Creative Photoshop CS4 Digital Illustration and Art Techniques - phần 6 pdf

208 Part Three: Real World Photoshop 12 31 Return to the scan5.jpg file. Draw a lasso-based selection around the small dry brush stroke in the upper left-hand corner. Copy it and return to the working file. Paste this into a new alpha channel. Load a selection from the channel and, while the selection is active, create a new solid color layer. This time, specify a purple fill. Drag this layer up above all of the other fill color layers in the Layers palette so that it resides directly beneath the sketch layer. Use Free-Transform to adjust the size, rotation, and positioning of the stroke so that it is similar to that which is shown here. Stacking and blending layers By duplicating layers and varying blending modes, you can enhance and brighten specific image components. 1 Change the blending mode of the current layer to linear burn. Don’t be alarmed just yet. We’ll improve upon this right now. Duplicate the layer and then change the blending mode of the duplicate to hard light. There, that’s better. Now, duplicate the layer again and select the Move tool. 2 Use the Move tool to move the contents of the newly duplicated layer up and toward the right of the canv as, creating an offset effect. Now, duplicate this layer and then double-click on the newly duplicated layer’s thumbnail to access the picker. Change the layer’s fill color to orange. 3 Change the blending mode of the layer to multiply and mo ve it down and to the right with the Mo ve tool. Duplicate this layer and then move it up and to the left a little. And finally, duplicate this layer and use Free- Transform to scale it down and move it over near the eye at the right of the canvas. 209 Chapter 12: Sketch and Dry Brush Effects 12 PART SEVEN: Adding painted, wispy clouds 32 For the sake of order, select all of the dry brush solid color layers in the Layers palette and group them. Name the group something appropriate. Next, open up the scan6.jpg file. The initial procedure here is exactly like what you did previously with the dry brush strokes. Draw a lasso-based selection around a section of painted cloud. Copy it and return to the working file. Paste it into a new channel. Load the channel as a selection, but don’t create a solid color layer this time. In the Layers palette, create a new layer. Click on the Foreground Color swatch in the toolbar to open the picker. Select a very light yellow color from the picker. Type Alt(PC)/Option(Mac)-Delete to fill the active selection on the new layer with the new foreground color. Do not deselect. 33 Select the Move tool. Your selection border will likely be visible only in small c lusters due to the nature of this channel-based selection. P osition the Move tool over a selected area. When you are confident that the tool lies completely inside a selection border, hold down the Alt(PC)/Option(Mac) key and drag to another area of the canvas. This will duplicate the contents of the selection within the same layer. Make a number of duplicates using this method, and feel free to alter size, shape, and rotation via Free-Transform. Repeat this entire process to create different cloud shapes on this layer, generated from different portions of the scan6.jpg file. Try filling some of the new channel-based selections with white instead of yellow. The results are subtle, but add to the overall tactile, painterly feel. Deactivate any active selection. Move carefully When you are trying to duplicate the contents of an active selection within the same layer, it is very important that you Alt(PC)/Option(Mac)-drag while clicking inside a selection border. If you accidentally Alt(PC)/Option(Mac)- drag outside of a selected area with the Move tool, it will duplicate the entire layer. You may not notice this in the image window right away, but have a look in the Layers palette and you’ll see that your layer has been copied. 210 Part Three: Real World Photoshop 12 PART EIGHT: Color via shape layers 34 Select the Pen tool. In the Tool Options bar, ensure that the Pen tool is set to create shape layers as you draw. The Shape Area option will automatically be set to create a new shape layer. At the right, in the Tool Options bar, click on the Color swatch. This will open the picker. Select a lime green color from the picker. After you’ve specified the color of the new shape layer, zoom in on the figure at the lower left. Carefully draw a closed shape that fills the inside of his head with color. It doesn’t have to be perfect as imperfection is part of the overall feel of this image. However, try not to stray outside of the black outline on the sketch layer above. 35 In the Tool Options bar, enable the Add to Shape Area option. This will allow you to cr eate further shapes on the same layer in addition to the existing shapes. Use the Pen tool to create a solid shape that fills this figure’s glove with the same green color. Repeat the process with the other two figures, adding green fill areas to torsos, arms, and legs. Editing shapes When you’re using the Pen tool to create shapes, you can edit the line segments, points, or Bezier handles quickly with the Direct Selection tool. To temporarily access the Direct Selection tool while the Pen tool is selected, simply hold down the Control(PC)/Command(Mac) key. When you are finished editing your shape components directly, release the Control(PC)/Command(Mac) key and the Pen tool will return. 211 Chapter 12: Sketch and Dry Brush Effects 12 36 Return to the Tool Options bar. Click on the Create New Shape Area option and set the color of the new shape layer to a light orange. Use the Pen tool to draw a closed shape around the head of the figure at the upper left of the canvas, filling it with orange. Then, enable the Add to Shape Area operation and draw some more closed shapes within the same layer. Create shape areas that fill the right figure’s gloves and the center of the flowers on the skull with color. 