cloud text effect psd-Cloudify Text EffectBy Diego Sanchez in Photoshop,Tutorial


Cloudify Text EffectBy Diego Sanchez in Photoshop,Tutorial 

Note: In order to make this action work in any language, we need to take some steps using the menus (instead of shortcuts) so we can fully control the names of every single layer we make. We will also create a PSD template to start with, in order to work more comfortably.
1) Let´s start with the template. Go to File > New and set the name of the new document as “Template”, the width to 600 and height to 450 and click OK. Please note that you can set any width and height you wish, but I will be working in a 600 x 450 pixels canvas for you to have a better view on the tutorial screenshots.
2) Press “D” to reset the swatches. Go to Layer > New Fill Layer > Gradient. Set the name to “Background Sky” and click OK.
3) In the new window, click over the gradient and select the first gradient. We do this on order to set both colors to 100% opacity.
4) Double click over the small black square, and in the new window set the color to #adbcd6. Click OK. Now, double click over the small white square, and in the new window set the color to # 4a6cba. Click OK. Click OK once again. In the last window, set the Style to Linear, the Angle to 90ยบ, the Scale to 100% and be sure to have Align with Layer checked. Click OK.
5) Now, you should have a document like this.
6) Before proceeding with the action, we need to provide a text layer for the user to start with; so hit the “T” on your keyboard to select the Text Tool. Set the typeface to Sansumi-UltraLight, the size to 300pt, the Anti-aliasing method to Sharp, the text alignment to Center and the color to white (#ffffff). Click over the canvas and type “Y”.
Note: to change the text color, simply click over the color rectangle and select the desired color in the new window. Click OK.
Next, click over the layer name in the layers panel and set the name to “TEXT”.
Go to File > Save and save it to your desired location.
7) Now that we have our base file ready, it is time to make the assets we need to make the action. These assets are the brushes. Hit the “B” on your keyboard in order to select the brush tool, and now open the brush window: Go to Window > Brush and click over the New Brush icon.
8) Set the name to “300” and be sure to have the”Capture Brush Size in Preset” checked. Click OK.
9) Under Brush Tip Shape, apply the following values:
10) Under Shape Dynamics, apply the following values:
11) Under Texture, apply the following values:
If you do not have the “clouds” texture loaded, click over the texture thumbnail, and in the new textures window, click on the arrow next to the thumbnails. From the dropdown list, select “Texture Fill” and click OK. Now that you have the textures loaded, select “clouds”.
12) Under Transfer, apply the following values:
13) Finally, be sure to have checked Airbrush and Smoothing.
14) Now that we have made or brush, we must save this values to a Tool´s Preset file (TPL). To do so, and with our brush tool and settings still selected, click over the brush icon in the tools palette. From the dropdown thumbnails list click over the “New” icon. Set the name to “300” and be sure to uncheck the “Include Color” option. Click OK.
Now, our brush is available in our Tools Preset Panel.
15) With the base file ready and our assets created, it is time to make the action. First, close all the opening documents and open “Template.psd” (the file we´ve just created). In the Layers panel, click over an empty space in order to have no layers selected.
16) If you do not have the Actions Panel visible, go to Window > Actions. Click on the Create New Set icon and set the name to Cloudify. Click OK.
As you can see, now we have our Cloudify Action Set created, but we still need to create the action file, so let´s do that.
17) In the Actions Panel, click over the the Create New Action Icon, and set the name to 300. Click Record. From now on, every single step we make will be recorded into the action, so be sure to follow the instructions exactly as shown.
18) Press “D” on your keyboard to reset the color swatches and click over the TEXT layer in the Layers Panel. Notice how these two steps are being recorded in the Actions Panel.
19) Go to Layer > Type > Create Work Path.
20) Go to Layer > New > Layer and set the name to “1”. Click OK.
21) Press “B” on your keyboard to select the brush tool. Click over the brush icon in the tool´s palette and from the dropdown menu select the brush we have made “300”.
22) Press “X” on your keyboard to switch Foreground and Background colors (this will make White our Foreground Color).
23) Press “P” on your keyboard to select the Pen Tool and right click (Control+click on Mac) over the canvas. From the dropdown menu select Stroke Path. Be sure to have Brush as the selected Tool and uncheck “Simulate Pressure”. Click OK.
24) Go to Layer > New > Layer and set the name to “2”. Click OK.
25) Press “X” on your keyboard to switch Foreground and Background colors (this will set Black as Foreground Color).
26) Press “P” on your keyboard to select the Pen Tool and right click (Control+click on Mac) over the canvas. From the dropdown menu select Stroke Path. Be sure to have Brush as the selected Tool and uncheck “Simulate Pressure”. Click OK.
27) We will repeat the last 3 steps one more time to give our clouds more realism. Go to Layer > New > Layer and set the name to “3”. Click OK.
28) Press “X” on your keyboard to switch Foreground and Background colors (this will set White as our Foreground Color).
29) Press “P” on your keyboard to select the Pen Tool and right click (Control+click on Mac) over the canvas. From the dropdown menu select Stroke Path. Be sure to have Brush as the selected Tool and uncheck “Simulate Pressure”. Click OK.
30) Now that the main steps are made, it´s time for some adjustments. First, hide the layer “TEXT” by clicking over the eye´s icon in the layers panel.
31) Select the layer “2” and bring down the opacity to 25%.
32) Finally, click the STOP icon in the actions panel to finish recording the action.
33) Now that we have our assets and action created, let´s see a practical example on how to use it. First, close all the opening documents and open “Template.psd”. Go to Image > Canvas size and set a Width of 1500px and click OK. As you will notice, the background sky is filled thanks to our “Background Sky” layer made with Gradient Fill.
34) Press “T” on your keyboard to select the text tool, and type “LAYERS” in the TEXT layer.
35) Now, go to your Actions Panel, select the action named “300” inside the Cloudify group and press PLAY.
36) And that´s the end of the Cloudify tutorial.

goldenspiral cs4

golden spiral cs4


Photoshop golden spiral plug in in Title/Summary

Fibcharts Golden SpiralFibcharts Golden Spiral

Fibcharts will capture an image of whatever is displayed on your desktop screen. You can then draw trend lines, fibonacci retracements and spirals using the Fibcharts toolbox. Once you are finished you can save your work as an image file. Fibcharts allows you to easily turn any chart on your computer screen into a powerful Fibonacci chart.
  • Publisher: Jigaro Software
 
CS4 Extended Plug-in
3DVIA for Photoshop CS4 Extended Plug-inWhat would take hours using photography and 2D images can now be achieved in minutes by incorporating 3D content from 3DVIA and the new 3D capabilities of Adobe Photoshop. Whether you're designing websites, ads, brochures or other marketing materials, give your work some dimension by adding 3D without any 3D art experience.
  • Publisher: 3DVIA
  • YouSendIt Plug-in for Photoshop
YouSendIt Plug-in for PhotoshopYouSendIt Plug-in for Photoshop allows you to send files directly from Photoshop with 25% faster uploads than the Web application. It can add additional, non-Photoshop files and folders to the same upload batch with the option to compress files before sending and resumable upload-handles network interruptions.
  • Publisher: YouSendIt
  • Photoshop golden spiral plug in in Description

Plug-In Switch

Plug-In SwitchPlug-In Switch was developed in order to help users disable Photoshop filters on a temporary basis and re-enable them again when needed, without having to completely uninstall the plug-ins each time. A handy time-saving tool. Remember, you must use Plug-In Switch BEFORE running your host application for the settings to take effect.
  • Publisher: Cybia

FDRCompressor Plug-In

FDRCompressor Plug-InFDRCompressor Plug-In 2.3
  • Publisher: AGS Technik

Universe Image Creator Plug-ins 2nd Edition

Universe Image Creator Plug-ins 2nd EditionUniverse Image Creater (UIC) Plug-ins 2E allows you to create realistic images of deep space right in your favorite image editing program. Any program which supports the Adobe Photoshop 4.0 Filter Plug-in specification will work. The current effects of the pre-release version are Cluster, Distant Star, Nebula, Planet Map (Planets using texture maps), Stars, and Uranus (1-color gas giants).
  • Publisher: Diard Software

Leaf Raw Converter

Leaf Raw ConverterThe Leaf Raw Converter enables you to convert these non-standard compressed files to a standard Leaf format which can be read by other applications such as the Adobe® Photoshop® Camera Raw plug-in. The converted files can be saved in standard compressed or uncompressed form. The Leaf Raw Converter can also be used to convert uncompressed files to standard compressed format.
  • Publisher: Leaf Imaging Ltd.

Kjaerhus Audio - Golden Uni-Pressor | GUP-1

Kjaerhus Audio - Golden Uni-Pressor | GUP-1Golden Uni-Pressor | GUP-1 1.0 is a Virtual Studio Technology plug-in software program for musicians and producers of music using Windows’ operating systems that enables them to achieve analogue type sounds. Its easy of use, realistic looking, interface plug-in retains the feel of an analogue equivalent with buttons, switches and dials that seem familiar for the enjoyment of users.
  • Publisher: Kjaerhus Audio

Additional Photoshop golden spiral plug in selection

OptiPix

OptiPixOptipix, a suite of Photoshop compatible plug-ins for Macintosh OS 9.x, Macintosh OS X 10.1+, and Windows 9x/NT/2K/XP, includes tools for correcting common problems in digital images. The Optipix package works on both 8 and 16 bit images and includes tools for automatically improving contrast, image averaging, blending bracketed exposures, enhancing edge detail, sub-pixel nudging, and color-safe sharpening. In addition to the software, the Optipix CD contains the Digital Fine Print Workflow, written by renowned photographer George DeWolfe. This document is a lavishly illustrated guide for the professional and hobbyist photographer, explaining tips and techniques for managing a fully 16-bit workflow from the shot to the final print. The Digital Fine Print Workflow is also available separately from George DeWolfe's website.
  • Publisher: Smartparts
  • Last updated: August 14th, 2008

Canon iPF5000 Print Plug-In for Photoshop CS4

Canon iPF5000 Print Plug-In for Photoshop CS4imagePROGRAF Print Plug-In is a special utility plug-in for Adobe Photoshop, the photo retouching software supplied by Adobe Systems Inc. and Canon Digital Photo Professional, and can be used to customize printing with imagePROGRAF Series printers.The following software are recommended for this software:Photoshop CS4.
  • Publisher: Canon

Canon iPF8300 Print Plug-In for Photoshop CS4

Canon iPF8300 Print Plug-In for Photoshop CS4imagePROGRAF Print Plug-In is a special utility plug-in for Adobe Photoshop, the photo retouching software supplied by Adobe Systems Inc. and can be used to customize printing with imagePROGRAF Series printers. Supported OS: - Windows 7 - Windows Vista - Windows XP
  • Publisher: Canon

Canon iPF8000S Print Plug-In for Photoshop CS4

Canon iPF8000S Print Plug-In for Photoshop CS4imagePROGRAF Print Plug-In (hereafter "Print Plug-In") is a special utility plug-in for Adobe Photoshop, the photo retouching software supplied by Adobe Systems Inc. and can be used to customize printing with imagePROGRAF Series printers. System requirements: Photoshop CS4.
  • Publisher: Canon
  • Canon W8400PG Print Plug-In for Photoshop CS4
Canon W8400PG Print Plug-In for Photoshop CS4Print Plug-In is a special utility plug-in for Adobe Photoshop, the photo retouching software supplied by Adobe Systems Inc. and can be used to customize printing with Canon W8400PG printer. The plug-in is free to download and it's available for multiple operating systems.
  • Publisher: Canon

Canon iPF6300 Print Plug-In for Photoshop CS2

Canon iPF6300 Print Plug-In for Photoshop CS2imagePROGRAF Print Plug-In is a special utility plug-in for Adobe Photoshop, the photo retouching software supplied by Adobe Systems Inc. and Canon Digital Photo Professional, and can be used to customize printing with imagePROGRAF Series printers. The compatible printers with this utility are Canon imagePROGRAF iPF6300.
  • Publisher: Canon

Tiffen Dfx

Tiffen DfxDfx features multiple masking and layering capabilities with its Photoshop and Aperture plug-ins and a host of other features including more than 2000 standard, exclusive and special effect filters, layer opacity, masking and blur controls and many others.
  • Publisher: The Tiffen Company

Canon iPF8100 Print Plug-In for Photoshop CS5

Canon iPF8100 Print Plug-In for Photoshop CS5imagePROGRAF Print Plug-In is a special utility plug-in for Adobe Photoshop, the photo retouching software supplied by Adobe Systems Inc. The following hardware and software are recommended for this software. -Operating Systems -Windows 7, English edition -Windows Vista, English edition -Windows XP Professional/Home Edition, English edition
  • Publisher: Canon

Neat Image Pro plug-in for Photoshop

Neat Image Pro plug-in for PhotoshopNeat Image is a filter designed to reduce visible noise and grain in photographic images produced by digital cameras and scanners. Neat Image is indispensable in low-light (indoors, night, no-flash, astro) and high-speed (sport, action, children) photography. It is a must-have tool for both professional photographers and digital image processing enthusiasts.
  • Publisher: Neat Image team, ABSoft

3DVIA for Photoshop CS5 Plug-in

3DVIA for Photoshop CS5 Plug-inWhat used to take hours using photography and 2D images alone can now be achieved in a matter of minutes by incorporating stock 3D content from 3DVIA and the new 3D capabilities of Adobe Photoshop. Whether you're designing websites, ads, brochures, bus wraps, table tents or other marketing materials, give your work some dimension by adding 3D without any 3D art experience.
  • Publisher: 3DVIA

The easiest way to extract (mask) objects from images


Decompose vs. Photoshop






The situation is common; you want to remove the background from an image and the subject/foreground object is a person. The trick is masking things like hair, glasses, and other subtle areas that can make or break the final result.There have been numerous Photoshop plugins and stand-alone applications over the years that claim to do the job quickly and easily with stunning results. However, it has been my experience with most of these methods that they simply don’t work, or are more difficult than masking the objects manually in Photoshop.I recently came across Decompose from metakine software, who’s tagline for the app is “Extract objects from images with ease.” Indeed, they promise “easy and flawless extraction of elements from pictures in order to use them to make composite images.” Those are some bold statements, so I decided to give it a shot to see if things have improved in the years since I’ve used other masking applications such as OnOne’s Perfect Mask (which crashed every time I tried to use it for the purpose of comparison in this article, so I’ve left it out).For the purpose of this article, I’m not going to go into the controls and features of Decompose. Instead, I’m only going to focus on the results.Original imageTHE ORIGINAL IMAGE FEATURES A SIMPLE BACKGROUNDI started with a relatively simple image (above) of my son. As you can see, the image has a relatively simple green background that contrasts his outline. His hair is wet, but does have some wispy areas, and you can see that his eyelashes are noticeable against the background. I wanted to keep as much of that detail as possible without spending too much time or effort masking those areas.I fired up Decompose and began using the foreground and background masking tools to define the parts of the image I wanted to keep and remove. It took me a few tries with poor results before I decided to read the FAQ in the hopes of achieving better results. After doing so, I spent considerably more time (about 10 minutes) to define the edges to achieve the “easy and flawless” masked image. Below are the results.Decompose maskMASKED IMAGE USING DECOMPOSEI placed a solid color background color in the background to make viewing the results easier. As you can see above, Decompose did a fairly decent job at first glance. But upon closer inspection, you can clearly see hard and jaggy edges around his head and shoulders. In particular, the wispy areas of his hair are clumpy and not very realistic looking.Decompose results zoomThe closeup at the right of his eyelashes really illustrates the relatively poor results of my masking efforts.If I were to drop this masked image into another image with a similarly colored and busy background, you probably wouldn’t notice it much. But against a solid color background as seen here, it’s unusable in my opinion.I tried several more times using a variety of different masking tools to get better results, but what you see above is about as good as I could get using Decompose.Next, I tried masking the same photo using Photoshop’s Color Range Selection feature (found under the Select menu). The results are below.Photoshop maskMASKED IMAGE USING PHOTOSHOPSelecting the background color with a moderate feathering amount in the Color Range Selection tool yielded much better results right away. In fact, I would have been comfortable using the resulting masked image, but I knew I could improve it even more.Photoshop mask zoomedUsing the Refine Edge feature (also found under the Select menu) to further improve the mask yielded even better results. As you can see in the closeup image at the right, I was able to get a nice soft feathered edge around even the most difficult areas like the hair and eyelashes.The great thing about the results I got using the standard Photoshop tools is that it took about 5 seconds to select the background, and another few seconds to further adjust the mask using the Refine Edge tool.The moral of the story here seems to be that sometimes, the hard way is actually the easy and fast way. While I don’t claim that Decompose doesn’t do what it claims to do, but it certainly doesn’t do it as quickly and easily, with the “flawless” results that it claims to.

