Post pobrano z: Meeseeks Battle from “Rick and Morty”

Paul Robertson for “Rick and Morty” on [adult swim].
Hat tip to Carey Smith
Post pobrano z: Meeseeks Battle from “Rick and Morty”

Paul Robertson for “Rick and Morty” on [adult swim].
Hat tip to Carey Smith
Post pobrano z: Papercons
Bobby Grace, on the Dropbox Paper team:
On the engineering side, we use inline SVGs. These have many advantages. One advantage is that SVG is a well-structured format that we can manipulate with code. Paper is also using React and has a component for inserting icons.
They:
<SvgIcon /> React component. (Also see our article).They call it Papercons.
Now, whenever someone asks for an icon, we can just share a link to all the latest production icons. No more hunting, context switching, and long conversation threads.
Direct Link to Article — Permalink
Papercons is a post from CSS-Tricks
Post pobrano z: How to Create a Galaxy Text Effect in Adobe Photoshop

This tutorial will show you how to use a couple of layer styles, textures, and brush settings to create a bright, galaxy-inspired text effect. Let’s get started!
This text effect was inspired by the many Layer Styles available on GraphicRiver.
The following assets were used during the production of this tutorial:
Create a new 960 x 720 px document. Click the Create new fill or adjustment layer icon at the bottom of the Layers panel, choose Solid Color, and use the Color #0c0e22.

Go to File > Place Linked to open the Cosmos image. Resize it as needed, and rename its layer to Background Image.

Add a Hue/Saturation adjustment layer and change its Blend Mode to Color.
Change the Hue value to 23, and the Saturation to -45.

Create the text in All Caps using the font Bungee. Set the Size to 230 pt, and if you use more than one line of text, change the Leading value to 210.

Change the text layer’s Fill value to 0.

Duplicate the text layer twice.

Double-click the original text layer to apply the following layer style:
Add a Bevel and Emboss with these settings:
#47fcc7
Add a Contour with these settings:

Add a Stroke with these settings:

Add a Drop Shadow with these settings:

This will style the first text layer.

Double-click the first copy text layer to apply the following layer style:
Add a Bevel and Emboss with these settings:
#ef1d58#a81227
Add a Contour with these settings:

Add an Inner Shadow with these settings:
#b2b412
Add an Inner Glow with these settings:
#4c1061 to the left, #3e2b6a in the middle, and #504b71 to the right.
This will style the second text layer.

Double-click the second copy text layer to apply the following layer style:
Add a Bevel and Emboss with these settings:
#e3dc26#0eb483
Add a Contour with these settings:

Add an Inner Shadow with these settings:
#ab60f1
Add an Inner Glow with these settings:
#ff1d48
Add a Satin effect with these settings:
#ae8010
Add an Outer Glow with these settings:
#53abde
This will style the final text layer.

Right-click any text layer and choose Create Work Path.
Pick the Brush Tool and open the Brush panel (Window > Brush). It is important to do all the work inside the Brush panel, especially choosing the tips.

Pick a soft round tip, and use these settings under the Brush Tip Shape and Shape Dynamics tabs:

Create a new layer on top of all layers, call it Fade Stroke, and set the Foreground Color to #29ecee.
Hit the Return key once to stroke the work path. If you want a different result, you can change the Size of the tip, or the Fade value under the Shape Dynamics tab.

Change the Fade Stroke layer’s Blend Mode to Overlay.

Place the Stars texture on top of all layers, resize it as needed, rename its layer to Texture Stroke, and change its Blend Mode to Linear Dodge (Add).

Option-click the Add layer mask icon at the bottom of the Layers panel to add an inverted mask that hides the layer’s contents.

With the Brush Tool active, pick the Flat Angle 32px tip, and use these settings for the Brush Tip Shape and Shape Dynamics tabs:

Select the Texture Stroke layer’s thumbnail, set the Foreground Color to White, and pick the Direct Selection Tool (A).
Right-click the work path and choose Stroke Path. Set the Tool to Brush, check the Simulate Pressure box, and click OK.

