Wszystkie wpisy, których autorem jest admin

Yose-gi Stool by TAMEN

Post pobrano z: Yose-gi Stool by TAMEN

You may already have seen one of these videos showing how traditional houses are built without the need for nails. If you didn’t, I suggest you take a look at this article on the Interesting Engineering blog. The pieces used to build those houses without nails have their ending looking like puzzle pieces, they are assembled together and hold very good.

For his Yose-gi stool, Brooklyn-based Japanese product designer Yoshiaki Ito found his inspiration in these traditional elements. The founder of TAMEN, his design studio, made stools that can be assembled together in order to save space when the stools are not in use.

Adobe makes its prototyping tool XD CC free to download

Post pobrano z: Adobe makes its prototyping tool XD CC free to download

Dominant in the graphic design industry with tools like Photoshop, Illustrator, or InDesign, Adobe is not as successful with its web designing tools. Apps like Sketch or InVision are very popular among people who design for the web, which is not what Adobe wants. The company decided that its XD CC software wasn’t getting enough attention, so they changed their model to make it more accessible. It’s worth noting that you will still need to pay to get the full experience, as only the starter edition is free.

Adobe XD is a comprehensive solution for going to concept to a working prototype very quickly, the type of tool that all UX/UI designers need to be more productive. With the free version, you even get access to great icon sets you can use in your designs. Once ready, your designs can be previewed with Android or iOS transitions, then easily shared.

Are you a developer? Create plugins for XD. Adobe has even created a $10 million fund to invest in new features proposed by developers. This great announcement and the whole excitement around XD shows that Adobe is looking to make their UX/UI tool one of their flagship product. Scott Belsky, who is no less than the Chief Product Officer & Executive Vice President at Adobe, was quoted saying that XD may even become bigger than Photoshop.

Illegal copycat? / Une copie pareille, ça devrait être illégal

Post pobrano z: Illegal copycat? / Une copie pareille, ça devrait être illégal

THE ORIGINAL?
Chipotle Restaurants – 1990’s
“… when you roll something
this good, it’s illegal”
Agency : Unknown (UK)
LESS ORIGINAL
Tortilla Restaurant – 2014
“Things this well rolled are
usually illegal”
Agency : Unknown (UK)
LESS ORIGINAL
Los Tacos Restaurant – 2018
“Usually, when you roll something
this good, it’s illegal”
Agency : Unknown (Oslo, Norway)

Learning Gutenberg: Modern JavaScript Syntax

Post pobrano z: Learning Gutenberg: Modern JavaScript Syntax

One of the key changes that Gutenberg brings to the WordPress ecosystem is a heavy reliance on JavaScript. Helpfully, the WordPress team have really pushed their JavaScript framework into the present and future by leveraging the modern JavaScript stack, which is commonly referred to as ES6 in the community. It’s how we’ll refer to it as in this series too, to avoid confusion.

Let’s dig into this ES6 world a bit, as it’s ultimately going to help us understand how to structure and build a custom Gutenberg block.

Article Series:

  1. Series Introduction
  2. What is Gutenberg, Anyway?
  3. A Primer with create-guten-block
  4. Modern JavaScript Syntax (This Post)
  5. React 101 (Coming Soon!)
  6. Setting up a Custom webpack (Coming Soon!)
  7. A Custom „Card” Block (Coming Soon!)

What is ES6?

ES6 is short for “EcmaScript 6” which is the 6th edition of EcmaScript. It’s official name is ES2015, which you may have also seen around. EcmaScript has since gone through many iterations, but modern JavaScript is still often referred to as ES6. As you probably guessed, the iterations have continued ES2016, ES2017 and so-on. I actually asked a question on ShopTalk show about what we could name modern JavaScript, which I the conclusion was… ES6.

I’m going to run through some key features of ES6 that are useful in the context of Gutenberg.

Functions

Functions get a heck of an update with ES6. Two changes I want to focus on are Arrow Functions and Class Methods.

Inside a class you don’t actually need to write the word function anymore in ES6. This can be confusing, so check out this example:

class Foo { 
  // This is your 'bar' function
  bar() {
    return 'hello';
  }
}

You’d invoke bar() like this:

const fooInstance = new Foo();
const hi = fooInstance.bar();

This is commonplace in the land of modern JavaScript, so it’s good to clear it up.

Fun fact! ES6 Classes in JavaScript aren’t really “classes” in an object-oriented programming sense—under the hood, it’s the same old prototypical inheritance JavaScript has always had. Prior to ES6, the bar() method would be defined like so: Foo.prototype.bar = function() { ... }. React makes great use of ES6 classes, but it’s worth noting that ES6 classes are essentially syntactic sugar and hotly contested by some. If you’re interested in more details, checkout the MDN docs and this article on 2ality.

Right, let’s move on to arrow functions. 🚀

An arrow function gives us a compact syntax that is often used as a one-liner for expressions. It’s also used to maintain the value of this, as an arrow function won’t rebind this like setInterval or an event handler would usually do.

An example of an arrow function as an expression is as follows:

// Define an array of fruit objects
const fruit = [
  {
    name: 'Apple',
    color: 'red'
  },
  {
    name: 'Banana',
    color: 'yellow'
  },
  {
    name: 'Pear',
    color: 'green'
  }
];

// Select only red fruit from that collection
const redFruit = fruit.filter(fruitItem => fruitItem.color === 'red');

// Output should be something like Object { name: "Apple", color: "red" }
console.log(redFruit[0]);

As you can see above, because there was a single parameter and the function was being used as an expression, we can redact the brackets and parenthesis. This allows us to really compact our code and improve readability.

Let’s take a look at how we can use an arrow function as an event handler in our Foo class from before:

class Foo {
        
  // This is your 'bar' function
  bar() {
    let buttonInstance = document.querySelector('button');
    
    buttonInstance.addEventListener('click', evt => {
      console.log(this);
    });
  }
}

// Run the handler
const fooInstance = new Foo();
fooInstance.bar();

When the button is clicked, the output should be Foo { }, because this is the instance of Foo. If we were to replace that example with the following:

class Foo {
        
  // This is your 'bar' function
  bar() {
    let buttonInstance = document.querySelector('button');
    
    buttonInstance.addEventListener('click', function(evt) {
      console.log(this);
    });
  }
}

// Run the handler
const fooInstance = new Foo();
fooInstance.bar();

When the button is clicked, the output would be <button> because the function has bound this to be the <button> that was clicked.

You can read more about arrow functions with Wes Bos, who wrote an excellent article about them.

const, let, and var

You may have noticed that I’ve been using const and let in the above examples. These are also a part of ES6 and I’ll quickly explain what each one does.

If a value is absolutely constant and won’t change through re-assignment, or be re-declared, use a const. This would commonly be used when importing something or declaring non-changing properties such as a collection of DOM elements.

If you have a variable that you want to only be accessible in the block it was defined in, then use a let. This can be confusing to understand, so check out this little example:

function foo() {
  if (1 < 2) {
    let bar = 'always true';
    
    // Outputs: 'always true'
    console.log(bar);
  }
  
  // Outputs 'ReferenceError: bar is not defined'
  console.log(bar);
}

// Run the function so we can see our logs
foo();

This is a great way to keep control of your variables and make them disposable, in a sense.

Lastly, var is the same old friend we know and love so well. Unfortunately, between const and let, our friend is becoming more and more redundant as time goes on. Using var is totally acceptable though, so don’t be disheartened—you just won’t see it much in the rest of this tutorial!

