Katrina Kaif Freehand Digital Painting

Bike Modification Delhi NCR, India

Hello Suspenledland.com Viewers I got something for you really interesting which surely arousing your attention. That is our new service Graphic Designing for Bike and Car. Yes, Bike modification is the latest fad among the Indian youth. Since most of the college-going crowd can't afford expensive international bikes they take recourse to modifications to jazz-up their bikes

Modification can be done both to the engine as well as to the body of the bike. While engine modification can increase the performance and efficiency of the bike, cosmetic changes seek to lend a snazzier look to the bikes. So we deal in only cosmetic changes that are Graphic part. We do the graphic in such a way that Bike turns to totally different.

Look at the below gallery design of Yamaha R15 You must be remember when Yamaha R15 comes in Black Color its look weird So I Try Graphic on it and turn My Bike totally different Which make my bike stand out amongst other. Then I realize must be some more people like me who want to change his bike Graphic. So I started service I do all the Graphic Designing for Car / Bike modification for whole part of the bike / car body Includes Yamaha R15, Yamaha FZ, Yamaha Fazer, Karizama, Pulsar 220, Pulsar 180/150 or any other bike / car Modification.

Note : For all Car / Bike Graphic modification Delhi NCR, India Call +91-9911138302.

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  Orignal Yamaha R15

  Very Plan bike Xshowroom :(
  

  Yamaha R15 Turn to Yamaha R1 1000cc bike

  Client work * * * * 1/2
  

  Yamaha R15 Red Fly Logo

  Personal Work * * * * *
  

  Yamaha R15 Front Motogp Sticker

  Website for Freelance * * * * *
  

  Yamaha R15 Side View

  This is the current Graphic On my R15 * * * * *
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  Halftone Yellow YZF Yamaha R15

  Personal work * * * * *
  

  Yamaha R15 Red Swirl

  Personal Work * * * * *
  

  Burning Skull Yamaha R15 Front

  Admin panel for MM(INDIA) * * * * *
  

  Yamaha R15 Front Abstract Art

  Perfect Place for women wear * * * * *
  

  Yamaha R15 Racing Pix

  Perfect Place for Rider * * * * *
• 
  

Other List for bike modification dealers in Delhi

• 1.Ultimate Bike, 41, Ashoka Park, Main Rohtak Road, Bank of Baroda Building (Rampura), New Delhi-110035
• 2.Kaulson Overseas Pvt. Ltd., 7/58, South Patel Nagar, New Delhi - 110 001
• 3.DC Design, Okhla
• 4.Lalli Singh’s, near the Karol Bagh post office
• 5.Modvike, Kirti Nagar 6.Saboo Senny Bike Care, Kalkaji
• 7.Western Fabrications Works, Mayapuri 8.Nanna Motors, Wazirabad

Our Other Services

• Web Designing
• Graphic Design
• Photo Restoration
• Logos, Branding
• PSD2HTML
• Illustrations

• Brochures
• Advertising
• Flayer, Newsletter
• SEO Service provider
• Web & WPF Silverlight Design

30+ Useful Photoshop Custom Shapes Set

I found a very Intresting this in the internet thats Photoshop Custom Shapes This post is a showcase of 30+ Useful Custom Photoshop Shape Set. These custom shapes are free to use. Watch the site I have done useing these Photoshop Custom Shapes http://www.suspendedland.com/ that really I like.

