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Broomfield High School 2011 2010

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Version 0.2.4 beta This is a collection of simple tutorials created to be used in conjunction with Eric Mickens Digital Art Classes copyright 2007.


key

L A S T

S L N O O B I T M A SY KUP CRE C C A I T B S I T AR IA S D L E O M O T . V AD

E L F B O T A T NTEN O C

P A G E

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J D A FX ERS T L I F SKS TOR MA STRA U L N IL TIO A

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G I S AS

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Symbol Key Symbols will appear on certain page to help guide you.

Layout -

Canvas/ Starting (new project) -

Non destructive -

Color tools -

Layers -

Destructive -

Rulers -

Edge control -

EC

FILTERS -

Selection -

Transform tool -

Masks -

Levels Back-up -

Layer styles -

Clipping -

Digital Art logo -

Hyperlinks - Any word or phrase that looks like this


S A S

E V SA

)

R

G R O F

( S ILE

F G IN

V A S

NG I D A

E G RA

Type to enter text

O T S

P U K C A B & P U

K C BA

B A C K

T S I KL

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SAVE AS Always use (save as) instead of (save). -If you use (save) you will loose the ability to (re-name) your file. You will save over any file that has the same file name.


SAVING FILES Remember these settings & set-up are not optional....

for Grading

FIRST THING TO DO... CREATE a TURN-IN FOLDER All files must be placed in a Turn-in Folder WITH YOUR LAST NAME then FIRST NAME as the title.

SECOND THING TO DO... (project nameWorking.psd File) (This is your saved photoshop file with all LAYERS intact & visible)

THIRD THING TO DO... (Project name Final.psd File)

“USE ONLY MERGE VISIBLE”

(This is your saved photoshop file with all VISIBLE LAYERS merged & with only one layer visible) Note: this file is what we use for printing

This merges all visible layers, so make sure this is only done when you are at the end of your project... -Then save your file as (project nameFINAL.psd) note: make sure your saved file name is accurate.

FOURTH THING TO DO... ADD Media that you have used to your turn-in Folder: ALL pictures used, scanned drawings used, Artist statements, and self-evaluation in .pdf form... Your Turn-in Folder should be labeled like this...

Your Turn-in Folder should contain... 1. Your working file labeled properly 2. Your Final file labeled (& merged) properly 3. ALL of your original Media (This includes your self-evaluation & all pictures used.


Backup/Storage USB FLASH DRIVE AT LEAST 1GB OF STORAGE. -note: try to look for a flash drives that is compatible with both Mac & Windows.

CD-R’S

IPOD DOCK CONNECTOR

CD-R’s can be used as storage. Students can purchase blank CD-R’s using their “Art Cards”.

In order to use your ipod as a storage device, you will need to enable the disk use feature in the preferences & have a USB dock connected.

-note: CD-R’s are not re-writable. so once they are finalized, no more data can be added.


5 Truths About Flash Drives by Jeremy Brock Many devices such as USB flash drives, Solid State Drives (SSD), and memory cards (CF, SD, etc) use NAND memory to store data. NAND memory is inexpensive however it does have its faults. These are some interesting things i've learned while recovering data from bad USB flash drives:

1. Files ARE NOT deleted While NAND memory is solid state (no moving parts) individual sectors fail after 10K to 100K writes. To prevent failure each write operation stores data in a different location (wear leveling). If a file is deleted or overwritten numerous times using a “file shredder” application the original data will remain on the physical chip because each pass will write to a different physical sector. The only secure way to use flash devices is with an encryption layer such as TrueCrypt for USB drives and BitLocker for Solid State Drives (SSD).

2. Cheap Components As flash drives come down in price so have the quality of components. Many USB flash drive manufacturers are using untested NAND memory, choosing to rely upon the controller to handle bad blocks. Bad clock generators, faulty controllers, and buggy firmware are other common failures. While it’s no guarantee (*cough* PNY Anttache) I recommend buying flash drives from known manufacturers and staying away from inexpensive unbranded drives.

3. Flash Drives ARE NOT Indestructible USB Flash Drives are susceptible to wear and tear, static shock and power fluctuations. One frequent killer of USB Flash drives is removal during a write operation. This can cause corruption to the internal wear leveling tables that tell the controller where each sector is stored on the NAND flash chip. To prevent further corruption the drive will stop working resulting in errors like “Unknown Device” or “Unrecognized Device” and incorrect drive capacities (ie. Total Size: 0MB). Never unplug the drive while it’s in use. If possible, always use the “Safely Remove Hardware” applet.

4. Short Lifetime Newer high capacity NAND chips (MLC) have a shorter life time (~10K writes per sector) than older SLC chips (~100k writes per sector). Remapping bad blocks, wear leveling, and error correcting code (ECC) are used to prevent and identify failure. These technologies show their faults when there is no free space and a file is continually written to. For example premature failure can occur if the drive is full and the page file is actively used.

5. Very Difficult Data Recovery While data recovery is usually possible if the NAND chip isn’t physically damaged, this often involves removing the NAND chip and reverse engineering the controller to decode the data. Unlike hard drive data recovery, NAND data recovery is a relatively new field. Besides us, there are very few small data recovery shops that specialize in it. Most NAND data recovery is performed by the government and big data recovery shops at a high price. As with any other storage medium,

Don’t rely on a flash drive to keep backups of your important data. Instead use a flash-drive to transfer data between computer hard-drives.


-UP CK BA

If you have only one copy

of a FILE then you have no copies!!!

BACK-UP CHECK LIST

Knowing how to properly back-up is key to surviving that inevitable bad “technology� day...

KL EC CH

Do I have multiple copies of my file(s) that are up-to-date? Do I have multiple files saved in two completely different places? i.e. two different hard-drives.

IST

ALWAYS BACK UP


B A C K

T & R S A T F N SO E M E E L L E IP C N N I R O I P IT S O P M O C

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ELEMENTS & PRINCIPLES OF

ART Elements of art Line Shape Form Color Texture Space Value Principles of art Emphasis Balance Harmony Variety Movement Rhythm Proportion Unity

LINE + SHAPE = FORM

Elements of Art

Principles of Art

Line is an element of art which refers to the continuos mark made on some surface by a moving point. It may be two dimensional, like a pencil mark on a paper or it may be three dimensional (wire) or implied( the edge of a shape or form) often it is a outline,contour or silhouette. Shape is an enclosed space defined by other elements of art. shapes may take on the appearance of two-d or three- objects. Form is an element of art that is threedimensional and encloses volume. Cubes ,spheres,and cylinders are examples of various forms. Color Is an element of art with three properties 1) Hue, the name of the color, e.g. red, yellow, etc. 2) Intensity or the purity and strength of the color such as brightness or dullness. And 3) Value, or the lightness or darkness of the color. Texture refers to the surface quality or "feel" of an object, such as roughness, smoothness, or softness. Actual texture can be felt while simulated textures are implied by the way the artist renders areas of the picture. Space refers to the distance or area between, around, above or within things. It can be a description for both 2 and 3 dimensional portrayals. Value describes the lightness or darkness of a color. Value is needed to express Volume.

Emphasis in a composition refers to developing points of interest to pull the viewer's eye to important parts of the body of the work. Balance is a sense of stability in the body of work. Balance can be created by repeating same shapes and by creating a feeling of equal weight. Harmony is achieved in a body of work by using similar elements throughout the work, harmony gives an uncomplicated look to your work. Variety refers to the differences in the work, You can achieve variety by using difference shapes, textures, colors and values in your work. Movement adds excitement to your work by showing action and directing the viewers eye throughout the picture plane. Rhythm is a type of movement in drawing and painting. It is seen in repeating of shapes and colors. Alternating lights and darks also give a sense of rhythm. Proportion or scale refers to the relationships of the size of objects in a body of work. Proportions gives a sense of size seen as a relationship of objects. such as smallness or largeness. Unity is seen in a painting or drawing when all the parts equal a whole. Your work should not appear disjointed or confusing.


COMPOSITION How you arrange objects within your piece (canvas), is one of the most important decisions you will make about your art.

Original Image

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PERSPECTIVE The way you see...

Horizon Line

Eye Line

Vanishing point

Planes

Guidelines

Depth & Distance


Horizon line

Vanishing Point

Guidelines


THE CREATIVE PROCESS My Sketchbook

My sketchbook holds my thoughts, ideas, & dreams

Artist Checklist Do I throughly understand what my goal and/or what the (assignment) is about? Do I understand the requirements to meet my goal? Artistic requirements Technical requirements What sketches or Layout designs do I need to do prior to creating my digital art? Will another medium help to enhance my digital art?


THE MATRIX A Computer Generated Dream World ... THE

What is real? How do you define real? If you're talking about what you can hear, what you can smell, taste and feel then real is simply electrical signals interpreted by your brain.

By William Irwin

THE REAL WORLD The world as we know it...


PAINTING LINE + Shape = Form

STRATEGIES

Blending All types of digital art require a knowledgeable understanding of blending techniques.

Layering Painting “even digital painting� is about layering of colors to create depth & details.

Opacity Opacity is key to blending when digitally painting.

Work from Background to Foreground. Work from Light to Dark


Subject:

Hero

MIND MAPING

Date:


Subject:

The VILLiAN

MIND MAPING

Date:


Subject:

SETTING

MIND MAPING

Date:


Subject:

THE DILEMMA

MIND MAPING

Date:


EDGE CONTROL! Edge control

Edge control

Edge control

Creating Digital Art in Photoshop is all about blending image elements together.

-Wether

you are digitally painting or photo manipulating an image.

“The key to your success is controlling the edges of the added elements�.

C E


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GO U H S . E C S I SX V E D T U INP RD S A T O B U C KEY T R O H E S H G D E C L TE N W G I O S N E K D EB


Vector

Raster

.FILE TYPES .PSD

.JPG

.PNG

.GIF .BMP .TIFF

.FLV .PDF

.AI

“Your files are your art, you must know how and where they are saved at all times”

Raster If vector programs are usually "drawing" programs, then raster applications tend to be considered "painting" programs. Just as Van Gogh used to paint a brush point or dot at a time, raster applications create their images a pixel (based on "picture element") at a time.

.PSD - Adobe Photoshop The file format photoshop uses

Vector As opposed to the raster image formats (where the data describes the characteristics of each individual pixel), vector image formats contain a geometric description which can be rendered smoothly at any desired display size.

.AI - Adobe illustrator The File Format Illustrator uses

.JPG or (jpeg)- Joint Photographic Expression Group A format developed by the Joint Photographic Expression Group, it is popular for Web use with continuous-tone (read: photographic) images, -but is less appropriate for use in print, as it achieves its economic file sizing by being a "lossy" format

.PNG - Portable Network Graphics more potent and flexible than GIF, retaining all of GIF's latest improvements (such as GIF89a transparency) while adding features, such as full 8-bit and 24-bit color palette options.

.GIF -

Graphics Interchange Format A Compuserve®-trademarked format for online transmission and display of pixel-based images. These files are generally small, and images best saved as GIFs are line art, those containing solid blocks of color, and lacking in continuous tone, gradient-type images.

.BMP- Bit MaP

.TIFF -

not unlike TIFF, but far less universal. Photoshop-friendly, and has some cross-platform virtue, albeit limited. Tagged Image File Format The Tagged Image File Format is, perhaps, the most crossplatform-friendly of file formats, at least for the printed world

OTHER FILE FORMATS These are other file formats that are important for digital artists.

.PDF - Portable Document Format Not considered a graphic file format to purists, but the default "image distribution" format.

.FLV - Flash Video Flash Video is a file format used to deliver video over the Internet using Adobe Flash Player


tamroF Format

tnemucoD Document

elbatroP Portable

.PDF Use PDF’s to distribute graphical documents

Why use PDF’s? Multimedia capable

You can store & also print large amounts of information from the web.

The content you want to add is a form you would like people to be able to print, fill out and send in to you.

If the content is a long document, it can be difficult to read on a computer screen. PDF’s can help make viewing long documents look more natural and easier to read.


COPYRIGHT Always know where you are getting images from. -Only use stock photo sites that have pictures that are public domain and royalty free.

T, EI US U IT” YO E G “IF AN CH Respect & Understand what a watermark means.

Read the License agreement


Water Marks and Showing your Work

WATERMARKS

Watermarks are used to protect your art...