We will repeat this step to stroke the rest of the textures in this tutorial, but with the Simulate Pressure box unchecked.

Command-click any text layer’s thumbnail to create a selection.

Make sure that the Texture Stroke layer’s thumbnail is still selected and that the Background Color is Black, and press Command-Backspace to fill the selection with Black.
Press Command-D to deselect.

Place the Galaxy image below the original text layer, resize it as needed, and rename its layer to BG Stroke 1.

Add an inverted mask to the BG Stroke 1 layer, and then place the layer in a group and call it BG Stroke.

Duplicate the BG Stroke 1 layer three times, and rename the copies to add the numbers 2, 3, and 4.

Pick the Brush Tool, choose the Erodible Point 9px tip, and use these settings:



Select the BG Stroke 2 layer mask’s thumbnail, and stroke the path using the Direct Selection Tool.
Make sure to uncheck the Simulate Pressure box for all the BG Stroke layers.

Change the settings of the same brush tip to get a different outcome, by unchecking the Shape Dynamics tab, and using these settings for the Brush Tip Shape and Scattering:

Use the modified tip to stroke the path on the BG Stroke 2 layer mask, and change the layer’s Blend Mode to Lighter Color.

Choose the Airbrush tip below, and use these Brush Tip Shape and Scattering settings:

Click the Create new brush icon in the bottom right corner of the Brush panel, set the Name to Dust Brush, and click OK.

Select the BG Stroke 3 layer mask’s thumbnail, stroke the work path with the Dust Brush tip, and change the layer’s Blend Mode to Color Dodge.

Change the Brush Tip Shape and Scattering settings of the same brush tip as below:

Stroke the work path on the BG Stroke 4 layer’s thumbnail, and change the layer’s Blend Mode to Color Dodge.
With the Direct Selection Tool active, hit the Return key to get rid of the work path.

Place one of the P-Series.Black-BG – C4D Set images on top of the Texture Stroke layer, resize it as needed, and change its layer’s Blend Mode to Screen.

Press Command-T to enter the Free Transform Mode, and click the Warp icon in the Options bar.
Click-drag the points and/or the sections to warp the light into a shape you like. When you’re done, hit the Return key to accept the changes.
You can also resize, rotate, and adjust the image while in the Free Transform Mode.

You can add a layer mask, and use a soft round brush tip, with the Foreground Color set to Black, to paint over any unwanted areas and hide them.

Add more images and warp them.
If the light’s background is visible, you can go to Image > Adjustments > Levels, click the Sample in image to set black point icon, and click the background area you want to make black.

Add as many images as needed, and place them anywhere you like.

Add a layer mask to the Background Image layer, pick the Brush Tool, choose the Dust Brush you saved earlier, and click-drag slightly in the center of the document to erase a part of the image’s center.

Add a Gradient Map on top of all layers, check the Dither box, and create the gradient fill using the Colors #5c3d69 to the left, #94516a in the middle, and #e8977a to the left.
Change the Gradient Map layer’s Blend Mode to Soft Light, and its Opacity to 30%.

Add a Color Lookup adjustment layer on top of all layers, and use the FoggyNight.3DL table from the 3DLUT File menu.

Press Command-A to select all, go to Edit > Copy Merged, and Edit > Paste Special > Paste in Place.
Rename the pasted layer to Overlay, and hide the Color Lookup layer.

Decrease the Overlay layer’s Opacity to a value you like.

In this tutorial, we used a simple texture for the background, and created a couple of text layers. Then, we styled the text layers to create the main effect.
After that, we used textures and brush settings to create a couple of stroke layers. Finally, we used adjustment layers to enhance the final result.
Please feel free to leave your comments, suggestions, and outcomes below.

