1. The personality of Type
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Examples
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TerminologyFONTS
Uppercase capital letters as opposed to small letters Lowercase small letters as opposed to capital letters Italic italic type is a cursive font based on a stylized form of calligraphic handwriting. Owing to the influence from calligraphy, such fonts normally slant slightly to the right. Italicsare a way to emphasise key points in a printed text, or when quoting a speaker a way to show which words they stressed. Bold Computer Definition. A set of type characters that are darker and heavier than normal. A bold font implies that each character was originally designed with a heavier appearance rather than created on the fly from a normal character. See boldface attribute. Serif font A small decorative line added as embellishment to the basic form of a character. Typefaces are often described as being serif or sans serif (without serifs). The most common serif typeface is Times Roman. A common sans serif typeface is Helvetica. San Serif A category of typefaces that do not use serifs, small lines at the ends of characters. Popular sans seriffonts include Helvetica, Avant Garde, Arial, and Geneva. Serif fonts include Times Roman, Courier, New Century Schoolbook, and Palatino. |
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Leading
In typography, leading /ˈlɛdɪŋ/ refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the forms to increase the vertical distance between lines of type.
Letter Spacing / Tracking
In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning
Kerning
In typography, kerning (less commonly mortising) is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result
In typography, leading /ˈlɛdɪŋ/ refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the forms to increase the vertical distance between lines of type.
Letter Spacing / Tracking
In typography, letter-spacing, usually called tracking by typographers, refers to a consistent degree of increase (or sometimes decrease) of space between letters to affect density in a line or block of text. Letter-spacing should not be confused with kerning
Kerning
In typography, kerning (less commonly mortising) is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result
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About Graphic Design and things you should know
2. ILLUSTRATOR: Social Issues Poster
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Essential Question: How to use Adobe Illustrator: Creating Curves and shapes and place type on curves
Objectives: You will
Activities: 1. You will search the web for images that explore “Freedom of Expression", or Social issue, thats important to you. 2. Write a paragraph about that freedom that is important to you. Check your spelling and grammer. You will copy and paste this text on to the paths you have created for your poster. 3. You will open up Adobe Illustrator on your computer and create simple curves and place type on curves, with words that explore : Freedom of Expression 4. You will place a Freedom of Expression image in Adobe Illustrator 5. On a separate layer, create simple curves around the image and trace the image and fill the image with type 6. In the end, you'll delete the visible curves, leaving only the fonts and text showing 7. Finally You will delete the original photo, leaving only the text on curves Modifications: Modifications will be tailored to your needs, along with extra time and individual instruction. Requirements: 1. 11 x 17(Tabloid) 2. Set up is Print 3. Show rulers 4. Use layers Each shape must be placed on a separate layer(name your layers) 5. Use Color 6. Object or image must be completely filled with type, Not just outlines, 7. Plan Ahead 8. Detailed sketch of your image is required |
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3. Create an Alphabet
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Typography-ty·pog·ra·phy noun \tī-ˈpä-grə-fē\: the work of producing printed pages from written material:
the style, arrangement, or appearance of printed letters on a page Design or selection of letter forms to be organized into words and sentences and printed or displayed electronically. Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the calligraphers whose work was ultimately replaced by printing. In the succeeding centuries typographers have created some 10,000 typefaces (a complete set of letter forms of a particular design). Depending on the style of their letters, typefaces are categorized as old style, transitional, and modern. Commonly used typefaces include Caslon, Baskerville, Bodoni, Garamond, and Times New Roman. 
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Creativity is essential.
TYPE HAS STYLE TYPE HAS THEME TYPE HAS CONSISTENCY TYPE IS READABLE TYPE SERVES A PURPOSE OBJECTIVE You will create a new 26 letter alphabet. Using various mediums from paint to pencil from computer to collage This must be done in 4 classes and I will only accept quality work You must use your time wisely No cell phones, Music only connected to the computers. If I see you with your cell phone out, I will take it from you All final images must fit on (1) 11 x 17 paper. Grid attached for printing Requirements You can work in various mediums 1. Computer Generated fonts, 2. Images found on the internet joined together to create letters 3. You Can draw the letters based on photos, you have taken. 4. Letter sizes must be consistently the same. (create a uniform size by creating an even grid. 5. Save all on the server and on your flash drives. 6. If you decide to create the font with your own materials, such as "hair" or cereal, or street signs, be sure to bring this home with you as well as the materials you need to work in class. 7. Research / research 8. You must have a theme (for example: All letters are made from hair, or all letters are from street signs... Suggested ideas for letter forms. Make letters out of: ANIMALS: Cats, dogs, Animals, People. Pose people in letter positions and photograph, or then draw Construction materials: Rulers, Hammers, Nails Art supplies: Paint brushes, Pencils Plumbing materials. Pipes 
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All About Photoshop
(Read and see projects below)
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The Photoshop WorkspacePhotoshop’s “out of the box” workspace consists of the following components:
Comps and Turtlenecks: Designer Lingo Now that you’re going to be working in Photoshop, you might want to start talking like a designer. Designers, like professionals in most specialist fields, have their own terminology and words for things. A comp (short for “composite”) refers to a mockup of the final solution that a designer has in mind. Traditionally, “comp” is used in the print world to refer to page layouts, but for web designers it usually refers to a static interface prepared entirely in Photoshop for the client to look over before he or she decides to proceed. You might even hear it being used as a verb: “comping” is the process of creating that mockup site.
Customizing your Workspace You can customize your Photoshop workspace to suit you or your project — almost everything within your workspace can be repositioned and reconfigured! You might choose to customize your workspace by: Changing the look of the menu bar You can change which menu items are visible in your menu bar, and even add color to your menu items. If you wanted, you could also assign new or different keyboard shortcuts to menu commands (which I don’t recommend until you feel very comfortable with Photoshop or have a compelling reason to do so!). Go to Edit > Menus and use the dialog box to modify the menu bar and palette menus. Moving the options bar If you want to move the options bar, you can do so by clicking on the handle on its left side and moving it around. The options bar will “dock” to the top or bottom of the screen automatically if moved near those areas. Moving the toolbox The toolbox is extremely portable, and can be moved to any location on your screen. Move the toolbox by clicking on the light gray area at the top of it and dragging it around. You can switch between different toolbox layouts by clicking the double arrow along the top of the toolbox. Rearranging palettes There are many ways to rearrange your palettes. You might want to separate a palette from its palette group, and move it into another group. You can do this by dragging the palette tab out of its original group and into the new group. You may want to expand or collapse a dock, by clicking on the double arrows at the top of the dock. You might also decide to drag some of your palette tabs out of their dock, and close the rest. To display a palette that has been closed, go to Window and select the palette you want to show. Displaying different information in the document window status bar The status bar displays the document file size by default. The file size is shown as two numbers separated by a forward slash: the first number is an approximation of the image file size with all layers merged (known as “flattening” the image), and the second number is an approximation of the total file size of the image with layers intact. If all this sounds new to you, don’t worry — we’ll be discussing layers shortly. You can set the status bar to display different information, such as the document dimension in pixels, or the version number of the file. To do this, click on the arrow icon next to the status bar, select Show and choose the information you’d like to see. Saving your Customized Workspace As you become more proficient with Photoshop, you may discover that you use certain sets of palettes for different types of projects, and that there are some palettes that you don’t use at all. Photoshop allows you to save and load different workspaces — different arrangements of palettes, menus, and even different keyboard shortcuts — to help you work more efficiently. After you’ve customized your workspace to your satisfaction, select the Workspace menu in the options bar, click Save Workspace and enter a name for your workspace, such as Creating Thumbnails or My Default Workspace. You can then load your different workspaces by opening Workspace and selecting your custom workspace from the menu list. Working in PhotoshopNow that you’ve been introduced to the Photoshop workspace and have a basic idea of where everything is, let’s start getting our hands dirty. Creating New Documents You can create a new document by selecting File > New from the menu bar, or pressing the keyboard shortcut Ctrl-N on a PC or Command-N on a Mac. The New dialog box will appear,where you can specify the document size and other settings. Opening Files Open files by selecting File > Open from the menu bar, or pressing Ctrl-O (Command-O on a Mac). You can select and open multiple files by holding down Ctrl (Command on a Mac) and clicking on all the files you require in the file dialog box. Saving Files Save a file by selecting File > Save, or pressing Ctrl-S (Command-S on a Mac). For a newly-created document, this will save your work in Photoshop Document (PSD) format. If you would prefer to save a copy of the document, you can use File > Save As or pressing Ctrl-Shift-S (Command-Shift-S on a Mac) instead. Snappy Presets If you’re designing for a web site with a minimum screen size of 800×600 pixels, I’d recommend you start with a 750×550 pixel document. The smaller dimensions give you a better estimate of your actual screen area after you take into account scroll bars and menu bars. Also, be sure to set the resolution at 72dpi to reflect the actual screen resolution. If you want easy access to these dimensions for other new documents, it’s probably a good idea to click Save Preset and give the settings a name like Web Page. The next time you create a new document, you will be able to load your Web Page settings from the Preset list. |
Saving Files for the Web
Photoshop files themselves can’t be embedded into a web page. You will need to export your file and save it in a web-friendly format. There are three formats for web graphics: GIFs, JPEGs, and PNGs.
GIF
The GIF format (pronounced “jiff” or “giff” depending on which side of the tracks you grew up) can have a maximum of 256 colors. GIF files support transparency and animation, and work best with graphics that have large areas of the same color, as shown in the logo below.
JPEG
The JPEG format (pronounced “jay-peg”), works best with photographic images or images that have more than 256 colors and gradients, such as the flower on the opposite page. Images saved in JPEG format are compressed, which means that image information will actually be lost, causing the image to degrade in quality.
