Photoshop Fix (October 2004)

18 Pages·2004·2.263 MB·English

$10 US | $13.75 CDN OCTOBER 2004
F E A T U R E D A R T I S T
DEVIATE FROM THE NORM
André Sanchez (Paris) needed to create a Halloween scene for a Dr.
Martens ad. Starting with a photo of a model on a couch, he added
a lamp, spiderweb, and pumpkin—then got to work. Using custom
brushes from a scanned paint stain and a checkerboard, he applied
color and texture. Producing the dreamlike atmosphere was left up
to the magic of blending modes.
(cid:1) Sanchez replaced the head of a model used Free Transform to alter angle and
with a pumpkin selected from a photo, size for an unusual overall perspective,
scaled it with Free Transform (Command/ then enhanced grainy aspects of the
Ctrl-T), and used the pen tool to add checkerboard by duplicating the layer and
yellow facial features. He duplicated the setting the blending mode to Multiply.
pumpkin layer and erased the features,
then muted the pumpkin with a combina- (cid:4) For texture, Sanchez placed a spider-
tion of the blur tool (R) and the burn tool web photo on a layer. He duplicated the
(O). The crisp features of the original layer several times, then erased areas
pumpkin layer beneath peeked through to lessen the intensity of the layering.
the erased pixels of the duplicate. He switched a few web layers to Overlay
for a glow against the background. He
(cid:2) To create the background, Sanchez added depth to the Overlay layers by
decided the best way to produce a sur- painting over them with a custom brush
real atmosphere was to fi ll several layers created from a scanned paint stain (Edit
set to a variety of blending modes. Form- > Defi ne Brush). Clicking the Lock trans-
ing a base, he fi lled a layer with white. parent pixels icon in the Layers palette,
Then he added another layer fi lled with he painted within the webs’ intricate
dark brown and set the blending mode lines. “Sources for my brushes can range
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P to Pin Light. Next, he added a scanned from a rotten wall to old manuscripts to
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S sheet of transparent glasslike paper he body parts,” Sanchez explains. “They are
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P mode to Overlay, then varied the tones elements set to Overlay, they add relief
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N I with Levels. Above this, he surrounded and volume.”
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O the focal point of the image using a
SH layer fi lled with a white-to-blue radial (cid:5) For lamplight , Sanchez added a layer,
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GE gradient and set the blending mode painted with a soft, low-Opacity white
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M to Linear Burn. Finally, he added a new brush, and set the blending mode to
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N layer, set the blending mode to Overlay, Overlay. For a fi nal atmospheric effect,
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S and painted with white, which appeared he went through the Layers palette and
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A yellowish due to the brown and white selectively duplicated layers of elements
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M below it. like the couch and lamp and applied
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C a Gaussian Blur. To control the blur, he
ER. (cid:3) Sanchez made a pattern (Edit > Defi ne added a mask and painted with a black
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L Pattern) from a checkerboard photo low-Opacity brush to reveal part of the
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P stamp tool (stored with the clone stamp
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T Options bar and randomly painted on André Sanchez
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H a layer so the repetition of the pattern [email protected]
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O would be broken. He lassoed areas and www.sanchezandre.com
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PHOTOSHOP FIX 2
3 OCTOBER 2004
F E A T U R E D A R T I S T
WITNESS, INTERPRET, SHARE
After returning from Vietnam with a journal and more than 30 rolls of fi lm, Dorothy Simpson Krause
(Boston) scanned journal pages and digitally combined them with her photos to create a visually rich
travelogue. Krause says this image, “Burdens of Body and Soul,” documents the Vietnamese at their
never-ending labors.
(cid:1) Krause scanned a spread from her
travel journal to a layer and placed a
photo of a man carrying sticks on a layer
above it. Simply setting the fi gure layer
to Multiply or Screen mode would blend
it with the journal layer, but the color and
contrast would look muddy or faded and
require selective adjustments, so Krause
chose to affect the contrast of the fi gure
fi rst. She duplicated the fi gure layer and
desaturated it (Shift-Command/Ctrl-U),
then turned off the visibility of the origi-
nal fi gure layer temporarily.
(cid:2) Choosing Image > Adjustments >
Curves, she signifi cantly increased the
contrast of the desaturated duplicate.