STOCK PHOTO 1. Stock.Xchng http://www.sxc.hu/ index.phtml

SITES

2. Public-Domain-Photos

http://www.public-domain-photos.com/

3. Everystockphoto http://www.everystockphoto.com/

4. StockVault http://www.stockvault.net/

5. Pixel Perfect Digital http://www.pixelperfectdigital.com/ free_stock_photos/


images Use the (Adv. Image Search) to get better results. IMAGE SIZE FILTER

Image Type Filter

1080P:

1920Ă—1080 (HD on TV)

This is the best HD quality currently available on a TV. -Note: A computer monitors resolution is generally much higher than that of a TV.

Your resolution should always be HD quality or above.

This image is 315 X 290 (it looks OK now?) THIS IS NOT A USABLE RESOLUTION IN THIS CLASS (REGARDLESS OF THE PROJECT) Small images become pixellated & loose detail when you make them


SXC.HU


INPUT DEVISES The path between the The Real World & The Matrix.

(Human) Input devises: Eyes, nose, mouth, skin, hands & feet

The “Real World”

The “MATRIX”

Flatbed Scanner

Film cameras

1080p Digital Camera


INPUT DEVISES TABLETS & Multi Touch

More and more we want our interaction with computers to be more natural.

Tablets are (a must for a true graphic artist).

Bamboo Fun Wacom Tablets ( The beginner tablet).

Intuos 4 (Advanced tablet)

Bamboo Wacom Tablets ( The intermediate tablet).

Cintiq (A tablet with a pen tough screen)

Cintiq (A tablet with a pen tough screen)

Augmented Reality -A 3D (holographic) concept that allows you to physically interact w/ the “matrix”.

Micro-Soft Table Top PC w/ MultiTouch. Apple’s touch screen tablet concept). Apple’s touch screen tablet concept).

iPhone (cellphone w/ multi-touch)

Palm Pre (cellphone w/ multi-touch)


CS4

Adobe®

Photoshop CS3 Training Photoshop Quick Reference Card! Photoshop CS3 Workspace

Toolbar * Tool keyboard shortcuts are in parenthesis.

Menu bar Tool options bar

Panel tabs

Toolbox

Dock

Keyboard shortcuts Color Settings

<Shift>+<!>+<K>

Page Setup

<!>+<Shift>+<P>

Free Transform

<!> + <T>

Preferences

<!> + <K>

Feather Selection <!> + <Alt> + <D>

Group

<!> + <G>

Fill

<Shift> + <F5>

Extract

<Alt>+<!>+<X>

Open

<!> + <O>

Proof Colors

<!> + <Y>

Grids

<!> + < ‘ >

Actual Pixels

<Alt>+<!>+<O>

Guides

<!> + < ; >

Merge Layers

<!> + <E>

Target Path

<!>+<Shift>+<H>

Merge Visible

<Shift>+<!>+<E>

Image Size

<!>+<Alt>+<I>

Extras

<!> + <H>

Invert

<!> + <I>

Revert

<F12>

Levels

<!> + <L>

Show/Hide Rulers <!> + <R>

New Layer

<!>+<Shift>+<N>

Snap to

<Shift>+<!> + < ; >

Palettes ! To View a Panel: Select Window from the menu bar and select the panel you want to view. ! To View More Options: Click the palette’s

Character Palette

Context menu.

Paragraph Palette Font style

Font size

Set leading

Set kerning Vertical scale Baseline shift

Align paragraph

Set tracking Indentation Horizontal scale Font color Font formats

Language setting

Format the text used in an image, including font type and color, line spacing, and scale.

Rectangle Marquee (M): Select a rectangular pixel area Elliptical Marquee: Select an elliptical pixel area Single Row or Column Marquee: Selects a horizontal or vertical row of pixels Lasso (L): Draw a freeform pixel area Polygon Lasso: Draw straight lines around selected area Magnetic Lasso: Automatically sticks to edges of defined areas

Image window

Font type

!"#$%!&"'(!)"*&*("*+!,"%#&!!"%%&!-'&" *&"%$(!*$!+*(&!'&!*.!/*0$!1%2('&%3

Set antialias

Hyphenate breaks

Paragraph spacing

Format paragraphs properties, such as indentation, alignment, and paragraph spacing.

!"#$%&'()*+,!!%&-"$,.!/.)'0'01 "!,*0$(%-#$%!

"!@.A'.%!B%#$.'.C! "!!6'AA(!D((%((=%.&(

Crop (C): Remove parts of an image Healing Brush (J): Correct imperfections with pixels around the trouble spot Patch: Repair selected area with pixels from a different area Red Eye: Repair selected area with Clone Stamp (S): Copy areas of an image and apply them elsewhere Pattern Stamp: Paint a predefined pattern, or create a custom pattern Eraser (E): Erases pixels to the background color layer Background Eraser: Paints the background color or erases pixels Magic Eraser: Converts the selected image area to transparency Blur (R): Smooth defined edges Sharpen: Focus soft edges Smudge: Smear pixels

Move (V): Click and drag to move selection Quick Selection (W): Select a pixel area of similar coloring Magic Wand (W): Select a pixel area of similar coloring Slice (K): Draw a slice area Slice Select: Resize or relocate a slice Brush (B): Draw soft brush strokes Pencil: Draw hardedged freeform shapes Color Replacement: Paint over a targeted color with a new color History Brush (Y): Paint from a previous history state or snapshot. Select the state or snapshot from the History palette. Art History Brush: Similar to the History brush, but with more options Gradient (G): Click and drag to fill with gradient of foreground and background colors Paint Bucket: Click to fill with fore color Dodge (O): Lighten areas of the image Burn: Darken areas of the image Sponge: Decrease or increase pixel color Horizontal or Vertical Type (T): Insert text in the image Horizontal or Vertical Type Mask: Insert transparent text Rectangle (U): Draw a rectangle filled with foreground color. Rounded Rectangle: Draw a rectangle with rounded corners

)"*&*("*+!40'56!7%8%$%.5%!9!:;;<!,0(&*=>0'?%! ---E50(&*=C0'?%E5*=!F!)"*.%!<<<EG;HE:IH:!


TECHKNOWLEDGE Life Changing

w Whatâ&#x20AC;&#x2122;s ne

Trends

Write a 1/2 page or 250 word paper on one of the subjects (below) to help increase your tech knowledge.

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pro

Augmented Reality M Ne L5 tN e utr Streisand effect alit g y n i t u p m o c d u o l C

User interface

se Fa ir U

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social networking


Basic Website layout Header

Header: Located at the top of the page, can contain information.

Window Body

Banner Banner: is typically rectangular advertisement placed on a Web site either above, below or on the sides of the Web site's main content and is linked to the advertiser's own Web site.

Window Body: Fills up the page. Like the Canvas sometimes contains style editing.

Navigator Navigator: Allows the user to move from page to page fallowing the site architecture and Layout.

Canvas

enter text

Canvas: Where page content is located. Usually contains style editing.

Type to

Footer Footer: An area where copyright information and additional links are found.

Important Web Language

Domain Name: A name that identifies one or more IP addresses.

Cascading Style Sheets (CSS) is a style sheet language used to describe the presentation (that is, the look and formatting) of a document written in a markup language.

HTML - "HyperText Markup Language" is the authoring language used to create documents on the World Wide Web (WWW). HTML defines the structure and layout of a Web document by using a variety of tags and attributes. All the information you'd like to include in your Web page fits in between the tags. There are hundreds of other tags used to format and layout the information in a Web page.

Adobe Flash (previously called Macromedia Flash). Flash has become a popular method for adding animation and interactivity to web pages. Flash is commonly used to create animation, advertisements, and various web page components, to integrate video into web pages, and more recently, to develop rich Internet applications.


GoSquared

CSS Help Sheet

This Needs a Diagram

Syntax Syntax

height

selector {property: value;}

External Style Sheet

width

<link rel=”stylesheet” type=”text/css” href=”style.css” />

Internal Style border

<style type=”text/css”> selector {property: value} </style>

padding

margin

background border border-bottom border-left border-right border-top font list-style margin padding

height; width; margin-top; margin-right; margin-bottom; margin-left; padding-top; padding-right; padding-bottom; padding-left;

Inline Style

Border

<tag style=”property: value”>

General String preceded by a full stop [.]

ID

String preceded by a hash [#]

div

Formats structure or block of text

span

Inline formatting

color

Foreground colour

cursor

Appearance of the cursor

display

block; inline; list-item; none

left

overflow

How to handle content that overflows its box. visible, hidden, scroll, auto

top

The top position of an element auto, length values [pt, in, cm, px]

visible, hidden

position

static, relative, absolute

z-index

Above or below overlapping elements auto, integer [higher numbers on top]

visibility

Font

Position clear

If any floating elements around the element both, left, right, none

float

Floats to a specified side left, right, none The left position of an element auto, length values [pt, in, cm, px]

font-style italic, normal fontvariant

normal, small-caps

fontweight

bold, normal, lighter, bolder, integer [100-900]

font-size

Size of the font

background-color Colour of background background-image Background image

letter-spacing line-height text-align textdecoration

Space between letters Vertical space between baselines Horizontal alignment blink, line-through, none, overline, underline

text-indent texttransform vertical-align word-spacing

First line indentation capitalise, lowercase, uppercase

backgroundattachment

Background image scrolls with element scroll, fixed

backgroundposition

(x y), top, center, bottom, left, right

List list-styletype list-styleposition list-styleimage

Type of bullet or numbering in the list disc; circle; square; decimal; lower-roman; upper-roman; lower-alpha; upper-alpha; none Position of the bullet or number in a list inside; outside Image to be used as the bullet in the list

Download this Help Sheet now at gosquared.com/liquidicity or put it on your wall

all braille embossed handheld print projection screen speech tty tv

Units

background-repeat repeat, no-repeat, repeat-x, repeat-y

Text

:hover :active :focus :link :visited :first-line :first-letter

Media Types

Background

font-family Specific font[s] to be used.

Vertical alignment Spacing between words

Pseudo Selectors

Colour of the border

class

Comments /* Comments */

border-width Width of the border border-style dashed; dotted; double; groove; inset; outset; ridge; solid; none; border-color

Shorthand

Length % em pt px Keywords bolder lighter larger Please note that developing CSS to work with IE6 is a lost cause. Spread the word: encourage your users to give up on IE 6 (unchanged since 2001.)

© 2008 Go Squared Ltd.


B A C K

S T T E R S A E R P SM ECTS H S U R J B B C N I O O M I A T A N E R DY C N H O S I T U C R E B L E S . V D A S

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Smart objects converting an image to a smart object will reference the original image. Which means that even after you edit the image you will not loose quality.


The BRUSH Tool Brush quick access toolbar: Only visible when brush is selected from the side toolbar.

Type, Diameter & Hardness selection box

The Brush tool: hold bottom right corner for more tools i.e. pencil tool

Foreground & Background Color selector: double click on color to expose color swatches.

â&#x20AC;&#x153;ALL GOOD PAINTERS NEED GOOD BRUSHESâ&#x20AC;? * Round: The long closely arranged bristles of these brushes make them useful for detail * Flat: These are used for spreading paint quickly and evenly over a surface. They will have longer hairs than their Bright counterpart. * Bright: These are flat brushes with short stiff bristles and can be useful driving paint into the weave of a canvas in thinner paint applications, as well as thicker painting styles like impasto work. * Filbert: Flat brushes with domed ends. They allow good coverage and the ability to perform some detail work.

* Fan: These are used for blending broad areas of paint. * Angle: These, like the Filbert, are versatile and can be applied in both general painting application as well as some detail work. * Mop: A larger format brush with a rounded edge for broad soft paint application as well as for getting thinner glazes over existing drying layers of paint without damaging lower layers. * Rigger: Round brushes with longish hairs, traditionally used for painting the rigging in pictures of ships. They are useful for fine lines and are versatile for both oils and watercolors.


BRUSH DYNAMICS ADV. BRUSH PRESETS

Modify existing brushes and design new custom brushes. The Brushes panel contains the brush tip options that determine how paint is applied to an image. The brush stroke preview at the bottom of the panel shows how paint strokes look with the current brush options.

A.

Toggle the Brush Preset Panel

D.

B.

A. Locked/ Unlocked C. Brush stroke preview

C. The brush stroke preview at the bottom of the panel shows how paint strokes look with the current brush options.

B. Brush settings D. Pop-Up Menu

C.


Brush Creation Brush creation link

1. First import your picture into (photoshop), then go to EDIT. Select Define Brush Preset.

1. 1.

2.