Destructuring assignment

Destructuring allows you to extract object keys at the point where you assign them to your local variable. So, say you’ve got this object:

const foo = {
  people: [
    {
      name: 'Bar',
      age: 30
    },
    {
      name: 'Baz',
      age: 28
    }
  ],
  anotherKey: 'some stuff',
  heyAFunction() {
    return 'Watermelons are really refreshing in the summer' 
  }
};

Traditionally, you’d extract people with foo.people. With destructuring, you can do this:

let { people } = foo;

That pulls the people array out of the the foo object, so we can dump the foo. prefix and use it as it is: people. It also means that anotherKey and heyAFunction are ignored, because we don’t need them right now. This is great when you’re working with big complex objects where being able to selectively pick stuff out is really useful.

You can also make use of destructuring to break up an object into local variables to increase code readability. Let’s update the above snippet:

let { people } = foo;
let { heyAFunction } = foo;

Now we’ve got those two separate elements from the same object, while still ignoring anotherKey. If you ran console.log(people), it’d show itself an array and if you ran console.log(heyAFunction), you guessed it, it’d show itself as a function.

JSX

Most commonly found in React JS contexts: JSX is an XML-like extension to JavaScript that is designed to be compiled by preprocessors into normal JavaScript code. Essentially, it enables us to write HTML(ish) code within JavaScript, as long as we’re preprocessing it. It’s usually associated with a framework like React JS, but it’s also used for Gutenberg block development.

Let’s kick off with an example:

const hello = <h1 className="heading">Hello, Pal</h1>;

Pretty cool, huh? No templating system or escaping or concatenating required. As long as you return a single element, which can have many children, you’re all good. So let’s show something a touch more complex, with a React render function:

class MyComponent extends React.Component {
  /* Other parts redacted for brevity */
  
  render() {
    return (
      <article>
        <h2 className="heading">{ this.props.heading }</h2>
        <p className="lead">{ this.props.summary }</p>
      </article>
    );
  }
};

You can see above that we can drop expressions in wherever we want. This is also the case with element attributes, so we can have something like this:

<h2 className={ this.props.headingClass }> 
  { this.props.heading }
</h2> 

You might be thinking, “What are these random braces doing?”

The answer is that this is an expression, which you will see a ton of in JSX. Essentially, it’s a little inline execution of JavaScript that behaves very much like a PHP echo does.

You’ll also probably notice that it says className instead of class. Although it looks like HTML/XML, it’s still JavaScript, so reserved words naturally are avoided. Attributes are camel-cased too, so keep and eye out for that. Here’s a useful answer to why it’s like this.

JSX is really powerful as you’ll see while this series progresses. It’s a great tool in our stack and really useful to understand in general.

I like to think of JSX as made up-tag names that are actually just function calls. Pick out any of the made-up tags you see in Gutenberg, let’s use <InspectorControls /> for example, and do a „Find in Folder” for class InspectorControls and you’ll see something structured like Andy’s example here! If you don’t find it, then the JSX must be registered as functional component, and should turn up by searching for function InspectorControls.

Wrapping up

We’ve had a quick run through some of the useful features of ES6. There’s a ton more to learn, but I wanted to focus your attention on the stuff we’ll be using in this tutorial series. I’d strongly recommend your further your learning with Wes Bos’ courses, JavaScript 30 and ES6.io.

Next up, we’re going to build a mini React component!


Article Series:

  1. Series Introduction
  2. What is Gutenberg, Anyway?
  3. A Primer with create-guten-block
  4. Modern JavaScript Syntax (This Post)
  5. React 101 (Coming Soon!)
  6. Setting up a Custom webpack (Coming Soon!)
  7. A Custom „Card” Block (Coming Soon!)

The post Learning Gutenberg: Modern JavaScript Syntax appeared first on CSS-Tricks.

How to Create a Quick Burnt Wood Text Effect in Adobe InDesign

Post pobrano z: How to Create a Quick Burnt Wood Text Effect in Adobe InDesign

Final product image
What You’ll Be Creating

This effect adds rustic charm to any typography, is quick and easy to create, and is a great way of mocking up logos or signage. We’ll use Adobe InDesign’s Effects window to develop depth, highlighting and shadowing.

Have 15 minutes? What are you waiting for!

If you’re on the hunt for more great fonts to use in your text effects, head on over to Envato Elements to browse a huge range of display typefaces.

