“Piece of the Artic” Pie Chart Photo Manipulation

I saw some beautiful 3D illustration of Madagascar that inspired me to create this illustration. In this tutorial, I’ll share my experience in recreating this illustration. This tutorial will utilize Photoshop 3D features, layer masking, and a lot of selections.

Preview of Final Results

Piece of the Artic Pie Chart Photoshop Tutorial

Resources

• Water Texture – straymuse | sxc.hu
• Sand Texture – neopicture | sxc.hu
• Cruise – tuareg | sxc.hu
• Iceberg1 – nitygrity | sxc.hu
• Iceberg2 – rsface001 | sxc.hu
• Whale1 – kitenellie | sxc.hu
• Whale2 – clafouti | sxc.hu
• Shark – nighthawk7 | sxc.hu

Step 1

Create a new layer (Ctrl+N) with 1600x1200px wide and resolution is set to 150dpi. Create a new layer, fill it with solid 50% gray color.

Step 2

Create a 3D shape by accessing menu 3D > New Shape From Layer > Cylinder. Use one of the 3D Object tool to reduce the cylinder’s height as seen below.

Step 3

Increase the cylinder size by dragging up the middle square in the 3D Axis, see image below.

Step 4

Still using the 3D Object Rotation tool, adjust the perspective like shown below. Show the 3D panel by going to Window > 3D menu. Inside the 3d panel, click scene button to see option about material and render settings. Click the Edit button to show the 3D Render Settings dialog, we need to see some wire frames for guidelines, so check the second option (wire frame box icon), then adjust Crease Threshold value to 0. Click OK to apply changes.

Step 5

Convert 3d object layer into a raster layer, then create a new layer above it. Using solid round brush, draw a guideline to mark the area we’re going to cut.

Step 6

Create a light blue (RGB: #6dcff6) ellipse using ellipse tool, make sure you create it below the guideline layer. Using Edit > Free Transform Path command to adjust ellipse’s width and height. Don’t forget to hit Enter when you’re done transforming.

Step 7

Create a new ellipse shape below the first one, notice that I rename the layers for easier recognition. Use free transform command to adjust ellipse’s width & height, following the 3d model as guidance. This process will be easier if we can look the 3d model, so reducing the layer’s opacity surely will help us. As for the bottom edge part, use warp command to bend it. Hit Enter when you’re done.

Step 8

Still in the layer bottom, select Pen tool from tool bar. Activate subtract from shape area option, then follow the guidelines to create a triangle-like shape. Because we’re using subtract from selection mode, the triangle will ‘cut’ the ellipse as seen below.

Step 9

Click layer top thumbnail, then repeat the same step as before to cut the ellipse using Pen tool.

Step 10

We don’t need the 3d model layer anymore, so you can hide or delete it now. Still using Pen tool, create the left, inside & right shape (I assume you already know how to use Pen tool). For easier recognition, I suggest using different blue color tone for each shape. Make sure the layers order from top to bottom are like this: layer top, right, inside, left, bottom (see image below for more details).

Step 11

Now you’ve done creating the 3D pie, hide or delete the guideline layer since we no longer need it. The next step is adding texture, but first you have to decide where to put the light source. You don’t have to draw a polygonal shape to do this step, just visualize in your mind that the light source is from the top right corner (as seen below). Knowing the light source will make your work easier, because you know where to draw shadows and highlights globally.

Step 12

Open the water image (File > Open). Press Ctrl+A to select all parts of the image, then press Ctrl+C to copy it to clipboard. Get back to 3D pie image and press Ctrl+V to paste the water image. Make sure you place it above the TOP layer and name it wave.

Step 13

Still on the wave’s layer, reduce its size by pressing Ctrl+T (hold the Shift key while dragging the corner control point, this will keep the aspect ratio of the image so it didn’t look squeezed or stretched). Hit Enter when you’re done transforming. And since we’re agreed the light source is come from the upper right corner, we need to flip the wave by using Edit > Transform > Flip Horizontal menu. That’s look better!

Step 14

We need the wave image as a texture for the top shape layer. In order to do that, simply press Ctrl+Alt+G and voila, you’ve got the clipping mask layer.

Step 15

Duplicate the wave layer, then drag it down between left and bottom layer. Create a rectangle-like selection using the Rectangular Marquee tool.

