This workshop explores the industry standard motion graphics software from Adobe. After Effects is used for animating text, graphics, composites, and so much more. Prior experience with video editing software is suggested. Introducing the all new Adobe Premiere Rush app for creating and sharing online videos. Would you like to create quick slick videos without the hassle of a full-blown professional grade app like Premiere Pro?
This should be a fun one. Introduction to Pro Tools is designed to introduce participants to the film industry standard digital audio workstation software. No prior experience with Pro Tools is necessary. The Mobile Podcasting workshop will introduce participants to the Backpack Studio mobile podcasting app. Learn how to stop and create a professional sounding podcast from anywhere, anytime using only your phone.
Check out a couple of our more recent posts on Instagram for examples. No prior experience with SketchUp or other 3D modeling program is required. Make your words into powerful graphics. Typography will introduce participants to tools in Illustrator and Photoshop that can be used to produce a meaningful identity. This tutorial will cover the basics, including how to work with typeface, spacing, size, alignment, and orientation, as well as more advanced type modifications. We will also discuss how to go about creating a unique font. Skip to main content area Skip to sub-navigation.
Search Colorado College. Apply Visit. Everyone who is part of the CC community is welcome! Audio and Video for Interviews Chris Bittner This hands-on workshop will explore three-point lighting and the techniques for getting great audio in a studio interview setting. Introduction to Adobe Illustrator Meghan Rubenstein Introduction to Illustrator will familiarize participants with the basic tools available in Adobe Illustrator, a vector graphics program best for creating freehand illustrations, logos, and diagrams.
Darken mode To change your brush size without going to the Brushes palette, press the Open Bracket and Close Bracket [ and ] keys to reduce and enlarge the brush size. Preserve Transparency will protect the transparent areas in the image and allow you to paint only where there are pixels. Preserve Transparency creates something like an invisible mask. With Darken mode, the paintbrush will paint only where the chosen foreground color is darker then the highlight color. It will not paint in the dark shadow areas.
Paint over the highlight areas. Continue painting over all the highlight areas to tone them back. Feather the highlight at the top of the blender to keep the curvature of the lid. Opacity tip 5. With the move tool, drag the fish into the blender image and position it in the blender. Move the fish to the topmost layer. Note: No small animals When a selection tool is active, pressing any of the numeric keys changes the opacity to a corresponding percentage. Select the lasso tool, and then target the original Blender layer.
In the Layers palette, move the new layer above the Fish layer. Blending layers 8. Double-click this new layer to bring up the Layer Options dialog box. The sliders here let you define which pixels are blended by indicating a range of brightness values for the replacement pixels. In our example, the highlight range was split to soften the layer, giving it a semi-transparent and fogged look. The further apart the triangles, the softer the appearance of the layer. You can see the goldfish, semi-transparent inside the blender.
There you have— super advanced—the next steps for working with layers and lighting a particular scene.
Almost always, however, filling an area with this pattern will leave telltale tiling lines, or grids. For a pattern to tile seamlessly, the edges of the pattern tiles must align exactly to create a continuous image. Open the image that contains the area you want to use for a pattern tile.
The tile image 2. Crop the image to the size and area you want the pattern tile to be. Shortcuts Images with plain or textured backgrounds are the best candidates for a smoothly tiling pattern because it is easier to smooth away the tile lines.wahojuhi.tk
University of Missouri-St. Louis Computer Education & Training Center
Try to avoid images with gradations because these are very difficult to touch up. Make a note of the width and height pixel values. The Offset Filter 4. Select the Wrap Around option; for the horizontal and vertical values, enter approximately half the value of the width and height you noted in step 3. This filter basically slices up your image and moves it horizontally and vertically.
It is helpful to do this so we can see how the edges of the pattern tiles will meet. The Offset filter splits the image into four sections. Notice that the left half of the image completes the right half and the top half of the image completes the bottom half. Making Seamless Patterns 2 6. Now use the rubber stamp tool to blend the center seams between the four sections of the image. In this example, I removed the stem and the stray bit of petal. Cloning a smooth background 7. To put the finishing touches on the pattern tile, we must reverse the offset process.
This brings up the filter dialog box last used. Add a minus before each of the pixel values to reverse the offset effect. The dialog box of the last used filter will appear. Check to see if any problems were created by painting or cloning near the edge of the tile in step 6. If so, carefully cover these up using the rubber stamp tool again. Use a small brush and be careful not to change any of the pixels right on the edges of the tile.
