Nurman Tarmizi: Februari 2015

Photoshop Creative Magazine Issue 122 2015

If you want to understand how Photoshop works and how to use it to create amazing images, you need Photoshop Creative. Each issue has 100 pages full of practical advice and inspiring tutorials to enable you to make the images you've always wanted. Want to improve your photos? Each issue has loads of image-editing tutorials that range from simple fixes through to more intense techniques. Want to flex your creativity? You'll find loads of ideas for how to transform your photos into something marvellous, whether it's a scrapbook, a photomontage or a piece of digital art. Now add in some tool guides, Photoshop Elements tutorials, interviews with amazing Photoshop artists, Q&A pages, product reviews and a free download of video training and other resources, and you can see why Photoshop Creative is the only resource you will ever need.

20 creative ways to use blend modes

Create a double-exposure portrait
- Mix photos, textures and colour with blend modes and masks

Paint with the Mixer Brush
- Practise painting a stunning landscape from a photo

Create glowing type
- Apply glow effects to typography for eye-catching text

Design a children’s illustration
- Use the Pen tool to create a fantasy-inspired piece of art

Also inside...
- Craft a sunken composition
- Learn to love the Liquify filter
- Get creative with selections and masks
- Stylise with gradients
- Edit your photos in DxO Optics Pro 8
- Conquer the Clone Stamp tool
- Build exciting Facebook cover photos
- Apply the bleach bypass effect
- Improve family photos
- Add colour effects with brushes
- Reviews: Samsung UD590 and CrazyTalk Animator 2 Pro
- Your Photoshop queries answered
- Interview with Bimartins Rodrigues

Magazine Detail :

Title : Photoshop Creative Magazine Issue 122 2015
Publisher : http://www.photoshopcreative.co.uk
Language : English
File Type : PDF
Jumlah Halaman : 100 Page
Besar file : 22,6 Mb
Download : Click Here
Pasword : blog-senirupa

COLOR STUDIES

COLORS OF A COMPLEMENTARY RELATIONSHIP.

Colors of a complementary relationship assigned equal proportion.

Complementary colors - dominant and subdominant

Colors reassigned with proportions allocated to dominant and subdominant areas.

Color intensity and proportion modified. Using tints and shades of the original colors results in a moderate level of contrast and medium value.

Colors applied to composition.

Color intensity and proportion modified - the whole area displays a moderately-high contrast and medium value.

Colors applied to composition.

COLORS OF A TRIAD RELATIONSHIP.

Colors of a triad relationship assigned equal proportion.

Colors reassigned with proportions allocated to dominant, subdominant, and accent areas.

Color intensity and saturation modified - the whole area displays a moderately-high contrast level.

Colors applied to composition.

Color intensity and saturation modified - the whole area displays a moderately low contrast level.

Colors applied to composition.

Color intensity and saturation modified - the whole area displays a medium/dark value.

Colors applied to composition.

Color intensity and saturation modified - the whole area displays a light value,

Colors applied to composition.

COLOR SHADE AND TINTS

Using a color wheel divided into various shades and tints is one method of identifying possible options for color schemes. The split complementary relationship shown in this example presents many possible combinations. By varying the saturation and experimenting with shades and tints within the hue relationship, you can achieve quite a variety of palette options. (Click on the wheel above to view a larger image.)

EXAMPLES

Moderately-high contrast, medium value, composition using fully saturated hues.

High contrast, medium value, composition using shades, tints & various saturation levels.

Moderately-low contrast, medium-light value, using tints & various saturation levels.

Moderate contrast, medium value, using shades, tints & various saturation levels.

Moderately-low contrast, medium-dark value, using shades & various saturation levels.

Low contrast, medium value, using shades, tints & various saturation levels.

Moderately-high contrast, medium value, using shades, tints & various saturation levels.

High contrast, light value, using shades, tints & various saturation levels.

CONTRAST & DOMINANCE

When creating a composition—either something freeform, or a more text based layout, a determination for the final impact of the whole presentation needs to be identified. Is your intent to craft a vibrant, attention grabbing ad, or a presentation with a low, or more moderate level of contrast? These decisions concern what is known as the dominant elements of the design.

The dominant element may be classified as either "contrast dominant" or "value dominant." Designs that evidence contrast dominance or value dominance are then sub-divided into low, moderate, and high contrast, or light, medium, and dark value categories. The choice of colors will enhance or minimize the overall impact.

It is easiest to understand the difference between dominant elements in the following compositions from a distance, or by squinting your eyes a bit. If the proximity between the neighboring hues is less apparent when you squint, the overall composition a displays lower contrast level; if the overall composition appears light, it has a light value. Conversely, if distinctions between hues are very apparent, the contrast is high, and if the overall composition appears dark, the value level is dark. Understanding how the relationships between the colors of a chosen palette will affect the final outcome of an overall composition is integral to mastering the use of color.

EXAMPLES OF CONTRAST DOMINANCE

In the examples below, the overall contrast level of a composition changes with the range of luminosity between chosen hues.

Low contrast
Low contrast compositions use colors within a narrow range of luminosity or brightness levels.

Moderate contrast
moderate contrast compositions use colors within a moderate range of luminosity or brightness levels.

High contrast
High contrast compositions colors range from very light (high-luminosity) to very dark (low luminosity).

EXAMPLES OF VALUE DOMINANCE

In the examples below, the overall value of each composition changes with the incorporated hues' relative saturation.

Light value
A composition made up of tints, displays an overall light value.

Medium value
A medium value composition is made up of a balance between tints, saturated hues, and shades.

Dark value
A dark value composition displays mostly shades.

PROPORTION & INTENSITY

When colors are juxtaposed, our eyes perceive a visual mix. This mix will differ depending on the proportions of allocated areas.

The color with the largest proportional area is the dominant color (the ground).
Smaller areas are subdominant colors.
Accent colors are those with a small relative area, but offer a contrast because of a variation in hue, intensity, or saturation (the figure).
Placing small areas of light color on a dark background, or a small area of dark on a light background will create an accent.
If large areas of a light hue are used, the whole area will appear light; conversely, if large areas of dark values are used, the whole area appears dark.
Alternating color by intensity rather than proportion will also change the perceived visual mix of color.