Preview only show first 6 pages with water mark for full document please download


Photo effects

Create montages
and give them a
cyanotype look
Learn how these
powerful tools can
paint for you!
Expert advice for
taking your image
editing to new levels













Designer fonts worth over £60!
400+ Creative brushes
100+ Custom shapes
71 High-res photos

and much more
Merge oil and watercolour effects
to produce a stunning image
Paint like Turner
old photos
Essential information for importing
and organising your photos
Get the most
from Adobe Bridge
pages of
ISSUE 15 £6.00
ISSN 1747-7816
9 771747 781002
1 5
Add stylish colour tints to B&W images
Vital tips for scanning negatives
Fix stains, rips and discolouration
12-page masterclass
001-PC015-final cover..indd 1 3/10/06 16:49:27
Untitled-1 1 1/9/06 12:55:47
welcome issue fifteen
A glimpse
of what’s in
store this
Here at Photoshop Creative, we
promise to always give you the best
selection of resources to help improve
your Photoshop skills. Whether it’s
in-depth guides to tools and
techniques, or showing how to create
a work of digital art, we’ll make sure
the information you get is accurate
and informative. We want you to get
the optimum Photoshop experience,
and have as much fun using the
program as we do putting the
magazine together.
Jo Cole Editor
[email protected]
Mission Statement
Despite there being a huge and
attractive range of photo albums,
for most of us the preferred
storage method for old photos is
a shoebox. Maybe a carrier bag.
Possibly a drawer – but certainly
not a nice robust album.
It seems weird to talk about the best way to store
photos in this digital age, because now it’s just a
matter of burning a CD to ensure the long life of
your precious snaps. But there’s no reason why your
other photos should be condemned to a life spent
festering away in some dank part of your house.
Our feature this issue shows how to scan old
photos and then use Photoshop to spruce them
up as good as new. We show how to x common
problems and ensure that the images will survive for
many generations to come. Turn to page 16 to nd
out more. Our retouching tutorial this issue can also
be used to add new life to old photos. On page 52
we reveal how to colour a black-and-white photo.
Although a highly stylised eect, the trick is to keep
a strong sense of realism, which is exactly what we
show you how to do.
Digital artists also have plenty to get stuck into,
including the second part of our Digital Painting
from Scratch tutorial plus a look at how to re-create
one of Turner’s best-loved paintings. We also show
how to achieve the paint by numbers eect seen on
issue 11’s cover.
Until next time…

Playing with fire
page 38
Hand colour black-and-white
photos page 52
Create a cyanotype
page 32
Paint like Turner
page 26
005_PC15_Welcome.indd 3 6/10/06 12:55:22
Get to know a bit about the writers
working on the magazine
Creative hub
The latest roundup of news and
services for creative sorts
Julieanne Kost
Learn about this Photoshop guru
Reader’s profile
See what one of your fellow readers
gets up to in Photoshop
Feature: Restore
old photos
Discover how to scan and then x
common problems with old snaps
Next month
Get a taste of what content we
have in store for you next issue
Creative reviews
The best third-party products to
extend your version of Photoshop
Complete list
What’s in this issue…
On the CD
Discover what content we’ve
crammed in on this issue’s free CD
Subscribe to Photoshop Creative
today and save up to 40%
Entered a Readers’ Challenge? See if
your work is in print
Readers’ challenge
A fresh batch of photos for you to
get creative with
Creative hub
The latest creative news
issue fifteen
Advice centre
Common Photoshop problems
foiled and avoided
Creative forum
Share your thoughts, work and
grimaces with others
Find out more about the
best new services and
products of interest to
Photoshop users
Advice centre
Your questions answered
Don’t suer in silence if you
have a Photoshop problem.
Write in to our Advice centre
for the solution
Creative reviews
Spend some money…
The best third-party
products to extend your
Photoshop creativity,
whatever your budget is
Tutorial intro
All the learning lined up this issue
Scan in your old photos and then make
them as good as new in Photoshop
Restore your
old photos
006-7_PC15_Contents.indd 6 6/10/06 12:00:11
Creative tutorials
Make great art today
Paint like Turner
Turn some photos into a beautiful
Turner-esque digital painting
Create a cyanotype
Learn how to apply this dramatic eect
to your photo compositions
Playing with fire
Fuel the creative ames with this guide
to producing realistic re eects
Paint by numbers
Liked issue 11’s cover? Now you can see
how we created it
Colour B&W photos
Add stylish colour tints to your old
black-and-white photos
ArtStudioPro plug-in
Try your hand at creating digital art using
this intuitive plug-in
issue four
Big Technique:
Adobe Bridge
Import, organise and locate your images
using the features in Adobe Bridge
Focus on: Extrude filter
Create eye-popping images packed with
3D appeal with this lter
Focus on: Printing options
Get to grips with the printing options and
ensure you never waste paper again!
Technical tutorials
Understand your software
This is the part where we
present the best entries
to previous Readers’
Challenges. Is yours here?
Reader showcase
On the CD
More free resources
From photos to brushes, to
fonts to textures, there’s a
great collection of resources
for you on the disc
Merge oil and watercolour
effects to produce a masterpiece
Design a certificate
Reward someone you love by presenting
them with a lovely certicate
Paint from scratch pt2
See how the dynamic brushes can help
you paint realistic trees
Paint like Turner
Focus on: Preferences
Get Photoshop working as you want by
visiting the Preferences
006-7_PC15_Contents.indd 7 6/10/06 12:01:17

Send us your thoughts on the magazine or the Photoshop
world in general, and see if other readers agree with you
Driven creativity
Hi there, I’ve just been reading your
magazine. I saw you had a readers’ pictures
section, so thought I would send you in one
of my images.
I run a business selling VW art in the form
of canvas and prints, and recently have been
making blocks. I’ve just nished working
on an image (see below) and thought I
would send it in. When I’m not travelling the
country trying to sell my work at VW shows,
I sell at Camden Market. That’s where I got
the inspiration for this picture.
I thought that pictures of London would
be popular at Camden, but it appears that
more people are interested in buying
pictures of VW camper vans, so I thought
I would do a mixture of the two. The end
result is a Tube VW.
I appreciate you must have thousands
of emails, but it would be cool to see the
images in your magazine.
Steve Moss
|o||c Stovo. t|.rks |c. sorJ|rc |r vcJ. \
tJbo t..|r +cJ’vo Jcro .r oxco||ort |cb c|
n.k|rc t|o |npcss|b|o soon .o.||st|c
|| .rv ct|o. .o.Jo.s cJt t|o.o ..o |.rs
c| \s. n.ko sJ.o t|.t vcJ p.v . v|s|t tc
Stovo’s .obs|to. .||c| vcJ’|| |rJ .t www.
couple of words to explain ‘Why we are
doing this’ would, for me at least, make all
the dierence.
I appreciate that my understanding of
Photoshop is probably very limited when
compared to a lot of your readers, and I
accept that more experienced readers may
not need that level of explanation, but I
don’t believe I am on my own in feeling that
more explanation should be given, even if,
because of the limitations in the size of the
magazine, that explanation is in a separate
le on the CD.
Please keep up the excellent work.
+cJ’vo Jcro .r c.o.t |cb c||c.n|rc
vcJ. c..rJscr’s p|ctc. Coc|
\o vcJ. pc|rt .bcJt |rc|JJ|rc
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|| .o oxp|.|roJ .bsc|Jto|v ovo.vt||rc. t|o.o’J
cr|v bo .ccn |c. .bcJt t|.oo tJtc.|.|s |r t|o
n.c..|ro! || t|o.o’s . ccrcopt t|.t vcJ’J ||ko tc
krc. nc.o .bcJt. t|o bost bot |s tc sorJ Js .r
on.|| .rJ .o’|| cot .r oxp|.r.t|cr tc vcJ
Creative Forum
TALK TO US! | |V/|| |S +O|| ¯|O|C|¯S ¯O |´|©|V/C|||||b||S|||C´O||
View from
the forum
User: Rickybob
Post: Photos
I’ve got lots of
resource photos
to clear out. If you
want them, let
me know.
User: Simon
Post: Issue 1
I’ve just got o
the phone with
the Back Issues
department and
apparently there’s
one copy left of
issue one. Just
thought I’d let
people know.
User: Fiona
Post: Fontastic
The newest PC just
arrived and I can
see the fonts now
– much better.
Larger, clearer
and far more
readable. Hoorah!
Stevehas producedsomestrikingVW-inspiredimages,
suchas this one
Now you’re chalking
I would just like to thank you for the
excellent tutorial ‘Create beautiful chalk
images’ in issue 13. I have included my
modest attempt at producing a drawing of
my 18-month-old grandson.
I would, though, like to make a
suggestion for future tutorials. Would it
be possible to take some time within the
tutorial to explain the ‘Why’ rather than just
concentrating on the ‘How’. If I can give an
example: in section 6 of the tutorial, I quote:
‘Now we need to completely hide this layer
mask’. Later in the article in section 13, the
‘Brush Dynamics palette’ is touched on. A
Becomepart of asharing
community, andnd
out next monthhowto
contributetothecover CD
Didyouenjoythechalkeect tutorial inissue13? If so, let us
One of the great things about
Photoshop is the community that
accompanies it. This comes in many
forms: most notably in people sharing
resources they’ve created in Photoshop.
We’re talking brushes, actions, custom
shapes, photos – pretty much anything
that will help with creating something
special in the program.
Each issue we scour the web to nd
the best providers of such content, and
then include it on the magazine’s disc.
But then we got thinking. Maybe some
of you have resources you’d like to share
with others. Or maybe you like the idea,
but aren’t too sure of how to do it.
Next issue we’ll take a look at the
kind of resources you can create in
Photoshop and also show you how it’s
done. This will kick o a new section
on our disc where readers share their
resources. It’s a great way of getting
noticed, plus it’s just a nice thing to do.
We’ll have a section on the forum for
people to post their details, and you can
also email us at the usual address.
Share your creations with other readers
008_PC_15-Letters.indd 1 6/10/06 11:21:16
Untitled-1 1 1/9/06 12:55:47
Creative hub
The latest news stories for the Photoshop community
hotoshop Elements is
about to get even better
with the release of version
5.0 for Windows this
autumn. The exciting range of new
additions is sure to impress Elements
users, with plenty of tools for digital
projects and photo editing. One of the
most helpful new additions is the Adjust
Color Curves tool, giving Elements users
even more control over colour.
The sharing emphasis of Photoshop
Elements 5.0 is now even stronger, with
recent developments in the program
such as the ability to mark out locations
where your photos were taken on an
The folks
behind NAPP
have launched
a newsletter
to Illustrator.
Adobe Illustrator
Techniques has
loads of tutorials
for keen artists and
is published eight
times a year. More
at www.illustrator
online map. Commenting on the exciting
advances, John Loiacono, senior vice
president of Creative Solutions Business
Unit at Adobe, said: “The rise of portable
media devices and the popularity of social
networking sites means photos and videos
will be captured and shared more than ever
this holiday season.”
The list of fun features doesn’t end here,
as users will also enjoy a Flip Book option.
This fun addition is perfect for creating
entertaining stop-motionesque projects
from your still photography. And at the more
serious end of the new tools, the program
will also include a camera lens distortion
function, and a very intuitive Convert to
Black and White function. This makes creatinf
stunning monochrome shots a breeze.
Enhanced organisational functions, such
as automatically grouping similar images
from the same photoshoot, will make many
digital photographers’ lives easier. Creating
customisable layouts of galleries and virtual
scrapbooks that you can drag and drop
images into will be ideal ways of presenting
great-looking creative photographic projects.
Elements 5.0 is currently only available for
Windows, but you can expect a Mac version
soon. Adobe has also released of Premiere
Elements 3.0, which is available separately or
bundled with Elements. Buy your copy for
£69.32 from
Web designers who
use Photoshop will
love a new book
by Corrie Haffly.
The Photoshop
Anthology has 101
‘How do I?’ answers
for Photoshop web
design. More at
com or buy it for
£25.19 from www.
Ray Larabie has a
knack for creating
excellent fonts,
and you can keep
up to date with his
latest one at www.
new.html. You’ll
also find some of
his fonts on this
issue’s CD, which
would normally sell
for £60.
Exciting new sharing and creative capabilities
feature in Adobe’s latest release
Elements 5
is here!
TheAdjust Color Curves featureinElements 5
is awelcomeaddition
Youwill beabletopresent your photographicprojects inavarietyof
If youwant toconvert animagetoblackandwhite, it’s
as easyas pieinElements 5
010-12-PC 15-News.indd 10 5/10/06 14:55:21
earching the Internet for
attractive free brushes can
be time-consuming. Now
GetBrushes does the hard
work for you, featuring the most impressive
free brush sets available to download, as
well as news and links to tutorials and art
communities. The site aims to be ‘a place
where you can meet, and present your own
Photoshop brushes and other stocks to the
world’, and categorises brushes by style or
artist, making it easy to nd exactly what
you’re looking for.
GetBrushes is easy to navigate, with over
150 brushes in categories such as Grunge,
Tech and Abstract. There’s even a section for
featured Photoshop brushes where some
of the most unusual and impressive sets are
singled out, and all brush sets are given an
Editor’s rating so you can download the best.
Check them out at presents you with the most impressive free
Photoshop brushes around

With over 14,000 members, the
Digital Art site is a great place to
share your creations and spend a
fair whack of time looking at other
peoples’. There is a wide and
wonderful mixture of styles here,
from fantasy and cartoons through
to photo manipulation.
You may be aware of the Flickr site
as a place where people share their
photos (for free), but you may not
realise that it has a Photoshop tennis
area as well. Visit here and join in
the fun. Simply download the chosen
tennis image and challenge yourself
against other users.
If you regularly perform a task,
Photoshop’s actions will be your
new best friend. Actions allow you
to record tasks. Once recorded
and saved, they can then be
applied to files. Just one push of
the Play button will activate the
action and your task will be handled
automatically. You control actions
in the Actions palette. From here
you can store and organise actions,
as well as record new ones. If you
have Photoshop CS and above, you
can also turn actions into ‘droplets’.
These are small icons that you drop
a file onto and then just wait for the
command to be carried out.
A special series working through the best features of Photoshop
creative hub news
A brush with greatness
New additions
to the world
of Photoshop
Mask Pro 4
has released
Mask Pro 4 – an
update to the popular
Mask Pro 3. This
plug-in uses colour
as a way of creating
masks, even on the
trickiest of images.
Version 4 has a
flurry of new features
including improved
navigator windows
for different views.
Mask Pro 4 costs
$159.95 from www.
New custom
The ever-prolific
Andrew Buckle
has recently added
Custom Shapes Pack
21 to his collection.
This consists of
770 frames and
edges that can be
used in personal or
commercial projects,
and they can’t be
found in any other
shape or collection
set. More at www.
Be trained by
the best
Deke McClelland unveils
his rst title on the Lynda.
com video training site, the popular
video training site,
has announced Deke
McClelland as the latest
addition to its list of Online Training
Library authors. Deke McClelland
is best known as an expert in Adobe
Photoshop, Illustrator and InDesign,
and has produced over 100 books and
training videos on the subjects. CEO
of, Lynda Weinman, said:
“We’re honoured that Deke has joined
our esteemed team of authors. He’s a
one-of-a-kind talent who makes you
want to learn more.” Deke’s training
title is called Photoshop CS2 Actions and
Automation. You can view his tutorials
by subscribing to the site, which will
give you access to thousands of other
authors’ training videos as well. The
title is also available on a DVD in
which Deke offers expert guidance
on building efficient actions and how
automation functions can improve
the way you work in Photoshop. The
training DVD has a running time of
nearly 19 hours and costs $149.95, or
monthly subscription to
costs $25 per month. Visit the site at for more information,
to purchase the training title or access
free online samples.
Createsomethingdierent at
GetBrushes.combrings youfreebrushes andawholelot more
010-12-PC 15-News.indd 11 5/10/06 14:55:45
ightroom Beta 4 is now
complete and available to
download from the Adobe
Labs site for both Mac and
Windows platforms. Lightroom allows you
to import, choose, enhance and showcase
large numbers of digital images easily.
Exciting features in Beta 4 include the
ability to rename and convert les to DNG
after importing them into the Lightroom
library, more versatile tone and colour edit
controls such as the ability to make tone
curve adjustments on the image, precision
white balance selection tool and lter and
search presets to help nd photos easily.
The overall look of Lightroom has also
improved, featuring a streamlined and
customisable user interface. The
Adobe Labs site even features
a Photoshop Lightroom Gallery
where you can chat to others and
upload and share images using
the slideshow functionality.
As the Mac version was the rst
to be ready for release, it’s slightly
ahead of the Windows one.
However, Windows users can
now access a greater number of
features that were unavailable
to them in Beta 3. Adobe also
assures that the nal versions will contain the
same features on both platforms.
Feedback on the beta is welcomed before
it expires in late February 2007 to help
f you have a air for
photography then check out
StockVault, the free stock
photography site. It’s currently
running a competition to nd the best stock
photo from this year.
The competition already seems to be
hotting up, from the entries that have
been submitted on the site. There are no
boundaries of age, level of photographic skill
or location – all that’s needed is a great-
looking shot. The number of photos you
submit is also unlimited, so you don’t have
to select one from your image collection.
The only guidelines the site gives is that
all images must be a minimum of 1600 x
1200 pixels and JPEGs less than 2MB. The
submission deadline is 10 December 2006.
The competition winner will be
announced a week later on 17 December
and will receive a whopping $1,000. You’ve
got nothing to lose, so visit www.stockvault.
net and enter your fantastic photo today!
creative hub news
See the light by downloading the latest update of
Adobe’s photography software
Photo finish
Competition is hot, but StockVault calls for more entries in
The Best Stock Photo of 2006 contest
The team’s
wish list
Pure material
This ingenious
device allows you
to use real paintbrushes
to make marks in your painting software
(such as Photoshop). And if you don’t
want to use brushes, you can use
fingers, hands or other light objects.
With this beauty, you can make the same
brush strokes as you would on paper and
really bring a painterly effect to a digital
workflow. Unfortunately it only works on
PCs at the moment and is only available
to the US, but visit
to find out more. Oh, and it costs $2,495.
But you can use real brushes!
Make a
A 25-date tour touting the virtues of
Lightroom to schools across the US.
If you want to find out venue details,
pop along to the website at http://
At a loose end? Here are the must-see events coming your way
Jack Davis is a renowned author and you
can benefit from his one-day seminars
teaching the most impressive Photoshop
techniques. Visit
com for dates across the US and Canada. N

This touring event focuses on taking
exceptional digital pictures. Split into two-
day workshops, the first is on Photoshop
Elements and the second uses Photoshop
CS2. See


We’ve featured
the PhotoArtistry
website a few times
in this magazine,
but it really is an
outstanding place to
go for getting your
photos and images
printed onto high
quality canvas. You
choose the size you
want, decide if you
want it to be framed,
and then sit back
and let them do all
the hard work.
Another quality
website that will
take your treasured
photos and turn them
into a wonderful
canvas. The site
promises to turn any
photograph into a
large-scale canvas
print which is ready
to hang in your
home or office. The
company is also
planning to branch
out into bespoke
wallpaper, so keep
checking the site!
Two of
the best…


Advancements in Lightroom
Adobereveals excitingnewfeatures inLightroomBeta4
Youhaveuntil 10December this year tosubmit your entries
Adobe develop the product even further.
lightroom for more info and to download
the beta for either Mac or Windows.
010-12-PC 15-News.indd 12 5/10/06 14:56:03
creative hub interview interview interview
ulieanne Kost is a Photoshop
Hall of Fame member and
one third of the Adobe
Evangelists, educating
graphic designers, photographers
and fine artists. In her book Window
Seat Julieanne shares her spectacular
images, taken from the windows of
planes, explores her own creativity and
encourages others to do so also. As well as
writing books she is so passionate about
the subject that she lectures worldwide. At
the time of this interview she was in the
middle of a 14-city tour! As Julieanne is a
specialist in the field of photography and
Photoshop, we could think of no better
Photoshop expert to feature this month…
What drew you to using Photoshop?
The massive potential was clear even in
early versions. Over time, the speed and
flexibility increased. Layers were the
most important addition to Photoshop,
meaning you could experiment with ideas
without altering other data. The History
palette also increased flexibility.
What made you want to teach and
share your knowledge of photography
and creativity with others?
The ability to translate what Photoshop is
doing behind the scenes into something
people can understand is an art form
itself. It’s rewarding to see what people
create having seen my presentations.
I’m not the most technical person,
but I can serve as the liaison between
the engineering team and end users,
explaining technical concepts simply.
What is your favourite or most
commonly used tool in Photoshop?
The Undo command is vital in the
creative process. The Clone tool is
certainly big, likewise the Healing brush.
My Wacom tablet always travels with me,
and my Wacom Cintique is amazing.

Do you use any specialist photographic
equipment to capture your shots?
For the book, I often used a black
sweatshirt to reduce reflections from
the window, but you don’t want to be
doing anything suspicious on a plane
these days. For digital illustrations, I use
a flatbed scanner often, placing things
directly on it to allow for high-res scans.

Window Seat was a highly original idea
for a book. Do you have any other
exciting projects planned?
I love neon signs, and am fascinated by
the way things decay. Rust and erosion
are interesting as they take a while. I
always have a few personal projects on
the back burner, not knowing which will
grow into a full body of work. I’ll probably
focus on digital illustrations for a while.
What do you enjoy photographing most?
I love textures – one aspect of Window Seat
I liked most. You might never guess what
these abstract patterns and textures on
the ground were if you didn’t know they
were photographed from a plane. I love
photographing people but it requires some
invasion of personal space. I also love
details, such as the handles on a door.