In this example, the arrows point to the areas where I painted too close to the edge and need to repair. Try to clone using multiple, short brush strokes so that the stroke itself is not visible.
Use a brush that is similar in size and texture to the background. For this soft, diffused background I used a soft, transparent brush. Next, test the pattern tile for any flaws. Create a new file to use as a pattern fill test. Make sure that the file is several times larger than the pattern tile. From the Use pop-up menu, choose Pattern. Evaluate the overall look of the pattern and identify any problem areas. If you like the effect, save the pattern tile file.
If you want to touch up the tile, return to step 8. Photograph: Digital Vision. Making Seamless Patterns 4 PS4. In just a few simple steps you can turn a run of the mill snapshot or stock photo into a digital painting. The best types of images for this technique are ones that contain lots of color and texture. Landscapes and still lifes work very well. Optional: If your image has flat or dull colors, you might want to intensify them for the painting.
Move the saturation slider to the right to intensify the colors in your image. Adjustment layers allow you to alter the look of your image without actually making a permanent change to the original. They give you the flexibility of being able to change the adjustment as many times as you want. To readjust, simply double-click on the adjustment layer name and make changes in the dialog box that appears. Now we will make a copy of the background layer by dragging it to the new layer icon. The original background layer will be left as is and we will paint on the copy.
Important: Save the file at this point. Double-click the rubber stamp tool and change the Option in the Rubber Stamp Options palette to Impressionist. Custom brushes 5. You can use the default brushes in your brush palette. Select Load Brushes from the Brushes palette. The extra brushes will appear in the brushes palette. Painterly Images You can use any image or part of an image to create a custom brush. The most effective brushes are created with black and gray pixels on a white background. Select your brush and begin painting the image. The impressionist tool samples the colors that are in the saved image and allows you to smear them.
Note: Do not save the file while you paint! If you save the file during the painting process you will no longer be painting with the original source pixels. Impressionist option When you use the Impressionist option of the rubber stamp tool, Photoshop reads the pixels from the lastsaved version of the file. As you drag over an area with the brush, it smears the pixels from the image to create an impressionistic effect. You may want to zoom in to paint certain sections or objects in your image. Or change the brushes or brush stroke direction based on the subject matter.
In this example, I tried to match the brush stroke direction to the texture of the rusty shed. Continue brushing the entire image until you are satisfied with the result. You may want to go back over certain areas with a smaller brush, if you want to recover detail that might have been lost. Mac and Macintosh are trademarks of Apple Computer, Inc. Photograph: DigitalVision. Painterly Images 3 PS4. Open the original image in Photoshop.
- The Minoan Unexplored Mansion at Knossos (Text and Plates) (Supplementary Volume).
- Web Design Software | Adobe?
- From Self-Fulfilment to Survival of the Fittest: Work in European Cinema from the 1960s to the Present;
- Hearing: An Introduction to Psychological and Physiological Acoustics, Fourth Edition!
- Web Design Software | Adobe!
For best results, use a higher resolution image. To get the best results in Streamline you must first simplify the shapes in your image using Photoshop. Play around with the number of levels, and turn on the Preview button to see the results. Posterizing in Photoshop 6 levels of posterization means that Photoshop will use 4 tonal values in each channel. Save the file with a new name. Switch to Streamline and open the Photoshop file you just saved. Select one of the preset Color settings.
This is where you will experiment with the Maximum of colors for your posterization. Select the Add new colors to custom color list. Select Reduce detail. Deselect for photographic image or select Color averaging for images with large areas of color. The actual colors can be changed later in Illustrator. Experimentation pays off 7.
Free HTML5 CSS Website Templates
Choose Outline for a photographic image. If your image has a lot of noise correct it by increasing the Noise Suppression slider. If your image has straight and curved lines, make that selection also. Noise Suppression 8. You can change it in the Settings dialog if you want, then click Create. Naming Settings Posterizing Images With Streamline In the image at the left, I tried several different color settings starting with 6 colors.
I found that 16 was the minimum number I needed to retain the detail in the flower centers. Anything less and the detail I wanted was lost. Pixel areas with a diameter measuring the number of pixels selected in the Noise Suppression setting are ignored during conversion. Once your settings are adjusted, you are ready to autotrace the image. Streamline will add or replace a suffix of. Smoothing paths Open the. Notice that there are now several new spot colors at the bottom of the Swatches palette. Auto Colors If the shapes that Streamline created are too complex or have too many anchor points, use the Smooth Path feature.
