be aquck process speciaLnim. lighs? Oo you knowwhe'eyou icdtralety retLcct dre producr s idenriry
bectr!s€ you L( need rocovcrdillerenranstps car rriienr.sBrhin!n On.erheyve beef vo!r-"arly desr$ dccisiom shoutd r€ally
lighringset ups and soon tln gsrhrty.r hre.l {riLyoL knovr howlorsethem? ll nor. incLL,de a skeicrortayoutplan showing
canrn!.essJrityplanlorlhen atth. cid !t w.!id il be benerrooubour.e the w.*o wlEre rhe phorosraphy apperB. aid cxactty
ilsLl youc.ndowitoad the images r. yorr soneonewho does? Does rhe ludlcr atLow howit is goi'r! tobeused So if you need io
computer safeintheknowt dgethatrhese torat{rhtr hnng? Doyou need to recce shooi a modetfora Websiles splash Daqe.
are tlr bestphotosyo!.ould po3sibly have tocanonsto shooLaid do you know,"xacny you shouh pLanexacltywhatposes youwant
*har you re tookii!io, rfvoudo? aDd whdlthe backgro nd tocationwitlbe.
So. which approach do yourhink is bener? tie 3isrersro atL.llhesequ€iions Atso.keep lighrine inmind at dris {age.lf
witl ol.oure dependo rhescale ollhe theWeb paee has a lLaiblucbackgmund.
p.oject ard vanous eLemenrs wiLt inf tuence whynor shootagainsta btue backsround
Earty decisions yourde.6i.ns ior.xrrnpLe. the budqet wiLt su.hasacunain?lhen wrcf yo! pulhe
Of ..uEe. the ab.ve rwo scemrios are Cerermire [ow m3ny Lighrs you can allord image onftE.the tighireft€den onthe
eitremes buriheydo rltcrareoneolthe tohi:oithe times.aLemaymeanyou canl subjectwittbe incomext soyo!wont need
Jundamental poims regarding any rype ol sFend aiultday.aningmDd€G;and the 10 do ioo much Pho.oshopcoirection
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photogFphy), plany.urprordfrom thesran t cdion teavinEyouw(h morcrimefor soon arealtii ptacef.rihedayoltho shooi
and keepyou argeth mind throughout. everythingshoutdworkoutnicely.you ttreler
From rhe ln{ moment y.u s-"e rhe bf iet Bear in miD! that photolraphy sonl 1o yourpaper ptans. moveeverything imo
you lt$arttoletideasabout how ro auavs be appropriare ror y.urproject yo0 posiiiorandhiirheshutter easy
You'Ll kick yourse[f if
you make any of these
silly m rsta kes. . .
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Checkrhrtyourleis cap ison ThB
is easyio miss ir yo!r vi*linder

