Bert deconstructs how he built the face of the train from a series of Photoshop layers. Next he takes a complete train and scales it into the proper perspective with a slight tilt to add a sense of movement on the tracks. And he wraps this week’s tutorial up by showing how to repeat this technique a few more times and create an even longer train.
Have you ever noted a second number in the Type Size field in Adobe InDesign? Set off in parentheses? For example, 12 pt (27.86). The first number is the original text size, the size you set, while the other is the new size after scaling.
You may find this information useful on occasion, but most designers find it annoying. The parentheses are due to a preference called Adjust Scaling Percentage, which used to be selected by default in older versions of InDesign. It’s a situation that’s remedied in InDesign CC, but sometimes the preference gets changed accidentally or you may find it turned on in a document from a designer that uses an older version of InDesign. This week in InDesign Secrets, Anne-Marie Concepción shows you how to change the preference, update text frames that have carried the preference with them, and get rid of those pesky parentheses.
Many bosses overindulge in “being the boss,” happy they no longer have to do the work they used to do. They don’t have to build things; they manage people who build things. They don’t have to write code; they manage people who write code. You get the idea.
Pop quiz: What exactly does the Exposure slider do in Adobe Camera Raw? Chances are some of you will say it controls highlight, some will claim it affects the midtones, and some will just throw up your hands. Deke McClelland is here to clear up any confusion you may have around this adjustment and help you master exposure in Camera Raw.
Today in Deke’s Techniques, he’ll help you take a dark, heavily shadowed image and bring out the brightness—and rugged handsomeness—of its subject: fellow lynda.com author James Williamson! (Did you know these guys hang out together? Worlds collide!) He’ll accomplish all of this using the controls in the Basic tab in Camera Raw, including the Exposure slider. He’ll also show how to avoid clipping your shadows and highlights, work directly in the histogram, and make other adjustments in the Effects tab to diminish any noise that might occur as the result of your exposure adjustment.
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When you buy certain Blu-ray titles, you’re also entitled to an UltraViolet digital copy of your movies. It sounds convenient, but in reality the experience of downloading the digital copy of your new movie can be frustrating. Don’t worry—this week on Monday Productivity Pointers, I’ll show you how to get what’s yours with as little hassle as possible.
First, there’s a series of accounts you’ll need to create when you sign on with UltraViolet to access your digital media. I’ll step you through what each of these accounts are, and how you need to connect them so the UltraViolet site knows when you’ve added a new digital movie to your library.
Shooting with a GoPro allows you to mount it almost anywhere; its small size lets you really push the envelope when capturing your life experiences. Join Robbie and me as we get the GoPro flying with a quadcopter. We’ll walk through important steps on protecting a GoPro before it takes off, operating the quadcopter, and ensuring a smooth flight. Things could get a bit turbulent as you learn how to fly your camera, but the more you practice, the easier it becomes. Enjoy the ride!
Bert wraps up his three-part magazine cover project this week by teaching us how he created a realistic wood floor in Photoshop for his cinema setting. He begins the process by running a series of Adobe Photoshop filters to create a textured effect that will eventually become wood grain in his floor. Next he uses the Liquefy filter to distort the texture into more organic shapes that represent the natural pattern of growth rings inside wood. He finishes the technique by individually coloring and moving around pieces of the newly created “wood” texture to create a realistic, interlocking wood floor.
Sometimes shapes tell a better story than details. When you photograph a subject in silhouette, you emphasize body language instead of facial expressions. A silhouette can be a powerful way to tell a story or convey a scene in an abstract way.