Adobe CS6 – How Can This Help Your Business?

Adobe CS6 – how can this suite help your business?

Early last year Adobe launched Creative Suite 6 (CS6), and with it brought some amazing new tools and features that are unparalleled when compared to previous models. What really makes CS6 stand out is how simple it is to use. Adobe has really taken the time to listen to what people have to say and has engineered a more bespoke platform that can enhance and benefit your workflow.

Creative Suite has played a fundamental role in design over the years and it can now be said it’s a key part to your offering whether you’re a designer, developer, photographer or social media agency professional. With CS6 you can’t help but make comparisons to its predecessor.

While CS5 was a great step forward, CS6 is a huge leap into the future. The biggest updates most important to a designer can be found within Photoshop, Illustrator and InDesign.

Photoshop CS6: What can the new tools help you with?

Photoshop is an internationally renowned program that can enhance your creativity with its amazingly fast performance powered by the Adobe Mercury Graphics Engine. Its groundbreaking new Content-Aware tools and re-engineered design tools feel more tailored and powerful but the hero tools are CSS export and Background Save. CSS export lets you instantly generate CSS from text and shape styling within Photoshop, this coding can be simply pasted into your favorite web editor to design websites in less time. With the Background Save option you can keep working even while saving the largest of Photoshop files in the background, which is a real improvement that can help your productivity soar.

The new Photoshop offers over 62 per cent more new features than the previous version. The new interface is a welcomed upgrade; thanks to several slick interface tricks and the removal of a redundant toolbar, productivity can definitely be boosted and frustration eliminated. The good thing about Adobe is it caters for the masses, so you can revert back to the original interface if needed, but why would you? Housed within a slick modern user interface, this upgrade can help your business surpass expectations quicker and more efficiently.

InDesign CS6: What can the new tools help you with?

Most professionals in the publishing industry use InDesign. It’s natural for people to be intrigued by what has changed in InDesign CS6 so here are some features creating industry buzz.

The growing popularity of smartphones and tablets has led to high expectations for digital imagery and usability, but, as you may know, the wide variety of devices causes problems for designers and developers. Annoyingly, you can be forced to resized and rework projects for each device. Adobe InDesign has shown great attention to this issue by including a new feature called Liquid Layout. This feature addresses the problem with multiple layouts for various screens, making the work for a designer easier and faster. Now you can create elegant and engaging layouts for print, tablets and other screens.

Other features make it faster and easier than ever to efficiently design page layouts for print or screens. You can improve productivity with time savers such as split window, content collector tools, grayscale preview, easy access to recently used fonts and much more. InDesign CS6 is pushing the boundaries.

Illustrator CS6: What can the new tools help you with?

CS6 moves the bar even higher with Illustrator. With precision and speed, you can create and work with large files without fear of it crashing. Illustrator has listened to its core consumer and has integrated a modern interface to streamline daily tasks. The user can now enjoy a tracing engine like no other, seamless pattern creation and the application of gradients within strokes.

Adobe Creative Suite 7 (CS7)

As we move forward its so exciting Adobe are rumored to be working on CS7, I wonder what features they will bring out next, one thing we’re sure of it will be amazingly helpful to your business if it is based on CS6.

Working for an integrated search, social media and PR agency, I have used many tools within Creative Suite 6. Whilst I’m still exploring, I can say it has benefited our offering for many clients. I feel as if I have enhanced my creativity and performance, meaning the investment has been truly worthwhile.



Source by Rebecca Pye

Acer Aspire 7 A715-71G-54Y9 Review: What Features and Specs Does This 15-Inch Laptop Come With?

If you are looking for a 15-inch multimedia laptop with a nice IPS display, decent keyboard, and Intel Core processor options, the Acer Aspire 7 A715-71G-54Y9 has all of these and offers much more. It’s also fairly affordable considering some of the high-end components it comes equipped with and its durable design.

The backlit keyboard is smaller than those of its predecessors, the Aspire E15 and F15 notebooks. The keys are well-spaced and smoothly finished. As for the trackpad, it is located beneath the keyboard and has attractive beveled framing. The fingerprint reader is integrated into this area nd allows you to quickly log into Windows.

