David Ellis supplied me with a promising, yet highly challenging RAW file with direction to process into a tonally balanced image avoiding a “cut out” look. I was provided a rough JPG for reference with instructions on how to change lighting direction. (more…)
I’m really excited about my expanding photo retouching business. Learning more sophisticated editing techniques has been part of this effort so I can take on higher-end work.
The most exciting retouching technique I have picked up is Frequency Separation. I’d heard of the technique and looked into it some time ago, but the internet is full of conflicting ideas about best practices (who would have guessed?) with the only agreement being that everyone is doing it wrong. And a vocal minority saying it shouldn’t be done at all. With all the misinformation, I never got my head around the technique. What a mistake! (more…)
Pretty sure I became a designer as an excuse to spend my days playing with beautiful photographs. The first time someone put an SLR camera in my hands it was obvious I could get good at this. The very next thing I found was a way to get my film scanned so I could edit my photos using state-of-the-art-in-1994 Photoshop version 2.5.
In Part 1 of this Photo Editing Workflow series I compared a traditional editing workflow with a new system I have been using in my last few projects. I pointed out some gotcha’s inherent in the traditional methods and potential improvements gained by transitioning to a new workflow. In this post I take a deeper dive into the nuts and bolts of how the new tools work. There are some workarounds suggested for areas the software is still catching up with my workflow. (more…)
This post is targeted at photo editors who work on large batches of images and need to produce a volume of edits on tight deadlines, with an eye to producing the most flexible final assets, suitable for digital & print usages.
Do you edit large batches of images? Maybe you manage a photo asset library, digitech photo shoots or shoot & edit your own photography? (more…)
The last two posts in this tutorial series showed how to arc or curve artwork in Illustrator to create mockup or final production files. Due to Illustrator’s inability to Warp linked images and my unwillingness to suggest my readers embed images due to editability problems inherent in embedding, we need a secondary approach for raster artwork. (more…)
In part one of this tutorial series, I showed how to adapt your rectangular label artwork concepts to a curved printer dieline. Sometimes you aren’t provided a dieline, just a package sample. It’s quite possible to create curved artwork without a target dieline. You’ll need a physical sample of the package to measure. And make sure you have some string. I’ll explain later.
A couple months ago I received a question from a reader in response to a comment I left on a LinkedIn post:
I saw your comment regarding Adobe Illustrator design for conical cups. We use the same warp method you describe, but I have concerns about elements at the top of my design being more distorted than elements at the bottom. Particularly, I have a horizontally oriented logo that stretches a bit too much. I varied from your post in that I didn’t average the widths. Instead, I made a rectangle close to the width of the lower circumference and applied warp until the rectangle was nearly perfect to fit the die. I then designed within that rectangle and applied the warp.
This question was the genesis of this multi-part tutorial on Curving artwork to fit to cups or fitting a curved supplied dieline. I’ll address the reader’s particular question as well as raise and address several others. (more…)