Which photographers and digital
imaging experts inspire you most?
Ansel Adams, Jerry Uelsman, Keith
Carter, Michael Kenna and John Sexton
in the film world, Stephen Johnson in the
digital realm, as well as Maggie Taylor, Jeff
Schewee, Martin Evening, Katrin Eisman
for Photoshop and digital explorations.
What is the most important step in
developing your creative thinking?
The most important and also the hardest
is stepping out of my comfort zone. I must
explore new things, like taking a different
route to work. I mention in my book how I
value being a beginner at something.
Start with a RAW
camera file if
possible. There’s so
much more flexibility.
Fix dynamic
range. Use
Levels to make sure
full range is being
utilised, making other
corrections easier.
Perform colour
Colour can be applied
in varying amounts to
convey a mood.
When possible
work in layers for
more flexibility.
Think about
what you want
to achieve before
editing. A simple colour
correction is easy, but
for more complicated
retouching, plan it out.
tips for using
to enhance
Julieanne Kost has
inspired many to
develop their creative
thinking through
her innovative
books, lectures and
educational videos.
We asked her to share a
few of her photography
and Photoshop secrets
Anxiety experiments withcompositionandmontageeects





Julieanneloves usingtextures, as canbeseeninWinter Oak
013_PC15_Interview.indd 13 5/10/06 16:05:07

ina Ostensen-Hocevar has
been using Photoshop for
approximately four years,
after a friend dazzled her
with what he had created
with the program. Although she had always
had an interest in art, it was only when she
began using Photoshop that she started
creating images herself.
We caught up with Nina to discover more
about her and her work.
What is your favourite Photoshop tool?
At the moment I love brushes. I love creating
my own brushes and integrating them into
an image. This adds a spark to whatever I
am creating. You can use them either in a
very minimalist way or make a statement
with them.
Do you have a favourite image-editing task?
At the moment I am very much into
creating new patterns – therefore I love
deconstructing shapes and merging them
into these new creations of mine. I also love
mixing photography and graphics.
What’s your favourite piece
of work?
I don’t think I have a
favourite. Whenever I learn
and create something
new and diferent, I always
think it’s much better than
anything else I’ve done so
far. I’m always upgrading
my work. But if I had to pick
something I’m most proud
of, it would be a logo that I created for my DJ
friend. People said I was crazy doing it all in
Photoshop, but that’s what I know best, and I
did it for a real person and not just for myself.
What inspires you?
I get inspiration from simple things around
me. Since I started with graphic design I
am always looking for new things, whether
they are from high street fashion, interior
decorations or nature.
What’s your most helpful Photoshop tip?
Folders are great! They help you to get
organised when you have lots and lots of
layers and things going on. They just make
it more pleasant to work.
Is there anything you would like to try?
Lately I see a lot of Art Deco re-emerging. I
would like to try and create (or maybe even
re-create) some sort of Art Deco piece and
make it look more modern. Very often, new
emerging styles are pieces of an old form
sprinkled with something new and modern
– I will just try to be experimental.
To see more of Nina’s work, or get in
contact with her, pay a visit to her website
Merging photos with graphic elements is not only great fun, it also
happens to be the driving force behind this issue’s Reader’s Profle!
Reader’s profle
Notes | DoN’T Be ShY, geT IN Touch AND reVeAL A BIT ABouT Your WorkINg PrAcTIceS To oTher reADerS
the eye source First I took a picture
of my sister’s face with focus on one of
her eyes. I created a new document and placed
the picture on it. Then I used the Pen tool to crop
out the eye. I copied and pasted it on a new layer.
eye work
I tidied the
eye by erasing some
small bits left behind,
and next I adjusted
the colours and
contrast before trying
out diferent flters
to get a painted feel.
For the background
I used black to really
emphasise the eye.
Image bReakdowN
How Nina created her Mask-eye image
“I wanted to create
a dark and magical
side of an eye – an
eye that is dramatic
and theatrical, almost
like a mask. I have
decorated the
eye with a new
make yourself
If you would
like to be
featured in
these pages, send
us an email to [email protected]
imagine-publishing. with a few lines
about who you are and
what sort of Photoshop
work you do.
014-15_PC15_Readers Profile.indd14 14 6/10/06 12:56:06
Reader’s profile
To decorate the
eye I used a shape,
deconstructed it,
added a purple-to-
black gradient and
used the Bevel and
Emboss layer style to
make it stand out. My
last task was to make
a composition out
of shapes to form a
whole new pattern.
Spring and Autumn
“I wanted to show the
seasons through the life of
a butterfly. In winter we have a
cocoon, spring is full of pastel
colours, in summer the colours
are stronger and in autumn
everything is laid to rest with
blue, brown and washed-out
yellows. I did most of it in
Photoshop but imported trees,
leaves, etc from Illustrator.”
Energise Juice
“This was to advertise
healthy drinks. This is one of
three flyers I made. I wanted it to
look healthy and vibrant and full of
energy, so chose colours that are
‘fruity’. I show how the goodness
fills up the brain.”
Flower Skull (above)
Two Sides
“Over recent years my sister
and I have kept on hearing
how much we look or do not look
alike, so I wanted people to stop
guessing and decide once and for
all! I have put half of my face and
half of her face into one.”
Kim (opposite page)
“This summer I
organised a small
photoshoot using a
colleague as a model.
I took many pics, so I
could choose the best
for my next Photoshop
task. I wanted to play
with composition and
colour, and have the
image use as few
colours as possible.”
“Skulls are quite
‘in’ these days,
but I wanted something
other than just dry
bones – so I decorated
a skull and bones with
flowers. I kept it simple
because just using the
flowers is enough to
make a statement.”
014-15_PC15_Readers Profile.indd15 15 6/10/06 12:23:31
016-023-PC15_Feature.indd 16 6/10/06 11:43:07
comes to producing artistic projects, it
also excels in its restoration capabilities,
giving you greater control over its
adjustment settings. Therefore our
main focus will be on restoring your
photographs using Photoshop rather
than the software that comes with
your scanner.
Remember that both stages of the
process are equally important. There’s no
point in selecting the correct settings to
achieve optimum scan quality and then
doing a poor retouching job in Photoshop.
Selecting your scanner
The first thing to consider when buying
a scanner is the type of documents you
will scan most often. If you have lots of
old, damaged photographs stashed away
in need of restoration, it’s best to choose
a high quality scanner offering a better
resolution. If it’s old negatives and slides
you want to scan, select a model with a
transparent media adaptor.
Modern scanners are easy to connect
to your computer. They’re also becoming
more slimline all the time and feature
software that’s straightforward to
install. If you’ve looked at scanner specs
you may have seen they feature two
numbers describing their resolution,
for example 1200dpi x 2400dpi. The
first, smaller number refers to optical
resolution, or how many colour
samples are taken per inch. The second
number is the enhanced resolution that
can be achieved by manipulating the
scanner’s software. You only need focus
on the first one, as it specifies the true
resolution in dots per inch.
The main scanner types available are
flatbed, photo, drum and slide. Drum
scanners are the most expensive and
best quality but are mostly used in the
publishing industry. Some models are
in the region of £30,000 and not ideal for
home users. Flatbed scanners are made
up of glass through which a bright light
is shone and a moving sensor which
reads the image according to the amount
of reflected light.
Photo scanners did have a reputation
for producing scans of unimpressive
resolution, but recent models are much
improved. The old photos we’ve
used in this feature were scanned
ost of us have collections of
old family photos hoarded
away. And even though we
try to protect them from
damage, over time they can
become discoloured, worn and torn.
Now there’s no excuse for keeping
them hidden in a box at the back of your
cupboard, because they can be returned
to their full glory using Photoshop’s
powerful restoration capabilities. But
before you can begin clicking away in
Photoshop, cleaning up your photos, they
need to be in a digital format which is
done through the magic of scanning.
When scanning old photos there are
many handy techniques to get the best
quality from your images. These will be
revealed in our step-by-step tutorials on
how to tackle the most common problems
that occur with old photos. Most scanners
come with software, but getting your
photos on-screen and ready to repair is
just as easily done using Photoshop’s
Import function in the File menu.
Photoshop can take you all the way from
scanning to the final restored image.
Software that comes with scanners
normally features adjustments such
as dust removal and colour restoration
which generally do a good job. However,
Photoshop is not only excellent when it
“Our main focus will be
on restoring photos using
Photoshop rather than your
scanner’s software”
Rescue your old, damaged photographs
and make them as sharp and full of life
as the day they were taken…
016-023-PC15_Feature.indd 17 6/10/06 11:44:41
using a photo scanner and the
results were of a high quality,
making this the most recommended
type of scanner for damaged photos in
affordability and quality. Epson makes
some very affordable but high quality
photo scanners which are ideal for
restoration projects.
Many scanners now come with
adaptors letting you scan transparent
media such as slides and negatives
– see the boxout on page 22 for more on
these. Another feature worth looking at
when choosing a scanner, especially if
you plan to scan slides or negatives, is
dynamic range. This is the ratio of the
lightest signal a scanner can measure
to the darkest signal. A higher dynamic
range just means the scanner captures
the areas of brightness and darkness
better – and this tends to indicate that
it’s pricier. Some scanner models such
as the Epson Perfection 4490, have a
special feature called DIGITAL ICE
Technology to reduce surface defects
from scanned images, and are the ideal
choice for repairing transparencies.
Scanning fundamentals
After placing the image face down,
aligned straight on the scanner bed,
ensure you select the correct document
type to achieve the highest quality. Even
if you’re restoring old black-and-white
photos, it’s worth setting the Document
Type to Color Photo when scanning to
make sure maximum detail is retained.
The same applies to black-and-white
slides or negatives which can later
be converted into greyscale using
Photoshop’s Mode menu.
Resolution is the key term when it
comes to scanning. It relates to the
number of pixels or dots sampled from
the image. Resolution is measured in
dots per inch (dpi) and the higher the
setting, the greater the quality of
your image. A higher setting also
“Epson makes some affordable but high quality
photo scanners, ideal for restoration projects”
One of the most common problems that appear over time
in photographs is dust and scratches. Photoshop comes
equipped with the perfect tools for you to tackle this with
surprisingly little eort. This black-and-white photo was
scanned in at 300dpi with Color Photo selected as the
Document Type to keep as much of the detail as possible.
Levels were used when we rst entered Photoshop to
enhance the contrast of the image before moving on to
clone away the dust, stains and cracks. As with any image
enhancements, it’s a good idea to make a copy of the
image to protect it in case you make a mistake. Using our
techniques you’ll be able to revive your own photos and
make them look as good as the day they were captured…
Remove dust
and scratches
Give your old damaged photos a
digital dusting…
TheEpsonPerfection4490has DIGITALICETechnology
whichreduces dust andscratches onslides andnegatives
it up Open
‘dust and scratches.
jpg’ from the disc.
As you can’t rotate
the background
layer, right-click the
background layer
thumbnail and hit Layer
From Background.
In Photoshop we
straightened the photo
using Free Transform to
rotate it, then used the
Rectangular Marquee
tool to select just the
inner photo area and
chose Image>Crop.
Take a
closer look
Zoom in to the image
and choose the Clone
tool. Click the arrow
beside the Brush title
in the Options bar and
move the Hardness
slider to its minimum
setting. Reduce the
opacity to 50% and
check Sample All
Layers. Now click the
Create a New Layer
icon in the Layers
palette – this is where
you’ll do your cloning.
Assessing the damage
Photoshop works wonders on a variety of
photographic problems such as colour casts,
scratches, stains, dust and large rips. After
scanning your image, assess the faults on-
screen then plan your renovation. If the photo
is in pieces and a large section is missing, it
may be irreparable. But if the missing area
is part of the background and doesn’t have
much detail, crafty cloning techniques and a
bit of imagination can help fill the gaps.
How successful you are also depends on
the time you invest. You need to spend more
than a few minutes piecing together an old
photo torn into many pieces. If your photo
has several problems, rectifying them could
be time-consuming. However, in addition
to repairing problems such as large creases,
simple adjustments of contrast using the
Levels feature can work wonders.
Photoshop retouching techniques aren’t
just limited to photos. This painted photo on
thick board had broken into pieces, but with
a little care and attention it was restored to
its original state.
Can a photograph be beyond repair?
016-023-PC15_Feature.indd 18 6/10/06 13:00:02
Select dusty background areas
Now you can go around the areas that
have the most detail in them. This is usually not
the background, but areas such as faces. We
chose to select these areas here. The feather will
also soften the edge. Choose Select>Inverse in
order to select the part of the photograph you
will apply the lter to.
Adjust your filter settings In Filter>
Noise>Dust and Scratches, set Amount
to 100%, Radius to 2 pixels and Threshold to 1
pixel. Turn the Preview on and o to see the eect
of the lter on certain areas of the image. If it’s too
severe increase Threshold or reduce Radius to 1.
Hit OK to see your specks and scratches fade.
Tools to turn back time Alt/Option-
click to select the source area you want to
copy. Now click on the scratch or dust to paint over
it with the sample you just selected. For seamless
cloning try to sample regularly and from either
side of a scratch or speck. Prevent it from looking
too smudgy by avoiding large strokes and building
up using single clicks.
Reduce brush size for detailed
areas The Dust and Scratches lter
reduces smaller defects, but larger cracks will
still need removing with the Clone tool. For
areas with more detail, zoom in and reduce your
brush size in the Options bar, but for less detailed
background areas use a larger brush. Use this
method to erase all trace of scratches and specks.
Convert the image Choose
Image>Mode>Grayscale. You will
be asked if you want to discard the colour
information – click OK. This will transform your
cleaned up and despeckled image into black
and white. When you save your photograph, if
saving as a JPEG also make sure that you choose
the highest quality.
Retain the detail There are many
small and large scratches on the image.
You can reduce the small ones with the Dust and
Scratches lter, but it can reduce the detail, making
areas look slightly blurred. Therefore pick the Lasso
tool, enter a Feather value of 10 and select Add to
Selection in the top Options bar.
Layer it up
We do
you save a copy
of your image in
case you make
a mistake when
cloning. However,
it’s also a good idea
to create a new layer
to carry out your
cloning on so you
have your original
document protected.
If you do this, you
need to check
Sample All Layers in
the top Options bar
when the Clone tool
is selected. This is
so you are using all
the data.
016-023-PC15_Feature.indd 19 6/10/06 11:47:03
into the program you can clean up the
imperfections using the app’s tools and
filters. If the image is covered in dust
specks and scratches, Photoshop has
a filter perfectly suited to getting rid of
them – the Dust and Scratches filter.
Although it does a great job of reducing
them, it also has a blurring effect that
reduces detail. You should therefore use
it carefully or only apply it to areas with
detail that can afford to be lost.
Filters such as Unsharp Mask bring
detail back and enhance images. Again,
this should be applied with care to avoid
over-sharpening, which can look just as
bad as blurring. Another highly useful
filter which many people avoid because
they don’t understand it is the Custom
filter which also helps bring back detail
and is good at fixing underexposed
images. See page 23 where we use this
filter after fixing a photo’s colour cast to
create a high-pass version of the image to
overlay, adding more contrast.
Bring back colour and contrast
Not all Photoshop’s restoration powers
lie in its filter selection. Colour casts
are a common curse of old photos.
Colour tinges are easily removed from
photos with some crafty tweaking using
Curves. By selecting the image’s problem
colour channel in the Curves dialog
window, adding a few points to the line
on the graph and moving them slightly,
the original vibrant colours are
brought back as if by magic.
means you’ll be able to enlarge your
image later. For example, if you
scan an image with sides of eight inches
at 100dpi, it will be made up of 800 dots.
So when you set the output size and
resolution, think whether you’ll need
to enlarge it when you print. If you’re
scanning damaged photos, resolution
should be set no lower than 300dpi and
they should be saved using the highest
quality setting. When scanning old
photos at such high resolution, they
will be large files so make sure you
have enough space to store them. If you
plan to scan a large quantity of images,
perhaps it’s worth investing in an
external hard drive to keep them all on.
It’s also useful to hit Preview first to
see a quick, low-res overview of your
image on-screen before you commit it
to scan, in case of problems – eg being
placed at an angle on the scan bed.
Most scanning software lets you crop
the region scanned at the Preview
stage using the mouse to mark out the
selection area. When you hit Scan, only
this segment of the screen is scanned,
which saves having to crop it later in
Photoshop. If you’re carrying out other
adjustments in the scanning software
such as dust removal, the results usually
don’t show in the Preview window
– only when the final image appears.
Filter away the flaws
Now you’ve created a digital copy of
your old photo you can get to work on it
in Photoshop. Once you take your scan
techniques Open
‘ripped.jpg’ from the
disc and right/Ctrl-
click the background
layer thumbnail in
the Layers palette.
Choose Layer From
Background. Select
one half with the
Marquee tool. Choose
Layer>New>Layer via
Cut, placing them on
independent layers.
If they are too large,
scan them separately
and copy and paste
them both into a new
larger document.
Your scanner shouldcomewithsoftwarefor gettingimages
intoadigital format, but theseoptions arealsoinPhotoshop
Whether photos havedust andscratches, colour casts or
tears, Photoshopcanrescuethemwithits lters andtools
“A highly useful filter which
many people avoid because
they don’t understand it, is
the Custom filter”
016-023-PC15_Feature.indd 20 6/10/06 13:00:47
Piecing together a
ripped photograph
Use our digital method of reattaching ripped
photos; it’s far better than using sticky tape…
Some severely damaged photographs are beyond repair.
For example, if your photograph has a large chunk missing
it can be di cult to make up what was there before, unless
it is a fairly plain area of landscape or at colour that you are
cloning. A photograph such as the one on the left, however,
is easily pieced together in Photoshop. The tear is quite a
clean one and there are no sections missing, making it even
more straightforward to x. Although using the Clone tool is
very simple, there are a few handy techniques to make sure
you produce a seamless area where the two halves meet. For
example, by checking Aligned in the Options bar the clone
source moves in accordance with where your cursor is placed,
creating the perfect cover-up.
Delete unwanted areas Click on
one of the layer thumbnails and pick the
Magic Wand tool. Click on the white background
area around the edge of the photograph and hit
Delete. Repeat this for the other layer so you have
two halves of the photograph on separate layers
with no white around them.
All in the layer order When piecing
together parts of a photo check that
it displays according to the way it was ripped.
Experiment with the layer order by dragging one
above the other in the Layers palette to see which
ts best. In this case the layer with the lower half of
the photo should be higher in the Layers palette.
Precise alignment If the halves don’t
align, select one of the layers, choose
Edit>Free Transform and rotate it. Use the Move
tool and arrow keys to align the photographs
precisely and then select both layers in the Layers
palette by Shift-clicking. Choose Layer>Merge
Layers. Create a new layer for your cloning. Move
it to the top of the Layers palette.
Keep on cloning Keep repeating this
method of cloning for both sides of the
tear and build it up until you’ve concealed the
rip. For fairly at areas such as the animal’s fur you
can use a larger brush, whereas a smaller brush is
needed to clone in areas such as the edges.
Scrub out the scratches We used
the same method as in the previous
tutorial, using the Dust and Scratches lter and
Clone tool to remove scratches and creases.
Although it was tricky, the Clone tool was also
used to paint over the red mark. After cropping it
is up to you whether you choose Image>Mode>
Grayscale or keep the original colouring.
Clone on a separate layer Zoom
in and pick the Clone tool. Set Size to 45
pixels, Opacity to 50%, check Sample All Layers
and Aligned. Hold Alt/Option while clicking one
side of the tear. This is your sample area. Now click
the tear, painting over it with the sample. Click
rather than stroke to avoid smudging.
the details
Poor quality
scans may
not be because
of your scanning
technique, but rather
the original photo.
To bring back detail
to blurred faces,
use the Lasso tool
with a Feather
value of 10 to select
them. Choose
Unsharp Mask.
Enter an Amount of
100%, Radius of 1
and Threshold of 1.
016-023-PC15_Feature.indd 21 6/10/06 11:48:19
Scanning slides and negatives
Developments in scanning technology mean
the quality of scanned slides and negatives
is impressive. However, a severely scratched
transparency can be challenging due to its
small size. Scanners can be transformed in
seconds, as attaching transparent media
adaptors is very simple, but this type of
model can be more expensive. Most include
a holder that transparencies are inserted into
and placed on the scanner bed. Some of the
latest even feature automatic film loaders
where film is inserted into the top of the
scanner then fed into the scanner bed.
When selecting a model to scan negatives,
check it has a resolution high enough to
capture the right number of pixels if you
want to enlarge the scanned negatives to
print. A high dynamic range is also vital when
scanning transparencies to capture shadows
and highlights accurately. After scanning,
save your scanned negatives as TIFFs. You can
then apply the same restoration techniques
as to photos. Adjust the resolution to give an
appropriate file size in pixels, and for scans
for print, multiply the print size in inches
by 300 to give the size in pixels, eg for a
6 x 4-inch print you need 1800 x 1200 pixels.
Apply the scanning and restoration techniques you’ve used for your
old photographs to the original negative film and slides
You want the areas of the image
you’ve repaired to be as unnoticeable as
possible, so a softer, more realistic effect
is essential. This is easy by making sure
your brush size is suitable and the brush’s
hardness is on a minimum setting. A
delicate effect can also be created by
reducing the opacity in the Options bar.
Once you’ve finished your cloning and
adjustments, it’s also important to save
the document on a high quality setting or
all your hard work will be wasted.

