ADVANCED PHOTOSHOP
CS3 TRICKERY & FX
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ADVANCED PHOTOSHOP
CS3 TRICKERY & FX
STEPHEN BURNS
CHARLES RIVER MEDIA, INC.
Boston, Massachusetts
Copyright 2007 by THOMSON DELMAR LEARNING. Published by CHARLES RIVER MEDIA, INC.
All rights reserved.
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Stephen Burns. Advanced Photoshop CS3 Trickery & FX.
ISBN-10: 1-58450-531-1
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eISBN-10: 1-58450-597-4
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Library of Congress Cataloging-in-Publication Data
Burns, Stephen, 1963-
Advanced PhotoShop CS3 trickery & fx / Stephen Burns. -- 1st ed.
p. cm.
Includes index.
ISBN-13: 978-1-58450-531-0 (pbk. with cd-rom : alk. paper)
ISBN-10: 1-58450-531-1 (pbk. with cd-rom : alk. paper) 1. Computer graphics.
2. Adobe Photoshop. I. Title.
T385.B864345 2007
006.6'86--dc22
2007012287
Printed in the United States of America
07 7 6 5 4 3 2 First Edition
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materials or faulty workmanship, but not on the operation or functionality of the product.
This book is dedicated to my mom and dad
for having inspired me to always excel at what I do.
They are excellent parents.
I also dedicate this book to my students
that they may continue to find new excitement
in their digital creations.
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CONTENTS
ACKNOWLEDGMENTS xi
FOREWORD xiii
CHAPTER 1 S IMPLIFYING THE I N T E R F A C E 2
Photoshop CS3 Layout 4
Understanding the Paintbrush Engine 14
Creating Your Own Animated Paintbrush 15
Creating Your Own Custom Brush Palette 18
The Adobe Bridge Interface 21
Workflow in Bridge 27
Creating Keywords for Each Image 28
The Adobe Camera RAW (ACR) Interface 33
Cutomizing ACR4 Through the Options Panel 39
What You Have Learned 55
CHAPTER 2 MASTERING PHOTOSHOP FUNDAMENTALS 56
Layer Blend Modes 58
Photoshop’s Native 8-Bit Environment 67
Demystifying the 8-Bit Environment 70
Understanding Selections 71
Saving Selections 72
Layer Masks Demystified 74
What You Have Learned 93
vii
viii Contents
CHAPTER 3 S M A R T F I L T E R S T O A ID A R T I S T I C V ISION 94
Using Photographs as a Creative Medium 96
Applying Motion Blur to Accentuate Movement with Smart Filters 103
Adding Detail to the Background 105
Applying the Foreground City Shapes 108
Creating the Background Cityscape 112
Using HDR and Smart Objects to Composite Photos 126
Creating the Foreground 133
Creating the New Architecture 136
Adding Lights to Architecture 139
Loading Custom Brush Palettes 143
Giving the Scene a Sense of Night 144
Adding Third-Party Filters 149
What You Have Learned 151
CHAPTER 4 C U S T O M -C R E A T E D C O N C E P T S 152
Custom-Created Meteor Field 154
Adding the Light Source 164
Using the Lens Blur Command to Create Depth of Field 171
Custom-Created Tornado 175
What You Have Learned 197
CHAPTER 5 I N T E G R A T I N G P H O T O G R A P H Y A N D 3D O B J E C T S 198
Creating the Initial Landscape Using Auto Align Layers 200
3D Objects as Bitmaps 228
Reflections Applied in LightWave 8 247
What You Have Learned 251
CHAPTER 6 I N T E G R A T I N G 3D C O N C E P T S W I T H P H O T O G R A P H Y 252
Creating the Initial Landscape 254
Working with 3D Layers 258
A Creative Way to Integrate the 3D Model 266
Creating the Appearance of 3D by Using the Vanishing Point 275
Using the Vanishing Point 287
What You Have Learned 291
Contents ix
CHAPTER 7 WORKING WITH PEOPLE AND BACKGROUNDS 292
Creating the Background and Mask 294
Creating the Winged Woman 304
What You Have Learned 317
CHAPTER 8 F INE A R T A P P R O A C H E S 318
Using People to Integrate into Your Art 320
The New Printing Dialogue 338
What You Have Learned 342
A B O U T T H E CD-ROM 343
INDEX 347
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ACKNOWLEDGMENTS
W
ithout the support of so many others, this book would not
have been possible.
