Digital arts 2010-11


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Digital arts 2010-11

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  3. 3. 3 WELCOMERANTS AND RAVES FROM THE EDITOR WELCOME he digital tools we all use to be creative have been getting a lot of stick recently – but we don’t care. We know that byte-based art, design and animation allow us to open up worlds of possibility denied to pre-digital generations. Photoshop especially seems to be receiving a lot of grief. Photoshop Disasters is one of the most popular websites about the tool – and even the Girl Guides have recently put the boot in, asking for the use of Adobe’s app to be banned from fashion and celebrity mags for giving children unrealistic ideas of beauty. You know things aren’t great when your software’s getting dissed by the Guides. We’re with the Guides for their intentions – even if it’s completely impractical – and we regularly get our giggles from the worst uses of digital manipulation on Photoshop Disasters. None of which diminishes the power of digital art. Amazing images like Rob Shields’ piece on our cover, Brice Chaplet’s to the left, and the others throughout this magazine, are a testament to what can be achieved with just these tools. Throughout this issue you’ll learn the secrets of these artists’ creativity. We’re not pretending that many of these techniques are easy, or that anyone can do them. They take talent and practice – but once you master them you’ll be a better artist than before, and have the jump on your peers. If you want to be the best you can, we’re here to help you achieve it. Neil Bennett editor Twitter: @digital_arts T IN PRAISE OF DIGITAL Image by Mr Xerty ( See more of his work from page 16. storemags & fantamag - magazines for all
  4. 4. P32 SHOWCASE CONTENTSINSIDE THIS MONTH’S MAGAZINE CONTENTS FEATURES MASTERS OF COLLAGE P16 Resist the urge to get carried away in Photoshop. As the experts reveal, the best collages and montages are all about judicious use of effects and smart experimentation 20 TIPS: PHOTOSHOP P26 Consider yourself a Photoshop guru? You’ll still find new tricks here to help you sail through tasks MAKE VECTOR ARTWORK FROM PORTRAITS P40 Eelco van den Berg uses Illustrator and Photoshop to turn photos of people into striking graphics ORIGINAL LIGHT EFFECTS IN PHOTOSHOP P46 You can conjure up glows, beams and other effects without straying into cliché, says Fabio Sasso 4 P38 DOWNLOAD ZONE P16 CLASSY COLLAGES P8 LONDON DESIGN FESTIVAL WORTH £400 True PDF release: storemags & fantamag
  5. 5. P54 CREATE AN IPAD PORTFOLIO hello THIS MONTH’S MAGAZINE visit for news, reviews and tutorials CONTENTS inside P6 We made this Meet the team who contributed to this issue of Digital Arts SPOTLIGHT P8 This month’s happenings The best new creative projects, events, books, kit and other things you need to know P8 London Design Festival The festival soldiers on, but can the Design Council? P11 Breaking down The Wall Ben Ib reimagines Gerald Scarfe’s animations for Pink Floyd SHOWCASE P32 Check out amazing new work from up-and-coming creatives DOWNLOAD ZONE P38 Find out what goodies you can access at our creative resource SUBSCRIBE! P57 Save money and get every issue of Digital Arts delivered directly to your door REVIEWS P62 Apple Mac Pro 12-core P63 Magic Bullet PhotoLooks P63 BenVista PhotoZoom 3 P64 Sigma SD15 P64 Softpress Freeway 5.5 P65 Autodesk Mudbox 2011 P65 GenArts Monsters GT V6 CREATIVE FREEDOM P66 Soccer Aid posters Football charts by David Watson 5 P50 CARTOON FIGURES P40 VECTORISE PHOTOS P46 LIGHTING EFFECTS P62 APPLE MAC PRO 12-CORE P58 PROPAGANDA STYLINGS CREATE CARTOON FIGURES WITH EASE P50 Mercedes Crespo, aka Yema Yema, shows you how to design memorable characters in Adobe Illustrator BUILD AN IPAD APP FOR YOUR PORTFOLIO P54 Already got a portfolio website? Sam Hampton-Smith tells you how to turn it into an offline web app, using HTML5 GET A KICK OUT OF PROPAGANDA P58 David and Sarah Cousens find stylistic ideas to emulate in Chinese communist artwork storemags & fantamag - magazines for all
  6. 6. CONTRIBUTORS6 WE MADE THISDISCOVER WHO’S BEHIND THIS MONTH’S ISSUE EDITORIAL Editor Neil Bennett Art editor Johann Chan With thanks to Richard Lim, Tannaz Allaway and Eva Peaty ADVERTISING Group advertising manager James Poulson Deputy group ad manager Selen Sevket Sales executive Michael Fletcher Contact Digital Arts advertising on 020 7756 2835 MARKETING Group marketing manager Nikki Causer Assistant marketing manager Emma van Beurden PRODUCTION Head of production Richard Bailey PUBLISHING Editor-in-chief Mark Hattersley Publishing director Mustafa Mustafa Managing director Kit Gould PRODUCTION SERVICES Printed by St Ives (Roche) SUBSCRIPTIONS/BACK ISSUES Call the hotline on 01858 438 867 ADDRESS 101 Euston Road, London, NW1 2RA Tel: 020 7756 2800 Fax (ads): 020 7756 2838 The team behind this month’s magazine tells us: What first made you want to be a creative? “How to Draw a Bunny by John Walter.” COVER DESIGNER ROB SHIELDS This month’s cover couldn’t be more different from last month’s typographic experiment. Here we’ve stripped away the coverlines to let Rob Shields’ beautiful artwork breathe. The Unveiling is an incredible piece – gorgeous, arresting and perfectly summing up what you can do in Photoshop that just wouldn’t have been possiblein an earlier, non-digital age. “I love drawing, it’s as simple as that.” David Cousens Twitter: @DavidCousens “I can’t lie: it was simply a matter of trial and error.” Graeme Aymer Twitter: graemeaymer “Some Henry Moore I saw – it was breathtakingly good, and I wanted to do the same.” Sam Hampton-Smith “I wanted to entertain people around me.” Mercedes Crespo Twitter: @YemaYema “Drawing and Marvel.” Johann Chan Twitter: @johannchan “Thinking visual all the time.” Eelco van den Berg “My dad really encouraged and pushed me artistically.” Mark Mayers Join the conversation on Twitter: @digital_arts Join the conversation on Facebook: True PDF release: storemags & fantamag
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  8. 8. SPOTLIGHT8 THIS MONTH’S DESIGN HAPPENINGS T his year’s London Design Festival, which ran from September 18 to 26, saw more than 200 events and displays of artworks around the capital. These ranged from heavily sponsored grand installations aimed at the general public – such as Outrace (centre right), which saw eight huge robotic arms from Audi’s car production line transplanted to Trafalgar Square for tourists to control – to smaller showings and talks targeting the creative communities. At one such talk the Minister for Culture, Communications and Creative Industries, Ed Vaizey MP (right), discussed the future of the Design Council. The high-profile organisation was on a list, leaked to The Telegraph newspaper, of bodies that could be scrapped to save money in what has been described as the Government’s ‘bonfire of the quangos’. While the Minister wouldn’t be drawn on the future of the Design Council in the wake of a review that ended in September, he did describe the review as “very positive”, adding that “it’s very, very important that the government understands the importance of the creative industries and design”. One of the highlights of this year’s events was the Anti-Design Festival (above left, top left and top right), directed by Neville Brody (with hand to ear, top left). It aimed to provide a rebellious counterpoint to the ‘commerciality’ of the rest of the festival, though the only apparent controversy was the presence of children at the private viewing – some of the artworks included explicit depictions of sex. Among the works featured were some top-notch displays from artists and designers including Stefan Sagmeister, Jonathan Barnbrook, Yugo Nakamura, Yomi Ayeni and Mark Moore. Doubt clouds festival PhotobySusanSmartPhotobyJohannChan As the capital celebrates British creativity, questions are raised over the future of the Design Council LONDON DESIGN FESTIVAL> event SPOTLIGHT> PhotobySusanSmart PhotobyJohannChanPhotobyJohannChan True PDF release: storemags & fantamag
  9. 9. SPOTLIGHT 9 motion Rock your walls oncert posters are a breeding ground for creative experimentation. A new title from Quirk Books collects 101 examples featuring cutting-edge designers and bands, delivering them in an 11x14-inch detachable format so you can frame them, put them up at home or in your studio, and pretend that you were there at Arab Strap’s final tour in 2006. Gig Posters Volume 1: Rock Show Art of the 21st Century features art from the likes of Tara McPherson, Emek, Casey Burns and The Decoder Ring. The £25 book was compiled by Clay Hughes, founder of poster archive et’s Eat Soya/Lonely In The Digital World is the debut single by Anxieteam, a musical outfit featuring some top creative talent. The band is comprised of character designer Jon Burgerman and pop artist Jim Avignon – and the single is available as a vinyl picture disc featuring artwork created by the two (left). The ‘A’ side, Let’s Eat Soya, is described as a “ridiculously infectious, anthemic dance declaration of smutty love in a meat-free-world”. Vocals and ukelele are provided by Jon, other instruments by Jim. The single is released on the Hello Thor label., C Rushes lands First Men in the Moon >VFX house Rushes has created a steampunk moon adventure for the BBC. The First Men In The Moon is a new TV adaptation of the HG Wells story, with Rushes responsible for all pre-production and concept design, as well as 312 VFX shots. Broadcast on BBC4 on October 19, the production stars The League of Gentlemen’s Mark Gatiss as Edwardian scientist Professor Cavor. Mark wrote the BBC’s recent Sherlock reboot and also adapted the Wells novel for this dramatisation. A key element of the VFX was the depiction of the Selenites, creatures that inhabit sub-surface lunar caverns. Rushes gave the Selenites a distinctly insect-like but appealing appearance, in line with their role in the story. L Off The Wall – p.11 >>>>> Jon Burgerman’s veggie ode storemags & fantamag - magazines for all
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  11. 11. SPOTLIGHT 11 D&AD winners feted > The D&AD Annual 2010, designed by artists Bob and Roberta Smith, has just been published by Taschen. Among the winners featured is a campaign for The Zimbabwean newspaper (below). The sign was printed on much-devalued Zimbabwe dollars. An eye for sci-fi > Exposé 8 collects the best new digital fantasy and sci-fi art. Seldom descending into cliché or misogyny, the content ranges from the subversive to the whimsical. SPOTLIGHT Art from Mad Men – p.12 ink Floyd’s rock opera The Wall is synonomous with Gerald Scarfe’s terrifying renderings of bullying schoolmasters and Communist repression. For Roger Waters’ current touring production – which arrives in the UK next year – music promo director Ben Ib has put a CGI spin on the animations from the film version, which are shown as a massive projection on the back of the stage. Ben created animations for three of the songs: Empty Spaces (above), Run Like Hell and Goodbye Blue Sky. All were created in 3D in Maya. The key to the project, says Ben, was maintaining the striking look of The Wall while showing it in a way the audience hadn’t seen before. “The album is unique in that its visual identity goes hand in hand with its musical identity,” he says. “But it was also important to give the work a real punch. A perfect example of this was with the ‘fucking flowers’ animation in Empty Spaces. It’s so iconic as an animation piece that to push it too far would be sacrilege. The strength of the original piece is in the visual ideas. However, to enhance it, to approach it from a new angle was exciting.” For that animatio, Ben used Maya’s Paint FX tools to create a full 3D model of the plant, allowing him to produce a look he desribes as “cel animation on steroids”. Each animation was output at 8,560 x 1,060 – requiring very lengthy renders. Breaking down The Wall Ben Ib has reimagined Gerald Scarfe’s animations for Roger Waters’ epic concert P Faces with designer pedigree rjowiggins Creative Papers has teamed up with the French foundry Typofonderie to launch five typefaces promoting its new Conqueror range of papers – and has released the fonts for free on its website. Arjowiggins invited three leading artists, including illustrator Seb Lester, to create designs for a brochure that showcased both the new typefaces and the latest Conqueror papers. The fonts come in a variety of weights and feature a wealth of glyphs. You’ll find them available for download at A hot off the PRESSBRILLIANT NEW DESIGN BOOKS storemags & fantamag - magazines for all
