advanced photoshop

Advanced Photoshop 80 on sale now

Posted in:
, by Julie Bassett

Advanced Photoshop issue 80is on sale now

Advanced Photoshop 80 on sale now

In this month’s issue…

Retouching techniques

Advanced Photoshop 80 on sale nowAll the techniques you’ll come across here are pretty standard for any fashion or beauty magazine worth its cover price. Sure, there are many ways to skin the Photoshop tabby, but the simple fact is that you’ll struggle to find a picture of a model or celebrity in one of the glossies that hasn’t had the skin, eyes, teeth, lips and hair enhanced via some method or another, and that’s before we’ve even got on to the body in the case of full-length portraits.

Like it or not in moral terms, such work seems to make the face more appealing at first glance, at least when applied in moderation. And that’s the caveat; this sort of work should be there to enhance character and beauty, and not to distract from it. We’ve all seen grotesquely over-retouched images and they’re never a pretty sight.

The techniques here are all weighed and measured to provide a sense of subtlety and needn’t be applied just to fashion beauties or celebrities; trying them out on your best friends and family could well earn you some favours. Just bear in mind that as an ostensibly beauty-based technique, there’s nothing here for major wrinkle removal. Everything else shall be polished, preened and perfected!

(Read more in issue 80 of Advanced Photoshop magazine…)

CGI and Photoshop

Advanced Photoshop 80 on sale now CGI and 2D software such as Photoshop are combined in a variety of ways throughout many contemporary styles. Now more competitive than ever, design studios have to seriously raise the bar when matching a new breed of multi-talented production houses – introducing the ‘creative production studio’. Removed from much more linear working processes associated with other mainstream CG and 3D-based markets – ie in the gaming and visual effects industries – geared towards specialising in one aspect of production, creative production studios tailor skillsets across a broad spectrum, in a variety of stages in the creative pipeline.

CGI, animation, illustration and photo editing are all practised, helping to improve upon and mastermind diverse formats, which include film, advertising, branding and more. Photoshop plays a huge part in such production and this feature reveals some of the most significant ways in which it makes a contribution to working practices. This article also sets out to expose the ins and outs of this industry area in a systematic fashion – revealing the daily routines, liaising schedules and production phases, which will ensure you understand what it takes to become an integral member of any creative production studio, with advice from industry-leading design teams.

To really appreciate the work ethic that presides over any design studio – whether large or small – it becomes essential to truly understand the ‘nature of the beast’. A creative production studio, or for the sake of this feature, a CPS, is quite distinct yet also familiar in its setup. As with all art production, each and every project is directed from concept to completion, working closely with clients to help develop their vision and awareness of what is achievable using innovative methods, cutting-edge technology and a dash of talent.

Incorporating a plethora of disciplines through its team members, however, is how a CPS distinguishes its own working routine. Anna Roberts, general manager at production studio Taylor James (, explains: “Our artists have deep roots within the full gamut of our technical disciplines, allowing them to maintain flexibility on a job to ensure the best results. By offering all of this, as a creative production studio, we can deliver unified campaigns across broadcast, interactive and print media that offer production efficiency while enhancing the brand message. That’s a powerful thing.” Such diversity means that when approaching a vocation in such a studio, there isn’t a ‘standard’ route. Like many creative industries the notion of a clear career path is becoming something of a myth.

(Read more in issue 80 of Advanced Photoshop magazine…)

Mixed-media illustration

Advanced Photoshop 80 on sale nowAndy Potts, Darren Hopes and Paul Holland are just a few of the commercial artists currently producing a very distinct mixed-media illustration style, with photo stock playing an integral role in creating these visions, used as both a guide and as a medium unto itself, alongside art-worked elements.

Such an immediate style has no right or wrong outcome, and is ultimately open to both approach and application. However, there are a few techniques that will give you a strong starting point to realise an authentic interpretation, and this is what Advanced Photoshop sets out to show you here.

This step-by-step reveals many solutions, taken from both inside and outside our favourite image-editing app. Traditional textures and scanned sketch images meet PS blending modes for maximum diversity. We also reveal how to apply intuitive blending and layer style options for rich tones to make your image pop, while layer masks help tie visuals together. But the real bonus of this style is that you don’t need to be a pro – you can really fly into this with gusto and adapt the methods to meet your own needs.

(Read more in issue 80 of Advanced Photoshop magazine…)

Advanced selections

Advanced Photoshop 80 on sale nowThe inspiration and motivation for Snow Jungle came about after finishing another piece called Urban Jungle for Advanced Photoshop’s iStockphoto Create a Cover contest (which was showcased back in issue 65). Over the next five pages, we are going to show you how to re-create the style for yourself.

In this tutorial we will assume you already have basic Photoshop knowledge and we will be bypassing some of the standard functions, such as how to create layer masks and use Curves and Hue/Saturation. What we will be focusing on is how to create a dynamic scene that integrates colour type, multiple stock photos and some hand-painted elements. You will not need any colour knowledge, as the colour type will be provided for you.

We will also be covering some basic masking techniques, how to use Calculations to isolate objects, how to incorporate hand-painted textures into your scene and, finally, how to add finishing touches to your piece to help tie the whole composition together.

(Read more in issue 80 of Advanced Photoshop magazine…)