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Gold Lion
Laura Ferreira 4
In this tutorial I will show you how I took a picture of my friend
Cecile, who was standing in front of some plants in a yard, and
turned it into a sparkling golden portrait. The main tools that I will
be using in Photoshop CS4 is Gradient Map, Curves, Selective
Colour and blending images onto the portrait with the Screen
mode. The catch lights in her eyes are from a single rectangular
softbox used for the light setup.
01
Step 1
I open the image and take out any marks or spots
on the skin with the spot healing brush tool or the
patch tool, followed by selecting the general skin
areas with the selection tool, and then going into
Filters > Blur > and using the Surface Blur filter,
Threshold: 12 , Radius: 30. Skin retouched using
spot heal, patch tool, and surface blur.
02
Step 2
With the skin nice and clean I start adding texture
to the image. I used a stock image of glitter (from
the user bombstock on deviantArt) as well as as
a bokeh image (from the user stocks_for_you ,
also from deviantArt). glitter image bokeh image.
I drop the two texture layers onto the image and
darken them using Image> Adjustments> Curves
(Output:0 , Input: 140). I do this so that when the
images are put in Screen mode, there is a lot less
of the lighter tones coming up, so the image gets
a more scattered feel with these textures. Now
I select each texture layer at a time and switch
them in the layers panel to Screen mode. The
textures now cover the portrait layer and I use the
Eraser tool to take out the areas on these textures
that I don’t want. I erase most of the bokeh image
from her face but leave a little bit of the glitter at
the side of her right eye, as well as her neck.
03
Step 3
The next thing I do is add just a few more little dots
to the left of the image. I make a new layer called
Blurry Dots and simply take the brush tool on the
default setting (with hardness all the way down)
and choose any random orange tone, and make
little dots around her head. This layer remains on
Normal mode. I then make a new layer and name
it Light. I choose a large diameter for the brush
(still on the same setting from before) and make
a big simple white blob in the center of the image.
I then switch to the Selection tool, and move this
blob into the lower left corner. This also remains
on Normal mode. This has now given a little glow
in the corner. Now it’s time for some colour-edting.
I use Adjustment Layers found at the bottom of
the Layers tab, but I will still put where to find
these adjustments the long way.
6 .psd Photoshop
gold lion
04
Step 4
I start off by taking down the reds and yellows
using Image> Adjustments> Hue/Saturation
, and only in the Red and Yellow channels do
I desaturate. Red: -36, Yellow: -42. the image is
now slightly desaturated.
05
Step 5
Then, I focus in on her eye. I would like them
to pop a bit more and show off that golden
colour, so I make a Levels layer, or go to Image>
Adjustments> Levels, and in the main RGB window
I move my medium slider to 1.40. With the Levels
layer selected, I decrease the fill to 71%. the eyes
are now lighter
06
Step 6
Next, I brighten the image using a Curves layer, or
Image> Adjustments> Curves. I make two points
on the Curve, one at Output:26, Input:20 , and
one at Output:188 Input:152. Image is now a lot
brighter!
.psd Photoshop 7
cover artist
07
Step 7
I then add my base colour. I want a golden look
so I create a Gradient Map layer, or Image>
Adjustments> Gradient Map. My deeper colour in
my gradient is specifically a Purple (#06024a ,
Location: 15%), my medium tone is an an Orange
(#ffa800 , Lcation: 50%) and my lighter tone is
a Yellow (#ffea5c , Location 100%). I then set this
layer to Overlay mode, and set the fill to 16%. it’s
pretty golden now!
08
Step 8
This is a very small change, but I don’t want
the greens in the leaves looking quite so green.
I make a Selective Colour adjustments layer
(or Image> Adjustments> Selectice Colour), and
in the Green channel, I bring the Cyan all the way
down, and the Magenta and Yellow all the way
up. Blending mode remains on Normal. if you
look closely at the leaves just by her right ear,
the greens have changed to a more rustic colour,
but still with a hint of green. To add a bit more
contrast, I create another Gradient Map layer
(or Image>Adjustments>Gradient Map) and
use the defauly Black and White gradient. I then
switch the mode from Normal, to Luminosity in
the Layers tab. With Gradient Map contrast
09
Step 9
To add more of a rustic feeling to the entire image,
I make a Selective Colour layer (or Image>Adjustm
ents>Selective Colour) . In the Red colours I make
the following changes: Cyan: -1, Magenta: -2. In the
Neutral colours I make the following changes, Cyan:
+19 , Magenta: +12. Mode remains on Normal. After
Selective Colouring for rustic tones.
8 .psd Photoshop
gold lion
10
Step 10
One of the last colour adjusting I do is adding
more purples and reds to the image. I create
a new Gradient Map layer (or Image>Ajustment
s>Gradient Map) and put my dark tone as Blue
(#0a00b2, Location 0%), medium tone as Red
(#ff0000, Location 50%) and light tone as White
(#ffffff Location 100%). I then set the mode to
Screen and bring the Opacity down to 47%, and
the Fill down to 20%. My shadows now have a nice
purple tone to them. I would like to dark the edges
a bit, so I create a new layer and call it “Orange
Edges”. I simple take the brush tool on default
setting (hardness all the way down) and choose
a random medium Orange tone. I start adding
some orange to the corners of this new layer to
give the image a slight vignette. I then change the
blending mode to Screen, and bring Fill down to
65%. My main colour editing is now done!
11
Step 11
I would still like to add a bit more depth here and
there. I go to Image>Duplicate and make a copy of
my file. I then flatten it with Layer> Flatten Image.
I then start adding little highlights and low lights
with the Burn and Dodge tools. I also clean up the
hairline with the Clone Stamp tool on 40% opacity.
When I am happy with how it looks, I simply select
this image in my copied file, and drag it back
onto my original for safe keeping. Colour hasn’t
changed, but hairline and lowlight/highlights have
been altered.
12
Step 12
My final colour edit is a touch of Cyan and Red.
I create a Colour Balance layer (or Image>
Adjustments> Colour Balance) and in the Shadow
I slide Red to +4, in the Midtones I slide Cyan to -8,
and in the Highlights I slide Cyan to -5.
by Laura Ferreira
.psd Photoshop 9
Unique
This tutorial will show you how to incorporate 3D render with the stock photos to create
an appealing watery scene. I will talk about using alpha channels, adjustment layers and
how to make image to pop-up by concentrating on coloring and lightning. Used stocks from
http://www.sxc.hu
medium | 25 h.
adobe photoshop CS3 | maxon cinema 4D | wacom tablet
unique
Step 1
I started working on this piece by making the
render and composition in Cinema 4D. This tutorial
is about the process in Photoshop after that so
I won’t go to details on the 3D part. Here you
can see the render which I opened in Photoshop.