Cum Shape Mix

Custom Shape Pack

Vector Shape Mix

Useful Shape

30 Shapes Collection

People Silhouettes

Free 45 Custom Shapes

Shapeset 05 Miscellanious

Sea Creatures

iLoveWeapons

Photoshop Custom Shapes Bugs

Live Trees

Custom Shapes Pack v. 1.1

Photoshop Paisley Custom Shape

Urban Designs Custom Shapes

Photoshop Shapes: World Map

Photoshop Shapes – Hot babes

Assorted Logos

Code Geass Symbol Set

Surfing Themed Shapes

Kiddy Stuffs

Backflip540 sunburst shapes

Shapeset 07

Photoshop Custom Shapes No-1

50s Custom Shapes Pack

Splat Shapes

Free 45 Custom Shapes

PS-CSH Stars V2.0

Business Girls

Splats N Drips_Custom Shapes

Horse Photoshop Shapes

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Major Rules of Logo Design

Disclaimer:None of the given Tips or Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Get as much information as possible before you start on the project.Make sure you are working with the decision makers.Get inspiration outside of the logo books. Try an art museum or the local scrap yard.Don’t use gradients. Well… If you do, just make sure the mark looks great without the gradients as well.Committees can’t commit. Have a very direct and transparent plan if you do agree to work with a committee (never agree to work when there is more than one committee involved in the approval process).Don’t just ask questions of the client, but work to figure out what lies underneath their answers.Keep animation in the back of your mind, even if you don’t see the client needing it immediately.Don’t leave “fine tuning” for after the client approval. Most of the time, after a logo is approved, the client wants it “ASAP”. If you do leave “fine tuning” for after the client gives final approval, make sure you follow through.Work to appear current without being too trendy. More Sprint. Less at&t. Traveling/bouncing circles, droplets and or “canted” logos are becoming as trendy as the ubiquitous swoosh.As much as you love the mark you created, make sure it is balanced with the type (if they are separate). Don’t make a mark that will completely overpower the company name and vice versa.SimplifyMake sure it is recognizable at a quarter inch.Make the overall shape unique. Think of the Coke bottle.When you are creating shapes in Illustrator, use as few points as possible.Start with some sort of sketch. Even if you are not a full-on thumbnail person, rough sketches on lined paper is better than nothing at all.Start in black & white. Present that to the client before color becomes a factor (I am talking to myself here as well).Strive to create a mark that would only work for your client, while allowing room for the company to expand and grow.Don’t lose site of the overall picture. I find myself getting caught up in fine tuning details on a mark that, when looked at objectively, doesn’t fit within the client’s needs.Don’t present a logo option to the client that you are not fully confident in. They WILL pick your least favorite.Don’t forget that the logo is just one element in the larger scheme of the identity and brand.

Benefits of a tableless layout

Disclaimer:None of the given Tips or Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

These are only in the order that I feel they should go in, some things are more important to other people, so rank them as you will.

Forces You To Write Well-Formed Code

You cannot have a properly made tableless layout, and use improper and non-standard code. Well, let me correct that - you can (technically you can do it) but it defeats the whole purpose. When you are creating a tableless design, you should be using standards compliant code. I think that anything that makes you get into the habit of always writing clean code is a good thing.

Faster Loading Time

This is absolutely a benefit of a tableless layout, and for several reasons. First, on a fundamental level - tables load slowly. For the most part, unless you set the height and width of your table elements, all the text has to be loaded and rendered BEFORE the table sizes itself to the page. Of course, this is what so many people loved about tables isn't it? The fact that they were so easily sizeable. The downside is how much more time they take to load. Okay, so the solution to that loading time is to set all the values explicitly, right? So now we see another downside. Code clutter that increases loading time. First of all, just by themselves, tables take allot of code. How many td open and close tags does your average table based layout have? Tons. Having to set all the values explicitly only adds to the page size and loading time.

Easier to Read Code

If you are using standard code, semantic document conventions, and a tableless layout, your code can be so clean that it looks practically like just regular text with a few extra symbols. That is a great benefit because it not only makes it easier for you to update, but it makes it easier for a non-technical user to make small alterations to. Additionally, if you work as a web developer in a more freelance capacity, it is common for there to be a full-time web developer who has to maintain that site. Clean and simple to read code makes that an easy transition. We like it when people leave us easy to understand code, right? Let's return the favor.

Print Alternate Views

When you create a page using a table-layout, you are rather unfortunately locked into a certain layout. Developers who have created table-based websites, as most of us have at some point - particularly if you were in the the industry before the big tableless movement, know that you often have to create a separate printable version of your pages. This can be, needless to say, quite tiresome. Ease of printing style control is a huge benefit with a tableless layout. You can easily create a single new printing style that applies to all your pages, instead of making them individually. That alone is a huge time saver, but there is more. While you can control all elements with this approach, the biggest key is organization of information within the page itself. Using the example, let's assume that the display order we want all our pages to print using the following order: The page header first, the content next, the special news after that, then the link list, and then the footer. However! We still want it to display as it would normally when viewing (meaning the header at the top, the links on the left, content in the middle, news on the right, and footer at the bottom). With a table-based layout, you would have to create a new page to do that special printing organization because the print style will read your columns left to right. With a table-less layout, you are not bound by this. You can order the content in your page however you like, and still control the way it looks... all by using the CSS only! Additionally, because we can put the content in whatever order we want in the HTML, and then move the content blocks around for website viewing using CSS - we can have ultimate control over presentation.

That is very important because the clean code, and ability to alter presentation, means that your site can be viewable by someone on a small mobile phone screen, a PDA, in all text format can be perfect for someone using a text-to-speech reader, or a Braille device, and since the code is clean, it is both backward compatible (with older browsers seeing mostly just the text) and forward compatible with new technologies to come. The flexibility and organization leads to being able to create a powerful website that takes advantage of some of the possibilities with XHTML, and adding in support in your pages for micro formats, or taking advantage of using RSS / ATOM feeds from your site to develop a base of regular readers.