Post pobrano z: Debugging Tips and Tricks
Writing code is only one small piece of being a developer. In order to be efficient and capable at our jobs, we must also excel at debugging. When I dedicate some time to learning new debugging skills, I often find I can move much quicker, and add more value to the teams I work on. I have a few tips and tricks I rely on pretty heavily and found that I give the same advice again and again during workshops, so here’s a compilation of some of them, as well as some from the community. We’ll start with some core tenants and then drill down to more specific examples.
Isolation is possibly the strongest core tenant in all of debugging. Our codebases can be sprawling, with different libraries, frameworks, and they can include many contributors, even people who aren’t working on the project anymore. Isolating the problem helps us slowly whittle away non-essential parts of the problem so that we can singularly focus on a solution.
Some of the benefits of isolation include, but are not limited to:
It’s very important to make the issue reproducible. Without being able to discern exactly what the issue is in a way where you can reproduce it, it’s very difficult to solve for it. This also allows you to compare it to working model that is similar so that you can see what changed or what is different between the two.
I have a lot of different methods of isolation in practice. One is to create a reduced test case on a local instance, or a private CodePen, or a JSBin. Another is to create breakpoints in the code so that I can see it execute bit by bit. There are a few ways to define breakpoints:
You can literally write debugger; inline in your code. You can see how this will fire small pieces at a time.
You can take this one step further in Chrome DevTools and even walk through the next events that are fired or choose specific event listeners:

Good 'ol console.log is a form of isolation. (Or echo in PHP, or print in python, etc…). You are taking one tiny piece of execution and testing your assumptions, or checking to see if something is altering. This is probably the most time-tested form of debugging, that no matter how advanced you become, still has it’s uses. Arrow functions in ES6 have allowed us to step up our console debugging game as well, as it’s now a lot easier to write useful one-liners in the console.
The console.table function is also a favorite tool of mine, especially great for when you have a lot of data you need to represent- large arrays, large objects and the like. The console.dir function is also a nice alternative. It will log an interactive listing of an object’s properties.

When I teach workshops and help students in my class, the number one thing that I find holds them back as they try to debug a problem is not being methodical enough. This is truly a tortoise-and-the-hare kind of situation. They understandably want to move quickly, so they change a ton of things at once, and then when something stops working, they don’t know which thing they changed is causing the error. Then, to debug, they change many things at once and get a little lost trying to figure out what is working and what isn’t.
We all do this to some extent. As we become more proficient with a tool, we can write more and more code without testing an assumption. But if you’re new to a syntax or technology, being slow and careful behooves you. You have a much better shot at backing out of an issue you might have inadvertently created for yourself. And indeed, once you have created an issue, debugging one thing at a time might seem slower, but exposes exactly what changes have happened and where the error lies in a way that a seemingly faster pace doesn’t allow. I say seemingly because the time isn’t actually recovered working this way.
Do you remember when you were a kid and your parents said, „if you get lost, stay where you are?” My parents did, at least. It’s because if they were moving around to find me and I was also moving around to find them, we’d have fewer chances of bumping into one another. Code works the same way. The less moving pieces you have, the better- the more you are returning consistent results, the easier it will be to track things down. So while you’re debugging, try not to also install anything, or put in new dependencies. If you see a different error every time you should be returning a static result, that’s a big red flag you should be headed right for with your sleuth hat on.
There are a million different tools for solving a variety of problems. I’m going to work through some of the tools I find the most useful and then we’ll link off to a bevy of resources.
Sure, it’s damn fun to pick out the new hotness in colors and flavors for your syntax highlighting theme, but spending some time thinking about clarity here matters. I often pick dark themes where a skip in syntax will turn all of my code a lighter color, I find errors are really easy to see right away. I tend to like Oceanic Next or Panda, but really, to each their own on this one. It’s important to keep in mind that when looking for a good syntax highlighter, awesome-looking is great, but functional for calling out your mistakes is most important, and it’s totally possible to do both.
Linting helps flag suspicious code and calls out errors we might have overlooked. Linting is incredibly important, but which linter you choose has so much to do with what language/framework you’re writing in, and then on top of that, what your agreed-upon code style is.
Different companies have different code styles and rules. Personally, I like AirBnB’s, but take care and don’t just use any old linter. Your linter enforces patterns that, if you yourself don’t want to enforce, can stall your build process. I had a CSS linter that complained whenever I wrote a browser hack, and ended up having to circumvent it so often that it stopped being useful. But a good linter can shine light on small errors you might have missed that are lurking.
Here are some resources:
Extensions can be really awesome because they can be enabled and disabled so readily, and they can work with really specific requirements. If you’re working with a particular library or framework, chances are, having their extension for DevTools enabled is going to give you all sorts of clarity that you can’t find otherwise. Take care though- not only can extensions bog a browser down, but they have permissions to execute scripts, so do a little homework into the extension author, ratings, and background. All that said, here are some of my favorites:
This is probably the most obvious of debugging tools, and there are so many things you can do with them. They can have so many packed-in features that can be easy to miss, so in the next section of specific tips, we’ll go into a deep dive of some favorites.
Umar Hansa has great materials for learning what the DevTools can do. He has a weekly newsletter and GIFs, a new course linked in the last section, and an article on our site.
One of my favorite recent ones is this CSS Tracker Enhancement, shown here with permission from Umar. This shows all of the unused CSS so that you can understand the performance impact.


