GBD Works: Theo Bertz Sketches Book 2/3

Theo Bertz: “Graphite on Paper—Strokes on Canvas 2/3”

“To say that something is designed means it has intentions that go beyond its function. Otherwise it’s just planning.”

Ayse Birsel

Scroll down to flip through Theo’s complete book

For Theo’s book, I used InDesign’s layers, layer modes and opacity extensively. These work together to give you precise control over document visual hierarchy and layout transparency. Layers act as transparent sheets stacked on top of each other, letting you organize, lock, or hide related elements—like keeping text, images, and background graphics separate—so you can edit one layer without accidentally shifting objects on another. Opacity determines how solid or see-through an individual object, stroke, fill, or entire layer is, allowing lower elements to show through as you lower the percentage from 100% down to 0%. Layer modes—found in the Effects panel—dictate how the colors of an object interact mathematically with the colors directly beneath it. By switching from standard Normal to blend modes like Multiply (which darkens and blends dark tones) or Screen (which lightens), you can create soft shadows, realistic color overlays, and complex visual effects without modifying the original assets.

Using InDesign’s Layers for Page Composition Part 1

Many pages in the book start with a background texture, scribbles, paint blobs, etc. I used about 15 different backgrounds. Theo loved this as soon as he saw the first page where I used it.

On top of the background image, I added a layer of color often selecting multiply as the blend mode.

Here’s the page with just the sketches.

Originally I only had the black and white sketches. That looked good but it need something more, so I added the color sketch and the page (my favorite in the book) came alive. I didn’t like the rectangle, so I used basic feather from the effects panel

Here is one of Theo’s original sketches before I turned it into greyscale and adjusted the levels for contrast.

Here’s the final page with everything in place.

Using InDesign’s and Photoshop’s Layers to Build Composites

Below: A completed page from Theo’s book.

Below: Steps in InDesign and Photoshop

Theo’s original peppers sketch

In Photoshop, I carefully used the brush tool to form the pepper color

The working composite

I created 4 layers in Photoshop

In Photoshop, I added highlights to a new layer

Below: Theo’s original sketch then converted to a bitmap in Photoshop then with color applied in InDesign.

Learn more about bitmaps here

Using InDesign’s Layers for Page Composition Part 1

Below: Another completed page from Theo’s book

I created several layers in InDesign. Over time, we tried different compositions and graphic elements. Above: the sketch in the upper right and it’s layer in InDesign.

I added a Photoshop bitmap and applied a blue color.

I added the bitmap on the far left and kept it black.

I added a bitmap in the center and, in InDesign, applied a beige color.

In the upper right I placed some masking tape vectors.

Finally, I added two sets of watercolor paint splotches.

Below: two of the final images from the page before (Theo’s original sketches) and after (the bitmap images that I placed in InDesign)

Flip Through the Whole book Below

theo bertz sketches book 1/3

touch plate on uncoated stock 3/3

wayfinding 1/3

touch plate on uncoated stock 1/3

photoshop’s layers and masks

theo bertz sketches book 3/3

back to health integrative health

theo bertz sketches book 2/3

wayfinding 3/3

touch plate on uncoated stock 2/3

wayfinding 2/3

restifo plastic surgery folder

Jump to GBD Works Start Page