2. You will then see a labeling box. After you label your new brush click 3. Open up the brush selection window. Make

sure you see your newly created brush, then click on the little arrow in the top right corner. Go to save Brushes....

3.

3.


LAYER

Blending Modes Multiply Multiply blend mode makes the black values in a layer darker and the whites values transparent. Depending on the amount of values within a given color, that color will either become darker or more transparent. -Multiply tends to darken an image.

Screen Imagine looking through a screen door. You can see through it, but images are filtered. -Screen mode tends to lighten an image.

Overlay Overlay blend mode tries to blend the different colors within each layer together.


The pen tool is like a vector based tool. Vector images are represented by geometric shapes such as lines, circles and curves ( & not pixels ).

Pen Tool

Make sure you see & use these settings!

To Add points: (single)

Use the Convert point tool (to make points visible).

+ Anchor points let you make a strait line curved. To use: Click & (release) between the two points. Pull on arms to fine tune curves Note: Put points at the beginning and end of a curve.

DONâ&#x20AC;&#x2122;T USE THESE SETTINGS!


Pen Tool

(continued)

Load selection

-Once you have created the Work Path around your image.

-Select the Path tab and drag the (working Path) to the load selection icon: -this will load the path as a selection -Now that the path is a selection you can edit the selected area.


Pen Tool Exercise (use this exercise to fine tune your pen tool skills) -note: Try to use as few points as possible

This exercise is to be used with the given.

pen tool exercise .PSD file you were


DODGE & BURN Exposure can be treated like the (opacity) option of the paintbrush tool.

Brush size

The Dodge & Burn mini toolb

ar is similar to the paintbrus

Choose which area of the picture you want to (effect) Shadows = Blacks (dark areas) Midtones = Middle greys (in between areas) Highlights = Whites (light areas)

DODGE TOOL -USE this to LIGHTEN (shadows, midtones, & highlights).

BURN TOOL -USE this to DARKEN (shadows, midtones, & highlights).

Click & (hold) to see the tools that are not displayed.

h mini toolbar.


Gradient Tool

8

â&#x20AC;&#x153;A rate of change with respect to distance of a variable quantity.â&#x20AC;? Radial

Traditional

Hi-light these little images (by clicking on them) to change the type of Gradient.

Click and Drag cursor across Layer to determine the length/size of the Gradient.

The Gradient tool allows you to select different color patterns.


Clone Stamp Origin

Final

Close up

STEP # 1 To clone the Sand Hold Down ALT key then click (w mouse the area you want to clone: The Clone SCOPE will appear. Conclusion: up w/ CLONED SAND Here

STEP # 2 You should now see What/Where you are going to clone (circle symbol). Note: This is the place where you are going to put the newly clone

STEP # 3 You will now see the (whatâ&#x20AC;&#x2122;s being Cloned crosshairs) note: Watch this symbol closely, because this is what is being clone.


Healing Brush

Healing Brush Tool used to remove the Text But (still preserving the skin texture).

USE THE HEALING BRUSH TO REMOVE AND ADD TEXTURE. The Healing brush tool is used like the clone stamp (hold down option key to get the “scope curser”). It removes text, spots and scratches while preserving the texture and values underneath or next to the text, scratch, or spot.

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A R T

-MORE CONTROL of your EDITING go under the Edit menu, choose Fade Healing Brush


CUSTOM SHAPES Custom Shapes can be used & created very similar to (see: created brushes).

Make sure you see these settings.

By clicking on this icon you will get a drop down menu were your custom shapes can be found

Once you have selected & made your shape you have created a work path (notice the skinny gray lines). -This work path can be edited in the same way any Path can be edited.

Click on the load selection icon to make the path a selection


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ADJUSTMENT PANEL Type to enter text


IMAGE MODES

If you find that you cannot edit a file, and a lot of tools are grayed out, check the image mode.

RGB Every color computer monitor and television in the world displays color using the RGB image mode, in which every color is produced with varying amounts of red, green, and blue light. CMYK Traditional full-color printing presses can print only four colors in a run: cyan, magenta, yellow, and black. Every other color in the spectrum is simulated using various combinations of those colors. When you open a file saved in CMYK mode, Photoshop has to convert the CMYK values to RGB values on the fly, in order to display the image on your computer screen. It's important to remember that when you look at the screen, you're looking at an RGB version of the data. Bit Map "flat" black-and-white images, in which each pixel is defined using one bit of data (a zero or a one), are bitmaps. limited in the sorts of image editing you can do. For instance, you can't use any filters Grayscale Grayscale files consist of an image that only uses values. -In Photoshop are always either 8- or 16-bit images: Anything less than 8-bit gets converted to 8-bit.

Duotone

extra colors aren't typically used to simulate colors in the image; rather, they're used to extend the dynamic range of the underlying grayscale image. Those expensive Ansel Adams books on your coffee table were very likely printed using three or four (or even five or six) different black and gray inks.

Index Color

Multichannel mode

While indexed color can save disk space (it requires only 8 bits per sample point, rather than the full 24 in RGB modeâ&#x20AC;&#x201D;see below), it gives you only 256 different colors. That's not a lot of colors, when you compare it to the 16.7 million different colors you can get in RGB.

This mode is the generic mode: like RGB or CMYK -Many scientific and astronomical images are made in "false color"â&#x20AC;&#x201D;the channels may be a combination of radar, infrared, and ultraviolet, in addition to various colors of visible light.

Lab Color Lab doesn't describe a color by the components that make it up (RGB or CMYK, for instance). Instead, it describes what a color looks like. Photoshop uses Lab mode as a reference when switching between CMYK and RGB modes


LEVELS Middle Grey Black

White

Adjusting each slider will increase or decrease the input level of the Value. Adjustments: can dramatically effect your piece with a click or a slide.

Output Levels effect all values at once.

A full range of Values can add a lot to a picture, such as depth, distance, and texture, to name a few...


Color Adjustments Adjust the sliders to change the color of the layer you are currently on. The Visible-Color Spectrum Wheel

It is best to start your adjustments with the Midtones, as they will have more of a global effect than either Shadows or Highlights. You will need to adjust all three Shadows Midtones and Highlights settings before you click OK.

The Preserve Luminosity option prevents the brightness from being changed.


Adjustment Layers The best thing about creating an adjustment layer is that it is non destructive (â&#x20AC;&#x153;no pixels are being harmedâ&#x20AC;?). Click on the Adjustment Layer icon then select the desired adjustment option. Make sure you are selected on the image layer before clicking the adjustment layer icon.

The Adjustment Layer can be adjusted at anytime. -And If you wish to delete the adjustment layer you will not effect your original image layer.


Blending MODE

The blending mode: specified in the options bar the blending mode controls how pixels in the image are affected by a painting or editing tool.

When you think of the blending mode you should always ask yourself simple questions: How can I bring this piece/ Layers together? How can I control my edges?

Click here to see a description of all the BLENDING MODES

Multiply Multiply blend mode makes the black values in a layer darker and the whites values transparent. Depending on the amount of values within a given color, that color will either become darker or more transparent. -Multiply tends to darken an image.

Screen Imagine looking through a screen door. You can see through it, but images are filtered. -Screen mode tends to lighten an image.

Overlay Overlay blend mode tries to blend the different colors within each layer together.


GRADIENT MAP


An Image is a "Channel Sandwich" An image is basically a "channel sandwich" with one channel each for red, green and blue in an RGB image or cyan, magenta, yellow and black in a CMYK image. There would be 3 channels in an RGB image and 4 in a CMYK image to start with -Mike Doughty

CHANNELS Note: Channels are NOT the same as Layers & if not used properly can destroy your image, “USE WITH CAUTION”.

(ORIGINAL RGB IMAGE) -An RGB image is composed of three 8-bit channels that combine to form a single 24bit image (3 x 8 = 24).

(RED CHANNEL 8-bit)

(GREEN CHANNEL 8-bit)

(BLUE CHANNEL 8-bit)

By default, Photoshop displays channels in grayscale. You can display the channels in color: Choose File > Preferences > Display & Cursors, then check "Color Channels in Color".


HDR High Dynamic Range


CURVES


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SHADOWS You must decide where your light is coming from to create realist a shadows.

Click on the Drop shadow to (move) it

Adjust the Drop shadow settings to get a realistic shadow.


SHADOWS Once you are done creating the drop shadow right click on the FX symbol to get the drop down menu.


SHADOWS Use the Transform Tool to adjust your shadows.

Make sure you are on the drop shadow layer.

Use the Transform (skew) tool to create a realistic shadows.


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FILTERS

Filers are used to add effects to your piece.

Filters are very powerful tools that should be used with caution.

Normal Filters are DESTRUCTIVE to the

layer(s) they are used on.

Generally filters should be used towards the end of your creative process.


FILTERS SMART

Smart Filters are Non destructive -They will allow you to edit the filter without permanently editing the original layer

Selected (Original Layer)

Go to the filters (menu) to convert the layer into a smart object.

Now that your layer is a (Smart Object) -You can add (non-destructive) filter Note: you can always identify which layers are smart object when you see this ICON.


FILTERS SMART

Smart Filters are Non destructive -They will allow you to edit the filter without permanently editing the original layer

Click on the (EYE) to (de) activate the filter

Click on the filters box to select it -you will see (Brackets) around the smart filters box -You can then delete the filter.


DEPTH Gaussian blurof FIELD Blurring an image by a *Gaussian function.

STEP # 1 -Duplicate the layer that you want the Gaussian blur filter to be on. -Make sure the (new) Blur layer is on top of the Original (non blur) layer.

Perspective

Use the Gaussian blur filter to create a dynamic depth of field within an image.

*Note: gaussian function (named after Carl Friedrich Gauss) is a function of the form:

STEP #2 -Then go to Filter in the menu bar (select blur, Gaussian Blur) -A *Gaussian blur (radius) box will appear. (see next page)


DEPTH Gaussian blurof FIELD :continued Perspective

Blurring an image by a Gaussian function.

STEP #4 -*Gaussian blur (radius) box

Zoom in or out of preview

Increasing the (Radius), will increase the area effected & the amount of the blur.

STEP #5 -Use the (ERASER TOOL) to erase the blur effect from the desired part of the image you want to become (in-focus). Use (LOW) opacity% to control your edges.

BLUR AREA

ERASED AREA


DEPTH of FIELD Perspective

Lens blur

Depth of Field is: the distance between the nearest and furthest object. By understand the idea of Depth of Field you can guide the “viewers eye” around your piece.

-Make the viewer see what you want them to see, you are in control of your art.

FINAL LAYERS

ORIGINAL LAYERS

Car

Before adding (Lens blur) edit your image so each part of your piece is edited properly.


DEPTH of FIELD Lens blur

Perspective

Try these settings the first time. Then adjust as needed.

This is the background duplicated layer (with some erasing) added to help with EDGE CONTOL.


DEPTH of FIELD Lens blur

Perspective

Lens Blur effect (creates) a dynamic depth of Field

“Shallow” Depth of Field

Original picture without lens blur

Notice how the perspective has changed. “Large” Depth of Field


Lighting Effects


Lighting Effects


Adding A Comic Book EffectImport your picture into PhotoshopStep 1: ! Duplicate the background Photo layer Step 2: ! Use the Filter/ Blur (Surface Blur) ! on this Duplicated layer. ! note: set the blur around 22 & 15. !

don始t loose all the details.

Step 3: ! Duplicate the newly filtered layer ! Then go to (image/adjustments/& ! Step 4: ! ! !

Desaturate the image)

! ! ! Step 5: !

while selecting the (RGB layer ) The layer will become a selection (marching ants).

! Step 6: ! ! !

Make sure you are on that new layer.

! Step 7:! ! ! !

Deselect the selection.

Load the Luminosity as a selection: Go to the Channel tab, and select the hold down the command key

Create a new (transparent layer)

Go to selection/ inverse the selection note: so the darker areas are selected. Fill selection with BLACK

Turn off the top two layers (click the EYES) Go to the Surface Blur Layer Go to Filters/Artistic/ (Cutout)

! ! ! Step 8: !

Note: Change the sliders to 8, 0, 3 select OK Duplicate that layer Change the Blending Mode to (soft Light)

! ! ! !

Go to Filter Artistic/ (Poster edges...) Leave all sliders at around 1,1, 1 Click OK. Change blending Mode to Multiply.

Turn on the Desaturated layer (click eye)

Step 8:! ! ! ! Step 9:

(Continued...) Change the Levels. Move the White slider So the gray areas become white. Change to around 150.

