Because it looks like a chalk pastel, go ahead and name it something appropriate. Painting in Photoshop Defining brushes 15 Now that you have added three new custom brushes and a new dual brush to the Tool Preset picker, use them to paint some rough strokes on this layer. Use a variety of colors, brush sizes, opacity, and flow settings to introduce some very real and tactile feeling brush strokes on the current layer. Again, ensure that you do not overdo it as these new brushes, which produce such distinct strokes, can visually overpower the softly blended background quite easily.
When we created custom brushes from images previously, the images were black and white only. However, you can use a color or grayscale image as well. The advantage to using black and white is that you can get a good idea of how your resulting stroke will look from the image used to define the brush. Black areas will deposit paint and white areas will not. A grayscale brush tip will deposit paint according to the density of black it contains.
Color images are converted to grayscale when you define brush tips from them. This will target all of your paint layers. Create a new layer for the base color of the figures. In the Brushes palette, choose one of the default chalk brush tip presets.
Ensure that Smoothing is enabled, and in the Brush Tip Shape section of the palette, reduce the spacing amount to 1. Use this brush to add flat color on the new layer in all empty regions of the figures and the stars.
Choose colors from the background via the Eyedropper or select them from the Swatches palette. Increase or decrease the size of the brush tip as necessary. Brush size When you have a brush selected, a quick way to increase or decrease the brush size incrementally is to use the square bracket keys on the keyboard. This method is great for adjusting size on the fly.
Navigate to the aforementioned file and these brushes will become available in the Tool preset picker. As you did earlier with the background, blend the colors beneath this layer together with the Chalk Blender preset on your new layer.
Feel free to alter brush size and opacity as required. Also, feel free to add new areas of color on this layer to indicate highlights and shadows. Painting in Photoshop Brush opacity When you are working with the Brush tool, a quick way to alter the brush opacity is to simply use the number keys on the keyboard as you paint. Select your Spatter Brush preset from the Tool Preset picker. Now use the spatter brush to paint some light, yet rougher brush strokes over your recently blended areas on the new layer.
Use colors sampled from the canvas or from the ever-growing amount of custom swatches in the Swatches palette. Vary the brush size and opacity as needed. You probably want to leave the flow setting fairly low so that the bristles remain pronounced in each stroke. Vary size, color, and opacity as needed. Also, if you feel like experimenting, yet are worried about making a mistake on your current layer, go ahead and create another layer to work on.
This way, if you like the effect, you can keep the layer. In order to remedy this, it is often helpful to involve something genuine. Open up the painting. This file is a desktop scan, in grayscale, of a section of an oil-painted canvas.
Choose Tools from the Preset Type menu and click on one of your own brush tools. Hold down the Shift key and click on the remaining brush tools you created.
When they are all selected, click on the Save Set button to save them as a separate file on your hard drive. Loading the preset file later on is as simple as clicking the Load button and navigating to your saved preset file.
Holding down the Shift key ensures that it lands in your file in the proper position. Ensure that the new grayscale paint layer is at the top of the Layers palette and change the blending mode of the layer to color burn. Painting in Photoshop 23 Now duplicate your painting layer by dragging it onto the Create a New Layer button at the bottom of the Layers palette. Finally, duplicate your current painting copy layer and then change the blending mode of the recently duplicated layer to soft light to intensify the surface texture effect within the image.
You can load them or replace an existing set of swatches by choosing either option from the Swatches Palette menu and navigating to your saved file. Swatches can also be saved or loaded in the Preset Manager. And saving them as a preset library file ensures that you can access them at any point later on, within this or any other Photoshop file.
You can target individual layers and edit or mask their contents. Also, you can insert adjustment layers between layers to affect only certain portions of the composition. The simple grayscale scan used here on a series of layers helps to remedy the ultrasmooth digital canvas surface, making it more realistic in the end. Your colors will always be available to you here. Choose the Save Swatches option 17 Part One: Drawing and Painting A more realistic approach This method of painting is certainly not limited to the subject matter or rough style that was covered previously in this chapter.
You can apply this method to the subject of your choice and paint in any style that comes naturally. Here I decided to give traditional portraiture a try. Rather than starting with a sketch, I placed a photograph on an underlying layer and used it as a guide while I was working.