I am always interested in what other people do to debug, so I asked the community through the CSS-Tricks account and my own what they were really into. This list is a mixture of tips I like as well as a roundup of tips from the community.
$('body').on('focusin', function() {
console.log(document.activeElement);
});
This logs the currently focused element, useful because opening the Devtools blurs the activeElement
We got quite a lot of responses saying that people put red borders on elements to see what they’re doing
@sarah_edo for CSS, I'll usually have a .debug class with a red border that I slap on troublesome elements.
— Jeremy Wagner (@malchata) March 15, 2017
I do this too, I even have a little CSS file that drops in some classes I can access for different colors easily.
@sarah_edo <pre>{JSON.stringify(this.state, null, 2)}</pre>
— MICHAEL JACKSON (@mjackson) March 15, 2017
Props to Michael, this is one of the most useful debugging tools I know of. That snippet „pretty prints” the state of the component you’re working with onto the component so that you can see what’s going on. You can validate that the state is working the way that you think it should be, and it helps track down any errors between the state and how you’re using it.
We got a lot of responses that said they slow the animation way down:
@sarah_edo @Real_CSS_Tricks * { animation-duration: 10s !important; }
— Thomas Fuchs (@thomasfuchs) March 15, 2017
I mentioned this on a post I wrote right here on CSS Tricks about debugging CSS Keyframe animations, there are more tips too, like how to hardware accelerate, or work with multiple transforms in different percentages.
I also slow down my animations in JavaScript- in GreenSock that would look like: timeline.timeScale(0.5) (you can slow down the whole timeline, not just one thing at a time, which is super useful), in mo.js that would look like {speed: 0.5}.
Val Head has a great screencast going through both chrome and firefox devtools offering on animation.
If you want to use the Chrome Devtools timeline to do performance audits, it’s worth mentioning that painting is the most expense of the tasks, so all things being equal, pay a little more attention to a high percentage of that green.
I tend to work on fast connections, so I will throttle my connection to check and see what the performance would look like for people who don’t have my internet speed.