There are speakers located in the lower corners and exhaust grills located on the back edge. This design allows for good airflow, preventing the notebook from overheating. There is a premium aluminum cover with a finely brushed pattern as the finish.

Acer Aspire 7 A715-71G-54Y9 specs include:

• Windows 10 operating system 64-bit architecture (Home Edition)

• Intel Core i5 processor (7300 HQ) quad-core / 2.50-GHz

• 8GB DDR4 SDRAM / two-memory slots (one free)

• 1TB Serial ATA hard drive

• 256GB SSD

• 15.6-inch LCD full HD display with LED backlight technology and 1920 x 1080 resolution

• NVIDIA graphics GeForce GTX 1050 DDR5 2GB (dedicated)

Memory and Storage Upgrade Options of Acer Aspire 7 A715-71G-54Y9

Extend the memory all the way up to 32GB by either upgrading the 8GB or adding memory to the free slot (or do both). You can upgrade the storage capacity as well.

There is good battery life with this machine. The 3220 mAh lithium-ion battery has a maximum run time of seven hours. You get pretty good power supply wattage as well (135-W maximum).

The display is matte and held in place by a sturdy hinge mechanism. You can lift the display up with a single hand and adjust it back to 180-degrees.

With the Intel Core processor and NVIDIA graphics, you can count on the Aspire 7 to run a variety of intensive programs, including games and Photoshop. You’ll get good fps on most of the popular games.

There is a memory card reader that supports SD / SDXC. There is a total of four USB ports, including 1 Type-C (3.1) USB ports, 1 3.0 USB port, and 2 USB 2.0 ports. Connect the laptop up to a larger, higher-quality display via HDMI.

Additional features of the Acer Aspire 7 A715-71G-54Y9 include Bluetooth 4.0 technology, IEEE 802.11ac wireless LAN technology, a built-in webcam with 720 HD audio and video recording, and microphone. It weighs approximately 5.29-lbs.

Looking for Acer coupons to help you save? Owning a laptop PC is important these days. People need one for school, work, entertainment, or a combination of the three. Don’t pass up the chance to use Acer Aspire 7 A715-71G-54Y9 discounts to help you get a good laptop.



Source by George Botwin

Ideal Tips for Writing a Perfect Online Imagery Tutorial

Do you have a technique of how to achieve a powerful imagery? Or, do you wish to appear as an expert on your online imagery portfolio? Well, creating your own online imagery tutorial is the way to go. You could also be a photography enthusiast who likes to teach people about ways they can be successful in their photography career. That is good! Try writing a tutorial, as your learners will enjoy it more. So, what are the tips to consider when creating an online imagery tutorial? Check out below:

Have a clear topic

It is extremely important to define the topic you want to tackle. Your subject could be something like, how to create a good illustration portrait, tips to creating a misty landscape or how to create a fantasy eye, and so on. Find clarity, as in what exact question is the tutorial trying to answer. After you have done that, stay on the topic. You do not want your audience to get lost in the midst of the training because that will mean you are not a good instructor. In addition, your tutorial should not be too long. Simply stick to the particular technique, pattern or tips you want to pass across.

Be Orderly

You want your audience to reach a certain level of knowledge, right? Then, give them the rich nuggets of information you possess in a way they will like it. That means the images; symbol and writings ought to be attention grabbing, clear and arranged in a logical manner. If you prefer numbers, roman numerals, or bullet point, ensure they bring out the point perfectly. Ask yourself if your audience is able to easily follow the instructions as provided in your work.

Use Clear Pictures

They say, “An image is worth a thousand words.” In fact, when it comes to a good online imagery tutorial, it is advisable that you use high-quality images when passing your message. You can edit your image to attain the light, the pixels and hue that is required. The background color of your images must also aid to bring out the best focus of the main object. Sometimes, you may need a Photoshop guru to help you come up with some perfect imageries for your tutorial. Simply check around the net for such type of assistance.