“Had I used Curves before desaturating,
the tones would look weird and ugly,”
Krause says. “This method creates more
powerful lights and darks without unwel-
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P come color shifts.” She made a duplicate (cid:5) With the contrast of the two images Krause’s Vietnam Journal has been
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S and set its blending mode to Overlay. set to her satisfaction, Krause wanted printed on handmade paper from
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OT to shift the color of the original fi gure Vietnam, Thailand, Nepal, and India.
PH (cid:3) To push contrast further and blend layer using the color of the journal pages. It’s also become a series of prints
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N I the fi gure with the journal, Krause set She turned back on the layer’s visibility, and has recently been acquired by
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O the initial high-contrast layer’s blending moved it to the top of the Layers palette, the Boston Museum of Fine Art. To
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S mode to Screen at 58% Opacity. and set the blending mode to Saturation see the entire Vietnam Journal, visit
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GE for a rosy glow. www.dotkrause.com/art/vietnam/
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M (cid:4) Krause wanted to use the writing vietnam.htm. Krause is a coauthor of
ND I in the journal as a design element, so (cid:6) Having used Multiply on the journal, Digital Art Studio: Techniques For Com-
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S she duplicated the journal layer and Krause had darkened underlying page bining Inkjet Printing with Traditional
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A desaturated it. She then used Invert edges, so she duplicated the original Art Materials. For more information,
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M (Command/Ctrl-I) to switch the black journal layer, set the blending mode to visit www.digitalatelier.com.
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C writing to white and set the blending Screen at 56% Opacity, and positioned
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E mode to Multiply at 66% Opacity. By the layer at the top of the Layers palette.
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PHOTOSHOP FIX 4
5 OCTOBER 2004
E S S E N T I A L S
BY RICH HARRIS
TAKE ANOTHER LOOK AT APPLY IMAGE
Apply Image is a feature that even most power users are unfamiliar with. It’s typically used for
quick compositing, but it also provides the capability to blend a color channel into an image.
DOWNLOAD “COLORGIRL.JPG” FROM WWW.PHOTOSHOPFIX.COM, OCTOBER 2004 ISSUE.
(cid:1) Duplicate the background layer of (cid:3) Now choose where and how you want APPLY IMAGE BASICS
“COLORGIRL.JPG” so you’ll have an the source applied. To use the basic compositing function
untouched original to compare to later. of Apply Image, open two images of
It’s better to color correct in your fi nal » Target: By selecting the duplicate the same pixel dimensions. The feature
output color mode, so set the Mode here layer before choosing Apply Image, requires the source and target images to
to CMYK Color. Since we’ll be aiming for you’ve set the target (fi nal image). be the same dimensions but not neces-
an image with less magenta than the » Blending: Choose how you want the sarily the same color mode. You can blend
original, make sure the Info palette is source blended into your target from individual channels between an RGB and
open so you can check CMYK values as the pull-down menu. Notice the Add CMYK image, for instance, but not be-
you progress. and Subtract blending modes not typi- tween their composite full-color channels.
cally included in a blending mode list. In other words, you can blend between
(cid:2) With the duplicate layer selected, In a channel, black’s value is 0; white’s the Red channel of one image into the
choose Image > Apply Image. First value is 255. Choose Add to combine Magenta channel of another, but you can’t
determine what you want applied. the brightness values of the back- blend a full-color RGB with a CMYK fi le.
ground and duplicate layers, resulting
» Source: Since you’re using the same in a higher brightness number and a Select a target image and choose
image as the source and target, you lighter image overall. (Subtract would Image > Apply Image. Now select the
should only see “COLORGIRL.JPG” in take away pixel values from the two image or layer you want applied from the
the pull-down menu. If you had other layers for a lower brightness value and Source pull-down menu, then choose
images of the same dimensions open, a darker image.) the settings you want in the rest of the
their fi le names would be included in » Scale: This controls the overall light- dialog box. In my example, I opened two
the list. ness and darkness of the fi nal image. photos and selected the background
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P » Layer: From the Layer pull-down You can choose a number between 1 of a hiker on a mountain and applied a
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S menu, specify the source layer to be and 2; 1 leaves the image as is and 2 canyon photo to it. I left Channel set to
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OT applied. Here, it doesn’t matter since darkens the image approximately 30%. RGB and Blending to Normal at 100%.
