Professional Studio Techniques DESIGN ESSENTIALS O T P H O S This Acrobat document contains a sampling of H e O b P o d A techniques from the three Professional Studio A Techniques books for Macintosh®, Windows®, and d o b UNIX®. e I L L U S R O T R A T Design Essentials, Second Edition provides over forty illustrated, step-by-step procedures for creating traditional graphic and photographic effects using IMAGING ESSENTIALS Adobe Photoshop and Adobe Illustrator. Like Design Essentials, Imaging Essentials contains over forty illustrated, step-by-step techniques for graphic professionals. This book includes techniques for Adobe Photoshop, Adobe Illustrator, Adobe Dimensions, and Adobe Premiere. Production Essentials brings together the tips and techniques of over twenty industry experts on the PRODUCTION ESSENTIALS digital production process. It includes tips on Adobe Featuring techniques using: Photoshop, Adobe Illustrator, Adobe Streamline, Adobe Acrobat Adobe Illustrator Adobe Photoshop Adobe Streamline Adobe Acrobat, and Adobe Type Library software. Adobe Type Library Y ? Navigating the document You can use Acrobat’s navigational tools to go back and forth between pages, or you can use the linked icons at the bottom of each page. Click the colored text to jump to the associated technique or subject page. Go to next page Go to previous page Go to Home page Go to Order page Go to first page of current book section Click an illustration to zoom in 5 Click a step number to zoom back out Using the techniques This document has been secured so that it cannot be copied or edited using Acrobat Exchange. You can, however, print pages. If your computer has enough memory, you can also read the Acrobat document as you work in your graphics application. Ordering the books To order any of the books click the phone icon or go to the last page. P S T DESIGN ESSENTIALS SECOND EDITION P H O T O S H e O b P o d Contents A Stippling Shading with lines A Embossing d o Posterize-style illustrations b e Home Page I To Order L L U S R O T R A T and REVISED ANDNew illustrationsUPDATED techniques * DE2.contents.quark 4/10/95 1:42 PM Page 2 Contents Designing with production in mind Setting up your system Working efficiently in Adobe Illustrator Working efficiently in Adobe Photoshop Dashed line effects Shapes with multiple outlines Creating offset outlines More line effects Creating three-dimensional boxes Creating a three-dimensional pie chart Creating a three-dimensional bar chart Shaded spherical objects Perspective grids in Photoshop Perspective grids in Illustrator Creating impressionist effects More impressionist effects Stippling Cast shadows for objects Color-tinted photographs Generating smooth gradations * DE2.contents.quark 4/10/95 1:42 PM Page 3 Constructing simple patterns Using patterns to create textures Custom textures Making a seamless pattern Using Illustrator pattern tiles in Photoshop Shading with lines Embellishing three-dimensional graphics Glowing text Shadowed text Translucent shapes Recessed text Filter combinations Embossing Posterizing photographs Posterize-style illustrations Creating a textured effect Composite photographs Color trapping and overprinting Creating duotones, tritones, and quadtones * stippling.quark 4/10/95 9:13 AM Page 2 Stippling Software needed: Adobe Photoshop 3.0, Adobe Illustrator 5.5 or Adobe Dimensions 2.0 Merluza Restaurante Marisquería * stippling.quark 4/10/95 9:13 AM Page 3 Use this technique to make shaded shapes appear as though they’ve been spray-painted with several colors of paint through a stencil. To create this effect, you use the Add Noise filter to create several texture masks and then paint through the textures onto different layers. This technique also works well with flat graphics. Because the effects of the Add Noise filter vary significantly at different resolutions, in many cases this effect can’t be proofed adequately on-screen. You may need to print to accurately proof the results. 1. Create your shaded object in Adobe Illustrator, Adobe Dimensions, or Adobe Photoshop. Make sure that the object is painted with shades of black only. Save the file. 2. In Photoshop, open the background file that you want to use for the stippled graphics. Create a new layer, and name it stipple. Then choose Add Layer Mask from the Layers palette pop-up menu. 3. Option/Alt-click the layer mask in the palette to switch to the temporary layer mask channel. Then choose File > Place to place your shaded object. Position and resize the placed object; then click the hammer icon to rasterize the graphics. Do not yet deselect. If you created your object in Photoshop, copy the object into the layer mask. 4. Create a new layer, and name it base color. (The selection should still be active.) * stippling.quark 4/10/95 9:14 AM Page 4 5. Fill the selection with the color you want as the base color behind the stipple colors. Then deselect (c/Ctrl+D), and drag this layer in the Layers palette just below the stipple layer. 