Tài liệu Advanced Photoshop CS3 Trickery FX (P1) ppt

A
DVANCED
P
HOTOSHOP
CS3 T
RICKERY
& FX
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A
DVANCED
P
HOTOSHOP
CS3 T
RICKERY
& FX
S
TEPHEN
B
URNS
C
HARLES
R
IVER
M
EDIA
, I
NC
.

Boston, Massachusetts
Copyright 2007 by THOMSON DELMAR LEARNING. Published by CHARLES RIVER MEDIA, INC.
All rights reserved.
No part of this publication may be reproduced in any way, stored in a retrieval system of any
type, or transmitted by any means or media, electronic or mechanical, including, but not limited
to, photocopy, recording, or scanning, without prior permission in writing from the publisher.
Cover Design: The Printed Image
Cover Images: Stephen Burns
C
HARLES
R
IVER
M
EDIA
, I
NC
.
10 Downer Avenue
Hingham, Massachusetts 02043
781-740-0400
781-740-8816 (FAX)

www.charlesriver.com
This book is printed on acid-free paper.
Stephen Burns. Advanced Photoshop CS3 Trickery & FX.
ISBN-10: 1-58450-531-1
ISBN-13: 978-1-58450-531-0
All brand names and product names mentioned in this book are trademarks or service marks of
their respective companies. Any omission or misuse (of any kind) of service marks or trademarks
should not be regarded as intent to infringe on the property of others. The publisher recognizes

and respects all marks used by companies, manufacturers, and developers as a means to distin-
guish their products.
Library of Congress Cataloging-in-Publication Data
Burns, Stephen, 1963-
Advanced PhotoShop CS3 trickery & fx / Stephen Burns. -- 1st ed.
p. cm.
Includes index.
ISBN-13: 978-1-58450-531-0 (pbk. with cd-rom : alk. paper)
ISBN-10: 1-58450-531-1 (pbk. with cd-rom : alk. paper) 1. Computer graphics.
2. Adobe Photoshop. I. Title.
T385.B864345 2007
006.6'86--dc22
2007012287
Printed in the United States of America
07 7 6 5 4 3 2 First Edition
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HARLES
R
IVER
M
EDIA
titles are available for site license or bulk purchase by institutions, user
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mailing address, telephone number, date of purchase and purchase price. Please state the nature of
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HARLES
R
IVER

M
EDIA
, 25 Thomson Place, Boston,
Massachusetts 02210. CRM’s sole obligation to the purchaser is to replace the disc, based on defective
materials or faulty workmanship, but not on the operation or functionality of the product.
eISBN-10: 1-58450-597-4
This book is dedicated to my mom and dad
for having inspired me to always excel at what I do.
They are excellent parents.
I also dedicate this book to my students
that they may continue to find new excitement
in their digital creations.
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vii
C
ONTENTS
A
CKNOWLEDGMENTS
xi
F
OREWORD
xiii
C
HAPTER
1S
IMPLIFYING THE
I
NTERFACE
2
Photoshop CS3 Layout 4

Understanding the Paintbrush Engine 14
Creating Your Own Animated Paintbrush 15
Creating Your Own Custom Brush Palette 18
The Adobe Bridge Interface 21
Workflow in Bridge 27
Creating Keywords for Each Image 28
The Adobe Camera RAW (ACR) Interface 33
Cutomizing ACR4 Through the Options Panel 39
What You Have Learned 55
C
HAPTER
2M
ASTERING
P
HOTOSHOP
F
UNDAMENTALS
56
Layer Blend Modes 58
Photoshop’s Native 8-Bit Environment 67
Demystifying the 8-Bit Environment 70
Understanding Selections 71
Saving Selections 72
Layer Masks Demystified 74
What You Have Learned 93
C
HAPTER
3S
MART
F

ILTERS TO
A
ID
A
RTISTIC
V
ISION
94
Using Photographs as a Creative Medium 96
Applying Motion Blur to Accentuate Movement with Smart Filters 103
Adding Detail to the Background 105
Applying the Foreground City Shapes 108
Creating the Background Cityscape 112
Using HDR and Smart Objects to Composite Photos 126
Creating the Foreground 133
Creating the New Architecture 136
Adding Lights to Architecture 139
Loading Custom Brush Palettes 143
Giving the Scene a Sense of Night 144
Adding Third-Party Filters 149
What You Have Learned 151
C
HAPTER
4C
USTOM
-C
REATED
C
ONCEPTS
152

Custom-Created Meteor Field 154
Adding the Light Source 164
Using the Lens Blur Command to Create Depth of Field 171
Custom-Created Tornado 175
What You Have Learned 197
C
HAPTER
5I
NTEGRATING
P
HOTOGRAPHY AND
3D O
BJECTS
198
Creating the Initial Landscape Using Auto Align Layers 200
3D Objects as Bitmaps 228
Reflections Applied in LightWave 8 247
What You Have Learned 251
C
HAPTER
6I
NTEGRATING
3D C
ONCEPTS WITH
P
HOTOGRAPHY
252
Creating the Initial Landscape 254
Working with 3D Layers 258
A Creative Way to Integrate the 3D Model 266

