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8/11/2019 Advanced Photoshop Issue
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Discover which add-ons you should haveto save time & improve your projects
COMPOSITING TECHNIQUES
PHOTOREAL FXWork with colour correction, matchperspective & master selections
INDUSTRY REVIEW
NEC MULTISYNCTake a look at the latest PA272Wdesktop monitor for industry creatives
WHY 3D CANT SURVIVE WITHOUT PHOTOSHO
The magazine for AdobePhotoshopprofessionals
Tutorial files available
ISSUE 122
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WELCOME
ISSUE 122
Welcome to the latestissue of AdvancedPhotoshop. Can youenvisage a time whenPhotoshop will be the onlysoftware needed for alltasks? This month, we ask
3D artists if its a possibility.
IN THIS ISSUE:
GRAPHICSDIGITAL PAINTING
PHOTOMANIPULATIONPHOTO EDITING
ANNALISA SAYWELLEditor
We all know that for 3D rendering, Photoshop is
not yet up to par. That being said, its likely that most
3D art workflows have involved using Photoshop at
one point or another. So, can 3D live on and render
Photoshop obsolete? Or will the updates of the
future mean that Photoshop will also include
rendering capabilities of its own? We pose this and
many more questions to the industry on page 34.
Elsewhere in the issue, take a look at the top 20
Photoshop plug-ins to see if theres something
youre missing or could do with purchasing. In all
likelihood, you are. If its tutorials youre after, we
have a vast array of photoreal, 3D and graphics
options for you, and we also look at the latestmonitor to join the extremely competitive market.
Dont forget about our free disc, which this month
links up with our 3D theme to give you expert video
tuition on 3D printing.
FIND US ONLINE:
@advancedpshop /AdvancedPhotoshop
.co.uk
00
ISSUE 122 CONTENTS
COVER IMAGE
This 28-year-old artistspecialises in 3D and is
currently working atGuerrilla Games doing
character work so whobetter to work with to
create our VS cover thanhim?! Take a look at his
work on page 34.
BENJAMIN ERDThttp://ben-erdt.de
TYPOGRAPHYNEW MEDIA
WORKSHOP:
BLEND GRAPHICS68Mix Photoshop and 3D software to create asymmetrical and abstract pattern
74 WORKSHOP:
PHOTOREAL EFFECTSLearn to blend and composite images fromdifferent sources to create a dynamic race scene
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EYE ON DESIGNWhats hot, whos in and thelatest art & design happenings
CONTENTSISSUE 122
004
90 EXPLORING 3D PRINTING
26 20 OF THE BEST PLUGINS
46 COMBINE 3D & PHOTOSHOP
FOR BACK ISSUES, BOOKSAND MERCHANDISE VISIT:
THIS ISSUES PRO PANELOur contributors share Photoshop secrets06INDUSTRY NEWSAdobe Lightroom goes mobile08
10 PORTFOLIO INTERVIEWMaking it big16 PROJECT FOCUSIntricate 3D design18 STUDIO INTERVIEWCarbon
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TECHNIQUESProfessional artists reveal their high-end Photoshop skills inour easy-to-follow workshops
20 of the best plug-ins26INDUSTRY FEATURE
REVIEWSWe put the latest creative kit,books and apps to the test
80 FEATURE:NEC MultiSync PA272W85 REVIEW:Elemente by Divine Project
Free withissue 122
ofAdvanced Photoshop
PREMIUM RESOURCES
PLUS:
HD polygonal backgrounds, Mercenary font, a
TAILORMADECREATIVE CONTENT on how to use the new 3D print tools
96 ON YOUR DISC
Build a fantasy photocomposite52 WORKSHOPCombine 3D & Photoshop46 WORKSHOP
Custom light UI elements62 WORKSHOP
3D vs Photoshop34 INDUSTRY FEATURE
Shiver Me Sneakers58 HOW I MADE
SEE PAGE 24 OR 51FOR THE LATEST OFFERSSUBSCRIBE TODAY!
66 The JungleHOW I MADE
90 Exploring 3D printingRESOURCE PROJECT
68 Blend graphicsWORKSHOP
86 CREATIVE RETOUCHING
Photoreal effects74 WORKSHOP
18 CARBON STUDIO
ISSUE 122
Creative retouching86 READER INTERVIEW
72 LaputaHOW I MADE
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EYE ON DESIGN THIS ISSUES PRO PANEL
THIS ISSUES PRO PANELOUR CONTRIBUTORS SHARE THEIR PROFESSIONAL TIPS AND TECHNIQUES TO
HELP YOU GET YOUR OWN WORK UP TO PAR
EYE ON DESIGN
BENJAMIN ERDTwww.ben-erdt.de
For compositing this render of a
3D deep-sea creature, I rendered
many different passes to gain as
much control as possible over the final image
inside of Photoshop. Embedding a creature design
into its habitat can often be a plus when selling the
original design intent, as it tells the viewer more
about its story and how it interacts with the
environment it is in.
Discover more about 3D design in ourindustry feature starting on p34
AMREI HOFSTTTERverticolab.com
If you wish to keep yourself and
your work in constant evolution,
dont limit your perception to
graphic design. Maintain an open and non-cynical
interest in everything that surrounds you, stay ahead
of whats relevant in contemporary culture, science
and technology, music, cinema, literature go
through life with an open mind, perceive and enjoy
everything as much as you can.
Learn how to combine Blender and Photoshop
in Hofsttters tutorial on p68
WILLIAM FUwww.willfu.co.uk
I always use gradients within my images. They are so useful for lighting, mood and
atmosphere. Apply them using layer styles, as clipping masks and especially Gradient
Maps, which are great for giving the shadows, midtones and highlights dramatic colour to
suit the atmosphere and environment of your overall composition. They are also really easy to adjust and
experiment with.
Fu reveals his secrets to creating 3D-looking imagery over on p44
William Fu
Amrei Hofsttter
2013 ben-erdt.de
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DENIS KORNILOVwww.deniskornilov.com
At the final stage of my work I
almost always add sharpness. As
a result, I get more details and theoverall image become more attractive. One very
important point here is to not overdo it. Add
sharpness only in areas that you wish to accentuate,
but avoid sharpness in places that you dont want to
bring too much attention to.
Re-create one of Kornilovs images on p46
AMAR KAKADwww.amarkakad.info
It is paramount to organise your layers to ensure quick and easy access to them. I am a big
fan of Convert for Smart Filters, and having the ability to re-apply your effects is also
important as it allows fluidity and saves on time. Also, when necessary, keep merging your
layers as this reduces the file size.
On p74, Kakad shows you how to create a photoreal image using Photoshop effects
If you wish to keep your workin constant evolution, dont
limit your perception to graphicdesign. Maintain an open interest in
everything that surrounds you Denis Kornilov
Makarand Baokar
Imagine Publishing Ltd 2014ISSN 1748-7277
Magazine teamEditor Anna-lisa [email protected]
01202 586243
Editor in ChiefDan Hutchinson
Production EditorAlicea Francis
PhotographerJames Sheppard
Senior Art EditorDuncan Crook
Head of PublishingAaron Asadi
Head of DesignRoss Andrews
ContributorsChris McMahon, Larissa Mori, Julie Bassett, April Madden,Denis Kornilov, Cyril Juliani, Amar Kakad, Amrei Hofsttter,Simon Skellon, Kirk Nelson, Chris Christoforidis, DanielBevan, Steve Mumby, Ben Stanley and Greg Whitaker
AdvertisingDigital or printed media packs are available on request.
Advertising DirectorMatthew Balch
01202 586437
Head of SalesHang Deretz
01202 [email protected]
Account ManagerRyan Ward
01202 [email protected]
Cover discJunior Web DesignerSteve Dacombe
InternationalAdvanced Photoshopis available for licensing.Contact the International department to discusspartnership opportunities.
Head of International Licensing Cathy Blackman
+44 (0) 1202 [email protected]
SubscriptionsHead of Subscriptions Gill [email protected]
For 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
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Head of Circulation Darren Pearce01202 586200
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01202 586200
FoundersGroup Managing Director Damian ButtGroup Finance & Commercial Director Steven Boyd
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 9PT
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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.