Search Engine Optimization

Due to the fact that you can organize your most important content at the top of your page, without affecting the layout, your page can be better optimized for search engines. For instance, say that I have a navigation bar on the left side of the page that lists tons of parts of the site that are actually great keywords. I could move that navigation bar code higher up in my actual HTML, without changing the layout, because I'm using the CSS to position the navigation where I want it. Those search engines can also more clearly find common words throughout your document without having to filter through code. Search engines prioritize websites that have a higher content to code ratio, so putting all your style elements into your external CSS style sheet makes your site highly content based to a search engine. Tableless layouts, as previously mentioned, decrease page size and loading time - another bonus to search engines.
Additionally, being able to take advantage of the RSS/ATOM feeds (see the section directly above) will aid you in some new technology for site indexing as used by all search engines called ROR. (ROR is an XML format summary of your website, like a sitemap, that search engines can access for additional information about your website.)

Presentation Flexibility

Making changes to a CSS based Tableless layout is simple. You can alter the CSS file only, changing as many styles and graphics as you want. The affects cascade through all the pages on your website, and eliminate the need for manually updating many pages. Selling Yourself On Standards
Sometimes knowing how to code for standards, and create flexible tableless layouts is not enough. There are some web designers who meet with difficulties from their management. Most often those difficulties are rooted in the management being unaware of the benefits of using tableless content and CSS driven layout. If you want to design for standards, but you work for a company that is not very forward-thinking in allowing you the time to work on the changes -- try this: Make them think about their pocket-book. Point out the cost saving benefits.
For instance, try grabbing a single page of existing code. Clean it up to standards. Compare the page size to before (including image optimization), and count the difference in bytes saved. Multiply that across the number of site pages, and the number of days per month. Then explain to them the amount of bandwidth cost saved monthly if this was done across the whole site. If that isn't enough, show them how quickly you can make changes to a website once it is CSS driven, and push the idea that you will be able to change the site more rapidly when there are needed updates, and you will have more time to focus on adding in new functionality to the site - instead of spending your time doing maintenance.

Media types In CSS

Disclaimer:

None of the given Tips or Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Defining the Media Type

First let us have a quick think about what possibilities this opportunity to restyle your page for a different output medium gives us all as designers. You’ve probably witnessed what a mess some pages can look once they’ve been transferred onto paper — useless navigation areas and ads take up space, paper and ink. The page can often look cluttered and can become illegible given the more restricted dimensions of the page.
Over the last few years it has become customary for large sites to offer links to ‘printer-friendly’ pages — separate pages that were stripped of this unnecessary content. These pages were time-consuming to generate and costly to maintain, and so disparities between the content on the two versions of the same page often crept in. With the simple CSS methods in this tutorial, nothing more than a second stylesheet would be necessary for all of these pages to print perfectly.
There are even more browser types to consider, such as aural browsers, which read webpages aloud to their users; or Braille displays, which can create interfaces from a webpage readable to their blind users. The software that drives these applications will often include a default stylesheet which will apply stylings relevant to the medium, but now you can get in there and add your own styles to these outputs.

Media Options
There are ten different media types defined in the » CSS-2 specifications. They are:

• all (default if no other is specified)
• aural
• braille
• embossed
• handheld
• print
• projection
• screen
• tty
• tv

Making the Association
A linked stylesheet can be associated with a media type by simply adding the media attribute to the link tag:

If the stylesheet above was linked to your document, the style rules it contained would only be applied when the page was printed out — they won’t show up when you view the page on a monitor.
Imported stylesheets are classed similarly. You can apply a stylesheet to multiple mediums by adding a comma-separated list.

Finally, inline style rules can be associated with a medium by wrapping them in an @media block:

Putting them to Work
Now it’s time for some practical tips on actually writing your new stylesheets. Restyling for print will probably be of interest to the majority of you, so here are my suggestions.
Using the CSS display property you can take redundant elements out of the visual display. I apply this to all of the navigational areas of my page like this:
td#navigation, table#footer, div.banner {display: none; }
The above method should also be used to pluck advertisements from the printout. If a user can’t click on an ad, it’s not going to be of much use to them.
We then set all of our content areas to take up the full width of the page. As you would expect, leaving widths defined in pixels gives unpredictable results when translated to paper. To save on ink and increase legibility, text and background colours are set to black on white in as many cases as possible.
table#main {width: 100%; background: white; text: black; }
You may also choose to change the font of your text to something more suitable for print. This step isn’t necessary to produce a good printable page, and it’s up to you whether you incorporate it. Usually, serif fonts look better in print than on screen, whereas it is the opposite for sans-serif fonts. Georgia and Times New Roman are both good fonts for offline reading. Print is also the medium where defining your text size in points is most appropriate.
Print out a page from HTMLSource to see the changes I’ve made to the layout. You can also see our print stylesheet itself.

