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tutorials photoshop

How to Add Tattoo to a Person Arm in Photoshop – Applying Realistic Tattoos on the Body



In this photoshop photo editing tutorial, I’ll show you easy way to add a realistic tattoo on Your Body in photoshop while making it look like it’s really a part of the …

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Categories
tutorials Illustrator

Create a Burberry Style Plaid Part II Applying a Twill Pattern

Last month I discussed how to Create a Burberry Style Plaid with Illustrator in 4 Steps. Creating a basic plaid in Illustrator is fun and easy but some of you may have noticed (especially those of you who work in the fashion industry) that there was an essential component of creating a plaid that was missing; the simulated twill. For those of you who don’t know what a twill is, a twill, is a type of fabric woven with a pattern of diagonal parallel ribs. If you take a look at most of your plaid shirts you will see a twill pattern woven into the fabric.

In this tutorial, I plan to show you how to simulate this effect in Illustrator.  I should warn you that while the previous plaid tutorial was relatively simple, this effect takes a bit longer to achieve and involves quite a few more steps.

Let’s Get Started!

In this tutorial I am not going to go through the basics of creating a plaid.  If you would like to learn more about the basics of creating a plaid take a look at my previous tutorial.  For the purposes of this tutorial, let’s assume that you already have a basic pattern in mind and you simply want to add some more realism to it by adding a twill pattern.

For those of you who haven’t already created a plaid of your own, download the lesson files and open the burberry-twill-start.ai file.  When you open the file, you will see that the basic plaid that I already created that’s composed of two identical groups of rectangles with one group rotated 90 degrees counter clockwise and with its opacity set to 50%.  We will use this object as a guide to create our new swatch.

0Our first step should be to duplicate our plaid and to delete the group with the reduced opacity.

Once you’ve deleted the vertical rectangles you will now want to duplicate the horizontal rectangles 3 times as shown.  You will be using these to create your diagonal overlays.

Select the bottom two sets and rotate them 90 degrees counter clockwise as shown.

Once you’ve rotated your shapes, we’re now at the point where we need to decide where we will place the twill patterns.  The best place to do this is with the darker stripes.

In the lesson file that I included in this tutorial I also included a block of diagonal lines.  This block of diagonal lines is special in that it is seamless and tileable.  If you’ve ever looked at a twill pattern, you may notice that the diagonal stripes line up.  So in order to make your plaid look right your diagonal lines must be completely seamless; otherwise you will notice where the tiles come together.  Think of this swatch as two completely separate patterns overlaid on top of each other.  Both patterns will repeat at the same time and therefore must fit perfectly together.  For more seamless diagonal lines you can download this set 55 Seamless Line & Crosshatch Swatches.

Your first step is to duplicate the diagonal lines as shown.

Now drag the diagonals on top of each square as shown.  In this step it is important to make sure that each set sits perfectly on top of each other.  If they don’t line up properly, the final product will not look right.  You can line them up perfectly either by using smart guides or by aligning them to their centers.


::__IHACKLOG_REMOTE_IMAGE_AUTODOWN_BLOCK__::1As you can see we have now overlaid our diagonal stripes on top of our objects but this screenshot is slightly misleading.  At this stage we now want to intersect the diagonals with darker shaded stripes.  To do this however we will first need to ungroup all the rectangles, then select the rectangles as shown and finally use the pathfinder palette to combine them as shown.


Now intersect the new compound shape with the diagonals.  Your shape should now look as shown.  Repeat the above steps with the vertical stripes.

Now that you have created your twill pattern you will now want to edit the colors of the squares to the left.  In this step simply use your eye dropper to edit the colors of the stripes as shown.

Now we can simply drag our twill patterns on top of our other pattern as shown.  You can delete the left over shapes from the other two sets.

.jpg” data-mce-src=”https://web.archive.org/web/20120209193749im_/http://colorburned.com/imagestutorialsburberrytwill/0014.jpg” width=”498″ height=”239″>Now let’s group both sets of stripes and align them both to the center.  After that set the top layer’s opacity to 50%.  Your plaid should now look as shown.

Right now our plaid looks pretty good but we’re not finished yet.  If you’ve ever taken a good look at a plaid you will notice that they are opaque where the stripes intersect.  To do this, grab your original plaid and duplicate it again as shown.


Now delete the rectangles as shown.

Select all the horizontal lines and combine them using the pathfinder palette.  After that, select all the vertical lines and combine them as well.

Now let’s intersect both compound shapes as shown.