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+44 (0) 1202 586200Web:www.imagine-publishing.co.uk www.advancedphotoshop.co.uk
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The magazine for AdobePhotoshopprofessionals
AMREI HOFSTTTER / HTTP://VERTICOLAB.COM
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EYE ON DESIGN INDUSTRY NEWS
008
ADOBE LIGHTROOMGOES MOBILETHE CREATIVE CLOUD PHOTOGRAPHY PROGRAM
IS ENHANCED WITH THE NEW LIGHTROOM
MOBILE LINING UP ALONGSIDE PHOTOSHOP
INDUSTRY NEWS
Lightroom and Photoshop redefined digital photography onthe desktop and now, photographers can perfect images
wherever they are
APP SUPPORTAt present, the Lightroom mobile app is only
available to those on any Creative Cloud
subscription that gives them Lightroom 5, and to
users with an iPad 2 or higher. iPhone and Android
versions are in development.
L
ightroom users can now view and edit
their photographs on the move with the
new Lightroom mobile app for iPad, the
newest member of the ever-expandingAdobe Photoshop family.
The app, which is only available as part of the
Creative Cloud, offers some powerful new
features for editing on the go. It offers non-
destructive editing on files, with Smart Previews,
usually reserved for more powerful desktop
editing. It can process everything from photos
taken on the iPad itself to RAW camera files,
making it a great companion on location shoots.
Files taken on the iPad are also automatically
synced into Lightroom 5 when connected.
It syncs seamlessly with Lightroom 5 on a
desktop, including mobile edits, metadata and
collections. The tools are also instantly familiar to
Lightroom users, so the app will fit easily into the
professional workflow.
This app is likely to appeal to professional
photographers, as well as creative studios whouse Lightroom to process and manage large
volumes of images before taking them into
Photoshop for remastering.
With the launch of Adobe Lightroom mobile,
weve unlocked professional-class photographic
workflows from the confines of the desktop,
says Winston Hendrickson, vice president of
products, Creative Media Solutions, Adobe.
Lightroom and Photoshop redefined digital
photography on the desktop and now,
photographers can perfect images wherever
they are and, via Adobe Creative Cloud,
seamlessly synchronise them back to their
desktop catalogue.
Easy syncing: Automaticallysync iPad edits to Lightroom 5 onyour desktop, and syncLightroom desktop edits back toyour iPad
CREATIVE CLOUD
PHOTOGRAPHY PROGRAM
For photographers and retouchers who dont use any
of the web or design programs produced by Adobe,
then the most cost-efficient way of accessing all of the
relevant software via the Creative Cloud is through the
Creative Cloud Photography Program. This is a
dedicated package that includes Photoshop CC
alongside Lightroom, and now the new Lightroom
mobile. It still offers all of the benefits of Creative Cloud,
like the latest updates as soon as they are available for
no added cost, and 20GB online storage space, plus the
ability to share files with others. Subscribers also get a
Behance ProSite included in the package.
At the moment, this costs just 8.78/$9.99 a month,
which is a significant saving over the full Creative Cloud
Suite (at 46.88/$49.99 a month). However, this is a
limited-time offer so get it before it expires.
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009
Photoshop 1-2-3, a new digital magazine
available now on the Apple Newsstand, is
designed to offer Photoshop users a quick and
easy way to learn new skills and techniques.
Created by the team behindAdvanced
Photoshopand Photoshop Creative
magazines, the new title offers advice and
inspiration for digital artists and image editors
of all abilities, from beginner to experienced.
Each task is broken down into three key steps.
The first explains the goal of the project, the
second shares the essential techniques that
users need to master to reach that goal, andfinally it reveals the tricks of the trade to take
your Photoshop work to the next level.
Editor of the title, Charis Webster, says:
Photoshop 1-2-3is unique in that it delivers
expert Photoshop advice in easily digested
bite-sized chunks. Weve worked hard to create
something different, and something tailored to
the digital audience, and Im incredibly proud of
the team and the final outcome.
Value for money is also assured, with a
monthly issue costing just 0.69/$0.99 and a
years subscription weighing in at 3.99/$4.99.
Find it now by searching for Photoshop 1-2-3
on the Apple Newsstand.
PHOTOSHOP DUE A SPRING CLEAN
INTRODUCINGPHOTOSHOP123 MAGAZINE
THE NEXT REVISION OF PHOTOSHOP WILL STRIP AWAY SOME FEATURES THAT
ARE USED LESS TO MAKE ROOM FOR NEW ADDITIONS TO THE PROGRAM
009
D&AD has launched a new digital platform, which
offers free memberships for all for the first time in
its history. This is part of D&ADs commitment to
supporting the global creative industry.
The free membership will give users access to
the very best work from the archives of the
prestigious awards from the last 52 years, to help
inspire the next generation of creative talent. This
means that every ad, design, campaign, product,
agency and creative that has won an award since
the first ceremony in 1963 will be available tobrowse through. The full archive will be available by
August this year; currently it goes back to 1990.
Tim Lindsay, chief executive at D&AD, says: A
look at D&ADs history tells a wonderful story. In
1962, the organisation was formed by a special
group of designers and art directors, who came
together to celebrate the best in commercial
creativity, and thats the spirit we continue today...
The new digital archive is a wonderful illustration of
the rich history of the industry and a fantastic
resource; one that we believe should be accessible
to all, regardless of who you are, or where in your
career you may be.
Members will also be able to explore and
interact with fellow creatives by highlighting work
they particularly admire through a new online
community. It also enables users to enter the
awards easily, download briefs and sign up to
events. Find out more at www.dandad.org.
Digestible content: Each Photoshop task featured is brokendown into three steps to ensure that readers learn the skilland then enhance it
Flash extension panels replaced:Flash-based extension panels, suchas Mini Bridge and Kuler, will nolonger be supported in favour ofHTML extensions
Digital platform: The free membership option is part of the newdigital platform recently launched by D&AD
The Oil Paint filter and Flash-based extension panels are among the
features that wont be available in the next version of Photoshop.
Jeffrey Tranberry, senior product manager for Adobe Digital Imaging,
made the announcement on the Photoshop.com blog (https://blogs.
adobe.com/photoshopdotcom ). He says: With each release of
Photoshop, our development team needs to do some architectural
spring-cleaning. As we modernise our code and add cool new
features, we sometimes have to make tough decisions to cull existing
features from the herd.
The decision on which features are cut is made based on a number
of factors, including customer usage and the cost involved in
maintaining and supporting changes in underlying technology. The
loss of the Oil Paint filter is unlikely to affect many professionals, but
the removal of Flash extension panels means no more Mini Bridge or
Kuler, as well as any third-party extensions installed that use Flash.
However, the migration from Flash-based panels to HTML has already
been introduced with Photoshop CC.
A change that is more likely to have an impact is that Photoshop
will no longer support Mac OS X 10.6, requiring 10.7 or later. Adobe
recommends that those who will be affected begin migration now
before Photoshop is released. The new version of Photoshop will
install side-by-side with older versions of the program, so you can run
two versions if you wish to maintain these features. No date has been
issued officially as to when the update will be released.
D&AD INTRODUCESFREE MEMBERSHIP
THE CREATIVE INDUSTRYS LEADING PROFESSIONALAWARDS OPEN ITS ARCHIVES TO ALL UPAND
COMING AND ESTABLISHED DIGITAL ARTISTS AND
DESIGNERS FOR THE FIRST TIME
IMAGINE PUBLISHING LAUNCHES
NEW DIGITALONLY MAGAZINE TO
SHARE TIPS AND INSPIRATION WITHPHOTOSHOP USERS ON THE GO
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EYE ON DESIGN PORTFOLIO INTERVIEW
ANTHONY GARGASZ TELLS US HOW A BELIEF IN YOUR OWN
ABILITY IS KEY TO CREATING THE ART THAT WILL GET YOU NOTICED
PORTFOLIO INTERVIEW
MAKING IT BIG
www.anthonygargasz.com
@anthonygargasz
Self-described as a 21-year-old obsessed
with digital art, design, and the
progressive development of both, the
L.A.-based Anthony Gargasz is one digital
artist with big dreams and the passion to get where
he needs to be.
