Merging Drew and Bouguereau 7/24/2002

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By BrownTrout Paginated View I received a couple of requests for a tutorial on making a Mmmmmotion pic so I figured I'd take a stab at it. Page 1 : Making it mmmmmmove

After seeing several of the Mmmmotion contests, I think most of the mistakes have to do with incorrect subject focus or just plain "overdoing it." I tried to address both issues here. Hope some of you find this useful... For starters, there are several perspectives you can take when setting a picture to motion. Take the following race car pic in its original form...

Page 2

You can choose to set yourself in motion but the result is usually not appropriate for what we are trying to do.

While realistic... this would be the view if your head was traveling at 100 mph.

Instead, consider how things would look if you were actually taking a picture. You would set either the car (foreground) or the road and trees (background) as the focal point of the image. Page 3

Focusing on the car, your background would appear to move like this (note: your wheels would still be moving, and thus... radially blurred)

Moving Car

If your focus was more distant (the trees perhaps), then the car would appear as the moving component in the image, like this

For this tutorial, we will go with the background as our point of focus. Page 4

Step 1: Using the polygonal lasso tool, crop out your car from the background

Cut and paste the cropped car into a new layer so that only the background remains

Since a true moving object appears semi-transparent around the edges, we will need to clone in some of the edges where we cut the car out. Page 5

Select your cloning tool and set the opacity to about 75%. Begin carefully cloning in the egdes so that you have a smaller exposed (cleared) area with somewhat fuzzy edges.

Our last step is to select the car shape we originally cut out and use the motion blur tool to set it in motion.

Make sure the direction of the blur is consistent with the direction the car is actually traveling in. Be cautious not to overdo things here... your car is not traveling at light speed! A setting of 15-20 pixels will probably be enough

That should get you started with a laterally moving object. Now what do you do if the object is coming at you?? Page 6

You still need to select some point of focus before you start. This would once again be an object in the foreground or the background itself.

Take my recent Jackass entry for instance. In this pic, the focus is on the shopping cart and the people. The blast cloud behind them is what I chose to set in motion.

Step 1: Make a layer copy of your original source image then crop out those parts of the image that should remain still for the most part (because they are the "focal point" of the image)

Copy the cropped area of your layer copy and paste it into a new layer like so, then make it invisible in the layers pallet.

Page 7

Now go back to your original layer copy and apply a radial "zoom" blur to it. Once again, try not to overdo it. A setting of 15 pixels should be enough for our purposes

Now select the cropped layer of the cart and people (making it visible in the layer pallet) and using the eraser tool, partially erase the edges of the image that are closest to the blast center. Setting the eraser opacity to 50% should do nicely

Eraser Opacity

Now you should have something close to this with the focal point fairly sharp and the background blast in motion.

How I puppetized Charlize!

By Ziaphra Paginated View

A guide to turning a human into a puppet. Page 1

In this tutorial I am going to attempt to show you how to 'puppetize' Charlize from this...

In this tutorial I am going to attempt to show you how to 'puppetize' Charlize from this... this! Bear in mind that I used PSPv9 and that this is my first attempt at a tutorial!!!

The first step is to use your smudge brush at about 46% opacity and smooth out her skin, hair and teeth until they have a plastic look to them. Page 2

Now draw some oval shapes in the darker skin tones and place them on her joints...look at the angles of her joints to help you with the placing. Just keep adjusting them until they look right. Notice that I have some darker ovals and some lighter ovals...the lighter ovals are placed where I thought more light would fall.

Page 3

Where you only have one oval on a joint, eg, the neck/chin, shoulders, elbows and wrists, you have to copy and paste these joints from your background over the top of your ovals and then erase as much as is needed until it looks as though there is a gap between the joint and the oval. Now go to your background layer and using your clone tool, get rid of the bits of knee etc that you can still see behind the ovals.

Page 4

After cloning, this is how your joints should look.

Now using your pen tool, draw in the lines that hold the joints together. I added a shadow to the knee lines for more effect.

Page 5

Here you need to blacken her mouth and move her chin and lower lip down to give the full puppet effect. I also drew in two faint brown lines to define her chin/jaw more.

Photoshop Puppet Effect

Page 6

Next I airbrushed a lighter skin tone onto all of her body and gaussian blurred it until it looked right (you will have to play with this until you are satisfied with your result). I also added highlights to her hair in the same way. This gave Charlize more of the plastic puppet look that I was looking for. Now draw in the dots/holes where you would like to attach the strings.