Always remember to use Alpha Channel when
rendering still images from 3D program. This way
you have automatically separate alpha mask on
your Channels palette for your render and you
don’t need to cut the background off manually.
02
Step 2
Use the Alpha mask to separate the render from
its background and make a new layer below the
render and fill it with dark grey. If you didn’t know
you can make the layer below the selected layer
by holding Ctrl + pressing the new layer icon
on Layers palette. I also duplicated the render
(Ctrl+J) and used Clone Stamp tool (press S) to
make the render go all the way to the sides. Play
with the brush settings depending what you want
to achieve.
03
Step 3
Find a good water stock which you think would
fit. Open it in Photoshop to a new document and
go to the channels palette. By putting different
color channels invisible try to find the one with
the most contrast between the water and the
background. Now copy/paste (Ctrl+C/Ctrl+V) this
channel to a new channel layer and open up the
Curves (Ctrl+M) while this new layer selected.
Now choose the white point eyedropper and use
it to the background (the color you want to get
rid of). After adjusting the curves to optimal make
a selection of the layer (Ctrl+Click on layer). While
having the selection on put the RGB channel back
visible and make the alpha channel invisible.
Choose the RGB channel, copy the selection and
paste the result into your work document into
its own layer. Usually when working with water
splashes, Screen blending mode can give some
extra effect so feel free to experiment with it.
.psd Photoshop 11
creative class
04
Step 4
Now add water behind and top of the object.
Duplicate the layer (Ctrl+J) and use rotate,
distort and especially warp tool to make the look
more dynamic (you can find them under Edit/
Transform/…). Even though you use duplicated
layers try to make every splash look different.
Also remember to vary the size and opacity to
give some extra effect. Hint: convert the original
layer to smart object before duplicating it (Right
click on layer/Convert to Smart Object). This way
when you distort, warp etc. the duplicates the
quality won’t suffer from it that much.
05
Step 5
Once you’re satisfied with the splashes it’s time
to concentrate on the background. It’s always
good to make the basic elements and save the
detail work in the end so don’t worry too much
about having too less splashes at this point. Make
a new layer (Ctrl+Shift+N) to the bottom and add
the stock. Here I used starry night sky stock and
played with the opacity to decrease the stars’
brightness a bit because I want to have the focus
in the middle.
06
Step 6
Find more stocks you want to add to the scene
and cut them off from their background by
using the same channels technique as with the
splashes or by using the pen tool (press P) to
trace the outlines. I added some apples. I also
used adjustment layers(Layer/New Adjustment
Layer) to match the colors and dodge/burn tool
(press O) on soft brush to make the lightning the
way I wanted. Try to think of where you want to
have the main light sources and adjust the colors
according to that.
12 .psd Photoshop
unique
07
Step 7
The starry background felt bit boring so I thought
add more water elements to the scene. I used
couple photos of lake and trees. This is quite easy
part when working on dark background because
you don’t have to worry about the precise cut
offs that much, you can just drop the opacity
to around 10% and use layer mask to erase the
unwanted parts. If you feel the color scheme is
too grey or needs another color you can first make
new adjustment layer on top of everything and
apply Levels to play with the contrast a bit. After
applying Levels I added another adjustment layer,
Photo Filter with the preset Cooling Filter with
the density around 15-20% to get the overall look
more blueish. I also used layer mask on starry sky
layer to remove unwanted stars below the render.
08
Step 8
At this point I wanted to make a reflection to the
bottom to make the water look more real. I made
a new layer on top and went Image /Apply Image
to make a new layer with all the content in it. Then
I flipped the layer vertically and distorted it so that
it fits with the perspective and dropped the layer
opacity around 15%. Once again I masked out the
parts I didn’t want there. After this I applied little
ripple effect via Filter/Distort/Ripple to make it
look more like real water surface. You should play
with the settings to get the best result for your
needs.
09
Step 9
In the end it’s more about adding details and
adjustment layers to fix the colors and make
the image to pop out. Here I painted some water
droplets and floating apple below the hands,
added the moon on the background and made
some highlighted areas by brushing on white soft
brush on top of everything and putting the layer
blending mode to Overlay or Soft Light. Adding
Brightness/Contrast layer, Gradient map layer
on Soft Light and another Levels layer made the
image much more appealing in the end.
by Olli-Pekka Jauhiainen
.psd Photoshop 13
advanced | 240 min.
photoshop CS4
before the ball
Before
the Ball
In this tutorial, you will learn how to cut out images and use them in another background,
without having them looking fake, but more like an illustration. You will also learn how to
change a color of the background of an image even with unkempt hair, without actually
erasing the original background. You will be able to see the power of the clone tool and
liquify tool to retouch body flaws and enhance the beauty of the model. There will be
interactions between multiple mounted images and color retouching of the different images
to fit in a whole picture. I will guide you through the basic artificial make up, highlights,
shadows and sparkling light effects. I added some extra tips for the use of some blending
modes, as well.
01
Step 1
For the first step, I placed the photo of the girl
on the canvas and created a new background
layer with a very light gray. This will be my basic
background color. Since the image is too bright,
I adjusted the levels and shadow/highlights.
To join these two pictures, I have replaced
the main color of the background of the girl’s
picture to the same light gray I used for my
main background. I did this by going to image>
adjustments>replace color and simply click on
a predominant gray on the background of the girl.
02
Step 2
I created a mask of the girl layer and erased the
top edges with the gradient tool and slowly erased
the differences between the color of my picture
and the light gray background layer. I then used
the Liquify Tool to give more volume to the hair
and raised some hair tips. I also fixed a bit of the
nose and her jaw, raised her eyebrow a little and
gave it a different shape.