  12. 12. SPOTLIGHT12 SPOTLIGHT Comp with class – p16 Corel’s iPad paint app > Corel Paint it Show turns photographs into painted artworks displayed in a slideshow. Select an album from your Facebook account or images from your iPad, start the slideshow and Corel Paint it Show will do the rest. It also lets you save your favourite painted images to your iPad, post them to your Facebook account or email them. The app costs 59p. E very time a new series of Mad Men arrives, it makes artists and designers look back and draw inspiration from the clean, simple aesthetic of the 1960s. Manchester-based illustrator and caricaturist Stanley Chow hasn’t done just that: he has produced artworks based around two of the show’s main characters, advertising creatives Don Draper (below left) and Peggy Olson (far left), and its most iconic figure, Joan Holloway (left) – which he has released as posters. “With Mad Men being set in the 60s, it was only natural to give the posters a retro feel,” says Stanley. “I believe my style has retro leanings anyway, so this wasn’t hard to do.” Many of Stanley’s design choices were drawn from the show. “I used the Futura font for the Don Draper poster, simply because that was the font used for his name on his office door,” he says. “The background for Miss Holloway is the colour of the walls at Sterling Cooper [the agency the characters work for]. With Peggy, the colour of the background was that of her original desk.” Driven by Mad Men POSTER ARTWORK> project Pro display by LaCie aCie has announced the latest addition to its line of pro monitors, the LaCie 324i. Aimed at artists, designers and photographers, the display features a 10-bit professional in-plane switching (P-IPS) LCD panel with a maximum resolution of 1,920 x 1,200 pixels. The LaCie 324i has a 24-inch screen and can be rotated 90 degrees for use in Portrait mode. It promises to deliver uniform and accurate colours thanks to its wide gamut and backlight stabilisation. Another feature is an anti- glare panel which should banish reflections often found on glossy monitors. The LaCie 324i costs £893 plus VAT. L True PDF release: storemags & fantamag
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  14. 14. teamwork coworkers men DJ music glamour shoppingcasual woman suit business umbrella businesswomanportraitnature We’ve seen a lot in ten years. Whether you’re a designer, advertiser, entrepreneur or blogger, we can help you tell your story with royalty-free photos, illustrations, video and audio. Say anything with iStockphoto. True PDF release: storemags & fantamag
  15. 15. yoga relaxation sitting health exercise dieting young mischievo us chil dren sexy h olidaycostume mother su rprised stress fa ther child famil y storemags & fantamag - magazines for all
  16. 16. FEATURE16 There are myriad ways to exploit Photoshop’s incredible power. Here five experts tell Graeme Aymer their techniques for outstanding compositions C ollage techniques, arguably, have been around since humans started drawing on paper, but the art form really took off in the early 20th century. Popular among the Russian constructivists, European surrealists and Dadaists, the collage enabled its exponents to make their point by recontextualising ‘real’ images. For some, the motivation was political; others just wanted to make an aesthetic statement. Photoshop revolutionised collage and photomontage, and it’s easy to see why. “If it wasn’t for Photoshop I’d probably be doing collage on my studio floor,” says London- based Caroline Tomlinson. “Photoshop means I can create wherever I am.” “You can take any image that you have, you can chop it up and put it back together, you can throw paint all over it and wipe it right off,” adds Rob Shields from Philadelphia. “Using Photoshop gives you a lot more freedom.” Some artists see the wealth of filters in Photoshop as an excuse to indulge in ‘whizz- bang’ effects just because they’re there – but the best practitioners know it’s wise to use them in moderation. This doesn’t mean eschewing Photoshop’s tools, as the well- considered use of effects can enhance your composition even if you’re going for a hard cut-and-collage style. The artists we’ve featured here take a number of different approaches to creative expression. Caroline’s approach is explicitly reminiscent of early 20th-century collage artists. The work of Gateshead-based Ian Keltie brings to mind the 1980s revival of Soviet collage. For some, including Andrew Williams from Toronto, photorealism is the order of the day, while others, such as Rob, create crafted, blended pieces. Paris-based artist Brice Chaplet, better known as Mr Xerty, takes the best aspects of the absurdists to create finely blended work that demands wonder and a pinch of salt in equal measure. “I love textures, drips, scratches, vintage stuff, old sepia postcards,” says Brice. “With collage you can use all of these elements and mix it together.” “You can bypass all the technical skills you need to be an artist,” adds Rob. “You don’t have to learn how to draw hands and feet, which is a really long process.” The approaches are as different as the reasons for creating collages in the first place. To provide a snapshot, we’ve spoken to these innovators to find out what they do, and how. Right Dr Parnati is an example of Brice Chaplet’s approach to mixed media, which entails both photo-manipulated imagery and vector illustration. Centre right Caroline Tomlinson created a work for the first anniversary of Jelly, the agency that represents her. Far right Ian Keltie illustrated Blackpool for a Time Out feature on places to visit. The result perfectly sums up his approach, with meticulous image positioning and incredibly vibrant colours. True PDF release: storemags & fantamag
  17. 17. 17FEATURE > Odd Blood is an experiment with colour by Rob Shields. The title is taken from a song by Yeasayer. storemags & fantamag - magazines for all
  18. 18. The new constructivist FEATURE18 It’s all about Peter Blake, as far as Caroline Tomlinson is concerned. He is “the king of collage!” she effuses. She is equally enthusiastic about early 20th-century Russian constructivism and surrealism. Following undergraduate and master’s degrees at Norwich School of Art and Design (now Norwich University College of the Arts) and Central St Martins respectively, Caroline has been working in London as both designer and illustrator. The Royal Mail is one of her most important clients. Collages make up most of her work, and for these she uses photographs bought from antiques markets or ones she has taken herself. This, and her love of scanned hand-drawn elements, add a tactile element to her work. “If I didn’t do that, it would feel to me as if it lacked emotion,” she explains. “Sometimes I can get a little too particular about straight lines and compositions. Once I add a scribble or a paint splodge, it feels less sterile.” Caroline begins by making notes on the job at hand, highlighting any keywords that appear. This is a way to set the tone of the work. Then she will sketch “a very scribbly scamp of an idea”, which helps create a shopping list of images to seek from her collection. As her work has an almost pre-computer-era feel, she is not that concerned about the pixel-precision of cut-outs. “A couple of years ago I considered it really important,” she says. “Now I don’t mind the imperfection of an inaccurate cut-out. I actually prefer it and want to push this further, almost to see how far I can go before it starts to look unfinished. I’m moving towards a slightly looser and more surreal approach.” 5 Top tips Caroline Tomlinson 1. Don’t be afraid to experiment. There are many different ways to combine images; try them out. 2. Get messy! Precision and tidiness are not always the answer. 3. Make sure you have a central idea. A computer may make your image look faultless, but it won’t provide conceptual thinking. 4. Have a style and approach that is yours alone. That’s going to be why you get hired. 5. Have fun. If you don’t enjoy creating your work, people won’t enjoy looking at it. To celebrate London’s new Cycling Superhighways, Caroline experimented with a number of layouts to show the relationship between existing green road markings, cyclists and the city. True PDF release: storemags & fantamag
  19. 19. The photorealist 19FEATURE “Mine is a Cinderella story of sorts,” says Toronto- based Andrew Williams, before recounting his convoluted route into a design career. In summary: schoolboy goes from sketches to graffiti, branches off at anime, prepares to do a film degree but gets seduced by computer graphics and interactive design. Nowadays he produces collages that are pretty much totally Photoshop-based for the likes of BMW, Mercedes-Benz and Calvin Klein, though he says he still gets a kick out of film, particularly from the output of producers Jerry Bruckheimer and JJ Abrams. His work typically begins with an idea and some research into what’s hot on design sites. It is, he says, a matter of being discerning in order to figure out how to remain current and not appear derivative. Andrew is a fan of traditional design rules, though he will 5 Top tips Andrew Williams 1. Make sure you choose colours well and understand the concept of depth of field. 2. The focal point is hugely important. Take some time and choose it wisely. 3. For inspiration, look beyond design – think about, for example, camera angles in films. 4. Pay attention to detail and get the retouching right. But don’t overdo the feathering. 5. Don’t work solo; have a trusted someone around to bounce ideas off. It will make you a better designer. > The model seemed to be looking at something, so he added a butterfly. The finished work above, entitled Global Sin, was entered for an iStockphoto competition. Not unlike John the Apostle, Andrew Williams found himself contemplating Armageddon, caused by a cosmic event. To start visualising that, he needed a suitable image of Toronto’s CN Tower. Once he’d found the right image, Andrew added appropriate effects to make the tower look as though it had collapsed and was decaying. Andrew then extended his apocalyptic vision to the rest of the world, bringing in iconic structures from all continents. Now Andrew began introducing more colour to the scene, adding a bronze haze as well as cracks and flames to the buildings. Andrew created the sky by feathering several sky images together and colouring as before. He also added items on the ground and had them sinking slightly, to denote the crumbling earth. Andrew was originally going to add an Adam- and-Eve couple for human interest, but he felt the leather-jacketed model was perfect. transgress them as necessary. He allocates around half the time on a job to retouching images, and also puts a great deal of effort into cut-outs, making sure he is pixel-perfect. “It’s very important as I am an attention-to-detail freak,” he says. He is also careful about feathering, as he feels it makes all the difference between the achieving the right look and being blighted by the “cheese factor”. For Andrew, collage is about getting the colour right and understanding depth of field. “These are most important in my mind,” he explains. “I always have a focal point in my collages and then use it to draw attention to details. So I take a lot of time choosing that specific object. “I approach my work with a design style that is the same as many out there today, but I try to make it different by using methods that most don’t use,” he says. “I prefer work that looks real, rather than something that looks fake just for the sake of making something look cool.” What is that certain something that makes a piece an Andrew Williams piece? “I can’t really say what that is,” he muses, “but I do use a lot of women in my work.” 1. 2. 3. 4. 5. 6. 7. storemags & fantamag - magazines for all