Add text or symbols to your images

To guide your audience and make your ideas clear, you may need to add text, or arrows on the images. Text and arrows on your pictures can be used to give directions on the chronology of the subtopics. You do not want anything distracting because that may cause your reader to flip over to the next website.

Use a Photo Mosaic

One way to condense huge chunks of ideas is using mosaic patterns on your online imagery tutorial. This gives a set of easy to understand directions to your audience. Also, when you have several images and you think they are all helpful in a particular step, why not make a mosaic of them. It is likelier that your audience will understand your message by comparing the multiple shots on the mosaic. In addition, this is a way to capture a wider range of readers as some shots may be much appealing to certain readers.

Use an Attractive Font Color

You may wonder what color will work best for the tutorial you want to publish on your online imagery portfolio; however, it will depend on the color of your website. Ideally, anything of high contrast will be good. So to be on the safer side, pick dark colored fonts in a case of light background and, light colored fonts for those websites with a dark background.



Source by Rodgers Saitoti Panato

PSD to WordPress Conversion – What the Future Holds for It?

WordPress is an excellent Content Management System that offers you endless opportunity to customize your website as per specific needs. Whether you want to incorporate a new functionality or modify the existing ones, the PSD to WP conversion services will help you do so. The numerous drawbacks attached to traditional PSD web design have made way for WordPress, which is far more browser-friendly and seo-friendly.

What makes PSD to WordPress conversion a better choice than any markup language driven conversion?

Well, the PSD design, which is designed in Photoshop, doesn’t display appropriately in every browser, which in a way restricts the website from getting noticed by a greater population of consumers. By converting the PSD design to WordPress codes, you will get a chance to improve the visibility of your website while retaining its distinct features. PSD to WordPress conversion offers a great solution to website designers, helping them create custom designs and themes that’re capable of meeting the unique needs of clients.

WordPress has witnessed a tremendous increase in the success rate of business owners who’re in the need of updating their website content on a continuous basis. Thanks to the comprehensive in-built features like user registration, stringent password protection etc, WordPress has been successful in becoming the first preference of business owners who need to perform website management as per a well-organized pattern. Amongst numerous advantages of chopping to WordPress, the ones, which’ve been recognized by a majority of entrepreneurs include:

  • Cross browser compatible web applications– Equipped with automatic code filters, WordPress offers the convenience of slicing PSD files to CSS and HTML. Even with a slight knowledge about PSD slicing, a developer will be able to convert a website’s theme to WordPress. Once this conversion is done, all that the developer will get is a cross browser compatible web application. This web-based application will run on almost all the browsers ranging from Google Chrome and Mozilla Firefox to Internet Explorer and Opera.
  • Easy availability of budget-friendly service providers– Unlike other template conversion experts, PSD to WP conversion service providers can be found easily. In addition to this, the pocket-friendly rates charged by these experts make them the cost-efficient means of converting the site’s theme to WordPress.
  • Lesser technical support required– You will need very little technical support if you decide to choose PSD to WordPress for your website. The easy-to-use features of WordPress will allow you to have complete control of your website, without the need to learn a lot. You can carry out the basic updating and editing such as changing colors of images and uploading new images. You don’t need to look for any technical help for performing these activities.
  • Assurance of 100% W3C compatibility– W3C (World Wide Web Consortium) is a standard that marks the outstanding stature of a website. You can expect your website to grow only if it meets the W3C standards. When you choose WordPress theme for your site, you ascertain 100% W3C validation for it. The markup conversion professionals will provide you with a website that meets W3C standards and functions in a hassle-free mode.
  • Enhanced ratings on topmost search engines– If you’ve been trying hard to improve your website ratings on the popular search engines but haven’t been able to achieve the desired results then converting your site’s markup language can help you with this. A theme conversion expert would utilize the best tools and techniques to ensure that your site ranks on the first page of Google, MSN, Bing, etc.

Conclusion

Now you’ve them all! With all these impressive advantages of converting PSD to WordPress, who wouldn’t want to switch to WordPress theme for his/her website? However, before delving into these benefits, do ensure to hone your knowledge about WordPress themes because a well-informed decision is always a well-made decision.



