Thursday, April 3, 2008
Web Interface Design
Labels: Web Graphics
Interface Skin and Bone
You first need to create your base or orignal pattern. Once you have the original pattern you then load a selection on the orignal pattern, expand the selection by 2 pixels (amount will vary depending on the size of the orig. pattern).
Create a new layer then fill the selection with a temporary color like white. This will create the second pattern that will be our interface skin.
Apply your effects for both patterns. Remember the original pattern will be the interface bone so only parts of that pattern will be seen.
I used the aqua affect for my interface bone (fig. 02a) and the 3D bevel effect (fig. 02b) for my interface skin.
Make sure the position of the elements and that the order of layers stay the same with the interface skin appearing on top of the interface bone layer.
We then cut out sections of the interface skin to expose the layer containing our interface bone. Use the elliptical marquee tool and position it over some areas of our interface skin layer. Hit the delete key to expose some sections of the interface bone layer.
Repeat the process until you are satisfied with the amount of bone layer exposed.
We will then apply a slice effect on the edges on the cut outs we made on step 3.
Use the elliptical marquee tool to select one of the edges of the interface skin made by the cut outs (fig. 04a). Make sure you have a small portion of the edge selected with the marquee tool.
Copy the contents of the selection and paste it on a new layer.
Load a selection on the chipped off edge and apply a vertical linear gradient (fig. 04b). The colors for the gradient will be the lighter and darker shade of the base color of the interface skin. I used black and white for the gradient since my base color is dark grey. Once you're done with the gradient move the chipped off edges back to there original position (fig. 04c).
Repeat the process for the other edges of the interface skin
Double click on the layer thumbnail then add a 1 pixel black stroke around the interface skin layer using layer styles and add a drop shadow to complete the tutorial. Read More...
Labels: Interface Design
Photoshop Brush Site Spotlight — Seishido Photoshop Brushes
Brushset Pointed Out: This is one of those sets that everyone has a different use for. To me the brushes look like sea plants and faerie wings, but they can also be used as feathers, or just whatever would look cute with these brushes on.
Labels: Brushes
Create a Stone Texture
Next go to Filter > Render > Clouds (You can press Crtl + F to get different variations of the clouds)
Next go to Filter > Render > Difference Clouds
Then go to Filter > Noise > Add Noise. The settings should be the same as before.
Next go to Filter > Fade Add Noise 48%
Lastly go to Filter > Render > Different Clouds. Keep pressing Ctrl + F until the channel is = black and white.
Now it’s time to go back to the layers menu. Select the layer from before and go to Filter > Render > Lighting Effects. I used the settings…
Intensity > 60
Focus > 70
Gloss > -100
Material > 48
Exposure > -6
Ambience > 4
Next go to Image > Adjust > Brightness/Contrast and put the Brightness at + 10 and the Contrast at +12
STEP 2 (Texture 2)
Open a new document 500 by 500
Go to Filter > Render > Clouds. (You get to decide the colors, but keep in mind if you want it to look realistic pick colors that could actually occur in a rock. They can be blue and purple, but don’t make it neon colors. Remember to make everything in proportion.)
Next go to Filter > Artistic > Plastic Wrap. Use the settings “Highlight Strength 2, Detail 15, Smoothness 14”
This is approximately what you should have so far
Next go Filter > Texture > Craquelure and apply the settings from the picture below.
Combine the plastic wrap and craquelure layers. Once again go to Craquelure filter and apply the settings “Crack Spacing 88, Crack Depth 1, and Crack Brightness 4.
STEP 3 (Stone)
Copy the merged layers from the second texture we made. Paste it on top of our first texture and put the opacity down to 60 %. Hear is my final product...
Labels: Textures and Patterns
Enhance The Rays Of Light In Your Photo
Astoria, Oregon
Labels: Photo Retouch
Repair Photo Colors By Adjusting Levels
Step 2 - Open your new photo and grab your Magnetic Lasso Tool from your left tool bar. When you right click on the Lasso tool, you have options to choose this.
Umatilla Park - Oregon
Step 4 - Next, after you Lasso it, you want to click Image>Adjustments>Levels
Step 5 - Make sure your channel is set to RGB
Step 6 - I set the input levels to 0, 0.32, 255 in this example.
Step 7 - I set the output levels to 0, 255 in this example.
Step 8 - Now you can save the image. Since you used the Magnetic Lasso, only what you lassoed will be changed when you make your adjustmensts.