! ! ! ! !

Turn back on the Inverted selection layer. (click the eye) Hold the Command key or Ctrl key Click on the layer box it will load the active Selection

! !

Then click on (add layer mask icon) Note: This will give you an inverted mask

Final Step 10: ! Select original layer, not the mask layer ! ! ! !

! ! !

Change blending mode to Overlay

!

!

PS.

Comic Book Style

Turn almost any picture into a comic book style picture... www.apple.com/iwork/


PS.

Comic Book Style

Original

Filter/Surface Blur

Filter/ Artistic/ Cutout Final look w/ out pixelate filter put the pixelate filter on the Mask layer. Then go back to the layer that does not have a mask and change the blending mode to Overlay.

Final look w/ pixelate filter


V-Point filter The Vanishing Point filter is all about perspective, when you're editing images, perspective is one of the most important issues to consider, the Vanishing Point filter helps us to make it easy.

You should place your Vanishing Point work in a separate layer, first create a new layer before choosing the Vanishing Point command. Placing the Vanishing Point results in a separate layer preserves your original image and you can use the layer opacity control, styles, and blending modes.

If you plan to clone or make an image bigger than your original canvas, increase the canvas size to accommodate the additional content before using the V-point filter.

To paste an image into the Vanishing Point filter, copy the item before choosing the Vanishing Point command. The copied item can be from a different Photoshop document. If you’re copying type, you must rasterize the text layer before copying to the clipboard.

To put the Vanishing Point results in a specific areas of your image, either make a selection or add a mask to your image before choosing the Vanishing Point command.

To copy a v-point image in perspective from one Photoshop document to another, first copy the item while in Vanishing Point. When Then paste the item into another document.

NOTE- While in Vanishing Point, the item’s perspective is preserved.

Original image

Final image


You must first Copy an image to the clipboard, then goto filters / vanishing point and create a plane to put the picture into.

V-Point filter The Vanishing Point filter is all about perspective, when you're editing images, perspective is one of the most important issues to consider, the Vanishing Point filter helps us to make it easy.

The Vanishing Point filter lets you make a grid that keeps the Perspective of your image.

You may need to prepare your image before creating the plane or pasting an image.

3 2

Original image In order to add the Bob Marley Picture we must first remove the original pictures.

Vanishing point screen w/ tools 1

Note: you will need to First use the (clone tool) to keep the wall texture and lighting realistic.

Working image

Align the vanishing point plane (shown in red) with (real world lines & points shown in blue) to help keep the perspective accurate. Note: in this image I used the back of the couch (1), the corner of the room (2), and the line made by the decorative ceiling (3) to guide my vanishing point grid.


You must first

Copy an image to the clipboard, then goto filters / vanishing point.

V-Point filter The Vanishing Point filter is all about perspective, when you're editing images, perspective is one of the most important issues to consider, the Vanishing Point filter helps us to make it easy.

Adjust bounding box

Transform Tool

Final image

Once you are in the Vanishing Point window

Hold down Command + (V) to paste picture into Vanishing Point filter

Create Plane Tool Edit Plane Tool (move tool)

Transform Tool

Then use

the transform tool &

Drag your image to the Plane (Box)


Tron Effect

V-Point filter The Vanishing Point filter is all about perspective, when you're editing images, perspective is one of the most important issues to consider, the Vanishing Point filter helps us to make it easy.

Step # 1 - Open a new document make the background ! black. Step # 2 - Make a blank layer (above) the background layer. Step # 3 - Goto (filters) Open the Vanishing point filter, ! !

your will see that the create plane tool will ! automatically be selected.

-Edit Plane tool -Create Plane tool

NOTE: To Delete (make sure the Plane is selected) click Delete on your keyboard.


Tron Effect

V-Point filter Step # 4 - Create a (floor) plane.

Step # 5 - Hold down the command key or (ctrl on windows) click on the center point of the plane and drag to create another plane.

Step # 6 - You will need to create planes for all the parts of your image that will be visible to the viewer.

Step # 7 - Next: Hold down shift to select all the grid planes. It should look like this.


Tron Effect

V-Point filter

Step # 8 - Once you have selected all of your planes Go to the

settings and commands panel.

select render

grids to photoshop. (click OK)

Your

grid should be applied to the blank layer.

Step # 9 -Change your background color. This will be the color of your grid once you lock the transparency.

Step # 10 -(lock transparent pixels) of your grid layer. Remember to change the background color to your desired color, then select (command delete on a mac) or (on windows control

backspace).


Tron Effect Step # 11- Go to (Layer Styles) Put an outer glow on the grid layer, adjust as needed.

V-Point filter

Step # 12 (optional) - Add a layer mask to the grid layer. Then go to the gradient tool select (foreground too transparent) make black the foreground. radial gradient. Add a gradient fade to your image as needed.

Then select a


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The result is a yellow canvas with a green ellipse.

!

!

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!

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White

Note: What you see in a photoshop document window is always the result of looking down on the layers in the layers palette, starting at the top layer and in most cases ending with a background layer.

The yellow layer has a hole in where the black ellipse is. That' is why it's the only area where we can see the layer below or (green layer).

adjustment layer).

reveals pixels (or reveals the result of an

Layer Mask button: To create a layer mask single click the mask button at the bottom of the layers mini window.

Your eye view

A mask is a powerful non-destructive editing option. Your ability to use masks will increase your edge control.

!

The black ellipse is hiding the the corresponding pixels in the yellow layer (Layer 1).

MASKS The Basics

This diagram illustrates what a layer mask does to your photoshop document. In this example; The Background layer is Green. (layer 1) which is above the background layer is yellow.

!

hides pixels (or hides the result of an adjustment layer).

The layer to the right of (layer 1) is the Layer Mask.

!

black !


Step # 3 - After you have made a (White reveal) layer mask. Select the Magic Wand Tool and select ALL of the white areas (or the background of your image). Note: You may have to adjust the tolerance of the magic wand tool to get better edge control.

MASKS Step # 1 - Create a background layer (it can be anything, just not exactly like the original background).

RING

Step # 2 Click on the add layer mask icon on the mini-window toolbar. (make sure you are on the Layer you want to mask ).

RING


Step # 5 - For some images you may need to FILL multiple selections. Note: after you fill the selection w/ black you will see the underneath layer or in this case Transparent canvas.

A mask is a powerful non-destructive editing option. Your ability to use masks will increase your edge control.

MASKS The Basics

Step # 4 - After you have selected the background w/ the magic wand tool. FILL the selection with Black (to hide the white pixels and reveal the underneath layer). Note: Before filling make sure you are on the layer mask and not the image , You should see the brackets around the layer mask.

Notice the mask layer now shows the black (hide pixels) and the white (reveal pixels) of the mask.


MASKS

More complicated backgrounds will require the use of the Pin tool and advanced layer mask techniques to make a good Layer Mask.

-Remember that this image had a white simple background which is easy to select.

Final Layer Mask (all areas are masked)

A mask is a powerful non-destructive editing option. Your ability to use masks will increase your edge control.

Final selections that needs to be filled w/ black.


MASKS

A mask is a powerful non-destructive editing option. Your ability to use masks will increase your edge control.

Advanced Skill set

CHANNELS The channels show the Red, Green, & Blue layers of an image. (note: It is important to never delete any of the original layers,

ONLY COPY LAYERS

Original image: (White background will make it easier to select hair)

LAYER ORDER Your layer order needs to have the back ground layer above the image layer.

Duplicate the layer with the most contrast, this will become your MASK. (note: you will have to do this for every picture you mask. Each picture you use is different, so which channel layer you use may vary)


MASKS

A mask is a powerful non-destructive editing option. Your ability to use masks will increase your edge control.

Advanced Skill set

Create MASK using Overlay BRUSH: -Make sure you are on your new copy layer. -Select desired brush size (softness and a medium opacity to begin).

Be careful on the edges. You may need to adjust the opacity -don始t over do it.

-Then select OVERLAY MODE (This will protect your whites when painting, be careful and take your time on the edges)

You can change the BLEND MODE to NORMAL to do the interior parts of the image.


MASKS

A mask is a powerful non-destructive editing option. Your ability to use masks will increase your edge control.

Advanced Skill set

AFTER YOU FINISH YOUR MASK

GO Ma

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Bac

Loaded selection should look like this

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Layer order: The Vector mask should be on the top most layer above the image layer.

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Results with the Eye of the image layer is OFF.

con

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Refine edge Refine EDGE IS USED TO CONTROL the edges of your mask.

Mask is applied and image layer is ON. Now you need to clean up the EDGES. (NO HALO EFFECTS)

Adjust the sliders as needed

Click on the (BLUE standard button)

Hint: use control or command H to hide the selection around your mask.


Clipping Clipping Masks let you easily put an images inside another image. Once you have clipped, you will see this symbol

An example of this would be when you see an image inside text. Because you are using a

mask the layers are not (destroyed) Step # 1 duplicate your image layer. Step # 2 create a blank layer, then fill with desired color. Step # 3 make a text layer (make the text color black) Step # 4 Put your layers in this order.

Make sure the layer order looks like this...

While holding down (ALT) move your mouse in between the (image layer: top layer) and the text layer. You will see the clipping symbol

Then click


Clipping

Continued

What your image should look like with the the (black background layers) turned off.

(Black turned

on.


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LAYOUT & SELECTION TOOLS

USING ILLUSTRATOR

(outside print Area)

(print Area)

Canvas

Use the Direct selection Tool to select a specific part of an object, you can then edit or move that objects.

Art Board

(outside print Area)

Use the Selection Tool to scale & move objects around the canvas. note: clicking in the center of the box works best.

Canvas

Note: In Illustrator you can have multiple art boards in one document.


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Ai.

COLOR, Gradient, Fill & Stoke

Return to

DEFAULT Fill & Stroke

FILL (Double click to change the fill color or value)

Swap FILL and STROKE STROKE (Double click to change the stroke color or value)

note: because the stroke box is behind the fill you must click to activate

NONE (clicking to de-activate the fill and/or stroke)

COLOR

GRADIENT note: To change the gradient color go to: Window, swatch libraries, Gradients


VECTOR ART i USING ILLUSTRATOR

GRADIENT note: To change the gradient color go to: Window, swatch libraries, Gradients

Ai.

Gradient


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PEN TOOL

NOTE: In illustrator the Pen Tool functions a little differently than in photoshop, but with the same in principle.

Use the Pen Tool to create a (straight paths).

Click and release to add straight points

Holding the shift key will keep the path perfectly horizontal or vertical.


VECTOR ART i USING ILLUSTRATOR

Ai.

PEN TOOL

The Add Anchor Point tool is the main difference between Illustrator & Photoshopâ&#x20AC;&#x2122;s pen tools.

Click and Hold to add curved points.

Use the handles to fine tune your curved paths.


VECTOR ART i USING ILLUSTRATOR

Ai.

PEN TOOL

NOTE: In illustrator the Pen Tool functions a little differently than in photoshop, but is the same in principle.

Use the Convert Anchor Point Tool to (convert) straight paths to (curved) paths.

Click and Hold on a anchor point to convert that anchor points to a (curve). Anchor Points

Adjustment Handle


VECTOR ART i USING ILLUSTRATOR

You need to first select the image to see the live trace toolbar LIVE TRACE

Click to goto the Tracing Options

Use the Tracing options to fine tune you live trace even more.

Ai.

LIVE TRACE


VECTOR ART i

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LIVE TRACE

USING ILLUSTRATOR Threshold

Threshold

43

128

Higher threshold = more Black

lower threshold = more White

Threshold

83

Your Art/Style determines which way to go...


VECTOR ART i USING ILLUSTRATOR

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LIVE TRACE


VECTOR ART i USING ILLUSTRATOR

Object is Selected

Ai.

Vector background line design

After you have finished LIVE TRACE. Go to OBJECTS and set the Gap Options.

Gap Options are used to close the paths (that make up your image) so you can easily select which paths to fill with paint.

LIVE PAINT


VECTOR ART i USING ILLUSTRATOR

EXPAND the selection so that all PATHS are visible. Then click on the LIVE PAINT TOOL. After that change the color or gradient swatch if needed. note: You will need to zoom in really close so that you can see where and/or what you are painting.

Make sure Object and Fill are selected

Ai.

LIVE PAINT


VECTOR ART i USING ILLUSTRATOR

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LIVE PAINT

Once you Expand the object you will see the Path of that object.