Make use of the History feature
When retouching old photos you’ll carry
out many enhancement techniques and
experiment with a selection of tools and
settings. It’s therefore a good idea to back
up your image and work on adjustment
layers when applying adjustments such
as Curves or Levels. This means your
changes are made on a separate layer,
keeping your original scan intact.
When cloning to cover up marks and
tears, it’s also worth doing this on a
separate layer. One of the most essential
tools when carrying out operations like
this is the History function and multiple
undo capabilities. The History palette has
a record of all your actions. By clicking
one of them you revert to an earlier stage
in the restoration process. When using the
Clone tool to cover up marks on detailed
Photoshop’s tools allow a higher level of
control than those in scanning software.
One useful tool to enhance old photos’
faded colours is Levels. A histogram
is displayed in the centre of the Levels
dialog. The left slider is for shadows and
the right one is for highlights. Dragging
them towards the middle to meet the point
where the histogram raises, enhances
an image’s shadow and highlight areas.
The contrast can then be improved by
experimenting with the middle slider.
Attack of the clones
A familiar problem in old photos is creases
or tears where photo collections have been
moved from place to place. Don’t dismiss
these as irreparable, even if they’re ripped
in half. Photoshop’s Clone tool enables
you to repaint over a damaged area with
a nearby sample from the image, making
it miraculously disappear. By doing this
you’re sampling the detail and colour of
an area that’s intact and using it to cover
a damaged section. This is also handy
for removing unwanted objects and even
attaching pieces of a ripped photo. To
use the tool, hold down Alt/Option while
clicking the source point you want to
sample from, then click in the problem
area to paint over it with your sample.
You can customise how the Clone tool
works in the Options bar. If working on a
multi-layered image, checking Sample All
Layers means your source is taken from
all the document’s layers. For your sample
points to update according to where your
cursor is, check Aligned.
areas, you may have to try many times,
and this is therefore an indispensable tool
offering a high level of control.
Do it yourself
Many companies offer ‘professional’ photo
repair services, but the methods they use
are no more expert than the techniques
we’ve shown here. Some of them may not
even accept severely damaged images
which we know can be repaired if you’re
familiar with Photoshop’s tool and filters.
All you need is a scanner, Photoshop and
some time to invest in restoring your
worse-for-wear photos to make them
sharp, shiny and new. The beauty of fixing
old photos using Photoshop is you now
have a digital copy of a pristine-looking
image that you can print out as many times
as you like on high-quality photo paper for
your friends and family to enjoy.
This shows acreaseand
marks beingclonedaway
“Don’t dismiss old
photographs as
irreparable, even if they
are ripped in half”
Previewingascangives aspeedy, low-res exampleof your
image, thenusetheMarqueetocrop/select theareatoscan
Manyscanners cannowhandleslides andnegatives
016-023-PC15_Feature.indd 22 6/10/06 11:49:10
Scanning slides and negatives
Remove colour casts from old photographs
Photos can age in bizarre ways, not
only by collecting dust and scratches
but in their colour. For example, they
can acquire an odd overpowering tint,
making it look like special photographic
lms have been used. If you’d like to
restore the original colours, Photoshop
has some incredible features that let
you remove this colour cast in a few
easy steps. There are some alternative
methods to the one we’ve chosen, such
the Variations lter or Levels. This old
landscape shot has become tinged with
red and it’s doubtful that anyone would
be proud to display it in their album.
However, this can be removed to leave
no trace of overpowering red with some
nifty Adjustment Layer Curves action…
Channel surfing Open up ‘colour
cast.jpg’ from the CD. Boost the contrast
slightly using Levels. The rst step is to identify
the problem colour in the image, which is red.
Choose Layer>New Adjustment Layer>Curves
and click OK. Once the Curves window comes up
select Red from the Channel drop-down menu.
Remove the red Colour casts can
normally be removed by simply clicking
in the middle of the line to create a point. Drag
this point down to reduce the amount of red
and miraculously see the original colour come
back to the photograph. We found it was correct
when the Input value was 129 and the Output
value read 55.
Rectify underexposure Right-click
on the layer and choose Duplicate Layer.
Our photograph is a little dark, so select this new
layer and choose Filter>Other>Custom. Enter the
same numbers into the boxes as we have, enter 1
into the Scale box and leave the Oset box blank.
Click OK. Don’t panic at the result – it will be faded!
Soften the effect Set the blending
mode to Overlay and reduce opacity to
20%. Turn the visibility on/o to see the dierence
applying the lter to a low opacity layer has had
on the underexposed image. We used the same
method as before to remove dust and scratches.
More detailed Curves adjustment
We then created another point towards
the top end of the line and moved it to the right
slightly until the Input value was 226 and Output
value was 192. Hit OK for your Curves adjustments
to be made. Choose Layer>Merge Visible.
Even photos that are severely tinted by time can have their original colours revived…
Finding your
way around
When you are
zoomed in
close and cloning
away your scratches
and specks, you
may want to move
around your image.
Hold down the
spacebar and the
cursor will turn into
a hand. Click and
drag to move around
the document.
016-023-PC15_Feature.indd 23 6/10/06 11:49:47
Untitled-1 1 1/9/06 12:55:47
We feature the holy trio of Photoshop creations this issue – photo editing,
image generation and digital painting. Read, learn and enjoy!
photoshop creative issue fifteen
Discover how Adobe Bridge can
help you import, organise and
locate your images, without you
breaking a sweat
Phot oshop Cr eat ive_I ssue 15
Using Adobe
Bridge 48
Big t echnique
Focus on…
Cool plug- ins
Preferences 36
Extrude filter 56
Printing 64
Add colour and style to your
monochrome shots by hand tinting them
Tutorial starts on page 52
Photoshop’s artistic lters are
great, but sometimes they can
leave you wanting more. Enter
ArtStudioPro, a great plug-in
that delivers the same intuitive
ease of use as Photoshop’s
lters, but with a bit more
artistic clout
plug-in 72
We continue to work our way
through the inbuilt tools of the
Photoshop software and reveal
how they can be used to create
better artwork
Create your
own certificate
38 Create fire 32
Produce a
cyanotype effect
Digital painting
from scratch – part two
26 Paint like Turner
Create a paint by
numbers look
Colour B&W photos
025_PC15_Tut intro.indd 27 5/10/06 15:15:31
tutorial learn how to paint like turner
Learn how to
paint like Turner
026-031_PC15_turner.indd 26 6/10/06 12:14:53
J M W Turner’s distinctive
landscapes are easily
recognised. Here we reveal
how photos can be turned
into a Turner masterpiece
esearch into Turner’s art
reveals an almost inventive
technique. The artist mixed
oil paint with watercolour to
achieve the unique trademark translucency.
The paint was traditionally applied in
three layers over the canvas. The rst is
white covering the main area of the painting
and blue sky, the second is full paste with
moderate to low impasto, and the top layer is
very thin and is believed to have been applied
using mastic varnish added to linseed oil as a
painting medium. Turner used his ngers, a
knife and a brush end to apply the paint.
J M W Turner has dominated British
landscape painting throughout the rst half
of the Nineteenth century. He entered the
Royal Academy Schools in 1789, was elected
an associate of the Royal Academy in 1799 and
received full status as an academician in 1802.
Turner’s watercolours and oil paintings
show technical virtuosity. Full of drama and
movement, they show great curiosity about
the changing eects of light. There is a deep
sense of atmosphere with compositions often
bordering on abstraction.
Turner’s rst exhibited works were
watercolours of architectural subjects. In 1802
the artist went on one of many Continental
journeys to Switzerland. Other landscape-
inspiring trips were to Italy, northern Europe,
the Alps, the north and west of England.
This prolic painter died in London on 19
December 1851, leaving behind more than
300 oil paintings and 20,000 drawings, part of
the Tate Gallery’s collection.
We will try to re-create Turner’s style by
working with both watercolour and oil. We
will use a variety of image-editing tools to
place elements, and a number of Photoshop’s
artistic brushes. For a hint of the sky’s impasto
strokes, we will turn to Lighting Eects.
These will add drama as well as depth and a
3D eect to the piece.
Starter files
Hannah Gal
What you’ll learn
026-031_PC15_turner.indd 27 6/10/06 12:15:08
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tutorial learn how to paint like turner
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Photo credits
thanks goes
to two Stock.
xchng members for
letting us use their
photos. First up is
Carlos Paes, who is
responsible for the
photo of the large
ship. The image ID of
this ship is 575967
and we encourage
you to check out his
other photos.
The smaller ship
photo was courtesy
of Anne-Sophie
Réaud, and the
image ID for that is
539009. Check out
her other photos by
The sky is
created using
many brush strokes.
As you create each
stroke you obviously
notch up another
entry in the History.
It’s no surprise that
you will quickly
run out, so here’s
a handy tip before
you get started and
realise you can’t go
backwards. Test the
effect of the brush
you’re using on a
small area. When
you’re certain of the
effect, apply to a
greater area.
026-031_PC15_turner.indd 28 6/10/06 12:15:42
More guides As you start
concentrating on paint and eects,
be sure to get the proportions right. Display the
guides if you need a helping hand deciding on
size and position. You can obviously split the
image into as many parts as you like. The rulers
are also a great help.
Brown sky and tint Paste the sky
selection on the top left part of the
image, left of the big ship’s poles. Repeat this
process three times to add brown tones to
dierent parts of the blue sky. Select the bottom
left Water layer, go to Image>Adjustments>Hue/
Saturation and set Hue to 36 and Saturation to 23
to add a brown tint.
Reflections Select, copy and paste
the brown boat next to the main
big ship. Flip the copy vertically and place as a
reection. Select the Watercolor Light Opacity
brush from Wet Media brushes, sample a colour
from the larger boat and apply wiggly lines from
the main boat. Now apply the same process to
other reections. Select the blue strip that you
created earlier and use the Transform tools to
widen it slightly.
Spatter Select the Golden Sky layer,
top right of the image. Go to Filter>Brush
Strokes>Spatter and apply this eect to the sky.
You just want to add a touch of haziness to the sky,
so start with a very low Spatter radius of 4-5 and
see the eect. To save time, use a small selection
rather than the entire layer.
to detail
Zoom in and start
adding colour details.
Be sure to refer to
the original image
while painting. Work
with the Wet Media
Brushes’ Watercolor
Heavy Pigments
brush, sample colour
from the original or
use the Color palette.
Adjust the opacity
and brush size as you
need to. Again, you
can be quite rough
with your markings.
Dramatic sky The dramatic sky is
made of many shades, all blending
together. We will blend mostly shades of blue
and brown, with reds and yellows for drama.
Select the Golden Sky layer, top right, and create
a selection around part of the clouds as shown.
Adding the extra elements
Create a new layer
and name it ‘Sky Brush
Strokes’. Open the Wet
Media brushes and
choose the Dry Brush
On Towel brush. Set
a brush size of 40, at a
30-40% Opacity. We’ll
apply the textured
sky strokes. Apply
individual short
strokes, starting with
the brown shades
and moving to the
yellow ones. You can
sample colour from
the original.
Saving many
versions of the
main image is space
and time-consuming.
For flexibility, use
the many non-
committing tools
Photoshop provides.
Take advantage of
Adjustment Layers
for the option to
step back in time
and tweak any
effect applied
earlier. Levels, Hue/
Saturation, Curves
and many others
are available, giving
you a great deal of
creative freedom.
Under Edit in
the main menu
is the Fade option.
As you apply paint
to canvas, turn
to this feature to
change the stroke’s
blend mode or
opacity. This is a
great way to control
any effect applied,
but you need to be
quick and do this
as soon as you’ve
made the change on
the canvas.
026-031_PC15_turner.indd 29 6/10/06 12:16:23
tutorial learn how to paint like turner
Painting like Turner
Picking out the signs of a master
Turner used a
multitude of methods
and materials for his
work, from brush
ends to literally
inventing materials
to paint with. Turner
was quite original in
his approach, and
re-creating his style
means using dierent
tools and eects.
Versions of the original Several
versions of Turner’s painting exist,
each with its own colour intensity and
depth. The dierences are striking,
from washed-out watercolour to
deep colours and 3D strokes. We
added warmth to this version by
applying a dierent hue to the entire
image via the Hue/Saturation palette.
Reflections There are
many watery reections in
this image. These are made
believable by combining a
ipped copy of the original
elements with brush strokes.
They were applied directly
and later on enhanced by the
Liquify lter.
The extra special flourishes
Erase the
Choose the Eraser
tool from the Toolbox
and set to 20-40%
Opacity and a brush
of 30-40. Lightly touch
the edges of the many
clouds you created.
You want the edges
to be a touch lighter
than the centre – we’re
preparing them for
heavy smoothing
later on.
Spatter sky brushes Open the
Brushes palette and click Texture. Select
the Canvas texture and apply the spattery strokes
to the same area of the sky as in step 14. Continue
to apply brownish-yellowy strokes to add depth
to the sky. Move on to other areas of the image
and apply this brush freely to water, horizon line
and the Blue Sky layer on the left.
Liquify To enhance the water
reections, we will use Liquify. Create
a selection around the brown boat reection
and go to Filter>Liquify. Choose a small brush to
begin with and apply in a zigzag motion. You can
reset and start again at any stage. Apply and view
the eect in the main image. Repeat the process
on other reected areas in the image.
Drama in the sky The sky is made of
dierent shades of brown and blue, all
blending together. The bases to the sky
are the provided cloudy photographic
images. These were tinted and partly erased.
The Turner-esque look however, is mainly
achieved thanks to a combination of Spatter
eect brushes and the Smudge tool.
Separate layers and 3D effect
For the vivid brush strokes to the
top right of the sky, we created a
separate layer. These are dierent
from the rest of the painting for
their 3D eect. We achieved this
by turning to Filter>Render and
applying lighting eects to the
selected strokes.
The Turner effect The many
elements were put in place using
several Photoshop editing helpers.
Rulers and Guides are exible,
unobtrusive and can be activated
at any time. Meticulous attention to
detail is not a crucial factor here. This
piece is mostly about the great space
and atmosphere created by several
bold elements in a huge canvas.
026-031_PC15_turner.indd 30 6/10/06 12:17:25
Heavy flow Now choose the Heavy
Scatter Flow brush, and at a 60-65%
Opacity blend with previous strokes all over the
image. As its name suggests, this brush scatters
far and wide, so you want to use a small 20-30px
size brush.
More scattering The same brush is
used for the distinct smoke coming out
of the brown boat. To create it, zoom in to 100%
and set a small 10-15 size brush. Sample a reddish
colour and apply at a 30% Opacity level. Now
sample the yellow tint and apply in owing, short
strokes towards the sky. Increase Opacity to 60%
and apply a second coat over the rst. Finish by
sampling the dark brown at the edges and apply.
The final flourish
strokes There are
a great number of
brush strokes in the
sky. Instead of keeping
all within the existing
Dry Sky Strokes layer,
create a new layer
for the very bold
strokes to the right of
the image; name it
‘More Sky Strokes’. Use
Wet Media’s Heavy
Pigments brush at
70% Opacity to apply
the very bold yellow
and brown sky strokes.
More Sky Strokes
Main White Boat
Sky Brush Strokes
Brown Boat Copy
Dark Brown on Right
Main Boat Poles
Another Brown Cloud
Brown Cloud
Blue Sky
Water Bottom Left
Water Bottom Right
Golden Sky
Golden View
The layer structure
The making of a masterpiece
Smudge To complete the Turner
look, we turn to the Smudge tool.
Flatten the image. Select the Smudge tool
and set to 60-80 Strength. Use a small circular
motion to blend the many shades of sky with one
another. Go from one end of the image to the
next, covering the entire sky
Texture and lighting effects
Create a selection around the
very bold sky strokes created in step 18. Go
to Filter>Render>Lighting Eects. Choose
Directional, set a Texture Channel and click on
White is High, Level of 20-25. Select all and go to
Filter>Texture>Texturizer. Apply a Canvas texture
to the entire image. Try Relief of 6 and Scaling of
up to 85.
To flatten or not?
That is the question…
Even if you try your very hardest
to keep your layers in order, you’ll
soon find that your computer
starts to struggle after a while,
especially with tools like the
Liquify filter, Smudge tool and the
brushes. You can merge layers
as you go, but an alternative is
to flatten your image at certain
points and then apply your effect.
We did this before applying the
Lighting Effects to speed things
up, but you can do it where you
like. Obviously make sure you
save the layered file somewhere
in case it all goes wrong!
026-031_PC15_turner.indd 31 6/10/06 12:18:12
tutorial create a cyanotype
Reproduce the traditional cyanotype photographic process in order to create an
old-style photo collage
30-40 minutes
Source files
Rob Anselmi
he cyanotype, blueprint
or ferro-prussiate print is a
photo process developed in
1842 by the astronomer John
Herschel (1792-1871). The cyanotype is
one of the earliest photographic processes,
and has remained relatively unchanged.
‘Prussian Blue’, introduced in 1704, was
used as the basis for creating a low contrast
white image on a blue background.
The main photographic approach
combines two compounds in varying
measurements: potassium ferricyanide
and ferric ammonium citrate. Paper or card
stock is coated and left to dry in the dark for
several hours. Negatives can then be used
to expose the paper, or alternately objects
can be placed directly on the paper while
it’s wet and then exposed. This alternate
process produces a ‘photogram’ that results
in a high contrast blue outline of the object.
Once the paper is exposed, it’s washed in
a water bath, and a white image on a dark
blue background results.
This process became popular because
it was simple and didn’t need darkroom
facilities, and was also exible and could be
applied with relatively little equipment.
The cyanotype process was also used for
copying architectural drawings etc – hence
‘blueprint’. Mechanical photocopying
rendered it obsolete, but blue is still used as
the main colour for architectural plans, and
the term ‘blueprint’ still exists to this day.
This is one of many ways to reproduce
this photographic process digitally.
What you’ll learn
Take these

create this!
Create a
032-034_PC_15-cyano.indd 32 5/10/06 14:49:36
Add some grain Select the Statue
layer and add some extra grain via
the Filter>Pixelate>Mezzotint option. Select
Medium Dots. Now fade the lter (Edit>Fade) by
30%. When done, select the Eraser tool, and use a
large soft-edge brush to erase around the statue
where the Mezzotint sprinkling has crept into the
statue’s background.
Select your images For this tutorial,
Simona Dumitru photographed both
images, ‘Budapest’ and ‘Statue’, which can be
found on the free stock photo site www.sxc.
hu (photos #608952 and #448645). You’ll nd
both images on this issue’s disc, so open them
in Photoshop. To start, use the Move tool to drag
the Statue image into the Budapest image. Then
close the Statue image.
More grain
Select the
Budapest layer and
apply some added
grain (Filter>Texture>
Grain). Set both
Intensity and Contrast
to 50 and use the
Regular Grain Type.
When done, save your
image for backup, and
then merge the layers
(Layer>Merge Visible).
Go vertical With the image merged
into a single layer, go back into the
Grain dialog again and then use Vertical as the
Grain Type. Now enter 18 for the Intensity and 0
for the Contrast.
Transform and blend To remove
the black background behind the
statue, switch the Statue layer’s blend mode to
Screen. Then transform the layer’s scale to work
with the Budapest background (Edit>Transform>
Scale). Be sure to hold your Shift key down in
order to constrain the proportions of both the
width and height. Position the statue over the
front steps.
Bring back detail Create a new
layer sandwiched between the Statue
and the Budapest layers. Then with a large
Scatter brush (from the Wet Media set) to around
150 pixels, paint by dabbing over the statue with
a middle grey colour (RGB: 128/128/128). This will
bring back some denition in the statue while
creating a grainy look.
Prepping the photos
RGB to
Greyscale to
Duotone Convert
the image to Greyscale
Grayscale). When
asked to discard colour
information, click
the OK button. Then
immediately convert
from Greyscale to
Duotone (Image>
The Duotone dialog
opens. This is where
the real fun begins.
More about
really enrich
photos and prints.
Just make sure your
reduce to Greyscale
before converting to
Duotone. For more
information, see:
proper-curves/ or
Get an
For some
variation, change
the Border layer’s
blend mode to
Difference. The
outer edge turns into
a deep gold. Also,
right-click on the
text layer to rasterize
it, then duplicate
the text layer and
change its blend
mode to Linear
Dodge. Still on the
duplicated layer, go
to Filter>Pixelate>
Fragment. Then go
to the original text
layer and change
the opacity to 85%.
This creates blurred
shadow text.
032-034_PC_15-cyano.indd 33 5/10/06 14:50:14
dialog The Duotone
dialog separates the
image into printing
inks. Click the Load
button and load the
‘Cyanotype Duotone
Preset 1.ado’ from
this issue’s CD. This
converts the image
into two inks: black
and blue.
tutorial create a cyanotype
Convert to RGB Convert back to RGB
mode (Image>Mode>RGB). Copy the
layer and name it ‘Blur Overlay’. Switch the blend
mode to Overlay and the opacity to 33%. Now
apply a Gaussian Blur (Filter>Blur>Gaussian Blur)
with a radius of 20 pixels. Finally, desaturate the
layer (Image>Adjustments>Desaturate).
Introduce colours and text
paper stock
often have
a gritty feel. To
improve this look,
you can apply a
Texture filter, but
for a more authentic
look try to scan or
photograph textured
paper stock, then
blend it into the
image. Add to the
top of the layer
stack and set the
blend mode to Soft
Light or Darken.
Painted Statue Grain
Screen Border
Text Layer
Blur Overlay
Merged Cyanotype
The layer structure
Hidden depths
Add some text Select the foreground
colour to access the Color Picker and
choose a light blue-violet (RGB: 198/204/255).
Pick the Type tool and use a script font to type
several lines of text until it lls the screen. Use the
Character palette on the Options bar to ensure
the text is closely spaced and overlaps slightly.
Random transparency The text
is for eect, not readability, so to push
it further into the background and make it look
randomly scattered, add a layer mask to the
Type layer and apply the Dierence Clouds lter
(Filter>Render>Dierence Clouds) three times
to the mask.
adding a border
Add a rough edge
around the image by
creating a new layer
at the top of the layer
stack. Select a Chalk or
Dry Brush and dab at
the edging all the way
around the image.
Use more than one
type of brush to build
up the eect. Now
change the layer’s
blend mode to Screen
at 95% opacity.
032-034_PC_15-cyano.indd 34 5/10/06 14:50:34
Untitled-1 1 1/9/06 12:55:47
Focus on preferences