Tips For Designers For Translating Your Comps Into XAML

Disclaimer:

None of the given Tips or Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Pre-Tip: Work in Blend
All of these tips are assuming that designers are building comps with another design tool like Illustrator or Photoshop and then moving the comps into Blend. If you’re not using Blend, you should be. I am not suggesting that you change your design tools or that you design differently. These are just tips for the translation process.

Tip 1: Two layers of semi-transparent gradients is fine. Twelve layers of semi-transparent gradients is not
Whenever you add a transparency layer, you add another run of rendering to all the pixels in that layer. Doing that once or twice is fine… most machines can handle that. But when you have a bunch of them, you’re begging to bring the machine to a crawl. Look at the two gradients below…



The one on the right is a solid background with two transparent gradients (a light one at the top and a dark one on the bottom). The one on the left is a single gradient. The one on the right required three passes to render. The one on the left requires one.

This does not mean that you can never have transparency in your application. But if you can figure out an economy of layers when using transparency, you’ll save yourself from from developers who are willing to make the design trade off to speed up the application.

Tip 2: The Grid layout is your new best friend. Understand it. Use it. Love it.
I once worked with a designer who used Blend and made the most beautiful screens in Blend. But when it came to implement his designs, the developers ended up ditching most of his work because every element was inside a layout inside a layout inside a layout… etc. This ends up being a huge performance killer because every layout means another set of layout calculations for the layout manager.

Instead, make creative use of the Grid layout. Within the Grid layout, you can create columns and rows with the following options:

Auto (with Min/Max options) - This column will ask the items inside it how much room they need and will expand or contract to give them exactly the room they need and no more (within the min/max limits).
Fixed Width/Height (”80″) - A fixed height or width will take exactly that many pixels of space. Easy enough.
Star (”*”) (with Min/Max options ) - this can be used as a decimal or a percentage… “.8*” or “80*”. It asks the container holding it how much room it has. After the Auto and Fixed columns or rows allocate their needed space, the “*” ones take up all the remaining available space unless hindered by the min/max limits.
A single grid can use any number of rows and columns using any combination of Auto, Fixed and Star. You would be shocked at how flexible this is. (Click here to see that flexibility in action.) You can build whole screens using a single grid. I don’t recommend that, but keep the idea of fewer layouts in mind when you are translating designs. Not every element in the project needs to be inside its own layout.

Tip 3: Use Borders, not Rectangles
Borders play nice with pretty much anything you want to do with the added benefit of being able to put stuff in it. Additionally, they are really simple layouts, so they don’t use much overhead. Take a border and put a Grid into it and you have a visually compelling and flexible combination.

Tip 4: Draw simple vector art inside Blend.
Mike Swanson has a fantastic Adobe Illustrator-to-XAML plug-in. I’ve heard that some people can use Expression Design quite well. But unless your project is extremely visual in an artsy kind of way, you should just draw simple vector art inside Blend. Not only will you save yourself the exporting-importing trouble, your XAML will look nicer and be easier to change later on.

I usually draw with the pen tool inside a Grid layout and then use the direct selection tool to make the tweaks I need.

Tip 5: (Silverlight Only) Plan on using only a few fonts
Most of my experience with fonts in Silverlight have been somewhat painful. Hopefully we’ll see that change in Silverlight 3, but in the meantime it is something that I’ve seen even experienced developers fight with. Watch this video by Tim Heuer… it will help. () And put this blog on your RSS feed… I’m working on a step-by-step tutorial for this geared at non-developers.

Tip 6: Work in “Split” mode in Blend and goof around with the XAML every now and again
Blend as a drag-and-drop design tool is absurdly powerful. Using Blend, you could build an interactive wireframe prototype in 15 minutes and never touch a line of code.

But as awesome as it is, it will be necessary from time to time to go into the XAML and tweak this or that or comment something out or copy-paste something else. Simply put, understanding XAML will make transitioning your designs a breeze and having Blend in “Split” mode will let you know just what your work in the design space is doing to the XAML. It’s a pretty painless way to start the XAML learning process.

