Photoshop Creative - 154 2017 PDF

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25 EFFECTS THAT WILL

CHANGE YOUR WORK
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18 pages of
Elements
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GLOWING OIL PAINT SNOW

EDGES EFFECTS
MASTER
DIGITAL ART
Unlock the power of digital
ALSO INSIDE!
projects in Elements
RENDER
FLAME
HIGH PASS GO INTO SPACE

With the help of filters, layers and masks
BUILD COMPOSITE
A 3D CITY
Create your own city in the sky today
LIKE A PRO
Master layers to design a
fantasy scene
Issue 154
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ISSN 1747-7816
teach you to build a city in the sky, and the tutorial on
p22 helps you get to know the many aspects of 3D
effects in Photoshop. We hope you enjoy the issue!
Erlingur Einarsson Editor

[email protected]
3
Contents
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Essentials Tutorials
06 FileSilo
This issue there are over 600 free
22 Master basic 3D in
Photoshop
resources for you to use Get to know Photoshop’s 3D tools
and create a cityscape with depth
08 Trending gallery
Check out some of the coolest
artwork going viral this month 28 Blend with layer masks
Use double-exposure tools to blend
diferent images
10 Readers’ gallery
Have a look at what your fellow
readers have been up to this issue 38 Create a fantasy scene
Mix reality and fantasy with the help
YOUR FREE PHOTOSHOP
12 Readers’ challenge of layers and masks RESOURCES ARE HERE!
A chance to win Corel AterShot 3 and ✔ This issue: lightning strikes, textures,
AKVIS Enhancer software 42 Turn any photo into an
abstract oil painting mockups, light leaks and much more
Learn how to transform a photo ✔ Plus files to follow the tutorials
14 25 diferent ilters and how to use
Feature: Master filters
into a richly detailed oil painting ✔ Free and ready for you to download today!
them to make a good artwork great
46 Create a 3D-style logo
Layer styles, Smart Objects and
36 How I Made
See how Alexandru Savescu made Blur ilters can help you make a
the ilm-noiresque artwork The rockin’ logo
Mystery Man of Maryland
52 with
Create block animals
Liquify
How I Made
56 Christian Orrillo shows us how he Follow this fun step-by-step guide
created the vivid Amniotic to turn any furry critter into a boxy
fantasy creature
70 Project focus
Typhaine Le Gallo has perfected the
way to blend digital and traditional
hand-drawn art using Photoshop
92 Reviews
This issue we put Anthropics’
LandscapePro 2 and AKVIS’
LightShop and OilPaint to the test
96 Portfolio interview 46 6
Carolina Rempto talks about her path
to being an acclaimed digital artist
98 Reader interview
Maciej Matuszak shares his secret
Photoshop tips and tricks with us
Follow
us on Advanced Photoshop
Twitter 58 3D modelling in
Photoshop
76 @pshopcreative Dream up a city in the sky
using Photoshop’s powerful
3D tools
64 Create an awesome
space scene
Compose an out-of-this-world
scene with the help of layers,
ilters and masks
64
4
14
25 CHANGE YOUR WORK

FILTERS THAT WILL
22
42 28 36
58
Elements creative
74 Dodge and Burn
your photos
82 Create a surreal moon
composition
Achieve fast precision with Follow this step-by-step guide
this vital tool to build an eye-catching scene
76 Make a creative 86 Illustrate

selections
a scene using
clock face How to thrive in Elements
Make creative compositions without a graphics tablet
with text and images
90 Q&A: Common problems
80 Change the look of your
How to age portraits in Elements
Your FAQs answered by our 19
images non-destructively team of Elements experts
5
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TRENDING IMAGES
Check out some of the most popular artwork that’s been rocking the internet
over the last few weeks, and take inspiration from what’s currently trending
There’s nothing more inspiring than Chatchanok’s rooster has been viewed over
8,000 times. We love the detail in the piece,
surfing the internet and seeing what and it’s proof that while digital and analogue
art are oten considered separate, they can
other artists are creating, and we conlate for incredible results such as this.
encourage you to do so. Here are
some of our favourite pictures that
caught our attention recently, from
some of the world’s most exciting
artists and designers.
The blending in Rafael’s work is superb, as is the

choice of colour and texture. He’s been featured by
Adobe’s Photoshop gallery, and this piece is a great
example of his wonderful command of a composition.
Chatchanok
Wongvachara
www.behance.net/
chatchanokwong
The artwork was created
from a pencil drawing that I did, with the
Mind-bending compositions are extremely digital colouring coming from Photoshop.
Rafael Boo popular online, and this is the standout
piece in Risfan’s impressive portfolio. We The image was created in celebration of
www.behance. particularly like the colour editing that
net/rafaelboo Risfan has made in Lightroom. the Chinese Year of the Rooster.
This was
created with the
smoke cut out and applied
using blend modes, and
space elements added. The
smoke was given a colour
temperature, light efects and
spots using gradient maps,
Curves and blend modes.
Risfan
Fariansyah
www.behance.
net/rsvn
This was
created in Photoshop and
Lightroom. The Transform
tools were key in creating
a surreal environment,
masking helped to bring all
the elements into the inal
image and blend modes
helped unify the elements.
8
Jan Urschel Yukai Du
www.hendrix-design.com/ www.yukaidu.com/
This illustration was made for the movie This is the cover of a children’s book,
Ghost in the Shell from Paramount Pictures. commissioned by Wide-Eyed Editions. The cover
Photoshop was used to composite several 3D image needed to incorporate the themes of the
render passes, add photographic background plates, bring in book, feel coherent, and also feel related to the other pages
atmospheric efects like steam, and the inal colour grading. illustrated inside. Brushes were used to create the illustration.
Jan has worked with countless production companies, and this is a

shining example of his work. We love the detail and atmosphere in
this piece, and so do 135,000 people who have viewed him online.
Aitor Prieto Reyes

www.aitorprieto.com/
I work on my digital pieces as if they were a real canvas, so
I don’t usually accumulate many layers. In this piece I used
With half a million online views and support from The Student Show
a layer for the background and another for the characters, and Pantone, Yukai’s work is highly rated. We love this one, because it
which I blocked to give them volume with brushstrokes. feels slick yet playful: that’s the power of Photoshop brushes.
Barcelona-born Aitor has been recognised by four separate Behance showcases for
his perfectly detailed, oten caricaturist digital art. This landscape is beautifully
realised and was featured by the Photoshop, Behance and Illustration galleries.
9
READERS’ IMAGES
Welcome to an inspirational round-up of great Photoshop artwork
created by none other than your fellow readers
GET IN TOUCH
Send us your images now for the
chance to appear in future galleries
Create your own gallery online
PhotoshopCreative.co.uk
Upload your images to Facebook
Search PhotoshopCreative
Tweet us your creative artwork
@PshopCreative
Alternatively, you can email:
[email protected]
Elissandro Pinto
www.photoshopcreative.co.uk/user/
Elissandro
Image of the issue
Layers, blend modes and masking
were vital in this image. The rhino was the first
thing to be added to the scene, before the town
was added to its back and everything was blended
with adjustments and brushes.
Caroline Julia Moore

www.photoshopcreative.co.uk/user/
CJMArt
I took the main photo of the two
subjects at the studio and merged
this with a woodland photograph that I’d taken.
The image was stylised with Dodge and Burn,
and a Color Lookup adjustment was applied.
10
Alexander Kruglov Murilo Francisco
www.photoshopcreative.co.uk/user/Shurelo www.photoshopcreative.co.uk/user/Mumu0909
I used a lot of layers and masks for the mood in I used the Pen Tool to cut out the images,
this image. I used an image of an old gramophone along with exposure, merging and
from a museum and Liquified it to make it look like adjustments, and I blended everything
an unusual flower. I added my cat to the image, too! together to produce a natural, toned composition.
Claudio Tosi Kostis Keritis

www.photoshopcreative.co.uk/user/MirrorWalkers www.photoshopcreative.co.uk/user/kostis%20keritis
The original sketch was drawn by hand, then In order to create this, I began with a few quick
replicated on a Wacom tablet. The aim was to sketches to find the best possible frame. Then I added
enhance the beauty of the traditional sketch using more images, overpainted a few new elements and
digital tools. I used brushes and pastel textures on the shadows. drew the details with a tablet.
11
READERS’
CHALLENGE Upload your images to
photoshopcreative.co.uk
Challenge 1
entries e rs’
The best entries and d
Reaallenge
overall challenge winner
1 Sheri Emerson Ch INNER
Space Detective
I used Polar Coordinates to
W
make rings from the rockets,
duplicated and blurred for glow.
I put the arctic scene in the
background, filtered and added
a desaturated rainbow ribbon.
2 Bob Parsi
Love, Strategy & War
I created a movie poster theme
based on Love, Strategy and
War. I created this design using
all images provided. I used a lot
of masking, layer adjustments,
blurs, blending and more.
3 Previatti Consanni
Don’t Worry, Be Happy
This image uses a main subject
as the focus, with a spacey
background. The background
was created with adjustments,
layers and blend modes.
4 Neil Kelly
Spaceman
This depicts a spaceman
landing on a planet once
inhabited by humans, but now
only a ferry remains and no 2
ocean. Adjustments blended
everything together.
We challenged you with these

In issue 151, we
challenged you
to get creative
with these four
images. You
were allowed to
use any or all of
the pictures, and
whatever other
resources you
chose. Here’s
what you created.
12
The PRiZe… RUnneRs’-UP PRiZe…
WORTH $99!
Corel AfterShot 3
This issue, one lucky winner
will receive a copy of Corel’s
AKVIS Enhancer
Three runners-up in
photo-editing software,
AfterShot 3. AfterShot
WORTH this issue’s challenge,
is fantastic for RAW £79.99! along with the winner,
will all receive a copy
processing and is packed of AKVIS Enhancer.
with a plethora of new features, Another photo-editing
including watermarking, blemish program, Enhancer
removal and an enhanced highlight is a great companion
recovery feature. This is a fantastic to your Photoshop
addition to any Photoshop user’s workflow, dedicated
workflow, should you wish to make to improving detail
improvements to your photos. and tone.
This issue’s challenge

Think you can do better? Prove it!
Get creative with the supplied images and you
could win a fantastic prize! Use as many of the
images as you like (from previous issues too!)
and include your own photos if you wish. Head to
www.photoshopcreative.co.uk and simply hit
the Challenge link. Closing date: 17 August 2017.
13
25 CHANGE YOUR WORK
FILTERS THAT WILL
OIL PAINT
25 FILTERS
THAT WILL
CHANGE YOUR
WORK Don’t dismiss filters as being an unsophisticated editing
option; we reveal how they can elevate your work
Filters can turn a good piece of artwork into a great piece of of ways that you can subtly or dramatically change the look and
artwork. Whether you’re looking to add noise, reduce it, blur, feel of any project, just by using filters. They never have to just
sharpen, or create an artistic effect on a photo, there’s a filter be the finishing touches either, because filters can be built upon
for that. And the best part is they’re fun to experiment with! or intertwined, for you to create stunning effects throughout all
Filters can sometimes have a bad reputation in the of your projects.
Photoshop world, because they create simple, immediate Let’s delve into 25 of them, and look at how you can use
effects in your work, which can look obviously edited. However, them to not just add cool effects to your images, but actually
this is only if you don’t use them correctly: there are hundreds change the way you work.
WHAT YOU WILL LEARN…
LENS FLARE
ILLUSTRATIONS SURREAL ART PORTRAITS

Create amazing Blend mind-bending Learn how to transform
illustrations all with the tools and distortion ordinary portraits with
help of ordinary filters, filters together for extraordinary effects,
and bring a humble projects that call for using filters for creating
skyline to life. something special. fire and ice.
DIGITAL CAMERA RAW

ARTWORK Discover the best features
Use filters to enhance digital available in Camera Raw,
artwork as well as photo- and learn which sliders
based projects, and get the are the perfect ones to
best from Brush Strokes. improve your photos.
14
FIELD BLUR
DESPECKLE
On the FileSilo
Download your free
resources at www.filesilo.
co.uk/photoshopcreative
HIGH PASS
REDUCE NOISE
15
25 CHANGE YOUR WORK
FILTERS THAT WILL
Easy illustrations with Cutout

Turn a photo into a vector-style image using two filters
You don’t have to be a natural artist to draw; you can quickly create a cityscape
illustration using the Cutout and Gaussian Blur filters, with a little help from the
Pen Tool. Begin by opening ‘pex_169647_city.jpeg’ from the FileSilo.
To apply the Cutout filter to just the buildings, grab the Pen and ensure Paths is
selected, and then draw around the shape of the buildings. Create a selection
around the working path and then apply Filter>Artistic>Cutout, set to 3, 2, 3.
To enhance the gradient background of the image, select the original path and
convert the path to Subtract from Shape Area (located in the Pen Options bar).
Now create a selection around the sky and go to Filter>Blur>Gaussian Blur and
amend Radius to 59px.
You can also apply the Gaussian Blur filter to soften the edges of shapes. Begin
by creating a number of long rectangles, convert them to a Smart Object and then
the Gaussian Blur can be applied. Do the same to create a moon.
16
Bend with Polar Coordinates
Combine this filter with edits to create surreal worlds
Achieve an incredible effect using the Polar Coordinates filter, adjustment layers and
colour corrections. It is a simple and fast effect that is easy to achieve using some basic
techniques and tools in Photoshop. This technique offers countless possibilities of
composition, so feel free to exploit it to its full creative extent.
RADIAL BLUR
Use Radial Blur (Filter>Blur>Radial
Blur) to add a touch of motion in a
circle around the image.
SPHERIZE
Go to Filter>Distort>Spherize to bring
more focus on the subject and make
the composition feel more globe-like.
“It is a simple and fast effect

that is easy to achieve using
some basic techniques”
Round things out Adjustments Finish the composition

01 Create a 230mm x 310mm file, 300ppi.
Open ‘pex_132983_ocean.jpg’. Go to
Image>Image Size, (uncheck Constrain
02 Duplicate the layer once (Cmd/Ctrl+J) and
rotate it 60° counter-clockwise, create a
layer mask and paint over the line to remove it.
03 Add some adjustment layers to the water,
like Colour Balance and Brightness/
Contrast. Insert ‘pex_241044_man.jpg’ in the
Proportions) and resize to 3000x3000px. Go to Duplicate again, increase the size, create a layer centre and remove unnecessary parts. Add
Filter>Distort>Polar Coordinates, select mask and hide the middle parts. Create a Curves adjustment layers for the man; Colour Balance,
Rectangular to Polar. Drag the image to your file. adjustment layer, move the line down. Brightness/Contrast, Curves and Levels.
17
25 CHANGE YOUR WORK
FILTERS THAT WILL
“To make the

woman’s skin
softer, use Filter>
Blur>Surface Blur”
Add special effects to portraits

Combine multiple filters for a fantasy fire and ice world
Create the snow Add some filters Make the fire

01 Create a new layer, set Foreground colour
to black, place on the top of the layers
and paint it (Alt+Del). Apply Filter>Noise>Add
02 To make the woman’s skin softer, use
Filter>Blur>Surface Blur, set to 70, 5. To
add realism to the ice side, duplicate the
03 Make a new layer, use the Pen Tool (P),
draw a flame shape, go to
Filter>Render>Flame, set Width to 70 and change
Noise, Amount: 90%, Distribution: Gaussian and background, merge it and apply Filter>Artistic> blend mode to Screen. Duplicate all layers from
tick Monochromatic. Use Levels (109, 1,00, 255), Plastic Wrap, set to 3, 10, 14 and make a mask to the fire side, merge it, apply Filter>Distort>Glass)
change blend mode to Screen and apply erase the unnecessary parts. Finally duplicate and set to 10, 12 - Frosted Texture. Create a new
Filter>Blur>Motion Blur, Angle: -45° and the background again and add the Diffuse Glow layer, set Foreground colour to black,
Distance: 26px. Finally, add Filter>Artistic>Dry filter (Filter>Gallery>Distortion>Diffuse Glow), Background to white, apply Filter>Render>Clouds
Brush, set to 2, 1, 3. set to 6, 3, 16. and change the blend mode to Screen.
18
Mold with Liquify and Displace
Use these filters to bend objects to your will
The Liquify and Displace filters are used to In this project, we used Liquify to create a the filter, go to Filter>Distort>Displace,
distort pixels in an image. However, there is melting effect and Displace to blend the select the .psd file you created. To work
a huge difference between them. Liquify is melted paws with the iceberg. To create the with Liquify, go to Filter>Liquify. Grab the
commonly used to create artistic effects by Displace Map, open the image you want to Forward Warp Tool and start pushing the
using tools to distort the pixels, Displace map, desaturate it, use Levels to adjust the pixels down and then push sideways and
uses a greyscale map to distort the objects. grayscale tones, then save as .psd. To apply inward to make the trails thinner.
19
25 CHANGE YOUR WORK
FILTERS THAT WILL
Quickly boost your illustrations

Apply Texturizer and Glowing Edges to make images pop
If you’re no stranger to image-editing apps For example, if you don’t have access to To refine the edges of an illustration, you
such as Instagram and Photoshop Mix, suitable texture images or brushes, the can get excellent results from the Glowing
then you’re more than likely already aware Texturizer filter is a fitting substitute. Edges filter. Apply it to your character
of just how fun filters can be. Though Choose texture types such as Mosaic, illustration, and set the sliders to high
lacking the likes of Valencia and X-Pro II, Burlap and Canvas from the drop-down settings. Set the layer to either Overlay or
the default options in Photoshop’s Filter menu, and adjust using the sliders. Subtle Colour Dodge, and set the Opacity to 20%
Gallery can still have a beautiful creative details are best for detailed backgrounds, or lower. This way, it will apply extra detail
impact on your work. so keep the sliders low. to your illustration without overpowering it.
20
Sharpen
Detail in a picture is key, but so is a lack of it;
sharpen and reduce noise with these sliders.
Before
Basic adjustments
Fix the tone, brightness and light using the basic
adjustments on the first page of Camera Raw.
Colour balance
Get more from colours than adjustments can
manage; alter hue, saturation and luminance.
Toning
Add a split tone to finish and decide on the
Edit images with Camera Raw balance between the highlight and shade.
Achieve professional retouches with this powerful filter