Labels: Photo Retouch
Red Eye Reduction
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Labels: Tutor
Trapping
Labels: Color
Grayscale Workflows
When designing for a standard priced CD booklet, one full side (outside) will be quoted out as color while the other side (inside) is black and white or grayscale.
- 4 over 1 booklet
- 4 over 1 traycard
You can pay extra to get color on all sides of your booklet, but for this section of the tutorial we will assume you need standard B&W artwork or grayscale images for the inside of the folder. This standard configuration is called 4 over 1 printing. 4 being the CMYK color and 1 being grayscale using black ink.
Grayscale Definition:
RGB Grayscale mode uses up to 256 shades of gray. Every pixel of an RGB Photoshop grayscale image has a brightness value ranging from 0 (black) to 255 (white). Grayscale values for printing CMYK CDs and Booklets will be measured as percentages of black ink coverage (0% is equal to white, 100% to black). Gray spot colors are available with such names as "cool gray" so be aware that these still constitute a "spot color" which costs extra if used on any paper parts.
- Any image can be converted to grayscale. (Provided it opens in Photoshop)
- To convert a color image to a high-quality grayscale image, Photoshop discards all color information in the original image. The gray levels (shades) of the converted pixels represent the luminosity of the original pixels.
- You can mix information from the color channels to create a custom grayscale channel by using the Channel Mixer command.
What about stapled booklets?
Just like folders, booklets are also classified as 4 over 1 or 4 over 4. The outermost covers, say pages 1 and 8 on an 8 page stapled booklet would typically be colored while all inside pages, 2 through 7, would be B&W or grayscale.
Labels: Color
CMYK Workflows
Photoshop: Your scanner almost certainly generates RGB information. Don't worry, that's how it's supposed to work. In fact, you should leave your color files in RGB mode until you need to finalize your project, or until you need to know CMYK ink values so you can match colors in another program. While you are working you can check how your files are going to look by turning on the "CMYK preview" mode.
Don't make repeated changes between RGB and CMYK mode, using the mode menu. Every time you switch, a little clarity is lost. One switch is no problem; 20 switches makes a difference.
You may ask, why not simply switch to CMYK mode as soon as possible?
- RGB files are 25% smaller and therefore 25% faster to work with and easier to store.The SWOP CMYK gamut is pretty small. If you ever want to reproduce those files for a different medium (such as the web), you'll have thrown away some potentially useful information.
- Some filters only work in RGB mode.
Quark Xpress: Familiarize yourself with the "Edit Colors" dialog box. Use only CMYK mode and ensure that the spot color checkbox is off. Make sure that you are in control of which colors should separate into CMYK by installing a post script printer and using the output tab in the Print dialog window. Be aware that Quark's ability to represent color accurately is, shall we say, less than ideal. (use a swatch book!) -Visit for additional help
InDesign: Use the Window, Color and verify that you are using CMYK colors.
Read More...Labels: Color
Spot Colors
- Pantone 285 is a blue ink that's mixed from the ingredients Reflex Blue (6 parts), Process Blue (2 parts) and Transparent White (8 parts). In most swatch books, you'll find that Pantone 285 appears more than once, as 285C and 285U. Pantone 285C is Pantone 285 printed on coated paper. Pantone 285U uses the exact same ink formula, but is printed on uncoated paper, resulting in a different apparent color. If your designing for the CD label face use the "C" version as it simulates more closely the shiny plastic of the CD surface. Note the use of the word 'closely'.
- Pantone numbers with a dash are not accepted. A Formula number is either 3 or 4 digits NO DASHES (eg: Pantone 185-7 is not available with our company)
- Always - unless you have been quoted for 4 color CMYK CD face printing.
- You want to guarantee the color tint for corporate logos.
- You need three or fewer colors and you will not be reproducing full color photographs.
- You want clarity in text and crisp lines.
- You want a metallic effect (fluorescent PMS colors not advised as they rapidly lose their luster).
- You want to guarantee the color tint for corporate logos
- You want a metallic effect (fluorescent PMS colors not advised as they rapidly lose their luster.
- You want amazing BRIGHT! colors on paper and have been quoted for PMS spot colors, and are willing to pay associated up-charges.
- When working on your any of your paper parts, unless you have been quoted.
- In Photoshop do not attempt spot colors unless you are very experienced and can work with Photoshop DCS files. Quark and InDesign templates can import DCS spot colors but expect additional up-charges for us to deal with them.
- Advanced users tip: if you rely on 3rd party plugins to deal with spot colors in your page layout program we will NOT have the plugins to deal with the file. Simple solution: work in CMYK mode then sub out colors. Eg: Black equals WHITE ink and Cyan equals PMS265.
