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Your One-Stop Image Solution
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WELCOME
ISSUE 110
Welcome to the latestissue of AdvancedPhotoshop. I couldntstart without discussingthe ground-breaking newsfrom Adobe on the end ofthe CS boxset and the
launch of Photoshop CC
IN THIS ISSUE:
GRAPHICS
DIGITAL PAINTING
PHOTOMANIPULATION
PHOTO EDITING
ANNALISA SAYWELLEditor
The recent announcement at the Adobe Max
conference in L.A. has sent our office into overdrive.
Weve learned that significant changes are being
made to both the Adobe product line and the means
of paying for it all, and the important questions
how, what, why and when? have been on
everyones minds since the discovery.
So taking that into account, we discuss what
exactly all the fuss is about and bring you an update
on what you can expect from the new tools as well
as looking into which features to get excited about
when Photoshop CC is finally released on 17 June.
Elsewhere in the issue, we bring you 15 great
illustration tips and tricks, show you how to createcharacter concepts in CS6 and discover creative
photomanipulation all using Photoshops top tools.
Our free disc is not to be missed either, with over
1,270 premium resources to choose from and an
exclusive video tutorial, it really is a bumper issue
FIND US ONLINE
@advancedpshop AdvancedPhotoshop
.co.uk
00
ISSUE 110 CONTENTS
COVER ARTIST
Pete Harrison wields lightand colour in many of his
digital images, and aslighting is so important
when producing painteffects - who better thanhim to produce our cover
tutorial this issue.
PETE HARRISONhttp://peteharrison.com
TYPOGRAPHY
NEW MEDIA
DIGITAL COVER ART:
ABSTRACT GRAPHICS44Learn the skills required to replicate aphotographic collage with multiple layers
12PORTFOLIO INTERVIEW:
THE PURSUIT OFLIGHT AND COLOURMarta Nael reveals her secrets on how to create acolourful portfolio but still preserve realism
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EYE ON DESIGNWhats hot, whos in and thelatest art & design happenings
PRO PANEL:Our contributors share Photoshop secrets06INDUSTRY FEATUREAdobe reveals Photoshop CC08
18 PROJECT FOCUS:Stunning mosiacs in CS612 PORTFOLIO INTERVIEW:The pursuit of light and colour: Marta Nael
CONTENTS
ISSUE 11
004
CONTENTS ISSUE 110
56 CHARACTER CONCEPTS
DIGITALALBUM
ARTWORK
36
FOR BACK ISSUES, BOOKSAND MERCHANDISE VISIT
76ACTIONPACKED
COMPOSITES
28 ILLUSTRATION TIPS
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TECHNIQUES
Professional artists reveal their high-end skills in our easy-to-follow workshops
15 Illustration tips & tricks28 INDUSTRY FE TURE
REVIEWS
We put the latest creative kit,books and apps to the test
82 FEATURE:Head to head - Raw war86 REVIEW:Wacom Cintiq 13HD
Free withissue 11
ofAdvanced Photoshop
RESOURCE COLLECTION
PLUS:
Tutorial project files Exclusive wallpapers for mobile and desktop Fonts worth $30
Featuring 1,050 Photoshop brushes, 200premium textures and 20 high-res images
TAILORMADECRE TIVE CONTENT
Master paint splash effects for yourselfusing Photoshop CS6
96 ON YOUR DISC
Liquid paint effects50 WORKSHOP bstract graphics44 INDUSTRY WORKSHOP
Atmospheric landscapes62 WORKSHOPDKNG Studios20 STUDIO INTERVIEW
Digital album artwork36 INDUSTRY FE TURE
Character concepts56 WORKSHOP
SEE PAGE 22FOR THE LATEST OFFERSUBSCRIBE TODAY!
68 Create stylish vintage typeWORKSHOP
Engaging photo illustration
88
RE DER INTERVIEW
76 Action-packed compositesWORKSHOP
72 Shine by Kris ShieldsHOW I M DE
88 ENGAGING PHOTOILLUSTRATION
Produce paint splash stock92 RESOURCE PROJECT
72 SHINE
62 ATMOSPHERICLANDSCAPES
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006
EYE ON DESIGN PRO PANEL
PRO P NEL
OUR CONTRIBUTORS SHARE THEIR CREATIVE SECRETS, EXPLAINING HOW THEY
CREATED THESE STUNNING EFFECTS USING PHOTOSHOPS POWERFUL TOOLS
EYE ON DESIGN
DAN KUHLKENwww.dkngstudios.com
Running a small firm gives DKNG the opportunity to complete tasks
more efficiently. Two heads are better than one, but 10 heads can be a
circus. As a result, were limited in how many projects we can take on,
but this enables us to fully focus on the ones that we do choose. Our primary goal is to
create great work generating profit comes second. A larger team would increase our
bandwidth and that would decrease the quality of our work.
See more from Dan in this issues Studio Interview on page 20
GREG DAVIESwww.gregdavies.co.za
Nothing imbues crispness in an image quite like a
High Pass-Overlay layer. Its effect can be applied to
any image, and we can all achieve this look by first
duplicating our image and then selecting Filter>Other>High Pass. Once
complete, set the new layers blend mode to Overlay, adjust the Opacity
to taste and then the image will look much sharper.
Greg shows how to create photo-based album artwork in our
main feature on page 6
MARTA NAEL
http://martanael.daportfolio.com
There are many ways to create focus in an image,
yet we can achieve more dynamic results by rotating
the horizon line. Placing the centre of interest a bit to
the right or the left, rather than the centre, is really useful for creating a
diverse composition. The arrangement of light helps create mystery and
can also be used to guide our eyes across a picture. Use this effect to
make certain elements stand out from the background.
Check out more of Martas work in her interview on page 12
Marta Nael
Greg Davies
Dan Kuhlken
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PETE HARRISONwww.peteharrison.com
Its important to keep gradients
looking smooth, especially in
high-resolution images. Bandingcan easily occur if you dont keep on top of your work.
The best way to ensure the right look is to select Edit>
Color Settings and then set your piece to Adobe RBG
(1998). I use this setting for all of my work and I make
sure that I keep the Dot and spot gain set at 20%.
Find Petes create-the-cover tutorial on page 50
LUKE CHOICEwww.velvetspectrum.com
My work was based heavily in Photoshop before I learned to use C4D. Once I was able to
blend the two programs together, I realised how important it was to pay attention to the
direction of light and shadow in when creating artwork. To amplify the contrast of certain
areas in this image I used the Dodge and Burn tools, creating a greater range of depth.
More of Lukes work can be seen in our album artwork feature on page 36
007
Imagine Publishing Ltd 2013ISSN 1748-7277
Magazine teamEditor Anna-lisa Saywell
01202 586243
Editor in ChiefDan Hutchinson
Features EditorAdam Smith
DesignerSteve Mumby
PhotographerJames Sheppard
Senior Art EditorDuncan Crook
Head of PublishingAaron Asadi
Head of DesignRoss Andrews
ContributorsGavin Thomas, Tim Williamson, Chris McMahon, Josh Rossi,Angelica Jopson, Neil Stevens, Tommy Kinnerup, Kirk NelsonMikko Lagerstedt, Laurence Matthews, and Pete Harrison.
AdvertisingDigital or printed media packs are available on request.
Head of SalesHang Deretz
01202 [email protected]
Advertising ManagerJen Farrell
01202 [email protected]
Account ManagerBecky Palmer01202 586438
Cover discHead of DigitalMat Toor
Multimedia EditorSteve Dacombe
InternationalAdvanced Photoshopis available for licensing.Contact the International department to discusspartnership opportunities.
Head of International Licensing Cathy Blackman
+44 (0) 1202 [email protected]
[email protected] all subscription enquiries:[email protected]
UK: 0844 848 8402
Overseas: +44 (0) 1795 592 88013-issue subscription (UK) 62.3013-issue subscription (Europe) 7013-issue subscription (ROW) 80
CirculationHead of Circulation Darren Pearce01202 586200
ProductionProduction Director Jane Hawkins
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FoundersGroup Managing Director Damian ButtGroup Finance & Commercial Director Steven BoydGroup Creative Director Mark Kendrick
Printing & DistributionPrinted by:William Gibbons & Sons Ltd, 26 Planetary Road,Willenhall, West Midlands, WV13 3XTDistributed in the UK & Eire by: Seymour Distribution, 2 EastPoultry Avenue, London, EC1A 9PT0207 429 4000Distributed in Australia by: Gordon & Gotch, Equinox Centre,26 Rodborough Road, Frenchs Forest, NSW 2086
+ 61 299 728 800Distributed to the rest of the world by: Marketforce,Blue Fin Building, 110 Southwark Street, London, SE1 0SU
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DisclaimerThe publisher cannot accept responsibility for any unsolicitedmaterial lost or damaged in the post. All text and layout is thecopyright of Imagine Publishing Ltd. Nothing in this magazinemay be reproduced in whole or part without the written
permission of the publisher. All copyrights are recognisedand used specifically for the purpose of criticism and review.Although the magazine has endeavoured to ensure allinformation is correct at time of print, prices and availabilitymay change. This magazine is fully independent and notaffiliated in any way with the companies mentioned herein.Photoshop is either a registered trademark or trademarkof Adobe Systems Incorporated in the United States and/or other countries and is used with express permission.All $ prices are US Dollars unless otherwise stated.
