GoMediaZine » Photoshop http://www.gomediazine.com Design insights & tutorials. Fri, 18 Apr 2014 18:17:40 +0000 en-US hourly 1 Go Media owners Jeff Finley and Bill Beachy host the show and discuss the business of design and how to improve the quality of your work and life. Go Media no Go Media jeff@gomedia.us jeff@gomedia.us (Go Media) Go Media Real-world advice from working artists and designers. graphic design, artist, business, inspiration, go media, tutorials, advice, illustration, photoshop, illustrator, art GoMediaZine » Photoshop http://www.gomediazine.com/wp-content/images/powerpress/gomedia-podcast-300x300.png http://www.gomediazine.com/category/tutorials/photoshop/ Cleveland, Ohio Monthly Tutorial: Aged poster design with the Photocopy Noise Texture Pack http://www.gomediazine.com/tutorials/illustrator/introducing-the-photocopy-noise-texture-pack/?utm_source=rss&utm_medium=rss&utm_campaign=introducing-the-photocopy-noise-texture-pack http://www.gomediazine.com/tutorials/illustrator/introducing-the-photocopy-noise-texture-pack/#comments Tue, 15 Apr 2014 13:27:51 +0000 Simon H. http://www.gomediazine.com/?p=43223 Hello there! Simon from Studio Ace of Spade here. Long time no see. I'm here to introduce you today to a texture pack I've created, called the photocopy noise texture pack. I'm delighted to announce that it's finally on sale at the Arsenal! Continue Reading »

The post Tutorial: Aged poster design with the Photocopy Noise Texture Pack appeared first on GoMediaZine.

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Hello there!

Simon from Studio Ace of Spade here. Long time no see. I’m here to introduce you today to a texture pack I’ve created, called the photocopy noise texture pack. I’m delighted to announce that it’s finally on sale at the Arsenal!

The photocopy noise texture pack by The Shop / Simon Birky Hartmann

What is the pack about?

What’s so special about this texture pack? First of all, these are hand-made textures. They were made using an old photocopier that had a toner on its last leg. The result is a pack of six fantastic noise textures. The process was simple: I created a black document in Ai, and printed it as many times as I could before the toner gave up. Because it was almost ready to throw away, it wouldn’t print a perfectly black sheet. I got these black rectangles, speckled with white spots and stripes. Once scanned in, cleaned up, and inverted, these make up for perfect noise textures.

A closer look at the content

Some technical data: you get six textures, that are around 4760×6400 @ 600 dpi. Here are what they look like:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Previews

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Previews

How can I use these?

I thought you’d never ask! In order to demonstrate the possibilities of the textures, I’ve put a quick little tutorial/demo together, using Jeff’s Awakened t-shirt design pack as the base. We’ll use both Ai and Ps for this. Here’s a preview of what we’ll be doing:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo result

Basically, we’ll use these to age Jeff’s design, along with a few other tricks here and there. Here’s a 100% crop, to get a better sense of what these textures are able to do:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo result, 100% crop

Note that if you haven’t purchased the Awakened t-shirt pack, or have no idea of what I’m talking about, you should go read and watch more info: over here.

Let’s get started

 Step 1: document setup

Jeff’s illustration is quite neat, and would look quite awesome on a print. So, let’s go ahead and create a new 24 inches wide by 18 inches tall Ps document @ 300 dpi.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Once you have that new document setup, fill its background with dark gray (#231f20), and setup guides for the center and margins. I might have gone a tad overboard with mine. My vertical guides are at the one, two, 11, 12, 13, 22, and 23 inch marks. My horizontal guides are at the one, two, eight, nine, 10, 16, and 17 inch marks.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Oh, and if you’ve read some of my other tutorials before, you’ll probably remember that I’m a stickler for proper layer naming and other Ps etiquette stuff. My background layer is named bg – #231f20, which gives me both its functionality and its color.

Step 2: importing the design

Let’s have a look at Jeff’s design:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

As you can see, there are quite a few elements that compose it (feathers, purple circular element, red circles, white circle, blue geometrical element, silhouette, and off white stars). I could simply select everything, and copy and paste it in Ps. The only issue with doing that is that it won’t allow us to individually texture the elements. Since I want to do something refined and individualized, I won’t go that route. We’re going to copy and paste each element one by one. It’ll be a bit long, but worth it in the end.

Use the main image as a reference point to position your elements, and make sure that they’re always sized at 100%. Also, don’t forget to paste the elements as smart objects, so they retain their vector characteristics. It’ll be crucial for later.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Note: you may have to center or nudge elements manually.

The purple circular pattern.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The red circles.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The blue geometrical element.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The white circles.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The black silhouette.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The stars.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Aligning the stars back in place (the top star is at the intersection of the top red circles).

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Nudging the wings back in place.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Here’s a view of how the design elements are placed compared to my initial guides. If you want your design or some of its elements to be bigger or smaller within the finished print, now is the time to adjust the sizes. For instance, I’ve decided to size my design so it reaches the smaller rectangles inside of my guides.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

And here’s a view of my layer stack so far.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Step 3: let’s roughen these vectors up

The next step will involve the use of Illustrator’s roughen filter (Effect > Distort and transform > Roughen). I learned about the effect through that 2011 Method and Craft article by Simon Walker. Basically, the effect distorts your paths and adds more or less subtle variations to them.

We’ll be applying the effect on all of the elements of the design, minus the wings. This is where retaining the smart object quality of the elements pasted in Ps comes handy. You simply have to double click on the layer thumbnails of the smart object in order to be brought back to Ai, and to be able to edit the vector element.

Let’s start with the purple circular pattern element. I’ve turned off the other elements of the design for better legibility, but you don’t have to.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Once you’ll double click on the layer thumbnail, Ai will open and you’ll be able to edit just that element.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Let’s select our element, and bring up the roughen filter (Effect > Distort and transform > Roughen). I suggest zooming in a little bit, in order to fully appreciate what the effect does to your paths. Oh, and tick that “Preview” box to see what’s happening.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Obviously, the default values are a bit extreme in terms of result. After a little bit of tinkering, the values I’ve settled on are the following:

  • Size: 0.1%, relative
  • Detail: 50/inch
  • Points: smooth

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Note that you can come up with your own values. These should be considered as a starting point for your own exploration. Also, you could decide to expand the various elements from strokes to paths, or to leave them as is. Once you’re happy with the filter’s values, validate them. The next step: save your work (CTRL/CMD+S), close the file in Ai, and head back to Ps for a little surprise…

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The effect is applied! Isn’t that neat? Now, you’ll simply have to go through the same process for the other design elements (minus the wings, once again: the halftone effect they have is enough). I personally used the same values for the roughen filter for all the elements, as it gives consistency to the final piece, but you could spend the time to find the perfect values that works the best for each specific part of the design. Below, a few shots of the process, up close:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Note the special values I’ve ended up using for the white circles: the effect wasn’t visible enough with the other ones I settled on earlier, so I upped the ante a bit. I did return to my previous values for the other elements though.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

And done with that part.

Step 4: textures!

Finally, we can play with textures here. The photocopy noise texture pack is made of black and white textures, which will somewhat dictate the workflow we’ll have with them. First, we need a bit of a refresher about blending modes. This wonderful article by PhotoBlogStop will give you every detail you ever wanted to know about them, including math (!), but we’ll focus on Screen:

Screen: Similar to the Lighten blend mode, but brighter and removes more of the dark pixels, and results in smoother transitions. Works somewhat like the Multiply blend mode, in that it multiplies the light pixels (instead of the dark pixels like the Multiply blend mode does). As an analogy, imagine the selected layer and each of the underlying layers as being 35mm slides, and each slide being placed in a separate projector (one slide for each projector), then all of the projectors are turned on and pointed at the same projector screen…this is the effect of the Screen blend mode. This is a great mode for making blacks disappear while keeping the whites, and for making glow effects.

The most interesting part of this quote is the emphasized sentence: “this is a great mode for making blacks disappear while keeping the whites, and for making glow effects.” It just happens that the noise effects in the textures from our pack ARE white speckles and stripes. So we simply have to put the textures on screen to retain just their noisy part, and the rest shows up as transparent. After that, if the effect is too strong, you simply play with the opacity slider of the texture layer. Let’s put this into practice by adding some noise to our background layer.

Go ahead and place photocopy-noise-textures-sbh-001.jpg in your design. It should be just above the background layer, and sized to cover the whole background.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Give it a quick sharpening (Filter > Sharpen > Sharpen), and simply change the layer’s blending mode to Screen. As you can see, the effect is quite strong.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

We’re simply going to lower the opacity of the layer to 25% for something a bit more subtle.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Also, I’ve given the background elements their own layer group.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

It’s time to start adding our subtle noise to the rest of the design. We could simply use the texture clipped over each element, and tinker with the opacity sliders to create some subtle overlays. But this would show the noise as white or light gray speckles over each design elements. Most of these being line art, we wouldn’t see much of an effect.

We’re going to use another trick from our bag, and paste the textures in layer masks. Remember that whatever part of a layer mask that’s white shows the art, and whatever part of it that’s black hides it. Armed with knowledge, we can deduce that pasting the textures as is will simply obliterate the designs. Nothing subtle here. What we can do however is to invert the textures once they’ve been pasted in the layer masks. From there, playing with levels to increase or decrease the intensity of the effect is child’s play.

The process to paste a texture in a layer mask is easy:

  1. Add a layer mask to the design element you’re interested in impacting (with the layer highlighted, go to Layer > Layer mask > Reveal all). Make sure to click the little chain link between the layer and the layer mask to make it disappear. This will allow you to move or resize the content of the layer mask without changing the design element itself
  2. Open your texture file, copy its content (CTRL/CMD+C)
  3. Go back to your design, and ALT/OPTION + CLICK your layer mask. This will allow you to get access to and edit the content of the layer mask itself, rather than your design
  4. Paste your texture (CTRL/CMD+V)
  5. Resize and edit the content of the layer mask at will
  6. Click back on the design element and admire the result of your work

Here are some images of the process with the wings. I’ve used photocopy-noise-textures-sbh-001.jpg again.

Layer mask added and unlinked.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Pasting the texture in the layer mask.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Resizing the texture to cover the whole canvas. You have access to the same transform controls that outside of the layer mask (CTRL/CMD+T or CTRL/CMD+SHIFT+T for proportional transformations).

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Inverting the texture (CTRL/CMD+I).

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Using the levels palette (CTRL/CMD+L) to increase the contrast.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Admiring the result.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Comparison with the layer mask turned off.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Some of impacted areas highlighted.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

As you can see, it’s quite a simple process, and the result with the photocopy noise texture pack are just the right amount of subtle.