Unlike the sketch, it proved to be too distracting if it was visible the entire time. So I simply enabled the visibility of the photo periodically to stay on track. Painting in Photoshop Virtual life drawing Rather than sitting in a studio with charcoal, paper, and an actual model, why not replicate the process on your laptop or PC? I launched Poser and rendered a male figure using the pose shown here and a couple of colored lights.
I then rendered the file and opened it in Photoshop. This acted as my base layer. Then, I employed the techniques explained on the previous pages across a series of layers to create this impressionistic figure painting.
Unlike pixels, vectors are resolution independent. Different vector tools and functions are suited to a variety of tasks in Photoshop. In our case, the creation of whimsical character faces is ideally suited to working with shape layers. A shape layer can be created with the Pen tool or any of the shape tools. What causes one of these tools to create a shape layer, rather than a path, is the designation that you choose in the Tool Options bar.
Shape layers allow you to build up stacks of resolution-independent shapes that are absolutely perfect for tasks like creating faces. The available preset shapes are excellent building blocks for features and the Pen tool affords you the flexibility to create any custom shape you desire. You can add, subtract, intersect, and exclude shapes as well as perform a plethora of alignment options to get your complicated features placed exactly where you want them on the face.
Like traditional layers, shape layers can also be linked or grouped so that multiple elements across a series of layers can be moved, rotated, or scaled together at the same time. A slight familiarity with shape or path area operations will make things easier. However, the method of construction and the ability to visualize the result are important. Cut your work in half Obviously, details like eyes or antennas are things that appear more than once on the face.
Photoshop Tools, Features, and Functions Duplicate shape layers Shape layers are wonderful and flexible resources. However, it is important not to underestimate the potential that lies within existing shape layers. Using them as building blocks for new shapes can provide you with a starting point that already has part of the work done for you. Area operations Whether you want to combine two shape components together or use one shape to punch a hole in another, shape area operations are an essential part of the procedure.
The results will be neater and more versatile when you use basic shapes and area operations together rather than trying to draw the resulting shape on your own. The first character 1 The first thing you need to do is open up the background. All of your shape layers will be added to this file to create a plethora of strange creatures.
To get started, select the Pen tool. Then, in the Tool Options bar, ensure that the Shape Layers function is enabled. Do this by clicking on the button at the left. Project files All of the files needed to follow along with this chapter and create the featured image are available for download on the accompanying Web site in the project files section.
Move the mouse, then click and drag again to create another curved point joined to the previous point by a line segment. Repeat this method, making your way back to the original point. Click and drag on the original starting point to close the shape.
Once the shape is closed, select the Direct Selection tool. Use the Direct Selection tool to click on the individual points that make up your curved shape. When you click on a point, the Bezier handles that define that point will become visible.
Drawing and Painting 3 Click and drag the Bezier handles to reshape the curves and move the points with the Direct Selection tool until you have achieved the desired shape. Choose a blue color from the picker to change the foreground color to blue. Ensure that the Create New Shape Area option is selected in the Tool Options bar, and then use the previous method to create a smaller blue shape on a new layer. Edit the points and curves with the Direct Selection tool using the previous method.
Affect which shape layer? Before you choose a different color from the swatch in the Tool Options bar, you need to pay attention to a small Chain-Link button to the left of it.
When enabled, this option affects the properties of the current layer, the layer you already created. So when this option is enabled, changing the color in the Tool Options bar will affect your already existing layer.
If you disable this option, your current shape layer will remain unaffected when you choose a new color. But any new shape layer you create will use the new color selected in the Tool Options bar. Select the Pen tool and ensure that it is set to create a new shape layer in the Tool Options bar. This time, when starting your shape, just click once instead of clicking and dragging, then move the mouse and click and drag. This will create an initial sharp or corner point, and your second point will define the curvature of the line.
Click and drag to add more curved points and then, when returning to your starting point, just click. By clicking once on the starting point, you ensure that this point remains sharp, not curved. Creating Characters with Shape Layers 5 In the Tool Options bar, select the Ellipse tool and then disable the Chain-Link button by clicking on it, so that the new color we choose from the swatch in the Tool Options bar is not applied to the currently targeted shape layer.
