Post pobrano z: Spectacular doodling by Visoth Kakvei
If you needed a proof that doodling can be an art, any drawing by Visoth Kakvei should convince you. This Cambodian artist takes his doodle to a whole new level using symbols, details and perspective. You can follow more of his work on his Instagram account.
Post pobrano z: CSS Animations vs Web Animations API
There is a native API for animation in JavaScript known as the Web Animations API. We’ll call it WAAPI in this post. MDN has good documentation on it, and Dan Wilson has a great article series.
In this article, we’ll compare WAAPI and animations done in CSS.
WAAPI has a comprehensive and robust polyfill, making it usable in production today, even while browser support is limited.
As ever, you can check Can I Use for browser support data. However, that doesn’t provide very good info on support of all the sub features of WAAPI. Here’s a checker for that:
See the Pen WAAPI Browser Support Test by Dan Wilson (@danwilson) on CodePen.
To experiment with all features without a polyfill, use Firefox Nightly.
If you’ve ever used jQuery’s .animate(), the basic syntax of WAAPI should look pretty familiar.
var element = document.querySelector('.animate-me');
element.animate(keyframes, 1000);The animate method accepts two parameters: keyframes and duration. In contrast to jQuery, not only does it have the benefit of being built into the browser, it’s also more performant.
The first argument, the keyframes, should be an array of objects. Each object is a keyframe in our animation. Here’s a simple example:
var keyframes = [
{ opacity: 0 },
{ opacity: 1 }
];The second argument, the duration, is how long we want the animation to last . In the example above it is 1000 milliseconds. Let’s look at a more exciting example.
Here’s some CSS code I yanked from the awesome animista for something calling itself the „slide-in-blurred-top” entrance animation. It looks pretty sweet.
Here’s those keyframes in CSS:
0% {
transform: translateY(-1000px) scaleY(2.5) scaleX(.2);
transform-origin: 50% 0;
filter: blur(40px);
opacity: 0;
}
100% {
transform: translateY(0) scaleY(1) scaleX(1);
transform-origin: 50% 50%;
filter: blur(0);
opacity: 1;
}Here’s the same code in WAAPI:
var keyframes = [
{
transform: 'translateY(-1000px) scaleY(2.5) scaleX(.2)',
transformOrigin: '50% 0', filter: 'blur(40px)', opacity: 0
},
{
transform: 'translateY(0) scaleY(1) scaleX(1)',
transformOrigin: '50% 50%',
filter: 'blur(0)',
opacity: 1
}
];We’ve already seen how easy it is to apply the keyframes to whichever element we want to animate:
element.animate(keyframes, 700);To keep the example simple, I’ve only specified the duration. However, we can use this second parameter to pass in far more options. At the very least, we should also specify an easing. Here’s the full list of available options with some example values:
var options = {
iterations: Infinity,
iterationStart: 0,
delay: 0,
endDelay: 0,
direction: 'alternate',
duration: 700,
fill: 'forwards',
easing: 'ease-out',
}
element.animate(keyframes, options);With these options, our animation will start at the beginning with no delay and loop forever alternating between playing forwards and in reverse.
See the Pen motion blur waapi circle by CSS GRID (@cssgrid) on CodePen.
Annoyingly, for those of us familiar with CSS animations, some of the terminologies varies from what we’re used to. Although on the plus side, things are a lot quicker to type!
easing rather than animation-timing-functionanimation-iteration-count it’s iterations. If we want the animation to repeat forever it’s Infinity rather than infinite. Somewhat confusingly, Infinity isn’t in quotes. Infinity is a JavaScript keyword, whereas the other values are strings.Let’s take a closer look at one of the options: iterationStart.
I was stumped when I first came across iterationStart. Why would you want to start on a specified iteration rather than just decreasing the number of iterations? This option is mostly useful when you use a decimal number. For example, you could set it to .5, and the animation would start half way through. It takes two halves to make a whole, so if your iteration count is set to one and your iterationStart is set to .5, the animation will play from halfway through until the end of the animation, then start at the beginning of the animation and end in the middle!
It is worth noting that you can also set the total number of iterations to less than one. For example:
var option = {
iterations: .5,
iterationStart: .5
}This would play the animation from the middle until the end.
endDelay: endDelay is useful if you want to string multiple animations after each other, but want there to be a gap between the end of one animation and the start of any subsequent ones. Here’s a useful video to explain from Patrick Brosset.
Easing is one of the most important elements in any animation. WAAPI offers us two different ways to set easing — within our keyframes array or within our options object.
In CSS, if you applied animation-timing-function: ease-in-out you might assume that the start of your animation would ease in, and the end of your animation would ease out. In fact, the easing applies between keyframes, not over the entire animation. This can give fine-grained control over the feel of an animation. WAAPI also offers this ability.
var keyframes = [
{ opacity: 0, easing: 'ease-in' },
{ opacity: 0.5, easing: 'ease-out' },
{ opacity: 1 }
]It’s worth noting that in both CSS and WAAPI, you shouldn’t pass in an easing value for the last frame, as this will have no effect. This is a mistake a lot of people make.
Sometimes it’s a lot more intuitive to add easing over an entire animation. This is not possible with CSS, but can now be achieved with WAAPI.
var options = {
duration: 1000,
easing: 'ease-in-out',
}You can see the difference between these two kinds of easing in this Pen:
See the Pen Same animation, different easing by CSS GRID (@cssgrid) on CodePen.
It’s worth noting another difference between CSS animation and WAAPI: the default of CSS is ease, while the default of WAAPI is linear. Ease is actually a version of ease-in-out and is a pretty nice option if you’re feeling lazy. Meanwhile, linear is deadly dull and lifeless — a consistent speed that looks mechanical and unnatural. It was probably chosen as the default as it is the most neutral option. However, it makes it even more important to apply an easing when working with WAAPI than when working with CSS, lest your animation look tedious and robotic.
WAAPI provides the same performance improvements as CSS animations, although that doesn’t mean a smooth animation is inevitable.
I had hoped that the performance optimizations of this API would mean we could escape the use of will-change and the totally hacky translateZ — and eventually, it might. However, at least in the current browser implementations, these properties can still be helpful and necessary in dealing with jank issues.
However, at least if you have a delay on your animation, you don’t need to worry about using will-change. The primary author of the web animations spec had some interesting advice over on the Animation for Work Slack community, which hopefully he won’t mind me repeating here:
If you have a positive delay, you don’t need
will-changesince the browser will layerize at the start of the delay and when the animation starts it will be ready to go.
WAAPI gives us a syntax to do in JavaScript what we could already achieve in a stylesheet. Yet, they shouldn’t be seen as rivals. If we decide to stick to CSS for our animations and transitions, we can interact with those animations with WAAPI.
The .animate() method doesn’t just animate our element, it also returns something.
var myAnimation = element.animate(keyframes, options);
If we take a look at the return value in the console, we’ll see its an animation object. This offers us all sorts of functionality, some of which is pretty self-explanatory, like myAnimation.pause(). We could already achieve a similar result with CSS animations by changing the animation-play-state property, but the WAAPI syntax is somewhat terser than element.style.animationPlayState = "paused". We also have the power to easily reverse our animation with myAnimation.reverse(), which again, is only a slight improvement over changing the animation-direction CSS property with our script.
However, up until now, manipulating @keyframes with JavaScript hasn’t been the easiest thing in the world. Even something as simple as restarting an animation takes a bit of know-how, as Chris Coyier has previously written about. Using WAAPI we can simply use myAnimation.play() to replay the animation from the beginning if it had previously completed, or to play it from mid-iteration if we had paused it.
We can even change the speed of an animation with complete ease.
myAnimation.playbackRate = 2; // speed it up
myAnimation.playbackRate = .4; // use a number less than one to slow it downThis method will return an array of any animation objects for any animations we’ve defined with WAAPI, as well as for any CSS transitions or animations.
element.getAnimations() // returns any animations or transitions applied to our element using CSS or WAAPIIf you feel comfortable and content using CSS for defining and applying your animations, getAnimations() allows you to use the API in conjunction with @keyframes. It’s possible to continue to use CSS for the bulk of your animation work and still get the benefit of the API when you need it. Let’s see how easy that is.
Even if a DOM element only has one animation applied to it, getAnimations() will always return an array. Let’s grab that single animation object to work with.
var h2 = document.querySelector("h2");
var myCSSAnimation = h2.getAnimations()[0];Now we can use the web animation API on our CSS animation 🙂
myCSSAnimation.playbackRate = 4;
myCSSAnimation.reverse();We already have a variety of events triggered by CSS that we can utilise in our JavaScript code : animationstart, animationend, animationiteration and transitionend. I often need to listen for the end of an animation or transition in order to then remove the element it was applied to from the DOM.
The equivalent of using animationend or transitionend for such a purpose in WAAPI would again make use of the animation object:
myAnimation.onfinish = function() {
element.remove();
}WAAPI offers us the choice of working with both events and promises. The .finished property of our animation object will return a promise that will resolve at the end of the animation. Here’s what the example above would look like using a promise:
myAnimation.finished.then(() =>
element.remove())Let’s look at a slightly more involved example yanked from the Mozilla Developer Network. Promise.all expects an array of promises and will only run our callback function once all of those promises have resolved. As we’ve already seen, element.getAnimations() returns an array of animation objects. We can map over all the animation objects in the array calling .finished on each of them, giving us the needed array of promises.
In this example, it’s only after all the animations on the page have finished that our function will run.
Promise.all(document.getAnimations().map(animation =>
animation.finished)).then(function() {
// do something cool
})The features mentioned in this article are just the beginning. The current spec and implementation look to be the start of something great.
CSS Animations vs Web Animations API is a post from CSS-Tricks
Post pobrano z: How to Draw a Cute Bunny Step by Step
Do you want to draw something cute and simple? In this tutorial I
will show you how to draw a bunny from scratch, step by step. You don’t
need any reference and you can use any tools you want. This will be
simple and fun!
Let’s take a look at some
bunnies first, shall we? You may know what a bunny looks like, but it’s
always good to refresh your memory before you start drawing.
Draw
an oval—this will be the forehead. Draw it very lightly, because it’s
just a guide line for later. The smaller it is, the smaller the whole
drawing will be, and drawing small is a good way to keep the proportions
right! Also, you don’t need to draw the whole oval with one continuous
line—draw it with short, subtle lines, and then connect them.
Draw a circle below. Keep sketching, and don’t press too hard!
Cross the circle with a „smile”. This will help us place the cheeks properly.
Draw two circles on the sides—these will be the fluffy cheeks.
Draw a smaller circle inside the middle circle. This will help us with the chin.
Draw two other circles on top. Can you see a bunny smile already?
To give the eyes a cartoon cuteness, draw „butterfly wings” where the eyes will be.
Draw two narrow ovals inside the „wings”.
Outline the shape of the head going around the circles.
Draw the cute mouth and nose.
Draw two ovals on top of the bunny’s head. This will be the base of the ears.
Draw two lines from the outer edge of the circles, going towards the central line of the head.
Now turn outside with shorter lines.
Draw a similar short line at the base of the ears.
Close the shape with subtle curves.
That’s not all! Draw small curves at the tips of the ears.
Draw a line towards the inner side of the base circles.
Add
a body to the head. You can choose any shape and size you wish. I
decided to use a fat egg shape for a half-realistic, half-cartoon style.
Draw the oval paws under the body.
Draw horizontal lines under the paws.
Draw curves around the paws to make their shape less basic.
Draw ovals over the paws to create a part of the leg.
Draw an oval behind the hind paw to create a foot.
Draw a fluffy tail out of a few circles.
You can a little fluffy ruff around the head to cover the neck.
Additionally, you can draw a curve around the body to better see its 3D form.
Time
to finish the drawing! If you’ve been drawing digitally, create a new
layer for these final lines. If you’ve been drawing traditionally,
either take a darker tool to cover the lightly drawn sketch, or put a
new sheet of paper on top to draw the final lines here.
Outline the shape of the eyes.
Outline the shine dots inside them.
Draw smaller shine dots on the opposite side.
Fill the eyes with dark shading.
Subtly darken the smaller shine dots.
Outline the mouth…
… and the fluffy muzzle.
Don’t outline the whole shape around the eyes. Instead, sketch a suggestion of fur without closing the shape.
Outline the ears with quick, short lines.
Outline the whole head, but don’t close the shape entirely.
Outline the rest of the fluff.
Add the whiskers!
Finally, add a darker outline to the body and make some lines thicker for a more interesting look.
Congratulations!
You have learned how to draw a cute little bunny! If you want to learn
more about real rabbits and hares, don’t forget to check this tutorial:
And if you want to learn how to draw other cute animals, you may like one of these:
Post pobrano z: Mitsubishi: Goat, Chimp
Print
Mitsubishi
The campaign promotes the New Outlander PHEV, the Mitsubishi’s Electric 4X4 car. This car model has a regular motor, like most cars, and a second electric motor. So the idea behind the ads was to mix the adventurous world of the Mitsubishi 4×4 and the electricity differential of the car.
Go Electric. New Outlander PHEV. The electric 4X4.
Advertising Agency:Africa, São Paulo, Brazil
Chief Creative Officer:Sergio Gordilho
Creative Director:Sergio Gordilho
Art Director:Bill Queiroga
Copywriter:Guzera
Illustrator:D’avila Studios
Client Services:Carolina Barretto
Media Team:Luiz Fernando Vieira, Rodrigo Famelli, Gabriel Roveri
Print Producer:Carla Lustosa, Edson Harada
Art Buyer:Carmen Castillo, Natasha Grazia
Post pobrano z: Hand Lettering: How to Vector Your Letterforms
I remember a year ago I was having so much trouble vectoring my letterforms. I had a decent understanding of the Pen Tool, but had no idea that there are minor techniques that do wonders for your type to create those smooth curves you’re looking for.
This tutorial will hopefully answer all your questions regarding vectoring letterforms and vectoring nearly anything for that matter. The same process can be utilized for anything you compose within Illustrator. In the case of lettering, the key is to have relatively few anchor points while utilizing proper point placement and a variety of other tricks to perfect those curves, angles, widths, etc.
Three things to note before we get started:
First, the process below is utilizing some work I already created in a previous tutorial. For your practice and experience, I suggest creating/using your own piece of lettering, rather than recreating mine. It’s truly the best way to learn! I want you to take the information below and apply it to your very own lettering so you’ll have a finished piece that you can truly call yours!
Second, this tutorial isn’t about teaching you how to use/understand the Pen Tool. If you don’t understand how it works or its functionality, I suggest reading up on that before you begin—it’ll only make things easier later on.
Third, I want you all to know that this tutorial might seem a bit jumbled up and all over the place, but I promise it’s for the sake of teaching! I just want to share everything and anything to help your vectoring process. Long story short, it won’t be a streamlined beginning and end. There will be a beginning and there will be an end, but it’ll take us some time to get there!
Keep an open mind, and I promise we’ll create great things. Let’s begin!
For this tutorial, you’re going to use a sketch of some previous lettering you may have done from the previous tutorials. We’re going to focus on taking that sketch and redrawing it in vector format.
Before we begin working on the computer, we’re going to practice vectoring by hand! With paper! Crazy, right? I promise you it’ll give you a much larger understanding and appreciation for the wonderful Pen Tool.
Now, what does „extrema” mean? Firstly, it’s plural for extremum. In mathematics, that generally means the maximum or minimum. In the case of lettering, we’re talking about the extreme opposites of the letter to compose it with bezier handles. For example, the extrema of the letter „O” would be the north and south anchor points that form the curve. The east and west anchor points on the side allow you to distribute weight and width.
Take a look at this circle below. You can see the shape is being evenly created by four main points. Those are the „extrema” of the letter „O”.
Notice that the handles are evenly balanced and distributed as well. This same technique should be applied within your lettering. Make sure your handles are all balancing the workload and not allowing just one handle to be extremely long and carrying all of the weight.
Download the attached lettering if you’d like to use mine. If not, feel free to use your own! From here, let’s begin drawing where the anchor points would go. Go ahead and use a pencil or pen and draw circles wherever you think you would place those anchor points in Adobe Illustrator.
Don’t worry about if you’re right or wrong—just go for it and see what you currently think may be right. Later throughout this tutorial and further practice, you’ll be amazed at your growth / new knowledge.
Next, take that same piece of lettering and begin to draw rectangles around each letterform. We’re using an easy trick to understand where you’ll plot your points on the „extrema” of your letterforms. Wherever the rectangles touches your letter is where the anchor point should lie. Now, that’s not to say that your letterform should only have four anchor points since there are four sides to a rectangle. This just gives you a great starting point.
Later on, we will begin with plotting the extrema in Illustrator, and then adding additional anchor points for particular curves or maybe increasing some weight in your letterform. Every letterform will differ, so this process isn’t set in stone. Ultimately it’ll give you a head start in the right direction, and then it’s up to you to determine what looks „good” or what looks „correct”.
Now, before we get too deep into this section of the tutorial, I want to say that 0°, 45° and 90° aren’t necessarily the only angles you should place your handles at. Again, it all comes down to what looks good and using your own judgement to determine if it could use a random angle of 15°, for example.
So, what’s so special about horizontal, vertical, and diagonal (45 degree) angles? First, utilizing similar angles keeps things consistent across your lettering. Second, those angles are key to forming the smoothest curves. Ever noticed little points or edges in your lettering that are caused by anchor points? Well, that can easily be fixed with proper anchor point placement and the proper angle of your handles.
Let’s get to work!
This simple process below will show the importance of horizontal and vertical anchor point handles. This process should be used for nearly any vectoring project you have from here on out. Let’s start out by vectoring the below „The”. I want to break down the vectoring process so you can see how I would normally go about vectoring a simple word such as this.
If you’d like, you can begin by applying the „rectangle” technique with your lettering before you begin so you can determine where your extrema should be placed.
After drawing out your „The” lettering, we’re now going to begin taking it apart piece by piece to vector.
I’m going to start with the stem of the „T”. As you can tell, I’m utilizing those horizontal anchor point handles as well as two not so mathematical angles. Remember, not every handle needs to be horizontal. It’s truly what you think may look best. For this stem, I started with all of the handles horizontal, and then tweaked the two to fit my liking.
All in all, this entire stem was created with just four anchor points and a little trial and error.
This is where things get a little crazy. For this particular example, I decided to vector the „Th” connection together to create one single shape. Each anchor point is equally balanced and equally distributing the curvature. As for where to begin plotting your anchor points, it’s all a matter of preference. The letterforms generally dictate where to begin. For me, I work left to right, so I began by drawing the loop connection of the „T” and ended at the stem of the „h”.
Let’s keep pushing forward!
Next, I formed the shoulder of the „h” (the second stem if you will). Every piece of this lettering is broken down into separate shapes so you can later make edits to individual pieces rather than the entire piece.
The last step is to create the „e”. Utilizing just eight anchor points, I was able to create the right form without adding more points to adjust the width, contrast, etc.
Begin wherever you’d like, but for me personally, I began by forming the crossbar of the „e”, circled that shape around to form the bowl, and finished it off with the tail.
And there we have it! Our finished „The”. Remember to plot those points on the extrema, finesse those handles until perfection, and you’re golden! Patience is key!
I’ve included the below example as well, so you can see a completely different style of the word „The” while still using similar horizontal and vertical handles.
Vectoring sure is time-consuming even for a master. No matter what, it’s a lot of fine-tuning and correcting those curves, anchor points, etc.
In this section of the tutorial, I hope to shed some more wisdom to speed up the process just a bit more. For simplicity, I’m going to be utilizing the letter „O” or a circle shape to demonstrate a lot of these tricks. Even though it’s a simple shape, the methodology and practice behind the tip can be used for every single letter.
I call this technique the crossover. As you begin to vector your lettering, you may find it easier to apply this crossover technique to control the widths and angles of parts of your letterforms. In the example below, you can see I created an extra anchor point to allow me to control what is called the „crotch” of the „N”. Essentially, it allows you to move and alter one portion of your letterform without disturbing another.
In the bottom gif example, this shows exactly what I mean by altering one side without disturbing another. Now, this „A” construction definitely isn’t correct by any means. It’s just a perfect way to display what the crossover technique can accomplish.
The Ellipse Tool and Rectangle Tool within Illustrator can become your best friends if you just think about what shapes are composing each letterform. For example, the letter „O” has two ellipses: one for the width and another ellipse on the inside to form weight. So, if you just create two ellipses, stacked on top of each other, you can form the letter „O” within seconds.
Additionally, if you wanted to continue and create another letter such as an „H”, you can utilize the Rectangle Tool. Each stem and the crossbar of the below „H” was formed with three separate rectangles. You can later expand and merge them if you’d like one complete shape.
Hopefully the sped-up gif process below shows exactly what I mean. I’m just using simple shapes to form these letters.
In the below example, I utilized the Width Tool within Illustrator. It definitely can come in handy at times. With this tool, you’re essentially plotting where you want your width to be distributed. In this example, I wanted the left and right sides of the stroke to be .525in while the top and bottom remained .125in. This distributed the weight evenly and formed a nice high contrasted letter „O”.
As you can see from the example, the left is just a stroke—that was before I applied the Width Tool, while the right is after the Width Tool has been applied.
This tool can definitely help speed up vectoring certain letterforms, especially script. Just remember to draw with „strokes” and add the contrast to your letterforms with the Width Tool after.
The downside to the Width Tool is that when you go to expand your stroke, it forms a massive amount of extra anchor points that you don’t need. You can see what I mean in the image below. All those tiny red dots are anchor points!
So if you wanted to make edits after it was expanded, it would be rather difficult if you didn’t have the original stroke to edit.
Alright guys, it’s time to knock out the final vectoring project since we just learned all about how to vector! We’re going to begin where we left off earlier in the tutorial and take this New York City piece to completion.
Taking this piece by piece, begin vectoring your letterforms one at a time. Utilize the crossover technique to be able to adjust an area of your lettering without disturbing another part of it. For this particular piece of lettering, I had very few vertical and horizontal handles. But I still plotted my points on the extrema which allowed me to create the shapes you see.
After vectoring the „New”, let’s start the next word: „York”. Use the same process and vector each piece by piece. You can probably see the collection of anchor points within the „K”. That is because I drew each part of the „K” as separate shapes to edit later if need be. So the stem and the two legs are all individually drawn, creating a total of three shapes to form the „K”.
Note that it’s okay if everything overlaps, since we’ll be filling these shapes later on.
The last word to vector, „City”. You know what to do: begin plotting those points and carefully finesse your handles to your liking. Draw each letter separately as you can see below—it’ll help the editing process later on.
There we have it! After you’ve completed vectoring the whole piece, you can give the lettering a fill instead of a stroke so you can see how the positive and negative space are interacting.
Even after you think you’re done vectoring, you’re probably not!
There’s tons of editing to do after you „fill” the shapes because you can then see what needs more contrast, more kerning, etc. In this instance, I made lots of minor edits to help the overall color. Additionally, I altered the shape of the „Y” to extend into the negative space of the „N”.
The last step! For this piece, I added little „notches” to the enter and exit strokes of the letterforms. How would one vector something like this? Just remember to break things down into simple shapes or strokes again. For me, I knew it would be perfect to utilize some simple strokes created with the Pen Tool, but I changed the „Variable Width Profile” of the stroke to create the triangular shape. You can see what I mean in the process below.
I took the liberty of filming a very sped-up video of the whole lettering process. It took me a good two hours to complete this piece. Again, patience is key if you want your vector lettering to look exactly how you sketched it out! Feel free to watch the process below and see the extra step I took to take the vectored lettering to the next level.
The below New York City piece is the finished vector after adding lots of extra details. If you’re curious as to how to create depth, texture, color combinations, etc., then my next tutorial will be perfect for you! Stay tuned for that in the next month or two.
I’m sure at this point you’ve practiced a good amount to hopefully become even more comfortable with vectoring than you already were. We’ve covered a lot of material, and now it’s time for you to put this knowledge to the test. Keep practicing what you’ve learned because it only gets better with time, I promise! Keep it up!
As always, if you have any issues or questions, feel free to leave a comment below and I’ll be able to help you out. Good luck!
If you’re interested in getting some help with your lettering, Envato Studio has a great collection of Lettering & Calligraphy Specialists that you might like to explore.
Post pobrano z: The Best Free Logo Design Template Kits (New for 2017)
Logo design just got a whole lot easier! Mix and match your favorite logo elements for a new custom design using free templates from Envato Logokit.
Your brand matters. That’s why we’ve developed a system to make the logo design process faster and more affordable.
A logo design template kit gives you high-quality vector elements to build the perfect logo. And the awesome part is that all our kits are completely free!
Envato Logokit is the best DIY logo solution for professional results! Our designers have created exceptional, high-quality logo kits featuring a wide range of text treatments, icons, and unique color combinations.
Explore a variety of categories to find a kit that fits your style. With a wide selection running from brilliant monograms to creative mascots, we’re sure you’ll be satisfied with our striking selection of modern logos.
Learn more about our logo kits here: What Is a Logo Kit?
Not sure where to begin? Follow this brief introduction to learn how to start editing with vector design programs.
First, choose a logo kit you love. Let’s go with this awesome Modern Monogram Logo Kit.
Then download and unzip the kit. We’ll provide the main vector EPS files, which can be opened in a variety of vector-based programs.
Open the file for the logo combination you prefer in Adobe Illustrator. I chose the M letter file, which represents all the two-letter combinations for „M.” To match my name, Melody Nieves, with a logo, I’ll decide between these „MN” design styles. Use the Group Selection Tool to select the combination, and then Cut and Paste it onto a New Layer. Hide the other combinations.
Put your imagination to the test as you mix and match elements to create the perfect logo. Scale the main shapes to a bigger size using the Selection Tool (V). Or add and change text with the Type Tool (T).
Continue modifying your logo with new colors and more. Then choose a color Fill you’d like to apply, like a vibrant solid color or a beautiful cool gradient.
Once you’re through, Save your file with the appropriate extensions (.ai, .eps, .jpg, .pdf, etc.) to use your custom logo right away. It’s that simple!
Need help customizing your logo kit? Go with a professional! Choose from hundreds of designers at Envato Studio to help build the logo of your dreams.
Here is a current selection of all the fantastic kits now available on Envato Logokit. We also release new ones each week! So subscribe to our email newsletter to get notified when a new logo kit drops next!
Create an elite brand with this vintage monogram kit. This kit features 676 elegant letter pairings in a variety of minimalist styles. Turn your logo into an epic badge by adding a simple circle or finish it with the tagline of your choice.
Need a new mascot for your company? Then try this awesome stickman logo kit. Designed with a faceless character for more flexibility, this mascot cooks, fishes, and even has a great green thumb. And since he’s a mascot with many trades, we just know he’ll be a great addition to any service-based business.
For a more corporate look, check out this pack of modern gradient designs. With multi-layered shapes and symbols, this template lets you choose from a selection of premade gradients to adorn your special emblem.
The epitome of professional design, this corporate logo kit features minimalist icons with clean, bold lines. This diverse selection of icons covers many business themes and categories. Add vibrant colors to finalize your design or keep it monochromatic for an even sharper look.
Create a striking logo that employs the trendy use of negative space. Exude exceptional style with cutout designs that are sure to make your brand stand out. Choose from many text arrangement options for a versatile logo.
Design a monogram with class and sophistication with this incredible logo kit. This kit features 676 combinations of every letter pairing in the English alphabet! Choose from multiple styles to make the most out of your logo design.
Or enlist the help of a furry friend for greater logo impact! This brilliant kit features various animals that fit many industries. Enjoy the simplicity of the overall emblem design with clean vector lines and solid colors.
Add a charming mascot to your brand with this awesome logo kit. This flexible mascot can be altered to fit your needs by changing the skin color, outfit, and accessories. Choose from high-quality elements to create a personalized chef, businessman, and more!
This comprehensive suite of 676 letter combinations features every letter
pairing imaginable! And to make your logos truly one of a kind, this suite
also comes with a bonus set of embellishments for that extra special touch.
Follow your passion with this beautiful barber shop logo kit. Great for hairdressers and salons of all kinds, this kit includes hipster vector elements that fit a variety of grooming needs. Just replace the colors and text with the help of any vector design program.
Design a little guy mascot for your business! This set of interchangeable characters provides the perfect way to customize your brand. Switch up body positions or change the outfit colors for more options.
Turn your logo into an epic badge with this outdoor-themed kit. This kit features many badges and emblems that are great for nature-based organizations. Use the colorful options available or pick your own for a more personalized logo.
Celebrate your favorite team with a custom logo to match! Included in this kit is a full system of flexible icons suitable for a wide range of sport clubs and associations. Simply choose your favorite sports symbol, and then arrange the logo to fit your design needs.
Highlight your hospitality skills with a beautiful new logo! This logo kit is an amazing DIY solution for any food or hospitality business. Choose from dozens of stunning line art combinations for a sleek, modern vibe.
Found a design you love? Share your results with us! And let us know how you like Envato Logokit in the comments below.
Post pobrano z: CNN Colorscope: What it really means to see green
Post pobrano z: San Diego Zoo “Africa Rocks” Montage
Process and production details on the Gentleman Scholar project page.
Post pobrano z: How to Draw an Owl
An owl is a symbol of wisdom and mystery. Aren’t these birds gorgeous?
But drawing an owl may seem overwhelming: it 's hard to decide where to start and how to find the right proportions. In this tutorial, I’ll show you an easy way to draw an owl with a graphite pencil and ink liners.
We’ll also consider the principles of layering ink hatches, and observe how to create a beautiful effect of fading in our artwork.
As a result, we’ll get an impressive nature-inspired drawing!
You may also be interested in this great article:
What You Will Need
I draw a vertical core line that divides the future owl’s figure into halves; it will be our reference point for the measurements. Then I mark the side borders of the bird’s head and body.
It is useful to follow the principles of symmetry when you are drawing animals. Just keep in mind that there is nothing perfectly symmetrical in the natural world.
I draw the rough shapes of the head and body, using light pencil lines.
The eyes are located on a line that is slightly below the central point of the owl’s head. The core line helps me to measure the equal distance.
The interval between the eyes is close to the width of one eye.
I draw a rough shape of the beak. It looks similar to a triangle with two rounded corners.
I add the prominent shapes that resemble stylized ears (the ear tufts).
I draw the pupils and add the divergent lines of feathers above the eyes.
I refine the feathery pattern on the owl’s face, also known as the facial disc.
I draw the smaller details of the beak and the ear tufts.
I add the wings to the body.
I draw the framework of the feet.
The feet have four fingers each, but the back fingers hide behind; they help the bird to take up a stable position.
I add the hooked claws and refine the shapes of the fingers.
I draw the contours of the tree using varying, organic lines.
I add three groups of leaves. They will make the composition more interesting.
I add the groups of pencil hatches to mark the pattern of the owl’s feathering.
In this part of the tutorial, we’ll pay particular attention to the hatching techniques.
Creating layers of hatches is an excellent way to make an illusion of texture, increase the contrast and accentuate the three-dimensional look of the objects in the drawing.
Here is a sample of the inclined hatching, made with the 0.1 ink liner; this will be our base.
I add a new layer of hatching with the 0.05 liner. The lines can overlap the existing hatches, or they can be located in the gaps between them.
The lines of different widths combined in one drawing always look attractive.
With the 0.05 liner, I add the rounded cross-hatches. You are not limited by the number of hatching layers!
With the 0.3 liner, I apply horizontal hatches. As you can see, the more layers of lines I use, the more contrasting and intense my sample becomes.
With the 0.3 ink liner, I mark the dark sports of the feathering.
I continue to add the groups of short lines, using the 0.3 liner.
With the 0.3 liner, I draw the pupils. The eyes become dark and contrasting.
I also mark the shadows in the plumage.
I add the thin hatches, using the 0.05 ink liner. The lines go from the center of the bird’s face to its sides.
I mark the outer circles in the eyes, using the 0.05 liner.
Small dots and short hatches help me to accentuate the eyes without oversaturating the artwork.
I work on the feathering, using the 0.05 ink liner. I place new hatches in the gaps between the existing ones.
With the 0.3 liner, I make the contours of the owl’s feet and outline the tree.
I draw the pattern of the bark, using the 0.3 liner. I also add groups of hatches to create shadows.
I draw the leaves with the 0.1 ink liner. I use thin, light lines so that the leaves won’t distract the viewers’ attention from the owl.
I also add some hatching to the tree to make it look more three-dimensional.
I add short hatches to the sides of the bird’s fingers and strengthen the shadow near the feet. We get an instant three-dimensional look!
I also add more hatches to the owl’s body, using the 0.1 ink liner.
I increase the contrast in my drawing. With the 0.1 liner, I add groups of hatches, paying special attention to the sides of the bird, and mark the contours.
I work on the owl’s head, making it more realistic. With the 0.05 ink liner, I accentuate the facial disk with an additional layer of hatching.
I accentuate the shadow under the bird’s beak, using the 0.05 liner. I also add short hatches to the sides of the beak.
I add a layer of the cross-hatching to the owl’s body, using the 0.05 ink liner.
With the 0.3 liner, I create the dark accents in the feathering.
I increase the contrast in the lower part of the drawing and strengthen the shadows there, using the 0.1 liner.
I apply the cross-hatching to the tree, using the 0.1 liner.
With the 0.05 liner, I add one more layer of hatching to the bark.
As a final touch, I emphasize the contour of the branch with a wider line.
Congratulations, you’ve finished the drawing! I hope you enjoyed both the process and the result. Please share your artwork in the comments!
I wish you much joy and success in mastering ink techniques!
Post pobrano z: A nightmarish lookalike / Une ressemblance effrayante?
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| THE ORIGINAL? Screamfest Horror Film Festival – 2007 Source : Adsoftheworld Agency : HonestMechanics (USA) |
LESS ORIGINAL Hell Party Number 6 – 2012 Source : Coloribus Agency : Mark BBDO (Czech Republic) |