If you submit material to Imagine Publishing via post,email, social network or any other means, you automaticallygrant Imagine Publishing an irrevocable, perpetual, royalty-free license to use the images across its entire portfolio,in print, online and digital, and to deliver the images toexisting and future clients, including but not limited tointernational licensees for reproduction in international,licensed editions of Imagine products. Any material yousubmit is sent at your risk and, although every care is taken,neither Imagine Publishing nor its employees, agents orsubcontractors shall be liable for the loss or damage.
Imagine Publishing LtdRichmond House, 33 Richmond Hill,Bournemouth, Dorset, BH2 6EZ
+44 (0) 1202 586200Web:www.imagine-publishing.co.uk www.advancedphotoshop.co.uk
www.greatdigitalmags.com
The magazine for AdobePhotoshopprofessionals
Its important to keepgradients looking smooth
The best way to ensure the rightlook is to select Edit>Color Settings
and set Adobe RGB (1998)PETE HARRISON /WWW.PETEHARRISON.COM Pete Harrison
Shotopop
Ministry of Sound Australia
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008
WE EXPLORE WHAT THE LATEST VERSION HAS TO OFFER AND
GAUGE THE REACTIONS FROM A COMMUNITY OF PHOTOSHOP USERS
At this years annual MAX Conference, held in
Los Angeles, Adobe announced its most
ground-breaking update since the release
of Photoshop CS6; the all-new Photoshop
CC. This version will be made available in June and
provides Creative Cloud subscribers with a host of
brand new tools, as well as reinvented ones.
Photoshop CC is geared towards photo editing like
weve never seen, pushing the boundaries of whats
achievable in image editing even further. Moreover,
its speedy operation means photographers and
designers can create with even more freedom. This
is all thanks to Adobe, who continues to perfect and
provide superior image editing algorithms.
New tools are supplied by the dozen and include
the most advanced sharpening tool available, live
syncing with Adobe Camera RAW (ACR) and all-new
shape tool functionality. ACR itself has now been
updated to version 8 and includes its own set of
upgrades to complement a Photoshop workflow.
In this feature we go into greater detail about
whats in store for us, presenting the most exciting of
the new Photoshop CC tools and options. We also
share some of the Photoshop communities
thoughts and opinions on this latest update, in
addition to exploring the new innovative options
added to other software in the Creative Cloud.
ADOBE REVEALSPHOTOSHOP CC
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PHOTOSHOP CC TECHNIQUES
009
NEW SH KE REDUCTION FILTER
NEW SM RT
SHARPEN FILTER
THE FUTURE OF PHOTOSHOP
Adobe has announced that, moving forward, the company
will now focus on creative software developments for
Creative Cloud. Photoshop CC will now be a subscription-based software. This is a bold step, seeing the company
breaking away from its own tradition. This means that the
boxed version of Photoshop has been shelved.
Subscribers can now get their hands on Photoshop CC by
paying a month-to-month fee, or by instead signing up for
12 months at a cheaper cost. Adobes Photoshop CC
buying guide offers evidence that indicates a single
Photoshop CC app subscription may be available in the
near future. Presently, however pricing information is
absent. Head over to the next page to learn peoples
reactions to this revelation.
Camera shake can plague professional and
enthusiast photographers alike, caused by our
own movement when the camera is focused.A slow shutter speed and long focal length is
also culpable. Affected shots would normally
be thrown in the Trash folder, but not any more
with this new addition to Photoshop CC.
The Shake Reduction filter, found in the
Sharpen menu, will de-blur any image
affected by camera shake. Photoshop CC does
a great job of fixing any image automatically,
but it also caters for users who like to make
manual adjustments.The Shake Reduction tool allows us to select
the region of an image thats most affected,
with Photoshop CC algorithms laying the
foundation of our edits. Users can then perfect
looks using intuitive sliders that improve detail,
sharpness and noise left in an image. Its an
incredibly intuitive and easy to use tool.
When we say new Smart Sharpen filter, what
we really mean is revamped to the hilt. Adobe
has thought long and hard about supplying
intelligent resizing and sharpening functionality
in Photoshop CC. This latest revision shows a
great deal of diligence.
The Smart Sharpen dialog is now resizable, so
we can better scrutinize our working area. This is
something that we Photoshop users have been
persistently calling for, across all filters.
This version still operates through a set of
sliders, which makes the improved outcomes
that are applied even more outstanding. There
are only three in total (with Basic options),
including the regular Amount and Radius types.
However, Adobe has also added a Reduce Noise
slider in reaction to the haloing that occurred in
the results of previous versions.
This may seem such a small addition, but it
shows how Adobe is paying attention to even the
most specific usability issues we encounter.
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Photoshop has always relied on its interpolation
technology to resize images. Yet due to its reliance
on pixels, radical resizing wasnt a viable option. Well
it is now with Photoshop CCs new Preserve Details
option, found inside the Image>Image Size dialog.
The dialog itself has had a complete redesign, now
including a large image preview.
Users must activate Resample to access the drop-
down menu that houses all bicubic interpolation
options, as well as the new Preserve Details option.
This is ideal for upsampling. Bicubic interpolationsare still ideal for minor adjustments, but for more
radical enlarging then Preserve Details is a must.
The main difference is sharper edges when blowing
up images; doubling in size doesnt seem to be a
major issue. This option also includes a Reduce
Noise slider, like the other latest filters inside
Photoshop CC. This helps smooth any noticeable
surfaces that are afflicted with tricky artifacts.
TECHNIQUES PHOTOSHOP CC
010
The main difference issharper edges when
blowing up images
NEW PRESERVE DET ILS OPTION
NEW SHAPEPROPERTIES PANEL
DOBE CAMERA
R WFILTER
Photoshop CS6 took the Shape tool to a whole new
level with an new set of dialog options and vector
technology. These made designs more customisable
than ever. Photoshop CC continues to champion
flexible shape creation with its own new options.
These can be found in the Properties Panel and
allow Photoshop CC users to edit shapes after
theyve been applied to a design. Now we can adjust
individual corners or all of them at once, affecting
shape radius and size in real-time. We can also
select multiple shapes and control these at the same
time, conforming each one to specific settings.
Adobe Camera Raw 8 (ACR8) can now be
applied to any layer or file inside Photoshop by
using the Camera Raw filter, but theres much
more to this than previous versions. ACR8 has
been treated with new technologies to
complement the Photoshop users workflow.
The enhanced Spot Removal tool is just one
of the latest features in ACR8 and this looks to
improve photo retouching inside the app. This
tool now functions much like the Spot Healing
brush inside the standard Photoshop version.
Retouchers can use this tool to paint to
non-circular areas of an image. ACR8 will
automatically remove artefacts for us. Press V
to see the green marker, which highlights the
replacement area that ACR8 amended from.
Simple drag-and-drop this point to tell ACR8 to
sample from a new area, which we may feel
achieves better results.
