Post pobrano z: What is Beauty?
Post pobrano z: What is Beauty?
Post pobrano z: Punanimation Directory
Post pobrano z: Transparency and a financial year in review with Zack Lovatt
In this Motionographer Guest Post, we’re thrilled to bring you some financial insight from LA-based tool developer and technical director, Zack Lovatt.
Post pobrano z: How to Create a Dark-Themed Fashion Image in Adobe Photoshop
Today we will be exploring the darker side of fashion by creating a latex-clad spider woman! We will create our own spider-web brush using simple shapes, create our own bead detailing from scratch, and use textures to add both depth and detail.
Hopefully, you aren’t afraid of spiders because here we go!
Here are the resources we will be using:
Find more high-quality resources on Envato Elements!
To start, we will be creating a background for our subject. A dark and dusty environment sounds fitting for a spider, don’t you think?
Let’s create a New 2287 x 3440 px Canvas.
Create a Color Fill Layer and fill it with a very dark blue
Place texture „07” from the Dust and Hair Particles texture pack so that it is flipped vertically and the exact size of our canvas.
To increase the contrast, go to Image > Adjustments > Brightness/Contrast. Settings: Contrast: 63
Set the texture to Screen with a 73% Opacity.
Create a New Layer and set it to Overlay.
Using a very large, soft round Brush, paint black on both the bottom and the left side of the canvas.
Create another New Layer and, with the same brush as before, paint white on the middle and top portion of the canvas.
To finish up the background, we are going to add some simplified spider webs. These aren’t our main spider webs, just some extra background detail, so don’t overthink them!
Create a New Layer.
Using a hard 1-2 px Brush, paint white strings coming from all four corners of the canvas, painting in a large „swooping” motion.
Group all of the background layers together, naming it „Background.”
Next up, we are going to place our subject in its newly created environment!
First, we are going to extract our subject, which is our Woman in Black Latex.
As the subject has no difficult cloth, clothing or hair to extract, feel free to use whichever method you prefer! I personally favor the Pen Tool.
Resize and place the subject so that she is roughly in the same position as you see below, directly in the middle of our canvas.
Add an Inner Shadow Layer Style to the subject. Settings:
Now, we will be changing our subject’s lipstick to a dark black color.
Create and clip a Black to White Gradient Map Layer into our subject. Click on the Layer Mask and hit Control-I to invert it, turning it black.
Using a medium, hard round Brush, paint white over the top of the lips to mask back in the black and white gradient map.
Create and clip a Brightness/Contrast Layer into the subject. Settings: Brightness -83 and Contrast 23.
Copy the gradient map’s layer mask onto the Brightness/Contrast Layer to darken the lips.
Now, let’s extract our Round Wood Mirror Frame. Again, use your preferred method! I used the Magic Wand Tool since the image is on a nice, crisp, white background.
Place the frame directly behind the subject.
Create and clip a Gradient Map into the wooden frame. Settings:
Add an Inner Shadow Layer Style to the now black frame. Settings:
Group all of the main subject and frame layers together, naming it „Model”. We will be using this group to help make our shadows.
Duplicate the „Model” group and Right-Click > Merge Group.
Go to Image > Adjustments > Hue/Saturation. Settings: Lightness -100.
Add some blur to the shadow by going to Filter > Blur > Gaussian Blur. Settings: 50 px.
Move and morph the shadow up and to the left using the Warp Mode in the Free Transform Tool.
Now on to the mood lighting! Usually, I would save this for the end, but the color change is so drastic in this image that I think it’s worth doing it sooner.
Do note that this group of layers will always be above all other layers. All layers from here on out will be located under these five adjustment layers.
1. Color Lookup Layer: (3dLUT) FoggyNight at 60% Opacity
2. Color Lookup Layer: (3dLUT) Moonlight at 47% Opacity. Blend If: Hold Alt to separate and move toggles.
3. Color Lookup Layer: (3dLUT) Kodak 5205 at 70%
4. Selective Color: (Reds) Cyan -100, Magenta +56 and Yellow +63
5. Curves Layer:
Group all of the adjustment layers together and name the group „CC” or „Color Correction.”
