Testimonial
Thom Jay
Graphic Design Alumni
IADT- Tampa
Standing atop the modest mountain of my achievements, I’m now afforded the luxury of being able to look back at all of the hard work that brought me to this place and the decisions that shaped my journey. Beginnings can be born out of the most pristine marble or beaten from an ugly lump of ore; mine was the latter.
After working for the same company for nearly eleven years, I suddenly became another regrettable statistic of the economic recession. Those years of hard work provided me with extensive experience and skills for a job that was no longer needed in a dying industry. At age 45, I found myself at the doors of the International Academy of Design and Technology- Tampa with the intent of training for a new career in graphic design. My life was at a crossroads.
Though not my only option, IADT proved to be the best of my choices. During my course studies, I rediscovered my creative side and reinvigorated artistic talents that had lain dormant since my days in high school. I flourished, but I soon reached another crossroads—my internship. I already knew the path on which I would embark, and so, I chose ARTISTIK Magazine because of the prestige and notoriety already associated with it and the overwhelmingly positive reviews I had received from previous internees. Luckily for me, the editor accepted my decision and took me on.
This was a colossal endeavor for me, as it was the first time I would be expected to utilize all of my graphic design training at once for a nationally recognized publication. It wasn’t an educational project to demonstrate proficiency in a small collection of skills, but a career-level job where a high standard of production quality was already in place.
The quality of a fine steel blade is determined by both the subtle combination of iron and carbon, and the skill with which it’s worked over an anvil. From my very first day, I was thrust hip-deep into the churning waters of magazine design and layout. Projects were assigned, deadlines chiseled and the various sections of the publication doled out like raw steel from a furnace. The training I received during my internship built a strong foundation for the technical requirements of the layout process, but it was still incumbent upon me to provide the creativity and design for each article, feature and spread. I was encouraged, critiqued and guided through my labors to ensure that I generated my best work, no half measures were allowed. There are some roads that will lead you up mountains.
Now as a distinguished graduate of IADT, I look back on my time at ARTISTIK Magazine as being immensely influential of the designer I have become. I gained so much in terms of real-world experience, design aesthetic and commitment to an exquisite final product. My internship at ARTISTIK was no small feat, but I can’t imagine a greater opportunity to capitalize on all that I have been taught. Having the editor always available to mine for tricks and techniques made the experience all the better.
While working at ARTISTIK Magazine, I marveled that there was never a point where I was treated like a neophyte. My input was always sought whether for the layout of a page, the choice of images in a spread or the design approach to a feature. I stood on equal ground, helping to create the magazine by each pixel and page. To achieve this level of contribution outside the doors of ARTISTIK, I imagine I would have to toil for several years at a national publication, maybe more. I was asked not only to lay out the individual pages, but to create advertisements and an illustration for a featured article. As a result of my work during my internship, the editor has requested more illustration work from me for upcoming issues.
Now I can open my portfolio and proudly display my work in several issues of a nationally recognized magazine devoted to art and design. Published work, especially when it appears in a publication of such quality, will never fail to impress a prospective employer and will only serve to enhance your credibility as a professional graphic designer. From my humble beginnings and entrance into IADT, I emerged greater than the sum of my parts thanks in part to my time at ARTISTIK Magazine.
To see a sample of Thom Jay’s work, click on the image below:
IMAGINE the Possibilities
IADT- Chicago utilizes multiple majors during the 2011 IMAGINE Fashion Show production.
Words by Cathryn Piccirillo
Photography by Daniel Tomei, Tutto Bene Photography
Lucky. Excited. Giddy. Anxious. Relief. These are the adjectives five IMAGINE contributors from the International Academy of Design and Technology- Chicago used to describe their fashion show experience. This year, IADT- Chicago chose to include multiple majors during the inception of their show. Students from the Fashion Design, Merchandise Management, Interior Design, Visual Communication and Game Design divisions came together to network and produce a memorable event held on May 19th, 2011 at the UIC Forum Stage.