.psd Photoshop 15
photomanipulation
03
Step 3
Next, I cloned loads of hair, each one individu-
ally, making it so that they connected to the hair
below. I selected a portion of hair that I wanted to
clone, placed it into a new layer and named it por-
tion, because I wanted to clone that hair, but using
different angles. Then, I just used the clone tool,
selected the hair I wanted to clone from my por-
tion layer, and pasted them into a new layer called
fakehair. Whenever I wanted to add some new
hair to the image, I rotated my portion layer, and
cloned it again over the fakehair layer. I created
two different portion layers in different layers of
the girl’s original layer, so I could have different
hair shapes to clone. I used the Liquify Tool also
so that I could shape the hair as I pleased. I did not
over used the liquify, because when you use it too
much, it messes up the resolution. I also painted
some very tiny hairs to make it look natural.
04
Step 4
In a new Layer, I painted a circle with a brush using
very low hardness, using a brighter shade of gray
in front of her face, covering her hair and erased it
on top of her face. I then set the blending mode to
Soft Light. I did not want to erase too much of the
hair tips, because that would make it look fake in
the end. Afterwards, I created another layer and
painted it with a light blue to a darker blue gradient
and set the mode to Color Burn. This layer was
softly erased on top of her eyes. I wanted them to
shine and I think their natural color is really cool.
I added a Lens Flare Filter, because I wanted to
add some light effects in the sky.
05
Step 5
I used a new photo with a plant called Dent-de-
Lion, with the seeds flying. I chose the best seeds
of the picture and created three Layers – each one
with a different part of the original picture. I ap-
plied a lot of Gaussian Blur to one and then scaled
it down. I then applied less Gaussian Blur to the
second one and resized it so it was a little smaller.
The last one, I left it bigger than the others and did
not apply any kind of Blur. This way, it looks like
the seeds are at different distances. I also placed
some separate seeds floating above and on top
of the model. Since the seeds are very thin, their
background is very hard to erase, so I simply set
the Blending Mode to Lighten. This way we only
see the light colors. This is a very good way to
avoid erasing the background in some cases.
16 .psd Photoshop
before the ball
06 Step 6
I chose three ribbon dancing pictures that I thought
were nice to integrate with the girl on the piece. To re-
move the background, click two times on your back-
ground layer, which is your original image, to unlock
it. Create a new black layer below it. Select your im-
age again, and with the Polygonal Lasso Tool slowly
select the pixels between the image you want to use,
and its background, but do not select the ones that
are blurred on the edge. Click only on the non-blurred
edges of the picture you want to select. Always close
your selection. You do this by clicking on the first
point you first clicked using the Polygonal Lasso
Tool. You will know that it is closed because your Po-
lygonal Lasso Tool will have a little O when hovering
the right point. When your first selection is closed,
you need to use the Options Bar, which will allow you
to choose to add to or subtract from a previous selec-
tion. A good tip is adding new selections, one-by-one,
instead of making just one big selection. Otherwise,
you can lose your main selection while in the prog-
ress of selecting and you can use your space bar to
navigate through your document.
07
Step 7
Now, I have my selection, but the pixels on the
edges are too rough to use on the top of my main
work, so I want to make them smoother by giving
them a little transparency. This way the pixels on
the edge of the image will blend with the pixels of
my main image. I click on Refine Edge, checked
the preview box, and defined the following set-
tings: radius 0, contrast 30, Smooth 1, feather
1.0, contract/expand -2. When extracting the
background of an image, you need to play with
this settings a bit, and see what works best. Now,
I invert the selection [Ctrl]+[I] and delete the
background.
08
Step 8
I placed the ribbons the way I wanted by resizing
and transforming them. I wanted them to stick out
of the image, but not to appear to be a collage, so
I also added a bit of blur. The spots between hair
were also softly erased.
.psd Photoshop 17
photomanipulation
09
Step 9
Because I wanted the image to appear surreal and
magical, I also added two hummingbirds. I erased
their background, sharpened them, changed their
highlights to cyan and strong green and created
a motion blur in some of their wings to make them
look like they are beating them really fast. Then,
I blurred both, rotated them and erased their
beaks to fit them under the ribbons in a physically
possible manner. It is important to adjust your
images and think,if this was real, how would it
look? The smudge tool was used to drag some
pixels out of the birds to make them look more
fluffy and to resemble feathers.
10
Step 10
I cut some more elements, this time butterflies,
changed the color of each one, and blurred some
of them because they were too sharp to fit this
piece. I placed them above some hair, her body
and one on the ribbon. Some of them did not fit
because it is a photo-manipulation and I found
it hard to maintain their original color and make
them part of the hair. So, later I will retouch them
with some light effects and sparkling stars.
11
Step 11
Next I chose the fiftieth brush of the assorted
menu, changed the shape dynamics to Pen
pressure and turned everything else off (I use
a Wacom Bamboo, so this way the particles will be
generated accordingly to the pressure I put on the
pen). I used the maximum Scatter, Pen Pressure,
Count 2, Count jitter 2%, Control Off. Checked the
Smoothing and Protect Texture box. Then I painted
some stars behind the butterflies and the birds.
I used several layers, so I could play with the
brush behind the elements, as well as above.
I also changed the blending options, added Outer
glow, some with light yellow, others with cyan, for
the Gradient Overlay I used a gradient of yellow
to cyan, and variants of it for the different brush
layers.
18 .psd Photoshop
before the ball
12
Step 12
I used the Gradient Tool, blue to transparent and
used it on the edges of the whole image in different
new layers, with different blending modes.
Screen, Dodge and Overlay, lowered opacity on
some of them, because they were overpowering
the image. In this part, on top of all of the layers,
I created a new layer, painted it with blue, set it
to Soft Light, with 30% of Fill. This layer will blend
everything together. It will fade colors of the layers
below and if it fades too much, l can softly erase
here and there, leaving the layer below showing,
instead of the destructive blue layer.
13
Step 13
The girl was too pale, so I decided to give her some
make up. I used the eyedropper tool and picked a
soft red color off her lips. I created a new layer and
roughly painted her lips with a brush with soft-
ened edges. Changed the blending mode to Soft
Light, lowered the Fill to 64%, and softly erased
the edges of the layer, until the new layer was
blended with the original face.
14
Step 14
Now it is time to paint some eye shadows on her.
I created two layers. With a soft edged brush,
with a diameter of 100, very low opacity, painted
a soft yellow on her eyelids. Then, I changed the
blending mode to Overlay. Created another layer,
and with the same brush and I painted above the
eyelid with a light blue. The blending mode for this
layer was set to Hue. Note that you need to be
very sensitive while doing this to work, because
she needs to look natural, but with makeup.