This is also useful in conjunction with a hard reload, or with the cache empty
@sarah_edo Not so secret trick. But still many people are unaware. You need DevTools open, and then right click over the refresh button. pic.twitter.com/FdAfF9Xtxm
— David Corbacho (@dcorbacho) March 15, 2017
This one came from Chris. We have a whole writeup on it right here:
setTimeout(function() {
debugger;
}, 3000);
It’s similar to the debugger; tool I mentioned earlier, except you can put it in a setTimeout function and get even more fine-tuned information
@Real_CSS_Tricks And just in case any Mac users didn't know this, iOS simulator + Safari is sweet. pic.twitter.com/Uz4XO3e6uD
— Chris Coyier (@chriscoyier) March 15, 2017
I mentioned simulators with Eruda before. iOS users also get a pretty sweet simulator. I was going to tell you you have to install XCode first, but this tweet showed another way:
@chriscoyier @Real_CSS_Tricks Or, you can use this approach if you didn't want to bother with installing xCode: https://t.co/WtAnZNo718
— Chris Harrison (@cdharrison) March 15, 2017
Chrome also has a device toggle which is helpful.
@chriscoyier @Real_CSS_Tricks https://t.co/q3OfWKNlUo is a good tool.
— Gilles 💾⚽ (@gfra54) March 15, 2017
I actually didn’t know about this tool until seeing this tweet. Pretty useful!
Rachel Andrew gave a presentation at Smashing and mentioned a little waffle thing you can click on in Firefox that will illuminate the gutters in the grid. Her video explains it really eloquently.

Wes Bos with a really useful tip for searching for a single item in an array:
If you are just looking for a single item array.find() is 🔥 https://t.co/AuRtyFwnq7
— Wes Bos (@wesbos) March 15, 2017
Jon Kuperman has a Frontend Masters course that can help you master devtools it goes along with this app.
There’s a small course on code school called discover devtools.
Umar Hansa has a new online course called Modern DevTools.
Julia Evans has a great article about debugging here, hat tip to Jamison Dance for showing it to me.
Paul Irish does some advanced performance audits with devtools if you’re super nerdy like me and want to dig into the timeline.
Finally, I’ll put in a bittersweet resource. My friend James Golick who was an excellent programmer and even more excellent human gave this great conference talk about debugging anything many years ago. Sadly James has passed, but we can still honor his memory and learn from him:
Debugging Tips and Tricks is a post from CSS-Tricks
Post pobrano z: Strangers in the Woods Together
In the latest episode of ShopTalk, Robyn Kanner told a story of interviewing for a UX job that stuck with me.
They asked her to create a social app for mountain bikers. Talk out how the app might work, sketch out some flows, you know, UX work. Exactly what they were expecting and what I would have done. But then Robyn turned the table on them and asked what they are going to do about saftey. This app is going to allow strangers to connect and meet in the woods together, how can you ensure their safety?
Geez. Seems obvious after she says it, but at the outset of the question it didn’t seem so obvious. At least to a dude like me. As Mike Monterio put it, we’re both big dudes who don’t think twice about getting into a Lyft with strangers, but is top of mind for plenty of others. There are huge blind spots like this that affect our work.
Direct Link to Article — Permalink
Strangers in the Woods Together is a post from CSS-Tricks
Post pobrano z: Design deals for the week
Every week, we’ll give you an overview of the best deals for designers, make sure you don’t miss any by subscribing to our deals feed. You can also follow the recently launched website Type Deals if you are looking for free fonts or font deals.
Packed with 18 gorgeous fonts from 5 different font families for just over $1 each, this bundle comes with fonts with PUA encoded with thousands of glyphs as you would expect from the diverse and ultra-talented Laura Worthington.
$19 instead of $261 – Get it now!

Got your head in the clouds? Or rather, beyond it? Set your goals super high with this Sci-Fi Bundle that’s chock full of a variety of professional sci-fi themed resources. In one galactic Mighty Deal, you’ll snag space-themed fonts, backgrounds and logo templates, as well as an ultra cool, robust sci-fi themed UI kit.
$17 instead of $115 – Get it now!

With just a few simple clicks, you can easily whip up a photo-realistic mockup. With this fabulous Print Mockup Pack, you can quickly import your design into a scene and even play around with the shadow and reflection settings! You’ll get more than 125 high-quality mockups covering everything from hardcovers to top views of folded brochures.
$24 instead of $49 – Get it now!