What You’ll Need to Create Your Text Effect

As well as access to Adobe InDesign, you’ll also need to download the following image and font files:

1. How to Set Up the Wooden Backdrop for Your Effect

Step 1

Open up InDesign and go to File > New > Document. You can set up your page to any size, but here I’ve set it up as Landscape A3. When you’re ready, click Create

Expand the Layers panel (Window > Layers) and double-click on Layer 1 to rename it as Background.

Create three new layers above this, in this order—Smudge, Type, and finally Highlight at the top. 

Then lock all layers except Background.

background layer

Step 2

Working on Background, use the Rectangle Frame Tool (F) to create an image frame across the whole page.

File > Place, navigate to the wood texture image you downloaded earlier, and Open, allowing it to fill the whole frame. 

wood texture

Step 3

Lock the Background layer and unlock the Type layer. 

Expand the Swatches panel (Window > Color > Swatches), and choose New Color Swatch from the panel’s drop-down menu. 

Set the CMYK levels to C=71 M=79 Y=66 K=92, and click Add and then OK

Repeat to create three more CMYK swatches:

  • C=26 M=75 Y=89 K=21
  • C=8 M=46 Y=42 K=1
  • C=43 M=65 Y=48 K=48
swatch options

Step 4

Choose New Gradient Swatch from the Swatches panel’s menu. 

new gradient swatch

Name the swatch Burn Gradient and set the Type to Radial

Click on the left-hand stop on the Gradient Ramp, and choose your new dark swatch, C=71 M=79 Y=66 K=92, for this. 

Set the right-hand stop to your pale swatch, C=8 M=46 Y=42 K=1. Then click on the ramp to add a central, third stop, setting this to C=26 M=75 Y=89 K=21.

new gradient swatch

2. How to Create Your Burn Effect

Step 1

Still working on the Type layer, use the Type Tool (T) to create a text frame centrally on the page. Type in some text and set the Font to Douglas-Calgury Block.

font douglas calgury

Here, I’ve also added text frames above and below this central text frame.

text frames

I also add a framing circle around the typography using the Ellipse Tool (L), and increase the Weight of the circle’s stroke to 23 pt from the Stroke panel (Window > Stroke). 

stroke weight

Step 2

When you’ve finished formatting your typography, Right-Click > Group all of the elements together. 

group elements

Edit > Copy and Edit > Paste the group, moving the copy over onto the pasteboard. 

pasted group

Step 3

To format your effect you may find it easier to Right-Click > Ungroup the original type elements sitting on the page. 

Select each text frame individually and apply the Burn Gradient swatch as the Font Color of each. 

font color burn gradient

Also apply the Burn Gradient to any other elements, like the circle shape here.

burn gradient applied

You can use the Gradient panel (Window > Color > Gradient) to adjust the gradient on each text frame individually. Try shifting the Angle, reversing the gradient or moving the gradient stops on the ramp at the bottom, to create a deep, dark gradient effect on each text frame. 

radial gradient

Step 4

Select all the text frames and shapes and go to Object > Effects > Transparency. Set the Mode to Multiply and bring the Opacity down to 90%. 

multiply mode

Step 5

Click on Inner Shadow in the Effects window’s left-hand menu. 

Click on the colored square next to the Mode menu, and from here change the Effect Color to C=71 M=79 Y=66 K=92, and click OK.

Back in the Inner Shadow menu, set the Distance to 1 mm, Size to 3 mm, Choke to 25%, and Noise to around 15%. 

inner shadow

Step 6

Click on Outer Glow in the Effects window’s menu. Adjust the Mode to Normal and Opacity to about 90%. 

Change the Effect Color to C=26 M=75 Y=89 K=21.

With the Technique set to Softer, increase the Size to 5 mm, Noise to 25%, and Spread to around 45%

outer glow

Step 7

Finally, click on Inner Glow in the left-hand menu. Switch the Mode to Normal, Opacity to about 85%, and switch the Effect Color to C=8 M=46 Y=42 K=1.