Click the Color swatch in the Tool Options bar and select a dirty yellow color from the picker. Ensure that the Create New Shape Layer option is enabled and then click and drag while holding down the Shift key to create a perfectly circular shape layer. You can reposition the entire shape layer with the Move tool. Which tool do I use? Target the original layer the one beneath the copy in the Layers palette.
Press the Enter key to apply the transformation. In the Tool Options bar, enable the Chain-Link button to affect the current layer. Then specify a black fill color via the swatch in the Tool Options bar. Using the Move tool will allow you to move an entire shape layer around on the canvas.
Simply click on the shape you wish to move and drag it with the Path Selection tool. This is especially useful when your shape layer contains more than one shape and you wish to move shapes independently of each other. Drawing and Painting 7 Target the top layer in the Layers palette so that your next layer will be created above it.
Again, use the Ellipse tool to draw a smaller circle in his eye area. Ensure that the Create New Shape Layer option is enabled as you create the circle. Next, change the fill color of the new layer to red via the Color swatch in the Tool Options bar. With this new layer targeted, choose the stroke effect from the Layer Styles menu at the bottom of the Layers palette.
Add a darker red stroke to the outside of the circle. Finish, group, duplicate, and flip Complete the eye area and add a cheek detail. Then flip the artwork to the other side of his face. Target all of the eye and cheek shape layers in the Layers palette. Expand the duplicated group in the Layers palette and target the red iris layer. Shift-drag to the right on the canvas with the Move tool. Repeat this process with the duplicated pupil shape layer. This will remedy his cross-eyed appearance.
Use the Eyedropper tool to click on the dark blue area around his eye, sampling it as the current foreground color. Use the Pen tool to create a new shape layer in the middle of his face. Carefully draw a nose shape with the Pen tool. Take your time, clicking once to create sharp points, clicking and dragging to create curved points.
Edit the shape with the Direct Selection tool wherever necessary. Next, select the Ellipse tool and draw a lighter blue ellipse over his nose on a new shape layer. Create a light blue ellipse on the canvas, over his nostril, as a new shape layer. Use the Path Selection tool to reposition it if necessary. With the duplicate shape selected, click on the Subtract from Shape Area button in the Tool Options bar. Press Enter and adjust the positioning of the flipped duplicate shape if necessary.
Drawing and Painting 9 Set the foreground color to black. Draw a closed shape to indicate his mouth. Click and drag to create a series of curved points and use the Direct Selection tool to edit your points and curves until the mouth shape is looking just right. Duplicate the mouth shape layer in the Layers palette so that there are now two of them.
Target the duplicate mouth layer and press the Link button in the Tool Options bar so that when you change the color, this layer will be affected. When you are working with a shape tool, holding down the Control PC Command Mac key will temporarily switch your tool to the Path Selection tool. When the picker opens, move the mouse out over the yellow part of the eye on the canvas and then click to select this yellow as the fill color for this shape layer.
Click OK and select the Pen tool. Choose the Intersect Shape Areas option in the Tool Options bar and then draw a closed shape that contains two fangs that overlap the mouth area. Creating Characters with Shape Layers 11 Use the Pen tool with the Create New Shape Layer option enabled to draw a tongue shape on a new shape layer that sits within his mouth on the canvas. Click the Color swatch in the Tool Options bar and when the picker opens, click on the red area of one of his eyes in the image to specify that as the fill color for your new shape layer.
Expand one of your groups in the Layers palette. Find one of the layers with the stroke effect applied to it. Combining shape components 12 If the Chain-Link button is enabled in the Tool Options bar, disable it. Then click on the Color swatch in the Tool Options bar and select black from the picker. If you do this while the Chain-Link button is enabled, it will change the color of your tongue shape layer.
Disabling it ensures that only a new shape layer will contain black. The shape area functions in the Tool Options bar provide nearly everything you need to create diverse and unique composite shapes. However, there may be instances where you wish the visible results were indicative of one actual shape or perhaps you wish to perform different shape area functions on the resulting shape.
In these cases, simply click on the Combine button in the Tool Options bar to change the group of shape components into a single, editable shape. Be cautious when combining because once you combine the shape components, they are no longer editable as separate components. If you keep the components separate you still have the option of altering the physical qualities of the shape as well as changing any shape area functions applied to your individual shapes.