The Camera Raw filter processes Raw files, sliders. The first page is full of basic icon and delve a little deeper into your
and you can apply its sliders and effects to adjustments that can really bring the picture, by fixing the tone, sharpening,
your pictures to fix everything from clarity essentials out of your picture; once you’ve editing colour and even applying effects
and contrast, right through to saturation made the necessary edits, click on the next based on camera make and model.
and split tone.
If you’d like to fix a range of issues, just
cycle through the features on the right-
“Fix everything from clarity and contrast, right
hand side of the window and adjust all the through to saturation and split tone”
21
Tutorial Master basic 3D in Photoshop
Master basic 3D
in Photoshop
Get to grips with the essentials of Photoshop’s 3D tools to
create a background scene for a digital painting
C
ities look beautiful at night, and they Although Photoshop’s built-in 3D tools are
can be an attractive setting to use in not as powerful as the tools featured in
digital paintings and illustrations. dedicated programs such as Maya, they are
However, without any perspective tools or certainly enough for creating shapes that fit
objects, city scenes can be an intimidating the perspective of the scene you want to
subject to paint. But with a little knowledge paint, which is exactly what we need to
of Photoshop’s 3D tools, you can make this complete this cityscape piece.
process a lot less painful. We will also be using illustrative and digital
Before you start, make sure your computer painting techniques to complete this image,
is powerful enough to run the 3D software. If so even if you do not intend to use 3D
you have never modelled a 3D object in your objects in your work on a regular basis, there
life before, don’t worry. In this tutorial, we will are drawing and colour-editing techniques
be covering the absolute basics of creating you may still find useful. Most importantly,
and reshaping 3D objects in Photoshop. though, be sure to have fun!
Expert
Rebekka
Hearl
“As a graduate of a 3D
animation course, I am well
versed in the use of 3D tools
and modelling 3D objects,
and applying them to my
digital artwork.
“I’ve been using Photoshop
since my teens, and it is still
a vital part of my workflow
to this day. I don’t know how I
managed to survive so many
years without my Cintiq 13HD,
and my favourite Photoshop
tool is without a doubt the
Brush Tool.”
22
Want to cycle through Move tools? Press V In 3D mode
On the FileSilo
Download your free
Essentials
Works with
Elements CS CC
What you’ll learn

How to create and
adjust a basic 3D object in
Photoshop CC
Time taken
9 hours
23
Perspective reference Sketch your subject

We will be using 3D objects as part of Begin sketching Now your background is done, place
01 this tutorial, but perspective reference
photos are still imperative to help you put the 02 Using the reference images you
collected, sketch a rough idea for
03 your character in the scene. Create a
new layer and, using the same brush, draw a
scene together. It’s useful to take photos of your scene. Create a new layer and select a character balancing on the wall you drew on
tall buildings and study the perspective from hard brush, set to 15px. If you’re not confident the background layer. Remember, use as
different angles. Keep them to hand and keep when it comes to drawing perspective, feel much reference material as you need. Add in
referring to them as you work. free to trace one of the images you collected. basic shadows on a separate layer.
Set up the colour palette Load up the 3D space

Create a new layer, above all layers, so it will be easy to Access the 3D tab by navigating to Window>3D. This will add the
04 access as you work. Using a large hard brush at 75px+,
draw circles of the colours you want using the Colour Picker.
05 3D tab next to your Layers panel. Select Mesh From Preset, and
select Cube from the drop-down menu. This will create a 3D cube and
These will be easily accessible later using the Eyedropper Tool. bring up the 3D navigation space.
Prepare for adjustments

Don’t worry! Your sketch hasn’t been Shape the cube Adjust lighting
06 deleted. Think of this as a
workspace entirely separate from your 07 Now Uniform Scaling is off, we can
elongate the cube. 3D objects are 08 Below the Cube folder, select the
Lighting folder. You can drag it
painting space. Select the Cube folder to edit modelled by stretching or squashing them around as you do with the camera. It will be
the cube, and Scene to move the camera. In along Y, X and Z-axes. Increase the X-axis helpful to set up the lighting now, so the cube
the Properties window, click the Coordinates from 13 to 19, and the cube will stretch into a will fit the scene. From the Properties panel,
icon, and switch off Uniform Scaling. rectangular shape. Decrease the Z-axis. set Shadow Opacity to 0%. We won’t need it.
24
Want to cycle through Move tools? Press V In 3D mode
Expert tip
Tweak the
perspective
Here’s a great tip for
perspective drawings. As
mentioned before, collecting
perspective references
is imperative for creating
accurate environments,
whether you’re studying
perspective or editing the
photos directly. But it can be
frustrating looking for the
Duplicate cube Apply to scene angle you have in mind. If you
We will be using this cube to create an Switch back to the Layers tab, and take a photo that’s of a similar
09 apartment building in our scene. To quickly
give it shape, Ctrl/right-click the Cube folder and select
10 you’ll notice that the 3D object has
been applied to your scene, exactly as you
angle, of any subject, use the
Transform Tool to rotate, flip
and warp the image into the
Duplicate. This will create an exact copy. Notice how it left it positioned in the 3D space. Go back to angle you need. Then create a
clips through the other cube as you move it with the the 3D space to adjust the camera if it’s not new layer and draw over it.
Move Tool. sitting correctly. Line it up with your sketch.
Overlay colour Start shading

Overlay some colour to make the grey Create another clipping mask layer Complete shading
11 3D object fit in the scene. Use the
Eyedropper Tool to select the purple you
12 above the cube, below the Overlay,
and set to Multiply, 40% Opacity. Use the 13 Select a soft brush at 50px+, and set to
60% Opacity, 80% Flow, and Multiply
used for the background, create a new layer Shape and Marquee tools to draw straight blend mode. Still using the same purple,
above the cube, Ctrl/right-click and select lines on the front of your apartment building. shade the building. Paint harsh lines to create
Clipping Mask. Use the Paint Bucket Tool to On another clipping mask layer, colour some a concrete look. On a new layer, use a 10px
fill the layer. Set it to Overlay, 50% Opacity. of the windows a cyan blue. hard brush to add graffiti.
Add texture
Create a new layer set to Overlay, select the cyan, and Finish drawing the character
14 use an airbrush to add a glow effect. If you have texture
images to hand, find a scratchy one, or download one from a site 15 With the background that will be sitting behind your character
mostly finished, now’s the time to finish the character art. Create a
like BittBox (bittbox.com). On another new layer, paste in the new layer above the sketch layer, and use a hard round brush set to 12px
texture, set to Overlay, 20% Opacity. and a dark purple to draw the lines.
25
Quick flats Shade the character

Create a new layer under the lines, Create a new layer above the flats,
16 and fill it with purple. Select outside
the lines using the Magic Wand Tool. Go to
17 Ctrl/right-click and select Create
Clipping Mask. Set the layer to Multiply, 45%
Background buildings
Using the same technique as we did
Select>Expand>2px, and click OK. Select the
colour layer, and hit delete. Turn on Lock
Opacity and, using a hard brush at 20px+,
draw in the purple shading. Keep the
18 for the first apartment building, create
two more cube shapes for the background
Transparency, and use the Eyedropper and a shadows crisp and contrasted, to fit the buildings. Repeat steps 12 and 13 to shade
hard brush to colour the character. strong lighting of the scene. them in the same way.
Add some foliage

On a new layer above the apartment buildings, use a Foreground wall
19 textured brush set to 35px+ to draw in some trees. Use a
dark grey/cyan; in this lighting, it will appear slightly green 20 The character is still floating! Beneath her layer, create a new one
and draw an angled wall using the Marquee Tool. Fill with a light
compared to all the purples. Set the brush to 30% Opacity and purple, and then use the dark purple we used for all other shadows and a
Multiply blend mode to shade the trees. soft painting brush set to Multiply to shade it.
Starry night sky Combine and contrast Gradient mapping

You can’t usually see stars in a city, but With your painting complete, select Select a saturated dark purple and a
21 we’ll make an exception here. Create
a layer below all others, and use the purple to
22 all the layers, Ctrl/right-click and
select Merge Layers. This will combine all
23 light yellow as your Foreground/
Background colours, and go to Layer>New
draw a dark horizon. Use the square Shape your layers into one, making it easier to Adjustment Layer>Gradient Map. This will
Tool to draw building silhouettes. Shade using adjust the final colours. First go to Image> create a new layer that automatically applies
the soft brush, and add stars and lights with Adjustments>Brightness/Contrast and set colour effects to your image. Set to Overlay,
a small hard brush. each parameter to 11. and reduce Opacity to 30%. And it’s done!
26
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Tutorial Blend with layer masks
28
Show us your creative edits Tweet us @pshopcreative
On the FileSilo
Download your free
Essentials
Works with
Elements CS
What you’ll learn

CC
Combine images for a

double-exposure effect
Blend with
layer masks
using masks
Time taken
2 hours
Expert Produce a trendy animal double-exposure effect using layer

Andre masks, blend modes and adjustment layers
Villanueva
D
ouble-exposure imagery has roots in respective backgrounds will give you flexibility in
“Layer masks and blend photography. A juxtaposing of two (or even editing as well as deployment. Blending will be
modes are features I can’t more) images due to multiple exposures, facilitated, and you can adjust the background or
live without. I especially this technique oftentimes yields startlingly beautiful swap it altogether.
love doing double-exposure
experiments and surprising visuals. You’ve more than likely seen this effect on The initial animal-mountainscape meld will be
myself with combinations. album covers, advertisements and posters. realised with masks. You’ll then enhance with
“I discovered Photoshop Double exposures can be achieved in Photoshop blend modes, layering clouds with Screen and
while studying web design. using multiple layers stacked on top of one another doing a bit of painting with Color and Pin Light.
Ater graduating, I taught in and merged using layer masks and blend modes. Some choice adjustments will help to add the final
the media arts department. Before you get to the blending, though, you’ll spit and polish.
I’m now art director for a
tech company, soothing my want to make selections of the playing pieces. Here After completing the tutorial, why not try your
inner instructor by sharing you’ll start by selecting and isolating an animal and own double exposure? Find a worthy animal or
techniques with readers.” some mountains. You can certainly make the blend person, then pair your subject with an interesting
without isolating these, but freeing each from their scene or object.
Mask the mountain Select animal

01 Open ‘landscape.psd’. Use the Quick Selection tool to select the
mountains. Resize the brush with [ and ]. To remove from the
selection, hold Option/Alt while using the tool. When done, press the Add
02 Open ‘animal.psd’. Use the Quick Selection tool to make
a base selection of the animal. Use the Zoom tool to get
up close as needed. When you have a decent selection, go to
Layer Mask button in the Layers palette. Save and close. Select>Select and Mask [non-CC: Refine Edge].
29
Clean up mask
If necessary, paint in the mask with the Brush
Refine the selection
Paint with the Refine Edge Brush tool [non-CC: Refine Radius tool] along the
04 tool for editing. Use black to hide and white to
restore areas. Get up close with the Zoom tool. Adjust
03 fur and other areas to fine-tune. Resize brush with [ and ]. When done, set
Output To to Layer Mask. Click OK.
brush size and opacity as needed. Decrease/increase
brush hardness with { and }.
Situate backdrop
Click the ‘Create new fill or adjustment layer’ button in Fade sky
05 the Layers palette, choose Solid Colour. Pick #d0d3dc.
Drag it below the animal layer. Click the animal layer. Press Cmd/ 06 Press Cmd/Ctrl+G. Add a layer mask to the group. Ensure the
Foreground colour is black. Select the Gradient tool. In the options
Ctrl+J to duplicate. Click the lower animal layer’s mask. Press bar, set to Linear and 100% Opacity. Choose the Foreground to Transparent
Cmd/Ctrl+I to invert the selection. preset. Shift-click and drag down from the top to fade.
Blend
landscape
Select the top
07 layer. Go to
File>Place [CC: Place
Embedded], grab
‘landscape2.jpg’.
Option/Alt+click the
Add Layer Mask
button from the
Layers palette, then
paint white in the
mask at 40-60%
brush Opacity to bring
a bit back. Move or
transform (Cmd/
Ctrl+T) layer if needed.
30
Expert tip
Proper
planning
Investing in the planning
phases of a double-exposure
image can really pay off. Make
Add mountains sketches, jot down notes and
Place [CC:
08 Place
Linked] ‘landscape.
look online and in magazines
for inspiration. Gather stock
photos and/or create your
own assets. Line up different
psd’. Scale down and options for your images.
position on the When you’re in the heat of
animal’s back before creation, stopping to search
committing. Add a for alternate images can stunt
layer mask. Paint your artistic flow. During your
image search, try collecting
black at 60-100% some oddball images that
Opacity to fade the catch your eye. They may be of
edges and merge use in a future project.
with the animal.
Paint with colour Place birds

Click the ‘Create new fill or adjustment layer’ button from the Place [CC: Use Place Embedded from here on out]
09 Layers palette, choose Solid Colour. Pick #c68449. Set the blend
mode to Colour. Click the mask and invert it (Cmd/Ctrl+I). Paint white at
10 ‘birds.jpg’. Scale down and position before committing. Set
the blend mode to Darken. Remember where the birds are for the
10-40% brush Opacity to help blend the masking. next step.
Clean mask
Option/
11 Alt+click the
Add Layer Mask
button from the
Layers palette,
then paint white at
80% brush Opacity
to bring the birds
back. Feel free to
move the layer to
reposition the birds.
31
More clouds
Add clouds Duplicate the sky layer or place ‘sky.jpg’ again, then move
12 Place ‘sky.jpg’. Scale down and position before committing. Set the
blend mode to Screen. Option/Alt+click the Add Layer Mask button,
13 and edit or add mask. To duplicate quickly, select the
Move Tool, hold Option/Alt, click and drag to copy and move in
then paint white at 40-60% brush Opacity to add the clouds. one stroke. From there, edit mask and transform layer if needed.
Paint some cloudiness

Click the ‘Create new fill or adjustment layer’ button, Merge layers
14 choose Solid Colour. Pick #4987c6. Set the blend mode to
Screen. Drop Opacity to 40%. Click the mask and invert it (Cmd/ 15 Make any last masking and positioning changes in the base
composition. With the top layer selected, press Cmd/Ctrl+Option/
Ctrl+I). Paint white at 10-40% brush Opacity to ramp up the Alt+Shift+E. Right-click on the layer, and then choose the Convert to Smart
cloudy vibe. Object option.
Enhance
(Photoshop pre-CC)
[CC: skip to next step.]
16 Go to Filter>
Sharpen>Unsharp Mask or
Smart Sharpen, whichever
you prefer. Adjust the
settings to apply the desired
amount of sharpening.
When satisfied, click OK.
Paint black in the filter mask
to reduce in areas if needed.
Skip to step 18.
32
Expert edit
Transplant your image
Enhance (CC)
Go to
17 Filter>Camera
Raw Filter. Use the
various settings to
enhance and sharpen the
image. Increase Clarity
and follow up by
increasing Shadows: +76
and Blacks: +50. Under Place your image
Detail, utilise Sharpening, If you need to situate your image in
under Effects, utilise 01 another document, place the image
PSD in the destination document. Use
Dehaze and Post Crop
Vignetting. Click OK when Place Linked in CC to stay linked.
you are done.
Mask away edges

Add a layer mask to the placed
02 image. Use black to fade edges via
a soft-edged brush and/or a Foreground-
to-Transparent Linear gradient.
Blend with Pin Light

Click the ‘Create new fill or Cool with Photo Filter
18 adjustment layer’ button, choose
Solid Colour. Pick #80b2e5. Set the blend 19 Click the ‘Create new fill or adjustment
layer’ button, choose Photo Filter. Pick
mode to Pin Light. Drop Opacity to 50%. Paint Cooling Filter (80). Set Density to 25%. Paint
black in the mask at 10-40% brush Opacity to black in the mask at 10-40% brush Opacity to
reduce in areas. reduce the effect.
Edit background
If needed, adjust the background
03 colours or textures to help the
image look more at home. Add colour,
mask additional texture and/or work in
some adjustments.
Finalise and save Add vignette

Merge layers at the top and
20 Employ other adjustments to finalise the image. Check out Colour Lookup’s various
presets such as FoggyNight and FuturisticBleak. Tone down the adjustments by
04 convert to Smart Object. Go to
Filter>Camera Raw Filter. Under Effects,
reducing layer Opacity and/or painting black in the masks. Play with Colour Balance’s sliders. adjust the Post Crop Vignetting settings.
Fine-tune with Levels or Curves. When done, save your work.
33
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How I made The Mystery Man of Maryland
The artist
Alexandru
Savescu
“I’m an artist
who dabbles
in a variety of styles,
from traditional pen
and ink illustrations and
experimental printing, to
digital painting and short
www.thepixelprositess.com
animations. I list Egon
@thepixelprosites
Schiele, Sergio Toppi,
Moebius, Andrei Tarkovsky,
Stanley Kubrick and Quentin
Tarantino as key influences.
Essentials “I have been a finalist

three years in a row in the
Folio Society and House of
Time taken Illustration international
competition in 2015, 2016 and
10 hours also 2017.”
36
Show us your compositions Search for photoshopcreative
The Mystery Man of