Gargaszs love for creating digital art was
discovered at the nascent age of 11. I originally used
MS paint because I became frustrated with how
difficult I found drawing to be, he tells us. A friend
then introduced me to Photoshop and I instantly
became infatuated with art and design. I dont know
what it was about it but there was something
unexplainable about creating digital art that made
me fall in love with it.
Gargaszs first jobs were web-related, with the
young artist designing forum skins a task that he
quickly grew out of. His deep-seated passion for
design saw him move onto bigger and better things,
from web forums to gig posters and print
campaigns, to setting up the international media
collective EvokeOne and beyond.
Throughout his career Gargasz has refused to
settle for anything less than that which he loves
design imbued with passion, love and the simple
desire to create
CAN YOU TELL US A LITTLE ABOUT YOUR
EDUCATION? HOW DID YOU DEVELOP
YOURSELF AS AN ARTIST?
Nearly everything I learnt was from networking
online with fellow passionate artists, who simply
wanted to share and develop their work. I attended
the Art Institute of Pittsburgh for about a month
before coming to the conclusion that art school
wasnt for me. There were some very basic
fundamentals that I had skipped over in my own
pursuit of digital art, but other than that I felt like I
was relearning what I already had in tutorials. The
graduating portfolios were very generic and not very
impressive, so I decided to take things into my own
hands. Dropping out of college really lit a fire [in me]
to take my career to the next level. I began spending
my time much more wisely and quit settling for less.
I believe that if there is a secret to getting good at
anything it is simply practice. A little talent will go a
long way if youre not afraid to work [hard].
TELL US A LITTLE ABOUT YOUR STYLE, AND
WHAT MAKES IT DIFFERENT FROM THE REST?
My work is my work because Im always focusing on
versatility and creating a wow factor. I combine
organic elements, unique 3D forms and explosive
colours to create an aesthetic harmony. Fresh and
exciting work is created by always switching things
up. Whether it be learning a new program, trying a
new technique, or experimenting by merging styles,
01
01Nick: One of several style frames madefor Nickelodeon that showcasesGargaszs versatility, offering a colourfulcontrast to other works Nickelodeon
02Running: Theres a clear understandingof shape and form in Gargaszs work, andhow they govern the way the viewertakes in the image Anthony Gargasz
03Art Junks: Gargaszs work is alwaysvibrant and chaotic, yet held together bya very apparent grasp of visual designs Anthony Gargasz
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02
The challenge inspires meto show the world what Im
made of and express that Im not
a gun for hire, but more of aweapon of mass creation
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EYE ON DESIGN PORTFOLIO INTERVIEW
the more you innovate the more valuable your skill
set becomes.
When I first began creating digital art I didnt know
why I enjoyed it so much. I would get frustrated with
learning curves, finding inspiration and executing myconcepts flawlessly. I then realised that I enjoyed it
because the rush of creating made me happy. That
realisation instantly made the frustration disappear.
When you really enjoy what you do, you create fresh
and exciting work without even noticing.
WHAT IS IT LIKE DESIGNING KEY ART FOR THE
ENTERTAINMENT INDUSTRY IN L.A.?
Its been an extremely fun, educational and
challenging experience. It turned out to be very
different to what it appeared to be, just as most
things in Hollywood are. The key art industry is
dominated by a select handful of companies who
handle the major blockbuster film and TV marketing,
while the rest of the smaller agencies deal withlower budget, yet still handsomely profitable, film
houses and television networks.
The process of creating key art usually begins by
reading a script and/or watching a screener, then
rounds of creative explorations are executed based
on appropriate creative directions and client
feedback. Sometimes the rounds are directly
commissioned, but usually there are multiple
agencies bidding on the job. Once final artwork is
chosen, it is then finished to perfection, mechanicals
are created to scale to size and prepare for print.
My experience working at one of the largest
agencies was the complete opposite of what I
thought it would be. Its no secret that movies and TV
shows of similar genres have similar-looking
artwork. These tacky trends make getting innovative
ideas through to the client very difficult. However, the
thing that really drives me crazy is not being able to
show any of your work to the world. The business
side of me understands why so many NDAs are
involved, but the artist in me has a burning passion
to share everything I create with the world. I felt like I
was settling for less by accepting the role of being a
small cog in such a large machine of an agency, so I
decided to quit. I had the opportunity to work on films
such as World War Z, Now You See Me, The
Conjuring, Divergent, and many more, I just didnt
have the comfortable employee mindset to keep my
head down, mouth shut and execute prescribed ideas.
I then became partner in a small start-up agency
called SLS Ad Co to pursue every designers dream
of having creative freedom. Since then Ive had the
pleasure of working on films such as Hercules, Miss
Meadows, Life Of Crime, Garden Of Last Daysand
The Most Wonderful Time. The projects Ive worked
on with have been the most challenging, because the
success of the project is completely up to my curated
team and I. This has forced us to be resourceful and
courageous. The challenge inspires me to show the
world what Im made.
04 05
06
07
06The Legend Of Hercules: The projectsIve worked on with the start-up havebeen the most challenging, because[their success] is completely up to mycurated team and I Millennium Films
05Enduro: Working for a smaller agencyoffers Gargas much more creativefreedom, and a chance to diverge fromthe tacky trends of the blockbusterindustry SLS Ad Co
07DMT: Gargasz originally started out as aweb designer on various forums, butsoon grew out of the role, looking forbigger and better ways to explore hisartistic talent Anthony Gargasz
08Anxious: Personal work is still incrediblyimportant to Gargasz, and oftencombines organic elements, unique 3D
forms and explosive colour to create anaesthetic harmony Anthony Gargasz
04Hercules poster:Gargasz is currently apartner at the LA-based advertisingagency SLS Ad Co, focused on creatingmarketing for the entertainmentindustry Millennium Films
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HOW DO YOU GO ABOUT SETTING YOURSELF
UP AS AN ARTIST WHO WORKS FOR SUCH BIG
NAME BRANDS?
The most important piece of career advice Ive ever
been given is that saying no creates value. So many
upcoming designers have adapted the mindset that
theyre going to have to settle for less at the
beginning of their career. From spec work, to pitches,
to itll be worth the exposure. [But thats not true]. If
you want to work with big brands, then you have to
truly value your work. If you want to value your
work, then you have to fully commit yourself to it.
Become obsessed, suffer, and commit yourself as a
samurai or monk would. Hard work and dedication
will never go unnoticed, regardless of what you think.
If you dont think your skill set is worth it to a big
brand, then they certainly wont either.
CAN YOU TELL US ABOUT EVOKEONE?
EvokeOne is an international media collective
founded in 2007, with a mission to develop and
showcase digital artists, musicians, and
photographers. It was started by a few creatives who
met online, worked together, and decided to bring
other creatives together to create brilliant work
together. Every few months our hand-picked artists
secretly develop an exhibition based on a central
theme to release to the public. It is a great example
of the power of collaboration and feedback. I would
say it has been the most important method of my
artistic development. In the near future we are
developing a new front-end of the site, cleaning up
the members list, and eventually leaning towards
hosting gallery events. We had our first live exhibition
release in Baltimore in November of 2011. The
publics reaction to tangible digital art in a gallery was
very inspiring to me. Im looking forward to seeing how
far the amazing artistic energy of the group can go.
WHAT ARE THE MOST IMPORTANT LESSONS
YOU HAVE LEARNED ABOUT THE INDUSTRY?
You have to keep an open mind, accept forward-
thinking styles, and be willing to share ideas with
other great minds. Digital art moves at a very fast
pace. Many people underestimate how competitive it
can be. There are always young, fresh artists
emerging, as well as artists who shift focus and give
up on the industry. The programs are developing just
as fast as the artists who use them. You have to be
willing to dedicate time to always be learning new
things. If youre not working as hard as you can to be
the best, there are plenty of other people out there
who are. Stay inspired. I love the feeling of seeing
something so beautiful and awe-inspiring that I have
to stay up all night creating and trying to pass on the
inspiration I felt. Personal work ensures that you
always have creative momentum and has helped
me avoid the nightmare of creative block.