Now, there are plenty of premade spider-web brushes and textures; however, they are so fun to paint by hand! So we are going to create our very own brush from scratch.
For the base of our brush, we will be creating a water droplet shape. Create a New 300 x 300 px Document. Make sure the background is white.
Using the Ellipse Tool, create a black 45 x 45 px circle with an 80% Opacity and a 40% Fill.
Add a black Inner Glow Layer Style. Settings:
Next, add a black Inner Shadow. Settings:
Create a New Layer above the circle. Using a small, soft round Brush, paint a crescent moon shape on the upper-left part of the circle.
Merge the layers together and give the merged layer a very slight Filter > Blur > Gaussian Blur. Settings: Amount 1 px.
That was just so our brush isn’t too sharp. Very few things in the world have a hard, crisp edge, so don’t be afraid to blur things a bit!
Crop the canvas down so that it is the exact size of our droplet.
Go to Edit > Define Brush Preset, naming the brush „droplet.”
Now that we have our brush made, we need to set up its settings. Open up the Brush panel and select our new brush.
Open up the Brush Settings panel. Settings:
Hit the Create New Brush button in the lower right-hand corner of the Brush Settings panel in order to save a new brush with these settings.
If we didn’t do this, we would have to redo the brush settings every time we selected this brush.
Finally, we get to use our brush! Create a New Layer below our „Model” group.
Select our new brush and set the Size to 15 px. However, keep in mind we will be changing the size as we paint our webs.
Paint strands of white web in a swooping motion. If your lines are shaky, try increasing the brush’s Smoothing to 30–50%. This will help keep your lines steady. Just paint slowly if you are using a mouse.
Make some strands slightly thicker than others, and use a large, soft round Brush to erase some of the edges of the strands to create a tapering effect.
Create a New Layer and paint smaller webs towards the bottom of the subject and top of the frame. Make these strands less prominent than the ones around the head of the subject.
Duplicate the web layers to increase their brightness. Just erase any part of the webs you don’t want to be brightened.
Group all of the web layers together, naming the group „Webs.”
Next, we will be designing an abstract version of spider eyes with the use of self-made beads and a nifty face-painting technique that can be used in multiple different ways in any color you may need!
First, we will be adding a layer of face paint to our subject’s face. Create a New Group and add a Layer Mask to it. Name the group „Face Paint.”
Hit Control-I to Invert the mask.
Create a selection around the subject’s face similar to what you see below. I used the Pen Tool, but you can use whichever way you feel most comfortable with!
Fill in the selection with white. Create a Black to White Gradient Map and place it into the group. The group’s mask will act as a layer mask for all adjustment layers that are placed within it.
Create a Brightness/Contrast Layer, also placing it into the group, above the gradient map. Settings: Brightness -116 and Contrast 65.
Create a Color Balance Layer, placing it above both the B/C and gradient map layers. Settings: Red +46, Green -25, Blue -34.
Using a soft round Brush, mask out the eyes, using the group mask.
Now, we will be creating our „spider eye” beads. Create a black circle using the Ellipse Tool.
Create a New Layer and clip it into the black circle.
Using a small, soft round Brush with a 5% Flow, paint a white crescent moon shape onto the right side of the bead.
Build up the white slowly and concentrate the white in the middle of the curve of the moon shape.
Add a small white radial gradient shape, using a slightly bigger brush size, over the moon shape as well.
Duplicate the black circle and smush it down horizontally, bringing it to the bottom of our bead.
Bring the Opacity down to 30% to create the bead’s shadow.
Group all three bead layers together into a group and name it „Bead.”
Duplicate the group and Right Click > Merge Group.
Place the beads all over the upper face. You can do it similarly to how I have done it, or create your own pattern!
Place beads behind our subject, onto the spider webs, as well.
