100% Photoshop, GRAFIKA (kolorowanie, lineart)
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Create stunning illustrations
without using any photographs
Steve Caplin
AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD
PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO
Focal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier
The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB
30 Corporate Drive, Suite 400, Burlington, MA 01803, USA
First published 2010
Copyright © 2010 Steve Caplin. Published by Elsevier Inc. All rights reserved.
The right of Steve Caplin to be identified as the author of this work has been asserted in
accordance with the Copyright, Designs and Patents Act 1988
No part of this publication may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or any information storage and
retrieval system, without permission in writing from the publisher. Details on how to seek
permission, further information about the Publisher’s permissions policies and our arrangement
with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency,
can be found at our website: www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under copyright by the
Publisher (other than as may be noted herein).
British Library Cataloguing in Publication Data
Caplin, Steve.
100% Photoshop : creating stunning illustrations without
using any photographs.
1. Adobe Photoshop. 2. Digital art.
I. Title II. Hundred per cent Photoshop III. One hundred
per cent Photoshop
006.6’86-dc22
Library of Congress Control Number:
2010921650
ISBN: 978-0-240-81425-4
For information on all Focal Press publications visit our website at www.focalpress.com
Printed and bound in the United States
10 11 12 11 10 9 8 7 6 5 4 3 2 1
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1 0 0 % P H O T O S H O P
Introduction
Photoshop is the world’s best-known, best-loved and just downright best photographic
manipulation application. It’s used by retouchers, fine artists, graphic designers,
photographers, and everyone who works with images in any form.
But there’s another side to Photoshop. In my work as an illustrator for newspapers
and magazines, I frequently have to come up with a finished image against impossibly
tight deadlines. And if I don’t have a suitable photograph of a flying saucer, or a leather
book from just the right angle, or an award trophy, or a paperclip, then I often end up
drawing it directly inside Photoshop.
Drawing in Photoshop isn’t just a second-rate alternative when we can’t find the
right image. When we draw an object, we can create it at exactly the shape and angle
we want. We can also make it perfectly in focus, with perfect lighting. Drawn objects
can be crisper and better defined than even the sharpest photograph: it can often be
quicker, too, to draw something rather than to find the real thing and photograph it.
There’s a real pleasure to be taken from creating an entire illustration from scratch,
without using any photographs whatsoever. And while we might still use a photograph
as reference material, this is no different to a conventional artist using a model or prop
to draw from.
Everything in this book has been drawn entirely in Photoshop, using only the filters
and tools that come with the application. Although Photoshop has got better and better
with each new version, there’s nothing in this book that can’t be achieved with a
version that’s five or more years old.
Drawing from scratch in Photoshop is both hugely enjoyable and highly instructive.
By creating our objects we learn a lot about how real world items reflect light, how
surfaces are constructed, and how shadows can help make an image more dramatic
and help it to look more realistic. And by learning to draw objects, we also improve
our Photoshop skills tremendously.
This has been an enormously enjoyable book to write. I hope you get as much
pleasure from using it.
Steve Caplin
London, 2010
I N T R O D U C T I O N
1
How to use this book
Each chapter in this book begins with a double page illustration: the chapter then goes
on to show how every object and texture in the illustration was created. By the end,
we’ll have reconstructed the opening image in every detail.
While I wouldn’t expect even the most diligent reader to start at the beginning and
work through every page of the book in turn, techniques are explained in full the
first time they’re used, and are then referred to when they appear again later. This
is mainly for reasons of space, as too much repetition would simply take up too much
space. I always refer readers to the page on which the full explanation appears.
The first chapter details the essential techniques that every Photoshop artist needs
to master. It’s quite likely you already know how to use QuickMask, or how to combine
selections, or how to use the Curves dialog – in which case the explanations on the
first few pages will serve as reminders. I do, however, assume you have a general
working knowledge of Photoshop’s tools and filters.
Keyboard shortcuts
Keyboard shortcuts are shown for both Mac and Windows platforms. They appear
in the text as follows:
Mac shortcuts are shown in red:
CSD
Windows shortcuts are shown in blue:
LSD
Shortcuts that are the same for both Mac and Windows are shown in black:
E
Page references
Superscript numbers
refer to the page in the book on which a technique is explained
for the first time. So if you’re instructed to use the Clouds filter
20
, it means the filter is
explained in full on page 20.
Got a problem?
If you get stuck, don’t understand a technique or simply want to show off your work,
visit the
How to Cheat in Photoshop
Reader Forum. It’s a great place to ask questions
– and they’ll usually be answered within an hour or two. Go to this address:
www.howtocheatinphotoshop.com
…and click the button for the Reader Forum. You’ll find me and other like-minded
Photoshop artists ready and willing to help you out, so take the plunge and join the
friendliest and most helpful online Photoshop community.
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