Photoshop Projects Volume 14
Photoshop knows no boundaries. Whether it’s age, skill or training, you’re only limited by your imagination. In this issue, we talk to young guns like Sebastian Andaur, who’s making a name for himself as a freelance art director while still in high school. Then there are the illustrators and lettering masters who maximise the tools and techniques of Photoshop to suit their own needs. Check out Gabriela Fuente’s patterns, designed for high-end fashion clients and created in Photoshop. The beauty of Photoshop is that it has almost limitless possibilites. Use it to take ordinary photos into the realm of the extraordinary. Shane Monopoli and Mark Gardner show us how to composite a gothic drama at Windsor Castle, while Rachel Lewis goes behind the scenes to create highenergy cosplay images. There are also loads of tips and tricks, interviews and inspirational articles on everything from lettering and 3D work to complex layers and high-end retouching. Happy Photoshopping!
Photoshop knows no boundaries. Whether it’s age, skill or training, you’re only limited by your imagination. In this issue, we talk to young guns like Sebastian Andaur, who’s making a name for himself as a freelance art director while still in high school. Then there are the illustrators and lettering masters who maximise the tools and techniques of Photoshop to suit their own needs. Check out Gabriela Fuente’s patterns, designed for high-end fashion clients and created in Photoshop. The beauty of Photoshop is that it has almost limitless possibilites. Use it to take ordinary photos into the realm of the extraordinary. Shane Monopoli and Mark Gardner show us how to composite a gothic drama at Windsor Castle, while Rachel Lewis goes behind the scenes to create highenergy cosplay images. There are also loads of tips and tricks, interviews and inspirational articles on everything from lettering and 3D work to complex layers and high-end retouching. Happy Photoshopping!
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TUTORIAL<br />
CONSTRUCTING FANTASY WORLDS<br />
10<br />
Lake<br />
The lake should follow the same vector for the construction<br />
of the floor and the base. After positioning and giving<br />
shape to the vector, place the new layer behind the first,<br />
taking half the opacity for the shadow. For objects that<br />
are glued to the ground this is the best way to make them<br />
seem part of the assembly. The concept of shadows is too<br />
complex to explain, but it’s important to remember that we<br />
have several incidences of light by multiple angles and with<br />
different intensities, which results in various shades. Every<br />
shadow has colour. It’s important to pay attention to these<br />
details so that the shadow doesn’t get fake looking.<br />
To fill the lake, use the image “lake.tif” and adjust size and<br />
shape. At the end use the Clipping Mask into the vector.<br />
11<br />
Ship<br />
The whole assembly was based in the city where I live,<br />
Campinas, Sao Paulo, in Brazil, so I sought local elements<br />
to compose the Flying Island. This is a replica of one of the<br />
caravels which arrived in Brazil from Portugal, with those<br />
responsible for the colonisation of our country. It’s one of the<br />
most popular parks in the city, the Portugal Park, and currently<br />
found in restoration period, but as it’s an important landmark of<br />
the city, I found an image that was more quiet to work, with<br />
respect to angle and proportion, and found the image “boat.tif”,<br />
which is a 3D reproduction of this replica. To apply it, and adjust<br />
the size of the lake, used a Reveal Mask to crop and then redo the<br />
shadow, as in the previous steps (Tree and Lake) for added realism.<br />
12<br />
Appearance of objects<br />
Here’s a secret that I use to light the<br />
bright objects with similar aspects. I duplicate<br />
the same object once, twice or even more<br />
(depending on the case) and leave these layers<br />
with one Overlay, adjusting opacity as needed<br />
to make the brightness close to the other objects.<br />
I prefer to do it this way because I find it easier<br />
to control intensity. Depending on the image<br />
quality, use the second duplicate layer to add<br />
the High Pass filter (between 2 and 5), and<br />
add Overlay to highlight more clearly.<br />
130 | PHOTOSHOP PROJECTS
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