Following a similar workflow, I worked my way through the other elements of the design, using textures #1 to #5 of the pack (#6 will used for the final finishing touch).

Below, some before and after pictures for each element:

Purple circular pattern, before

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Purple circular pattern, after (background turned off for better effect appreciation)

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Layer mask details

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Red circles, before

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Red circles, after

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Layer mask details

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

It can seem that the effect is too subtle. Here’s a 100% crop to convince you otherwise:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Blue geometrical element, before

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Blue geometrical element, after

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Layer mask detail

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

White circles, before

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

White circles, after

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Layer mask detail

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Silhouette, before

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Silhouette, after

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Layer mask detail

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Stars, before

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Stars, after

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Layer mask detail. Note that I’ve used the same textures than for the silhouette. I’ve simply moved it to the top right a little bit.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

And here’s the full design after all that process:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

We’re almost done. It’s time for the finishing touches.

Step 5: let’s wrap this up

Now that all of our design elements got their individual weathering treatment, it’s time to tie everything up together. In order to do so, we’ll first add a layer mask to the whole design layer group, and paste one of our textures in there. This will unite the elements together visually, by giving them a consistent weathering. I used photocopy-noise-textures-sbh-004.jpg for that (the one with the heavy striping).

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Once that’s done, we’ll add two more textures at the top of our layer stack. The aim is the same: to tie all the elements visually together, by impacting them all with the same element. First, let’s add photocopy-noise-textures-sbh-005.jpg to our design. Make sure it fills the whole canvas.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Let’s make it significantly darker, so its effect will be much more intense.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

After that, change its blending mode to Screen.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Since the effect was a tad overbearing, I lowered the opacity to 25%.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

We could stay there, but I’d like a effect similar to a vignette, that would detach the center piece from the background a bit. I’ll be using photocopy-noise-textures-sbh-006.jpg to accomplish this. Let’s place it into our document, in a way similar to the image below (it’s been rotated upside down, and scaled up so it covers the whole design). I’ve also given the two top textures their own Global textures layer group.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Once it’s in place, simply change the blending mode to Soft light, and lover the layer opacity to 25%. This gives a much softer result than Screen, and still let’s the background’s subtle noise show through.

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

And we’re done! You could take the time to mock this up on a poster mockup template if you wanted to:

The photocopy noise texture pack by The Shop / Simon Birky Hartmann - Product demo

Last words

I hope you liked going through this tutorial as much as I liked writing it. I also hope it convinced you to get the photocopy noise texture pack, as well as Jeff’s Awakened tee design pack if it isn’t already done. If you have any questions, feel free to tweet at me (@simonhartmann)! I’ll also be watching the comments in the next few days. Thanks again for reading, and until next time, cheers!

BUY THE PHOTOCOPY NOISE TEXTURE PACK

BUY THE AWAKENED TEE DESIGN PACK

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How Go Media makes their amazing mockup templates, Hamster Style! http://www.gomediazine.com/tutorials/hamster-dance/?utm_source=rss&utm_medium=rss&utm_campaign=hamster-dance http://www.gomediazine.com/tutorials/hamster-dance/#comments Mon, 17 Feb 2014 13:27:43 +0000 Aaron Roberts http://www.gomediazine.com/?p=40648 Here at Go Media, we're custom template creating machines. Between our mockup sites Shirt Mockup and Mockup Everything, the mockup packs on our Arsenal and custom templates for clients, we've got our system down to a science. Disclaimer: Creating these nicely organized and layered files, for ease of mockup, is far from easy. Follow along with me as I create a custom template, from high resolution photograph, to clean and crisp PSD file. Continue Reading »

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Go Media Approved

Here at Go Media, we’re custom template creating machines.

Between our mockup sites Shirt Mockup and Mockup Everything, the mockup packs on our Arsenal and custom templates for clients, we’ve got our system down to a science.

Disclaimer: Creating these nicely organized and layered files is far from easy for that matter, even for us after all these years. So sit with us and stay awhile. We want to make sure we do this the Go Media way.

Ready?

Follow along with me as I create this custom hamster jumpsuit template, from high resolution photograph, to clean and crisp PSD file.

What you're making. Yep!

What you’re making. Yep!

Ideal Conditions

A white/neutral background: This will make tracing the garment much easier.

Red Garments: Red is a great middle value color, which means it shows relatively equal amounts of shadows and highlights. * If you’re not shooting a red garment make sure there is enough contrast between shadows and highlights. In the end, we’ll want to be able to change the garment’s color while keeping it’s natural look.

Sharpness of Image: Sharper images will contain more pixel information. This is crucial editing shadows and highlights.

Duplicate your background.

This is the layer that you’ll be working on. Right click on your background layer to duplicate it then double click to rename that new layer. Once you’ve done this, hide your original background layer.

HamsterDance_ZineImages_1

Photo Cleanup

This will save you time later. Clone tool out any unwanted fuzz, spots, creases, or tags.

Tracing Garment/Subject

Using the pen tool “Paths”, trace just inside the edge of the garment to ensure that you’re not including part of the background. Tracing every detail/fold in fabric will keep it from looking stiff. This is one of the most important steps, and it can take some time. Be patient.

HamsterDance_ZineImages_2

Once you have traced a garment, it will automatically be saved in your “Paths” palette as a “Work Path” – double click to rename it to something more specific. this will allow you to add more paths to the garment later.

HamsterDance_ZineImages_3

Right click on your path and “Make Selection” (click OK on the dialog box that opens). I’m a firm believer in keeping as much of the original photo in tact as possible. To do this I use “Layer Masks”. Ultimately it will make your file size larger, but will save headaches if you need to change something later.

HamsterDance_ZineImages_4

 

Layer Masking

Now that you have your garment selected, go back to your layers palette and click the layer mask button at the bottom of your layers palette to isolate it. If you ever need to show or hide parts of this garment you can do so in the mask layer without actually deleting any pixels. Add a solid color background to be sure you didn’t miss anything. I usually stick with a middle value gray.

HamsterDance_ZineImages_5

 

HamsterDance_ZineImages_6

Shadows & Highlights Setup

Duplicate the garment layer twice. These will act as your shadows and highlights. Rename the layers accordingly “GarmentName – Shadows” and “GarmentName – Highlights”  It’s good to get in the habit of organizing your layers. At this point I’ll create a main Garment folder, in this case “Jacket” as well as “Shadow” and “Highlights” folders.

HamsterDance_ZineImages_7

 

After that, move the layers into their respective folders. Select the Shadows layer and change its blending mode to Linear Burn. This will set your shadows to show a good amount of contrast and vibrancy.

HamsterDance_ZineImages_8

Adding Hue & Curves Adjustment Layers

At the bottom of your layers palette, click on the black and white circle  to add a Hue & Saturation adjustment layer. Change the Saturation to “-100″.

HamsterDance_ZineImages_9

Add a Curves adjustment layer above that.

Currently these adjustment layers affect the entire document. We will need to make them only affect the shadow/highlight layer they’re above by creating a clipping mask. Hold shift to select both the Curves and Hue adjustment layers then right click and “Create Clipping Mask”. You’ll see two arrows appear next to the adjustment layers to indicate that they’ve been clipped into the layer below.

HamsterDance_ZineImages_10

 HamsterDance_ZineImages_11HamsterDance_ZineImages_12

Next, move onto your Highlights Layer and change its blending mode to “Screen”. This will knockout the shadows of the garment and allow you to focus on the amount of highlights that are visible

Repeat steps 4-6 to create the Hue and Curves adjustments for your Highlights Layer.

 

Optimizing Shadows/Highlights

One of great uses a mockup template is the ability to change the color of the garment. These next steps will ensure that shadows and highlights are consistent no matter what color you apply.

Our next step is to add a White color adjustment layer and clip it into the original garment layer. (you can also apply a color overlay blending mode to get the same result)

*Photoshop automatically adds a mask to that layer – this will come in handy should you need multi-colored sections.

Make sure your Highlights folder is hidden then move onto the Curves adjustment layer that is clipped into the Garment-Shadows layer.

On the left side of the Curves palette, click the button with the exclamation point to get a more accurate view of the histogram. This will show you the brightness values of the image.

HamsterDance_ZineImages_13

Plot points around the three highest values in an arch as shown. From there you can adjust each point to optimize the amount of shadows will appear. Shadows will become lighter the further away from the brightness values you are. If the points are plotted too far away, you run the risk of the shadows looking pixelated and blown out.

HamsterDance_ZineImages_14

 *Every garment’s brightness values will be different, but this arch will serve as a general guide to plotting points.

 

Once you have the shadows to a place that looks natural, hide your Shadows folder and add a Black color adjustment above the White layer. The same rules apply to editing the curves of the highlights only they’re opposite of the shadows.

HamsterDance_ZineImages_15

Once your shadows and highlights are set up correctly, any color you apply to your base garment layer will look natural.

HamsterDance_ZineImages_16

 

*If the amount of layers you have is overwhelming and you’re confident with the shadows/highlights you have set – you can always select the Curves, Hue, and Garment layer – right click and merge those layers.

HamsterDance_ZineImages_19

If you’re looking to customize a whole outfit just repeat all these steps for each garment and you could create your very own hamster jumpsuit.

HamsterDance_ZineImages_17

-or clip your artwork into the base garment layer to make some wicked snowboard gear!

HamsterDance_ZineImages_18

 

Great job!

Hard work, huh?

Pick your pleasure

Check out the hundreds of templates we’ve created on our sites Shirt Mockup, Mockup Everything and the Arsenal.

shirtmockup300x250

Shirt Mockup is a free tool used to realistically mockup your designs on tees. The Pro Version is available, offering you a larger variety of t-shirt templates. It’s super easy. Upload your art, receive a jpeg snapshot of your design. Try it free for 7 days!

email-header

Mockup Everything, similar to Shirt Mockup, provides designers with an easy-to-use platform for applying graphic designs to a growing variety of print products in multiple categories including technology, apparel, print, outdoor and food & beverage. Also like Shirt Mockup, both free and Pro versions are available. Mockup Everything is similarly super easy to use and designers receive jpeg snapshots of their designs. Try the Pro version free for 7 days!

arsenal_image

Want the very best in Mockup Templates, wrapped up in neat and clean Photoshop files just like you saw Aaron create above? Look no further than the Arsenal. Our Mockup Template packs come in all varieties, from tees to hoodies, posters to tanks and more.