.psd Photoshop 19
photomanipulation
15
Step 15
I wanted her to look like she had some lip-gloss,
so I added a shine by choosing white color, soft
brush with low opacity. I slowly painted the shine
and I was careful while doing it so it would not
seem fake. I also painted white above her eyes
and changed the blending mode to Soft Light.
Then I created a new layer, chose a color from her
hair, darker than her eyebrows, and softly painted
above it. I just wanted to make it look darker.
Step 16 16
Her hair looked too dark, so I used the Hue and
brightened the yellows. Next, I used the Dodge
and Burn tool to create highlights and shadows
on her hair and make it shine more. I also did this
to fake shadows for the ribbons, butterflies and
birds. For this to work I needed to think where the
source of light was for my whole picture. When the
light shone on any element, I painted highlights
and shadows on the opposite side. Some of them
are just casted shadows from an element on
another element. This is the basic light theory of
drawing. When I had my images finished, I like
to adjust some details and do an overview of the
final piece. A good way to achieve this is to simply
get away from the computer for a while, go for a
walk and get some rest and the next time you see
your work with a refreshed mind, some details
and errors will pop out and you can fix them and
complete your work.
by Marcia Gaudêncio
Stocks
• Ribbon Dancing pics – vampbabe-stock from Deviantart
• 2_1_Ribbon_Dancing – http://vampbabe-stock.deviantart.com/art/2-01-Ribbon-Dancing-17903136
• 2_6_Ribbon_Dancing – http://vampbabe-stock.deviantart.com/art/2-06-Ribbon-Dancing-17903618
• 2_7_Ribbon_Dancing – http://vampbabe-stock.deviantart.com/art/2-07-Ribbon-Dancing-17903630
• Girl: akai-hinoiri from Deviantart
• http://akai-hinoiri.deviantart.com/art/dancing-hair-stock-107371912
• Butterflyes: Shoofly-Stock from deviantart
• Butterfly Stock 06 – http://shoofly-stock.deviantart.com/art/Butterfly-Stock-06-91994266
• butterflystock 4 – http://shoofly-stock.deviantart.com/art/Butterfly-Stock-4-36155021
• Shoofly-Stock – http://shoofly-stock.deviantart.com/art/Butterfly-Stock-Sideview-54054409
• Birds and Flower from www.photoxpress.com
20 .psd Photoshop
Now Available!!
FORwww.SMART PHONES
tony deslandes.mobi
The Surreal
In this tutorial, I’ll show you how I created a surreal photo manipulation called
The Surreal. During this tutorial, you will learn how to blend different images
to make a dark atmospheric background, blend different objects in the
background, adjust lights and colors of your image, and much more. We will
be using several tools such as the brush tool, levels/curves, different blending
modes, and more. Let's get started!
advanced | 3-4 h.
adobe photoshop CS4
the surreal
Stock Images: (By order of use in the tutorial)
• Checker Floor: http://urbannature-stock.deviantart.com/art/Checker-Floor-58790299; Author:UrbanNature-Stock
• Frozen Antelope Island: http://i45.tinypic.com/16hkgfs.jpg; Author:Julia Starr
• Sky7_2259/Sky7_2249: http://resurgere.deviantart.com/art/Package-Sky-Scape-7-57062396; Author:resurgere
• Storm 1: http://mysticmorning.deviantart.com/art/Storm-Brewing-stock-114644923; Author:mysticmorning
• Storm 2: http://night-fate-stock.deviantart.com/art/storm-5-101190537 ; Author:Julia Starr
• Storm 3: http://tash-stock.deviantart.com/art/Stormy-Sky-06-62311728; Author:tash-stock
• Rain: http://sheisprettystock.deviantart.com/art/Storm-73213991; Author:heisprettystock
• Bubble2_0009/ Bubble2_0010/ Bubble2_0011: http://resurgere.deviantart.com/art/Package-Bubble-2-76102456; Author:resurgere
• Door: http://daviania.deviantart.com/art/Paradisio-sept-09-27-136807337; Author Daviania
• Clouds: http://two-ladies-stocks.deviantart.com/art/Beyond-the-clouds-II-102467866; Author:two-ladies-stocks
• Lamp:http://empty-paper-stock.deviantart.com/art/Hanging-Lamp-63341285; Author:empty-paper-stock
• Hand 1:http://lindowyn-stock.deviantart.com/art/Hand-Stock-1-71285466; Author: lindowyn-stock
• Splash 1: http://beststock.deviantart.com/art/Splash-II-129176733; Author: Best Stock
• Splash 2: http://beststock.deviantart.com/art/Splash-I-129176688; Author: Best Stock
• Splash 3: http://beststock.deviantart.com/art/Splash-V-129177036; Author: Best Stock
• Hand 2 (DSC03352) : http://nykolai.deviantart.com/art/Hand-References-Pack-Seven-28768906; Author:Nykolai Aleksander
• Man Head: http://ahrum-stock.deviantart.com/art/Face-Neck-and-Nugget-23-27503344; Author: Ahrum-Stock
• Whirlpool: http://i49.tinypic.com/2mxk7d.jpg; Author:Tentenhead
• Zentai: http://mjranum-stock.deviantart.com/art/Zentai-Y-1-104158697; Author:Marcus J. Ranum
• Cracked Mud: http://falln-stock.deviantart.com/art/NC-Cracked-Mud-11-50934627; Author:falln-stock
• Abstract Experimental: http://i48.tinypic.com/35aq0qd.jpg; Author: resurgere
01
02
Note 04
For better organization, I normally
use groups. I selected all the layers
we have so far and pressed Ctrl+G
(Windows), then named the group
Background.
05
The Door
Open the Door picture. Next, select only the
door. You can use either the Pen Tool or the
Magnetic Lasso Tool for this task. After that, go to
SelectInverse and press the Delete key to remove
the background. When you’re finished with that,
drag the door to the middle of the document (see
image). Place it above the Background Group.
Apply the Sharpen Filter (FilterSharpenSharpen).
Duplicate the door layer and add a Clipping Mask to
it by pressing Alt+Ctrl+G. Next, press Shift+Ctrl+U
to desaturate the duplicated layer, then change
the Blending Mode to Soft Light. Create a new
Black and White Gradient Map and add another
Clipping Mask to it, then change the Blending
Mode to Darken and the Opacity to 50%.
24 .psd Photoshop
the surreal
06
Clouds
In order to create a surreal fantasy and mysterious
atmosphere, I decided to add some clouds around
the floor. Open the stock titled Clouds, drag it to
the document, and duplicate it. Hide the duplicate
layer by clicking the small eye near the layer.
