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Take a 10-minute recess every week and join Bert Monroy in Adobe Photoshop or Illustrator, the playgrounds of digital artists. Every Friday Bert walks through a fun, self-contained project that tests your skills and challenges the imagination. These programs aren't just image editors; they are sandboxes for creativity and experimentation. Take a spin through a carousel of tools and get reinspired, each and every week.
We're going to spend the next couple of weeks looking at this particular piece. It's my painting Damien which I did back in 2004. Now this was the first painting that I did with the print in mind. And measures 40 inches on the height and ten feet on the width. So it's quite involved and we're getting close, you see that there's a lot of details that come up once we start getting close on this train. Now I want to go in here and talk about the train itself. That's what we're going to do this week. We're going to talk about the multiple cars that are in here, and how it was that they were created.
Now the train itself. The face of the train was in its own layer. The sides were a whole different thing now. It's so involved here that I decided that I had to create it in a separate layer. So if It is so complex, I had to create the face of the train in its own file. So when we look at the layers here, we see that we have a considerable amount of layers that make up the front of the train. See, going all the way down, there's quite a few. And you notice that they are, in fact, all named.
Now, most of them are turned off right now, in this particular layer, because the fact that, it is the layer on top, the comp. The face comp where I've composited all the layers in between that I am showing visible, right now. If we go in here, and we just look at the background. And, we start looking at the under parts. And, here's the paths themselves. See, there's the main path. Then a bunch of other additional paths that were added later for little pieces here and there. So going back to the layers, we start turning on the under carriage there, and the face edge.
There's the face itself. There's a little shade on the side. A little light area on that side. The door frame. And each piece starts to, start to show the entire train as we start turning on each individual layer. And it brings up the entire train, which we see like that. So now what happens is, that that was brought into this file here where I'm working on the sides. You see this is trains three side. So here, there's the composites of those, and, coming down here there's the train face comp.
There's the comp of the face itself. And right now we have some comp lapeire on. So let's turn those off. And there we can see that we have the face of the train from the other file. Now. We look at this train and we look at this one here. Now, you'll notice that a few things changed. The face stayed the same. But, the side of the train's changed. And you can see that there's a little difference in the dirt and mostly the reflection and the number. Let's go in here and there's the reflections in here. And the number.
So when we look at the next train, you see that the number changed and the reflections changed. So when we look at the overall train again, you see that there are three trains. Now, I did not have to go in there and create each train individually. No, what happened is that since every element is in a layer, the reflections, the numbers, the dirt, they were all changed to create three different trains. So, then what happens is, this is the way they were then put together. Now the face of the train is completely hidden, so it didn't matter if these numbers didn't change.
So, what happens is I got the train in back, that's just from here. So, what I'm going to do is, I'm going to just put it right in back of this train. Right there like that. And then, going up and saying Transform, the Free Transform, I can then go in there and shrink this train down until it matches just like that. And if necessary, give it a little bit of a tilt. Just a little tilt like that. And click Okay. And there you can see that we have a second train. Now we can duplicate this guy, right in back. And pull that one out.
So what I'll do is I'll just pull that one further back, like that. And we'll do the Free Transform on here. And once again you can see that we now have a third train car going off into the distance. And we can continue that way. Now, these two, right now, look exactly the same. because I just used a duplicate of the same car. But what would happen in, in the real situation would be that I would then go in there and change the reflections and so on to make it fit. So there we can see that, now we have a train made up of three different cars.
And we can go all the way back and as far as we want to make as many trains that we want. But we can just add one more, just so you can see the effect. So I'll make one more copy, which I'll pull back. And shrink it down. And a little bit smaller. And put in position. And there you can see that now we have four cars.
So it's not necessary to go in and create every, individual car. No, just make changes to each car so that they start to look different as they go further da-, back. These three, as you can see, look exactly the same. So that wouldn't work properly. So it would be necessary, would be to go in there and change those reflections, like I did here, to make each car look separate. Now, that's a simple process. It's, the reflections are nothing fancy and they're in tiny little areas here. But it's just a question of adding that one little nuance to each car to make it look different.
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