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 />
SIMPLE CONCEPT<br />
04<br />
Painting and anatomy II<br />
I’m moving forward and reaching a point<br />
where the mouth is a concrete piece, and<br />
you can see all the elements with the right<br />
size and place. Around the brush I just<br />
change some settings where I feel the need<br />
to, mainly on hardness and opacity values.<br />
05Detail<br />
I started to isolate both inside and<br />
outside of the selected area to reach a<br />
sense of distance between the elements<br />
of the mouth. In this case it gets the<br />
realistic form in a fast and easy way.<br />
06<br />
Detail II<br />
Now I reach the detail levels on the upper lip (the<br />
darkest one of the two) as well as a more<br />
“teethness” feel on the teeth themselves. On<br />
both corners of the lips I paint with the same<br />
brush but with a low level of hardness.<br />
70 | PHOTOSHOP PROJECTS
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