37 Repeat this process to create another new shape layer. This time, specify a purple fill color. Initially create a shape that fills the figure’s hand at the upper left with color. Then, enable the Add to Shape Area operation and draw a closed shape that fills the figure’s shirt at the lower left with purple. This figure’s pants have a strap that comes up over one shoulder. Rather than meticulously draw around that area, just let it be filled with purple for now. We’ll fix that up with another shape layer next. 212 Part Three: Real World Photoshop 12 38 Again, enable the Create New Shape Layer operation in the Tool Options bar, and specify a light blue fill color. Carefully draw a closed shape around the skull. Ensure that you do not include the large flowers within the shape area as you draw. Carefully draw around them. When you have closed this shape, enable the Add to Shape Area operation in the Tool Options bar. Now, draw additional closed shapes within the same shape layer that fill remaining areas of the figures with light blue. Pay special attention to filling the pants and shoulder strap of the figure at the bottom left. Although this area is filled with purple on the underlying layer, this obscures it perfectly. 39 Next, enable the Subtract from Shape Area operation in the Tool Options bar. With this function enabled, draw a closed shape around the perimeter of one of the eye holes in the skull. As you begin to draw, you’ll immediately notice the results of the Subtract operation as it literally cuts a hole in the shape surrounding it. With this operation enabled, draw closed shapes around the other regions of the skull that should not be filled with blue. 213 Chapter 12: Sketch and Dry Brush Effects 12 PART NINE: Add shading and painted details 40 Let’s continue to impose order on the chaos inside the Layers palette. Group all of the shape layers and name the group. This is also a good time to name the clouds layer if you haven’t already. Now, the shape layers we just created are an excellent way to fill areas with color. However, when I look at the illustration in its current state, it seems a little too flat, lacking fine detail. To remedy this, we’re going to paint some shaded regions, highlights, and colored details onto the figures. Begin by selecting the Brush tool. Select a hard, round Brush preset from the list of options in the Brush Preset picker in the Tool Options bar. Open up the Brushes palette and have a look at the properties of the Brush preset you’ll be using. I use a pressure-sensitive tablet and here you can see that the stylus pressure controls the size of the brush I’m using. If this is not your cup of tea, feel free to disable shape dynamics. 41 Also, it is important to point out that we’re not doing any form of advanced painting here; so if you don’t use a tablet, it doesn’t matter. Create a new layer and zoom in on a region of the image that requires flat, colored detail. Set your brush tip diameter accordingly and select an appropriate foreground color from the picker. Set the opacity of the brush to around 70% or 80% in the Tool Options bar. This will still allow for a subtle layered effect to be built up within the layer as you paint strokes that overlap each other. Carefully paint some solid color into the desired region on the new layer. When you’re finished, apply some paint into other regions that require the same color. After that, choose a different foreground color for another region. Repeat this process until all of the solid detail regions are painted. 214 Part Three: Real World Photoshop 12 42 Create a new layer. This time, either select a very soft, round Brush Tip preset from the Brush Preset picker, or simply reduce the hardness of your current brush to zero. Also reduce the opacity of the brush to around 40% in the Tool Options bar. We are going to gently build up paint in shaded regions on this new layer. The process is the same as before. Simply select a color and start to paint it into the appropriate region on this layer. Take your time and paint the appropriate dark colors into areas that require shading, changing your brush size and opacity as required. Choose lighter colors to paint highlights onto raised or protruding areas within the image. To create a very dark or very light region, build up numerous strokes in the same area. PART TEN: Throw some paint around 43 Open up the scan7.jpg file. This file contains all the drips and paint splatters. We’re going to use these to further the overall feeling of tactile imperfection within the image. Use the Lasso to draw a rough selection border around a single paint drip, cluster of drops, or section of splatter. Copy it and return to the working file. Create a new alpha channel and paste the copied art into it. Feel free to alter the size of the pasted art in the channel via Free-Transform. Load the channel as a selection and then return to the Layers palette. Create a new layer and fill the selection on the new layer with the color of your choice. Feel free to alter the blending mode to give the splatter a translucent appearance. This selection was filled with blue before I deactivated it. Then the blending mode was changed to multiply. 215 Chapter 12: Sketch and Dry Brush Effects 12 44 Repeat this procedure over and over again until you have a multicolored splatter effect across the entire canvas. Feel free to move your splatter layers above or below each other. When you’re finished, select all of the splatter layers in the Layers palette and group them. Name the group and then drag it above the sketch layer so that it sits at the top of the stack in the Layers palette . PART ELEVEN: Final adjustments 45 Now that the sketches, paint drips, dried marker drawing, and dry brush strokes have been used effectively; take a break and have a good look at the final result. In my opinion, the color is lacking overall. It looks a little faded or washed out. In the Adjustments palette, click on the Hue/Saturation button to create a new hue/saturation adjustment layer. When the sliders appear in the Adjustments palette, increase the saturation greatly by around 40. You will immediately notice the color within the image spring to life. Now the only thing lacking is the density of the blacks within the image. To remedy this, duplicate the sketches layer. Reduce the opacity of the duplicate layer to around 40% so that the results are not overpowering. 