  20. 20. FEATURE20 Paris-based designer Brice Chaplet, better known as Mr Xerty to his fans, started out studying geography, which he describes as “not a big love affair”. It was graffiti and poster design for electro rave parties that gave rise to his passion for computer-based design. Big on surreal and dystopian visions – he cites Aldous Huxley, George Orwell, Tim Burton, Salvador Dali and René Magritte as influences – he has worked for Sony and the French magazine Science & Vie, among others. He considers most of his work to be mixed media, which he calls “modern collage”, involving both Photoshop and Illustrator-derived vector images. “I feel free with this creative process because I’m not a perfect drawer,” he explains. “With collage or mixed media I can express what I want by playing with a picture, adding colour vector shapes or paper textures to add an old-fashioned touch.” Brice has a very open-ended approach to working in Photoshop. “I’m not a purist,” he declares. “The most important thing for me is to have a good, well-executed and balanced composition. Technique is important in order to be at ease with the types of client demands you can receive.” He also advises taking time over mixing textures and colours so that your final result doesn’t look like “a basic Photoshop exercise”. All his work starts out in a small book, where he keeps notes and sketches. Thereafter, he consults stock libraries or his personal collection of photographs for images. “There are no rules in particular,” he says. “Feel free and crazy! But mainly, you have to choose the right photos.” 5 Top tips Mr Xerty 1. Find a theme. It will help to keep your composition holistic. 2. Search for some really appropriate photos. Choose wisely. 3.Choose a good colour scheme. Again, it’s all about a unified creation. 4. Mix your elements in a homogeneous way. Make sure everything on the page looks like it belongs there. 5. Be creative, and a little crazy. Make sure you go for it big time.Brice’s collage For You began life as a poster for a friend’s Halloween party. The party was cancelled, but the image developed a life of its own. The strange goings-on depicted were assembled from the elements shown above top, and take place in a room that was itself composited from a couple of stock images. > The surrealist 1. 2. 3. 4. 5. True PDF release: storemags & fantamag
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  22. 22. FEATURE22 5 Top tips Rob Shields 1. Before you start a project, look for more elements than you think you will need. It will increase your options, just in case. 2. Research some of the old compositional tricks like the rule of thirds in order to have a more technically astute eye. 3. Look at each element in the work and ask yourself what it adds to the overall piece. If the answer is nothing, get rid of it. 4. Don’t be afraid to stop, disassemble the work and start with a new approach: experimentation is a must. 5. Remember tip two? Now go ahead and break the rule of thirds. In his career as a montage artist, one event proved definitive for Rob Shields. “I watched a film, How To Draw A Bunny, about a 1960s collage artist called Ray Johnson,” he explains. “He seemed really strange, and I thought, I’m really strange too; maybe I’m supposed to be an artist.” Based in Philadelphia, Rob studied psychology and philosophy, and also did a stint as a writer before teaching himself design a few years ago. Most of his time is now spent on creating artworks for a range of clients, particularly in the digital design realm – this magazine among them. Rob believes collage enables budding artists to find their creative voice quickly, though he concedes that what was once liberating has become somewhat limiting. “If I have an idea now, I have to find a photograph,” he says. “I’m trying to move away from that.” But his creations are anything but limited. They are snapshots of Photoshop at its most powerful. “I usually start off by sketching really loosely in Photoshop, just the basic shapes or composition,” he says. “I use a tablet and I draw right into a layer.” Rob places great emphasis on the precision of his cut-outs. “If you see something that’s poorly cut out, your expectations instantly go down. If you can tell the person’s spent time on it and didn’t just throw it together, I think that’s really a big thing for making a good collage.” Below Rob created this image around the theme ‘what a mess’. His concept centres on the idea that subconsciously we all wear masks. The perfectionist True PDF release: storemags & fantamag
  23. 23. 23FEATURE > 1. 2. 3. 4. 5. 6. For Rob, a montage will often begin with a strong central image around which various shapes, sometimes vector illustrations, will be added. This artwork (right), for a Beautiful/Decay T-shirt, started with a stock image Rob’s girlfriend gave him. Photoshop’s blending modes and Lasso tool are incredibly important to Rob. He treats his images very delicately and precisely to ensure that the final composition comes together seamlessly. storemags & fantamag - magazines for all
  24. 24. FEATURE24 Ian Keltie began the new century as a long-distance commuter: he spent the working week in London at magazines and at the BBC, weekends in his hometown of Newcastle-upon-Tyne. He returned to the north-east permanently in 2004 and co-founded his design practice, Keltie Cochrane, in 2008. His client base is pretty hip considering he once asked his design team in earnest, “Who is Jay-Zed?” Rolling Stone, The New York Times, Time Out and Lucasfilm are on his books. He counts fashion as a major influence on his work. “I can go into Topshop and see a shirt and think, ‘look at the colours on that,’” he says. His colour sensibility often comes into play with Photoshop’s Threshold and Posterize functions. “I also like Select > Similar; it’s great when you’re working in two-colour images,” he says. His style, which he says evolved naturally, is a fine balance between paring down detail to make the correct impact, while leaving in enough to make figures recognisable, particularly with advertising campaigns involving celebrities. “I’ll posterize, say, Mary J Blige so that she’s a black-and-white image,” he says. “I’ll extract the black and white onto two different layers. “Then I’ll mess around with different colourations on each layer and see which one fits the path best.” He concludes: “I’m trying to create something cool that people will take some kind of pleasure from. I’m not into the idea that every image has to have a deep message that the artist wants to waffle about.” 5 Top tips Ian Keltie 1. Pick the right images. Work with your client to find what suits the job best. 2. Visualise the end result before you start; get it down on paper, if you can. It will save you time and potential heartache. 3.Composition is king. Use a striking foreground image, but pay close attention to the scale and appropriateness of background images too. 4.Don’t overload. While it’s tempting to keep adding elements, there is an art in knowing when to stop. 5.Be your own critic. Always look at what you’re going to do next, not what you did yesterday. Top Florida-based Gulfshore Media offers Ian free rein to do a monthly image. Here he experiments with strong shape and colour elements. Top centre Billboard magazine commissioned Ian to do an image related to the Grammy awards. Right For a Time Out piece on films shot in London, Ian treated images of Gary Oldman and Jude Law – and sneaked in a shot of Newcastle’s Blakelaw estate for good measure. Thecolour enthusiast True PDF release: storemags & fantamag
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  26. 26. FEATURE26 A ways to better art in Photoshop gurus Mark Mayers and Fabio Sasso reveal 20 techniques that will make you a better artist longside our feature on pushing the creative envelope in Photoshop (p16), here are 20 tips that will help produce even better artwork in this enormously powerful application. Photoshop includes a huge number of tools, and here we expose some of its less well-known features and reveal new ways to use some familiar favourites. Some will help you achieve results faster – so you can concentrate on fine-tuning your compositions – while others unlock the possibilities of what can be achieved in Adobe’s flagship tool. Many of these tips will work in Photoshop CS or later – though some require newer versions. We’ve noted these in the tips concerned. 1 Brush up on clouds The best way to create realistic clouds in Photoshop using brushes is to select the Texture tab in the Brushes panel (F5), then, for the pattern, use Clouds 128x128 (it’s in the predefined list named ‘Patterns’). Also make the Scale much bigger than the brush size and use Color Burn for the blending mode. 3 Use Smart Objects Introduced in CS2, Smart Objects are layers that can be edited on-the-fly simply by double- clicking their layer icon. Once changes have been saved, the objects update automatically along with any duplicates (or instances). To paste artwork from Illustrator as a Smart Object, check the relevant option. 20 2 Lighten up To create a streaming light-ray effect, use the Gradient Tool: in the Gradient Editor, set the Gradient Type to Noise with 100% roughness, then use the Angle Gradient. True PDF release: storemags & fantamag
  27. 27. 27FEATURE > 4 Bitmap it Convert images to Bitmap mode (Image > Mode > Bitmap) to create super-stylish halftone and woodcut effects. Colour images will need to be turned into greyscale first (Image > Mode > Grayscale). 6 Recycle it We know it’s important to recycle – and with one kind of retro sensibility or other always in vogue, why not do the same in your artwork by incorporating imagery from vintage magazines? They can often be picked up for next-to-nothing at car boot sales and junk shops. 7 Talk to your printer When creating Photoshop files for screenprinting, talk to the printer for advice on the limitations of the process. It’s good to find out where you might need to expand or contract areas to allow for slight misalignment when the garment is printed. 8 Use layer comps Layer comps capture the state of the Layers panel and are a neat way to show clients variations of a design without having to save multiple documents. The other great feature is the ability to add annotations. 5 Be a better selector Creating selections accurately is an essential Photoshop skill if you’re going to perform tricky compositing tasks. The Refine Edge command and its cousin, Refine Mask (both introduced in CS5), make the process less tedious and enable you to extract difficult subjects – such as wispy hair. storemags & fantamag - magazines for all