efore we start, we know preferences aren’t
exactly the sexiest thing to talk about – in fact
they are probably the equivalent of someone
talking about their tax return or how many
miles their car gets to the gallon. But while preferences may
not seduce us with pretty eects or sparkly tricks, they can make
small Photoshop tasks or procedures much easier.
You’ll nd Preferences in the Photoshop menu, or by hitting
Ctrl/Cmd+K. You get nine preference options, which together
allow you to control procedures such as how to store les, how
cursors look, what measurements to use for rulers, how much
memory to assign to Photoshop and how to handle les. You
can even make the text used in palettes bigger!
Preferences options cater for any type of Photoshop user,
from someone just starting out to an image-editing veteran.
In addition to the cosmetic changes, there are also options
for setting defaults for image resampling, stipulating le
compatibility and working with the Scratch Disk. We’re going to
concentrate on the most useful preferences, but it really is worth
having a look at what other setting are available. While none of
them will suddenly make you a better Photoshop user, a lot of
them will make your working environment far smoother!
Make your Photoshop experience smoother by
adapting the Preferences to your needs
Go to Photoshop>Preferences>File
Handling to see a dialog with controls
for saving images. These affect the
type of files you can save and how
compatible they are with other systems.
For example, Append File Extension is
automatically set in Windows. Mac users
have the option not to save an extension,
but a PC user won’t be able to see the
file. Users with CS or above and who
work with massive files should check
Enable Large Document Format. This lets
you create .psb files, which can handle
up to 300,000 pixels in any dimension.
Also, the Recent File List option at the
end lets you decide how many files you
see in the File>Open Recent command.
Get a handle on things
Save files as you need
The Display & Cursors part of Preferences
is mainly for altering how cursors appear,
but there are a few other uses. You can
set individual channels to appear as colour
thumbnails in the Channels palette (usually
greyscale). The Use Pixel Doubling option
will speed things up when you use the
Move tool to reposition something. The item
being moved will look low-res, but revert to
high-res once it’s in position. The Painting
Cursors section lets you alter how a brush
will display. Standard is as you’d expect, but
it’s worth trying Show Crosshair, as this will
give you some guidance in exact work.
Preferences on display
Setting display and cursor options
Open Preferences You will nd
all of the preferences under the
Photoshop menu. Alternatively, click
Ctrl/Cmd+K to access them.
See through it You can alter
how Photoshop displays areas of
transparent pixels by manipulating
the size and colour of squares.
Bump up the History You can
also increase the number of actions
the History palette stores using the
General preferences.
Tweak your
036-37_PC15_preference.indd 36 5/10/06 14:29:37
The rst set of preferences is the General options. The
name is very apt – there’s a bit of everything here. But
there are three standout controls, explained below…
General preferences
size Do you nd you’re
squinting at menus and
palettes because you
can’t read what they say?
Go to the UI Font Size
menu, pick Large, and
the next time you open
Photoshop the text will
be a lot bigger!
history The
History function soon
lls up, especially if you
are cloning or using the
Brush tool. To x it, enter
a larger number in the
History States box. This
will sap more memory,
but a setting of about 50
won’t be too noticeable.
Learn from
history To
make sure you keep
track of the settings
you use, activate the
History Log. This is a list
of your actions, including
settings. You can save it
to the Metadata palette,
as a Text le or both.
Small things make all the difference
The grids and guides in Photoshop
are handy for a variety of reasons.
As long as the rulers are showing,
you can go to View>Show and
bring up enough guides to keep
your images on the straight and
narrow. But for the guides to be
any good you obviously need to be
able to see them. No problem – just
call up the Guides, Grids and Slices
preference and set what colour
you want them to be and whether
you want them to appear as lines,
dashed lines or dots (Grid only).
Work to a grid system
Controlling your lines
Whenever you open a file with
transparent areas, you no doubt
expect to see some little grey and
white squares greeting you. Well,
you can control how Photoshop
displays transparent areas using
the Transparency & Gamut
preferences. From here you can
decide how large the squares should
be, what colour they should be, or
even if they should be squares in the
first place! You can also set what
colour to use if you have the Gamut
Warning option selected.
To square or not to square…
…that is the option
Audio cue
One funny
option is Beep
When Done in the
General preferences.
When checked,
Photoshop will toot
and let you know
when it’s finished
a job. This is quite
useful for huge files
when tasks take ages
to process.
See in colour Instead of
boring old black-and-white,
you can set the channel
thumbnails to display in colour,
making things far more visual.
You can
your mind
If you get a bit
carried away
with changing all the
preferences, simply
reset them. Start up
Photoshop and hold
down Alt+Ctrl+Shift
(PC) or Option+
Cmd+Shift (Mac).
You’ll be asked if you
want to delete the
Photoshop Settings
file. Click Yes.
Captain’s log To make sure
you don’t forget how you
created a certain eect, set the
option to record a history log.
036-37_PC15_preference.indd 37 5/10/06 14:30:01
tutorial playing with fire
30 minutes
Zoe Mutter
here are many ways of creating
re in Photoshop, but some can
appear very unrealistic. If you
look at a real ame on a candle
you’ll see a lot of it is made up of white, so using
the Brush tool to try and paint areas of red and
yellow doesn’t look very eective. Our candles’
ames are slightly dierent to those you may
see in roaring res, but this can be adjusted
using the method in the tutorial, which enables
you to alter colours in highlights, midtones and
shadows. A similar process to our technique
can be used to apply re to a variety of projects.
Maybe you want to make a person look like
they’re breathing re, or add blazing ames to
text. In this example we’ve gone a step further
and created candles, complete with melting
wax and smoke. As every ame is dierent, this
is where the many specialised lters and tools
in Photoshop come into their own and allow
you to produce a variety of ery formations. You
can have a lot of fun experimenting with re in
Photoshop, with none of the danger!
with fi re
Fixed marquee method Create
a new layer. Choose the Rectangular
Marquee and select Fixed Size from the Style
drop-down menu. Enter 4cm as the Width
again and 9.8cm in the Height box. Click in the
document, and then place your cursor inside
the marquee and drag it to position it as we have
done, below the ellipse we just created.
Set up your document size
Create a new document at 300ppi
measuring 20cm high and 29cm wide. Fill your
background layer with black. Create a new layer
and choose the Elliptical Marquee tool. In the
Style drop-down menu in the Options bar choose
Fixed Size. Enter 4cm in the Width box and 1.2cm
in the Height box.
Set up your document and choose your colours
Have some ery fun conjuring up candle
creations in Photoshop…
Choose your hues Click in the
document for a marquee to appear.
Double-click on the foreground colour swatch
in the toolbar to bring up the Color Picker. Enter
the values R 248, G 235 and B 206 and click OK.
Choose the Paint Bucket tool and click to ll inside
the marquee.
038-041_PC_15-candles.indd 38 5/10/06 14:14:24
What you’ll learn
Drag your
drips Use
the Rectangular
Marquee tool (with the
Style set to Normal).
Select just the top
section of the candle.
Make sure you have
the Candle Body layer
selected. Choose
Filter>Liquify. Use the
Forward Warp toolset
to a Brush size of 60
to drag downwards,
creating drips. Push in
at the top sides, giving
the drips shape. Hit OK.
Create a curved candle bottom
Create a new layer. Select the Magnetic
Lasso tool and follow around the curved bottom
and straight edges, and then around the bottom
edge of the curved top of the candle as we have
here. Select the Gradient tool again on the same
colour settings, and drag from left to right so you
now have a cylindrical object.
Blended candle colour Choose
the Gradient tool from the toolbar.
Click the gradient swatch in the Options bar and
then choose a preset with three colours. Click the
rst stop and click the colour swatch. Now enter
R 239, G 244 and B 178.
Add shadow to your candle’s
edge Click on the layer thumbnail
for the top side of the candle and drag it to the
top of the Layers palette. Double-click its layer
thumbnail to bring up the Layer Style window.
Click on Drop Shadow and choose the colour R
217, G 218 and B 149 by clicking the colour swatch.
Merge your candle layers Enter
a Distance of 2px, Spread of 20%
and Size of 40px and click OK. Ctrl-click (PC) or
Cmd-click (Mac) all the layer thumbnails except
the background. Choose Layer>Merge Layers.
Double-click the merged layer thumbnail title
and rename it ‘Candle Body’.
Gradient options Repeat this
method of setting the colours for
the middle stop, but enter R 252, G 246 and B
238. Click on the third stop and then the colour
swatch and enter R 223, G 222 and B 166. Click OK
to accept your gradient’s colours.
Check your layer ordering
Click in the left of the marquee and
drag right to ll with the gradient. Check the top
ellipse layer is above the side rectangular shape in
the Layers palette. Deselect, then right/Ctrl-click
the ellipse layer and pick Duplicate Layer. Use the
Move tool to click and drag this to the bottom of
the rectangular shape you just lled.
It’s easier than you think
Dodge and Burn Ctrl/Cmd-click on
the layer thumbnail for the top of the
candle again and choose the Burn tool. Set the
size to about 60 and go around the edge of the
top of the candle, giving it more shape. Use the
Dodge tool to go over areas of the centre of the
candle’s top to create highlight.
Drippy drop
If you create
any extra drips
using the Brush tool
on separate layers,
you can use a Drop
Shadow layer style
to add shadow to
them. You can also
go over the shadow
created by the
melting wax using
the Burn tool. Go
over areas of the
drips using
the Dodge tool to
create highlights.
These will ensure a
realistic result.
038-041_PC_15-candles.indd 39 5/10/06 14:14:40
Candle in the wind Use the
Rectangular Marquee to select just the
ame and make sure you’re on the Flame layer.
Choose Filter>Liquify. Choose the Twirl Clockwise
tool and click on your ame while moving up to
see it twisted and distorted. Click OK and your
ame will appear to be blowing in the wind.
Let there be light Select the
Flame layer in the palette. Choose
Image>Adjustments>Color Balance. Check that
Midtones is selected as the Tone Balance. Enter
84 in the rst box, 51 in the second and -100 in
the third. Choose Shadows and enter 61, 39 and
-88. For Highlights enter 100, 43 and 37. These can
be adjusted for dierent ame colours.
Pick the Rectangular
Marquee with a
Feather of 30. Select
the top of the ame.
Choose an Angle of 90
and an Amount of 70.
Hit OK to blur the top
of your ame slightly
more. You can erase
parts of the bottom
of the ame using a
low opacity brush
so the wick shows
through slightly.
Ctrl/Cmd-click on the
Wick layer thumbnail
to select it. Choose the
colour R 192, G 97 and
B 43 from the Color
Picker. Click the Wick
layer and choose the
Brush tool. Paint onto
the lower end of the
wick selection with
the reddish colour.
Click the Smudge tool
and use it to blend
the join between the
two colours.
From wax to wicks Create a new
layer and name it ‘Wick’. Choose the
Brush tool, with the colour set to dark brown. Set
Hardness to 10% and Size to 14px. Draw a slightly
curved line for the wick.
Set it ablaze Choose the Elliptical
Marquee tool and set Style to Normal.
Now create a new layer. Drag out an elongated
ellipse the same shape as ours, for the ame. Click
inside the marquee and drag to place it at the top
of the wick. Choose white as your foreground
colour and then use the Paint Bucket tool and
click to ll it.
Add dimension Click outside the
marquee with the Elliptical Marquee tool.
Go to Blur>Gaussian Blur. Set Amount at 10-15. Pick
the Brush tool. Set the foreground colour to black
on a Size of 35, Opacity of 10% and Flow of 50%. Go
lightly around the edge of the ame, adding shade.
tutorial playing with fire
Create a realistic flame
the wick
Choose the
Rectangular Marquee
tool (with Style set
to Normal). Select
just the top end of
the wick. Choose
Blur and set Angle to
-60 and Amount to 8
pixels. Use the Liquify
lter in the same
way as with the drips
in order to curve it
slightly at the top.
Vary opacity
for realism
As candles
are likely to
vary in the amount
of smoke and flame
they produce, it can
make your image
more realistic if
you all the smoke
and flame layers
have different
Opacity settings.
Also adjust their
shapes via Edit>
dragging the points.
038-041_PC_15-candles.indd 40 5/10/06 14:14:59
Candle body
The layer structure
How we fuelled the flames
Make your candles varied
You can now transform the other
candles and use the Smudge tool to alter their
candle wax and drips. You can also rerun the
Liquify lter and use the Twirl Clockwise tool to
adjust the ame, or even use Free Transform on
the smoke to make the candles look varied.
Create a candle collection
Change the Smoke layer’s blending
mode to Luminosity and opacity to 80%. Use
Edit>Transform>Warp to adjust the smoke if
needed. Repeat to create dierent candles or put
all layers for this candle in a Group folder and copy
by right/Ctrl-clicking the layer thumbnail and
selecting the option in the pull-down menu.
and fade
Choose Filter>
Enter 5 into the
Generators box. Enter
Wavelengths of 10
and 120, Amplitudes
of 5 and 35 and enter
100% in both of the
Scale boxes. Now click
OK. Choose Edit>Fade
Waves and enter 50%.
Repeat this method
of applying the Wave
lter and fading until
you are satised. Place
the Smoke layer under
the Flame layer.
Add the finishing touches
Smoking it up Create a new layer
for the smoke. Select the Polygonal
Lasso tool and mark out a shape similar to ours.
Fill it with a light grey. Use the Dodge tool to add
highlights to the edge of the shape and Burn tool
to go over the middle areas and make them a
touch darker.
Cast a shadow If any candles are
in front of other ones once you’ve
positioned them, double-click the layer
thumbnail for the body of the candle and choose
Drop Shadow from the Layer Style list. Now click
the colour swatch and choose black. Set Opacity
to 75%, Angle to 120, Distance to 10px, Spread to
5% and Size to 100px.
Easy reflections Once happy,
select all the candle layer thumbnails. In
Layer> Merge Layers, right/Ctrl-click the merged
layer and hit Duplicate Layer. Pick the duplicated
layer and then Edit>Transform>Flip Vertical. Put
the reected candles below the others, with their
blending mode on Normal and opacity at 40%.
Apply a Gaussian Blur with Amount on 8.
Dim the
If you think
that the flames
you have created
are too bright, they
can be easily be
dimmed. Select the
layer they are on
in the Layers
palette and then
reduce the opacity
to around 80%,
making them fainter.
038-041_PC_15-candles.indd 41 5/10/06 14:15:19
ay back in issue 11, we
showed you how it was
possible to create lovely
Photoshop art just by
using the standard lters. To illustrate
the concept of no-hassle creativity, we
used a paint by numbers eect. Since the
issue went on sale, we’ve had lots of email
from you asking how we achieved this
eect, so we decided to write you a tutorial
explaining how! It’s a really nice eect
that will work on pretty much any picture
you throw at it, so it’s denitely a good
technique to have under your belt for when
inspiration runs dry.
We’ve chosen a wooded landscape
photo because this is in keeping with the
image used on issue 11’s cover. However,
you really can apply this to any scene or
event. All you are eectively doing is tracing
around objects and then wiping away parts
of the photo to reveal the lines. Then it’s just
a matter of adding a few numbers to give it
a realistic touch.
The biggest hurdle when attempting
this technique is knowing what to trace. Do
not attempt to trace everything! Because
you are working from a photo there will be
far more detail than you need, and if you go
too over the top with lines you will actually
spoil the eect. Just mark out some rough
suggestions of form and apply plenty of
numbers to give the correct eect.
We’ve only applied the look to parts of
the image, but you can go the whole hog.
It’s up to you to experiment!
About one
Lora Sykes
Try something dierent with your digital paintings using this great technique
What you’ll learn
Get the paint by
numbers effect
044-47 Paint by numbers tutorial44 44 5/10/06 14:25:56
Priming the canvas Download the
photo (see box on the far right) and
double-click the layer to unlock it. Call it ‘Original
photo’. Make a new layer and go to Edit>Fill.
Choose White from the Use drop-down menu;
keep the mode on Normal and the Opacity at
100%. Name this layer ‘Canvas’.
Painting layer Duplicate the
Original photo layer and rename it
‘Painting’. Position it above the Canvas layer in the
Layers palette. This is the layer we will be working
on for the painting eect. We need the original
layer later in the project for colour reference
when adding the numbers, so just keep it under
the canvas for the time being.
as you go
Now all the setting up
has been done, the fun
bit can start. With your
brush at the ready and
making sure you’re on
the Blue guidelines
layer, start drawing
around the areas for
the paint by numbers
eect. Do a rough
trace around forms,
and don’t worry about
being too accurate.
Blue guidelines Create another
new layer and call it ‘Blue guidelines’.
Place it above the Painting layer. Double-click on
the top colour on the toolbar – this will bring up
the Color Picker. Select a light blue (we went for
C=72 M=1 Y=3 K=0).
Start the transformation from photo to number art
Choose the brush Click on the
Brush tool, go to the top Options bar
and choose a Hard Mechanical brush from the
Basic brush set. Pick a 4px brush. It’s important to
stick with the same brush type and size for all of
the line drawing. Create a new layer and move to
the top of the layer stack. Draw some rough lines
to mark where you want to apply the eect. See
the tip below for more.
Image used
in this tutorial
We’ve used
a photo from
Stock exchange
image number
344165_9113). It’s
free to download
images from this
site, so make it a
regular haunt. If
you haven’t got the
Internet or don’t
want to download
this image, the
technique will work
on any other image.
Obviously things
such as the lake don’t
have strong colour
dierences, but it’s
quite a big area to leave
as one block. So ad lib
a bit and pick out a few
of the reections by
drawing in some lines
around the shadows.
The trickiest thing about this effect is that you are
working in reverse to how you would do a real
paint by numbers painting. You aren’t adding paint
to the areas, but instead you’re taking away to
reveal the canvas and numbered areas.
For a rough guide to how to split up the painting
into the paint by numbers areas, create a layer at
the top of your Layers palette, and with a medium
size round brush simply mark out where you want
the edges of the painting to stop. Turn this layer on
and off as needed.
It’s best to pick out the areas that have interesting
shapes but don’t necessarily detract from
the painting’s main feature. While the paint by
numbers effect will steal the viewer’s attention, it’s
good to keep a focal point.
Tool tip
Set some rough guides
044-47 Paint by numbers tutorial45 45 5/10/06 14:26:09
Too many layers Click back on the
Painting layer to continue adding the
numbers. As you will soon nd out, every time
you create a new number you also create a new
layer. To stop your Layers palette lling up with
lots of number layers, merge them together as
often as possible so at the end you only have one
layer with all your numbers on it.
The great reveal Still on the Painting
layer, choose a medium size round
soft-edged eraser and start rubbing out the areas
where you’ve drawn the lines. Bring up your
boundary guidelines again in order to see where
to go up to.
Smaller areas For the more
awkward areas like the water wheel,
keep it simple and don’t worry if your lines are a
bit wobbly. However, if a line goes ridiculously
astray, pay a visit to the Eraser tool and choose a
3px Square brush from the Square Brushes set to
either neaten the edges or rub out the oending
bits and then redraw them in.
tutorial get the paint by numbers effect
As easy as 1,2,3 Once you have
nished rubbing out the two sections,
Select the Type tool. Choose a font that’s very
plain and easy to read. We went for Helvetica
Bold. Make sure your line colour is still selected.
Change the font size to about 6.5 and then click
in the middle of a line area and type a number of
your choice. When you’ve typed the number, hit
the tick icon in the Options bar and repeat on a
dierent area.
To make the eect as
authentic as possible,
keep the same
number for the same
colours. Place the
Original photo layer
above the Painting and
Numbers layers and
reduce the opacity to
34%. Every time you
need to work out what
number to use, be it a
new one or an existing
one, up the opacity a
tad to see what colour
exists originally.
Separate sections and get on with the tracing
Once you’ve
chosen the blue
you’re going to use
for the lines, it’s a
good idea to make
and save a swatch
so you can always
use exactly the same
colour blue. Go to
to bring up the
palette. Click on the
little arrow on the
right and choose
New Swatch. It
automatically selects
the foreground
colour you have
shown in the toolbar,
so make sure it’s
the correct blue
you want. Name the
swatch and then
click OK.
Second coat To make it a bit more
painterly, go to Filter>Artistic>Paint
Daubs and change Brush Size to 8, Sharpness to 8
and Brush Type to Simple.
Quick painting Once you’re
happy you’ve created enough blue
lines, click back onto the Painting layer. Go to
Filter>Artistic>Rough Pastel to roughen it up a
bit. Change Stroke Length to 7, Stroke Detail to 4,
Texture to Canvas, Scaling to 82%, Relief to 10 and
the Light to Bottom. Click OK.
Checking on progress After
drawing out most of the bottom
area it’s worth bringing back the visibility of the
Boundary layer by clicking on the eye next to it
in the Layers palette. As this technique involves a
lot of close-up work, it’s good to zoom out every
now and then to see how it’s shaping up. It’s very
easy to get carried away!
Top of the class Finish o the
bottom area of the photo, making sure
the blue lines go right up to your boundary line
as well as to the edge of the canvas. Now move
up to the top section of the image where we
have a smaller area sectioned o, and as before,
draw around the dierent coloured areas.
044-47 Paint by numbers tutorial46 46 5/10/06 14:26:24
Tidy up Once you’ve done enough
smudging to get the desired eect
of painterly edges, it’s time to neaten up the
blue lines so it looks as though they have been
partially painted over nearer the edges. Choose
the Eraser tool, make sure the opacity in the
Options bar is set at 61% and lightly drag over the
lines that are visible over the painted areas.
Canvas creation Now we are
getting near to completion, it’s time
to add the texture to our Canvas layer. Select it
in the Layers palette and go to Filter>Texturizer.
Choose Canvas for the texture, change Scaling to
78, Relief to 4 and the Light to Top Right. Click OK.
Blurred vision Smudge around
the edges and then duplicate this
layer. Place it below the Painting layer. Drop
its opacity to around 27% and then go to
Filter>Blur>Gaussian Blur and change the slider
to 5.5. Select the Smudge tool again and drag
out a few areas This new layer gives the eect of
a watercolour wash from underneath the fully
worked-up top coat. Merge the two Paint layers.
Make sure the effect adds up
One step further? If you want to go
that one step further, why not choose
a colour from the painting, and with a Wet Media
brush at a low opacity, start painting in washes on
a new layer in a few of the numbered sections – as
we did here on one or two of the wooden stilts.
Once again, set the layer to Multiply so the canvas
shows through.
Double the fun Some real paint by
numbers sets have two numbers in one
area, meaning you have to mix those colours for
that area. To re-create this look, choose the Line
tool, change Weight to 4px and create a small
horizontal line between two numbers. A couple
of these will add a nice bit of authenticity.
out Once
you‘ve numbered all
the dierent areas,
turn o the Boundary
layer and then go to
the Painting layer.
Select the Smudge
tool and choose the
Pencil Thick brush from
the Natural Brushes 2
family. Change Size to
25px and Strength to
68%. Start dragging
the edges of the
painting out onto the
white areas. Short
strokes work best.
Extra painty bits
Blue guidelines
Original photo
Layer structure
Photoshop paint by numbers
Texture for all Select the Painting,
Blue lines and Numbers layers and set
each to the Multiply blending mode. This will
make the canvas texture show through. However,
this will also dull the colours slightly. So go to
Image>Adjustments>Levels and move the white
triangle left a touch to bring back the brightness.
044-47 Paint by numbers tutorial47 47 5/10/06 14:26:40
the big technique using adobe bridge
hotoshop has always done image
manipulation better than any
other software. However, getting
your images into the program and
organising them was never as easy as it should have
been, and most people had to either use alternative
software or resort to the standard options supplied
with their OS. The File Browser in previous versions of
Photoshop addressed some of these problems, but
did nothing more than give users the option to see
their les in thumbnail format before opening them.
With the rise in popularity of digital photography,
we all now have many more images to organise.
Graphics packages have therefore changed, and
Photoshop now sports a separate add-on program,
Adobe Bridge, to help sort out your image collection.
Sporting full thumbnail and lmstrip preview modes,
Bridge lets you take the images you’ve so carefully
created and tweaked in Photoshop, and organise
them into a superb gallery. What’s more, there are
many ways to scan through les, thanks to thorough
metadata settings and le ratings and colour labels.
You can even perform basic editing functions and
batch rename les within the Bridge interface.
Stock photos
Access professional images instantly
Finding stock images is daunting for
anyone who doesn’t have ‘picture
editor’ in their job title. Unless you
know how to get what you want from
online stock libraries, searches can
result in little or no success. Adobe
has cottoned on to this, and Bridge
boasts a direct link to a whole gamut
of stock photos and images. Click
the Adobe Stock Photos link in the
Favorites tab to be taken to a page
where you can view thumbnails and
picture info for thousands of images.
And all done without leaving Bridge!
Image slideshow
Adobe Bridge has a fully functioning slideshow
function. You can turn the slideshow on by going
to View>Slideshow or pressing Ctrl/Cmd+L on
the keyboard. When the show starts, images
appear one after the other, with filename and
rating below – all customisable in one of Bridge’s
coolest features. Hit H on the keyboard to see
a range of shortcuts that let you tinker with just
about every aspect. You can alter the duration
of each slide, tweak how captions are displayed,
whether images are stretched to fit, and a whole
lot more. Even better, if you don’t like applying
ratings etc to thumbnails, you can give ratings
and labels live as the slideshow progresses.
Sit back and relax
Manage your images eectively with Photoshop’s
superb browsing and organising package
Navigation aids Bridge is equipped
with a useful Favorites section designed
to take you quickly to the images and
folders you use most often – you can add
your own favourites as and when you
wish. There’s also a handy le explorer to
be found under the Folders tab, not to
mention an intuitive drop-down menu to
show your most commonly visited folders.
Preview panel In here, you can see a
preview of the image you’ve currently
selected in the Thumbnails window.
By dragging the panel frames, you
can resize this preview to virtually any
dimensions you wish.
Using Adobe
048-51_PC15_techniques.indd 48 5/10/06 14:09:30
Background colour
Give images the backing they deserve
One of the strangest things you’ll
notice about Bridge when you
open it for the first time is the
grey background in the
Thumbnail window, which
somehow manages to make even
the most dynamic of images
seem drab and dull. Thankfully,
it’s pretty easy to eliminate grey
from your Bridge life. Go to Edit, then choose Preferences. In the first
Preferences window that appears, you’ll see a slider next to Background.
Moving this slider will rid you of the grey, although you’ll notice that you’re
limited to a purely greyscale palette – we would suggest opting for solid
white or black.
Let’s face it, there’s no point in having thousands of
images to call upon if you have to scan through every
single picture every single time you want to use one of
them. In the walkthrough on the following pages, we show
you a couple of quick and dirty tricks to put your pictures
in some kind of order. If you’re keen on working like
the professionals, you could do a whole lot worse than
clicking the Metadata tab under the Preview panel. Here
you will find all the XML information contained on your
images, including the all-important information stored by
your digital camera, not to mention a host of blank data
that you can fill in to make your images more searchable.
In addition to this, you can click on the Keywords tab to
attach a series of search words to your images.
Sort out your Ps and Qs
After dragging images into Bridge, you may want a
consistent naming convention for your collection.
The Batch Rename function will take care of the job.
images First
select the images you’d
like to rename – in our
case all images in the
collection, so press
Control (Apple) +A to
select every pic. Now
right-click any image
and hit Batch Rename in
the drop-down menu.
There are various ways
to rename, but we’ll
change our pics to
‘bridgepics01’ etc. We
chose Rename in the
same folder. Pick Text
in the rst drop-down
and enter new text, eg
game Hit the
plus sign on the right to
add another parameter.
Pick Sequence Number,
enter the number to
start and how many
digits to use. A preview
appears. When you’re
done, hit Rename.
Batch renaming images
Change filenames in seconds
Stock photos One of Bridge’s
main advantages over similar image
packages is the ease with which
you can nd, browse and purchase
stock photos. Without ever leaving
the Bridge interface, you can search
through thousands of professional
images, view high-quality previews,
then purchase and download.
Thumbnail preview The Thumbnail
Preview window can be customised
in many ways, most importantly in the
size of the thumbs themselves and the
background colour of the window. In this
section, you can also apply labels and
ratings to each of your images.
Bridge isn’t the
most clearly
signposted software
ever written – to run
the program, open
up Photoshop and
then click on the
Go to Bridge icon
next to the Brushes
palette in the top
right-hand corner
of the screen.
Filter function Adobe Bridge has a variety
of tools to help you nd images on your
computer and sift through those you’ve
already imported. If you set labels and
ratings for your images, you can very quickly
separate your favourites by using the Filter
function above the Thumbnail window.
048-51_PC15_techniques.indd 49 5/10/06 14:09:53
the big technique using adobe bridge
Get your images organised once and for all
Create a new folder When you
drag images into Bridge, the program
automatically copies those les into a project
folder. Consequently, it’s better to create a folder
beforehand for this purpose. Once you’ve done
this, navigate to your newly created folder in
Bridge using the Folders tab.
Importing images Importing
photos into Bridge couldn’t be easier.
With your new folder selected, you should see a
No Items to Display logo in the Image window. To
import photos, just drag them from their existing
folder into this window. Alternatively, you can
copy your images directly into the project folder,
and they’ll automatically appear in Bridge.
Thumbnail view Adobe Bridge
gives you many dierent ways to view
your images, but we nd that the Thumbnail
option is the most user-friendly. Make sure you’re
in Thumbnail mode by clicking on the relevant
icon at the bottom right-hand corner of the
interface. You can change the thumbnail size by
moving the slider opposite.
Moving around When you
import images, they’re automatically
ordered according to lename, but you have
the opportunity to place them in any order you
choose. To change the order, simply drag one of
the images to another part of the Image window
– you’ll see a blue bar appear, indicating where
the image will move to.
Sort it out Another way to alter
the order of your images is to use the
Sort function, which rearranges your images
according to a variety of settings. To achieve this,
right-click on any image and select Sort, then
choose one of the parameters from the sub-
menu that appears.
Rate it Like audio software and
some other image organisers, Bridge
enables you to rate your images with 1-5 stars.
You can rate any picture at any time by simply
clicking on one of the ve circles that appear
below the image.
30 minutes
Finding your way
With so much in the way of metadata and
keyword functionality, it can be no surprise that
Adobe Bridge is also equipped with a mighty
Find section. To access the Find function, click
on Edit, Find, or press Ctrl/Cmd+F on the
keyboard. The unassuming-looking window
this produces actually contains a wealth of
options designed to ensure you can always get
your hands on the image you’re after. Thanks
to the Browse section, you aren’t even limited
to scanning through images you’ve already
imported into Bridge. The real power stems from
the searching criteria available, though – click
on Filename, and you’ll see a range of search
parameters based on your image’s properties.
Add to this the ability to perform searches on
multiple criteria simultaneously, and you have
pretty much everything you need to find just
about any image on your computer.
Bridge’s impressive search function
Thumbnail size
Although there’s a preview window on the
left of the Bridge interface, there are times
when it’s far more useful to view a number
of images at a reasonable resolution.
Bridge affords you a fair amount of control
in this regard, allowing you to tailor your
thumbnail size accordingly. The Thumbnail
slider appears at the bottom left of the
Bridge interface, and lets you set the
preview size at anything from impossibly
tiny to near full screen. If you’re using a
scroll wheel mouse, you can also adjust
the same setting by holding down Ctrl/
Cmd and scrolling up or down.
Preview images your way
When you’re
rating pictures,
it’s very easy to
accidentally click
twice on an image
and open it up in
Photoshop. We’ve
learned that it’s
best to click once
to select, wait, then
click again to rate.
Click it slowly
048-51_PC15_techniques.indd 50 5/10/06 14:10:14
Colour the rest This is a very quick
and easy way to colour-code your
images. What makes this feature so useful is that,
unlike the Sort function we described earlier, you
can apply colours according to any principles you
like – giving you the chance to create your own
ling system.
love Another helpful
addition to Bridge
enables you to apply
labels to each of your
images. To add a label
to an image, right/Ctrl-
click on it and then
select Label from the
drop-down menu.
Lastly, choose a colour
from the list.
Bring to order Why would you want
to do this? Well, if you rate all of your
images in this manner, you can use these ratings
as another method of ordering your les. To do
this, click on the arrow next to Unltered at the top
right, and then choose from one of the ‘Show x or
More Stars’ options.
Filter the
Once you’ve labelled
your images, you
can use the Filter
option again to
show one, some
or all of the colours
you apportioned.
Depending on the
criteria you used for
colours (maybe photos,
Photoshop artwork
and stock art could be
three), you can very
easily lter through a
whole array of images.
Simple editing Although Bridge is
mainly an organisational tool, it does
have a few quick and easy edit functions. They are
basic tools but if you’re running a slow computer,
the ability to rotate and change le information in
Bridge could be a godsend. You can access these
functions by right-clicking on any image.
Back into Photoshop Getting
from Photoshop to Bridge is a doddle,
so it’s no surprise that it’s just as easy to go back
the other way. To open any image in Photoshop,
simply double-click on it in Bridge – Photoshop
will instantly open, with your image all ready
for editing.
Compact viewing
Despite the name, Compact mode
doesn’t necessarily relate solely
to the size of the Bridge window,
although this can often be the case.
The main difference between Normal
and Compact mode is that the latter
removes the menus and panels from
the interface, leaving you with a window
full of scalable thumbnails. The benefits
of this are that Bridge can operate
much more efficiently, and also means
that it acts pretty much like a lightbox for Photoshop; with no preview
function in Bridge, the only way to view a thumb at full resolution is to
double-click and open up Photoshop.
A smaller and faster interface
Filmstrip mode
A different viewpoint
We’ve focused mostly on using thumbnails to
see previews, but Bridge also has a very handy
Filmstrip mode. As you may know, this setting,
which is common in many image viewers, offers a
combination of Thumbnail and Slideshow modes,
and lets you view images at near full resolution
alongside thumbs of other pictures. You can turn
the filmstrip function on by clicking on the relevant
icon at the bottom right of the Bridge interface.
There are plenty of options for this mode, though,
so don’t stick with the default settings. Clicking on
the dotted right-angle icon that appears next to the
arrows, for example, changes the orientation of the
filmstrip from Landscape to Portrait.
048-51_PC15_techniques.indd 51 5/10/06 14:10:38
tutorial hand colour black-and-white photos
Add colour to monochrome in order to give those old images a sense of colour realism, or
perhaps give new images a more artistic feel…
he practice of hand colouring
black-and-white photographs
predated the invention of
colour lm but maintained its
popularity long after – as much a tool for
surreal, artistic eects as for the traditional
means of adding colour realism.
Thankfully, we no longer need to mess
about with oils, watercolours or dyes to achieve
this look, and can use Photoshop to happily
colour old black-and-white photographs to
ll in historical blanks, or even to desaturate
our colour images for recolouring with an
altogether more artistic veneer.
There are three core foundations to our
digital hand-colouring technique. The rst
is the Color blending mode which allows us
to add colour without aecting underlying
detail. Its only drawback is that the shade
of our chosen colour is constrained by the
information below – painting a deep red on a
light area is only ever going to give you pink.
And therein lies our second foundation –
the Curves adjustment layer. We can solve the
luminosity problem by darkening or lightening
an area of the underlying information without
destroying important detail, giving us the
chance to make use of any colour we want.
You’ll nd our third and nal foundation
in the layer blending options . The Blend If
section allows us to target specic areas of the
underlying tonality with our colour, enabling
us to preserve the neutrality of deep shadows
and bright highlights for an added sense of
realism. If all this sounds complicated, just get
going and it’ll fall into place!
Hand colour B&W photos
What you’ll learn
One hour
Starter file
052-055_PC_15-handcolor.indd 52 5/10/06 13:54:44
Hand colour B&W photos
Painting in the grass Next, we
select the layer mask, zoom in with
Ctrl/Cmd and +, and paint the grass with a white
brush set to 90% hardness. If we stray over
the lines we simply press X to swap white for
black, and paint the black mask back in where
necessary. When we’ve nished, we can make
changes to colour by double-clicking the Layer
icon again to open the Color Picker.
Open the blending options Now
right/Ctrl-click the Solid Color layer and
select Blending Options from the menu. Note the
two greyscale ramps in the Blend If section at the
dialog base. Hold down Alt/Option and click the
black triangle on the left of the bottom ramp. The
triangle should split into two.
Hone the
Blend If
dialog Drag the
right-hand part of the
triangle rightwards
until the gure above
moves from 0 to 70.
Move the left part until
the corresponding
gure reaches 30. Alt/
Option-click the white
triangle on the other
side of the same ramp
to split it and move its
two parts to 225 and
185 respectively. Hit OK.
Create a painting layer We’re now
going to create our painting layers.
Click the Create New Fill or Adjustment Layer
icon at the bottom of the Layers palette and
select Solid Color. OK the dialog and then use
Ctrl/Cmd+I to invert the layer’s mask to black.
Finally, change the layer blending mode from
Normal to Color.
Get used to adding colour
our grass
colour Next comes
the fun part. Select the
rst Solid Color layer
and double-click the
Layer icon to open
up the Color Picker.
We’re going to start by
painting the grass, so
we move the slider to
nd a suitable green
and then select an
appropriate shade
within the main
Picker window.
Duplicate the background layer
Open up the source le from this
issue’s disc. If you’re working on your own photo
and it’s colour, duplicate the background layer (so
you’ve got the original colour layer safe) and then
use Ctrl/Cmd+Shift+U to desaturate the new
layer. If you then use Save instead of Save As by
mistake, you haven’t lost your colour detail.
Multiply the painted layer Now
we’re going to duplicate our layer
to save us having to perform this task each
time. With the Solid Color layer selected, hit
Ctrl/Cmd+J around 20 times to give us plenty of
layers to play with. We can always delete layers
that we don’t need later.
Blend If
In the natural
world, bright
highlights and deep
shadows are colour
neutral if you’ve
got your in-camera
white balance right.
Nothing gives away
a hand-coloured
image like blue
shadows or
pinky highlights.
The best way to
prevent shadows
or highlights being
touched by colour
is to use the Blend
If slider in the layer
blending options.
We can alter it later
by simply right/Ctrl-
clicking the layer.
The Color
blending mode
ensures luminosity
of underlying info
isn’t affected by
the brightness of a
colour. If you select
a brighter colour in
the Color Picker,
it has the same
effect as selecting
a more saturated
colour. Increasing
saturation either way
does have an effect
on luminosity detail
below – select too
saturated a colour
and you’ll destroy
detail, albeit not to
the same extent of
brightness in Normal
blending mode.
052-055_PC_15-handcolor.indd 53 5/10/06 13:55:23
Plants and other foliage We name
the Curves layer Mud Darken, and then
move above it to the next Solid Color layer. We
name this Plants and choose a darker green than
the grass and paint the colour in with a white
brush. We use another layer for the dead foliage
in the mud, which we paint a sandy colour.
Rename as we go We nish by
double-clicking the layer name label
and changing the name to Grass – we’ll be using
a lot of layers, so it’s vital that we rename every
one as we go so we can keep track of where we’re
applying our colour.
tutorial hand colour black-and-white photos
the soil
We select the next
layer up for the soil
and choose a brown
colour from the Color
Picker. We paint it
in, but no matter
how dark a shade of
brown we pick, the
soil still looks too
light because of the
underlying tone.
We choose the best
brown we can, and
then Ctrl/Cmd-click
the layer mask to load
our selection.
Darken the soil Now click the Create
New Fill or Adjustment icon in the Layers
palette and hit Curves. The selection should still be
active, so when we drag the curve downwards to
darken everything with a single point, only the soil
is darkened. We zoom in to check edges, select the
Curves layer mask and touch up problem areas.
Colour and darken the gate
Next is the gate, which is also painted
brown, but the underlying colour is too light and
it comes out more of a esh colour. Again, we
solve the problem by Ctrl/Cmd-clicking the layer
mask and adding a Curves layer to darken, then
zooming in and tweaking the edges if necessary.
and Blend If tweak
We paint the door
blue, but very little is
taken in the shadows
because of our Blend
If settings. We decide
we want to show a
bit more blue in the
door even at the
expense of realism, so
we right/Ctrl-click the
layer, select Blending
Options and move
both black sliders back
towards their original
position far left.
Organising your layers is the key
Three colours for the brickwork
The brickwork on the house is next, and
we discover that a uniform colour doesn’t work
well, despite the variations in shade. We decide to
pick three colours – two dierent colours for the
brick, and another colour for the plaster between
the bricks. We carefully paint these in.
Bear in mind
that skin isn’t a
uniform colour. With
Caucasian people,
the skin seems to
get redder as it goes
into shadow, and
more yellow around
highlighted areas.
Also, certain areas
such as cheeks and
lips are pinker than,
say, the forehead.
You can usually do
a decent job with
a base pink/peach
layer and a redder
colour on cheeks
and the chin, but try
also increasing red in
shadow and yellow in
highlight areas.
When painting
in colour, you
can get away with
not being precise
around areas with
heavy shadow or
bright highlight
detail – they won’t
be coloured anyway
because of our
Blend If settings.
However, when you
use this painted
selection for Curves,
every area without
precision colouring
will stand out. This
is why you need to
zoom in after your
Curves adjustment
is applied to check if
any patching up will
be needed.
052-055_PC_15-handcolor.indd 54 5/10/06 13:56:50
Building up the skin We now want
to focus on skin colour and carefully
pick our base layer colour which is added to all
skin areas on both children. A second redder skin
colour layer is created, and the colour added to
the cheeks and tops of the ears. A little is also
added to their chins and under their eyes with the
brush set to 40% opacity instead of 100%.
the clothes
and hair Now we can
focus on the clothes.
Both shorts are painted
(with the brush set
back to 100%) and both
require darkening to
dierent degrees, which
we achieve with two
separate Curves layers.
The same goes for both
jumpers. The hair is then
coloured on both boys,
before a touch of colour
is added to the gate
post latch and the toy
behind the boys.
It’s make or break time
Zoom in and tidy up We zoom in
and move around the image carefully by
holding down Space and clicking and dragging,
looking for any dark edges where darkening
adjustments may not be clean or colour may have
strayed where it shouldn’t. We tidy up as needed
by working on the mask of the relevant layer.
Darkening three layers together
We want to darken the house surface as
a whole, so we Ctrl/Cmd-click the rst brick colour
to load its selection, then the other two with the
Shift key also pressed. This way all the selections
are added together. A Curves adjustment layer is
then added and the house front darkened a little.
Brickwork darken
Gate darken
Mud darken
Skin red
Skin base layer
Jumpers darken
Shorts darken
The layer structure
How we created our colourful magic
Increase contrast and drop
saturation Finally, we add a Curves
adjustment layer at the top of the stack to boost
colour, using two points to produce an S curve. A
Hue/Saturation adjustment layer is then added on
top, and Saturation knocked down a bit to remedy
the increase caused by the Curves adjustment.
052-055_PC_15-handcolor.indd 55 5/10/06 13:57:08
Focus on extrude filter

