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Gradients, textures, shapes and blends all stack up, each one having a vital relationship to the layer above and below. Of course, patience is required to apply such subtle effects well. 24 Using the techniques outlined in the previous steps, you can create some very striking imagery. But here I’ve started to add other elements, such as leaves, which have been treated in the same way. 25 Ever the perfectionist, I’m not happy with the torso as it stands – it needs a little more definition. With a mixture of cut-outs, gradient fills, noise, linear gradients and Gaussian Blur, I’m finally happy to call a halt to the proceedings.

This will leave the blur on the upper side of the limbs and torso. With the selection still with a Feather Radius of 70, adjust the Channel Mixer. In the Cyan channel reduce Black to 0, Black to 0 in the Black channel, Yellow to +150 in the Magenta channel and Magenta to +70 in the Yellow channel. The image now offers tonal variety and perspective. 17 Obviously, light creates a highlight as it hits a limb, so you’ll need to give the figure’s right hand some attention. On the “Linear Gradient Body” layer, carefully trace the hand and delete the selection revealing the layer beneath.

People around the world buy posters and reproductions of The Great Wave every day, but its ubiquity lies in stark contrast to its modest dimensions. It sits in the Hakone Museum in Japan, a mere 15 inches long and 10 inches high (roughly the size of three by two CD covers). But its appeal to so many people demonstrates perfectly the power of art to dominate the mental space. The Great Wave connects as a powerful piece of graphic art, a striking image that can be loved just for the way it looks.

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