OTHER CHANGESWE PRESENT A FEW ADDITIONALFEATURES THAT HAVE BEEN ADDED
to the creative cloud line-up
Photoshop CC Blur Gallery and Liquify filter
can be applied non-destructively, now using
Smart Object functionality
Bring settings to multiple computers withcloud-enabled Sync Settings
CSS Designer in Dreamweaver CC provides
the most up-to-date CSS and properties
available via an intuitive visual editing tool
Editing Finesse in Premiere Pro CC focuses
on sleek design and customisation
capabilities, combined with new editing
features and keyboard-driven editing
Photoshop CC now generates CSS code for
specific design elements, which can then be
copied and pasted into a web editor in order
to get exact results
Live 3D Pipeline with Cinema4D in After
Effects CC lets us add 3D objects to scenes,
eliminating any intermediate rendering
between applications
Parallax Scrolling in Muse CC allows us
to create stunning effects with just a few
mouse clicks images and elements now
move in different directions at different
speeds when scrolling
Motion Paths in Edge Animate allow us to
animate elements along totally
customisable paths
A completely modernised architecture in
InDesign and Flash Pro has been rebuiltfrom the ground up to be faster and more
reliable, with a streamlined UI
InDesign has a great new QR code creator
Flash Pro now includes real-time drawing
and live preview functionality
Creative Cloud members can now upload
images to a Behance Pro site for free, using
File>Share on Behance
ACR FILE HANDLING
Photoshop CC lets users transfer from 32-bit to
8-bit by using ACR8 controls. To do so, simply
activate Preferences>File Handling>Use AdobeCamera Raw to Convert Documents from 32 bit
to 16/8bit. Now just select either 16 or 8 bits
from the Image>Mode options.
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011
At first I wasnt thrilledabout this. But there are a
lot of pros. I am alwaysupgrading to the latest versionsanyway. [Photoshop CC] will justspread the cost. You get a lot for$600 a year
NEW R DI L
FILTER TOOL NEWTONE INACR OPTION
NEW UPRIGHT OPTIONS
Adobe Camera RAW (ACR) has always been revered for its
ability to stylise photos and this reputation doesnt look like
it will be waning any time soon. Not with the inclusion of
the new Radial Filter tool in ACR8, that is.
This tool lets users target a specific area of an image
using a circular selection. The dimensions of this can be
controlled and edited live by using control points. Applying
the Radial Filter tool opens its own extensive set ofoptions, which allow us to affect existing light, colour
temperature and sharpness within our targeted area.
Other cool functions of the Radial Filter tool include the
ability to create a new selection, which will duplicate the
settings applied previously. We can also move our
selection on-screen, with ACR8 affecting the original
image beneath in real-time. This is a great way of instantly
seeing how effects look in other areas of an image.
Photoshop has always recognised the
impact of HDR photography, with its
Merge to HDR Pro and HDR Toning
options both implemented and updated
in Photoshop versions CS5 and CS6.
Now users of Photoshop CC can load
Merge to HDR Pro images straight intoACR8 and edit them.
All we need to do is set Mode to 32 Bit
and select the Tone in ACR option, which
appears at the foot of the dialog. All ACR
controls are applicable to our images.
This means we can add all of the new
ACR8 tools to retouch and perfect looks.
Photoshop CS6 made massive strides in lens
correction with its Adaptive Wide Angle filter.
However, this seemed to work best with fisheye
distortion. ACR8 with Photoshop CC has improved
results through its own advanced correction tools,
found under Lens Correction>Manual. The new
Upright options in here tackle all types of distortion.
There are five Upright options in total to choose
from. These provide one-click results, with ACR8
determining the best effects mechanically and to an
accurate degree especially the Auto option.
Horizontal will apply one level correction that
matches the best-case horizon in an image. Vertical
works to a similar effect. If we want to go the whole
hog we can apply the Full option, which will correct
level, horizontal and vertical perspectives. Users can
manually edit effects further by using slider options,
matching to Grid guides (enable Show Grid first).
HAVE YOUR SAYSEE WHAT OUR FACEBOOK COMMUNITY
THINKS OF THE LATEST CREATIVE
CLOUD ANNOUNCEMENT
FRDRIC GOMBERT INFOTOGRAPHE
That would mean the end of my collaborationwith Adobe, if they dont change their mind. I
wont pay such a high price to rent software.
Creative Cloud is fine as an option, but not if its
forced to be the only available solution
CHRIS MACDONALD
I agree with Fred. This is also the end of my
collaboration with Adobe. They are forcing us
into a cloud corner and I wont be. I dont need
every single new upgrade and I refuse to pay
for something Im not going to use. I know a lot
of other colleagues that will also stop using
Adobe products because of the Creative Cloud
subscription. Now would be a good time for
some other company to come in and giveAdobe some competition.
STEVE MCALENEY
I have to agree that I will never rent software.
Adobe are making a big mistake as most
people will look elsewhere for their photo
editing needs jolly bad show.
BRAD STRICKMAN
Love it. The subscription option seemed like
a great idea to bring in more customers who
would normally just pirate it. If you want to
always keep up with the latest updates then
its cheaper in the long run. I dont understand
the hate.
ROBERTA KELLEY
Havent decided yet.
JAY LEVINE
At first I wasnt thrilled about this, but thereare a lot of pros. I am always upgrading to thelatest versions anyway. [Photoshop CC] will justspread the cost. You get a lot for $600 a year
FOR MORE INFORMATION ON CREATIVE CLOUD AND PHOTOSHOP CC BUY ISSUE 111 ON SALE 11 JULY
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040012
EYE ON DESIGN PORTFOLIO INTERVIEW
MARTA NAEL REVEALS HER SECRETS ON HOW TO CREATE A
COLOURFUL PORTFOLIO BUT STILL PRESERVE REALISM
PORTFOLIO INTERVIEW
TH PURSUIT OFLIGHT AND COLOUR
martanael.deviantart.com
Mastering a realistic paint style is never
easy, which makes digital artist Marta
Naels portfolio all the more amazing.
This issue we discuss with her how she
has nurtured her amazing mixed-media method and
how she continues to improve it. We also explore
how Nael has successfully promoted art sales and
translated her already impressive brush skills into
entirely different themes from expressive portraits
to skilled matte paintings.
HOW HAVE YOU CONTINUED TO IMPROVE ON
YOUR PORTFOLIO?
I paint on a daily basis, never give up and am never
satisfied with what I do. This is what pushes me to
improve my work. Creating a good portfolio is a
challenge, especially when trying to master ways to
paint light and colour effects. I only published my first
images online around three years ago. My portfolio
is something that has helped me to improve, by
comparing older works with more recent ones and
then only showing the images Im most proud of.
HOW DOES YOUR FINE ART WORK FUEL YOUR
DIGITAL ART?
If you cant paint in a traditional way then you wont
be able to paint digitally. This is something that every
working artist should bear in mind. In my case, the
traditional training I received when studying Fine Arts
became really useful. It helped me start a method
based in brush strokes, instead of line art. I found
myself always shading the entire canvas with a
neutral colour first, and then defining surfaces by
adding to or erasing from this base. I then tried to
apply this same process in my digital workflow, to
maintain the same feeling.
WHY DO YOU FOCUS ON MIXEDMEDIA?
I believe my mixed-media style is one not used by
many artists, and maybe this makes it popular. I
create a look thats normally achieved using acrylics,
oil paints or watercolours. I think that when people
see my images they dont recognise the artificial look
or airbrushed feel that some works have.
HOW HAS PHOTOSHOP SPECIFICALLY HELPED
YOU TO REPLICATE THIS LOOK?
The use of several textured brushes is essential.
Throughout the years, Ive downloaded tons of styles
that replicate the look of splashes and strokes. Ive
even created some from scratch. I dont use layers a
002Ari:One of the images Im most proud of.I created this image as a concept art for avideo game, which never came out, sadly Ediciones Babylon
001Boat in a storm:This artwork could beseen as a play of colours, where I intendto move away from reality and simplyenjoy painting. Despite choosing aninsignificant subject, I tried to highlightthe use of light and colour Ediciones Babylon
MartaNael
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EYE ON DESIGN PORTFOLIO INTERVIEW
004Dinotopia Tribute:A tribute to thewell-known series by James Gurney. Itried to portray a civilisation urbanAsian, and somehow lost wherehumans live together with dinosaurs,and where a new race appears: robots Ediciones Babylon
005Be my valentine:This image was created for ValentinesDay. I wanted to portray a couple feelingthe passion of love instead of a cheesyromance image Ediciones Babylon
003Impressions Cover:This was used as thecover of my first artbook: Impressions. Iwanted to mix realism with a morepainterly style in t he same image,keeping the face detailed while the restis applied roughly Ediciones Babylon
OVERSATURATION
Paint light as if you were modelling shapes like a sculptor.The contrast generated from painting coloured surfacesand dark values creates outlines. Think of a reality were
there is only over-saturation, where no grey, black or whiteexists. This really helps you to achieve colourful artworks.
MULTIPLE LIGHT SOURCES
Using an interesting arrangement of light can help you addmystery, dramatise shapes and intrigue the viewer.Contrasting a main warm light with several secondary coollights makes the scene more dynamic.