Labels: Color
Gamut
RGB Gamut is larger than CMYK Gamut
Labels: Color
RGB vs. CMYK
Red, Green, and Blue are "additive colors". If we combine red, green and blue light you will get white light. This is the principal behind the T.V. set in your living room and the monitor you are staring at now.
Cyan, Magenta and Yellow are "subtractive colors". If we print cyan, magenta and yellow inks on white paper, they absorb the light shining on the page. Since our eyes receive no reflected light from the paper, we perceive black... in a perfect world!
In practice, printing subtractive inks may contain impurities that prevent them from absorbing light perfectly. They do a pretty good job with light colors, but when we add them all together, they produce a murky brown rather than black. In order to get decent dark colors, black ink is added in increasing proportions, as the color gets darker and darker. This is the "K" or "key" component in Cyan Magenta Yellow and blacK printing.
Additive color, or RGB mode, is optimized for display on computer monitors and peripherals, most notably scanning devices. The printing world operates in subtractive color, or CMYK mode.
- Rich black is the usage of all 4 process colors: Cyan, Magenta, Yellow and blacK together. 4 passes of ink building upon each other creates a deeper black than simply using one pass of black.
- Each color is expressed in a range from 0% to 100%, if you use 100% of each color that would equal 400% ink saturation which will overload the paper and cause the paper to wrinkle (like water painting) You should not exceed 300% total ink saturation.
One of the most common errors made by inexperienced graphic designers is submitting RGB files. As a result we must ask if they would like us to convert to CMYK before we send the files for film output. Most of the time, the color change that will occur is slight. However, every once in a while, the color range after conversion is compressed during the transition to CMYK mode resulting in a complete change in color tones. Be warned that there is absolutely no way to get that deep RGB blue using CMYK, no matter how much we want to.
Photoshop Solution:
Terms in brief:
CVC = computer video simulating coated paper
Labels: Color
How To Install & Use The Photoshop Frames & Borders Free Brush Set
This tutorial will walk you through installing and using the Frames & Borders Free Brush Set (zip/6.5MB) by Stephanie of Obsidian Dawn. It also includes tips on using specific brushes from the set to insure that they come out their best!
Extracting the ZIP file After downloading the brush set, place the ZIP file anywhere on your computer where it will be easily found, such as your desktop. Using your extraction utility of choice (Windows comes with one now - just double click on the file), extract the SS-frames.abr file into your Program Files > Adobe > Photoshop (whatever version you are using) > Presets > Brushes folder.
Loading the Brush Set Open Photoshop. If you already had it open just now, the brushes will not automatically show up until you close and re-open the program, so go ahead and do so now. To be sure that your tools palette is visible, click on "Window" in the top menu and make sure that "Tools" has a checkmark next to it. If it doesn't, click it. In your tools palette, click on the Brush tool.
Once you've done so, you'll see a small menu of brush tool options located just below the top menu. Right next to the thumbnail of the current brush that you have selected, there is a small down arrow. Click that to open the brush preset picker.
In this dropdown menu, you will see all of the brushes that are a part of your currently selected brush set. On the far upper right-hand corner, there is a small arrow. Click it.
You are now viewing, among other things, all of the brush sets that are installed on your computer. They are listed just below the section where you can "Save Brushes..." and "Replace Brushes..." etc. The name of this brush set is "SS-frames" so go ahead and look for that, then select it by clicking on it. Photoshop will ask you if you wish to "Replace current brushes with the brushes from SS-frames.abr?"
Click "OK," and now you should see some very different thumbnails in the brush preset picker. Those are the frames brushes! You've successfully loaded the brush set. If you don't see "SS-frames" among the listed brush sets available, then you didn't extract the ABR file into the right directory.
Using the Brushes
Using a Photoshop brush is as easy as clicking on your canvas with the brush selected. But these were made to frame images or photos, so there's a bit more to it than that. Let's start with a fresh canvas. Under the top menu, choose File > New. Make the width and height both 800 pixels, the resolution 72 pixels/inch (should be default), the color mode RGB, and the background contents white.
We need a photo to frame! So, on the top menu choose File > Open and find the photo that you would like to put a border around. Choose "Ok" once you've found it to open it within Photoshop. Under the top menu, choose Image > Image Size. If the width/height are below 600 pixels or so, you don't need to change anything. Just hit "Ok." If the photo is larger than that, however, we need to size it down just a bit. Change the width (or height, whichever is larger) to 600 pixels, and choose "Ok."