  28. 28. FEATURE28 11 Dodge it The Color Dodge blending mode can be used for soft lighting effects, but applying it to elements that sit over black backgrounds won’t elicit any results. Instead pick a background colour with a slight amount of red, green or blue to it. 13 Add real-world textures Dig out those seldom-used paint brushes and create some textures on board or canvas. Digitise them and experiment with different blend modes to add a gritty, urban look to illustrations. Paint splashes can also be used to create your own personal library of grunge brushes. 12 Burn it Color Burn works in precisely the opposite way to Color Dodge. Use it to create a logo that looks like it was scorched into wood, for example. 10 Large formats can be low-res Check with your printer when creating illustrations destined for large- format printing, such as exhibition graphics. One rule of thumb is to work at 400dpi in a document a quarter the physical size of the output. At actual size, therefore, the output will be at 100dpi, which is usually fine for the distance at which people will view it. 9 Glide between blends To cycle quickly through layer blending modes, hit Shift + + or Shift + -. These shortcuts are great for previewing how overlaid textures interact, and they also work when painting with the Brush tool and when the Move tool is active. True PDF release: storemags & fantamag
  29. 29. High-definition video, images and audio – the new G-SPEED Q takes the most demanding, storage-hungry applications in its stride. And that’s some stride. This all-aluminium, 4-bay RAID system can process at speeds of up to 200MB/s, which means you won’t be left hanging around waiting for it to play catch up. A quad interface gives you great connectivity and versatility, whilst the integrated RAID controller and supporting Mac/PC software lets you connect directly to your desired computer system and easily set your preference to either RAID 0 or RAID 5 data protection. Plus the G-SPEED Q gives your creativity the ultimate in performance and reliability from the four hot-swappable 7200 RPM Hitachi UltraStar ‘enterprise-class’ drive modules, each boasting 10 times error rate improvement over standard drives. All in a surprisingly affordable and portable system. Removable “smart” cooling fan to ensure quiet, reliable operation and data integrity Internal 200W AC power supply with ultra-quiet “smart” fan Space-saving aluminium enclosure (4) Hot swappable drive modules with enterprise-class Hitachi Ultrastar™ drives High-speed professional interface with 3Gbit eSATA, FireWire 800, FireWire 400* and USB 2.0 connectivity *via included FireWire 800 to FireWire 400 cable UP TO 8TB 4 x hot-swappable 7200 RPM 3Gbit eSATA Enterprise-Class Hitachi Ultrastar™ hard drives for ultra speed and data security Speed is our middle name Quick. Visit for full details and retailers High-speed RAID with quad interface storemags & fantamag - magazines for all
  30. 30. FEATURE30 15 Glow with success An easy way to add a glow effect is to create a layer with all other layers merged into it (see 18). Now apply a Radial Blur of 10-20 pixels and the Screen blending mode. Drop the opacity to 15%, then raise it until you get the desired effect. 16 Work in depth Even if you don’t have the Extended versions of Photoshop, you can still incorporate renders from 3D applications. Most of them can output separate channels, which you can use as masks to make selective adjustments. Some 3D programs can also render depth maps which Photoshop can apply to 2D images. 18 New layers from old One handy shortcut that is less used than it could be is Cmd/Ctrl + Alt + Shift + E (CS3 or higher), which creates a new layer with all existing visible layers merged into it. 14 Mesh it up Create super cool mesh effects using Transform > Warp, and then selecting Fisheye from the Options bar menu. The example was created by Fabio for 17 Noise is neat It can be tough to achieve a silky smooth transition of shades when you work with subtle gradients – so apply a little Noise. 20 Channel your creativity Channels are mostly used to store commonly used selections, but they can also hold information that is beyond the capabilities of four-colour printing, including metallic and fluorescent spot colours. With a little practice and patience, you can selectively add inks to the CMYK set to produce absolutely stunning effects. 19 Cloud the picture Apply the Render Clouds filter as a mask to make your design less uniform. True PDF release: storemags & fantamag
  31. 31. Available now at the App Store… Macworld iPhoneApp Optimised for your iPhone & iPod touch CHOICE OFTHREE APPSTO DOWNLOAD ✔ The latest Apple & Mac news ✔ Browse the latest reviews ✔ Masterclass tutorials ✔ Push alerts for breaking stories ✔ Content accessible offline Available on the App Store storemags & fantamag - magazines for all
  32. 32. SHOWCASEtHiS mOntH’S FRESHESt CREAtiVES 32 SHOWCASE he Digital Arts showcase offers you the chance to gain valuable industry exposure – so send in your work and get it seen by thousands of creative professionals and companies on the lookout for creative talent. web: contact: What training do you have? i studied AVCE Art and Design at Swindon then went on to do an HnD in illustration before graduating in 2008. What materials do you work with? i work with pencil, pen, ink, watercolours and sometimes Photoshop for adjusting the contrast and depth of my illustrations. i also use illustrator CS4. Which clients have you worked for? nike, Umbro, 55DSL, Concrete Hermit gallery, Ride Snowboards, t-shirt Store, and Be Street magazine. What inspires you? Birds, oriental patterns, wallpaper and skulls. Iain macarthur showcase artist T Left Victorian Face. Right Skelator. > True PDF release: storemags & fantamag
  33. 33. 33 visit for more creative work SHOWCASE web: contact: Tom Lewis showcase artist Address Showcase, Digital Arts, 101 Euston Road, London, NW1 2RA e: Important Please send work on CD, or via email, to the address on the left. If you enclose an SAE, we’ll do our best to return work to you. All submissions at the owner’s risk, and are made on a non- exclusive worldwide licence to publish in print and in electronic media. Copyright remains yours. Tell us about your background. I did a fine art degree at Middlesex Uni, where I ended up feeling like I had to make really conceptual work. That led to me specialising in vaguely plausible nonsense about things that were not very visually stimulating. After I left, I just got back to what I wished I had been doing all along. Where are you based? I’m smeared over parts of east London. I live in Bethnal Green, have a painting studio in London Fields and a print studio in Dalston. What materials do you work with? Whatever is to hand in the studio. I’m a big fan of mixing it all up and seeing what happens. Is much of your work computer-based? Photoshop and I have an exclusive relationship. A couple of years ago I had an affair with Illustrator, but it was purely physical and didn’t last very long. Which clients have you worked for? Unless a project is really exciting, I don’t tend to work for anyone else. A while ago I customised the dining room table for Britain’s Next Top Model, which was fun, but other than that, I’ve just been exhibiting my paintings and prints. What inspires you? Whatever creative goo that’s inside my head is a blend of, in no particular order, textures of walls, Japanese woodblock prints, neon signs, really old high-tech equipment, wallpaper, layers, invented narratives, misheard scraps of conversation and music. And anything that hints towards worlds where something like magic is possible but not magic, because ‘magic’ sounds rubbish. Top The Legend of Ryujin Valley. Middle Megan and the City. Bottom Megan Saves the Monsters. storemags & fantamag - magazines for all
  34. 34. 3434 SHOWCASE web: contact: Where did you train? I was educated as an architect, then for a long time I worked in web design. I now illustrate children’s books. Where are you based? St Petersburg, Russia. What kinds of materials do you work with? I like to draw with a simple gel pen. Sometimes I use pen and ink. What computer packages do you use? Photoshop and Illustrator. Which clients have you worked for? I work with several Russian publishing houses. I’ve not had any solo exhibitions. What inspires you? The masters of engraving of the past and natural forms. Top The Treasures of Agra. Right and far right Calendar illustrations. Irina Vinnik showcase artist True PDF release: storemags & fantamag
  35. 35. SHOWCASE 35 tHiS mOntH’S FRESHESt CREAtiVES SHOWCASE> web: contact: Where did you study? i did Graphic Communication and illustration at the University of Plymouth. in 2008 i moved to Bristol, where i now work as a designer and freelance illustrator. What computer packages do you use? Predominantly illustrator and Photoshop CS5, although all my work starts with the trusty pen. What clients have you had? i’ve worked on projects for the nHS, iBm, Grolsch, the Carbon trust and The Sunday Times. i have also exhibited at the D&AD new Blood, Free Range and inkygoodness shows. Ben Steers showcase artist Top left Poster image created for Don’t Panic media on the theme of industry. Far left Gone Karting, part of a series of prints for an inkygoodness show entitled Play. Left Victorian Tall Bike, created for an exhibition on bicycles. storemags & fantamag - magazines for all
  36. 36. 36 Top Across – a broken poem in panels. Inset Pancakes – first page of an absurdist short story. Bottom The Lonely Bear – cover artwork. 36 SHOWCASE tHiS mOntH’S FRESHESt CREAtiVES SHOWCASE> web: contact: tell us about your background. i completed a degree at the University of Oil and Gas in moscow, and it was perhaps indifference to anything scientific that motivated me to try drawing and writing. Where do you live? in San Francisco, where i’m finishing a master’s degree. What materials do you work with? Pencils, ink and Photoshop. i often have trouble deciding on a medium for a story or illustration. the pen-versus-brush debate sometimes drives me mad. is much of your work computer based? Everything is almost exclusively Photoshop. i’m colour- blind, so painting with real media can be troublesome. Which clients have you worked for? Dark Horse Comics, Tripwire, Empire, Loaded and many others. i sometimes take part in local exhibitions and festivals. What inspires you? Literature, comedy and artists who find the balance between tragic and comic. i’m also a huge fan of Black Books, Monty Python, Father Ted and Alan Partridge. Roman muradov showcase artist True PDF release: storemags & fantamag
  37. 37. GET CREATIVE TRURO AND PENWITH COLLEGE Higher Education Admissions 01872 267122 We offer an exciting range of subjects to choose from at University Level including: Action Photography FdA ● Develop skills in the various fields of photojournalism ● Specialist Study (Natural History, Sport and Social Documentary) Computer Technology HND ● Application Software Development ● Dynamic Web Sites ● LINUX ● Systems Installation and Configuration Digital Visualisation FdA ● Broad art and design base ● Covers 2D, 3D, 4D, art and design, visualisation and motion ● Future technologies ● Working with creative industries Photography and Digital Imaging FdA ● Creative and commercially relevant work ● Excellent photographic studios ● Silver and digital based Web Technology FdSc ● Networks and Communications ● Computer Systems and Applications ● Database Design and Implementation ● Mark-up Languages and Scripting ● Website Implementation and Management Commercial Music Performance and Production FdA Media Moving Image HND Sound Engineering BSc (Hons) (top-up)* Sound Engineering and Multimedia Integration HND storemags & fantamag - magazines for all