Change the Blending Mode to Soft Light. Using
Vector Masks, paint over the areas you want to
remove.Turn on the visibility of the duplicate layer
of Clouds. Using Vector Masks, paint over the areas
you want to get rid of.In this case, don’t paint over
some areas around the floor. I suggest reducing
a bit the brush’s opacity for better results. Please
see the image of this step to achieve a better
understanding. Create a new Gradient Map (Black
and White) and change the Blending Mode to
Darken, then add a Clipping Mask. The Opacity
should be 90-100%.
07
The Lamps
It’ss time to add the lamps. Open the Lamp stock image. Next, select only
the lamp and remove the background. You can use either the Pen Tool or
the Magnetic Lasso Tool for this task. After that, go to SelectInverse and
press the Delete key to remove the background. Drag it to our document
and move it near the top side (right or left) of the door, then select the
layer and press Ctrl+G. Now the layer is inside a new group. Name that
group Lamps. Change the Blending Mode to Overlay, add a Vector Mask,
and paint over the top of the chain that’s holding the lamp so that the
lamp’s chain seems to disappear in the storm. Duplicate this layer,
change the Blending Mode to Normal, and add a Vector Mask. Reduce
the Brush Opacity to 30% and paint over the lamp a couple of times. Let’s
add some light now. Create a new layer (Shift+Ctrl+N), press B to open
the Brush tool, choose a small round brush (200px), and change the
foreground color to a dark yellow (#c5a636). Click twice over the center
of the lamp. Change the Blending Mode to Linear Dodge and the Opacity
to 88%. Duplicate this layer; the blending mode should be the same and
the opacity should be reduced to 55%. To make the second lamp on the
other side, just repeat the process.
09
Adding Surreal Elements – Part 2
Apart from the first hand, I added three more
elements: a man head, a zentai suit, and a second
hand. I won’t describe the process again since
it’s the same process outlined in Step 8. Instead,
I’ll just give you some tips. For the head element,
I’ve used the Man Head and Splash 2 stock
images. Next, I used the same techniques from
Step 8: Desaturation, Levels, Gradient Map, and
Brightness/Contrast. In addition, you can also
use Curves or Hue/Saturation. Just remember that
these adjustments are to darken the “element.”
Don’t forget to create a clipping mask to all your
adjustments so that they’ll only be applied to
a specific element. For the zentai suit, I’ve used
the Zentai stock image, as well as Splash 1 and
Splash 3. For the second hand, I’ve used Hand
2 and Whirlpool. I also added the stock image
Cracked Mud to every element. Drag the stock to
the document, place it above one of the elements
(for example, Man Head), create a Clipping Mask,
desaturate the stock, and change the Blending
Mode to Overlay, with the Opacity set at 85-95%.
Do the same thing to the other elements.
10
Final Adjustments – Part 1
Now that the composition is almost done, we’re going adjust the color,
light, and some other details that will make this work a lot better. Start
by opening the Rain stock again. Place it on top of allthe other layers and
change the Blending Mode to Overlay, with the Opacity set somewhere
around 50%. Next, create a new gradient map (black and white) and
change the blending mode to darken and the Opacity to 15-25%. Create
a new layer (Shift+Ctrl+N) and go to ImageApply Image, keep the
default definitions, and press okay. It’s time to apply some filters! Go to
FilterBrush StrokesSumi-e. You’re free to use other values, but these
are the ones I used: Stroke With=10; Stroke Pressure=2; Contrast=16
Create another new layer and go to ImageApply Image. Next, go to
FilterDistortLens Correction. We are going to apply the “vignette effect”
(if you don’t know the effect, please do a quick search on Google), which
is pretty simple to do in Photoshop. In the Lens Correction Filter options
(FilterDistortLens Correction), there’s should be a Vignette option with
two sliders. Change the Amount setting to -60 and the Midpoint setting
to +33. Reduce the opacity of this layer to 60-70%.
11
Final Adjustments – Part 2
Open the stock image Abstract Experimental
and press Ctrl+U. A pop-up called Hue/Saturation
should appear in Photoshop. Increase the
Lightness to values between +30 to +45.
Drag the stock to the document. Change the
Blending Mode to Soft Light and the Opacity to
30-40%. Use a Vector Mask to paint over some
areas that don’t look good. Create a new “Black
& White” adjustment layer. All we have to do is
press the Auto button to get the result we want.
Change the Blend Mode to Darken and set the
Opacity to 20-30%. Finally, create a new Curves
adjustment layer and use the Auto button as we
did previously. That’s it. I hope you have enjoyed
the tutorial and learned some useful techniques
for your future work.
by Luis Afonso
26 .psd Photoshop
Abstract
In this tutorial I am going to show you how you can combine real life stock with some
abstract renders that are being made in any 3D program like Autocad 3Ds Max and Maxon's
Cinema4D. I will try to make each step as details as possible. Of course the way I work is
pretty old fashioned but with todays Photoshop you have layer mask options to blend and
fade things. In this tutorial I will work old school way with the eraser tool...why you may
ask...for the simple reason that I am used to this way and takes less time and I got more
control over the area's I want to blend in or erase.
02
03
Adding Shadow to the render
Like I already said in the step 2 this picture
doesn't give you the feeling of reality. The render
looks pretty artificial at this moment. So we
are going to add some shadow to it. The option
Drop Shadow doesn't give me the desired effect
that I want. One reason is drop shadow can't
give me perspective. As you know when you
hold something like a pencil against the surface
slightly tilted the shadow will go from the tip and
fades out to the end. This is also the shadow we
want to create in this piece. Hold CRTL and click
with the cursor on the layer of the abstract render.
Doing so will select the render outline. Add a new
layer while you keep the selection active. Once the
new layer is added fill it with with black using the
Paint Bucket Tool. Put the layer that you just filled
underneath the render and rotate it a bit till you
have something like you see in the image. I took
a soft brush size 150 to soften the outline of the
shadow.