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P we’re working with duplicate layers. Just leave Scale set to 1 for this image. Easy composite!
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N I » Channel: Determine if you want to » Offset: Offset is for lightening or dark-
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S cifi c channel from your source image. darken the target with negative values technique and the tutorial’s blending
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GE To lessen the reddish hue of this mod- as low as -255 or lighten with positive channels technique, I added texture to
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M el’s skin, select the Magenta channel, values up to 255. In this case, you want an image. I opened a Grayscale winter
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N then check Invert to pull the magenta to lighten the target a bit to open up stream photo and an RGB sand photo,
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S out of the image. Experiment with the the face, so set Offset to 50. selected the stream photo, and chose
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AN channels for your images. For instance, » Opacity: Determine how transparent Apply Image. I selected the sand photo
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M if the model had a bluish tone (a fairly the source should appear; I used 60%. as my Source and applied its Green
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C common occurrence), it would be bet- (Preserve Transparency applies only to channel, setting Blending to Add at 30%
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E ter to use the Cyan channel. opaque areas of a layer’s transparency.) Opacity, Scale to 1, and Offset to -30.
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AN image effect using the brightness val- Rich Harris served as Creative Director
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P ues of the original image. Lighter values of Wacom Technology, and has more
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H will have less of the applied image; than 20 years’ experience in digital
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T darker values will have more. Set Chan- design, digital illustration, and pre-
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H nel to Gray to avoid any color shift, and press. He writes on software solutions
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O click OK. Remember an Apply Image for national publications and teaches
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R mask is a one-time uneditable mask. classes in Photoshop. Contact him at
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PHOTOSHOP FIX 6
7 OCTOBER 2004
T O O L S
BY ROGER HUNSICKER
BEFORE
BRUSH INSPIRATION BACK IN
The more options designers have, the easier the task becomes
of creating strong design without being consumed by the
process. While most are comfortable with selectively applying fi lters
through masks in the Layers palette, it’s predictably suffi cient. The
History palette lets you rapidly brainstorm concepts without getting
buried under a stack of layers, and the best part is how it’s partnered
with the history brush to bring unique designs to the surface.
DOWNLOAD “BUILDING.JPG” FROM WWW.PHOTOSHOPFIX.COM, OCTOBER 2004 ISSUE.
(cid:1) Open “BUILDING.JPG” and apply a (cid:3) To reveal another fi lter, simply switch
fi lter to it; Glowing Edges is a good choice the source by clicking in the box to the
here. Select the History palette, choose left of another fi lter snapshot: I chose
New Snapshot from the palette menu, Glowing Edges. To make the edges pop
and name the snapshot after the fi lter from the Radial Blur, I set the history
you used. In the History palette, you’ll brush Mode to Lighten at 65% Opacity
see the fi lter snapshot appear below the and painted the building’s edges with a
original image’s snapshot created when small, soft brush, creating an effect that
you opened the image. Apply another went beyond the basic appearance of
fi lter, but not while the Glowing Edges the fi lter.
state is selected. Click the BUILDING.JPG
snapshot thumbnail, then apply another If you reveal too much of an effect
fi lter (like Radial Blur applied here). Create with the history brush, click in the box
a snapshot for it, too. to the left of the original image’s snap-
shot in the History palette. Set the history
(cid:2) To selectively apply the fi lter effects, brush Mode to Normal and paint at a
select the history brush (Y), click the low Opacity.
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P original image’s snapshot thumbnail
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S which designates the image state you Snapshots are ideal for experimenta-
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OT want affected, and click in the box to the tion and quick feedback. If you want to
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P left of the fi lter snapshot to designate save a selected snapshot, choose New
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N I the source. I clicked the box beside the Document from the History palette menu.
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GE brush, your palette is the snapshot (or Edges and Radial Blur, I experimented
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A changing the brush’s Mode or Opacity. ties. Here’s an example.
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M Here, I could’ve just painted on the image
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C to reveal the blur, but I wanted to simulate
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E radiant light, so I set the history brush Roger Hunsicker is advertising coor-
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L Mode to Luminosity at 90% in the Options dinator for Caterpillar, Inc., in Peoria,
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AN bar and painted with a 200-pixel brush Ill., and president of Proof Positive
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P on the sky around the buildings. Design Group, a web design fi rm.
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PHOTOSHOP FIX 8