PNG
The PNG format (pronounced “ping”) is similar to the GIF format in that it supports transparency and works best with solid-color images like the logo shown to the right, but it’s superior to the GIF format as it has the ability to support true levels of transparency for colored areas. Transparent PNGs are currently not in widespread use on the Web because older versions of Microsoft Internet Explorer do not support them; however, they’re often used in Macromedia Flash movies. PNGs can produce a better quality image at a smaller file size than can GIFs. Photoshop allows you to save an image as a PNG-8 file (which works the same way as a GIF would with 256 colors) or a PNG-24 file (which allows for millions of colors as well as variable transparency).
GIF/PNG-8
Photoshop Layers
Layers are a powerful feature of Photoshop that allow you to work on one part of an image without disturbing the rest of it. While the concept of layers may seem intimidating at first, once you get the hang of using layers you’ll wonder how you ever survived without them! The examples on the next page show how the layers in the Photoshop document to the right stack together.
The transparent parts of any layer, shown by the checkered grid, allow the layers beneath that layer to show through.
You can show and hide each layer in an image by clicking on its corresponding eye icon in the Layers palette, as shown at the bottom of the following page.
To organize your layers, you can arrange them into layer groups by going to Layer > New > Group…. Each layer group displays in the same way as any ungrouped layers on the Layers palette. A layer group is signified by a folder icon. You can collapse or expand layer groups by clicking on the triangle to the left of the folder icon, and nest layer groups within each other by dragging one folder icon into another.
Layer Shortcuts and Tasks
Merge a layer into the one beneath it by pressing Ctrl-E (Command-E). If you have selected layers, this shortcut will merge those selected layers together.
Secret Selections
Selections can have varying levels of transparency, known as the degree of opacity. It’s actually possible to make a selection with an opacity of 100% in one area, but only 20% in another area. If a selection contains any pixels for which the opacity is more than 50%, they will be displayed with a border of dotted lines. Photoshop won’t visibly outline areas with less than 50% opacity (though they will still be selected). Selection tools automatically select at 100% opacity. We’ll learn about creating transparent selections using Quick Masks and alpha channels later in this chapter.
Selection Tools
You can use the selection tools to select certain areas of your document for editing. If you use a selection tool, only the area that’s selected will be affected by any changes you make. You can “feather” selections (specify a fuzzy radius for them) using the Feather field in the options bar. The example at the top of the next page shows two rectangles: one created by filling in a selection with a feather of zero pixels, and one that’s created by filling in the same selection with a feather of five pixels.
Marquee tools (M) are used to create rectangular or elliptical selections, including selections that are “single row” (one pixel tall, stretching across the entire width of the document) and “single column” (one pixel wide, stretching through the entire height of the document). To make single-row or single-column selections, click with the appropriate tool on the image area where you want to select a row or column.
You can use the Lasso tools (L) to create freeform selections. The Lasso Tool comes in three different forms:
No Selection Sometimes Equals All Selected
If you’ve made a selection, only the pixels within the selection are active and can be worked on. Some tools can be used without making a selection at all. However, be aware that if you have not made a specific selection, Photoshop will assume that you are working on the entire layer and any changes you make will affect all pixels in the layer.
Magic Wand
The Magic Wand Tool (W) selects areas of similar color. You can change the tolerance (how close the color values should be to the sampled color in order to be selected) of a Magic Wand selection, and choose whether you want the selection to be contiguous (pixels that are touching) or not (in which case, matching colors across the entire document will be selected).
Selection Shortcuts and Tasks
Hold the Shift key to add another selection to the first. Hold the Alt key (Option key on a Mac) to subtract your new selection from the first. Hold Shift-Alt (Shift-Option) to select the intersection of your first and second selections. Use the arrow keys to move the selection pixel by pixel. If you feel that this doesn’t move your selection quickly enough, hold down Shift and use the arrow keys to move the selection ten pixels at a time. Press Ctrl-J (Command-J on a Mac) to copy the selection into its own layer. To cut the selection into its own layer, press Shift-Ctrl-J (Shift-Command-J). If this seems familiar to you, it’s because I mentioned earlier how to copy a layer using the same keyboard shortcut. Now that you know that not selecting anything sometimes means that everything is selected, it makes sense that simply by selecting a layer in the Layers palette, you can copy the entire layer by pressing Ctrl-J (Command-J). To deselect a selected area, click outside of it with one of the Marquee tools, or press Ctrl-D (Command-D on a Mac). To reactivate your last selection, press Shift-Ctrl-D (Shift-Command-D).
The Move Tool
The Move Tool (V) moves a selected area or an entire layer. You can invoke the Move Tool temporarily when using most other tools by holding down the Ctrl key (Command key on a Mac).
Move and Copy Shortcut
For most tools, holding Ctrl-Alt (Command-Option on a Mac) and dragging a selected area will temporarily invoke the Move Tool, allowing you to move and duplicate the selected layer quickly.
You can also duplicate a layer by holding down the Alt key (Option key on a Mac) while using the Move Tool, as shown in the image below.
The Crop Tool
The Crop Tool (C) is used to trim images. Create a selection using the Crop Tool, then double-click the center of the selection, or press Enter, to crop the image to the size of the selection.
To cancel without cropping, select another tool or press the Esc key.
Crop Outside the Box
You can use the Crop Tool to resize your canvas. Expand your document window so that it’s larger than the image area, and create a crop selection that includes the image and extends onto the gray areas “outside” the image. Applying this crop will resize your canvas to include those extended boundaries, making your canvas larger.
Drawing and Painting Tools
Apart from its extraordinary photo editing abilities, the multi-talented Photoshop also provides drawing and painting tools that allow you to create your own shapes and backgrounds.
Brush
The Brush Tool (B) is suitable for soft-edged painting or drawing. Draw strokes by clicking and dragging the mouse over the canvas. You can change the brush size and other settings in the options bar at the top of the window.
Pencil
The Pencil Tool (B) is suitable for hard-edged drawing or painting and has similar options to the Brush Tool for setting its size, opacity, and more. The Pencil Tool is often used for drawing on, and editing individual pixels in, zoomed-in images.
Eraser
The Eraser Tool (E) removes pixels from the canvas. You can choose between Pencil, Brush, or Block mode from the Mode drop-down menu in the options bar.
Aliased vs Anti-aliased
Unlike the Brush Tool, the Pencil Tool’s edges are aliased. The term aliased refers to the edges of an object being “jagged,” in contrast to an anti-aliased object, in which the edges are “smooth.” In the two examples shown here, the top shape in each example was created using the Pencil Tool, while the bottom shape was created using the Brush Tool. Notice the difference in the “jaggedness” of the edges of these curves. We’ll look more closely at anti-aliasing when we discuss the Text Tool.
Paint Bucket
The Paint Bucket Tool (G) fills a selection with a flat color. To use the Paint Bucket Tool, click once in the area that you wish to fill. If the chosen area is not within a selection, the Paint Bucket Tool will fill all similarly-colored pixels within the vicinity of the clicked area.
Gradient
The Gradient Tool (G) fills a selection with a blend of two or more colors, known as a gradient. You can easily create your own gradient, or use any of the preset gradients available in Photoshop.
Display the gradient presets and tools by clicking on the small triangle on the right-hand side of the Gradient Tool. Apply a gradient by setting your desired colors, choosing your gradient style, then clicking and dragging the cursor over the area to be filled.
I find that I use the first two gradients — the foreground-to-background gradient, and the foreground-to-transparent gradient — most often. The former will blend your foreground color into your background color, while the latter will blend your foreground color into a transparent background, giving it a “fading out” effect.
Text Tool
The Text Tool (T), true to its name, creates text layers. This one’s easy to use — just select the Text Tool, click on the canvas, and start typing! You can also click and drag to create a rectangular text area that will force text to wrap within its boundaries. You can change the font size, color, and other text properties using the options bar along the top of the window.
When the Text Tool is active, you can move the cursor outside of the text area. The cursor will change from the “text insert” cursor to the “move” cursor, and you’ll be able to move the text layer around.
It’s worth noting that when the Text Tool is active, you can’t use keyboard shortcuts to access other tools. This may seem like an obvious thing to point out now, but it won’t always be so apparent — especially when your text mysteriously starts spurting strange characters because you’ve been trying to use the shortcut keys!
To finish using the Text Tool, press Ctrl-Enter (Command-Return on a Mac). You can then resume your regular keyboard shortcutting!
Shape Tools
You can create shapes simply by clicking and dragging Photoshop’s Rectangle, Rounded Rectangle, Ellipse, Polygon, Line, and Custom Shape tools (U).
The specific options for each shape tool are displayed in the options bar, and you can access additional options by clicking on the arrow to the right of the Custom Shape button. For example, the Line Tool has options for displaying arrowheads, and for controlling the shapes and sizes of those arrowheads, as shown in the example below.
If you look at the options for each shape, you’ll notice that there are three different methods you can use to create a shape:
Your shape will be created as a solid-colored layer covered with a vector shape mask. Confused? Think of the mask as a sheet of dark paper that has a hole (your shape) cut out of it so that the color shines through the hole. To change the color,double-click on the color block in the Layers palette as shown in this example. To change the vector shape mask, use the vector editing tools.
Set foreground and background colors by clicking on the appropriate tile and choosing a color from the Color Picker, as demonstrated in the example below.
Color Picker Shortcuts
Press X if you want to switch the foreground and background colors. Press D if you want to revert to a black foreground and white background.
Eyedropper
The Eyedropper Tool (I) lets you sample another color from your image, and set this as the foreground color. In fact, it’s actually possible to sample colors from anywhere in your display and even from other applications outside of Photoshop. Simply click inside the document window, then drag the cursor to the color you wish to sample. Click to select that color.
The Eyedropper Tool also allows you to set the background color. To do so, hold down the Alt key (Option key on a Mac) as you select colors using the eyedropper.
The Paint Brush, Pencil, Paint Bucket and any of the other painting or drawing tools can temporarily be turned into the Eyedropper Tool by holding down Alt (Option).
The Hand Tool
The Hand Tool (H) moves your canvas, which is handy (pardon the pun!) when you’re zoomed in to an image, or have a very large document open.
What’s even handier is the fact that you can invoke the Hand Tool while you’re using any other tool (except the Text Tool) by holding down the spacebar. This is a neat way to position your image exactly where you want it without having to chop and change between tools to do so.
Other Useful Tasks and Shortcuts
Zooming
Zooming right into your image is the only way to make subtle changes at the pixel level. Use Ctrl + to zoom in and Ctrl – to zoom out. You can also zoom using the slider on the Navigator palette.
Making a Selection Using the Layers Palette
To select the pixels on a particular layer, press Ctrl (Command on a Mac) and click the thumbnail of the layer. This selection will also take into account the transparency of any pixels, so painting in the selection will recreate the transparency settings of the original layer. The example at the top of the next page shows a selection I made based on one of the text layers in my sunset document.
Making a Selection Using a Quick Mask
Quick Masks are one of those closely guarded trade secrets that professional designers use all the time, but beginners often are wary of trying because they seem complicated at first. Well, they’re not!
A Quick Mask is an alternative way of making a selection. The usual way to use a Quick Mask is to go into Quick Mask Mode (Q) and, using a tool such as the Brush Tool, painting the things you don’t want to select. This is called painting a “mask,” and the resulting reverse-selection will display as the transparent red color that you can see in the example overleaf. You can edit this red layer — honing the mask shape, for instance — using the drawing and painting tools. Those alterations won’t affect your image, though: they impact only on your final selection. Switching back to Standard Mode (Q) will complete your selection.
Why would we use this technique instead of those trusty selection tools that we’ve all come to depend on so heavily? Well, Quick Masks have a couple of advantages over the standard selection tools:
Quick Mask Options
I prefer to set Quick Mask Mode so that it lets me paint in the selected areas rather than the non-selected areas, as shown in this example. To alter your settings to do the same thing, double-click on the Quick Mask Mode icon and change the Color Indicates: option to Selected Areas.
Photoshop files themselves can’t be embedded into a web page. You will need to export your file and save it in a web-friendly format. There are three formats for web graphics: GIFs, JPEGs, and PNGs.
GIF
The GIF format (pronounced “jiff” or “giff” depending on which side of the tracks you grew up) can have a maximum of 256 colors. GIF files support transparency and animation, and work best with graphics that have large areas of the same color, as shown in the logo below.
JPEG
The JPEG format (pronounced “jay-peg”), works best with photographic images or images that have more than 256 colors and gradients, such as the flower on the opposite page. Images saved in JPEG format are compressed, which means that image information will actually be lost, causing the image to degrade in quality.
PNG
The PNG format (pronounced “ping”) is similar to the GIF format in that it supports transparency and works best with solid-color images like the logo shown to the right, but it’s superior to the GIF format as it has the ability to support true levels of transparency for colored areas. Transparent PNGs are currently not in widespread use on the Web because older versions of Microsoft Internet Explorer do not support them; however, they’re often used in Macromedia Flash movies. PNGs can produce a better quality image at a smaller file size than can GIFs. Photoshop allows you to save an image as a PNG-8 file (which works the same way as a GIF would with 256 colors) or a PNG-24 file (which allows for millions of colors as well as variable transparency).
GIF/PNG-8
- colors – Adjusting this setting reduces the number of colors used in the image. This will usually make the biggest difference in the final image.
- dither amount and type (No Dither, Diffusion, Pattern, Noise) – This setting has nothing to do with being nervous or agitated (although it’s quite possible that you may have been a few moments ago!). Dither refers to a compression technique in which the pattern of dots is varied to give the illusion of a color gradient. Changing the dither will result in a more noticeable degradation for images that involve a large number of colors blended together.
- transparency – If you want transparent areas in your graphic, check this box. We’ll look more closely at transparency in Chapter 2.
- matte color – For transparent images, the matte color is used to help blend the edges of your image into the background of the web page. For non-transparent images, the matte color defines the background color of the image. Using matte color with transparent images is covered in more detail in Chapter 2.
- quality – Changing the value in the Quality drop-down box alters the level of compression for the image. Reducing the quality may result in blurring or pixelation, but too high a setting will produce a large file that will take users too long to download. A good approach is to decrease the quality value gradually until you notice the degradation of your image becoming unacceptable. A reasonable compromise will be somewhere around this point.
Photoshop Layers
Layers are a powerful feature of Photoshop that allow you to work on one part of an image without disturbing the rest of it. While the concept of layers may seem intimidating at first, once you get the hang of using layers you’ll wonder how you ever survived without them! The examples on the next page show how the layers in the Photoshop document to the right stack together.
The transparent parts of any layer, shown by the checkered grid, allow the layers beneath that layer to show through.
You can show and hide each layer in an image by clicking on its corresponding eye icon in the Layers palette, as shown at the bottom of the following page.
To organize your layers, you can arrange them into layer groups by going to Layer > New > Group…. Each layer group displays in the same way as any ungrouped layers on the Layers palette. A layer group is signified by a folder icon. You can collapse or expand layer groups by clicking on the triangle to the left of the folder icon, and nest layer groups within each other by dragging one folder icon into another.
Layer Shortcuts and Tasks
- Rename layers by double-clicking on the layer name.
- Change the transparency of a layer by changing its opacity with the Opacity slider, or typing a value into the Opacity box (which is visible when you have the Selection, Move, or Crop tools selected).
- Duplicate a selected layer by pressing Ctrl-J (Command-J on a Mac). You can also duplicate a layer by dragging it while pressing the Alt (Option) key.
- Select multiple layers by holding down Ctrl (Command on a Mac) and clicking the layer names. This forms a temporary link between the selected layers that allows you to move them as one unit, delete them all, and so on.
- You can also link layers together. Select layers by clicking on them while holding down Shift or Ctrl (Command on a Mac). Once you have selected all the layers you wish to link, click the Link Layers button at the bottom-left of the Layers palette (signified by the chain). Linking layers allows the link relationship to remain even after you select a different layer (unlike the process of simply selecting multiple layers).
- To unlink all the layers, select one of the linked layers and go to Layer > Unlink Layers. To unlink a single layer, select the layer you wish to remove from the link and click its corresponding link icon; the other layers will stay linked. To temporarily unlink a layer, hold down Shift and click on its link icon (a red “X” will appear over the link icon). Reactivate the link by holding down Shift and clicking the link icon again.
- Rearrange layers by dragging the layer above or below other layers. Use the “move down” shortcut Ctrl-[ (Command-[ on a Mac) and the “move up” shortcut Ctrl-] (Command-]) to move selected layers up and down. Shift-Ctrl-[ and Shift-Ctrl-] (Shift-Command-[ and Shift-Command-] on a Mac) will bring layers to the very top or the very bottom of the stack.
- Select a layer by using the keyboard shortcuts Alt-[ and Alt-] (Option-[ and Option-] on a Mac). These keystrokes let you move up and down through the layers in the Layers palette.
- Create a new layer by pressing Shift-Ctrl-N (Shift-Command-N on a Mac). This will bring up the New Layer dialog box. Want to create new layers quickly without having to deal with the dialogue box? Simply press Shift-Ctrl-Alt-N (Shift-Command-Option-N).
Merge a layer into the one beneath it by pressing Ctrl-E (Command-E). If you have selected layers, this shortcut will merge those selected layers together.
Secret Selections
Selections can have varying levels of transparency, known as the degree of opacity. It’s actually possible to make a selection with an opacity of 100% in one area, but only 20% in another area. If a selection contains any pixels for which the opacity is more than 50%, they will be displayed with a border of dotted lines. Photoshop won’t visibly outline areas with less than 50% opacity (though they will still be selected). Selection tools automatically select at 100% opacity. We’ll learn about creating transparent selections using Quick Masks and alpha channels later in this chapter.
Selection Tools
You can use the selection tools to select certain areas of your document for editing. If you use a selection tool, only the area that’s selected will be affected by any changes you make. You can “feather” selections (specify a fuzzy radius for them) using the Feather field in the options bar. The example at the top of the next page shows two rectangles: one created by filling in a selection with a feather of zero pixels, and one that’s created by filling in the same selection with a feather of five pixels.
Marquee tools (M) are used to create rectangular or elliptical selections, including selections that are “single row” (one pixel tall, stretching across the entire width of the document) and “single column” (one pixel wide, stretching through the entire height of the document). To make single-row or single-column selections, click with the appropriate tool on the image area where you want to select a row or column.
You can use the Lasso tools (L) to create freeform selections. The Lasso Tool comes in three different forms:
- Lasso Tool (L) – Click and drag the Lasso Tool to draw aselection area. Releasing the mouse buttonwill close the selection by joining the start and end points with a straight line.
- Polygonal Lasso Tool (L) – Click at different points to create vertices of a polygonal shape. Close the selection by moving your cursor to the beginning and clicking once, or pressing the Enter key.
No Selection Sometimes Equals All Selected
If you’ve made a selection, only the pixels within the selection are active and can be worked on. Some tools can be used without making a selection at all. However, be aware that if you have not made a specific selection, Photoshop will assume that you are working on the entire layer and any changes you make will affect all pixels in the layer.
- Magnetic Lasso Tool (L) – If you think you need help with making your selection, try the Magnetic Lasso Tool. Photoshop will attempt to make a “smart” selection by following the edges of contrast and color difference. Click once near the “edge” of an object and follow around it — Photoshop will automatically lay down a path. You can also click as you follow the line to force points to be created on the path. Close the selection by pressing the Enter key or clicking at a point near the beginning of the selection.
Magic Wand
The Magic Wand Tool (W) selects areas of similar color. You can change the tolerance (how close the color values should be to the sampled color in order to be selected) of a Magic Wand selection, and choose whether you want the selection to be contiguous (pixels that are touching) or not (in which case, matching colors across the entire document will be selected).
Selection Shortcuts and Tasks
Hold the Shift key to add another selection to the first. Hold the Alt key (Option key on a Mac) to subtract your new selection from the first. Hold Shift-Alt (Shift-Option) to select the intersection of your first and second selections. Use the arrow keys to move the selection pixel by pixel. If you feel that this doesn’t move your selection quickly enough, hold down Shift and use the arrow keys to move the selection ten pixels at a time. Press Ctrl-J (Command-J on a Mac) to copy the selection into its own layer. To cut the selection into its own layer, press Shift-Ctrl-J (Shift-Command-J). If this seems familiar to you, it’s because I mentioned earlier how to copy a layer using the same keyboard shortcut. Now that you know that not selecting anything sometimes means that everything is selected, it makes sense that simply by selecting a layer in the Layers palette, you can copy the entire layer by pressing Ctrl-J (Command-J). To deselect a selected area, click outside of it with one of the Marquee tools, or press Ctrl-D (Command-D on a Mac). To reactivate your last selection, press Shift-Ctrl-D (Shift-Command-D).
The Move Tool
The Move Tool (V) moves a selected area or an entire layer. You can invoke the Move Tool temporarily when using most other tools by holding down the Ctrl key (Command key on a Mac).
Move and Copy Shortcut
For most tools, holding Ctrl-Alt (Command-Option on a Mac) and dragging a selected area will temporarily invoke the Move Tool, allowing you to move and duplicate the selected layer quickly.
You can also duplicate a layer by holding down the Alt key (Option key on a Mac) while using the Move Tool, as shown in the image below.
The Crop Tool
The Crop Tool (C) is used to trim images. Create a selection using the Crop Tool, then double-click the center of the selection, or press Enter, to crop the image to the size of the selection.
To cancel without cropping, select another tool or press the Esc key.
Crop Outside the Box
You can use the Crop Tool to resize your canvas. Expand your document window so that it’s larger than the image area, and create a crop selection that includes the image and extends onto the gray areas “outside” the image. Applying this crop will resize your canvas to include those extended boundaries, making your canvas larger.
Drawing and Painting Tools
Apart from its extraordinary photo editing abilities, the multi-talented Photoshop also provides drawing and painting tools that allow you to create your own shapes and backgrounds.
Brush
The Brush Tool (B) is suitable for soft-edged painting or drawing. Draw strokes by clicking and dragging the mouse over the canvas. You can change the brush size and other settings in the options bar at the top of the window.
Pencil
The Pencil Tool (B) is suitable for hard-edged drawing or painting and has similar options to the Brush Tool for setting its size, opacity, and more. The Pencil Tool is often used for drawing on, and editing individual pixels in, zoomed-in images.
Eraser
The Eraser Tool (E) removes pixels from the canvas. You can choose between Pencil, Brush, or Block mode from the Mode drop-down menu in the options bar.
Aliased vs Anti-aliased
Unlike the Brush Tool, the Pencil Tool’s edges are aliased. The term aliased refers to the edges of an object being “jagged,” in contrast to an anti-aliased object, in which the edges are “smooth.” In the two examples shown here, the top shape in each example was created using the Pencil Tool, while the bottom shape was created using the Brush Tool. Notice the difference in the “jaggedness” of the edges of these curves. We’ll look more closely at anti-aliasing when we discuss the Text Tool.
Paint Bucket
The Paint Bucket Tool (G) fills a selection with a flat color. To use the Paint Bucket Tool, click once in the area that you wish to fill. If the chosen area is not within a selection, the Paint Bucket Tool will fill all similarly-colored pixels within the vicinity of the clicked area.
Gradient
The Gradient Tool (G) fills a selection with a blend of two or more colors, known as a gradient. You can easily create your own gradient, or use any of the preset gradients available in Photoshop.
Display the gradient presets and tools by clicking on the small triangle on the right-hand side of the Gradient Tool. Apply a gradient by setting your desired colors, choosing your gradient style, then clicking and dragging the cursor over the area to be filled.
I find that I use the first two gradients — the foreground-to-background gradient, and the foreground-to-transparent gradient — most often. The former will blend your foreground color into your background color, while the latter will blend your foreground color into a transparent background, giving it a “fading out” effect.
Text Tool
The Text Tool (T), true to its name, creates text layers. This one’s easy to use — just select the Text Tool, click on the canvas, and start typing! You can also click and drag to create a rectangular text area that will force text to wrap within its boundaries. You can change the font size, color, and other text properties using the options bar along the top of the window.
When the Text Tool is active, you can move the cursor outside of the text area. The cursor will change from the “text insert” cursor to the “move” cursor, and you’ll be able to move the text layer around.
It’s worth noting that when the Text Tool is active, you can’t use keyboard shortcuts to access other tools. This may seem like an obvious thing to point out now, but it won’t always be so apparent — especially when your text mysteriously starts spurting strange characters because you’ve been trying to use the shortcut keys!
To finish using the Text Tool, press Ctrl-Enter (Command-Return on a Mac). You can then resume your regular keyboard shortcutting!
Shape Tools
You can create shapes simply by clicking and dragging Photoshop’s Rectangle, Rounded Rectangle, Ellipse, Polygon, Line, and Custom Shape tools (U).
The specific options for each shape tool are displayed in the options bar, and you can access additional options by clicking on the arrow to the right of the Custom Shape button. For example, the Line Tool has options for displaying arrowheads, and for controlling the shapes and sizes of those arrowheads, as shown in the example below.
If you look at the options for each shape, you’ll notice that there are three different methods you can use to create a shape:
Your shape will be created as a solid-colored layer covered with a vector shape mask. Confused? Think of the mask as a sheet of dark paper that has a hole (your shape) cut out of it so that the color shines through the hole. To change the color,double-click on the color block in the Layers palette as shown in this example. To change the vector shape mask, use the vector editing tools.
- as a path – Your shape will be created as a path in the Paths palette, as shown in the example above (in which the path has been named Work Path).
- as filled pixels – Your shape will be created on whichever layer is currently selected. I created a new layer, then created a shape using the Fill pixels option on Layer 1 in the above example.
Set foreground and background colors by clicking on the appropriate tile and choosing a color from the Color Picker, as demonstrated in the example below.
Color Picker Shortcuts
Press X if you want to switch the foreground and background colors. Press D if you want to revert to a black foreground and white background.
Eyedropper
The Eyedropper Tool (I) lets you sample another color from your image, and set this as the foreground color. In fact, it’s actually possible to sample colors from anywhere in your display and even from other applications outside of Photoshop. Simply click inside the document window, then drag the cursor to the color you wish to sample. Click to select that color.
The Eyedropper Tool also allows you to set the background color. To do so, hold down the Alt key (Option key on a Mac) as you select colors using the eyedropper.
The Paint Brush, Pencil, Paint Bucket and any of the other painting or drawing tools can temporarily be turned into the Eyedropper Tool by holding down Alt (Option).
The Hand Tool
The Hand Tool (H) moves your canvas, which is handy (pardon the pun!) when you’re zoomed in to an image, or have a very large document open.
What’s even handier is the fact that you can invoke the Hand Tool while you’re using any other tool (except the Text Tool) by holding down the spacebar. This is a neat way to position your image exactly where you want it without having to chop and change between tools to do so.
Other Useful Tasks and Shortcuts
Zooming
Zooming right into your image is the only way to make subtle changes at the pixel level. Use Ctrl + to zoom in and Ctrl – to zoom out. You can also zoom using the slider on the Navigator palette.
Making a Selection Using the Layers Palette
To select the pixels on a particular layer, press Ctrl (Command on a Mac) and click the thumbnail of the layer. This selection will also take into account the transparency of any pixels, so painting in the selection will recreate the transparency settings of the original layer. The example at the top of the next page shows a selection I made based on one of the text layers in my sunset document.
Making a Selection Using a Quick Mask
Quick Masks are one of those closely guarded trade secrets that professional designers use all the time, but beginners often are wary of trying because they seem complicated at first. Well, they’re not!
A Quick Mask is an alternative way of making a selection. The usual way to use a Quick Mask is to go into Quick Mask Mode (Q) and, using a tool such as the Brush Tool, painting the things you don’t want to select. This is called painting a “mask,” and the resulting reverse-selection will display as the transparent red color that you can see in the example overleaf. You can edit this red layer — honing the mask shape, for instance — using the drawing and painting tools. Those alterations won’t affect your image, though: they impact only on your final selection. Switching back to Standard Mode (Q) will complete your selection.
Why would we use this technique instead of those trusty selection tools that we’ve all come to depend on so heavily? Well, Quick Masks have a couple of advantages over the standard selection tools:
- They allow you to control the level of transparency of your selection.
- It’s easier to color an object in, than it is to carefully draw a line around it.
Quick Mask Options
I prefer to set Quick Mask Mode so that it lets me paint in the selected areas rather than the non-selected areas, as shown in this example. To alter your settings to do the same thing, double-click on the Quick Mask Mode icon and change the Color Indicates: option to Selected Areas.
4. Adobe Photoshop practice 1
A. Spot Healing Brush
Create a new document in photoshop
8 1/2" x 11" or 11 x 8 1/2
300 dpi
CMYK
Create a new document in photoshop
8 1/2" x 11" or 11 x 8 1/2
300 dpi
CMYK
- Find a high resolution photo of a person with Acne. Save in folder and place in photoshop document
- Be sure you show Rulers.
- Use the Spot Healing Brush to remove the pimples or bumps and smooth out the skin. Be sure to set the brush type to Content Aware and click the option for Sample All Layers.
- Use a similar brush size to the actual pimple or blemish you are trying to remove. Click on your blemishes and watch them disappear!
- Save your work in the "Photoshop Practice"Folder
5. Adobe Photoshop practice 2
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B. Clone Stamp Tool
The process involves setting a sampling point in the image which will be used as a reference to create a new cloned area.
Create a new document in photoshop
8 1/2" x 11" or 11 x 8 1/2
300 dpi
CMYK
Hold down the Command key — the cursor will change to a target. Click the point you wish to use as a sampling point. This will be used as the reference point for cloning.
Click and draw where you want the cloned image to appear. As you draw, a cross will appear on the original image while a corresponding circle appears where you are drawing.With a little practice it becomes quite clear how this process works and how to achieve the best results.
The process involves setting a sampling point in the image which will be used as a reference to create a new cloned area.
Create a new document in photoshop
8 1/2" x 11" or 11 x 8 1/2
300 dpi
CMYK
- Find a high resolution photo of a Forest a City or Mountains Save in folder and place in your photoshop document
- Be sure you show Rulers.
- Select the Clone Stamp tool , then check the settings in the options bar. Make sure you have a brush size appropriate for the job. The following settings are fairly typical:
- Aligned: If this option is selected, the new cloned image will be drawn continuously even if you release the mouse button while drawing. If it is deselected, the clone will begin drawing from the sampling point each time you release the mouse and resume painting.
- Use All Layers: If this option is selected, information will be used from all visible layers. Otherwise only the active layer will be used.
Hold down the Command key — the cursor will change to a target. Click the point you wish to use as a sampling point. This will be used as the reference point for cloning.
Click and draw where you want the cloned image to appear. As you draw, a cross will appear on the original image while a corresponding circle appears where you are drawing.With a little practice it becomes quite clear how this process works and how to achieve the best results.
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C. Layer Masks
Set up: In photoshop create a NEW document 11" x 8 1/2" 300dpi CMYK 2 different photos of animal 1 photo of a new background Find a separate photos of 2 animals and place them together in the same setting. Creativity Matters! Examples: 2 animals walking the streets of Manhattan 2 Animals playing in the house 2 animals playing on the lawn/grass Remember these are 2 separate animals from different photos. You will use layer masks for each animal and place them both on a new background. See Demo and take notes: Masking in Photoshop: Understanding Layer Masks and Clipping Masks. Masking is one of the most powerful, yet misunderstood features in Photoshop. When used right, masks can be used to create very effective visual effects. From blending images to stylizing texts, there are hundreds of uses of masks in Photoshop. Masking can be difficult to understand for beginners to Photoshop. Courses such as Photoshop 101 will give you a firm grounding in layers, masks, and common Photoshop features. In this blog post, we will learn about the two types of masks in Photoshop: layer masks and clipping masks through some examples. What are Masks in Photoshop? The best way to understand Photoshop masks is to think of masks in real life. As Scooby-Doo and the gang has repeatedly shown us, masks can be used to hide or reveal what’s underneath. When you wear a mask, you essentially control your transparency, i.e. what and how much you choose to show. The same concept applies to masks in Photoshop. There are two types of masks in Photoshop: layer masks and clipping masks. You’ll find that they are fairly similar in theory, but wildly different in application. Below, we’ll not only learn what these two masks are, but also learn how to use them. Want to supercharge your Photoshop skills in no time? Check out this Photoshop quick start video guide for tons of in-depth lessons. Understanding Layer Masks Layer masks is one of Photoshop’s most useful features. The path to Photoshop mastery begins with grasping the power of layer masks. A layer mask basically controls a layer’s transparency. It can only have monochromatic colors in grayscale, i.e. between white, black, and the various shades of gray in between. Adding a layer mask on top of an image allows you to control how much of that image is visible. “But”, you ask, “why didn’t we use the Erase tool to erase out unwanted parts of the image?” Two reasons:
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5. Adobe Photoshop practice 3
Take pictures of yourselves and or group of friends in the exact same position using Photo Booth on your computer. You will all replace faces with each other.
1. Take 2 photos 1 photo with "bad faces" and one photo with good faces. (you will replaces the bad faces with the good faces.)
2. Make sure you are sitting and facing in the exact same position as each other
3. Follow step by step procedures below (Take your time and you can work in groups)
4. Upon completion, you will each have replaced each others faces.
5. Print your document and be sure to indicate the names of the each people used to create the replaced faces
PROCESS
1. Using Photo booth, As group, 2-3 people, you will pose in front of a computer, and take 2 photos
1 photo is good, 1 photo is bad.
2. Each person in the group will get a copy of the 2 photos and save them to their individually named folders
3. Each person in the group will then replace the faces in photo with the bad faces with the photo with the good faces.
4. Follow the instructions below for "HOW TO" do this
5. The tutorial below involves 1 person in a bad photo. So in that tutorial 1 new layer was created becaause 1 person is being replaced. If you have 4 people, you will need 4 layers. 1 layer for each person in the group
6. Name each layer, the persons name in the group
1. Take 2 photos 1 photo with "bad faces" and one photo with good faces. (you will replaces the bad faces with the good faces.)
2. Make sure you are sitting and facing in the exact same position as each other
3. Follow step by step procedures below (Take your time and you can work in groups)
4. Upon completion, you will each have replaced each others faces.
5. Print your document and be sure to indicate the names of the each people used to create the replaced faces
PROCESS
1. Using Photo booth, As group, 2-3 people, you will pose in front of a computer, and take 2 photos
1 photo is good, 1 photo is bad.
2. Each person in the group will get a copy of the 2 photos and save them to their individually named folders
3. Each person in the group will then replace the faces in photo with the bad faces with the photo with the good faces.
4. Follow the instructions below for "HOW TO" do this
5. The tutorial below involves 1 person in a bad photo. So in that tutorial 1 new layer was created becaause 1 person is being replaced. If you have 4 people, you will need 4 layers. 1 layer for each person in the group
6. Name each layer, the persons name in the group
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SEE PHOTOSHOP TUTORIALS B AND C. THESE WILL HELP YOU WITH THIS PROJECT
Step 1 Open both images in Photoshop. Drag the background layer from one image onto the other – in my case I dragged the background layer from the image with two out of the three faces correct and dropped it into the image that has only one good face. You will have an image with two layers – the top has two good faces and the one below has the other one. Close the other image. Step 2 Select both layers in the image that you’re working on and choose Edit > Auto-Align Layers and select Auto. Photoshop will now align the two layers so that the faces in both layers will be aligned on top of each other. To do this you need to have two images with very little difference between them and this image lined up pretty well as a result. Auto-Align Layers may not work, so you might have to place each photo individually. To do so. You will lower the opacity of the good photo, and using Free Transform you in the Edit Menu, you will adjust the size and position. Step 3 Click on the top most layer and add a layer mask to it by clicking the Add Layer Mask icon at the foot of the Layers palette. (Gray rectangle wth a black circle in the center) The mask is filled with white by default which means that the entire contents of the top layer is visible and the bottom layer not visible at all. Step 4 Select black as your foreground color and choose a soft edge brush. Target the mask by clicking on it so you’re painting on it and then paint over the child’s face in the image to reveal the face from the layer image below. Step 5 You’ll need to make some small choices about how much of the layer below you reveal with the mask – if you take too much you can paint back on the mask with white to reveal the top layer again. Some small adjustments around the child’s collar to hide the fix. The red portion of the image shows the mask – I turned this on – it won’t typically be visible to you as you work. Step 6 Finish by taking a critical look at the final image and, if necessary, adjust the mask or add a new layer and clone elements from the layers below to fine tune the image. I had to do a small amount of cloning of the little girl’s shirt to fix a small problem and then I cropped the image and it was complete. |
6. Graphic Design 1: Sixteen/Textures/Lines/Color:
The beginning of Graphic Design:
How do we wee the world?
The Process
1. Create 16 thumbnails of Shapes
2. Create 16 thumbnails of Lines
3. Create 16 thumbnail of Color
4. Create 16 thumbnails of Texture
Upon completion of the thumbnails, Choose your favorite of each and then create 1 more document of 16 thumbnails of your favorite, sahpe, color, texture and line.
Then choose your favorite and build an exact replica of your favorite thumbnail in a 6x 9 illustrator document
How do we wee the world?
The Process
1. Create 16 thumbnails of Shapes
2. Create 16 thumbnails of Lines
3. Create 16 thumbnail of Color
4. Create 16 thumbnails of Texture
Upon completion of the thumbnails, Choose your favorite of each and then create 1 more document of 16 thumbnails of your favorite, sahpe, color, texture and line.
Then choose your favorite and build an exact replica of your favorite thumbnail in a 6x 9 illustrator document
6.Logo Design
Due: February 1st, 2019
How To Design A Logo
1. Learn What A Logo Is & What It Represents
Before you design a logo, you must understand what a logo is, what it represents and what it is supposed to do. A logo is not just a mark – a logo reflects a business’s commercial brand via the use of shape, fonts, colour, and / or images.
A logo is for inspiring trust, recognition and admiration for a company or product and it is our job as designers to create a logo that will do its job.
One must know what a logo is before continuing.
For further reading on what is a logo check out Wikipedia’s Definition.
2. Know The Principles of Effective Logo Design
Now that you know what a logo is supposed to do, and what it should represent you now must learn about what makes a great logo aka; the basic rules and principles of effective logo design.
A. A logo must be simple
A simple logo design allows for easy recognition and allows the logo to be versatile & memorable. Good logos feature something unexpected or unique without being overdrawn.
B. A logo must be memorable
Following closely behind the principle of simplicity, is that of memorability. An effective logo design should be memorable and this is achieved by having a simple, yet, appropriate logo.
C. A logo must be timeless
An effective logo should be timeless – that is, it will stand the test of time. Will the logo still be effective in 10, 20, 50 years?
D. A logo must be versatile
An effective logo should be able to work across a variety of mediums and applications. For this reason a logo should be designed in vector format, to ensure that it can be scaled to any size. The logo must work in just one colour too.
E. A logo must be appropriate
How you position the logo should be appropriate for its intended purpose. For example, if you are designing a a logo for children’s toys store, it would be appropriate to use a childish font & color scheme. This would not be so appropriate for a law firm.
For further reading on the rules and principles of great logo design I highly recommend to read Why logo design does not cost $5.00. You may also wish to read How NOT To Design A Logo.
3. Learn Off Others Success & Mistakes
Successful Logos
Now you know what the rules of logo design are, you can distinguish the difference between a good and a bad logo… By knowing what other logos have succeeded and why they have succeeded gives a great insight into what makes a good logo.
For example, lets look at the classic Nike Swoosh. This logo was created by Caroline Davidson in 1971 for only $35 yet it still a strong, memorable logo, effective without color and easily scalable. It is simple, fluid and fast and represents the wing in the famous statue of the Greek Goddess of victory, Nike – something perfect for a sporting apparel business. Nike is just one of many great logos, think about other famous brands that you know about and check out their logos – what makes them successful?
Another great example would be Google’s logo simplification.
The No so Successful logos
We can also learn off logos that have not been. We will view together
4. Establish Your Own Logo Design Process
Now that we know what a logo is, what the principles and rules of logo design are and what makes a successful logo we can now finally begin the design process. This it hardest part of the 5 steps and is its own topic in itself – Each person’s logo design process is different and experience usually is the key factor in creating your own logo design process however check out The Secret Logo Design Process Of Top Logo Designers for a better idea.
Your Steps and schedule:
All below due February 1 . (You have 2 solid weeks) The Computer lab is open at lunch time if you need the time.
Requirements
1. Printed out and taped into your sketchbook, a typed paragraph of your Design Brief.
2. 5 detailed Sketches in your Sketch book. I will not accept loose papers, You must have your sketch book. No sketchbook, "0" grade
3. Create an 11" x 8 1/2" document, Using Adobe Illustrator with 4 of the same logos centered on the page. 1 large in color and 1 large in Black and White, 1 small in color and 1 small in Black and White (4 Total) See Starbucks logo below.
4. Save all work as a PDF and an Illustrator file in the appropriate folders on the server.
5. Save your work on your Flash Drives. (I will collect to see if you are backing up your work.)
If you ever get stuck before or during your design process check out this great article on How To Boost Your Creativity.
1. Learn What A Logo Is & What It Represents
Before you design a logo, you must understand what a logo is, what it represents and what it is supposed to do. A logo is not just a mark – a logo reflects a business’s commercial brand via the use of shape, fonts, colour, and / or images.
A logo is for inspiring trust, recognition and admiration for a company or product and it is our job as designers to create a logo that will do its job.
One must know what a logo is before continuing.
For further reading on what is a logo check out Wikipedia’s Definition.
2. Know The Principles of Effective Logo Design
Now that you know what a logo is supposed to do, and what it should represent you now must learn about what makes a great logo aka; the basic rules and principles of effective logo design.
A. A logo must be simple
A simple logo design allows for easy recognition and allows the logo to be versatile & memorable. Good logos feature something unexpected or unique without being overdrawn.
B. A logo must be memorable
Following closely behind the principle of simplicity, is that of memorability. An effective logo design should be memorable and this is achieved by having a simple, yet, appropriate logo.
C. A logo must be timeless
An effective logo should be timeless – that is, it will stand the test of time. Will the logo still be effective in 10, 20, 50 years?
D. A logo must be versatile
An effective logo should be able to work across a variety of mediums and applications. For this reason a logo should be designed in vector format, to ensure that it can be scaled to any size. The logo must work in just one colour too.
E. A logo must be appropriate
How you position the logo should be appropriate for its intended purpose. For example, if you are designing a a logo for children’s toys store, it would be appropriate to use a childish font & color scheme. This would not be so appropriate for a law firm.
For further reading on the rules and principles of great logo design I highly recommend to read Why logo design does not cost $5.00. You may also wish to read How NOT To Design A Logo.
3. Learn Off Others Success & Mistakes
Successful Logos
Now you know what the rules of logo design are, you can distinguish the difference between a good and a bad logo… By knowing what other logos have succeeded and why they have succeeded gives a great insight into what makes a good logo.
For example, lets look at the classic Nike Swoosh. This logo was created by Caroline Davidson in 1971 for only $35 yet it still a strong, memorable logo, effective without color and easily scalable. It is simple, fluid and fast and represents the wing in the famous statue of the Greek Goddess of victory, Nike – something perfect for a sporting apparel business. Nike is just one of many great logos, think about other famous brands that you know about and check out their logos – what makes them successful?
Another great example would be Google’s logo simplification.
The No so Successful logos
We can also learn off logos that have not been. We will view together
4. Establish Your Own Logo Design Process
Now that we know what a logo is, what the principles and rules of logo design are and what makes a successful logo we can now finally begin the design process. This it hardest part of the 5 steps and is its own topic in itself – Each person’s logo design process is different and experience usually is the key factor in creating your own logo design process however check out The Secret Logo Design Process Of Top Logo Designers for a better idea.
Your Steps and schedule:
All below due February 1 . (You have 2 solid weeks) The Computer lab is open at lunch time if you need the time.
- The Design Brief: Find and existing business and write a paragraph about the business and what they offer. Services? Goods etc.
- Research & Brainstorm ideas with fellow classmates in regards to a what image is representative of the business
- Create 5 completely different idea sketches for your concept and show to me with a detailed explanation of each concept.
- Build your logo using Adobe Illustrator. Remember all the tools you have learned in Illustrator. If you do not remember how to use the tools I have taught you, you need to go back and refresh your memory and review previous projects.
- Class review of your logos: We will have an open critique of your logo with the class.
Requirements
1. Printed out and taped into your sketchbook, a typed paragraph of your Design Brief.
2. 5 detailed Sketches in your Sketch book. I will not accept loose papers, You must have your sketch book. No sketchbook, "0" grade
3. Create an 11" x 8 1/2" document, Using Adobe Illustrator with 4 of the same logos centered on the page. 1 large in color and 1 large in Black and White, 1 small in color and 1 small in Black and White (4 Total) See Starbucks logo below.
4. Save all work as a PDF and an Illustrator file in the appropriate folders on the server.
5. Save your work on your Flash Drives. (I will collect to see if you are backing up your work.)
If you ever get stuck before or during your design process check out this great article on How To Boost Your Creativity.
7. Stationary Design
ENDURING UNDERSTANDINGS
Art develops creative thinking and problem solving skills.
ESSENTIAL QUESTIONS
LEARNING OBJECTIVES
Students will:
PROJECT PROCEDURES:
Step 1: Online Letterhead Research
You will begin this unit by researching other online business card examples. Look around the internet and find at least 5 examples of business cards that you like. Take screen shots of these designs and paste them in your sketchbook. Finally choose one of those designs and analyze what you like about them.
Here are some great sites to get you started:
Step 2: Sketching
After you have analyzed other letterhead examples, it’s time to begin thinking about the visual look and feel of your letterhead series. For this assignment complete 5 detailed colored thumbnail sketches of your layout ideas in your sketchbooks.
Before you begin, check out the following articles for some design advice:
FINAL PROJECT: LETTERHEAD DESIGN
Project Requirements
For this project you will use your logo to create a business card, mailing envelope and letterhead for your imaginary company. You will use Illustrator to create each of these files.
Required information:
Design Requirements:
File Sizes:
Art develops creative thinking and problem solving skills.
ESSENTIAL QUESTIONS
- •What choices do artists make?
- •How does art communicate?
- •Where is art in our world?
LEARNING OBJECTIVES
Students will:
- Create a business card, letterhead and envelope series in Adobe Illustrator
- Research, examine and analyze other examples of letterhead design.
- Create a visually consistent letterhead series that reflects the tone of the company, service or product.
- Experiment with different ways type and images may be treated in a letterhead design.
PROJECT PROCEDURES:
Step 1: Online Letterhead Research
You will begin this unit by researching other online business card examples. Look around the internet and find at least 5 examples of business cards that you like. Take screen shots of these designs and paste them in your sketchbook. Finally choose one of those designs and analyze what you like about them.
Here are some great sites to get you started:
- http://logodesignerblog.com/creative-business-cards-design-inspiration/
- http://www.youthedesigner.com/2009/12/22/83-crazy-beautiful-letterhead-logo-designs/
- http://www.smashingapps.com/2010/03/13/25-beautiful-and-creative-business-card-ideas.html
Step 2: Sketching
After you have analyzed other letterhead examples, it’s time to begin thinking about the visual look and feel of your letterhead series. For this assignment complete 5 detailed colored thumbnail sketches of your layout ideas in your sketchbooks.
Before you begin, check out the following articles for some design advice:
- http://designmodo.com/business-card-design-tips-trends/
- http://www.clickbusinesscards.com/articles/business_card_design.html
FINAL PROJECT: LETTERHEAD DESIGN
Project Requirements
For this project you will use your logo to create a business card, mailing envelope and letterhead for your imaginary company. You will use Illustrator to create each of these files.
Required information:
- Business/Company Name
- Name and title of an imaginary employee. For Example: Marilyn Jones, Senior Account Manager (Do not include on mailing envelope)
- Imaginary Address
- Street number
- Road name,
- City or town name
- Zip code
- State or country
- Imaginary Telephone numbers
- Office number
- Fax number
- Mobile phone number (Do not include on mailing envelope)
- Imaginary Website URL
Design Requirements:
- Type- The same font, size, style, color and placement should be found on all three pieces
- Colors- Three colors plus black
- Size- The logo should be approximately the same size on all pieces
File Sizes:
- Letterhead- A4 size- 297mm x 210mm
- Envelope- 110mm x 220mm
- Business Card- 90mm x 54mm
8. This is Really Punny
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Hot Dog Porcupine
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Facebook Flashlight
Police Dog
Keyboard
Hair Spray
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Using the tools you have learned in photoshop, You will create 3 different puns using combined images. Step 1: Find 2 images to combine together and create a visual pun. Create a new document in Photoshop
Step 2:
Step 3:
Step 4. The combined image must be placed on an interesting backround, Under the sea. On the city streets, On the beach, In a Supermarket, In a refrigerator, and make it relate to the comined image. For Example: See the Keyboard, Place it in front of a computer. See the Hairspray, Place it next to a balding person See the Hot Dog, Place it on a Vendors street cart See the Police Dog, Place it at a crime scene Step 5. Save your separate images as well as your combined images in your folder and Save the final image (A PDF) in the final folder Do's: 1. A Layer Mask will be used to merge the 2 or more images 2. Clone/Rubber stamp will be used to blend and clone 1 part of the image with another 3. Healing brush tool will be used to heal/clear rough spots of the combined image 4. Explore the Adjustments Palette 5. Use soft or hard brushes as needed Dont's 1. Don't use the eraser tool 2. Don't Rush 3. Don't Talk Grading will be based on overall quality and creativity. Sloppy rushed work will lower your grades. Expert use of tools and how you combine images, (without looking photoshoppy) will raise your grade. |
Refer to Step 4
9. Book Cover Design
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A BEGINNERS GUIDE TO BOOK DESIGN. Read this first
Lesson Summary: Create original covers for fiction or nonfiction books. Access various technologies to combine text and graphics to demonstrate their understanding of a recently-studied work of literature. The newly-created book cover must include symbolic photographs, illustrations or graphic images that represent major plot ideas from the work. Commentary(VERY IMPORTANT): Do we really judge a book by its cover? This lesson requires you to demonstrate a thorough understanding of a literary work through the thoughtful design of a book cover and written literary analysis. Research the book, choose and arrange graphics and text as they create, edit and publish their information using technology. The average reader spends no more than 7 seconds looking at book covers online. In those 7 seconds the reader will decide if they will look further into the book, and then decide if they will actually buy and read the book. It is important that you focus on the imagery for the cover. You want the reader to think! You want the reader to be interested enough in the cover to go further. You want your cover image to represent a theme or a moment in the story. Reference: My Book Covers WORST BOOK COVERS BEST BOOK COVERS Book Cover Design:
Specs:
Rubric: 4 preliminary sketches-25% 1 detailed sketch (showing size and placement of images and fonts-25% Understanding and use of InDesign and Photoshop-25% Final pdf-25% Choose 1 synopsis below and use that as your reference for your book Design (Do not research the book, Use the synopsis as the basis of the Book cover Slaughterhouse Five follows the story of Billy Pilgrim, optometrist and time traveler. The novel jumps through time with Billy as he lives the events of his life over and over again. In this dynamic framework, the reader sees the terrors of war, the quiet desperation of suburban life and the breakdown of the psyche through Billy's time jumping eyes. Just before he is captured as a prisoner of war, Billy experiences his first time jump. Here he sees his whole life, past, present and future, unfold. After the war, Billy returns from Europe to resume his civilian life, but does not cease moving randomly through time, witnessing his birth, his death and events in between. He is eventually abducted by aliens who experience time in much the same way as Billy except that they prefer to look only at life's more pleasant moments. Despite his family's objections, Billy tells the world of his time traveling and of his abduction, highlighting the story with a detailed account of his death. The Scarlet Letter begins with Hester Prynne being taken from prison to be berated by the townspeople for both her adultery and for keeping her lover's name a secret. As the novel progresses, the reader realizes that Dimmesdale is Hester's lover and that Chillingworth is her husband in disguise bent on avenging his defamed honor. Hawthorne reveals the honest emotion that exists between Hester and Dimmesdale, but tempers it with the danger of their secret being revealed at the hand of Chillingworth. Dimmesdale's health deteriorates as his guilt eats away at him and eventually he reveals to the village that he is Hester's lover and Pearl's father. To Kill a Mocking Bird The story is narrated by a young girl who goes by the name of "Scout" Finch. Scout's real name is Jean Louise, a name that is not fitting for a tomboyish, rebellious girl like Scout.Scout lives in the small Alabama town of Maycomb in the 1930s with her brother, Jem, and her widowed father, Atticus. Another presence in the house is the stern but ultimately kind-hearted African-American housekeeper named Calpurnia. The story takes place during the depression, but the Finch family is better off than many in this small town, as Atticus is a successful and respected lawyer. Two main themes that permeate this book are judgment and justice. Scout and Jem learn lessons about judging other people through the character of Boo Radley, a mysterious and reclusive neighbor. Early in the story, the children poke fun at Boo, but they ultimately discover his goodness. This theme is also present in the developments surrounding the character of Tom Robinson. Robinson is a poor African-American field hand who is accused and tried for rape. In the process of defending Robinson, Atticus is able to provide evidence that the young man is innocent. Nonetheless, because of the racist nature of white society in that time and place, the young man is convicted. Lord of the Flies opens with a plane full of British schoolboys crashing on a deserted tropical island. With no adults surviving the crash, the boys are left to themselves to try to stay alive. Immediately a sort of informal society springs up with the election of a leader and the setting down of formal objectives and rules. Initially, rescue is foremost on the collective mind, but it is not long before a power struggle ensues with Jack attempting to sway the boys to his camp. Possessing different goals and vastly different sets of ethics, the boys divide into two tribes. Eventually, Ralph’s side of reason and rationality gives way to Jack’s tribe of hunters, and the boys sink deeper and deeper into a life of violent savagery. Diary of a Young Girl Otto Frank moved his family to Amsterdam from Frankfurt, Germany, their place of origin, once the Nazis came to power and began to enforce cruel laws enacted against the Jewish population. In Amsterdam, Otto enjoys some success as a businessman, but he keeps a close watch on the spreading power of the Nazis. When the Germans invade the Netherlands, the Frank family goes into hiding in a small area above Otto's office. They are joined by the van Daan family. Many of Otto's employees aid the hideaways as they wait and pray for an end to their terrifying ordeal. The war takes a terrible toll on Holland, and food becomes quite scarce. Starvation and crime become rampant in the small country, which only worsens the plight of the Frank family and their friends who hide with them.On the pages of her diary, Anne explores love and questions the meaning of life in a way that is quite typical of a young teen, yet quite extraordinary under the circumstances under which she lives. Her portrayal provides a stark glimpse into her extraordinary ordeal. She captivates the reader with an innocence that contrasts the stark reality of her situation. The diary ends abruptly on August 1, 1944. There is no sign-off and no explanation, although it is known from historical records that the family was betrayed and captured by the Nazis. 10. InDesign PracticeNAVIGATING INDESIGN
1. Understanding palettes 2. Menus 3. Tools 4. Creating New Documents 5. Facing pages vs. Single pages Practice 1 1. Understanding and Creating Text Frames 2. Understanding and Creating Photo/Image Frames 3. Using Text wraps 4. Send to back/ Bring to Front 5. Changing Opacity Create a new document
Step 1. Create a Text frame and insert text • Text (TYPE>Fill with Placeholder text) • Change the Font and size, Set Bold or italic or both Step 2. Create a photo frame and place a photo • Resize photo to fill the photo frame • Place the photo in Front of the text so that the photo overlaps the text (OBJECT>arrange>bring to front) Step 3. Insert a background photo • Insert a photo frame to bleed • place photo in photo frame and adjust size to fill the photo frame • Send photo to the back (OBJECT>arrange>send to back) • Change opacity of the background image and so that type and images on top are readable Practice 2 1. Understanding and Creating Master pages 2. Understanding and Creating Paragraph styles 3. Understanding and Creating Character Styles Create a new document
Step 1. Create 2 new master pages. • Master page B contains and Object • Master Page C contains text Step 2. Create 4 Paragraph styles. • Subhead level 1 (H1) (Bold Caps Centered, 24pts space above, 18pts space below) • Subhead level 2 (H2) (Bold U/lc, Fl left, 24pts space above, 18pts space below) • First paragraph of Text (TX1) • Regular Text paragraph (TX) Step 3. Create 2 Character style • Bold First line of text • All Caps Text in color, Bold Italic and underlined 11. Nylon Magazine
10.Design and Illustrate a paragraph
11.Create an Andy Warhol style:Pop Art
Pop Art is a 20th century art movement that utilized the imagery and techniques of consumerism and popular culture. Pop art developed in the late1950's as a reaction against Abstract Expressionism and flourished in the sixties and early seventies. Pop Art favored figural imagery and the reproduction of everyday objects, such as Campbell Soup cans, comic strips and advertisements. The movement eliminated distinctions between "good" and "bad" taste and between fine art and commercial art techniques.