Select the path or paths that need simplifying. Choose Minimum, Medium or Maximum. To adjust or change a color, double click on an Auto Color in the Swatches palette. Move the Swatch Options dialog so you can see the image.
Adjust the sliders to the desired color. The artwork will update in the window so you can preview the new color change. Posterizing Images With Streamline 4 To adjust the tone of a spot color, select its name in the Swatches palette and move the slider in the Color palette. The new tonal value of the auto color can then be dragged to the Swatches palette. The added swatch will retain the original color name and have a percentage after it.
You can then make a selection in your artwork and target the tonal color. To clean up your file you may want to remove unwanted shapes, breakup complex paths or remove points from a path. To clean up shapes, zoom in on that area. Depending on the complexity of the image you traced, you might have some unwanted lumps and bumps in some of the paths. In the image at the right, I added a gradient and a stroke to the background shape. This adds visual depth to the image.
Several of these Actions create frames. If you like the frame but want to customize it for your image, you can do so easily. In this technique, you will make a picture frame for your image and then change its color using an adjustment layer. Adjustment layers allow you to alter the color of the frame without losing its shading, beveling and texture.
Open the image you want to frame. The image size must be more than pixels in both width and height. This action works best on a flattened or a one-layer file. Here we are using the Wilderness file found in the Adobe Photoshop 5. Open the Default Actions set. You can find them in the Goodies folder inside the Photoshop 5. Select the Wood Frame - 50 pixel Action and click the Play button. Once you click the Play button a dialog box will appear. Click Continue if you have at least a pixel wide and tall image. Click Stop if your image is smaller than this.
Applying the Action to your image will make your image pixels wider and pixels taller than the original image. Layer Effects 4.
Adobe Captivate (12222 release)
If you are satisfied with the image, save the file now and you are finished. If you want to change the color of the frame, go to step 5. To change a layer effect setting, doubleclick on the layer effect icon, located in the Layer palette. Select the frame layer. From the Layers palette, choose New Adjustment Layer. Quick Picture Frames 2 Adjustment Layers 6. Choose the type of adjustment you want to make. Click Group With Previous Layer so that the color adjustment affects only the frame layer.
They float above the layers you want to alter. You can apply an adjustment layer to an entire file or to just one layer at a time. Select the Colorize option. Then move the Hue slider until you find the color you want. To make the color more or less intense, adjust the Saturation slider. To make the color lighter or darker, adjust the Lightness slider.
Click OK to view the results. Remember, you used an adjustment layer for maximum flexibility, so you can double click on it at any time and change the values. Quick Picture Frames 3 PS 5. You will learn how to create your own rainbow using the new Photoshop gradient tool, along with channels and layer masks. Open the image you want to begin working on. As you can see, I have chosen an image that lends itself to a naturallooking rainbow, with a dark stormy background and front highlights. Open Gradient Tool options by double-clicking on the Gradient tool. Click the Edit button to bring up your Gradient Editor dialog box.
Next, select New to begin creating your rainbow gradient. Once you name the new gradient, start adding colors by simply clicking below the gradient bar. Edit your new color by clicking in the color swatch area. Duplicating Colors 4. The key step here is to make sure that your color bands are at one end of the bar, as in the example shown. We will do that later. Click OK once you have the gradient you want. Download gradient for PC Download gradient for Mac 5. Finally, set the Type of gradient to Radial.
Rainbow in Paradise with Photoshop 4. Create a new layer for the rainbow by pressing the new layer icon. Then zoom out so that you can start the gradient well below the actual image. Click and drag your gradient tool about two-thirds the way up the image. Right away you will notice two obvious problems: The gradient will be black with harsh bands of color. Screen Mode 8. Resulting colors will always be lighter. Black will change nothing and white remains white. Next we want to soften the bands of color. Your image resolution will determine how much you will want to set your blur to.
I chose about 9 pixels for this dpi image. The degree of Gaussian blur will depend on your image size and resolution. For lower resolution, less blur will be sufficient, for higher resolution you will need to go higher. There is still one thing that we need to do. We can do this using a simple layer mask. Display Shortcut You could paint a mask to hide parts of the rainbow or start with one of the channels in your image.