.psd Photoshop 29
photomanipulation
04
Adding Nature's Elements
Now for this step I want to add something extra to the
scene since its pretty empty at this point. I thought
adding some leafs underneath the render on the edge of
the hole inside the rocks would be nice. Since I gathered
some usefull stocks over the years I found a stock that
fits my piece and which gives me the freedom to work
with different angles. Since in stock pictures you always
have unwanted parts we are going to cut out the part
I need. There are several ways to extract certain sections
of a picture. This can be done with the polygonal lasso
tool, Magic Wand Tool downside of these tools are not
enough control over the lines you set and or you select
pieces you don't want to be selected. Best way to cut out
details in a picture is to use the pentool. Since you can
control the anchor points to the precise contours of the
object we are going to use this tool to extract the leafs
from the overal picture. Once done you can place them
to your likings. In the picture matching this step you will
see how I placed them. I added a drop shadow to the leafs
by double clicking on the layer containing the leafs and
select drop shadow. Settings I have used are: Opacity
56%, Angle: 120, Distance: 5%, Spread: 0%, Size: 4%. Leafs:
http://evza11.deviantart.com/
05
06
30 .psd Photoshop
abstract
08
09 Finishing Touches
As finishing touches I like to add some old school style
tech brushes. Thanks to certain people I always been into
abstract 3d designs. Looking at other designers work.
Since the abstract render looks futuristic and the rest
doesn't it would be cool to make some tech interface to
make it look like were are monitoring some biomechanical
creature. In my credits at the end you will see the links
of the resources I used and credit to the people providing
them. But lets get back to the design. As you can see the
left side is pretty empty. It gives us the room to place some
sort of interface. Also adding some simple text between the
interface with the name and when you post your work on
sites like Deviantart or Artician you can add your link inside
the design aswell with the link of your personal site if you
have one. Its possible you need to lower the opacity of the
tech interface brushes. As you can see in the final image the
techy brushes on the side are lower opacity then the brush
underneath the render. I have done this since the middle of
the design is brighter then the rest. Tech Interface Brushes:
http://z-design.deviantart.com/
.psd Photoshop 31
Editor’s Choice Brand Nu
.psd Photoshop
.psd Photoshop 33
Radim Malinic is an award winning art
director, illustrator and graphic designer
based in London, England.
Under the name of Brand Nu he works
with leading household brands as well as
upcoming business, playing a crucial part
in the formation of brand language, product
advertising, print illustrations and web
solutions.
Radim Malinic has firmly established
himself over the last few years as one
of the most successful and prolific
commercial illustrators working today. His
award winning work is renowned worldwide
for its innovation, passion and attention to
intricate detail.
When buying Brand Nu newest book please
use ‘PSD Mag’ code and get a chance to win
set of 4 posters (worth L100 for each set)
34 .psd Photoshop
.psd Photoshop 35
beauty retouch
Photo
Make Over
1.Fixing the blemishes 2.Editing discoloration
To start on the project, make a copy of the background. Using a soft round brush, sample a general surface area (pressing [Alt] + [Left click]).
The copy will provide an extra layer to begin correcting For portraits, be sure to sample a clean area of the skin. Using this color with a 10%
blemishes using the patch tool. Using the blemish tool, opacity brush and on a new layer, lightly adjust any skin discoloration by painting
select around a small area with a blemish then drag over few areas needing it. This step is meant to be subtle, do not heavily paint over
the selected area to a near by 'clean' sample. To soften any surface area. The detail below the layer should still show through.
up the areas around the patch tool as well as hide When complete, the image with editing areas may appear flat. To add some real-
some extra hairs, create a new layer, then begin using istic skin noise, go to Filter > Noise > Add Noise. Settings may vary depending on your
the stamp tool at opacity of 10-25% with a soft round image size. For the example shown, the settings used were 2.5% for the amount, with
brush. Be sure to check the box that says “Sample:” Uniform checked. Leave Monochromatic unchecked for the most realistic look. Add
and adjust it to Current & Below. This way, you will be just enough noise to add some rough pixels to your freshly painted layer.
sampling from the layers below without drawing on the
layers themselves. Layers are your friends!
Use the stamp tool, sampling from outside of
the image, to correct any fly away hairs. Again, do
this on its own layer for any future adjusting needed.
For the purpose of organization, you can group all of
your blemish editing layers into a group by pressing
Ctrl+Left clicking on each layer then, holding Shift,
click on the folder at the bottom of your layers tab
and Create a new group.
36 .psd Photoshop
photo make over
Lipstick
Add a simple intensity to the lips by creating a new layer and filling it with a sample of
the color from the skin. Adjust the layer from normal to “Multiply” and adjust the opac-
ity to 75%. Use the Hue/Saturation adjustment layer to adjust the color to your liking.
Again, group your new adjustments and create a layer mask then fill with black. Erase
in the area to colorize the lips.
Eyeliner/shadowing
Add a bit of eyeliner by simply using a brightness adjustment layer. Fill with black and
erase the areas that need more eyeliner or a bit more shadowing.
.psd Photoshop 37
beauty retouch
7.Liquify 9.Colorize
Select your entire document again and copy merged Create a new layer and fill it with a slightly dark maroon color. Set the layer from normal to
and paste on top of your editing groups. Go to Filter exclusion, then change the Fill opacity to 51%. Create a new Curves adjustment layer. The de-
> Liquify. This will open up a new window with dif- fault setting is the RGB line. Click and drag the middle of the graph line slight upward. Switch
ferent tools that will allow you to edit and fix any from RGB to Red and again drag the line slightly upward the same way you did with the RGB
imperfections. Use the forward warp tool (works like line. Change from Red to Blue then click and drag the center of the line slightly downward.
a push tool), pucker, and bloat for your edits. In the Go back to your adjustment layers and create a Selective Color adjustment layer.
example photo, the tip of her nose was shortened Change the color settings as follows:
and her lips were plumped. Slight adjustments to
the eyes to give a more sultry look. • Cyan: -100; Yellow: -57
• Magenta: +7; Black: -23
8.Lighting
To enhance the image add various lighting tech-
niques. Using the levels adjustment layers to either
darken or brighten the image and adding masks
to hide/reveal specific areas. Create a new Levels
adjustment layer for shadows and a separate Levels
adjustment layer for highlights. For shadows, con-
centrate on where shadows naturally appear, under
the chin, in creases etc. Use the highlights layer to
show more detail in the hair and enhance natural
lighting in the face.
38 .psd Photoshop
photo make over
10.The Rainbow
Create a solid color fill with a soft blue color.