  38. 38. ro 3D applications are often difficult for artists to learn, but not iClone. This application from Reallusion is designed to work as simply as possible, making it as useful for mapping out elements in a scene – to provide a perspective sketch for a digital artwork, say – as for creating full animations. The Download Zone features the full 3.0 SE software, worth £69.99. To unlock it, you’ll need to enter the code THECLONERANGER (all caps). To help you learn the application, the Zone also includes the fantasy beast and modern fashion bonus packs, stuffed with characters and props, and worth £30. To unlock these, enter THEBEASTMUSTDIE (all caps). DOWNLOAD ZONEDISCOVER WHAT GOODIES ARE IN STORE IN OUR CREATIVE RESOURCE MASTERCLASS FILES > The Download Zone includes the files you need to complete this month’s Masterclass tutorials. To get your hands on this incredible content, go to DOWNLOAD ZONE38 P With iClone you can quickly create 3D scenes for artwork or animations. To get you started, two full model packs are included! > free A FULL 3D APPLICATION FOR ARTISTS AND ANIMATORS iClone 3.0 SE – 3D art suite worth £100 > Digital Arts has teamed up with top stock image library Photostogo to bring you a full collection of amazing high-resolution photos that you can use in commercial projects. This month the Download Zone features a range of model shots, ready for comping into Photoshop. They are all around 3,000 x 2,500 pixels in size – large enough for many types of printed artworks. Photostogo is the brand new resource for cost- conscious image buyers. The site has thousands of images available from 2p each. 20 MODEL SHOTS FROM WORTH £300! On theDownloadZone thismonth > True PDF release: storemags & fantamag
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  40. 40. MASTERCLASS > Info TIME TO COMPLETE • 3-4 hours SOFTWARE • Adobe Photoshop CS3 or higher, Adobe Illustrator CS3 or higher DOWNLOAD • Files for this tutorial are downloadable from downloads MASTERCLASSHONE YOUR DESIGN SKILLS WITH EXPERT TECHNIQUES 40 True PDF release: storemags & fantamag
  41. 41. 41 I n this tutorial, Eelco van den Berg lets you behind the curtain to see how he creates his incredible vector portraits by turning a photo into a ‘poppy’ vector illustration. You will learn quick and easy Photoshop adjustments that prepare artwork for translation into vector shapes. He shows you how to trace the basic shapes using the main tools in Illustrator, and how to use layers to organise the photos and your new vector artwork. You will discover how to create the feeling of light and shadow, build a simple brush to work with and use the Pen tool for more geometrical shapes. You’ll also discover the possibilities of the Pathfinder tool, and how to draw with the brush to create a looser feel. We’ll also show you how to play around with elements of the portrait to build up the background and how to use a simple raster to give it some texture. Turn portraits into stylish vector art Eelco van den Berg explains the secrets of his vectorised style through an easy step-by-step guide MASTERCLASS In Photoshop, open photo.jpg from the Download Zone and select Duplicate Layer from the menu in the Layers panel. Use Cmd/Ctrl + L to bring up the Levels dialog, then use the middle slider to make the new layer a bit lighter, so the subject stands out better from the background. Use the Polygonal Lasso tool (L) to separate the subject from the background in the duplicated layer. This can be done quite roughly. Once the subject is selected, go back to the original layer, invert your selection (Cmd/Ctrl + Shift + I) and delete the background. Now you can delete the duplicated layer. tutorial PHOTOSHOP & ILLUSTRATOR 01 STEP 02 STEP > TRACING TECHNIQUES> learn visit for more tutorials Now choose the Crop tool (C) and select just the subject’s face and a bit of her chest. Set the Crop Guide Overlay to None in the Options bar to help you see what you’re doing. For now, we’ll keep the image’s resolution unchanged. 03 STEP storemags & fantamag - magazines for all
  42. 42. MASTERCLASS42 Open the PSD file in Illustrator and use the ‘Convert Photoshop layers to objects’ option. Now all your layers are in Illustrator’s Layers panel. Set the document up as a portrait A4 page, then save it as an Illustrator document. You can save it as a PDF instead to reduce the file size and stop your hard disk from overflowing. 07 STEP Make a new layer and call it ‘Front’. This is the layer we are going to work in. Put this layer on top of your other layers. Lock the other layers. In the Brushes panel, select New Brush. Select New Calligraphic Brush and click OK. Rename it Basic Brush and set the Diameter to 1 and the angle to 0°. Choose Cmd/Ctrl + B to activate the brush, using black for the stroke colour and no fill. 08 STEP 09 STEP 06 04 STEP Duplicate the layer, name it ‘Contrast’, then increase the contrast on this layer. Duplicate this layer and select Image > Adjustments > Posterize with a Level of 4. Now rename this layer ‘Posterize’. > You may want to duplicate an extra layer from the original, alter the levels and save it with the name ‘Levels’. Later you can use this to trace additional detail. Now change the image resolution to 150dpi and the height to a maximum of 25cm; this will make the subsequent Illustrator file smaller. Save it as a PSD. 05 STEP Make a new layer and call it ‘Front’. This is the layer we are going to work in. Put this layer on top of your other layers. Lock the other layers. STEP True PDF release: storemags & fantamag
  43. 43. MASTERCLASS 43 tutorial PHOTOSHOP & ILLUSTRATOR Now it’s time to start tracing the photo. In general, use the brush for irregular shapes and the Pen tool for more geometrical shapes. Start off by mapping out the basic shapes. It will look a bit messy once you’re finished, but trust me, that’s fine for now. I start off by tracing from the ‘Posterize’ layer and turn to the other layers later if I want to add more detail. Make sure the shapes are joined (using Cmd/Ctrl + J). Now you can start filling them, using the Eyedropper tool to pick colours from the ‘Posterize’ layer (you may also want to store them in the Swatches panel). If some shapes overlap, copy and select the shapes that need to be divided, then go to the Pathfinder panel (Cmd/Ctrl + Shift + F9) and hit the Divide button. Ungroup them (Cmd/Ctrl + Shift + G) and delete the parts you don’t need. Remember to Group them again afterwards (Cmd/Ctrl + G). Now return to the ‘Contrast’ layer (and the ‘Levels’ layer too, if you created this) – to pick out more details. After this, try playing around with the colours. Using gradients makes the results subtler and gives a pleasing painterly effect. Create a new layer called ‘Background’ and draw a rectangle the size of the document; I’ve made mine dark blue to make the face stand out more. Also draw some simple liquid shapes with the Basic Brush to make the composition more dynamic. Open the raster.eps file and place the object over the green cap. Select both cap and raster element, duplicate them and drag the result beyond the document edge. Bring it to the front (Cmd/Ctrl + Shift + }) with the raster over the cap. Hit the Crop button in the Pathfinder panel. Align the result over the first raster element (use Smart Guides to help you), then delete the first element. Now you have a rasterised fill giving the cap more texture. 14 STEP 13 STEP 12 STEP 10 STEP 11 STEP To assess your work, create a new layer called ‘Mask’ to use as a sort of picture frame. With the Rectangle tool, drag a selection over the artboard. Drag another rectangle bigger than your artboard. Select both and right click > Compound Path. Make this white and lock the layer. Select Object > Path > Offset Path to accentuate the sunglasses – a value of 1mm should do. Choose Preview to see what works. To add an extra line inside, create another with an offset of -1mm. Note that it’s not an outline, but an extra shape. Do the same for the scarf. POSTERIZE A NEW PALETTE >Using Photoshop’s Posterize command, you can create a nicely varied set of colours, each of which you can pick up with the Eyedropper tool. MASTERCLASS > If you need to see your brush lines more clearly, set the transparency of the original layer with the photo lower and switch off the visibility of the other layers. > storemags & fantamag - magazines for all
  44. 44. MASTERCLASS44 tutorial PHOTOSHOP & ILLUSTRATOR Delete the ‘Mask’ layer and the layers you brought in from Photoshop. In the Layers panel menu, select Flatten Artwork. Select all your elements (Cmd/Ctrl + A) and group them (Cmd/Ctrl + G). Drag a rectangle precisely over your artboard and make sure it is on top of your grouped artwork. Select all again (Cmd/Ctrl + A) and hit Cmd/Ctrl + 7. Now you’ve made a clipping mask of your work, showing only what is within the artboard. Your vector portrait is now complete. 17 STEP MASTERCLASS profile EELCO VAN DEN BERG > Eelco van den Berg is an illustrator, painter and graffiti artist based in Rotterdam, the Netherlands. He can often be found freaking out in the studio with Adobe Illustrator or outdoors with spraypaint and latex. Eelco’s work stands out in its strong use of colours and outlines, combined with highly decorative elements. His portfolio illustrates the diversity of his work and clientele, ranging from Bacardi to the fashion trade show Bread and Butter. CONTACT • Above This portrait of legendary Detroit DJ Kevin Saunderson was created for the online gallery Heroes On Canvas. Below A Vlieger & Vandam bag bearing one of Eelco’s prints. 15 STEP I want to add more detail to the scarf, which should make the rest more abstract. First, reduce the scarf area to just blue and black by deleting some things you’ve drawn. Now use the Basic Brush to create a stripe pattern using colours from the Swatches panel, then use the Pathfinder panel’s Divide tool to fit the shape in the scarf. Next, draw a shape with your brush to suggest shadow. Open the Transparency panel (Cmd/Ctrl + Shift + F10) and select a Multiply blending mode with an opacity of 30%. Do the same for the background and clothing. 16 STEP Copy the layer with the Multiply blending mode and paste it a number of times. Place them under the clothing to give it more depth. Copy one part of the scarf pattern, group the elements (Cmd/Ctrl + G), scale them up slightly and place them in the background. Again use copy-and- paste versions of the layers with Multiply blending modes to add more depth to the composition. True PDF release: storemags & fantamag
  45. 45. ELEMENTS 9NEW BOOKS FOR ALL SKILL LEVELS 9780321741332 RRP £33.99 | Dec 9780321741301 RRP £22.99 | Nov 9780321741318 RRP £22.99 | Nov 9780321749734 RRP £32.99 | Dec 9780321751294 RRP £36.99 | Dec 9780273749950 RRP £10.99 | Jan ADOBE® PHOTOSHOP® Buy these books at great prices from Prices and information are correct at time of going to print. Prices exclude delivery. Free UK Delivery and Unlimited Free One-Day Delivery with Amazon Prime are available. Terms and Conditions apply. See for details. storemags & fantamag - magazines for all
  46. 46. 46 MASTERCLASS > Info TIME TO COMPLETE • 3 hours SOFTWARE • Photoshop CS4 or higher MASTERCLASSHONE YOUR DESIGN SKILLS WITH EXPERT TECHNIQUES DigitalArts 46 True PDF release: storemags & fantamag