Set the Technique to Softer, Source to Edge, Size to 2 mm, and Noise to around 25%. 

inner glow

Then click OK to exit the Effects window.

effects window exit

Step 8

Select the grouped elements which you moved over to the pasteboard earlier. Move this over on top of the elements sitting on the wooden background, placed slightly to the right, as shown below. 

In the Layers panel, expand the Type layer by clicking on the arrow to the left of the Type name. Drag the <group> element down onto the Create New Layer button at the bottom of the panel, to duplicate it.

Then unlock the Smudge layer, and drag one of the two <group> elements down, dropping it onto the Smudge layer. Then you can lock the Type layer.

Working on the <group> now sat on the Smudge layer, apply the Burn Gradient swatch to each element of this copy of the typography. Use the Gradient panel (Window > Color > Gradient), as before, to adjust the angle and position of the gradient on each section of the type. 

gradient swatch

With the <group> selected, go to Object > Effects > Transparency. Set the Mode to Soft Light and click OK.

soft light
effect so far

Step 9

Expand the Smudge layer and drag the <group> element down onto the Create New Layer button, to duplicate the <group>.

copied group

Unlock the top layer, Highlight, and drag one of the <group> elements up onto this layer. 

group in layer

Lock the Smudge layer, working on Highlight.

Select the group of type elements on this page and shift its position slightly to the left. Then go to Object > Effects > Transparency. Set the Mode to Screen and click OK

screen mode

Your Finished Text Effect

Your burnt wood text effect is finished—awesome job!

final wood effect

You can now incorporate your text effect into other InDesign work, or go to File > Export to create a JPG, PNG, or PDF version of your effect. 

A great way to give a twist on a text effect is to use a different typeface style. You can find a huge range of awesome fonts to use in your text effects over on Envato Elements.

Looking for more quick InDesign text effects? Make sure to check these out:

World Cup History Will Be Made with BBC Tapestry

Post pobrano z: World Cup History Will Be Made with BBC Tapestry

The BBC is running “History Will Be made”, a marketing campaign for the 2018 FIFA World Cup to be held in Russia. Every World Cup has a host of iconic moments and everyone has their own individual favourite that immediately takes you back to that time and place. The campaign trailer, “The Tapestry”, takes a journey through World Cup history via the skill of Diego Maradona, the flair of Zinedine Zidane and the emotion of Paul Gascoigne, with a preview of the most exciting talents of this year’s finals including Cristiano Ronaldo, Lionel Messi and Harry Kane. The BBC Tapestry film is only the beginning of a campaign which will continue through to the end of the 2018 FIFA World Cup series in Russia.

BBC Tapestry for FIFA World Cup 2018 - Messi and Ronaldo

Every single frame in the BBC Tapestry film was individually embroidered. More than 227,000 metres of thread were used to create over 600 unique frames of tapestry, that if laid end-to-end would measure over 1,200 metres in length. This visual style will then become the look and feel for the BBC’s coverage, extending into programming graphics, website design, social media, BBC One’s look, and more. The idea will be fully realised in a real 7-metre long tapestry that will be put on public display. Moments from this year’s competition will be added to the tapestry after the tournament’s completion, creating a historical record of the 2018 World Cup.

The launch film’s accompanying music is Ochi Cheryne – a traditional Russian folk song in keeping with the historical theme of the campaign. The song was recorded at Abbey Road Studios, arranged by Alex Baranowski, and features distinguished bass-baritone Sir John Tomlinson alongside a 40-piece orchestra. The lyrics speak of unification and friendship – the ambition of the World Cup itself.

BBC Tapestry World Cup Credits

The BBC World Cup Tapestry campaign was developed at BBC Sport Marketing and BBC Creative by portfolio head of marketing James Parry, marketing manager John Spratt, marketing executive Helen Worsey, campaign planner David Wheadon, media portfolio lead Marc Jones, executive creative directors Aidan McClure and Laurent Simon, creative directors Tim Jones and James Cross, creatives Edward Usher and Xander Hart, producer Liz Dolan, project manager Loretta Ramkissoon, production coordinator Emma Hamilton, head of planning Mike Lean.