If you’re interested in getting into the XAML a little more, I would recommend using Visual Studio 2008 in tandem with Blend. It offers intellisense (auto-complete for code) and integrates extremely well with Blend.

Hope that helps… If anyone has any questions, feel free to post them here.

Age Progression - Photoshop Tutorials

Disclaimer:

None of the given Photoshop Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Here’s a little tutorial showing you how I basically go about aging a woman’s face in Photoshop.

Preface

I've been asked several times by different members to post a tutorial on how I age-progress a person. So, here it is!



Men and women age a little bit differently but since I've only aged female celebrities thus far, I'll just focus on women for this tutorial. I’ll be using the image of Katie Holmes that I did for a past W1K contest, as an example.

Step 1: Choosing an Appropriate Photo

When deciding to age-progress a celebrity’s face, I try to select a picture that is touched-up as little as possible.



I find that candid shots, or any shots that have not been taken in a studio, work best because the resulting harsh lighting reveals more of the skin’s details i.e. slight bags under the eyes and faint wrinkles. The appearance of such details makes it all that much easier to visualize how your subject will age. Visualizing what the end result will look like brings you one step closer to aging her face realistically.



In Katie’s case, we can see very faint horizontal lines on her forehead, fairly obvious lines under her eyes and lines bracketing her mouth.

Step 2: Collecting Reference Material

Reference material is key in my method of aging. Keeping Katie’s face in mind, I scoured the Web, looking for faces of old women who either resemble Katie and/or share the same facial expression. Here, Katie is smiling with her face positioned at a 3/4 angle so I tried to gather as many pictures of old women who are smiling in the same manner or close to that. I then opened up the picture of Katie in Photoshop and pasted the found images around her face on a separate layer, spread out to provide easy visual access.



Another kind of reference I like to use but is usually hard to find, is pictures of the subject’s parents. I managed to find a couple of reference pictures of Katie’s mother online and they really helped me to decide whether or not to give Katie a double chin. Since her mom has quite a bit of mass under her chin, I decided I would apply that to Katie too.

Step 3: Thinning Brows

Now the fun begins! The first thing I like to do is to thin out the subject’s eyebrows and eyelashes. The older people get, the thinner their hair gets - either because hair falls out and/or because it dries out as it greys.



So to achieve this, I like to use the Clone Stamp tool at 100% with a relatively small brush size depending on the size and resolution of the image. I sampled the surrounding skin to thin and reduce the number of hairs.

Step 4: Mold the Face

Next, I like to add the basic sags to the skin. I do this in the Liquify mode. I tried to create sagging effects to the cheeks, jowls and the cliff just above the eyes by using the Push tool. For the eyes, I tried to be subtle; otherwise she may end up looking somewhat ghoulish.



From what I’ve learned about the aging process, I know that while bones cease to grow, and in fact shrink, cartilage does continue to grow. As a result, the end of a nose may appear larger as a person grows older. So while I was still in the Liquify mode, I used the Push tool to extend the length of the nose slightly. Then I used the Bloat tool to also enlarge it slightly, being careful not lose the essential quality or character of the nose. Go too far and it may not look like Katie anymore.

Step 5: The Aforementioned Double Chin

Based on her mother’s pictures, I then added a fairly massive double chin. I initially used the Airbrush tool with some fairly broad strokes, sampling the colors that were already in the area of her neck. I then worked in the details with a finer brush size. Also, keep in mind that I was also using the other reference photos of older women to guide me.

Step 6: Wrinkle Up the Eyes

For me, the most important parts to get right are the eyes. They can make or break the project. Done wrong and the picture may no longer be identifiable as one of Katie Holmes anymore. I sought out the fine lines around the eyes and I tried to imagine how they would progress into wrinkles. I then extended them in length and width accordingly. Referencing the pictures of old women helped a lot with this step.



I used a combination of the Stamp tool and Brush tool. I wish I could explain my technique at this point in a more clinical manner but mostly I relied on my artistic instincts. I emphasized the wrinkles around the eyes by widening and deepening the lines slightly and increasing the contrast by darkening the recesses and lightening the edges. Also, I extended wrinkles to the cheekbone areas. I then applied the same technique to the wrinkles around the mouth and to the forehead.

Step 6: Reducing the Lips

In this step, I work on the lips. As people grow older, the outline of the lips tends to recede. Using the Stamp tool, I sampled the skin surrounding the lips and thinned them out.



While I was at it, I also added a few vertical wrinkles above the lips to give her a bit of a "prune" effect. We just want a hint of that, so don’t carve out deep lines; deep lines would only be necessary if she was puckering her lips.