Maryland
How Alexandru Savescu concocted an atmosphere of film noir with Photoshop brushes,
lots of research and adjustments
“M
y focus has always been on narrative and conceptual effort he put into researching location. Ultimately though, Photoshop
illustration,” says Alexandru Savescu, a Romanian was the key tool in bringing all these inspirations together.
illustrator and graphic designer currently residing in “For me, Photoshop is a way of recreating these techniques and
London. “I am passionate about portraiture, traditional drawing and maximising productivity, helping me change and rework my ideas
printing techniques.” without interrupting the creative flow,” he says. “My favourite
Alexandru’s appreciation for all art forms is represented in this Photoshop tools, the very foundation of my illustrations, are actually
piece, The Mystery Man of Maryland. Alexandru used traditional quite common: the standard Brush and Eraser and the Lasso. Besides
drawing techniques, including type, in the piece, and listened to a lot of these, layer and clipping masks and colour overlays are my next
jazz to help create the atmosphere for his image; not to mention the favourite thing.”
Colouring the image

Preliminary sketches
01 My travelling drawing kit is a small tablet and a memory stick. After
a thorough research on the location and time setting of the story
02 Every colour I use is set to a specific layer and starts as
100% black, which gets a colour overlay on top and
textures applied as masks. I prefer doing this because it allows
The Curious Case of Benjamin Button by F Scott Fitzgerald, and a four hour me to change my mind later on and I can also use the layers to
flight, I made a few preliminary sketches. screen-print the illustration any time.
Build the composition Adjustments

03 This is the part where Photoshop takes over from any
traditional practice. I am a bit choosy with my colour
palettes and it takes me a few hours and many different versions
04 A couple of colour layers are added on top with a reduced fill and
opacity with either Difference or Exclude used as the blend mode.
I then added a Color Lookup filter and I was done. I was listening to jazz
to decide. I used turquoise-vermillion colour contrast to create music continuously throughout the process to get into character and this
drama and heighten the action. helped me create a detective/noir setting.
37
Tutorial Create a fantasy scene
Essentials
Works with
Elements CS CC
What you’ll learn

How to use layers in a
creative way to compose a
fantasy scene
Time taken
5 hours
On the FileSilo
Download your free
co.uk/photoshopcreative Create a
Expert
Rodrigo
Marinelli
“Photoshop gives wings to
my imagination. When I was
a kid, one of my dreams was
to leave my bedroom and go
fantasy scene
Let’s use layers to create an imaginative scene where a girl leaves
her house and goes straight into a park
straight to the park with my
A
friends. While I could never good way to create a unique scene is to workflow. As we will create every single part of the
do this in real life, it’s possible mix reality with fantasy. To do that, it’s scene, it is also necessary to pay attention to the
in Photoshop! necessary to use your creativity to imagine colour tone of the layers. It also helps to link
“I’m an art director and how these two different worlds will blend into the adjustment layers and use the Feather to blend the
have 12 years of experience
same scene, in a way that is believable to the photos into the scene. Another essential part of
in advertising agencies. I
learned and am still learning viewer. So, let’s learn which are the best tools to this tutorial is the mask command. This is an
to use Photoshop through construct a scene like that. amazing tool that will help to mix different photos.
following tutorials.” To create this image, we will work with many After finishing this tutorial, create your own
layers, so, it will be necessary to organise the fantasy/reality scene and send us your image!
38
To organise layers Set up groups (Cmd/Ctrl+G)
Blend with mask Link the adjustment layers

Create a new document (Cmd/Ctrl+N) at 230x180mm and place Add the Chair layer from ‘bedroom_02.psd’ and place it
01 ‘sky_01.jpg’. Add ‘sky_02.psd’ and place it on the top. To blend the
image, click the Add Layer Mask button, set the Foreground colour to
02 as above. Set up a Hue/Saturation adjustment layer,
hold Cmd/Ctrl+Opt/Alt and click on the chair layer, then set it to 0,
black, use the Brush Tool (B) and erase the unwanted parts, as above. -33, 0. Make a mask (Step 1) to blend the image with the scene.
Place the floor

Add the Floor layer from Enhance the details
03 ‘bedroom_02.psd’ and place it below
the Chair layer. To make it fill the space, as in 04 Add Layer 01 from ‘bedroom.psd’ and place it behind the Chair layer. To enhance the
details in the image, duplicate the layer (Cmd/Ctrl+J), apply the High Pass filter
the image, duplicate it (Cmd/Ctrl+J) and (Filter>Other>High Pass) set to 1px and change the blend mode to Soft Light. Finally, make a
make a mask (Step 1) to blend. mask (step 1) to blend the image.
Create the shadows

Add some details Set the Foreground colour to #aa754e, create a new
05 Let’s add a few details to give depth to the scene. Add the Carpet
layer from ‘bedroom.psd’ and place as in the image. Then, add
06 layer (Cmd/Ctrl+Shift+N) and pick the Brush Tool (B).
Then, go to the Brush Preset Picker and choose a Soft Round
the Top layer from the same file and place it at the top of the bedroom. brush. Change the blend mode to Multiply, adjust the Opacity to
Finally use a mask (Step 1) to blend. 50% and paint in the shadows.
39
Tutorial Create a fantasy scene
Expert tip
Attention to
the details
Always pay attention to
highlights and shadows in
your scene – they will help
make it look realistic. Because
the female figure is going
from a bedroom to a park, it’s
necessary to pay attention to
the highlights and shadows
Apply the Feather command
Add the ‘biker.psd’ and place it in the
to make the scene believable.
To enhance the shadows of 07 centre of the scene. Activate the
layer selection (Cmd/Ctrl+click on the layer
Use the Free Transform Tool
Duplicate the biker layer (Cmd/Ctrl+J), activate
her face, use the Burn Tool (O),
set the Exposure to 50% and
gently paint the darkest parts.
thumbnail), apply the Feather (Shift+F6) set to
1px, invert the selection (Cmd/Ctrl+Shift+I),
08 the selection (Cmd/Ctrl+click the thumbnail),
set the Foreground colour to black, paint it (Alt+Del)
To enhance highlights, use the
Dodge Tool (O) and repeat the and press delete three times. Finally, link a and use a Gaussian Blur (Filter>Blur>Gaussian Blur) at
same procedure. Levels adjustment layer (Step 2) and set it to 10px. Use the Free Transform Tool (Cmd/Ctrl+T) then
12, 1.00, 247. hold Cmd/Ctrl and adjust the perspective.
Layer group with mask

Create a new layer (Cmd/Ctrl+Shift+N) and use
Create the park
Add the ‘skateboard.jpg’ and place it below the bedroom/biker layers. Add
10 the Pen Tool (P) to draw a shape as shown
above. Activate the selection (Cmd/Ctrl+Enter), create a
09 ‘skateboard_02.jpg’ and place it above ‘skateboard.jpg.’ Use a mask (step 1)
to erase the unnecessary parts and to blend the images. Link a Colour Balance
layer group (Cmd/Ctrl+G) and press the Add Layer
Mask button. After that, place the Floor layer from
adjustment layer (step 2) set to 0, 0, -39, as well as a Levels one set to 24, 1.00, 255. ‘bedroom_02.psd’ inside the folder.
Add the grass

Add ‘grass.psd’ and place it below the bedroom layers,
11 then add ‘grass_02.psd’, place it above and make a mask
(step 1) to blend. Create a new layer, set the colour to black, use
Compose the scene
Let’s add more elements to make the scene realistic. First, add
the Brush Tool (B), change the blend mode to Soft Light and
brush in the shadow.
12 ‘plane.psd’ and set the Feather command (step 7) to 1px. Then, add
‘birds.jpg’ and apply the Feather at 0.5px.
40
To organise layers Set up groups (Cmd/Ctrl+G)
Add depth to the scene Change the colour

Now, add ‘leaves.psd’ and place at the top of the scene. To give Add ‘butterfly.psd’ and place it on the grass. To change its
13 more depth to the image, apply a Gaussian Blur (Filter>Blur>
Gaussian Blur) set to 15px. Duplicate it (Cmd/Ctrl+J) and place at the
14 colour, link a Hue/Saturation adjustment layer (step 2)
and set to 197, 53, 0. Add the ‘butterfly.psd’ again, place it under
bottom of the scene, as in the image above. the leaf on the bottom and apply a 10px Gaussian Blur filter.
Use the gradient

mask
Add ‘basketball.
15 psd’, duplicate it,
flip it vertically
(Edit>Transform>Flip
Vertically) and change the
Opacity to 30%. Add a
mask, use the Gradient
Tool (G), go to the Gradient
Picker, select Foreground
to Transparent and gently
erase the image. Now
add ‘soccer.jpg’ and
‘roller_skates.jpg’ and
repeat the procedure.
Set the colour tone

Let’s use different adjustment layers for both sides.
Simple highlights
Add Layer_01 from ‘smoke.psd’, change the blend mode to Screen
17 Create a layer group with mask (step 10) and for the left
side, use Brightness/Contrast (0, 20), Levels (19, 1.00, 255), Photo
16 and place it in the middle of the scene. Then, add Layer_02 from
the same photo, place it at the bottom of the scene and change the blend
Filter (Warming 85) and Colour Lookup (3Strip.look). For the right
side, add Levels (7, 1.00, 255), Brightness/Contrast (15, 16), Photo
mode to Screen. Filter (Warming 85) and Colour Lookup (3Strip.look).
41
Tutorial Turn any photo into an abstract oil painting
42
Want different results? Repeat the Glass and Oil Paint filters
On the FileSilo
Turn any photo

Download your free
Essentials
Works with
Elements CS CC
into an
abstract oil
What you’ll learn
How to use filters to
apply an abstract painting
effect on a photo
Time taken
1-3 hours
Expert
BÜRO
UFHO
painting
Transform a photograph with the use of filters in Photoshop
“We found that combining
Photoshop’s Oil Paint filter
T
here are several ways to create an oil and show you how we use filters in Photoshop to
with other filters can yield painting effect in Photoshop. The fastest speed up and achieve a painting effect. We’ll also
some interesting results.
“Being both an artist, and easiest way is a rather cool feature, aptly show you how to prepare your image before
under the moniker kittozutto, named the Oil Paint filter. It enables you to take applying the filters to get the result we want. Check
and graphic design studio, any photo and easily turn it into a ‘painting’ by out our Expert Tip for more specific advice on the
BÜRO UFHO, we have been tweaking a few sliders. As is the case with many Blend-If sliders.
using Photoshop for over other Photoshop filters, using it alone creates a The images used in this tutorial are all provided
10 years. In 2015, we had common-looking, much less interesting result. on the FileSilo. You can also download the layered
the privilege to be invited
by Adobe, together with 70 However, combining it with other filters opens up a PSD to get a better understanding of exactly how
artists, to celebrate its 25th whole new world of possibilities. you can build up your artwork. Once you have
Anniversary of Photoshop.” In this tutorial, we’ll take you through the process worked through the technique, you can try applying
of transforming a mandrill photo into an illustration, it to other kinds of photos.
Patch Tool
Import the image Content-Aware fill
01 Begin by searching for your desired
image from your own library or the 02 We are going to extend the image. 03 Depending on your image, some
weird artifacts may result. We’re
Using the Rectangular Marquee Tool, going to remove these by using the Patch
web. We will be using a mandrill image we click and drag to make a selection at the top Tool. Select the area you wish to clean up,
found as a base for our painting. Place your of the image. Go to Edit>Fill>Content-Aware. and simply drag to the area you wish to
guidelines according to the rule of thirds, Repeat to extend the bottom and both sides sample. Repeat this a few times to
and drag the image into your canvas. of the image. thoroughly remove any strange areas.
43
Tutorial Turn any photo into an abstract oil painting
Liquify Tool
Go to Filter>Liquify. Using the Forward
04 Warp Tool, slowly push the beard
outwards so that the edges are vertically Add details
straight to keep the illustration clean and Using a black Soft Round brush, roughly brush in the mouth. On a new layer, use a
geometric. Using the Bloat Tool, click on the eye
a few times to enlarge it.
05 white Soft Round brush to paint over the highlight areas, use black for shadow
areas. Set the blending mode to Soft Light to make these areas more defined.
Achieve symmetry High Pass sharpening

Select the left side of the image with We’re going to bring out some of the Glass Filter
06 the Rectangular Marquee Tool,
Cmd/Ctrl+J to duplicate, Cmd/Ctrl+T to
07 details for the oil painting effect. Go
to Filter>Other>High Pass. Set Radius to 1px. 08 Go to Filter>Filter Gallery>Distort>
Glass. Set Distortion and
transform. Right-click and select Flip Set the layer blending mode to Linear Light, Smoothness to 15, Texture: Tiny Lens,
Horizontal. Shift the layer accordingly to Opacity at 40%. Select the layers and Cmd/ Scaling: 200%. Check Invert. Your image will
achieve symmetry. Ctrl+E to merge them. now be transformed into an abstract pattern.
Oil Paint filter Bas Relief filter

Now enlarge the image to fill up the canvas. Go to Use Cmd/Ctrl+J to duplicate the layer. Go to Filter>Filter Gallery>
09 Filter>Oil Paint. Set Stylization and Cleanliness to 5,
Scale to 10, Bristle Detail and Shine to 0. Hit Cmd/Ctrl+F to apply
10 Sketch>Bas Relief. Set Detail to 13, Smoothness to 3, Light at Top
Left. Hit Cmd/Ctrl+Shift+U to desaturate the layer. Set the blending mode
the filter again. to Overlay, with Opacity at 30%.
44
Want different results? Repeat the Glass and Oil Paint filters
Expert tip
Blend-If
sliders
Blend-If is a powerful tool for
layer blending that lets you
manipulate specific areas to
blend based on light and dark
tone. Under layer Blending
Options, holding down the Opt/
Alt key and drag the Blend-If
slider out. Holding down the
Alt/Option key causes the
Noise filter Selective Colour slider to split in half. This will
Import ‘paint-268231.jpg’ and drag into your Add a Selective Colour adjustment
11 canvas. Desaturate the image. Set blending
mode to Soft Light, Opacity to 25%. On a new black
12 layer. We’re going to add a more
purplish hue than the original colours. On the
smooth your layer blending
and create more transition
between the two layers. We’ve
used this to only affect the
layer, go to Filter>Noise>Add Noise. Set Amount to Cyans channel, set Cyan to -55, Magenta: +22, Magenta Photo Filter on the
55%, select Uniform, check Monochromatic. Set Yellow: -100. On the Blues channel, set Cyan: darker tones of the image.
blending mode to Soft Light. -100, Magenta: +35, Yellow: -100.
Photo Filter adjustment

Add a Warming Filter (85) Photo Filter More Selective Colour Levels and Brightness
13 adjustment layer. Next, add a
Magenta Photo Filter adjustment layer. Use 14 Add a Hue/Saturation adjustment
layer. Set Hue: +5, Saturation: +35. 15 Add a Levels adjustment layer. Pull in
the blacks to 44, and whites to 199.
the Blend-If slider to avoid affecting the white Add a second Selective Colour adjustment Use the Blend-If slider to avoid affecting the
areas so that the whites don’t become too layer. On the Reds channel, set Magenta and black areas and only brighten the light areas.
magenta. Check out our Expert Tip on the Yellow to -24. On the Neutral channel, set Add a Brightness/Contrast adjustment layer
Blend-If slider. Cyan: +14, Magenta: -8, Yellow: -13. and set Contrast to 11.
Import texture
Import ‘red-652716.jpg’ and drag into your canvas.
16 Desaturate the image. Set blending mode to Soft Light,
Opacity to 50%. On a new layer, use a white Soft Round brush to
Texturizer filter
Go to Filter>Filter Gallery>Texture>Texturizer. Set Texture to Canvas,
paint over highlight areas, black for shadow areas. Set blending
mode to Soft Light to make these areas more defined.
17 Scaling to 200%, Relief to 50, Light at Top. Set the layer blending
mode to Soft Light, Opacity to 50%.
45
Tutorial Create a 3D-style logo
Essentials
Works with
Elements CS CC
What you’ll learn Start

Use the Pen Tool, layer image
styles, blend modes, Smart
Objects for a 3D effect
Time taken
1.5 hours
On the FileSilo
Download your free
co.uk/photoshopcreative Create a 3D-
Expert
Moe
Hezwani
“Logo design is a big aspect
of my daily work. I’m always
asked to create a number of
styles and I’m grateful for the
style logo
Discover how to create an out-of-this-world logo design using layer
styles, Smart Objects and Blur filters
techniques and tools I can
E
use in Photoshop to help me very great company needs a brand logo – if in this tutorial the company is called ‘Planet
design all these logos. it is original and eye-catching, it will help a Direct’, therefore a rocket with some stars is a
“I’m a professional graphic company stand out. Most logos use happy complement to the company name; really
designer/illustrator and typography, but it would be too ordinary to just have fun with your design.
Photoshop is my go-to
use a standard font; why not create your own? In this tutorial you will learn how to create an
platform. I enjoy playing
around with Photoshop Planning what you want your logo to look like is original and eye-catching logo by using a number
to mix photography and one of the most important stages in logo design of different Photoshop tips and tricks. Discover
illustration to build an image.” development. Use the name of the company to how to give your text depth and how to customise
help you decide on design elements, for example it with the help of the Pen Tool and layer styles.
46
Keep your shape layers organised Group them (Cmd/Ctrl+G)
Expert tip
No Pen
Tool?
For most of this tutorial, you
will mostly be using layer
styles, the Ellipse Tool and
Blur filters, which Elements
users can do. Unfortunately,
Elements users don’t have
access to the Pen Tool, and
Create a background Background vignette this tutorial uses the Pen Tool
to trace around the sketch
Create a black 240x190mm document, then Draw the same sized circle as Step 1,
01 grab the Ellipse Shape Tool and draw a large
circle in the centre of the canvas. Hold Shift for a
02 but this time change the shape
options to Subtract From Shape. This will
from step 3. Instead of using
the Pen Tool, use the Brush
Tool very carefully to trace
symmetrical circle. Now Ctrl/right-click the circle layer give you a vignette shape. To soften it, convert around the sketch, but still
make sure you trace each
and click Convert to Smart Object. Then go the shape to a Smart Object and add a 250px section of the sketch into
Filter>Blur>Gaussian Blur and amend the Radius to Gaussian Blur. Now set the blend mode to separate layers.
250px and set the layer blend mode to Soft Light. Vivid Light and Opacity to 50%.
Draw the logo