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Tutorial: The Making Of An Editorial Illustration with These Are Things http://www.gomediazine.com/tutorials/tutorial-the-making-of-an-editorial-illustration-with-these-are-things/?utm_source=rss&utm_medium=rss&utm_campaign=tutorial-the-making-of-an-editorial-illustration-with-these-are-things http://www.gomediazine.com/tutorials/tutorial-the-making-of-an-editorial-illustration-with-these-are-things/#comments Tue, 28 Jan 2014 14:10:40 +0000 These Are Things http://www.gomediazine.com/?p=39959 Flip through your favorite newspaper or magazine and you’re bound to find a lot more than just words on a page. Alongside many articles, you’ll find art that helps to illuminate key concepts from the text. These pieces are called editorial illustrations. From tiny spot illustrations to multiple page spreads, these informative works of art are sprinkled throughout each issue. Political cartoons are a classic example of editorial illustrations, but today’s publications use the work of contemporary artists to visually interpret a wide range of topics. As editorial illustrators, our job is to create an engaging visual that both supports and explains the accompanying text copy. A successful piece carefully balances the art director’s vision with our own ideas, all while clearly communicating the article’s core idea to the reader. These projects an exercise in creative problem solving. From the super-quick turnaround to the varied subject matter, each assignment is a new visual puzzle for us to solve. Today, we’re going show you how we created an editorial illustration for Southwest Airlines’ in-flight magazine, Spirit. We’ll walk you through the entire illustration process, from our first client conversation to seeing our work in print. Continue Reading »

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A These Are Things Tutorial:

Flip through your favorite newspaper or magazine and you’re bound to find a lot more than just words on a page. Alongside many articles, you’ll find art that helps to illuminate key concepts from the text. These pieces are called editorial illustrations.

From tiny spot illustrations to multiple page spreads, these informative works of art are sprinkled throughout each issue. Political cartoons are a classic example of editorial illustrations, but today’s publications use the work of contemporary artists to visually interpret a wide range of topics.

As editorial illustrators, our job is to create an engaging visual that both supports and explains the accompanying text copy. A successful piece carefully balances the art director’s vision with our own ideas, all while clearly communicating the article’s core idea to the reader.

These projects an exercise in creative problem solving. From the super-quick turnaround to the varied subject matter, each assignment is a new visual puzzle for us to solve.

Today, we’re going show you how we created an editorial illustration for Southwest Airlines’ in-flight magazine, Spirit. We’ll walk you through the entire illustration process, from our first client conversation to seeing our work in print.

Ready? Let’s get started!

1. Discussion & Research

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Each editorial illustration is a collaboration between the client and the artist, so the first step of every project is to have a conference with the magazine’s art director.

First, we discuss the topic of the piece. We’ll be creating art to accompany an article about four business tips. We’re given a preliminary page layout along with rough copy to refer to during the design process.

Next, we talk about the creative direction of the piece. After conferencing with the art director, we’re given some specific guidelines. The piece will consist of four individual illustrations, each mirroring the tall, elongated shape of the four existing columns on the page. The art director also has a fun idea: to model each individual illustration after a classic motivational poster, like these. This information, along with the article itself, gives us a great starting point as we begin the process.

2. Initial Sketch

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It’s time to start drawing! Since the “motivational poster” concept for this piece is already set, our goal is to come up with one solid sketch to present to the client. For projects that are more open-ended, we’ll usually come up with 3-5 different concepts during the sketch phase.

Working with the actual page layout as our guide, we use a Cintiq 13HD pen display to start laying down rough ideas for each component of the illustration in Adobe Photoshop. Using a pen display allows us to work directly inside the page layout, ensuring that our sketches are drawn at the correct size and proportion. For a more budget-friendly option, simply print the page layout on paper and use it as a template with tracing paper.

After working through a number of ideas for each individual poster, we land on this sketch as our initial concept. Each poster visually depicts the concepts of teamwork, innovation, preparation, and fairness. The article talks about the benefits and disadvantages of each business concept, so each poster will show an example of the idea both working and not working.

3. Revised Sketch

gomedia-3

Before submitting the sketch to our client, we sit down and review our work. At this stage, our primary goal is to create a piece that is both visually and conceptually strong.

During our internal review, we notice that two of the four “poster” concepts involve hands. We like that the hands introduce a human element without showing a face. Incorporating hands into all four posters also creates continuity throughout the entire piece.

We revise the drawing to reflect our new and improved concept. Each poster now feels more similar in complexity and is visually easier to read. Once we’re happy with the sketch, we paint in a few layers of gray to explore the value structure of the piece and help the client envision the final piece.

4. Client Feedback & Revisions

gomedia-4

Next, we send our sketch off to the client for review. The feedback is positive. We’re on the right track! The magazine’s art director has a suggestion for the first poster. Instead of drawing pointing fingers, what if we create a network of intertwining handshakes to represent the benefits (and pitfalls) of teamwork? We love the idea, so we hit the drawing board to create a new sketch for the first poster before we move on to the linework stage.

5. Linework

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Once the revised sketch is approved, it’s time to turn our rough drawing into a finished illustration. Using the sketch as a guide, we begin to draw individual elements in Adobe Illustrator. Using many of the standard shape tools coupled with the Pathfinder palette and pen tool, we begin crafting geometric hands, lightbulbs, and other items.

Where our sketching process is fluid and loose, the linework stage is methodical and meticulous. It’s a balancing act of capturing the energy of the initial sketch while cleaning it up for it’s final form.

6. Color

gomedia-6

With the linework completed, we begin to add color. In this case, the client had a rough color palette to work with, so we jumped right in and started applying color. With other projects, choosing colors is up to us, so we’ll typically do a few exploratory color studies before deciding on a final color scheme.

You’ll notice that some of the design elements changed at this stage. When we start working with color, we almost always find a few things that can be improved upon from our first pass at the linework. In this case, we changed the positioning of the lightbulb hands, added some editing marks to the papers, and drew some fun trophies to go with the medals.

7. Texture

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After the color is finished and we’ve made our final tweaks to the design, we jump into Photoshop to add our signature texture treatment. This final step adds dimension, contrast, and interest to the flat vector artwork.

To bring our vector art in from Illustrator, we copy and paste major element groups into a new Photoshop document as Smart Objects. Next, we use various selection tools to isolate individual colors. Finally, we use a dissolve brush, multiplied layers, and our Cintiq pen display to paint in areas of shaded color.

Here’s a before and after view of our texture treatment. The effect is subtle, but goes a long way towards making the piece feel finished.

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8. Submit & Wait

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With the texture treatment complete, we export a high-resolution version from Photoshop and send it off to the magazine, where they’ll drop it into the page layout along with the final text copy.

Now comes the hard part: waiting! Editorial deadlines tend to be a few months in advance of the publication date, so it’ll be a while before we get to see our masterpiece in print. Eventually, when the day comes, we run to our favorite bookstore, crack open that new issue, and see our work right there on the page. There’s nothing quite like it!

Psst!

Editors note: If you haven’t yet, we highly suggest you watch their highly acclaimed talk from WMC Fest!

More These Are Things | Shop | Blog | Facebook | Twitter | These Are Things Instagram | Jen’s Instagram | Omar’s Instagram
On the GoMediaZine:
WMC Fest 4 Speaker Videos Release
An Interview with Jen Adrion & Omar Noory of These Are Things
Episode 9: Myths of Owning Your Own Design Firm plus an Interview with These Are Things

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Easy to accomplish VSCO Cam effect in Photoshop http://www.gomediazine.com/tutorials/easy-to-accomplish-vsco-cam-effect-in-photoshop/?utm_source=rss&utm_medium=rss&utm_campaign=easy-to-accomplish-vsco-cam-effect-in-photoshop http://www.gomediazine.com/tutorials/easy-to-accomplish-vsco-cam-effect-in-photoshop/#comments Wed, 30 Oct 2013 12:30:04 +0000 Simon H. http://www.gomediazine.com/?p=34122 A little bit of context Hello all, Simon here. You know me as a designer that loves to create posters with a lot of textures. I mean, just check the Lost and Taken poster tutorial, or the Do androids dream of electric sheep one. I’ve also used similar techniques in the tutorial I wrote when… Continue Reading »

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A little bit of context

Hello all, Simon here. You know me as a designer that loves to create posters with a lot of textures. I mean, just check the Lost and Taken poster tutorial, or the Do androids dream of electric sheep one. I’ve also used similar techniques in the tutorial I wrote when we released the Go Media building texture collection.

Well today, I want to talk about another one of my hobbies: photography. More specifically, iPhonography. I’m an avid Instagram user. But even better than Instagram is VSCO Cam. Purchasing the whole set of filters in that last app was so worth it. I’m a sucker for these often over-the-top film vibe images. Knowing that I don’t shoot too much film these days (despite owning a couple of Polaroids and an old Fujica ST 705), it’s kind of the closest I’m getting to it.

Been living under a rock for the past few years and don’t know what Instagram and VSCO Cam are and what they do? Here’s my Instagram profile, and my Grid™ profile. I’ve also shot images at the Cleveland  Zoo, at the Aquarium, and during Signal Midwest’s WMC Fest set.

But editing images on a small screen isn’t always the best and most practical. So, our quest today will be to create an editing workflow that brings us similar results, but by using Photoshop. I personally use Photoshop CC, but I’m fairly certain that you’ll have access to the same tools than I do starting with Ps CS3.

Oh, and it looks like the folks at VSCO Cam like it:

Let’s have a look at what kind of effect VSCO Cam produces

I’ll use some of my own images here as examples:

IMG_1258

IMG_1255

IMG_1285

Signals Midwest @ WMC Fest 2013

Signals Midwest @ WMC Fest 2013

Signals Midwest @ WMC Fest 2013

As you can see, we get a “faded” look (“crushed” colors), some grain, and some strange saturation mixed with cross-processed tones.

The faded look is the signature feature here. We’ll be exploiting the power of curves to accomplish some of that stuff. The grain can be either generated by Photoshop’s noise functionality, but we’ll probably use a real film grain and/or dust texture for added realism, and the saturation and cross-processing will be done using adjustment layers. The adjustment layer bit is crucial in order to keep a non-destructive workflow. This will allow us to, by turning a few layers off, to always get back to the original image.

Let’s get to it, shall we?

Source images

I’m using three images that I’ve grabbed from sxc.hu. They’re called Path in forest, Misty morning, and Tuscany farm and fields. I’ll start with the Tuscany image. After that, I’ll apply the same effect to the two others to see how transferable it is.

VSCO Cam tutorial - Source image - sxc.hu - 1109089_20976165 VSCO Cam tutorial - Source image - sxc.hu - 1367404_19918744 VSCO Cam tutorial - Source image - sxc.hu - 1408266_27405860

Step one:

This is very straight forward: open your image, and double click the background layer to make its own layer.

