Jules Forrest discusses some of the work that her team at Credit Karma has been up to when it comes to design systems. Jules writes:
…in most engineering organizations, you spend your whole first day setting up your development environment so you can actually ship code. It’s generally pretty tedious and no one likes doing it, but it’s this thing you do to contribute meaningful work to production. Which got me thinking, what would it look like to make it easier for designers to design for production?
That’s what Jules calls a “design environment” and she’s even written a whole bunch of documentation in Thread, Credit Karma’s design system, for designers on their team to get that design environment up and running. That’s stuff like fonts, Sketch plugins, and other useful assets:
These problems have certainly been tackled by other teams in the past but this is the first time I’ve heard the phrase “design environment” before and I sort of love the heck out of it. Oh, and this post reminds me of a piece by Jon Gold where he wrote about Painting with Code.
If you’ve been working with Vue for a while, you may have come across this way of rendering your app — this is the default in the latest version of the CLI, in main.js:
new Vue({
render: h => h(App)
}).$mount('#app')
Or, if you’re using a render function, possibly to take advantage of JSX:
You may be wondering, what does that h do? What does it stand for? The h stands for hyperscript. It’s a riff of HTML, which means Hypertext Markup Language: since we’re dealing with a script, it’s become convention in virtual DOM implementations to use this substitution. This definition is also addressed in the documentation of other frameworks as well. Here it is, for example, in Cycle.js.
Really, you can think of it as being short for createElement. Here would be the long form:
render: function (createElement) {
return createElement(App);
}
If we replace that with an h, then we first arrive at:
render: function (h) {
return h(App);
}
…which can then be shortened with the use of ES6 to:
render: h => h (App)
The Vue version takes up to three arguments:
render(h) {
return h('div', {}, [...])
}
The first is type of the element (here shown as div).
The second is the data object. We nest some fields here, including: props, attrs, dom props, class and style.
The third is an array of child nodes. We’ll then have nested calls and eventually return a tree of virtual DOM nodes.
There’s more in-depth information in the Vue Guide here.
The name hyperscript may potentially be confusing to some people, given the fact that hyperscript is actually the name of a library (what isn’t updated these days) and it actually has a small ecosystem. In this case, we’re not talking about that particular implementation.
Hope that clears things up for those who are curious!
Today
we’re catching up with six incredible artists from Hong Kong, home of incredible history, a bustling skyline, and the talented people of East Asia. I
asked each artist how
their country and culture inspired their work, and they delivered great
responses.
Panyeung Chan
Panyeung is a designer and illustrator from Hong Kong. Full of culture and dynamic scenes, his work reflects his real-life experience as an artist living in this energetic city.
Living in Hong Kong, the most fascinating thing is definitely its multi-cultural environment. When you walk down the street, you can
easily find everything in your surroundings, from architecture, to food and language—all hugely influenced by different cultures.
Hong Kong is such a small place that people are living here in a crowded
condition so most buildings along the main avenue
combine their list of functions. Inside one building alone you could find
that there is a wet market, a library, a gym room, or a gallery separated on a different floor. Those crowded and detailed images stay deep in my
mind and I’ve always wanted to reflect this kind of impression in my work.
Many internationally well-known galleries create their branches here in Hong
Kong. That is really good news for any art lover! Although art is not a mainstream industry in Hong Kong, people interested in art can really
enjoy living or visiting this city.
Even though I’ve been here for only five
years, to me it’s still very exotic and I find it incredibly
interesting. I love the way the traditional culture spills out into the street in Hong Kong. It’s not uncommon to see
offerings of oranges and incense sticks nestled in and around the feet
of skyscrapers.
In the village near my studio, there are mini street
temples with little green tiled roofs, and I really
love watching the older generation going about their daily lives with woven wicker hats, sampan and even hanging
fish out to dry.
I’m passionate about folk-art and ethno-cultural art forms. Hong
Kong has really beautiful folk arts and crafts, and my favorite
time of year is the Mid-Autumn festival. The colors are so inviting and
cheerful—it’s really magical to me.
I also came across embroidered bags
woven by the Miao and Hmong tribes in Northern China, Laos and Thailand
being sold in the markets here. That introduced me to a whole other world of
amazing inspiration and I really fell in love with the motifs and
traditional dress. Hong Kong is such a great place that just sets you off on a new journey of inspiration.
The art community here is small but vibrant. In the studio where I work, there are textile artists, ceramic
artists, graphic artists, and oil painters. We
all sort of influence one another back and forth, and I’ve also met some
lovely illustrators on Instagram. It’s quite hard to socialize or find other like-minded creatives in such
a business-oriented place. But yet we thrive!
Dixon is a talented graphic designer based in Hong Kong. His work features fantastic graphic design work with stunning visuals of design packages and more.
I love that it is always convenient to get around here and that nothing is ever too far away.
I get so spoiled sometimes that I once felt a 20 minute walk to a live house was too much when I was touring with other bands in Taipei.
Like a lot of Hong Kong kids, I was taught it’s
better to be as multi-talented as possible. So I like trying out different
styles, tricks or gimmicks here and there in my design work.
In the area, there are mostly busy colors, overloaded
neon signs, too many adverts everywhere, and color themed subway stations. So I guess it’s in my subconscious to
use vibrant colors.
The art community is pretty small here, I think, but closely knit. There are lots of
indie or small scale collaborations between people of different fields
and disciplines. It’s a nice little self-sufficient scene.
April is an artist who creates whimsical illustrations in Hong Kong. With a specialty in watercolor paintings, her work is delightfully unique with many pieces dedicated to fairy tales and yummy cuisine.
I love the convenience of living in HK. Everything is so accessible
as the transport system is very efficient. Also the food in HK is simply
amazing. You can find all sorts of different types of cuisine here.
I draw my inspiration from what I see and experience daily. Hong Kong is
a very lively city where the Eastern and Western cultures truly blend.
There are always new discoveries to be made when you walk on its streets
and experience the energy and colorful life of the city. It also
has a very unique cityscape filled up with skyscrapers. So both the culture
and the urban street scenes serve as a source of inspiration for me.
Apart from the
increasing number of international art shows and exhibitions being held
in Hong Kong, there are regular open studios, events, and weekend art markets for
independent artists to showcase their work and to connect with other
independent artists.
Our next amazing feature is Kitty, a traditional artist living in Hong Kong. With a fondness for the beauty and skill of pen and ink illustrations, her work spills into elaborate swirls of unique compositions.
Hong Kong has such a strong mix of Chinese and Western culture that it
shows in everyday living and provides open minded thinking. We may not
have the best environment for creativity and opportunity, but it
certainly has room for those who strive to be persistent as creatives.
In the past 20 years, I’ve worked with many talented creative
people and launched fantastic projects in top international advertising agencies. Hong Kong’s mix of culture provides constant stimulation and
collaboration. So having new ideas is everyday practice. I only started creating four years ago and I’ve already had tremendous opportunities while having a full time
marketing job in a new cultural destination.
In Hong Kong, like-minded artists become close and form collaborative projects, and art is very subjective in a way. But it’s a global market and
platform for many galleries, auction houses, and exhibitors. So international art events have been stimulating public interest in
the recent years.
Our last artist is Ophelia, an imaginative illustrator living in Hong Kong. Her simplistic use of color and texture is absolutely intriguing, as she creates charming illustrations of the world around her.
I love that Hong Kong is such a compact place where doing anything is very convenient.
We have food and cuisine from around the world and all types of services are just fast and efficient.
People work hard and play hard. It is a city that never sleeps.
I admire Matisse, Egon Schiele, Van Gogh, as well as Chinese artists such as
Qi Baishi and Wu Guanzhong. I myself learnt
Chinese sumi painting when I was small and then Western watercolor and oil painting
when I grew older. My artistic styles are influenced by all of them.
Many thanks to the artists who took time to answer my
questions and share a bit about themselves and how their country and/or culture
has affected their work. You can check out more of their work in the links
below:
For this month’s SPECTRUM profile, we talked with London-based Creative Director Rheea Aranha about her studio’s work in Film UI, strategies useful to women in the game, and being a good creative leader.
I’ve been wanting to make a sci-fi manipulation for a while now. So I was super happy when I stumbled across this Robot stock, modeled after the ED-209 machine in the movie, RoboCop.
So with this in mind, I’ll be going for a total 80s sci-fi look, complete with body armor, an 80s droid, and a night-time city scene. Though it’s not based on the movie, this photo art can still be made by finding inspiration about the series online.
Just check out the background characters and story for more ideas.
Let’s take a look at the before and after, featuring some of the stocks used:
Pretty cool! We’ll learn how to build the entire scene from scratch, using a couple of free stocks and 3D assets from Envato Elements.
Let’s get started!
1. How to Build the Sci-Fi Scene
Step 1
Start by creating the general composition.
Open a New Document in Photoshop at 2000 x 1500 pixels and 300 dpi.
Copy and Paste the Robot Stock onto a New Layer. Resize it with the Free Transform Tool (Control-T) and position it to hug the right side, as shown below.
Feel free to delete the original white background layer.
Step 2
In order to make the most out of this image, we need to cut it up.
We’re still going to use the dark gradient background and flat ground, so we just have to separate the robot onto a New Layer.
Use the Polygonal Lasso Tool (L) to make a selection around the robot. It’s okay if the selection is imperfect. Once it’s selected, hold Control-J once to create a new Duplicate onto a New Layer.
Step 3
Now add the city.
Copy and Paste the City Stock onto a New Layer above the original Robot layer. Free Transform (Control-T) to resize the city picture and fill up the background.
But make sure the bottom floor from the robot stock is still visible!
Step 4
Let’s add the model next!
Copy and Paste the Model Stock onto a New Layer above the robot copy (Layer 2).
Resize the picture (Control-T) to fill the document as shown.
Then add a Layer Mask to the model and use a Hard Round Brush (100% Hardness, 100% Opacity) to paint black onto the mask until the entire background is removed.
Right-click the Layer Mask to Apply Mask when you’re through. Then rename the layer „Model.”
Step 5
For more style, let’s add the glasses and armor.
Download this angle of the Sunglasses 3D Stock. (Feel free to use your own stock, or just omit the glassesentirely.)
Copy and Paste the glasses onto a New Layer above the Model layer. Resize (Control-T) the glasses so that they fit the model’s face better.
Now add the armor.
Use the Polygonal Lasso Tool (L) to select these highlighted areas one at a time from the Armor Stock.
Step 6
Copy and Paste each piece onto a New Layer and position them to fit onto the model. Use the Eraser Tool (E) to erase any areas you don’t want showing. Once they’re positioned, Merge all the armor layers together.
For a little extra length in her hair, add some extensions to the ponytail!
Simply select the ponytail with the Polygonal Lasso Tool (L). Copy and Paste it onto a New Layer, and then use the Free Transform Tool (Control-T) to make the hair longer.
Erase any areas you don’t need before Merging the layer with the original Model layer.
Step 7
The next thing we’ll add is the Earth patch.
We’re going to apply this to her outfit to add to the visual story. Creating a quick embroidered patch will help cover the red flower shown on the model’s chest, which is currently a little distracting.
Select Rough Pastels and add the following values:
Stroke Length: 6
Stroke Detail: 6
Scaling: 100%
Relief: 20
When you’re finished, Copy and Paste the Earth patch onto a New Layer above the model. Use the Free Transform Tool (Control-T) to change the perspective so that it’s resting on her chest.
Then Right-click the patch layer and go to Blending Options. Add a quick blue #031030 Stroke with the options shown above.
Here’s the result so far.
Step 8
The last piece of this puzzle is the moon.
Copy and Paste a selection of the Moon Stock onto a New Layer above the others.
Add a Layer Mask to the layer and use a Soft Round Brush (0% Hardness, 100% Opacity) to mask away the harsh edges of the picture.
Here is the composition so far.
2. How to Create Depth of Field
Now that we have all the elements in place, we can move on to creating depth of field.
Depth of field will give us that realistic look by making sure that the objects look more blurred as they move farther away in the distance.
Step 1
Start with the robot.
Select the robot copy (Layer 2) and hold Control-J to create another Duplicate. Temporarily hide the copy, and then go to Filter > Blur > Gaussian Blur. Add a Radius of 5 pixels and hit OK.
This second copy of the robot will help bring some of the details back.
Unhide the robot copy (Layer 2 copy) and Right-click to set it as a Clipping Mask to Layer 2. Now lower the Opacity to 50%. Now that the robot shows much clearer, Erase any areas you prefer to stay blurred with the Eraser Tool (E).
You can also take this time to refine the original robot. Add a Layer Mask to mask away any remaining parts that are showing above the city.
Step 2
Move on to the City layer.
Select the layer and go to Filter > Blur > Gaussian Blur. Add a Radius of 6 pixels and hit OK.
Step 3
Lastly, we’ll blur the moon.
Select the layer and change the Layer Blend Mode to Screen. Then go to Filter > Blur > Gaussian Blur. Add a Radius of 4 pixels and hit OK.
3. How to Adjust the Lighting
To make this scene more realistic, we’ll need to adjust the lighting extensively for a beautiful night scene.
Try not to get too distracted by the color changes; we’re just focusing on the shading values for now.
Step 1
Let’s start with the background.
Create a New Layer below the robot copy (Layer 2) and fill it with blue #111146 using the PaintBucket Tool (G).
Set the Layer Blend Mode to Difference.
Step 2
Create another New Layer, this time below the blue layer.
Use a Soft Round Brush (0% Hardness, 70-80% Opacity) to paint greenish-black #020811 along the bottom of the ground. Allow a single bit of light to appear below the robot’s right foot.
Set the Layer Blend Mode to Multiply.
Step 3
Let’s adjust the robot.
Create another New Layer, set as a Clipping Mask to the robot copy (Layer 2).
Set the Layer Blend Mode to Multiply and use a Soft Round Brush to paint dark blue #151b31 all over the left side of the robot and brown #38150c towards the top.
Make sure to get into those crevices too!
Our light source is coming from the right, so make sure the robot is mostly shaded behind the model.
To make the robot even darker, add an Adjustment Layer.
Set a New Color Lookup Adjustment Layer as a Clipping Mask to the robot copy (Layer 2).
Set the 3D LUT File to NightFromDay.Cube. Then set the Layer Blend Mode to Darken and the Opacity to 65%.
Step 4
Let’s continue to darken the background.
Create a New Layer above the robot copy. This one shouldn’t be clipped.
Use the Gradient Tool (G) to create a blue #131a33 to transparent Linear Gradient moving upwards from the ground. Set the Layer Blend Mode to Difference and the Opacity to 78%.
Step 5
Light up the city!
Create a New Layer underneath the Dark Green and Blue layers.
Use a Soft Round Brush (0% Hardness, 70% Opacity) to paint yellow #e0e0ad onto the city lights. Set the Layer Blend Mode to Overlay and the Opacity to 61%.
Step 6
Now let’s shade the model.
Create a New Layer and set it as a Clipping Mask to the model. Set the Layer Blend Mode to Multiply and use a dark blue #0e1328 to paint soft shadow onto the model with a Soft Round Brush.
We’ll need to color/darken the glasses separately.
Create a New Layer above the Glasses layer and set it as a Clipping Mask to the glasses. Use a Hard Round Brush to paint blue #0a206c all over the glasses, and then set the Layer Blend Mode to Darken.
Step 7
Take this moment to clean up any areas or add extra details with a Hard Round Brush.
Here I added an earpiece (with highlights) for the glasses, a rectangular bar on her shirt, and painted away the original earpiece that covers her eye. Just use the Eyedropper Tool (I) to sample colors from these areas to add these details on a New Layer.
4. How to Finish the Manipulation
Great job so far!
Here is what the composition currently looks like.
For the final stages of this manipulation, all we need to do is add a little more lighting and tweak the final colors with Adjustment Layers.
Let’s do it!
Step 1
Temporarily Hide the detail layers.
Create a New Adjustment Layer of Curves above the Model layer. Set the curves like the ones shown below for the RGB and Blue Channels. This will make the whole scene a little darker.
Step 2
Now light up the armor and robot!
Create a New Layer above the rest. Use a pale green #b6d6be to paint light on the armor and robot with a Soft Round Brush (0% Hardness, 50% Opacity).
Then set the Layer Blend Mode to Vivid Light.
Make sure that some of the light is reflected onto the model’s skin, hair, and outfit.
Step 3
For more style, add a dramatic lip color.
Unhide the detail layers. Create a New Layer set to Multiply. Paint blue #283d89 onto the model’s lips for an intense, stylish look!
Step 4
Continue to tweak the lighting. Add a quick vignette!
Create a New Layer set to Soft Light. Use the Gradient Tool (G) to create a blue #010228 to transparent Radial Gradient, making sure the Reverse option is checked.
Lower the Layer Opacity to 50%.
Step 5
Almost there!
Now adjust the color scheme with a New Adjustment Layer of Levels above the rest. Set the values for the RGB, Red, and Blue Channels to the following:
Here’s the result.
Step 6
Now let’s make this composition black and white!
Because the colors in each stock are so different, this ends up being a much better option than leaving it in color. But feel free to experiment!
Create a New Adjustment Layer of Gradient Map above the rest. Add a black to white Linear Gradient, and then set the Layer Blend Mode to Color.
Step 7
For a slightly blue hue, fill a New Layer with blue #00183b above the rest, using the Paint Bucket Tool (G).
Then set the Layer Blend Mode to Lighten and the Opacity to 15%.
Step 8
Time for the highlights!
For this last step, all we need to do is use a tapered Hard Round Brush to paint crisp white highlights around the scene. Do this on one last New Layer.
Make sure the highlights reflect both the moon and city as potential light sources.
That’s it! Check out the final result below!
All Done! Great Job!
Have fun making your very own sci-fi manipulations by using free stocks and 3D assets. In this tutorial, not only were we able to create an entire scene from scratch, but we also made it look as if it came straight from a movie!
I hope you’ve enjoyed this tutorial! How’d you do? Share your comments and results below.
For more photo manipulation tutorials like this one, check out these links:
