We’re very proud to announce the release of Freelance Confidential, Rockable Press’s newest book on freelancing. This book aims to provide the hard numbers on the biggest issues of freelancing and advice on how experienced freelancers can improve their business. More than just another single person’s view on freelancing, Freelance Confidential contains contributions from the Editor of FreelanceSwitch, Amanda Hackwith, a panel of 10 expert entrepreneurs, and 3,200 freelancers worldwide.
Last winter, we asked readers of FreelanceSwitch to contribute to a global survey on freelancing–over 3,200 responded! Get those statistics and you’ll learn the real numbers on the biggest questions which revealed some surprising new trends for the freelance industry. Did you know…?
More than just a stats book, Freelance Confidential compares survey numbers to the 2007 survey to see what’s changing. We’ve also interviewed ten amazing success stories like Ed Gandia of International Freelancer’s Academy, James Chartrand of Men with Pens, FreelanceSwitch’s own N.C. Winters, an exclusive interview with founder Collis Ta’eed, and many more.
You’ll learn the current trends and insights on big questions:
Still undecided? Check out the Freelance Confidential launch page to download free sample pages and see what others have to say about the book.
We’re really excited to offer Freelance Confidential in four great formats:
Source: http://feedproxy.google.com/~r/psdtuts/~3/i2dKXfIYVV0/
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Adversity and loss have definitely fueled this resilient designer to create some amazing artwork. Becoming a designer was pure coincidence for Roy but he took advantage of his talent and is now creating some extraordinary artwork. With a very unique style that doesn’t quite sit on one particular technique Roy can illustrate exactly what he is feeling. In our interview Roy discusses how he overcame some obstacles in his life, which in turn made him a much better artist.
Hello, my name is Roy Bourkel, and I am from Luxembourg, a tiny, but lovely country situated in the mid-west of Europe. I always used to be a ‘draw-a-holic’ and when I found a 4.0 version of Photoshop in my fathers belongings I really started to get into digital art.
That’s an interesting question, because when I think about it closely, it was pure coincidence. Actually I planned to become a doctor, in my desire to change something in this world, but when my dad finally lost his fight against his cancer, I gave up on that thought and decided to do, what I love the most, creating!
When I started I had a lot of trouble getting along with the new, weird environment. It’s just hard for a traditional artist to move over to the digital ‘dark-side’. But it was a good step in the right direction; I made huge improvements only in the last year. 8 months ago, I injured my head, my right arm and hand were paralyzed and there was a possibility that I’d never regain my abilities, so I decided to become dual-handed and trained my left hand. I worked hard and at the moment I am working on new techniques and tricks. Looking at my stuff gives me the feeling that I am drifting in a more conceptual art branch. And I like that.
Well, I am sorry that I forgot to update my info. I am 18 now, and I am planning to study art and design and get a degree. I can teach myself a lot, but you can never learn enough, don’t you agree? And in my opinion, knowledge results in creativity.
Thank you! The way Bioluminescence was created is pretty weird. It all began when I started to train my left hand. I had all those cool copic markers laying around and a lot of time. First, I had to start with easy elements to get a feeling with the left hand. Then after a week I had a whole bunch sheets filled with conceptual stuff, and I took 34 of them, with useful elements and started to digitalize them and continued my work in Photoshop.
To actually understand the concept behind ‘Bioluminescence’ you have to know the original title ‘Bioluminescence: 2013′. I am not naive, but I thought about the Mayan calendar and imagined the possibility if it’d actually happened. What could our world look like? Life is the strongest constant in nature and even when our race will be long gone, a lot of life forms will still remain and some of the most resistant inhabitants do live in the depths of the sea. Now to combine this with colors and weird forms? Exactly, bioluminescence!
Then I made a first attempt, but I didn’t like it at all, so I decided to start from the beginning, but with the same 34 images I had. I changed the name to only focus on the colors and there you go.
I don’t think so. I always plan and think a lot, before I start working. The only thing in a typographical work, that could be a little different, is that I focus a little more on technical aspects like symmetry, forms etc. , but that’s not always the case. For me it is another way of creating artworks.
I am never satisfied. I strive to become one of the best and I just can’t focus on finished stuff, I have to go on. It’s both a curse and a benefit. My weakest spot is also my greatest, so I don’t care about it at all.
No, thank you, for taking your time to let me share my thoughts with one of the best communities worldwide. If I may give our readers one advise, I’d like to tell them, that you should just never give up, never lay down your pen and just continue. Don’t ever argue about what you do, or what you don’t, just do something and keep on working and you will see, the results will come!
Source: http://feedproxy.google.com/~r/psdtuts/~3/2aTdW12m8As/
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Hello everyone! Today, our friends from UPrinting are sponsoring yet another giveaway on our site. This time, by offering 2 free 24 x 36 posters to 5 lucky Psdtuts readers, with a twist. One of the posters that they will be giving away will be artwork provided by Psdtuts author, Ed Lopez from his latest premium tutorial, Glacialis. The second poster can printed with any artwork of your choosing. UPrinting is an online printer that offers all sorts of online printing services. They do everything from business cards, to, of course, poster printing. To enter, all you have to do is answer the following question correctly:
Update: Congratulations Josh Allen, Felix Finger, Silviu Stefu, Dustin Rhodes, and Pam Wolfe! You have all won a free print by Ed Lopez from UPrinting as well as a print of your choosing. We have forwarded your contact information on to the people at UPrinting and they should be in touch soon. Thanks so much everyone! We really appreciate your participation.
What is the largest standard size available for large format posters?
To find the answer, simply browse to UPrinting?s website where you can discover the answer. Once you have discovered the answer, submit it using this form. The winners will be chosen at random from those of you who answered correctly.
Below is a sample of the 24 x 36 inch print that you can win.
Thanks everyone and good luck!
Source: http://feedproxy.google.com/~r/psdtuts/~3/oN3GnlNY2WU/
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We’re very proud to announce the release of Freelance Confidential, Rockable Press’s newest book on freelancing. This book aims to provide the hard numbers on the biggest issues of freelancing and advice on how experienced freelancers can improve their business. More than just another single person’s view on freelancing, Freelance Confidential contains contributions from the Editor of FreelanceSwitch, Amanda Hackwith, a panel of 10 expert entrepreneurs, and 3,200 freelancers worldwide.
Last winter, we asked readers of FreelanceSwitch to contribute to a global survey on freelancing–over 3,200 responded! Get those statistics and you’ll learn the real numbers on the biggest questions which revealed some surprising new trends for the freelance industry. Did you know…?
More than just a stats book, Freelance Confidential compares survey numbers to the 2007 survey to see what’s changing. We’ve also interviewed ten amazing success stories like Ed Gandia of International Freelancer’s Academy, James Chartrand of Men with Pens, FreelanceSwitch’s own N.C. Winters, an exclusive interview with founder Collis Ta’eed, and many more.
You’ll learn the current trends and insights on big questions:
Still undecided? Check out the Freelance Confidential launch page to download free sample pages and see what others have to say about the book.
We’re really excited to offer Freelance Confidential in four great formats:
Source: http://feedproxy.google.com/~r/psdtuts/~3/i2dKXfIYVV0/
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Source: http://thinkdesignblog.com/contest-win-a-free-premium-texture-bundle-from-vandelay-premier.htm
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Creating still-life objects in Photoshop is often great practice for learning how to create other objects. In today’s tutorial we will demonstrate how to create a realistic-looking paint brush using layer styles, clipping masks, and the not-so-commonly-used blend if sliders. Let’s get started!
This tutorial uses a custom created pattern. Download here:
Create a new document (2400px x 2175 px). Sketch out a scene of a paintbrush.
This step is optional, but I’ve added some additional visual guides to help me draw the bristles.
Before we start drawing bristles, create a New Group called “Bristles.” Inside this group, create a layer called “Bristles” and add the following Layer Style.
Duplicate the empty layer 5 times. Since we are making a lot of bristles, we are going to be drawing them on five separate layers. If we tried to draw them all on one layer, the strokes would blend together and ruin the layer style that’s applied. Select the bottom-most layer in the “Bristles” group and, with a small brush, start drawing lines using the guides and sketch as references.
Continue drawing bristles on the remaining four layers, adding some variation and stray bristles as you go. Feel free to add more layers as you see necessary.
When you’re done, you’ll notice there are still several gaps in the brush. To fix this, create a new layer called “Black out” below the “Bristles” group and paint in a dark gray color (#1B1919) to fill all gaps.
Next, we want to add some paint to the bristles. Before we add the obvious paint to the tip of the brush, we want to make it appear that bristles have ‘absorbed’ some of the paint. To do this, create a New Layer called “Inside Paint” below the “Bristles” group. Next, use the Brush Tool to add a blob of color as shown.
To create the effect that the bristles have ‘taken’ the paint, use the Smudge Tool, set to 100%, to push the paint on to random bristles.
Now, we can add the paint on top of the bristles. Create a New Group called “Outside Paint” above the “Bristles” group and use the brush tool to add another blob of the same color to the tip of the brush. Use the same technique with the Smudge Tool to push the color on to random bristles.
To give the paint some variation, add the following Layer Styles. As an optional step, you can use the Eraser Tool (E) set to 1 px to erase lines from the paint. This will give the illusion that some bristles are showing through the paint.
Next, we want to merge the layer effects to that layer. To do this, Right + Click on the “Paint” layer and choose “Create Layers” (this will convert the layer styles in to their own layers). Now, just select all the new “Paint” layers and merge (Command/Ctrl + E).
Use the Dodge and Burn Tools to add some more variation to the paint. Make sure to dodge and burn in the direction of the bristles.
Next we are going to add the streak of paint. Create a New Layer called “Streak.” Use the Brush Tool to add a streak of paint using the same color of paint that is on the bristles.
Use the Dodge and Burn Tools to add some subtle variation to the streak. When you’re done, merge this layer with the “Paint” layer. Rename the layer to “Paint.”
Now, we are going to give the paint that wet look. To start, create a New Layer called “Highlights 1″ and make this a clipping layer (use Alt + Click on the Layers Panel).
Now, draw in some white highlights as shown. Set this layer’s opacity to 11%
Open the layer’s Layer Styles and adjust the “Blend If: Underlying Layer” sliders as shown.
Next, we are going to do the same with a darker color. Create a new clipping layer called “Lowlights” and use a darker red to paint in some lowlights.
Set the “Lowlights” layer’s opacity to 72% and open the Layer Styles to adjust the Blend If sliders as shown.
We can keep using this technique of adding highlights and adjusting its Blend If sliders to complete the ‘wet’ look of paint (I used this technique to add 3 more highlights).
Now that the bristles and paint are done, we can create the rest of the brush. Hide all layers associated with the paint and bristles. Next, create a New Group called “Handle”. Inside that group, create 2 new groups called “Metal” and “Grip”.
In the “Metal” group, create a New Layer called “Metal Band.” Using the sketch as a guide, create the shape of the metal band that holds the bristles in place. I found it easier to create the brush’s handle upright. It may help to go back to the sketch and create a copy to rotate it so that the brush is standing up.
Create a New Layer called “Bevels” and draw in some bevels. You can use the Pen Tool if you wish, but I just used the Brush Tool.
Use the “Bevels” layer to make a selection (Command/Ctrl + Click the thumbnail). Use this selection to Cut (Command/Ctrl + X) the “Metal Band” layer. Also cut out some holes for rivets. All of these cuts will give us more edges for the Bevel and Emboss effect in the next step.
Add the following Layer Styles to the “Metal Band” layer
Next, add the following layer styles to the “Bevels” layer.
The result should resemble the image below.
Next, create a New Layer called “Rivets.” Add a small circle at each opening on the metal band and add the following layer styles.
The image should resemble the following
Now, to make the next few steps easier, merge the “Rivets” and “Bevel” layers together. Next, merge the layer styles to the “Metal Band” layer.
Create a New Layer called “Reflections” and make this a clipping layer to the “Metal Band” layer. Use a dark color to draw in several lines to create the illusion of a reflection.
Create another clipping layer called “Highlights 1.” Using a lighter color, draw in some highlights as shown. Use the Burn Tool to give the color some variation and the Blur Tool to soften some of the highlights.
Create another clipping layer called “Highlights 2″ and using the same techniques from the previous step, add some additional highlights.
Your image should resemble the following
Now that we’ve added reflections and highlights as clipping layers to the “Metal Band” layer, we will use the same techniques to add reflections and highlights to the bevels. After this is done, add any additional details as you see fit.
Create a New Layer called “Grip” inside the previously created “Grip” group. Draw the shape of a brush handle and fill with black. Give this some noise (Filter > Noise > Add Noise) with a setting of 10%.
Before we finish the grip, rotate and skew the “Handle” group in to position in our scene. Unhide the “Sketch” and “Bristles” group to help with the positioning.
Now, we are going to start texturing the grip. We will do this with a series of clipping layers. Create a new clipping layer to the “Grip” layer and, using a soft brush, paint a portion of it white (see image below). Set this layer’s opacity to 3%.
On a new clipping layer, draw a thinner highlight on the grip. Change the opacity to 23%. Open the Layer Styles and adjust the layer’s Blend If sliders as shown (this will break up the highlight so it doesn’t appear unnaturally smooth).
I want to add some scratches to the bush’s handle for some added realism. To do this, open a new document and make a thin brush stoke. Select the stroke and go to Edit > Define Brush Preset to make it into a brush.
Open your Brush Panel and adjust the settings to give the new brush variable size and scatter.
Back to the main document, on an new clipping layer, use the scratches brush we just created to draw black scratches on the grip.
Create another clipping layer and add a few more scratches, this time in white. Adjust the opacity of both layers so the scratches are barely visible (darker monitors might have trouble picking this up). Your image should resemble the following:
As an optional step, you can go in to the “Metal Band” layer and use the same scratches brush to add scratches to the metal.
Back in the “Handle” group, on a new clipping layer, use the Brush Tool to paint a soft highlight as shown (make sure you are not using the Scratches brush). Change the Blend If settings as shown and change its opacity to 80%.
On an new clipping layer, create another, thinner highlight on top of the last one. Adjust the Blend If settings similar to the last layer we did and change the Opacity to 12%.
On a new clipping layer, create an oval and fill it with white. Rotate it in to perspective and add a layer mask to erase part of the bottom of the oval. Adjust the Blend If slider and set its Blending Mode to Overlay.
Use a Brush Tool to add a bit of a highlight on the bevel. Use the Blur Tool to soften the highlight.
Lastly, we can go back through the image to add some detail or make minor adjustments.
Unhide all the working layers and you’re finished. If you want to, you can use the original “Grip” layer to add different textures. In this case, I’ve added a faux wood finish using a texture I’ve already created using Photoshop.
Source: http://feedproxy.google.com/~r/psdtuts/~3/TGepJrhstck/
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