VSCO Cam tutorial - Step one

Step two: lightening the image a bit

The second step consists of lightening the image a bit. You could use a Brightness/Contrast adjustment layer, but I decided to use a Curves layer instead. Curves are much more flexible and powerful.

Just click on the center point of the curve, and drag it upwards. I’ve dragged it until my input value reads 130, and my output value reaches 140.

VSCO Cam tutorial - Step two

Step three: boosting the contrast

The contrast adjustment might not be necessary, depending on your starting image. Doing it here allowed to bring more intensity in the hay, and in that building in the left of the image. I could have used a curve adjustment layer to execute this step, but since I didn’t need much refinement, the Brightness/Contrast one works just fine.

VSCO Cam tutorial - Step three

Step four: let’s spruce up the colors

In my opinion, here’s where we really start to “cheat” with the digital image. A lot of cheaper digital cameras have sensors that don’t render a color spectrum as extended as, say, a pricey high end DSLR. By adding a Vibrance adjustment layer, we can fix this a little. I pushed the slider to 35. If you feel happy with the color rendition of your image, feel free to skip this step.

That being said, the various films brand that became iconic rendered colors differently as well, and the specific way some of them reacted (more saturated, more green, more blue, etc.) got them really sought after.

Note: you can read much more about the vibrance functionality over here, along with visual examples.

VSCO Cam tutorial - Step four

Step five: emulating the “color profile” of film

This fifth step is where we twist the colors around to give them the film feel. We’re using a Selective color adjustment layer. We’ll be touching up the yellows, the greens, the blues, and the blacks. See the values below:

  • Yellow: magenta +75, yellow +25
  • Greens: yellow +50, black +100,
  • Blues: black +25,
  • Blacks: black +10

If you know how certain type of films render colors (shadows greener, highlight yellow-ish, etc.), this would be the step to apply their “color profiles.” Looking at my result, I’m going to venture that we’re trying to emulate the M4 or M5 preset of VSCO Cam. But you should experiment here. For instance, try reducing the magenta to -25 or so in the blacks. You’ll see that your shadows will take a green-ish hue. Following that logic, you could easily recreate a lot of different color palettes.

VSCO Cam tutorial - Step five

VSCO Cam tutorial - Step five

VSCO Cam tutorial - Step five

VSCO Cam tutorial - Step five

Step six: the all powerful fade

As we saw when we looked at the example images earlier, the “faded” look, with the washed out and “crunched” colors is key to emulate a VSCO Cam image. After tinkering with using the Exposure/Gamma correction adjustment layer and a Curve adjustment layer, it seemed that using a fill layer (Layer > New fill layer > Solid color) of the color #4e4e4e put on Lighten for the blending mode gave me the best result.

Want more fade? Duplicate the layer, and toy with the opacity of the copy. Want less fade? Reduce the opacity of the original layer.

VSCO Cam tutorial - Step six

Step seven: a hint of cross-processed colors

Cross processing “is the procedure of deliberately processing one type of film in a chemical solution intended for another type of film. As particular chemical solutions are optimized for specific kinds of film, you will get unpredictable and interesting results when they are combined differently” (read more about real cross processing on the site of the same name or on Wikipedia).

Luckily for us, the Curves adjustment layer has a “Cross process” preset. Select it.

VSCO Cam tutorial - Step seven

As you can see, the effect is quite strong. But it brings that interesting green hue in the dark and black zones of the image. To make this a bit more presentable, I just lowered the opacity of the layer to 10%.

VSCO Cam tutorial - Step seven

Step eight: a bit more saturation

After all this color craziness, I’m going to add a Hue/Saturation adjustment layer to my layer stack. The slider is at 5, but this is enough to give a little “kick” to our image.

VSCO Cam tutorial - Step eight

Step nine: let’s amp the temperature up

Another trick that VSCO Cam lets you do is to toy with the temperature of your image. So I went ahead and added a Photo filter adjustment layer, using the Warming filter (LBA) preset. I’ve left mine as is, but there’s plenty of head room in the Density slider and layer opacity to refine the effect. Just make sure that the Preserve luminosity checkbox is checked.

VSCO Cam tutorial - Step nine

This is technically it

This is it! If you’ve followed the tutorial until now, you’ve emulated the look and feel of (one of the presets of) VSCO Cam. Just look at the source image, and at the result side by side:

VSCO Cam tutorial - Side by side comparisonBut you know me. I love texture, grain, and dust speckles too much to stop there. The next two steps, that are absolutely up to you, will show you how I added some grain and dust speckles to my image.

Step ten: grainy

As I wrote earlier, you could just fill a new layer with white or a neutral gray, and add noise to it (Filter > Noise > Add noise). But real analog grain will be so much better. So after scouring the internets for cool grain textures, I found this fantastic, high resolution one (9000 x 7200 pixels @ 300ppi) on DeviantArt, called Grain explosion. It’s been provided to us by JakezDaniel. Careful though, as it’s apparently only for non-commercial use (unless you get his permission).

The process is quite simple: import the texture in your design (File > place), and size it appropriately to cover your whole canvas. This one is so high resolution, that even at 26% percent of its size, it did the trick. Put the layer on Soft light at 15% opacity, and you’ve got yourself some sweet film grain.

VSCO Cam tutorial - Step ten

Step eleven: dusty

Another bonus step is to add dust, scratches, and other artifacts to the image. Well, JakezDaniel strikes again, because he has another sweet texture in his library called Film 400TMY. Same restrictions on its use, so don’t come and pretend you’ve not been warned. This texture features some subtle grain, and plenty of speckles of all sorts of dusty goodness. I also placed it in my document, sized it at 45%, put the blending mode of the layer on Screen, and tadaa!

VSCO Cam tutorial - Step elevenAnd there you have it! First with textures, and then without them.

VSCO Cam tutorial - Final, textured

VSCO Cam tutorial - Final, no textures

Now what?

Well, the whole point is to see if this is an editing workflow that could be reused for a whole set of images. See below the before and after comparison of the other source images I’ve mentioned at the beginning. The layer stack has been moved as-is to them. The only thing that changed is how much I’ve resized the grain and dust textures. Their opacities and blending modes remain the same. These are at 100%. Just click on the image to see it in very big.

On that foggy landscape picture, you can see that the result is very satisfying. The fade works wonders, probably even too well. I suppose that the color edits could be different to fit the mood of the image better.

VSCO Cam tutorial - side by side comparisonFor our second image, the result is a bit more intense, if not too intense. So I think that the color manipulation step is going to be the one step to adapt every time to the source image.

Note: this image had to be resized down to be able to upload it through Wordpress. You can see the full size image over here.

VSCO Cam tutorial - side by side comparison

Bonus: “tilt-shift” blur

Editing images using VSCO Cam is great, but only Instagram allows you to do that quick blur effect. It can be used either to recreate that sweet “tilt-shift” effect, or to highlight a specific part of your image. After a little bit of play time with the lens blur effect and documentation reading, I think I managed to create a satisfactory Ps equivalent. In our Tuscany fields scene, we’re more going to highlight a part of the image rather than do some tilt-shift goodness.

Step one: preparing the document

The first step I’ve taken is to create a composite of all my layers so far. The shortcut for this is CTRL + ALT + SHIFT + E (CMD + OPTION + SHIFT + E if you’re on a Mac). This creates a new layer at the top of your layer stack with a merged copy of what your document looks like so far. This is an immensely useful shortcut. You’ll notice that I renamed my layer “composite.”

VSCO Cam tutorial - Step twelve

Step two: adding a layer mask

This is pretty straight forward. You can either add the layer mask from Layer > Layer mask > Reveal All, or from the handy little layer mask button at the bottom of your layer palette, with the correct layer highlighted.

VSCO Cam tutorial - Step thirteen

Step three: painting the layer mask

This step is where you decide what will be blurry in your image, and what won’t. You can either use the gradient tool to paint on your layer mask, or a big, soft brush.

The gradient tool will help you to nicely emulate real depth of field. Just be remember to choose the right gradient type for the shape of blur that you’re looking to accomplish (radial or reflected). The brush will allow much more control in zoning where the blur will happen. Since my image doesn’t have a very straight line of things I’d like to highlight, the brush made sense for me over the gradient. My brush is 250 pixels wide, and its hardness is at 0%.

Time to paint away! Note that what will be white, will be blurry, and what will be black will be left  as-is. I’ve chosen to highlight that zone at the middle of the image, and to make the sky and field right in front of us blurry. I followed roughly the hills’ edges. The brush’s soft edges allow to somehow emulate a gradient. The second image highlights where the blurred out areas will be.

VSCO Cam tutorial - Step fourteen

VSCO Cam tutorial - Step fourteen

Step four: lens blur!

This is where the real fun happens! Go to Filter > Blur > Lens blur. You’ll see the following screen:

VSCO Cam tutorial - Step fifteen

The following image shows my settings. I’ll explain below what they mean.

VSCO Cam tutorial - Step fifteen

You obviously want to have Preview checked. It’ll allow you to see the effects of your tinkering.

The depth map part is why we actually created that layer mask before. You’ll want to use the drop-down menu to highlight Layer Mask. And at that point, you should see the blur starting to follow what you’ve painted in the layer mask. If you’ve painted in reverse (it happens often when using the gradient tool), you check the Invert box to reverse how the filter will read your layer mask.
The Blur Focal Distance slider should be set at 0. This one works as follows: 0 is in focus, 255 is fully blurry. Since we have a predefined depth map, we do have to worry too much about it.

The Iris set of settings is where you can how the blur will look like. I chose my shape to be an octagon, but I noticed that an hexagon works as well. I do believe that this emulates the shape of the shutter in a real camera, but don’t quote me on this. The Radius slider is where you’ll determine how blurry the blur gets. For this example, 15 seems just right. The Blade Curvature and Rotation sliders produced very subtle changes when I played with them. I assume that would be where you could recreate the “profile” of a lens and/or of a shoot’s circumstances by matching its physical characteristics.

The Spectacular highlights settings are where to tinker if you want to play with bokeh. They seemed to me to react exponentially rather than in a linear fashion, so I’d say they are to be used with caution.

Noise is pretty straight forward. It adds noise to the blurry part of the image. I chose to put that slider to 2, and to have the distribution set on Gaussian. You could have some RGB noise in there, but Monochromatic looks better in my opinion.

Once you’re happy with the settings, time to hit that OK button at the top and to render the lens blur effect.

Tadaa!

And we’re done. Let’s not forget to turn the layer mask off (Right click > Disable layer mask) to truly appreciate the result.

VSCO Cam tutorial - Step sixteen

One thing that I’m noticing now is that the blur also blurred the dust and other film artifacts that I’ve added to the image with the help of the textures from JakezDaniel. The solution is quite easy: let’s recreate my composite layer in order to only include the stack of adjustment layers, and not the two texture layers, copy the layer mask over, and re-apply the lens blur effect with the same settings. And here you’ll have a lens blur effect and preserved textural effects.

VSCO Cam tutorial - Step seventeen

Something to note is that how the layer mask looks like is really what makes or breaks the effect. My painting was really rough and quick, mostly to demonstrate the effect. A more refined job would have made things a bit more subtle and believable. A gradient truly is what will emulate depth of field the best. Here’s a visual demonstration of this:

VSCO Cam tutorial - Step eighteen

It’s a bit softer, and much more believable.

On that note…

That’s all for today folks! If you have suggestions, comments, or ideas to perfect this, please let me know in the comments. And don’t forget to share the results of your experiments in the Go Media Flickr pool!

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Happy Dog Illustration and Design Tutorial http://www.gomediazine.com/tutorials/happy-dog-illustration-and-design/?utm_source=rss&utm_medium=rss&utm_campaign=happy-dog-illustration-and-design http://www.gomediazine.com/tutorials/happy-dog-illustration-and-design/#comments Wed, 25 Sep 2013 13:00:29 +0000 Lucy Williams http://www.gomediazine.com/?p=28457 Today's tutorial comes from Weapons of Mass Creation 2013 designer and fellow Clevelander Lucy Williams. Lucy is a freelance illustrator and a recent graduate of the Cleveland Institute of Art. Follow her process as she designs a poster for local Cleveland favorite hangout, Happy Dog. Continue Reading »

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A Local Cleveland Business Promotional Poster Design

Today’s tutorial comes from Weapons of Mass Creation 2013 designer and fellow Clevelander Lucy Williams. Lucy is a freelance illustrator and a recent graduate of the Cleveland Institute of Art. Follow her process as she designs a poster for local Cleveland favorite hangout, Happy Dog.

Tools and Technologies You’ll Need

Micron Pens
Clearprint Vellum Paper
Exacto Blade
Electric Eraser
Adobe Photoshop 5.5
Adobe InDesign 5.5
Scanner

Clear Your Mind and Your Workspace

I always start a new project with a clean workspace.  It may not seem like an important step to mention, but I like to not only clear my head but also the space I work in.  This allows me to breathe freely and get my creative juices flowing without outside clutter taking over my work area.

HAPPYDOG_PROCESS (1)

Reference and Inspiration

If you have good reference it usually means you’ll have a pretty good final product.  I always try to do as much research as I can before I start on a project.  This means gathering photos, information, and in this case actually visiting Happy Dog to take my own pictures.

HAPPYDOG_PROCESS (2)

Sketches, Ideas and Ideations

These are my original scanned images that were done on vellum paper with a fine tipped micron pen (my favorite materials to use). A lot of times I sketch out rough drawings that I don’t even end up using. Like the dog image here, I didn’t even end up using. I decided he was too literal and the image didn’t need him.

HAPPYDOG_PROCESS (3)

Draw and Scan

I wanted to have this poster pretty cluttered because the Happy Dog is full of cool old stuff, music, all walks of life, music, art and fun! After scanning my original images, I then separated each image and individually cleaned them up in Photoshop, saving each image out as a PNG file with no background.

HAPPYDOG_PROCESS (4)

Choosing the Right File Format

After scanning, cleaning up, and perfecting each individual image, I save them each as PNG files. I choose a PNG format because they have no background and can be easily positioned in InDesign without trouble.

HAPPYDOG_PROCESS (5)

Images saved as PNGs

Organization and Composition

When I got into InDesign I placed each image into my workspace and organized them. (Most designers might use Photoshop for this step – but I like InDesign better.) Keeping images separated allowed me to make adjustments as needed. When I was finished organizing – I saved the image out as a JPG and moved them into Photoshop.

HAPPYDOG_PROCESS (6)

Images 1/ Exported, 2/ Saved as JPEGs

This is what the no color version looked like in Photoshop:

HAPPYDOG_PROCESS (7)

Textures and Background

I am a huge fan of textured backgrounds. Mainly because I like making my work appear as if it could have been done completely tactile.  You can scan textures into Photoshop or create textured brushes.  I found this one on the Internet; it’s concrete.  I flattened the image and did a little editing to soften it up. I then placed it behind my image to create a nice textured gritty look to my poster.

HAPPYDOG_PROCESS (8)

Texture on Layer 0

Color and Corrections

Coloring this poster was really fun! I knew I wanted a nice mixture between bright and subdued colors, so I went for bright pink and dull blue.  In order to get the textured background on my colored image, I flattened the background and began to fill in the places I thought needed colored. In order to get different shades of pink, I brought the opacity down on my color swatches and used different tolerance levels to get the gritty look I wanted. Playing with different levels is also a good way to bring up the saturation of your colors.  I also used the levels tool (command L) as a final step to get my colors just where I wanted them.

HAPPYDOG_PROCESS (9)

Playing with color

Color Tests:

HAPPYDOG_PROCESS (10)

Here is the final result!

HAPPYDOG_PROCESS (11)

Printed Digital Artwork!

HAPPYDOG_PROCESS (13)

HAPPYDOG_PROCESS (14)

 Learn more about Lucy!

Lucy Williams | Lucy Williams Tumblr
| Lucy’s Happy Dog Project on Behance

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Dust, speckles, and noise http://www.gomediazine.com/tutorials/dust-speckles-and-noise/?utm_source=rss&utm_medium=rss&utm_campaign=dust-speckles-and-noise http://www.gomediazine.com/tutorials/dust-speckles-and-noise/#comments Tue, 10 Sep 2013 14:00:22 +0000 Simon H. http://www.gomediazine.com/?p=32757 Finally! Hello all, Simon here. The product we’re launching today is something I’ve been wanting to launch for a LONG while. Behold, Dustin’s film textures pack! A bit of background Why am I excited? Well, since we’ve (finally?) passed the extreme grunge trend, resources for subtle worn effects are what’s awesome. Believe it or not,… Continue Reading »

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Finally!

Hello all, Simon here. The product we’re launching today is something I’ve been wanting to launch for a LONG while. Behold, Dustin’s film textures pack! Dustin's Film Textures Pack

A bit of background

Why am I excited? Well, since we’ve (finally?) passed the extreme grunge trend, resources for subtle worn effects are what’s awesome. Believe it or not, quality ones are not always easy to find. Anyways. One of the ways to get some subtle grunge effects is to use these film textures. They will bring you three things at once:

  • grain, from the film itself (100% analog awesomeness)
  • dust, because we love anything that will make that clean, digital feel disappear
  • speckles, to make things look less perfect

The other cool thing that comes with a film texture is a light effect of some sort. I’ve been scouring the web for textures like these A LOT. And I’ve found some. But for one, their licence restrictions are not the most practical. And then, always using the same three textures gets old. So I decided to tap on the shoulder of our contributors, and to see if they could help to add some of these awesome textures to the Arsenal. And Dustin Schmieding answered to the call! You know, the guy from Valleys in the Vinyl who brought us the Microscopic Fingerprints Texture Pack (among other things)?

The pack

The pack contains 23 amazing textures. Look at these beauties:

Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures PackDustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures PackDustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack Dustin's Film Textures Pack

All of these could be printed at 24″x36″ and beautifully ornate a wall, don’t you think?

How to use them

There are multiple ways to use these textures. Let me show you a few of them.

Overlaying them together

Let’s have a look at the visuals I came up with for the box, Zine header, etc. This is a screenshot of my file for the Zine header: gma-dustin-film-textures-gmz-header-deocnstruction-01You’ll see that most of the design is made up by the 3 textures in the bg layer group. The main trick was to put GoMediaArsenal_FilmNoise_20.jpg on top of GoMediaArsenal_FilmNoise_19.jpg, and to change its blending mode to exclusion, at 25% opacity. It was also flipped, in order to orient the stripes it’s made of towards the right rather than the left. As I wrote earlier, the textures are already looking amazing on their own, so I didn’t need to add grain, other colors, or anything, really. gma-dustin-film-textures-gmz-header-deocnstruction-02

Blacking them out

The more observant of you will notice that there’s one last texture on top of everything, GoMediaArsenal_FilmNoise_02.jpg. Well, that one is here for added speckles, mostly visible on the right side of the image. The process for that one is quite simple. See below:

1. Desaturate (CTRL/CMD + SHIFT + U)

Dustin's Film Textures Pack gma-dustin-film-textures-gmz-header-deocnstruction-03

2. Play with levels

This is the crucial step. What we want is to isolate these white speckles, hairs, and pieces of dust present on the film. These should be as white as possible, while the rest of the image should be as black as possible. We’ll then place that on top of our two background layers, and use the screen blending mode. This will only show the white elements of the layer, while the black ones will be displayed as transparent. See my Levels palette settings and my layer palette below: gma-dustin-film-textures-gmz-header-deocnstruction-04 gma-dustin-film-textures-gmz-header-deocnstruction-05 Here’s also a view of without and with the GoMediaArsenal_FilmNoise_02.jpg texture:

gma-dustin-film-textures-gmz-header-deocnstruction-06 I hope this makes better sense to you now.  I haven’t had many chances to play with these since I just got them a couple days ago, but I’m sure that the light bokehs and other halos could play nicely in many compositions, to give them that nostalgic and eerie vibe.

Where to buy?

On the Arsenal, of course!

Doing something with these textures?

Feel free to share them in the Go Media Flickr pool! We’ve brought the Flickr pool showcase back!

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Announcing the Go Media building texture collection! http://www.gomediazine.com/tutorials/announcing-the-go-media-building-texture-collection/?utm_source=rss&utm_medium=rss&utm_campaign=announcing-the-go-media-building-texture-collection http://www.gomediazine.com/tutorials/announcing-the-go-media-building-texture-collection/#comments Tue, 06 Aug 2013 13:54:26 +0000 Simon H. http://www.gomediazine.com/?p=31115 Textures. You said textures? That’s textures! Hey folks, it’s Simon here. To say that I’m excited to share what I’m about to write doesn’t even begin to cover it. Heather and myself have been hard at work to release a super thing for you guys, before WMC Fest. It’s the Go Media building texture pack!… Continue Reading »

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Textures. You said textures? That’s textures!

Hey folks, it’s Simon here. To say that I’m excited to share what I’m about to write doesn’t even begin to cover it. Heather and myself have been hard at work to release a super thing for you guys, before WMC Fest. It’s the Go Media building texture pack!

Announcing the Go Media building texture collection!

A bit of context

So I don’t know if you’ve been following along, but here’s the thing: Go Media is housed in this super bad-ass old warehouse building. I won’t go in too many details, but you can read a lot more about it in past Zine articles (Home sweet home, Designing the Go Media HQ workspace) or see some photos of the office floor renovation process. Our fearless leader Bill also tracked down this circa 1960 photo of the building:

Go Media HQ, circa 1960

Anyway, there has been a lot of work done on the building’s facade in the past 3 months. Just check this out:

Go Media HQ summer 2013 renovation 1016604_10151688292676894_20921066_n 415015_10151407465661886_1967369656_o
All of this fixing-up work revealed a lot of amazing things to look at. I’m obviously talking about textures here. After capturing a few images for personal references, we decided to share them for all you guys too!

So what?

So after a couple of hours of shooting, at least as many in editing, and some selection process, we’re ready to introduce you to the Go Media building texture collection. It includes 122 textures, divided in five categories: fabric, dust, grunge, noise, and wood grains. The whole things weighs 629 Mb.

Announcing the Go Media building texture pack!

Let’s have a quick look at some of these

The Go Media building texture collection - Fabric The Go Media building texture collection - Fabric The Go Media building texture collection - Fabric The Go Media building texture collection - Dust gma-go-media-building-texture-set-dust-003 gma-go-media-building-texture-set-dust-001 The Go Media building texture collection - Grunge The Go Media building texture collection - Grunge The Go Media building texture collection - Grunge The Go Media building texture collection - Noise The Go Media building texture collection - Noise The Go Media building texture collection - Noise The Go Media building texture collection - Wood grain The Go Media building texture collection - Wood grain The Go Media building texture collection - Wood grain

As you can see, the collection covers a pretty wide array of texture types, and goes from super subtle to sledgehammer.

The best is to come yet: let’s talk price

That’s the most awesome part: we decided to release the full collection for free! 0¢. Nada. Zilch. You get the picture.

Well it’s free, for a limited time only, as part of the general craziness surrounding WMC Fest and its preparation. We will probably put the whole collection back at a normal price sometime after the Fest when we’ll have time to do so, between catching up, tearing stuff down, and settling back in a normal rhythm. So, obviously, you know what to do: get the damn collection now.

The good times of the free texture collection have passed, but we decided to sell it for a very low price: only $37! I’ve calculated that’s around 30¢ a texture.

Buy the collection now

A few case studies

I wanted to demo the potential of the pack, and to unveil some of the ways to use these.

1. The fake product box

For a start, you can see the textures in action (and a few other ones) on the digital product boxes. Let me quickly walk you through the PSD in the video below.

Sorry for the background noises, but the Go Media office is busier than a bee hive!

Resources

Grab these resources to re-create the design:

  • gma-go-media-building-texture-set-misc-noise-008.jpg
  • gma-go-media-building-texture-set-misc-noise-005.jpg
  • gma-go-media-building-texture-set-grunge-049.jpg
  • photocopy_by_clarisaponcedeleon_-_deviantart.jpg
  • gma-go-media-building-texture-set-grunge-047.jpg
  • gma-go-media-building-texture-set-dust-001.jpg
  • gma-go-media-building-texture-set-dust-002.jpg
  • gma-go-media-building-texture-set-fabric-004.jpg

2. Some advice on how to manipulate the textures for use

It’s the first time I’m shooting photos to create noise textures. I have developed a workflow to use them, but it might not be the most obvious. Let me show you below. We’ll create a wallpaper in the process, using some art I’ve developed for a recent contest on Dribbble as the basis. You can use whatever you see fit though. Call it your procrastination project of the day, but don’t cry if your boss catches you.

1. Let’s create a new Ps document sized at 1920×1200 px.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper

 2. Let’s have a look at the art in my Ai file.

The color scheme is as follows: #EA3E24 for the background, #200D10 as my near black dark color, and #F4D6CB as my highlight color.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper

3. Let’s fill the background of our wallpaper with #EA3E24,  and paste our brand lock-up in the frame.

You could go simple and just center it, or align it at the bottom right corner, in order to spice things up a bit. This will also allow people to appreciate the textures we’ll be working with in your design against that dark orange background.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the vector artFollowing my initial intention to center the art, I placed guides at the center of the frame (960 px vertically and 600 px horizontally). But since I’ve decided to shift things around a bit, I also placed guides at 50 px of the bottom right corner. Now that that’s done, time to work some texture magic.

4. Let’s choose a few noise textures, and a few dust textures from our collection.

I’ve chosen the following:

  • gma-go-media-building-texture-set-misc-noise-007.jpg
  • gma-go-media-building-texture-set-misc-noise-009.jpg
  • gma-go-media-building-texture-set-dust-001.jpg
  • gma-go-media-building-texture-set-dust-002.jpg
  • gma-go-media-building-texture-set-grunge-048.jpg

The Go Media building texture collection - Noise The Go Media building texture collection - Noise gma-go-media-building-texture-set-dust-001 gma-go-media-building-texture-set-dust-003 The Go Media building texture collection - Grunge

5. It’s time to place and edit the first noise texture, gma-go-media-building-texture-set-misc-noise-007.jpg

I’d suggest placing the textures at the top of the brand lock-up. That way, the texture application will unify everything together visually. To place the first noise texture, I’m just sliding it in my Ps window, and sizing it to recover my whole canvas. I’ve highlighted the values I’ve used in red.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the texturesOnce you’re happy with your texture placement (notice how mine is slightly off-centered), just validate the transformation. Now, we have two options: either we rasterize the smart object created when we slid the texture in our document, or we leave it as is. I’m going to rasterize it to gain time, but you could still follow this tutorial if you didn’t. You would just need to use adjustment layers to apply the saturation and level changes to the textures, and make sure these are properly clipped. See the box PSD breakdown above for more information.

For a noise texture to, what we want is to bring these subtle dust and noisy elements visible in white or off-white over our design. We’ll be using the Screen blending mode (which shows anything black as transparent) to accomplish this. So the goal now is to use our levels to darken as much as possible of this texture, and to lighten only the noisy bits up.

First, let’s desaturate the texture (CTRL/CMD + SHIRT + U). Then, time to bring our levels palette up (CTRL/CMD + L), and to start playing. After a bit, it looks like the areas that we can impact with the texture aren’t very interesting. A potential workaround is to invert the texture and see what we can do with that “new” work surface. But even after doing that, alas, no luck. So I’m simply not going to use this texture this time.

Let’s slide in our second noise texture, gma-go-media-building-texture-set-misc-noise-009.jpg, and repeat the same process.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

And here, we’ve got some better luck at just keeping parts of that texture that make these little noisy elements we’re after.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

I’ve used 75 for my dark tone, 1.5 for the mid-range, and 150 for the light tones. Time to change the blending mode to Screen, lower the opacity of the layer to 35%, and to admire the result of that first texture pass.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

Another little thing I’ve done is to sharpen (Filter > Sharpen > Sharpen) my layer once, as it enhances the little noisy details we’re after.

6. Dusting things up

It’s time to include and manipulate our dust textures in here. Let’s start with gma-go-media-building-texture-set-dust-001.jpg. If you want your dust speckles to look white, the process will be very similar to the noise textures. Here are the values I’ve played with for that:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

And here’s the result:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the texturesThis is a crop at 100%:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

In the event you want the dust and speckles to be black, here’s what I’d suggest:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the texturesThe next step is to invert your texture (CTRL/CMD+I), which should give you a result similar to this:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

Finally, I just switched the texture’s blending mode to Multiply.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the texturesTo get an idea of the detail from up-close, here’s a 100% crop:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

Now comes the time to choose which direction to go. Given how the next texture, gma-go-media-building-texture-set-dust-002.jpg, has reacted when I was designing the box (see above), I’m going to select my white dust speckles.

Time to place and edit the texture in the canvas. After rasterizing the layer, I decided to invert the texture, to get its effect to show in dark rather than light elements.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

After some sharpening, it was time to get our level palette again. Here are my values:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the texturesAnd this is what happened once I switched the blending mode to Multiply, and the opacity to 75%:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the texturesSo far, so good.

7. Last but not least, let’s add our finishing touch

The last texture I have listed in the resources list above is gma-go-media-building-texture-set-grunge-048.jpg, a grunge texture featuring what could be a stained and moldy ceiling panel. This will be the last texture we’ll add. It shows a bit of grain and a stain.

I’ve place the texture at the center of the canvas, and increased its size at 125%. After placing, rasterizing, sharpening, and desaturating the texture, we’ll use the levels to bring out the details of that texture.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the texturesOnce that was done, I could have just put the blending mode on Multiply, and lower the opacity. Multiply is a blending mode that “multiplies” the color values of stacked pixels together. When you put a grayscale texture atop a design through this process, your colors will look lifeless and muddy.  This is why I went with Soft light instead:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Placing the textures

We still get the stain pattern, as well as the moldy dots, but they do not overpower the colors. If anything, it boosts the saturation a bit. We could call it a day here.

gma-go-media-texture-collection-mf-wallpaper-rev-01

But that clean logo was bugging me. See a 100% detail below:

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Clean logo detail

It’s too clean compared to the rest of the wallpaper. So I decided to age it a bit further.

For a start, let’s turn off the branding layer and copy-merged the content of our canvas. To do so, select everything visible (CTRL/CMD+A), and use CTRL/CMD+SHIFT+C when copying. This will copy everything that’s visible in your selection, rather than just the content of the layer that’s highlighted in your layer palette.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Grunging out the logoAfter that, add a layer mask to the brand lock-up layer. ALT+CLICK this new layer mask, which will allow you to see and edit its content, and paste in front (CTRL/CMD+SHIFT+V) the information we copy-merged just earlier. Notice also that I’ve unlinked the layer mask and its layer, which will allow me to move/resize them independently from one another.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Grunging out the logo

Time to use our trusty levels once more to fine tune the effect. My values are below. The goal was to mimic what we did with our second dust texture: to just keep the most interesting elements of our texture, and to wash out the rest.

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Grunging out the logo

And here we have a grunged out logo!

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Grunging out the logo

This 100% crop shows the result more in details. This is already a bit more fitting. We could obviously aged the logo further, but that will be the object of another tutorial (but feel free to apply some advice from Simon Walker in the meantime if your brand lockup is a vector element).