Step 16

Invert the selection by pressing Ctrl+Shift+I then press Delete, this step will erase the selected areas. Now deselect by pressing Ctrl+D. To make sure there is no part of the wave image outside canvas, press Ctrl+A to select all part of the canvas, then go to Image > Crop.

Step 17

Still in the same layer, go to Edit > Transform > Warp then warp the image following the 3D model side curve. See image below for more details.

Step 18

Duplicate the wave copy layer, then place each image on top of left and right layer. After that, make each one of them ( wave copy layer ) as a layer clipping mask. Result of this steps can be seen in the image below.

Step 19

Select the wave copy 2 layer (the one on top of right shape layer) then change the blend mode to Multiply. Make it blur by going to Filter > Blur > Gaussian Blur menu, adjust Radius value to 5px then click OK.

Step 20

Repeat previous step for the other wave image placed on top of left shape layer. To apply the same Gaussian Blur filter, simply press Ctrl+F. When you’re done, select the left shape layer’s and reduce the opacity to 70%. This will make the left shape become transparent.

Step 21

Go back to right shape layer’s, we need to tweak this layer so it look transparent as the left shape. Reducing the layer opacity will simply work, but I didn’t want the entire right shape became transparent. So I decide to add a layer mask, then use a black-soft round-Brush tool with low opacity (around 10-20%) to mask some areas so the transparency is applied only on certain parts (i assume you already knew how to do masking with brush tool).

Step 22

Copy-paste the water texture image once again, don’t forget to decrease its size. Make sure you place this new water texture layer on top of inside’s shape layer, then create a selection using Rectangular marquee tool. Now Inverse (press Shift+Ctrl+I) the selection, delete the selected area then deselect ( press Ctrl+D ).

Still in the same layer, make it as clipping mask (press Ctrl+Alt+G) and then go to Edit > Transform > Distort. Distort the water texture until it the perspective’s feel right. Press Enter when you’re done.

Step 23

Same as previous step, change layer blend mode to Multiply then apply Gaussian Blur filter. Later on, reduce the “inside” shape layer opacity to 70%.

Step 24

Open and copy-paste the sand texture image into our working document. Place it on top of ‘bottom’ shape layer then decrease its size using the free transform command.

Step 25

Transform the sand texture using Edit > Transform > Distort command, making the perspective view like shown below. Don’t forget to press Enter when you’re done transforming.

Step 26

Next, make this layer as a clipping mask layer by pressing Alt+Ctrl+G then change the blend mode to Linear Light. This step also finish the ‘adding texture-part’ of this tutorial.

Step 27

Create a new clipping mask layer between sand texture and ‘bottom’ layer, change the blend mode to Overlay then draw shadows using soft round Brush with low opacity. When using Brush tool, remember the light source we mention at the beginning as your reference where to put shadows.

Step 28

Repeat creating shadows for each shape layers. But don’t change the blending mode, leave it normal instead. See image below if you need guidance.

Step 29

Get back to sand texture layer, we need to sharpen it a bit by using Filter > Sharpen > Unsharp Mask menu. Inside the Unsharp Mask dialog, adjust Amount and Radius value as seen below. Click OK to apply the filter.

Step 30

I think we need to sharpen the top most wave layer to make it more convincing as real sea wave. Select the wave layer and repeat the Unsharp Mask filter, by simply pressing Ctrl+F. We need to tweak the wave color balance since I think more darker blue is better. To do that, we’re using Hue/Saturation ( press Ctrl+U ) and Levels ( press Ctrl+L ) command.

Step 31

Select layer shape ‘bottom’, add a layer mask in this layer. Then using soft round Brush tool with low opacity, mask the shape’s edge ( the upper-right parts ). As you can see, the result does imitate ‘depth of field’ when you look something underwater.

Step 32

To keep organize, put related layers inside a group/folder. This will bring out four different group which is named ‘top’, ‘inside’, ‘left’ and ‘bottom’. If you using Photoshop CS3 or the later version, you can do this step easily by Ctrl+Clicking related layers then press Ctrl+G.

Step 33

Open the cruise image. Grab Pen tool from tool bar, then start creating selection path to isolate the cruise.

Step 34

Go to Window > Paths or simply click the Paths tab to show the Paths panel. Now click the Load Path as Selection button to convert those paths into a selection marquee. Copy-paste the selected cruise into our working document.

Step 35

Using free transform command, reduce the cruise’s size. Make sure you place this cruise layer on top of layer group ‘top’.