Source by Rishabh Kapoor

10, Well 9, Great Taxidermy Display Tips

1) Authentic backdrops – paint – If space allows in the display cabinet and you don’t need much then a stretched canvas at the rear oil or acrylic painted with a suitable view is a great starter. You can even use a canvas board cut if necessary to the appropriate size. My view is to team up with a local artist and outsource this unless you or a close relative can come up with the goods. If you are a professional taxidermist you can make this a more formal business arrangement.

2) Authentic backdrops – photos As above but use a photo of the natural habitat you’d typically find the specimen in. The choice you then have is to have the photo suitably enlarged and either left ‘as is’ or through Photoshop or other image manipulation software made to look like a painting. Digital photos are obviously best for this, but standard prints may be scanned for this purpose or taken to your local printing centre. For true authenticity, a photo taken at the scene from where the specimen was obtained is a good idea if suitable.

3) For the scene generally, it is a good plan, in all cases, to make a false bottom for your display case and affix the ‘scenery’ and your specimen to this prior to installation.

You will want to recreate the habitat of the specimen as accurately as possible so use as many of the following as you wish

4) Soil – as the object is to represent the specimen in the midst of its natural surroundings, the soil must be replaced by something light, and yet so like the original substance that the difference is not noticeable. This can be achieved by mixing enough plaster-of-paris with some PVA glue to make a cream. Then with a small brush cover every part of the groundwork with this composition. Probably by the next day it will be dry. Then paint it with thin glue and dash on plenty of sharp sand (silver sand is the best). When dry, proceed to colour the work with oil colours, well thinned with turps, blending them well one with the other suitable colours for soil are :

Yellow, burnt sienna (with or without burnt umber), and black, making the hollow parts rather darker, and dusting on Saxon green on the higher parts. Another option is to use scenic scatter which is readily available from model shops or online and comes in various shades. This is laid on a PVA glue base.

5) Similarly with rock, you will need a lightweight alternative. This can either be achieved by forming a chicken wire frame over which is laid plaster of paris or scrap newspaper daubed liberally with diluted PVA glue. Another option is to soak screwed up ‘balls’ of newspaper again soaked with PVA glue solution and place this in an area to form a ‘rocky’ base. This should then be covered with small square pieces of tissue paper soaked in a PVA solution. Once dry paint and cover with coloured scatter, this gives a good earth or grass appearance and is available from good model shops. A final alternative for making a rock face for which you’ll need

o Some Expanded polystyrene, the stuff used for packaging

o A Hacksaw or Stanley knife

o A Soldering Iron (you could also use a knife to make the rock pattern)

o White poster paint

o Black enamel paint

o A paintbrush

First, grab your polystyrene and cut off a (or a number of) thin slivers with either a hacksaw or a knife for size of the gap you are going to fill. Once cut to size it’s a good idea to break off some of the top to make the shape more random, as you’ll rarely see a perfectly rectangular rock face. Don’t worry about neatness here, just as long as you don’t tamper with the edges you’ve just lined up. Now, to the tricky (fun?) part: the soldering. (note: you could use a specially designed heat knives for carving polystyrene. Make sure you use a well-ventilated room as the fumes are possibly toxic, might be best in a garage with the door flung open, or even outside if the weather is suitable. When the soldering iron is hot, gently sweep across the polystyrene to melt the surface. You can be quite artistic with a soldering iron. You can do as you see fit for this bit. Just use the tool like a pencil and carve various shapes and formations to make a rocky appearance. Remember that the polystyrene is thin, so press lightly if you do make a hole however, a suitable ‘filler’ piece can be made quite easily.

For the paint it’s best to mix black enamel paint with white poster paint. As these two don’t mix properly, it will give the rock a weathered, more realistic texture which really adds to the effect. Mix them together but don’t be too worried if they aren’t completely mixed, rocks often look better darker in places and lighter in others! Apply enough paint to ensure there is no white visible. You don’t need to paint the back but it’s a good idea to paint the top and sides as these may become visible when placed on the scene. There you have it, one painted rock face. This will take a few hours to dry, as although the poster paint dries relatively quickly, the nature of the enamel paint and the mixture means it takes longer. Once dry, the rock face can be fixed in placed with wood glue, pva or hob-e-tac, but NOT superglue, which will melt your rock face and all your hard work into a sticky mess. When in position, apply some scenic scatter to the top to make the rock face seem to blend into the hill, and make it look less like someone’s just stuck it there!