  47. 47. 47 A pplying lighting effects to model shots is a classic application of Photoshop, but through poor practice and overuse of the same tricks, it’s become something of a cliché. In this tutorial, Fabio Sasso shows you how to put a fresh, stylish spin on lighting effects. The secret here is to keep it simple and tap a 1980s look without overdoing it. You’re aiming for a sophisticated feel, not retro pastiche. Of course, something that looks simple isn’t necessarily easy to create, but here Fabio guides you step by step through the filters, gradients and blending modes that will bring a classy edge to your art. Stylish light effects in Photoshop Lighting effects are often used cheesily, but here Fabio Sasso turns the spotlight on techniques to achieve an original look MASTERCLASS Open Photoshop and create a new A4 portrait document at 300dpi. Now import a photo that you will use for the tutorial onto a layer called ‘Girl 1’. The one I’m using is courtesy of Shutterstock and is available at Duplicate the layer, calling the new layer ‘Girl 2’. Select this layer and go to Filter > Blur > Surface Blur. Use 10 pixels for the Radius and 15 for the Threshold. We’re going to use this blurred layer to smooth the subject’s skin without losing detail. With the Eraser tool (E), start hiding areas such as the eyes, mouth and hair, all of which contain important detail. 01 STEP 02 STEP 03 STEP > With the Eraser tool, delete the areas of the ‘Girl 4’ layer that show skin. Now add a layer called ‘Paint 1’ on top and with the Brush tool (B), use a soft brush with black to hide the background and the shoulders. Leave just a part of the neck. 04 STEP 05 STEP Merge the two layers to create a new layer still called ‘Girl 2’, then duplicate to create a ‘Girl 3’ layer. Select it and go to Image > Adjustment > Desaturate. Set the blending mode to Hard Light and the opacity to 50%. Duplicate ‘Girl 2’ again to create a ‘Girl 4’ layer and place it at the top of the layer stack. Select Filter > Other > High Pass with a radius of 10 pixels. As before, set that layer’s blending mode to Hard Light and the opacity to 50%. TRiCkS FoR ModEL ShoTS> learn tutorial PhoToShoP visit for more tutorials storemags & fantamag - magazines for all
  48. 48. MASTERCLASS48 Go to Layer > New Adjustments Layer > Gradient Map. Use Black and White for the gradient colour, then change the blending mode of this adjustment layer to Soft Light. Call this layer ‘GMap’. Now go to Layer > New Adjustment Layer > Hue/ Saturation. Reduce the Saturation to 60 and call this layer ‘HueSat’. Adjustment layers always have masks, so with the Brush tool (B), select a very soft brush and paint with black over the subject’s mouth. This excludes that area from the Hue/Saturation effect. Duplicate the ‘HueSat’ layer to create ‘HueSat 2’. Select the layer mask of this new layer and go to Image > Adjustment > Invert. Increase the Saturation to 55. That way you will apply the saturation to the mouth only, the idea being to make it really red. 07 STEP Close to the subject’s left eye, let’s add a bit of lens flare, taken from an image at Use Screen for the blending mode and go to Image > Adjustments > Levels, then increase the black input so you only get the lens flare. Now add a layer on top of the others called ‘lights1’ and fill it with black. Change its blending mode to Screen and then, with the Brush tool and a very soft brush, paint a big pink spot in the upper right of the image. Then select a dark orange and paint a very subtle orange spot at the top and bottom left. Add another layer on top of the others called ‘lights2’ and fill it with black, then change its blending mode to Color Dodge. Paint over the orange areas with the same orange to create a sort of light leak in that area. Time to import another image of a light effect. The one I’m using, of pink and blue spotlights, is from Shutterstock and can be found at Put this image on a layer called ‘lights3’ on top of the rest and change the blending mode to Soft Light. Add yet another layer, called ‘bokeh’, fill it with black and then, with the Brush Tool (B), select a rounded brush and create a few circles of different sizes in white. The idea is to create a simple bokeh-style background blur effect. Set the blending mode of the layer to Color Dodge. 08 STEP 09 STEP 10 STEP 11 STEP 06 STEP > Adding a subtle orange spot to the left helps balance the lighting, softening the contrast between the bright pink and making the overall effect look more natural. True PDF release: storemags & fantamag
  49. 49. MASTERCLASS 49 tutorial PHOTOSHOP Add another layer called ‘Gradient1’, then with the Gradient tool (G), click on the gradient sample to open the Gradient Editor. Change the Type to Noise, the Roughness to 100% and select Restrict Colors and Add Transparency. Now choose the Angle Gradient style and create a ray of light effect coming from the mid/top right of the image. After that go to Image > Adjustments > Desaturate and then to Filter > Blur > Gaussian Blur. Use 15 pixels for the Radius. Change the blending mode of the ‘Gradient’ layer to Color Dodge, duplicate this layer to ‘Gradient2’ and move it down a little bit. Put it behind the ‘Gradient2’ layer, then change its blending mode to Linear Burn and the opacity to 50%. 15 STEP 14 STEP 13 STEP 12 STEP Go to Layer > New Adjustment Layer > Photo Filter. Use Deep Yellow for the Filter with 50% Intensity. Call this layer ‘Deep Yellow’. After that, create a new layer with all the other layers merged into it (Cmd/Ctrl + Alt + Shift + E). Then use Filter > Blur > Gaussian Blur, with 15 pixels for the Radius. Change the blending mode of this layer to Screen and the opacity to 60%. For a little extra style, you can either add a paper texture on top or simply merge all the layers and go to Filter > Noise > Add Noise to add some noise to the image. The whole effect is now complete, though it’s up to you to keep experimenting with different combinations and colours. MASTERCLASS profile fAbiO SASSO > Graphic and web designer Fabio Sasso is best-known for his Photoshop artworks and tutorials. He is also co-founder of Zee, a web-design studio, and runs a successful digital arts and creativity blog, Abduzeedo. CONTACT • For a little extra style, add a paper texture on top or merge all layers and add some noise to the image Classic effects reborn > Inspired by this tutorial? See previous articles in this series on how to breathe new life into tired effects, including mosaics (October issue) and halftones (Autumn). MASTERCLASS HONE YOUR DESIGN SKILLS WITH EXPERT TECHNIqUES 46 MASTERCLASS > Info TIME TO COMPLETE • 1 hour SOfTWARE • Adobe Photoshop > Info Time To compleTe • 3 hours sofTware • Adobe Photoshop masTerclassHoNe YoUr DesiGN sKills wiTH eXperT TecHNiqUes 44 masTerclass storemags & fantamag - magazines for all
  50. 50. > Info TiME To CoMpLETE • 2-3 hours SofTwARE • Adobe Illustrator CS4 or higher, Adobe Photoshop CS4 or higher DowNLoAD • Texture file and sketch file from downloads MASTERCLASSHoNE YoUR DESiGN SKiLLS wiTH EXpERT TECHNiqUES True PDF release: storemags & fantamag
  51. 51. 51 I n this tutorial, Mercedes Crespo (aka YemaYema) shows how she creates her appealing cartoon characters. Though full of detail, rich in colour and complex in appearance, they are simple to draw, as she reveals here. With just the Pencil tool plus basic shapes and a good eye for colour and composition, you can make your illustrations go a long way. Mercedes stresses the importance of having fun and playing around with shapes. It is possible to achieve great things when you least expect it and exploring is a good way of allowing this to happen. In the Download Zone, you’ll find Mercedes’ original sketch and a texture file you’ll use to add depth to your composition. Create cartoon figures with ease Mercedes Crespo shows how you can swiftly draw an appealing character based on a few simple shapes MASTERCLASS First I start with a quick sketch (available from the Download Zone), containing basic shapes that will determine the composition and how the character will look. I try to leave it open for revision, and it isn’t meant to look finished. It’s just something done quickly to get an idea down. In Illustrator, select File > Place, bring the sketch into what will be a background layer and lock it. Create a new layer where you will create basic shapes that trace out the image, for example just a circle for the head, a rectangle for the shorts. Remember to play with the composition and change things if you need to. Start adding the simplest details to the character – two circles will do for eyes, while for the mouth, create a circle and split it. Now select the Pen tool and click on both ends to close it up. 01 STEP 02 STEP 03 STEP > Now we are going to add more detail using the same technique I used to create the white shirt. To give the coat an ‘inner outline’, use the Pen tool and a darker colour. For the cheeks, create a circle in a contrasting colour and then another circle inside that in an even richer hue. 04 STEP 05 STEP Hide the background layer where the sketch is. Now let’s focus on the torso. Grab the Pen tool and create a shape for the shirt. Just trace the outer corners of the jacket to create the inner white shape. Adjust with the Direct Selection tool; you need to have precise and clean lines. Work with the neck of the coat as you need to. LinES, ShApES And TExTuRES> learn pop-up figures > If you’ve enjoyed creating the characters in this tutorial, see the previous issue (October 2010) to find out how you can turn them into pop-up artwork. tutorial iLLuSTRATOR & phOTOShOp visit for more tutorials I start with a quick sketch, just something done quickly to get an idea down storemags & fantamag - magazines for all
  52. 52. MASTERCLASS52 Now we are going to start fleshing out our little pirate. For the hair, just draw a swirly shape. Add more detail to the eyes by creating more circles that act as white reflections. For the teeth, simply create rectangles. Incidentally, I freehand a lot so I also make sure to remove surplus anchor points using the Pen tool. To add more detail to the hair, you can create more locks and strands with the Pencil tool. Be creative and once again, remember to remove surplus anchor points. For the nose, let’s use simple triangles. 07 STEP To create the character’s hook, draw a rectangle for the base and make it taper. Then add an ellipse to give a bit of shading and depth. To fit it flush against the sleeve, just group the objects that make the hook’s base (hold Shift and select, then right click > Group) and move them together. Create eyelashes by adding small triangles around the eye, which will also serve as shading. Connect the minor characters to our pirate using arcs (create a circle, delete the colour inside and then delete one of the four anchor points). Keep making the character more interesting by adding a bit more detail. To finish the trousers, create a rectangle and then select the Pen tool and add anchor points to the base of the rectangle. Then move every other anchor point here upwards to create the ripped effect. To create the water, select the Pencil tool and freehand big drops of water, then add some highlights and detail to them. Let’s give our pirate some highlights on the trousers and coat, too, by adding zigzag shapes in a colour that stands out. Also finish the nose by creating more triangles and flushing one side of these to the original set. 08 STEP 09 STEP 10 STEP 11 STEP 06 STEP REPEAT SHAPES > When repeating a shape, it’s easiest to select it and then hold Alt and drag off a new element. Duplicating like this saves time; just be sure not to go overboard with it, as repetition can be boring. > By adding little touches such as frayed edges in the shorts, you can make the character more distinctive. True PDF release: storemags & fantamag
