Illustrate With Photoshop Genius Guide

180 Pages·2016·42.457 MB·English

by  Editors

A comprehensive masterclass in
becoming an instant expert
Welcome to
Illustrate with
Photoshop
®
Adobe Photoshop is undoubtedly the most popular image-editing software around. The
appeal of Photoshop lies in the fact that it is simple enough for a beginner to use to
re-touch images as well as for a professional who wants to manipulate and add advanced
fi nishing touches to their work. With its plethora of tools and capabilities, it’s a software that
gives the user an infi nite level of autonomy and control. Illustrate with Photoshop Genius
Guide is written for advanced users who are looking to take their Photoshop skills to the
next level. This second volume is jam-packed with new content to feed your creative
curiosities, opening with top tips for illustrators from experts in the fi eld, followed by our
diverse illustration section. Photoshop also lets you experiment with typography and
fonts, so we delve deep into the world of type to show you how to make your text stand
out. In the Mixed media section we will teach you how to eff ortlessly blend graphics and
images to create extra dimensions in your art. If you want to re-create the tutorials exactly
as they are, don’t worry, we’ve provided everything you need on fi lesilo.co.uk, along
with many extra goodies to use in your own projects.

Illustrate with
Photoshop
®
Future Publishing Ltd
Richmond House
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Bournemouth
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(cid:8) [phone]
Website www.futureplc.com
Creative Director Aaron Asadi
Editorial Director Ross Andrews
Editor In Chief Jon White
Production Editor Jasmin Snook
Senior Art Editor Greg Whitaker
Assistant Designer Sophie Ward
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Distributed in the UK, Eire & the Rest of the World by
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Disclaimer
The publisher cannot accept responsibility for any unsolicited material lost or damaged
in the post. All text and layout is the copyright of Future Publishing Limited. Nothing in
this bookazine may be reproduced in whole or part without the written permission of the
publisher. All copyrights are recognised and used specifically for the purpose of criticism
and review. Although the bookazine has endeavoured to ensure all information is correct
at time of print, prices and availability may change. This bookazine is fully independent and
not affiliated in any way with the companies mentioned herein.
Photoshop is either a registered trademark or trademark of Adobe Systems Incorporated
in the United States and/or other countries and is used with express permission.
Illustrate with Photoshop Genius Guide Sixth Edition
© 2016 Future Publishing Limited
Part of the
bookazine series
Contents
40
ILLUSTRATION
8
FEATURE
20 20 lighting tips
Illustrator’s
28 Create comic art
Masterclass
34 Design characters
Reap the benefits of expert 40 City speed painting
advice from 46 Master lighting
professionals in 52 Mind-blowing manga
the field
58 Create vibrant
video-game art
GRAPHICS
FEATURE
66 20 expert vector tips
74 Work with vectors
80 Build striking graphics
84 Blend graphics
88 Realism in composites
94 Retro graphic poster
84 170
100 Light UI elements
6 Illustrate with Photoshop Genius Guide
Illustrate with Photoshop
Genius Guide
Illustrations don’t have to be hand-drawn. By
adding effects in Photoshop, you can
create a fantasy scene
TYPOGRAPHY
FEATURE
106 Type explored
116 Work with type
122 Create classic type
128 Advanced type design
132 12 pro type techniques
MIXED MEDIA
FEATURE
140 Low-poly portraits
146 Photos and graphics
152 Blend 3D and photos
158 Combine 3D + photos
164 Use filters for photo sketches
170 Add dynamism with paint
116
Illustrate with Photoshop Genius Guide 7
The illustrator’s masterclass