The Size and Depth fields determine
how the 3D columns look. The Size
option deals with how large the
square or pyramids are – ranging
from 2 to 255 pixels. Obviously the
smaller the value, the smaller the
column size. You can decide how far
the tallest column extends using the
Depth field – enter a number between
1 and 255 to see the effect. The
smaller the number the shorter the
column, which can give a very subtle
result and is suited for when you want
to retain the features of a photo.
Size it up
hen you’re trying to think up new tricks for
adding pizzazz to your images, it’s often a
good idea to visit the Filter menu. While some
design snoots are their nostrils at the mere
mention of a lter, the fact is they’re often a great foundation
for whatever eect you have in mind.
It tends to be a case of applying a lter then making tweaks,
but one lter that works pretty damn good on its own is
Extrude. As its name suggests, this lter makes part of an image
extrude out to give a surprisingly eective 3D impression.
Once you’ve entered your settings, Photoshop gets down to
the business of splitting the image into columns, which can be
topped with either a square (Block option) or a pyramid. If you
go the square route, you can decide if the columns are capped
with the original image or a colour based on the image.
The reason this lter is so eective is that the columns
extend in a sphere-like manner, so the ones in the middle stick
straight out, while those nearer the edges are at an angle.
You can apply the lter to a photograph to get an interesting
eect, or use it on a pattern for an abstract look. In fact, why not
use the Pyramid option to create patterns or textures to apply
to images?
Hiding in the Stylize lter set, Extrude can give very
interesting eects. Here’s a guide to its options
When you select Blocks as
the column type, you can play
around with what goes on top
of each column. This control
comes courtesy of the Solid Front
Faces checkbox. If it’s selected,
Photoshop takes a reading of the
colours in that square and finds
an average colour. This is used
to create a solid colour square.
Deselect this option, however, and
each column will be capped with the
original image. Obviously, go for this
if you want a recognisable result.
Solid choice
Image or abstract?
fi lter
And get the right depth
All quiet on the solid front This
is one of the most important options
because it determines how the face of the
columns looks. When checked it will give
a solid colour on the end of each column.
When unchecked it will use the original
image. You only get the option to use the
original image with Blocks.
Big up the columns Use
the Size and Depth areas to
decide how big and tall the
columns can be. You can also use
further options to decide if the
columns are random or arranged
according to image brightness.
056-57_PC15_focus extrude.indd 56 5/10/06 13:42:06
Going random
Further control of the columns
In addition to entering a Depth
value, there are two checkboxes
that give further options. Random
is pretty self-explanatory – the
height of the columns will be
randomly generated (obviously
going no higher than the value
entered in the Depth field). The
Level-based option is a bit more
interesting, because the columns’
height is arranged according to
brightness. Bright areas will make
the columns higher, and dark
areas will cause stunted columns.
While it’s not festooned with loads of options, there’s
enough in the Extrude window to ensure you get the
eect you want. Here’s a look at them all…
The Extrude options
How to affect your image
Filter control
Although the
great thing
about Extrude is
that it can be used
on its own, for
extra control try
experimenting with
making selections
or masks before
applying the filter.
This lets you control
what extrudes and
what doesn’t.
And the rest
Hiding pixels
The final checkbox resting at the
bottom of the Extrude window
is Mask Incomplete Blocks. This
sees to any columns that would
extrude out of the image area with
the current settings. So, if you
set a high number in the Depth
area, you will probably find that
the columns around the outside
disappear. This is because they
have been masked. For columns
to appear all over your image,
simply make sure that this option
is unchecked.
No need to
With most of
filters you need
to work in RGB
mode, but the
Extrude filter works
even if you’re using
a CMYK image.
Column choice You
have a choice of two
columns – Blocks or
Pyramids. Blocks gives
a square face to the
column, while Pyramids
are triangular.
Original Blocks (Random)
Block party We used the
Blocks option here to give
the impression of the image
being pulled outwards.
Blocks (Level-based) Blocks (Solid Front Faces)
Pyramids (Random) Pyramids (Level-based)
Mask Incomplete Blocks
Mask Incomplete Blocks
056-57_PC15_focus extrude.indd 57 5/10/06 13:42:38
tutorial digital painting from scratch
Last month we set the scene for a landscape painted from scratch in
Photoshop. Here we’re adding the trees, foliage and nishing touches
e’re going to complete the
landscape painting we
started last time, so you’ll
need to open your half-
nished image from last month’s tutorial
(also on the CD). We’ll be using it as the
starting point for this tutorial.
In the following walkthrough, we’ll add
the trees and nishing touches, and we’ll
be using some of the dynamic brushes
that ship directly with Photoshop to create
various components in the image.
Once we’ve set the brushes up
correctly, you’ll be amazed how easy it is to
create super-realistic r trees, rocks, bushes
and convincing reections on water. Even
if you have no drawing or painting ability
at all, by letting Photoshop brushes do all
the work you can create beautiful art!
We’re creating a specic image here,
but the techniques will stand you in good
stead with your own landscapes. One vital
point is that the whole exercise is much
easier and adaptable if you paint each
new component on a separate layer. With
each part of the painting on an individual
layer you can easily move and adjust any
of the features. If you’re not happy with the
colour of an area, you can change it simply
by using the Image>Adjustment>Hue/
Saturation command on that layer.
Before you start on this project, make
sure to display the Brushes palette via
Window>Brushes. We’ll be making lots of
adjustments to the brushes, so it’s best to
have this palette displayed at all times.
Digital painting
from scratch
What you’ll learn
part one
on the CD
40 minutes
Starter file
…to this
From this…
058-062_PC_15-scratch.indd 58 5/10/06 16:43:48
New brush, new colours Add
a new layer. Choose a mid-green for
the foreground colour swatch, and a slightly
lighter, more yellow green for the background.
Now choose the Chalk Light brush. In Shape
Dynamics, set Angle Jitter to 8%, Size Jitter to
30% and Minimum Diameter to 35%. In Brush Tip
Shape set the Roundness value to 50%.
Painting the ground You may need
to paint over the centre of the tree a
few times to make it solid. Now, using the same
brush at a large size, paint in the ground at the
base of the tree.
Introduce some trees
Tree surgery
Focus on realism
The brushes we’re using here to paint the trees are set up
in such a way that the marks you can make with them look
remarkably like tree foliage. However, we’ll focus here on a
couple of important points about how you can add extra
realism to the trees by actually using the brush properly.
When you’re painting
the tree branches
with the brush, make
sure to ‘step’ the
branches in and out
as you add each one
with single clicks. By
placing some brush
marks close to the
centre of the tree, and
some further out,
you’ll end up with a far
more realistic eect.
a selection
When you’ve painted
the main body of the
tree and are ready to
add foliage highlights,
hold down the Ctrl/
Cmd key and click the
thumbnail for the main
tree layer in the Layers
palette to generate
a selection from it.
You can then add
the foliage highlights
without painting over
the tree outlines.
The right
For your trees to look
realistic, it’s vital to
change the angle
of the brush for the
foliage on each side
of the trunk. You can
do this by going to
Brush Tip Shape in
the Brushes palette
and either entering
a numerical angle
value directly into the
box or dragging on
the brush map.
More foliage To add the foliage
on the right side of the tree trunk, we
need to ip and rotate the brush. In the Brushes
palette, click on the Brush Tip Shape entry and
check the Flip X box. In the Angle value box enter
-13%. Now reduce the size of the brush again
and using the same technique as before, add the
foliage to the right side of the tree.
Bigger branches You need to
increase the size of the brush (via the
right-facing Square Bracket key on the keyboard)
as you work down the tree. Remember to use just
single clicks to add the foliage, and don’t hold
and drag the brush. Place some of your brush
strokes slightly away from the trunk to add variety
to the foliage outline.
First foliage Load the Natural
Brushes 2 set and pick the Chalk Dark
brush from the thumbnails. In Brush Tip Shape
change Roundness to 45 and Angle to 13%. In
Shape Dynamics set Size Jitter to 30%, Minimum
Diameter to 50, Angle Jitter to 4% and Roundness
Jitter to 40%. Using this brush at a very small size,
begin to click with it on the left of the trunk. Each
click will add a branch of foliage.
Tree trunks Load the Thick Heavy
Brushes and choose Rough Round
Bristle from the brush thumbnails. Choose a very
deep green for the foreground swatch and add
a new layer. Now use this brush to draw a vertical
line for the trunk of the large tree on the left of
the painting.
058-062_PC_15-scratch.indd 59 5/10/06 12:46:24
Shoreline Click on the topmost
layer and add a new layer for the
shoreline. From the Natural 2 brush set, choose
the Pencil Thick brush. In Brush Tip Shape reduce
Roundness to 56% and set Angle to 81 degrees.
For Spacing use 42%. Go to Shape Dynamics
and use these settings: Size Jitter 55%, Minimum
Diameter 37%, Angle Jitter 9%, Roundness Jitter
63%, Minimum Roundness 25%.
double Go
to Edit>Transform>Flip
Horizontal to ip the
duplicated tree. Now
pick the Move tool and
drag the tree over to
the right of the image.
To increase the size of
the tree go to Edit>
Transform>Scale. Drag
on the corner handles
of the Transformation
bounding box to
enlarge the tree.
Position it by dragging
inside the box. Hit
Return to commit
the transformation.
Foliage highlights In the Brushes
palette click the Color Dynamics
category. Set Foreground/Background Jitter to
100%. In the Options bar reduce the opacity of
the brush to 60%. Now begin to click in some
lighter foliage over the main tree. Remember to
adjust the size of the brush to suit the size of the
underlying darker foliage.
Second tree For the second main
tree, we’ll use a duplicate of the rst.
In the Layers palette, click on the main tree
highlights layer and go to Layer>Merge Down to
merge this layer with the main tree layer below.
Duplicate this merged layer.
At a distance Add a few more
much smaller distant trees, simply
by using the same technique but using the
brush at a much smaller size. When you’re
happy with these trees, blur this whole layer via
Filter>Blur>Gaussian Blur. Use a small Blur Radius
of between 5 and 15 pixels.
Background trees Swap back to
the Chalk Dark brush and set up its
dynamics as in step two. Choose a mid grey/
green for the foreground swatch. Click on the
background layer and add a new layer. Now add
a distant tree behind the main tree. Refer to the
‘Tree Surgery’ boxout for more information on
how to construct the trees.
tutorial digital painting from scratch
Have fun with foliage
Change the
foreground swatch to
a light yellow/green
and add a few touches
of this colour within
the foliage you’ve just
painted. Now, in Brush
Tip Shape, rotate the
brush to 90 degrees,
reduce the size of the
brush and then click in
just the hint of a trunk
down the centre of
the tree.
During this
project, you’ll
need to change the
size of your brush
a lot to paint the
various components
in the image. Rather
than having to go
to the slider in the
Options bar again
and again to change
the brush size, you
can actually do this
via the keyboard
instead by using
the Square Bracket
keys. Use the
right-facing bracket
to make the brush
bigger, and the
left-facing bracket to
make it smaller.
Here we’re
giving you the
essential techniques
you need to paint
each element in
the picture, but
you needn’t stop
there. You can add
as many trees or
bushes as you like,
simply by painting
more of them
using the same
techniques. You
could even duplicate
existing tree layers
to make a forest.
Simply duplicate the
required layer and
then move them,
size or even flip
them via the Edit>
Transform menu.
058-062_PC_15-scratch.indd 60 5/10/06 12:46:46
Add rocks and base detail
you can
choose colours
by double-clicking
the foreground
swatch or by using
the Color palette
you can also pick
up colours directly
from your painting.
To do this you
need to access the
Eyedropper tool.
While you’re using
the Brush tool,
you can activate
the Eyedropper by
holding down the
Alt/Option key on
the keyboard. With
the key held down,
click on a colour in
your image to set it
to your foreground
colour swatch.
Add the bushes Now increase the
size of the brush to around 400 pixels
and begin to add bushes, with single clicks of the
brush to both the left-hand and right-hand areas
of ground beneath the trees. Make sure not to
click and drag the brush, but just use individual
clicks to render the bushes.
Brush for
Click on the top
layer in the layer
stack. Click the small
right-pointing arrow
at the top right of the
Brushes palette and
choose Reset Brushes.
Choose Dry Brush and
in the Brushes palette,
uncheck the Dual
Brush checkbox. Add
a new layer and then
choose a deep green
for the foreground
colour swatch.
Reflections Click on the distant trees
layer and add a new layer for some
reections. Now, using the same brush at just
15% Opacity, paint some reections below the
shorelines you’ve painted. Next, go to Filter>
Blur>Motion Blur. Use an Angle of 90 degrees
and a Blur Radius of around 50 pixels. Click OK.
Larger rocks Increase the size of
the brush as you work towards the
foreground. Because of the way we’ve set the
brush up it will scatter realistic rock-like shapes
of varying tones as you paint. Repeat along the
shoreline on the right-hand side of the image.
Shoreline detail In Color Dynamics
set Foreground/Background Jitter
to 100%. Now choose a mid brown for the
foreground swatch and a slightly darker brown
for the background. Size the brush to around 100
pixels. Begin to add the rocks and earth along the
shorelines with this brush.
Using the same
brush, pick a lighter
green/yellow for the
foreground swatch.
With the brush at a
smaller size, click in
some highlights on the
bushes on both sides
of the image. Reduce
the brush opacity to
60% in the Options
bar so they blend
with the midtones.
Apply highlights to the
bushes on both banks.
As you work towards
the distance, reduce
the size of the brush
(using the left-facing
Square Bracket key
on the keyboard), to
give the impression
of perspective. Make
sure to click over the
furthest shorelines for
maximum eect.
058-062_PC_15-scratch.indd 61 5/10/06 12:47:02
Again, reduce the
size of the brush as
you work towards the
bushes in the distance
to maintain the illusion
of perspective.
tutorial digital painting from scratch
Click on the shoreline
layer. Click the
right- pointing arrow
at the top right of
the Brushes palette
and load the Faux
Finish brushes. In
the Brushes palette,
click on Brush Tip
Shape and choose
Veining Feather 2
from the thumbnails.
In Shape Dynamics
set Size Jitter to 20%,
Minimum Diameter
to 50% and Angle
Jitter to 10%.
Add the grasses Choose Color
Dynamics and set Foreground/
Background Jitter to 100%. Choose a light yellow/
green for the foreground swatch and a lighter
yellow for the background. Now, using the brush
at around 400 pixel size, click to add some grasses
to the lower right-hand bank.
In Brush Tip Shape set
the Roundness value
to 12%. Now add a few
marks to the shoreline
edges with this brush
to simulate glinting
reections in the water.
Finally, loosely draw
along the edge of the
shorelines to add a
small highlight.
More highlights
Water highlights
Main tree copy
Main tree
Shoreline reflections
Distant trees
The layer structure
Can’t see the wood for the trees?
Water highlights Hit the right-
pointing arrow at the top right of the
Brushes palette. Choose Reset Brushes. Choose
a soft round brush and make sure that Color
Dynamics is unchecked. Set Size Jitter and Angle
Jitter to 0%. Choose a very light blue for the
foreground swatch. Add a new layer at the top of
the layer stack.
058-062_PC_15-scratch.indd 62 5/10/06 12:47:24
Untitled-1 1 1/9/06 12:55:47
Focus on printing in photoshop