Step 36

Go to Image > Adjustment > Color Balance or simply hit Ctrl+B to bring the Color Balance dialog. Adjust Color Levels value until the cruise color become more bluish, this will imitate the ambient color from the water texture, making the cruise color blend with the environment. Click OK to apply color balance command.

Water reflect things, right? so we’ll need to create one for the ship, adding realism. First, you need to duplicate the cruise layer (Ctrl+J). Then drag down the cruise copy layer below the original one.

Step 37

Go to Edit > Transform > Flip Vertical to flip the ‘cruise copy’ image. Do some distortion here by using the Edit > Transform > Distort menu, hit Enter when your done. Now add a layer mask in this layer because we’ll going to hide half of the ‘cruise copy’ image using layer mask.

Step 38

Grab the Gradient tool, and draw linear gradient vertically from white to black (make sure the layer mask is active when you did this). There you go, looks like a reflection isn’t? but we’re not finished yet, some shadows is needed for adding realism and depth.

Step 39

Still in the same layer, add Color Overlay layer style. Choose a dark blue color, and reduce the opacity to get the semi-transparent color effect.

Step 40

We need some minor tweak for the ship’s reflection. Click back the layer mask of ‘cruise copy’ layer. Use soft round Brush tool to mask shadow’s front and back edge (marked with red circle in the image below). That’s better!

Step 41

Open the first iceberg stock image. Since the color between iceberg and ocean are contrast enough, you can easily create a selection using Magnetic Lasso tool. Copy-paste the selected iceberg into our working document.

Step 42

Decrease iceberg size using free transform command. Make sure you put iceberg layer on top of cruise layer group (I’ve been grouping those layer before doing this step), name it ‘iceberg01′ since we’re gonna add second iceberg later.

Step 43

This iceberg need reflection, so first thing is to duplicate iceberg01 layer then drag down the iceberg01 copy layer below it. Then go to Edit > Transform > Flip Vertical to flip the ‘iceberg01 copy’ vertically. Use Move tool to drag down iceberg01 copy image, you’ll see it’s rather difficult to create reflection if the image has this kind of perspective.

Step 44

Lets begin with the left part of iceberg reflection, create a simple selection using Lasso tool. Press Ctrl+J to copy selected areas into a new layer, then use free transform command to rotate it clockwise. Try matching the upper edge part with the original iceberg above it, press Enter when done.

Step 45

Go back to ‘iceberg01 copy’ layer and rotate it counter clockwise, it will not perfect but try to align the upper edge with the original iceberg above it. And yes, you probably want to stretch it a bit like I did ( shown in the image below )

Step 46

Erase the excessive iceberg reflection using Eraser tool, see image below for guidance when erasing.

Step 47

To make the reflection color becomes darker, add Color Overlay layer style for each iceberg copy. Pick a dark blue color with low opacity.

Step 48

A reflection usually faded, right? so, add layer mask for each ‘iceberg copy’ layer and then mask it using linear Gradient tool until you get this result ( see image below ).

Step 49

Notice the excessive part from the ‘iceberg copy’ layer, we didn’t want that annoying part. Click the thumbnail of layer ‘iceberg copy’, and then erase the annoying part using Eraser tool. See image below for guidance when erasing.

Step 50

Create a new layer between iceberg01 layer and its reflection layer. Then load a selection by Ctrl+Clicking the thumbnail of iceberg01 layer. Press Shift+F5 to bring the Fill dialog box, select black and reduce Opacity to40%. Click OK to fill the selection with low opacity black.

Step 51

Press Ctrl+D to deselect. Then go to Filter > Blur > Gaussian blur menu, adjust Radius value: 5px. Click OK to apply Gaussian Blur filter, now you got shadows surrounding the iceberg. We didn’t need shadows on the upper part of the iceberg, so just delete it using Eraser tool.

Step 52

Create another new layer on top the previous layer, change the blend mode to Soft Light. Ctrl+Click on the iceberg01 layer thumbnail to load selection, then Fill it with 100% black. Using move tool, drag the new iceberg shadow to left like shown in the image below.

Step 53

Still in the same layer, add a layer mask into it. Mask certain parts using Brush tool to hide unwanted shadow areas. See image below for guidance.

Step 54

Open whale image, create selection of the whale using any selection tool you like ( I’m using Magnetic Lasso tool ). As usual, copy-paste the selected whale into our working document. Place it between layer group ‘cruise’ and ‘iceberg01′, lets call this layer ‘whale’.