I am going to use the channels, but some photos may not work as well as this one. First turn off the Rainbow layer click on the eye next to the layer and go to the Channels palette. Now, view each channel separately to find which one has the best contrast to make a layer mask. Duplicate this channel by dragging it over the new channel icon. Switch back to the composite channel and then back to your Layers palette. Target your rainbow layer. With the channel as your selection click the layer mask icon.
The perfect rainbow in paradise. Often these cameras produce excellent results, but they have a few deficiencies that can be repaired digitally using layers. This technique is also quite useful for repairing badly scanned images. Open your digital image file in Photoshop. Zoom in on the image and take a close look at the problem areas, especially noting the skin tone in this image. Preferences 2. Go through the RGB channels. Notice the artifacting and extra noise in the Blue channel. The Blue channel is the telltale channel of a scanned image and often will show the errors of the scan.
Blue channel 3. Zoom out of the image and return to the RGB composite. Double-click this new layer and rename it Color Blur. Brush Size and Precise. The CCD Charged Couple Device in the camera is least sensitive to the blues, and it is more difficult to interpret those colors.
The combination of these two factors creates noise in the blue channel. Choose values based on the resolution of the image. You want to soften the image—not lose the image completely, but soften it—especially in the troubled area of the blue channel. Color mode 5. With the Color Blur layer still targeted, create an overlay of the two layers using Color mode from the pop-up menu in the Layers palette.
The base color is not replaced, but is mixed with the blend color to reflect the lightness and darkness of the original. Zoom in to the image and look at the same area. See how the noise has been smoothed out. Duplicate the Color Blur layer by dragging it to the New Layer icon, and then double-click the new layer and rename it Soft Focus. Opacity Tip 8. This creates a nice soft look around the edges of the image, especially the face, hair, and hat areas.
When a selection tool is active, pressing any of the numeric keys changes the opacity to the corresponding percentage. The eyes are also being softened, which is not something we want, so we will create another layer to sharpen parts of the image. Duplicate the original Base Layer, and then move it to the top above the Soft Focus layer. Name this layer Sharpen Details. Create a new layer by clicking the New Layer icon, and then move it to the bottom of the stack. Optionclick the eye icon for this layer, and then choose Select All and fill the layer with white.
This new layer is needed only to preview the effects of blending layers—which you are about to see.
- The poet’s companion: a guide to the pleasures of writing poetry.
- You are here.
- Tuesday Tells it Slant;
- Managing Infrastructure with Puppet: Configuration Management at Scale.
- 4:50 From Paddington (Miss Marple Mysteries, Book 8).
- Algal Development: Molecular and Cellular Aspects.
Click the eye icon for the Sharpen Details layer so that only the bottom and top layers are visible. Target the Sharpen Details layer. Blending Layers Now we will isolate the areas of this layer that need to overlay the image. Doubleclick the layer to bring up the Layer Options dialog box. Make sure Preview is checked. Move the This Layer highvalue range slider white triangle to the left. Notice that areas of the face and hat are being eliminated.
The transition is very harsh and needs to be softened. Splitting the triangle softens the transition. The face has been adjusted fine, but too much of the red shirt is showing. Select the Red channel in the Blend If pop-up menu. Now adjust the slider to isolate the reds. Remember to split the slider to soften the image.
Go back to the Gray channel to do any final adjustments, and then click OK. Before and after Click the eye icon to view the other layers and turn off the bottom layer eye icon. Looks pretty good! On to the next phase. To see the effects of sharpening, click the eye icon on and off next to the Sharpen Details layer.
This trick can be used on any of the layers. Another thing we can do to this image is to bring back some of the white in the eyes, which was dimmed when the soft blur was applied. Zoom in on the eye and target the Soft Focus layer. To bring back the detail, we will make a layer mask.
Notice that you are painting on the layer mask, and not directly on the image. Zoom out to view the larger image. Very nice! Low-resolution digital cameras offer no control of depth of field, but we can add a professional quality to the image—as if there were a depth of field control. With your digital image file still open in Photoshop, save a version with all the layers. For this exercise, we need to flatten the image so that it becomes one composite layer. After saving, choose Flatten Image from the Layers Palette pop-up menu.