Sophomore Interior Design student, Christopher Wilson never anticipated being involved in IMAGINE when he began his educational experience. However, Wilson’s space planning class was enlisted to organize the seating forum and entrance areas. “In previous years, the class designed the stage,” Wilson said. “However, this year we spent extensive time studying not only how to make a space attractive, but also safe.” The 15 students were broken into two groups and focused on these two various locations. “I worked on the seating. Originally, the faculty hoped to include 1,000 seats, but the magic number ended up being 675. This allowed a good view for everyone attending while meeting safety standards.” During certain points in the planning process, Wilson was skeptical regarding the classes’ progress. “Everybody wanted to jump forward and be a leader,” he said. “But, when you’re working in a group, you have to keep your ego in check. You have to remember to consult with the committee. A strong person will have ideas, but a wise one can recognize the good ideas of others.” Overall, despite these small creative disputes, Wilson greatly appreciated the IMAGINE experience. “It’s a chance to put the rubber to the road,” Wilson said. “You have live clients, live measurements and live deadlines. It’s truly a campus wide showcase that’s thrilling to be a part of.”
Much like Wilson, Game Design senior, now Alumni, Jae Lester originally thought a fashion show was outside his area of expertise. “Being a Game Design major, the IMAGINE show was slightly out of my field,” Lester confessed. “However, I was able to work with producers and other designers to create pieces that matched the style developed with the show’s staff.” In 2009, Lester worked as a media specialist for IMAGINE. His “vested interest in motion graphics” prompted organizers to ask Lester to participate in creating graphics displayed during the show. “I was able to employ the services of video and animation alums to help me with production. They assisted with the 2D animation elements while I focused on 3D.” Lester encourages other IADT campuses to improve upon the model the Chicago campus has made. “A good way to create excitement towards the show is to involve more students in its planning and execution,” Lester said. “I don’t know to what extent that’s currently being sought, but it’s definitely worth investing time in.”
The IMAGINE show is amazing and every fashion student needs to experience it.”
Since her first day at IADT- Chicago, senior Fashion Design major Jasmine Mitchell was eager to participate in the show. “The IMAGINE show is amazing and every fashion student needs to experience it,” Mitchell said. “You get a chance to see what fellow classmates have created and see real models work it on the runway.” Out of ten garments submitted during the jury show, seven of Mitchell’s walked. A number of valuable lessons resulted from her experience. “Meeting deadlines is crucial in the fashion industry,” she revealed. “If you’re late turning in sketches or patterns or even a garment, it could cost you your job. In order to be successful, you have to be on time.” However, Mitchell’s contributions went far beyond her seven designs. She worked with IADT alumnus and Fashion Show Production instructor, Travis Reed, to collect sketches and garments and organize them alphabetically by the designer’s last name. She described the prep work as “a way to prepare yourself creatively. You get to see the designs that made it in the show that year and use them as a way to push yourself harder so your designs become better.”
It’s apparent that deadlines play an imperative part in the production process. Visual Communications student, Lauren Fezy, experienced them while creating the tickets, show signage, seat tags and assisting with the programs. “IMAGINE is one of the most practical projects a student can undergo,” Fezy replied. “It’s the most important job I’ve had thus far. You learn things daily. Mostly, you learn how to think quickly. As soon as you start, the process is in full swing. And since it’s the first time my work was really showcased, I wanted to do more than what was expected of me.” Fezy got the opportunity to participate after her major’s chair, Ron Wade, recommended her and Reed reviewed her portfolio. She would love to see other campuses utilize their student resources. “It’s an excellent opportunity for different majors to network,” Fezy said. “Other IADT campuses should create a suggestion box asking what students can contribute. I would tell them, why not? It would benefit everyone.”
