Square Fruit Techniques in PhotoShop

By | September 24, 2015

This tutorial is not focused on teaching you new Square Fruit Techniques in PhotoShop. Instead its just an illustration of an alternate method of solving an issue with the fundamental devices discovered in the majority of graphic programs. There are many ways to approach image control without depending on filters and actions that often give you less than an acceptable result. A combination of an easy technique incorporated with some filter use can be just as efficient general. In this example the only filter made use of was sound.

As usual, all steps are done on separate layers.

Here’s the initial source:

In this example the only filter used was noise.  Cherries 01












It was selected for its good color, range of density and intriguing water droplets.

In this example the only filter used was noise. Cherries 02










The initial cherry on the left was picked from the group of three. As a beginning, the Free Transform tool was made use of to stretch the cherry into a more oblong/squarish shape.

In this example the only filter used was noise. Cherries 03
















To finish the standard foundation for the cubed appearance, I cut and pasted some areas from the original that contained information I intended to include into the final and to add to the cubed result. I lengthened a few of them with complimentary change. Some of the indoor edges on the additions were softened a bit, with the eraser device at 20 %, to make the change somewhat smoother.

In this example the only filter used was noise. Cherries 04
















I sketched a guide on a different layer revealing the eventual shape/perspective to help in creating a correct cubed appearance.

In this example the only filter used was noise. Cherries 05
















Some highlight color from the cherry was gotten, and following the overlay guide, the brush device at 20 % opacity was utilized to add soft edge highlights to assist add the cubed kind. I want to make use of the brush tool at low opacity [about 10 %] and develop the strength in areas where a brighter highlight is required … as on the upper forward corner.

It offers more control and I think a more natural planning to use multiple strokes instead of enhanced opacity.

In this example the only filter used was noise. Cherries 06
















Because the light was originating from the upper right, the left side of the cherry had to be in a little shadow. Getting some of the darkest cherry color and utilizing the brush tool at 50 % a darker tone was added. Prevent getting it too opaque, permit some of the natural texture to reveal through. Constantly make use of colors from the object itself and not from the PS color combination. It creates a much better match. If the proper density of color is not available from the object, pick up a color in the object near it, make an example in the background, select it and darken or lighten it as required for a source color.

The majority of people would add a soft edged mask for this step. I didnt, I simply brushed on the color and removed any part I didnt like with a soft edged eraser. I do not necessarily advise this technique, however I do not see the need to make use of a mask for every single single procedure. Given that this is on a separate layer I can still lighten, darken or change color without requiring a mask. Simply my quirk.

Note: Getting the color right is the most essential aspect in retouching and graphic arts. Your eye will get a small color mistake a lot more rapidly than it will certainly discover a technical one.

In this example the only filter used was noise. Cherries 07
















Utilizing the very same technique, I brushed on a tone to the front side of the cherry.

This was done with a greater opacity setting, 30 to 40 %, with slightly different color densities and applied till it covered the majority of the detail below it. [I didnt like the look of most of the detail that existed. In other cases you might wish to keep some of it.] Some darker color was brushed near the lower portion of the front to maintain a rounded planning to the edges. Its vital that the location does not look too flat and rigid because a cherry would not have a perfectly flat side. Sound was contributed to give it some texture. A cleanup of the edges and general shape was done at this point.

Adding some noise is necessary to give almost all brushed/airbrushed areas a more realistic/photographic appearance.

In this example the only filter used was noise. Cherries 08















I brushed a slightly lighter cherry color on the upper right front surface to avoid an absolutely flat look and to tone down the too bright highlight on the ideal edge.

At this point we can cut and paste some water droplets. I want to put them into position and making use of the eraser tool with a soft brush remove any locations around the droplets that don’t work. I discover I normally cant examine what needs to be removed till the item is in place. In some cases Im shocked at how well something looks without much adjustment. For functions like this I make use of the eraser at 10 % opacity to get a really soft transition.

In this example the only filter used was noise. Cherries 09



















Were pretty near being done at this point. The droplets have actually had some shadows included. Once more, this was finished with the brush device, at a little, soft setting and opacity at 10 %. Develop the density of the shadows gradually so you can assess the results more seriously. The larger drops cast a somewhat darker shadow than the smaller sized ones. An appropriate stem was added with some last examination and cleanup and shaping of edges and shapes.

In this example the only filter used was noise. Cherries  10



















This is the final step. A needed shadow was added to sit the cherry down.

This shadow was added freehand on 3 different layers. The brush device with soft edge used black at 10 % opacity. On one layer the fundamental shape was formed with lighter softer edges as the shadow declines from the object.

On a 2nd layer the darker tone closer to the cherry was included. Both developed by repeated strokes.

On the third layer some water down color picked up from the cherry was added since the majority of strong colored items reflect a few of their color into shadows.

Remember that shadows are darker and sharper close to the things and get softer edged and lighter as they decline. Trying to draw them by doing this is a bit tough so I normally complete by touching them up with the eraser and smudge device.

I hope this was of some aid to you. While I understand that this method can just be made use of on items with a fairly smooth surface like cherries, peppers, plums etc., the idea of using a brush technique to address other issues is something to think about. The use of the brush device right here is so simple it doesn’t need fantastic creative skill. A bit of trial and error and youve got it.

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