Drawing and Painting 13 Now select the Add to Shape Area function and draw some more closed shape components to indicate wrinkles on his forehead and the left side of his face. Use the Path Selection tool to select one of the wrinkle shape components that you created at the left. Then, hold down the Shift key and click on the other wrinkle shape components at the left to select them as well.
Custom shapes When you have spent some time creating a shape of your own with the Pen tool or by editing a preset shape, you may wish to save it for use later on. This will allow you to name the shape and save it.
The next time you select the Custom Shape tool, your custom shape will appear in the list of presets available in the Tool Options bar. Reposition them if necessary with the Path Selection tool. Your top layer is currently targeted in the Layers palette. Hold down the Shift key and click on the shape layer directly above the background layer. This targets the new layer, the top layer, and all layers and groups in-between. The second character 15 It is likely that by now you are becoming familiar with the process of creating new shape layers.
Navigate to another area of the canvas. Draw an ear at the left of his head. Use the Path Selection tool to position it exactly where you want it on the layer. Now, double-click your shape layer thumbnail in the Layers palette. This will launch the picker. Choose a new, light green fill color for your layer and click OK. You can change the fill color of any shape layer at any point by double-clicking the layer thumbnail.
As you can see now, there are numerous ways to specify and edit the fill colors of your shape layers. Changing the fill color 17 Add a stroke effect to this layer. Use a darker green color, a generous thickness, and position it outside so that it surrounds the exterior of the shape components.
Select the rounded rectangle shape tool in the Tool Options bar. Set the radius very high. Then click and drag to create a tooth shape on a new shape layer. Other books showed the potential of Photoshop with beautiful illustrations, but offered little information on how they accomplished the final results. I wanted a book to show me how to take my sketches and turn them into pieces of digital artwork in a clear and concise manner. Derek Lea’s book is just what I was looking for.
I can tell that Derek was an artist that truly learned how to harness Photoshop’s power and use it to his benefit. I was intimidated by the computer and stayed away from it for years, but now I treat it as a different tool to accomplish my artistic goals. I feel that most users can take the advice from each project and apply it to their own work.
Derek doesn’t want his readers to draw or paint like him, but to learn and create their own projects by getting comfortable in the world of Photoshop. The book is set up in a nonlinear way, so you can jump from project to project.
You will have to be somewhat familiar with Photoshop to navigate through the projects though. I can’t speak highly enough of all the useful information in this book. You will be a better digital artist after completing the projects in this book. Best toolbox for learning Creative use of Photoshop By Sam I Am on Jul 07, Written in an easy to follow “workshop” style manual, Creative Photoshop C24 gives you the tools to understand the “whys and hows” of photoshop to get it to perform like the creative tool that it is without excessive technical jargon.
Some photoshop books provide inspirational images without explaination and other photoshop books provide lengthy technical explainations without inspirational images. This book is the right mix of technique and inspiration. A solid five stars. Delve into your own artistic side By D. Leonard on Jul 09, Derek Lee’s cover was what got me interested in his book.
This book is more about the creative side, than the nuts and bolts of Photoshop. A lot of his imagery has that “lowbrow” art side, and seems to focus more on illustration than photography, although he incorporates photography into his illustrations.
Be forewarned that prior knowledge and experience with the pen tool is a good idea, and you’ll not get much in the way of instruction about where this or that tool resides. Lee expects you to be an intermediate user, and actually begins each chapter showing you a level of difficulty you can expect, and the focus of each chapter.
Well done. I’m thoroughly enjoying making my way through the book. I particularly like some of his suggestions regarding setting up your color swatches, using blending modes to incorporate unusual elements into your photos, and his use of gradients to seamlessly blend those elements. I also like the fact that if you see a style of something, you don’t need to “get” to that chapter.
The book is designed so that you can explore any chapter without having to do everything that lies beforehand. In today’s busy workplace, it is very difficult to find the time to be creative and learn new techniques, so books like this are extremely helpful. If you are armed with this book, Photoshop the book’s lessons are backwards compatible and a decent computer, you can unleash your creative genius and create some serious art with the fun and helpful exercises.
This really isn’t a beginner’s Photoshop book, and certainly not a photography “how to” book, so you will make better use of the content if you already have at least a basic working knowledge of Photoshop before delving in here.