Merchandise Management junior, Bethany Kihn, also learned a number of critical lessons while assisting Reed during the show’s preparation. While the program offers an IMAGINE class, Kihn served as Reed’s personal assistant and was therefore present for all the intimate show details from getting sponsors to model castings, the jury show, fittings and the show setup. “Going in, Travis knew he wanted someone who would be around for multiple shows,” Kihn explained. “I learned so much this year. I’m excited to help with two or three more! I learned how focused you have to be. You learn to be quick, but thorough. And probably most importantly, you learn to problem-solve.” Given the quality teachers Kihn had (i.e., Reed plus Lisa Marie, a previous Elite Model and another IADT alum), her educational experience was inevitable. She defines the experience as a surreal mixture of reality shows such as Project Runway and America’s Next Top Model. “At the end of the show, I cried,” Kihn said. “We had a drum line come down the aisle and I remember thinking, all the sleep loss was worth it because I was watching something great.”
ADOBE PHOTOSHOP CS5: 3D Type Using Repoussé
By Jorge Diaz
While Photoshop is not a 3D specific software application, the developers have now equipped designers with basic 3D functions that can be implemented in just a few steps. In this tutorial, we will explore the brand new Repoussé feature to create some realistic 3D text effects for a desktop background. A word to the wise – the Repoussé feature requires a bit of finesse when first using the tools. Keep in mind that as you work through this tutorial, the more you practice with it and understand its functions, the quicker and more proficient you will be. This technique can only be achieved using Photoshop CS5 Extended, so you’ll need to download a free trial from www.adobe.com to follow along.
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First, we need an image with which to work. I have chosen a visually interesting shot of the side of a glass building as a starting point. Image selection is important as the image is what will dictate the placement of the text.
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Once the file is open, I will choose my text tool and type using the Horizontal Type Tool. The text in this instance is “artistik”, but you can use whatever text you choose based on the concept for your piece.
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After the text has been proofed for any grammatical errors we will begin to apply the effect. The floating text effect can be achieved by accessing the 3D menu on the top of the screen and choosing Repoussé > Text Layer in the drop-down menu. This will prompt a warning that the text must be rasterized before continuing. Just click OK to access the Repoussé window and begin to manipulate the text.
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Now, let’s go over our options. On the top left of the dialogue box, you will find Repoussé shape presets. These are all pre-built, 3D extrusions within Photoshop. To apply one of these, simply click on the one you want to try and a preview will appear on your screen. In the next steps, we will discuss how to manipulate the stock settings.
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The next major option is on the top right side of the dialogue box labeled “Materials”. This section will let you choose from various preloaded materials and apply textures to your 3D text. More textures can be found online and loaded pretty quickly.
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As for the remainder of the options, you can adjust the bevel in the “Bevel” section and the amount of depth in the “Extrude” panel. You can further adjust the 3D effect by manipulating the inflate subsection and alter lighting in the “Scene settings” section. Once you have obtained the desired effect, you can change the view settings by clicking on the icon that looks like an eye with a grid next to it. This will activate the 3D Ground Plane and 3D Light once the grid appears. You can apply the effect by clicking “OK”.”
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Once applied, you will notice that the layers pallet has an active 3D layer that can be manipulated. To get the text to look like it is floating, we will have to alter the ground plane – the grid that appears in perspective. Our goal is to match the ground plane to the angle and perspective of the building. Highlight your text in your “Scene” tab and choose the Camera Rotate Tool on the bottom of the panel. Once you have chosen the tool, you can simply rotate the grid and match it to the image by clicking and dragging.
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Next, you will have to rotate the text. Right on top of the Camera Rotate Tool you will find the Object Rotate Tool. You can use this tool to rotate your text to match the ground plane. You can also “roll the object” by using the designated tools found in the “Camera Rotate” section.
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Now to cast the shadow. To achieve this we will have to first activate some settings. Go to the 3D menu at the top of the screen and activate “Ground Plane Shadow Catcher”. You will get a warning, but just click OK. Now we will change our render settings. In the 3D panel, select the “scene” and in the bottom of the sub section where it says “Quality”, change that to “Ray Traced Draft”. This will give you a better rendering of the letters and cast a shadow on your image.
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Last but not least, we can manipulate the shadow by moving our light sources. In your 3D Panel, select the “Light Rotate Tool” and click on the image. You will see that the light will move, allowing you to adjust your shadows as needed.
CONCLUSION
As you can see, these new tools allow designers that are not fluent in the 3D space to bring their work to a whole new level and create some pretty impressive effects with ease. This technique can be applied to much more than text and in a variety of different ways. So, experiment with your own original vector objects, logos and even raster-based shapes and have some fun getting to know this great new feature in Photoshop CS5 Extended.
Talk Back
“What does it take to get a good job? What if I’m not sure what type of job I want? Can I, or should I consider working for myself?” As a rising, creative professional, you’re likely to ask yourself many questions. Sometimes it’s tough to know where to go for answers. As both a seasoned instructor in a design college and a professional in the industry who keeps her ear to the ground,
I’ll do my best to provide you with the straight scoop when it comes to this crazy, yet fulfilling world of design.
For this edition, I’ve chosen to respond to a question from a student from IADT- Online. She asks:
“Do you think Twitter is a good way to promote yourself and your design work?”
I would give the answer as a resounding YES! Twitter, one of the most popular forms of social networking, uses a form of microblogging. Basically, you have 140 characters in which to answer the question, “What’s happening?” There’s a lot that you can say in 140 characters about what’s happening for you professionally. A professional account on Twitter is an amazing way to leverage social media to help build a brand for yourself, network, and pick up useful help and tips along the way.
My suggestions for building your network begin with interacting. You don’t want to be posting only about yourself. Ask others questions, give support, make friends, and offer help. You can create a good network community by becoming a part of that community. Remember, you are building relationships, not just bragging about yourself. Secondly, use Twitter to drive traffic to your website and work. When you are working on a new project, tell people about it, post examples, and get feedback from your fellow professionals. When you post new work on your site, tweet a link and ask for opinions and feedback. Post technical questions and let people know what you are doing professionally. It helps to create a presence for you. By doing so, you help people to know who you are, and what you are up to. It keeps you in the eye of your fellow professionals. You can create a strong brand as a friendly, helpful, and good designer. You will be one of the people who they contact if they need work, or know someone who does.
Some tips on setting up a professional Twitter account begin with making sure you write a strong biography. You only have 160 characters (yes, a whole 20 more) to make your point so be concise and use keywords that describe who you are. You don’t have to be dry, but be clear. My current profile says, “Full-time Faculty at Keiser University, Adjunct Online Instructor for IADT, Freelance Illustrator/Designer, Instructional Technologist. All-around Groovy Chick.” Yes, I use a touch of humor, but I am careful to include the important words that clearly describe who I am as a professional. Secondly, you’ll want to create a custom Twitter background that fits your brand. You can use your logo, catch phrase, graphics and contact information, but design it to fit the specs of your Twitter page. A quick Google search can help you find template samples to work with for a Twitter page layout. Consider your avatar carefully. A clean, accurate picture of yourself is one good option and makes it easier for people to begin recognizing you at networking events and interviews. Another option is to use your logo, which helps push your branding. A professional Twitter account is not the place to use a picture of your dog or baby as your avatar. Save that for a separate, personal account. Also, make sure you include a link to your most used networking option, whether a portfolio website, LinkedIn account, or something else such as your company’s website if you are already employed. Lastly, be smart about who you choose to follow. Most major Design and marketing organizations have Twitter accounts, as well as most of the major trade magazines. Many of the companies you might be interested in working for probably have some sort of social networking, including Twitter. As you get to know local fellow professionals in your area, follow them as well.
One final word, be careful what you post. This is a public forum, and the things you say on it will be seen by many and possibly even forwarded to others. Complaining about your boss reflects badly upon you at best, and could get you fired at worst. Try to maintain an upbeat, friendly, and professional persona. Always remember that this is one of the tools for getting you work, but it could just as easily have the opposite effect if you are viewed on Twitter by others as negative, unpleasant, egotistical, or unprofess ional. Try following these basic guidelines and in time you will be a part of a robust and useful community that will help you to further your brand, learn new things, and with some persistence and work, lead you towards opportunities to further your career.