Now hit CTRL-A (Mac: Cmd-A) to "select all," then CTRL-C (Mac: Cmd-C) to copy. Now hit CTRL-Tab (Mac: Cmd-Tab) to switch back to the other file that we just made, and CTRL-V (Mac: Cmd-V) to paste. This should paste your photo into the middle of the white canvas that we created.
To frame this photo with one of the brushes from the frames set, we're going to want to ensure that this brush is on its own layer. To do that, under the top menu click Window and be sure that "Layers" has a checkmark next to it. If it doesn't, click on it.
Your layers palette should now look something like the image on the right.
the brush, click on the "Create a New Layer" button at the bottom of the layers palette. It is the icon that looks like a page with the lower left corner turned up, and should be just to the left of the garbage can icon. You can see my icon hovering over it in this screenshot.
By default, this layer should be called "Layer 3" or somesuch. But let's rename it. Right click on this new layer in the layers palette and choose "Layer Properties.." When Photoshop asks you to, name it "Brush" and hit "OK." While we're at it, let's name the layer with the photo on it, too. Right click on that layer and choose layer properties, then name it "Photo" and hit "Ok." We want to be working on our brush layer right now, however, so left click on that layer once to select it.On the tools palette, make sure that you still have the brush tool selected. Click on the small arrow to the right of the brush thumbnail, located just under the main menu at the top of the Photoshop window (just like we did earlier when we were loading the brushes). Look through the frames brushes and decide which one you'd like to use.
My photo is longer horizontally than vertically, so I chose one of the wider brushes that was made to fit a landscape photo. (Please note, most of these brushes will work just as well for horizontal or vertical photos - I will go on to explain later how you can rotate the brush to work for either.)
The brush that I am using is called "rope-square," and it is made to look like a rope. Once you have selected your brush, you need to find the right size. You can slide the arrow at the top of the brush preset picker window to the right or left, or you can click within the text box and enter a numeric value.
You want to make sure that the inner edge of the brush will cover the entire photo. To see your brush size in relation to your photo, while you are choosing brushes and sizes, you can hover your mouse over the photo and Photoshop will show you an outline of what area the brush will cover. See the outline of the brush below?
Once you've selected your brush size, you need to choose your color. For the brush itself, we're going to use black. Why? Well, most of the brushes in this pack will have some sort of transparent area, if you were to just click once on the canvas to frame the photo. We don't want any transparency, though. We don't want to see parts of the photo beneath the brush - not in most cases, anyway!
So we're going to have a layer where we apply the brush to frame the photo, and then we're going to have a layer beneath that adds any colors that we want to have, as well as taking away that transparency.
So, choose black as your foreground color on the bottom of your tools palette.
Move your mouse over the canvas until you're sure that the inner edge of the brush is covering the portion of the photo that you wish to frame, then left click once.
The frame that you chose should appear on the canvas. In the case of the rope border that I'm using, the brush is extremely transparent, as you can see. But the next step will fix that.
In the tools palette, choose the "Magic Wand Tool." It looks like the image on the left.
Make sure that your "Brush" layer is still active in your layers palette by left clicking on it. Back on the canvas, click in the middle of the border.
select the space in the middle of the frames brush. Holding SHIFT, click outside the border. By holding shift, you are adding to the current selection, so you should now have inside and outside of the frame selected. Everything but the frame itself, in other words. Like this.
In the top menu, click on Select > Inverse. Or, the shortcut for this is SHIFT-CTRL-I (Mac: Cmd-Shift-I). Now instead of having all of the area outside the frame selected, you have the frame itself selected.
We want to make sure that there's no color poking out around the edges of our brush, though, so let's click Select > Modify > Contract on the top menu, and choose 1 pixel. Hit "Ok." This changes our selection area so that it's smaller on all edges by 1 pixel.
On the tools palette, select the "Paint Bucket Tool." On the layers palette, click on the "Photo" layer. Click on the "Create a New Layer" button at the bottom of the layers palette again, just like we did earlier.
Now right click on this layer and choose "Layer Properties" - name it "Color" and click "OK." Your layers palette should now look something like the image on the right.
Using the color of your choosing (in this case, a nice medium brown), click within the selected area on the canvas. This should fill in the brush area with color and take away any transparency that there was previously. CTRL-D (Mac: Cmd-D) to deselect the area that you had previously selected, so you can get a better look at your border. You will still likely have areas of the photo that are poking out around the edges of the frame. Don't worry, we'll fix those next!
In the tools palette, select the "Magic Wand Tool" once again. Making sure that the "Colors" layer is active (click on it in the layers palette), click once somewhere in the middle of the border area. You should now have all of the space in the middle of the border selected, where the photo is.