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Camera fLash jd ftlbd o,i iho glas Usc a
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s'r]Atrn.].ol1s.y.|.:i..ii.LihPLql Do,r'i rely on your LCD scEen to
so!rc,"s the.heapenoplon i5 to ure. ,lthet(ghlsour.ei:,rr L:rl1 r:.rrefr
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diBtrotuI A I'ousrl'otd t.nrprrnrLo b'l 5tL*'r 1n't1iIj phr:r ! !Lr, I !k,r sh.w c.louB m ks.3ndsoon
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usel butiLUgiver y.ltow ti,trwhi.hwo!td trtr rrhnLri!n!rr.,b ij _!Lr:!
n€ed ro b,. cor e.ted tal€i lfyou hirelishrr U.n!.rn,ertr lltrsh. r ilLiieEr n.r,l
th,"y ttusuattyprovide Mrurrt btuetighlnnd I youi tockL q ior.!:.k slii i!rq.
rniy comc w(r cotour.n !bslr. sh,.rts (q.ls) trq u$!our.a ne13: bu:tt rl:sl
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forlLnrinq nalypi.at mod,.t shool. you n no$ca.es rl.re ?r1b. i:3!_-.rh.r
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ba.k lilhtwhichfa.&ihr.a rra1fr.nr l.ft) 3oul..3 t ns.,r l-.!.1:.1]Li.-..:|l' :
foesround 5ublects are w€lt ktagrinsr O.nt retyonyourLC0 scEen\ colour emphasGerhesun shiningrhroughrheclouds
backlrounds f you're shooting odsad€ wiih repres.nbtiri:ilshardro seelhe cobuts an auro setiig witt balancethe image in
thesunbehindrhesubj€ct(asa backligh, prcp€.Ly udhssyouopenlhe images in iavourolthegroun,l delnil. so the ctouds won\
yorcan usetorcedllashasthekeylsht Fho.os/rop Oi coune. ii yo! re tesling li(e show prope y flow€vei ifyouchangethe
Usine a refl€ctoi suchasawhite board.or this, do so belore the bi! shoor day. When it exposurc setlnstosomeihin! tike-2l,1he
a morepmtessionaLcotlapsrbls disc (see com.srorheshoor ityouiestiLtunsure, ima:ewiltbe darkeraltover the tandwittbe
lwl ww trstolire comlr€lL€cto6.hrmt) ar doubleup on each Dhoro. rerakinq with a 'Lnsiurouetteburiheskywitlshowatlthe
an angte,youcanrellectlhsh ontothesid. difi eren! 5ening. a^d rememberrhai in nec,rssaryctoud detail lnthbcase youcoutd
PhoroJ)dp Csyou can use Match Cobur to rheniakeanotherimage ata 00(nomal)
march cotou6 in ode image ro an01hel.. erposuFand pasre rhe sky ircm lhe n6t
Llseopiicalroom.arhe haodignatzoom. imase onto rhe t6nd iothesecond.
Knobs and buttons Opiicalroomm.ansusinsa l€nslobftngrha lf youle qoinq for sorErhinq that\ a bit
Read rhe maiual. you may lhokyouknow s!bjec!ctoseisorheimagequality remains oullher€ and has solarbeen rntesied fq
yourwryaround €verylunction ol your high:while a disilalzoom is ihe equrvalemol nolabad iderroselasidesome ptaytime
camdra. bur theres aLways some lselul ,oommsintoa. ima@ in Phoroshop ln olher Give youreeff a f ew hourswhen you havenl
switch orsenin! thrts ov€no.ked words youle noracrlattyre.ordinsanymore gotaltyour g$rand modetsaround(sothat
'While batance s.nings ireused to rellthe pixeb.Allernatively. ju$walkcLose oih€ irdoesnlealintothebudger)andryafew
cameB how lo read ambientlightandrhussel srbjecrr your ideal situation i. ro be ctose dftereni seLUps. wherherthat retates ro rh€
coloure ac.ordins to how while is read in enough 5o Iha!youdo need lozoomin tishlins. po5itioning, e[posuE sellings whire
yourimage So rypicatly you mrghthavean alallrotEmewhalyouneed br12nce orwhalev€r lf you have a limeron
'insid€ s€tringand an.utsdesetting.along Exposureseltinssca^aLsobeusedto grear yourchera you cansti.k ilonalripod and
withotherefordver ctoudedand drller.nr eflecl. lnaurom.iic mode mosr camcraswlll lhensrand in as rhe nddet.
rypesa^d.otouGof lthting(skip tighrs balanceih6 bursomerimesyou lLwamlo Shooin!o.lo..tion can belun - ora
hatoq€n liehts household lamDs.ands. on) chanqe lhe exposure'nanua(y rorexamDle. nighlma e Whon youte ila srudio you havo
ll in !oubt. pncrbe !sing ditierent senrnls ina pholooia la scape Vou miqhr wanllo conrmtoverlishlins.subjactsa d backdrops