ADDING NOISE
Once Im done, I flatten all the layers and create a new oneon top. I fill this with a neutral grey colour then selectFilters>Add Noise>400%. Once I have applied that effect, Iblur it a bit then change the layers blend mode to Soft light. Ialso lower Opacity to around 20%. This creates a nice graineffect, barely visible, that will add a film effect.
PORTFOLIO TIPSLEARN NAELS INSIDE TRICKS TO SCULPTING LIGHT,
BALANCING SOURCES AND FINISHING ARTWORK
lot as I like using the History Brush instead, in order
to bring back certain parts and add texture with
transparency. This process also works perfectly
when you need to retouch a photo thats to be
integrated into a matte painting.
HOW DID YOU TRANSFER YOUR PAINT SKILLS
INTO MATTE PAINTING?
The first paintings I ever attempted were realistic,
and I soon realised I wanted to apply the same light
and colour to landscapes too. My latest works are
even more colourful, though. Im trying to get an
over-saturated result but still follow light logic. Matte
painting usually means starting from a photo plate,
but I believe working on the whole composition is
important when creating an artwork. I begin painting
from scratch and, as soon as I have a detailed image,
I mix photos and paint to generate realism.
HOW DO YOU APPLY LIGHT AND COLOUR TO
DEFINE YOUR STYLE?
Im obsessed with light and colour when painting.
Im not really concerned about meaning; I just feel
like relaxing and unwinding from all the pressure,
giving way to play, directly pouring out my feelings. I
believe that mastering how to paint the effects of
light and colour onto objects can turn a regular
image into a beautiful work of art. Thats why I
always strive for vibrancy in both my painterly and
my more realistic styles. I play with complementary
contrasts by using warm and cold tones.
CAN YOU TELL US THE POINT AT WHICH YOUR
STYLE BECAME COMMERCIAL?
When I was finishing my degree in Fine Arts I felt like
trying out digital art. As soon as I began what I called
Digital Impressionism, I got attention from the
public. I thought mixing digital art while preserving a
traditional-looking style would be interesting it
seems people agree. I started getting more likes on
social networks, then people began to buy my prints.
003
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HOW HAS SELLING YOUR WORK HELPED TO
FURTHER YOUR PORTFOLIO?
Selling your art as a print or a canvas makes you see
whether or not people value your work. It also
reveals what subject people enjoy the most in your
paintings. Plus, it means expanding more and
reaching more people especially if you get the
chance to sign and sell it.
HOW DID YOU PROMOTE YOUR PORTFOLIO TO
POTENTIAL CLIENTS?
To become a professional illustrator you need to be
good at actually illustrating, but also able to promote
your work everywhere and in any way possible.
Whenever I wanted to get some commissions I had
to show my work. The Internet is a very useful tool
for reaching out to lots of people, especially on social
networks. Appearing in magazines and art books is
helpful too, as it gets you recognised in a competitive
world of artists I sent my images whenever there
was a call for entries.
DO YOUR PERSONAL AND COMMERCIAL
STYLES DIFFER?
To be honest, its been three years since I did my last
complete piece of personal work. But thankfully, I
have quite a lot of freedom when painting at my job.
Deadlines sometimes make me finish sooner than I
would do otherwise, however.
WHO OR WHAT HAVE BEEN YOUR GREATEST
INFLUENCES?
Ive loved fantasy and sci-fi since I was a kid. I spent
all my childhood watching films and reading books
based on these genres. Their influence appears in
my work almost automatically. Traditionally
speaking, Ive always enjoyed the art of Friedrich and
Turner, or the Impressionism movement. Sorolla is
also one of my favourite artists. As for digital art, I
love the works of Maciej Kuciara, Ruan Jia, Danny
Luvisi, Jonas de Ro, Dave Rapoza, Andre Wallin,
Marek Okon, Raphael Lacoste and Dylan Cole, to
name but a few.
WHATS THE MOST IMAGINATIVE PIECE OF
WORK YOUVE CREATED?
I believe it would be the piece entitled Dont Be Afraid,
Monsters. Its based on the commonly known
Beauty and the Beast story, but with a little child
being the main character and lots of monsters
surrounding her. The idea behind this image is not to
judge someone at first sight even monstrous-
looking creatures can be afraid of you and willing to
be your friend. I tried to explain the meaning of the
scene by using light in order to guide the viewers eye
around the image. Less important areas of the scene
fall into shadow while the main action is picked out.
The central figure and the monster beside her are
easily spotted from the rest.
WHAT HAS BEEN YOUR GREATEST LEARNING
CURVE WHEN PRODUCING YOUR PORTFOLIO?
Ive learned a lot from each painting. The only way to
learn is to practice on a daily basis, and putting in lots
of hours involves producing commercial work. My
biggest learning curve from this experience was the
use of layer blend modes. These let me integrate
photos with paintings a lot better especially in
matte paintings, where I can apply a Screen blend
mode or turn a greyscale sketch into a coloured one
with the Color mode.
WHAT ADVICE WOULD YOU GIVE OTHERS
LOOKING TO BUILD THEIR OWN PORTFOLIO?
Believe in yourself and never give up. Never be
satisfied with what you do; no matter what people
tell us, we can always improve. Also, dont upload
every single artwork you create to your portfolio be
selective, and only use the ones you think add
something new, add value or make you feel that
youve achieved what you were looking for.
Bridges Island:The birds-eye view in this artwork was intendedto dramatise the scene. Here, I tried to push my skills in painting
light and colour even further Ediciones Babylon
My biggestlearning curve
from this experience wasuse layer blending modes.These let me integrate photoswith paintings a lot better
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EYE ON DESIGN STUNNING MOSAICS IN CS6
WE ASK ARTIST CHARIS TSEVIS ABOUT HIS SIGNATURE STYLE
AND HOW HE COMMUNICATES BOTH THE PART AND THE WHOLE
PROJECT FOCUS
STUNNINGMOSAICS IN CS6
The mosaic is one of the earliest known
forms of art, with examples of glazed tiles
carefully placed to form larger works
dating back to 1500 BC.
Clearly we havent tired of the aesthetic approach
even thousands of years later, as renowned Greek
artist Charis Tsevis proves. His signature style is thatof contemporary digital mosaics and his carefully
arranged images burst off the page thanks to the
exciting and busy composition of smaller icons.
His work recently caught the attention of one of
the largest and most respected private art colleges
in Greece AKTO which wanted a campaign that
would feel fresh and human-centric. At the same
time, AKTO wanted a treatment that would
re-establish the values of the institution in the
current economic climate.
Four sets of values were selected to represent
the values system of the college art and science;
word and image; tradition and innovation; experience
and development, says Tsevis. The visual style of
the campaign needed to be based on these values
but also build around my signature mosaic style. As
such, to create the icons I used the tools of art
education, knowledge and culture. These represent
the necessary skills of craftsmanship and the wider
meaning of education.
Read on to discover how Tsevis took these
elements and built an eye-catching illustration that
explores education as a whole, while also
considering its constituent parts.
HOW DID YOU GO ABOUT PRODUCING THE
MOSAIC EFFECT?
I was very lucky to be a part of AKTO College and
thus able to use all of the creative people that live
within it. I also had access to a huge collection of
photos taken by Stefanos Samios, a multi-award-
winning photographer.
We chose a set of images of students that we
wanted to have at the centre of our campaign. I then
processed the photos in order to fit the mosaic so
that they would reflect the atmosphere that we
wanted to get across. In this type of work its
good to simplify photos as much as possible
and correct the parts that are complicated or
difficult to understand at a glance.
Next I had to create a colour version of the mosaic
that made use of the specific colour palette of AKTO
Colleges new identity. There are six colours along
with the white parts. Everything else had to be
coloured with these hues. Obviously, I painted certain
parts of the photos in order to keep the warm tones
for the skin. I then did the same for the focal point ofevery illustration and left the cold tones for the rest of
the composition.
After that I created a series of simple icons in
Illustrator that would be the stones of my mosaic.
These icons had to be simple and iconic in order to
be recognisable when very small.
Once Id prepared my photos I had to create my
mosaics. I worked with a series of custom-
developed scripts inside Synthetik Studio Artist for
this part of the work. Then I switched back to
Photoshop where I proceeded to build up the mosaic
in a manual way.
Once I had the final mosaics I created the layouts
in InDesign and worked on the TV commercial. Ex-
students at monologue.grmade the commercial.
ARE THERE ANY PHOTOSHOP SHORTCUTS TO
HELP QUICKLY REPLICATE THIS STYLE?