Go Media texture collection - Tutorials - Magnetic Fields wallpaper - Grunging out the logoSome other things you could play with to refine the grunge effect (other than the levels step values) would be to move the content of that layer mask around, to select the spot you like the best. Or you could rotate of 180°. Or you could paste a completely different texture in… So many things to try, so little time. The advantage with this technique being that the grain and texture elements will match the grunge elements of your logo. Don’t hesitate to share your results in the Go Media Flickr pool and/or in the Go Media Pinterest gallery.

You can download both versions of the wallpaper straight from my Dropbox, in a convenient zip file.

Let’s recap

This is a free $37 texture collection, that includes:

  • 122 textures
  • Spanning 5 categories (fabric, dust, grunge, noise, wood grains)
  • Over half a gigabyte of data = high resolution files

What are you waiting for? Get it now from the Arsenal!

Buy the collection now

Oh, and since next week is WMC Fest, I hope to see you all there!

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A new Arsenal release: the Fractal Space texture pack http://www.gomediazine.com/tutorials/a-new-arsenal-release-the-fractal-space-texture-pack/?utm_source=rss&utm_medium=rss&utm_campaign=a-new-arsenal-release-the-fractal-space-texture-pack http://www.gomediazine.com/tutorials/a-new-arsenal-release-the-fractal-space-texture-pack/#comments Tue, 23 Jul 2013 13:30:44 +0000 Simon H. http://www.gomediazine.com/?p=30689 The texture pack Hello all! Simon here today to introduce you our latest Arsenal release, the Fractal Space texture pack. It’s a set of 20 textures, created by the man behind our amazing microscopic fingerprints texture pack, Dustin Schmieding (Valleys in the Vinyl, Lost and Taken, etc.). The set is quite unique. It’s not yet… Continue Reading »

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The texture pack

Hello all! Simon here today to introduce you our latest Arsenal release, the Fractal Space texture pack.

Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html

It’s a set of 20 textures, created by the man behind our amazing microscopic fingerprints texture pack, Dustin Schmieding (Valleys in the Vinyl, Lost and Taken, etc.). The set is quite unique. It’s not yet another set of watercolor, paper, and grunge elements mixed together. It’s a digitally generated, strange space filled what seems to be a gaseous cloud, or something.

Let’s have a closer look

The pack includes 15 black and white textures, as well as 5 bonus color textures, all in high resolution (4000 x 2800 pixels).

Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html

I like these because they allow me to add a subtle, eerie, and digital mood to my designs. Or something a bit less subtle too. Just see below, Dustin wrote a few quick guides to give you ideas on how to use them. The microphone’s all his!
_____________________________________________________________________

Foreword

Red Giant’s Trapcode Mir plugin for After Effects is a fantastic asset for motion and still-image artists alike. Using a basic mesh, you can manipulate dozens of properties in a three-dimensional space to create incredibly original and beautiful shapes. Today we will be looking at a set of 20 Fractal Space textures I created using this plugin, now available for purchase at the Go Media Arsenal.

In this tutorial, we are going to showcase this texture set in three different ways. A primary strength of this set is the inclusion of bright light mixed with gradations of grayscale color. The seemingly simple textures have another major perk that most traditional textures don’t possess, you can invert the image and have an equally useful texture. This method is useful when using certain blending modes in Photoshop, particularly the more subtle ones like Multiply, Screen, and Lighten.

Example One – Apply Antique Haze to your Photos

Let’s start by using only two steps to add haze and age to a photo. Here we have a simple photo of an industrial brick building.

GoMedia-FractalSpace-PhotoExample-01-Before

We will be using Fractal Space Texture #2 to add our antique haze aesthetic.

Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html

Place the texture on top of your photograph, and invert the texture (CTRL/CMD + I). Note: The texture layer must be rasterized before you can invert it, unless you choose to use an adjustment layer.

Set the texture layer’s blending mode to Screen. That’s it, you’re done!

GoMedia-FractalSpace-PhotoExample-01-After

GoMedia-FractalSpace-PhotoExample-01-BeforeAfter

Example Two – Give a Traditional Texture new highlight/flare

The next use of these fractals we’ll examine is adding dynamic flare and highlight to some traditional textures. We can simulate depth and bring new life to stagnant traditional textures. The example we’ll use here is a rusted and peeling metal texture.

GoMedia-FractalSpace-TextureExample-Original

We will be using Fractal Space texture #8 to add our effect.

Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html

Just as we did with the first example, we will place the fractal texture on top of the base photo layer, and invert it. This time I also rotated the fractal 180 degrees. Once again, set the fractal layer’s blending mode to Screen, and leave the layer’s opacity at 100%. You are encouraged to experiment with other blending modes and opacity levels, but for our purposes here, we are using the Screen blending mode.

I like the result, but want to give it a little bit more punch. By adding a Curves adjustment layer and doing some subtle tweaking, I gave the colors some more vibrancy and the whole image some more life. Note: you could also use a hue/saturation adjustment layer for similar results.

GoMedia-FractalSpace-TextureExample-Final

GoMedia-FractalSpace-TextureExample-BeforeAfter

Example Three – Bokeh with Attitude

Bokeh photos are well-trodden and though they are useful, can sometimes become tedious. Well how can we instantly give a bokeh photo an injection of edge and attitude? Here’s how we do that.

We start with a pretty standard, unassuming bokeh photograph of some Christmas lights.

GoMedia-FractalSpace-BokehExample-Original

To add our attitude, we will use the purple Fractal texture, number 19.

Fractal Space Texture Pack - http://arsenal.gomedia.us/fractal-space-texture-pack.html

Now just place the Fractal texture on top of your bokeh photo, and apply the blending mode Vivid Light.

GoMedia-FractalSpace-BokehExample

GoMedia-FractalSpace-Bokeh-BeforeAfter

That’s it! You’ll see that the Fractal texture adds some rough scratch-like effects to the bokeh, as well as some bold color and implied motion.

While these are just three methods of applying these Fractal textures, they are by no means the only methods. The diverse depth and flowing aesthetic can work well for text masking, blurred background elements, or as standalone images. This set is a refreshing, versatile, and dynamic addition to your digital resource library, not to mention tons of fun to use. Get out there and experiment!
_____________________________________________________________________

Conclusion

As Dustin said, the possibilities are very vast. You know you should go and pick up these up while they’re hot. Or wait until they cool off a bit, don’t burn yourself. And don’t forget to share your results in the Go Media’s Flickr pool and Pinterest gallery.

Until next time, cheers!

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How to Create Vintage T-Shirt Designs with No Drawing Ability http://www.gomediazine.com/tutorials/how-to-create-vintage-t-shirt-designs-with-no-drawing-ability/?utm_source=rss&utm_medium=rss&utm_campaign=how-to-create-vintage-t-shirt-designs-with-no-drawing-ability http://www.gomediazine.com/tutorials/how-to-create-vintage-t-shirt-designs-with-no-drawing-ability/#comments Tue, 09 Jul 2013 13:30:11 +0000 Chad Tibbits http://www.gomediazine.com/?p=29610 Forewords Chad Tibbits is a super talented apparel designer, WMC Fest alum, and all around nice guy. As for Chad, we’re super happy to have him join the patiently growing, curated list of Arsenal contributors. His first halftoned texture pack focuses on dust, speckles, and other vintage look inducing goodness. Let’s have a look: The… Continue Reading »

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Forewords

Chad Tibbits is a super talented apparel designer, WMC Fest alum, and all around nice guy. As for Chad, we’re super happy to have him join the patiently growing, curated list of Arsenal contributors. His first halftoned texture pack focuses on dust, speckles, and other vintage look inducing goodness. Let’s have a look:

Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal

The pack is delivered in multiple formats: one PSD that includes a “threshold” and the halftoned version of the texture, CMYK jpgs of both, RGB jps of both, and transparent background pngs. The halftone versions are the most detailed, while the “threshold” are more intense. There are 10 different textures, coming from different sources: old paper, various grain, etc. These are super versatile, and Chad’s tutorial below only demonstrates one of the many ways these can be put to good use. I’d suggest pasting these in a text block layer mask. Just saying.

Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal Halftone Texture Pack - Vol. 1 - Dust by Chad Tibbits - Go Media's Arsenal

The “lighter” versions of the images are the halftoned versions. If I were you, I wouldn’t hesitate to grab this awesome set. On that note, time for Chad’s tutorial. On the menu today: some apparel design, but the techniques can be extrapolated for many other uses. Enjoy!

— Simon, Manager for the Arsenal

_________________________________________________________________________

For this tutorial, we will be creating a silk-screened graphic in Photoshop that can be used as either an apparel graphic or as a poster. Here is a preview of what my final image looks like. Note: Graphics can vary in look – this all depends on the use of the textures and type treatments.

How to Create Vintage T-Shirt Designs with No Drawing Ability

Step 1: Set Up Your Photoshop Document

Your size can vary but in this example I set up the document at 11” x 11” @ 300 DPI and CMYK. In this example, I am planning on using the design for an apparel design.  Therefore, I am selecting a size that can fit within the common screen print size; so keep that in mind.

Step 2: Choose Your Photo

For this design I chose a pink flower from sxc.hu. Once you download the image, drag and drop it onto your Photoshop document. Luckily, this photo has a nice clean/white background.  So in this case, complete a quick select of the white with your Magic Wand Tool, and delete out the outer white that surrounds the flower.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Source image

Step 3: Begin To Edit Your Flower

Duplicate your flower and with your new layer: click on your upper toolbar under Image > Adjustment > Threshold. Using the slider, adjust the Threshold Level to your desired detail level.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Threshold

In the upper toolbar click Select > ColorRange. From here, you can select all of the white in the photo and delete it.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Threshold

Now that the white background is removed, double click on the layer icon and click Color Overlay in your Layer Styles. Here you can choose whichever color you would like in creating this layer. I chose PANTONE 7427 C or #9d162e.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Coloring

Step 4: Add More Color To The Flower

Duplicate your original flower layer again. Once your layer is duplicated, take your new layer and double click on the layer icon to go back into Layer Styles. Click on Color Overlay again and turn the flower into whatever color you’d like. In this example I used PANTONE 4975 C or #411f1f.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Coloring

Next, click on your Ellipse Tool in your tool bar and create a circle. This will act as the center of the flower. Once you’ve created your circle, click your layer icon and select your desired color, I chose PANTONE 729 C or #b7814f. Place this in-between your two flower layers and you should have something that looks like the following.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Coloring

Step 5: Add Some Distress

With this step you will need to purchase the Halftone Texture Pack – Volume 1 – Dust I just created for Go Media’s Arsenal. This particular texture is in Group #2.

Chad Tibbits' Halftone Texture Pack - Volume 1 - Dust - Go Media's Arsenal

Open Halftone Dust Textures and drag Group #2 overtop all of your visible layers. Double click on one or both layer icons (halftone and threshold) and click Color Overlay in your Layer Styles. Then, select your background color as the color overlay.

From here you can choose how much detail/distress you would like to have on your piece. Using just the halftone layer shows all of the distress detail, just with finer detail. The threshold layer does not have as much fine detail to it, but it can help make your distress more apparent. Feel free to bring in more distress layers or even duplicate the ones in Group #2 to give your piece even more distress.

After altering your distress to your liking, press Command/CTRL+Click on your distress layers.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Distressing

Now select the first layer of your flower and click “delete”. Repeat this step on each of your layers that make up your flower. You will now be able to turn your off your distress layer/s and you should see the same effect as if it were still on.

Step 6: Add Some Flare

For this piece I imported a typographic piece that I made for the artist.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Type

Duplicate your layer and hide your duplicate layer, this will be used for the next step. Then go back to Halftone Dust Textures and take Group #1 and place it over top of your text/logo and repeat the same steps as the step before to give the same kind of distress look.

Chad Tibbits' Halftone Texture Pack - Volume 1 - Dust - Go Media's Arsenal How to Create Vintage T-Shirt Designs with No Drawing Ability - Distressing

Step 7: Bold It Up

Reveal your duplicate layer and decrease your layer fill to 0%. Double click on your layer icon in your Layer Styles and click on Inner Glow. Feel free to follow my same selection or choose what looks best with your piece. The black inner glow may be deceiving but bear with me; this will make the next step a bit easier.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Type

When choosing your inner glow, try and create an inner glow that helps your text/logo stand out from the background color and flower graphic.

Step 8: Halftone It!

After achieving an inner glow that works for your design, hide all of your layers except for your inner glow layer. Then click Image >Mode > Grayscale and if asked to Rasterize/Merge do so. This step will be undone soon. After doing so, click Image > Mode > Bitmap. From here select a 300 Pixels/Inch Resolution and a Method Use: Halftone Screen.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Type

On the next option (Halftone Screen) I use the following settings that are recommended by Jakprints.

(In case you aren’t sure who they are, Jakprints is an amazing independently owned print shop here in Cleveland that specializes high quality printing. Any print job you have, they can handle!)

  • Frequency: 45 Lines/Inch
  • Angle: 23.5 degrees
  • Shape: Elipse

Once applying the halftone, click Command/CTRL+A and select the entire board and then click Command/CTRL+C to copy it. Now click Command/CTRL+Option/ALT+Z multiple times to go back to your latest layered files. You will now hit Command/CTRL+V, placing your halftoned graphic with the rest of your layers. Now click Select > Color Range. From here you will select all of the white in the photo and delete it.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Type

After deleting all of your white, reveal all of your working layers and do a color overlay on your new halftoned layer. With this layer do a white color overlay to match your text/logo.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Type

Step 9: Merge Layers

Now that your layers are using proper halftones you can merge your layers together that share the same color values. In this example, the only color that shares the same values are the whites.

Step 10: Separate Layers

Now that your layers are separated into your print colors, it is time to separate the screen colors. Click on your upper layer (your type/logo layer) and click Command/CTRL+Click. Now delete that selection from your three layers that are below it. Repeat this step for every layer and delete each layer’s selections from the layer that’s below it.

Step 11: Donezo!

You should now be able to turn each individual layer off seeing the separation between all of your other layers.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Color separation

It’s time to mock this baby up, and to land that art approval.

How to Create Vintage T-Shirt Designs with No Drawing Ability - Final art, mocked up

 

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Create a grindhouse-inspired background with the Microscopic Fingerprint texture set http://www.gomediazine.com/tutorials/create-a-grindhouse-inspired-background-with-the-microscopic-fingerprint-texture-set/?utm_source=rss&utm_medium=rss&utm_campaign=create-a-grindhouse-inspired-background-with-the-microscopic-fingerprint-texture-set http://www.gomediazine.com/tutorials/create-a-grindhouse-inspired-background-with-the-microscopic-fingerprint-texture-set/#comments Wed, 03 Jul 2013 14:00:06 +0000 Dustin Schmieding http://www.gomediazine.com/?p=29717 A note from the editor Dustin is someone I’m super pumped to finally have writing for the Zine, and as an Arsenal contributor. As a designer, his countless free texture contributions to Lost and Taken, Bittbox, and his own site, Valleys in the Vinyl, have made my life so much easier. The pack of 15… Continue Reading »

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A note from the editor

Dustin is someone I’m super pumped to finally have writing for the Zine, and as an Arsenal contributor. As a designer, his countless free texture contributions to Lost and Taken, Bittbox, and his own site, Valleys in the Vinyl, have made my life so much easier. The pack of 15 textures he created for us is simply amazing, unique, and beautiful. These images could stand as poster in their own right. You should totally check the pack out on the Arsenal, and purchase it. Here’s a quick preview of what you’ll get when purchasing the pack:

Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal vMicroscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal Microscopic Fingerprints Texture Pack - Go Media's Arsenal

On that note, I’ll pass him the microphone again!

— Simon, Manager for Go Media’s Arsenal

__________________________________________________________

Most digital artists can readily admit that texture building and other manipulation techniques are not exact sciences. The pure spontaneous bursts of clarity and inspiration make this work so much fun. Today I’ll be walking you through a breakdown of this grindhouse-inspired texture build. We’ll be using some of the images from my newly released Microscopic Fingerprints set over at the Go Media Arsenal, along with some textures taken from my texture resource site Valleys in the Vinyl.

Something to bear in mind with this kind of tutorial is that the finished piece almost never happens in clear, concise steps like this. Your composition is a revolving door of different images, with the layers moving around like deck of cards being shuffled. Here you can see how the finished image is constructed and get a glance at how the different images build upon one another. You may not be allowed to see the missteps and outcasts from this piece’s creation, but at least you can get a glimpse at how these image elements interact to form a finished design.

Here’s what we will be making today

GoMediaArsenal_MicroscopicFingerprint_Tutorial-FinalImage

Click the image to view a hi-res version

Before we get started, you ought to do yourself a favor and head over to the Arsenal and purchase the Microscopic Fingerprint Texture Pack.

Microscopic Fingerprints Texture Pack - Go Media's Arsenal

Let us begin

Our Assets

  1. Microscopic Fingerprints (Texture #1)
    Microscopic Fingerprints Texture Pack - #1 - Go Media's Arsenal
  2. Microscopic Fingerprints (Texture #3)
    Microscopic Fingerprints Texture Pack - #3 - Go Media's Arsenal
  3. Microscopic Fingerprints (Texture #11)
    Microscopic Fingerprints Texture Pack - #11 - Go Media's Arsenal
  4. 12 Microscopic Bubble Textures (Texture #1)
    VV_MicroscopicBubbles_01
  5. 10 Duotone Grunge Textures (Texture # 8)
    VV_DuotoneGrunge_08
  6. 5 Dynamic Vintage Grunge Textures (Texture #4)
    VV_DynamicVintageGrunge_04
  7. Textures Shot on 35mm Film: Volume One (Texture #11)
    VV_35mmGrabBagVolumeOne_11

Step One

Our Photoshop canvas will be set at 3000px wide and 2000px tall, with a white background (though for this project, the background setting is irrelevant). For our base texture layer, we are going to use the VV_DuotoneGrunge_08 texture, with Blending Mode set at Normal and 100% opacity. No truly discernable elements will shine through on our finished product, but it gives us a solid grunge texture foundation we can build upon.

Create a grindhouse-inspired background with the Microscopic Fingerprint texture set - One

Step Two

Now from this new Microscopic Fingerprints set, we will drag Texture #1 onto our canvas. Set the Blending Mode to Overlay and leave at 100% opacity. You’ll see that nice grooved pattern in the foreground with some of our base duotone grunge coming through.

Create a grindhouse-inspired background with the Microscopic Fingerprint texture set - Two

Step Three

Next let’s take Texture #11 from this Microscopic Fingerprints set and place it on our composition. Set the Blending Mode to Color Burn and opacity at 50%. You’ll see out composition get a more uniform orange tone, and some of the blacks in the corners become darker. The effects are similar to adding a Curves or Levels adjustment layer. By giving this layer more opacity, you can see how the effect’s potential intensity.

Create a grindhouse-inspired background with the Microscopic Fingerprint texture set - Three

Step Four

Our bubbles layer is getting added to the pot next. Add VV_MicroscopicBubbles_01 to your composition, set the Blending Mode to Overlay and opacity to 75%.

Create a grindhouse-inspired background with the Microscopic Fingerprint texture set - Four

Step Five

The fifth texture we are using is VV_DynamicVintageGrunge_04. Rotate this one 90 degrees clockwise, set the Blending Mode to Subtract, and bring the opacity down to 30%. You’ll see that this texture adds some center-focused grunge elements, minor shadowing to the corners, and brings down the harshness of the orange. We are almost finished!

Create a grindhouse-inspired background with the Microscopic Fingerprint texture set - Five

Step Six

This next step will get us very close to our finished design. From the Microscopic Fingerprints, we are going to put Texture #3 onto our canvas. Set the Blending Mode to Color Burn and leave the opacity all the way up at 100%. We are finally seeing this image get some real attitude and taking on that hardcore grindhouse look.

Create a grindhouse-inspired background with the Microscopic Fingerprint texture set - Six

Step Seven

Finally we arrive at our last step. To finish our piece, we will call on the VV_35mmGrabBagVolumeOne_11. Set the Blending Mode to Pin Light and bring the opacity down a bit to 75%. This 35mm texture gives us that nice gradation of blue into the other red tones, easily adding some more depth and atmosphere to the piece. The bits of film noise also add some subtle effects to the top right corner, adding to the layered appearance of the design.

Create a grindhouse-inspired background with the Microscopic Fingerprint texture set - Seven
click image to view hi-res version

We’re done!

You’ll notice that we don’t use a single adjustment layer in our composition. Manipulating blending modes and opacity levels fill all of our needs here.

The piece moves between light color tones and into very harsh deep blacks, with lots of other graphic elements working together to give us our finished design. The diagonal streak effects from our fingerprint textures lay on top of our bubbles and other grunge, creating a feeling of looking through different windows and degrees of degradation.

Have fun experimenting and creating with this new texture set. Feel encouraged to ask any questions and submit any finished work to the Go Media Flickr Pool. Enjoy!

Microscopic Fingerprints Texture Pack - Go Media's Arsenal

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