6) Sand is a good option to use for a variety of appearances. Apply plenty of thin glue to the area to be covered then liberally force plenty of sharp sand (silver sand is the best) onto the area. The whole of the glue must be hidden by the sand, and once dry shake off the excess.

7) To emulate other scenic effects with paint see below:

Chalk. Mix the sand with the glue and plaster, and do not throw on sand afterwards. First a thin wash of yellow, then in parts the faintest tinge of carmine, and a line or two with a lead pencil to mark the strata. Damp, slimy surfaces may be dark green. Varnish if intended to look wet.

Sandstone. The colours are similar, but the points may be whitened, red sand dusted on in parts and horizontal places made slimy.

Rough sea rocks. These are almost black, with green edges and the faintest trace of white over all. Varnish if intended to look wet. Very suitable for white or light sea birds.

Footprints on mud. These are sometimes dark slate colour, sunk about ¼ inch. deep.

Peat. This is often used for groundwork, especially where time is an object It can be carved into any shape, glued and nailed down, and then

covered with plaster, etc., as above.

Virgin cork. This is useful for sharp irregular rocks, and for tree trunks.

Branches. These may be made of any shape by wrapping tow round wires, then covering all with glue and throwing on powdered lichens. But they are easiest made by nailing small branches together in various directions and concealing the junctions with glue and wadding, then covering with lichens. Oak is the best wood to use, but it must be thoroughly well dried and have plenty of turpentine, slightly coloured with green paint, put over it when fixed together. The paint improves the appearance, and the turpentine destroys small larvae.

Ferns. The English ferns suitable for cases are but few, the best being the common brake. This should be gathered on a dry day in autumn, pressed between sheets of newspaper or blotting-paper, and, when dry, coloured with oil paints. They look better if varied in colour; therefore colour some with light green, making the centres darker. Others can be coloured with stone colour or yellow, with brown or red centres. (These have quite faded.) Some are green, with the tips brown (beginning to fade); others are green on one side and brown on the other, and so on. They may be bent to almost any shape when the paint is dry by being carefully drawn between the finger and thumb.

7)Grasses. Any hayfield supplies a variety of grasses, which, when in seed, dry well and readily take dye; but dull colours only should be used, and most grasses, indeed, are best used uncoloured. Many coarse grasses (not the seed stalks) grow near the sea and in uncultivated places, in tufts, and most of these dry well and can be easily coloured. Hosts of the seed stalks of weeds may be collected in late autumn, and take colour nicely, but the seed must be removed first. Use oil colours for all ferns, grass, etc There are a number of artificial alternatives which nowadays look very authentic.

Grass imitating felt: This stuff comes in sheets of 1m squared and is cut to fit and glued down. It has the feel of coarse fir. This stuff is not cheap but allows you to cover a large area quickly with no mess. it is also more resilient than using scatterings.

Scatterings: They come in all shapes sizes and colours including grass. First you spread glue over the area you want to cover. Use a lot of glue as this stuff often falls off if you don’t. Then spread the scatterings over the glue. It is a good idea to use a sieve to control the amount you use and/or a brush to move it in to all the gaps. Neither are essential but are useful. Once dried use a clean dustpan and brush to collect all the lose scatterings so they can be re used. Don’t use a Hoover as this can pull of a lot of the glued down material. It is my advice to paint the board under the scattering the desired colour so that any fall of due to wear and tear will not show through.

Another option is to use hessian carpet matting (the underside of most old carpet will do) which you coax the fibres from into small tufts and either paint of leave as a dull brown for a dried grass effect. This is particularly suitable for rough grass.

