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ART177.

tut_pshop 60 14/6/10 3:01:23 pm


Technique 61

Any versions of 01 My chosen image is


#8155786 from www.dreams

Photoshop and Illustrator time.com. It’s inverted in


original RGB space before it
gets added to the main

Brighten
Photoshop CMYK mode canvas
in dimensions of 222x300mm.
Some images inverted in CMYK
mode lose quite a lot of white

your work
information and become too
dark to use further.

with custom
3D shapes
Don’t settle for flat
artwork. Radim Malinic,
AKA Brand Nu, shows 02 We need to extend the image
out to the edges. In CS5 you can
03 A rich black provides many
tonal options. I apply a ‘Selective Color’

how 3D shapes can bring highlight the negative area and use
Content Aware Fill; in previous versions
adjustment layer on top of the
background, then add more magenta via

variety and colour to make a copy of the layer, then drag it to


the left to extend and retain perspective
the Black and Negative channel. I group
all layers, create a copy of the group and

your compositions
of the room. Then, using the Marquee flatten it, keeping the original as a back-
tool, draw a box at the top to stretch the up. I draw paths around the door and
colour upwards. Repeat at the bottom. stairs, then turn each element into a
Mask and brush off any extra edges for separate layer to enable placing of new
Every illustration can be made more complex and a seamless blend. elements in front of and behind them.
colourful with the clever use of texturised spheres and
dimensional objects, which can be created with ease.
Throughout this tutorial, I’ll demonstrate some methods of bringing 04 Although my main image
bright objects into illustrations, and you can then take these points already had some light gradients, I
and adapt them to suit your own images. Hopefully you’ll be inspired want to add a few Adjustment Layers
to start new projects! You do not have to recreate every single for more dramatic lighting. Click the
shape in the tutorial; get creative and work out your own version Adjustment Layer button at the
of the composition. bottom of your Layers panel, and
change the values to 00, 1.00, 175. We
don’t want the image to be
overexposed, so we hide the black
levels (Alt/Opt+Delete) and brush
under the stairs with a white brush to
give us highlights in the right place.
Repeat the procedure the other way
around to make the corners darker.

05 Now the
foundation’s done, I’ll switch
to Illustrator to create the
Radim Malinic On the disc Time needed
Working under the The vector shapes 3-4 hours
custom elements. Firstly I
moniker Brand Nu, used in this tutorial delete all the new
Radim has recently can be located in document’s preset CMYK
Skills
released Book DiscContents\
Mapping art
colours, and select Open
#THREE, a Resources\Shapes Swatch Library>Color
patterns
showcase Properties>Bright. Add any
Using 3D and
publication filled
with personal
Revolve features colours that you feel
Creating complement each other.
experiments and
realistic Colours can be added either
examples of his
shadows
commercial work.
Selective
by dragging them from
Check out his menu to menu or by clicking
colour use
portfolio at www. on the ‘New’ icon at the
brandnu.co.uk
bottom of the menu.

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ART177.tut_pshop 61 14/6/10 3:01:28 pm


62

08 Our bank of elements is


coming on nicely, but we need to make
them into separate symbols so we can
add them to our 3D shapes. As per
deleting all preset colour swatches, let’s
06 Illustrator’s Map Art function comes in 07 This part is all about textures that we delete all default symbols. Once that’s
very handy for occasions like this, when we want to need for 3D map art. Still in Illustrator, using your done, select each drawn pattern, then
create multiples of 3D objects that will bounce colour presets draw various repetitive patterns in click the ‘New’ icon at the bottom in
down the stairs. Stripy spheres have been popular in different sizes in rainbow tonal shades. Anything order turn each group of shapes into a
many recent ad campaigns and are easy to create in goes – the more random patterns will give us more symbol. When the pop-up window
any version of CS. intriguing objects later on. appears, select Type: Graphic.

