I need to make an 11x14 composite page for a school. I am shooting photos of all of the students and they want an 11x14 with the school name and all of the students faces in ovals . I would need about 200 ovals, one for each student.
way to do this? Layers? Masks?
Senility has set in, and I can no longer remember how to stick ovals around a circle. Need to do this for a client's site, for a gallery (patterns in the little ovals will show large in the middle), but think this is more a graphics question at the moment than a web question. This mock up was done in Illustrator by the client. I know Xara can do this easily, if I could only remember how. Have a feeling i have seen a tut illustrating this, but haven't been able to unearth it. Thinking it might be a blend, but not sure. Can't persuade things to go round the circle, nor work out how to keep them equidistant. I am such a newb.
View 9 Replies View RelatedI'm creating a logo that uses two ovals, an innner and outer one. I'd like the outer one to be an exact, larger version of the inner one and look perfectly proportional to the inner one.
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However, as you'll see in the attached, the top version (made up of the inner oval and then a 10% expaned version of it around it as the outer logo) doesn't look as proportional as the the bottom version (made-up of the inner oval and then an outer oval I drew myself that I thought looked good.)
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Is there a way to create an exact, larger version of the inner oval (to use as the outer oval) that will look and be exactly proportional to the inner oval? Or is the way I'm doing it (drawing it to look as close as possible a fine way to do it)?
Anyone no of a good plug-in or program that would allow a simple way of making this?
Since our studio has gone completey digital i would like to find a way of making these school composites digitaly?
I am not talking about the fancy 3-d apps that create these awesome metallic-loking 3 -d images,like this: I I'm talking about linear art, flat and 2-d, like the old school comic books like Superman, Wonder Woman and Spider-Woman. That's what I am looking to do: I know there was some plug in that let you do them just like that, (after you typed in the name, you selected the letters and with some app, you manipulated them to look like old-school comic book lettering...)( I remember creating them old-school titles myself) with no fancy gradations, shines or bevels, it was just the lettering, and the effect of the 3dish thing...anyone knows what the plug in is, or if anything like that can be done with either Illustrator Cs4 or Photoshop Cs4? This is an example of what I did myself: But that was years ago when I had Illustrator 10, and after a long time with no acces to the net or computers, I'm back in the swing of things, but I can't remember the name of the program or plug in that allowed you to do those imges!
View 5 Replies View RelatedI just put up a video page for my school. It's not really targeted at the public yet. It's main for our school and church - Homework, assignments, previews, etc. But it's been fun learning with it and expiramenting. I did it all my self too, even took the pictures in the gallery (which needs expanding).
View 4 Replies View RelatedI have got a job to take school pictures where I will offer 3 portrait shots and 2 class shots for selection and I am looking for an easy way to add contact thumbnails onto a sheet that also contains a price list and order form as well as other details etc.
I have around 350 of these to do and have made up a sheet that contains all the other details as a PDF and as a In Design Master sheet and as a jpg file.
I am predominately a photographer and know little InDesign except what I have taught myself but not much. How to automate it and save me a whole load of time?
For my school project, I've been assigned to update the school maps. I use AutoCAD 2012, but I also have Revit and Inventor on my school computer. The problem that I am having is that the maps I were given are in 2D (they're basically blueprints of each floor). My teacher wants me to make it more modern-looking, meaning he wants me to be able to show depth and make the map more 3D. If you're not sure what I mean, he wants me to make it look something like this [URL]....... except that it would be for one school building, and the room numbers and names have to be visible for all three floors.
Having learned only basic knowledge of CAD and Revit, I am stuck on how to create the "layered" school map. Is there any way to do it on CAD, or should I use another program? Can I use the current 2D blueprints, or do I need to create a new set of diagrams? (the 2D blueprints look like [URL].......
I played around with the 2010 Block Editor, it must be 5 times more efficient that where it is in 12. Using 2014 like the new Block Editor?
View 2 Replies View RelatedIs there a way to use iLogic to replicate the old-school method of replacing drawing references? (ie, where you'd temporarily rename the originally referenced file, open the drawing, and then point it to the new file after Inventor says it can't find the original)
Longer version:
I have an iLogic configurator that manipulates skeletal models, copies them out as new files, and swaps them into template drawings. The original skeletal model can be configured in several different ways (different features, surfaces, etc), so I have several template drawings set up for each model depending on the configuration.
The problem that I'm encountering involves the order in which the drawing is loaded and then has its references replaced. When first opened, the drawing loads the original skeletal model which doesn't have all the geometry of the "new" model for which the particular template drawing was intended. This makes most of my section and detail view constraints go belly-up. After subsequently replacing the model references with the "new" model with the correct geometry, the section and detail view constraints fail to resolve themselves, and my once-perfect detail drawing is ruined.
If I instead force the drawing to open with the new model from the git-go (via the workaround discussed above), everything loads perfectly. However, I haven't yet found a way to handle this automatically with iLogic.
FWIW, I am currently using the following code in a subroutine:
DESTINATIONDOC=ThisApplication.DOCUMENTS.Open(TemplateDrawing, False)
DESTINATIONDOC.SAVEAS(filePath&Left(PN,6)&".idw", False)
DimSTRNEWREFNAMEAsString
DimOREFFILEAsFILEDESCRIPTOR
[Code]....
best way to stack 2d and 3d items together in the same document, and maximize the editibility...
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I'm working on a digital room setting, and I have part of the room in 3d and part in 2d. So, for example, the walls, ceiling, floor, table, chairs and corner hutch are 3d, but the regular hutch and buffet server are in 2d.
- The table and chairs need to be in the foreground
- The regular hutch and server are behind the table and chairs
- The corner hutch needs to be behind all other pieces of furniture
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So, you may be catching on by now to my little dilemna... I want all the 3D items to have the same lighting and reflect off one another, however, I need the 2d layers to somehow fit "inbetween" the 3d objects. The simple question is, how can this be done? Is there a way to mask the foreground 3D objects so that they appear to be in from of the 2D objects? My only current solution is this:
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- Move the whole 3D layer (the scene layer) all the way to the back
- Make the final decision on the position of the table and chairs
- Hide all other meshes in the scene besides the table and chairs
- Render, so the edges are clean
- Load the newly rendered 3D layer as a selection (which loads the table and chairs only)
- Either create a new layer from the selection of the rendered 3D layer, or mask the 3D layer so that the table and chairs appear to be in the foreground
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The method above means I can no longer edit/reposition/scale the 3D at all.
How do I do a composite snapshot using Photoshop CS5. I know it can be done in CS6 using Control + shift + alt + E. I am not having any luck using those shortcuts in CS5.
View 1 Replies View RelatedI want to put this corvette in that parking garage.
What kind of tips can I have to make this look REAL.
When I paste the car in the garage it obviously doesnt match SIZE wise.
Can I just change the size of the car without affecting the background?
How about shadowing?
I'm trying to create a clone composite from a tutorial in a magazine using Photoshop CS. When I create the layer for each image, the tutorial says the layer box should be black whereas mine is white. I have tried various settings inclding the changing the two overlapping black/white squares on the left handside and cannot find any way to make the layer box black.
View 2 Replies View RelatedOnce you create a composite layer at the top of your layer stack w. Option-click on "Merge Visible" in the Layer Panel Menu, is that new layer the only layer that now shows (represents) the image? For instance, if another adjustment layer is added below it, and the Background layer is the only image layer, will the effect of that adjustment be visible? Or do I need to delete the composite layer and create a new one to include the new adjustment layer?
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The reason I ask has to do with an illustration (below) I came across from one of Mark Johnson's old NAPP tutorials (Total Control Glowing Montage). In his tutorial "Layer 1" was created as a composite layer of the Background Layer and "Levels 1" which had a Smart Filter applied to it. Then the two "Levels 1" copy layers were added last to fine-tune the effect of the Levels 1 adjustment. Notice they are BELOW the composite layer.
How do I do a composite snapshot using Photoshop CS5. I know it can be done using CS6, but am not having any luck using Control + shift + alt + E?
View 1 Replies View Relatedcs3 has started to print very green since i ticked a checkbox and now i cant find the box to change back. printing the same photo in other applications is fine so its not the printer but a photoshop setting.
which is the exact box that i changed from composite rgb to composite cmyk ( I remember that box on the right that said Text as black.
But where is this from? It says its from Adobe InDesign.
But I dont have In Design!
I have checked Adobe Bridge but there is no printing and colour part in there.
Anyone seen this in photoshop before?
I would like to create an image made of several gif ones,
How can i do it?
workflow problem when dealing with a composite, selection and background layer. My normal workflow is to start of in LR4, and if need be do an "edit in, CS6". I am relatively new to CS6, so bear with me.
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I have some portraits I want to put different backgrounds on. I am using Matt Kloskowski's Layers book and Composites books written for CS5. I also have Martin Evening's book on CS6 and the workflow for doing a composite is pretty much the same. The catch is that none of them start off in LR with the original photo. They all describe the following basic workflow pattern:
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1. Bring up the main photo in CS using "edit in CS6"
2. Change the photo from a background layer to a regular layer
3. Make a selection.
4. Make a layer mask
5. Refine the edge
6. open the background photo you want to place the selection in (steps 4 and 5 are sometimes reversed so you are refining the edge on the new background)
7. copy and paste the original photo onto the new background
8. Refine the edge if not already done
9. Save and exit back to LR with the composite
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If I follow this procedure I run into a couple of problems:
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1. My backgrounds are in a separate folder on my computer and not cataloged in LR. So, if I open them in photoshop and paste the original photo onto that image, LR will not know that I want to take the new composite back to the original folder along with the portrait. If I go to save the image, CS want to take the composite back to the folder on my computer where I got the background from. I tried playing around and tried renaming the composite similar to the naming convention I use for my photos in LR and then importing it into that folder after I have saved it in the background folder. This had some unintended consequences. First, I had trouble renaming the composite photo. For some reason Windows kept plugging in an old photo file name from one of my photos taken two years ago. After I discovered that I could work around it. But after the first composite finally got into LR, when I tried to do it again, the import button on the left side of my LR went dark and I couldn't import the second composite photo I was working on. This could have been a coincident and unconnected LR glitch, but I have never had that problem before.
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So...I was thinking of modifying the workflow to the following:
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1. Bring up the main photo in CS using "edit in CS6"
2. Change the photo from a background layer to a regular layer
3. Make a selection.
4. Make a layer mask
5. Refine the edge
6. open the background photo you want to place the selection in
7. copy and paste the new BACKGROUND onto the original photo
8. Move or make the new background layer THE "Background" layer
10. Refine the edge
11. Save and exit back to LR with the composite
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I am envisioning this will ensure that my composite will wind up back in LR because it is still keeping track of the original photo which now has gotten the new background, regardless of what the file name of the new background was.
I'm moving pictures of people onto a backround of flowers and plants. I've used the magic wand and polygonal lasso to get the people on to the backround. That works fine, except the backround near the persons hair shows up as a halo or line around them or I see the backround between the starnds of hair.
How do I have the person show up on the backround without lines or the backround from where I moved the person from. I hope this makes sense., I'm using CS4
I am trying to find a tutorial about making a composite image of a skier flying through the air. I shot at 9 frames per second and want to show all of them on a single frame. Can anyone point me to somewhere that would help get me started on this kinda thing?
View 1 Replies View Relatedim new in .EPS format... i created an AD using photoshop and the magazine company wants me to save the file in DCS2 format @ 300 dpi (.EPS extension), with color composite
but when i save the file, it only gives me 72dpi resolution resolution option...
do i need adobe illustrator to do this?
making a composite image of a skier flying through the air. I shot at 9 frames per second and want to show all of them on a single frame.
View 4 Replies View RelatedI get the message "Generating Full Resolution Composite" when I try and save even a relatively average (500MB) file. The hard drive light is lit solid and after about 2-4min, it starts saving the image.
I have tried unchecking "Maximize Compatibility",
I have CS2 - is there a way in CS2 (or CS3) to stop the "Generating Full Resolution Composite" message? I don't care about preview icons/thumbnails at all.
I want to apply Burn to a flattened image, but without flattening. My image consists of several layers, and if I apply Burn to the image layer it doesn't work as well as when applied to the flattened image. But I don't want to flatten the image.
I have uploaded a test image here. It is a crop from a scanned Kodachrome using a Nikon Coolscan V ED which causes flare whenever highlights abut shadows. I can remove the flare fairly effectively on a flattened image with several Burn passes by using a brush size:75, Range: midtones, Exposure: 20%. But if I try it on the unflattened image layer, the results are not as good.
I'm using the 3D render engine vray, using its multimatte render element which assigns mattes of certain materials (or objects) in the scene to a channel: R, G, or B.
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I'm curious about the best way to composite once I have this file rendered out. The simplest way I can think of is doing a color range selection on the matte channel's solid color, then using that selection to modify my image as necessary. But I have used After Effects to do this also, and there is a "channel select" effect that extracts the channel and converts it to an alpha mask in one step... makes me think there's a more elegant way in Photoshop as well.
I am trying to place/ import a .psd as a smart object into a composite and have Photoshop keep referenceing that same psd witout it creating a local tmp file.
View 2 Replies View Relatedso I'm working on a pretty complex image with alot of composites - models on a new backgrounds, new heads, arms, etc. I had to scale these elements down to fit the image and I used smart object b/c i had to go back and forth and get placement approval before moving on to the retouching. I still have to adjust the mask edges in the smart object PSB's but it is really annoying to go back and forth from the composite image to the PSB with layer mask. Is there a way to rasterize the PSB into the final image with the layer mask so I can better blend it? I tried dragging the PSB with layer mask over but of course it is too big (because i scaled the PSB down).
View 31 Replies View RelatedFirst, a slightly long winded explanation. Shooting the creative family Christmas card this year in a Mini-Cooper (original 60's one). Basically set my lighting up and then shot individual members in the car to post them together. The only snafu - my 20 month old son wasn't exactly cooperating, so the 'good' photograph I have of him is in the drivers seat, and I wanted to move him in between us.
There were a few difficulties here. First, the light changed between originally shooting my wife (windshield was clear), as skies were blue, and when I took the photo of myself nearly an hour later (cloudy skies cast a glare on the windshield. I had a black scrim set up to the side which worked, but wasn't able to knock it out all together. So i faded the clear windshield from my wife's side over to my side with the glare, but I feel that looks fairly natural (or at least good enough for the Christmas card).
The trick comes with my son - I cut him out from where he was at the drivers seat (had to do some shoddy work on his shirt where the steering wheel blocked him), and put him in between us. However, it looks like his coloring is off from what we are - and I can't quite seem to get it right. Color balance is definitely not my strong suit in PS.
I have a problem with this command : "Toggle composite and grayscale mask in Quick Mask mode"I know i have to press the tidle key " ~ " to activate it but i'm using an Azerty keyboard (belgium) and i have trouble with it.The only way i can use the tidle key on my keyboard is to press "Option + n" keys.
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So in Photoshop, i load a channel selection, turn into "quick mask mode" and then press "Option + n", but nothing happens.If i try with "Command+Option+n", i open the window for a new document.I have tried ALL combination of keys but nothing worked.I have also tried to change the keyboard input to Britain, Usa, etc but it still doesn't work.
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I'm using the english version of Photoshop CS6 (Subscription), and an Azerty Keyboard (Belgium) on a Mac Osx Snow leopard.How can i solve this problem ?
Does VideoStudio X5 or VideoStudio X5 Ultimate has blending modes & composite modes?
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