Unfortunately, there arent. There are many bits of
software that can create mosaics but the result that
all these programs offer simply isnt good enough
without a lot of manual correction.
WHEN CREATING MOSAICS, HOW DO YOU
ENSURE THAT THE FINAL IMAGE DOESNT
JUST GET LOST IN A MASS OF TINY ICONS?
Its actually very difficult because Ive seen the
original photos and I am always going to recognise
each and every part of them. The problem is that the
rest of the audience hasnt seen the source images,
so I have to constantly check with others to ensure
that what Im creating remains recognisable. I also
need to constantly ensure that what Im creating
imparts a very iconic composition that will send the
right message to the viewer.
HOW DO YOU GO ABOUT SELECTING THE
RIGHT STARTING IMAGE?
Mosaics are essentially photos in low resolution; a
photo with big pixels. As such the subjects have to be
Tsevis is an award-winning visualdesigner based in Athens, Greece.
He studied in Milan and Athens, butnow manages a modest studio
serving prestigious clients all overthe world, such as Coca-Cola, Nikeand Toyota. Hes also worked with
agencies like TBWA, Saatchi &Saatchi and BBH, as well as
publications such as TIME, Wiredand the Wall Street Journal.
CHARIS TSEVIS
ABOUT THE ARTIST
www.tsevis.com
VALUES+NAME OF PROJECT
ts vis
Alternative collage
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019
iconic, simple and legible from the start. Even though
this is the starting point, I then work a great deal on
my source images to prepare them for a mosaic.
There is not one image I have ever used without
altering it substantially.
HOW MANY LAYERS ARE NECESSARY IN AN
IMAGE LIKE THIS?
There are usually around ten or more layers. There
are different mosaics with various parameters, sizes
and corrections.
WHICH NEW PHOTOSHOP TOOLS WOULD YOU
LIKE TO SEE IMPLEMENTED TO MAKE
PROJECTS SUCH AS THIS SIMPLER?
The ability to have a colour image as a brush is very
important. Being able to use many images in a
brushstroke is also important for me. Ideas like Corel
Painters Image Hose or Studio Artists Movie Brush
are something that Photoshop is missing.
WHAT TIPS WOULD YOU OFFER TO OTHERS
LOOKING TO CREATE WORK SUCH AS THIS?
Even though Im a dedicated fan of technology, I
would suggest that they first understand how
mosaics are formed before and after technology.
People tend to believe that there is an easy and
automatic way to create a mosaic but this is not true.
Mosaics are images where you should
simultaneously see the parts and the whole. There is
a huge tradition of human creativity in this field.
Stone mosaics, typewriter art, ASCII art, pixel art and
many other art movements and techniques are very
helpful areas for a newbie to explore.
Converted photo Charis Tsevis
ejected mosaic
The most difficult part was showing thecharacteristics of the face but at the sametime keeping it blurred to create thephotographic depth of field.
What I wanted to show here was the auraof the smiling girl and to express the energycoming out of her right hand as it createssomething that makes her so happy.
Small details are always difficult to showin a mosaic, such as fingers. Here thestrange haircut and foulard was tricky torepresent in a mosaic.
ORIGINAL IMAGE
SEE THE REAL LIFE AD
ON THIS ISSUES DISC
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Like many other studio start-up stories, this
one begins with two college friends who took
very different paths before teaming up to
form their own design studio: DKNG.
Founder Dan Kuhlken studied graphic design, aware
that this would eventually lead to an artistic career.
Nathan Goldman, however, focused his energies on
both graphic design and art direction before working
full-time at DKNG.
So the pair collaborated in the field of design whiletheir nine-to-fives kept them apart. This is how they
encountered a career-changing opportunity. We
came across the chance to create posters for the
Troubadour, a world famous venue in Los Angeles,
California, Kuhlken tells us. Together we built a
large portfolio of posters for them, over the course of
a couple years. Eventually, this caught the eye of
potential new clients and our career has continued to
flourish since then, one project at a time.
DKNG is now known for producing high-quality
graphic design and illustration. Its services also
include brand and identity development, web design
and development, packaging design and apparel
design. From this, it becomes apparent that Kuhlken
and Goldman have a special interest in operating in
the entertainment industry.
The studio works with a bespoke philosophy,
believing that every client has a unique voice and
therefore that every new project requires a distinct
perspective. However, due to the fact that the studios
origins lie with gig posters, its noticeable how this
experience has inspired a few noticeable factors in
DKNGs design the application of bold colours and
shapes, specifically. One of the main purposes of a
poster is to grab the viewers attention as quickly as
possible, explains Kuhlken. The first thing people
see is colour and shape. Its only when they look
closer that they actually notice the variant details.
Setting these elements aside for now, DKNGs
design and illustration styles can change drastically
from project to project. Kuhlken believes that a
stubborn dedication to a niche style is commercially
detrimental. To us, this is not what a design firm
should express when dealing with a wide variety of
clients. We want to show we can do it all, he says.
DKNG goes some way towards achieving this
principle through the different personalities that the
duo bring. Nathan and I wear many different hats,
admits Kuhlken. Were both involved in the creative
and business sides of our studio. For instance, I
STUDIO INTERVIEW
WE INTERVIEW THE FOUNDER OF DKNG TO DISCOVER
HOW THIS LOS ANGELESBASED STUDIO IS FUSING
THE CREATIVE REALMS OF ILLUSTRATION AND DESIGN
DKNG STUDIOS
EYE ON DESIGN STUDIO INTERVIEW
020
DKNG is a full-service graphicdesign and illustration studio.Catering primarily to theentertainment and musicindustries, the duo behind thestudio have worked with someimpressive clients.
DKNG STUDIOS
ABOUT THE STUDIO
www.dkngstudios.com
DKNGstudios
Dan Kuhlken, Creative Director Nathan Goldman, Creative Director
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040022
EYE ON DESIGN STUDIO INTERVIEW
WORK IN THE CLOUD
Use Dropbox to keep files up to date across all systems,with clear folder structures so everything is ready to accesswhen theyre first opened.
USE SHORTCUTS
Learn Photoshop and Illustrator keyboard shortcuts. Theseare huge time-savers and become essential when tacklingseemingly impossible deadlines that are beginning to loom.
TALK TO COLLEAGUES
Sharing our progress with each other often sparks a newsolution and gets projects moving quickly, so were not stuckspinning our wheels on a problem.
WARM UP THE OFFICE
Its easier being creative on demand when were existing in aspace where we feel comfortable and relaxed. Always havesome inspiration at hand.
TAKE A BREAKIf the ideas simply arent flowing, find an activit y to occupyyour mind for a few minutes. When you return, solutions willflow more easily.
TOP FIVE PRODUCTION TIPSWHEN RUNNING A CREATIVE STUDIO, EFFICIENCY,
COLLABORATION AND METHODOLOGY ARE OUR
BEST FRIENDS
focus on illustration, marketing and customer
service. Nathan focuses on graphic design,
typography, art direction and client relations. Weve
very different mindsets and our roles reflect this.
Kuhlken admits to being more concerned withcreating artwork, while Goldman demonstrates
strong skills in running a creative business. Our
backgrounds definitely work well together and are
the main reasons for our success as a studio,
Kuhlken adds. As a business, DKNG continues to
thrive by allowing its stellar work to speak for itself.
The pair successfully build contacts through a
strong portfolio and successful marketing. Kuhlken
makes sure that the DKNG website and social
networks are constantly up to date and active. We
dont know what lies ahead, but we do know that
someone will see what we create and possibly reach
out to us with more work because of it, he tells us.
Most of our work comes to us through email, which
stems from our website. Many new clients cite pastwork that theyve come across either from a
design blog or an image-sharing site.
DKNG proves its a contemporary studio by
utilising powerful social media platforms as a highly
successful promotion tool. Indeed, the two directors
believe that its always good to let commercial clients
know what they are up to, as creatives, on a regular
basis. Our work acts like a constantly refreshing
advertisement in that sense, Kuhlken explains. We
joined the social networks that we believe are the
strongest, most useful and relevant to our industry.
These have helped grow a consistent following.
DKNG ensures that clients keep coming back for
more by making sure it gets projects right the first
time. This makes complete sense, because if a client
is impressed with what we create then its very likely
that well work with them again. Creating something
we can be proud of is a big part of what we do, says
Kuhlken. Were very selective about who we work
for. We want to make sure we do a great job, and in
order to do that we must have a strong creative
interest in a project. This isnt too hard to find,though, when youre working with clients such as
Disney, HBO, MTV and Mondo, like Kuhlken and
Goldman are doing.