  53. 53. MASTERCLASS 53 Finally, select the Dodge tool. Set the Range drop-down menu to Highlights and add highlights in the eyes, cheeks, and certain corners to make them pop out a bit more. tutorial ILLUSTRATOR & PHOTOSHOP Now it’s time to add clouds and other decorations. Copy and Paste and place where desired, paying attention to the composition. Make it fun – experiment, play with shapes and let your creativity guide you. Happy with your design? If so, that’s as far as we’re going to go in Illustrator. Now we’ll import the file into Photoshop to add texture. 15 STEP 14 STEP 13 STEP 12 STEP In Photoshop, open texture layer.psd from the Download Zone. Select All, then Copy and Paste it into your design. Set the blending mode to Screen and the opacity to 23. Adjust until you’re satisfied. Select the Burn tool and paint over the edges to give it some shadow. In the Options bar, set the Range drop-down menu to Midtones and add some shade to corners. Think about basic shading when doing this. 16 STEP MASTERCLASS profile YEMAYEMA > Mercedes Crespo, better known as YemaYema, was born in Guayaquil, Ecuador. Now 27, she has been drawing since she was 15, though she wasn’t sure of her artistic direction until a few years ago, when she discovered a book from the Berlin- based Pictoplasma Project. Since then, she has loved drawing even more and continues to develop her own style, hoping it evolves into something even more distinctive. T-shirts and other items bearing her artwork can be bought from her website. COnTACT • The image immediately above was Mercedes’ entry for Outsmart 2010, a project to create artwork featuring Smart cars. The other two images are her designs for T-shirts made by emptees ( storemags & fantamag - magazines for all
  54. 54. 54 T he iPad is a great device for interaction, and should you whip one out while visiting a potential client they’re sure to be impressed. Wouldn’t it be great to use the iPad to show off your work? Creating a personal portfolio app is perfectly possible. As the iPad (like the iPhone) supports the concept of an installed web app, we can create a tailor-made website, install it onto an iPad and make it available for use even if we’re not connected to the web. For this tutorial, you will need access to a web server on your computer, or webspace that allows you to change the MIME type for a filetype. If in doubt, contact your web host for support. Create a custom portfolio iPad app Take advantage of the iPad’s web-app capability to create an impressive offline website to act as your portfolio MASTERCLASS Create your design as you would a normal website. Take into account the different dynamics associated with a touch-screen interface, and let your work do the talking – this is your portfolio, after all. The only technical consideration you should be aware of is to avoid saving HTML files in sub-folders under your Index file – HTML5’s cache doesn’t like folders for HTML files. Script files, images and cascading style sheets (CSS), however, are all fine when put in folders. 01 STEP iPAd PoRTfoLio TEChniquES> learn MASTERCLASShonE YouR dESiGn SKiLLS WiTh EXPERT TEChniquES > Info TiME To CoMPLETE • 4 hours for the site, 1 hour to convert to a web app SofTWARE • An HTML/CSS editor such as Adobe Dreamweaver or Panic Coda, plus Adobe Photoshop “Take into account the different dynamics of a touch-screen interface” True PDF release: storemags & fantamag
  55. 55. 55MASTERCLASS The iPad has two different screen orientations, so you’ll need to decide which way you want your portfolio. If you want to retain visibility of the iPad status bar at the top of the screen, design for 768 x 1,004 in landscape and 1,024 x 748 in portrait or, if you’re going full-screen, design for 1,024 x 768 in landscape and 768 x 1,024 in portrait. There are a few interactions closely associated with the iPad and iPhone in particular, as well as the new wave of tablet devices in general. These include pinch and swipe, and are treated just like normal user events as far as scripting and the browser event model are concerned, so they’re accessible via Javascript in the same way a click or a mouseover are. tutorial WEb App CREATion WiTh hTML5 visit for more tutorials 02 STEP 03 STEP > If you design two versions of your site’s layout for portrait and landscape modes, you’ll need to include a crafty bit of code. You can load different CSS layouts into your pages according to the device orientation by using the following metatags at the top of your code: <link rel=”stylesheet” media=”all and (orientation:portrait)” href=”css/iPad-portrait.css”> <link rel=”stylesheet” media=”all and (orientation:landscape)” href=”css/iPad- landscape.css”> 04 STEP 05 STEP You can set up event listeners to handle individual events using the syntax window.ontouchmove. If you’re not confident working with Javascript directly, or prefer to work through a framework such as jQuery (, there are helpful plug-ins that allow easy access to these touch- specific events. One such library is jQTouch (jqtouch. com), which provides access to the full range of touch-based events as well as having a convenient helper method for offline web-app caching, which suits our needs perfectly. We won’t use the helper method here, but be aware of its presence, as it can make the process more straightforward. To create an installable web app we need a few extra assets on top of the website itself. First of all, we’re going to want an icon that sits on the iPad’s springboard homescreen to act as the launch button for our app. Create an icon 57 x 57 pixels and save it as a 24-bit PNG file with the filename apple-touch-icon.png. You don’t need to add rounded corners or the highlight effect as the iPad OS will do this for you (unless you specifically ask it not to through an additional metatag). Add the code below to link your iPad icon to your website: <link rel=”apple-touch-icon” href=”apple-touch- icon.png”> Similarly we can have a startup screen for our app. This is entirely optional – the application will work just fine without it, but a startup screen adds a nice bit of additional polish to the final portfolio, especially if you let your potential client launch the app themselves. Create a splashscreen image 1,004 pixels tall and 768 pixels wide. Save it as a 24-bit PNG file with the filename splashpage.png. Add the code below to your <head> section of the website homepage to enable it as the startup image: <link rel=”apple-touch-startup-image” href=”splashpage.png”> 07 STEP 06 STEP storemags & fantamag - magazines for all
  56. 56. MASTERCLASS56 tutorial WEb App CREATion WiTh hTML5 Upload all the files to your web server (or copy them to your computer’s web server folder if you’re using your local machine). Next, visit the site using your iPad and click on the + button at the bottom of the Safari interface. Click the Add to Homescreen button. Safari will download all the files listed in the cache manifest, as well as the icon and splashscreen, and install a button on your homescreen using the icon you created. 10 STEP Choose the Settings application from your homescreen and either enable Airplane Mode (if you have a Wi-Fi + 3G iPad) or turn off Wi-Fi (if you have a Wi-Fi- only model). This prevents iPad from accessing the internet, and tests the offline nature of your web app. Return to the homescreen and launch your app by pressing on its icon. You should be able to navigate around your portfolio without internet access. Now, go off and wow some potential clients. 11 STEP profile SAM hAMpTon- SMiTh > Sam is a graphic designer and illustrator living in Scotland. He set up a design studio in 2001 with his partner and now boasts an impressive client list including Barclays, Direct. gov, Gordonstoun School and the cashmere specialist Johnstons of Elgin. Sam is the proud owner of three children, one wife and an iPad. ConTACT • MASTERCLASS We need to tell the iPad that your website can be installed as an application. This is easily done by adding another special HTML metatag to the top of each page. Add the following code inside your <head> section to enable installation and match the viewport to the iPad’s resolution: <meta name=”apple-mobile-web-app-capable” content=”yes” /> <meta name=”viewport” content=”user- scalable=no, width=device-width, initial-scale=1.0, maximum-scale=1.0”/> <meta name=”apple-mobile-web-app-status-bar- style” content=”black” /> Everything is ready to install on your iPad, but we need one final file to tell Safari on the device that the website should be treated as an offline-capable web app. This file is called the cache manifest, and it’s part of the HTML5 specification. A cache manifest tells the browser what to download a copy of, and what to bring in from the web each time the app is launched. The file itself is plain text, and looks like the example below. Note that you must set up your web server to serve this file with a specific encoding of text/cache-manifest. See the box above right for more information on how to do this. You need to list every file that makes up your website in the cache manifest if the web app is to function entirely offline: CACHE MANIFEST # Offline cache v1 article.html # supporting files css/styles.css js/jQuery.js js/jQTouch.jquery.js # images images/page1.png images/page2.png images/page3.png You also need to link to the manifest file from the top of your pages by changing your HTML declaration to read: <html manifest=”mysite.manifest”> 08 STEP 09 STEP TROUBLESHOOTING There are a few things that might go wrong when you’re following this tutorial, so if you’re having problems getting the web app to work offline, try checking the following items: 1.The cache manifest file (see Step 9) may be being served with a content type of something other than text/cache-manifest. If you’re not sure, test it by using the free service at to check you’re serving the file with the correct format. 2.Make sure your cache manifest doesn’t have any typing errors – get a filename wrong and it won’t work. 3.Ensure you have <html manifest=”mymanifest.manifest”> as the first line of your HTML files. SERVER CONFIGURATION You must ensure the manifest file is served with an encoding of cache-manifest. In Apache, add the following line to your mime. types file (found in the Conf folder): # html 5 application cache - offline access text/cache-manifest manifest In Windows IIS, go to Control Panel > Administrative Tools and open the Internet Information Services snap-in. Double-click the mime-types icon, then add a new entry for ‘manifest’ with ‘text/cache- manifest’ as the encoding type. True PDF release: storemags & fantamag
  57. 57. 57SUBSCRIBE SUBSCRIBE NOW AND RECEIVE A CHOICE OF INCREDIBLE DESIGN BOOKS FREE! SUBSCRIBESAVE OVER £30 ON NEWSAGENTS’ PRICE > Your subscription will start with the next available issue. You will receive 13 issues during a 12-month subscription. A 12-month subscription costs £49.99 by direct debit. Payments made by cheque or credit card cost £54.99. For overseas rates please call +44 (0) 1858 438 867 and quote D141. ORDER NOW AT WWW.SUBSCRIPTION.CO.UK/DIGIT/D141 OR CALL 01858 438 867 AND QUOTE THE CODE D141 Brilliant Illustrator CS5 is a full colour, step-by-step guide that will quickly get you up and running on Adobe’s latest design program. Easy to follow, numbered steps take you through each task or problem so you can explore exciting new design possibilities, achieve superior results and produce exactly the images you want. BRILLIANT ILLUSTRATOR CS5 WORTH £18.99!GIFT TWO Adobe Photoshop CS5 Classroom in a Book is highly rated by creative professionals seeking the fastest, easiest and most comprehensive way to learn Adobe Photoshop CS5. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in Photoshop CS5. Adobe CS5 Classroom in a Book also features a companion DVD packed with lesson files and two hours of free video tutorials from Learn Adobe Photoshop CS5 by Video. ADOBE PHOTOSHOP CS5 CLASSROOM IN A BOOK WORTH £39.99!GIFT ONE storemags & fantamag - magazines for all