Page 7

Using the pen tool, draw in your strings and there you have it...all done!!! Good luck.

Page 5

Reduce the opacity of that layer to about 65% or whatever you feel looks correct. Page 6

at 5% to lighten the shadow as it recedes from the image casting it, with repeated overlapping strokes Shadows get lighter and softer as they recede ■ there are invisible surfaces that could receive cast shadows, I believe the image usually is enhanced by the illusion of unlimited space

A few people wanted to know how I created the rain effect in the "Turrets" contest, so I tried my best to write a tutorial, and here it is! Page 1 : Step 1

Today we're going to attempt to create a simplistic yet realistic rainy day. This is basically a beginner tutorial, and my first attempt at writing one, so stay with me here. We're going to try to reproduce the effect achieved in turning this image:

How to create rain

Rainy day

By quitarqodleach Paginated View

First thing you need to do is open the picture you want to add rain to. You can use any picture you want, or you can use the one provided. Next, duplicate the background layer (CTRL+J) by either dragging the layer to the "Create a New Layer" button at the bottom of the layers pallet OR going to Layer > Duplicate Layer...(this requires you to click "OK").

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Here's the fun part! On your "background layer copy" go to Image > Image Adjustments > Curves. (CTRL+M) and make your setting something like this: Or you can play around with them to get the desired effect you want. This gives the image that "dark rainy day" appearance. Page 2: Step 2: The Rain

Next step, the rain! Create a new layer (Shift+CTRL+N) by clicking the "Create a New Layer" button -"as before, OR go to Layer > New > Layer... name it "Rain" and fill that layer with White (CTRL+Backspace). Head up to Filter > Noise > Add Noise... and your settings should be close to this:

Then head over to Filter > Blur > Motion Blur... and the setting should be close to this:

Then head over to Filter > Blur > Motion Blur... and the setting should be close to this:

Now you need to head on over and adjust the levels. (CTRL+L) Go to Image > Image Adjustments > Levels. and my settings are:

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But you can make them however you want. Page 4: Step 5

Last step!! Go to the top of your layers pallet and change the mode to "Screen" and Voila! You have a rainy day!

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Optional step! To double the amount of rain in your picture, just copy the "Rain" layer (CTRL+J) and press CTRL+T to pull up the transform handles. You can go to Edit > Free Transform... as well. Click just outside the bottom right handle, until the cursor looks bent. Then hold Shift and turn the layer clockwise until the bottom right corner becomes the top left corner. Then hit the "Commit" button at the top!

Linking Worth1000 Tutorials Directly From Photoshop

Using Photoshop's Help Function to Link to Worth 1000

By Groggie Paginated View

Photoshop has a customizable help function where you can write your own help function, or link to web pages for help. In this tutorial, we will be linking directly to other tutorials on Worth 1000. Page 1 : Navigate to the Tutorial

First, you need to find which tutorial you want to start with. In this tutorial I will be linking to c1010010's Unwrapping Hatteras. So, click on it, and it will bring you to the tutorial. You should see this:

Now, click on 'Print View'. It is next to the author's username, and highlighted in red. This will bring up a page without your username, without advertisements, and without the navigation bar. Highlight the URL and copy it. You will need that later in this tutorial. Page 2: Editing the Howto File

We need to tell Photoshop where and how it is going to link to the webpage, so find Photoshop's 'Additional How To Content' folder. In Windows, the default location is Programs/Adobe/Photoshop/Help/Additional How To Content. On a Mac, the default is Applications/Adobe/Photoshop/Help/Additional How To Content. ***If you are using Photoshop CS2, you can not link to a webpage through the help menu. Instead, you will have to save the print view as an [b]html[/b] document inside of the 'additional how to content' folder.*** We need to edit the file 'Add_001.howto', so open it with your favorite text editor! Once opened, you will see a string already entered.

The first set of quotations is the main folder. The second is the text that will be clicked to link to the tutorial. Press return and type the following string including quotations: "Worth 1000 Tutorials" "Unwrapping Hatteras"

***If you are using Photoshop CS2, instead of using the URL above, only use the file name of the saved page (For example: unwrappinghatteras.html). Notice: If there is 'http://' or any extension other than '.html', CS2 will launch it's own help application.* You can simply paste the url in after the second set of quotations. Now the text file should appear as follows:

Be sure to save the file and you may now close the text editor.

file:///C|/Worth1000/05.htm (1 van 2)13-6-2006 23:16:51

Be sure to save the file and you may now close the text editor.

file:///C|/Worth1000/05.htm (1 van 2)13-6-2006 23:16:51

Page 3: Open Photoshop

Did you ever imagine seeing a Photoshop tutorial where the last step is to open Photoshop?

If you had Photoshop open prior to saving the 'Add_001.howto' file, you will have to close and reopen Photoshop for changes to take place.

Once Photoshop is open, in the menu bar, click the 'Help' dropdown. At the very bottom of the list, there should be a choice for "Worth 1000 Tutorials". If you hover your mouse over it, the dropdown will extend and should read "Unwrapping Hatteras".

Click it and your default browser will appear with the Unwrapping Hatteras tutorial showing!

You can add as many as you like, and they will be automatically alphabetized in Photoshop. Here, I have also added Norrifs "Turning People Into Statues"


By McGuffy* Paginated View

Here's how I created the Wormhole effect for Future Glimpse 6. Page 1 : Displacement

The effect I used for wormhole is easy to do and has marry uses from rippling water to warping the fabric of space-time.

1. Start off with the image you want to poke a hole in, and create another blank image at the same size and resolution, out in grayscale (Image - Mode - Grayscale).

Page 2: Making the Warp

Working on the blank image, create a new Gradiant Fill, alternating dark gray and white as shown below. The more stripes you create, the more waves your wormhole will have. For a mild ripple, use a lighter shade of gray. For a really warped look, alternate between black and white. You'll also notice I got farther apart as I moved from left to right - this detail makes the outer waves larger than the inner waves, a characteristic of rippling water. I chose a medium gray below:

Then apply the gradiart horizontally to your blank canvas:

Page 3: Twirl it!

Next, you're going to apply a Twirl filter to the gradiant (Filter - Distort - Twirl). Play around with the amount to get the effect desired. It doesn't have to be perfect, there will be plenty of time for editing. I used -450 here:

When you're happy with how it looks, save it as a PSD file, such as WARP.PSD.

Note: Instead of the twirl filter, you can apply the gradiant as a radial (it will have a bullseye-type effect when applied). This gives you a slightly different look. Experiment! Page 4: Setting Up

Back to your source image. First, make a copy of your source onto a new layer (Ctrl-J or Layer - Duplicate Layer). At this time, you can also place your "destination" image between ihie source and the duplicate, as shown below. Note that my "destination" is m in my source, sized to fit in the "hole" we're going to make later. We can resize and reposition this layer as necessary once we make the hi

Page 5: Warp Reality

With the top (duplicate) layer selected, apply a Displacement Filter (Filter - Distort - Displace). In this example, I used a horizontal and vertical scale of 50, Stretch to Fit, and Repeat Edge Pixels (which aren't important since the displacement map we created on page 3 is the same size as our source image). Apply the filter, specifying the warp file you saved in step 3 as the displacement map. Your image should now look like this:

Page 6: Restore Some Reality

Now you're going to define the wormhole. Apply a Layer Mask to the displaced layer. Set your foreground color to black, background to white, and select a scft-edged brush.

Now, simply "paint" around the outside of the warp to expose what's underneath it. Remember, painting witti black will Mask the area you're painting, painting with white will Reveal the area you're painting. Simply press X to toggle your foreground/background colors, painting in and out until you achieve the look you're going for:

Page 7: Poke the Hole

You could use the soft-edged brush to paint in the center hole to expose your destination, but I prefer the Ellipse Marquee Tool. Still in the Layer Mask, use the tool to make an ellipse in the center of your warp (you'll see how to best fit it to match the warp's waves), then feather it (Select - Feather) about 8 - 15 pixels (varies based on the resolution of your images - experiment!), and with your foreground set to Black, press Alt-Delete to fill the selection with black, exposing the center hole of your warp. You'll end up with something like the following:

Page 8: Getting Things Just Right

Now's your chance to move and resize your "destination" (the AJaska layer in this example). Play around with positioning, size, levels, all that good stuff. You can also return to your Layer Mask and touch up the Masked and Exposed areas of the Warp layer. Page 9: Finishing Touches

To round off the image, I use the Smudge tool to smooth out any areas that seem to be too pixellated from the Displacement filter. I also use the Burn tool to darken slightly the opening of the hole, adding just a bit of depth. For some really cool effects, try the Liquify filter on the warp layer before starting your Layer Mask. You can also change the perspective of the displacement map (step 3) for an angled appearance to your wormhole. I hope you find this tutorial helpful, and I'm sure you'll find many cool uses for this effect. Please Message me with any questions or comments.

By DerAlt Paginated View

In response to a request on methods of getting a soft fur edge I'm posting two examples. While the approach is similar in both examples, it depends on what type of fur/hair you need to deal with. Page 1 : Example 1

Fur Hair Photoshop Tutorial

In this example, the squirrel has soft but distinct fur. To replicate it takes a bit of time and practice but can be easily accomplished by anyone. Page 2: Example 2

In this first step, removing the background, I used the eraser tool. This can be done just as well by masking but I prefer the eraser.

Use a medium sized soft brush and remove all traces of the background including anything that shows through the fur. A small soft brush should be used where the fur isn't as thick as around the face, ears and paw. Page 3

Using the smudge tool with a small brush at about 30% pressure, "pull" out areas of color to simulate fur around the entire squirrel. It may take several strokes to accomplish each bit of fur but that adds to the more casual look of the new edge. Vary your stroke direction so that all the fur isn't unrealistically going in exactly the same Page 4

On another layer, using a one pixel brush at 50% or less opacity, pick up color from the edge of the squirrel and stroke individual hairs. (using the ALT key changes the brush to the eyedropper tool)

Again be careful to vary the length and direction of these strokes. Have some of them cross over other hairs for a more realistic appearance. Keep in mind also the varying length of fur that exists on different portions of the animals body. Page 5

For a finishing touch, use the smudge tool with a very small soft brush at about 30% and stroke over each hair you've added. "Pull" the tip of each one of these hairs to a softer point. This will result in a softer more photographic look. The whiskers were added in the same way as the fur strands, with a one pixel brush at about 50% opacity but with a longer quick stroke.

I added a black background to make it easier to see the finished fur. Page 6

In this case, with the longer more defined fur, all of it will be rendered in.

Page 7

Using the same approach for background removal, a soft eraser brush or masking if you prefer, remove the existing background and all areas of fur where the old background was evident. Keep this edge as soft as possible.I added a black background just to make the work more obvious. Page 8

On a separate layer, again using a one-pixel brush at about 50%, stroke on some hairs to imitate the fur on the original image. Use a single, quick curved stroke again keeping in mind that all hairs do not go in exactly the same direction. Page 9

Add more hair using the same technique. It's a good idea to add additional hair using separate layers for each group. This will make it easier to smooth out the hairs later especially when they cross over each other. Page 10

This is the final image will all the new fur added. Most of the hairs have been stroked with the smudge tool, as in the squirrel image, with the tips tweaked to make them look more realistic.

As you can see, the creation of a reasonable fur effect is fairly simple. It may seem work and time intensive but with a little practice, mostly getting comfortable with the fur strokes, it can be done in fairly short order.

Motion Tweens and Motion Guides In Flash a starter guide

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This guide will help familiarize beginner animators with the use of Motion Tweens and Motion Guides in Flash. A very basic knowledge of the panels and tools in the Flash interface is required, and the very fundamentals of how to create tweens in the timeline and the creation of Symbols will be helpful. Page 1 : Introduction

Hello and welcome to the wonderful world of tweens!!!! Todays lesson: Motion Guides and how they make life so much easier when you're trying to animate stuff.

You probably already know about the two different kinds of tweens. There are shape tweens, which make transitions between one shape and another and generally end up looking incredibly crappy 98% of the time unless you're going for a very specific effect. That's so NOT what I'm writing about! I'm writing about MOTION tweens!

Motion tweens can be your best friend when you're animating in Flash. But if you're not familiar with motion guides then you're probably working 10 times harder lhan you need to. So let's take a look at Motion Tweens and Motion Guides. Page 2: Starting Out - Symbols

First of all, when you're doing motion tweens, and pretty much whenever you're working with animation in flash, you have to observe a general habit and rule. [b]Symbols are your best friends, too.[/b] Just about everything you make as you're animating in flash should be a Symbol. There are about a dozen reasons for this, but in the case of motion tweens it's for the sake of file size and communicating with Flash better. So now let's take a look at an example. . Page 3: Beginning A Tween

Ok. I've got a gear shape on my main stage, and I've already turned it into a symbol. I wart to make it move from the left side of the stage to the right side. Perfect opportunity for a TWEEN, wouldnt you say? Of course you would.

So at this point I extend the number of frames from 1 to 24 in the Timeline and create a keyframe at the end of it, then place my gear on the other side of the stage. Page 4: It

Hooray! It's tweening! Wow, that's great! But the thrill wears of fast when you realize just how boring it is. I wish there was an easy way to make my gear look like it was ROLLING across the stage instead of just sliding like that. Oh yeah! There is

You can highlight any frame of the tween in the timeline ana go to what you'll soon discover is your favorite panel, the PROPERTIES PANEL.

Oooo look at all the goodies! You can adjust the tween type, whether or not the transition remains to scale, the "Ease" of the tween (this changes the speed of the tween from beginning to end, say for example you wart the gear to start out moving slowly across the stage and pick up speed faster as it reaches its destination, you would choose "Ease In." Experiment with this, it's fun) and the Rotation of the object that's being tweened. Page 5: Settings

I want my gear to roll 5 times Clockwise. So I set the tabs and settings thusly and BING...

I want my gear to roll 5 times Clockwise. So I set the tabs and settings thusly and BING...

I have a gear that rolls instead of slides!

That's pretty neat. . . for about a second. I'm sick of straight lines. I'd like my gear to look like it's being pushed into the distance along an arc. How can I do this without setting a million motion tweens or going frame-by-frame? Page 6: MOTION GUIDES!

Here's where Flash really makes things easy. I'm going to remove the tween I just made and my keyframe on frame 24 that I had for the previous example, but leave the frames. So now I have 24 urtweened frames with only the first frame as a keyframe. To create a motion guide for an object:

• Highlight the layer on which the object rests.

• Right-click the layer and select "Add Motion Guide."

• A new layer appears directly above your object layer!














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This layer is specifically for creating a motion guide for the layer below it. It defaults with the same number of frames as its counterpart and the frames are blank. Now to make a guide. I said I wanted the gear to move back along an arc path. So, I'll make a simple arc using the line tool.

Marquee Along Path Flash

Even though you can see the guides in the flash interface and on the stage, they will be invisible in the flash movie.

Guides are best used with lines and not shapes, but it's possible to use just about any drawing tool as a guide. Your object will just stick to the edge of a shape, but will follow a line in a more definite way. Use the line tool, the Bezier Line tool, the pencil tool, or even the outline from the cirle or square tool will work. Experiment and check it out!

Page 7: Snapping

Page 8: More Tweening

As I move my gear toward the motion guide, I can see how the REGISTRATION POINT is drawn to the guide. That's the SNAPPING factor. Remember that.

Registration Symbols Photoshop

my arc guide now, and I have my symbol. Am I ready to tween? Yes! But there s one more thing to explain: SNAPPING. You ll find snapping at times to be a big inconvenience when you don t want it to run, and at times, like now, it ll be very helpful. When snapping is enabled for objects and guides, as you move an object it will naturally gravitate toward the guide in question. Experiment with the settings from the View->Snapping submenu to get a feel for what each snapping setting will do. At this point I have snapping enabled for Snap AJign, Guides, and


Ok, now I add a new keyframe in my object layer in the last frame of the timeline. I grab my gear (by the REGISTRATION POINT) and bring it to the ether end of the mction guide. By making sure it snaps to the end, I can be pretty sure the path is going to conform to the shape of the arc in my guide layer. I wanted it to look like it was falling back, though, so I can scale the height and width of the gear to make it smaller.

Page 9: Results and Properties

And here's the result:

Cool, right? It gets cooler. Highlight any frame in the motion tween and then open the Properties Panel again. Now we can do

Cool, right? It gets cooler. Highlight any frame in the motion tween and then open the Properties Panel again. Now we can do

I wrote about up top to achieve different effects. First I went to the final keyframe again and flattened my gear's height scale.

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Then, Qy using these settings:

Then, Qy using these settings:

It now has a cool spinning/flipping effect

It now has a cool spinning/flipping effect

Page 10: More Effects

And by going to that final keyframe again, clicking on my gear and the opening the properties panel, I can change the color, opacity and brightness settings of the gear so it changes in transition during the tween.

Like this:

These are the basics of Motion Tweens and Motion Guides. It might seem like a lot to take in but once you get a handle on these fundamentals there's a whole lot of things you can do and it only gets more and more fun.

Keep flashing, stay cool, and enjoy! whazzat

How to Build a Panoramic Tripod Head for $10

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