Set the layer from normal to Soft Light with
an opacity of 75%. Create another solid color
fill with a orange color and set the layer from
normal to Soft Light with an opacity of 75%
and a fill opacity of 35%
Finally, create a Gradient fill layer. The
style should be Linear and be sure to adjust
the angle to 30.29, which will tilt the angle
of the gradient. Click on the Gradient fill to
open the Gradient Editor. Here is where you
can choose your preset rainbow effect or if
your are feeling creative adjust the colors
to your liking. For the example photo, the
Yellow, Violet, Orange, Blue gradient was
used. Adjust your gradient fill later from
normal to Screen with an opacity of 75%.
.psd Photoshop 39
Neytiri
In this tutorial we will paint Neytiri using a simple technique of airbrushes and a lot of layers
for ultimate control. I use the digital airbrush in Corel painter and differ my opacity according
to what I'm doing. Increase the brush opacity when working on hair and details and soften it
when shading and highlighting. This is a fast way to paint in stead of using liquid brushes in
two steps!
medium| 2-3 h.
corel painter | wacoom tablet
neytiri
Step 1
Start with two layers, one with a background
colour of your choice and then another layer with
your sketch on it. I add a base using a blue colour.
It's better to use a light tint of blue than a darker
one since we're going to shade with darker blues
later on.
02
Step 2
I start with the eyes since they're so much fun
and I've never gotten the thing with saving the
best for last... I add a base colour and then start
adding different shades while watching my
reference photo.
03
Step 3
I add darker and darker tints and some highlights,
they make the eye look more alive. Don't be afraid
to use colour in the highlights. I used a light
orange and a light blue.
.psd Photoshop 41
digital painting
04
Step 4
Add the eyelashes. I used black and I increase
my opacity value on my brush. I know add some
colour to the lips. There is a lot of lighting in this
picture so there are many different colours.
05
Step 5
Go into the finer details I've used a darker colour to
add some creases on her lips. If you want darker
tints you can use the multiply tool on your layer
and start shading.
06
Step 6
Add a yellow/orange colour for the lighting on her
face. It does not need to be perfect or even, just so
we an see where the different colours go.
42 .psd Photoshop
neytiri
07
Step 7
If you are pleased with your features you can start
shading! Create another layer beneath the layers
you used for the eyes and lips and use a darker
blue for some basic shades. I've also painted
the facial markings. I add turquoise to create
a beautiful tint of blue on her face.
08
Step 8
Keep working with darker and darker tints. I use
A LOT of layers for this so I can have full control
if I want to change something. Paint your shades
using the multiply tool on each layer and soften
the opacity if you think it gets too dark.
09
Step 9
Use a light blue or turquoise to create shiny
highlights. remember to start big and ten move in
to the details.
.psd Photoshop 43
digital painting
10
Step 10
Apply the same technique and paint her neck
when you start feeling finished with her face.
I often create new layers underneath the ones
I already have for this. (but always above the light
blue base colour of her face of course)
11
Step 11
The same goes for the ears. Ten apply the little
sparklers on her face. Use a light blue or maybe
white. Soften the opacity of the layer if they feel
too protruding. Here I've worked more on the ears
and consider them done.
12
Step 12
Add a black as the base for the hair. Increase your
brush opacity and you'll have cleaner strokes
when doing the little strands of hair.
44 .psd Photoshop
neytiri
13
Step 13
Work with different colours that match your
reference photo to create the strands of hair
where the lighting is.
14
Step 14
On your grey layer (or whichever colour you chose
to have as your base) you start creating the
background. Work with a soft brush opacity and
a big circumference on your brush.
15
Step 15
Turn off your layer with the sketch on it when you
feel you don't need it anymore. You can work more
on your background but I like to have it a bit softer
and out of focus. And now we're done!
by Lina Eriksson
.psd Photoshop 45
medium | 3 h.
adobe photoshop 7.0 | adobe CS4
digital art
01
STEP 1
I recreated the individual features of the face
using the path tool. Each feature was put on
a separate layer. I do this because it’s easy to
select the individual part that I want to work on.
For example if I’m working on the mouth, I don’t
have to worry about an eyebrow being selected.
Basically working on individual layers give me
better control.
02
STEP 2
In a new layer, I lay down the skin tones, using
a soft airbrush. Starting with a light colour, built
up colour intensity, adding a rosy colour to the
overall skin tone. I was always conscious of where
the highlights would be as they are a dominant
part of the finished image.
.psd Photoshop 47
workshop
03
04
48 .psd Photoshop
digital art
05
06
07
08
50 .psd Photoshop
digital art
09
10
.psd Photoshop 51
workshop
11
by Bandula Samarasekera
52 .psd Photoshop
contributing writers
Creativity, Colours
and Cut through
book #THREE by Brand Nu
The latest publication of work by Radim Malinic, London based creative
renowned worldwide under the label Brand Nu.
54 .psd Photoshop
creativity, colours and cut through
renowned software.It is also refreshing to read how each piece become - able to transform any image, product or campaign, with
was made and even to learn the idea behind each project. Brand Nu fluid beauty, raw edge and vibrant colour.
serves oversized portion of creative finesse which has earned him The book also contains several self-initiated experiments,
forefront position within the creative field today. unpublished elsewhere, which show the passion and excitement
The main intention for Book #THREE to give inspiration to that Brand Nu applies to seeking new techniques to add to his ever
all, from household names to niche businesses and upcoming expanding creative arsenal.
designers alike, work is demonstrated across a range of media A limited edition of 1,000 copies, #Book THREE is now available
including outdoor posters, to magazine covers and online. frombrandnu.co.uk for £11.99
A collection of work created over the last 18 months, Book
#THREE is an exciting portrait of the mature artist Brand Nu has by .psd Photoshop Team
.psd Photoshop 55
software review
AutoFX
AutoFX’s Mystical Suite is a collection of three applications/plugins that
share a common interface and allow interoperability between Mystical
Focus, Mystical Lighting and Ambiance 2.0 and Mystical Tint Tone and Color
2.0. The applications can run standalone or within Photoshop as a plugin.
As a photographer well versed with Photoshop I opted to explore the plugin
instance first. The plugin is invoked from the filter’s menu in Photoshop and
can be applied to any non-empty layer.
Common Interface
As stated previously, the plugin instantiation of the application
displays a consistent interface that can also be used in the
standalone version. It is, thankfully, compact, clean and concise.