CINEMA 4D:
Create Dynamic Soft Bodies
Words by Scott Nolfi
Dynamics is an area of 3D animation that deals with the interaction of objects and forces. Instead of manually animating items and their attributes over time, referred to as key framing, dynamics allows us to set up the starting point and simulate the rest. While this limits our ability to get stylized motions, it can be much faster and very useful when trying to represent realistic phenomena. Dynamic simulations are used often in films, games and commercials. Smoke, fire, rain, explosions and many other effects utilize simulations to create stunning animations. With a little help, you can create your own dynamic “sims” in no time.
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If you’re brand new to 3D, it is a good idea to familiarize yourself with the program and have a basic grasp of the workflow. This will help you to understand how all the different processes go together. The reference videos in the Cinema 4D help section are ideal for this. Take a quick look at those, and then jump back into the tutorial.
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A startup scene has been provided with some basic items created for you. Our ShotCam is the camera from which we’ll do our final render, the bowl will catch all of our Jell-O pieces and the HDRI sphere will help to light our scene.
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We will add some objects to our scene. I’m using a basic cube in this example, but feel free to add any of the primitive objects. Once in the scene, we’ll use the Move tool to position it above the bowl and the scale tool to size it. I’m also changing the Segments in X, Y and Z to 10. We’ll need this for our cube to deform.
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To make the objects interact and respond to forces and collisions, we will give them Dynamics tags. Select the cube and apply a Soft Body tag. This tag is suitable for objects that deform on impact, like water balloons or Jell-O. After you apply a tag, you’ll see it show up in the Object Manager next to the object.
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With the bowl selected, add a Collider tag. This is used on objects that you want to be a part of a simulation, but not to be moved by other objects. In our case, it is unlikely that Jell-O would be strong enough to move the bowl so we’re safe to use a Collider tag.
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For proper simulation playback, we need to make sure that Cinema 4D is calculating every frame. Check that your playback is set to All Frames and then press the play button.
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You should now see your cube fall and collide with the bowl. Upon collision, you should also notice the cube deforms. By default, the playback will only update in the active viewport (the one with the white outline). Oddly, it will appear as though the cube is hitting an invisible lid on the bowl.
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In the bowl’s dynamics tag, we just need to change the Shape to Static Mesh. This will help to evaluate all surfaces of the bowl instead of just having it shrink wrapped like before. If all goes well, our cube should now be hitting the bottom of the bowl.
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We’ll now adjust the settings of the cube’s Soft Body attributes. The help documents go in-depth as to what each value does. You may want to use my settings as a starting point and then experiment with other values that you may discover from there.
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Now that we have a working simulation, we’ll duplicate our cube a few times by using Ctrl+LMB (Cmd+LMB) and dragging down its name in the Object Manager.
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Move and rotate the cubes so that we have some variety in their starting positions. At the beginning of this process, make sure that you do not have any of them overlapping each other.
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Due to the number of collisions happening, the scene will not play back at a usable speed. We’ll need to cache our cubes which will process the simulation, save that information and allow our playback to play better. To do this, select all of your cube’s Dynamics tags (hold Shift) and select Bake.
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Once a simulation is baked, it no longer calculates on the fly. If you make changes to any of your dynamics settings, you’ll need to remember to come back to these tags and select Clear Cache. Play your simulation and make any adjustments you think are needed.
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With our simulation complete, it is time to add materials. Cinema 4D ships with a decent amount of presets that you can use to get you started while you’re learning. In this example, I created a number of different materials.
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Just like objects, materials can also be duplicated. I made a number of copies and changed each one’s settings. To apply the material, drag it onto the object in the viewport or onto its label in the Object Manager.
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We’re now ready to render. I’ll switch to my ShotCam and move around to get a good view.
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Now we will adjust our render settings. Ctrl+B (Cmd+B) will bring up your Render Settings window. We’ll first set the output (which controls the size of our rendered image) and whether we’re rendering a single frame or a sequence.