Step 7: Planning Out More Wrinkles

Here, on a separate layer, I faintly outlined or sketched, with a relatively thin brush size, areas that I may or may not add more lines and wrinkles to. It’s easy to get carried away with the addition of wrinkles. So, I stopped, took a step back and assessed where to take to image. For me, it's essential and a great test to see what best works.

Step 8: Touching Up the Wrinkles

Based on the previous step, I added wrinkles where I thought they were needed most.



Overall, I found that the wrinkles and lines seemed a little flat in comparison to the rest of Katie’s features. They needed more definition so that they could pop out more. So, I highlighted the raised edges of the individual lines with the Brush tool and with a lighter skin tone.

Step 9: Hairy Lips

Facial hair becomes an issue with most women as they age. For some strange reason they lose it in the brow area and grow it back around the mouth area. I didn’t want Katie to be the exception so with a very fine brush size and the Brush tool, I added hairs to her upper lip.



I tried to make it as subtle as possible. Hairs too thick or dark would draw the viewer’s attention straight to her mustache and I didn’t want that. I also added more wrinkles to the area below the corners of her mouth.

Step 10: Refining the Neck

I decided that the neck was too smooth for a woman of 75 years of age. So I added finer wrinkles to that area. Also, I added more mass and weight to her jowls with the airbrush by increasing the value of the tones in those areas thus creating more contrast between surface planes.

Step 11: Adding Age Spots

A key component to effective aging of a face is the addition of age spots.



So at this point, I sampled one of the darker skin tones on her face, and on a separate layer that was set to Multiply and 30% opacity, I brushed them in and tried to create irregular shapes (there IS no perfect age spot). You can add as many as you like; the amount varies from person to person. I decided to be conservative with Katie.

Step 12: More Refinements

I took a little break from it and came back to it later to possibly get a better perspective on it. When I looked at it, at this point, I decided that certain areas needed refining and added detail. This is the beauty of working with a high-resolution file; I can zoom in real close and deal with a wrinkle up-close and personal.



Unless their teeth were subjected to regular whitening, most people’s teeth yellow with age. Gums also recede, showing less gum and more bone. And so with that in mind, I sampled a yellowish-brown color and on a new layer that was set to Multiply and 30% opacity and painted that color to the teeth with the Brush tool. Her gums didn’t show to begin with, so receding the gums here wasn’t necessary.

Step 13: Preparing the Hair

The finishing touch here is greying the hair. I began by creating a mask defining the area of the hair. I used the brush for this and tried my best to define as many loose strands of hair that I could.



With this mask as a selection, I then created a Hue/Saturation adjustment layer and reduced the saturation to –63.



I then created a new adjustment layer based on the same mask and adjusted the Brightness/Contrast to brightness +9 and contrast –36. As a result, I found that the darker areas were too pale and caused a loss of depth and so to adjust that, I then selected the mask and scratched out the darker areas with a 5px brush size at 50% opacity so that they could show through from the original image.

Step 14: Hair Raising

The next step was to raise the hairline and thin out the hair. Hair loss is common with both sexes.



I sampled the area at the top of the forehead and extended the skin area above the original hairline.

Step 15: Greying the Hair

A lot of details of the hair were lost in the previous step so with a thin brush size at 80 percent opacity I drew in fine grey hairs, sparsely laid out.



Patiently, slowly, stroke by stroke I added more and more hairs until I was happy with the amount of grey I had added.

Step 16: Finishing Touches

Finally, I took a step back, refined a few wrinkles here and there ET VOILA!



I hope this tutorial was insightful. It may not be the most technically detailed tutorial but it gives you a good idea of the process I go through to get the job done. Hopefully, it will help you create your own trophy-winning images for future Fountain of Age contests!

Create a Cool Halftone Effect

Disclaimer:

None of the given Photoshop Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

In this tutorial, we're going to go a bit retro. You'll learn how to create halftone patterns and creatively cut up an image of a model holding a boombox. You'll then use those cut elements to make your design. We use some layer styles to get everything to come together cohesively. The effects are fun, and you can apply these methods to other designs as well.

Step 1

Start out by downloading/purchasing our image from iStockPhoto: Boombox Image. Alternatively, you could apply these techniques to an image of your choosing and still follow along (or as in the download PSD you could just use the 'comp' that iStock lets you download).

I downloaded the largest image available for this photo. There is some reason behind this madness: we'll be using cut images from the large photo to place into our design. Using the large image will allow us to have larger speaker elements.