THE ILLUSTRATOR’S
MASTERCLASS
EXPERT ADVICE ON MIXED MEDIA, COMPOSITING, DIGITAL
ILLUSTRATION, LIGHTING AND PERSPECTIVE IN PHOTOSHOP
MIXED MEDIA
of the stuff I need by hand, drawing or painting. © Andreas Preis
Although Photoshop is an incredibly After scanning, I put it together in Photoshop
diverse and multifaceted tool, capable and add final touches.” Preis uses masks a
of producing an infinite variety of great deal in his work, whether that’s for cutting
images, sometimes it’s not enough to achieve out drawings, or pasting different kinds of
the desired look solely by itself. Many artists photos into the masks, then placing them on
like to incorporate a variety of media into their top of his layers to make the illustrations feel
work, such as hand-created paintings or more realistic.
drawings, which can then be scanned into the “I rely heavily on clipping masks in Illustrator
computer and augmented using Photoshop’s with placed or linked files,” says freelance
digital capabilities. illustrator Simon Brader. “The editability is
“For me, mixed media means having no fear incredibly useful, and they also carry over to
of using every possible thing for your work that Photoshop when exported. Within Photoshop, a
you can find,” says designer and artist Andreas lot of work is done using the Color adjustment
Preis. “That might mean using different and the Dodge and Burn tools. These give me a
programs such as Photoshop and Illustrator as lot of control over the eventual lighting effects in
well as drawings and paintings, but also stuff the image.”
like photos, glass, dirt, potato stamps… When it comes to mixed media tips, Brader
whatever you can find! Anything can come in believes that artists should experiment as much
useful at some point. I once took a photo of the as possible on their own work; something that
dried residue at the bottom of an old whiskey will produce a great library of textures that are
glass that I found in my kitchen. I used that as a available to hand when a tight deadline appears.
basis for different illustrations many times. “Vector masks are also a great way to combine
“I always begin with some kind of sketch, smooth curves with a rough, gritty texture, and
sometimes just using pencils, sometimes I start the Burn and Dodge tools are great ways of
with my laptop,” continues Preis. “After deciding adding shadows and highlights to your textures
on the main layout in Photoshop, I create most to make them work in the composition.”
All images © Andreas Preis
CONTRIBUTORS
SIMON BRADER MAXX BURMAN GAVIN CAMPBELL LEE HOWELL GORDON MCBRYDE
WWW.SIMONBRADER.CO.UK WWW.MAXXBURMAN.COM WWW.THEWHITEHAWK.CO.UK WWW.LEEHOWELLPHOTOGRAPHY.COM WWW.FEATHERWAX.COM
Brader is an Burman is a Gavin Campbell Award-winning Featherwax is a
established UK freelance matte is a digital artist photographer London-based
freelance painter who’s most drawn to Lee Howell postproduction
illustrator. He worked on over lighting effects lives and works studio. Some of
has over seven 100 projects. & compositing, in Edinburgh, their clients are
years of Recent credits with clients that UK, and Samsung, the
experience include Godzilla, include Sony specialises in Discovery
working within Riddick and Iron Music, the BBC commercial Channel and
the industry. Man 3. and McDonalds. photography. Bloomingdale’s.
ARMANDO MESIAS MARTIN PERHINIAK ANDREAS PREIS (cid:41)(cid:39)(cid:47)(cid:50)(cid:264)(cid:278)(cid:338)(cid:37)(cid:43)(cid:41)(cid:338)(cid:264) JOHNSON TING
WWW.ARMANDOMESIAS.COM WWW.YESIMADESIGNER.COM WWW.DESIGNERPREIS.COM WWW.FUSIONFACTORY.NET WWW.JOHNSONTING.DEVIANTART.COM
Mesias is a Perhiniak is a Preis is an artist Šćekić is a Ting is a
Colombian artist certified Adobe and designer. freelance concept artist
and designer design master, After studying illustrator, for Passion
currently instructor and communications digital artist and Republic,
working out of video tutorial design in graphic designer Malaysia, and
the UK, with a author. He has Bavaria, he’s from Croatia. He is extremely
focus on digital worked for currently living has worked on passionate
illustration and Disney, Cartoon in Berlin a wide range about games
art direction. Network & Sony. and Barcelona. of projects. and films.
8 Illustrate with Photoshop Genius Guide
Illustrate with Photoshop
Genius Guide
MASKING AND BLENDING
SIMON BRADER REVEALS HOW TO INTEGRATE CLIPPING MASKS AND PAINT TEXTURES WITHIN YOUR ILLUSTRATIONS
FEDERICO JESÚS PADIAL
WWW.FJPADIAL.BLOGSPOT.COM.ES
Padial has studied
architecture for
All images © Plankton Group
over a decade.
Since 2007 he has
been juggling
architectural
visualisation work
with teaching at
college level.
MAURICIO RUIZ
WWW.MAURICIORUIZDESIGN.COM
Ruiz is a conceptual
designer, character
artist and art
director for the film,
network television,
gaming, advertising,
and web and 001 TEXTURE MASKING Draw tree shapes with 002 BURN AND DODGE These are simple tools 003 COLOUR BALANCE TWEAK Use Color
mobile technology the Pen. Make a clipping mask of the scanned area to add shadow and highlights. Use a low exposure Balance to tweak shadows and highlights. I used it
industries. to paint a texture. Duplicate the layers to edit them. of 1-10% to build up the image’s depth. to enhance the feeling of a cold, clear winter’s night.
Illustrate with Photoshop Genius Guide 9
The illustrator’s masterclass
DIGITAL ILLUSTRATION
There are many different approaches to producing
a digital illustration, but Passion Republic concept
artist Johnson Ting starts with rough line art. “It’s
not too defined, just strokes and impressions. I
tend to keep them loose so I don’t drown myself
in details, and that way I have more freedom to
change or modify the idea,” he tells us.” I then
proceed to block in black and white values. Once
the lighting and values are right, I start to overlay
Study the masters using
traditional media first and
foremost, because
the best way to
learn colour theory
is by mixing paint on
the palette
Mauricio Ruiz, www.mauricioruizdesign.com
colours using Photoshop’s blending modes – this
is a great stage to explore different colour moods,
since the blending modes provide tons of great
and surprising effects. After that it’s just details,
details, details.”
Ting also uses the Lasso and Smudge tools
© Armando Mesias
when creating quick impressions, while fire,
GO TRADITIONAL WITH DIGITAL
ARMANDO MESIAS OFFERS SOME TIPS AND TRICKS TO GIVE YOUR ILLUSTRATIONS THE LOOK AND FEEL OF A TRADITIONAL PAINTING
■ Know your brushes: Don’t just download ■ Mistakes don’t matter: To give your work a ■ Paint the adjustment layers: Painting over the
random brushes; first imagine what kind of effects more organic feel, remember to focus on being masks on adjustment layers can also help create
or results you wish to achieve, then explore. Tweak precise, but also on letting go. It’s not just about that handmade look. Rather than just applying
the parameters in the Brushes window and trying to make it look real; it’s also about letting the overall adjustments, take the time to be specific
experiment to get to a brush you can call your own. chips fall where they may. and emphasise particular areas.
10 Illustrate with Photoshop Genius Guide