I would like to thank Jenifer Niles, Lance Morganelli, and Jennifer
Blaney and Lee Kohse of Charles River Media for their patience and pro-
fessionalism in seeing this book to fruition properly.
Thanks to Jim Plant, Michael Kornet, Donetta Colbath, Jay Roth, and
Chilton Web of Newtek (www.newtek.com) for listening to my suggestion
to create “LightWave Rendition for Photoshop” and diligently coming
through with it.
Thanks to Janis Wendt, Josh Haftel, and the rest of the Nik Multime-
dia team for their ever-growing encouragement and support. Great job
guys on producing great plug-ins for Photoshop.
In addition, I feel it is only appropriate to thank Adobe for creating
such outstanding software, as well as Pete Falco of Adobe who patiently
put up with all of my consistent questioning.
Thanks to Erin Wishek and Chris Hoover for being willing last-
minute models, and a special thanks to Calumet Photo of Escondido, Cal-
ifornia (www.calumetphoto.com) for their ongoing support in keeping me
informed of the new changes in digital technology.
Also, I would like to thank the members of the San Diego Photoshop
Users group (www.sdphotoshopusers.com) for their dedication and support
in helping me build a strong network of digital artists from which I draw
inspiration always.
xi
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FOREWORD
W
hat is art? What makes someone an artist? Is a computer a
valid art tool? Is a computer an incredible art tool? What’s
your favorite color?
Tough questions? For some. For Stephen Burns, one of the hardest
working artists, instructors, inspirers I have the pleasure of knowing,
they are moot (all except the “What’s your favorite color?” one, he’s
pretty uncommitted on that issue).
For me, art is about passion, and about communicating that passion
through created imagery and objects, words, sounds, and movement.
Stephen Burns is extremely passionate about art, and about communicat-
ing that passion through the works that he creates (and shares with the
world in his numerous gallery exhibitions). But even more importantly
(especially for those of you holding this book), he is passionate about
communicating his thoughts and technical processes behind what he cre-
ates. And that is where this book comes in.
In these pages you’ll follow Stephen along on many different artistic
journeys—each one geared to giving you the advanced Photoshop CS3
“trickery” needed to create your own visions, often out of thin air. This
intensive nuts-and-bolts instruction into our beloved Photoshop is com-
bined with Stephen’s artistic insights into light and color, composition
and eye flow, and (among other things) the need for maintaining syn-
chronistic spontaneity as part of the creative process, especially within
the often left-brained art studio of the computer.
Bottom line, get ready for an E-ticket creative roller coaster ride with
the unstoppable Stephen Burns—one that is sure to inspire you in your
own passionate endeavors!
Jack Davis
Author, Photographer, “Artist”
www.HowToWowTraining.com
xiii
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ABOUT THE AUTHOR
S
tephen Burns has discovered the same passion for the digital medium
as he has for photography as an art form. His background began as a
photographer 25 year ago where he specialized in creating special
effects photography using a 4x5 camera. His studies lead him to discover
painting, where he embraced the works of the great Abstractionists and&
the Surrealists, to includinge Jackson Pollock, Wassily Kankinsky, Pablo
Picasso, Franz Kline, Mark Rothko, Mark Tobey, Frances Bacon, Willem
Dekooning, and Lenore Fini, to name a few.
In time, he progressed toward the digital medium to discover first
Paintshop Pro, Aldus Photostyler, Painter, and then Photoshop. He set-
tled on Photoshop as his program of choice.