LIVE PAINT ICON: The red line indicates which areas will be (Live Painted).

Area that will be LIVE PAINTED will be outlined in RED.


Exporting from Adobe Illustrators (Live Trace) to Photoshop Step 1. Import an image into Illustrator ! !

Original Image

Step 3. Adjust (Mode & Threshold) settings so that you get the desired look.

Step 4. Uncheck the (strokes) & change the (raster) to Transparent Image. Also change the (Vector) to Outline w/ Tracing

Step 2. Open up the (Tracing Options Dialog Box)


Step 5. Your image should look like this (you will have little (Path points) Save Your image New (live Trace Image)

Step 7. Edit the image Use the selection tools & inverse the selection so you can Fill or move the selection to another layer.

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Step 6. Your New photoshop image should now be transparent. (Notice that you can see pixels) Save Your image!


Pint Tool Exercise (use this exercise to fine tune your pin tool skills) -note: use as few points as possible

This exercise is to be used with the pint tool exercise .PSD file you were given.


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ANIMATION

In order to create an animation in Photoshop you will first need to open the Animation panel. Photoshop’s animation tool creates “animation frames”. Each frame represents a configuration of layers that you will need to adjust to create the illusion of movement.

If your animation includes several objects that are animated independently, or if you want to change the color of an object or completely change the content in a frame,

-it is very important to create the objects on separate layers.

When edit the layers for the selected frames you can do any of the fallowing: -Turn visibility on and off for different layers.

Animation Panel

-Change the position of objects or layers to make layer content move. -Change layer opacity to make content fade in or out. -Change the blending mode of layers. Add a style to layers.


ANIMATION Duplicate selected Panel tool

Step by step In order to animate objects. It is important to understand the Animation frame panel (toolbar). Tweening tool

Highlighted Frames

STEP: 3

STEP: 1 Use the duplicate panel tool to create multiple frames, start w/ three frames. After you create the initial frames. Make sure you are selected on the frame you want to edit. Then go to the layer with the objects you want to change, and move or change the object for that slide. ( this may mean you have to turn off layers and move or transform object on that specific layer.

STEP: 2

Tweening allows you to generate new frames with intermediate changes between two existing frames in the panel using the Tween command. This is a quick way to make an object move across the screen or to fade in or out. Note: Limit the # of frames to add to under 8 (This saves system resources)

You (generally) want to select All Layers

Change the parameters to determine the effect you are going for. For most images turn off opacity and effects.

Change the the Delay to NO DELAY

Use the Rewind, Jump to the beginning & Jump to the end, & Play: button to preview your animation.

Add more frames and edit layers as needed but remember: The number of frames you can create is limited only by the amount of system memory available to Photoshop.


ANIMATION To apply tweening to a specific layer, select it in the Layers panel. Select a single frame or multiple contiguous frames.

If you select a single frame, you choose whether to tween the frame with the previous frame or the next frame.

ADVANCE ◦

If you select two contiguous frames, new frames are added between the frames.

If you select more than two frames, existing frames between the first and last selected frames are altered by the tweening operation.

If you select the first and last frames in an animation, these frames are treated as contiguous, and tweened frames are added after the last frame. (This tweening method is useful when the animation is set to loop multiple times.)

Tweening In order to animate objects. It is important to understand the Animation frame panel (toolbar). Tweening tool


ANIMATION

How to save your project as a QuickTime movie


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Anaglyph

An Anaglyph image consists of a stereo channeled image (w/ one channel cyan and the other red).

The three dimensions are commonly called length, width, and depth (or height).

When creating a ANAGLYPHIC 3D picture you must first understand how to create DISTANCE in your piece. “Generally speaking, the more DISTANCE, the better”.

Foreground

Middle ground

Background

Your Picture must have a well established foreground, middle ground, and background. The more established or the greater the “implied distance” the easier it will be to create a 3 -Dimensional Effect.


Anaglyph

Go into the Adjustment levels for your duplicated layers and change the GREEN and BLUE channels only.

Original Image: (Duplicate at least twice)

MATCH THESE SETTINGS EXACTLY Change the GREEN channel output level to ZERO to create the RED CHANNEL

el hann Red C

cated Dupli

Change the RED channel output level to ZERO to create the BLUE CHANNEL

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LAYER ORDER IS VERY IMPORTANT: RED CHANNEL LAYER MUST BE ABOVE THE BLUE CHANNEL LAYER.


Anaglyph

The more you single out foreground, middle, and

background objects the better the effect. This also creates the depth and distance that you will have in your final piece.

BLENDING MODE: You will need to change the blending mode of the RED CHANNEL layers. note: for some results you may need to change the blue channel layers as well.

By not off-centering the RED and BLUE layers you can make your image look clear when viewed without 3D Glasses.

You Can off-center the RED and BLUE layers to get a traditional Anaglyph look.

Donâ&#x20AC;&#x2122;t forget to create two layers (one red and one blue)


Anaglyph MIDDLE GROUND This character is not turned RED and BLUE so it stands out from the Blue BACKGROUND.

Donâ&#x20AC;&#x2122;t forget to create two layers (one red and one blue


Anaglyph

BACKGROUND These characters and the explosion are all turned

BLUE. This gives the separation between the FOREGROUND & MIDDLE GROUND objects.

BLENDING MODE The BLENDING mode of the BLUE Channel

BACKGROUND layer is set to normal & the RED Channel Layer is turned

off

EXTRA Touches

Adding titles, boarders, and effects can add to the elusion of 3D.


P oser 3D Modeling PS.


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QA Type to enter text

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QA QA Trenz Pruca Lorem ipsum dolor 1969

QA QA Trenz Pruca Lorem ipsum dolor 1969

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QA Simplicity

Your INVITATION

The world is a fairly complicated place, and this can make life pretty stressful. In fact, I'd go as far as to say that the world is needlessly complicated. The rules for this QA are thus: I want you to show me a world where life is much simpler.

QA

BHS

Your INVITATION

A world where internet search engines just have a button which says "Find awesome stuff." A world where a fighter jet's control panel just has a steering wheel and a button marked "Blow stuff up". As always, (HD) quality & edge control are a must. We will critique at the end of the assignment. You'll have 60 minutes for this assignment. Good Luck...

Simplicity

The world is a fairly complicated place, and this can make life pretty stressful. In fact, I'd go as far as to say that the Idea credit Worth1000.com world is needlessly complicated.

The rules for this QA are thus: I want you to show me a world where life is much simpler.

Gallery Hours: Day: Time:

A world where internet search engines just have a button which says "Find awesome stuff." A world where a fighter jet's control panel just has a steering wheel and a button marked "Blow stuff up". Simplicity Your INVITATION

As always, (HD) quality & edge control are a must. We will critique at the end of the assignment. You'll have 60 minutes for this assignment. Good Luck...

Idea credit Worth1000.com

BHS

Gallery Hours: Day: Time: Gallery Hours: Day: Time:

D.A.D 2 (room 579) 1 Eagle Way Broomfield,Co. 80020 D.A.D 2 (room 579) 1 Eagle Way Broomfield,Co. 80301


QA Paradise

Your INVITATION

QA Paradise

Your INVITATION

Trenz Pruca

The world is a fairly complicated place, and this can make life pretty stressful. In fact, I'd go as far as to say that the world is needlessly complicated.

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The rules for this QA are thus: I want you to show me a world where life is much simpler.

The rules for this QA are thus: I want you to show me a world where life is much simpler.

A world where internet search engines just have a button which says "Find awesome stuff." A world where a fighter jet's control panel just has a steering wheel and a button marked "Blow stuff up".

Workinternet Streetsearch engines just have a button which says "Find awesome A world where stuff." A Work world where a fighter jet'sWork controlZIP panel justTrenz has a Pruca steering wheel and a City, Work State button marked "Blow stuff up". 4321 First Ave

As always, (HD) quality & edge control are a must. We will critique at the end of the assignment. You'll have 60 minutes for this assignment. Good Luck...

As always, (HD) quality & edge control are a must. We will critique at the end of the assignment. You'll have 60 minutes for this assignment. Gallery Hours Contact Information Good Luck... Tuesday–Thursday 123.456.7890 tel 11:00am–5:00pm 123.456.7891 fax Idea credit Worth1000.com Friday–Sunday no_reply@apple.com 11:00am–7:00pm www.apple.com/iwork D.A.D 2 (room 579) Gallery Hours: 1 Eagle Way Day: Broomfield,Co. 80020 Time:

BHS

Idea credit Worth1000.com

D.A.D 2 (room 579) 1 Eagle Way Broomfield,Co. 80020

Gallery Hours: Day: Time:

QA

Anytown, State ZIP

QA

Paradise

Your INVITATION

Trenz Pruca

Simplicity

Your INVITATION

Trenz Pruca

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Lorem ipsum dolor sit amet The world March is a fairly 18–May complicated 3, 2007 place, and this can make life pretty fact, I'd go far asad to say that veniam the world Friday, is needlessly complicated. Utasenim minim March 18

The rules for this QA are thus: I want you to show me a world where life is much simpler.

The rules for this QA are thus: I want you to show me a world where life is much simpler.

A world where internet search engines just have a button which says "Find awesome Work Street stuff." A world where a fighter jet's control panel just has a steering wheel and a Trenz Pruca Work"Blow City,stuff Work button marked up".State Work ZIP

A world where internet search engines just have a button which says "Find awesome Work Street stuff." A world where a fighter jet's control panel just has a steering wheel and a Trenz Pruca Work"Blow City, stuff Work State Work ZIP button marked up".

BHS

4321 First Ave

State ZIPof the As always, (HD) quality & edge control are a must. WeAnytown, will critique at the end assignment. You'll have 60 minutes for this assignment. Good Luck... Gallery Hours Contact Information Tuesday–Thursday 123.456.7890 tel 11:00am–5:00pm 123.456.7891 fax Idea credit Worth1000.com Friday–Sunday no_reply@apple.com 11:00am–7:00pm www.apple.com/iwork Gallery Hours: D.A.D 2 (room 579) Day: 1 Eagle Way Time: Broomfield,Co. 80020

stressful. In

BHS

4321 First Ave

ZIP As always, (HD) quality & edge control are a must. WeAnytown, will critique atState the end of the assignment. You'll have 60 minutes for this assignment. Good Luck... Gallery Hours Contact Information Tuesday–Thursday 123.456.7890 tel 11:00am–5:00pm 123.456.7891 fax Idea credit Worth1000.com Friday–Sunday no_reply@apple.com 11:00am–7:00pm www.apple.com/iwork Gallery Hours: D.A.D 2 (room 579) Day: 1 Eagle Way Time: Broomfield,Co. 80020


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QA Trenz Pruca Lorem ipsum dolor 1969

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GRAPHIC NOVEL

2011

A graphic novel is a type of comic book, usually with a lengthy and complex story-line similar to those of novels, and often aimed at mature audiences. There are television networks dedicated to graphic novel based cartoon series, and new movies are also being created from many graphic novel franchises. This entertainment industry has arguably been around for over 70 years. This is an industry with devoted fans, low prices, great writers, and some of America’s greatest artists.

Assignment Your job is to create a “Graphic Novel Cover” or a “Panel Page”. This piece must represent a traditional Graphic Novel style & layout. Your cover or panel must have a character & a background. You will need to first plan out your piece using your sketchbook. note: The characters you use must be original. You are free to use ideas from existing characters, but you can not just copy an existing comic book character.

Technical Stuff -Software used: Adobe Illustrator, Adobe Photoshop, (Comic Life if necessary)

-Tools: paintbrush, (any that help you achieve a traditional Graphic Novel style) -Layer Styles: (as many as you feel necessary)

-filters: (any that help you achieve a traditional Graphic Novel style) -Layers: You must use at least 10-layers not including the background layer. -Your Canvas needs to be: 11x14 (only) -Masks: at least one -Pen tool: you must have at least one path (saved) -The resolution: 300 -Color Mode: RGB 8-bit -Background Layer: white (untouched)

-Extras:

Each student must use traditional comic layout styles on the Cover or panel page. Each student will use Live Trace on some part of their project. -Each student who is doing a Panel page will use Comic Life to create panels & speech bubbles.