Group all of the copied bead layers, of which there will be quite a few, naming the group „Beads Copies.”
Create some highlights using either an Overlay Layer or a Curves Adjustment Layer.
We are in the final stretch! We just have a couple more dust and web details to add, bringing her dark and dusty environment to life.
Place another copy of the „07” texture from the dust texture pack right below our „CC” group, again flipping it vertically.
Set the texture to Screen.
Go to Filter > Blur > Shape Blur and set the settings to what you see below:
Enlarge the texture so that the dust particles look closer and out of focus.
Using the Line Tool, create a few diagonal lines coming from the bottom-right corner of the canvas.
Make them slightly random, not perfectly side by side.
Add a Filter > Blur > Motion Blur. Settings: -72 Angle and 85 Distance.
This will give the lines a nice out-of-focus effect. Experiment with different blur filters! I tend to prefer a shape or motion blur to make objects look out of focus rather than a Gaussian blur, for instance.
Group these two new layers together, naming the group „Details.”
Sometimes making our own resources seems daunting, but it can be as easy as combining some simple shapes and stringing them together! Learning how to use basic tools, instead of solely relying on premade resources, gives you the ability to create without restriction.
It’s not about how many resources you have, but instead how well you know your base set of tools with which you can create those resources yourself.
And as always, share your art down below, along with any comments or questions!
Post pobrano z: Same (art) directions / Carton jaune! (sur fond rouge)
Mc Donald’s “90 m” – 2015
Source : Czech ADC Bronze
Agency : DDB (Czech Republic)
Mc Donald’s “on your left” – 2018
Source : Coloribus
Agency : Cossette Toronto (Canada)
Post pobrano z: Typography trends to look out for this year
The internet is constantly changing and evolving. As a result, it is important to stay dynamic. As a graphic designer, you’ll know that trends change and what works well and converts for your clients one month will be different the next. We need to be aware of the trends that are emerging, and those that are fading out. This is especially true with typography because it often forms the basis of our projects.
It’s helpful to know that typography trends don’t simply emerge out of nowhere. Instead, they slowly grow, flowing through the different design niches. Eventually, as they become more and more popular, these trends reach the mainstream. This is why in order to predict the big trends of 2018, it is helpful to look at the growing influences which shaped 2017.
Some of these trends are exciting and will bring changes into the design industry. As we’ve become familiar with the trends of the past few years, something new can only bring vitality.
Let’s take a look at the trends emerging for this year!
After the cleanly lined minimalism of the past couple of years, it’s time for serifs! Serifs are warm and retro, bringing up images of the 1970s. This offers up an alternative to the commonly used Helvetica, which has dominated the digital design market.
Minimalism has dominated the design field over the last couple of years. However, the trend is moving to chaotic designs which offer broken elements and juxtapositions. Although this may seem confusing or even overwhelming, it actually engages the viewer.
Using typography in this way offers a sense of creativity, creating interest for the viewer. Viewers often spend a great deal of time exploring these unconventional sites, which results in a higher conversion rate.
Overlays and cutouts are beginning to emerge as a new trend which hasn’t taken over 2018 yet. These trends are bright and vibrant, offering a unique approach to web design.
Designers are using animation, striking photography or parallax backgrounds. Sometimes these vivid images overlay the text. Other times they are used in the background. After the flat design trend of recent years, this new method of working brings the site alive.
This new trend is reminiscent of the schoolroom. Designers are using colored fonts or underlying specific words in order to draw attention to a message. This technique is currently being used in both headlines and body text. Many sites are starting to use typography to catch viewer’s attention.
In the past, designers have often used striking illustrations to call attention to a message. The new trend is to use different typographic techniques. This new trick draws on a sense of nostalgia and is rapidly emerging as a popular choice.
In the past, designers had a couple of choices when it came to fonts. We could make our fonts bold or italic or keep them light.
Now though, there is a range of different options which enable us to add weight to a page. Fonts can now be given different weights and axes. This allows us to customize our pages, bringing a unique and creative edge to our designs.