On the top menu, click Select > Modify > Expand and choose 1 pixel. Now click SHIFT-CTRL-I (Mac: Cmd-Shift-I) to inverse the selection. In the layers palette, click on your "Photo" layer to select it. Hit DELETE to remove the edges of the photograph that are sticking out beyond the frame. CTRL-D (Mac: Cmd-D) to deselect.
Voila! You now have a border around your photo.
If you want to play around with how the border looks, you can change the Opacity of the Brush layer (in the layers palette, upper right) or change the Hue/Saturation of the Color layer (Image > Adjustments > Hue/Saturation). You can also apply various layer styles like a drop shadow, a color gradient, or a pattern to the "Color" layer (on the bottom of the layers palette, the "Add a Layer Style" button looks like an "f" inside a darker circle - that's where you'll find all these options).
If your color is still sticking out a bit from beneath the Brush layer, select the magic wand tool and click on the canvas somewhere within the colored area itself. Click SHIFT-CTRL-I (Mac: Cmd-Shift-I) to inverse the selection. Choose Select > Modify > Expand and choose 1 pixel. Then hit DELETE. CTRL-D (Mac: Cmd-D) to deselect and get a better look at it. Keep doing this until there is no more color sticking out, expanding by 1 pixel each time. You shouldn't even have to do it once, but each brush is different and this explains how to fix it "just in case."
Is the border that you want to use taller than it is wide and your photo is just the opposite? No problem! Most of these borders can be rotated and still work (except for the archway). Follow the steps exactly as they are written above, but just after you click once on the canvas to use the brush, click on Edit > Transform > 90° CW. Then continue on with the tutorial.
Tips for Particular Brushes
For most of the brushes in this pack, the above procedure is perfect for framing photos. There are a few brushes, however, that could use a bit of extra explanation.
Some of the borders are pure black, with no gradients of gray in them. With these borders, feel free to use the brush in whatever color you want, without needing a "Color" layer beneath it.
Brushes that are like this: decorative1, decorative3, decorative5, filmstrip, grunge1, grunge2, stamp.
You can see an example to the right. This is the "stamp" brush.
Some brushes - like the celtic brush - have "holes" or transparent areas in them. You may not want to create a solid "Color" layer, since it would show through these small holes. Instead of using the paint bucket tool, you may want to duplicate the "Brush" layer (right click on the "Brush" layer and choose "Duplicate Layer"), CTRL-E (Mac: Cmd-E) to merge that layer down, and then apply a color overlay to that layer (on the layers palette, click on the "Add a Layer Style" button - it looks like a cursive "f" inside a dark circle - and then choose "Color Overlay").
Another idea for how to deal with these kinds of brushes: you could make it so that the photo shows through the holes, instead of the background. To do this, you'll want to do away with the "Color" layer once again. Use the brush in whatever color you'd like, instead of black. Then, when it comes time to delete the edges of the photo, instead of selecting the inner portion of the frame, use the magic wand tool to select the outer portion of the frame. Expand it by 1-2 pixels by clicking on Select > Modify > Expand. Then select the Photo layer and hit DELETE. You'll end up with something like this.
Brushes with transparency/holes: Celtic, decorative1, decorative2, decorative3, decorative4, decorative4-inverse, decorative5, doily.
For the grunge brushes, the edges are far too uneven to use the above selection method to delete the edges of the photo. In the case of brushes grunge1 and grunge2, I would highly advise cropping the photo by hand.
Use the rectangle marquee tool to make a selection as close to the middle of the grunge border as you can, like I've done here. Once you've made your rectangle, CTRL-SHIFT-I (Mac: Cmd-Shift-I) to inverse the selection and then DELETE to remove the edges of the photo.
And last - but not least - we have the Polaroid brush. You could use the brush "Polaroid - white" to make a white border around a photo and then apply layer styles like drop shadow, bevel and emboss, etc. to make it look like a Polaroid. That's an option.
But if you'd like it to be more detailed than that, follow the course of this tutorial exactly, but use the "Polaroid - dark" brush to make your border. Then on your "Color" layer, make it white. See the level of detail on the border?
That's it! If you have any questions about this tutorial or how to use these brushes, please feel free to ask them at Stephanie's feedback and requests page.
If you are interested in downloading the image pack for these brushes, rather than the brushes themselves, you can find the Frames & Borders image pack here.
And of course, here's a link to the Frames & Borders Free Brush Set (zip/6.5MB). Below is a complete description of what you'll find inside. Have fun!
Labels: Brushes
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