Due Date:


Impossible

Amusement Park Amusement parks all started with pleasure gardens. These were located in Medieval Europe and had live entertainment, fireworks, dancing, games and some rides. They were popular until the 1700s when political situations caused a lot of them to close down. Bakken, a pleasure garden north of Copenhagen is currently still standing. It opened in 1583 and is the world's oldest operating amusement park. In the late 1800s amusement parks started taking hold in the United States. Most amusement parks were built at the end of a trolley line. In 1894, Paul Boynton opened the world's first modern amusement park called, “Paul Boynton's Water Chutes”. In 1895, he also opened a park known as, Coney Island. In the 1950s people started to lose interest as the parks grew older. It was during this time that Disneyland was created. It opened in 1955. Many people doubted it would last long. However, Disneyland was an immediate success. Instead of having a midway, Disneyland was based on themes. And thus, the theme park as we know it was born....

Assignment If you're anything like me, you “love” amusement parks. You love the feeling that a giant roller coaster gives you, but I’m getting tired of the same old boring ferris wheels, roller coasters, ghost trains and tilt-a-whirls. Your job is to show the amusement park industry what we'd really like to see by creating an impossible amusement park ride. Your piece/ride must be so fantastical & technically well done that it makes us say, “that’s crazy, it looks so real”.

Technical Stuff -Software used: Adobe Photoshop -Tools: pen tool, clone tool, layer adjustments, healing brush, (and any other tools you feel necessary). -Layer Styles: (as many as you feel necessary)

-filters: Vanish point Filter (if it helps to improve perspective) -Layers & Groups:

You must use at least 12-layers not including the background layer. You must also include groups within your layers so they are easily identifiable.

-Your Canvas needs to be: 17x22 or 22x17 (which may be reduced to 11x14 or 14x11 for printing purposes.)

-Masks:You must use at least two layer masks -The resolution: 300 -Color Mode: RGB 8-bit -Background Layer: Transparent (untouched)

-Extras:

Each student is required to use a least two layer masks. Each student’s final image must look photo realistic. Each students must show understanding of the rules of perspective within the image. Each student must use at least 2 Hi-Res. pictures in their piece.

Due Date:

Digital Art Language: (you will be tested on your knowledge of these important technology terms). 1. Perspective 2. Feathering 3. Vanishing point 4. Refine edge


THE HILLS The Hills is a MTV reality program that follows a young women (Lauren Conrad) living in the Hollywood hills of Los Angeles, California. In the beginning of the show Lauren attends the Fashion Institute of Design and Merchandising, and lands an internship with Teen Vogue. Lauren currently works for fashion PR firm People's Revolution. The term “Fashion” refers to styles of dress but can also include cuisine, literature, art, and architecture. These styles are popular in a culture at any given time. Such styles may change quickly, and "fashion" in the more colloquial sense refers to the latest version of these styles. More and more Fashion Photographers must have photo manipulation skills. This is usually refereed to as retouching or touch up; This is defined as the altering of an image so as to produce a more desirable appearance.

Assignment Your job is to create a hi-end digital art fashion photo layout. You will need to take an “unaltered” photo of a person. (note: unaltered means no digital work done on the photo.) Once you import your photo you will need to “create your digital look”. That means digital retouching your model & designing a background w/ effects that graphically enhance the model. It is important for you to understand the goal of retouching is to enhance the original photo in some way, and “not to just change it”.

Technical Stuff -Hardware used: Digital Camera -Software used: Adobe Photoshop -Tools: pen tool, clone brush, dodge burn tools, layer adjustments, overlay brush, healing brush, history brush (and any other tools you feel necessary). -Layer Options: Layer Styles: (at least one) Layer Blending modes: (at least one) -filters: at least 1, type: any you fell necessary -Layers & Groups: You must use at least 10-layers not including the background layer. You must also include groups within your layers so they are easily identifiable. -Your Canvas needs to be: 11x14 -Masks: You must use at least two layer masks, at least one mask needs to be made through the Channels (one must be on the Hair, and also use the Refine edge tool). -The resolution: 300 -Color Mode: RGB 8-bit -Background Layer: white (untouched) -Extras: Your image must look like a professional fashion layout. You must remove your model from the original background (hint: place your model in front of a white background.) You need to create a design oriented background that complements the model. (a simple one color or gradient background will not work.) Digital Art Language: (you will be tested on your knowledge of these important technology terms). 1. Aesthetics 2. Rule of thirds 3. Channels


ZOMBIFY A “Zombi” is a dead body that has been brought back to life by a supernatural force. The term “Zombie” also refers to a god of voodoo originally worshipped in Africa and the West Indies. Zombify or “zombification” means to turn into a zombie. Sometimes referred to as “living dead” or “the undead”. Zombies became a popular device in modern horror fiction, largely because of the success of George A. Romero's 1968 film “Night of the Living Dead”.

Assignment Your job is to turn a normal Hi-Res. Portrait into a Zombie. Is important to capture the “realistic look” of a living dead person. This will require you to pay extra attention to skin and eye color. You will need to add skin textures, scars, sores, burns, boils, and anything else that gives the felling of “rotting flesh”: (“Be aware that looking for these items using photo sites, may result in the viewing of some unsightly pictures”. If you are squeamish use caution.)

Technical Stuff -Hardware used: Digital Camera (if possible) -Software used: Adobe Photoshop -Tools: pen tool, clone brush, layer adjustments, healing brush, history brush (and any other tools you feel necessary). -Layer Options: Layer Styles: (at least one) Layer Blending modes: (at least one) -filters: Lighting effects and (any other filters that help). -Layers & Groups: You must use at least 10-layers not including the background layer. You must also include groups within your layers so they are easily identifiable. -Your Canvas needs to be: 11x14 or above -Masks: You must use at least two layer masks (one must be on the Hair) -The resolution: 300 -Color Mode: RGB 8-bit -Background Layer: Transparent (untouched & not locked) -Extras: -Each student is required to use a least two layer masks with one being used on the hair area. -Each students must show understanding of the Principles and Elements of Art. (your focus for this project should be strongly on the Principles of art). -You must change the background of your photo from it’s original background. -This picture should capture the look and style of famous Visual Effects and Make-up artists. (such as Stan Winston, Rick Backer, and others...)

Due Date:

Digital Art Language: (you will be tested on your knowledge of these important technology terms). 1. Composition 2. Feathering 3. Intensity 4. Line + Shape = Form 5. Resolution


Anaglyph A long time ago Artists and or philosophers were considered divine, influential leaders of society. Today many people may argue that Artists have a diminished role within society. -A case can be made either way... But what can not be denied is that Artists are Magicians. Art and or Artist in many ways bridges the gap between reality and illusions. (The “Real World” & “the Matrix”) 3D is defined as involving or relating to three dimensions. In the simplest terms, “it is giving the illusion of natural human sight”. The three dimensions are commonly called length, width, and depth (or height). The "golden era" of 3-D began in 1952 with the release of the first color stereoscopic feature called Bwana Devil. During the 1950s the familiar disposable anaglyph glasses were mainly used for comic books. An Anaglyph image consists of a stereo channeled image (w/ one channel cyan and the other red). This is used to provide a stereoscopic 3D effect, when viewed with 2 color glasses (each lens a chromatically opposite color, usually red and cyan). “Anaglyph” is considered a dated technology compared to the newer IMAX 3D technology (sometimes referred to as Stereoscopic 3D)which is the most advanced 3D film technology in the world. IMAX 3D cameras incorporate two identical lenses that are precisely spaced to match the distance between your eyes. This interocular distance allows each lens to "see" both left and right views exactly as the human eyes would see them. To see images in 3D, the audience wears either polarized glasses or a headset that includes electronic liquid-crystal shutter (E3D) glasses.

Assignment

Your job is to make an “Anaglyph image”. To do this you can either create a brand new piece or use one of your previous assignments. Your piece must represent a “traditional Anaglyph image”. It will be important for you to understand Space, Depth, Balance, length & width. (Principle of Art) Your piece needs to have (objects) in the Fore-ground, Middle, and Background.

Technical Stuff -Software used: You can use Adobe Photoshop, Adobe Illustrator, and Comic Life -Tools: any -Adjustment tools: Levels & channels -Layer Options: Layer Styles: (any that help) Layer Blending modes:(screen, vivid light, ?) -filters: (any that help you) -Layers: At least 12 layers -Canvas: needs to be: 11x14 -Masks: (any that help you) -The resolution: 300 -Color Mode: RGB 8-bit -Background Layer: white (untouched) -Extras: Each student must use Levels to change the channels to cyan & red. Each student will need to create left (cyan) and right (red) duplicate images. Each student will be given polarized 3D glasses.

Due Date:

Digital Art Language: (you will be tested on your knowledge of these important technology terms). 1. 3D 2. Anaglyph 3. Implied Depth & Distance 4. Space


Animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways. The most common method of presenting animation is as a motion picture or video program, although several other forms of presenting animation also exist. Pioneers of animation include Winsor McCay of the United States and Emile Cohl and Georges Melies of France. Some consider McCay's Sinking of the Lusitania from 1918 as the first animated feature film. Early animations, which started appearing before 1910, consisted of simple drawings photographed one at a time. It was extremely labor intensive as there were literally hundreds of drawings per minute of film. The development of celluloid around 1913 quickly made animation easier to manage. Instead of numerous drawings, the animator now could make a complex background and/or foreground and sandwich moving characters in between several other pieces of celluloid, which is transparent except for where drawings are painted on it. This made it unnecessary to repeatedly draw the background as it remained static and only the characters moved. It also created an illusion of depth, especially if foreground elements were placed in the frames. Walt Disney took animation to a new level.  He was the first animator to add sound to his movie cartoons with the premiere of Steamboat Willie in 1928.  In 1937, he produced the first full length animated feature film, Snow White and the Seven Dwarfs

Assignment

Your job is to make a short animation. You will need to first story board your animation using the given template. It will be very important that you pay attention to your overall composition. Paying special attention to how the movement & effects help you to achieve your overall compositional look .

Technical Stuff -Software used: You can use Adobe Photoshop -Tools: any -Adjustment tools: any -Layer Options: Layer Styles: (any that help) Layer Blending modes: -filters: don’t use for this project -Layers: At least 6 layers -Canvas: needs to be: 8.5x11 -Masks: (any that help you) -The resolution: 300 -Color Mode: RGB 8-bit -Background Layer: white (untouched) -Extras: Each student must have at least 2 objects moving. frames in their animation. Each student will need to have a minimum of

Due Date:


Web Design The World Wide Web is a system of interlinked hypertext documents accessed via the Internet. With a Web browser, one can view Web pages that may contain text, images, videos, and other multimedia and navigate between them using hyperlinks. I refer to the web as a “Giant Encyclopedia” known as the Matrix. The Internet brings are world closer together and farther apart.

Web design is a blossoming entrepreneurial industry. Many Artists within this field are self taught, and subscribe to a couple of simple rules: Content, intuitive navigation, consistency, easy to read, Color, Simple is good, and borrow ideas. Today making a web site is easier than ever. The average person will get their start in the world of web design by making a personal “Blog”. The term “Blog” refers to a type of website that contains but is not limited to, shared on-line journals where people can post diary entries about their personal experiences and hobbies using material such as graphics or videos.

Assignment Your job is to design a functional web site. First you will create a website template using photoshop. Next you will convert your .psd file into a CSS structure using a program at www.psd2cssonline.com .

Lastly you will import your

converted template into your Squarespace website were you will edit and add content.

Technical Stuff -Hardware used: n/a -Software used: Adobe Photoshop, Squarespace, psdcssonline -Tools: any -Layer Options: Layer Styles: (any that help) Layer Blending modes: (any that help) -filters: (any other filters that help). -Layers & Groups: You must use layers for each section of your website not including the background layer. You include groups for every section of your website template. -Your Canvas needs to be: Exactly same as the template -Masks: n/a -The resolution: -Color Mode: -Background Layer: -Extras: -Your Canvas needs to be: The same as the original template -The resolution: same as the original template -You must merge your layers before converting to CSS. -You must put any imported pictures into .jpg format. -Squarespace works best with Firefox and Chrome browsers (don’t use Internet Explorer). -You will need to merge the layers of specific parts of your website before converting.

Due Date:


3D MODELING

Digital Art Language: (you will be tested on your knowledge of these important technology terms). 1. Composition 2. Feathering 3. Intensity 4. Line + Shape = Form 5. Resolution


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tamroF Format

tnemucoD Document

elbatroP Portable

.PDF

You will use Adobe Acrobat Professional to fill out your Self

evaluation.

-After you have filled out the self evaluation (save as: Self eval. Assignment name) and put your edited .pdf file in your assignment folder which will also contain your completed photoshop documents and media. Step # 1 - Open your self evaluation PDF file. Click on the Review & Comments icon. Then go to Comment & Markup Tools.