The creative touch of hand-drawn lettering returns again and again to our web designs. This unique approach to design is expanding from simple handwriting into hand-drawn letters. Hand drawn fonts are being offered as a unique option for headers and logos.
When thinking of the popularity of Disney, Coca-Cola or the New York Times, it’s easy to see how a well-designed font can bring identity to a brand. This one of a kind creation is shaping a new trend in typography.
This is especially relevant with all the Arabic fonts that you see in the media lately and their hand drawn style.
Gradients have been an emerging web trend in recent years. This movement was made popular by Instagram, which incorporated a gradient into their logo background. The design community cheered, and gradients became a new trend.
However, this trend is no longer limited to backgrounds. Designers are beginning to use gradients within the lettering itself. This is a new trend which is emerging for 2018. Using gradient in lettering depends on the size of the font you use. It can be used to create a 3D effect, or more simply add a sense of style or flair to typography.
Background gradients are changing too and moving towards color transitions rather than simple shading. Combining gradients in background and typography will keep you on top of the trend for 2018.
This trend is all about creating a bold and attention-grabbing font which is large and shouts out to viewers. This trend offers something new when compared to the subtle use of the font in recent years.
However, it still doesn’t turn its back on the minimalist trend. The style is still clean-lined and the page remains uncluttered. This trend is the new maximalist – minimalist step for webpage design.
This new trend can be very effective when done well. It sounds counter-intuitive, but designers are now starting to hide some of their content, while still keeping the page legible and easy to read. This trend is all about cutting out letters (or parts of letters) while ensuring your viewer can still read or scan the content.
This trend can be hard to master. If used badly, it can prevent your viewer from reading your content. It can also make your site look neglected and very unattractive. However, when used well, it is a creative way to add interest to your site. And it just works.
Kerning creates spaces between lettering that makes your page easy to read. Traditionally, kerning makes the spacing between letters uniform and adds symmetry to your page. However, new trends are shaking this up. More space is being added between letters to create a clean and open feeling on the page.
This new technique widens the distance between letters in order to create an easy, relaxed feeling to your site. As a result, viewers often remain engaged and spend a leisurely amount of time on your site.
This is a new, modern typeface which is starting to emerge across the web. Totally clean-lined and without serifs, geometric fonts are useful for sites which focus on science, technology, and engineering. This font uses single lines and rounded circles to create a futuristic feel.
This font style adds sophistication to a website. Legible and easy to digest, this is a popular choice for logos and headers. It can also be used for business cards. 2018 presents the opportunity for geometric fonts to move into mainstream design.
Handwritten fonts give a personal touch to a site. These fonts are taking on new elements in 2018 however. Instead of simply representing a handwritten script, they are now incorporating the appearance of brush strokes. Although still personal and unique, these fonts evoke memories of sign writing.
Handwritten scripts range from offering feminine flourish to masculine scrawl. We can see this trend feature strongly in 2018. Movie posters, invitations, business cards and logo design will all incorporate this unique look
Watercolor has been emerging as a recent web trend. Recently, however, it has been incorporated into the new movement towards handwritten fonts. Typography now gives the appearance of being written using watercolor paint.
Although this font doesn’t bring an edge to your site, it does have feminine flourish. Watercolor offers a unique and personal touch which brings sophistication to your designs.
The world of fonts is changing at such a rapid rate. As designers, there is a wider range of fonts to choose from and multiple ways to bring them to life on a site.
By pushing the boundaries, designers are able to create new and interesting works of art which shape future choices. As new trends emerge there are many new opportunities to explore and develop the typography we use and the way we incorporate it into our designs.
Post pobrano z: Freebie: inDesign template of a 10 pages corporate brochure
Thanks to the excellent work of the graphic designers at Elegantflyer.com, we are able to share with our readers a gorgeous inDesign template for a 10 pages corporate brochure. You can preview it on the above and below pictures, and download it on the button at the end of this article.