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abuf ddrisorattowmor,atime f youdont y.!rim.q-.s sherhp: i hr czt. o.
lLtp PracticaI tips for speclflc
haveth,. tuxurvolllexibitiryyoucan alwavs suhl-..tm:lieror:tie 3r: rhrr {.8
war m !p ih-a image in Pboiosh,p then n J:our.r tritr:.s fdL!._.tri.r.:
types of photoshoots...
On! Location shoot y.uttatsoneedl y.urhirl,hvLnrrrirr. :D Flr.r.sli.t
tripod. Ev.n if younriikthere U be enouqh CSr rL[. rir.!s-. r/s:--m nakas,r easr :]
:yaibbte lLghtto av.id a slow shuterspeed MvigdD yNr viy arc! rrlr.i.nilc36 .r
ihilatlo$youL ser trpthecJmel Jtrhe you sMurd xtLlrF b. abl. t. nic.\a.ri!
r-cquir€d poiili.n th€n r€ posilion suble.r!
liqhie :nd oih-"requipmentas n,"cesslry A White it! usdiuLr. k..pyruropr Lm.!.
tiqhiwcrqhr n ood w I be f$-a or Lfvou re3itv tthrrry ndoe$trlrLty.r r.J_e to.r.prlns
nFed ro shoor qrn:kty.n rh-a m.ve lsel yourowr irnor nrid! pr,oro! ipirior!i.ll
nonopol r.othpribte tetqwl'icl, is ti!lncr f ivid|ljdi r,:ai !o rrnn.r J. hi d
r id lrslcrlds.tup fyor''!riuattyDGh.. f.' .onri.f,l.liPIirh' : re,!rxL sed
!ri.e oyour k( baqand know yotr llbeihle rrh.t.i..lsnL rrkerLtn.--CLll! e,.et.
k,i?sr ( onf walt.hble clrJiro rrrctltr l lrrirprljLir lilr r i!1,..ir!lra nrhr lr!:

plse youcoutd evc opllorlrri"i tripoJ norr ( iri.n,jL p..ii.( rr'! ll.rt,.c::t. Wh6n rakL'E Dhoros lor'loln.l ialg4. .e shown ha6, m!k6 Nr6 tou
ltls.nougn ovorlrp at rhe.dgo! ol.ach DictuB llr. Pholomorgo
llrJtrvry ri.nrf ..11! A rd tir. nr'. tuncrion in rh. Auromaro ll( in Ptororhop cs mlkoe thd lob much 6.5br
.Jtury.u bks L: r qi anrs i j -uii .{
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Ikn]s plr.ro. wilh llrrolr i't.rn.' of Makesur.yduin.[d.ei.u?,iovo,lapberweenimagesand$ayroored to
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DonrmirdillecnlcolduEdlghrsd!{es suchsslbfr awtdowdnd a
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i.l!e a tulLocior rb bouNe lillii omo the lubjod lryoucaftanoda
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-,"'*-'.., ]-
Aurhor Scott Ketby Publisher New Riders Price f30.99
ISBN 0-7357-1353-7 Webwww.scottk€hybooks.com

slra€htlorward rhe tutor6ts ar€ clear

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Photoshopt,"chnLques ntherihan Each chapre..ontaif, s r sroup
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takesa lrokatp, fotioprcsef,ution


Authors Adrian Davies & Phft Fsnnessy Pubtisher Focat Press AulhorCarLa Ross tubtisher Sams Pftce f1799
Ptice 122.25 SBN 0-240-51590-0 Web wv/vdocatpr€ss.com ISBN 0-672-32592-6 W-"b wwwsamspubtishirE.com

fiil tr at tnasule FdFhabehrhe3 trnderpinning image capru.e itseti ItiT h leirsd n€Llr bcqinne6 l€a.h pub(Ghing rhore arept nyorwork
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Author P€terCope Publisher lLex Press ftice 919.95 Author Mark Ctarkson Pubtisher
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ISBN l-904705-07-3 Webwwwilex-press.com

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lhosewhh a backgound in rditional
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al whai makes loiihe ideal dkiral
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Each chaprerbelins with ai
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up both arlisls,theirfavoured slyte and
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Po techniau€s include ar{f icial
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Author Chris Taranlino Pubtisher ltex ftess Price t14.95
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ilil"l nt€nwth theamateurdlsut generattyhaveontya handtulolsrees
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