Open ‘fo_start_
03 image.jpg’ from
the FileSilo and use the
Pen Tool, set to Shapes,
to trace around the
sketch. It is very
important to this tutorial
that each section of the
logo is on its own shape
layer; for instance, the
front part of the rocket
will be on a separate layer
to the inner 3D section.
Add a gradient overlay Align gradients together

Once you have drawn the whole logo, it is time to add When creating an illustration with a large number of gradient
04 some colour to it. Start by adding a gradient to the front
of the rocket. To do this, bring up the layer styles and select
05 styles, you want to ensure the Align with Layer box is always
ticked. Ensuring the box is ticked means all your gradients will
Gradient Overlay. Make the first colour stop a dark orange and simultaneously align together, so if you move the angle on one gradient
the second a light orange. layer style, all your gradients will move with it.
47
Expert edit
Enhance the shadows
Glow with inner shadow

After applying the gradients, add a
06 white glowing key line around the
foreground shapes, for instance, the front
A glowing key line
Add an Outer Glow to all the shape
Black layer
01 Only darken the inside shapes
of the logo, eg the inside of the
section of the rocket, stars, etc. To do this,
select Inner Shadow from layer styles and
07 layers you added an inner shadow to
and amend the following settings to create a
T. Firstly create a new layer above the T change the Blend Mode to Screen and Color soft glow: Blend Mode: Soft Light, Opacity:
shape, fill with black, set Opacity: 70%.
to white, Distance: 8px, Choke: 2%, Size: 10px, 60%, set Color to a light orange, Spread: 10%,
and check Use Global Light. and Size: 50px.
Enhance the glow

To make the
Create a selection
Start by creating a selection
08 glows really pop,
02 around the inside of the T shape.
To select a shape layer, simply Cmd/right-
create a new layer,
change its blend mode to
click on its layer’s thumbnail. Overlay and make a
selection around the front
part of the rocket. Grab a
white soft brush and
change its Opacity to 40%,
then start to brush
around the edges of the
rocket. Repeat for the rest
of the front shapes.
Add a mask
Now click the Add Layer Mask
03 button located at the bottom of the
Layers panel and create a mask over the
new black layer.
Outer Box Blur glow

Create a dark shadow First duplicate the entire rocket and
09 To darken the inner sections of the

logo, eg the inside of the rocket,
10 flame shapes, merge them together
and move behind the shape layers. Next, add
Brush to erase start with the inside section of the flame, an outer glow and amend the settings to
With the mask thumbnail
04 selected, ensure the Foreground
colour is set to black and use the Brush
select its shape layer and select the Inner
Shadow layer style. Change the settings to;
Blend Mode: Soft Light, Opacity: 40%, set
Color to white, Spread: 20%, and Size: 3px.
Tool to erase any black fill you don’t need. Blend Mode: Multiply, Color: black, Opacity: 21, Finally, go Filter>Blur>Box Blur and change
Distance: 14px, Choke: 15% and Size 38px. the Radius to 30px.
48
Keep your shape layers organised Group them (Cmd/Ctrl+G)
Expert edit
Try these adjustments
A final outer glow

This time, duplicate all the foreground A starry foreground
11 shapes; this will include the front part
of the rocket, circles, flame and letters. Once 12 Start by opening ‘pex_119685_space.jpg’
from FileSilo, go to Select>All and hit Gradient maps
duplicated, merge the layers together, Cmd/Ctrl+C to copy the starry background. Gradient maps add different hues,
change the Opacity to 70% and the Fill to 0% Head back to your logo canvas and hit Cmd/ depending on where light and dark tones
and add an Outer Glow layer style. Amend Ctrl+V to paste it into the canvas. Next, change are. They’re great for transforming the
entire colour of an image with a few clicks.
the settings to: Opacity: 60%, Spread: 10% the Opacity of the starry image to 70% and the
and Size: 40px. blend mode to Colour Dodge.
Foreground
vignette
Duplicate the Colour Balance
13 background
vignette from Step 2, drag
The Colour Balance adjustment will
enhance the colours already in an image.
Tweak between Cyan/Red, Magenta/Green
it to the top of your and Yellow/Blue.
Layers panel and change
the blend mode to Soft
Light. Now amend the
Gaussian Blur filter. To do
this, simply double-click
Gaussian Blur on the
layer and amend the
Radius to 341.6px.
Colour Lookup
For a professional-looking tone, Colour
Lookup can help. Choose from the drop-
down menus and switch the blend mode to
lessen the effect if need be.
Hue/Saturation adjustment
Add a Hue/Saturation adjustment Brighten up the canvas
14 layer to enhance the colours of the
overall logo design. To add a new adjustment 15 Finally, brighten and boost the
contrast to add a final touch of depth.
Curves
The Curves feature is a versatile
adjustment: use it to alter the red, green or
layer, go Layers>New Adjustment This time, use a Brightness/Contrast blue of your image, as well as the whites,
Layer>Hue/Saturation and amend the adjustment layer and amend the Brightness blacks, lights and darks.
Saturation to +22. to +9 and Contrast to +15.
49
Logo measurements Essential dimensions for social media platforms
FACEBOOK TWITTER
Logo/profiLe – Cover photo – Logo/profiLe – Cover photo –

180 x 180px 828 x 515px 400 x 400px 1500 x 500px
Any logo or profile Any images used for The logo or profile image Any image you upload as
picture must be a your cover photo will area on Twitter uploads your cover photo should
minimum of 180 x 180px, be stretched to 828 as 400 x 400px. You can be a wide landscape, but
but it’ll appear as 160 x x 515px, but you can upload JPEGs, PNGs or Twitter will reduce it to
160px and be displayed upload an image that’s GIFs. 1500 x 500px. Keep the
throughout as 32 x 32px. a minimum of 399 x main focus in the middle
150px. of the image.
YOUTUBE TUMBLR
video upLoads – Cover photo – Logo/profiLe – Max iMage size

1280 x 760px 2560 x 1440px 128 x 128px – 500 x 750px
Every video needs a Keep this to 2560 x 1440px Your profile image on Images will show up
display image, and this to have the highest Tumblr will be shrunk in the news feed as
should measure in at resolution. Cover photo down to 128 x 128px, a maximum of 500
1280 x 760px, as this sizes will vary depending but will show up as 64 x 750px, but you can
qualifies as HD, with a on device; it will show up x 64px when scrolling upload images as large
16:9 ratio. as 1546 x 423px on your through your news feed. as 1280 x 1920px.
mobile, for example.
50
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Tutorial Create block animals with Liquify
On the FileSilo
Download your free
Essentials
Works with
Elements CS6+
What you’ll learn

CC
How to use the Liquify

filter’s Forward Push Tool
Create block
and Freeze Mask Tool
Time taken
1 hour animals with
Expert
Sarah
Cousens
Liquify Have fun pushing pixels around to
make this cute cuboid gerbil
Y
ou may think small furry animals are pretty make a couple of dodgy brush strokes and ruin it
“As an animal lover, I oten cute to begin with, but this charming 3D all! For this reason, we recommend you periodically
ind that cute furry critters
animal-cube effect gives them a whole new click OK to apply the progress you have made with
become the focus of my
designs. Combined with my level of adorable quirkiness. Created almost the filter so far, for example immediately after you
interest in the surreal, this exclusively with the Liquify filter, it is a simple have edited one small body part, then return to the
block efect has me hooked. technique that is so satisfying and fun to use, with Liquify filter again to continue with your artwork.
“I am a designer and amusing results! As you manipulate the image, imagine the
illustrator and have been One key thing to remember is that you only get animal’s body as being made up of 3D shapes;
using Photoshop ever since
forming my own design and
one level of undo within the Liquify filter. Undo think about their positions, the perspective, and
illustration company, Cool once, and that’s it – no going back any further. This how the different shapes would connect with each
Surface Ltd, ten years ago.” can be very frustrating when you have been other. Once you get the hang of it, you can have
carefully pushing pixels for several minutes only to fun trying this technique out on other animals, too.
52
Check out the latest blog www.photoshopcreative.co.uk
Open the start image

Open ‘pix_1238228_gerbil.psd’. Press Cmd/
01 Ctrl+J to duplicate the background layer, in
order to preserve a copy. Go to Filter>Liquify (or press Straighten the back
Shift+Cmd/Ctrl+X) and select the Forward Warp Tool. Start to click and drag along the left edge of the gerbil’s body to manipulate
Choose a Brush Size of around 400, Brush Density: 16,
Brush Pressure: 100 and Brush Rate: 20.
02 it into a straight edge. Using a larger brush size creates a more natural
result and prevents the fur projecting over the edges from being compressed.
Edit the leg

On the right leg, create a flattened
Create corners and edges

04 edge along the bottom, with a
corner each side, dragging outwards with a
Create a diagonal edge at the top of the gerbil’s back, leading towards his ear. Use a large brush size, then refining the corners
03 smaller brush size (around 80) to create a sharper corner at the top of his back.
Flatten the top of the head.
with a smaller size. Flatten and straighten the
underneath of the gerbil’s body.
Now the other leg Apply a Freeze Mask

On the left leg, create a 3D cuboid shape, remembering to use a To preserve the progress made so far, select the Freeze
05 fairly large brush size (around 150) to prevent the edge becoming
compressed and losing the soft blurred appearance. A smaller brush (eg
06 Mask Tool within the Liquify filter and apply a mask over
the straightened edges of the gerbil, and also over his paws as
60) can be used to sharpen the corners. we want to leave these unchanged.
53
Tutorial Create block animals with Liquify
Expert tip
Liquify
shortcuts
When you activate the Liquify
filter, you enter a dedicated
workspace. The same rules
for keyboard shortcuts
apply within this window.
Each Liquify tool has its own
shortcut (eg press W for the
Forward Warp Tool, or press
F for the Freeze Mask Tool),
and other common keyboard
shortcuts can also be used. Extend the Freeze Mask
For example, the bracket keys Cheek and arms Once you are happy with these
can be used to adjust brush
sizes, and while using the
07 Switch back to the Forward Warp Tool, drag
his cheek down and left and create more of a
08 areas, paint over them with the
Freeze Mask Tool to preserve them, then
Freeze Mask Tool, you can
hold Alt and paint to subtract squared shape. Alter his arm to create a sharper also apply the Freeze Mask to the whiskers
from the masked area. right-angled point at the elbow, then a straight edge on the right side to prevent them from
along the bottom and up the left side of the arm. becoming distorted.
Edit the nose

Switch back to the Forward Warp
09 Tool. Straighten the edges of the
bridge of the gerbil’s nose, and straighten the Create a rectangular ear
underneath of his mouth. Reduce the brush With the Freeze Mask preserving the straight edge of the gerbil’s back, use the
size so you have the necessary control to
turn the pink tip of his nose into a square.
10 Forward Warp Tool on the left ear to create a rectangular shape. Zoom in to tidy and
straighten the edges, and adjust the fur within the ear so it maintains a natural curved shape.
Now for the eyes

Apply the Freeze Mask on an area around the eye, then
Tweak the other ear
For the right ear, think of it as a similar 3D shape to the left ear, but
12 use the Forward Warp Tool to create a square-shaped
eye. Use a small brush size to make the corners and edges
11 angling away from the viewer. Create a diagonal top edge, then a
straight vertical edge on the right.
sharp. Also straighten the light and shadows within the eye.
Flatten the right eye.
54
Check out the latest blog www.photoshopcreative.co.uk
Feet and tail Add a shadow layer

Slightly straighten the edges of the feet and toes, but take care not Add a new layer at the top of the layer stack, name it
13 to create edges or corners that are too sharp, as this will contrast
unnaturally with their blurriness. Straighten the tail, working your way
14 Shadows, set the blending mode to Multiply and layer
Opacity to 30%. Use a Soft Round Brush with R: 80 G: 47 B: 25 to
along it gradually, and square off the tip. paint in shadows beneath the gerbil.
Angular
shadows
Keep the
15 shadows
angular with straight
edges to match the
gerbil’s new body
shape. To create a
straight line, hold
down Shift while
left-clicking at the
start and then the end
point of your line.
Finishing touches
Check your image over and make any
Some shading
Reduce the brush Opacity to 30% and apply some faint shading underneath parts of
17 final tweaks or edits with the Liquify
filter. Finally, give your image a boost by
16 the gerbil that would project and cast a shadow, for example, beneath his arms and
chin. Keep these shadows subtle, and again apply them with straight edges to match the form
adding a Brightness/Contrast adjustment
layer at the top of the layer stack. Set the
of the gerbil. Brightness to +7 and Contrast to +3.
55
How I made Amniotic
Essentials
Time taken
48 hours
The artist
Christian Orrillo
“I’m Christian
Orrillo, better
known as
Krizpi, and I’m
a self-taught,
contemporary Peruvian
artist. My work expresses
many personal concepts
related with the fantasy
www.thepixelprositess.com
world, full of beautiful
@thepixelprosites
characters and dreamlike
scenes. Surrealism and
classical beauty are constant
elements in my work,
embellished by an iridescent
colour palette and influenced
by the aesthetic of anime,
manga art and pop culture.
You can find more of my work
at www.behance.net/krizpi.”
Amniotic How Christian Orrillo created a beautifully iridescent

self-portrait from a Photoshop brush sketch
C
hristian Orrillo is an artist who knows a lot about intensity, favourite tools such as the Brush, Liquify, Smudge. Without these tools
whether he’s creating something incredibly detailed or colourful. I cannot imagine creating what I currently make.” It’s clear that such a
His brightly hued portraits have racked up over 25,000 views on unique style takes time to evolve, and Christian’s mastery of the more
Behance, but his digital art journey had humble beginnings. “Photoshop digital art-focused tools in Photoshop is thanks to time and practice.
is and has been for a long time my first digital creative tool,” he says. “I With a great eye for colour and detail, his work looks steeped in
remember the first time I used it in 2002, when I drew and painted my traditional art influences, but Christian says he loves working in
own characters using the Brush tool and a mouse.” Photoshop. “I really enjoy drawing and painting a lot in Photoshop,
Over the years, he’s developed more than just his trademark experimenting with different brushes and textures. I also like to use
iridescent style with the program. “I intuitively learned to use my photo-editing tools to give a realistic touch to my art.”
Making a sketch Defining shape Finishing the piece

01 I made a rough sketch of what I had
on my mind; in this case, a close-up
of my face to which I wanted to incorporate a
02 Once I have defined the basic
composition, I add strokes of colour
and experiment with textures. Here, I played
03 I then started to focus on details,
such as thin strands of hair, little
sparks around the face, highlights on the
kind of circular shape as a space helmet. I with the contrast between pink and blue and eyes, texture on the lips and the bubble over
usually use a brush with a graphite pencil added volume to the character, painting soft the head. This required extra work to paint all
texture to sketch and draw on white canvas. shadows and some delicate highlights. the iridescent colours and reflections.
56
MASTER THE ULTIMATE IMAGE-EDITING
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Advanced 3D modelling in Photoshop
58
Share your illustrations Tweet us @pshopcreative
59
On the FileSilo
Download your free
3D
modelling in
Essentials
Photoshop
Time taken
4 hours
Expert
Learn the essential skills to transforming 2D textures into 3D
Daniel
Sinoca objects and create a fantastic cityscape
A
“I love creating 3D objects re you ready to jump into the 3D world? and merge the 3D models. The second is the 3D
and combining them with The Photoshop 3D tools are a great place to panel. It shows the elements related to the 3D
ordinary photos to create start. In this tutorial, you’ll learn how to add objects; 3D layers, Material layers, Light, and
beautiful compositions. The
3D tools enable me to create another dimension to flat images using the Camera/view. Finally, the third is the Properties
simple and sometimes Photoshop 3D commands. You’ll learn how to work panel. After you select the elements in the 3D
complex objects. within the dedicated 3D environment, apply panel, the Properties panel lets you tweak the
“I got involved in the digital textures, create 3D objects, modify the lighting and settings. For example, you can deform the object,
world more than 15 years render the final composition. add material, define the light intensity and more.
ago and have been working To work in the 3D environment in Photoshop, Pay close attention to each step, because you’ll
as a freelance artist ever
since, creating all kinds of you will need to juggle three different panels have to jump back and forth to each panel. Check
multimedia projects.” simultaneously. The first is the Layers panel; here the Expert tip for extra advice on how to use the
you will place the regular images, create 3D layers camera/view and the on-screen controls.
Create a 3D object
Prepare your document
01 Start off by creating a new canvas, measuring around 1800x1200
pixels. Now grab the Gradient tool (G) and apply a bluish radial
02 Place ‘fo_map.png’ and press Return/Enter. Now
transform it into a 3D object. In the 3D panel, check 3D
Extrusion and click Create. In the Properties panel, set the
gradient over the canvas. Switch to the 3D workspace for access to all 3D Extrusion Depth to 150 pixels, then click on Coordinates and set
panels, by going to Windows>Workspace>3D. the X Rotation Angle to 90° and click Move to Ground.
60
Expert edit
3D type effect
The Type Tool