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Then, we’ll set the location and name of the image that is rendered. Pick a location and file name that you’ll remember.
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Adjust the anti-aliasing settings to the ones shown. This will help to smooth out jagged edges. If you’re rendering an animation, change the Filter to match.
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Finally, activate Global Illumination by clicking on Effect > Global Illumination. For a still image, Sky Sampler works fairly well. If you’re rendering an animation, you’ll likely need to change to IR+QMC (Full Animation). When everything is set, hit Shift+R to admire your animation and newly acquired skills.
CONCLUSION
Now that you have seen the basics of what dynamic simulations can do, start experimenting for yourself. Any rigid or soft body can be simulated like this example. Try it with a set of billiard balls, rocks during a landslide or water balloons rolling down the stairs – the only limit is your creativity.
Click the video below to view the finished animation.
Create Your Own Font
By James Greenwood, Jr.
Why should you create a font from scratch? Well, if you plan on having consistency within a layout or design, then having a confirmed set of graphemes (glyphs, or individual elements, that make up a letter, number, punctuation mark, or symbol) is crucial. Having an inconsistent, 19th century circus poster layout will show an either purposeful playfulness or (unfortunately more often) a careless disregard of good aesthetics and common rules of design.
What is a Font?
A font is a series of letters, numbers, punctuation marks, symbols, etcetera, in one size (like 12 point) of a particular typeface. Commonly, someone will say, “I like that font!” when they see interesting text; however, what they really mean is the typeface (just as everyone’s face has distinctive traits). I am not here to bore you with specific terminology. Every iota of written and printed type can be broken down into specifics. Typography is often unappreciated and that is its intention. It is not meant to overpower the image, which is usually the eye-grabbing aesthetics in an advertisement. Its power is to accompany the image like a fine trim while delivering the informative content that strives to sell the viewer of a particular product or service. A designer’s choice of font is very important: Would a Gothic black lettering properly promote a children’s day care center? On the other hand, would that same font be appropriate to promote an insurance company for Harley Davidson riders?
Designing a Font.
Designing a font can be both fun and demanding. You want the letters you create to have uniformity to them. You do not want the capital letters clashing with the lowercase letters, nor do you want the sizes to seem off. First, decide what type of a font you would want to create. Do you want a manuscript-styled font? If so, you could scan pages of your handwriting, cherry pick out the best examples, scan them, vector trace them (using a vector illustration program such as Adobe Illustrator), and then import them into a font creation program (like High-Logic’s FontCreator–http://www.high-logic.com/fontcreator.html). On the other hand, you might want to create a “wingding” type font that consists of purely images. The sky is the limit. I created one for this article called “Old Volks Home.” Being a vintage VW enthusiast, I thought it would be fun to create an air-cooled, vehicle themed font. Here are some examples of some elements from the font:
Knowing What Software to Use and the Constraints Involved.
First and foremost, if you are going to create a font, then think monochrome. Are you colorblind? You are actually at an advantage! There are a scant few multicolor fonts; however the overwhelming majorities are black and white. If you wish to use your font in a Microsoft Word document or Adobe product, then I would suggest that you make your font an IBM PC TrueType font (.ttf). PC TrueType fonts can be used on a Mac (and a PC); however, Mac TrueType fonts are not as cross platform compatible. The future seems to be going towards OpenType fonts (a scalable format built upon TrueType). You should have clean paper, pencils/pens, a scanner, and a program to resize and manipulate your letters. A good beginning program is High-Logic’s Scanahand. You print out a sheet with a series of boxes, draw your graphemes within those boxes, scan it back into your computer when finished, and the software composes the letters for you!
At $59 for the standard edition, it is a great way to break into the realm of becoming a typographer. The premium version is only $40 more. However, their other program, FontCreator, is probably a better deal if you were going to go that route ($79 for the home version). You could also vector trace and adjust every letter in Adobe Illustrator or Corel Draw and then transfer them into a program like FontCreator by simply selecting the vectored element, copying it, and then pasting it into the program via good old copy and paste shortcuts (CTRL+C & CTRL+V for a PC, CMD+C & CMD+V for a Mac). The letter, symbol/mark, or number can then be altered within the font creating program. Also, that would be the time to adjust the kerning (space between two elements), tracking (horizontal spacing between overall letters), and leading (the vertical spacing between elements).