09 With the Ellipse


tool, draw a circle. Choose
the Direct Selection tool and
select the left part of the
shape. Delete the anchor
point. Now we have a half
circle, select Effect>3D
tools>Revolve. Click Preview
to see what the final shape
will look like. Click the Map
Art button then add patterns
by selecting them from the
drop-down menu.

10 Feel free to experiment with sizing and angles when


deciding which patterns to use. You’ll soon figure out how to
make each object different, so that no two objects look the
same, even if they use the same pattern.

11 As well as being able to create your own patterns for 3D features via the
Symbols feature, you can also apply extra textures to flat shapes. Combine the shapes 12 Now I’ve got a hefty bank of elements to burst out of
in a square space – the square pattern will need to be seamless when repeated, so the imaginary room, all over the staircase. Back in Photoshop, I
pay attention to maintaining equal distances from the central object. When you’re place the objects randomly within the area over the stairs,
happy with what you’ve drawn, select the objects and drag them onto the Swatches ensuring each is copied from Illustrator and pasted as a Smart
palette. An icon will appear next to our previously saved colours from Step 5. Draw a Vector Object. You will have the option to change your mind
simple shape then click the ‘New pattern’ icon to apply the texture. about sizing without loosing the quality of the elements.

Computer Arts August 2010 www.computerarts.co.uk

ART177.tut_pshop 62 14/6/10 3:01:34 pm


Technique 63
Brighten your work with custom 3D shapes

13 Though the spheres look great in 3D, they can still be


perfected in Photoshop with extra shadows to make them
blend better with the composition. Select an object, hold down
Alt/Opt and add a solid colour adjustment layer. Tick the
Clipping Path box in the pop-up window. Click B for Brush, and
paint out the colour of the object, from the top. This is easier if 14 We need some shadows. I create a new layer (Ctrl/Cmd+Shift+N) and brush
your round brush is bigger than the sphere. Leave extra colour a spot of black colour with a soft round brush. I click V to switch back to the Selection
at the bottom of each shape to make them look ‘grounded’. tool, and use Alt/Opt+Shift+M to multiply the colour object with the background. I
drag the element while holding down Alt/Opt to duplicate the layer. I free transform it
(Ctrl/Cmd+T) and, while holding down Ctrl/Cmd, drag the corners of the bounding box
to reshape it in perspective with the staircase. I repeat this for all the objects.

16 The image could


benefit from extra shapes to
break up the sea of spheres,
cones and sticks. Back in
Illustrator, I draw a slinky for the
stairs by duplicating a circle. I
select the circle, click R, move it
to the right-hand side of the
object and rotate it a few
millimetres. I then click Ctrl/
Cmd+D until I’ve got a half-circle.
I go to Object>Blend>Blending
Options and set it to 25 Specified
Steps. If you’re not happy with the
15 I want the image to suggest that the 3D elements are colour of your blend, hit A and
bursting out of the room beyond the door. In these cases, take highlight the bottom path.
the time to figure out how you want each object to interact, and Changing the colour will instantly
how their shapes influence the shadows around them. Repeat create a colour blend from top to
the process from Step 14 for shadow layers. bottom. Paste into Photoshop.

18 Everything’s now in place and the image looks


seamless, with perfect shadows and cast shadow perspectives,
but it could look a little crisper to ensure it prints really well. I
select the very top layer and add levels via the Adjustment
Layer menu at the bottom of the Layers panel. The built-in
presets can serve as a good start, and Increase Contrast
enhances the tones of the image nicely.
17 My piece has the right level of complexity and detail. However, I feel it could
do with a few simpler objects to balance the composition a little. I still have surplus
objects in Illustrator which could be brought onto the main canvas. This time I choose
Shape Layer and fill the colour as best balances the composition.

Subscribe at www.myfavouritemagazines.co.uk/coa/p090 or see page 92 Computer Arts August 2010

ART177.tut_pshop 63 14/6/10 3:01:40 pm