You can easily transform any text
01 into a 3D object. Grab the Type Tool
Adjust the map material (T), choose a bold font, define the colour
and then type your text.
Now it’s time to tweak the materials. In the 3D panel, click ‘fo_map Front Inflation
03 Material’. Next, in the Properties panel, set the Reflection to 30% and Refraction to
1.100; keep the other settings as they are.
3D extrusion
Now create a 3D layer. Right-click
02 on the text layer and choose ‘New
3D Extrusion from Selected Layer’. In the
Properties panel, adjust the Extrusion
Apply a new material Depth to suit.
In the 3D panel, select the ‘fo_map_
04 Extrusion Material’. In the Properties
panel, click on the Diffuse menu and then Create a 3D building
click Replace Texture. Choose ‘fo_texture_ In the Layers panel, place ‘fo_bldg1_
map.png’ and click Open. Time to edit the
texture. Click on the Diffuse menu and choose
05 front.png’ and press Return/Enter.
Now create a 3D object. In the 3D panel, click
Edit UV Properties. Set the Scale U/X to 4.5% 3D Extrusion and click Create. In Properties,
and click OK. keep the Extrusion Depth as it is.
Bevelled edges
In the Properties panel, click on
03 the Cap button. Set the Bevel
Width at 25, keep the Angle at 45° and
change the contour to Cone.
Decal technique Edit texture

In the Secondary View, click Select/ Place the material on the other side
06 View Camera and choose Right, then
swap Main and Right views. Now, in the
07 of the building. In the 3D panel, click
‘fo_bldg1_front_Extrusion_Material’. In Merge 3D
In the Layers panel, hold down the
Layers panel, place ‘fo_bldg1_right_view.png’. Properties, open the Diffuse menu and
Move over the building and click Return/Enter. choose Edit Texture. In Layers, duplicate the
04 Shift key and select the text layer
and the map layer, then go to 3D>Merge 3D
To apply the new material using the decal texture and flip horizontally, placing on the Layers. With the layers merged together,
technique, simply go to Layer>Merge Down right. Fill the area between the textures with place on top of the building.
(Cmd/Ctrl+E). any colour and save the image.
61
Expert tip
On-screen
controls
To access on-screen controls,
go to Edit>Preferences>
Performance and check Use
Graphic Processor. When in
the 3D environment, use the
Move Tool (V) to select and
move the axis or the camera
controllers. The 3D axis
enables you to move, rotate
and scale the 3D object using
X, Y and Z coordinates. Hover
the cursor over the axis, click Create a new object
and drag to control the object. First, swap to the Main view. In the Add material
Use the Secondary Camera/
View to see different angles so
you know precisely where the
08 Layers panel, place ‘fo_bldg1_frame.
png’. Drag over the image and hit Return/ 09 Let’s use a solid colour to fill the extrusion. In
the 3D panel, click ‘fo_bldg1_frame Extrusion
objects are in the 3D space. Enter. Transform in a 3D layer. In the 3D panel, Material’. Click on the Diffuse colour. In the Color Picker
click 3D Extrusion and click Create. window, choose the white colour and click OK.
Merge 3D layers Move 3D objects

To merge the 3D layers, go to the Layers panel, hold In the Secondary view, select Top view and swap with the Main view.
10 down the Shift key on your keyboard and select ‘fo_
bldg1_frame’ and ‘fo_bldg1_front’. With both layers selected, go
11 In the 3D panel, select ‘fo_bdlg1_frame’ and use the on-screen
controls to move the image. Click on the blue arrow (Move on Z Axis) and
to 3D>Merge 3D Layers. drag down to push the frame out of the building.
Scale 3D objects
First, swap to the Top view. In the 3D Put in place
Now merge the objects
First, swap to the Main view. With the
13 panel, hold Shift and select ‘fo_bldg1_
front’ and ‘fo_bldg1_frame’. Place the cursor 14 Keep both objects selected and use
the on-screen controls to move and
12 building in the right position, it is now
possible to place it on the map. In the Layers
on the centre of the on-screen controls until
the Scale Uniformly command appears. Hold
rotate the objects over the map. Now swap
to the Front view and again, use the on-
panel, select the 3D building and the 3D map down the mouse button and drag down to screen controls to drag the 3D building down
layers, then go to 3D>Merge 3D Layers. scale the object. to the ground.
62
Build the city

Repeat the techniques you’ve just
15 learned and start creating more
buildings. Remember to create the buildings
with all the details and extra objects before Adjust the light source
merging with the 3D map. Swap the views Use the three scene-moving controls at the bottom left of the 3D workspace to move
and use the on-screen controls to adjust the
position of each building.
16 the camera to adjust the position of the entire scene. Now, click on Infinite Light and
adjust the light source angle. Render the 3D object by going to 3D>Render 3D Layer.
Create shadows
Place 2D images Duplicate the image and apply a layer mask. Open the Hue/
17 Now, bring in some regular images and place around the

scene. In the Layers panel, place ‘pix_headphone.jpg’.
18 Saturation command (Cmd/Ctrl+U) and set the Lightness to -100.
Reduce the layer’s Opacity to make the shadow less intense, adjusting the
Grab the Pen tool and select and mask the image. Resize it and perspective using the Free Transform tool (Cmd/Ctrl+T) and mask it
place on top of the building. around the buildings. Add more images and create the shadows.
Add some trees

Create a new layer.
19 Go to
Filter>Render>Tree.
Choose a tree type and
tweak the settings. Open
the Advanced tab and set Custom brushes
the Camera Tilt to 24. Go to Edit>Presets>Preset Manager.
Create the shadow as you
did in Step 18. Link the
20 Click Load, locate ‘fo_clouds154.abr’
and then click Load. Create a new layer on
layers. Duplicate, placing top of the layer stack. Grab the Brush Tool (B)
the trees all over the map. and paint a few clouds over the city.
63
Advanced Create an awesome space scene
64
On the FileSilo
Download your free
Essentials
Time taken
2 hours Create an
Expert
Daniel
Sinoca
“Sometimes I think
awesome
space scene
Photoshop is truly out of this
world – I can create planets,
galaxies, stars and add a
variety of special efects
to a sketch using only the
amazing tools, ilters, and
features that are bundled in
the sotware. I have always
loved science-iction stories Explore new ways to use filters, layer styles and masks to create
– the idea of exploring
new planets and being an
an out-of-this-world composition
astronaut were part of my
L
et’s create an awesome space composition other techniques to complete the composition and
childhood dreams. Well, from a sketch using some of the most make it work as a whole.
thanks to Photoshop, now
impressive features in Photoshop: filters, layer You can try out different settings for the styles,
I can inally satisfy those
dreams and create my own styles and masks. In this tutorial, you’ll explore adjustments and blend modes, but it’s important to
space compositions. each one of these powerful commands and use vivid colours for the nebula to make the image
“I started to get involved in discover how to apply them for realistic effects. To stand out. If you are using Photoshop Elements,
the digital world more than begin, you’ll create stars using the Noise filter and don’t forget to check the side stepper for more
15 years ago and have been then you’ll learn a clever way to add some twinkles information on the editing process. There are so
working as a freelance artist
ever since, creating all kinds
using the Motion Blur filter. Next, you’ll use the many good tips and tricks in this tutorial that at the
of multimedia projects and Cloud filter, blending modes and brushes to create end, you will have new skills to start using in your
tutorial guides.” a colourful nebula. Finally, you will place the images own projects. Download the stock images from
and use the layer styles to add glows and apply FileSilo now, and start learning.
Set the stage Create the stars

01 To begin, create a new document. Go to File>New. Name your
project Astronaut, set the Width to 230mm, Height to 310mm,
Resolution to 300ppi, change the Background Contents to Black and then
02 Go to Filter>Noise>Add Noise. Set Amount to 50%,
Distribution: Gaussian, check the Monochromatic box
and click OK. Now go to Filter>Blur>Gaussian Blur. Set Radius to
click OK. Double-click on the Background layer thumbnail and name the 3px and click OK. Use the Levels (Cmd/Ctrl+L) to create the stars.
layer Stars. Set the Inputs to 40, 0.05, 80.
65
Merge layers
Click on the Stars copy layer to make it active.
Create twinkles
Duplicate the layer (Cmd/Ctrl+J). Now go to Filter>Blur>Motion Blur. Set
04 Press Shift+Cmd/Ctrl+Opt/Alt+E to create a
merged copy of the layers. Now, hit Cmd/Ctrl+T and in
03 Angle to 0°, Distance: 30px and click OK. Change the blend to Screen.
Duplicate the original layer again and apply the Motion Blur filter. Set the Angle to 90°,
Options, set the Horizontal/Vertical Scales to 150%, go
to Edit>Transform>Flip Vertical, then press Return/
keep the same Distance and change the blend mode to Screen. Enter. Change the blend mode to Screen.
Cloud filter
Create a new layer (Shift+Cmd/Ctrl+N) and name it The nebula
05 Cloud. Grab the Rectangular Marquee Tool (M). Hold Shift
and create a small selection. Press D to set the default 06 Create a new layer (Shift+Cmd/Ctrl+N) and name it Nebula. Drag
the layer, placing under the Cloud layer. Grab the Brush Tool (B).
Foreground/Background colours and then go to Choose a large soft-tip brush and set the brush’s Opacity to around 30%.
Filter>Render>Clouds. Press Cmd/Ctrl+T and scale up to fit on the Choose a vivid blue colour and start painting the nebula (use different
canvas. Change the blend mode to Color Dodge. colours to enhance the nebula).
Lens Flare
effect
Create a new
07 layer on top of
the layer stack and
name it Lens Flare. Fill
it with black and then
go to Filter>Render>
Lens Flare. Set the
Brightness to 100% and
Lens Type: 105mm
Prime. Change the
blend mode to Screen.
Adjust the Levels (Cmd/
Ctrl+L) and resize it
(Cmd/Ctrl+T).
66
Expert edit
Camera RAW in Elements
Save image
In Photoshop Elements, finish
Place the astronaut 01 step 18 and save the image. Go to
File>Save as. Name your image and Save
First, duplicate the Lens Flare layer (Cmd/Ctrl+J). Resize the image again and move to
08 a different place. Now go to File>Place Embedded ‘Astronaut.jpg’. Grab the Pen Tool (or
your favourite selection tool) and draw a path around the image. In Options, click Selection and
as type: JPEG, then click Save.
then create a layer mask (go to Layer>Layer Mask>Reveal Selection).
Layer styles Open the file

Open Camera RAW in Elements;
09 Go to
Layer>Layer
02 go to File>Open in Camera RAW or
click Opt/Alt+Cmd/Ctrl+O. Locate the JPEG
Style>Inner Glow. Set image you saved and click Open.
the colour of the glow
to white. Reduce the
Opacity to 50% and
Size to 70px. Now,
click Outer Glow and
set the Opacity to
60%, pick blue as the
colour and Size: 35px,
then click OK.
Tweak the settings
Keep the Exposure at 0, set the
03 Contrast to 10, Highlights to 0,
Shadows to 20, Whites to 20, Blacks to 0,
Clarity to 20, Vibrance to 30, Saturation to
0 and click Open Image.
Make adjustments
Go to Layer>New Adjustment
10 Layer>Photo Filter. Click Color and
choose #5fc2f1. Set Density to 60%, check
Add more adjustments
Go to Layer>New Adjustment Vignette effect
Preserve Luminosity and clip the layers.
(Cmd/Ctrl+Opt/Alt+G). Now, add a Levels
11 Layer>Photo Filter. Click Color and
choose #f65a08. Set Density to 100%, check
04 Go to Filter>Correct Camera
Distortion. Set the Vignette
Amount to -100 and Midpoint to +70 and
adjustment. Go to Layer>New Adjustment Preserve Luminosity and clip the layers. Grab then click OK. Save your image by pressing
Layer>Levels. Set the Inputs to 0, 0.70, 200 a soft-tip brush (B). Click on the layer’s mask Cmd/Ctrl+S.
and clip the layers (Cmd/Ctrl+Opt/Alt+G). and hide the areas around the image.
67
Blend modes Place the galaxy

Let’s make the astronaut suit a bit warmer, in preparation for the Go to File>Place Embedded ‘Galaxy.jpg’. In Options, set the
12 galaxy. Duplicate the Photo Filter layer and mask you’ve just created.
Clip the layers and then double-click on the layer’s thumbnail to open the
13 Horizontal/Vertical scale to 60% and rotate the image
about -15°, then press Return/Enter. Create a layer mask. Go to
Properties panel. Choose Filter: Warming Filter (85), Density: 100%. Change Layer>Layer Mask>Reveal All. Grab a large soft-tip brush (B)
the blending mode to Color Dodge. and mask the sky.
Create the Sun

Go to File>Place
14 Embedded
‘Planet1.jpg’. Grab the
Elliptical Marquee Tool
(M). Select and mask the
image. Go to Layer>Layer
Style>Inner Glow. Choose
a light orange colour and
tweak the Opacity, Angle,
Distance and Size. Now,
click Outer Glow, choose
a light orange and tweak
the settings again, then
click OK.
Make adjustments Add the Earth

Press Cmd/Ctrl+T and scale down the image, placing it at Place ‘Earth.jpg’. Apply the Inner/Outer Glow styles as you did in
15 the centre of the galaxy. Grab a soft-tip brush (B) and
paint over the mask to partially hide the planet behind the clouds.
16 step 14. Create a new layer and name it Shadows/Highlights.
Change the blend to Overlay and clip the layers (Cmd/Ctrl+Opt/Alt+G). Grab
Click on the Planet layer thumbnail, then open the Levels (Cmd/ a soft-tip brush (B) and using a dark blue and light orange, paint the
Ctrl+L). Adjust the Inputs to 60, 0.90, 180. shadows and highlights around the Earth.
68
Expert tip
Place more Scaling layer
planets styles
Press Cmd/Ctrl+T When using Free Transform
17 and resize the
Earth image. Now, add
(Cmd/Ctrl+T) to resize a layer
that has a layer style applied
to it, Photoshop will not scale
more planets and repeat the style, so you have to
steps 14 and 16 to add the tweak the settings again. To
layer styles and the solve this problem, rasterize
the layer style by going to
shadows/highlights.
Layer>Rasterize>Layer
Reduce the planets’ size Style and then use the Free
and distribute around the Transform Tool. After placing
image. You can try the planets and adding the
experimenting with shadow and highlights layer,
remember to link the layers
different blend modes for before you start scaling down
the shadows/highlights the images.
or reduce the opacity.
Create the visor’s reflection Smart Object

Create a snapshot; press Shift+Cmd/Ctrl+Opt/Alt+E. Create a new snapshot, press Shift+Cmd/Ctrl+Opt/Alt+E
18 Create a selection around the helmet visor, then create a
layer mask. Unlink the mask (click the link icon between the
19 and name it Final. Now, transform the image into a
Smart Object. Go to Layer>Smart Objects>Convert to Smart
thumbnail and the mask). Resize the image, placing the sun Object. Let’s make some adjustments to enhance the colours
inside the mask. Change the blending mode to Lighten. using the Camera RAW filter.
Camera RAW
filter
Go to
20 Filter>Camera
RAW filter. Keep the
Exposure at 0, set the
Contrast to 10, Highlights:
0, Shadows: 20, Whites:
20, Blacks: 0, Clarity: 20,
Vibrance: 30 and
Saturation: 0. Open the
Lens Correction panel,
set the Vignetting to -60
and then click OK.
69
Project focus Blending digital and traditional artwork
Blending digital and

traditional artwork
Typhaine Le Gallo had always used Photoshop just for embellishing hand-drawn work,
until she worked on a project that made Photoshop the focus
F
inding one’s style in Photoshop is university to take illustration classes and study
About the artist something that every digital artist
does, but learning to develop and
for a graphic design baccalaureate. This is
where I discovered Photoshop.
Typhaine Le Gallo evolve your style is something altogether
typhainelegallo. more challenging. As a graphic programmer, was
com/ With her Little Red Boubou project, a it easy to get to grips with
children’s book based on the fairy tale of Red Photoshop when you first used it?
Typhaine Le Gallo is originally Riding Hood, Typhaine Le Gallo took her Yes, I found it to be mathematics applied on
from France but is currently
living in Montreal, Canada. She
original creative process and then adapted it pixels. The layers, masks and post-effects
studied mathematics before for the needs of the project. The subsequent work are very intuitive for me as I developed
studying illustration with well- illustrations have been featured in Behance’s similar features in video games. I chose to
known Canadian illustrators Photoshop and Illustration galleries as a result, take a professional photography class to learn
Gerard Dubois, Steve Adams and
Pol Turgeon. She has had work proving that often the very best work comes how to edit pictures, as to start with I simply
published by Carte Blanche and from innovation. wanted to create illustrations with traditional
Chinese publishers, along with We caught up with Typhaine to ask about materials and enhance them in Photoshop.
having work shown at exhibitions. her creative process, her influences, and how
Name of the project she made these beautiful illustrations. Who would you say are your
Little Red Boubou biggest artistic influences?
Have you always been interested My biggest artistic influence is Rebecca
in art, Typhaine? Dautremer, a wonderful French children’s
I initially studied mathematics and computer book illustrator. I think she uses Photoshop
programming; I worked for around 10 years as almost exactly for the same steps than my
a graphic programmer in the video game own process: to improve a sketch, to test
industry. But I have always enjoyed drawing colours before applying traditional mediums,
and four years ago I decided to go back to and to enhance the final scanned picture. A
few years ago I discovered another big
influence: the work of Victo Ngai, an editorial
illustrator. For the first time I discovered a
process almost entirely done in Photoshop,
which was truly resonating with me, and it
was the one I decided to use for the Little Red
Boubou project.
So was the Little Red Boubou