Subsequently, we pose the question: How does
DKNG approach existing IP projects when working
with clients such as Mondo? Kuhlken answers
promptly: We always do our research. We dig deep
Photoshop is the electricity
we use to awaken
Frankensteins monster
2
013DKNGStudios
2
013DKNGStudios
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023023
T CO BELLS FEED THE BE T PROJECT
DKNG PRESENTS THIS EXCITING POSTER FOR A ROCKUMENTARY ON TWO BANDS: PASSION PIT AND WILDCAT! WILDCAT!
013D PLANET
Here you can see how we created a three-
dimensional planet to use as the centrepiece in this
project. We fused together an image of a spherical ball
with a textured terrain, which we first created using the
3D modelling tools in Photoshop.
02IMAGE TEXTURE
Textures were applied to create a vintage
look while also achieving an extra dimension. We
created this texture by taking a found image then
appropriating it with the Stamp tool. The final image
was exported as a bitmap TIFF using dithers, so it
was easily placed in our master Illustrator file.
03CREATING SPACE CLOUDS
For the space-themed background, we
brought halftone clouds into Photoshop and applied
a Gaussian Blur filter to them. The subsequent effect
gave us the opportunity to create more ambience in
the image without using clouds that appeared too
sharp or in-focus.
2
013TacoBellCorp.AllRightsReserved
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040024
and become aware of what has already been done,
and this is how we can create something even more
special. Creating a concept that has never been
envisioned is ideal. If thats not possible then we take
a known concept and envision it through our own
unique perspective.
Kuhlken and Goldman bring their collective skills
together for this, abiding by the motto two heads are
better than one. Nathan and I take concept
development very seriously and brainstorm for
several days, sometimes, before presenting our
ideas to a client, reveals Kuhlken. Were hard on
each other and hold each other to a very high
standard. Once were both genuinely excited about a
series of ideas, we know its okay to move forward.
Its at this point the duo roll up their sleeves, and
begin using Mac computers with Adobe Illustrator
and Photoshop software. Photoshop comes in
especially handy when working with textures,
applying these to vector artwork and stepping out of
the realms of clip art. We often use the Stamp tool
to create custom textures, he tells us. If we like a
certain photograph of cement, for example, we clone
that area into one large image. This is then used in
our design as a textured element, which fills our
entire art space.
Colour adjustments, especially Selective Color, are
also readily applied to DKNG designs. Its not
uncommon for our design to change colour, moving
away from its original digital format into a
screen-printed image, explains Kuhlken. We often
use this tool to colour-correct photos of our work, so
they match seamlessly in our portfolio.
Referring back to print production at DKNG
specifically, screen-printing Photoshops bitmap-
to-halftones functionality makes all this possible. In
the world of screen-printing, every ink colour (layer)
must be reduced down to a purely black and white
file, Kuhlken tells us. Photoshop techniques allow
us to take a highly complex design, utilising a large
spectrum of tones, and reduce these down to
halftone dots without compromising detail. In a
nutshell, DKNG depend on Photoshop to bring all of
their creative projects to life. Photoshop is the
electricity we use to awaken Frankensteins
monster, Kuhlken concludes.
Eric Claptons Old Sock: A promotional poster created for Eric Claptons latest album Old Sock. Portraits are always trickyin terms of subject representation and, in this case, DKNG went through a few variations 2013 DKNG Studios
Dave Matthews Band: This is a diptych poster series created for Dave Matthews Bands2012 two-night performance in West Palm Beach, F lorida 2013 DKNG Studios
While many artists choose to illustrate using a Wacom tablet or similar device, the vastmajority of DKNG illustrations are created using this Apple trackpad
An aerial view of Goldmans desk; since Kuhlk en and Goldman spend so much time attheir respective desks, layout and ergonomics become very important
Oakleys Viva La Bubba Campaign: This campaign poster tookthe form of a propaganda-style illust ration of Bubba Watson,and it made its debut at the Phoenix Open 2013 Oakley, Inc. All Rights Reserved
Creating somethingwe can be proud of
is a big part of whatwe do
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D Y IN THE LIFE OF DAN KUHLKENEXPLORE DKNGS DAILY DIGITAL, PRINT AND BRAINSTORMING ROUTINES
08:05BEGIN THE DAY WITH EMAILSAND A STATUS REPORT
My morning usually begins with a quick email
check, so I can see which client revisions or fires
well need to put out quickly before jumping into
other work.
10:42ONGOING WORK INPHOTOSHOP AND ILLUSTRATORAs a rule, Illustrator and Photoshop are always
open on my desktop. We usually tackle three to five
projects a day, depending on what we have waiting
inside our queue.
11:15MATCHING COLOURS WITHTHE PRINTING HOUSESWe work with printing houses all over the
country, so Pantone matching is an essential part
of getting screen-printing jobs right the first time.
12:50A WALK IN THE PARK TOSTIMULATE CREATIVE THINKINGA good excuse to step away from the office is
always welcome, especially for a brainstorming
session. Getting out into the world always seems to
get new ideas flowing.
13:48TRANSNATIONAL CLIENTMEETINGS ON THE GOWith clients all over the world, I often prefer to
have phone meetings rather than email
conversations. That way, I get to hear the client
describe their vision in their own words.
14:33GATHERING RESEARCH TOSPARK NEW PERSPECTIVESWe are continually expanding our research
library of books and magazines, and were
always seeking out new sources of inspiration.
16:42WOODWORKING IN THE SHOPTO KEEP THINGS SHARP
I find working with my hands is a great way to
break up the day. Woodworking provides a great
creative outlet away from the realm of electronics.
18:34EVENING TUNES TOCLOSE THE DAYIts fun to stay connected to our many music
clients, being musicians ourselves. Playing the
piano is a great way to wind down at the end of
the working day.
08:05 10:42
12:50
16:42 18:34
13:48
14:33
11:15
025
As a rule, Illustrator and
Photoshop are always
open on my desktop
025
STUDIO INTERVIEW EYE ON DESIGN
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T HNIQU S
15 ILLUSTRATION TIPS TRICKSQUES
ARTISTS IN THE INDUSTRY SHARE THEIR SECRETS TO USING PHOTOSHOP IN ORDER TO
ENHANCE THEIR ILLUSTRATIONS, WHICH RANGE FROM EDITORIAL WORK TO PACKAGING
AND HIGH PROFILE ADVERTISING
028
V
incenteG
arc
ia
Mor
il
lo
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VINCENTE GARCIA
MORILLOwww.vicentegarciamorillo.comTo promote DJ sessions by
electronic music label Black Book Sessions, Vicente
Garcia Morillo created the Alive Objects series, which
encapsulates the artists and presents them as just
one entity: In this case, I was playing with the
combination of elements that represent two of the
most popular musicians in Chicago and the L.A.
scene, respectively.
The first step is always to conceptualise the piece.I consider this one of the most important phases of
the development process as this is the base of the
piece. I like to invest all the time thats necessary to
come up with a good idea. Once I have the concept, I
start doing sketches of the composition and also the
analogue elements, such as drawing and painting, in
case I want them later. I create the vector elements
in Illustrator then import and edit them in Photoshop,
fitting them together like a jigsaw, then apply effects
like gradients, layer styles, shadows and noise. I like
to experiment, mixing methods and software in my
projects, adding elements like pencil drawings to my
artworks when I get the opportunity. I usually play
with Photoshop to edit the compositional elements
and finish my pieces, but I avoid photographicfinishes as I like to preserve an illustrated element.
1 INVEST IN
A CONCEPT
DIEGO L. RODRIGUEZwww.paranoidme.com
Diego L. Rodriguez set about creating options for HBOs How To Make It In America and
drew on inspiration from the Big Apple: Once I presented this idea, the agency loved it
and they gave me the green light to create the poster. The brief came with some
promotional images for the second season of the show. They were good, but not exactly what I had in mind.
However, having the figure of Kid Cudi as a graphic inspired me to gather extra material. I had the structure
clear: start with the characters portrait, then the body had to be connected to the buildings in some way, and
New Yorks iconic symbols, and finally the slogan below the illustration. For the New York buildings, I had a
ton of pictures that I took back in 2009. I use a specific technique to manage shadows and highlights I began
using it years ago for high-end retouching in skin or objects, then applied it to manipulations and illustration
work. Create a new layer above your illustration. Go to Edit>Fill>50% Grey and click OK. Put this grey layer in
Soft Light mode and reduce the Opacity to 30-50%. Take a soft brush, with Opacity 30-70%, and paint in those
zones where you would like to increase the shadows or highlights using only grayscale tones. This technique
is similar to Dodge and Burn, but allows more control over certain zones without affecting the main layer.