When you open up the Print With
Preview window, or select Page
Setup from the File menu, you get to
pick the paper size and orientation of
your printout. Start by making sure
the correct printer is selected in the
Format For: drop-down menu and
then go to the Paper Size menu. This
allows you to pick a variety of sizes
(A4, A3, etc). The Orientation icons
let you decide which way the image is
printed. There is also a Scale field but
it’s best to leave this for the Print With
Preview window, as we shall see later.
It’s a setup
hances are you’ve got a laser or inkjet printer
at home that you use to print out photos
or illustrations. Most printers come with
their own software, but Photoshop also has
an impressive range of options that give you the perfect
printout. In the File menu, scoot down to the bottom to see
ve printing choices – Page Setup, Print With Preview, Print,
Print One Copy and Print Online. We’ll look at Page Setup in
the side panel (‘The printing process’) and Print With Preview
in the boxouts below, but here’s what the others do.
Choosing Print will bring up a dialog where you can set
which printer to use, what paper to use and other options
such as how many copies. Print One Copy will print a le
using the last settings you entered, so it’s great for quick and
easy prints. Print Online will take you to the Kodak EasyShare
Gallery site where you can order prints. The service is mainly
available to North America and Europe, but check with to see if your country is included.
The most useful command is Print With Preview. This has
all the options of the Page Setup and Print commands under
one roof, so you don’t have to scuttle between menus. We’ll
take a look at the best options and help make sure you never
end up with failed printouts again.
To do your Photoshop creations justice, it’s worth
getting to grips with the printing options
There is a vast range of speciality
paper for inkjet printers, but it’s no use
buying these papers if you don’t tell the
printer it will be printing on something
other than boring white paper. The
printer needs to adjust its ink coverage
according to the type of paper you’re
using, but it’s easy to set this up. Go
to File>Print With Preview and click
Print. Select Print Settings from the
drop-down menu showing Copies
and Pages. You can adjust the paper
thickness and quality, and also select a
paper type from the Media Type menu.
Just your type
The correct paper selection
Printing in
Size matters
The preview This is the preview
part of Print With Preview. It lets you
see your image on the page and will
immediately show if anything’s cut
o or too close to the edge.
Play with scale The options
here allow you to reduce or
enlarge your image, using the
preview to keep an eye on the
results. For a quick solution, click
the Scale to Fit Media box.
Colour codes If you’re uent
in colour management, you have
various options here. For most
home users, though, it’s best to
stick with letting the printer handle
colour (in the Color Handling area).
064-65_PC15_focus printing.indd 64 5/10/06 12:24:44
Fit in screen
Print the whole image
Although you should make
sure your image will fit on
whatever media you’re printing
onto, it’s not a disaster if you
get to the printing stage and
Photoshop greets you with
a warning saying that your
image is too big for the paper.
The beauty of the Print With
Preview command is that you
get to see how the image will appear on the page, and can sort out any
problems. To adjust an image’s size, use the Height and Width boxes,
or click the handy Scale to Fit Media checkbox. You can also drag the
handles in the preview box.
Part of the story
Select an area to print
Sometimes you may not
want to print an entire
image, but you don’t want
to crop the file. That’s not
a problem – simply pick
the Rectangular Marquee
tool and select the area
you want to print. Now go
to File>Print With Preview
and select the Print
Selected Area box. Make
any other adjustments
you need to and hit the
Print button.
Ban banding!
To avoid banding
between shades
when printing, add
noise to gradients. In
Noise enter 1 or 2 in
Amount, Gaussian in
Distribution and hit
When you pick the Print With Preview command, you
go through a few dierent windows before your printer
starts to kick in. Here’s a look at what happens…
The printing process
stage With the image
open, go to File>Print
With Preview. Make
any adjustments that
may be needed here.
Sometimes you can
press Print, but it’s best
to pay a visit to the
Page Setup area rst.
Paper and
Page Setup lets you
set the size of paper as
well as the orientation
of your image. Don’t
be seduced by the
Scale options – leave
this for the Print With
Preview window. Hit
OK when it’s all set.
One more
Nearly there. In the
Print With Preview
window, hit Print
to… Here you can
set the type of paper
and other options,
eg colour control and
layout. Click Print to
start printing.
From window to window
RGB or
Although your
inkjet printer
may use CMYK
inks, there’s no
need to convert
your RGB images.
The printer will do
its own conversion,
which is far more
accurate than you
doing it. So stick
with RGB and let
the printer do the
hard work.
Paper size Click this button to
control the size of paper being
used as well as the orientation
of the image.
Not so busy If you know
you will never touch the colour
handling options, hit the Fewer
Options button to shrink the
dialog window to below the
Scaled Print Size area.
064-65_PC15_focus printing.indd 65 5/10/06 12:25:12
tutorial design your own certificate
066-071_PC_15-certificate.indd 66 5/10/06 12:16:26
Create stunning awards, certicates and diplomas of achievement
using Photoshop’s powerful tools
lubs, societies and
sporting events all
require us to honour
members or high
achievers from time to time, and
Photoshop can come to the rescue.
What better way to be prepared than
to use Photoshop to put together all
the elements and lay out a stunning
customised certicate?
This tutorial will cover creating
the background elements such as a
marbled textured paper as the base
of the certicate. Adding coloured
speckles and blending some cloud
layers will do this. We’ll then atten this
as a background to build on. To create
the seal, we’ll start a separate le and
use the Paintbrush to add a hardened
wax seal edge. Layer styles will give
it a bevelled look to make it seem
that wax has been pushed into the
certicate with a stamp or ring. This
can easily be attened and placed on
the certicate.
The border of the certicate came
from an old scanned image, which
was cleaned up ready for use in this
tutorial. It still needs a little work, such
as copying sections to make it longer
and match up with the ornate corners.
The border artwork can also be used
to make the panel in the centre of the
certicate ready for the award winner’s
name to be placed in it. This could
easily be added with a handwriting-
style font. A nishing touch would
be to add your own signature as the
authorised awarder of the certicate.
All les necessary for this tutorial are
included on the cover disc, as is the
nished image as reference.
Design your
own certificate
Create a new layer and
set the foreground
colour to a mid
beige colour and the
background to white.
Use the Rectangular
Marquee tool to
select a square about
a quarter of the
document size, and
choose Filter>Render>
Clouds. Now choose
Drag the corners to ll
the document.
Add a blur From the Filter menu
choose Blur>Gaussian Blur. Add a
4-pixel blur and click OK – this should give a soft
speckled look. Go to Image>Adjustments>Hue/
Saturation. Enter the Hue and Saturation settings
as shown in the screenshot above, check Colorize
and click OK to apply to the image.
Setting up the document
Open Photoshop and create a new
document 24cm wide by 29cm high with a
resolution of 300ppi and a white background.
From the Filter menu choose Noise and add the
noise. Copy the details in the pop-up window
shown in the screenshot above and click OK.
Set the background for your certificate
What you’ll learn
One hour
Border and
edge effects
066-071_PC_15-certificate.indd 67 5/10/06 12:19:05
Soften the
edge Add
a new layer above the
wax layer and choose
the Brush tool. Select a
soft-edged paintbrush
around 30 or 40 pixels.
Paint around the
inside edge of the wax
seal to soften it. Once
you’ve done this you
can add a new layer
above this one and
select the Elliptical
Marquee tool.
Wax edge
With the edge
layer selected, double-
click the layer in the
Layers palette. Select
Bevel and Emboss and
change the settings
as shown, then click
Contour below this. Add
a Ring contour from the
drop menu and set it to
Anti-aliased at 50%. This
should make the seal
look like wax. Click OK.
Change the colour The wax colour
of the seal edge will now be a darker
red. Use the Eyedropper tool to select this colour.
Switch to the Paintbucket tool and ll the circle on
the layer below so the two layers match. The inner
edge of the seal still looks quite hard, though, so
we need to x this.
Repeat the clouds effect Change
the layer blending mode to Overlay
in the Layers palette. Choose a red-beige as the
foreground colour and add a new layer. Select
with the Rectangular Marquee tool as in the
last step. Now add clouds and scale up to t the
document as previously. Change the blending
mode to Multiply and opacity to 70%.
Blend and merge Change the black
Input Level to around 60 and adjust the
Mid Point slider to 1.66 as shown above. Click OK
and change the blending mode to Multiply in
the Layers palette. From the Layer menu choose
Flatten Image because we’ve now created our
marble textured paper background as the base
for our certicate.
Make the seal To make the seal,
create a new document, 10cm by 10cm,
300ppi with a transparent background. Use the
Elliptical Marquee tool and hold Shift to draw a
round selection. Fill it with a red and deselect.
Add a new layer and pick a Hard Mechanical
brush from the Basic set. Use this to paint a waxy-
looking edge. We’ve turned o visibility of the red
circle layer so you can see the edge layer clearly.
tutorial design your own certificate
Boosting the texture
A paper texture Now we will
add a new layer and select white
as the foreground colour. Use the Paintbucket
tool to ll this new layer with white. Now select
Filter>Sketch>Note Paper. Fill in the settings as
shown above and click OK. Choose Image>
Adjustments>Desaturate and then open the
Levels dialog box.
the brush
Instead of
changing between
a hard and soft
brush, you can get
by with just using the
drop-down brush
menu in the top
Options bar. In here
is a handy Hardness
slider that can alter
a brush’s hardness.
Dragging left gives
a soft brush, and
right gives a hard
edge brush. There
are other controls
for advanced brush
setup in the
Brushes palette,
so investigate!
066-071_PC_15-certificate.indd 68 5/10/06 12:19:19
Add text layers Add ‘PSC’, with the
same colour as the seal using the Text
tool and a large script font, eg Edwardian Script or
Bickham Script Pro. Go to Edit>Transform>Rotate
and rotate the font clockwise slightly. Double-
click the layer to edit the Layer Styles and hit Bevel
and Emboss, adding an emboss as shown. Hit OK.
Merge layers You can save the ‘seal’
document and then choose Layers>
Merge Visible. Now drag this across with the
Move tool to the certicate document. Scale
this down slightly (Edit>Transform>Scale) and
double-click the layer. Add a drop shadow as
shown in the screenshot above.
Seal of approval
Hold Shift and drag
a circular selection
slightly smaller than
the inside of the wax
edge. Fill with the
same red colour and
deselect the shape.
Double-click the
layer in the Layers
palette. Click Bevel
and Emboss, and copy
the details as shown.
Select Contour and
add a 50% linear,
anti-aliased contour.
Click OK.
Add gradient masks
Blend images together smoothly
Masks are extremely useful as they allow you to erase or
partially erase parts of images, but the information is not
permanently deleted – it’s just masked out. Because shades
of grey will make areas of an image semi-transparent,
gradients can be very useful for blending images together.
the mask
There are a number
of small icons down
in the bottom of
the Layers palette.
Click on the Add
Vector Mask icon to
add a layer mask to
the layer which is
currently selected in
the Layers palette.
You’ll see a white
panel appear in the
layer with a lock
next to it.
Paint in
the mask
Use a Brush with the
foreground colour
set to black. Paint
on the image and
it’ll disappear. In the
Layers palette the
white panel will have
a black area – this is
the mask. If you paint
over it with white
as the foreground
colour, you’ll erase the
mask and your layer
will remain whole.
Add a
Now pick the Gradient
tool with black as the
foreground and white
as the background
colour. Drag from the
middle to the bottom
to force the text to
gradually fade out
into the certicate
document. This is an
extremely powerful
and non-destructive
feature for removing
parts of a layer.
Add corners Close the ‘seal’
document, name the seal layer ‘Seal’
in your certicate document and select the
background layer. Open the le ‘corner.psd’
from this issue’s CD. Use the Move tool to drag
this onto your certicate and change the layer
blending mode to Multiply. Drag this to the
bottom left corner of the document.
Copy the corner If you can’t see
your rulers go to View>Rulers. Click on
the rulers and drag guides onto the page about
three quarters of a centimetre in from the edge all
around the outside. Drag the layer onto the New
Layer icon in the Layers palette to duplicate three
times, and position the image in each corner.
066-071_PC_15-certificate.indd 69 5/10/06 12:19:32
background text
Merge these four
layers, name the layer
‘Name’ and change
the blending mode
to Multiply. Now
choose a small 14pt
script font and add the
words ‘Certicate of
Excellence’ until you
ll the top half of the
document. Make sure
the font colour is blue.
Hit the Create Warped
Text icon, select Flag
as the Style and add an
8% Bend.
Duplicate the layer Duplicate the
layer and position both just under the
centre of the document. Copy and paste a section
of the side border edge, because it’s longer.
Rotate it 90º and place between the two ends.
Trim the edges with the Rectangular Marquee
tool by selecting and hit Delete. Duplicate this
layer and rotate 180º.
From the Edit menu
choose Transform>
Flip Vertical. Position
this layer between the
corners at the top of
the document. Now
duplicate the layer
again and choose
90ºCCW. Position to the
left of the document.
Zoom in and use the
Rectangular Marquee
tool to select and copy
then paste a section of
the border.
Add the border Again, select
the background layer and drag one
horizontal guide and one vertical guide onto the
document. With the background layer selected
you should be able to drag the guides to the
middle of the document and they will snap into
the centre. Now open the image ‘border.psd’
from this issue’s CD and drag to the document.
Change the blending mode to Multiply.
Finish the
border Set
the blending mode of
the pasted border to
Multiply and line up
at the edges. Use the
Rectangular Marquee
tool to select the
overlap and hit Delete.
Do the same for the
edge over the corner.
Copy this layer, ip it
vertically and place
at the opposite side.
Merge these three
layers, ip horizontally
and place on the right.
Select all the corner
and border layers
by Shift-clicking the
layers, merge together,
and then change the
blending mode to
Multiply. Name this
layer ‘Border’. Use the
Rectangular Marquee
to select one of the
corners and copy and
paste. Change the
blending mode to
Multiply once again.
tutorial design your own certificate
Set the enclosure
Flip the layer Duplicate the layer by
dragging to the New Layer icon. Go to
Edit>Transform>Flip Horizontal. Align the layers
then Shift-click in the Layers palette to select
both, and merge the two layers. Again, you will
have to change the mode to Multiply. Duplicate
this layer once more.
Easy text
By placing your
text on different
layers, you can
easily position the
text layers around
the document and
find which layout
works best for your
certificate. If you
kept all the text
centred on one text
layer at different
sizes, you’d have
to add or take away
lines to space the
text apart – which
is much more of a
pain. The trade-off
is that you have a
much larger and
possibly messier
Layers palette.
066-071_PC_15-certificate.indd 70 5/10/06 12:19:50
More text tricks Select the Line
tool. Draw a line in the bottom left for
an authorised signature. Now add some more
text below this line for the signatory. We’ve used
Copperplate Gothic. Double-click the layer to
open the Layer Styles panel and drag the Fill
Opacity to 0%.
Outline text Click on the Stroke
option and add a 1-pixel black
stroke. Click OK to leave the Layer Styles panel.
Right-click on the layer and from the drop
menu choose Copy Layer Style. Duplicate the
Excellence layer, right-click on the duplicate and
choose Paste Layer Style. Double-click the layer
and change the stroke to 4 pixels.
Add the main text Use a mauve
colour with the script font you’re using
already. Now add the text around the name plate.
Each line of text is on its own layer and the text is
centred. For the Excellence layer, warp the text
using a 10% Arch as shown above. Change the
blending mode to Multiply for each text layer.
Just the final touches
Trim the text In Layer>Rasterize>
Type change the opacity to 50%. Copy
the layer and place the second one at the bottom.
Use the Marquee tool to select any text that
overlaps the border on both layers and delete it.
Now add a gradient mask (see page 69) to both
layers. Rename these layers ‘Background Text’.
For Their Services To
Certificate Of copy
Certificate Of
Excellence copy
On Behalf Of
Top background text
Bottom background text
Layer structure
Analysing excellence
the text
Switch to the Move
tool and hold Shift
while pressing the
up cursor key once,
then hold Shift
while pressing the
left cursor key once.
Right-click the layer
and choose Copy
Layer Style. Duplicate
the Certicate Of
layer and right-click it,
choosing Paste Layer
Style. Now nudge
this layer as with
‘Excellence’ to nish.
Fill or Layer Opacity?
Which option should you use?
Towards the end of this tutorial
we positioned some text in the
certificate and gave it an outline
in the Layer Styles palette.
By changing the Fill Opacity,
this alters only the opacity
of inner shapes of graphics.
Strokes around the edge remain
untouched, which gives an easy
way to set up outlines for layers.
In order to apply opacity to the
stroke as well as the fill, however,
use the more general Layer
Opacity function.
066-071_PC_15-certificate.indd 71 5/10/06 12:20:08
ransforming photos into
artistic masterpieces is
very popular, and the
ArtStudioPro plug-in is
dedicated to creating these eects.
The plug-in’s lters are split into
categories – coloured pencil, crayon,
technical pen, marker and watercolour.
You’re really spoilt for choice, as each
category has a further selection of eects.
To achieve the results, don’t stick to
applying one lter to your image, but layer
them up on top of one another.
The Layers palette in ArtStudioPro is very
similar to the one in Photoshop, and this
is where you apply a range of lters, each
on a dierent layer – therefore building up
the eect gradually. Similarly to Photoshop,
you can turn layers on and o, clone, delete
and organise them into folders. Think of
the plug-in as working as you would if you
were creating a painting in real life. You
rst need to create a base layer to act as
a canvas and then apply rough areas of
watercolour to block in colour, and nally
ink outlines to bring in the detail.
The plug-in not only allows you to alter
each lter’s settings, but also choose from
a range of tools and even paint the eect
onto selected areas. This feature enables
maximum control over the way you paint
with the tool by changing the brush’s
diameter, opacity and softness. To extend
your creative air, you even have the option
of applying a paper texture.
For more information, visit www. The plug-in retails for
$149.95, but you can get a 20% discount!
See the box opposite for more.
10 minutes
Zoe Mutter
cool plug-ins artstudiopro
ArtStudioPro plug-in
Achieve painterly eects without all the hassle, using this
arty plug-in from Twisting Pixels
072-073_PC_15-.indd 72 6/10/06 10:20:14
Brush it
on With the
Brush icon selected,
use it to randomly paint
areas you want the
applied to. In this case
we just applied it to
the goose by painting
over areas of it. Adjust
the brush density in the
Options bar to paint
smaller areas and use
the rubber to erase
areas you don’t want
the lter applied to.
Global or Paint mode If you don’t
like this eect, you can revert back to
the previous stage by choosing Edit>Undo or
alternatively click on the icon in the toolbar to
change it to Global Mode, which is next to the
Paint Mode button. This shows you the image as
it was before, with GraphicPenOutline applied to
the entire area.
Build the layers We now need
to create a second watercolour
layer. Choose Filter>Watercolor>Watercolor.
Increase Number of Shades to 15 and leave Paint
Thickness on its default setting. If you need to
delete a layer, click on it in the Layers palette and
then click on the Trash Can icon.
Create your base layer Open your
image in ArtStudioPro by choosing
File>Open. The rst step is to create a base layer
to act as a canvas for the watercolour. Choose the
Filter menu and select Underlayment for a new
layer to appear in the Layers palette.
Bring out the detail To bring
back some detail choose Filter>
TechnicalPen>TechnicalPenOutline. Alter Outline
Width by moving it to 7. You will need to wait a
little bit for the image to render, which is shown
in the bottom progress bar.
Apply the effect to specific
areas Our image looks quite nice as
it is, but due to the tools available in ArtStudioPro
you can localise the eect if you wish, applying
a lter such as TechnicalPenOutline to the main
subject. Choose the Paint Mode icon, which is to
the left of the Brush icon in the toolbar.
Apply a watercolour base Now
begin building on this base layer and
creating new types of layers in the Layers palette
to create an artistic eect. Choose Filter>
Watercolor>WatercolorBase for another layer
to be added. You will start to see more detail
appearing in your image.
Alter the default settings Choose
Filter>Watercolor>Watercolor. In the
top Options bar change Paint Thickness to 150
and Number of Shades to 8. The eect is really
beginning to take shape now.
One of many artistic effects available in ArtStudioPro…
If you create
a setting
you are pleased
with, it can be
stored by choosing
File>Save Preset.
This is resolution
independent and is
rescaled if applied
to an image of
a different size.
Preset settings
are reapplied by
choosing File>Load
Preset. You can also
apply a preset from
the Layers palette
by clicking the
Presets button
to be presented
with a range of
preset categories.
20% off for
PC readers!
Pixels has
offered a whopping
20% discount on
ArtStudioPro for
Photoshop Creative
readers. To receive
your discount for
the plug-in, simply
enter the discount
when downloading
the plug-in from
the website.
072-073_PC_15-.indd 73 6/10/06 10:20:42
Two for one
When editing Photoshop
documents I spend much of my
time zooming in and out so I can
jump between editing the image as a whole
(eg changing levels) and ne-tuning specic
areas in close-up. I’m familiar with using
keyboard shortcuts, the Navigator and the
Zoom tool to change my shot size. Is there
any way to minimise the zooming I have to
do, so I can get on with my image editing?
Zuhal Asli
There’s a nifty trick that enables you
to work on two dierently zoomed
versions of the same image at the
same time. Open your source le – we used
a le called SkaterBoy.jpg in our example
screenshot. Go to Window>Arrange>New
Visit the
advice centre
for help with
fixing photos,
to your
problems and
to helpful
on the web
Window for SkaterBoy.jpg. This gives you two
identical open windows. You can use one
window to show the entire photo, while using
the other open window to display an extreme
close-up of the shot. Once you’ve zoomed in to
create a magnied version of the new image,
you don’t need to do any more zooming in or
out, as you’ll have both a magnied and a full-
frame version of the image to hand.
What’s really cool about this is you can make
a change to either of the open windows and
they’ll both update to include the changes.
Mirror mirror on the ball…
I’d like to create a realistic disco-
style mirror ball from scratch, as I’m
nding it hard to nd a decent (and
free) source image. Does Photoshop enable
you to draw this type of object?
Emily Fraser
It took a lot of experimentation, but
we’ve come up with a fairly simple
yet eective technique that enables
you to create a mirror ball from scratch using
Photoshop’s patterns, lters and layer blends.
Start with a blank document and hit Create a
New Layer at the bottom of the Layers palette.
To ll it with a texture go to Filter>Render>
Clouds. This fractal cloud texture will form the
foundation of your shiny mirror-studded ball.
Target the cloud layer by clicking on its
thumbnail, then pop down to the bottom of
the Layers palette and click the Add a Layer
Your expert
A Photoshop user for many years,
George can tackle any problem
Zoe’s a keen photographer and a whizz
at xing common aws in images
The web is awash with helpful sites, and
Jo brings you the best ones out there
What you’ll find
in this section
Get to the bottom of your image-
editing woes in this part
Send us your problem shots for advice
on making them all better
We guide you to the best websites for
tutorials and instruction in using the
Photoshop software
Post you questions to Photoshop
CreativeQ&A, Imagine Publishing Ltd,
Richmond House, 33 Richmond Hill,
Bournemouth, Dorset BH2 6EZ.
Alternatively you can email us at
[email protected]
Send your
questions to…
Workontwodierent sizedversions of animageinorder to
Let us sort out your image-editing quandaries
You can
speed things
up a tad by getting
Photoshop to rope in
other available hard
drives to help with
processing. Go to
Ins & Scratch Disks.
You’ll get a dialog box
that you can use to
find other hard drives
for Photoshop to play
with. You’ll need to
restart to activate.
Straight or curved
Different brush strokes
When painting with any of the brush-
based tools, you can jump from
drawing freehand shapes to painting
straight horizontal or vertical lines.
Before clicking to spray your brush
stroke, hold down the Shift key. If you
then start spraying and moving the
mouse horizontally, the stroke
will be constrained along that axis.
Hold down Shift and then start
spraying vertically, and the brush
stroke will be constrained to move
up and down but not left or right. Let
go of the Shift key and you can then
paint freehand strokes.
074-077-PC15_Advice.indd 74 6/10/06 09:34:36
advice q+a
Style icon. In the pop-up menu choose Pattern
Overlay. The Layer Style window will open and
your cloud layer will be lled with the default
organic-looking blue pattern. Click the triangle
icon to open the Pattern Picker.
In the Picker window you’ll see 12 previews
of the default patterns, but none of these looks
suitable for a mirror ball texture. To nd a more
appropriate pattern click the little button at the
top right of the Picker window. This will access
a list of themed pattern collections. Click on the
theme called ‘Patterns’ to replace the 12 default
patterns with a larger collection of 24. Scroll
down until you nd the pattern called ‘Tiles-
Smooth’ and click to select it. Set the blend
mode to Linear Burn so you can see both the
fractal clouds and pattern grid. Hit OK to apply
the grid-shaped Layer Style to the cloud layer.
I’m quite new to this Photoshop lark, and would like to
know how to turn one person into identical twins. If you’ve
got a choice, I’d like the easy way! I would like to avoid
drawing around one person and pasting them into another shot if
at all possible!
Manny Rochester
With a bit of planning at the shooting stage you can
duplicate yourself eectively with the minimum of
Photoshop ddling. The trick is to shoot your subject
twice using a tripod, so that the framing is identical in both shots.
And cut! Grab
the Lasso tool;
target the top layer. Draw
round the part of the
layer that doesn’t feature
the clones Use a Feather
value of 5 to create a soft
edge. Hit Delete. Restore
the top layer’s opacity to
100% and you’ll see the
twins side by side.
Youcancreateadisco-stylemirror ball completewithshinytiledmirrors, reections andlight beams, usingPhotoshop
Let us sort out your image-editing quandaries
Copy and
paste Go to
one open image and
hit Select>All, then
Edit>Copy. Select the
other and pick Edit>
Paste. The photos
are now on the same
document. Reduce
the foreground layer’s
opacity to 50% to see
how the twins look.
Side by side
Shoot both
source images using
manual exposure and
focus settings to ensure
lighting is identical
(avoiding a line when
you mix the shots
together). Open both
source images showing
the subject in dierent
halves of the frame.
Proof Colors Ctrl+Y Cmd+Y
Gamut Warning Shift+Ctrl+Y Shift+Cmd+Y
Zoom In Ctrl + Cmd +
Zoom Out Ctrl - Cmd -
PC Mac
Abolish aberration
Sponge away unwanted colours
In issue eight we looked at clobbering
chromatic aberration colour fringes
using tools in the CS2’s Lens
Correction filter, or targeting and
erasing a colour fringe by reducing its
Saturation value with a Hue/Saturation
adjustment layer. A simpler yet equally
effective way to remove colour fringes
without destroying image detail is with
the Sponge tool (O) in the Toolbox.
Set it to Desaturate in the Options bar,
then spray over the offending colour
fringe to remove it. You can fine-tune
your edit by reducing the Diameter or
Flow attributes of the brush.
Send in the clones Photoshop style!
074-077-PC15_Advice.indd 75 6/10/06 09:43:34
At this stage your grid will look at and
two-dimensional. Go to Layer>Flatten. Select
the Elliptical Marquee tool and hold Shift so
that you can draw a perfectly circular selection.
Go to Filter>Distort>Spherize. Set Amount to
100% and Mode to Normal. Hit OK to apply the
distortion. This creates a 3D sphere from the 2D