Who are the leading artists of the Pop Art era? Richard Hamilton's famous work, "Just What Is It that Makes Today's Home so Different, so Appealing?", is considered by many to be the first Pop piece because of its many references to popular culture and consumerism. Jasper Johns and Robert Rauschenberg were some of the first Pop artists in America, and used popular imagery such as the American flag and beer cans in their paintings, prints, collages and "combines". Andy Warhol is known for his silkscreens of both famous people and everyday objects, while Roy Lichtenstein employed a comic strip style in his paintings and manipulated those illustrative techniques to great aesthetic effect. The leading Pop artists in Britain included David Hockney, R.B. Kitaj, and Allen Jones. Objectives: * Integrate technology - learn some Photoshop basics * Develop portrait to show mood/feelings through color * Develop skills in digital painting. * Create values (scale of five values) - exhibit contrast. * Understand the historical consequences of Pop Art This assignment will allow you to explore: 1. Mixing colors 2. Values 3. Using PhotoShop 4. Contrast Requirements: 1. Find a photo of you. 2. Document set up 17" x 11" 3. Resolution is 300 4. CMYK 5. Split document into 4 same size quarters Put guides at 8.5" on the 17" width, and at 5.5 " on the 11" depth 6. Adjust the images as required below in the Activites section. You will do this 4 times to same image. Each image will repeat with using different colors patterns etc. 7. You will Put the Celebrities name somewhere on the final painting you have created in photoshop How to: Activities Part 1 1. Click on WINDOW a. Choose LAYER (this palette should remain open) b. Choose COLOR (this palette should remain open) 2. Click on Layer a. Click on New (You should always work with a blank background layer. Consider this to be your “table” and not to be drawn on!) 3. Open image a. Right click on the image b. Choose copy c. Close window and return to Photoshop 4. Ctrl V to paste your image onto the top layer. 5. Click on EDIT a. Choose FREE TRANSFORM b. Drag corners to fit your CANVAS (do not change proportion of image. Hold shift key as you drag the corners. Crop canvas if needed) 6. Click on IMAGE again a. Choose MODE b. Choose GRAYSCALE 7. Click on IMAGE again a. Choose ADJUSTMENTS b. Choose POSTERIZE c. Experiment with numbers. Attempt to get 5 values including black and white. 8. Save image to file 9. Click on IMAGE again a. Choose ADJUSTMENTS b. Choose BRIGHTNESS/CONTRAST c. Slide handles until you have adjusted your image to a place your are happy with 10. If you finish early - you may explore selected features of Photoshop and manipulate your own photograph (save as new name) or practice photograph How to: Activities Part 2 Now that you have your posterized portrait, you will begin to prepare to paint. BE CERTAIN THAT YOU KEEP THE IMAGE FOR REFERENCE! You are ready to begin to paint your portrait: Create a new layer, Name it Colors 1. Select the paintbrush tool 2. Choose a colors from the color palette, and begin painting 3. Use the menu at the top to adjust paintbrush size, opacity and color 3. You will begin by painting the white areas and the black areas (black areas will be most interesting with a touch of your color added) 4. When those areas are completed, you may pick a single color to create the middle values. 5. Work from lightest areas to darkest areas. 6. Be certain that you leave no gaps between the areas of paint • After you have finished your face, you will need to paint the background: Make your background contrast with your portrait. It can contrast in one of the following ways: * Complementary (opposite each other on the color wheel) * Warm vs. cool * Color vs. grayscale Using color you choose, create values, but do not include pure white or pure black black. Follow-Up Lesson: Look at the work of Andy Warhol and discuss how photography was used. Look at other Pop artists and see how they used available technology. Look at Expressionists portraits and discuss color for emotion. Compare student experience to the historical examples. Learn a little about the life and influences of the artists presented. 12. Create an Animated .GIF in Photoshop
Let’s say you have a folder full of images that you want to sequence together as frames in an animated GIF. You can find special programs online to do this, but with some of the new features of Adobe Photoshop, it’s quite fast and simple. You will created a 20 second animated feature: Using a minimum of 20 images, you will create a 20 second animated GIF. If you decide to create a more detailed cartoon like animated GIF, be aware that the standard high quality cartoon is done at 24 frames per second. So you will need a minimum of 100 images for a decent quality animation. I will give a full extra credit grade for those of you who choose to take on this challenge Step 1: Research your subject matter, make it funny Step 2: Find or create 20 images that are consecutive. Use your phone to take photos of images and adjust there sizes in photoshop. PROCESS
Requirements:
EXTRA CREDIT: IF you finish early on your first animated GIF, or if you would like the extra credit, design a GIF of your choice.
13. Design a New Locker |
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I am sure you are bored with the standard Blue or Maroon lockers throughout the school. Wouldn't it be wonderful if each of you were able to design your own personal locker door? Wouldn't it be a wonderful competition throughout the school, for the best locker doors? I think so. So get out your design and art caps and lets design a personal locker door.
Using Adobe Illustrator or Adobe Photoshop. or Both, you will design a new Personal Locker Door Requirements: Step 1. Research and collect imagery, and words that describes you, and place in your folder Step 2. Prepare your design:
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14. Surrealism Imagery
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Surrealism is a 20th-century avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images..
PLAN 1. Find multiple of images 2. Combine the images to create an eerie and surrealistic image. 3. The final image is in graysclae Document size: 11 x 17" Resolution is 300 dpi CMYK |
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15. Yearbook Cover 2017-2018
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LEARNING OBJECTIVES
You will:
- learn how to correctly set up a new file in Photoshop
- apply some of the elements of art and principles of design in order to create a strong cover image
- be able to arrange text and graphic information on a page in a logical, readable and user friendly manner
- learn how to use type and graphics to convey a tone
- learn about the different ways fonts may be used
- develop and design a unifying visual theme for the yearbook
ENDURING UNDERSTANDINGS
Symbols have the power to communicate ideas, messages and identities.
PROCEDURE
Step One: Elements and Principles Research and Application
You will begin this unit by reading the following article on the Elements and Principles of Design:
Elements and Principles of Design Article
Step Two: Finding Design Reference
Next, you will research what other schools have created for their yearbook covers.
Heres a resources to get you started with your search:
Herff Jones Design Showcase
Download at least 6 examples of yearbook covers that you find visually interesting. Print them out and glue them in your sketchbook. Next to the images label and explain the Elements and Principles of Design that the designers incorporated into their work.
Step Two: Brainstorming and Sketching Ideas
Using the title “Do What You Love” create a series of four sketches that illustrate that theme. Here are the project parameters:
- You are not allowed to use internet images for this project. All images must be generated by you. You may create, draw or take your own photos for this project.
- At least one of your sketches must be type dominate.
- You must use the following color palette for your designs:
- •Required text:
- -Headline: “Do What You Love” or Develop at theme on your own.
- -Other required text: Preston High School Class of 2018
Step Three: Creating Your Cover
Select one of your design directions to use for your cover. Using Photoshop or Illustrator, recreate your cover digitally.
Here are the technical requirements for your cover:
- 8.5" x 11"
- 300 Pixels per inch
- CMYK Color.
Things to think about when designing:
Tone
- What feeling do you want your cover to convey? Serious, playful, strong, excited, celebratory, silly, etc?
Image Treatment
- Are the photos black and white, monochromatic, in full color or a mixture of all these ideas?
- Are they silhouetted (background removed), on top of a colored background, or have the original background showing?
- Are they cropped tightly or show the entire image?
- Do they have frames or borders?
- Do they have some sort of filter applied to them?
- Will your images be photographs, illustrations or both?
- Does your image treatment match your tone?
Type treatment
- Is the type bold, light, italic, condensed, extended, sans serif, serif, etc?
- Does the look and feel of the type match the look and feel of the cover?
- Is there a lot or little spacing between the letters and between the lines of type?
- Do multiple lines of type touch or overlap?
- How is the type aligned? Left, right, center, justified or a mixture of these ways?
- Is the type created on the computer or created by hand then scanned in?
- Are your letters, all caps, all lowercase, or a combination of upper and lower case letters?
- Will you use typographic elements such as words, numbers and punctuation as design elements?
- Will some element in your cover repeat?
- Will things over lap?
- Will your cover be symmetrical or asymmetrical?
- Will you crop parts of your images or type?
- Will your type or images go off the edge of the page?
- Will you enlarge or reduce the size of certain elements in your cover?
- Will you use patterns, shapes or lines in your cover?
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16. Create an Animal out of letters
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Using your knowledge of creating paths in Adobe illustrator. And converting type into outlines in Adobe Illustrator, You will create an animal based on the shapes of the letters
1, Find an image of animal and place into a New 8.5 x 11 Adobe Illustrator document
2. Place the image on a new layer and lock the layer
3. Choose a font to use and type the name of the animal
4. Convert font into outlines, and stretch and distort the font until it matches the size and shape of the animal you have chosen
Requirements
Document size is 8.5 x 11
2 Colors only, Image is one color background is 2nd color
Use Animal profile only
Final images should match style of image shown
1, Find an image of animal and place into a New 8.5 x 11 Adobe Illustrator document
2. Place the image on a new layer and lock the layer
3. Choose a font to use and type the name of the animal
4. Convert font into outlines, and stretch and distort the font until it matches the size and shape of the animal you have chosen
Requirements
Document size is 8.5 x 11
2 Colors only, Image is one color background is 2nd color
Use Animal profile only
Final images should match style of image shown
17. Create your own "Where's Waldo"
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Remember "Highlights" Magazine? The last page of the magazine had a black and white drawings that were hidden in the backgrounds
. Remember the "Where's Waldo" books? You had to search for Waldo in the ultra complex backgrounds. STEPS 1. Your job is to find a background setting such as a cityscape, a forest, a desert, or even a fairytale setting. Or create your own background and hide 20 images. You can hide any item of your choice. You can even hide a person. Each image must be on a separate layer. 2. On a Word document, you will make a list of all the hidden items. 3. When the project is complete we will project it on to the SMART BOARD and search for the hidden items. We can do this as teams, or we can do this individually. 4. HIDE THOSE ITEMS WELL, but not too well. You will need to us the following tools, menu items, and conversions
Rubric
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