Unit 7 - Case Study/Tutorials


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Unit 7 - Case Study/Tutorials

  1. 1. Using the Pen Tool there are many ways in which we can create generative, s-curves in adobe photoshop. the easiest and most controllable is the PEN TOOL. the PEN TOOL in PHOTOSHOP creates what we call PATHS by way of ANCHOR POINTS. view the “cheat-sheet” below to see the parts of a PATH and how it is manipulated. The Pen Tool
  2. 2. “Generative Art 1” 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. NEW  10” x 10” 200 RES  BLACK BACKGROUND COLOR NEW BLANK LAYER Select a SOFT BRUSH about 20 or so and select WET EDGES from the BRUSH PROPERTIES, then change foreground color to WHITE Use the PEN TOOL to draw two ANCHOR POINTS (click once and then click somewhere else on the screen so that a line appears) – this is a PEN PATH Towards the bottom left corner, click and instead of clicking twice this time drag upwards – a PEN PATH will form with a central anchor point instead of a line segment Click on one end and BEND the PEN PATH to create a curve, then do the same thing with the other end  you will end up with a distorted spiral of sorts or some form of s-curve STROKE the path twice, then DELETE the PATH I needed to nudge my “swoosh” up from the corner a bit, if you need to  use the MOVE ARROW to do so FILTER  DISTORT  POLAR COORDINATES (Rect. to Polar) FILTER  REPEAT POLAR CORD. EDIT  TRANSFORM  FREE ROTATE, rotate the image so that the “tail” sticks up towards the right top corner and the “blob” stays grounded in the left bottom corner DUPLICATE LAYER then REPEAT STEP 9 REPEAT this over and over: DUPLICATE and STEP 9 After 6 or 7 times, MERGE (do not MERGE the BACKGROUND LAYER) EDIT  TRANSFORM  SCALE and DISTORT, shrink and bend this “tangle” of lines so that it sits in the bottom corner DUPLICATE LAYER and REPEAT STEP 9 This time use the DROP SHADOW BRUSH ERASER to remove some of the lines (by now your image should be getting too “busy” with all the waves) MERGE all LAYERS (except BACKGROUND) DUPLICATE LAYER  FILTER  BLUR  GAUSSIAN BLUR (to taste, I used 5) Use LAYER STYLE  OUTER GLOW to taste on either layer Background is WHITE to show the PEN PATH, keep yours BLACK Photoshop Tutorials
  3. 3. “Generative Art 2” 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Follow STEPS 1 - 4 from GENERATIVE-ART TUTORIAL 1 Click in the middle of the screen and the drag and click at the same time to create a perfect curve STROKE the PATH twice Then use a DROPSHADOW BRUSH ERASER to taper off the ends of the line (in later versions of Photoshop this can be done by selecting different brush settings) NEW BLANK LAYER REPEAT STEPS 2 – 4 REPEAT STEPS 5 & 6, then MERGE these 3 LAYERS (not the BACKGROUND LAYER!) FILTER  POLAR COORDINATES (Rect. To Polar) REPEAT STEPS 6-8 (DO NOT JUST DUPLICATE THE LAYER, but go through the whole process once more!) DUPLICATE this new 3-line-swirl and EDIT  TRANSFORM  SCALE 80% then REPEAT this so that you have a nine-line-swirl, MERGE these nine together (leave your original swirl alone at the bottom of the page!) Continue to create sets of swirls using the steps above and change their size and distortion so that you can make an interesting design (don’t get to carried away!) Then try this trick: using a MERGED 9-line-swirl FILTER  DISTORT  SPHERIZE then EDIT  FADE SPHERIZE 50% MERGE all LAYERS except the BACKGROUND DUPLICATE LAYER Then try FILTER  DISTORT  SHEAR Fade this by using a DROPSHADOW BRUSH ERASER Then try any of other effect like LAYER STYLE or DUPLICATING the LAYER and using GAUSSIAN BLUR Background is WHITE to show the PEN PATH, keep yours BLACK Photoshop Tutorials