BE OBSESSED
Not everyone has the courage and bravery to fully dedicatethemselves to their work. The ones who spend countlesshours perfecting it are the ones who will get the big projects,be recognised and rewarde d. Working smarter, harder, andfocusing on the big picture w ill take you to great heights.
COLLABORATE
Its common sense that two heads a re better than one.Working with others helps prepare you for workingprofessionally, gives you the opportunity to exchangetechniques, and create amazing artwork unlike anythingyou couldve created on your own. P ut your ego to the sideand allow others to help expand your artistic vision.
SAY NO
Saying no creates value. Dont let anyone say youre notgood enough. Your self worth will determine your successas a designer. If you dont believe in quality over qua ntitythen youll be stuck designing whatever small businesseswith small budgets want to send your way.
PORTFOLIO TIPSGARGASZ SHARES HIS TOP TIPS FOR SUCCEEDING IN
Delusions Of Grandeur: Ive always been intrigued by birds flying inflocks, and imagine them being capable of forming into largermasses Anthony Gargasz
014
EYE ON DESIGN PORTFOLIO INTERVIEW
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8/11/2019 Advanced Photoshop Issue
16/100
EYE ON DESIGN INTRICATE 3D DESIGN
JERICO SANTANDER TALKS US THROUGH THE BUILDUP OF THIS COMPLEX
ARTWORK AND HOW PHOTOSHOP WAS USED TO ADD TEXTURE AND DETAILS
PROJECT FOCUS
INTRICATE 3D DESIGN
There are a lot of things that can be used as
inspiration for a piece, from the world
around us to books and films. Having a
strong concept and the right inspiration is
key if you want to create believable, detailed artwork
that captures the imagination of an audience
essential for commercially driven design.
This incredibly intricate image by Jerico
Santander is the proof of this; the concept and
inspiration of the piece was determined at an early
stage, looking to represent the famous musical
masterpiece The Four Seasonsby Vivaldi in a
modern and engaging manner, with reference to
classical 17th Century art. It also highlights how the
use of 3D modelling and Photoshop in combination
can create an almost illustrated look, as well as
high-quality visuals that lend themselves to a range
of purposes and end use. In this exclusive interview
with Santander, we find out more about how this
piece was built up and put together.
CAN YOU GIVE US AN OVERVIEW OF HOW THIS
PROJECT CAME ABOUT AND HOW IT WAS
INTENDED TO BE USED?
Kompost, a Zurich-based creative studio, came tome with a very interesting, challenging proposal
illustration for one of its clients, Zurich Chamber
Orchestra. It was requested to be used as a key
visual for different media in Switzerland, mainly
print and web.
WHAT WAS THE CONCEPT OF THE PROJECT
AND HOW CLOSE TO THE CONCEPT WAS THE
FINAL IMAGE?
The goal was to re-create an orchestra stage
representing Vivaldis piece The Four Seasons. It had
to be highly detailed; 17th Century painting-inspired
yet fresh and modern with regards to technique,
offering something new to the viewer. We [chose]
not to use perfect characters; some of them are
fleshy, some have got bizarre looks and funny facial
expressions, and they are holding stuff related to
their season as if they were instruments. We
needed to encourage the viewer to stop for a
moment to observe some of the little stories around
the piece.
DID YOU WORK FROM SKETCHES BEFORE YOU
STARTED TO MODEL THE IMAGE IN 3D, OR DID
YOU GO STRAIGHT INTO IT?
Yes, we did [do] some sketches for the stage and
the characters. Props to Leandro Panganiban, our
concept artist.
CAN YOU TELL US A LITTLE ABOUT THE 3D
PROCESS THAT YOU USED TO BUILD UP THISCOMPLEX DESIGN?
Most characters were sculpted in ZBrush. An
advantage of 3D illustration, as opposed to
animation, is that we dont necessarily need a
proper characters topology, so we can start
sculpting from a base mesh without caring at all
about edge flow of the polygon mesh. Same goes
with UVs; we didnt need to put much effort into
them since we are not animating. This makes the
ABOUT THE STUDIO
Santander is a talented 3D artist,illustrator and art director from
Spain, whose work is alwayscolourful, detailed and with a
healthy dose of surrealism. He hasworked for agencies from all over
the world and on a range ofprojects with high-profile clients.
JERICO SANTANDER
www.jericosantander.com
THE FOUR SEASONSNAME OF PROJECT
040016
National Geographic render passes Ambient occlusionEarly sketch
Characters sketch
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involved with the characters anatomy and creativity,
but mostly regarding the scene proportions,
background, lighting and certain elements
positioning. Feedback is something to expect from
such detailed jobs. Its crucial to define each stage of
the project in a timeline and make sure the client
understands the workflow well; for example, a week
for concept art and sketching, two weeks for
modelling, a week for lighting, texturing and
rendering, and three to four days for retouching.
Otherwise, a lot of time can get lost.
WHAT TIPS WOULD YOU GIVE TO OTHER
DIGITAL ARTISTS WANTING TO CREATE
SOMETHING AS DETAILED AS THIS PIECE?
Start focusing for a while in a field you particularly
enjoy and feel confident working in, say digital
painting, character modelling, or anything else. Then,
start to expand your knowledge by studying other
subjects from out of your comfort zone. Slowly, you
will start to understand everything behind an image
and will no longer wonder How was this piece
done? when you see stunning artwork printed
around your city.
Elements such as the kissing fish, miceand cheese, unicorn skull and knifeunderground are over-painted inPhotoshop. This is done [because]small 3D elements tend to get lost andits hard to recognise them. It alsohelps [to give] an illustration feeling
We started with defaultperfect models, thenwe posed and changedthem a bit in ZBrush;some are rather fat,some have long witchnoses and ugly faces
Sample clay characters
Trees and grass were generatedand shaded in Maya. There aregreat tutorials from Alex Alvarezat The Gnomon Workshop that I
highly recommend if you areusing Maya or Mental Ray
whole thing faster. The software of choice for setting
the scene and rendering was Maya and Mental Ray.
WHAT ROLE DID PHOTOSHOP HAVE TO PLAY
IN THE CREATION OF THIS IMAGE ONCE THE
RENDERING WAS COMPLETE?
Photoshops main role in this project was texturing
the characters, compositing the final render passes
and retouching and detailing the final product.
WHAT PHOTOSHOP TOOLS AND TECHNIQUES
WOULD YOU SAY WERE KEY WHEN BUILDING
UP SUCH A DETAILED PIECE?
For this project, theres no particular technique I
used that brought the magic to the piece, but Id say
masking and colour corrections would have been
the most important part. Digital painting here and
there to try to break the 3D feeling [was also
important to the overall look].
WAS THERE A LOT OF TOING AND FROING
WITH THE CLIENT? OR DID YOU HAVE A LOT OF
FREE REIGN TO ADAPT AS YOU WENT ALONG?
There were several rounds of feedback; not much
All images Jerico Santander
8/11/2019 Advanced Photoshop Issue
18/100
Most high-end creative studios are based
in capital cities, and Carbon is no
exception. Rather than being
headquartered in the UKs capital city
however, the BAFTA-winning creative team have
gone back to their roots and set up their base in the
Welsh capital, Cardiff. Creative director and founder
Michael Clague explains: Having worked in London
for three years following graduation, I was keen to
move back to my hometown of Cardiff. I found thatno agencies were doing the kind of work I wanted to
do, so I decided to set up my own company with an
aim of bringing exciting creative work into Wales.
And that is exactly what he and senior designer
and illustrator Logan Brinkley have done with
Carbon. Carbon is creative at its core, offering what
we believe to be a comprehensive service in design,
interactive, illustration and animation, explains
Clague. We like to be able to offer our clients the
complete package from concept, through design and
build to the finished product. Weve always actively
pursued creative work, and as a result we tend to get
approached by clients looking for a very creative
solution. This unwavering focus on creative briefs is
what I think sets us apart.
The Carbon team are happy to work across the
four core disciplines that make up their specialities
design, interactive, illustration and animation or
to focus specifically on one, depending on the clients
needs. Our commissions are reasonably well
balanced, with design and interactive being top
followed closely by illustration, then animation
making up a smaller chunk of the work. Some
clients know us just for one discipline while others
come to us for a full end-to-end service. We also
might work with other agencies to bring a single
service to their in-house team, Clague explains.