Static Grass: If you want that 3 dimensional grass effect, go for static grass, it’s simple and effective. The grass is in the form of tiny synthetic fibres, in various lengths and colours. Using a simple puffer bottle* you apply it to neat PVA glue, it becomes charged with static electricity and stands on end, giving that 3D effect, the procedure is as follows:

a) Work on an area about 300mm square at a time. Paint the area you want to grass a suitable under-colour, a mix of greens and browns is best.

b) Sieve some of the grass fibres to remove any clumps, and fill the puffer bottle about half way up (don’t fill it to the top as it becomes a tightly bunched mass and won’t come out).

c) Apply a coat of PVA glue to the area you want to grass, ensure the area is totally covered but don’t worry about the odd blob as this just adds texture

d) Holding the puffer bottle about 100-150mm from the surface start puffing gently. Build the grass up slowly working around the area, puffing from different angles.

e) As you go along give the bottle a gentle shake every so often to loosen clumps.

f) Build the grass up to the thickness you want, don’t worry if the glue still shows through, it dries transparent and you won’t see it.

g) Every so often gently blow over the grass to loosen any stray particles, and to check your coverage. Some recommend passing a vacuum cleaner with a piece of cloth over the nozzle over the area, to lift the particles a bit, but take care not to suck it all off!

h) Once dry (best to be patient leave it a few hours) suck or blow off the excess.

i) That’s the basic principle. The grass is available in many colours and lengths. It’s best to experiment before starting on your actual scene. A good technique is to lay down some long grass, and then over lay with short grass. Any bald patches that appear can be touched in after, and laying one layer on top of another is good for a ‘scrubby grass effect’. The key is to experiment it’s good fun

8) Seaweeds. These must be well washed in order to remove the salt, and should be varnished if intended to look wet. Starfish dry well (after being well washed), but should be tinted to restore the colours. These and shells, as well as all the above, are fixed sufficiently tightly with glue.

9) Water. To produce a good water effect you need to produce a reflective surface. The method I have seen used involves using a sheet of glass or perspex, painting the underside a dark colour, try experimenting with dark green, brown or even black and then countersinking it in to the false bottom of your cabinet. Don’t worry if it is not the intended shape. you can produce the desired shape by covering the Perspex with scenic scatter. For more authenticity use brush bristles painted a yellowy brown to imitate reeds or green to imitate ling grass and weeds. For best results position your specimen the opposite side of the viewing point of the water feature so that it will be reflected in the water instead of something you don’t want such as the wall. When finished the Perspex will reflect the light from the surroundings and give you a perfect water reflection but it is important that the plastic is very clean and clear. This is why glass is often used as it does not mark and can be polished up.

There you are, a number of ideas to embellish the display of your specimens. Hope you find them useful.



Source by Adrian Cowley

Scanning DVD Covers – Hints and Tips

Ever lost a DVD, had your DVD collection stolen or damaged in an unforeseen accident? Strange things happen, which is why more people are backing up their precious DVD collection, which can potentially be worth thousands of dollars. While people are creating back-ups of their movies, many forget to create back-ups of the DVD covers inside the cases. If you want your DVD collection to look brilliant on display then they must have covers. This is why it is good practice to scan your DVD covers collection, especially those rare covers that may be difficult to find on the Internet at a later stage.

Scanning a DVD cover is simple however requires that you have some basic Photoshop knowledge/ skills. We need to make some basic image edits to ensure our covers are just right if we ever need to print them to serve as replacements. Here are some tips to help you get the most from your scans.

– The first tip doesn’t require any computer. Instead I recommend that you remove your DVD cover from its case and place it under a stack of heavy books. It is recommended that you leave it there for approximately a week, however even one day makes a difference. This step helps flatten the spine of your cover and will make the editing process much easier.

– When scanning, ensure you set your dpi(dots per inch) to 600. This will give you a large image with a great amount of picture information and detail. This setting will help to better edit the cover.

– It is recommended that you switch off any filters, such as sharpness, brightness, contrast etc. You will achieve better results editing these settings once the cover is scanned in Photoshop.

– Select the de-screen option. This setting helps remove the moiré pattern(crosshatched effect) which haunts so many scanned images.