  4. 4. Photoshop Tutorials “Generative Art 3” 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. NEW  10” x 10” 200 DPI  BLACK BACKGROUND COLOR NEW BLANK LAYER  Gray to Black GRADIENT NEW LAYER  PEN TOOL  Click in the top right corner and then click-and-drag somewhere on the left side of the screen to create a large arc (see inset example) Then connect the corners outside the canvas (on the gray portion of the Photoshop backdrop) SHOW PATHS (a new window) then click on the “dottedcircle” (looks kind of like a elliptical marquee selection) and it will convert your PATH into a SELECTION Then grab a DROP SHADOW BRUSH with the BRUSH TOOL and increase its size to an ENORMOUS brush size, change your FOREGROUND COLOR to WHITE Click just underneath the ARC SELECTION so that a faded white splashes across the top of the arc DESELECT REPEAT STEPS 3 – 8 but somewhere else so that this new arc is a different direction REPEAT STEP 9 several more times over the page then try to one or two selection: FILTER  BLUR  MOTION BLUR -90° 100 or some variation of this Instead of WHITE use BLACK and GRAY to create shadows Also try different LAYER MODES For a CARDEN effect: MERGE all LAYERS, then ADJUST  INVERT, FILTER  FIND EDGES, FILTER  GAUSSIAN BLUR 3 If you create hundreds of small lines and do this multiple times, then you can “fake” CARDEN’s algorithm artwork DUPLICATE LAYERS and SCALE them, repeating them over and over as well as changing LAYER MODES can also help
  5. 5. Photoshop Tutorials “Faking Smoke in Photoshop 1” 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. NEW: 7” x 10” 200 DPI, BLACK BACKGROUND NEW LAYER FOREGROUND COLOR: 679CAC Using the POLYGONAL LASSO TOOL draw an abstract, geometric shape like the one shone: Then FILL BUCKET color SELECT a DROP SHADOW BRUSH around 100 Using the DODGE TOOL create highlights along the edges of your abstract shape. Make sure your DODGE TOOL is set to HIGHLIGHTS and around 85% - 100% SELECT the BURN TOOL and create shadows inside the center of your shape. Make sure the BURN TOOL is set to SHADOWS and around 50%. FILTER DISTORT  WAVE  Generators: 95 | Wavelength: 350/650 | Amplitude: 5/50 | Scale 100/100 (you may repeat this, if you think it didn’t “warp” enough) FILTER  LIQUIFY to smooth out the angles DUPLICATE LAYER, then TURN OFF this DUPLICATED LAYER so that only your BACKGROUND and ORIGINAL LAYER are visible FILTER  BLUR  GAUSSIAN BLUR 10 Turn your DUPLICATE LAYER back ON FILTER  DISTORT  WAVE (use the same settings) EDIT  FADE WAVE 50% FILTER  BLUR  GAUSSIAN BLUR 20 ADVANCED: Create a NEW LAYER and drag to the BOTTOM. Use the PEN TOOL to draw an organic shape at the bottom of the page. Then turn this into a selection with a FEATHER of 50. FILL BUCKET and use GAUSSIAN BLUR to create a cloud.
  6. 6. Photoshop Tutorials “Faking Smoke in Photoshop 2” 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. NEW: 7” x 10” 200 DPI, BLACK BACKGROUND NEW LAYER FOREGROUND COLOR: 679CAC Use a DROP SHADOW BRUSH with these settings: SIZE 80 | OPACITY 50% | FLOW 50% and then paint a “clump of color,” making sure to go back and color over areas again to create different levels of opacity – don’t get to carried away, a few passes should suffice FILTER DISTORT  WAVE  Generators: 15 | Wavelength: 100/300 | Amplitude: 5/50 | Scale 100/100 FILTER  DISTORT  WAVE  everything the same as above, except this time click RANDOMIZE (CAUTION: DO NOT JUST REPEAT THE FILTER, you have to go back in and select RANDOMIZE) EDIT  FADE WAVE 50% REPEAT STEPS 5 & 6, always going back and clicking RANDOMIZE for each time you use the WAVE FILTER Using a DROP SHADOW BRUSH ERASER go in and “clean up” some of the smoke (getting rid of any areas that are distracting or need to be faded because they generated off the page) DUPLICATE LAYER FILTER  LIQUIFY to bend the smoke into different directions Then using the same DROP SHADOW ERASER clean up your smoke so that it continues to follow a uniform trail/path BURN & DODGE to create shadows and highlights “Colorizing Smoke in Photoshop” 1. 2. 3. 4. Open a FAKED SMOKE image or a SMOKE PHOTOGRAPH ADJUSTMETNTS LAYER  GRADIENT APPLY a GRADIENT to taste Change LAYER MODE to OVERLAY or COLOR
  7. 7. Taking Pictures of Smoke Setup a black backdrop – you can use cloth or posterboard but surround the area in black 2. Place the incense stick a foot away from the back drop or burn some paper (DO THIS IN A VENTILATED ENVIRONMENT) 3. Place a table lamp on the right to help with focusing 4. Place the spotlight on the left side of the incense stick, half a foot away from smoke 5. Now light the incense stick, switch on the table lamp 6. Focus on the edge of the incense stick where the smoke arises. Don’t open your aperture wider than f8.0 7. Keep the shutter speed below your sync speed. 1/200 is preferable. 8. Or try ACTION on POS Cameras 9. Click away and get some great smoke pictures 10. Slightly blow the smoke to get some dramatic shapes of smoke 11. Try placing 2 or 3 incense sticks to form a pattern 1. Photoshop Edits 1. 2. 3. 4. 5. Open the picture in Photoshop Select the entire image by clicking Ctrl A (SELECT ALL) Go to Image>Adjustments>Inverse. This will make the background white Use Hue and Saturation to adjust the color of the smoke Also try the colorize option under Hue & Saturation adjustment to get some dramatic colors of the smoke on a white background
  8. 8. Soap & Milk “soap & milk random pattern generator” A. Things Needed: 1. Milk (whole or 2%) & Water 2. Dinner plate, Plastic Tubs and Glasses of Water 3. Food coloring (red, yellow, green, blue) 4. Dish-washing soap (Dawn brand works well) 5. Cotton swabs B. Process: 1. Pour enough milk in the dinner plate to completely cover the bottom and allow it to settle. 2. Add one drop of each of the four colors of food coloring - red, yellow, blue, and green - to the milk. Keep the drops close together in the center of the plate of milk. 3. Find a clean cotton swab for the next part of the experiment. Predict what will happen when you touch the tip of the cotton swab to the center of the milk. It's important not to stir the mix just touch it with the tip of the cotton swab. 4. Place a drop of liquid dish soap (the Dawn brand works well) on the tip of the cotton swab. Place the soapy end of the cotton swab back in the middle of the milk and hold it there for 10 to 15 seconds. You should see mini-explosions of color – random, generative art. 5. Add another drop of soap to the tip to the cotton swab and try it again. Experiment with placing the cotton swab at different places in the milk. Notice that the colors in the milk continue to move even when the cotton swab is removed. 6. Secondary Process: Use food coloring in glasses of water to create new random patterns. Add soap to create bubbles and different effects. Experiment with different liquids and colors to create unique, abstract photo opportunities.
  9. 9. Case Study Unlike a tutorial or step-by-step walk through, a Case Study presents a different sort of challenge to the student-artist. You are given the final outcome and asked to develop steps in order to recreate that outcome. For instance, you are given an image and you will have to try and figure out how you can make a copy or mimic this image. This is a great way to challenge your skills and force you to think about steps and procedures (instead of just winging it!). Good luck! Complete 10 Studio Portraits Emphasizing S-Curves, each one must: • use studio lighting with a two-light or three-light system minimum • use Photoshop to create generative art • edited in Photoshop for levels, color, contrast, and blemish removal • edited in Photoshop for magazine quality images and cropped accordingly Create these images: 1. 5 Smoke Images 2. 5 Food-Coloring, Soap and Milk Images 3. 5 Generative Art Images 4. 10 Posed S-Curve Model Images which follow the curves and paths of your abstractions created above 5. Integrate S-Curves with Generative Art/Smoke 6. Edit all images using a COLOR SCHEME or COLOR MOOD