Creating the Appearance of 3D by Using the Vanishing Point 275
Using the Vanishing Point 287
What You Have Learned 291
viii
Contents
Contents
ix
C
HAPTER
7W
ORKING WITH
P
EOPLE AND
B
ACKGROUNDS
292
Creating the Background and Mask 294
Creating the Winged Woman 304
What You Have Learned 317
C
HAPTER
8F
INE
A
RT
A
PPROACHES
318
Using People to Integrate into Your Art 320
The New Printing Dialogue 338

What You Have Learned 342
A
BOUT THE
CD-ROM 343
I
NDEX
347
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A
CKNOWLEDGMENTS
W
ithout the support of so many others, this book would not
have been possible.
I would like to thank Jenifer Niles, Lance Morganelli, and Jennifer
Blaney and Lee Kohse of Charles River Media for their patience and pro-
fessionalism in seeing this book to fruition properly.
Thanks to Jim Plant, Michael Kornet, Donetta Colbath, Jay Roth, and
Chilton Web of Newtek (www.newtek.com) for listening to my suggestion
to create “LightWave Rendition for Photoshop” and diligently coming
through with it.
Thanks to Janis Wendt, Josh Haftel, and the rest of the Nik Multime-
dia team for their ever-growing encouragement and support. Great job
guys on producing great plug-ins for Photoshop.
In addition, I feel it is only appropriate to thank Adobe for creating
such outstanding software, as well as Pete Falco of Adobe who patiently
put up with all of my consistent questioning.
Thanks to Erin Wishek and Chris Hoover for being willing last-
minute models, and a special thanks to Calumet Photo of Escondido, Cal-
ifornia (www.calumetphoto.com) for their ongoing support in keeping me
informed of the new changes in digital technology.

Also, I would like to thank the members of the San Diego Photoshop
Users group (www.sdphotoshopusers.com) for their dedication and support
in helping me build a strong network of digital artists from which I draw
inspiration always.
xi
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FOREWORD
W
hat is art? What makes someone an artist? Is a computer a
valid art tool? Is a computer an incredible art tool? What’s
your favorite color?
Tough questions? For some. For Stephen Burns, one of the hardest
working artists, instructors, inspirers I have the pleasure of knowing,
they are moot (all except the “What’s your favorite color?” one, he’s
pretty uncommitted on that issue).
For me, art is about passion, and about communicating that passion
through created imagery and objects, words, sounds, and movement.
Stephen Burns is extremely passionate about art, and about communicat-
ing that passion through the works that he creates (and shares with the
world in his numerous gallery exhibitions). But even more importantly
(especially for those of you holding this book), he is passionate about
communicating his thoughts and technical processes behind what he cre-
ates. And that is where this book comes in.
In these pages you’ll follow Stephen along on many different artistic
journeys—each one geared to giving you the advanced Photoshop CS3
“trickery” needed to create your own visions, often out of thin air. This
intensive nuts-and-bolts instruction into our beloved Photoshop is com-
bined with Stephen’s artistic insights into light and color, composition
and eye flow, and (among other things) the need for maintaining syn-
chronistic spontaneity as part of the creative process, especially within

the often left-brained art studio of the computer.
Bottom line, get ready for an E-ticket creative roller coaster ride with
the unstoppable Stephen Burns—one that is sure to inspire you in your
own passionate endeavors!
Jack Davis
Author, Photographer, “Artist”
www.HowToWowTraining.com
xiii
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A
BOUT THE
A
UTHOR
S
tephen Burns has discovered the same passion for the digital medium
as he has for photography as an art form. His background began as a
photographer 25 year ago where he specialized in creating special
effects photography using a 4x5 camera. His studies lead him to discover
painting, where he embraced the works of the great Abstractionists and&
the Surrealists, to includinge Jackson Pollock, Wassily Kankinsky, Pablo
Picasso, Franz Kline, Mark Rothko, Mark Tobey, Frances Bacon, Willem
Dekooning, and Lenore Fini, to name a few.
In time, he progressed toward the digital medium to discover first
Paintshop Pro, Aldus Photostyler, Painter, and then Photoshop. He set-
tled on Photoshop as his program of choice.
In addition to being the president of the prestigious San Diego Photo-
shop Users Group (www.sdphotoshopusers.com), of which isthere are currently
2,600 members strong and growing, Stephen Burns has been an instructor
and lecturer in the application of digital art and design for the past 10 years.
His teaching style comes from his ability to share an understanding of

Photoshop so that the student has the ability to intuitively apply it to his or
/hers creations.
Artistically, he has been exhibiting digital fine art internationally at
galleries such as the Durban Art Museum in South Africa;, Citizens Gallery
in Yokahama, Japan;, and the CECUT Museum of Mexico, among others to
name a few. You can see more of Stephen’s works at www.chromeallusion.
com .
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