D igital Painting in Photoshop This page intentionally left blank Digital Painting in Photoshop Susan Ruddick Bloom 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 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2009, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: ((cid:2)44) 1865 843830, fax: ((cid:2)44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://www.elsevier. com, by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81114-7 For information on all Focal Press publications visit our website at www.elsevierdirect.com 09 10 11 12 5 4 3 2 1 Printed in Canada Working together to grow libraries in developing countries www.elsevier.com | www.bookaid.org | www.sabre.org To Anne Marie, our fi rst grandchild. You have brought joy and wonder into our lives. This page intentionally left blank Contents Chapter 1: Introduction to the Concept of Digital Painting . . . . . . . . . . . . . 1 Chapter 2: The Basic Tools for Painting in Photoshop . . . . . . . . . . . . . . . . . . 5 B rushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Making Your Own Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Y ou Can Make a Brush from Anything . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 T exture Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Brush Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Making Your Own Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 How to Apply a Pattern Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Chapter 3: Charcoal Drawings in Photoshop . . . . . . . . . . . . . . . . . . . . . . . . .71 B rief History of Charcoal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Charcoal Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Bridal Portrait with Tiny Charcoal Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Landscape Rendering with Smudgy Charcoal Look . . . . . . . . . . . . . . . . . . . . . . 85 Conte and Charcoal Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Chapter 4: Pastel Drawing in Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Brief History of Pastels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Pastel Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Making a Pastel Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Printing Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105 Chapter 5: Painting with Watercolors in Photoshop . . . . . . . . . . . . . . . . . .109 B rief History of Watercolor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110 W atercolor Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 W atercolor Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114 Pattern Stamp Watercolor Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118 Art History Brush Watercolor Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124 Simple Two-Layer Watercolor Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 vii Contents Chapter 6: Painting with Oil Paints in Photoshop . . . . . . . . . . . . . . . . . . . .141 Brief History of Oil Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141 Impasto Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 Bevel and Emboss Layer Style Oil Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151 Portrait Painting Using Bevel and Emboss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161 Printing Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167 Chapter 7: Illustration Techniques in Photoshop. . . . . . . . . . . . . . . . . . . . .171 Stylize – Find Edges Illustration Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171 Faux HDR Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181 Pen-and-Ink with Aquatint Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185 Dreamy Soft Focus Eff ect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196 CutOut Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201 Chapter 8: Eff ects Using Third-Party Software as Photoshop Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Nik Color Efex Pro 3.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208 Alien Skin’s Snap Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .218 Combination of Mediums Using Alien Skin’s Snap Art . . . . . . . . . . . . . . . . . .222 Ben Vista’a PhotoArtist 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225 In Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 viii CHAPTER 1 I ntroduction to the Concept of Digital Painting Humankind has felt the urge to paint since the dawn of time. Over the centuries our painting materials have varied. We have used oil as a binder to hold crushed minerals together. We have used water as a vehicle to spread pigments. Even wax has been used for centuries in a technique called encaustics. Most of these methods rely on the ground-up fragments of minerals and rocks. Modern paints have introduced new colors through the use of chemical technology. O ur palettes have changed over time because of the types of materials that were currently available. The colors available to Warhol were not available to Monet. The colors used by Van Gogh were not available to Michelangelo. In short, our materials dictate the limitations and opportunities that we, as artists, work under. T his book will off er techniques for the new fi eld of digital painting. We will be pushing pixels instead of pigment. Our canvas is our monitor. Our palette FIG. 1-1 Digital pastel of a garden bridge. 1