Now we need to create a selection mask so that the little boy in front can be separated from the background image. Zoom in on the edge of the hat. Double-click the paintbrush tool to bring up the Paintbrush Options palette. Select a large hard-edge brush from the Brushes palette. Dissolve mode 3. Make sure the default foreground and background colors are black and white respectively press D on the keyboard. Then choose the Quick Mask mode on the Tool palette, just below the background color.
Quick Mask mode Dissolve gives the brush a ragged, rough, dissolving quality which takes on some of the quality of the edge of the hat in the image. This allows us to simulate the same grain of the photo so the mask will not look fake. With Quick Mask mode on, you can paint directly on the surface of the image, without affecting it, to make a mask.
Press Q to toggle between Quick Mask mode and Standard mode. Begin painting on the inside edge of the hat.
Notice that you are painting with the Quick Mask paintbrush. Paint all the way around the edge of the hat in Dissolve mode to get the rough texture of the hat. You could never achieve the same quality of selection with the lasso tool. This gives you a much more natural selection. You can add and subtract from the mask while painting by switching your foreground color from black, which adds to the mask, to white, which subtracts from the mask.
Pressing X on the keyboard toggles between the foreground and background color. Choose Normal mode, and continue painting along the edge of the shirt and overalls. The Normal brush works here because the edge is softer and smoother. Make sure that there is a continuous outline of the quick mask around the little boy, and then select the bucket tool from the tool bar. Click in the middle of the Quick Mask outline to fill the area with the quick mask.
Return to Selection mode by clicking the icon to the left of the Quick Mask icon or by pressing Q. Go to the Channels palette, and click the Selection icon at the bottom to save the selection as a channel. Click the new channel to view it and make it active. Because we used a hardedge brush, the edge of this channel needs a little softening. We will give it just a little bit of blur. The Blur More filter smooths transitions by averaging the pixels next to the hard edges of the defined lines and shaded areas. It does this three to four times more than the Blur filter.
Return to the Layers palette. Double-click the new layer and name it Background blur. With this new layer targeted, turn off the view of the Background layer by clicking the eye icon. You can see that the background has been isolated from the foreground the little boy. Now we will blur the background, yet make it look realistic against the boy.
Your blur value will vary, depending on your resolution. Defringe Click the eye icon on the Background layer to view it again. There is a problem; the blur is blurring into the hat. The amount of defringe you use will depend on the resolution of your image and the quality of the edge. View your results.
Defringe will push the blur back to meet the edge of the hat. This gives a more solid and resolved edge against the hat and bleeds underneath the hat. Special thanks to Russ Sparkman and Etsuro Endo. I have a great tip and technique just for you. Open an indexed color image that has a solid background that you want to remove.
This image has a black background and black outlines inside the letterforms. The tools in the GIF Export filter let you mask out any single color throughout the image. Double-click the magic wand tool in the toolbox. This image has an antialiased edge, so increasing the tolerance ensures that the selection eats into the colored foreground edges and eliminates any black halo around the selection.
Here I chose a Tolerance of 60 and, checked the Antialiased option. Now click all the areas in the image that you want to be transparent on your Web page. In my image, this selects everything but the background. Our dilemma is clear: All the blacks in the image become transparent, including the outlines around the letterforms. Now for the simple solution: Choose the channel you just created from the Transparency pop-up menu to load your background mask. In this example, my mask is in Channel 2. Notice how nicely the mask takes out the background without affecting the inner areas of the image.
Notice that the name of the file has been appended with the extension. Here is the final image placed in the Web page. Open the image you want to use. Make sure that the image is a ppi RGB image displayed at a magnification. This is how the image will appear on the Web. Doubleclick the lasso tool and increase the Feather value.
I used This international seminar will bring together people: AV archiving practitioners archivists, media managers as well as researchers, developers, journalists, producers and representatives of the media and software industry. It will foster knowledge and ideas exchange, education, information and vendor awareness, understanding and engagement.
To help and inspire our members, wherever they are on the timeline. Key topics of this edition: Artificial Intelligence, Machine Learning and their potential for automated annotation are widely considered as future fundamental game changers for the business of multimedia archiving and documentation. In this session, relevant archives and industry representatives are invited to share and discuss their experiences, insights, expectations and strategic plans for this new development.
Are the technologies already mature enough to fulfill their potential and how can we be best prepared? How do archives compare, assess and apply related products? Which applications have proven successful or not? Is early adoption good or is it more beneficial to wait?