grid. Edit>Copy then Edit>Paste the selection
to place the mirror ball on a new layer. Delete
the background layer and you’ll have a sphere
resting on a transparent background.
To give the greyscale sphere a hint of colour
go to Image>Adjustments>Hue/Saturation.
Click the Colorize box. Change the Hue value
to around 198 to get a cool blue mirror ball. Hit
OK to apply the colour. To give the ball more
vivid colours and enhance its highlights, copy
the main mirror ball layer by dragging it onto
the Create New Layer icon. Set the duplicated
layer’s blending mode to Color Burn.
You’re now ready to add reections and
light beams bouncing o the ball’s shiny tiled
mirrors. Create a new layer. Edit>Fill it with 50%
grey; target the grey layer and go to Filter>
Render>Lens Flare. Choose the Movie Prime
setting and set Brightness to around 140%. Hit
OK. The lens are will appear on top of the grey
background. Set the lens are layer’s blending
mode to Hard Light and the grey will vanish,
leaving the are visible. You can now place the
lens are anywhere on the ball with the Move
tool. Copy the lens are layer a few times and
reposition each layer to add more reecting
light eects to enhance the mirror ball.
Bend it like Geller
What’s the best way to mimic the
spoon-bending antics of Uri Geller? I’m
doing a Halloween poster and want a
vortex of twisted metal cutlery ying around.
John Teale
You may believe Uri Geller can bend
spoons by warping them with his
telekinetic powers, or you may put
it down to a clever conjuring trick. But thanks
to Photoshop’s pixel-pulling powers you can
achieve a twisted metal look in seconds.
Open your cutlery source le and isolate a
spoon or fork using a selection tool. If the fork is
against a clear background, try using the Magic
Wand to select the background. Inverse the
selection to select the fork. Alternatively, use the
Pen tool to draw a path around the fork. The
Pen tool’s ability to draw Bézier curves makes
it ideal for quickly selecting your cutlery’s long
curved outlines. Next, go to the Paths palette.
Right-click the path’s thumbnail and choose
Make Selection. The ‘marching ants’ selection
marquee will appear around the cutlery.
Once you’ve isolated the fork or spoon, go to
Edit>Copy, Edit>Paste to place it on a new layer.
We presume you’re using CS2 John, but just in
case, try these techniques. There are many ways
to bend or distort pixels. Go to Filter>Distort>
Twirl. Pick a low value of around 31%. This will
gently warp your fork (or a selected part of it).
To warp it more dramatically press Ctrl/Cmd+F
to apply the 31% Twirl again. Twirling the fork in
advice q+a advice q+a
I’m trying to create a video sequence that features a road
with a scued and eroded pot-holed surface – we’ll then
mix to the same road looking smoothly tarmac-ed. I’ve
got a source image of a smooth road which I can use as the ‘after’
image. Is there a technique to create the pot-hole version? (It
needs to be photo-realistic!)
Michael Burns
With a bit of tinkering in the Brushes palette and the
application of some layer styles, you can create convincing
pot-holes and eroded surfaces with a few brush strokes.
Let us spray
Open ‘Road.
jpg’ from the disc. Press
B to select the Brush
tool. Scroll down in the
Brush Preset picker and
select the Chalk-Light
brush from the Natural
Brushes 2 brush set.
Increase the brush size
and spray some strokes
on the road.
Lighten up
Set the Brush
layer’s blending mode to
Lighten. The black brush
stroke will vanish. Click
on the Add Layer Style
icon at the bottom of
the Layers palette. Click
on Bevel and Emboss.
Set Style to Inner Bevel,
Technique to Chisel Hard
and Direction to Up.
To add a touch of realism,
set the Shading Highlight
mode to Darken. Set the
angle and altitude of the
Global light source so
shadows in the tarmac
match the lighting in the
source image (we set
Angle to -86 and Altitude
to 21.)
Creating erosion effects
Colour profiles
Be consistent
When you open images sourced on your
digital camera, you may find an annoying
dialog box pops up warning you that the
document’s embedded colour space
doesn’t match Photoshop’s working
space. It makes sense to get your
camera and Photoshop using the same
colour space, because it’ll speed up your
workflow and ensure consistent colours.
Cameras such as the EOS 350D let you
choose Adobe RGB (1998), which gives
you more colour information than the
standard sRGB. You can then choose
the same colour profile in Photoshop by
going to Edit>Color Settings.
Fit on Screen Ctrl+0 Cmd+0
Actual Pixels Alt+Ctrl+0 Option+Cmd+0
Show Grid Ctrl+’ Cmd+’
Show Guides Ctrl+; Cmd+;
PC Mac
074-077-PC15_Advice.indd 76 6/10/06 09:44:05
gentle increments will help bend it without it
looking stretched and digitally manipulated.
For more hands-on control over which parts
bend, use Edit>Transform>Rotate, and rotate
the cutlery so it stands vertically. You can then
use Filter>Distort>Shear to twist and bend any
part of the fork. Initially you’ll see a vertical line
in the Shear lter’s dialog box. Click any part
of this line to add control points. You can then
drag these points left or right to distort the line,
which in turn will distort your picture’s pixels.
For ultimate control, go to Edit>Transform>
Warp. A grid appears over the utensil. Click-drag
inside this to move pixels around, or grab a
corner curve handle and drag that around for a
more organic eect. For instant warped metal
with the minimum of eort, use a Custom
Warp preset in the Options bar, eg Flag, to
dramatically bend the cutlery Geller-style.
No fuzz wanted
Is there a way to resize a small shot
and make it larger without the large
version looking fuzzy and blocky?
Jason Arbroath
You can generally shrink large les
and maintain quality, but if you try
to enlarge a small le it tends to look
awful. Resizing from large to small maintains
image quality because there’s plenty of pixel
info to go round. When enlarging an image,
Photoshop has to create extra pixels to ll in
the gaps needed by the larger le size. This is
called interpolation. There are several ways to
create (or interpolate) the extra pixels needed
to make a smaller image become larger. None
of these options will make the larger image
look as good as the smaller version, but there
are ways to minimise unwanted artefacts.
To enlarge your le, go to Image>Image Size.
You can then increase the image’s width in the
Pixel Dimensions box. If Constrain Proportions
and Scale Styles are ticked, the height increases
to maintain the picture’s proportions and avoid
stretching or squashing. The third box is where
the interpolation options are located – click the
pull-down menu to check them out.
The Nearest Neighbor option creates
new pixels by copying adjacent ones. This is
a fast way to create extra pixels but it gives
the worst results. The Bilinear option mixes
adjacent pixels together more smoothly, taking
longer to do the maths but giving less jaggy
results. To get a less blurred pic, try the default
Bicubic method. This takes longer but creates
a smoother, sharper enlargement. You can bias
the Bicubic interpolation to be smoother or
sharper by using extra options in the pull-down.
The web has a myriad of plug-ins designed to
help increase your image’s dimensions with the
minimum of artefacting. One of the big hitters
is the pxl SmartScale plug-in from OnOne. This
nifty bit of software helps preserve your resized
image’s clarity, colour and contrast when you
scale it up – though the $200 price tag may
put you o. It does produce neater results than
Photoshop’s Bicubic interpolation method. Try it
out by downloading a 30-day demo from www.
In the end, you’ll save money and get better
results if you remember the old GIGO acronym
(Garbage In Garbage Out). To get good quality
high-res images you need to shoot them with
your camera set to its highest resolution.
Colour is a
vital tool for
any creative, and
Chris Rutter has
written an excellent
book jammed
with information.
The Essential
Colour Manual for
Photographers has
all you need to get
better colour in your
images. It costs £25
and is published by
Rotovision. It is also
reviewed next month!
advice q+a advice q+a
If you’reenlarginganimagewithlots of ddlydetail, usethe
BicubicSharper interpolationmethod
Extras Ctrl+H Cmd+H
Rulers Ctrl+R Cmd+R
Snap Shift+Ctrl+; Shift+Cmd+;
Lock Guides Ctrl+Alt+; Option+Cmd+;
PC Mac
Fade it
Adjust the Eraser’s strength
You can create attractive montages
by using the Eraser tool (E) to poke
holes in layers to reveal content on the
layers beneath. You could reduce the
opacity of the Eraser in the Options
bar to create a subtle mix between the
two layers. Alternatively, poke a hole in
your top layer using an Opacity value
of 100%. You can then fine-tune the
amount of blending between the two
layers by going to Edit>Fade Eraser.
A dialog box will appear with a slider
that lets you change the opacity of the
hole you’ve created – even after you’ve
applied the Eraser!
Combinelters suchas Twirl withtheWarpTransform
commandtomenaceyour cutleryUri Geller-style
Adjust marquees
When drawing a
selection marquee you
may want to tweak
it before editing its
contents. If you do
this using the Edit>
Transform tools, the
pixels selected by
the marquee will also
be transformed. To
adjust the marquee
only, go to Select>
Transform Selection.
Hit Return to apply
the transformation.
074-077-PC15_Advice.indd 77 6/10/06 09:44:35
Send in your troublesome images for us to fix…
Choose your first ink colour
Click on the colour swatch beside
Ink 1. Either enter #E6871E into the bottom left
box or enter 230 into the box beside Red, 135
beside Green and 30 beside Blue. Click OK to
create your rst colour. In the text box beside
the colour swatch enter the name for Ink 1 (for
example, ‘Sepia 1’).
Select a second ink colour
Repeat this for Ink 2 by clicking on
the colour swatch. You may need to click Picker
if you are presented with a Pantone colour
library window. Choose #000000 or enter 0
into the Red, Green and Blue value boxes. Click
OK and name this ink ‘Sepia 2’. Click OK and
then select Image>Mode>RGB to convert the
image back to its original mode.
Use the Mode menu Open your
image. Choose Image>Mode>
Greyscale. Click OK to discard the colour
information. Select Image>Mode>Duotone.
Convert your image and choose the colours of your duotone
he sepia eect is common
in traditional photography,
instantly creating an
atmospheric, artistic look. This
technique is also eective if you want to
give a photo a vintage feel. With the help
of Photoshop you can take any colour
photo and produce a distinctive result
using our method. You’ll be surprised
at what eect sepia toning can have on
almost any photo, instantly giving it more
depth and presence. Simply converting to
Greyscale mode and applying a Duotone
is one of the easiest ways to achieve the
eect. Although we’ve given you settings
to create the reddish brown tone, these
can be tweaked easily in the Color Picker
window to suit your taste.
If you like this
effect and want
to apply it to lots of
images, after picking
your ink colours in
the Duotone window
click Save to save
as a preset. You
can then load these
settings again to
apply to other images
in the future.
Sepia with
Send your problematic photos on a CD to:
Photo Fix, Photoshop Creative, Imagine Publishing,
Richmond House, 33 Richmond Hill, Bournemouth,
Dorset BH2 6EZ
Unfortunately we cannot return CDs
advice photo fix
Cast an artistic, vintage tint across your
image using the Duotone feature
Give images a
sepia tone
078-079_PC15_Advice.indd 78 5/10/06 12:11:17
Convert your image and choose the colours of your duotone
advice resources
Our latest collection of Photoshop offerings from the World Wide Web…
The tutorials on N-sane are suitable for experienced Photoshop
users and those new to the program. Displaying clear and concise
lessons, this resource is not to be missed. No tutorial is more than
20 steps, and the site uses a handy system to score the level of difficulty,
from easy to master level. Within the basic tutorials are lessons on the
tools, using greyscale and fundamentals of focal point. The effects
and graphics tutorials are more obscure, showing how to
create abstract shapes, eg energy warps and
trippy waves. Probably the most useful
are the text tutorials as they’re
applicable to so many
The Lyzrd’s Stomp prides
itself on being an ‘art,
music, computers and
modelling joint’ and includes a
section on Photoshop, but it’s
also interesting to check out
other sections such as the artists’
gallery and photography area. The
Photoshop section includes tips
and techniques to improve the way
you work in the program, alongside
tutorials. There’s also a forum for
users to discuss the app
and suggest future
This is not strictly a tutorial site, but a visual arts resource centre
and graphics community. It has a very useful page which contains
the best pages, tutorials and tips related to Photoshop (and even
some for traditional forms of art) on the web. Think of this more as
a resource for finding resources. There’s also a daily news
update from the art world and a useful free graphics
section providing you with a list of the best
places to find free artwork. Make
sure you also take a look
at the galleries for
This is a search engine
for Photoshop, Flash and
PHP tutorials. It claims to
be the most up-to-date Photoshop
tutorials database on the Net, and
this looks to be true! On the first
page of the database is a selection
of the very latest tutorials, but if
you want something more specific
use the Search option or choose
from the 14 categories in the
Photoshop area. In the Effects
category alone there are over 130
tutorials on producing results such
as motion light trails and Matrix
effects. New users are also
catered for.
On this site you’re spoilt
for choice, as it not only
provides tutorials but free
files and an extensive list of free
textures. Tutorials are graded as
basic, intermediate or advanced.
There are also visual guides to
elements of Photoshop, such as the
filters which provide examples of
the effect of each and tips on what
they are best used for. The focus
is on creating impressive layouts
and combining elements, but the
coverage of Photoshop
as a whole is
The main emphasis of this
site is web design, but the
Photoshop tutorials are
creatively based, and in the Photo
Effects section include the effects
users most commonly have trouble
creating, eg pencil shading and
object reflection. The Text Effects
tutorials cover a broad range, from
applying an oil effect to text to
creating an image of refraction in
lettering to make it appear made of
glass. One useful section
of lessons is on
078-079_PC15_Advice.indd 79 5/10/06 12:11:42
This is the place to come and discover more about products that will boost your
Photoshop creativity that little bit further. This issue – printer, tablet and books
creative reviews
Photoshop Artistry 86
Rick Sammon’s Travel and
Nature Photography 87
Adobe Camera RAW
Studio Skills 87
Photoshop Workflow Setups 87
reviews issue fifteen
HP Photosmart
“Set up your own printing
studio with this stunning
product from HP”
HP Photosmart D7360 82
Wacom A6 Wide 84
081_PC15_Rev intro.indd 85 5/10/06 12:06:39
reviews hp photosmart d7360
Delving under the D7360’s bonnet
Screen with a difference
The 8.6cm colour touch screen lets you view
and print images and carry out maintenance of
your printer without using your computer.
Individual cartridges
The D7360’s separate printer cartridges not only
look attractive, but are also incredibly easy to
install and replace.
No computer needed
The USB port and memory card slots are located
on the front of the printer and are easy to access,
so you don’t need to involve your computer at all.
Simple operation
and perfect quality
combine to make this
an all-round winner
e were quite daunted by the
size of the D7360 when we rst
got it out of the box, having
similar dimensions to an all-
in-one unit. However, once it was all set up
it looked quite smart and tidy, and certainly
seemed sturdily designed. If you’re looking for
Mac and PC
Windows 98SE, 2000,
Me or XP
Mac OS X 10.3, 10.4
HP Photosmart
It may be large, but the D7360’s list of
features is nothing to grumble at
a space-saver, this model is likely to be a bit too
bulky for you. But even though it’s larger than
other photo printers, it excels in just about
every other aspect, from its innovative touch
screen to its fantastic print quality.
The design of the D7360 means everything
is within easy reach. The ink cartridges are
installed with no problems, paper loading is
also eortless and connecting up your camera
or inserting memory cards is all done at the
front of the printer. Its most exciting feature
has to be the large colour touch screen which
can be ipped up and used to view, select,
082-083_PC-15_hp printer.indd 1 5/10/06 12:00:50
The Photosmart D7360 features
innovative design features and
speedy print output…
Practical paper loading
If you are frequently switching between the sizes
of document you print, the design of the D7360’s
paper trays makes it simple to adapt the unit.
Simple software
The printer comes with HP Photosmart Premier
and HP Photosmart Express for viewing, enhancing
and experimenting with projects before you print.
Quality of prints
stands out. Easy
operation, speed,
unique features
On the
bulky side
Slightly noisy,
especially during
setup and
More pricey than
other photo
printers but worth
it for the quality
enhance and print your images. This is what
makes it a bit more expensive than other
models from the Photosmart series. Due to
almost all operations being carried out on
this touch screen, the front of the printer is
uncluttered and features only a small selection
of the most important buttons, such as those
used to conrm or cancel printing.
The printer comes with HP Photosmart
Premier, a piece of software that lets you carry
out a range of operations such as viewing,
editing and backing up your images. The app
also allows you to create projects from your
photos including brochures, album pages
and greetings cards. In comparison with other
apps that come included in printer packages,
this was easy to learn and straightforward.
The varied selection of editing tools in the
program included quick xes such as red eye
removal and restoring faded images, cropping
and resizing, special eects, black and white
conversion and even working with video les.
The printer also comes with Photosmart
Express, an even easier and more basic app
that enables you to get printing even faster.
When setting up and aligning the printer
we found it noisy, but this reduced when
it came to printing out images. In terms
of speed, the D7360 performed very well
without jeopardising the quality of prints. We
tested the machine on a variety of papers and
found clarity of images to be high on normal
inkjet paper and extremely impressive on
HP’s Premium Plus Photo paper. Black-and-
white prints were of an equally high standard.
The printer’s resolution of 4800 x 1200 never
failed to deliver. In our tests, photographs at
A4 size and 10cm x 15cm appeared identical
to professional prints, with no banding,
pixelation or colour casts. Switching between
the paper sizes was also eortless using the
printer’s separate trays.
The ink cartridges are split into individual
colours. There are advantages and
disadvantages to this. If one colour runs out
you only have to replace that cartridge, but
they are more expensive than combined
cartridges, with each colour cartridge costing
£8 and a black cartridge costing £13. Therefore,
a whole set would cost over £50. However,
in comparison to some other photo printers
we’ve tested the cartridges last ages.
Don’t be put o by the D7360’s size or the
fact that it’s more expensive than other photo
printers – it’s denitely worth it for the quality.
If you’re a keen photographer who takes pride
in your shots, printing them at a high quality is
essential, and this member of the Photosmart
family is highly recommended.
High quality prints
with vibrant colour
and crisp detail
8.6cm colour
touch screen
Images can be
printed directly
from a variety of
memory cards
HP Photosmart
Premier software
for easily selecting
and enhancing
your images
High quality prints
Whether you are outputting your images onto
HP Premium Plus Photo Paper or normal inkjet
paper, the quality of prints is exceptional.
View and adjust As an
alternative to viewing
your images using HP
Photosmart Premier, you
can also select them using
the touch screen and use the
unit’s PhotoFix button for
one-touch enhancements.
Plug it in You can
conveniently print directly
from your camera or memory
card using the USB port or card
slots on the front of the unit.
082-083_PC-15_hp printer.indd 2 5/10/06 12:01:16
Wacom Intuos3 A6 Wide
acom enhanced its professional
Intuos3 graphics tablet range
last year with the A5 Wide.
Created to meet the demand of
the widescreen monitor brigade, the tablet
was designed to perfectly map the screen area
– no more tting a square peg into a rectangle
hole, as it were.
The latest addition to the Wide range is the
A6. Wacom has pitched this tablet at mobile
professionals and widescreen notebook users,
but we think it’s also perfect for creative home
users who want to have a go at digital painting
or trickier photo edits.
All Intuos3 tablets come with a Grip Pen to
control the cursor, and it’s very comfortable
to hold. It also has Stroke and Felt Pen nibs,
enhancing its use even more. The pen boasts
1,024 levels of pressure sensitivity, allowing
you to control variables such as brush size and
paint ow by just pushing harder. This greatly
enhances digital painting and generally makes
using the brushes far more intuitive.
reviews wacom intuos3 a6 wide
brush control
Won’t hog
desk space
Bundled with
Painter Essentials
Pretty di cult to
think of any. Hang
on, we’ve got one…
…Might strike
some as pricey
As close to graphics
tablet perfection
as you’re likely
to get
As with the other Intuos3 tablets, the A6
Wide has ExpressKeys and a Touch Strip
(although it has one set instead of two). The
ExpressKeys are handy devils that can be used
as modier keys. The Touch Strip can also
be customised, although its default job of
zooming in and out is pretty much perfection.
The inclusion of these keys means you’re one
step closer to a keyboard-free existence, and
can enjoy the freedom a graphics tablet gives.
Now, this is the part of the review where
we usually point out a aw that shatters all the
goodness. But that’s not going to happen,
simply because there is no aw! The tablet is
easy to install and use, and it really is a case of no
going back once you’ve taken it for a spin. The
A6 Wide even comes with a full version of Corel
Painter Essentials 3, which allows you to really
go to town with digital painting. Although it’s
not the biggest tablet, the screen mapping
means you can still be expressive and cover
your entire screen and not have to give up desk
space for the privilege. A bonzer buy!
Take a closer look...
You can use these
ExpressKeys to act
as modier keys – or
anything else you fancy
for that matter!
When you work with
dynamic brushes, make
sure that you make a
tablet choice from the
Control menu.
The A6 Wide comes with
the Intuos3 Grip Pen.
There are two nib types
– Stroke and Felt Pen – to
help your creativity.
Corel’s Painter Essentials
3 is bundled with the
tablet, and allows you
to create brilliant real
media eects.
It’s the baby of the Intuos3 range, so does the A6 Wide induce users to throw
a temper tantrum? We take it for a test drive
Windows 2000 and XP
Mac OS 10.2.8 or later
CD-ROM drive
Active USB port
PC and Mac
084_PC15_wacom.indd 84 5/10/06 11:39:15
reviews books
NOTES | ||¯ |S ||O\ || ¯||||’S / ¯+|| O| ||O¯OS|O| bOO| +O|’| |||| |S ¯O ||\||\ '|S¯ |V/|| |´|©|V/C|||||b||S|||C´O||
Barry Haynes
Wendy Crumpler
Seán Duggan
New Riders
Beyond photography The
topics covered extend further than
photography, eg choosing a tablet
to create fantastic digital paintings.
Using your images This guide
even covers what to do with your
creations after you have nished
experimenting in Photoshop.
Supporting diagrams Often a
good diagram or screenshot can
explain a concept far better than
an entire page of text.
In detail When covering more
important or di cult subjects,
example images and clear diagrams
are used, making it easy to follow.
Suitable for all This is not only
a book for Photoshop experts, as
a good grounding in each topic is
given at the start of each chapter.
Kick-start your creativity with the help of this guide
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See the difference Photoshop
Artistry is full of before-and-after
examples, complete with evaluations
of what is wrong with the original.
Photoshop Artistry
Portfolio perfection
Spectacular examples of
photographers’ work show just
what a dierence Photoshop can
make to a shot.
086-7_PC15_Books.indd 86 5/10/06 11:36:02
reviews books
Rick Sammon’s Travel and Nature
Workflow Setups
Adobe Camera
RAW Studio Skills
his book describes RAW capture as ‘the new
frontier of photography’ and throughout it
you will learn how programs such as Adobe
Camera RAW can increase the control you have
over an image during both capture and post-processing.
However, it doesn’t stop there, extending into how to
manage your workow more eectively for maximum
production. Eleven pro photographers share their secrets for
creating enhancing eects. Techniques such as toning and
tinting RAW image, increasing dynamic range and special
eects processing are all covered in detail with step-by-
step explanations. Don’t worry if you aren’t familiar with
Camera RAW – the basics of RAW image conversion are
also featured. Plus, there are sidebar sections with extra
info on the chapter’s topic to help your understanding.
The book is attractively presented and organised into
chapters that clearly display the benets of using Camera
RAW, eg ‘Creative Techniques for RAW Conversion’. The
section on editing in Photoshop is particularly interesting,
and includes cleaning, converting and sharpening images.
This book extends far beyond photography basics
The place to be One
interesting section
features a selection of
the best places to visit to
get exceptional photos.
Varied content The
subjects covered are
wide ranging – from
shooting stage shows
to macro nature shots.
Get your gear
Sammon also advises
on the best equipment
to use to enhance your
photos even further.
e’d all like to increase our
productivity and enhance the
way we work in Photoshop,
so this guide will benet any
user. Even if you feel you know all there
is to know about the program, Photoshop
Workow Setups is sure to give you a few
handy tips. Throughout the book Eddie Tapp
reinforces how important it is to set up your
workspace in Photoshop to improve the way
you experience it. If you use the program
frequently this is even more essential.
Topics include customising the workspace,
keyboard shortcuts, using Adobe Bridge and
organising palettes and windows for a faster
way of working. The layout is easy on the eye
with large diagrams and attractive images.
All the info is very clearly presented and well
thought out, making this a powerful learning
tool for users of all abilities.
Eddie Tapp
Charlotte K
ast month’s interviewee, Rick
Sammon, has homed in on a
specic area of photography:
travel and nature. Much of
his book relates to Photoshop and digital
enhancement of images. Its reach extends
far beyond photography, and the dierence
in the before-and-after images using creative
techniques is astonishing. Sammon also
gives tips on the best equipment and
techniques to use when shooting a range
of subjects including seascapes, close-ups
and people. The emphasis throughout is on
creativity and being imaginative with your
composition when photographing subjects.
Rick Sammon
Push your creativity
The same subject taken
in dierent ways shows
the importance of
pushing the boundaries.
Packed with handy pointers to speed up the way
you work in Photoshop
Push your travel and nature photography to its
limits for some spectacular shots
Discover exactly how the RAW format can
benet your images
Powerful images The most
important element of this book is
its fantastic-looking examples of
photography, which are inspiring
to its readers.
086-7_PC15_Books.indd 87 5/10/06 11:36:42
Prehistoric monsters, reptiles, deserts and dramatic skies were your
tools for issue 13’s Readers’ Challenge. Here’s what you came up with…
ssue 13’s challenge came
about after the Photoshop
Creative team watched
Jurassic Park, which lled our
minds with scenes of scary creatures
xed on taking over the world.
So we raided our image banks and
ried through all the reptiles, deserts
and dramatic pictures we could nd.
The results may not look that inspiring
when seen in isolation, but luckily your
imaginations have turned them into
something to be reckoned with!
Well done to Stefan and Emma for
taking the mammoth picture and creating
a realistic composition that looks like it
belongs in a natural history magazine. Also
well done to George Boyce for producing
a couple of excellent photo collages. We
really liked the mood and textures in these.
The observant among you will also
notice a few entries using older challenge
pictures. Remember, there are no
deadlines to the challenges, so these are
more than welcome! In fact our winner
this issue used issue 12’s cover tutorial to
create this excellent vector look, so a big
congratulations to Paul. But how could
we fail to include some more penguin
pictures? Jack and Neil have kept the
penguin res burning with their creations.
Long may they live!
“I always had
problems using the
paths in Photoshop.
I followed your tutorial in
issue 12, which was a great
help. After getting the hang
of things I went on to create
this image and a mobile
phone image. I used the
Emboss effects to give a
realistic phone. You’ve been
much help.”
If you’d like to share your work with other
readers, send your pictures in to us and you
could be featured on these pages. Just pop your
images onto a CD and send it to:
Exhibit, Photoshop Creative, Imagine Publishing,
Richmond House, 33 Richmond Hill, Bournemouth,
Dorset BH2 6EZ, UK
Alas, we can’t return any CDs. If your entry is under 2MB,
you can email it to [email protected]
Get your work featured
Gets a copy
of the Fluid M
ask plug-in

