This page intentionally left blank Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. PART THREE Real World Photoshop Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Sketch and Dry Brush Effects A t this point, I’m going to assume that you’ve all seen the effects of third party prefab sketch filters. Granted, these products have improved over the years, but personally, I can spot filters like these a mile away. The reality is that to the experienced eye, these filters really don’t look anything at all like authentic sketch effects. In this chapter, I have taken it upon myself to tell you that there is a much better w ay to d o things. The old saying “ if you want something done right, do it yourself ” comes to mind when one ponders creating authentic sketch and brush effects in Photoshop. That is why, rather than rely on a prefab filter effect, I go back to the drawing table and get those trusty old pencils out. There are those who will argue that some digital tools, combined with a pressure-sensitive tablet can indeed result in an authentic sketch look. This is somewhat true, but before you go this route, hold up a piece of onionskin paper and look at the fine random and fibrous texture within it. Draw a few lines on it and look at how different each stroke is from the next. The same rings true when it comes to creating dry brush or splattered paint ef fects. Start with the real thing and in the long run you’ll be much happier. When it comes to Photoshop, a vast array of tools and features are ideally suited to the creation of convincingly tactile art. However, the secret to success lies in understanding what the most ef fectiv e and efficient procedure is, even before you launch Photoshop. By preparing certain image components ahead of time, in just the right manner, you’re setting up your Photoshop workflow ahead of time. Then, when you launch Photoshop and get to work, the process is a pleasure, not a struggle, and the results are impressi ve indeed. Chapter 12 You’ll need a basic understanding of how the Layers palette works; however, things like alpha channel uses are explained in enough detail that even fi rst- timers should be able to work their way through this chapter. A very basic understanding of shape layers, path creation, and the Lasso tool is required. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 192 Part Three: Real World Photoshop 12 What you’ll learn in this chapter Creative Techniques and Working Methods Preparation of image components As you read through this chapter and begin the process of creating the featured illustration on the previous page, you’ll not only create something impressive but also gain an understanding of this fundamental process. The tactile art components that are prepared ahead of time act as building blocks within the Photoshop environment. In this case, the building blocks are pencil sketches, dry marker drawings, dry brush strokes, and paint drips. Although the materials and processes used to create these initial components add considerably to the feeling of this particular illustration, the actual content could be anything you like. It is the way in which these materials are prepared, and the fact that they are prepared separately is important. So when you complete this chapter, you’ll take away with you the knowledge required to execute this process utilizing any tactile art material. You’ll think about how black will translate into a selection when placed in an alpha channel. You’ll ponder how sketches will overlap when using the multiply layer blending mode. You’ll imagine how shape layers will work alongside your drawings. And, perhaps most importantly, you’ll have a clear vision of the results in mind before you enter the Photoshop workspace. Photoshop Tools, Features, and Functions Channel options Control the behavior of your alpha channels before you generate selections from them. Knowing how to set up Channel options to suit your resources will expedite your workflow in the long run. Shape areas Understanding which shape area functions to use and when to use it will help you master working with shape layers. Create new layers when you begin to draw with the Pen tool, or edit existing layers with clear intent. This feature allows you to add to, or subtract from, shape layers with ease. Free-Transform opacity The capabilities within the Free-Transform operation are vast and certainly no secret. However, few people realize that you can alter layer opacity while performing transformations at the same time. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 193 Chapter 12: Sketch and Dry Brush Effects 12 PART ONE: Preparing the actual drawings 1 It all starts with a sketch. Having a plan is very important. If you go into this with no plan, you’ll find yourself throwing things together and the final composition will suffer. The initial sketch can be very rough, but it should give you a basic idea of where the image components will fall within the canvas area, and how they will look. 2 Because I wanted to maximize detail in the sketched components, and really draw attention to the roughness and random textures inherent within pencil dr awings, I worked at a larger size than the final output. First, sections of the sketch were enlarged and printed out on separate sheets of paper. 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. Visit www.creativephotoshopthebook.com. Skipping ahead The first two parts of this chapter describe the process of preparing and creating art before entering Photoshop. If you aren’t interested in this aspect and just want to get busy creating the featured image, go ahead and skip forward to Part Three of this chapter. However, those of you interested in using these methods to generate original works of your own, follow along from the beginning, substituting your own content prepared in the same manner. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 194 Part Three: Real World Photoshop 12 3 The next stage involves placing a sheet of tracing paper over each sketch and sourcing an appropriate drawing tool. I prefer to use a relatively soft graphite pencil like a 2H to trace each sketch. The advantage of this is that the lead is deposited generously and the paper tends to get a little dirty as your hand brushes up against your pencil strokes. All of these real-world imperfections will contribute nicely to the authentic feel of the final result. 4 In order to prevent the tracing paper from moving, I have found that it is a good idea to tape the tracing paper to your printout. Using some low-adhesion tape will ensure that you don’t tear the paper. I began to trace one of the printouts. Tape preparation If your tape selection is limited, you can use a fairly adhesive tape, provided you prepare it properly first. Simply take a piece of tape and stick it on your clothing somewhere. Jeans or cotton T-shirts work well for this. Peel the tape off your clothing and due to the amount of fibers and lint that remain on the tape, it is noticeably less adhesive. Now it is safe to use for affixing your tracing paper to your printout. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 195 Chapter 12: Sketch and Dry Brush Effects 12 5 After tracing the basic outlines and details, I began to embellish the drawing a little. Thickening up the outlines around prominent areas made them stand out. In this case, the outlines of the skull, the eye sockets, the nose, teeth, and the wrestler underneath. I began to add shading as well. 6 Removing the tracing from the printout allows you to have a clear look at it and see what needs to be done from here. This is the ideal time to enhance any shaded areas, now that you can see the drawing clearly. This is also the time to erase anything you think looks overdone or cluttered. Tracing advice Sometimes, when tracing, you’ll find that the underlying printout is simply too strong for you to clearly see what you’re drawing on your sheet of onionskin or tracing paper. When this happens, simply tear off an additional sheet or two of tracing paper and place it between the printout and the sheet you’re drawing on. The added sheets will decrease the strength of the printout as seen through the tracing paper, but it will still remain visible enough to draw over. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 196 Part Three: Real World Photoshop 12 7 Don’t be afraid to make more than one attempt at drawing something. Sometimes you’ll need to trace something a few times to get it right. Trace the image and then trace the tracing. Repeat this process, improving upon it each time until it is perfect. If you are creating art of your own, scan all of your finished drawings. If not, you will be prompted to open the downloadable project files by name soon enough. PART TWO: Working with markers and ink 8 Now we’ll move from pencils to dried up magic markers. Some people discard markers when they lose moisture, but these are valuable tools. Save your drying markers to create nice dry brush style line work with them. Convincing dry brush effects are very difficult to create digitally. So start with the real thing instead. Here I’ve drawn a section of detail that can be repeated over and over again to form a pattern in the image background. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 197 Chapter 12: Sketch and Dry Brush Effects 12 9 To create convincing dry brush effects, you’ll have to use a drying brush. Whether you use watercolor paints or India ink doesn’t matter. Black is ideal, but color will also work as the scanned art will ultimately be converted to grayscale along the way as it enters an alpha channel later on. You’ll need a rough brush, ink or paint, and some paper. 10 To create a convincing dry brush stroke, dip your brush and then begin painting. When you start to run out of paint or ink, keep on painting, these strokes will give you the best effect. Paint strokes until your brush is completely dry before you dip it again and repeat the process. Have some fun creating interesting brush stroke – based shapes. While you’re at it When I’m creating messy tactile components to incorporate into digital art, I tend to create a lot more resources than are required for the current project. Basically, if I’m going to make a mess with ink, I’ll create an abundance of these things while I’m at it; the more diverse the better. Then I archive all of the results and save them as possible resources for future projects. This saves you the trouble of dealing with messy materials again in the future and can help to expedite your next project. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. [...]... background, select all by typing Control(PC)/Command(Mac)-A and copy by typing Control(PC)/Command(Mac)-C 17 Return to your working file and type Control(PC)/Command(Mac)-V to paste the copied art into your new alpha channel Control(PC)/Command(Mac)-click on the channel thumbnail in the Channels palette to load it as a selection Return to the Layers palette and create a new layer Select a very light pink... something appropriate PART FIVE: Incorporating scanned sketches 21 Temporarily disable the visibility of your new group by clicking on the visibility icon to the left of it in the Layers palette Next, open up the scan1.jpg file Select all and copy Return to the working file and paste the copied art in as a new layer Enable the Free-Transform command to resize and position the pasted art based on the underlying... to the right with the Move tool Duplicate this layer and then move it up and to the left a little And finally, duplicate this layer and use FreeTransform to scale it down and move it over near the eye at the right of the canvas Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 12 Chapter 12: Sketch and Dry Brush Effects PART SEVEN: Adding painted, wispy clouds 32 For the sake... 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 halftone sheets made by Letraset at my... through this chapter with ease The thing that you’ll need the most is patience as core techniques are used over and over again for different elements Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 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,... watermark 203 12 Part Three: Real World Photoshop 22 Open up the scan2.jpg file Copy the art and paste it into the working file as a new layer Use Free-Transform to resize and position it according to the template beneath To rotate, simply click and drag outside the bounding box Remember that you can alter layer opacity at any point to assist you Apply the transformation and change the layer blending mode... www.verypdf.com to remove this watermark 215 12 Part Three: Real World Photoshop 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... 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 utilizes layers, channels, bitmap conversion methods, and other tools to make it part of an authentic-feeling silk-screened design By the time you finish this chapter,... this watermark 199 12 Part Three: Real World Photoshop 15 Click the Create a New Layer button at the bottom of the Layers palette to create a new layer Ensure that this new layer is targeted in the Layers palette and select the Gradient tool In the toolbar, select the Foreground to Transparent Gradient preset, and the Radial Gradient option Click on the Foreground Color swatch and select a purple color... Chapter 12: Sketch and Dry Brush Effects 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 . www.creativephotoshopthebook.com. Skipping ahead The first two parts of this chapter describe the process of preparing and creating art before entering Photoshop. . Control(PC)/Command(Mac)-A and copy by typing Control(PC)/Command(Mac)-C . 17 Return to your working file and type Control(PC)/Command(Mac)-V to paste the copied art