Step # 2 - Click on the Sticky Note icon. Your mouse curser will become a + . Then click on the area where you want the sticky note to appear. Then add text.

Step # 3 - For the highlight text tool (fallow step 2 instructions) note: your mouse will become a text icon . Then click & drag on the area you want to be highlighted.


tamroF Format

tnemucoD Document

elbatroP Portable

.PDF

You will use Adobe Acrobat Professional to fill out your Self

evaluation.

-After you have filled out the self evaluation (save as: Self eval. Assignment name) and put your edited .pdf file in your assignment folder which will also contain your completed photoshop documents and media. (optional) Step # 3 - You can also add check marks by going here: -Comment & Markup Tools -Stamps -Sign Here

Step # 5 - (Save as) your newly created PDF. And put it into the assignment folder that you are turning in to me.

Remember to highlight and add comments in the appropriate areas of the self Evaluation.


Digital Art & Design 1 Self-Evaluation Artist:

Period:

Composition:

10

8

Assignment:

6

4

0

Are objects within your piece arranged interestingly? Does the piece use the space provided to it’s fullest? Are placement of object appropriate.

Technique/s used:

10

9

8

7

6

5

0

Did you use the techniques, tools, filters, ect. required for the assignment? Did you show control of the techniques/tools? Did you “PLAY”!

Planning/ Sketches: 10

9

8

7

6

5

0

Did you plan out your piece by doing initial sketches or writings?

Finished Piece:

30

25

20

10

0

Does the piece show understanding of the medium used? Is the piece a finished product? Is your piece consistent with your Artist Statement.

Ready to Print:

5

4

2

0

Is the piece free of stray marks? Is the paper appropriately taken care of, not purposely rolled up or folded in anyway? If the picture is window mounted, is the piece well adhered to the window matte?

Principles & Elements of Art used in piece:

5

0

List at least three Principles of Art that you used in your piece, then List as least three Elements of Art that you used in your piece.

Creativity:

10

9

8

7

6

5

4

2

0

Give yourself a 6 or above if you think you have been especially creative and insightful. Circle 5 if your think you have simply fulfilled the assignment. Circle 4 or below if your piece is less than inspiring and misses the intent of the assignment.

Files & Folders:

5

0

Is your work saved/backed-up properly (three files saved at least: one with media, scans & pictures (visible), & lastly one with all layers merged.)

used, another with all layers intact


Tools, Filters, Layer Styles & Masks used:

10

5

0

List the tools, filters, & layers styles that you used for this assignment.

Tools Used: Filters Used: Layer Styles: Masks Used:

Self Evaluation:

5

0

Is this form completely filled out? Were you honest and thoughtful with your evaluation?

Digital Art Language: (list & define the terms located on the assignment details paper work).

Back up: Did you back up in another place (some where other than on your flash drive or on the school’s network) circle one: YES NO “Remember, if you only have one copy, then you really don’t have any”

Student Total:

Instructor Total:

(Note: If needed, add any comments that are appropriate and help to support your opinion/s.)


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DIGITAL ART & DESIGN

You must pick at least (one) Artist from each section.

Digital Art & Design Research paper Your job is to write (Five essays) that are 4 paragraphs in length about one of these : -Pioneers -Hard/software creators -Designers -Master Digital Artists -And Graphic Artists

Pioneers of Digital Art You must pick at least (one) Artist from this section.

-Answer How, What, where, when, & how about the people you choose.

Thomas & John Knoll

Herbert W. Franke

Due Date:

David EM

Hard/Software Creators David Biedny

You must pick at least (one) Artist from this section.

Designers

Tim Berners

You must pick at least (one) Artist from this section.

Steve Jobs

Steve Wozniak

Bill Gates

Ma!er Digital A"#ts You must pick at least (one) Artist from this section.

Jonathan Ive

VALENTINO GARAVANI

Donatella Versace

Martin Evening

Chris Alvanas

Marc Ecko

Katrin Eismann

Betsey Johnson

Graphic Artists Corey Barker

Bert Monroy

You must pick at least (one) Artist from this section.

Neal Adams

Lou Fine

Frank Miller

Osamu Tezuka

Will Eisner

Naoko Takeuchi

Jack Kirby


B A C K

L A T I G I DART E G A U G N A L

T R A L A T I Y R G I A D S S O GL T I D E R C

INSIDE 147-160

147


Glossary of Digital Art and Design by the Digital Art Practices & Terminology Task Force (DAPTTF) Š 2005 Digital Art Practices & Terminology Task Force (DAPTTF)


Use these links to go directly to Glossary letter sections: A|B|C|D|E|F|G|H|I|J|K|L|M|N|O|P|Q|R|S|T|U|V|W

A 8-bit color In 8-bit color, each pixel has eight bits assigned to it, providing 256 colors or shades of gray, as in a grayscale image. 24-bit color Digital color model that uses eight bits each for the three additive colors red, green, blue. It can reproduce 256 shades of each primary color. Same as true-color image. Generally refers to 24-bit or better images. In 24 bit color, each pixel has 24 bits assigned to it, representing 16.7 million colors. 8-bits - or one byte - is assigned to each of the red, green, and blue components of a pixel. alpha channel An image-editor channel used to contain a mask or partial picture element or color. Created by Alvy Ray Smith and Ed Catmull at N.Y.I.T. in 1997, the alpha channel is used to calculate the transparency of each color in an image. In a three color image, the alpha channel would be the fourth channel. analog data consisting of or systems employing continuously variable signals or data, as opposed to discreet steps or levels of digital data. anti-alias The process of smoothing and removing of aliasing effects by electronic filtering and other techniques, such as blending of hard edges. Also, blending object-oriented art with bit-mapped art. archiving Retention of images, often on CD-ROM. Information necessary to reproduce the print is also archived, including ink, tables, sizes, and media used. artifact In digital graphic applications, unwanted visual anomalies or defects generated by an input or output device, or by a software operation, that degrade image quality. (see also "aliasing" and "moirĂŠ pattern") ^ back to top

B bitmap A rasterized graphic image formed by a rectangular grid of pixels or dots. BMP file A Windows bitmap file, with the extension ".bmp," that defines an image (such as the image of a scanned page) as a pattern of dots (pixels). From Bit mapping, the process of addressing the pixels on the screen. brightness The overall intensity of the image. The lower the brightness value, the darker the image; the higher the value, the lighter the image will be. (see "chroma") BYTE A standard unit of digital measurement. 8 bits = 1 byte. Each 8-bit byte represents an alphanumeric character.


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C calibration The act of setting or adjusting the color settings of one device relative to another, such as a monitor to a printer, or a scanner to a film recorder. Or, it may be the process of adjusting the color of one device to some established standard. capture Acquiring information, such as an image, with a scanner or digital-camera device. CD-R (CD-Recordable) A CD format that allows the users to record data to a disc when using the proper hardware. Recorded data is not erasable. CD-RW A CD format that allows users to erase data. Certificate of Authenticity 1. A written or printed description of the multiple which is to be sold, exchanged, or consigned by an art dealer. [CALIF. CIVIL CODE] 2. A written statement by an art merchant confirming, approving, or attesting to the authority of a work of fine art or multiple, which is capable of being used to the advantage or disadvantage of some person. [IOWA CIVIL CODE] 3. A written statement disclosing certain key facts about a multiple print. channel A component of a digital image that carries the data for a color component or a mask. clipping The grouping (usually unwanted) of all tones or colors above or below a certain value into one composite tone. The loss of visual information caused by too little contrast, in which certain gray scale values are lost or compressed either into the range of pure white or pure black. CMY (Cyan, Magenta, Yellow) Three subtractive primary colors used in color printing. In theory, the combination of pure CMY inks produces black; in reality, black must be added to produce a full color gamut. CMYK Cyan, Magenta, Yellow, and Black (or Key) are the four colors used in process-color printing. Also known as subtractive color, the color black is achieved by the presence of all inks. color balance The ability to reproduce the colors of a scene to some acceptable standard. compression The process of removing irrelevant information and reducing unneeded space from a file in order to make the file smaller. Compression can cause losses and distortion, depending on the method. Some types of compression can cause losses and distortion. In Run Length Encoding, rows of pixels of the same colors are stored as a number and color, reducing the file size while keeping the data in tact. contrast Tonal gradation between the highlights, midtones, and shadows in an image. High contrast implies dark black and bright white. Medium contrast implies a good spread from black to white, and Low contrast implies a narrow spread of values from black to white. Also, understood in terms of "Rate of Falloff." High contrast implies a rapid transition between black and white, whereas a slow "rate of falloff" produces gradual or smooth transition between light and dark. copyright Legal basis for the owner's control of the usage of his images or artworks. crop To remove part of an image.


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D DPI Dots per inch. A measure of the detail of a print. "Apparent dpi" refers to the fact that the eye perceives a giclĂŠe as having greater detail than in does in physical reality. database An organized collection of data or information. density (optical density) The degree of opacity of an image; a measure of reflectance or transmittance equal to log10 (1/reflectance) of log10 or (1/transmittance); the ability of a material to absorb light; the darker it is, the higher the density. Density measurements of solid ink patches are used to control ink on paper. digital Type of data consisting of (or systems employing) discreet steps or levels, as opposed to continuously variable analog data. digital art Art created with one or more digital processes or technologies. digitize The process of converting analog data to digital information. dot Dots make up an image in color separations or halftones. Halftone dots will have a fixed density but have variable size (amplitude modulation). down-sampling The process of receiving data from another computer, server or system. The reduction in resolution of an image, necessitating a loss in detail. dynamic range The measurable difference between the brightest highlight and the darkest value. ^ back to top

E edition The aggregate of identical prints produced from a single matrix. (see also "open edition,""limited edition," and "variant edition") effective resolution The final appearance of a scan that has been enhanced to produce more data than the scanner can record. This is done by interpolation. ^ back to top

F fading A subjective term used to describe the lightening of the hue of a colorant following exposure to the effects of light, heat, time, temperature, chemicals, and so on.


feathering A technique in many image-editing programs that allows for the softening of the edge around a selection. filters Software or subprograms within image manipulation software that employ algorithms to control modifications to digital images by altering the values or arrangement of entire or selected areas of an image. format Characteristic identifying size of printer, media, or graphic, according to width of media roll, printer's print area, or graphic. "Medium Format" is generally taken to be between 11-24" in width; "Large Format" (Wide Format), larger than 24" in width; and "Grand Format," larger than 72" in width. fractal A mathematically generated pattern that is reproducible at any magnification or reduction, and repeats infinitely. FTP (File Transfer Protocol) The method for uploading and downloading files to/from Internet server systems. ^ back to top

G gaussian blur An image-softening effect used in digital imagery. Named after French Mathematician Carl Friedrich Gausse. GIF (Graphic Interchange Format) An image format type generated specifically for computer use. Its resolution is usually very low (72 dpi, or that of your computer screen), making it undesirable for printing purposes. graphic A non-text item (illustration or photograph) or non-text component of an image. graphics tablet An input device that uses a stylus or specialized mouse to write or draw on the tablet surface to communicate with the computer. grayscale An image having no color hues but containing a range of gray levels as opposed to only pure black or white. ^ back to top

H hex triplet a six-digit, three-byte hexadecimal number used in HTML, CSS, SVG, and other computing applications, to represent colors. high bit (see "8-bit""24-bit" etc.) highlight The lightest area within an image. Also called "specular reflection." histogram


A graphical display that represents the distribution of tones within an image. The horizontal coordinate represents each pixel value possible from black to white. The vertical values indicate the number of pixels in the image that occur at each value level. hue The attribute of color by means of which a color is perceived to be red, yellow, green, blue, purple, etc. ^ back to top

I inkjet printer A type of printer that sprays tiny spurts of ink onto coated paper. (see "Digital Printing" analysis) indexed color A color system that defines a palate of colors to be used in a specific image. Often this makes images small and manageable. intensity The amount of light reflected or transmitted by an object with black as the lowest intensity and white as the highest intensity. interpolation A technique for increasing the size of a graphic file by creating pixels. Also an extrapolation algorithm. There are two types, sequential and bi-cubic. Note: increasing the size of an image by interpolation does not increase or enhance the ability to resolve the detail in that image. It only makes the details that are already present larger. ^ back to top