Drag the intersected shape on top of the previous plaid as shown.

At this point, we’re almost done but not quite.  We want the diagonal lines to be the same color as the squares that we just created.  To do this simplly select the diagonal lines and combine them using the pathfinder palette.  After that, bring the diagonals to the front.  Your plaid should now look as shown.

Create the Swatch

To create the swatch, simply drag the plaid into the swatches palette.

Apply the Swatch

To apply the swatch, simply draw out a square and apply the swatch as a fill.

Final Image

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General

Applying Correct Color Profiles in Photoshop

Many times inexperienced designers and publishers wonder why their images do not look in print like they look on the screen. Well, they will almost never look the way they look on screen. Many factors can influence the final print output. From different screens which are not calibrated to photographs that are not professionally retouched and to colors settings that are not correctly adjusted.

In this post we will deal with how to choose and adjust the correct Photoshop color settings and how to assign those settings to images.

If you want your images to print correctly you have to apply correct setting according to the printing method you will be using.

Lets dig in into Photoshop Color settings. There are many settings here and it would take a book to explain them all in detail. Besides all of the Photoshop Color Settings are explained in detail in numerous web sites and you don’t need to know all of them. I will show you which ones you need.

 

Importing and Selecting ICC Profiles

Before we start, talk with your printing house prepress team and ask them which ICC profiles they use. If they are using the profiles that are not included in Photoshop Color Settings ask them to send you appropriate icc files. When you receive them, place the files in /Library/ColorSync/Profiles

Now you can open Photoshop and in color settings panel (Edit/Color Settings) you will have to load this new profile. On the right you can click Load and navigate to the destination where you have saved your icc profile file.

This profile will now be visible in Settings drop down menu. After you have chosen your profile all other options will change according to the selected profile.

Lets skip to working spaces.

All of these settings will be automatically selected when you choose appropriate profile from Settings drop down menu.

RGB working space is the working space for your RGB images. Many Photoshop experts retouch images in RGB mode, so it is essential that the right profile is selected and that you correct images with this profile applied.

CMYK working space will be applied to CMYK images.

Gray and spot will be used when you work on greyscale images and on images with spot colors.

Color management policies tells you how Photoshop deals with newly opened images, especially the ones that have different or no color settings applied than yours since printing photographs with different profiles applied can result in color mismatch.

We need to tell Photoshop how to handle these color profile mismatches, and we do that in the Color Management Policies section of the Color Settings dialog box. By default, Photoshop is set to Preserve Embedded Profiles, which will keep the original color profile intact, and that’s rarely something that we want so we need to change these options.

 

Applying Profiles to Images

Here we will explain two scenarios. One is when you work with one printing house and you use only one color profile and another scenario is when you are working with few printing houses each with their own color profiles, or when you are using different printing methods or inks.

The next description is for all of you that are working with same printing house and use only one color profile.

Ask When Opening and Ask When Pasting checkboxes for the Profile Mismatches option should be selected. Each time you open an image in Photoshop you will be asked if you want to keep the embedded profile or to replace it with the working one, and the working one is the one you want to apply and the one you need.

Missing profiles checkbox should also be ticked and if the image you open does not have any profile applied the Missing profile window will open and you will apply your working profile.

In this way you will apply the correct color profile to your images as soon as you open them. So the next time you open an image with wrong color profile you will be presented with the “Missing profile” dialog box and you will have to tick the Assign working check box.

What happens if you work with few printing houses that use different profiles?

Well, then your best option is to uncheck Ask When Opening and Ask When Pasting checkboxes. Also leave all the options to Preserve Embedded Profiles. This will result in images retaining their original profiles and then you can choose which one you need to apply.

In this way each time you open an image that has different profile assigned, you will have to assign correct profile manually.

To do this go to Edit/Assign Profile. This dialog box looks almost the same as Missing profile dialog box but here you can choose from all of the profiles that are available and you will choose the one you need.

 

All of these processes are the same regardless if you open an RGB or CMYK image.

After you apply the steps described above, you can start color correcting your images if they need color correction.

 

Conclusion

These are the several steps that you have to take to assure that your images will print as closely to the original as they can.

In the end I advise you to invest some money in color proofs. Each printing house have their own proof devices which simulate the printing method they use. You can inspect them and if you are not satisfied you can correct the pages which are not satisfying.

You will have to sign those proofs if satisfied and they will serve as an evidence if something goes wrong in the printing process and you can always talk with the printing house representative why the final print is not equal to the color proofs which you were shown to approve.