ART121.partART121.part, DESIGN, March 2006 Computer Arts Issue 121 PDFs, CA121
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| TUTORIAL ON THE CD You’ll fi nd all the fi les you need to complete this tutorial in the folder marked Tutorial\Part on this month’s CD. PHOTOSHOP MASTERCLASS: PART 3 OF 3 BRING YOUR 3D WORK TO LIFE In the fi nal instalment of his three-part series, Derek Lea explains how fl at textures, channels and paint effects can be used effectively to complete the transformation from untextured 3D to a mixed-media masterpiece TIME NEEDED 30 minutes INFO A few years back, after the initial required to transcend average 3D art and create something beautiful from it. In the fi nal part of this Photoshop masterclass you’ll fi nd out how to give your illustration a tactile and original feel. You’ll see how colours, textures and the other techniques you’ve learned all complement each other. And, hopefully, at the end of it all you’ll be convinced that 3D is as valuable a raw material as a digital photo. If you didn’t complete part two, or didn’t save your work, a starter fi le has been provided on this issue’s CD. Derek Lea is an award- winning illustrator and author, whose work includes disciplines as varied as illustration, vector work, 3D modelling and Photoshop trickery. He lives and works in Toronto, Canada, and teaches illustration at Toronto’s International Academy of Design. You can fi nd out more about the man and his work at www.dereklea.com. novelty of working in 3D wore off, digital artists began to feel a little limited by the results and drifted away from 3D techniques in droves. In many cases this was a wise choice, because 3D software can be diffi cult to master, especially when trying to achieve your own unique look. Every artist wants their work to stand out from the crowd, and rightly so. However, the adverse effect of this trend has been that now 3D is often overlooked as a starting point for illustration. As I’ve explained in the fi rst two parts of this series, some textured images and Photoshop tools are all that is 1 Either open your saved fi le, or open the starterfi le.psd from the CD. Next, open the fi le named bkd.tif and use the Move tool to drag it into the starterfi le.psd as a new layer. Position the layer above the background in the Layers palette and click the Pen tool. Illustration and tutorial by Derek Lea www.dereklea.com 62 | April 2006 ART121.part 62 24/2/06 7:06:16 am TUTORIAL | 4 Again, generate a selection from the path you created previously. Then, in the Layers palette, create a new Hue/Saturation Adjustment Layer from the menu at the bottom of the Layers palette. Increase the Hue to 180, reduce the Saturation by 65, and increase the Lightness to 13. USING ALPHA CHANNELS Alpha channels can be created in the Channels palette either by selecting New Channel from the Palette menu or by clicking on the Create New Channel button at the bottom of the palette. You can generate a selection from a channel by Ctrl/ Command+clicking the channel’s thumbnail. You can also generate a selection from a channel by selecting it in the Channels palette and clicking on the Load Channel As Selection button at the bottom of the palette. 5 Use the Pen tool to create a series of path components surrounding holes in the main robot. Generate a selection from the path, create a new layer, and select the Gradient tool. Use the Foreground To Transparent preset and Radial method to introduce a variety of different coloured gradients into the selected areas. This will add variety and a sense of realism to your creation. 2 Use the Pen tool to draw a series of closed path components that surround untextured areas of the main robot, as well as the cables that suspend the others. Generate a selection from the new path in the Paths palette. Open the fi le paint.tif from the CD. Select All and Copy. 6 Create a new layer and use the Pen tool to draw a light beam shape extending from the character‘s funnel hand. Generate a selection from the path and then use the Gradient tool as before to introduce a yellow and white Radial gradient into the selection. Change the Blending Mode to Overlay. 7 Deselect and then use the Gaussian 3 Now target the top layer in the Layers palette and choose Edit>PasteInto from the menu. Duplicate the new masked layer and reduce the Opacity of the duplicate layer to 32 per cent. Duplicate the new layer, change the Blending Mode to Overlay and increase the Opacity to 100 per cent. Blur fi lter. Duplicate the layer and change the Blending Mode to Screen. Create another layer with a Screen Blending Mode and reduce the Opacity to 24 per cent. Use the Pen tool to draw a path component to surround the inside of the eye. 8 Enable the Subtract From Path Area function and then carefully draw a second path component around the main pupil shape. Generate a selection from the new compound path in the Paths palette and fi ll the selection on the new screen layer with white. Next, create a new layer and deactivate the current selection. | 63 April 2006 ART121.part Sec1:63 24/2/06 7:06:31 am | TUTORIAL PHOTOSHOP CS2 9 Select the Brush tool, open the Brushes palette and scroll through the list of available presets until you begin to see the chalk, oil, and pastel tip presets. Select one and enable the Wet Edges and Smoothing options. Set the Brush Opacity to 50 per cent. 12 Select a pink foreground colour from the picker and fi ll the active selection on the new layer. Deselect and open the shapes.tif fi le. Select and Copy the image. Again, create a new channel in your working fi le and Paste the copied image into it. Position it at the upper left and generate a selection from the channel. 10 You can now begin to paint brush strokes on the new layer, building them up in areas where you want them to be more pronounced. You can sample colours from the background as well as choosing new colours from the picker. For a more natural effect, alter the Opacity and size of the brush stroke as you go. CHANGING A COLOUR FILL Foreground and background colours can be used to fi ll your active selections or current layer. Simply hit Alt/Option+Delete to fi ll a selection or layer with the current foreground colour. To fi ll with the current background colour, hit Ctrl/Command+Delete instead. Changing a foreground or background colour is as simple as clicking on the swatch in the toolbox and selecting the colour you want. 11 Open the bubble.tif fi le from the CD. Select All and 13 Create a new layer and fi ll the active selection with a dark green Copy. Return to the fi le you are working on and create a new Alpha Channel in the Channels palette. Paste the copied black and white image into the new channel and position it in the upper left-hand corner. Generate a selection from the channel and then create a new layer. colour. Deactivate the selection and then use this same method to create Alpha Channel-based selections from the bits.tif and pieces.tif fi les, fi lling the selections with different colours on new layers at the bottom right-hand side of the image. 64 | April 2006 ART121.part Sec2:64 24/2/06 7:06:42 am [ Pobierz całość w formacie PDF ] |
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