project completed entirely in the
Photoshop software?
Well, for Little Red Boubou I wanted to push
my use of Photoshop, but still use my usual
watercolour pencil textures. To do so, I drew
lines with black ink on paper, scanned the
drawings and a lot of textures created with
traditional mediums, and assembled the
whole thing in Photoshop. I always start with a
sketch on paper, then I move and distort the
objects and characters a lot in Photoshop until
I’m happy with the composition. I usually
70
DEVELOPING COLOURED
TECHNIQUE LINES
For the skies, With this
I enlarged my technique it
texture as is easy to get
usual but I also punchy results
stretched it with coloured
horizontally to get lines, for example
a different visual. the red lines on
the features of the
leopard’s head.
TEXTURES
In all my
illustrations I
used scanned
watercolour
pencil textures
that I zoomed in
to for textures
with strong and
large patterns.
All images © Typhaine Le Galloa

scanned textures to the selected areas and to problem for me as I thought it was a good
the lines. Then for every area, I modified the match to represent an African adaptation of
colour of the applied texture to get the exact Little Red Riding Hood.
colour that I had in mind. Finally I added
shadows and highlights by darkening or Has this project changed the way
lightening the colours of my lines and textures you use Photoshop?
on specific areas. Nothing is better than to work on a whole
project of at least 10 illustrations by applying
This creative process is slightly the same Photoshop recipe on all the
different to your usual, then. illustrations. This recipe should be compatible
choose the colours by actually colouring my What made you head in a new with what you like to do with traditional
sketch in Photoshop. direction for this project? mediums: for example, for me it was essential
The style I used for the Little Red Boubou to keep the textures of watercolour pencils. I
What are your favourite tools to project differs a little bit from my usual learnt a lot during the Little Red Boubou project.
use in Photoshop? illustrations, even if they are still similar. There I only really mastered the software after
Mainly the tools I use are the Magic Wand are two reasons for that: first I had a very spending a lot of time on these 32 pages of
Tool in conjunction with the Refine Edge short amount of time to finish the illustrations illustrations in Photoshop. Before that I was
option. I also love using certain adjustment for this book, secondly as I wanted heavily mainly trying to edit my pictures to fix the loss
layers, specifically Selective Color, Hue/ contrasted black-and-white drawings to be of colours and contrast due to the scan. Since
Saturation and Brightness/Contrast. For the able to select the areas easily, I used black ink then I am still using traditional techniques, but
Little Red Boubou project, I created the and continuous lines. As a result my lines are now Photoshop is an essential part of my
illustrations by selecting areas between the a little bit stronger and the look is more ‘naive’ process to get the final atmosphere and
black lines and using masks to apply my and colourful than usual, which was not a palette of colours that I have in mind.
71
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Ele
m
Elements
en
ts
Essential
techniques
Follow the
step-by-step
18 pages of practical guides tutorials
Create more in Elements…

Dodge and Burn your photos..............................74
Make a creative clock face..................................76
How to age female portraits.............................. 80
Create a surreal moon composition........... 82
Q&A: Common problems in Elements....... 90
On the FileSilo
Download your free
Digital art…
learn how to
MASTER SELECTIONS TO
ILLUSTRATE A SCENE
Create this stunning digital artwork without a graphics tablet p86
nts
e
m
ele
ADJUST YOUR IMAGE
Always use the Levels,
What Brightness/Contrast and
does it mean? Gradient Map adjustments
to harmonise the tone and
Screen anD Multiply – These are
two of the most used blend modes. colour of your images.
The Screen mode will reflect pixels
to create something lighter, while
Multiply will do the opposite and
literally multiply the pixels of two
layers together. This makes
them both great for working
with light and shade.
On the FileSilo
Download your free
Tool focus…
Start
Dodge and burn

image
your photos
Work non-destructively with tone using these simple tools
There are so many techniques for making your images pop. While you can apply the Dodge and Burn tools to any image, the
Different photo editors use different skills to try and get their images absolute best way to apply them is to do so non-destructively. By
sharp, contrasted and bright, but two of the most popular tools for making your edits on a new layer, you can use them almost like an
finishing off your photos are Dodge and Burn. adjustment layer, enabling yourself to edit them again if needed,
Polar opposites but used in conjunction with one another, Dodge reduce the opacity, or delete them completely. Editing non-
and Burn are two of the oldest features, but are still popular for their destructively is the most organised way to work, for these reasons,
command of tone and brightness. They can be applied to any image but also so that you can view each of your edits as layers, and stay
to improve the light and shade in your photos. They’re extremely on top of your workflow.
similar to brushes: think of them as being brushes that apply blend Dodge and Burn might not be fancy new tools added in the latest
modes to your work rather than colour. Namely, Color Burn in the few versions of Elements, but they’re solid, reliable and capable of
case of Burn, and Screen in the case of Dodge. improving your photos to various degrees.
74
ele
m
en
ts
Retouch the tone Brush on light and shade in your pictures Shortcut
Hit the Eye icon in
the Layers panel
to hide a layer
Create a grey layer Start burning

01 Open your image and create a new layer. On this layer, select
the colour #808080 and ill, before setting to Overlay. This is
neutral grey: anything that is this colour will become invisible, while
02 Select the Burn Tool (O). This is used to darken the image;
lightly brush over your picture, preferably at a low Opacity
setting, and make sure that you enhance the shadows all over, while
darker and lighter strokes will lighten and darken the photo. adding a few more shaded areas where necessary.
Dodge the image Adjust the Brightness/Contrast

03 The Dodge Tool (O) is in the bottom bar along with Burn, and
does the opposite of its counterpart. Use it to subtly touch
over the highlights in your image to balance out the shadows.
04 Go to the Fill Layer icon, situated next to the Mask icon in the
Layers panel. Select Brightness/Contrast, and adjust both
sliders to improve the overall exposure and tone of the image.
Screen and Multiply Apply light and dark, without the added saturation
Duplicate the layers

Dodge and Burn are great tools for improving
the tone of your pictures, but they do add a touch
Brush in shade Mask in the Screen
Select a small, soft, white, low-opacity brush. Once you’ve masked the Multiply layer, do the
of saturation. To avoid this, you can simply use Brush over the shadows in your image to same with the Screen layer. You may wish to
Screen and Multiply layers. Start by duplicating apply extra shade; this is particularly great for brush close to the lines brushed in the Multiply
your background layer twice (Cmd/Ctrl+J); one of contouring subjects or adding drama to the layer to accentuate the contrast further. Feel free
which we want to set to the Multiply blend mode, image. You can reduce the layer opacity if you to reduce the Opacity setting of this layer to bring
the other to Screen. want to lessen the effect of the Multiply layer. it more in line with the Multiply strokes.
75
nts
e
m
Ele
Reference
Start image
Creative project…
Make a creative On the FileSilo
clock face Download your free

Invest time in designing a clock, with layers, masks and edits

If you’re looking for an original way to display your artwork on a that right: but luckily Elements has all the tools necessary for
wall, there aren’t many more novel ways than to create a clock creating with precision.
face. It’s something you’re bound to look at a few times a day, and Ultimately though, aside from the numerals and markers on the
its only obstructions are a couple of hands across its face. clock for the 60 minutes, the design is totally up to you. We’ve taken
While creating a clock might be a creative idea you’d never even inspiration from a famous clock in Prague, and updated it with a
considered though, it’s as much about the maths of measuring out modern twist of a geometric font and beach photo; but you can
the degrees of a circle as it is about creating something bright and create whatever you like. You may want to take the idea of the circle
colourful in Elements. One aspect that will really define your clock is and run with that, or you might want to just create any kind of
where you decide to place the numerals, and it’s important to get design and add the numbers on after.
76
Ele
m
en
ts
Shortcut
StaGE 1 What
Hit alt/Opt+Cmd/
Ctrl+E to copy one
layer onto the
does it mean?
Creating the ROTATING – While we usually drag
the corner handles of a selection to
one below
template rotate it, you can also use the

bottom bar of Elements to choose a
Build your template before degree to rotate by. If you’d like 12
equally-spaced points, simply
you add images to it divide 360 – the number of
degrees in a circle – by 12
Every big project has humble beginnings, to work out how much
and creating a clock face is no different. to rotate by.
Before we dive into the creative bit, we’ve got to
organise the template, and this relies on maths as
much as it does design skills. Create a new document
All we need is a circle for the clock face, and some markers to
show where the 12 hours should be. From there, we can create
whatever kind of design we like: just remember to hide the template
01 Start by opening Elements and going to File>New. Choose a
square document, as the clock face is going to be round;
3000 x 3000px should be enough, and choose a resolution of 300ppi
markers when you’re done. so that the design is more detailed.
Finish the template

Set up the template
02 Create a #808080 circle that ills the entire document, and on
a new layer, add a dot to the centre using the Brush Tool (B).
03 Make a thin, black line with the Marquee Tool (M) at the top of
the clock on a new layer, duplicate (Cmd/Ctrl+J), Select All
(Cmd/Ctrl+A) and Transform (Cmd/Ctrl+T). Look to the bottom panel of
Hit Cmd/Ctrl+’ to bring up the grid, because this can help with scale Elements; rotate by 30 degrees, and then repeat this until the clock
and precision. has 12 points in place.
NEUTRAL GREY
By using neutral grey, anything
USE NEW LAYERS you add to the clock face can
Insert your centre spot and 12 be set to Overlay to blend in.
points onto new layers so that
you can hide these layers later on
when you finish your clock.
TWELVE POINTS USING TEMPLATES

Rotate a point 30 degrees
Keep this template and use
to create 12 points, but
it in future for creating more
rotate 6 degrees to create
clocks if you wish to.
60 points for each minute.
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StaGE 2
Get stuck into the
clock design
Add a background and then
embellish it further
Once you have your template, you’re ready
to go ahead and get as creative as you like
with your clock. Check the internet for
inspiration, find a design or pattern you’d
add the numbers
like to create, and then start using Elements
to build up the clock face.
01 Grab the Type Tool, and enter your
numerals, 1 to 12, each on new
layers: we’ve gone for Roman numerals but
Create minute dots
For our clock example here, we chose to
add a beach image, and the colours from
you can use what you like. Move each of the
numerals to their space on the clock, and
02 Just as we created the markers for
the 12 hours, we’re going to create
dots for each of the 60 minutes on the clock
the Prague Astronomical Clock, for a bright, reduce the size of 1, 2, 4, 5, 7, 8, 10 and 11 face. Use the technique from step 3 in stage
exciting finish. for effect. We’ve supplied the font used. 1 and rotate each dot 6 degrees.
Blend it in
Bring in the image Inject some colour
03 We’ve supplied a beach image for you
to drop into the project. Arrange it so 04 Our clock is going to be inspired by
the Astronomical Clock in Prague.
05 Group your layers, duplicate twice,
set one group to Soft Light, one to
Multiply, 75% Opacity and one to Screen, 50%
that the middle of the photo aligns with the Use the Elliptical Marquee Tool to create a Opacity. Cmd/Ctrl-click the preview image on
centre of the clock, resize if need be with the circle on a new layer, and ill with colour: each layer and then Ctrl/right-click, choose
Transform Tool and then Alt/Opt-click to clip to follow the reference image supplied, or use Stroke (Outline), and add a 10px stroke of
the template. the ready-made one we created. #e5c578 before erasing the excess (E).
VARY THE
COLOURS
Alter the colours
to customise
your clock face
and give it a
Perfect the clock unique style.
06 With the clock now looking more

complete, turn the text of each of the
numerals white by selecting each of them
and using the Type Tool. Then, go to
Layer>Layer Style>Style Settings and add a
Drop Shadow on each numeral with these
settings; Size: 0, Distance: 20, Opacity: 100%.
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StaGE 3
HAND COLOUR
Finish the clock Choose between
white, black, red
or teal for the hand
Adjust your work and turn it colour: we went
into a product with red to stand
out against the blue.
With your clock very nearly complete,
all that’s left to do is finish off the
project with adjustments, and turn it
into a real-life product for you to sell!
There are loads of great sites online
that can turn your artwork into
products, but one of the best things
about Redbubble is that it gives you a GET PAID
percentage of the profits whenever FRAME COLOUR Every time someone
someone buys your design. Visit Choose between black, buys your design,
www.redbubble.com for more white and bamboo you will receive a
frames for whatever percentage of the
information and to set up an account. looks best on your clock. sale money.
Shortcut
Hit ‘5’ to reduce a
layer to 50%
Opacity
adjust the clock Reduce noise and sharpen

01 Create a Levels adjustment and improve the colour and tone,
before adding a black-to-white gradient. Choose Radial, and
then set to Soft Light, 50% Opacity so it fades to the edge. Now add a
02 Merge everything into one layer by hitting Cmd/Ctrl+Alt/
Opt+Shift+E and go to Filter>Noise>Reduce Noise. Move
Strength to 10 and the other values to 0. Hit OK, merge everything into
black-to-white gradient map, set it to Soft Light and then reduce to another layer, then go to Filter>Other>High Pass. Set to 5px and also
30% Opacity. set to Overlay to Sharpen.
Save for web

Use Redbubble
03 Hide the background layer in your project. Hit Cmd/Ctrl+Alt/
Opt+Shift+S and then choose PNG. Keep the image at high
quality and save it to your computer, as we want our image to be as 04 Go to www.redbubble.com and sign up for a free account.
Head to your proile and upload a new image. Choose your
high resolution as possible to turn into a clock. clock face, enable it as a clock, and then resize as necessary.
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Older hair is usually short
and white or golden in colour.
What Wrinkles are found around eyes,
cheeks, forehead, and chin.
does it mean?
LAYER MASKS – These make it
easier to control transparency when
blending images together. Use a
white brush to paint in areas around
the forehead, eyes, cheeks, nose
and chin. Blend in the wrinkles,
veins, and blemishes. Avoid
distinct traits of the original
image like eyes, lips or
nose shape.
STUDY PHYSICAL TRAITS

When making people look older,
it helps to study the traits of older
people in order to be realistic.
Photo edit…
Start
Learn how images
to age portraits
Use the Camera RAW filter and layers for this creative effect
Posters, commercials, and various advertisements today all seem is something to be welcomed. After all, no wrinkle will ever dull your
to be selling some sort of age-defying product, feeding an eager true shine, right?
public with tips and tricks on how to look younger than they This tutorial will focus on quick and easy tips for how to make a
actually are. The cosmetics industry alone makes billions from skin portrait look older, just to prove that getting old doesn’t have to be a
products that mask fine lines and obvious indications of age, while terrifying task. In fact, by using subtle blending with layer masks, you
clothing lines keep releasing collections aimed at people who want can age a photo realistically and gracefully. Are you curious to see
to wear clothes that make them look young. Everyone seems to how you’d look like in a few years? Go ahead and try it out – age
want to go back to the so-called happier times of their youth, but your own photo at home and embrace the best years of your life
the truth is that age is not something to deny or shy away from – it that are yet to come!
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Camera RAW filter Slider adjustments create the base for the effect Shortcut
A cloning/healing
layer blends
everything for a
inal touch
Open up the shadows Enhance wrinkles

01 Inside Camera RAW, you can make use of a variety of sliders to
adjust the overall tone of your photo. In this case we are going
to lighten the Shadows, remembering to darken the Blacks as well.
02 Now mask the hair and then lighten it by opening up the
Shadows completely. You can also add a Local Adjustment of
Clarity on the skin to enhance the wrinkles further, around +20.
Soften with Clarity Adjust temperatures

03 While you are adjusting the hair, keep in mind that aged hair is
often very soft like cotton candy, and as such, needs to be
softened. Bring down the Clarity with a Local Adjustment to visually
04 While you are adjusting the hair with a Local Adjustment, bring
down the Saturation. Then, opt for a Warm Temperature to
make the hair look more golden. This image will be your base for
soften the hair. compositing a new image on top, which we show you how to do below.
Take it further Composite images Overlay a photo for optimal realism
Match skin colours Resize accordingly Adjust layer Opacity

01 Once the base image is prepped,
do your best to choose an image of
an older woman that’s as similar to yours
02 Compositing an image is never
easy, so you need to painstakingly
adjust the two images together until they
03 It is unlikely your two images will it
exactly. This means you may need
to work on multiple copies of the older
as possible. Lay it over the top of your blend seamlessly. You will need to resize, woman. Drop the old woman’s layer Opacity
photo, and match the skin colours between scale, and distort the older woman’s photo to about 70%, blending mode of Darken
the two female models as best as you can. over yours so that they match better. and blend with layer masks.
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What
does it mean?
REFINE EDGE – The Reine Edge
option helps to inesse a selection
once you’ve made it. It can feather
the edges of your selection, smooth
them over and even shift the edges
of your selection; by clicking on
the actual image away from the
dialog box, it is possible to
add and remove pixels.
ADJUST ACCORDINGLY
Use precise adjustments to get
the best out of the colours and
tones of your final composition.
Start images
PLAY WITH PLANETS