Step 55

Adjust whale size using free transform command, and then go to Edit > Transform > Flip Horizontal to flip it.Create a new layer, name it ‘splash’ because we’re gonna draw some water splash in this layer. Grab Brush tool from the toolbar, pick a spatter brush and lower the opacity to 50%. Choose white as brush color then click several times ( don’t click and drag, the result will be different ) in certain areas where water splash should appear, use your imagination.

Step 56

Open the second whale image. Select the whale silhouette (I’m using magic wand tool to select it), then copy-paste selected image into our working document.

Step 57

Place whale silhouette layer below whale layer, rename its layer to ‘shadows’. Flip whale silhouette horizontally then resize until it fits the whale body. Erase unwanted shadows parts using hard round Eraser tool, see below image for guidance.

Step 58

Now we need to fake the ‘deep underwater’ blurry effect, using Blur tool with 50% strength (see below image for guidance). Add layer mask, then using the soft round Brush tool with 25% opacity, mask whale’s shadow to create the semi-transparent look.

Step 59

Add a new layer between whale and shadow layer, we’re gonna add more shadows in this layer. Ctrl+Click on the layer whale thumbnail to load a selection, then go to Edit > Fill menu. Inside the Fill dialog, choose 100% Black and then click OK to fill the selection. You won’t see the result since it covered by the whale layer.

Step 60

Rotate whale’s shadow to left, erase unwanted parts using hard round Eraser tool with 100% Opacity.

Step 61

Change the blend mode to Soft Light and reduce the Opacity to 75%. As usual, keep organize by grouping the whale-related layers into one folder.

Step 62

Open shark image, create selection for the shark ( I’m using Pen tool to do it ). As usual, copy-paste the selected shark into our working document.

Step 63

Place shark layer between ‘inside’ and ‘left’ group. Change the blend mode to Luminosity and adjust shark size and position like shown in the below image.

Step 64

Go to Image > Adjustment > Shadows/Hightlights menu, adjust shadows amount to 50% then click OK to apply. Shark image will be much brighter then before.

Step 65

Create a new layer below shark layer, we call it ‘shadows’ because shark’s shadow will be drawn here. Load shark selection by Ctrl+Clicking the shark layer thumbnail. Press Shift+F5 to bring up the Fill dialog and choose50% gray to fill the selection.

Step 66

Change blend mode to Multiply and reduce Opacity to 75%. Use Filter > Blur > Gaussian Blur with radius: 5pxto blur the shadows. After that, use Edit > Transform > Distort command to adjust shadow size and distortion.

Step 67

Go back to shark layer, blur certain parts of the shark using Blur tool with 50% strength, faking the depth of field effect.

Step 68

Still in the same layer, press Ctrl+Shift+U to desaturate shark’s color. We also need to fake the lens distortion effect, first thing to do is create a selection in the tail area using Rectangular Marquee tool. Second, activate the Move tool and then nudge the selected area by pressing the Up Arrow several times. Deselect by pressing Ctrl+D.

Step 69

Open the second iceberg stock. As usual, create a selection around the iceberg (Magnetic Lasso tool is quite good enough). Copy-paste the selected iceberg into our working document.

Step 70

Place the second iceberg layer below iceberg01 folder. Using free transform command, adjust its size like shown in the below image. Press Enter when you’re done.

Step 71

Press Ctrl+J to duplicate the current layer. Get back to iceberg2 layer to change its blend mode to Luminosity.

Step 72

Hide layer ‘iceberg2 copy’, then add layer mask for iceberg2 layer. Hide the upper part of iceberg2 using black soft round Brush tool with 100% opacity, the result can be seen in the below image.

Step 73

Show the ‘iceberg2 copy’ layer again then add a layer mask in that layer.This time, use black soft round Brush tool to mask (hide) the lower part of iceberg2 image. As you can see now, the iceberg2 lower part seems submerged under water.

Step 74

Click on the iceberg2 layer thumbnail (this is to make sure you’re the one we’re editing now is the layer’s content, not the layer mask). Use soft round Blur tool with 50% Strength to blur some parts of the iceberg2, see image below for guidance.

Step 75

Create a new layer, name it ‘splash’ because we’re gonna add water splash there. Use white spatter brush with50% opacity to draw some water splash. Click several times until you satisfied with the result (don’t click and drag, because the result will be different). If you unhappy with the water splash result, delete unwanted parts or just transform it like I did.