The majority of projects we do are interactive
websites. These require UX design, illustrated
elements, HTML5 development and occasionally
animated video elements. We find that the client will
come to us looking for one or two particular
services, but in order to make the project the best it
can be, we often find that we inject the various skills
we have to make the project even better.
Carbon is also unfazed by working with other
agencies to complete a client brief. Collaboration is a
key element of our business model, and working
with other agencies is something we really enjoy. We
have some great working relationships with a few
STUDIO INTERVIEW
HOW THIS CARDIFFBASED CREATIVE STUDIO
BRING FUN INTO EVERYTHING THEY DO FOR
A HOST OF BIGNAME CLIENTS
CARBON
EYE ON DESIGN STUDIO INTERVIEW
018
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Cardiff, Wales-based studio Carbon offers arange of creative services across its coreskills of design, animation, illustration andinteractive. The team currently focusesmainly on interactive design with a large doseof fun.
CARBON
ABOUT THE STUDIO
www.carbonstudio.co.uk
@carbonstudio
Logan Brinkley,Senior Designer/Illustrator
Michael Clague,Owner, Creative Director
C
arbonStudio
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EYE ON DESIGN STUDIO INTERVIEW
local and international agencies, working on projects
from Cardiff and London to New York. An agency we
have done a few great projects with is Naked
Communications, who have offices in London and
New York. We worked with their UK team to create
an interactive module to sit inside the Cadbury
Joyville website. Our role was to design and build a
self-contained HTML5 module to fit into their existing
Cadbury Joyville website, promoting the new
Cadbury Bubbly bar. This involved working closely
with Nakeds in-house team to ensure design
consistency and technical integration. We wanted to
use the uniqueness of the Bubbly bar itself to its best
advantage. We therefore created a 3D model of the
bar, which the user can explore in order to discover
the multimedia content hidden in the bubbles.
Another high-end client Carbon has recently
worked with is the World Wildlife Fund, and this
project also tied into their location in the Welsh
capital. We have been working with WWF for the
last few years creating various interactive projects
for Earth Hour. When WWF approached us to look at
the issues of renewable energy, we wanted to do
something different to a standard website. WWF
had already gathered their findings on renewable
energy usage and energy waste and briefed us to
present these facts back to the user in an engaging
way. They also wanted to take their findings to the
Welsh Assembly Government to highlight the issues.
Our idea was to create an interactive quiz centred
around the WWF renewable energy facts. The quiz
would allow the user to select from three options,
each giving a relevant animation. It would be created
in HTML5, allowing the team to take it and place it
directly in the government members hands. Mike
started by creating the framework layout and UI. It
needed to be a responsive design to work across
different devices and browsers. Alongside this,
Logan created bespoke illustrations for the quiz
questions. We then worked with our developer to
create the quiz. Once completed, WWF decided to set
up a campaign stand in the Welsh Assembly building
with the aim to engage with ministers directly. We
also went along with iPads all set up to run the
website on the 3G network.
Both members of the team have distinct roles in
which Photoshop has a huge part to play, as Clague
explains. I have a strong focus on UX design,
WWF website -We worked with WWF to c reate a campaign website centredaround renewable energy. We used a mixture of bespoke illustration and thelatest HTML5 technologies to ensure a multi-platform solution
Just Skin And Bones Digital type exhibition
Museum Of Childhood, AMV BBDO Weteamed up with CIA and AMV BBDO tocreate the campaign, Mind of a child eyeof an artist, which ties in with the t hemeof this years Big Draw project, DrawTomorrow.
Second opinion -Brinkley talking through his latestproject with Kath. We always like to get a fresh pair of
eyes on a project we been looking at for a while
WWF
C
arbonStudio
Carbon Studio
C
arbonStudio
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CADBURY DAIRYMILK BUBBLYTO COINCIDE WITH THE RELEASE OF CADBURY
DAIRY MILK BUBBLY, CARBON WERE ASKED
TO CREATE AN INTERACTIVE MODULE
We were approached by Naked
Coms to bring our creative edge to a
self-contained part of the Cadbury
Joyville website. We had worked with
Naked Coms before on a Virgin
Atlantic project and recommissioned
from the success of that. Creating
such a fun project for such an
exciting brand was a dream brief for
us. And being a part of a national
campaign gave us great pride as we
saw our work reach millions. See it
for yourself at http://vimeo.
com/52382128.
01CREATING THE CASINGI started drawing three Smart Objectcircles. The bottom one has a rounded gradient to
make it seem circular, the next has a pattern
overlay for texture and the top one has an inner
shadow to make it seem recessed.
04WIRES AND BUTTONSNext I added more detailing to the case.The wires were created by cutting out an image of
a hoover hose and making it metallic by
desaturating and adding highlights. The Close
button and plaque were drawn with the Pen tool
with layer effects to give a 3D feel.
03SPEAKER CONE AND CHOCOLATEI took a real chocolate texture and usedContent-Aware to fill the circle. Using Smart
Objects again, I created four circular shapes to
create my speaker cone. The cone part was
converted to a Smart Object and noise was added.
06THE REST OF THE DESIGNThe remainder of the design was createdin much the same way: Smart Objects with
gradients, layer effects and textures. We created
the bar in 3D, which tilts left and right on mouse
movement. We exported the video as frames and
treated each frame to get the colours right.
02PIPING AND SPEAKERSNext, using Smart Objects and the Pentool, I created the shapes for the piping and
speakers. I then used gradient overlays, inner
shadows and drop shadows to make them look
3D. I used a texture to make the speakers.
05SHINE AND NOTESTo finish I used the Circle tool with a whiteto transparent linear gradient on. I set it to 0% Fill
and 30% Opacity to give a glass shine finish. The
chocolate notes were drawn in Illustrator and
imported. I then added a bevel layer effect in
chocolate colours.
Cadbury
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15:00STORYBOARDINGANIMATIONI then swiftly move onto another BBC
project, illustrating and storyboarding
for an upcoming animated video for
their new iWonder brand. This will see
me through to the end of the working
day at 6pm.
18:00READY FOR THEWEEKENDI save and back up todays work,
then grab a quick beer at the
waterfront with the guys at work
and friends from another design
agency. Around 9pm I head to the
centre for dinner with my girlfriend.
10:00FRAMINGI continue wireframing for a newDoctor Whoproject were working on for the BBC,
a regular client of ours. This is an invaluable
process to carry out before I move onto the design.
I can clearly plan the design direction while also
giving the client a better understanding of how it
will work.
13:00TIME FORLUNCH!I managed not to eat at my
desk today (for once) and
instead grabbed some
gammon and eggs on the
waterfront in Cardiff Bay. It hit
the spot!
TOP 5PRODUCTION TIPS DO IT RIGHT THE FIRST TIME
By making your designs perfect from the start they will getsigned off quicker and will already be ready for production.
USE SMART OBJECTS AND EFFECTS
This will allow you to easily make changes, wrap up complexlayers into a single object and create double-sized Retina assets.
USE GRID SYSTEMS
Setting up a grid should be the first thing you do, no matter howsmall the project or design. This will enable pixel-perfectdesigns every time.
CREATE DEVELOPERFRIENDLY PHOTOSHOP FILES
Structure and name your layers perfectly so your developer canunderstand them. Dont use any effects that cant be mergeddown into a single asset.
KEEP EVOLVING
Dont be afraid to relearn new techniques for processes youvebeen using for years. Discovering new Photoshop features candramatically improve your workflow and creativity.
Mizuno app TheMizuno touch screen app
in Amsterdam
Universal Scene User
interface illustration Carbon
Mizuno
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PAGE51
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01. ONONE SOFTWARE PERFECT
EFFECTS 8
ONONE SOFTWAREwww.ononesoware.com / Approx 89/$150
onOne Software does a wide range of high-end plug-ins for
Photoshop that help you to edit, retouch, enhance and get creative with your
images. Perfect Effects is just one of these and is designed to add filter effects to
your photos. The filters can be customised to suit your needs and there are
various presets to help you get started. It can be used to replicate the look of
certain film effects, add dynamic contrast to photos, place selective lens blur and
emulate a HDR style, among other effects.