Vectored girl
094-97_PC15-Exhibit.indd 94 6/10/06 11:32:01
If You Go Down…
“The background is a photo I took of
a piece of rusty iron sheeting and the
lady is a picture of my wife’s aunt.”
Twins Again
“The second ‘egg baby’ was produced
by making selections of the original lizard
and rotating them around the body, having
relocated the point-of-rotation there.”
It Suits the Penguin Girl to
Walk the Beach Road with the
Rhino Hat On
“There was that one challenge to
model a new creation, for the girl to
walk among her friends. And I didn’t
even have to shoot a rhino for the hat.”
094-97_PC15-Exhibit.indd 95 6/10/06 11:32:29

The End of an Era
“I cut the mammoth from the
picture using the Magic Wand and
the Eraser. I used Gaussian Blur
to create the smoke and the Eye Candy
4000 Fire plug-in to create the meteor fire
effect. I also used the Clone tool to remove
the small buildings, and to warm up the
image I used Selective Color on the reds.”
A Relaxing Sunny Day
“I made the dragon’s
body by drawing a
freehand shape and filling
it with the Pattern Stamp tool.
The rest was made using loads of
layer masks and reflecting them.”
Buddha-wings of Wisdom
“I loved the ambiance of
the bridge photo and was
fascinated with the Buddha
statue. I worked with the Liquify filter
on Buddha and hence the feathered
wings emerged.”
Turn to

this issue’s
094-97_PC15-Exhibit.indd 96 6/10/06 11:33:06

“I’ve called this one Ancestry as
it seems as though the mammoth
is holding a glowing memory of its
ancestry buried within itself.”
The Visitor
“When all is quiet the visitor comes
out to play. Her guardian will warn
her of the imminent danger outside. I
used your brushes to create the wings.”
“I took a while to complete this one.
I tried to be as critical as I could and
not settle for just good enough – that
way hopefully I’ll improve every time. Thanks
for a great mag.”
Reptilian Romance
“Inspired by the Holiday Montage in
issue 13, I made a postcard from the
Readers’ Challenge photos, added
the lizard and shadow, then the rest is flter
and brush work. For the lizards it was love at
frst sight, so I arranged the composition to
suit them!”
094-97_PC15-Exhibit.indd 97 6/10/06 11:33:30
Enter our
challenge and
see your work in
the magazine!
competition readers’ challenge
notes | if your entry is under 2mb, you can email it to us at [email protected] unfortunately we can’t return cds
do you have hundreds of ideas buzzing
around in your head? unleash them with
our challenge!
henever we set out to commission a tutorial idea,
our frst thought is always ‘can we start of with a
photo?’ Photos allow you to do pretty much anything
in Photoshop, and empower those who may not be
quite as handy in the drawing or artistic department as they would
like. because you can use photos in so many ways, we thought
they were an excellent place to start each challenge.
the rules are very simple – use at least one of the supplied
photos to create a Photoshop image. you can use any style, add
your own photos or resources, or maybe try out one of this issue’s
tutorials with the challenge photos. there’s no deadline or skill
requirements – all we ask is that you have fun and show us what
you make!
Access the Readers’ Challenge
folder from the side panel on our CD
and copy it to your desktop. Once
you’ve completed your masterpiece, send it
to us on a CD along with your name, address
and a few words about your creation, to:
Readers’ Challenge
Photoshop Creative
Imagine Publishing
Richmond House
33 Richmond Hill
Dorset, UK
How to enter
098_PC_15.indd 98 5/10/06 11:16:18
100_PC15_Backcover.indd 1 3/10/06 16:15:52