Step 76

Create a new layer below iceberg2 layer, we call this layer ‘shadows’. Draw a selection using Lasso tool (just a simple silhouette of the iceberg2, no need to imitate the iceberg2 shape precisely). Fill the selection with 100% Black.

Step 77

Go to Filter > Blur > Gaussian blur menu to blur the shadows around 25px radius. Click OK to apply blur filter.

Step 78

Add layer mask for the current shadows layer. Mask the shadows using soft round Brush tool with 15% opacity, see image below for guidance. This also ends the ‘adding iceberg’ part in this tutorial.

Step 79

With the same technique when you submerge half of iceberg2, add another submerge object. For example, I’m sinking the cruise (you can use anything, be creative!). Don’t forget to group related layers, keep organized!

Step 80

On the top most of layer groups, add Vibrance layer adjustment (just go to Layer > New Adjustment Layer > Vibrance). Click OK, then increase the value until we get more vibrance blue/teal color for the entire image ( in my experiment, the value for vibrance is +49 while saturation value is +17 ).

Step 81

Add another layer adjustment, which is Color Balance (found in Layer > New Layer Adjustment > Color Balance). Adjust Color balance value until the illustration become a bit greenish (in my experiment, the value for midtones color balance is: -8, +15, +1)

Step 82

Hide background layer and all other layer group except the top, inside, left, bottom and two adjustment layer on top (see below image to be certain). Select the top most layer (color balance layer) and then press Shift+Ctrl+Alt+E to merge all visible image into a new layer.

Step 83

Unhide layers we’ve been hide in the previous step, then drag layer 11 ( the merged layer ) below layer group ‘bottom’. Load a selection by Ctrl+Clicking this layer thumbnail, and then save the selection via Select > Save selection menu. You can give any name for the selection (in this example, I name it alpha-1), click OK to save it.

Step 84

Still in the same layer, go to Edit > Transform > Distort and try to align the merged layer so it look like a reflection. Use the Layer > Layer Mask > Hide All, which is will add layer mask filled with black, completely hiding layer 11 content’s.

Step 85

Now grab the soft round Brush tool with low opacity ( 25% ), make sure you choose white for brush color. Slowly using brush tool in the below part to create reflections. See image below for guidance.

Step 86

Make sure we’re still in the layer mask, then go to Select > Load Selection menu. Inside the load selection dialog, choose alpha-1 channel and then click OK to load the selection. Fill this selection with 100% black.Don’t deselect, yet!.

Step 87

Add a new layer on top of current layer, name it ‘shadows’ since here we gonna add shadows for the ocean-pie piece. Fill the selection with 100% black, then deselect it by pressing Ctrl+D.

Step 88

We need to see a bit of the shadows, so nudge it down using the Move tool as seen in the below image. Use Gaussian Blur filter with 10px radius to blur the shadows.

Step 89

We just need shadows for the downside part, so we’ll need to erase unwanted shadows using Eraser tool like shown in the below image. And that’s it, we are done!

Final Results

Download the PSD

Piece of Artic.zip | 14 MB

Jayan Saputra – deviantart page

Create A Scanner Darkly effect

Artist Aaron Sacco worked as an animator on the movie A Scanner Darkly. Here he shows you how to recreate the film’s signature ‘interpolated rotoscoping’ effect in Illustrator.

Recreating A Scanner Darkly

You can turn any photo into a dynamic illustration in the style of Richard Linklater’s A Scanner Darkly using just a Wacom tablet and Adobe Illustrator.

After working as an animator on the film, I developed the process outlined here for recreating this bold effect, using shapes of solid colour to represent a realistic image.

A Scanner Darkly, which stars Keanu Reeves and Winona Ryder, used an animation technique called interpolated rotoscoping. Similar to rotoscoping, where each frame of film is painstakingly handpainted, interpolated rotoscoping uses vector keyframes and interpolates between keyframes automatically.

Each minute of animation in the movie required over 500 hours of work. For this tutorial, we’re not going to animate a sequence, but concentrate on one image, representing one frame.

The focus of the tutorial is to recreate the incredible, unique style of the movie through the use of colour and vectors. For an image of this complexity, you should expect to spend five to six hours illustrating it.

If you limit your colours and detail, you can spend less – but it’s worth putting in the extra effort. If you’re learning and experimenting, you can expect to spend much more. Be bold and have fun!