On top of being free, this InDesign brochure template has great features:
Make sure to get your copy by clicking on the button below!
Post pobrano z: The most entertaining nutcracker you’ll ever see
Looking at this Nutcracker, most designers would probably tell you that it’s oversized, not convenient or functional. In short, they may find it entertaining, but not well designed.
However, a design isn’t only about form and function, it’s also about fun. Thought and designed by Georg Kloeck, a designer based in Eindhoven, this Nutcracker is also an entertainment device that brings back the fun in a mostly tedious task.
Post pobrano z: Designing with retro colors: showcase and tips
Trends often emerge from a collective feeling or mood, which is captured by designers in different fields. Retro color pallets, made popular through the emergence of photo filters, is an example of how old-world charm is being reborn into web design.
Designers have always kept an eye on the past, and every twenty or so years, trends return in updated form.
If you’re thinking of retro, imagine a mood board filled with a faded photo from your childhood, an image from a television program which takes you back in time, a vintage dress, architecture, an old album cover, and multiple other images from the last century.
Retro colors come in a variety of hues but tend to be more muted. They don’t draw from primary colors, but range from neutrals such as creams, and yellowed browns, to blues, sage green, teal, and art deco style pastels such as peach or pale pink.
Color influences range from the 1920s to the 1980s. As time passed, colors became brighter. However, the large time range gives designers a huge variety of influences to draw from.
Retro templates are becoming increasingly popular in website design. These templates are characterized by iconic imagery from a particular time period, vivid graphics, and muted colors. This popular trend is emerging, not only in website design but in paintings, adverts and in fashion, home decor and color pallet choices.
Retro is about giving space to the past, whether by using funky seventies psychedelics, the oversized light fixtures popular in the sixties, or mid-century style chairs, retro is back in a big way. Texture is often used to provide a gritty feel, mimicking popular printing techniques of the time.
You can even see it in sites that use a style similar to the soviet propaganda, with the Russian fonts included, of course.
A retro style creates unity, transcending age, taste, and culture. A retro style website will be accepted by people from different countries.
This is because it focuses on iconic images or elements of pop culture that has loyal followers throughout the world. Retro is an indication of globalization, and it presents in a playful way, with color schemes that are muted but never dull.
Retro tunes into nostalgia, and the belief that in times gone by, products were better quality. Trying to extract the best out of the past, while leaving behind bad memories offers up a new appreciation of old style design.
Retro design is an attempt to bring this sense of nostalgia to life. Creating the perception of value helps to bring visitors, while modern design elements create interest, encouraging customers to return. In this way, retro design offers the best of both worlds, an old feel style with modern imagination.
Retro style design encourages both the imagery and feelings associated with a world gone by. Using color is a great easy way to make a design stand out. It is often helpful to pick an era. The muted colors of vintage design are often juxtaposed with a strong hue in order to add contrast and interest to your design.
Retro design is associated with the nostalgia of the past, a time when life was simple, hedges were green, wild spaces flourished and streets were safe. The design aims to recreate these memories.
There are several different approaches or themes used to do this. Some designers use images of old cars, well known or iconic products, or old photographs. Early versions of electronic devices may also create a retro look.
Some might focus on the optimism of the 50’s, while others look at a celebration of 60s space travel, and the feeling of extended boundaries and new possibilities.
Retro color schemes can be complicated to create as they use a lot of vintage or cream colors, which can be tricky to use in print.
On a website, however, they do stand out. These colors are contrasted with brighter hues. Background colors are normally desaturated.
Hues are muted, but often look as though they have been mixed with a touch of black, or grey when compared to the brightness of pastels.
In times gone by, artists or designers often used simple shapes in order to create a big impact. Retro design often focuses on these simple shapes.
Varying sizes of circles are often used. Sometimes designers may also add floral patterns. Bright colors are often used to draw attention to these images.
Texture is often used in vintage design to draw back to old printing techniques of a time gone by. Textures often seem rigid, gritty, grainy or tough. Imagine images of rough cardboard, gritty paper or a chalkboard.