– Once the scan is complete you must immediately open the levels tool (image > adjustments > levels) to repair the DVD cover’s black, mid and white tones. For a more detailed explanation on how to use the levels tool, check the link below.

– Fix any dust or rip spots on your cover by using the clone tool. If you are working on a solid color you can use the brush tool, which can be much quicker and highly effective at times. Remember to play around with the opacity settings of these tools to ensure your repairs look authentic.

– Use the gaussian blur tool to remove the remaining effects of moiré patterns (not always necessary.

– Reduce your DVD Cover to 300 DPI prior to saving. We do not require 600 DPI for print and also saves on storage.

These are the basic steps to creating high quality back-ups. Please remember that some DVD covers may require more work than others depending on the age, quality and color of the DVD Cover.



Source by Pablo Zed

How to Create a Cardboard Textured Business Card in Adobe Photoshop

Business cards are valuable tools in today’s society. But how can you make business cards stand out from the rest of the crowd? One easy idea is to print your business card on different stock, like cardboard, leather, or even metal.

Even though this is a simple idea, some people may not have the money to be able to print their cards on expensive materials. In this case, using a faux textured background design can be a low cost solution to the heavy textured, expensive card stock.

To save even more money, all business owners out there can make your own business cards using this tutorial. This tutorial demonstrates how to create a business card in Photoshop that looks like an expensive textured paper business card. This way, regular white card stock is all that is needed.

This tutorial will also show you how to produce a business card that looks like it was pressed on textured cardboard.

Step 1

Fire up Adobe Photoshop on your computer and start a new document with the settings set to a width of 14 inches, height of 8 inches, and the resolution to 72. It is better to design on a larger scale so that it is clearer when it is finished and ready to be printed out.

Step 2

Select all and fill the entire area with the color #AAA494 or a shade of grey close to that color. After doing so, keep everything selected and apply a cloud filter on the area. You can do this by going to the drop down menu, Filter > Render >Clouds. Make sure there is enough contrast or adjust the brightness/contrast until it looks natural enough.

Step 3

Apply some texture by choosing Filter > Noise > Add Noise with the settings of 4 / Gaussian / Monochromatic.

Step 4

Go to Filter > Blur > Motion blur, with the Angle set to 90 degrees and the Distance to 8. Applying this texture will give your business card a recycled cardboard look that appears like it has paper fibers. Paper fibers are typically aligned horizontally or vertically.

Step 5

Add a Layer Style of Color Overlay to your contact card template. Go to Layer > Layer Style > Color Overlay to do this. Once the setting box appears, set Color to #7b6d52 which is a brown-ish paper color. Change the blend mode to Color and the Opacity to 100%.

Step 6

Next apply a Pattern Overlay Layer Style to the business card template. To do this, go to Layer > Layer Style > Patter Overlay. Once the settings box opens, switch the Blend Mode to Soft Light and make the Opacity 75 percent.

Choose among fibers 1 & 2 from the greyscale paper patterns this will add to the business card’s textured look. Set the Scale to 100 and check the box ‘Link to Layer.’ Adjust the opacity to make it as natural as possible; around 85 percent opacity is good.

Step 7

To make the card look more three-dimensional you will apply a Bevel and Emboss layer. Go to Layer > Layer Style > Bevel and Emboss. Once the setting box opens, set the Bevel to Inner Bevel; set the technique to Smooth; set Depth to 100%; set Direction to Up; set Size to 1; and set Soft to 0%. For the Shading options, set Angle to 120 degrees and check mark Use Global Light; set Altitude to 30 degrees and use Gloss Contour; set Highlight Mode to Screen and set opacity to 75% with the Shadow set to Multiply mode. The Opacity should be set to 30%.

Step 8

Next is creating a new layer and adding flecks to your business card. Flecks will make the design look more natural. To do this, click Layer > Layer Style > Pattern Overlay. When the setting box opens, set the Style to a Blend Mode of Normal and set it’s Opacity to 100. Choose the pattern Charcoal Flecks from the Greyscale Paper patterns.

