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Reviews Software Tutorials Workflow

Review: ART TEXT v2.2.2 by Belight Software

Editor’s Note:  Wouldn’t you know? Just as we released this article, a newer 2.3 version with a vector editor has been released. Dr. Roach will review it at a later date.

Back in April, 2009 I last reviewed BeLight’s ART TEXT and found it a useful headline and logo designing tool, but time passes and the new 2.2.2 version appeared as a review copy (from BeLightsoft. Com)on my desk with a new, revamped look and a greater ease of usage.

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Featured Photoshop Software

First Look At CS5

Creative Suite 5 is out, and it’s got bells and whistles.  I am hesitant to call it a game changer.  Just better bells and whistles.  Here are some highlights that immediately jumped out at me:

Photoshop, Premiere, and Aftereffects are now 64 bit.  Snow Leopard users should see an improvement in performance as a result, especially in video preview and playback.

Photoshop junkies…the content awareness capability is actually “all that“.  I can’t wait to try it.  Of equal importance is the new Refine Edge command which will allow you to further tweak your Quick Selection Tool grabs.  The new overused graphic tool? Repousse.  It turns a selected 2d graphic into a 3d one.  Do not get me wrong, it’s nice.  But if not used properly, it is going to be the new lens flare.  Brushes now have a natural media Natural Media Bristle Tip along with a Mixer Brush tool.  This allows you to control the bristle size/shape/rotation of the brush tip.  The mixer gives a variance to multiple colors, transparency, and rotation.  To me, this looks like a challenge to Corel’s Painter, and it will be interesting to compare.  For photographers (although anyone who likes good file management should appreciate this) is the incorporation of a Mini Bridge palette.  An overly quick demo was made of Puppet Warp which looks like a more intelligent mesh warp.  General improvement tweaks were made to sharpness, noise reduction, and mosaic filters.

For Illustrator, of particular interest to myself was the Variable Width Stroke tool, which allows you to manipulate the width of a line by doing a pass over it.  This should be a hit among those in the comics community for digital inking.  InDesign now has an animation palette for Flash content and video (which can be scrubbed through.)  For web designers, Adobe has created a Browser Lab application which is a godsend.  It allows for a full preview in various browsers via a dropdown menu.  More than one window can be opened so you can compare a page generated in Safari v. one in Firefox.  You can also overlay them with an onion skin to see the minute differences.  Aftereffects has better compositing tools that take advantage of Photoshops content awareness and greatly simplifies rotoscoping.

Also announced was the purchase of Omniture which will integrate business tools into the CS5 suite which will make your management/sales section happy in generating some content analysis.  Of particular interest to DAJ’ers may be Business Catalyst which will provide some ecommerce capability for small businesses.

One thing to keep in mind when they talk about creating content for all “smart phone and media devices” is Apple’s recent iPhone SDK 3.3.1 announcement, which states that all apps for the iPhone must be written in C/C++/Objective-C.  This flies in the face of Flash development.  If you’ll notice there is no iPhone or iPad pictured or in use during the presentation.

The demo today was fast and furious, and I recommend researching further online for details as they come up.  Watch it yourself and draw your own conclusions at http://cs5launch.adobe.com/

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Featured Photoshop

Photoshop CS4: Introduction to Adjustments Menu

I’ve been teaching workshops on the new Adobe Photoshop CS4 for the last several months. The part of CS4 that has drawn the most comment and the highest response has been the addition of the new Adjustments panel. Individuals who are upgrading from the older CS, CS2, and CS3 find this the most positive part of the upgrade. Don’t get me wrong, there are a lot of other wonderfully positive changes, but Adjustments has seemed to be the one that draws the most positive responses. Newcomers to Photoshop CS4 simply accept that this is the way to do things- with adjustment layers created automatically- while the old hands love the new streamline workflow.

In my class "Intro to CS4", I distribute an overall explanation to Adjustments on a reference CD I put together for the students. I thought I’d make a simplified version available for new Photoshop CS4 users on DigitalAppleJuice.

Here’s the initial window you get when you select Adjustments from the Window menu and add Adjustments to any other menus you have already open. Remember, everything you choose to do from these menus will be applied to an Adjustment Layer rather than to the image itself.

It’s non-destructive adjustments.

Right on the front of the panel on the lower half are Presets that allow the instant selection of a possible answer with a repeatability that is locked in. As you saw above, the first Presets are all Levels Presets, and there are more available than just those that I am showing here.
Following the Levels Presets we have a series of Curves Presets that allow predictable repeatability.

Below the Curves Presets are
Exposure Presets in whole numbers.