  58. 58. 58 W here do you find your inspiration? Unlike a lot of Western propaganda posters which tended to be negative, Chinese propaganda posters of the 20th century depicted an overly positive amalgamation of fact and fiction, showing both life as it is and ‘life as it ought to be’ to inspire the Chinese population. Negative elements were ignored altogether, and the focus was on heroic ‘everyman’ characters looking forward to building a united utopian future (despite the reality being very far from this). This tutorial takes you through how to make a subversive pastiche of Chinese propaganda posters using Photoshop. To emulate the motivational tone of these posters we’ll be working on a theme of ‘inspiration’. To help you make a successful pastiche we recommend collecting a lot of reference pieces and viewing them all in one place, side by side (whether on a table or in Photoshop) so that you can easily compare them to each other and identify recurring elements. Draw inspiration from Chinese propaganda posters David and Sarah Cousens give a guide to the techniques of the rousing political images from years past MASTERCLASS CUSTOM BRUSHWORK> learn MASTERCLASSHONE YOUR DESIGN SKILLS WITH EXPERT TECHNIQUES True PDF release: storemags & fantamag
  59. 59. 59MASTERCLASS First off, find some images of original Chinese propaganda posters to use as inspiration. Create a new A4 landscape document. Select a colour of R 123, B 161, G 184. Press Shift + Backspace to bring up the Fill dialog box. In the Contents section, select Use: Foreground Color to fill the canvas with a pale blue. tutorial PHOTOSHOP visit for more tutorials 01 STEP > Create a layer called ‘Red Land’ underneath the ‘Roughs’ layer. Use a hard-edged brush with Opacity Jitter set to Pen Pressure to paint in a red landscape. To simulate perspective, make the reds in the foreground darker and more saturated, with more muted colours for the distant land. The Opacity Jitter option can be found in the Brush panel, in the section named Transfer in Photoshop CS5, or Other Dynamics in older versions. 05 STEP Create a new layer called ‘White Border’, select a pure white colour and fill it using Shift + Backspace. Select the Square Marquee tool (M) and draw a widescreen/letterbox-style rectangle selection across your image, then add a layer mask (the circle-in-the-square button in the Layers panel). Press Cmd/ Ctrl + I to invert the mask. Select the Linear Gradient (from the Paint Bucket flyout menu), set opacity to 25%, click on the Foreground to Transparent option and pick a colour of R 222, G 212, B 211. Go to the background layer and drag the gradient from the bottom right towards the top left to create the light grey gradient transition of the sky. 02 STEP 03 STEP 04 STEP Create a new layer called ‘Roughs’ and sketch in your layout with a light blue brush. Your characters should be dynamic and optimistic-looking. Lock the layer’s transparency (click on the padlock icon in the Layers panel) then press Shift + Backspace and fill the layer with black. Lower the layer’s opacity to 64%. > Info TIME TO COMPLETE • 3 hours SOFTWARE • Photoshop CS2 or higher DOWNLOAD • On the Download Zone, you can find custom brush Tool Presets. You’ll also need Thierry Doizon’s ‘Magik’ custom brush, which can be downloaded at storemags & fantamag - magazines for all
  60. 60. MASTERCLASS60 Create two new layers called ‘Man’ and ‘Woman’ respectively. Position the ‘Man’ layer above the ‘Woman’ layer, and block the characters in with flat colours. Create a new layer, ‘City’, and paint in a retro-futuristic city skyline with a mixture of blues and greens. The Chinese posters we’re referencing often focused on bright new futures, so include a rocket as part of the narrative. Create a ‘Clouds’ layer and paint some stylised clouds using various pinks and greys to keep with the colour scheme. Use the clouds as pointers; subtly angle them to lead your eyes back to the main focal points (the characters). Using the Magik custom brush, add a flowing red sash on the woman’s arm; make sure it points back towards the characters. 07 STEP Start to add basic shading to the ‘Woman’ layer, using a light source coming from the right. When you’ve established the basic shading you can switch your attention to the ‘Man’ layer and do the same. Use local colours (colours from elsewhere in the image) in your shading as colours are always affected by their environment. Create a new ‘Highlights’ layer above ‘Roughs’. Use a hard-edged brush to render in light yellow highlights on the characters. The human eye is drawn to contrast; using a bright colour will draw the viewer’s eye to the focal points. Change the blending mode of the ‘Roughs’ layer to Overlay and erase any unneccessary construction lines. Create a new layer: ‘Man Overlay’. In the New Layer box tick ‘Use previous layer to create Clipping Mask’ and set the blending mode to Overlay. Create a ‘Woman Overlay’ layer with the same settings. Use the Radial Gradient with the yellow highlight colour to add highlights to the characters’ skin, for example. Lock the transparent pixels of the ‘City’ layer, then paint in some darker and lighter details. Just use simple brushstrokes to imply details. Open ‘Cloud Texture’ from (, press Cmd/Ctrl + A, Cmd/Ctrl + C to Select All and Copy the contents of the image. 08 STEP 09 STEP 10 STEP 11 STEP 06 STEP brush with success > Making your own custom brushes is easy: select any brush, then click on the Brushes tab and start experimenting with the settings. For example, try altering the Texture, Scattering and Dual Brush options and see what happens. True PDF release: storemags & fantamag
  61. 61. MASTERCLASS 61 tutorial PHOTOSHOP Press Cmd/Ctrl + V to paste in the cloud photo above the background layer. Free Transform (Cmd/Ctrl + T) the photo to fit your illustration, then set the blending mode to Soft Light at 92% opacity. Create a ‘Sky Details’ layer and use the Magik brush to add some more vapour trails soaring into the sky. Return to the ‘Highlights’ layer and start painting over the linework using the Magik brush. When you’ve finished, hide the visibility of the white border layer. Now hit Cmd/Ctrl + Alt + 2 to select the image’s luminosity (it’s Cmd/Ctrl + Alt + Shift + ~ in older versions of Photoshop). 15 STEP 14 STEP 13 STEP 12 STEP Press Cmd/Ctrl + Shift + C to copy from all of the visible layers and paste the contents into a new layer. Set it to Overlay at 67%, go to Filter > Blur > Gaussian Blur and apply a blur of 1.4 pixels. Make the ‘White Border’ layer visible again by clicking the eyeball in the layers palette. Go to, type in an inspirational phrase and translate it to Chinese (Traditional). Copy the translation, go back into Photoshop and select the Type tool (T) to paste in your Chinese translation. Free Transform it into place (Cmd/Ctrl + T) and change the text colour to red. 16 STEP You’re almost done. Now head to and copy and paste the paper texture there onto the top of the layer stack. Set the blending mode to Multiply at 36% opacity. Hit Cmd/Ctrl + U and desaturate by moving the Saturation slider all the way to the left. Finally, press Cmd/Ctrl + L and lighten the texture using the white Levels slider as shown in the screenshot. MASTERCLASS profile DAVID & SARAH COUSENS > Forget reality; you should join David and Sarah Cousens (aka Cool Surface) in their slightly insane, often cheeky and always colourful world of illustration where their heroic robots, surreal monsters, sexy women and adorable animals have excited and entertained in advertising, editorials, exhibitions, professional education, publishing and television work. Their clients include the BBC, Hachette, Adidas, Macmillan and Letraset. CONTACT • David’s back catalogue includes artwork for Dazed & Confused and an illustration to celebrate the release of Monkey Island 2 Special Edition: LeChuck’s Revenge (above). storemags & fantamag - magazines for all
  62. 62. REVIEWS62 INFO ContaCt • Apple, Format •MacOSX10.6 priCe • £5,607 plus VAT summary • Pros: Incredibly powerful for video and animation work. Flexible. • Cons: Very expensive. Daughterboard tricky to reseat. A s we discovered last month, Apple’s new 27-inch iMac offers everything many creatives need – from powerful performance to a great display. But this hasn’t left the Mac Pro redundant. If you work with video, animation or motion graphics, there are still lots of reasons to invest in the Mac Pro. You can get twice the processing power, as two of the three Pro models have two multicore processors. You can install up to 32GB of RAM – though above 16GB you probably won’t see much benefit in your apps. You can also install up to four hard drives and put in a RAID card to ‘stripe’, or distribute, your files across multiple drives for maximum throughput. The Mac Pro has PCI Express slots allowing you to add, say, USB 3.0 and eSATA boards to access fast storage systems (unlike with most PCs of this calibre, you don’t get these as standard). You can also add video capture, monitoring and acceleration boards such as AJA’s Kona or Blackmagic Design’s DeckLink – or two graphics cards for high-end 3D. Playing with the big boys To explore the potential of the Mac Pro, we got our hands on the most powerful model Apple could provide us. Our test machine has two six-core 2.93GHz Intel Xeon processors, 12GB of RAM, an ATI Radeon HD 5870 graphics card and two drives: a 512GB solid-state drive that the system and apps live on, and a apple mac pro 12-core neil Bennett discovers that with massive power comes a massive price > tested gRaPhIcS WoRkStatIon the Mac Pro is ideally suited for video post-production using tools such as Final cut Studio. the new daughter- board, which carries the processors and RaM, may allow the processors to be upgraded in future. Despite high-spec components, there are no USB 3.0 or eSata ports. to get them, you’ll have to buy PcI expansion cards. 3 REVIEWSthE latESt DESIgn tEch tEStED > 2TB media hard drive. The price tag is more Volkswagen Golf than computer – but if you need the power, it’s more than worth it. Running the 3D rendering benchmark in Cinebench 11.5, which utilises the main processors alone, the Mac Pro achieved a score of 15.07. This is more than twice that of the top-of- the-line iMac, and 53 per cent better than the fastest single-chip PC we’ve ever seen (which had a Core i7 chip massively overclocked to 4.2GHz). In Photoshop we saw as much of a performance boost over an iMac we tested as you’d expect from the difference in their installed memory (the iMac had 8GB). As both models had a solid-state drive and a hard drive, neither had a built-in advantage. Launching from the solid-state drive, applications start up faster than you’ve ever seen from a hard drive. The combination of the two processors, lots of RAM and fast storage meant that the Mac Pro steamed through our After Effects test, applying effects and 3D motion graphics faster than any workstation we’ve seen. One new innovation we liked is that in order to fit the two processors inside the casing, Apple has put them on a removable daughterboard that also carries the RAM. This raises the possibility of upgrading them in future – which hasn’t been possible in Mac Pros before – though replacing the board after removing it required so much force we thought we’d break it. If you need a workstation this powerful – and can afford it – the Mac Pro is a winner. EDItoR’S choIcE 1 1 2 2 3 PhotobyPaulMonckton True PDF release: storemags & fantamag