Imagery might include faded areas, as though depicting a comfortable, worn-in item of clothing. There may also be ‘rough’ patches, or an asymmetrical area within the texture, as though a background or figure has been handmade. These effects often appear to be random, and ‘worn in’ rather than carefully designed.
While creating texture, consider color as well. Many designers using background texture use a bold color so that contrasts are clear and noticeable rather than simply background noise.
When creating texture, the goal is to be subtle, so that the effect appears natural or genuine. The goal is to create depth, without too much repetition, so that the background has the appearance of natural wear.
Typography has always played a crucial role in creating a retro design. It is not just choice of a font that will make a difference, but how this font is used. Designers wishing to create a retro look might reposition a font, duplicating pixel strokes for added texture and a unique element to their designs.
Typography is just as important as color in creating a retro design. Adding the correct font will create a coherent feel to your designs. Retro color palettes look great with fonts which have an old-style feel, such as period lettering.
Alternatively, you could use a curvy font. Choose a font which fits in with the era you are recreating. This way, you can add a feel of age and even texture to your design. Think of the handmade poster style designs of the 80’s, or the lettering used in old movie posters. Art Deco style fonts, or cursive inspired brush stroke lettering, or even laser styled neon writing.
Borders add an interesting touch to a vintage design and can be used for framing photos or images, highlighting content or may create focal areas.
They may be created out of ornamental designs or have matching colors. From art deco style borders to a border which takes the shape of worn paper, there are many options to choose from.
If you would like to create a vintage feel to your design without the full-blown effect of a retro template, this is possible too.
Add small elements of vintage style such as an iconic image, banners, fonts or borders. Alternatively, you could focus on a font, taking the viewer back to a particular era. You could also grab attention by focusing on using a vintage color palette for imagery or lettering.
Creating retro web designs is an attempt to bring back the nostalgia for a time gone by. The designer uses tools or techniques from an era gone by and blends this with new services or modern touches in order to create a retro effect.
Retro designs, borders, textures, and colors add interest and fun to a project. Experiment with a variety of color pallets, choosing those which are muted and less saturated, in order to create an authentic look. Remember that typefaces should connect to the era that you are representing. This will help you to achieve your overall look.
Retro design is a fun trend which adds interest, atmosphere, and emotion to projects. While some of the styles may seem as though they would be a lot of work, the end result is a style which grabs your attention and brings an atmospheric element to a design.
When working on a retro design, remember to combine color, texture, and type, so that you end up with a project which takes you back in time.
Post pobrano z: A Better Sketch File, a Better Designer, a Better You
I’ve been thinking about this post by Isabel Lee for the last couple of weeks — it’s all about how we should be more considerate when making designs in Sketch. They argue that we’re more likely to see real efficiency and organizational improvements in our work if we name our layers, artboards, and pages properly. Isabel writes:
Keeping a super organized Sketch file has helped me smooth out my design process and saved me time when I was trying to find a specific component or understand an archived design. For instance, I was looking for an icon that I used six months ago and it was (relatively) easy to find because all my artboards and layers were well-named and grouped reverse-chronologically. I was also able to cross-reference it with my meeting notes from around that time. If I hadn’t done any of that work (thanks Past Isabel!), I probably would’ve had to dig through all my old designs and look at each layer. Or worse — I would’ve had to recreate that icon.
Since I read this I’ve been doing the same thing and effectively making “daily commits” with the naming of my pages and it’s been genuinely helpful when looking back through work that I’ve forgotten about. But what I really like about this tidy-up process is how Isabel describes the way in which they could easily look back on their work, identify weaknesses in their design process, and how to become a better designer:
Aside from making it easier to find things, it’s also helped me cultivate good documentation habits when I want to analyze my old work and see where I could’ve made improvements. I revisited one of my old Sketch files and realized that I didn’t do enough research before diving into a million iterations for an initial idea I had.
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