How to Create an Energy Effect Action in Adobe Photoshop

14/03/2018 admin

Post pobrano z: How to Create an Energy Effect Action in Adobe Photoshop

Final product image — What You’ll Be Creating

In this tutorial, you will learn how to create an amazing energy
effect. I will explain everything in so much detail that everyone can
create it, even those who have just opened Photoshop for the first time.

The effect shown above is the one I will show you how to create
in this tutorial. If you would like to create the even more advanced
energy effects shown below, using just a single click and in only a few
minutes, then check out my Energy Photoshop Action.

What You’ll Need

To recreate the design above, you will need the following resources:

Stock Image

1. Let’s Get Started

First, open the photo that you want to work with. To open your photo, go to File > Open, choose your photo, and click Open. Now, before we get started, just check a couple of things:

Your photo should be in RGB Color mode, 8 Bits/Channel. To check this, go to Image > Mode.
For best results, your photo size should be 2000–4000 px wide/high. To check this, go to Image > Image Size.
Your photo should be the Background layer. If it is not, go to Layer > New > Background from Layer.

2. How to Select the Subject

Step 1

In this section, we are going to make a selection of our subject and then copy the subject to a separate layer. Choose the Quick Selection Tool (W) and select the background of the photo. Use the Shift-Alt buttons on your keyboard to add or subtract areas from the selection. After you’ve made a perfect selection, press Control-Shift-I on your keyboard to invert the selection.

Step 2

Now go to Select > Modify > Smooth and set the Sample Radius to 5 px. Then, go to Select > Modify > Contract and set Contract By to 2 px. After that, go to Select > Modify > Feather and set the Feather Radius to 2 px as shown below:

Step 3

Press Control-J on your keyboard to create a new layer using the selection, and name this layer Subject.

3. How to Create the Background

Step 1

In this section we are going to create the background. Select the Background layer, go to Layer > New Fill Layer > Solid Color to create a new solid color fill layer, name it Background Color, and choose the color #000000 as shown below:

Step 2

Now go to Layer > New > Layer to create a new layer and name it Temp.

Step 3

Press D on your keyboard to reset the swatches and go to Filter > Render > Clouds.

Step 4

Now press Control-J on your keyboard to duplicate this layer. Then, go to Filter > Distort > Twirl and set the Angle to 50° as shown below:

Step 5

Change the Blending Mode of this layer to Darken and press Control-J on your keyboard to duplicate this layer. Then, go to Edit > Transform > Flip Horizontal and then to Edit > Transform Flip Vertical to flip this layer both horizontally and vertically.

Step 6

Now Shift-click on the Temp layer to select all layers between and press Control-E on your keyboard to merge them into one layer. Then, press Control-J to duplicate this layer.

Step 7

Press Control-I on your keyboard to invert this layer. Then, press D to reset the swatches and go to Filter > Render > Difference Clouds.

Step 8

Now press Control-I on your keyboard to invert this layer. Then, go to Filter > Distort > Twirl and set the Angle to 50° as shown below:

Step 9

Change the Blending Mode of this layer to Multiply. Then, Control-click on the Temp copy 2 layer to select both layers at the same time and press Control-E on your keyboard to merge them into one layer.

Step 10

Now press Control-T on your keyboard to transform this layer and set the Width and Height to 200% as shown below:

Step 11

Now go to Layer > Layer Mask > Hide All to add a layer mask that hides the whole layer. Then, set the foreground color to #ffffff, choose the Brush Tool (B), pick a soft brush, and brush where you want texture to appear. Feel free to change the Hardness of the brush.

Step 12

Name this layer Background_Texture_1. Then, select the Background Color layer, go to Layer > New > Layer to create a new layer, and name it Background_Texture_2.

Step 13

Press D on your keyboard to reset the swatches, and go to Filter > Render > Clouds.

Step 14

Now press Control-T on your keyboard to transform this layer and set the Width and Height to 200% as shown below:

Step 15

Now go to Filter > Distort > Twirl and set the Angle to 50° as shown below:

Step 16

Go to Image > Adjustments > Levels and enter the settings below:

Step 17

Now change the Opacity of this layer to 10%.

Step 18

Select the Background_Texture_1 layer, go to Layer > New > Layer to create a new layer, and name it Temp.

Step 19

Press D on your keyboard to reset the swatches and go to Filter > Render > Clouds.

Step 20

Now press Control-T on your keyboard to transform this layer and set the Width and Height to 150% as shown below:

Step 21

Press Control-J on your keyboard to duplicate this layer. Then, go to Filter > Distort > Twirl and set the Angle to 50°.

Step 22

Now change the Blending Mode of this layer to Screen. Then, Control-click on the Temp copy 2 layer to select both layers at the same time and press Control-E on your keyboard to merge them into one layer.

Step 23

Step 24

Change the Blending Mode of this layer to Screen and set the Opacity to 50%. Then, name this layer Background Glow.

4. How to Blend the Subject

Step 1

In this section we are going to blend the subject more with the background. Select the Subject layer and Control-click on this layer thumbnail to make a selection of this layer. Then, go to Select > Modify > Contract and set the Contact By to 25 px. After that, go to Select > Modify > Feather and set the Feather Radius to 50 px as shown below:

Step 2

Now go to Layer > Layer Mask > Reveal Selection to add a layer mask that reveals the selected area of the layer. Then, in the Properties panel, set the Density of the layer mask to 55% as shown below:

Step 3

Press Control-J on your keyboard to duplicate this layer. Then, press Control-Shift-U to desaturate this layer, go to Filter > Other > High Pass, and set the Radius to 30 px.

Step 4

Now go to Image > Auto tone and then to Image > Auto Contrast to make auto-corrections of this layer tone and contrast. Then, go to Edit > Adjustments > Levels and enter the settings below:

Step 5

Change the Blending Mode of this layer to Overlay and set the Opacity to 50%. Then, name this layer Subject Details.

Step 6

Control-click on the Subject layer to select both layers at the same time. Then, go to Layer > New > Group from Layers to create a new group from the selected layers and name it Main Subject.

Step 7

Now go to Layer > Layer Mask > Reveal All to add a layer mask that reveals the whole layer group. Then, set the foreground color to #000000, choose the Brush Tool (B), pick a soft brush, and brush over the areas that are left from the background.

5. How to Create the Subject Glow

Step 1

In this section we are going to create the subject glow. Control-click on the Subject layer thumbnail to make a selection of this layer. Then, Control-Alt-Shift-click on the layer mask of the Main Subject layer group to intersect the selection. After that, go to Select > Modify > Contract and set Contract By to 10 px.

Step 2

Now press Control-Shift-I on your keyboard to invert the selection. Then, Control-Alt-Shift-click on the Subject layer thumbnail to intersect the selection. After that, Control-Alt-Shift-click on the layer mask of the Main Subject layer group to intersect the selection again.

Step 3

Select the Background layer and press Control-J on your keyboard to create a new layer using the selection. Then, drag this layer to the top of the layers in the Layers panel.

Step 4

Now go to Filter > Blur > Gaussian Blur and set the Radius to 10 px as shown below:

Step 5

Change the Blending Mode of this layer to Linear Dodge (Add) and set the Opacity to 70%. Then, name this layer Subject_Glow_1.

Step 6

Now Control-click on the Subject layer thumbnail to make a selection of this layer. Then, Control-Alt-Shift-click on the layer mask of the Main Subject layer to intersect the selection. After that, go to Layer > New > Layer to create a new layer and name it Temp.

Step 7

Set foreground color to #ffffff. Then, go to Edit > Fill and set Contents to Foreground Color, Mode to Normal, and Opacity to 100%.

Step 8

Now press Control-D on your keyboard to deselect. Then, press Control-J to duplicate this layer. After that, go to Filter > Blur > Gaussian Blur and set the Radius to 100 px.

Adding gaussian blur filter

Step 9

Name this layer Subject_Glow_2 and drag it just below the Main Subject layers group in the Layers panel.

Step 10

Now select the Temp layer, go to Filter > Blur > Gaussian Blur, and set the Radius to 100 px.

Step 11

Name this layer Subject_Glow_3 and drag it just below the Subject_Glow_2 layer in the Layers panel.

6. How to Make the Final Adjustments

Step 1

In this section we are going to make final adjustments to the design. Select the Subject_Glow_1 layer, go to Layer > New Adjustment Layer > Color Balance to create a new color balance adjustment layer and name it Color_1.

Creating new color balance adjustment layer

Step 2

Now Double-click on this layer thumbnail and in the Properties panel enter the settings below:

Step 3

Go to Layer > New Adjustment Layer > Curves to create a new curves adjustment layer and name it Color_2. Then, drag this layer just below the Color_1 layer in the Layers panel.

Step 4

Now Double-click on this layer thumbnail and in the Properties panel enter the settings below:

Step 5

Press D on your keyboard to reset the swatches. Then, go to Layer > New Adjustment Layer > Gradient Map to create a new gradient map adjustment layer and name it Overall Contrast. After that, drag this layer to the top of the Layers panel.

Creating new gradient map adjustment layer

Step 6

Now change the Blending Mode of this layer to Soft Light and set the Opacity to 10%.

Step 7

Go to Layer > New Adjustment Layer > Hue/Saturation to create a new hue/saturation adjustment layer and name it Overall Saturation.

Creating new hue and saturation adjustment layer

Step 8

Now Double-click on this layer thumbnail and in the Properties panel set the Saturation to +7 as shown below:

Step 9

Go to Layer > New Adjustment Layer > Levels to create a new levels adjustment layer and name it Overall Brightness.

Step 10

Now Double-click on this layer thumbnail and in the Properties panel enter the settings below:

Step 11

Select the Subject layer, go to Layer > New Adjustment Layer > Hue/Saturation to create a new hue/saturation adjustment layer and name it Subject_Color_Correction.

Step 12

Now press Control-Alt-G on your keyboard to create a clipping mask. Then, Double-click on this layer thumbnail and in the Properties panel, choose the Cyans preset color range, and set Hue to +55 and Saturation to -80 as shown below:

Step 13

Select the Overall Brightness layer, press Control-Alt-Shift-E on your keyboard to make a screenshot, and then press Control-Shift-U to desaturate this layer. Then, go to Filter > Other > High Pass and set the Radius to 2 px.

Step 14

Name this layer Overall Sharpening and change the Blending Mode of this layer to Vivid Light.

You Made It!

Congratulations, you have succeeded! Here is our final result:

If you would like to create the even more advanced
energy effects shown below, using just a single click and in only a few
minutes, then check out my Energy Photoshop Action.

The action works so you simply fill in your subject with a color and
just play the action. The action will do everything for you,
giving you fully
layered and customizable results. The action will also create 30 preset color looks that you can choose
from, and there are 65 high-quality fractal brushes included with the
action that you can use to build the designs even further.

The action comes with a detailed video tutorial that demonstrates how to use the action and customize the results to get the most out of the effect.

Adv

Car fire… that turned out to be a barbecue / S.O.S panne d’idées!

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Post pobrano z: Car fire… that turned out to be a barbecue / S.O.S panne d’idées!


THE ORIGINAL? BBQ Québec “Bonnes personnes” – 2017 Watch the video Source : Infopresse Agency : LG2 Québec (Canada)	LESS ORIGINAL Burger King “Good samaritan” – 2018 Watch the video Source : AdWeek Agency : David Miami (USA)

CSS

Chrome DevTools “Local Overrides”

13/03/2018 admin Dodaj komentarz

Post pobrano z: Chrome DevTools “Local Overrides”

There’s been two really interesting videos released recently that use the „Local Overrides” feature of Chrome DevTools in order to play with web performance without even touching the original source code.

Umar Hansa: Improving the performance of Soylent.com with local overrides and font-display
Harry Roberts: Using Chrome’s ‘Local Overrides’ to Test Performance Hypotheses

The big idea is that you can literally edit CSS and reload the page and your changes stick. Meaning you can use the other performance testing tools inside DevTools to see if your changes had the effect you wanted them to have. Great for showing a client a change without them having to set up a whole dev environment for you.

Direct Link to Article — Permalink

The post Chrome DevTools “Local Overrides” appeared first on CSS-Tricks.

CSS

Notched Boxes

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Post pobrano z: Notched Boxes

Say you’re trying to pull off a design effect where the corner of an element are cut off. Maybe you’re a Battlestar Galactica fan? Or maybe you just like the unusual effect of it, since it avoids looking like a typical rectangle.

I suspect there are many ways to do it. Certainly, you could use multiple backgrounds to place images in the corners. You could just as well use a flexible SVG shape placed in the background. I bet there is also an exotic way to use gradients to pull it off.

But, I like the idea of simply taking some scissors and clipping off the dang corners. We essentially can do just that thanks to clip-path. We can use the polygon() function, provide it a list of X and Y coordinates and clip away what is outside of them.

Check out what happens if we list three points: middle top, bottom right, bottom left.

.module {
  clip-path: 
    polygon(
      50% 0,
      100% 100%,
      0 100%
    );
}

Instead of just three points, let’s list all eight points needed for our notched corners. We could use pixels, but that would be dangerous. We probably don’t really know the pixel width or height of the element. Even if we did, it could change. So, here it is using percentages:

.module {
  clip-path: 
    polygon(
      0% 5%,     /* top left */
      5% 0%,     /* top left */
      95% 0%,    /* top right */
      100% 5%,   /* top right */
      100% 95%,  /* bottom right */
      95% 100%,  /* bottom right */
      5% 100%,   /* bottom left */
      0 95%      /* bottom left */
    );
}

That’s OK, but notice how the notches aren’t at perfect 45 degree angles. That’s because the element itself isn’t a square. That gets worse the less square the element is.

We can use the calc() function to fix that. We’ll use percentages when we have to, but just subtract from a percentage to get the position and angle we need.

.module {
  clip-path: 
    polygon(
      0% 20px,                 /* top left */
      20px 0%,                 /* top left */
      calc(100% - 20px) 0%,    /* top right */
      100% 20px,               /* top right */
      100% calc(100% - 20px),  /* bottom right */
      calc(100% - 20px) 100%,  /* bottom right */
      20px 100%,               /* bottom left */
      0 calc(100% - 20px)      /* bottom left */
    );
}

And you know what? That number is repeated so many times that we may as well make it a variable. If we ever need to update the number later, then all it takes is changing it once instead of all those individual times.

.module {
  --notchSize: 20px;
  
  clip-path: 
    polygon(
      0% var(--notchSize), 
      var(--notchSize) 0%, 
      calc(100% - var(--notchSize)) 0%, 
      100% var(--notchSize), 
      100% calc(100% - var(--notchSize)), 
      calc(100% - var(--notchSize)) 100%, 
      var(--notchSize) 100%, 
      0% calc(100% - var(--notchSize))
    );
}

Ship it.

See the Pen Notched Boxes by Chris Coyier (@chriscoyier) on CodePen.

This may go without saying, but make sure you have enough padding to handle the clipping. If you wanna get really fancy, you might use CSS variables in your padding value as well, so the more you notch, the more padding there is.

The post Notched Boxes appeared first on CSS-Tricks.

Partnerzy

Boords Animatic Tool

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Post pobrano z: Boords Animatic Tool

Web Tools

How to Create an Art Nouveau Wedding Invite in Adobe InDesign

13/03/2018 admin

Post pobrano z: How to Create an Art Nouveau Wedding Invite in Adobe InDesign

Art Nouveau is a romantic, decorative design style that works beautifully for wedding stationery. Here, we’ll give a modern update to this ornate style with this easy-to-create wedding invitation.

In this tutorial suitable for relative beginners, we’ll create the layout in Adobe InDesign and use Adobe Illustrator to edit some Belle Époque-style graphics.

To find more inspiration for wedding stationery and thousands of easy-to-edit templates, head over to GraphicRiver or Envato Elements.

The design we’re going to create here is made up of three separations: a full-color background, a gold metallic foil layer, and a silver metallic foil layer. We’ll look at how to set up the layout and export the separations ready for printing.

Let’s get started!

What You’ll Need to Create Your Invite

As well as access to InDesign and Illustrator, you’ll also need to download the following vector illustrations and font files:

Once you’ve installed the fonts onto your computer, you’re ready to start creating your invitation.

1. How to Create an Elegant Backdrop for Your Invite

Step 1

Open up Adobe InDesign, and go to File > New > Document.

With the Intent set to Print and Number of Pages to 1, uncheck the Facing Pages box. Set the Width of the invite to 4.5 in and Height to 6.25 in, to create a standard-size card. Add Margins of 0.1575 in, and a Bleed of 0.25 in, before clicking OK.

Step 2

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

Click on the Create New Layer button at the bottom of the panel and rename this layer Gold Foil. Then create a third layer, and rename this Silver Foil.

Lock all layers except the bottom Background layer.

Step 3

Expand the Swatches panel (Window > Color > Swatches) and create a New Color Swatch.

Set the Type to Process, Mode to CMYK and levels to C=13 M=52 Y=56 K=2. Click Add and OK.

Create a second new CMYK swatch, setting the levels to C=9 M=71 Y=66 K=1. Click Add and OK, as before.

Create a final new swatch, C=5 M=4 Y=6 K=0.

Step 4

Take the Rectangle Tool (M) and drag across the whole page, extending the shape up to the edge of the bleed.

From the Swatches panel, set the Fill of the rectangle to C=13 M=52 Y=56 K=2.

With the rectangle selected, head up to Object on the main menu, and Effects > Inner Glow.

Set the Mode to Overlay, and set the Effect Color to your new red swatch, C=9 M=71 Y=66 K=1. Bring the Opacity down to around 35%.

Set the Source to Center and increase the Noise to around 100%. This will add a bit of grainy, vintage-style texture to the color. Then click OK.

Step 5

Create a new rectangle in the center of the invite using the Rectangle Tool (M) and rest the edges of this against the margin line.

Set the Fill of this shape to your new pale swatch, C=5 M=4 Y=6 K=0.

2. How to Add Gold Foil Elements to Your Invite

The invite as it is presented here is made up of three colorways: a full-color background, a gold metallic foil layer, and a silver metallic foil layer.

Here we’ll start to build up the gold separation layer.

Step 1

Minimize the InDesign window for a moment, and open up the ‘Vitis Combined Elements.eps’ file from your Art Nouveau ornaments pack in Illustrator. Right-Click > Ungroup the elements.

Select the border design at the top-left corner of the artboard and Edit > Copy.

Step 2

Head back to your InDesign document.

Return to the Layers panel and lock the Background layer. Unlock the layer above, Gold Foil.

Edit > Paste the vector border directly into your InDesign document. Position it centrally, nestled inside the border of the pale central rectangle, as shown below.

I’ve switched the Fill of the border to a gold swatch, purely to demonstrate the color difference. But in your own work you should keep this set to [Black] (C=0 M=0 Y=0 K=100).

Step 3

Back in Illustrator momentarily again, open up the other vector file in your ornaments pack, ‘Vitis Combination Ornaments Main Set.eps’. Right-Click > Ungroup the elements.

Select one of the corner decorations, as highlighted in the image below, and Edit > Copy.

Step 4

Back in InDesign, Edit > Paste the vector onto the page, and move up to the top-left corner of the border, resizing it to fit snugly onto the design.

Select the corner element, and Edit > Copy, Edit > Paste. Right-Click on the pasted vector and Transform > Rotate 180 Degrees.

Position it over on the bottom-right corner of the border.

Step 5

Take the Type Tool (T) and drag to create a long text frame over the top third of the invite.

Type in the first name of the couple, and from either the top Controls panel or the Character panel (Window > Type & Tables > Character) set the Font to Naive Inline, Size 26 pt, and Tracking to 100.

From the Paragraph panel or the Controls panel, set the text to Align Center.

Edit > Copy, Edit > Paste the text frame twice, moving these below the first. Edit the central frame to have an ampersand (&), and the lower frame to read the second name.

Step 6

Create three more text frames across the lower half of the page, with the date first, set in Bentham, Size 11 pt.

Then set the venue in Naive Inline, Size 18 pt. Finally, set the location of the wedding in Bentham, Size 11 pt.

3. How to Add a Touch of Silver to Your Invite

With the gold elements finished, we can now start to build up the silver foil elements on our design.

Step 1

Lock the Gold Foil layer and unlock the layer above, Silver Foil.

Create a text frame at the top of the invite, reading ‘Together with their families’, set in Bentham, Size 11 pt.

Copy and Paste the text frame, moving it between the second name and the date text frame, editing the text to read ‘request the pleasure of your company to celebrate their marriage on’.

Paste a final text frame at the bottom of the invite, reading ‘Ceremony at (time) / Reception and dancing to follow’.

Step 2

Head back to the ‘Vitis Combination Ornaments Main Set.eps’ file in Illustrator. Select the small berries icon (highlighted below), and Edit > Copy.

Edit > Paste the illustration straight into your InDesign document, positioning it on the left side of the ampersand.

Copy and Paste the icon, and then Right-Click > Transform > Rotate 180 Degrees.

Position it on the right side of the ampersand.

Step 3

Head back to the ‘Vitis Combination Ornaments Main Set.eps’ Illustrator document, and select one of the long horizontal sections of a border, like the one highlighted below. Then Edit > Copy it.

Back in InDesign, Edit > Paste the element in, positioning it below the venue name.

Copy and Paste the border and Right-Click > Transform > Flip Vertical.

Position this above the venue name, to frame it.

4. How to Prepare Your Invite as Separations

If you’re going to ask your printer to apply metallic foiling to your invite, you’ll need to create ‘separations’ of your file, splitting the document into separate PDFs. Here we’ll look at how to create three separations: a full-color CMYK layer, a gold foil layer, and a silver foil layer.

Step 1

Make sure you’re happy with the final design of your invite, and check that the details of the event and spelling are correct.

Then switch off the visibility of the top two Foil layers, and make sure Background is visible.

Go to File > Export. Name this file ‘Invite_Background Full-Color’, and choose Adobe PDF (Print) from the Format menu below. Then click Save.

Step 2

In the Export Adobe PDF window that opens, set the Adobe PDF Preset to Press Quality (at the top).

Click on Marks and Bleeds in the window’s left-hand menu, and check both All Printer’s Marks and Use Document Bleed Settings.

Then click Export to create your first separation PDF.

Step 3

Back in your InDesign document, switch off the visibility of the Background layer and switch on Gold Foil.

Make sure all the elements on this layer are set in [Black].

Then head up to File > Export. Choose Adobe PDF (Print) for the Format as before, and name the file ‘Invite_GOLD FOIL SEPARATION’, before clicking Save.

In the window that opens, set the Preset to Press Quality, as before, but this time only check Crop Marks and Use Document Bleed Settings under the Marks and Bleeds options.

Then click Export.

Step 4

To create your final separation, make sure only the top layer, Silver Foil, is visible. Ensure that all the elements sitting on this layer are set to [Black].

Go to File > Export, this time naming the Adobe PDF (Print) file ‘Invite_SILVER FOIL SEPARATION’.

In the Export window, check Crop Marks and Use Document Bleed Settings as before, and then hit Export.

You’ll need to send all three separation PDFs to the printer, with clear instructions for which layers should be rendered in foil (although your naming convention should make this obvious, it’s always wise to get a proof).

Conclusion

Your invitation artwork is finished and ready to send straight off to the printers—great job!

This invite would make a great pairing with other vintage-inspired, Art Nouveau stationery. Why not send your invites in marbled envelopes, or have baroque-style place settings at the event?

To find more inspiration for wedding stationery and thousands of easy-to-edit templates, head over to GraphicRiver or Envato Elements.

Adv

Devalued advertising idea? / Une idée quelque peu dévaluée?

13/03/2018 admin Dodaj komentarz

Post pobrano z: Devalued advertising idea? / Une idée quelque peu dévaluée?


THE ORIGINAL? AAUW #TheNew10 – 2016 Wage inequalities awareness – Women’s Day Source : EPICA GOLD, CLIOS BRONZE Agency : Rethink, Toronto/LA (Canada/USA)	LESS ORIGINAL Scotia bank Perú “Billetes Mujer” – 2018 Wage inequalities awareness – Women’s Day Source : Codigo Agency : Wunderman Phantasia (Peru)