Check out the other supplied planets
in the resources, and experiment
with different spheres in the image.
On the FileSilo
Download your free
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Surreal art…
Create a surreal
moon composition
Turn a collection of stock images into a surreal scene
For as long as night has followed day, humans have been obsessed the size of its elements. Don’t be afraid to lay out your stock images
with the moon, whether they’ve been viewing it through a on the page when you start: sometimes before making a
telescope, or landing on it in the 1960s and 1970s. Artistically composition such as this, it can help to rough it out first.
though, it makes a great focus for a composition! The most important thing, though, is just to have fun and
In this project, we’re going to explore how to make a composition experiment whenever you can. There are loads of great techniques
realistic in tone, if not in scale. The idea is simple: our subject is you can learn from attempting a project like this, and we’ve supplied
placing a moon into the sky with help from a step ladder, and so everything you’ll need to recreate this image in your own style on
we’re going to need to make sure the image is balanced in terms of the FileSilo. So download, and get creating!
The foundations Build the composition up with brushes, masking and other tools
Shortcut
Alt/Opt-drag a
layer to duplicate it
in the Layers
panel
Begin the composition Give it a subject Recolour with the sunset

01 Start off by opening the background
image and cropping so that you just
have a clear view of the beach, with the
02 Place the supplied image of the girl.
Use Quick Selection (W) to cut her
out and place her behind the ladder. Use
03 Add the sunset image. Place it below
the ladder layer and set to Screen; hit
Screen, Invert (Cmd/Ctrl+I) and make big, soft
horizon in the distance. Add the supplied Reine Edge on the selection, and then Cmd/ brush strokes over the sky. Duplicate the
ladder image. Place and add a white-to-black Ctrl-click the layer preview of the ladder layer; layer and move above the subject. Delete the
gradient. Clip this to the ladder by Alt/ ill in this selection with black, on the mask of mask and follow the annotated screenshot
Opt-clicking it. the subject. below to learn how to blend it.
TWEAK THE
SUNSET BLENDING THE
When you place SUBJECT
the sunset, grab Cmd/Ctrl-click on
a sot brush, Alt/ the subject layer
Opt-click colours preview, then
from the image, Shit+Cmd/Ctrl-
and brush over click on the ladder
the bottom half. layer preview. Go to
Scatter the stars Filter>Blur>Average
to remove detail
04 Add the supplied image of the starry
sky. Set it to Multiply, 80% Opacity
and place it just above the lower sunset layer.
from the subject.
Use the techniques in the annotated

screenshot to blend it in with the image.
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Expert tip
Keep realism in
the shadows
When you create the shadows
of your planets and the ladder,
it’s important to remember a
few things to ensure that your
composition stays realistic.
The irst is that the edge of the
shadows can’t be too hard,
which is why we use Gaussian
Blur. Remember to transform
the shadows in a direction
away from the light source, in
Place the moon this case the moon, and that
Insert the supplied moon image, and the shadows will be darker the
05 use the Elliptical Marquee Tool to
select it before hitting Screen. Duplicate the
Lay some more planets
In the supplied iles, you’ll ind a collection of
closer they are to the object.
When you mask the excess
layer, then on a layer below, select a big, soft,
white brush and click to add a glow. Duplicate
06 various planet stock images, already cut out
and ready to place into your image. Select a few and
from the shadows in step
8, use a dark grey-to-white
gradient, as this will only
this layer and mask out the glow from inside place them onto the ground in front of the ladder. mask some of the shadow.
the moon. Resize by using Transform (Cmd/Ctrl+T).
Cast some shadows

Select the layer previews of all the Liquify the ladder shadow
Work on the lighting
We need these planets to glow, so
08 planets, plus the ladder. Fill with
09 Select the ladder from the layer
preview, again by Cmd/Ctrl-clicking
07 add glowing white brush strokes as
we did with the moon. Clip a Soft Light layer
black on a layer beneath them all, then go to
Filter>Blur>Gaussian Blur and choose 10px. and ill with black on another new layer above
the shadow layer. Again, blur, then go to
Hit Transform (Cmd/Ctrl+T) and use to resize
to each of the planet layers and using soft and shape each of the shadows as seen in Filter>Distort>Liquify, and create a curve as
black and white brushes, touch-up the lighting the screenshot above. You can also mask seen. Clip to the layer of the planet next to
and shading on each of the planets. them slightly with a gradient. the ladder and reduce the Opacity setting.
WARP TOOL SIZE AND PRESSURE

Use the Warp tool to Alter the size and pressure
drag pixels around the of the brush that you warp
main preview area and with using the two sliders
distort the shadow. on the right-hand side.
PUCKER AND BLOAT

Grow or shrink the size of
the object you’re liquifying
HAND AND ZOOM by using the Pucker and
Zoom in and pan Bloat tools on the let.
around by using the
Hand and Zoom tools
at the bottom of the
tool panel.
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Make adjustments Sharpen it up

Reduce noise
10 Go to the Fill Layer icon and choose
some adjustments to subtly enhance
the tone, colour and feel of the piece so far. 11 Hit Cmd/Ctrl+Alt/Opt+Shift+E to create
a merged layer at the top of the stack.
12 Again, create a merged layer at the
top of the layer stack. Go to
Filter>Other>High Pass and choose 5px as
We used Levels – alter the red, green and Go to Filter>Noise>Reduce Noise and choose the Radius before hitting OK and setting to
blue channels – along with Brightness/ Strength: 10, both other values at 0. Click OK. Overlay. This will sharpen up the image again,
Contrast and a black-to-white gradient map. This will smooth over the entire image. and add detail to the highlights.
Add noise Tweak the colours

13 Once more, create a merged layer at the top of your layer
stack, and this time go to Filter>Noise>Add Noise. Select
Amount: 400%, Distribution: Gaussian and check the Monochrome box.
14 Finally, with everything else in the image complete, add a
Photo Filter, a black-to-white gradient set to Soft Light, 20%
Opacity, and then add a gradient of yellow to navy via purple, as seen
Click OK and set to Soft Light, 20% Opacity. above, to bring out the colours of the inal composition.
Shortcut
Master lighting Hit Cmd/Ctrl+F to
repeat the last
with blend modes ilter that you
used
Use Screen, Lighten and Soft Light
for different effects
When creating a composition that relies largely
on light and light sources, it’s incredibly important
to get the best out of the light in your picture. As
a inishing touch, we’ve inserted a bokeh texture,
available in the supplied resources. By setting the
texture to Screen, only the lightest colours become
visible, but if you want to let through light and
dark, set the blend mode to Sot Light. Alternately,
Lighten will only show pixels lighter than the
colours of the layers below.
Get to know your blend modes so that you’ll be
able to keep all your images consistent in tone.
Experiment with Screen, Lighten and Sot Light in
this tutorial and see what efects you can create.
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LOOK CLOSELY
Though it may look like it was
On the FileSilo
hand-drawn, every element of Download your free
this piece was created using resources at www.filesilo.
selection and shape tools. co.uk/photoshopcreative
Digital art…
Illustrate a scene
using selections
Master the Lasso tool and draw without a graphics tablet
Digital art can be an expensive hobby. Once you’ve got your tools are easy to apply. To make things even more straightforward,
hands on software, you might consider purchasing accessories we would recommend first finding a picture of a lighthouse
such as printers, scanners, graphics tablets and plug-ins. However, standing over the ocean to use as reference for this tutorial. If you
none of these extra purchases are entirely necessary for creating can copy and paste the image into Elements, feel free to trace
digital art. This tutorial will show you how to create a lovely piece over it during step one.
using tools already available to you, and techniques that can be The end result will be an attractive, illustrative image of a
completed using your regular mouse. lighthouse at night: an excellent piece to use as a gift, or print off
We’ll be painting a nautical scene using Elements. All the tools and frame in your own home. The techniques we will cover can be
we will require are under the Expert tab – but don’t let that put you used for any of your future projects, and will hopefully improve your
off! All the menus we will be using are simple to navigate and the skill and confidence when drawing in Elements.
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Default tools Create this nautical scene without the aid of a graphics tablet
Prepare for colour Using the Lasso

Sketch your scene
01 Under the Expert tab, create a new
document and then a new layer.
02 Once your sketch is done, set the
blend mode to Multiply. Create
another layer below that one, and ill it with a
03 Create another new layer above the
blue ill layer. Select the Lasso tool
and use it to trace the outline of one of the
Select a small hard brush, 100% Opacity and light-blue colour using the Bucket tool. You rock formations. Use the Colour Picker to
10px in size. Use the Colour Picker to choose should notice that your sketch’s lines are now choose a dark blue, and use the Bucket tool
a bright colour, like blue or red, and sketch the darker; this will make them easier to see as to ill the selected area. Repeat until all the
lighthouse scene. Trace an image if needed. you apply colour. rocks are illed.
Create the sea

Draw the sea foam
04 You can complete the sea foam using the same technique as
the rocks. Create a new layer beneath the rocks layer, use the
05 Create another new layer, beneath the rocks and the foam.
Select a deep blue and use the Rectangular Marquee tool to
draw a rectangle across your canvas. This will be the basic colour for
Colour Picker to choose a light grey/blue, and trace over the sea foam the sea, so make sure you keep the rectangle below the horizon line
areas. Try to make the shapes more rounded than the rocks. you drew in your sketch.
What
Shortcut does it mean?
Press the L key to LASSO TOOL – This is a useful and
quickly select the versatile tool for drawing freeform
Lasso tool without the aid of a graphics tablet.
It enables you to draw any shape
using the mouse, and create a
selection. This selection area can
be illed in using the Bucket
tool, moved using the Move
tool, or removed with
the Delete key.
RESHAPE YOUR
JAGGED LINES COLOURS
Draw sharp, pointed edges using the Taper the foam and rocks
Lasso and Square Marquee tools to give by drawing over them
your rock formations a harder look. with the Lasso, and
hitting the delete key.
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Expert tip
Blur the moon
for realism
The moon is obviously a far
away object, so drawing it
with a very hard edge will look
incorrect in your image. To ix
this, soten the edges of the
moon by selecting the moon
layer, then go to Filter>Blur>
Gaussian Blur. A new window
will appear. This includes a
preview window, which will
show how the blur will edit
Darken the sky your currently selected asset.
Repeat the last step for the night sky, Adjust the Radius slider to
06 using a darker blue. Then select an
even darker blue, and set your brush to a
Making waves
Go back to your sea layer. Select the blue using
between 2.0 and 2.5. Try to
keep it within these numbers;
200px+ Airbrush. Draw around the top
corners of the canvas to create a shadow
07 the Eyedropper tool, then make it slightly darker
in the Colour Picker. Using the Lasso tool, draw several
blurring it too much will make
it look out of focus, instead
of far away. Click OK, and the
across the sky. You don’t need a graphics rough, snaking lines across the layer, and ill them using blur will be applied.
tablet for this – the mouse will work ine! the Bucket tool to shade in some waves.
Choppy sea Light in the dark

Repeat the process using another Moon over the water
08 slightly darker blue. Fill in the gaps
between your irst lot of waves. This will give
09 Use the aforementioned technique
one more time, using a blue that is
lighter than your ocean’s base colour. Be 10 Create a new layer above your night
sky layer. Using the Circle Marquee
your ocean a sense of depth. If you’re ever much more sparing with your use of this tool, draw a perfect circle above the
unsatisied with a shape you’ve drawn, draw colour. Keep your shapes small, aside from highlighted area of the sea below. Select a
back over it with the Lasso, and press delete one area near the horizon. We’ll be using this near-white blue in the Colour Picker, and ill
to taper the shape. in the next few steps. your shape with the Bucket tool.
STRIKING COLOURS
Using the Lasso tool like this
creates sharp, striking artwork. It’s
great for creating illustrative work.
GRAPHICS TABLET
If you do have access to a graphics
tablet, use it to draw in extra
details, like small rocks.
A PERFECT CIRCLE
COLOUR CONTRAST To draw a complete circle, hold Shit
Make sure each colour as you draw outward with the Circle
stands out. Use the Bucket Marquee tool.
tool to adjust them.
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Bright side of the moon

Lighthouse
11 Just as you did with the waves, use
the Lasso tool to draw details on the
moon. First, press the Opacity Lock button
Moonlight
13 Create a new layer above the rock
from the top of the Layers panel. This will

prevent you from colouring outside of the
12 Create a new layer above the moon,
set it to Overlay. Using a near-white
colour, select Brush tool, set to the airbrush
layer, and use the Lasso tool to draw
in the lighthouse. Use a light white to ill in
the selection, then select a grey/purple to
moon. Select two shades of dark greys, draw you used earlier. Click around the moon; this draw in the details. Use the Lasso and
in your squiggly lines, and use the Bucket tool will create perfect soft circles around it, which Square Marquee tools to draw straight and
to ill them in. will make it look like it’s glowing. angular lines for the windows.
Shade the scene A light in the darkness

14 Go back to your rock layer, and use a darker shade of purple
and the Lasso tool to draw jagged shapes. Fill them in with the
Bucket tool. Do this again with a darker shade, to give the rocks
15 Create a new layer beneath the lighthouse layer, and use the
Lasso to draw a straight line from the top of the lighthouse to
the horizon line. Select the Gradient tool, and adjust the settings to
deinition. Apply the same technique to the lighthouse; use Opacity Foreground to Transparent. Drag from the top of the lighthouse to the
Lock to keep the shading within the lighthouse shape. horizon line to create a fading light.
Gradient maps Shortcut

Press K for the
The easy way to instantly apply Bucket tool, G for
the Gradient
beautiful colour tool
Elements has many tools for adjusting the
colour of a inal piece. Gradient maps can
produce some truly beautiful results. Set
your Foreground swatch to a dark colour and
your Background swatch to a lighter colour.
Create a gradient map by going to Layer>
New Adjustment Layer>Gradient Map. This
will create a new layer with the colour efects
applied. The darker colours of your piece will
be enhanced by the irst colour you selected,
and the lighter colours by the second.
Now experiment with blend modes. Overlay,
Color Dodge and Sot Light are good options.
Lower the Opacity to 70% or lower, so the
gradient map doesn’t overpower your piece.
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Q+AELEMENTS Get in touch

COMMON PROBLEMS IN
Ask on Twitter
@PshopCreative
Post on facebook
PhotoshopCreative
Alternatively, you can email:
[email protected]
CAN I USE WATERCOLOUR PERFECT THE THRESHOLD On the FileSilo

TEXTURES IN MY WORK? Use a black or white brush on your
Threshold layer to edit the contrast Download your free
Watercolour textures are popular resources on the of the image. resources at www.filesilo.
internet, and are great for incorporating into your projects. co.uk/photoshopcreative
While you might want to use them as overlays for digital
art or incorporate them into compositions, they can be
central to creating beautiful textured artwork, too.
Start of with an image and then go to the Fill Layer
icon. Select Threshold to reduce the layer to just black
and white. With your image now being two colours,
drop in your watercolour textures; we’ve supplied some
on the FileSilo to use. Set these to a Screen or Lighten
blend mode and use the Levels adjustment to tweak the
contrast and exposure of the textures.
Finally, add a watercolour paper texture to the
background and set to the Multiply blend mode to add a
little more to the background. Play with the Gradient Map
and Brightness/Contrast adjustment layers to harmonise
the image further, bearing in mind that a stronger contrast
will make your image stand out more.
WHAT IS OUT OF BOUNDS, AND IS IT EASY

TO CREATE IN ELEMENTS?
An out-of-bounds composition places some kind of screen or window in one
image, with elements breaking out of the screen and spilling into the scene. They’re
extremely fun to make and can really bring out your creativity.
Start with the supplied image of the bucolic, grassy scene, and cut out the iPad
to place into the image, before cutting out the screen of the iPad, too. Place the
beach scene within the iPad and then add the supplied sunrise stock image, using
Multiply to blend the two images together. Add some more sand and hit Mask; with
a sot brush, blend the sand falling out of the iPad and onto the grass.
Next, add the birds and the subject: you can cut the birds out with the Magic
Wand and the subject out with Quick Selection. Then, duplicate your original scene
PICK LOCATIONS WISELY
Use two scenes that have similar
and move it to the top of the layer stack. Hit Mask, then Invert (Cmd/Ctrl+I). Select
horizons or elements, such as the a white grass brush, and mask in the grass over the edge of the sand and the iPad.
Before trees in this image. Finish with a Lens Flare (Filter>Render>Lens Flare) and make adjustments if need
be, such as Hue/Saturation and Levels, using the Fill Layer icon.
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IS THERE AN EASY
WAY TO RETOUCH MY
PORTRAITS?
VIEW LAYERS There are loads of great ways to retouch your
Once you select Expert portraits but one of the easiest is using the
mode, you’ll be able to see Guided Edit section of Elements, and going to
all the edits you’ve made as the Perfect Portrait option.
individual layers. From here, you’ll see a list of edits that
you can make down the right-hand side of
the window, from smoothing skin and using
the Spot-Healing Brush to Red Eye Removal.
Use each of these options one by one, and
remember that subtlety is key. It’s also
possible to use the tools in creative ways;
you may wish to use the Darken Eyebrows
feature to contour the cheeks or use the Spot
Healing Brush to smooth the lips.
Once finished, you can go into the Expert
Before workspace to make further edits.
HOW CAN I TURN MY Before

IMAGES INTO PENCIL Quick tip
SKETCHES? Using
Mastering how to create pencil sketches Outer Glow
on paper might be extremely difficult, but The Outer Glow layer
creating them in Elements is less so. You style is one of the most
can use the Brush Tool to trace an image in useful tricks in your editing
Expert mode, or create a quick sketch of any arsenal for making your
layers stand out. Simply
picture by using the Quick mode.
by applying an outer glow
Simply open the picture you want to to a picture, you can give
transform into a pencil sketch and go to your layer added warmth
Quick. Under Pencil Sketch, you’ll find four or prominence over the
potential options, all slightly different and background. It’s great for
varying in style. From there, if you pick light effects, too. Use it in
one, you can turn your image into a sketch conjunction with the Drop
immediately, but the real editing comes in Shadow to make a layer
once you click back on Expert. stand out even more, but
Use Brightness/Contrast and Levels remember to use it subtly,
as it can look over-the-top
to adjust the look of your sketch, and
in some cases.
remember that you can still use brushes to
edit the image.
WHAT IS THE
GRAPHICS TAB
Before USED FOR?
In Elements, we usually work with
the Layers palette firmly on the
right-hand side of the window at all
times. But if you check along the
bottom-right of the program, you’ll
see that there are other options,
including Graphics.
This provides exactly what you’d
expect. Click on there, view them,
and double-click to apply a graphic
as the background to your image.
They’re great for placing subjects
onto or can form the basis of a new
project. There is also a range of
styles for you to explore.
91
REVIEWS LANDSCAPEPRO 2 The specs
Company
Anthropics
SOFTWARE Price £29.95 / $49.95 US Coupon code PST17 Web www.landscapepro.pics/
Feature
Intelligent automated
masking
LandscapePro 2
Anthropics’ update to its intelligent software makes editing landscape images easier than ever
Sky replacement
3D Lighting brushes
RAW file support
View the original

The option to quickly switch
back to the original image is
a really handy feature to help
you monitor how much you
have edited.
Drop-Down menuS
The drop-down menus make editing
Simple interface simple and split up each section you
The program is laid out in a way have masked for localised editing.
that’s easy to use, and the pop-up
prompts really make editing easy.
Enhance landscapes Use this intelligent software to transform vistas and replace the sky
Import your image Label the image Select a sky

01 Upon opening the interface, you will
have the options to open an example
image, watch a video tutorial or import your
02 Next, you will be prompted to drag
labels onto parts of the image to
identify them for the masks. We labelled the
03 We wanted to change the cloud
formations and make something a
little different, so we selected a new sky from
own image. Select the option to import your sky, grass, mountain and trees. You will most the Clouds drop-down menu. You will probably
own image and choose the one that you likely have to alter the selections, which is have to try a few in order to ind one that
would like to edit. done by dragging them. works with your image.
92
progress through your edit, the software gives If you’ are a photographer who spends their
you tips in pop-up boxes, which we found days editing landscape after landscape,
really helpful, especially during the first few LandscapePro 2 might be the perfect solution
times we used the software. for you to make dramatic adjustments to your
Once you have selected an image, you are captures and take them a little further than
prompted to drag labels from the main panel you might have in Photoshop. That said, there
over the different elements in the image. This are certainly still some improvements that
applies masks to the labelled parts of the could be made – the two obvious ones being
image, which enables localised adjustments. speed and responsiveness.
The software then attempts to identify the Already discounted to a very reasonable
areas of the image associated with each label, £29.95 ($49.95), readers of Photoshop
however, generally you will need to alter them Creative can get a further 10% off the price by
yourself by selecting and dragging the masks. using the Coupon Code PST17 at checkout.
In the latest update this feels easier and more
responsive than the first, but you will have to
T
his intelligent editing software aims to spend a little time in detailed areas.
help simplify the photographer’s When you come across more complicated
workflow with a powerful alternative to objects, you can employ the Object In Sky or
spending hours meticulously editing the Tree & Sky tools, which enable you to
landscape shots. LandscapePro 2 offers the brush over objects to separate the two masks.
user dramatic effects in just a few simple In general, these tools were impressive, with
steps and its interface will suit any skill level of only a couple of errors. The masking process
photographer or photo editor. is simple and the software identifies subjects
The unique controls and intelligent selection intelligently, and it’s probably quicker than
tools adapt to the image you are working on. doing the same thing in Photoshop.
The software helps users process landscape Once you have created the masks, you will
imagery with essential features that make be able to apply adjustments to the image as
replacing skies and altering clouds simple, a whole, or to the individual sections you have
using presets or by uploading your own created. Each section has its own drop-down
imagery. It will enable you to brighten, menu with the adjustments available. You will
recolour and even replace skies, as well as be able to replace the sky or alter the clouds
offering automatic area selection, targeted and their density or colour to completely
editing, distance controls, one-click presets, transform your landscape capture. You’ll also
lighting controls and RAW file support. have the option to relight the image, change
This latest version includes new lighting the time of day and adjust the depth of field,
brushes, over 100 new sky presets, a new Sky
Reflections label and improved selection tools.
which will transform your imagery in an
impressive way.
The verdict
9
The interface is simple throughout and Although we think it’s accessible to all For the price, it is worth a go.
although it might be initially daunting with its levels, we’re not sure if it will appeal to It’s unique and will enable you to
delve into your landscapes with
multiple drop-down menus and sliders, we everyone. The masking is powerful and one of intelligent automatic selection
found it to be intuitive and relatively easy to the most effective of its kind, but it can be a and creative presets.
pick up with a little experimentation. As you little laborious with more detailed landscapes.
Standout feature
Replace and edit the sky
The Sky Replacement tool seems to be the
most intelligent feature; you can completely
replace a sky with one of your own images, or
change the clouds and their density. We were
impressed by the option to flawlessly remove
all of the clouds with a mere click of the mouse.
Change the lighting

Go into the Lighting drop-down menu Use Lighting brushes
04 and alter the strength of the light.
Then drag the black Lighting icon to where on 05 Enhance the lighting in your image by
painting on light with the 2D Lighting
the image you would like the light source to brush. It will intelligently mould onto the
come from. landscape for a realistic effect.
93
PLUG-IN Price £76 (approx) $99 US Web http://akvis.com/ FLARE The specs
ELEMENTS
Add or remove Company
elements of the lens AKVIS
lare to customise
and reine exactly Additional specs
CHOOSE AN how you wish your Windows XP and above
lighting efect to look.
EFFECT Mac 10.7 and above
Pick a speciic style of Photoshop CS3 and above
lens lare or lighting
efect by visiting the Photoshop Elements 6 and above
let-hand panel and
double-clicking to add
the efect.
Standout feature
Elements panel
Add or remove parts of your lens lare using the
panel in the top-right corner, and control how
SLIDERS your lare looks. You can also copy elements or
Improve on the elements rearrange them, meaning that every lighting
you’ve added to the efect is completely customisable.
photo: change colours,
opacity and size of
everything in your lare.
AKVIS LightShop
Add lens flares to your work and refine the lighting with this exciting and accurate plug-in
L
ighting can be the difference between a sliders for tweaking anything you like in your LightShop is a great addition to Photoshop
good photo and a bad one. Well-lit photos lighting. As with other AKVIS plug-ins, because it builds on the Lens Flare feature
grab attention for all the right reasons. But LightShop is wonderfully easy to get to grips without being dificult to work with. The
can something as fundamentally important as with, and the irst impressions of the software effects are eclectic and easy to tinker with,
lighting be creative, and how can you possibly are great. making LightShop a must for photo editors
get imaginative with it? While LightShop is essentially a collection who want to improve lighting in their work.
Though Photoshop offers many ilters for of lens lare stock images, the plug-in is far
improving your lighting, AKVIS LightShop can more advanced than just inserting light effects The verdict
help to take your lighting even further; it’s into your photos. The lares you add to your
9
available as a plug-in for Photoshop too, work are nicely blended into the image, and A useful upgrade on the Lens
Flare tool and one of the most
making it easy to use alongside your other you can adjust the opacity. Everything is also
in-depth plug-ins AKVIS has
ilters. LightShop is structured like most labelled with images where necessary, so you produced, LightShop is also very
AKVIS plug-ins; offering an array of presets can alter just about anything in your lens lare user-friendly.
for applying to work, along with thorough quickly and eficiently.
Five great effects A taste of the creative options available to you
Colour filters Sunset Cascade of Moonlight Shining Star

Light
01 These help to add
bursts of light to
your image, but they’re
02 The Sunset option
is a good lighting
effect to display on a 03 One of the most
ostentatious lens
04 Moonlight simply
adds a sphere to
the work with a bright halo;
05 This effect is
bright, has bursts
of light and softer light
also capable of lending a horizon, with the light lares, with bright lares, it can transform night spots scattered across
little hue and saturation to spots facing upwards spots and rings, to be built shots or make day shots a the image, making it good
any landscape. towards the sky. up or stripped back. little more surreal. for corner placement.
94
AKVIS OIlPAInt REVIEWS
PLUG-IN Price £54 (approx) $69 US Web http://akvis.com/ The specs
PREVIEW
AREA Company
See your image AKVIS
PRESETS take shape in
the preview area
Additional specs
Choose a preset
digital art option of the program, Windows XP and above
from the drop-down and use the Ater Mac 10.7 and above
list, and either leave tab to see the Photoshop CS3 and above
it at that, or tweak completed efect.
Photoshop Elements 6 and above
the sliders further to
perfect the efect.
Standout feature
Abstract Art tab
While most digital art plug-ins create paintings
based on the photo you’re converting, OilPaint
SLIDERS is diferent. the Abstract Art tab can distort
Use the sliders to alter everything your image, add new colours and take the
about your image, from the image in a whole new direction.
simplicity of the composition to how
random the strokes are.
AKVIS OilPaint
Turn any image into a digital painting of beautiful strokes using this simple plug-in
D
igital painting is one of those skills that making it easy to achieve an effect that would useful for Photoshop beginners looking to
fall into the category of being easy to otherwise take a lot of time and effort. learn more about digital paintings, but it can
learn, but hard to master. It takes While this may suggest OilPaint doesn’t be used by more advanced artists seeking to
patience, time and lots of practise to become give much control over your work, this isn’t save time with their work; digital painting
a great digital artist, not to mention a lot of the case at all. The sliders are precise and can might be easy to learn, but OilPaint can take
experimenting to ind your style. But that control everything from detail to brush size. your skills to the next level.
doesn’t mean it’s not fun to play around with OilPaint is fantastically in-depth and you can
digital art and create basic paintings in create something unique every time: while it The verdict
Photoshop from nothing. can be used to create a inished image, you
8
AKVIS OilPaint is available either as a can also add more effects in Photoshop. A useful plug-in for all levels of
digital artists, OilPaint has quick,
standalone app or as an add-on to Photoshop, OilPaint makes a great addition to
accurate and unique efects to
and can help you evolve as a digital artist and Photoshop, because it slots right into your help you transform any image
develop your own style. It can turn any photo worklow, has a plethora of options for into a digital work of art.
into digital artwork using presets and sliders, tweaking work, and is extremely versatile. It’s
Five great presets Some of the ways to get creative with OilPaint
Impasto Dramatic Colors Magnific + Fresco Wild Strokes

Frame & Canvas
01 This effect excels
in creating thick,
painterly strokes with a
02 The Dramatic
Colors preset is
good for saturating your 03
This is simplistic,
This preset does
three things; it
04
The Wild Strokes
bold and gives
you a great starting point
05 option is big, bold
and painterly. It is great
clear brush pattern, image a little and making adds a canvas, a frame to go further and add your when used on photos of
perfect for leaving as a each of the hues really and completes the look own custom brush strokes skies and water because it
inished digital painting. pop in your painting. with subtle brush strokes. to the image. gives a rippled feel.
95
Portfolio interview
The power of
carolrempto.
myportfolio.com/
brushes & textures
Carolina Rempto tells us her biggest influences, how she became
interested in art, and how she creates her stunning digital paintings
W
ith work featured by Disney in that sense. I observed a lot of so I would say to find your way to use it,
TheStudentShow along with illustrators that create similar art and tried learn your favourite shortcuts (you’re
Behance’s Photoshop and to absorb the aspects that I like in their going to save a lot of time using them!)
Illustration galleries online, Carolina art to create something unique, that is and focus on doing your work. Photoshop
Rempto is a digital artist who’s already truly mine. For me, it is super important is a great tool to achieve your final result,
seen critical acclaim for her work, not to to keep an eye on what illustrators that I so focus on that.
mention thousands of views. like are doing. It seems like the more you
As someone deeply passionate about see, the more you learn and apply it to Which projects have you worked
digital painting, Carolina is constantly your own work. on that you’re most proud of?
undergoing exciting new projects. We I recently did a comic about a girl that
asked her about her favourite ones, and What are your favourite tools and was seeking the truth, it was called Azul
what tips she has for beginners. features in Photoshop? and it was truly a life-changing project. I
My favourite tool is the Brush, I use it all never tried to do comics before and I
Have you always been interested the time, but I also love the Magic Wand absolutely loved it! It pushed my limits
in art and design? as it saves me a lot of time. Another great and made me discover sides of my work
I’ve always been the kind of kid that was thing is that you can add masks to the that I never saw before. Another project
quiet and drawing something. At first I layers, which is magical! My creative that I’m really proud of is the special
was drawing dresses and princesses, process usually starts with some options edition plate I’ve illustrated for a national
when I grew up a little I started to copy I’ve created as digital sketches in chain of Italian restaurants here in Brazil,
the comics that I read in my favourite Photoshop, then I start to separate the that was sold for a short period of time all
teenage magazines. When I was about to shapes of the drawing by using layers and over the country. I’m really hoping to work
begin a Graphic Design course, I started flat colours. After that, I test a lot of with concept art somewhere in the future,
to learn Photoshop and it soon became colours, and when I decide that I like the so I might invest some of my time
essential in my life. Now I work with it combination, I add some textures and studying more about that subject so I can
every day. details to finalise it. achieve these goals.
Who are your biggest influences? As a digital artist, and someone

Well, I think my biggest artistic influence who uses brushes a lot in their
is Mary Blair (the artist who produced work, textures must be really
concept art for such films as Alice in important to you, too
Wonderland, Peter Pan, Song of the South Yes. Textures are really important in my
and Cinderella). I’ve always loved Disney work, as I think they bring life to the
movies and when I finally discovered the illustration. My favourite adjustment is
artist behind some of them, I fell in love Hue/Saturation, because it gives me the
with her art. I didn’t start to create like I chance to change the colour of the work
do now, though I’ve been in a lot of places without really altering it too much. It
when it comes to creation and creativity, allows me to try new combinations of
but the more you know about art, about colours on a project, which is great.
yourself and your tools, the better you
get. You never stop developing! What tips would you give to
Photoshop beginners looking to
All images © Carolina Rempto
Would you describe your artwork achieve results as good as yours?

in a similar way to how one might Tutorials are great, they help a lot. But
describe Disney art? don’t limit yourself to it. Try new things,
I would describe my work as colourful, try to discover what each tool does and
whimsical and cute. It is a result of use it in unexpected ways. You’ll find that Happy and Satisfied: This was a personal piece I did about a
everything I love and I think that is how I the way you use Photoshop is always a cat really happy and satisfied with its life. It’s available as a
cushion, a travel mug, a tote bag and a phone case.
would like the world to be: so similar to little bit different from the way others do,
96
The Lion, The Witch and the Wardrobe: This project
was developed for the Type and Image class at SCAD.
The goal was to do a cover for a book that we like. The
main idea that I chose to represent the book is the
balance between Aslan and the White Queen.
Art + Beer: This project is a series of illustrated posters about Amazonian Myths: There are many interesting mythological Harry Potter illustration: This was a project that gave 13 artists
beer and how people relate to it. Relaxation, Lifestyle, Fun and creatures in Brazilian folk tales, so I chose some of the the opportunity to create a digital painting of a Harry Potter
Love were the themes and the typography was made by hand. Amazonian myths to paint in a series of illustrations! character. The project has been viewed over 5,000 times online.
97
Flower of Life
Reader interview
The No Life
Macaque
Island
The making of Rebirth of

The
Paradise
Wanderer How Maciej turned a series of stock photos into
one utopian composition
Creating the
background
I started to composite
the background
together by masking
two pictures: the
sky and the roots. I
wanted the image to
look bright and warm.
Plant some
Rebirth of Paradise trees
Next I added some
trees, using Channels
to cut them out, as I
Maciej Matuszak
Polish artist Maciej on inspiration, messages in his work and
find it to be a simple
way to isolate colour
in a layer. I added
shade all over and
how to create amazing, unique artwork matched light relative
to where the sun was
in the photo.
I
nspiration can strike from anywhere, and help send a message. But I like it the best when
that’s something that Maciej Matuszak, a someone tells me what they see in my work, and Building the
graphic designer who works for an then we can discuss the subject together. composition
advertising agency by day, embraces. Though all In this step, I added
his work looks diferent, he takes inluence from all What subject matters do you the rest of the trees,
over, including his surroundings. “I come from a explore most in your work? using a brush and the
appropriate settings.
very beautiful country,” he says of Poland. “I All of my pictures are diferent, but I’d like to think I created flying pollen
encourage everyone to visit.” they all have an air of mystery. I like exploring to show that the
We caught up with Maciej to ind out how he space with my artwork, but equally, I don’t mind paradise is beginning
creates his amazing work. what I create as long as it’s interesting. to recover.
Can you tell us where your Are there any tips that you would
inspiration comes from? give to beginners? Adjustments
Oten everything goes straight from my head to the Be as creative as you can and just try to develop The last step
computer. At the beginning I search for diferent your own style. Don’t focus too much about what was to adjust the
photographs. Oten when I browse for images, I ind other people are doing. Ask experienced artists composition as
something special, and then when I have the idea, I for feedback and then see what it is they have to a whole with the
start building from there. t Once Was
say about it. appropriate colour,
Wha
which I did using
Curves and Color
Do you have a message you try and If you are inspired by Maciej’s art on these pages, Balance. I also added
convey in your work? you can see more of his work at www. a light vignette.
I try to say something, not with everything that I photoshopcreative.co.uk/user/
create, but I think that subject matter and title can inspireyourmind
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