Make a copy of this large photo. Open up the copy and resize it to 500px wide and make sure Constrain Proportions is checked so the height changes proportionally. Save this file as .psd and name it boombox_final. This will be our canvas for this tutorial. Also, open up our original large image we downloaded as we will be cutting some images from it starting in Step 3.

Step 2

Let's prepare our boombox_final.psd document. First cut out the boombox image. Also cut out the top half of our model. Below is an image of the top half of the model cut out. You can see the boombox cutout in the preview of the layers palette as well as the layer order. We need to cut out these pieces so that we can place elements behind them as we build our design.

Step 3

Let's jump over to our large image. Grab the Elliptical Marquee Tool. Draw a selection that covers the right speaker. Then Command/Ctrl-Click and select Refine Edge. Use the settings in the image below.

Step 4

Turn on Edit in Quick Mask Mode (Q). Then go to Filter > Pixelate > Color Halftone. Use the settings below.

Step 5

Let's go back to Edit in Standard Mode (Q). Copy this selection.

Step 6

Now paste this cut out image of the speaker into the boombox_final design. And move it to the bottom left corner.

Step 7

Now we are going to follow the same steps to place some texture over the speaker. First make a small selection in our large stock photo. Then type Cmd/Ctrl-Click and select Refine Edge. The only difference in this setting is that we set our Feather to 15px. The rest is the same. Turn on Edit in Quick Mask Mode (Q). Then go to Filter > Pixelate > Color Halftone. Use the same settings as we did before only this time change the Max Radius to 10 Pixels. Then go back to Edit in Standard Mode (Q). Copy the selection, then paste it into our design and move it to the bottom left corner over the speaker.

Step 8

We're going to jump over to our large stock image again. Grab the Brush Tool. Give it a Master Diameter of 900px and a Hardness of 0 percent. Turn on Edit in Quick Mask Mode (Q). Click in the center of the image. Then go to Filter > Pixelate > Color Halftone. Use the settings in the image below.

Step 9

Let's go back to Edit in Standard Mode (Q). It should look like the selection below. Invert the selection by going to Select > Inverse. Copy this selection.

Step 10

Paste the selection into our boombox_final document. Give it a layer style of Lighten. You can see the white dots emerge in the bottom of our document. Place it so that it matches the image below. Then copy the speaker we placed before and move it behind our model, but in front of the large dots.

Step 11

Create a new layer in our boombox_final.psd design document. Turn on Edit in Quick Mask Mode (Q). Grab the Brush Tool. Make sure it's set to Master Diameter of 300px with a Hardness of 0 percent. Draw across the bottom of the image. Then go to Filter > Pixelate > Color Halftone. Use the settings below.

Step 12

Let's go back to Edit in Standard Mode (Q). Create a pink gradient and draw it from the left and angle down to the right to get a result similar to the image below. Reposition this layer in the Layers Palette just above the speaker behind the boom box. Set the layer style to Screen.

Step 13

Copy the gradient. Use the Free Transform Tool to reduce the size and reposition in the bottom right-hand corner over the larger pink gradient. Keep the setting to Screen. Then make another copy of this and free transform it by reducing and rotating it to fit in the top left hand corner. Do that one more time for the top right-hand corner.

Step 14

Let's copy some elements. I copied the texture in the bottom left corner and placed it behind the bottom right of the boombox. I also placed a copy in the top right. I made multiple copies of the speakers. Then I used the Free Transform tool to scale them. The image below shows where these copies were placed.

Step 15

Create a new layer. Turn on Edit in Quick Mask Mode (Q). Grab the Brush Tool. Make sure it's set to Master Diameter of 50px with a Hardness of 0 percent. We make our line follow the edges of some of the elements in our design. Then go to Filter > Pixelate > Color Halftone. Use the settings in the image below.

Step 16

Let's go back to Edit in Standard Mode (Q). Then fill our selection with a pink gradient.

Step 17

Set this layer to Vivid Light to achieve the effect below.

Step 18

Next we are going to make our text. Grab the Text Tool and write the word boombox in all lowercase. I used a font called Silom with -70 character tracking and 120pt type. I'll show the Layer Styles used to create the font effect in the screenshots following the image of the text effect below.

Step 19

Now we're just going to have some fun and copy some elements around the design until it looks cool. I copied the x and played with its Gradient Overlay colors. I placed a handful of them by the boombox and also up top. The gradients have different variations from pink to purple. I also used Free Transform to change the size and rotate the letters. I added a couple more speakers at the top left behind the large x. Then I copied the brush tool pattern we made a couple times and placed that over some elements top right and then top left. The final image is below.