Give your typeface toolbox a boost with this Mighty Deal from Kimmy Design. The Bourton Type Family is a massive layered and script typeface just bursting with variety. You’ll get more than 30 unique fonts in this family ranging from Base Layer to Drop Shadow Fonts, along with plenty of bonuses such as ornaments, frames, flags and even a set of customizable logos.
$17 instead of $99 – Get it now!

Add some blueprint realism to your work with this incredible Mighty Deal. The Complete Vector Blueprint Kit features every single thing you’ll need in order to put together the most realistic, perfect vector blueprint designs. You’ll get realistic grid blueprint patterns, Illustrator brushes, paper textures and even a bonus set of robot illustrations!
$9 instead of $19 – Get it now!

Post pobrano z: How to Draw Leather

Leather is a very durable and pretty material, and it’s been used widely from the earliest days of humankind. In this tutorial I will show you how to draw a beautiful, shiny leather dress and an old leather belt. You can use the techniques shown here for other objects as well, for example for a leather jacket or a piece of leather armor.

Take the HB pencil and gently sketch the body. You can use a drawing manikin as a reference for this.

Add the details of the body: breasts and belly.

Draw guide lines across the body to define its 3D form, and sketch the outline of the tight-fitting dress.

Draw „waves” in the places where the material creases and stretches. You can learn more about drawing folds from this tutorial:


Tilt your pencil and shade the side of the dress, leaving some place for a „shine band” in the middle.

Draw a darker seam across the dress—it will be an eye-catching detail breaking the smoothness of the material.

Shade the front of the dress as well. Leave a shine band on the side of the seam.

Take the blending stump and gently blend the shading, giving a soft edge to the shine in the process. Once the stump is dirtied with graphite, you can use it to „draw” some soft shade between the folds.

Take the 3B pencil and shade the side of the dress. Be careful around the creasing! Leave a tiny border between the shade and the outline, to create an area of reflected light here.

Blend it with the blending stump.

Shade and blend the rest of the side, leaving some space for the previous shade around the shine.

Darken the seam to adjust its shade to the current contrast.

Darken the front of the dress, leaving some space for a reflected shine. Without it the dress would lose its 3D form.



Take the 8B pencil and add the final shade. Press very hard, but don’t ignore the shading that’s already there.



Take your kneaded eraser and „draw” some shine with it. Don’t overuse white shine, or it will look like latex!

Finish the drawing by using the 8B pencil even stronger, filling all the unnecessary white spots created by the texture of the paper.

Take the HB pencil and sketch the belt with a buckle.

Drag the other end of the belt through the buckle.

Add the „band” and the holes.

Take another sheet of paper and place it over the drawing. Make sure you can see at least the outline of the sketch beneath—if you can’t, use a thinner sheet or place them both on the window. Take the ballpoint pen and draw long, horizontal 'X’s all over the belt to simulate a leather texture. If you have an empty ballpoint pen, you can „draw” directly on the drawing. Push hard to make sure you’re making marks.

Take the HB pencil again, tilt it, and shade the belt. You’ll see the texture emerging in the process.

Draw lines for the seams along the belt.

Take the 3B pencil and draw the outline of the seams.

Shade the seams carefully. Keep the pencil sharpened!

Take the 2B pencil and shade the belt once again, this time going around the seams. Shade the holes as well. Give each part of the belt a darkened edge.

Gently shade the side of the belt, giving it a slightly brighter shade.

Take the 3B pencil and shade the belt in a more detailed way: create shadows under the band and the buckle, and accentuate some wrinkles of the leather.

Take the 8B pencil and add some darker accents. Don’t overuse it!

Finish the drawing by adding the metal buckle. You can learn how to draw metal from this tutorial:

Now you know how to draw both new, shiny leather, and old, used leather. If you enjoyed this tutorial and want to learn more about drawing various materials with pencils, check our other tutorials from this series:
