Destorion

It seem that MxC's Old Freakz has been retired/Left allready... Is this the end of Legendary ERA???... RIP MxC....From now it's only available for Lineage 2 Section as it seem so...

Φτάνει τσουτσούριασα με τόσα που είπες χαχαχαχαχαχα αυτόν καλά τον χώσανε μέσα στην αρχή και μετά κλαιγόταν για να βγει, μέχρι που έδωσε λεφτά για να αφεθεί ελεύθερος.! Απορώ πως μπήκε εδώ μέσα xD

Ορίστε ο λόγος που το φόρουμ έγινε μπουρδέλο μέχρι σήμερα... Σας κατά πότισε ο παπάρας με ναρκωτικά και τα μυαλά σας από το κεφάλι πήγαν στον κώλο... χα!

Για να μην τα ξανά λέω και καταντάει βαρετό αυτό το θέμα περί σεβασμού, Αν δεν σέβεστε εσείς κανέναν εδώ μέσα, Από την ανώτερη βαθμίδα μέχρι και τον απλό χρήστη, μην περιμένετε να σας σεβαστούν και εκείνοι... Πόσο ποιο απλά να το διατυπώσει κανείς για να το χωρέσετε στο μισό μυαλό που σας έχει απομείνει!?

Χα! Απορώ πόση ώρα σου πήρε να το σκεφτείς αυτό που έγραψες... Όταν με το πρώτο σου account αντιδράς στον καθένα το ίδιο, εσύ τι περίμενες? να σε σεβαστούν και να σε προσκυνούν? βαθιά νυχτωμένος είσαι.... Και επίσης! Αν οι μισοί από δω μέσα δεν το παίζατε τόσο μάγκες με τις βρισιές, τις ειρωνείες και τα δήθεν αστεία troll σας πίστεψε με θα ήταν όλα φυσιολογικά... Αλλά τα μυαλά δεν αλλάζουν οπότε δεν περίμενα κάτι άλλο.. Αν έχω κάπου άδικο γράψε το... Για να μην συνεχίσω να αναφέρομαι ονομαστικά και αρχίζετε πάλι τις πίπες σας όπως κάποτε....

Depends the server and what kind of customs they've got, if someone will join in any server like those you said and then you'll see fully dressed up players with +20-30 weapons, what's the point to waste your time?

Double exposure has been around, everywhere, for quite some time now. It's an interesting photographic technique that combines two or more exposures into a single image. This tutorial will show you how to use some images, blend modes, and adjustment layers, to create an easy double exposure inspired text effect. Let's get started! Step 1 Create a new 1500 x 1000 px document and fill the Background with White. Create the text in All Caps using the font Peace Sans Regular, and use a fairly big size to show the details better. The Size here is set to 500 pt, and the Tracking is set to 100. But you can use any other values you like with your text. Step 2 Place the Branches 3 image on top of the text layer, and resize it as needed. 2. Mask the Branches Step 1 Command-click the text layer's thumbnail to create a selection. Step 2 Pick the Rectangular Marquee Tool, and click the Intersect with selection icon in the Options bar. Then, click and drag to select the first letter you have, and release. Step 3 This will deselect all the letters except for the first one. Step 4 With the branches layer selected, click the Add layer mask icon at the bottom of the Layers panel. Step 5 Place a new copy of the branches image, and then repeat the same steps for each of the remaining letters you have. Each letter should have its own branches layer masked to it. 3. Position the Branches Inside the Letters Step 1 Make the original text layer invisible by clicking the eye icon next to it. Step 2 Click the chain icon between the layer and mask thumbnails to unlink them. This will allow you to move the image inside the mask instead of with it. Press Command-T to enter Free Transform Mode. Move, rotate, and resize the branch inside its letter until you like how things look. Hit Return to accept the changes. Step 3 Repeat that for the rest of the letters you have, and don't forget to relink the thumbnails when you're done. Place all the branches' layers in a group and call it Text. 4. Create the Text's Gradient Map and Add the Overlay Texture Step 1 Click the Create new fill or adjustment layer icon at the bottom of the Layers panel, and choose Gradient Map. Step 2 Click the Clip to layer icon, and click the gradient fill box to create the gradient used. To create the Gradient, you’ll need to click below the gradient bar to add Color Stops, and when you click each Color Stop, you can change its Color and Location values. Here are the Color Stop values used from left to right: Color - Location #282828 - 0% #5c5353 - 25% #877a7a - 50% #ada3a3 - 75% #f1eded - 100% Step 3 Place the New York Buildings image on top of all layers, resize it as needed, and change its layer's Blend Mode to Lighten. Command-click the text layer's thumbnail to create a selection, and click the Add layer mask icon to mask the buildings image. This will finish off the double exposure effect, but we'll add some more color adjustment layers to enhance the final outcome. 5. Adjusting the Coloring Step 1 Add another Gradient Map adjustment layer on top of all layers, and create the gradient using the colors #48406e to the left, #76747e in the center, and #fbc690 to the right. Then, lower the layer's Opacity to a value around 35%. Step 2 Add a Levels adjustment layer on top of all layers, and adjust the settings of each channel as shown below: Congratulations, You're Done! In this tutorial, we created some text, and masked an image of branches to each of its letters separately. Then, we positioned the branches inside each letter, and adjusted the coloring with a gradient map. After that, we added an overlay texture to create the double exposure effect. Finally, we used some more adjustment layers to adjust the coloring of the final result. Please feel free to leave your comments, suggestions, and outcomes below. Credits: Designtutsplus

Everyone choosing Hyperfilter, i heard that they got the best protection arround...

You can try but i don't know if it worth to do that thing...

Hello, This time i found a video about how to make our unique logo.!!!! Check the video bellow and good luck!!!! Have Nice creation(s)!!!!! Credits: Photoshop Tutorials

It's all about your choice.... The only servers that worth are low to mid rate servers... PvP servers may have fully unbalance due to their custom items... But If i was you, i wouldn't return into L2... I would search for something else to do...

Hello! I decide to share with all Photoshop users, New and old, the way to make our own custom brushes in photoshop! In this tutorial, we'll learn how easy it is to make our own custom Photoshop brushes! Photoshop ships with lots of great brushes for us to use, but it's way more fun and interesting to create our own, especially after Adobe completely revamped the brush engine in Photoshop 7, adding unprecedented painting ability to what was already the world's most powerful image editor. Since the types of brushes we can create in Photoshop are limited only by our imagination, we'll design a very simple brush here just to see how quick and easy the whole process is. We'll also take a look at a couple of Photoshop's dynamic brush options in the Brushes panel to see how we can change the behavior of the brush after we create it. Let's get started! Step 1: Create A New Photoshop Document Let's begin by creating a brand new Photoshop document which we'll use to design our brush. Again, the purpose of this tutorial is not to learn how to create this exact brush, but rather to see how the process works from beginning to end. I'm going to create a new 200 x 200 pixel document by going up to the File menu in the Menu Bar at the top of the screen and choosing New. Or, for a faster way to create a new document, press Ctrl+N (Win) / Command+N (Mac) on your keyboard: Go to File > New. This opens the New Document dialog box. Enter 200 for both the Width and Height options and make sure the measurement type is set to pixels. Also, make sure the Background Contents option is set to White since we need white to be the background color for the brush: Create a new 200 x 200 pixel document with a white background. Click OK when you're done to accept the settings and exit out of the dialog box. A new 200 x 200 pixel document, filled with white, will appear on your screen. Choosing An Initial Size For Your Brush Photoshop allows us to create brushes as large as 2500 x 2500 pixels, but as they say, just because you can doesn't mean you should. At that size, you'd be painting with the virtual equivalent of a floor mop. Also, painting with very large brushes requires a lot more memory and horse power from your computer which can slow your system down considerably. For typical work, you'll want to create brushes much smaller. The size at which you initially create the brush will become its default size, and it's important to note that brushes we create ourselves are pixel-based brushes, which means they're essentially images and behave exactly the same way as regular images when it comes to resizing them. Brushes will usually remain crisp and sharp when we make them smaller, but if you increase their size much beyond the default, they'll become soft and dull looking. The general idea, then, is to create your new brush just large enough to suit your needs, which may involve a little trial and error. The 200 x 200 pixel size I'm using here usually works well. Step 2: Select The Brush Tool Let's create our new brush using one of Photoshop's built-in brushes. First, select the Brush Tool from the Tools palette, or press the letter B on your keyboard to quickly select it with the shortcut: Select the Brush Tool. Step 3: Select A Small Round Brush With the Brush Tool selected, right-click (Win) / Control-click (Mac) anywhere inside the document window to display the Brush Preset picker, which is a miniature version of the full-blown Brushes panel that we'll look at a bit later (and we'll examine in much more detail in another tutorial). The Brush Preset picker allows us to choose from a list of preset brushes (which explains its name). To select a brush, simply click on its thumbnail. I'm going to click on the Hard Round 5 Pixels brush to select it. If you have Tool Tips enabled in Photoshop's Preferences, the name of each brush will appear as you hover over the thumbnails. Press Enter (Win) / Return (Mac) once you've chosen your brush to close out of the palette: Select a small round brush from the Preset picker, then press Enter (Win) / Return (Mac) to close out of it. Step 4: Make Sure The Foreground Color Is Set To Black Back when we created our new document in Step 1, we made sure to set the background color of our document to white. The reason is that all brushes in Photoshop are Grayscale, meaning that a brush can contain only black, white, or shades of gray in between. Areas filled with white become transparent, so you won't see them when you're painting with the brush. Areas filled with black will be 100% visible, and if your brush includes various shades of gray, those areas will be partially visible depending on how close they are to black or white, with darker shades of gray being more visible than lighter shades. If we were to turn our new document into a brush as it is right now, the entire brush would be transparent since it contains nothing but white. Painting with an invisible brush may make an interesting statement artistically, but for more practical purposes (like this tutorial), you'll most likely want a brush you can actually see, which means we'll need to add some areas of black to the document. The black areas will become the visible shape of the brush (known as the brush tip). Photoshop paints using the current Foreground color, and as luck would have it, the default for the Foreground color is black, which means there's a very good chance yours is already set to black. You can see the current Foreground and Background colors by looking at their color swatches near the bottom of the Tools palette (the Foreground color is the swatch in the top left). If your Foreground color is set to something other than black, press the letter D on your keyboard to quickly reset both the Foreground and Background colors to their defaults: The Foreground color is the color the brush will paint with. Step 5: Paint A Series Of Horizontal Brush Strokes Inside The Document Window With the small round brush selected and black as your Foreground color, click inside the document window and paint a series of short horizontal brush strokes. For added variety, alter the thickness of the strokes by changing the size of the brush using the handy keyboard shortcuts. Press the left bracket key ( [ ) to make the brush smaller or the right bracket key ( ] ) to make it larger. You'll find the bracket keys to the right of the letter P on most keyboards. When you're done, you should have a column of brush strokes that looks something like this: A column of messy, random brush strokes. Step 6: Create A New Brush From The Document To create a new Photoshop brush from the document, simply go up to the Edit menu at the top of the screen and choose Define Brush Preset from the list of options (depending on which version of Photoshop you're using, the option may be called simply Define Brush): Go to Edit > Define Brush Preset. Photoshop will pop open a dialog box asking you to give your new brush a name. I'm going to call mine "My New Brush". You'll probably want to choose a name that's a little more descriptive: Name the new brush. Click OK when you're done to close out of the dialog box, and that's all there is to it! We've successfully created a brand new custom brush in Photoshop that's ready and waiting to help us bring our creative vision to life. You can safely close out of the brush's document at this point. To select the new brush any time you need it, first make sure you have the Brush Tool selected, then right-click (Win) / Control-click (Mac) anywhere inside your document to open the Brush Preset picker. Scroll down the list of available brushes until you see your brush thumbnail (newly created brushes will appear at the bottom of the list), then click on the thumbnail to select the brush. Press Enter (Win) / Return (Mac) once you've selected it to close out of the Brush Preset picker: Select your new brush from the Brush Preset picker. With the new brush selected, simply click and drag inside your document to paint a brush stroke: The newly created brush in action. It's a good start, but I think it's safe to say that at this stage, my new brush will be of limited use. Fortunately, now that we've created a brush tip, we can change and control how the brush behaves as we paint with it using Photoshop's Brush Dynamics, found in the main Brushes panel, which we'll take a quick look at next! Step 7: Open The Brushes Panel We've seen how to select a basic, ready-made brush using the Brush Preset picker, but if want more control over how our brush behaves, we need Photoshop's main Brushes panel, which gives us full access to some truly amazing options. We'll save our detailed look at the Brushes panel and all of its controls for another tutorial, but let's take a quick look at a few ways we can use it to alter the appearance of our brush strokes. To open the Brushes panel, either go up to the Window menu at the top of the screen and choose Brushes from the list, or press the F5 key on your keyboard (press it again to close the panel), or click on the Brushes panel toggle icon in the Options Bar (click it again to close the panel): The toggle icon in the Options Bar opens and closes the Brushes panel. This opens the main Brushes panel, the big brother of the Brush Preset picker we saw earlier. By default when you first open the Brushes panel, the Brush Presets option is selected in the top left corner of the panel, which displays the same small brush icons along the right that we saw in the Brush Preset picker. To select a brush, simply click on its icon. Scroll down the list to your newly created brush and click on its icon to select it if it's not selected already. The very bottom of the Brushes panel displays a preview of what the brush stroke currently looks like. Since I haven't made any changes yet, the preview looks exactly the same as the brush stroke I painted a moment ago: The main Brushes panel in Photoshop set to the Brush Presets option. Step 8: Adjust The Brush Tip Spacing Click on the words Brush Tip Shape directly below the Brush Presets option in the top left corner of the Brushes panel: Click on the Brush Tip Shape option. In the real world, if you were to paint with an actual brush, the brush would lay down a continuous coat of paint on the paper, but that's not how Photoshop works. Instead, Photoshop "stamps" the document with your brush tip as you drag your mouse. If the stamps appear close enough together, it creates the illusion of a seamless brush stroke, but if the stamps are spaced too far apart from each other, the individual stamps become obvious and the brush stroke appears ridged. Depending on the effect you're going for (like creating a dotted line, for example), you may want a lot of spacing between the stamps, but in most cases, a seamless brush stroke is more desirable. With the Brush Tip Shape option selected in the Brushes panel, we can control the spacing between the stamps with the appropriately-named Spacing option at the very bottom of the panel. Spacing is controlled as a percentage of the width of your brush tip, and by default, it's set to 25%, which means that if the width of your brush tip is 100 pixels, Photoshop will lay down a new stamp every 25 pixels as you drag your mouse: The Spacing option controls how frequently Photoshop "stamps" the brush tip as you paint. For a smooth brush stroke, this default setting is usually too high. I'm going to lower mine down to around 13%. To lower the Spacing amount, either drag the slider towards the left or enter a specific value directly into the input box. You'll see the preview of the brush stroke updating to reflect the changes to the spacing: Lower the Spacing amount for a smoother looking brush stroke. Now, if I paint a stroke with my brush, it appears smoother because the individual stamps are closer together: With the brush tip "stamps" being closer together, the stroke appears smoother. Step 9: Select The Shape Dynamics Option Click directly on the words Shape Dynamics below the Brush Tip Shape option we selected a moment ago, which gives us options for dynamically controlling the size, angle and roundness of the brush tip as we paint. Make sure you click on the words themselves. Clicking inside the checkbox to the left of words will turn the options on but won't give us access to their controls: Click directly on the words "Shape Dynamics". Step 10: Set The Angle Control To "Direction" The main problem with the look of my brush stroke is that no matter which direction I paint in, those horizontal lines that make up my brush tip remain, well, horizontal. Let's fix that so the brush tip will follow the direction of my mouse cursor. With the Shape Dynamics option selected, change the Control option for the brush tip Angle to Direction. Again, you'll see the brush stroke preview at the bottom of the panel update to reflect the change: Change the Control option for the Angle to "Direction". I'll paint another stroke with my brush, and this time, things look much more natural. The brush tip is following the direction I'm painting in: A more natural looking brush stroke. Step 11: Set The Size Control To "Pen Pressure" (Requires Pen Tablet) If you're using a pressure-sensitive pen tablet like I am, you can tell Photoshop that you want to control the size of the brush with your pen. With the Shape Dynamics options still selected, change the Control option for the brush tip Size to Pen Pressure: Change the Control option for the Size of the brush to "Pen Pressure" (if you have a pen tablet, that is). With the Pen Pressure option selected, I can easily control the size of the brush stroke on the fly, giving my custom brush an even more natural look: The size of the brush can now be controlled dynamically with pen pressure. Credits to: Steve Patterson from PhotoshopEssentials

Hello, i decided to make few logos for your lineage 2 Java and OFF topics. So let's start: 1. Lineage 2 Java Logotypes: Discussion(s): Download Link: Click Me Share(s): Download Link: Click Me Guide(s): Download Link: Click Me 2. Lineage 2 OFF Logotypes Discussion(s): Download Link: Click Me Share(s) Download Link: Click Me Guide(s): Download Link: Click Me Rates and comments are up to you! I hope you will use them anytime and have fun! -Vince*

Hello, i decide to make this topic with My own top 10 Photoshop font sites selection for your creations and also to help you out instead of spending your creation time by searching... So let's start: 1001FreeFonts DaFont UrbanFonts Fix The Photo Brushez TypeWolf FontSquirrel FontSpace RycoDesign PinSpiry Those were the top 10 Font Sites by my own selection.!!!!! NOTE:IF you want to post more links you can do it.!!!! I will add them to this topic.!!!!!

I received an email from a Spoon Graphics reader last week who wanted some advice for creating a striped type effect in Illustrator, citing a retro 70s style logo as an example. I was sure I’d created a similar effect in a recent tutorial, but it turned out to be the title art I produced for my Washed & Worn textures that I was thinking of. In today’s Adode Illustrator tutorial I’ll take you through my process of creating such artwork to produce a similar 70s inspired type style, then follow it up with an alternative process that has the advantage of preserving the live text. The artwork we’ll be creating in this tutorial is a retro type design in the style of 70s brand logos that feature the striped trend from the era. My example uses the word Renegade, set in a lovely bulbous script font, with a series of alternating rainbow stripes with a nostalgic palette of muted hues. To finish off the artwork, we’ll use those Washed & Worn textures to make the type look like a classic t-shirt. The secret ingredient for creating beautiful script type, aside than becoming a hand-lettering master, is to use a quality premium typeface which contains professional OpenType features. One of my go-to typefaces is named No. Seven. Set your chosen wording with the Type tool in a new Illustrator document to see the font in its default form. The wonderful OpenType features of alternate characters allows you to completely customise your type so each letter is composed perfectly with the next. Highlight each character in turn and cycle through the various glyphs available to produce a totally unique type design. One of the telltale details that distinguishes custom hand-lettering from a basic font is the repetition of characters, but the alternate glyphs available in OpenType enabled fonts allow you to reduce any uniformity with different letter styles. Make any necessary kerning adjustments by placing the cursor between the relevant letters, then use the ALT and left/right cursor keys to alter the gap. Give the text a bit of extra flair with a Shear transformation (Object > Transform > Shear). Enter -7° with the Vertical option checked. Out of habit, I tend to outline my type in order to then apply a series of modifications. I’ll cover an alternative approach later which preserves the live text, but right click and choose Create Outlines on this text element. Change the fill colour to a light beige hue (#f3e1c8). I mix and matched the colours from a couple of palettes from ColourLovers, named Old T-Shirt and I Need Your Love. Go to Object > Path > Offset Path and enter 10px to produce a wider outline around the type. Give this new outline a dark blue fill colour of #374160. Use the Pathfinder panel to merge all the individual letter outlines into one continuous shape using the Unite button. Place this blue outline below the beige text by selecting the Arrange > Send To Back menu. By default the offset path is grouped with the main text. If you deselect and select the element again, both items will be selected. Right click and choose Ungroup to separate the elements. Select just the blue outline then hit Copy (CMD+C) and Paste in Back (CMD+B). Hold the Shift key while nudging the duplicate down and right. Make a selection of both blue shapes, then create a blend under the Object > Blend > Make menu. Head back to Object > Blend > Blend Options and alter the settings to Specified Steps and enter a high value to effectively create a smooth transition between the shapes. Make a copy the whole blend element and paste in back a duplicate. Alter the fill colour to a red from the palette (#d55239), then hold Shift and nudge the outline twice the distance so it extends the layout. Repeat the process of pasting a duplicate with the CMD+B shortcut, then alter the colour (#e4ba7d browny-yellow this time) and nudge it into place to continue the striped effect. Make sure each new stripe is offset by an equal number of nudges downwards and to the right to keep the striped effect aligned. The last colour for this artwork is a pale green of #92aba3. All the main letters have been separated with the Ungroup command earlier. Select them all and use the Pathfinder panel to Unite them. Copy and Paste in Back a duplicate of this element, then give it the same pale green fill colour (#92aba3). Nudge it down and right twice without holding the Shift key this time. This method of building a design out of shapes is my natural process, but it permanently produces the artwork. Any edits to the wording would mean recreating it from scratch. Here’s an alternative approach that makes use of just the Appearance panel by layering a variety of fills and strokes. Live Type Method Rewind right back to the start where we had a neat piece of type in an editable text element. Make sure you have the Appearance panel visible, as that’s where we’ll be doing all the work for this method. Alter the fill to the light beige hue (#f3e1c8), then apply the dark blue outline colour (#374160) as a stroke. By default the stroke appears on top of the fill, which means you can see the outline of each letter. Drag this stroke underneath the fill in the Appearance panel. Increase the stroke weight to 20pt to produce the same effect as the offset path earlier. To mimic the Blend, we can instead use the Transform effect from the FX menu at the bottom of the Appearance panel. Enter 1px in both the Horizontal and Vertical Move options, then apply 20 Copies near the bottom of the settings. To add each different coloured stripe, a new stroke can be applied from the menu in the top corner (or the icon at the bottom of the panel). With the Appearance panel you can layer up numerous strokes onto one element. Change the colour of this second stroke to red (#d55239). The stroke is stacked on top of the blue stroke, so drag it underneath. Apply a Transform effect and enter the same 1px Move figures, but this time add 40 copies to extend the effect twice as far so it protrudes from behind the blue stroke. Repeat the process with a new stroke for yellow (#e4ba7d). Drag it underneath the others then add 60 copies in the Transform settings. The fourth stroke is green (#92aba3), which is placed at the bottom with 80 copies in the Transform effect options. Add a new fill to create the thin green offset text in the original artwork. Drag this new green fill underneath the beige fill, but keep it above the blue stroke. Apply a Transform effect, using the 1px Move values, but this time with just 2 copies. This alternative method produced the exact same artwork, but using just the Appearance panel rather than a collection of Illustrator’s shape-building tools. The main difference is you can still edit the text to change the wording, all the effects will remain applied to the type. You can even save these effects as a Style to apply them to any other element with a single click. Applying a texture in Illustrator Since we modelled this text effect on my Washed & Worn textures artwork, we might as well make use of one of those textures. To apply a texture in Illustrator, click Make Mask in the Transparency panel (group all the objects if using the first method). Click on the square thumbnail on the right in the Transparency panel to activate the mask, then Drag one of the textures into Illustrator, or use the File > Place command. Scale and move the texture into position. Click on the square thumbnail on the left to exit back out of mask mode. The texture in the mask will non-destructively punch out details from the artwork to allow whatever background it’s placed against to show through, giving it an aged and distressed appearance like an old t-shirt print. Credits: blog.spoongraphics.co.uk

One of my Spoon Graphics readers recently sent me an email with a great tutorial suggestion based on one of the promo graphics of the free font named Manrope. The cited artwork featured a collection of letters as long three dimensional shapes of varying heights, densely packed together in the scene. Clearly some kind of 3D modelling software was used to produce the original concept, but I experimented with Photoshop’s built-in 3D tools to see if a similar effect could be made. Follow along with today’s tutorial to learn how to use Photoshop’s 3D capabilities to create the effect yourself. The artwork we’ll be creating in this tutorial features a bunch of long, extruded character shapes, arranged at various heights. By just configuring a few options, Photoshop’s 3D features then bring the effect to life with realistic perspective, shading and lighting. Create a new document of around 2000x2000px in size. Set out the first of many letters as an individual text element using the font of your choice. Checking the Uppercase option will make it easier to edit each subsequent character without the need to hold the Shift key to capitalise the letter. With the Move tool activated, hold the ALT key and drag a duplicate of the text element into some empty space. Double click to edits its contents and change the character. Continue duplicating the element to lay out the entire alphabet. Neatly lay out all the characters in close proximity. Numerals can also be used to fill out any gaps within the composition. Combine all the letters into one layer by activating the uppermost layer, then hold Shift and select the lowermost layer. Use the CMD+E shortcut for Merge Layers, then rename this layer to ‘Letters’. To convert this flat artwork into 3D, go to 3D > New 3D Extrusion from Selected Layer. The Photoshop workspace will then switch to 3D mode. In the 3D panel, activate the Letters object, then in the Properties panel, alter the X rotation value to 90° under the Coordinates section. Activate ‘Current View’ in the 3D panel, then in the Properties panel change the view menu to Top. Use the navigation tools in the top toolbar to orbit, pan and scale the view to effectively position the text at an angle. By default, the 3D artwork is created as an Orthographic view, but checking the Perspective option in the Properties panel generates an alternative effect. Select the Letters object again in the 3D panel, then go to the 3D menu and choose Split Extrusion to break it apart into individual letter shapes. Click each letter shape in turn and use the blue arrowhead of the 3D tool to move the letter upwards or downwards along the Z axis. Move each letter by a random amount to set the shapes at irregular heights. To ensure no letters are floating in space, Shift-click to select all the letter elements in the 3D panel, then click the Move To Ground button in the Coordinates section of the Properties panel. Activate ‘Current View’ again and reset the scene if necessary to centre up the 3D view within the canvas. Select the Infinite Light element within the 3D panel and move the smaller handle of the on-screen icon to reposition the direction of the light. In the Properties panel, increase the Softness of the shadow to around 70%. Back in the 3D panel, select the first Front Inflation Material, then hold Shift and click the very last Back Inflation Material to make a selection of every single one in between. In the Properties panel, change the Specular colour to white and reduce the Shine value to 0%. The 3D effect currently doesn’t look great. It now needs rendering to process the finer lighting effects. Go to 3D > Render 3D Layer, then sit back and wait it to complete. After a few passes once the bulk of the shading has been established, you can press the Escape key to stop the rendering. Stopping the render early does leave some subtle grain behind, rather than a perfectly smooth surface, but it can actually enhance the artwork. To avoid making any changes to the 3D layer and have to render all over again, use the CMD+Shift+E shortcut to make a merged copy of the artwork on a new layer. The final result is a cool 3D composition of extruded letter shapes with realistic shading and lighting effects. This artwork was left with a basic grey appearance, but Photoshop colour adjustments, or alternative surface effects could be used to enhance the effect further. Credits:blog.spoongraphics.co.uk

Clipping a subject from its background is one of the fundamental procedures that is required for a variety of Photoshop projects. I’ve covered the best selection methods for a range of situations in my video titled How To Cut Anything Out in Photoshop, but cutting out hair always proves to be the most challenging, especially when dark or detailed backgrounds are involved where there isn’t sufficient contrast between the portion you want to keep and the areas you don’t. In today’s Photoshop tutorial I’ll show you some advanced techniques for cutting out hair, even difficult real world scenarios where the subject isn’t conveniently placed against a clean studio backdrop! Cutting out short hair or fur If you have a subject with relatively short hair or fur that has good contrast with the background, like this photo by Ayo Ogunseinde, Select and Mask tool is a reliable tool to produce a clean clipping. Begin by tracing the subject with the Quick Selection tool. Follow the subject’s outline closely to allow the mask to snap to the edges. Correct any mistakes by holding the ALT key and paint with the Quick Selection tool to add portions of the subject back in, that might have been missed. If there isn’t enough contrast for the Quick Selection tool to work, manually add to the selection with the Polygonal Lasso tool. Apply the selection as a Layer Mask, then right click the mask thumbnail and choose Select and Mask to bring up some advanced options to refine the clipping. As well as the various sliders that allow you to fine tune the outline as a whole, the Refine Edge brush is ideal for perfecting hair selections. Paint over the hair outline to make a cleaner clipping. Cut out long hair from clean backgrounds Longer hair has so many fine strands it’s impossible to draw a selection of them all, but as long as the subject is against a clean background, the Channles method will generate perfect results. In the Channels panel, find the channel with the most contrast. In this example of A Happy Guy in Spectacles from Shutterstock, the hair is darkest in the Blue channel. Make a duplicate of the channel by dragging it onto the ‘New’ icon. Use the Levels or Curves tools from the Image > Adjustments menu to set the background as the white point. The shadows can then be clipped to darken the hair, but don’t go too far, otherwise it will leave a white outline around the hair selection. A silhouette of the subject needs to be created for the mask to make a full selection. Select the Burn tool and set the option to Shadows in the top toolbar. Paint around the subject to safely darken the edges of the face and body, without needing to accurately trace the outline. The remainder of the subject can be quickly painted over with a black brush to complete the black and white mask. Hold the CMD key (or CTRL key on Windows) while clicking the new channel thumbnail to load its selection. Activate the RGB channel to bring back the full colour image in order to copy/paste onto a new layer or apply a layer mask. Cut out hair from detailed backgrounds In the real world, your source photographs aren’t always conveniently shot against a perfectly lit studio backdrop. Things start to get tricky when there’s no contrast between the subject and its background. In this photo by Ana-Maria Nichita the mottled colours make it impossible to find a channels selection or find the edges with the selection tool. Use the Pen tool, or Polygonal Lasso tool to manually trace the subject. When it comes to the hair, just make a rough selection of the main body of hair. Make the selection, then Copy/Paste onto a new layer. Rather than try to rescue the hair from the original photograph, just paint in some new hair! Select the Smudge tool and set up the brush tip with the Size control set to Pen Pressure under the Shape Dynamics section of the Brush Settings. Set the opacity of the original layer to around 70% as a reference for where the hair needs adding, then begin drawing new strands of hair in the relevant directions. Begin with a brush size of around 4px, then gradually reduce the size to add finer hair strands. It sounds like an extremely tedious process, but it doesn’t take too long, especially if you have a graphics tablet. Cut out long hair from detailed backgrounds As the subject’s hair gets longer, it becomes too difficult to manually draw the hair back in. In these situations it’s possible to produce a decent cut-out with the help of Photoshop ‘Hair’ Brushes. Make a selection of the subject as accurate as possible and apply a layer mask. Use a soft brush to fade out the hair where it meets the background. Rather than paint in individual hair strands, Photoshop hair brushes provide a series of curls and ringlets that can help generate a completely new outline. Ivadesign has 3 Photoshop hair brush sets you can download for free. Each brush can be scaled in size with the [ and ] keys and rotated by adjusting the angle icon within the Brush Settings panel. Also use the Flip X option to orientate the hair brush to follow the natural flow of the subjects hair. Create a new layer, then use the colour picker to sample the original hair colour near the area the brush will be placed. Make a single click with a brush, then find an alternative lock of hair to use in a different part of the outline. Change the colour selection, orientate the brush, then dab an instance of the hair strands. Change the blending mode of the hair layer to Hue so the original subject is still visible. Continue adding new hair to construct a completely new outline. Once the new hair outline has been created, apply a layer mask and erase the coloured areas from the subject’s face with a regular black brush. Cutting out other hair styles Photoshop brushes of long flowing locks of hair aren’t going to be suitable for all hair types, but the same technique can be applied to other hair styles. It just involves finding an alternative portrait of a person with similar hair that is selectable against a clean background. New Photoshop brushes can then be derived from the donor image. Draw a path around the subject with the Pen tool, roughly outline the hair, then apply a layer mask. This photo of a Beautiful Afro Business Man from Shutterstock features a similar hair style that is selectable using the Channels method. Trim the canvas to contain the hair silhouette, then go to Edit > Define Brush Preset. Back in the main document, create a new layer and begin painting in a new hair outline, remembering to sample the colour from the original photograph. Change the new hair layer to Hue so the subject is still visible. This brush can also be used to remove the hard outline from the original clipping. The tight curls will blend with the new outline. Switch the colour to white and paint back over the shoulders and body to restore any areas that have been removed. Apply a layer mask to the new hair layer and erase the portion that overlaps the face to remove any discolouration. Credits:blog.spoongraphics.co.uk

