Creative Photoshop: Digital Illustration and Art Techniques Photoshop Cs4- P5

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Creative Photoshop: Digital Illustration and Art Techniques Photoshop Cs4- P5 This page intentionally left blankPlease purchase PDF Split-Merge on www.verypdf.com to remove this watermark. PART THREE Real World PhotoshopPlease 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. Chapter 12 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 way to do 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 effects. 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 effective 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 impressive indeed. 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 first- 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. 12 Part Three: Real World Photoshop 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 min ...