In addition to being the president of the prestigious San Diego Photo-
shop Users Group (www.sdphotoshopusers.com), of which isthere are currently
2,600 members strong and growing, Stephen Burns has been an instructor
and lecturer in the application of digital art and design for the past 10 years.
His teaching style comes from his ability to share an understanding of
Photoshop so that the student has the ability to intuitively apply it to his or
/hers creations.
Artistically, he has been exhibiting digital fine art internationally at
galleries such as the Durban Art Museum in South Africa;, Citizens Gallery
in Yokahama, Japan;, and the CECUT Museum of Mexico, among others to
name a few. You can see more of Stephen’s works at www.chromeallusion.
com .
1
4 Advanced Photoshop CS3 Trickery & FX
I
n this third in a series of books, we continue our journey to understanding
approaches to elevating our creative voice using Photoshop CS3. The goal is to go
beyond the technical application to allow our vision to shine forth with no obstruc-
tion of biases from the software. You are learning another language, and unfortunately
this takes time; however, the more you use it, the more you will become fluent with its
dialect. This is no different from learning any other creative medium, whether it is
music, painting, drawing, or sculpture. The advantage that you have as a digital artist
is the fact that your medium, the computer, combines all creative mediums. What does
this mean to you as an artist? Well, it’s simple. You can create and combine any or all of
the art forms to express yourself with a new and exciting language.
As you work through the tutorials, be patient and enjoy the process. The digital
industry tells us that within a few clicks, we can create masterpieces. However, it’s a
little more challenging than that because not only must you understand composition
and traditional expertise such as photography or painting, but also you must learn the
new digital language so that you can create intuitively. You won’t create images such
as the ones in this book overnight; however, you will benefit from the author’s expe-
rience and insight in digital artistry.
Whenever a digital program is updated, it is with the intention to improve workflow,
and Photoshop CS3 does just that. This chapter describes the new features included in
the new Photoshop CS3 layout to give you a deeper insight as to how to improve your
creativity with this program. To make sure we are on the same page in terms of navigat-
ing the interface, we’ll give a brief explanation of the layout. Practical and creative uses
of the tools will be covered in later sections.
PHOTOSHOP CS3 LAYOUT
You will access all of your commands in Photoshop CS3 in three places: toolbar,
menus, and palettes (see Figure 1.1).
FIGURE 1.1 Photoshop interface includes A) toolbar, B) menus, and C) palettes.
Chapter 1 Simplifying the Interface 5
When you load the program, the interface will be in the standard screen mode as
shown in Figure 1.1. The beauty of this interface layout is that it’s more customizable
to each individual’s unique workflow needs, and it maximizes real estate. Take notice
that the Palette Well has gone away to be replaced with floating palettes that can be
attached and detached from the edge of the interface or from one another. We will
talk about palettes in more detail later in this chapter.
Take a look at the very bottom of your Tools Palette and notice a button that rep-
resents the “Change Screen Mode Option”. Click and hold on the button to list the
four viewing modes which are: Standard Screen Mode, Maximized Screen Mode, Full
Screen Mode with Menu Bar, and Full Screen Mode (see Figure 1.2).
FIGURE 1.2 View of the four different screen modes.
You have already seen the Standard Screen Mode, so let’s take a look at the other
three.
You can toggle through each mode by using the the “F” key. Unlike the previous
version of Photoshop, in CS3 the background color stays the same default medium
gray in all modes except for the Full Screen Mode, which is black. To toggle your
background color for each window mode, hold down the spacebar and press the “F”
key. Now you can toogle through gray and black or any other color that you desig-
nate. To get a custom designated color, select the Fill tool on the toolbar, and while
holding down the Shift key, click on the colored interface surrounding your image.
The color that is designated as your foreground color of the Tools Palette will be the
new color applied to your background.
Let’s take a look at the interface for each mode. Figure 1.3 displays the default
screen mode when you first load and open CS3, which is the Maximized Screen Mode.
FIGURE 1.3 View of the interface in Full Screen Mode.
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