Step 1
Choose a high-resolution image for photo reference. The larger the image, the more detail you will have to play with. Go to File>Place to insert it into your Illustrator file.

In the Layers palette, double-click the layer with the image; I name this layer ‘Reference’. Once you have locked that layer, you will be able to draw over the top without disturbing it. Click the Add New Layer icon at the bottom of the Layers palette. I call this new layer ‘Inks’ and it should remain on top throughout the process.

Step 2
Press N or click the Pencil tool from the Tools palette and check that the Fill colour is Black and the Stroke colour is None. Adjust the Pencil tool’s settings by double-clicking the Pencil tool and change the Fidelity to 4 pixels, Smoothness to 35 per cent, and check both ‘Fill New Pencil Strokes’ and ‘Keep Selected’ boxes.

If you experience difficulty drawing a smooth shape, increase the Fidelity and Smoothness. If you’re losing detail or control, decrease those settings.

Step 3
To recreate the look of A Scanner Darkly, you must think of lines as long, thin, irregular shapes filled with black. Using the Pencil tool, you can manually produce a calligraphic line by automatically filling in the region between two arcs.

Draw smooth decisive arcs to indicate where you imagine the points should be set. Too much wobbliness yields an uncontrolled shape with rough edges.

To edit an ugly shape, use the pen tool to delete extra points and simplify the form. It will take practice to learn how to manipulate the pencil tool accurately, but be patient and you will develop an intuitive understanding of how to manipulate the shapes quickly. Deselect after each shape by pressing Command-Shift-A (Windows: Control-Shift-A).

Step 4
Check that you are on the ‘Inks’ layer and ‘ink’ the image, just like a graphic novel. Draw thin black shapes around the major forms. Also fill in the darkest regions with larger black shapes. If you need more control for areas such as the eyes or nose, you can switch to the Pen tool to draw exact curves and straight lines. This step requires the most nuance. Remember to always lock each layer when you’re finished or not working on it to avoid confusing errors later on.

Step 5
Toggle the Eye icon on your Layers palette to hide the Reference layer and check your progress as you go. If you accidentally release the line before you outline the shape you’re tracing, you can draw another shape that completes the shape in the same colour. I prefer to press Command-Z (Control- Z on Windows) to undo the last action, because I find it best to make the largest possible continuous shape to increase the smoothness and overall flow of the shape.

Step 6
I call my next layer ‘Shawn’. Each new subsequent layer will be placed behind the last visually or below on the layers palette. You want to always fill in behind what you’ve previously finished. Within each layer, create sub-layers categorized by features, such as eyes and mouth, to better manage all the shapes that you’re creating. I will usually break that down further into four or five shades of colour, each on its own sub-layer.

Step 7
Select which colours to use by sampling right out of the picture. Double-click the Eyedropper tool and change the Raster Sample Size at the bottom to 5 points to get a broad metering of colour. If you want a brighter colour for the foreground figures or a more specific colour selection, switch the Raster Sample Size back to 1 point.

Step 8
Now you’re ready to begin painting in the colour. Beginning with the ‘Hair’ on a new sub-layer, define the larger chunks or shapes of solid colour, starting with darkest shadows. Focus on making shapes that are descriptive and in tone with the others.

Limit the palette to a few shades and place each new successive colour behind the other. You can move a shape behind another on the same layer or sub-layer by pressing Apple-Shift-[ or by going to Object>Arrange>SendToBack.

Step 9
Use a new sub-layer for each facial feature. Zoom in while you’re drawing detailed areas such as the eyes and nose, and add more detail with smaller shapes to emphasize those areas. On the sub-layer called Face, begin to describe as accurately as possible the general planes of the face.

Step 10
Continue to define the planes of the neck and shirt on a new sub-layer. Avoid using too many little shapes or it will draw attention away from the figure’s face.

Step 11
Repeat steps 7 through 10 on a new layer I call ‘Renee’. In some images, you may want to balance the colours by reusing the same tones in different figures. Since I liked the contrasting warm and cool tones, I did not worry about colour balancing on this image.

Step 12
Create a new layer – call it ‘Background’. Look at the larger shapes of colour behind the foreground figures and define their outlines loosely. Too much detail in the background will be a distraction from the figures. You simply want a patchwork of colour to suggest an environment.