2. MANAGE SHADOWS AND HIGHLIGHTS
Vi
ncenteGarciaMorillo
D
iegoL.Rodriguez
029
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ANDREA FEMERSTRANDwww.noukah.blogspot.co.uk
Concept artist and illustrator Andrea Femerstrandregularly contributes illustrations to short stories
aimed at younger readers. This piece was created
for a short story in Swedish kids and teen magazine KP (KamratPosten):
Theres always a section where young readers stories are published.
Usually, theyre around 10 to 14 years old. I use Photoshop for drawing
and painting and do all my work from scratch, the old fashioned way.
Layers, custom brushes and adjustment layers make my work much
faster and more efficient. I dont have many secrets; mostly, I just paint.
3. PAINT YOUR ILLUSTRATION MARK VERHAAGENwww.markverhaagen.com
Tasked with creating 36 robot playing cards for kids magazine
Bonbeck, Mark Verhaagen, the brain behind the Zoobles toyline, had to build in originality and then deliver uniformity. The
challenge here, says Mark, was to create 36 different robots, each of them looking
interesting. I started sketching a lot of robots, focusing on shape and character, bold
versus fragile, round versus square shapes, etc. I had to think about how the robots
would move and do things, which also helped determine their looks. I tried to keep
things simple, as the final illustrations wouldnt be that big. All the robots and card
designs were made in Illustrator using fairly basic shapes and shading.
Mark then turned to Photoshop for the final touches. To save time and to make
sure each card looked the same, he recorded Actions to use as part of his workflow.
I primarily used Photoshop for adding texture and a glow effect around the robots,
he explains. As I was working with 36 different files, I saved a lot of time by using
Actions for these things. I also used an automate batch Action to save all the files
into formats. The cards were featured in Bonbekmagazine, where kids could cut
out the different cards to play with. Later, an actual card game was produced too.
4. MAKE USE OF ACTIONS
Line drawing
I always start out with a rough
sketch or line drawing. After that, I
paint a rough colour scheme to
decide upon colours and overall
lighting. This illustration had to
cover a whole spread, with a lot of
empty space so that the text could
be added on top of it.
Block colours
When Im satisfied, I move back to
the line drawing, lower the opacity
and create new layers underneath
it, and then start blocking
everything in with clean, solid
colours. I lock the transparency
for each layer and when Im done
with that, its time to paint.
Add form and shading
I start fleshing out the painting,
working a lot with form and
shading. I create a separate layer
on top of everything to serve as
my light in the piece. Separating
the regular layers from the light is
extremely helpful, since you can
work on one thing at a time.
TECHNIQUES 15 ILLUSTRATION TIPS & TRICKS
Andrea Femerstrand
M
arkVerhaagen
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BRI N MILLER
www.orlincultureshop.com
Artist illustrator and
owner of The Orlin
Culture Shop Brian Miller created Totes
Adorbots a two-hour style exploration in
response to a call for cute vintage robots for
a potential picture book. I worked from start
to finish in Photoshop CS6 using my Wacom
Cintiq he tells us. I use the Lasso tool to
quickly create sharp edges where I need
them. However its the years of study
practice and exploration that
are most vital no matter
what tool or medium
youre using.
5 WORK QUICKLY
WITH A TABLET
B
rianMiller
031
Simple silhouettes
I started with a blank canvas in
Photoshop and created simple
silhouettes for the robots, working
with big shapes first and details last.
It was important at this stage to work
with speed and boldness because of
the short time I had to create.
Limit the palette
With the basic silhouettes in
place, I picked a limited colour
palette; one colour for shadows,
one colour for the highlights.
Limiting my colour palette up
front helps me focus on stronger
designs and compositions.
Direct the imagination
Its important for me to add only as
much detail as is needed to point
the viewers imagination in the
right direction. Too much detail
keeps the viewers imagination
from engaging with the piece,
which is the opposite of my goal.
Wear and tear
Once my silhouettes and colours
were established, I moved on to
detailing the piece. This was
actually a fairly quick process that
just involved me placing enough
specific details on the robot to
suggest overall wear and tear.
Mixed-media
Though I often sketch with traditional
materials, I love the challenge of
trying to create pieces in Photoshop
that blur the lines between traditional
and digital mediums.
Keep it simple
I use a limited number of brushes in
Photoshop to keep my approach as simple as
possible. This allows me to focus on the strength
of the drawing and design, not the tools.
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MARK
VERHAAGENwww.markverhaagen.com
When faced with a brief to create an image out
of a sound, Mark Verhaagen turned the project
into a vintage science illustration. Audio
designer David Kamp (davidkamp.de) came up
with the Sound Creatures project in which he
first created imaginary creature sounds. He
then sent these audio files to selected
illustrators, including Mark, who used them as
inspiration to create images of fictional animals.
The illustrations and corresponding sounds can
be seen on www.sound-creatures.com. The
audio file that I got featured some sort of sad
trumpet sound, so a trumpet-like nose was my
starting point for the look of the animal, hesays.
Once hed created the main shapes of the
animals and plants in Illustrator, Mark exported
his various objects to Photoshop. I added
shading using the Airbrush tool and then locked
transparent pixels in the Layers palette so I
could easily paint within the shape of an object.
Drawing the birds feathers was a bit more
tricky, but as soon as you have one feather in a
particular shape, you can re-use it. Use the Free
Transform, Skew and Warp tools to make each
feather look different to the last, and draw some
extra detail here and there to diversify them
further. When the illustration was ready I added
some textures so it would have a nice, old look.
6. LOCKTRANSPARENTPIXELS
TOMSKI AND POLANSKIwww.tomskipolanski.com
In order to create eye-catching
packaging for a new vegan brand
started by a friend of theirs, Ila and
Luke of Tomski & Polanski envisioned a vintage feel: We
started with classic floral patterns and then changed the
flowers for cupcakes and cocoa, before adding quality
typography. We used Photoshop to draw in the details of
patterns, to complete the composition and for the final
colouring and post-production, and used a lot of custom
brushes and a variety of preset Actions and filters. Since
we use a lot of textures we often add Smart Object layers,
which saves us a lot of work.
7. USE SMART OBJECTS
A trumpet-like nosewas my starting point
for the animals look
M
arkVerhaagen
T
omskiandPolanski
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STEVE SIMPSONwww.stevesimpson.com
Steve Simpson was given a briefto create packaging for a frozen
yoghurt start-up that required a loud message to
kids declaring its contents yummy while also telling
parents it was healthy: To do this, I decided to create
kid-friendly, energetic, cartoon-ish characters but
make the fruit more realistic.
I was brought into the project by Dublin design
agency IDEA, Steve tells us. I was trusted to create
the look and feel for the project while the agency
looked after the client liaison and production. After
scanning my pencil sketch and setting up the size,
colour mode and resolution of the artwork usually
at least twice the size thats needed I copied the
sketch to a new layer, reduced the Opacity and
Multiplyd the layer. This allowed me to trace theartwork onto multiple layers beneath it. Once I had
the eyes, eyebrows, mouth, head, jumper, etc on
separate layers I looked at tweaking and balancing
the colours. Steve also has some advice on colour:
Try to pick a limited palette of colours before you
start. I put mine in a small swatch somewhere in the
image as a reminder while Im working on it. I then
swap the colours around between elements until Im
happy with the balance. Dont be afraid to experiment
grass isnt always green and cows can be blue.
8. REFINE YOURCOLOUR PALETTE
Final product
The three flavours of Chilly
Moo yoghurt Strawberry,
Banana Strawberry and Mixed
Berry are easily identifiable
by their completely distinct
but also complementary
colour palettes.
Label Top
Each of the Chilly
Moo characters
was adapted so
that it would fit the
different areas of
the packaging, such
as the lid label.
Rough sketches
All my work starts with
pencil sketches lots and
lots of them. Over a couple
of days my extremelyrough ideas are moulded
into something more solid
and presentable. Usually,
Ill present my rough
sketches, but with this
project I wanted to take
them a little further.
Defined colour palette
I coloured the sketches to
show how the characters
could represent different
flavours through the use
of colour, and how that
colour would come
together as a palette.