One of the reasons that we like onOne Softwares range of products is that they
are easy to use, but actually make a big difference. Many of the effects could be
created in Photoshop using the built-in tools, but it would take a lot longer to do
and would be more difficult to amend. Perfect Effects enables you to build up
filters in a Filter Stack, so you can combine different effects to get a distinct look.
You do pay a premium for a good filter package such as this one, so it is worth
reviewing the online supporting material to see what the program can do, as well
as make the most of the free trial available.
PLUGINSOF THE BEST
20WE LOOK AT THE BEST PLUGINS AVAILABLE TO HELP YOU BE MORE PRODUCTIVE,SAVE TIME, GET CREATIVE AND DESIGN PROFESSIONAL PROJECTS IN PHOTOSHOP
slusarenko on www.freeimages.com
slusarenko on www.freeimages.com
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02. TEXTURE ANARCHY
DIGITAL ANARCHYwww.digitalanarchy.com / Approx 77/$129
Texture Anarchy is a plug-in that lives up to its name, giving you access
to textures and borders that can be infinitely scaled without losing
quality, as well as giving you the ability to create your own designs. It is
split into three key plug-ins: Texture Explorer, which is the main area to
create seamless textures; Tiler Anarchy, for creating repeated
seamless designs; and Edge Anarchy to create borders. You use one of
the many built-in presets as a starting point from which you can begin
experimenting. The textures are created by layering one of 38 different
noise types on top of each other and combined to give different effects.
The textures are great for using in both 2D and 3D workflows, and they
can help to bring your typography to life. Once you have mastered the
basics, then there is a Lighting Editor and a Bump Well that enable you
to create powerful textures that have myriad professional applications.
03. NKS5 NATURAL MEDIA
TOOLKIT
www.nkurence.com/blog / Free (donations accepted)
This plug-in is one for digital painters. In fact, its not
a plug-in as such; it is an extension that is installed
through the Adobe Extension Manager. It has been
created by an artist and it is a collection of natural
media, texturing and production tools. When you
install it, it adds a new palette into the Photoshop
workspace and it is packed with tools. You can use it
to create documents that look like real-media
products, such as paper, notepad, graph paper and
more. From there, you can draw with pencils, pens
and markers, as well as paint with watercolours.
There are texturing tools, guides and margins and
brush presets as well. When it is all put together, it
becomes a powerful alternative to Photoshops own
painting toolset, as the brushes are very realistic,
and simply the way that everything has been
collected together in one place means that there is a
lot less trawling through menus to complete
different tasks leaving you to get on with the actual
painting. This sort of extension for Photoshop shows
that its not just the well-known and expensive
packages that make a difference to your workflow.
20 OF THE BEST PLUGINS TECHNIQUES
04. MACHINE WASH DELUXE
MISTER RETROwww.misterretro.com / Approx 59/$99
Machine Wash is a set of texture filters that add an aged look to your designs. It
can make photographs look worn and vintage, but it is probably better applied to
graphic design projects, especially poster layouts and text. There are over 3,000
presets available within the program that offer different looks, and these effects
can be applied to your whole image or in a more targeted way.
01BASIC SETTINGSUnder Basic you can select from preset filters to apply to your design. Ifyou tick Filter Settings, you can see the textures that have been layered up to
create the effect, which helps you to see how filters are generated.
02WASH OPTIONSGo into the Wash tab and you can begin to create your own look. Click onTexture to load up the textures available and apply, then customise to suit your
needs. You can save any looks that you like so that you dont have to remember all
your combinations.
03SURFACE DESIGNOnce the texture is in place, add depth with the lighting and contrastcontrols in the Surface tab, which help to add realism to the final design. Select the
Generate Effect in New Layer Above option before applying, so you can continue
working on it in Photoshop.
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05. SILVER EFEX PRO 2GOOGLE NIK COLLECTIONwww.google.com/nikcollection / Approx 89/$149
This plug-in is designed especially for creating striking black and
white photography. It emulates old film types, as well as adding
tones and borders to finish the look. The algorithms that are used
are very powerful so that you get a realistic result, but the whole
process is editable so that you can tweak it to get the image that
you want. There is a built-in History Browser so that you can
undo adjustments easily and re-apply, as well as a whole host of
tools to selectively alter your photo. The price quoted here is
actually for the Nik Collection bundle (you cant buy the products
individually any more), so for that price you also get Analog Efex
Pro, HDR Efex Pro, Dfine, Color Efex Pro, Viveza and Sharpener
Pro, which makes this quite a bargain.
06. FILTER FORGEFILTER FORGE INCwww.filterforge.com / From approx 89/$149
Filter Forge is a plug-in that works in two key ways. First, it gives
you access to over 10,000 filters that have been created by its
community, which means that you can create some interesting
effects with little effort. The real power comes from the fact that
you can use the plug-in to create your own filters using the visual
node-based editor. It can be a bit complicated to get your head
around at first, so it is worth exploring the Support section on the
website, which has tutorials to follow to get started. Filter Forge
comes in three versions Basic, Standard and Professional so it
depends what functionality you need. For example, if you wanted
to create your own filters, you couldnt do that with the Basic
version, so it is worth considering one of the more advanced
suites. The Professional version is available on a subscription
model, which helps to manage the cost.
Preset Library
Choose a preset from the panel
on the left to start your edit. You
can save your own presets to
appear here too (under Custom)
and import others
Global Adjustments
Here you can make adjustmentsto your whole image by playing
with the sliders. You can always
undo if you are not happy with
the results
Selective Adjustments
By setting control points on your
image, you can target where you
make adjustments, which is
good for fine-tuning your effect
Further controls
You can also set Color Filter,
Film Type and Finishing
Adjustments using the panels
down the right for a more
precise result
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07. SITEGRINDER 3
MEDIALABwww.medialab.com / TBC
SiteGrinder is one of the best-known web design
plug-ins for Photoshop. It is designed for those who
want to create striking website designs, but dont have
the skill or the inclination to do any coding. You can
create a design using Photoshop, and SiteGrinder will
slice it and code it for you, which makes life a lot easier.
When you first get the plug-in, there is a sample PSD
for you to play with to understand how it all goes
together, but there is also an extensive Help section on
the website. There are various templates available as
well to give you a starting point if you need something
to base your design on.
08. NOISEWARE
IMAGENOMICwww.imagenomic.com / Approx 48/$80
Noise is a problem many photographers
have to deal with. Photoshop can do a fair
job of removing it, but there are plug-ins
available that do the work quicker and
with better results, making a worthwhile
purchase. One of the best of these is
Noiseware by Imagenomic, which uses a
powerful algorithm to eliminate different
types of noise from your photos. It
manages to retain image quality and detail
during the process, which is the biggest
problem with any process that affects the
pixels in a photo. There is a free trial
available, so you can try it out, and it can
also be bought as part of a bundle with the
companys other plug-ins, including
Portraiture, which is also featured here.
09. FLUID MASK 3
VERTUSwww.vertustech.com /
Approx 89/$149Vertus Fluid Mask is one of
the best-known plug-ins for
masking in Photoshop, and it
is now in its third version. Its not cheap, but it does
offer a high-end solution to creating complex
masks on any subject and is a real timesaver if
you need a lot of extracting done. There is a free
trial available. Image processing time has been
greatly improved and it is packed with tools to help
you target image areas, no matter how finely
detailed.
10. TOPAZ
REMASK
TOPAZ LABS
www.topazlabs.com /Approx 42/$70
This plug-in is designed to
make masking tasks
quick and easy, saving you time when working
on complex compositions. It is available as a free
trial, so you can try before you buy, but it lives up
to its promise of being simple to use with fast
results. It is designed for difficult masking tasks,
like hair or similarly coloured objects, and it
works using a painting system where you brush
over areas that need to be kept or discarded.
20 OF THE BEST PLUGINS TECHNIQUES
Sample of website created in SiteGrinder - www.missiondesign.co.nz
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11. TOPAZ SIMPLIFY
TOPAZ LABSwww.topazlabs.com / Approx 24/$40
Not everyone is a natural with a paintbrush, digital or otherwise, which is why there are plenty of filters and
plug-ins for Photoshop that look to turn your photos into works of art in minutes. As with many filters of
this ilk, there are the good, the bad and the downright ugly. Topaz Simplify is one of the best, thanks to its
ability to create realistic results that look as though you have painstakingly painted in every minute detail.