J jaggies The effect caused by images or lines being rendered at too low a resolution. It can easily be defined as a stair-stepped effect giving the line or image a rough appearance. JPEG (Joint Photographic Experts Group) Standardized image compression format developed by the Joint Photographic Experts Group. Usually used for compressing full-color or gray-scale images. ^ back to top

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L large-format A printer, media, or print 24" or greater in width. laser printer A laser printer uses a laser beam to write on a photoconductive revolving drum that is coated with toner, which is a fine, black powder. After the image is transferred to paper it passes through a pair of heated rollers or a fuser that melts the toner fusing it with the paper fibers.


lightfast Resistant to the destructive action of light. line art (or line drawing) 1. Single color diagrams or drawings. 2. An image that requires sharp edges and high contrast between areas of the image that have ink and those areas that do not have ink. A drawing that consists only of black and white with no intermediate grayscale information. These images require a higher resolution to create the sharpness that is necessary. LPI (Lines Per Inch) Measurement of resolution on a traditional printing press. The number of lines per inch on a halftone screen. As a general rule, the higher the lpi, the higher the printed resolution and quality. ^ back to top

M mask A special effect that can modify images so that only part of the image can be seen, or so that the image blends into the background. matte finish A low-gloss finish with very little reflective quality. media Another term for substrate; the materials to be printed, such as watercolor papers, canvas, copper, wood veneer, cotton, or plastic. The common term used in digital printing. midtones Tones in an image that are in the middle of the tonal range, halfway between the lightest and the darkest. Also called "middle values." montage The seamless combination of divergent images into a singular image. ^ back to top

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O OD (optical density) (see "print density") opacity The measure of the amount of light that can pass through a material. Also, the property of a film that prevents "show through" of dark printing or marks on a substrate (media). The degree to which a material obscures a substrate, as opposed to transparency, which is the degree to which a material does not obscure a substrate. Also "hiding power." optical resolution The maximum physical resolution of a device. Optical resolution provides better quality than interpolated resolution (of the same number), which uses software to create additional image information.


orientation The direction that the page is printed; horizontal = landscape, vertical = portrait. output In digital printing technology, to translate information from the computer to an external device (e.g., a printer or monitor); to print. Also, the visual display of digital information, or that which is printed or displayed. overlaminate A protective clear film that extends an image's durability and enhances its visual quality. Most often used in commercial signage. ^ back to top

P palette The number of colors a device is capable of displaying and producing. Also the tools used in paint programs. PDF (Portable Document File) A proprietary format developed by Adobe Systems for the transfer of designs across multiple computer platforms. Photo CD A proprietary format developed by Eastman Kodak for storing photographic images on a compact disc. Images can be easily accessed for use in professional printing. photograph An image or picture made by photography, whether traditional or digital. (see "photography") photography The art or process of capturing an image onto a recording medium (whether photographic film or image sensor/detector) by the action of light or other radiant energy with the aid of a camera or other device. PICT A picture file format. pigment Colorant consisting of particles made up of many synthetic dye molecules or carbon black. Generally more stable than dyes of the same color. Pigmented inkjet inks are credited with better longevity and may have a narrower color gamut. Finely ground insoluble dispersed particles that, when dispersed in a liquid vehicle, can be made into a paint or ink. pixel Term derived from pi(x)cture element. Refers to the simplest or smallest element of a digital image. pixel depth The amount of data used to describe each colored dot on the computer screen. Example: monochrome is 1 bit deep, grayscale is 8 bits deep, RGB is 24 bits deep. Images to be printed as CMYK separation should be 32 bits deep. (see also "bit depth") plotter A term applied to a peripheral unit that, through computer control, prints data via the Cartesian (X/Y) coordinate system. portrait, portrait mode The orientation of an image that is taller than it is wide; a setting controlling an output device to properly fit a computer document to the print medium. Vertical. posterization An effect created by having a limited number of levels or gradient steps within an image. This


may be a planned/desired effect, or it may be a mistake requiring correction. PostScript A page description programming language created by Adobe that is a device-independent. PostScript is an industry standard for outputting documents and graphics. PPI (pixels per inch) A measure of resolution or density of pixels in a digital image. print 1. In the context of fine art, an original work of art (as a woodcut, lithograph, photograph, or digital print) where the art object or artwork does not exist until it is printed. The print is made directly from the matrix by the artist or pursuant to his/her directions. Also known as "fine print,""work on paper," and "original print." 2. A physical image, usually on paper, produced by, but not limited to, such processes as etching, lithography, serigraphy, relief printing, photography, or digital methods. Prints are usually, but not always, produced on paper and in multiples. Traditional, photographic, and digital processes can be used to produce prints. print density or optical density (OD) The print density of an inkjet hardcopy is the visually perceivable and densitometrically measurable absorption of light on the surface due to the presence of a colorant. OD only measures the surface density of a dry hardcopy, not the density of the total amount of ink that was sprayed onto the medium. printer driver Printer-specific software that allows a computer to communicate with the printer. If available, provided by the printer manufacturer. (see also "RIP") printing The process of applying ink to a substrate. printmaker A person producing actual prints from the artist's master file, under the artist's supervision. process color The mechanical process of reproducing a full color image with the three primary subtractive color inks and black (CMYK: Cyan, Magenta, Yellow and Black or "K"). When viewed under a loupe, the individual color halftone dots can be seen in a process color image. profile A file of data or values. In digital printing, generally used to refer to a color profile, especially of a specific piece of equipment (monitor, printer, scanner, etc.) that enables the user to correlate color consistently on various devices. proof A preliminary print used to evaluate aspects of the image (color, density, resolution, etc.) prior to final printing. ^ back to top

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R raster A horizontal row of pixels on a screen. The process of rendering an image or page, pixel by pixel, in a sweeping horizontal motion, one line after another. raster image


An image that is defined as a collection of pixels arranged in a rectangular array of lines of dots or pixels. (see "bitmap") rasterization Changing vector-type image information to raster image information. reflective art Artwork that is neither digital nor transparent. Refers to artwork that is viewed with the light on the same side of the image as the viewer. relief process In printmaking, a process using printing plates that are incised, etched, or sand-blasted before the surface is inked. Lines or areas that have been cut away do not print. The ink is transferred from the surface of the plate to the paper either by hand-rubbing or with a press. rendering Applying shading and lighting effects to a two dimensional image. reproduction A copy of an original work of art. In the context of digital art, a copy of artwork that already exists in some other original form or material (painting, drawing, et al.) prior to the fixing of the image of that original work on the current printing matrix. (see also "giclĂŠe") resampling Changing the resolution of a bitmap file without altering its physical size. resolution A definition of resolution in terms of pixels per inch, or pixel density. Refers to the number of smallest discernable dots or pixels. A measurement of the "fineness" of detail reproduction given in line pairs per mm, or pixels per inch. (see "DPI" and "PPI") retouching Removing imperfections or unwanted portions of an image. RGB A color model using red, green, and blue; the additive primary colors. Video display systems use RGB data to create screen images. RIFF (Raster Image File Format) A storage format used with grayscale images. In Corel Painter the RIFF format is used to save color image files that retain all of the Painter capabilities such as "wet canvas" and active layers. Saving in any other format disallows further modifications and interaction with these tools. RIP (Raster Image Processor) "Bridge" software allowing the computer to give specific instructions to a printer. Often includes add-on features such as color-calibration routines and various tools. ^ back to top

S saturation A measure of purity of color. Saturated colors contain pure color only, colors desaturate to gray. Saturation is a measure of the degree of pureness or movement away from gray. The amount of gray in a color. More gray means lower saturation; less gray means higher saturation. If a color has no saturation, it is a shade of gray. Saturation is also the degree to which a color is undiluted by white light. (see "chroma") scale To enlarge or reduce an image by increasing or decreasing the number of scanned pixels or the sampling rate, relative to the number of samples per inch needed by the printer or other output device. (see also "interpolation") scan


The process of translating a picture from reflective art or transparency into digital information. scanner A hardware peripheral that illuminates, reads, and then converts original text, artwork, or film into digital data. Types of scanners include flatbed, film, and drum. selection Any of several processes by which the digital artist can isolate a portion of a digital image in order to perform additional work or protect the selected area from manipulations applied to the remaining "unprotected" areas. Similar to frisket paper and masking tape in traditional painting. shadow detail Subtle features in the darker part of an image. shadow point The darkest tone printable in an image without being black. All tonal values below this threshold will print as black with no detail. sharpen edges An image-editing technique to enhance the edges of an object. sharpening 1. A picture enhancement making the image have more distinct borders, areas, lines, or tones. 2. An option on some scanners that emphasizes detail by increasing the contrast of the boundaries between light and dark areas of an image. silhouetting A masking or image blocking that isolates an image from the background. silk screen An archaic term for screen printing, since most screen printing is now done with synthetic-fabric screens. signed Carrying an original signature of the artist. In law: 1. Autographed by the artist's own hand, and not by mechanical means of reproductions, and if a multiple, after the multiple was produced, whether or not the master was signed. [IOWA CIVIL CODE] [GEORGIA CODE SIMILAR] 2. The artist signed the print multiple by hand to signify the artist's examination and approval of the print. "Signed" does not mean the act of leaving an impression of the artist's name upon the print by any mechanical process. [HAWAII CIVIL CODE] SLR Single Lens Reflex, a form of small format (35mm or 6cm) camera that has a reflecting mirror that retracts when the shutter is released. An SLR allows the photographer to view the image exactly as it will be framed in the photo. soft proof Viewing a digital image with a monitor instead of generating a hard copy proof. Can be done from a remote location via the Internet. sRGB One of several standard RGB color working spaces. Best used for images on the Internet. stylus A tool that is used on a graphic input tablet as a drawing instrument, or as a mouse. subsampling Scanning at a less-than-optimum sampling rate. substrate Ultimately, the material that receives the printed image. Sometimes called "media" in digital printing. The single or multi-layered base material of the medium, which can have a very simple or complex structure and is a carrier for the coating, if present. subtractive color / reflective color The color mixing system associated with pigments, as opposed to pure light. The term refers to


the CMYK color space used by conventional and digital printing devices to produce full-color printing. Theoretically, when all three subtractive primary colors are mixed together the resulting color is black. (see also "CMYK") The three colors that are used to create all other colors in color photographic printing. (Cyan, Magenta, and Yellow) ^ back to top

T tablet (graphics tablet) thumbnail A small low-resolution version of an image. TIFF (Tagged Image Format File) A file format for storage of digital images. tiling The process of breaking down an image or page into sections for editing or printing purposes. transform A color-space exchange from one system (RGB or CMYK) to the other, or changing from one hue base to another. translucent Diffuse transmission of light. No clear image can be seen. transparent Adjective to describe a material that transmits light with minimal diffusion or scattering. (Clear, not opaque.) ^ back to top

U unsharp mask A sharpening process that first blurs the edges then subtracts the image from the blurred areas to yield an image of apparent enhanced sharpness. ^ back to top

V vector A term given to a graphic drawing, specified as a color, start and end point, and applied to line segments, type, and tints. vector graphics Drawing software. Vector graphics files are usually stored in formats such as PICT or EPS. Any of a number of graphics formats including EPS(F) and DXF that describe objects on the screen not as colored pixels but as mathematically defined shapes. Vector graphics can be rescaled to any size without any effect to file size. Typically, vector graphics occupy less disk space than their bitmapped (rasterized) counterparts. vector image A computer image that uses mathematical descriptions of paths and fills to define the graphic, as opposed to individual pixels.


video card An add-on device that accelerates the digital screen refresh rate in order to display complex digital graphics and motion. ^ back to top

W watermark A faint marking on the back of some photographic papers indicating that the picture was taken by a professional photographer. Also, term for a faint image superimposed on a digital image to protect rights of ownership. An identifying mark or symbol imbedded in the substrate on which the art is made, usually referring to the maker of the substrate. white The result of combining the additive primary colors (Red, Green, and Blue). In the subtractive color mixing system, "white" is the result of the absence of any color. white balance The balancing of color components to create pure white when photographing or scanning a white object. A substitute for a color temperature setting. white point The color and intensity of a device's brightest white. With printers, this is usually the white of the paper. With scanners, the color that when scanned produces values of 255, 255, 255 (RGB). Ideally, the white point is 100 percent neutral reflectance or transmittance. (see also "reflectance") WYSIWYG What You See Is What You Get. Refers to the ability to output data from computers exactly as it appears on the screen.


CREDIT Jeremy Brock

Layers Magazine

Worth1000.com psdfan.com

Corey Barker

Martin Evening

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