There is a left sidebar where users can define parameters for the
selected effect. The effects are selected from the dropdown box
using flyout menus. One feature I would have appreciated is the
ability to set my own color for the sidebar, palettes and picture
viewing area, and the ability to change the font style to a non bold
value would definitely get two thumbs up from me. The Layers
and Brush palettes are easy to use and understand, they are non-
dockable but can easily be moved out of the way; the application
remembers the last position so there is no need to move them from
session to session.
A helpful feature is the memory dots dial. It Lets users take
snapshots of work in progress. These serve as save points that
they can return to without losing the work previously done. If a user
is uncertain of what a particular control will do, the application
offers two level of help on all controls ( brush on/off, lasso etc ) and
effects. When the mouse hovers over the control for 2 secs a short
description is displayed, holding it still for another 2 sec will display
an extended explanation of the tool. 1. It offers 14 Lighting effects, 5 Shading effects and 8 Ambience
modifiers for a total of 27 effects that may be combined and blended
Mystical Focus to provide some spectacular results. Add to these over 120 presets
The Mystical Focus application/plugin provides a total of 9 Focal and you have a recipe for hours of play time.
Effects, 6 Atmospheric Effects and a masking layer capability. Two of my favourite effects are Light Beams and Light in the
That is a lot of blurring options that users can select from. In Dark. They provide a high degree of control over light projections
addition to these start-from-scratch effects, users can select and if offers over 40 different Beam styles within Light Beams alone.
from 45 Focal Effects Presets and 22 Atmospheric Effects Most of the Lighting effects provide a control to define the colour of
Presets. The Preset dialog provide a large size sample of each the light either in solid form or as a gradient. Users can define and
preset and when the user hovers the mouse over a specific save their own colour palettes and load them for use on similar
preset it shows the original picture, providing an effective images. Each light beam parameter includes spread, fade out and
Before-After facility. softness. These sliders provide accurate tuning of the beam and the
It is worth mentioning that the Preset dialog is shared by the T-Path control allows the user to define not only beam directionality
other applications, again providing a consistent look and feel to the but also position, width and intensity. Each T-Path has its own set of
product. parameters and atmospheric controls.
The Focal effects provide good overall blurring and realist A useful control employed by the directional light effects is
simulations of bokeh and DOF ( Depth of Field ). The application the Light Blocker control. It is defined by dragging a line across the
provides for an easy means to quickly create blurring effects and screen. It is 1 dimensional but can provide a very effective means
by using the default brush, planer and lasso tools novice users can of light obscuration. Combined with its opacity slider users can
quickly produce dramatic results. simulate light blocking on a flat image.
The addition of Atmospheric effects within this application/ To round off the parameter controls there are 22 atmospheric
plugin can further improve the final look of the image. It adds effects to choose from. Users can select a preset and then modify to
stylized flair quickly and easily. My personal favourites are the suit the particular application for the image.
Highlight Smear and Specular Highlights effects. Another favourite of mine is the Ethereal Effects in the Ambience
group. The effect can be applied either as a Soft Cast or a Light Cast.
Mystical Lighting and Ambience 2 I prefer the Light Cast. Using this option I am able to define direction
This new version of Mystical Lighting and Ambience looks and feel and therefore have more control over the look and feel of the image.
very solid and is, in my opinion, a marked improvement from version Using the Brush on/off controls I can simulate rudimentary masks.
56 .psd Photoshop
autofx
Although the two Flares Effects provide over 50 presets combined with minimal tweaking. The Sharpening filters provide good image
I was expecting the ability to create effective obscuration masks, this detail and clarity; on par with more traditional filters available in
would enable me to simulate a Flare behind a building scene, where Photoshop.
only part of the flare is visible. I was unable to do this effectively
with the Brush on/off controls. This point aside Mystical Lighting and Documentation
Ambience provide a wealth of effects and presets that will allow users, Documentation is available from AutoFX website either online via
both novice and savvy, to quickly create fabulous images. html or as a downloadable PDF file. This documentation is sparse at
only 26 pages for all three applications. The documentation relates
Mystical Tint Tone and Color more to workflow and high level concepts. Effects and presets are
If users were impressed with the abundance of effects and presets not discussed in detail. However, AutoFX has done an excellent job
offered by the previous two applications/plugins, they will be to be of proving embedded help within the application. Every effect and
totally blown away by what Mystical Tint Tone and Color offers - 60 every parameter tweakable under that effect has associated help.
effects with 300 presets – incredible value ! This help can be reached by hovering the mouse over the control, as
Mystical Tint Tone and Color 2.0 includes a variety of valuable explained earlier.
Portrait Filters that can improve skin color, minimize skin blemishes
and wrinkles, enhance eyes, lips and hair and the ability to reshape Shortcomings
facial features. As with the Liquify control in Photoshop, a user As with all software there are limitations. The new Mystical Suite
needs to exercise control and only make believable changes, as of application currently only operates in the RGB color space. This
there are no real constraining parameters. On the flip side however, may be an issue for those photographers/graphic artists that prefer
it can generate interesting caricatures. Try it yourself ... working solely in other professional color spaces ( eg. CMYK, Lab
The application features easy to use Color, Tinting and Tonal Color,etc ).
effects which require minimal tweaking to provide dramatic and
beautiful results very quickly. The new lens effects can effectively Conclusion
simulate graduated filters and polarizers. I found these to be AutoFX has delivered a comprehensive and feature rich suite of
particularly useful in some of the photographs that I used in my applications/plugin in Mystical Suite. It boast over 100 effects with in
evaluation. They are quick to apply and provide the desired effect excess of 400 presets. If its effects are used judiciously and users
take advantage of its blending and masking facilities, Mystical Suite
can yield magnificent images. Mystical Suite will provide the novice
and more savvy users hours of exploration time and a complete
arsenal of tools that can dramatically enhance images.
A final word of caution however, to achieve great results one
must start with the best possible image. Don’t except to feed
Mystical Suite a terribly focused photograph and expect it to
sharpen it perfectly. And remember, as always is the case in photo-
retouching, less is more and a light hand will go a long way.
by Robert Coppa
www.je-photo.com
www.facebook.com/robert.coppa
www.twitter.com/robertxc
.psd Photoshop 57
review
Leather Range Aluminum Metal Case for HTC HD2 Leo T8585 - Open Screen Design
Leather Case for Nokia N900 - Book Type (Black) (Silver)
Leather Case for Motorola Milestone A855 - Book Type (Black/ Luxury Silicone Case for HTC HD2 Leo T8585 (Red) by PDair
Crocodile Pattern)
58 .psd Photoshop