There are various looks you can achieve, from watercolour to oil painting, and pencil sketch to charcoal.
The plug-in opens from within Photoshop and there are a number of presets to get you started with the
vague look you are after. You can customise all of the filters that you want to use with sliders down the
right of the screen. Its easy to completely change the look of a filter into something right for you, so not
every image will come out looking like a carbon copy of the one before it.
Despite the quality results, this is actually one of the cheaper plug-ins that we have looked at here. If you
need fine-art results, then this is definitely worth your consideration.
12. BLOW UP 3ALIEN SKIN SOFTWAREwww.alienskin.com / Approx 59/$99
Sometimes there are photos that you want to use in your
designs and they are just not big enough. Its a cardinal sin
to simply upscale them without thinking about the result,
but there are plug-ins that enable you to get more inches
without losing quality. Blow Up uses a similar system to Photoshops Resize
command, so its instantly familiar. The difference is that it uses powerful
algorithms to maintain high quality without introducing any artefacts.
ENLARGE YOUR PHOTOS
13. PERFECT RESIZE 8ONONE SOFTWAREwww.ononesoware.com / Approx 89/$150
This is an industry-standard resizing application that uses
interpolation algorithms to enlarge photos to a high
standard. It comes in two versions: Standard and Premium. Weve only looked
at the Premium here as it works as a Photoshop plug-in, whereas the
Standard version is standalone only. Aside from that, the Premium option
also lets you batch edit, resize CMYK, Lab and Greyscale images, and opens
RAW camera files, making it the more appropriate choice.
Andreas Krappweis on www.freeimages.com
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14. EXPOSURE 5
ALIEN SKIN SOFTWAREwww.alienskin.com / Approx 89/$149
Alien Skin Software creates a wide range of
high-end plug-ins for Photoshop users, but
one of the best is Exposure. It is designed to
help you emulate various traditional film
looks, such as lo-fi and old-school film types.
The results are realistic and professional,
unlike some of the cheaper filter programs
available that can look cheesy and over the
top. There are hundreds of presets built in that
apply different effects with a single click, and
these can be previewed before applying.
However, when you are using the program, it
is best to consider these presets as a starting
point for experimentation, as the best results
come from combining filters in different ways,
layering them up subtly to create something
completely unique.
The presets can be customised individually
too, so it is possible to have countless
combinations, ensuring that you dont get that
straight out of the box look. Those
customised presets and combinations can
then be saved so that you can build up a
library of your own personalised effects that
can be applied to any of your future projects
quickly. Version 5 of Exposure has been
updated with a brand new look and features,
so it is always worth an upgrade if you have
tried an earlier version, and there is a free trial
available too.
Photoshops Extension Manager has opened the
door for developers, artists and designers to come
up with panels and scripts that enhance the
functionality of Photoshop in a simple way. The
best part is that these are usually free, they are
easy to install and try out, and you can even create
your own (have a Google search to find out how).
We round up three extensions that we reckon are
worth a look.
17. FONTSHOP
PLUGIN
FONTSHOPINTERNATIONALwww.fontshop.com / Free
This panel is linked to the
FontShop website and enables
you to browse any of its
150,000-plus fonts from within
a panel in Photoshop. This
comes in handy when working on layout
designs, as you can try out a font and see if it
works. You can get a preview of the font in your
document, search for a particular font and tag
your favourites.
16. BLENDME.IN
BLENDME.INwww.blendme.in / Free
This handy little panel gives
you access to thousands of
assets, such as vector icon
packs, that you can drag and
drop into your work. The
assets are all under the
Creative Commons Attribution Licence, which
means you can use them in your commercial
projects too. Its easy to install, and in the latest
version of the extension, you can add your own
files as a Collection to browse in the same way.
15. GUIDEGUIDE
CAMERONMCEFFEEwww.guideguide.me / Free
This simple palette isdesigned for those who
work with grid layouts on a
regular basis web
designers, app designers and so on. It gives you
pixel-accurate columns, rows, midpoints and
baselines, created based on your documents or
selections. You can also save frequently used
grid setups for future use.
THREE FREEEXTENSIONS WORTHTRYING
20 OF THE BEST PLUGINS TECHNIQUES
2013 peter nguyen
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18. 3D INVIGORATOR
DIGITAL ANARCHY/ZAXWERKS INCwww.digitalanarchy.com / Approx 119/$199
Although Photoshop now includes 3D-editing
capabilities, those with older versions or those who
want a little more control over their 3D objects can
give this plug-in a go. It gives a true 3D environment
inside Photoshop, using vector tools to draw and
edit 3D shapes. There is a Material Editor to build
textures and create striking 3D designs. You can use
vector shapes, text or Adobe Illustrator files to create
the base of your 3D object, so there are lots of
possibilities for creating all kinds of 3D graphics. In
the most recent version of the program, it is now
possible to import an image and map that image
onto a 3D object, as well as see shadows updated
live thanks to an improved OpenGL.
19. PORTRAITURE
IMAGENOMICwww.imagenomic.com /
Approx 119/$200
This is an incredibly powerful plug-in
and one of the best for retouching
that we have come across. It does a
great job of auto-masking an image
to isolate skin tones and apply
smoothing based on a number of
presets. It can be customised andedited to get the look you want, but
for batch retouching it does save a
lot of time over doing the whole
process manually.
RETOUCH PORTRAITS
IN MINUTES
02PREVIEWMake sure that you have a Preview view selected so that you cansee both the before and after, and zoom right in. This will enable you to work
with more precision. You can also save presets based on your edits if you get
a look you like.
03PRESETSThere are a selection of presets that come in handy if you arelooking for a specific effect, such as High Key or Low Key. These are again
really good for setting the base look, which you can then tweak to suit your
final image.
01AUTO ENHANCEMENTSWhen you start the filter, it will automatically apply default retouching to your image, which givesyou a good base to work from. You can then use the sliders on the left in order to customise the finish.
TECHNIQUES 20 OF THE BEST PLUGINS
Image courtesy of Colin Cheer,Electric Eye/Mighty Dots
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20. SOCIAL KIT
SOURCEhttp://socialkit.madebysource.com / Free
This is a Photoshop extension that is designed to make light work of
creating templates for use on social media websites. It creates correctly
sized and ready-sliced templates for Facebook, Google Plus, Twitter and
YouTube, which you can use to make customised designs for yourself or
your clients. It is automatically updated as you work so that you can see
exactly what your layout will look like before it goes live, and the extension
is updated as the social media sites implement new changes. This is the
kind of app that seems a bit simplistic at first, but actually there are some
very clever Facebook designs out there that use the profile picture and
cover design in a unique way. This extension will help you come up with
your own ideas and test them out before uploading to Facebook or any
other social media site.
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CONTRIBUTORS
JAHIRUL AMINWWW.JAHIRULAMIN.COM
Amin is ageneralistwith apassion forrigging andanimation.
He lectures in computeranimation at the NCCA.
BENJAMIN ERDT
Erdt is acharacterartist forGuerrillaGames inAmsterdam
with a focus on next-gengame characters.
ALEKS KIRILENKO
.COM
Kirilenkocurrentlyworks atPlatigeImage in
Warsaw as a 3Dcharacter artist.
RICHARD CURTIS
Curtis is aprincipalsolutionsconsultant atAdobe and is
the UK contact forPhotoshop software.
ANDY JONES
Jonesstarted outstudyingsculpture,but nowworks as
senior creative retoucherfor Mullen Advertising.
WILLIAM FUWWW.WILLFU.CO.UK
Fu studiesgraphicdesign andcurrentlyworks fulltime
alongside variousfreelance projects.