Filming was shot by director Nicos Livesey via Blinkink with producer Alex Halley, executive producer Bart Yates, designer Luke Carpenter, and BBC Creative head of design Laurence Honderick.

Sound was designed and mixed by Mark Hills and Anthony Moore at Factory with producer Lucy Spong.

Music, “Ochi Cheryne”, was arranged by composer Alex Baranowski, performed by Sir John Tomlinson and the London Metropolitan Orchestra, recorded at Abbey Road Studios.

How to Create a Sliced Mountain Effect Using Adobe Photoshop

Post pobrano z: How to Create a Sliced Mountain Effect Using Adobe Photoshop

Final product image
What You’ll Be Creating

In this tutorial, you will learn how to create a sliced effect in Photoshop by mimicking a 3D shape on a 2D image to give an object the illusion of being cut in pieces.

What You’ll Need

In order to complete this project, you will also need the following image:

1. How to Prepare the Image

Step 1

Open the Faraglioni rocks image in Photoshop. We want to remove the background before using the rocks in the poster. To do this, in the Layers panel, Duplicate the Background layer by pressing Command-J, and Hide the visibility of the original Background layer. 

Open the rocks image and duplicate the background layer

Step 2

While selecting the new Layer 1 on the Layers panel, click on the Vector Mask button to add a Layer Mask to the Background copy.

Hide the background layer and add a layer mask to the new duplicated layer

Step 3

We will use the rock on the right side as it is solid compared to the one on the left. Let’s crop the image using the Crop Tool (C). I am maintaining the height and only closing in horizontally, as shown in the image below. Hit Enter to apply the crop.

Crop the image

Step 4

Select the Magic Wand Tool (W) and head over to the Options bar to make sure the Contiguous option is unchecked. For this specific tutorial we need to delete the sky, so click on a white part of the sky, which will select parts of the sky. In order to add to the selection, hold down Shift and click on the blue parts of the sky.

Using the Magic Wand Tool select the sky

Step 5

Once all of the sky is selected, head over to the Layers panel. Select the Layer Mask we created for the new layer and hit Backspace on the keyboard to delete the parts we selected. You should have something like the image below. To deselect the parts we selected with the Magic Wand Tool (W), press Command-D.

Delete the selected sections on the Layer Mask

Step 6

Now we need to remove the water. Using the Brush Tool (B) and black as the Foreground Colour on the Tools panel, you can hide parts of the image. If you use white as the foreground colour, you will instead reveal parts of the image. Make sure you have the Layer Mask selected on the Layers panel.

Right click to set the brush to a Size of 150 px and Hardness of 100% and start brushing parts away from the image. I like to do the big parts first, before zooming in and concentrating on the details later. 

A great tool that helps here is using the backslash key (\) to get a red tint behind the image and see what parts need to be perfected.

Remove the water under the rock using the Brush Tool

Step 7

To soften the edges of the image, we can use the Refine Mask option. Using the Zoom Tool (Z), zoom in on the image. Head over to the Layers panel and right click on the Layer Mask > Refine Mask, and a new window will pop up. Under the Adjust Edge option, set the Feather to 2 px and Shift Edge to -30%. Click OK.

Refine the edges on the Layer Mask through the Refine Mask option

2. How to Create a New Document and Guides

Step 1

In Photoshop, go to File > New. Name the document Sliced-v1, and set the Width to 1275 px and Height to 1650 px, with Background Contents white. I am keeping the poster digital, so I will work with 72 dpi. Click OK to create the document.

Create a new document

Step 2

Let’s create guides in our document to make sure things are aligned. My ruler measures in inches; you can change this in Photoshop > Preferences > Units and Rulers. Head over to View > New Guide, where a new window will pop up. We want to make all of our Guides 1 inch from each edge. Select Horizontal and under Position type 1 in. Click OK

We will do the same for the Vertical option. To add a guide to the bottom and the right side of the page, subtract 1 inch from the overall dimensions of the page. To hide and show the guides, hit Command-;.

Add a 1 inch margin around the document

3. How to Duplicate Layers and Add a Gradient Background

Step 1

Let’s duplicate the Layer 1 from the rocks file into our new Sliced-v1 file. To do so, Right Click > Duplicate Layers. Under As:, rename the layer to Rock, and under Destination select Document > Sliced-v1. Click OK to continue.

Duplicate the rocks to the newly created file

Step 2

In the Sliced-v1 file, resize the Rock layer by hitting Command-T to activate the Transform Tool. Resize the image to fit within the margin. Alternatively, you can head to the Options bar and set the Width and Height to 58%, making sure to activate the Maintain Aspect Ratio button. Hit Enter to proceed. 

Resize the rock image to fit within the margin

Step 3

Head over to the bottom of the Layers panel, and click on Create a New Fill or Adjustment Layer > Gradient. A new Gradient Fill window will pop up; click on the Gradient color space.

Add a gradient layer and move under the rock layer

Step 4

Go to Gradient Editor > Gradient Type, double-click on the left color swatch, and use the following color code: #c5c5c5. Click OK. Double-click on the right color swatch and set the following color code: #f1f1f1. Click OK in all three windows to go back to the page. Let’s move the Gradient Fill layer under the Rock layer.

Choose gradient colors from medium grey to light grey

4. How to Convert a Single Layer to Black and White

Step 1

Before we start to create the effect, let’s turn the Rock layer into black and white. Select the Rock layer on the Layers panel and head over to Image > Adjustments > Black and White. An option window will pop up; click on Auto and then OK. 

Convert the rocks into a Black and White layer

Step 2

The photo looks dull, so let’s add some contrast. Go to Image > Adjustments > Brightness/Contrast and set the Brightness to 35 and Contrast to 65. Click OK.

Edit the Brightness and Contrast of the rock layers

5. How to Create a Sliced Effect

Step 1

We need to cut our image into five pieces. We will be using the Pen Tool (P) to draw through the rock to create a mask. Try to follow the surface of the rock to make the effect credible.

Select the Pen Tool (P). Head over to the Options bar and make sure that Fill has no color selected. We can choose white as the Stroke at 1 pt. This is so we can see where we are slicing. Now we are all set! 

Start by making the first point on the left side of the rock, and try to follow the form of the rock. You will notice I did about eight points, the last point being on the edge of the right side of the rock. Close the shape by going around the rock either around the top or bottom—I chose the top. Close the shape by clicking on the first point again. This new shape will be a new layer.

Using the Pen Tool draw around the top of the rock

Step 2

Let’s go ahead and do the same step three more times, but lower on the rock. You can do as many points as you like with the Pen Tool (P). We should have four layers, each containing a shape like the image below. 

Repeat the same step as above with the rest of the rock Divide into 5 sections

Step 3

On the Layers panel, right click on the Rock Layer Mask thumbnail and select Apply Layer Mask to delete all of the background we had on the rock layer.

On the rocks layer apply the layer mask on the original image

Step 4

We will use the shapes we created as masks to duplicate the different parts of the rock and convert them into separate layers. On the Layers panel, press Command and click on the Shape 1 thumbnail, which will select only the shape. Click on the Rock layer and press Command-X to cut, followed by Shift-Command-V to paste in place. This will create a new layer with the first shape we created. Below, I’ve deactivated the layer so you can see which part I’ve cut from the original image.

Use the sections divided previously to cut and copy in place the rock

Step 5

Repeat the same step with the other shapes. Select all the Shape layers and drag them towards the folder icon on the Layers panel to group them. Deactivate them so we don’t get confused. Below I have moved the layers to show you how they should be separated and how the Layers panel should be looking.