What about Other Software?
You are in luck! There is lots of software available. Are you a Mac user? Download Font Constructor! It is free, easy to use, and was created for beginners. Check it out in action here: www.fontconstructor.com/screenmovie. This is a must download for Mac users. For open source aficionados, there is FontForge (available for Windows, Mac, and Linux). It is very advanced for freeware, but due to the heavy involvement, the learning curve is a bit more than Scanahand or Font Constructor. It does have a lovely price (free) and is a wonderful font converter! Check it out here: www.fontforge.sourceforge.net.
Lastly, if you do not wish to download and install software, but still wish to break the typographic ice, then go to Fontstruct www.fontstruct.com) and build a font online! You create a font using simple shapes (like LEGO® blocks). You can save your creation after creating a free account (just a username and password). You don’t even need a storage device! Also, Fontstruct runs in your browser meaning that it is both Mac & PC friendly.
Check out James Greenwood’s fonts online:
www.dafont.com/james-greenwood.d1690
ADOBE PHOTOSHOP CS5
Intricate Selections in a Snap!
By Jorge Diaz
If you have worked with Photoshop previously, you know selections can make or break your artwork. Usually the better the selection is, the more convincing the final product will be. If you think about it, bad selections are all around us – from the infamous white halo around objects and people to missing sections of hair to just cropping too much into image, these just ruin the effect. Photoshop CS5 has made our lives a whole lot easier with the advancement of the Refine Edge tool. In this tutorial, we will focus on the ins and outs of the Refine Edge tools and use it to cut a model out of one image and paste her into another. IADT- Tampa Professional Photography alumna, Carol Plymill, shot the image used in this tutorial.
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The first thing we will have to do is make a rough selection around the image of the model. To do this, you can use any one of the selection tools available to you. For this image, I will be using the Quick Selection tool.
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While the selection is still active, click on the Refine Edge button located on the top of the screen or go to Select>Refine Edge. This will prompt Photoshop to open a separate window which holds all of the Refine Edge functions. In this box, you will notice that some of the tools reflect the prior version of Refine Edge, but some are brand new such as Edge Detection and Decontaminate Colors.
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At the top of the panel, you will notice there is a View Mode. With this drop down, you will be able to change the way you view your selection. For this image, I will be using the On Black command, but you can cycle through them and find one with which you feel most comfortable.
The next feature is the Edge Detection. Before you begin to move the slider, remember to check the Smart Radius check box. This is a new feature and will help make the selection even more accurate, giving you a better end result.
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As you move the Radius slider, you will notice that the program is actually modifying the selection to give you a more accurate view. This is all well and good, but you will notice that the hair is not fully selected and the edges look a bit rough. To fix this common problem, Photoshop has implemented two different brushes: the Refine Radius tool and the Erase Refinements tool. To use these tools, simply click on the icon next to Edge Detection and “paint” along the edge of the hairline. After a bit of processing, you will notice the individual fly-away hairs are selected and the background was left alone.
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Now that the selection has been defined and refined, you might run into some problems with color contamination. This is where the colors from around the subject bleed onto the subject giving them a color cast around the edges. Rather than using the Shift Edge slider, Adobe has added the Decontaminate Colors check box and Amount slider found in the Output section. You won’t be able to use this function on the original image, so you’ll need to change the Output To drop down to any active option. In this instance, I will choose New Layer with Layer Mask and click ok to apply.
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Next, we need to find the exact complementary color to the color we have chosen. While this may sound like a daunting task, it’s a lot less complicated than it sounds using Photoshop. We don’t want to alter the background layer, so add a new adjustment layer. The adjustment we are going to use is “Solid Color.”