6. Now you will create channels that you will paint through to create the stipple effect. Create a channel for each texture you want in your stippled objects. Name each channel after the amount of noise you will put in that channel. In this example, we made three channels. 7. To create the texture within the channels, select the first channel you created. Choose Filter > Noise > Add Noise, and apply the amount of noise indicated for that channel in the Channels palette (we used ). 8. Repeat step for each channel you created. Reselect the RGB channel, and click the stipple layer mask. Invert the mask (c/Ctrl+I) so that it masks everything but the shape area. Then rese- lect the layer. 9. Now pour the first layer of paint through the first channel. Option/Alt-click the channel with the largest amount of noise to load the channel. Hide the edges so that you can more easily see the results (c/Ctrl+H). Select a new foreground color and press Option+Delete (Macintosh) or Alt+Backspace (Windows) to fill the selection. * stippling.quark 4/10/95 9:14 AM Page 5 10. Now add the second layer of texture. Load the channel containing the next largest amount of noise (we used ). Hide the edges, choose a new foreground color, and fill the selection. 11. Continue loading texture selections and pouring paint through them until you are satis- fied with the result. To intensify a color, fill with the same paint twice. 12. When you have finished painting, experi- ment with other layer modes for different effects. In this example, we used the Hard Light mode to intensify the colors. The effects of the modes vary with different colors. 13. Repeat this technique for each different colored shape in your illustration. To save RAM, save a copy of the file, and then merge the layers as you finish stippling each shape. * lineshade.quark 4/10/95 9:18 AM Page 2 Shading with lines Software needed: Adobe Illustrator 5.5, Adobe Collector’s Edition: Patterns & Textures % ; * lineshade.quark 4/10/95 9:18 AM Page 3 This is a modern version of a very old technique used to add textures to simple drawings. To create this effect, you first create a simple posterized drawing, then you fill each shape with a line pattern. To enhance the effect, you can scale and rotate the line patterns to fit their shapes. The first method in this technique shows how to reproduce tonal variations using different patterns and rotations. The second method shows how to repro- duce tonal variations using crosshatching. See the chart at the left for other variations on this technique. Tone matching method 1. Create a posterized illustration with simpli- fied shapes that define the tonal areas in the image. For instructions on creating posterized illustrations, see pages –. 2. For this technique, you will need to open two pattern files. Open the Line Patterns folder in the Adobe Collector’s Edition folder located on the Adobe Illustrator CD-ROM, and open Lines lpi -% and Lines lpi -%. Keep these files open until you have painted all the shapes with patterns. 3. Return to the illustration file. Select one of the shapes, and note tint percentage. Then click the pat- tern icon in the Paint Style palette, and select the line pattern with the same percentage. In this example, we selected the pattern * lpi-% to fill a shape that was % black. Don’t worry about the size of the pattern; you’ll scale the pattern in a later step. 4. Continue filling each toned shape with its corresponding pattern tone until all shapes in the image have been filled. * lineshade.quark 4/10/95 9:18 AM Page 4 5. If desired, scale the patterns to fit the shapes they fill. To scale just the patterns within the shapes, select the shapes, and double-click the scale tool. Deselect the Objects option. Enter the scale percentage, and click OK. You can also scale just the pattern by holding down the P key and dragging with the scale tool. 6. Once the patterns have been scaled, evaluate the patterns to determine whether they create enough contrast between shapes. You may want to select a pattern with a different tint percent- age within some of the shapes to make them darker or lighter. 7. You can also create contrast between shapes by rotating the patterns at different angles. To do this, first select the shape or shapes that you want to alter. 8. To rotate just the patterns within the shapes, select the shapes, and double-click the rotate tool.