It is also not a photo retouching book, but a book for serious digital artists. The exercises are clearly spelled out and fairly easy to follow. The use of layers, shapes, painting and effects are all great tools for any designer’s toolbox. I highly recommend this book. Horribly outdated By Daisydoolittle on Jul 03, I am irritated that I had to purchase such an outdated book for a current college advanced electronic imaging class. The tutorial instructions are heavily flawed along with the content and subject matter being just plain weird.
Not in high demand obviously. This book taught me some new things about Photoshop and a lot about art techniques, in general. The tutorials are pretty detailed, with step by step instructions. Many other books don’t walk you through the whole process. They give you some pictures and non specific techniques and you just have to figure out how to replicate the author’s art. Some of the art is kind of weird, but still very good.
All of the projects are very detailed and include a lot of steps. The author seems to have deliberately put steps in to force you to do something new, throughout the book.
You are taught new techniques and tools than previously mentioned in the book. This makes you learn more things. The best thing about this book is that I actually had fun learning by doing the projects! I really wish this guy would make more books with more tutorials. I cannot find any books that have such great art and detailed instructions, too. I decided to give Photoshop a try.
It’s been too many years since my last Photoshop project This version is so far past my experience, I found it to be practically useless. If another person, “fluent in Photoshop” had the book, I’m sure they would find it useful I did not. I was lost on page 2. The author explains where to find projects on the Web, and walks you through it and he is very good. Next time I’ll start at the beginning and try not to learn it all at once.
He uses skulls, aliens, eyeballs. Nothing beautiful, nothing glamorous I just closed the book and put it away, so I can’t tell you if it’s a good book or not. Still relevant even out of date By D. Witucki on Dec 12, A good source for digital painting and photo manipulation techniques, even if the tutorials no longer map to the current version.
I was excited about getting the book but the website By Phillip Timmons on Feb 15, I was excited about getting the book but the website does not exist. So I can’t get the project files! Mccullough on Jun 08, This is a required book for my class.
I saved a lot of money buying it used and got great service! The book came in the condition as described. As far as the contents go This artist knows his stuff By Kyle Muschall on Feb 05, I’ve follow Derek Lea’s books and article in all the top photoshop magazines. He is truly an artist. I’m always amazed at his creations and imagination. This book is no exception. Excellent book By Consuelo Leal Garza on Sep 20, This is an excellent book for those who want to start in the world of photoshop, it always help if you alredy have some experience but you don’t neeed much in advance.
I totally recomen it.
Creative Photoshop CS4: Digital Illustration and Art Techniques cost
Chapter 1: Painting in Photoshop Chapter 1 Painting in Photoshop T he simulation of natural media is always a tricky prospect when working digitally. There are endless filters and niche applications out there that promise convincing results. However, quick fixes and prefab effects often are disappointing. However, a closer look at what Photoshop has to offer in terms of paint tools will reveal that everything you need is there. The tools and features at your disposal are a bottomless pit of options and flexibility. There is a little something in there to suit any user or simulate almost any artistic style. Equally as valuable when it comes to painting are all of the image compositing tools at your disposal. A successful painted result relies not only on actual brush strokes but also on the way the image is carefully constructed within Photoshop. In this chapter, rather than predictably going through every single appropriate tool and feature like a list, you will focus more on establishing a logical method of working as well as explore the techniques involved in building up a realistic-looking painted file.
Discount Creative Photoshop CS4: Digital Illustration and Art Techniques
You already know how to use Photoshop as an image editing tool; now, challenge yourself and discover the more artistic aspects of the program with one of the world’s best teachers by your side. If you are a digital artist, illustrator, cartoonist, graphic artist, designer, or serious hobbyist looking for new and interesting ways to use Photoshop, this is the book for you! In addition to four brand new chapters on real world projects, this new edition of award-winning digital artist Derek Lea’s bestselling Creative Photoshop contains several brand new features such as “What you’ll learn in this chapter” summaries, so you can quickly find projects using the specific tools you’d like to focus on, and supplementary information at the end of each chapter, containing useful resources and additional gallery images to provide further study and inspiration. Project files for each chapter are also available for download for you to work with as you work through the book. The files can be accessed by clicking on the eResources tab on https: