PHOTOSHOP TIPS AND TRICKS PDF

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WORTH_Photoshop_Tutorials_packed_ByNDR. Mmmmmotion 12/10/ I received a couple of requests for a tutorial on making a Mmmmmotion pic so I. ADOBE PHOTOSHOP CS TIPS AND TRICKS. F-stop corrections. Tutorial. 3. Add a Layer Mask. The global correction makes some of the vegetation along the. Photoshop is an easy tool to use and a difficult one to master. Fortunately, help is at hand with our comprehensive list of tips, tricks and fixes for.


Photoshop Tips And Tricks Pdf

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sands on the Photoshop Down & Dirty Tricks seminar tour, traveling to cities across the country. . new video or PDF file on the website. 4. What about the fonts?. raudone.info - Google Drive Google Storage, Google Drive, Photoshop Tips. Visit Tricky Cut Outs made EASY and FAST: PHOTOSHOP #76 - YouTube Make It. Tips for Using Adobe Photoshop. The Photoshop Toolbar is shown on the right. I shall refer to tool positions in the row- column (spreadsheet) format.

These are the basics of Motion Tweens and Motion Guides. Keep flashing. I can change the color. It might seem like a lot to take in but once you get a handle on these fundamentals there's a whole lot of things you can do and it only gets more and more fun.

Page 2 Before we start. Even better. The arm. These can cost hundreds of dollars. The swivel file: Various software packages warp. On the other hand..

The base. In fact. Our mount will hold the camera sideways. Now the camera is turned to the side. Position two objects on a table so that they line up when viewed through your lens — a couple of batteries work perfectly for this.

Every part here is available at a store like Home Depot. On my Canon EF-S. Now rotate the camera about that point. Page 3 Finally. Once you get past some of the misinformation out there.

Now pan your lens right and left as you normally would. This is where the misinformation comes in. This photo shows the camera straight ahead. Better yet. The rotation point entrance pupil is NOT necessarily halfway down the lens. The point the camera must rotate about is the entrance pupil. Still see a shift? Put the tip of the index finger of your left hand somewhere along the bottom of the barrel of the lens. The alignment is quite close. The side. Here's what an insert nut looks like: The hole in the side is where the arm will pivot.

Page 4 Now we need to drill a couple holes. As such. Use a piece of very flat. To make sure the camera has enough clearance when you swing it down. Drill holes up through the bottom of the base into the side and screw the two together. This last hole is where the camera attaches. The width need only be a couple inches. Drill a hole at one end for the arm to attach to the side piece where it will pivot.

The size of all the holes in this project except the last one are up to you. To figure out the length. Page 5 Next. The exact distance from the side is critical — it will need to run through the center of the lens. The first hole needs to go in the base -we need to drill a hole near the center. In other words. Add a half inch to an inch on either side.

A little glue and maybe some bracing might help — this less flex the better. As with the hole in the arm. Drill a hole through the center of it. But regardless of what you use. Position it as near as possible to the center to maximize stability. Secure the screw with washer and wingnut. Pivot at the arm and base as necessary. Sand all the parts. The full size image was 32 megapixel. To finish things up. That's it. As far what software to use. Attaching a small level is highly recommended.

For example. When using your new panoramic head. The image had no blending. Push the screw through the arm. Introduction Here is the goal of the tutorial: Turn this: Then use the Magic eraser tool or any method you want to create the shape you want the picture to be.

Of course I am using the wall picture from page 1 and this logo. Select your Images First you will have to select an image that you want to use. It does not have to be a wall. It could be a car. Paste it Now paste onto the background picture of your choice. Adjust your picture with the free transform tool right click then click perspective.

This tool takes a little time to adjust to. Practice on a blank document. Perspective Now we will adjust to the direction of the background. Let's adjust the height and length. Now on to the fun part.

TMproductions file: Solong I hope that this tutorial helps with any problems you have or has shown you something new. Choose the option that better suits the lighting or feel of your picture. Be creative and have fun! D file: Skulls and bones After I found myself a suitable source pic 1. Source pictures which are usable for such a contest aren't always pleasant to look at.

Dirty Laundry The clothes 1 were soiled with a soft brush in red and greenish black colours. I experimented a lot with different blend modes. Adding details In the neck area 1. I used source pictures of a leg with spider veins 2. I finally decided the features of her body wheren't clear enough.. I took the image from 1 to 2 by.

Finished Finally it was time for some more detailed work.. For the head. I looked for a picture of a skull which was taken from roughly the same angle 3.

It all starts with the orginal I wanted to make it look dangerous and tall so skippin through the cloning and making a piece of slide i could duplicate here is what it might have looked like if I were to do the normal cut and paste of pieces.

Page 1 Well here's an example of how to figure out perspective and what it might look like if I hadn't. Here is how to find the right way to do it and how I figured out the form for the top part of the slide incidentally the bottom was brushed and the top I used liquify to distort file: I didn't do everything perfect because i was losing details in the bars but the idea is there.

Page 3 Here is what it looks like corrected. So keep perspective in mind next time your chopping! Its worth noting as well that not everything needs to be perfect in chopping either. The final can be seen in the image at the beginning of this tutorial. I didn't make a shadow for the new monkey bars. I've put together a little step by step to show some of my nasty little secrets. Page 2 Then I copied it into its own layer.

Page 1 For the haircut.. For those of you who are interested. I picked my lasso tool with a good feather on it and selected bits of the hair around the circumference of her head Page 3 then rotated.. I used my lasso to select the area where my scruff would be built. Page 5. I added some noise. For extra realism. Hope someone finds this vaguely useful.

I had a seperate source with real scruff that I blended into the upper lip and chin after the beard was nearly complete. To make it fit. At the top are my 2 source images. Kinda like ET. Recognition relies on the proper matching of your source images. Image B. The position and scale of the face are appropriate for the underlying head. Image A is what I would consider a decent match. The head is pointing in one direction.

It is a simple task to mirror the face to match the angle. When adjusting the face size. A seamless faceswap should give a viewer the uncomfortable feeling of "Oh God! He's so pretty! This is when the face is scaled correctly. If you can only see one ear. It's all or nothing. When positioning the face. Avoid these common mistakes. If you find yourself doing a lot of cloning between the ears and eyes. It is guaranteed that even with the best blending. Image E. The face is just too large for the head.

Paginated View Page 1 The following are some observations I have made regarding the art of "faceswapping". Avoid using base source images that have the head at odd angles relative to the body. A word of advice about benthead images.

Notice that the head angle is already close. I use the eyes as a guide for scale. I see no reason to make more work for yourself trying to tweak the images to make the angle look right. As in my example. My example is a little extreme. Most faces can be mirrored and nobody would notice. He's a mutant! Image D. Image C. Marilyn Monroe and Cary Grant.. I don't advise mixing and matching eyes. The Stuff: This tutorial describes one of many methods for saving photographs in compressed format for the highest quality browser display within the file-size limits requested by webmasters.

If you are doing line drawings or illustrations. JPEG was made for photographs. In photo contests. Simply put.. Photoshop CS2 costs as much as a pretty good camera. If you make your photographs too large or too small. Continued 2 Inside the red circle marked 2 is the zoom factor.

The screenshots in this tutorial are of Adobe Photoshop CS2. After one completes the editing of his photograph.. I strongly recommend you look into Adobe Photoshop Elements 3. Enough said. Sucks as well. JPEG is not the best choice. On around the counter-clockwise circle…. On the other hand. We can let the computer figure out the rest after all. I knew you could do it.

To keep our entire photograph on the screen. It looks scary. If we subtract a fudge-factor for the scroll bars at the side and the menu bars at the top.

Simply put. If you have problems.

Remove Backgrounds Automatically with a Free Photoshop Action

Giving it a new name prevents us from writing over our original image. I'd sure be glad to help. I wished to make the best possible image in fewer than KB. All right. Einstein with WEB. I know where you live. Our file will be under the desired size no matter what the computer-geeks throw at us. So in this case. I hope this works well for you. It's possible to cut and paste tattoos off the body or image of a person and use different blending methods to achieve a similar effect.

Mask out the areas where you have any overlap. Be sure to use an image that is public domain or ask the author first. Geri Halliwell We'll use my recent Geri Halliwell image as the template for this tutorial.

Using the Move tool roughly place the artwork where you want it to sit. This tutorial uses a few basic photoshop techniques. Position and Multiply Let's start with Geri's abdomen and the skulls artwork. For Geri's arms. I ended up with this. Bikini clad. Flash Sources The source artwork I use for tattoos is the "flash" artwork that real tattoo artists design and use as a templates for their work. Walk into most tattoo parlours and hanging on the wall or in their design books you'll see a huge selection of artwork you might want to have a tattoo of.

Some people have used displacement maps to align tattoos. Joining patterns The same process was used on Geri's arms and legs.

You wouldn't want a solid colour to apply to areas in a body cavity or around the edge of a shoulder. I also mask certain areas with a low opacity brush to achieve a feathered smooth flowing ink effect.

The image below shows the 3 layers used with some masking and a pretty good flowing pattern was achieved. Tattos are never a solid black so tweaking the layers.

Simple as pie! Because the arms and legs had the same pattern I just placed the lower arm and the upper arm layer over the top of each other and masked out any overlap creating a smooth pattern. Transformation For Geri's shoulders and chest area. Seems a little messy but remember once the Multiply blend is applied all the white instantly disappears.

So basically there you have it. Use Multiply for your layers 3. Use the Transform option to position and distort the tattoo. Coloured tattoos Finally. I sometimes use Adjustment layers and the Replace Colour option to lessen a red or to make a green more vibrant. A little extra work is involved adjusting the opacity of the layer to get that blurred well worn effect. Use "flash" source images 2. Be a little creative and play with the colour and opacity settings. Like masking. I am going to use the filter to help me put a wood texture on on a banana peel.

In this case. What is a displacement map and how does it work? I had some free time and energy to burn.

Once you understand how black and white effect displaced images. Fifty percent mid grey makes absolutely no difference on the distortion of the image. Typically one or two pixels of blur will get the job done. Below is an example of how the different values effect a displaced image with a simple value map over a candid photo: Wooden Banana: Getting Started Now for an example of how to apply a texture to an object with the displace filter. This will make our texture look choppier than it should kind of like how the candid example looked above.

Making a Map First. The shades of grey. Therefore we want to add a bit of blur to smooth this out. This gives use the shades of grey we were talking about earlier. Basically turning this: Now on to the really good stuff.

Start by desaturating your main source image. Now you probably notice that the different values are defined a bit too harsly where they meet. This is the kind of thing you would use most often for you general photoshopping needs here at worth Applying the Texture Now you can revert your image back to its original state so we can go back to apply the texture. I suggest looking at some of the fine statue making tutorials on the site for more information on this.

Save the image you have now as a. The percentages in this little dialogue box defines how much the blacks and whites will affect the pixels of your texture. We will need it later. There you have it.

1000 Photoshop Tips and Tricks.pdf

You'll end up with something like this: Finishing Up Now we can go ahead a move on to something that is a different tutorial altogether. I'm not really going to go in depth into this part.

For the purpose of general image editing. Making the banana actually like the wood texture is a part of it. Navigate to the displace filter and once you select it. After this. If you have any questions about the things I've talked about here. PSD and remember where you put it. I chose a fun wood bark with lots of ripples great texturing. Don't mask your texture just yet. Once you start playing with this. Remember that this tutorial is just a guideline. To make our final product below: Source Images In this tutorial.

I decided to use the actual fur and "mold" it over the rhino's body. Since I liked the high contrast color of the zebra. Lower the opacity of Zebra and compare it to the Rhino background. Using the Transform tool. Liquify is your friend file: I extracted the zebra from its background and pasted it into the rhino file on a new layer. I found it important to match up the legs first and then the head for this image.

I chose these 2 since the angles and stances are very similar. The better match now means less work later. So with that said. Test Fit Okay. It's a good idea to use a hi-res image because when you're stretching pixels. I'm going to assume that you have some experience with this filter so I'm gonna get to the point.

I had to use the Liquify filter's built in mask tool to protect one leg as I shaped the adjacent one. Shading Okay. I decided to use the Liquify filter to make the rest of the adjustments. Since the legs are so close together. Once you're happy with those results. We're going to add more depth to this image by adding shadows. You need to have quite a bit of patience with the Liquify filter to get the best results.

All your shadows will now be contained inside the zebra. I'm not going to be using any blending modes because I want to keep as much detail and contrast as I can -. Once you have matched the entire silhouette of the Rhino. I used small. I basically stretched out the top. When the cursor changes it's shape.

Using the large brush. Try to avoid making looong pulls because you won't get desired results. For the Zebra's head. Now for the head: If you look at the original rhino picture. If you find that the shading is a bit too dark. With some patience you should get the desired results. It looks like its beefed up. I occasionally turned the visibility of the Zebra layer on and off used the Rhino background as a reference as to where to add new shadows.

Good Luck and I hope this helps. The concept We will turn: To file: Select the parts which you want to edit and keep them all on different layers.. Lets Begin. Lower the opacity and place the eye in the proper location. Cleaning Up Using a soft eraser.

You should end up with something like this. We are not working much with the nose. Lip-syncing file: The Final photo will turn up like this: Once done. You can use any way you find best. Using free transform and the stamp tool cover the original lips. Copy a part of the skin from the main layer and paste it on a new layer. Finishing Up For hands. I used the method mentioned below.

Preface I've been asked several times by different members to post a tutorial on how I age-progress a person. So, here it is! Men and women age a little bit differently but since I've only aged female celebrities thus far, I'll just focus on women for this tutorial.

The appearance of such details makes it all that much easier to visualize how your subject will age. Visualizing what the end result will look like brings you one step closer to aging her face realistically. Collecting Reference Material Reference material is key in my method of aging.

I then opened up the picture of Katie in Photoshop and pasted the found images around her face on a separate layer, spread out to provide easy visual access. Since her mom has quite a bit of mass under her chin, I decided I would apply that to Katie too. Step 3: Thinning Brows Now the fun begins! I sampled the surrounding skin to thin and reduce the number of hairs. Step 4: Mold the Face Next, I like to add the basic sags to the skin. I do this in the Liquify mode.

I tried to create sagging effects to the cheeks, jowls and the cliff just above the eyes by using the Push tool. For the eyes, I tried to be subtle; otherwise she may end up looking somewhat ghoulish. As a result, the end of a nose may appear larger as a person grows older. So while I was still in the Liquify mode, I used the Push tool to extend the length of the nose slightly.

Then I used the Bloat tool to also enlarge it slightly, being careful not lose the essential quality or character of the nose. Go too far and it may not look like Katie anymore. I initially used the Airbrush tool with some fairly broad strokes, sampling the colors that were already in the area of her neck. I then worked in the details with a finer brush size. Also, keep in mind that I was also using the other reference photos of older women to guide me.

Step 6: Wrinkle Up the Eyes For me, the most important parts to get right are the eyes. They can make or break the project. Done wrong and the picture may no longer be identifiable as one of Katie Holmes anymore. I sought out the fine lines around the eyes and I tried to imagine how they would progress into wrinkles.

I then extended them in length and width accordingly. Referencing the pictures of old women helped a lot with this step. I used a combination of the Stamp tool and Brush tool. I wish I could explain my technique at this point in a more clinical manner but mostly I relied on my artistic instincts.

I emphasized the wrinkles around the eyes by widening and deepening the lines slightly and increasing the contrast by darkening the recesses and lightening the edges. Also, I extended wrinkles to the cheekbone areas.

I then applied the same technique to the wrinkles around the mouth and to the forehead. Reducing the Lips In this step, I work on the lips. As people grow older, the outline of the lips tends to recede. Using the Stamp tool, I sampled the skin surrounding the lips and thinned them out. While I was at it, I also added a few vertical wrinkles above the lips to give her a bit of a "prune" effect.

Here, on a separate layer, I faintly outlined or sketched, with a relatively thin brush size, areas that I may or may not add more lines and wrinkles to. So, I stopped, took a step back and assessed where to take to image. For me, it's essential and a great test to see what best works. Page Step 8: Touching Up the Wrinkles Based on the previous step, I added wrinkles where I thought they were needed most.

They needed more definition so that they could pop out more. So, I highlighted the raised edges of the individual lines with the Brush tool and with a lighter skin tone.

Step 9: Hairy Lips Facial hair becomes an issue with most women as they age. For some strange reason they lose it in the brow area and grow it back around the mouth area. I tried to make it as subtle as possible. I also added more wrinkles to the area below the corners of her mouth. I decided that the neck was too smooth for a woman of 75 years of age. So I added finer wrinkles to that area. Also, I added more mass and weight to her jowls with the airbrush by increasing the value of the tones in those areas thus creating more contrast between surface planes.

Step Adding Age Spots A key component to effective aging of a face is the addition of age spots. You can add as many as you like; the amount varies from person to person. I decided to be conservative with Katie. More Refinements I took a little break from it and came back to it later to possibly get a better perspective on it. When I looked at it, at this point, I decided that certain areas needed refining and added detail.

This is the beauty of working with a high-resolution file; I can zoom in real close and deal with a wrinkle up-close and personal. Gums also recede, showing less gum and more bone. The finishing touch here is greying the hair. I began by creating a mask defining the area of the hair. I used the brush for this and tried my best to define as many loose strands of hair that I could.

Hair Raising The next step was to raise the hairline and thin out the hair. Hair loss is common with both sexes. I sampled the area at the top of the forehead and extended the skin area above the original hairline.

Greying the Hair A lot of details of the hair were lost in the previous step so with a thin brush size at 80 percent opacity I drew in fine grey hairs, sparsely laid out.

Patiently, slowly, stroke by stroke I added more and more hairs until I was happy with the amount of grey I had added. I hope this tutorial was insightful. It may not be the most technically detailed tutorial but it gives you a good idea of the process I go through to get the job done.

Hopefully, it will help you create your own trophy-winning images for future Fountain of Age contests! And in the final stage. Sources Before you ever start. I started off looking for images of a lighthouse with an interesting paint job The conversion part is kind of lame.

A perfect idea is a dud without the great sources. You never want to work with your original image layer. I google'd for a spiral staircase. Erase First. Save early.

I eventually settled on the lighthouse at Cape Hatteras because it's recognizable and has lots of good source material out there. What I ended up with was this fantastic shot. Many times I've had a fantastic idea but could not find the source images to back it up. Your milage may vary. I will show you how I made the black stripes of Cape Hatteras Lighthouse vanish and reveal the insides for all to see.

What I found was: Trust me. For this contest I knew I wanted to peel away some of the stripes painted on a lighthouse to show the sky behind. Insert and Convert..

Want to tumble down those steps. In stage three. Not just good ones. I know.

I was looking for something that had a similar point of view. A perfect idea without perfect source images is a losing entry. I see no reason this could not have been done using any other decent photo editor. I've broken the process down into four general stages. You will also add the missing portions of the spiral white stripe.. Turn off visibility on the Background layer. Introduction In this tutorial. In the first stage. There are many ways to achieve the same results.

It was this fact that sent me down the spiral staircase route. At the end of each section I've tried to boil things down into a tip or two that I've slowly learned while at Worth with the comments and generous help of the Worth Masters. In the second stage. You've just masked them out of the image. You should end up with a selection that looks like this: Erase continued Now.. Don't forget the little bit at the bottom right. You will get a linked layer mask in your White Stripes layer.

Once that is selected. Select the Magic Wand Tool and set the options like so. We can cheat a little here and use the Magic Wand to help with our selection. Erase continued Now. You will then see that your White Stripes layer now has "holes" punched where the black stripes used to be. We want the clouds to blend in. It will look like you are erasing part of the image. Grey will get you something in between. Since we are dealing with fluffy..

What you should end up with is a clean. It would be very helpful to zoom in a little. Don't be cheap Don't worry about the boundary line between the sky and the black line just now.. Begin to clean up the boundary line between the white stripes and what was the black stripe. Replace Now. This way. With your new "Clouds" layer selected. Click the Create a new layer button on your Layers Palette and name the new layer Clouds.

Remember the Magic Wand selected it as well? To do this. The top will reappear. The reason we are doing this re-order is because we only want the clouds to show through in the "holes" in the mask we just created.

Watch the colors and textures you are cloning. Begin to clone the clouds from the source point to the new Clouds layer. Never work on your original background layer.

With your White Stripes layer mask still selected. Re-order your layers by dragging the new Clouds layer below your White Stripes layer. Option-Click on part of the clouds to define the source for your clone. Your Layers Palette should look something like this: Zoom in so that you can see decent detail.

Pay closest attention to the boundary lines. Always use a layer mask when hiding image data on a layer. When painting on a mask.. You always want to have your cloned data stored on a new layer. Look at the white stripes on the lighthouse. Select a foreground color close to but a little darker than the middle of the white stripes.. You will most definitely need to re-define source points quite a few times for this step.

Since you already know the general shape of a lighthouse cylinder or cone. Spend the time. Set the Gradient tool options like this. To best match color and texture.

It may take some time to get it right.. With your Hidden Stripes layer selected. Replace continued For example. It's a sub-selection under the Paint Bucket tool. This gives the feeling of depth. Just click and hold.. Create a new layer and name the it Hidden Stripes.

Just continue to blend that boundary line with the clone tool using similar colors. Re-order your layers so that the Hidden Stripes layer is between the Clouds layer and the White Stripes layer. If you make the "fingers" extend past the boundary convincingly the transition will look best. If you think about it.. In the middle you will have a rather harsh boundary line where the left and right clone data touches.

I zoom in and out frequently to get different perspectives on the work. If you can tell where the "real" clouds and the newly cloned clouds meet. The reason we are choosing colors which are a little darker is because we are dealing with the inside of the lighthouse and the colors will be the same.

We want to have this same feeling for the parts of the white stripe we have to create. For the right side.. You should end up with something like this when your are done: Replace continued Now. Since the gradient is already there it looks as if the stripe has depth to it. Replace continued Just for grins. Your gradient will disappear. This will force the "line" of the gradient to match the direction of the lighthouse itself. With the layer mask of the Hidden Stripes layer selected.

If you need to. Back to work. When you let go. When you are done any touch ups Begin "painting in" really unmasking the gradient you created before the back white stripe. Hold down the Shift key while dragging as this will allow you to constrain the line to the horizontal plane. Because you have been using masks on other layers.

If the colors are not right. With the Hidden Stripes layer selected.

Reflected Gradient. It will bleed over a bit. The fourth option available. Insert continued Create a layer mask for your Staircase layer and mask out the portions of the image we will not need. Insert It's now time to start working on the long spiral staircase that will end up in the middle of the lighthouse. Page 2: Step 2: The Rain Next step, the rain! Page 4: Step 5 Last step!!

Go to the top of your layers pallet and change the mode to Screen and Voila! You have a rainy day! Optional step! Click just outside the bottom right handle, until the cursor looks bent.

Then hold Shift and turn the layer clockwise until the bottom right corner becomes the top left corner. Then hit the Commit button at the top!

Page 1 : Navigate to the Tutorial First, you need to find which tutorial you want to start with. In this tutorial I will be linking to c's Unwrapping Hatteras. So, click on it, and it will bring you to the tutorial. You should see this: Now, click on 'Print View'. It is next to the author's username, and highlighted in red.

This will bring up a page without your username, without advertisements, and without the navigation bar. Highlight the URL and copy it. You will need that later in this tutorial. Once opened, you will see a string already entered. The first set of quotations is the main folder. The second is the text that will be clicked to link to the tutorial. Now the text file should appear as follows: Be sure to save the file and you may now close the text editor.

Once Photoshop is open, in the menu bar, click the 'Help' dropdown.

28 Awesome Tips and Tricks for Photoshop CC

At the very bottom of the list, there should be a choice for "Worth Tutorials". If you hover your mouse over it, the dropdown will extend and should read "Unwrapping Hatteras". Click it and your default browser will appear with the Unwrapping Hatteras tutorial showing! You can add as many as you like, and they will be automatically alphabetized in Photoshop. Paginated View Page 1 : Displacement The effect I used for wormhole is easy to do and has many uses from rippling water to warping the fabric of space-time.

Start off with the image you want to poke a hole in, and create another blank image at the same size and resolution, but in grayscale Image - Mode - Grayscale. Page 2: Making the Warp Working on the blank image, create a new Gradiant Fill, alternating dark gray and white as shown below. The more stripes you create, the more waves your wormhole will have. For a mild ripple, use a lighter shade of gray. For a really warped look, alternate between black and white.

You'll also notice I got farther apart as I moved from left to right - this detail makes the outer waves larger than the inner waves, a characteristic of rippling water. Next, you're going to apply a Twirl filter to the gradiant Filter - Distort - Twirl. Play around with the amount to get the effect desired. It doesn't have to be perfect, there will be plenty of time for editing. Note: Instead of the twirl filter, you can apply the gradiant as a radial it will have a bullseye-type effect when applied.

This gives you a slightly different look. Page 4: Setting Up Back to your source image.

At this time, you can also place your "destination" image between the source and the duplicate, as shown below. Note that my "destination" is much smaller than my source, sized to fit in the "hole" we're going to make later. We can resize and reposition this layer as necessary once we make the hole.

In this example, I used a horizontal and vertical scale of 50, Stretch to Fit, and Repeat Edge Pixels which aren't important since the displacement map we created on page 3 is the same size as our source image. Apply the filter, specifying the warp file you saved in step 3 as the displacement map. Your image should now look like this: Page 6: Restore Some Reality Now you're going to define the wormhole.

Apply a Layer Mask to the displaced layer. Set your foreground color to black, background to white, and select a soft-edged brush. Now, simply "paint" around the outside of the warp to expose what's underneath it. Remember, painting with black will Mask the area you're painting, painting with white will Reveal the area you're painting.

Still in the Layer Mask, use the tool to make an ellipse in the center of your warp you'll see how to best fit it to match the warp's waves , then feather it Select - Feather about 8 - 15 pixels varies based on the resolution of your images - experiment! You'll end up with something like the following: Page 8: Getting Things Just Right Now's your chance to move and resize your "destination" the Alaska layer in this example.

Play around with positioning, size, levels, all that good stuff. Page 9: Finishing Touches To round off the image, I use the Smudge tool to smooth out any areas that seem to be too pixellated from the Displacement filter.

I also use the Burn tool to darken slightly the opening of the hole, adding just a bit of depth. For some really cool effects, try the Liquify filter on the warp layer before starting your Layer Mask. You can also change the perspective of the displacement map step 3 for an angled appearance to your wormhole. I hope you find this tutorial helpful, and I'm sure you'll find many cool uses for this effect.

Please Message me with any questions or comments. Page 1 : Example 1 In this example, the squirrel has soft but distinct fur. To replicate it takes a bit of time and practice but can be easily accomplished by anyone. This can be done just as well by masking but I prefer the eraser. Use a medium sized soft brush and remove all traces of the background including anything that shows through the fur. A small soft brush should be used where the fur isnt as thick as around the face, ears and paw.

It may take several strokes to accomplish each bit of fur but that adds to the more casual look of the new edge. Vary your stroke direction so that all the fur isnt unrealistically going in exactly the same direction. Have some of them cross over other hairs for a more realistic appearance. Keep in mind also the varying length of fur that exists on different portions of the animals body.

Pull the tip of each one of these hairs to a softer point. This will result in a softer more photographic look. I added a black background to make it easier to see the finished fur. Page 7 Using the same approach for background removal, a soft eraser brush or masking if you prefer, remove the existing background and all areas of fur where the old background was evident. Keep this edge as soft as possible. I added a black background just to make the work more obvious.

Use a single, quick curved stroke again keeping in mind that all hairs do not go in exactly the same direction. Page 9 Add more hair using the same technique. Its a good idea to add additional hair using separate layers for each group. This will make it easier to smooth out the hairs later especially when they cross over each other.

Most of the hairs have been stroked with the smudge tool, as in the squirrel image, with the tips tweaked to make them look more realistic. As you can see, the creation of a reasonable fur effect is fairly simple. It may seem work and time intensive but with a little practice, mostly getting comfortable with the fur strokes, it can be done in fairly short order. Page 1 : Introduction Hello and welcome to the wonderful world of tweens!!!! Today's lesson: Motion Guides and how they make life so much easier when you're trying to animate stuff.

You probably already know about the two different kinds of tweens. That's so NOT what I'm writing about! Motion tweens can be your best friend when you're animating in Flash. But if you're not familiar with motion guides then you're probably working 10 times harder than you need to. So let's take a look at Motion Tweens and Motion Guides. Page 2: Starting Out - Symbols First of all, when you're doing motion tweens, and pretty much whenever you're working with animation in flash, you have to observe a general habit and rule.

There are about a dozen reasons for this, but in the case of motion tweens it's for the sake of file size and communicating with Flash better. So now let's take a look at an example.

Page 3: Beginning A Tween Ok. I've got a gear shape on my main stage, and I've already turned it into a symbol. I want to make it move from the left side of the stage to the right side. Of course you would. So at this point I extend the number of frames from 1 to 24 in the Timeline and create a keyframe at the end of it, then place my gear on the other side of the stage.

It's tweening! Wow, that's great! But the thrill wears off fast when you realize just how boring it is. Oh yeah! There is! Oooo look at all the goodies! You can adjust the tween type, whether or not the transition remains to scale, the "Ease" of the tween this changes the speed of the tween from beginning to end, say for example you want the gear to start out moving slowly across the stage and pick up speed faster as it reaches its destination, you would choose "Ease In.

Page 5: Settings I want my gear to roll 5 times Clockwise. I have a gear that rolls instead of slides! That's pretty neat. I'm sick of straight lines.

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I'd like my gear to look like it's being pushed into the distance along an arc. How can I do this without setting a million motion tweens or going frame-by-frame? Here's where Flash really makes things easy. I'm going to remove the tween I just made and my keyframe on frame 24 that I had for the previous example, but leave the frames. So now I have 24 untweened frames with only the first frame as a keyframe. To create a motion guide for an object: q q q Highlight the layer on which the object rests.

Right-click the layer and select "Add Motion Guide. It defaults with the same number of frames as its counterpart and the frames are blank. Now to make a guide. I said I wanted the gear to move back along an arc path.

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So, I'll make a simple arc using the line tool. Even though you can see the guides in the flash interface and on the stage, they will be invisible in the flash movie. Guides are best used with lines and not shapes, but it's possible to use just about any drawing tool as a guide. Your object will just stick to the edge of a shape, but will follow a line in a more definite way. Use the line tool, the Bezier Line tool, the pencil tool, or even the outline from the cirle or square tool will work.

Experiment and check it out! Page 7: Snapping I have my arc guide now, and I have my symbol. Am I ready to tween?

You'll find snapping at times to be a big inconvenience when you don't want it to run, and at times, like now, it'll be very helpful. When snapping is enabled for objects and guides, as you move an object it will naturally gravitate toward the guide in question. Remember that. By making sure it snaps to the end, I can be pretty sure the path is going to conform to the shape of the arc in my guide layer.

I wanted it to look like it was falling back, though, so I can scale the height and width of the gear to make it smaller. Page 9: Results and Properties And here's the result: Cool, right? It gets cooler. Highlight any frame in the motion tween and then open the Properties Panel again. Now we can do all that neat stuff I wrote about up top to achieve different effects.

First I went to the final keyframe again and flattened my gear's height scale. It might seem like a lot to take in but once you get a handle on these fundamentals there's a whole lot of things you can do and it only gets more and more fun. Keep flashing, stay cool, and enjoy! Paginated View Page 1 Theres some amazing software out there for panoramic photography.

Various software packages warp, stitch and blend sequences of photos so that they ideally look like one big, high-resolution, panoramic shot. However, getting these shots to turn out perfectly isnt easy when handholding your camera or using a normal tripod, especially when some parts of the image are fairly close to the lens. The issue is parallax, or, to rip something out of the American Heritage dictionary since Im not about to try to explain it myself, an apparent change in the direction of an object, caused by a change in observational position that provides a new line of sight.

To fix this, you need to get the camera to rotate about a specific point that is forward of the screw socket in your camera. Building your own panoramic head for an SLR isnt too hard or expensive. Every part here is available at a store like Home Depot. Once you get past some of the misinformation out there, the only really hard part is figuring out the dimensions. On the other hand, you cant mistakenly mess up one of the critical adjustments once youve built it, and the homemade mount is as light as a couple small pieces of wood.

Heres the unit were going to be building: My woodworking skills arent top-notch, but theres really not much need to make it look even this nice. Dont worry about appearance, just get the key measurements close and youll have a fully functional new toy.

Page 2 Before we start, we need to make a guess as to that magic rotation point mentioned previously. This is where the misinformation comes in.

The point the camera must rotate about is the entrance pupil, not the nodal point as is often stated. Better yet, who cares what they call it, theres a test to figure it out.

The rotation point entrance pupil is NOT necessarily halfway down the lens. In fact, on many cameras, its not even close to that. So, whats the test to find the entrance pupil? Our mount will hold the camera sideways, but for now its easiest just to hold it horizontally.

Position two objects on a table so that they line up when viewed through your lens a couple of batteries work perfectly for this. Now pan your lens right and left as you normally would. Youll see the objects move relative to each other thats parallax. Now, lets find a better pivot point. Put the tip of the index finger of your left hand somewhere along the bottom of the barrel of the lens. Now rotate the camera about that point. Try to hold that left hand as steady as possible cmon, youre a photographer, you got steady hands, right?

Still see a shift? This photo shows the camera straight ahead, and the batteries aligned: Now the camera is turned to the side. The alignment is quite close, but not perfect - we can see the left edge of the rear battery poking out: Page 3 Finally, lets get to the actual construction If youre using a tilt and pan head, skip it.

However, if you have a ball head, its a lot easier to include it than try to adjust the ball head every shot. First, cut a piece of wood for the base.

Make it about 5 by 4 12 cm x 10 cm. Next, cut the side. To make sure the camera has enough clearance when you swing it down, make it a little over 5 tall.

The width would be the same 4 as the base. Line up the two 4 edges so that the side is sitting on top of the base to form an L see the picture above.I just wanted you to know how impressed I am. Making of a Chrome Emblem Shiny and interesting, this text effect allows you to create some beautiful car logotypes for your creation.

Page 4 Step 1: Drag across something exactly vertical or horizontal. To make our final product below: Drag down on the curve to darken the sky. Essentially this is intended to be of some help to those who are either beginners to graphics programs or new to the OOB concept and would appreciate some very. Now use the Brush tool and paint with black to tidy any bits in the land.

In the second stage.

LYNETTA from Bakersfield
I do love reading books questionably. Look through my other articles. I have a variety of hobbies, like sprint car racing.
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