MAX GREGORwww.maxgregor.com
Max Gregors fashion
illustrations are a harmonious
mix of traditional sketches and digital finishes: Here,
I started with drawings of the different elements of
the models outfit: her body drawn in pencil, an ink
drawing of her shawl and a few brush patterns
drawn in blue gauche. I then scanned all the images
and cleaned them with Levels, then used the Eraser
to remove messy lines and dust left from the scan. A
Color Overlay was key to this image as it allowed me
to add a flat graphic feel and still maintain the loose
organic detail of the brush stroke.
9. UTILISE COLOROVERLAY
SYD BRAKwww.sydbrak.co.uk
For this delicious array of
fruit, Syd Brak reached for the
Filter menu: The idea was to illustrate a products
ingredients in a clean, healthy and appetising way.
I created rough images then enriched the colours
to an attractive and appetising level while retaining
a believable realism. It was important to ensure
the light source was constant on every object,
with an enhanced gloss to emphasise the liquidity
and create a sunny feel. I rely fairly heavily on the
subtleties of the Filter dialog to achieve a realistic
but painter-like quality, and avoid a plastic feel.
11. DELVEINTO FILTERSWANCHANA
INTRASOMBATwww.kun-victorior.com
Wanchana Intrasombat, aka Vic,
created a series of character designs for a project
entitled Life. One is a mischievous boy scout on a trip
with his classmates: My paintings and illustrations
are all done with Photoshop and a Wacom Intuos. Its
the main tool I use and I just used the normal Brush
here. I also use the standard brush to sketch, and
sometimes create my own brushes for projects. For
me, the Brush is Photoshops most important tool; I
use it for all my work as though it was a traditional
tool. Its similar to using real pencils and brushes.
10. SKETCHWITH WACOM
M
axGregor
W
anchanaIntrasombat
S
ydBrak
Steve Simpson
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TECHNIQUES 15 ILLUSTRATION TIPS & TRICKS
VINCENTE GARCIA MORILLOwww.vicentegarciamorillo.com
Vicente Garcia Morillo worked on Converses Pro
Leather campaign: I had to present a graphicinterpretation of the Converse logo based on
concepts relating to urban street culture. Here, I represented basketball.
Once I got the concept, I did sketches of the composition on paper for the
client. After the concept was approved I started to develop the digital
phase. I created all the vector elements in Adobe Illustrator and then
imported these into Photoshop. Here I applied the Noise filter, which
helps to provide a uniform aspect and give the artwork some vibration.
12. ADD NOISE
SASHA
VINOGRADOVAwww.behance.net/MelaMel
Working to create four
characters in a detailed environment under the
heading of Mercenaries, Sasha Vinogradova
choose a funny and quirky style: The first step
was character design and deciding how they
would look. Next I made a rough sketch of
compositions, colours and lights and then
created my scene and 3D models in 3DS Max
and ZBrush. I set up lights and materials in a
3D scene then rendered my image. After that I
added details like eyes, grass and hair, and also
some postproduction edits like air perspective
and colour/contrast correction. I created all the
sketches and textures for elements such as the
scarf in Photoshop. I also added some details in
postproduction. When you create an image, tryto keep the final result as clear as you can in
your mind and never ignore composition. I love
to add details, but if you start adding them too
soon without keeping the entire image in mind
then you risk losing the integrity of your image.
Finding your favourite artists and researching
their work is a great way to improve your own.
14. ILLUSTRATEIN 3D
Sasha Vinogradova
V
incenteGarciaMorillo/Converse
Work in lead
I create the base of my illustrations using 5H
to 8B pencils. This achieves a fantastic tonal
range, adding the depth and textures that
clients request.
Clean up
For the retouching stage I use tools such
as the Clone Stamp and Healing Brush to
remove unwanted imperfections caused
by the traditional stage.
Add colour
I add base colours using a
Selective Color adjustment,
altering the White, Neutral
and Black channels. I create
these colour layers until I
achieve the desired look.
Pen Pressure
I tend to use a hard round brush
with Pen Pressure set to Add
Details and like to add softened
tonal areas, as seen in the waves.
MITCHELL NELSONwww.behance.net/mitchellnelson
13. PRESERVE YOUR TRADITIONAL FEEL
Mitchell Nelson was asked by California-based publisher Devious
Publications to create a quirky and unique logo, which had to tell a
story reflecting classical and vintage qualities: I drew the illustration
with pencils and then scanned this into Photoshop for postproduction and retouching.
Subtlety is the key; I try to remember why I start with pencil in the first place and enhance
its qualities rather than destroy them. However, if you are after a highly digital piece but
still mix with traditional media, strong contrasts of the two can give contemporary looks.
Mi
tchell
Nelso
n
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YANA BEYLINSONwww.liquidpixelstudio.net
Yana Beylinson, principal of Liquid Pixel Studios,
took the vision of a family-owned business and
turned it into packaging for their range: Casacao is a family-owned
producer of organic cocoa beans, nibs and powder. The farm is located
in the Dominican Republic, with its headquarters in New York. The initial
brief had multiple references to the organic nature of the business and
admiration of the beauty and health benefits of cacao plants. Photoshop
was a cornerstone of the process, as it is for all my illustration and
pattern work. After the drawing is scanned in, the entire process of
rendering, separating the elements and colouring is done in Photoshop.
The pattern is also created in Photoshop, with careful attention paid to
detail and the placement of elements. Each element, such as the outline
or silhouette of a bean, is cleaned and placed in a separate layer. One
simple plant illustration can use up to 10 layers. I use the Color Overlay
(in the Layer Style menu) technique to colour each layer; its the mosttime-effective and easy-to-change method. For patterns, I duplicate
each plant, create a layer group for each, then try different positions. The
resulting files are very large so I make flattened TIFFs for production.
15. COLOUR WITHCOLOR OVERLAY
Logo application
The next step was
the typography and
logo design. Several
versions were
suggested and a
seal option was
selected. Several
variations and
colourings were
then presented.
Pencil drawing
The lovely shapes of
cocoa branches and
beans was a starting
point. It was
suggested to
create a line
drawing that
depicts a branch.
A series of pencil drafts was
created before a perfectdepiction was selected and
rendered in pen and ink.
Package label
An intricate pattern based on the cacao
branch illustration was decided upon. Again,
several versions and colour options were
shown in order to select the strongest version.
Yana Beylinson
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TECHNIQUES DIGITAL COVER ART
Provider
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Album artwork has been under the influence of iconic
designers for decades, perpetually inspiring
generation after generation of artists. Producers use
imagery as a means to maximise the appeal of
commercial brands, but the work created is more than
just a marketing tool. Many people very much revere album artwork as
an expression of artistic intent certainly this is an opinion shared by all
the artists in our latest feature. Here we take an in-depth look at the
production of artwork for that album cover space, hearing directly from
the artists that make it. Lets start from the very top.
IS THE FORMAT STILL IMPORTANT?CD booklets and covers tend to be around 4.75 x 4.75 inches precisely,having recently moved away from the 12-inch models. Many believe
that compact sizes have deterred from more expressive styles, but
digital artists are doing things their own way. This creative redux
includes expressive CD packaging that extends branding into themed
websites. Design has broken from the confines of a rectilinear space.
These forages into web have had a distinct effect on presented styles.
A specific example is the work produced by graphic designer Jorge El
Soto (www.jorgeelsoto.com) for international DJ Jorge Prida (www.
jorgeprida.com). I thought it would be best to have a simple and
attractive image, which wouldnt include any other element than the
background and typography. This made it adaptable to different media
specs, without losing its visual power.
However, the print space is not wholly forgotten and lavish styles are
still being produced. Panel foldouts are being utilised as a continued
canvas space. Here artists produce complementary visuals and
material from the album artwork to create a completely new design.
THE SIGNIFICANCE OF TYPETypography is another complementary visual that helps to supplement
artwork and promote a music brand. In many instances the typeface is
influenced by the imagery. This was the case for communication
designer Kittaya Treseangrat (http://cargocollective.com/
kittayatreseangrat) and she uses her work for experimental band
Black Moth Super Rainbow (http://blackmothsuperrainbow.com) as aprime example. The condition of the typeface was clearly dictated by
this projects album artwork. The packaging was colourful and loud, so
I wanted the type to appear conservative by contrast, Treseangrat
explains. In order to make it conspicuous, I enclosed the text within an
area of negative space, increasing its legibility.
With the increase in digital formats, sharing work on iPods and other
portable media players, its become extremely important to make sure
type is legible at thumbnail sizes. However, some artists believe this
isnt always such a big hang up for print projects. Freelance illustrator
Hani Abusamra (www.behan