Step 13
Once the whole image is filled in, create a new ‘Correction Below’ layer at the very bottom to quickly fill in any gaps in the image. Use colours from the upper layers and draw with large blobs. Don’t worry about being too artistic here – you’re just filling space.

Step 14
Clean up your illustration by creating a new ‘Correction Above’ layer on top of everything but the ‘Inks’ layer. Unlock the Reference layer and drag the image out to the side to compare it side-by-side.

Simplify your colour schemes and shapes. Zoom in to the image and cover over any unwanted ugly spurs in the shapes. Manipulate the shapes in all the layers with the direct-selection tool until you’re satisfied with the results.

Aaron Sacco – www.aaronsacco.com

CREATE A CHILDREN’S BOOK ILLUSTRATION

Transforming run-of-the-mill stock photos into dreamy, fantastical compositions is easy when you know how.

In this brilliant tutorial, Photoshop wizard Fabio Sasso puts layer masks and Photoshop’s built-in filters to good use to create a beautiful, enchanting image that wouldn’t be out of place in a children’s book.

Before you start you’ll need to download your stock images – Sasso has bought images from Shutterstock (shutterstock.com), although you can also use similar images of your own.

The girl image is at bit.ly/91S4Kx; the moon is at bit.ly/7Nfwch; some of the clouds are at bit.ly/5qJMFc. You’ll also need a star flare; NASA (nasa.gov) is a good source for these.

Step 1
Open Photoshop and create a new A4 document. Fill the background layer with a very dark grey (#0d0e10). Import the image of a girl on a ladder you downloaded from Shutterstock (bit.ly/91S4Kx). Extract the backround using the Lasso Tool (L) or any other method. Then remove the back strut of the ladder as shown here.

Step 4
In a new layer, place the photo of the moon that you dowloaded at the start. Change the layer’s blending mode to Screen. Go to Image > Adjustment > Hue/Saturation, select Colorize, and make the moon bluer. Also go to Image > Adjustment > Brightness/Contrast. Increase the brightness to 54 and the contrast to 51.

Step 5
Fill a new layer with pink (ff80b6), then with a big soft brush, paint a light blur (61a5fb) where the moon will be. Change the layer’s blending mode to Soft Light. This layer will be on top of the others.

Step 6
Duplicate the moon layer and go to Filter > Blur > Gaussian Blur, setting the radius to 10 – this will give the moon a nice glow. Now import the star flare. Change the blending mode to Screen and go to Image > Adjustment > Levels. Increase the black input to 15. With the Eraser Tool (E) delete all of the image except the flare.

Step 7
Open IMG_1466.jpg from the cover CD or the zip file linked opposite – this is a cloud photo taken by Fabio Sasso. Go to Image > Adjustments > Brightness/Contrast. Reduce the Brightness to -5 and increase the contrast to 80. Also go to Image > Adjustments > Hue and Saturation. Select Colorize, then move the Hue to 270, reduce the saturation to 4 and the lightness to -12.

Step 8
Add more clouds to your composition: the idea is to create a fluffy horizon. You can use the cloud image you downloaded from Shutterstock at the start or any similar ones of your own – just be careful to make sure the colours fit in. Import the image and place in the document. Then with the Eraser tool (E) delete the edges of the image until it’s well blended with the other clouds.

Step 9
Go to Image > Adjustments > Hue/Saturation. Select Colorize, then increase the hue to 220, reduce the Saturation to 12, and keep the lightness at 0. The idea is to match the colour of the clouds.

Step 10
Open stars.tif from the cover CD, import the image and place it beneath the other layers but in front of the background. Change the blending mode to Color Dodge and the opacity to 80%. Also select the lens flare layer and go to Image > Adjustments > Hue/Saturation. Reduce the saturation to -60.

Step 11
Now let’s add a glow effect. Select all the layers and duplicate them, then merge the duplicated layers. Go to Filter > Blur > Gaussian Blur, setting a radius of 20 pixels. Change the blending mode to Screen. With the Eraser tool (E) delete most of the image, leaving only the areas that are illuminated by the moon.

Step 12
Add a layer at the top of the layer stack and use a large, soft black brush to paint the edges of the image. The idea is to create a subtle framing effect for the image.

Step 13
You can even add your own logo or pattern on top of the image. A nice tip for pattern overlay is to apply the Liquify filter and distort the pattern according to the image beneath – this creates a great effect.

Fabio Sasso – abduzeedo.com