Conclusion

Halftone patterns are a lot of fun, and like anything in Photoshop, they can be combined with layer styles to create some cool effects. Finding interesting areas of an image to copy and overlay your design. In this case we used a speaker. Try cutting out other parts of your next design to mix and match with various effects. Thanks.

Crack and Peel

Disclaimer:

None of the given Photoshop Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Creating Energy Spheres in Photoshop

Disclaimer:

None of the given Photoshop Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

For this tutorial you’ll want to find a photo of someone doing something that looks a bit larger than life. I used this photo that I found at the stock photo website Stock Exchange. For this tutorial you’ll need a photo that you want to manipulate and some special brush sets which I downloaded from here.

This will be the final result.

• 1. Download the brush set and install it.
• 2. Now I’ll show how to take a child with a big imagination and turn him into the powerful being he imagine himself to be.
• 3. We’ll start by creating a new layer on top of our original and filling it with black. Next we want to select Filter >> Render >> Lighting Effects >> Lens Flare
• 4. Use the 105mm Prime with the Brightness setting of your choice.



• 5. This will create a bright flash. Move it to the point where you want the ‘energy ball’ to appear.
• 6. You may notice that when you move it, you can see the edges of the layer. To rectify this, select the layer and add a ‘Layer Mask’.
• 7. Select default colors (white and black). With the layer mask selected, use the Gradient Tool >> Radial Gradient >> Reverse and drag from the center outwards. This will mask everything in a sphere around the center.
• 8. Set both of these layers to the ‘Hard Light’ setting.
• 9. I like to use the Image >> Adjustments >> Photo Filter to make the colors “pop”. I also used this setting to make the lens flare a bluish color. There are other ways to do this so experiment with your options.
• 10. Using the Brush set we installed earlier we want to apply them to the energy balls. I used the color black, with the layer’s Blend Options set to ‘Overlay’.
• 11. With this layer selected, set the Layer Style settings like so:

  

  

• 12. Using the same technique that we used in Step 7, we want to mask the edges of our brush layers.
• 13. To create the ‘arc of light’ we’ll use paths. Select the ‘Ellipse Tool’ and change it from ‘Shape layers’ to ‘Paths’. Now, draw a large circle or ellipse that includes both energy flares.
• 14. Once the arc is drawn we want to stroke it (no jokes please). Select a brush that’s very small, maybe about a brush with a 5px diameter and use the color white. Go to ‘Paths’ right click on the selected path, and select ‘Stroke Path’. Check the ’simulate pressure’ option, this will give the ring a bit of perspective with a heavier stroke on one side and a lighter stroke on the opposite side.



• 15. Repeat this step twice. Each time use a different brush setting that is bigger than the one before it. I started with the 5px brush, then I used a 45px brush followed by a 100px brush. Each time use a different color. The topmost (bigger) arc should be set to ‘Linear Dodge (Add)’ with an opacity of 35%. The middle layer should be set to ‘Overlay’ and the original (the white one) should be set to ‘Linear Dodge (Add)’.

  

• 16. I grouped these together then, using the technique from Step 7 again, I use layer masking to block one half of the sphere I created.
• 17. To create the energy ‘tendrils’ that are leaping from the arc. Duplicate the grouped folder from Step 16. Then merge the group or folder into one layer. Select Filter >> Liquify and distort the arc to look like it should for your image. Secondly, we’ll select Filter >> Distort >> Ripple and tweak it to look a bit more like electricity.
• 18. Now we’re done. Outside of some techniques that I used to make the image more polished, this completes the tutorial.

Making Your Own Watermark with Photoshop

Disclaimer:

None of the given Photoshop Tutorials are written by me. They are all taken from various sources on the Internet and I compiled some of them for you. Hope you understand. More are in the line.

Step 1:

Open a 300x300 transparent layer in Photoshop.

Step 2:

Type/insert your text, nick or logo to use as your watermark.
The font I have used is Scriptin.

Step 3:

Go to File > define pattern. Save your pattern as any name you wish.

Your custom watermark is already made! The Upcoming steps are just about how to use it with your projects.

Step 4:

Open a random file, or you can use the file I have used .
The file is copyright protected, so no using it elsewhere =).

After choosing our file, we will insert our pattern which we just made.
Illustration is shown below.

Step 5:

Click on 'Pattern' and apply your pattern . You will have to choose your pattern from the different patterns there. The one you have created will probably be the last one listed.

Step 6:

Reduce the opacity to make it look milder/smoother. It's up to you as to how much you would like to reduce the opacity as it depends on your personal taste. I have reduced it to 22%.

The finished file:

Thanks for viewing this tutorial .
Stay tuned for more innovative tutorials in the future =) .
Cheers!