Repeat the same step above resulting in a total of 5 layers containing pieces of the rock

Step 6

Now that we have the rock as puzzle pieces, we will create the 3D effect. I am moving the Rock layer off the bottom margin to give space for the other rocks. We will work our way up. Select Layer 4 or the second layer from the bottom. Using the Pen Tool (P), we will draw on the bottom of the rock to form a 3D look. Click on the very edge of the left side, giving shape to the rock all the way to the edge of the right side (image on the left). To close the shape, this time go through the rock (right image)

If you want to change the shape, simply select the Direct Selection Tool (A) and click on the shape to bring up the points and edit. There is no right or wrong, so you can edit as much or as little as you want! 

Draw the 3D part effect for each division using the Pen Tool

Step 7

Drag the shape under Layer 4. Head over to the Options bar and select Fill > Gradient and Stroke > None. We will worry about the color of the gradient later. Group these two layers to avoid confusion.

Fill the shape with a gradient

Step 8

Do the same step as above for the other rocks. I will organize the layers by grouping the shapes layers with their correspondent rock layers to avoid confusion and naming them numerically. You should have something like the image below.

Organize the layers by grouping them in folders

Step 9

We want to create the illusion that the slices are falling on top of each other. In this specific image, our eyesight is at a low angle as we are looking up at the rock. The 3D parts we created need to be behind each other from bottom to top. 

Let’s switch the order of the layers. Instead of going from 1 to 5, we will have 1 to 5 starting from the top. In other words, the gradient shapes we created need to be behind the rock. Below is an image of the order of the layers and how the file should be looking.

Organize the layers so the bottom of the rock is forward and the top is at the very back

Step 10

Now that we have the layers in the right order, let’s give them a spontaneous look. Select different sections and use the Transform Tool (Command-T) to rotate them slightly. There is no right or wrong—you can move them as much as you like and resize as you wish! 

Using the Transform Tool rotate the shapes to add movement

Step 11

On the Layers panel, expand one of the folders. I will be expanding Rock 5, so double-click on the Shape 5 layer to bring up the Gradient Fill window. Here we need to change the Angle of the gradient; mine is at -100. The darker color we will choose later on needs to go on the side closest to the bottom rock, and the brighter side on the side that is farthest from the rock. On this specific layer, the closest point is on the left side, while the farthest is on the right. This will be different on all the layers. Feel free to use this as a reference.

Double-click on the Gradient color swatch. In the new Gradient Type window, double click on the left color swatch. I am using an orange color with the following code: #ef8d00. Click OK.

Double click on the right color swatch and choose a darker color than the one above; I am using #412701. Click OK on all the windows. 

Color each of the shapes we created for each rock piece using the Gradient Tool

Step 12

Now let’s do the same for the other shapes! I am using the following codes for bright and dark shades respectively:

  • Purple: #5700e6 and #1a0145
  • Pink: #e600e6 and #49014a
  • Green: #0ebb98 and #004134

The image should be looking like the one below.

The gradient should be a lighter shade on one side and a darker shade on the side closes to the bottom rock

Congratulations! You’ve Done It!

In this tutorial, you learned to:

  • Create the illusion of a 3D object on a flat image.
  • Use the Pen Tool to create shapes that can be used as Masks on an image.
  • Use the Gradient Tool to create the illusion of light and shadow.
End Result

Stunning 3D graffiti by Peter Preffington

Post pobrano z: Stunning 3D graffiti by Peter Preffington

For the past twenty years, Peter Preffington (aka Pref) has been creating art that he published in his homeland, Great-Britain, or abroad. On top of the prints he exhibits in art galleries or online, the British artist also creates stunning street art that plays with type.

Playing with letter and dimensions, the street artist designs words that can be read in two ways. His multi-layered typography is not only fun and clever, it also looks great. You can obviously not purchase the designs that lay on walls, but you can buy some of his artworks as prints on his online shop.

Just a Couple’a Fun Typography Links

Post pobrano z: Just a Couple’a Fun Typography Links

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