Step 9

This next step will help display the charcoal effects. To do so, create another layer and fill the layer with black. Separate the layer style from the layer by right-clicking on the layer style icon and choosing Create Layers. Once the layer style from the layer has adapted into a separate layer, you can now delete the layer filled with black, leaving the newly created layer to work with. This will fill the layer with the Charcoal Flecks pattern.

Step 10

Now we want to expand that layer to make the flecks look bigger. You can do this by pressing Ctrl+T and drag/expand the layer until you achieve more visible flecks. Adjust the levels of the layer to increase the contrast. To do this, drag the center slider to the right and the right slider left until the background is completely white and the spots really stand out. Next, change the layer’s Fill Opacity to around 60% and change the layer’s Blend Mode to Multiply.

Step 11

This is basically a repeat of Step 9 and 10 but we are making white flecks this time, to add in more contrast to the design. The quick and easy way to do this is to duplicate the Charcoal Flecks layer, Invert the colors and then set the mode to Overlay. So instead of dark flecks you have white flecks. You then should flip the layer horizontally and vertically so the direction and distribution of the white flecks will not be the same as the dark flecks.

Step 12

To simulate an embossed effect font, type the words you need to add to the calling card and apply a Bevel and Emboss layer style on it after. Set the Style to Emboss and set the Technique to Chisel Soft.

Change the Depth to 100%. Direction should be set to Down and Angle should be 120 degrees. Checkmark Use Global Light and Altitude should be 30 degrees. Use Linear Gloss Contour. Highlight Mode should be set to Screen. Shadow Mode should be set to Multiply and Opacity for both should be 75%.

To make shapes on the business card that look letter-pressed, just make the shapes you want and then make them into paths and then apply ‘stroke path’ with any color you desire. Rasterize the layer after and then do the same Bevel and Emboss layer style procedure as what we did with the typography earlier.

Step 13

For additional designs, add some red border on the lower half of the contact card. To make the border just make a new layer, select about an inch and then fill it with color. You can use the paint bucket to color the selected area and then set the layer Mode to Multiply and the Opacity to around 75%.

Step 14

Lastly, you can put some additional text on the red border to make things more balanced.



Source by Gregg Hardy

How to Make a Cubism Effect in Photoshop

Before we start on our tutorial in how to make a cubism effect in photoshop, let us have a review in our Art History.

Cubism is the most influential, essential, Innovative form of art in the 20th century. It is a complete denial of conventional outset of beauty. It is a joint creation of two greatest painters Pablo Picasso and Georges Braque.

Cubism is the new manner of seeing things in art. Most of the subject is represented in Geometrical shapes and sometimes showing numerous perspectives of a particular image. It is like the subject is being constructed from many pictures taken from different angles.

Now let’s start our tutorial. You need your Photoshop and the picture you’re going to use.

  • Open your Photoshop then click on File, select Open and pick the image that you’re going to use.
  • First go to Marquee tool located at the left tool menu.
  • You are going to use the marquee tool to select a part of the image and then hit Ctrl + J to copy it into its own layer.
  • Go to layer window then click on the Add a layer style icon
  • Then select inner glow
  • To provide the layer a different angle, just go to Edit then click on Free Transform.
  • Hold down Ctrl key then drag any bounding box handles if you want to twist the layer. On the other hand, you can drag the cursor outside or rotate it to change the angles.
  • After that, go to the layer window then select the original image layer and repeat the above mentioned steps. You can also add shapes and text if you want to.
  • To add text, go to Text Tool and play with the type face.
  • To add shapes, go to custom shapes tool and select a shape then drag it over the image.

The text tool and custom shapes tool are located at the left tool menu. If you want to be more creative, you can play with the opacity of each layer. You can also try out the patter overlay to gain texture.

  • Just choose any layer then double click and select pattern overlay.
  • Experiment with every mode not just pattern overlay to make it look good.

You can adjust the color of each layer to make it more creative. Just go to Image then click adjustment then select hue/ saturation. With that, check Colorize then you can alter the color by adjusting the slider. You can add more than one adjustment layer.

Finally, you have your cubist image from an ordinary image. You can print and put it in a nice frame. In that way, you have your abstract painting without spending much.



Source by John L Allen