Very few people understood what we Mac Fanatics were up to in 1987 (let alone 1985), but I was following my dream of designing and printing from the desktop. The following month I made the business official and called myself Desktop Design. Today is little Joey’s 36th birthday. He currently works for Disney Studios as a Global Analyst. Happy Birthday, Joey!
For a designer, creating a new look for a green marble background is like bringing out the old bell-bottoms and believing they look as cool as they did in 1969.
Filling a “simple” request can be not-so-simple if you make a lot of blind starts, like spending an hour hunting down an old CD filled with stock marble images, just to find they are in an outdated graphic format.
A second blind start—searching stock images—another hour easily wasted as I realized, why not create an original image? Not only can it be easy, but the price is right. We refurbished our kitchen a few years back, and while out searching for the right granite counter top, I took plenty of photographs of the various granite and marbles, but none were green. Take them into Photoshop, and with a couple of well placed clicks I was able to turn my images into perfectly suitable green marble backgrounds.
This is the original photograph of the marble.
By applying levels to increase the image’s contrast, and then applying a hue and saturation effect, the result is this rich, green marble-like background.
There are only two steps to go from the original photograph of the gold marble to the green. First, I created an adjustment layer for “levels” to increase the image contrast. The adjustment layers are forgiving in that they allow you to manipulate the data at any time without destroying any of the original pixel information.
The second step is to create and adjustment layer for “hue and saturation.” There are three areas that can be changed within the H&S palette, but before changing anything, click on the “colorize” button. This extracts all the color from the image, assigning a default hue to all the pixels, while maintaining their original values. Next, the hue slider cycles through the “rainbow” — ROY G. BIV (red, orange, yellow, green, blue, indigo, violet) — stop at the desired green hue. The saturation slider adds or subtracts color, and finally the bottom slider lightens or darkens the values.
Of course, to achieve the desired result might require additional steps, depending on the nature of the original image. You might want to add additional layers of color, transparency, contrast, and texture to create a unique effect.
If you want to create a library of backgrounds and textures, do it yourself. Textures exist everywhere, and for every photograph you take, you can manipulate it in an infinite number of ways.
With today’s image editing programs, you don’t have to mortgage your home or rent out your kids to afford amazing software. I’m currently experimenting with an app called Pixelmator, a $15 Photoshop wannabe, and after half an hour of playing (and they call it work), I can say it’s certainly worth the investment. In fact, I’d recommend Pixelmator to any of my beginning design students who have a newer Mac, but can’t afford Photoshop. This app works on my iMac, now that I’ve upgraded to Lion, but Pixelmator will work with OS10.6 or later. With a little coaxing, I could be persuaded to show and tell more about this cool app, Pixelmator.
Condos on a small island strip in the middle of the St. Lawrence River.
Each time I travel I make new discoveries, and often, insights and inspiration comes only once I’m back home and have had a chance to unwind and process the whirlwind adventures.
On this trip which began on the St. Lawrence River in Montreal, Canada, I became particularly focused on the art and design in architecture (probably because there wasn’t much wildlife or sport activities in our itinerary). I found the range in age and architectural styles to be visually stimulating without appearing to end up in a hodge-podge of visual clutter. Continue reading
This past weekend I was immersed in the unpleasant chore of paying bills, when I reached for a pen and instead, my clumsy grasp sent a cup full of pens spilling over the edge of my desk and into a box full of old cards. Reluctantly, I got up out of my chair and fumbled through the box, my eyes landing on some old photos stored in a clear plastic box.
Upon seeing the fading image my grandfather as head pressman of the print shop where he worked, I realized I had not scanned the photo, which I thought might make a good retouching project for my Photoshop students.
And then, much as I hated to, I had to stop myself from wandering off track, but when I saw this new 180-degree panorama image juxtaposed with the circa 1920 image of my grandfather, I couldn’t help but marvel at the technology built into our mobile devices.
As I mentioned in my article on “grunge” apps, now that we’ve mastered the doctored image to near perfection, we’ve gone on to mimic effects like the vignette, the scratches, and the light leaks in this aged image. And now we can create 180-degree, 360-degree, and even cave-like images projections that totally surround.
As a kid growing up in the 50s, the Dick Tracy watch was science fiction. Who’d thunk that as an adult, I’d have my very own communication device far superior to anything Dick ever imagined? This week I’m into panorama apps, but note that this is not intended as a review or comparison of specific applications, but instead, a reflection of my limited experiences with panorama apps in general.
Typically, if you’re shooting with a normal lens, you can achieve a panorama effect by cropping and zooming into a very narrow area of an image. That’s essentially what you get when you order a panorama from the drug store, or your local film processor.
Among its many automation features, Photoshop has a fairly sophisticated blending function called “photomerge.” These days, however, I’m into “quick and dirty,” but I don’t really see the “dirty” in an app like AutoStitch from Cloudburst Research. It’s incredibly simple to use and has impressive blending and exposure algorithms.
I’ve been making images around the college campus where I teach, and one of the effects when shooting these panoramas that has intrigued me ever since I studied photography is that of the disappearing people. I’ll never forget the sense of awe I experienced when seeing the photographs of Ralph Eugene Meatyard. The children in the images had disappearing faces, an effect all photographers have experienced when using slow shutter speeds while the subject moves.
It’s one of those things that started me thinking about how untrustworthy human vision is, and the fact that we don’t see something doesn’t necessarily mean it is not there. It just means that our senses are not acute enough…and you can extrapolate whatever you want from that. My next project is to turn some of these panoramas into bookmarks that I can include with the gifts I give during the coming year.
It is always interesting to see how certain historical art movements come back into fashion decades or even centuries after they have reached their zenith. Take for example the style of Art Nouveau, meaning “new art”. This was the name given to an artistic movement in european art in the late nineteenth century. Much of its inspiration came from natural formations and asian art and design. Some of the most popular artists from this era include Toulouse-Lautrec, Aubrey Beardsley, and Alphonse Mucha. Recently, many of the stylistic trends originally set forth by these masters have been resurfacing in many of the current art movements. “Art Nouveau” has found a new home within the pop-surrealist community, particularly among the ladies. Some of these artists include Audrey Kawasaki, Stella Im Hultberg, and Sylvia Ji.
Ever suffer from creative or artist’s block? You are not alone in this. It happens to all creative people actually, including visual artists, poets, designers, musicians and writers.
One of our clients, Barbara Shannon, has developed a terrific resource book that can act as a creativity catalyst. This book is often used in public schools and for homeschooling art courses, and has been designed as an introduction to art media, but it can also expand any artist’s knowledge and help break that frustrating creative block.
The book, Exploring Art Media, introduces the incredible variety of media, materials, tools, and techniques available to the artist. It covers color & design, drawing, commercial art, cartooning, painting, three dimensional art and arts/crafts. There is also a companion California Teachers Guide, for those artists who also teach.
Along with media exploration, the book teaches:
* Observation and drawing skills
* Color manipulation
* Implementation of art elements, concepts, and principles
* Art appreciation
* Environmental awareness
* Historical influences
* Creative thinking
* Painting techniques
* Sculpting methods