216 Part Three: Real World Photoshop 12 A practical application Bits and pieces of this technique can come in handy when you are creating something a little more conventional. In this editorial illustration, the method of using the sketch on a layer with a multiply blending mode works well. Although this chapter’s illustrated patterns and brush stroke effects are entirely absent in this composition, the way that the sketch blends with the photographed page looks authentic and conveys a tactile feeling. 217 Chapter 12: Sketch and Dry Brush Effects 12 Same techniques, different media Although the media has changed in this instance from dry brush India ink and pencil sketches to felt-tipped pen and watercolor, the core of the process remains more or less the same. The solid regions of the alien bodies were filled using shape layers, then detail and shading was painted onto a series of layers above. This process of building an image from scanned tactile components can incorporate almost any form of traditional media. [...]... Screen-Printing Chapter 13 Simulated ScreenPrinting M any years ago, I used to work as a one-man art department at a silkscreen-printing house This was so long ago that for the first year or so there was no computer at all in the art department I used to do all of the original artwork and color separations manually When it came to adding shading to the designs, I used to have all of these great peel -and- stick... patience as core techniques are used over and over again for different elements 219 13 Part Three: Real World Photoshop What you’ll learn in this chapter Creative Techniques and Working Methods Positive thinking When a design is color separated for screen-printing, a film positive is created for each color Areas of 100% black are going to reproduce as 100% of that particular color, and coarse halftone... Control(PC)/Command(Mac)-Shift-N Click on the Foreground Color swatch in the toolbar and select a light blue foreground color from the picker With the new layer targeted and the current selection active, type Alt(PC)/Option(Mac)-Delete to fill the selection with the current foreground color Deactivate the selection by typing Control(PC)/Command(Mac)-D 225 13 Part Three: Real World Photoshop Reset warnings... registered on a carousel-like device, and ink is applied to the surface, one color at a time Now, when it comes to working in Photoshop, we’re going to prepare our separations ahead of time As a result of this, it is very important to visualize your design and then create the necessary components ahead of time Each color or shade is prepared as a separate piece of black -and- white art And each scanned piece... appropriate layers And remember, if the color you’re after is no longer the current foreground color, you can quickly sample it from the image with the Eyedropper tool 2 26 6 Open up the wave2.jpg file Choose ImageϾModeϾGrayscale from the menu to convert the image and discard any color information Photoshop will likely prompt you to use the black -and- white conversion method instead Granted, black and white offers... Add all of these wave layers to a group and name it 232 13 Chapter 13: Simulated Screen-Printing PART FOUR: Create the main squid 18 Open up the squid1.jpg file Select all, copy, and then paste the copied art into the working file as a new layer Select the Magic Wand tool and this time, disable the Contiguous option Leave all other Magic Wand settings as they were and click on a black region of the squid... palette and offset it slightly with the arrow keys or the Move tool 34 Open up the small3b.jpg file Lighten the black Convert to grayscale and then to bitmap mode Use the halftone effect to create a line pattern and then invert the results Select the inverted halftone art and copy it Return to the working file and paste the copied art into a new channel Move that art in the channel into position and then... a new layer and fill the active selection with a very light green foreground color on the new layer Deselect and alter the position and/ or angle of the contents of this layer if necessary 241 13 Part Three: Real World Photoshop 35 Open the small3c.jpg file now Invert the image and copy it In the working file, paste the copied art into a new channel Align the art with the current squid and then load... Control(PC)/Command(Mac)-T to enable Free-Transform When the bounding box appears, click and drag outside of it to rotate the artwork slightly, refine the positioning by clicking and dragging inside the bounding box The goal is to line this up nicely within the purple outlines, with a very slight offset still present Press Enter to apply the transformation 235 13 Part Three: Real World Photoshop 24 Use... color as the squid outlines Deselect and then use the Move tool and FreeTransform to rotate and position it over the pink regions Select all of the squid layers in the Layers palette and group them PART FIVE: Add the smaller creatures 27 Open up the small1a.jpg file Invert the image Select all and copy In the working file, create a new alpha channel and paste the copied art into it Enable the visibility . selection by typing Control(PC)/Command(Mac)-D. 2 26 Part Three: Real World Photoshop 13 5 Target the wave layer and enable its visibility. Now, use the Magic Wand tool and the same methods to carefully. in the art department. I used to do all of the original artwork and color separations manually. When it came to adding shading to the designs, I used to have all of these great peel -and- stick. patience as core techniques are used over and over again for different elements. 220 Part Three: Real World Photoshop 13 What you’ll learn in this chapter Creative Techniques and Working Methods