BRENDAN MCCAFFREYWWW.BMCAFF.COM
McCaffrey isa digitalillustratorwhocurrentlyproduces
promotional artwork fora variety of products.
http://www.bmcaff.com/http://www.bmcaff.com/8/11/2019 Advanced Photoshop Issue
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3D VS PHOTOSHOP TECHNIQUES
035
B
enjaminErdt
Photoshop has always been an central part of the 3D
workflow. Raw 3D renders on their own simply lack
atmosphere and visual punch its up to Photoshop
and its powerful suite of post-processing tools to
bring the image to completion. Even animated 3D,
which doesnt require Photoshop during the later
stages of a project, will still make use of it at some
point in the pipeline. I would compare my use of
Photoshop to bookends, says creative retoucher and
3D artist Andy Jones. I use it in the beginning to
concept and figure out where Im going, then again at
the end for texturing and compositing.
Guerrilla Games character artist Benjamin Erdt
uses Photoshop for a number of tasks. Photoshop
has always been a great and useful addition to my 3D
workflow, he tells us. Its a great helper for a wide
range of tasks such as look development, texture
creation and post effects.
A process for which I use Photoshop almost
exclusively is creating texture colour concepts for
creature design, he continues. The layer system
makes experimenting with different skin types less
destructive. If carefully organised using Photoshop
layers, an approved skin colour concept can be easily
rebuilt using 3D painting software.
However, as useful as Photoshop has proven itself
to be over the years, could the 3D process survive
without it? Could we conceive of a future where
Photoshop is an unnecessary tool in the 3D pipeline,
where software such as Maya have evolved to a point
where its own digital painting applications could
perform everything Adobes tools can and more?
Conversely, could Photoshops 3D tools ever become
so refined that applications like ZBrush are no longer
required? We spoke to some of the top 3D artists
working today to find the answer.
PHOTOSHOP IS AN
INTEGRAL PART OF THE 3D
PIPELINE, TURNING RAW
RENDERS INTO BEAUTIFUL
WORKS OF ART. HOWEVER,
WITH PHOTOSHOP CCS 3D
TOOLS GROWING EVER
MORE ADVANCED, COULD
WE ENVISION A FUTURE
WHERE FURTHER CGSOFTWARE WONT BE
NEEDED AT ALL?
ZENO PELGRIMS
WWW.GRAFFIK.BE
Pelgrims isa 3D artistwith apassion fortellingstories
through pixels, currentlystudying at the NCCA.
KIRK NELSON
WWW.THEPIXELPRO.COM
Kirk Nelsonis anaward-winninggraphicsartist, and is
also a recognised AdobeCertified Expert.
ADAM SACCO
WWW.SOULTY.COM
Sacco is afreelance 3Dcharacterartist. Hehas workedon a variety
of different projects forinternational clients.
DAVE SCOTLAND
WWW.CGSWOT.COM
Scotland hasover 13years of CGIproductionexperience,working for
some of the biggestnames in entertainment.
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TECHNIQUES 3D VS PHOTOSHOP
THE BATTLE BEGINS
THE PROS AND CONS OF PHOTOSHOPOUR PANEL GIVE THEIR EXPERT OPINIONS ON THE SOFTWARE
Andy Jones
Pros:Photoshop has a great UI, solid core features, robust file
management and almost infinite possibilities once you know how.
Cons: The brush engines are ageing, it has downright shameful 3D
capabilities and some features do not use current computing power.
Adam Sacco
Pros: The best features are really the simple image-editing functions
and the Spot Healing Brush for fixing seams and normal maps.
Cons:It would be great to paint in 3D with realistic shaders. Maybe
Adobe could adopt some real-time viewports for live previews.
Zeno Pelgrims
Pros:I like that you can easily execute certain tasks using Actions.
They allow you to record certain steps and then save those.
Cons:Photoshop needs better EXR support.
Its no secret that there are several tools currently
encroaching on Photoshops dominance. For
instance, while Photoshop has always been anincredibly powerful tool when it comes to creating 2D
textures to wrap around an object, new painting
software such as The Foundrys MARI which allows
artists to paint directly onto a 3D model are
becoming increasingly popular. Could such tools ever
reach the point where it could viably replace
Photoshops job in the pipeline?
Replacement, no, but they work together
wonderfully, explains Jones. I use ZBrush to create
various texture maps, such as diffuse, specular,
glossiness and so on, but I will always make
adjustments in Photoshop for speed and comfort. I
think that Photoshop and other such software must
remain separate. 3D packages do heaps of things
and sometimes its nice to just get into Photoshopand deal with familiar friendly layers and 2D images.
Anything Ive seen in 3D packages attempting to
emulate Photoshop has not been as robust, and at
the same time appears far too complex.
I still take advantage of Photoshops great 2D
features, which are not available yet in 3D painting
software, says Erdt. Personally, when doing 3D
textures, I use Photoshop as a compiler for layers
and maps generated within other programs like
MARI or Quixels DDO, so to me its still a powerful
tool to achieve the desired results.
Like Jones, Erdt believes that the ideal toolset
remains a combination of several programs, with
each tailored to a specific task. Right now,
Photoshop is still an industry standard among 2D
software and there is no similar tool with the same
structure and flexibility, so setting up a Photoshop-
free pipeline can be quite costly, he explains.
Features like Particle Painting in Substance Painter;
the node-based approach of Substance Designer; the
procedural method of DDO; the ability to paint on
millions of polygons inside of ZBrush, Mudbox or
3D-Coat; the support for very high textureresolutions, Ptex and different shading models inside
of MARI and so on theyre all big pluses for 3D
software over Photoshop. However, in order to catch
up more with Photoshop, I think current 3D software
needs to combine more of its features, be more
flexible, stable and less demanding of the hardware.
Nevertheless, while it always remains very
difficult to predict what might happen in the next five
or 20 years, Erdt believes 3D texturing is one area
Photoshop really needs to catch up on. Painting
directly on a mesh provides way more control for
directing colours, tone, patterns and so on, as the
final result can be seen directly on the 3D model
rather than unwrapping a UV. Appropriate software
has existed for many years and it keeps growing fastwhile Photoshop seems to fall behind. So, from a 3D
painting perspective, a future for 3D without
Photoshop is imaginable under the current
circumstances. But then things can always change.
Digital-Tutors
Zeno Pelgrims
Adam Spizak Andy Jones Andy Jones
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Anything Ive seen in 3Dpackages attempting to
emulate Photoshop has not beenas robust, and at the same timeappears far too complexAndy Jones, www.andyjonescreative.com
Set up: Start with your render on the bottom of
the stack. Pop a new layer on top, and on this layer
go into layer effects and choose Bevel & Emboss.
Tweak the Bevel settings to match your scene,
choose a dark colour from your scene for the
shadows and do the same for the light. Use the little
preview on the left to help here.
Further prep:Now select the layer and change
the blending option to Soft Light. Go to your Brushes
panel and select a small, hard, round brush to paint
with. You can leave the pressure sensitivity off for
now to get used to how this looks. Next, grab a
medium-grey from the colour picker. Find a spot
that is well lit and lay down a line.
Now for the fun:Start exploring the amazing
options you have here! Play with all the perimeters
and brushes. If youre finding a problem seeing it in
the shadows or highlights, set the blend mode in
the layer effects menu for both to Normal. This
technique has many applications, with just enough
depth to fool the eye.
3D DETAILING IN POSTANDY JONES REVEALS A GREAT TECHNIQUE FOR ADDING BELIEVABLE DETAILS TO YOUR FINAL RENDER
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TECHNIQUES 3D VS PHOTOSHOP
Zeno Pelgrims, an animation student at
Bournemouth Universitys NCCA, is in agreement
that when it comes to 3D texture painting, 3D
tools replaced Photoshop a long time ago. While
Photoshop is my image manipulation and
preparation weapon of choice, MARI is my
number one texture painting tool, he tells us.
Very few artists still do all of their texture work
inside a 2D painting package like Photoshop.
The Foundry also develops NUKE, a node-
based digital compositing application that is
currently the industry standard for film and
television projects. Today it encompasses a range
of capabilities that compositing pro Dave Scotland
has found can be an excellent replacement for
some tasks previously completed in Photoshop.
Today I often use NUKE for many of my 2D
paint and rotoscoping tasks, he explains. The
heart of both applications is pixel data processing
manipulation of RGBA data at the pixel level.
Photoshop and NUKE just go about it in a
different way. Having said this, many tools are
quite similar the most obvious being the brush.
Many of the processes are the same and the
settings feel like they come from the same place.
Not only is N