Conclusion
As we can see from this tutorial, the new capabilities of the Refine Edge tool can benefit any Photoshop enthusiast from beginner to advanced users. Utilized properly, there should be a dramatic increase in productivity and most importantly the quality of the final product will be much higher.
On The Cover
Kory Stokes, Designer and Graphic Design student at the International Academy of Design and Technology- Chicago, created this issue’s cover. The concept for the cover is to show the true beauty in type, and illustrate how typography is art. Whether it’s creating an image from type, playing with “swooshes” and serifs or just plain typesetting, typography is an art form in itself.
During the conceptual process in designing the cover, Kory found inspiration for the composition of the type by playing with powered sugar on an art board and researching typography as art form.
“A lot of people take type for granted, but not me,” Kory shares. “People don’t realize it but typography is ART. Typography can make or break any design piece, so it’s best to treat it with the upmost respect. I’ve seen so many designs where people choose to play around with beautiful fonts, its just as painful as stabbing yourself in the heart.”
Kory currently works as a designer at Quicksilver Associates, a production house in Chicago and looks forward to completing his Bachelor of Fine Arts Degree at IADT– Chicago in October 2011 with hopes of pursuing a Master’s Degree in Product Design. Earlier this year, Kory and his lovely wife Marissa had a beautiful baby boy named Barret Teagan Stokes and he couldn’t be happier. With school, a new full-time job and a brand new baby, Kory is as busy as ever and wouldn’t have it any other way.
Testimonial
Olivia Scott
Graphic Design Student
IADT- Tampa
When I first began at the International Academy of Design & Technology- Tampa, I was excited yet nervous at the idea of completing an internship for my degree. The general consensus was that interns are the bottom of the barrel, left to do mundane tasks such as making copies, filing, coffee runs, and the occasional Photoshop or Illustrator project. This was not my ideal scenario for an introduction into the real world of the design industry.
Luckily, the strenuous schedule of classes and homework overshadowed that stress until I was introduced to ARTISTIK Magazine. From then on, my worries were completely alleviated. Fellow designer and student, David Barona shared his experiences and successes in being an intern and having the opportunity to design for the Summer 2010 issue. The idea of my being published as an intern was unimaginable to me, so I immediately jumped at the opportunity.
During the early part of the internship, I was given the chance to utilize my past experience in event planning to coordinate the first official launch party for ARTISTIK Magazine. Preparing and working this event proved to be one of the most influential and successful aspects of my career. It demonstrated my abilities and level of professionalism and awarded me the opportunity to host another event, with an invitation to join the Swanky Soirée committee that produces the annual fundraiser for Brookwood, Florida.
But I had only begun. Under the Editor’s direction, I learned an invaluable amount of information and insight into the planning, creation, and execution of a major publication. Plus, I had a stunning and reputable piece to add to my portfolio and resume. This proved incredibly profitable for me as I was recently approached by a prospective client to create, set-up, and execute a monthly publication. With this experience under my belt, I can honestly say I have the confidence and ability to deliver projects of this nature in my industry.
The associations, experience, information, and confidence I gained from the internship are priceless to me and I couldn’t be more grateful for the many accomplishments they have helped me achieve in my career. I would recommend the internship to any student looking to gain real-world knowledge, experience, and be a part of a national publication that will forever be portfolio-worthy.
On The Cover
This issue’s cover is a showcase of digital photography and graphic design/illustration. The concept for this cover was to merge elements of realism (photography) with those of fantasy (unusual makeup and digital illustration) to create an a Pulp Fiction/Avatar inspired piece, conveying a “Virtual Reality” theme. A collaborative effort between multiple artists and designers, the biggest challenge was to create a visually striking cover using fall textures, colors and unusual visual elements. The illustration seeks to make it difficult for the viewer to distiguish what is reality and what is fantasy (or what is real or digitally rendered). Original photograph by IADT- Tampa Alumna, Beatrice Vazquez, Photoshop retouching and illustration by IADT- Tampa faculty member, Jorge Diaz, make-up by Moraima Buonafede and hair styling by Heather Ehrhart.