Hue/Saturation Presets follow the Exposure Presets. I find that the Sepia Preset is particularly useful.
The Black and White Presets allow a number of choices. Of these, the Infrared Preset gives a good infrared look with adjustments easily performed with the sliders that become available once Infrared is chosen.
Channel Mixer Presets gives a different approach to Black and White Infrared with adjustable sliders to fine tune the results. The effects of blue and green filters can be produced. Remember, a filter lightens its own color and darkens its compliment.
Now, before we get to far along, let’s look at how we get back to the main panel. Look at the bottom of the particular adjustment you are using. A series of symbols allow you to (1) Return to the main Adjustment area, (2) Minimize the overall Adjustment panel, (3) switch back to the unmodified image permanently, (4) View the image before the adjustment, (5) Remove the adjustment, and (5) have available the trash can to delete layer masks or the adjustment layer itself..

Activating the Brightness/Contrast icon allows us to access the slider bars for each adjustment.

Having looked at the Presets, now let’s look at the adjustable choices that are defined by a series of symbols at the top of the frame.

As you mouse over each of the symbols, the appropriate title for the symbol appears at the upper left just under where I have indicated.

The second Adjustment Icon brings us to the Levels Adjustment.

Selecting the Levels Icon brings us to a conventional Levels toolset; just remember it is on an Adjustment Layer and it is a non-destructive Adjustment.

Curves Adjustments are one of the most used tools in the photographers’ toolbox, and while Preset curves are useful for repeatability, almost every image requires a unique set of adjustments.

By clicking on the finger icon on the upper left side, and then moving to the actual image and stroking upward in an area where you would like to lighten the tone, or stroking downward where you would like to darken a tone, it is possible to apply the curves adjustment directly on the image instead of guessing where the tone to be adjusted is to be found on the tone curve.

The next adjustment available is the Exposure adjustment. This resembles the adjustment possible when using a RAW image and allows you to adjust the exposure after the image is made.

After triggering the Exposure Adjustment you will be presented with this window. This is where you will be allowed to adjust Exposure, Offset, and Gamma within the image.

 

The Vibrance, or as I like to call it, the "punch or crispness" of the image is accessed from the first icon on the second row.

Vibrance is coupled with Saturation and the two together make it possible to increase the crispness of an image considerably.

The Hue and Saturation menu allows access to Hue, Saturation, and Lightness & Darkness controls.

It is also possible to Colorize an image from this menu and this is an easy way to produce an image with the look of a Cyanotype or Sepia-toned image.

Color Balance provides adjustments to color balance in Shadows, Midtowns, or Highlights

 

Choosing to shift the image into a Black and White image is simply done by clicking on the Black and White diagonally-opposed triangles in the next menu icon.

This allows the tones within the original colors in the Black and White image to be adjusted. Green leaves for instance can be made lighter or darker, blue sky can be lightened or darkened and other intermediate colors can likewise be adjusted in the Black and White tonal scale.

Photo Filter: Applying color filters such as warming or cooling filters allow the original image to be treated like film where filters such as the 81, LBA, or 85 can be applied for warming, and the 80, LBB, and 82 can be applied for cooling. A number of other color filters (fourteen to be exact) can be used to produce special effect. A repeatable Sepia tone is one of the available choices.

In addition to choosing the density of a pre-determined filter (such as a Warming 85) it is possible to use that as a base color and increase the density of that color with the slider bar.

The Channel Mixer adjustment should be no stranger to anyone who used that technique to produce Black and White images in any of the previous versions of Photoshop.

In addition to choosing Monochrome to produce a Black and White image, the tones within the image can be adjusted by lightening or darkening any particular color as it appears in the original color image. This is one of the easier methods of crisping a monochrome image where the intensities of reds and greens approximate one another such as in the traditional problem of the red apple amid green leaves when the image is converted to Black and White.

Like its name indicates, Invert reverses the colors and produces a negative image of the subject.

Invert is a one trick pony, that is all it does. There are no adjustments or modifications available to this adjustment.

 

The ability to Posterize an image by sub-dividing it into steps allows adjustments from 2 to 255 steps.

However, after 10-12 steps the image becomes a continuous tone image for all practical purposes.

The next adjustment is Threshold which among its many uses is to create Line Drawing effects.

Slider adjustment on the histogram allows you to determine the break point you want to use to create your line effect.

The next to last adjustment that you have to choose from is the Gradient Map.

The Gradient Map gives access to fifteen choices.

For example, choosing the Black to White gradient converts a color image into a high-contrast black and white image with considerable "snap" to the images. Experimentation will produce a number of special effects.

The final choice of adjustment is the Selective Color adjustment icon.

With its slider bars on Cyan, Magenta, Yellow, and Black and the ability to choose to adjust within the Red, Yellow, Green, Cyan, Blue, Magenta, White, Neutrals, and Blacks, considerable subtle adjustments are possible on the base image.

 

This has been a quick overview of the new Adjustment Menus in Photoshop CS4.

Remember that these are fundamentally the same adjustments that are available from the Image > Adjust menu in previous versions of Photoshop and are still available from the same menu choices in CS4— except when accessed from the adjustments panel, all these adjustments are automatically applied to an adjustment layer.

It is this distinction that allows the operator to skip the two steps of creating an Adjustment Layer and allows the automatic creating of non-destructive results. This, I think, is a major improvement in CS4, and seems to be the most admired everyday use set of tools in the new Photoshop CS4. While there are other "oh wow!" things that can be done with the new CS4, (and I will cover them in other tutorials), this appears to be the most appreciated of the new changes in Photoshop CS4.

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Featured Illustrator Panels & Gutters & Zip Ribbons Software Tutorials

Getting Started in Adobe Illustrator’s Livetrace

One gazillion years ago (I call it 1989) I used a rather nifty application called Adobe Streamline.  It had the ability to convert pixel-based bitmapped images into a vector graphic image.

But why would you need that?  It is due to the adage of while you can shrink a low-res image, you can’t enlarge it.  That’s because a bitmapped image is made up of pixels.  Blowing them up only creates larger pixel areas creating that all-too-familiar crappy Youtube video look.  With vector graphics an image is drawn through points and calculated lines.  I like to tell my classes that it is like the computer is drawing with math by playing connect-the-dots.  The downside to vector graphics is that if an image is too complex, this creates more and more areas which become clunky for the computer to redraw.  Simplistically, if it’s complicated image and you want photographic detail it is best to go with bitmap.  For images which are simpler in terms of line and color such as type, web graphics, or logos then vector-based artwork is usually the way to go.  With programs such as Illustrator, you could always export to bitmap.  With Adobe Streamline, you could take an image and convert it to a vector-graphic.  It was clunky, and the interface sometimes left much to be desired, but it did the job.  Unfortunately, it dropped off my personal radar around the mid-90s, although it’s last incarnation was 4.0 released back in 1997.  Around Adobe CS2’s release, a function in Illustrator called Livetrace turned up.  It turned out to be the same functionality of Streamline, but in a much more elegant execution.

Let’s say you want to make a logo that you just placed into Illustrator out of this stock photo for your studio "Baker Street Design."  You want the image simplified for use in black & white, grayscale, and color.  Right now in its bitmapped form it would be tedious to go in and redraw and recolor it only to have something that would be as equally tedious to re-size without it aliasing all over the place.  But, it’s got the basic elements and look you want.

Here I’ve brought the image in Illustrator CS4 (although the commands and look are basically the same in CS 2 & 3.)  It is a good strong contrast image to start with.  I select the image and hit "Livetrace" at the top: 

 

Below left is the original image, and below right is one with the default settings which is a "Simple Trace." 

It’s not quite the look I’m going for, so I go to the Livetrace options menu in the top left area of the menu bar at the top.   I select "Photo Low Fidelity" which knocks it into what looks like a posterized image in Photoshop: 

 

Right now there are still too many colors.  So I adjust the Threshold slider to reduce the amount of colors to taste. 

 

Here, after some experimentation, I knocked it down to 11 colors.

However, I don’t like the color of the lamp glass, and would like to play with it.  I select the image and then hit "LivePaint" at the top. 

As you can see, there are a lot of areas of color shapes, including the background.  All the individual color areas now have been converted into a vector shape which can be painted with the LivePaint Paint bucket tool in the toolbar menu.  I select a bright yellow for the color version of our logo and paint the glass areas.  Notice the red line which indicates the vector shape you are painting.

tip:  It’s worth your while to examine your image zoomed in to make sure you do not miss a tiny vectorized area.

So, it is looking pretty good, but ideally we would like just the lamp and not have this big off-white area around it getting in the way of our future logo plans. 

To do this, select the white arrow tool from the toolbar.  This allows you to select points and areas instead of the entire piece.  I draw around the spots I want to eliminate and hit delete, careful not to hit any areas that I want to keep.  To check your work, hit the black arrow selection tool and select your piece to find areas where you may have missed.  You may have to go back and forth several times. 

 

Voila!  After cleanup you have a finished vectorized graphic which you can further manipulate in Illustrator and/or recolor as needed with LivePaint.