hair masking from busy backgrounds cs6


This entry is part 2 of 2 in the series Complex Selections in Photoshop

Complex Selections in Photoshop
  • Making Complex Selections in Photoshop
  • Mastering Complex Selections in Photoshop
Having the ability to effectively extract an image from its background is an essential skill for any designer, photographer, or creative professional. Many times we have unique challenges when attempting to separate a subject from its setting. Obstacles like poor contrast or the intricate shapes formed by hair and fur can make the process nearly impossible without the right techniques. In the first installment of Making Complex Selections in Photoshop, I covered fairly easy objects to select, such as a woman with a few wisps of hair sticking out, but this time we are going to cover making even more complex selections in Photoshop.
The example image below can be found here. To try and select each individual strand by hand would be extremely painstaking and nearly impossible. You could spend all day attempting to select this cactus with the lasso tools, and even revealing each strand with a mask would yield poor results. It would take hours to refine the mask for each strand by hand. Instead, select the Quick Selection Tool and make a loose selection of the object by clicking and dragging within the area. Hold Shift to add to the selection and hold the Option/​Alt key to subtract from the selection. If you find that it’s taking too long to make a selection, increase the size of the Quick Selection Tool, as you would the Brush Tool, by hitting the ”]” Key, until you have a decent sized cursor. Hit “[“  to lower the size for more tedious areas. (If you’d like to learn more about helpful, time-​​saving Photoshop keystrokes, check out 30+ Time-​​​​Saving Photoshop Keyboard Shortcuts.)
You can see from the image above that the selection is very loose. With the selection active, go to the Options Bar and click Refine Edge. The Refine Edge dialog box will come up, where you can refine and adjust your selection very precisely. Click the Smart Radius option to enable it, and move the slider all the way to the right. On more solid objects, be careful when using this, because it will take away solid, continuous areas of color around the edge that blend with the background color. However, this setting is perfect for fine, wispy hair or fibers. Click Decontaminate Colors and move its slider all the way to the right. This removes edges where the background color may have added a thin, unwanted fringe around the object.
You can see that the Refine Edge menu has already done a great job of extracting the fine, fibrous edges around the cactus. Hit the “F” key to toggle between views and you can see that the mask view of the selection is very intricate and precise.
Select Output to New Layer with Layer Mask. This will create a new layer above the working layer based on the mask that we just made and refined. If there are any problem areas, we can fix them, but in this case we have none. Now, you can place your selected object over anything that you’d like without color contamination or any other concerns.
The fuzziness is just as prominent as it was in the original image, but now we can slide any color or image behind our object and composite a layout quickly and easily. Below, I added a bold purple to show the quality and precision of this selection technique.

On being driven


On being driven
Just as they say you can remove the boy from the ghetto but can’t take the ghetto out of the boy, it’s hard to shed the effect of a couple of decades in accounting. It creeps out every so often, most recently explaining Sarbanes Oxley to a non-accountant who believes the glib explanations of why some software upgrade simply can’t be released mid-cycle, and today it was reading Adobe’s quarterly results. But if reading the results yourself doesn’t fill you with equal delight, here are a few highlights :

Sales are up 6%
Software sales (“revenue” to Americans) are static compared with the same period last year
Remember that Creative Suite sales are spread over a couple of years so there’s no spike caused by CS6′s release
Sales growth comes, not surprisingly, from subscriptions and service/support
Subscription sales are about 15% of total software revenue
On the costs side
R&D costs are static
Sales and marketing costs up 10%
There are also some interesting comments explaining the subscription revenue growth. “Adobe Creative Cloud paid subscriptions grew to approximately 200,000 in the third quarter.  Adobe added approximately 8,000 Creative Cloud subscriptions per week during the quarter, exceeding the addition of 5,000 subscriptions per week that was assumed in its third quarter financial targets.” So it looks as if it’s got off to a strong start:

“We’re on a path to drive millions of subscribers to our Creative Cloud offering….”

That’s from the top numbers guy and was probably just a rather unfortunate turn of phrase (makes accounting sound dynamic), but it does come in the week when Mitt Romney’s leaked comments showed candour isn’t always the best policy.