Have some fun transforming yourself, your family members or your work colleagues into a bobblehead style caricature with this step-by-step tutorial for Adobe Photoshop. We’ll make use of Photoshop’s image manipulation techniques to exaggerate the features of a portrait photograph to give it a funny cartoon-like appearance. Since we’re using a photograph as the source, rather than illustrating the caricature by hand, it retains degree of realism and retains a strong resemblance to the subject. Exaggerating the subject’s proportions with an oversized head and eyes will be the first step to transform the subject from a life-like photograph to a comedic caricature. We’ll then use some processing techniques to enhance the skin, giving it a hyperrealistic appearance similar to a vinyl toy or 3D model. To achieve the best results, you need a high resolution portrait photograph with sharp details. For the purpose of this tutorial, I’m using this stock image by Wayhome studio from Shutterstock. Ideally the subject will have short or tied up hair and will be set against a clean background to make the clipping process easier. To make the head larger, first it needs clipping onto its own layer. Use the Pen tool to roughly draw an outline around the hair, then carefully trace around the chin. Zoom in and use smooth bezier curves to make an accurate outline around the face, then right click and choose Make Selection with 0 feathering. Use the CMD+C and CMD+V shortcuts to copy/paste the head onto its own layer. Double click the Background layer to convert it into a regular, unlocked layer. Rather than scale the head layer up, which would reduce the quality of the image due to interpolation, instead, select the original layer and scale it down in size using the CMD+T shortcut. Use the Crop tool to trim the document to size to remove the excess canvas. If there’s an empty portion of canvas at the top, make a selection with the Marquee tool, then under the Edit > Fill menu, choose Content-Aware to fill in this space with a perfectly matching background. Apply a layer mask to the head layer, then use a soft tipped brush to blend out the hard edge of the clipping by painting with black within the layer mask. Enlarging the eyes is a similar process. Begin by making a rough selection around each eye in turn and copy/paste them onto a new layer. Don’t forget to click the layer thumbnail to reactivate the artwork, rather than the layer mask. Rather than scale the eye layers up and reduce the image quality, select both the original image layer and the head clipping and use the CMD+T to scale them down together. Use the Crop tool to trim the canvas to size and remove the excess pixels around the edge of the image. Move each eye layer into the correct position, then apply a layer mask. Use a soft brush to erase the edges so the eye perfectly blends into the face with no hard edge. Under the Layer menu, hold the ALT key and click Merge Visible to create a flattened copy of the artwork on a new layer. Go to Filter > Liquify and select the Bloat tool. Make some subtle adjustments with a few short mouse clicks to enlarge the cheeks, nose, eyes and mouth to further distort the facial proportions. Switch to the Forward Warp tool and manipulate the face to exaggerate the facial expression. For instance, move the eyebrows higher on a surprised face, or increase the smile on a happy face. Apply the Liquify effect, then duplicate the layer with the CMD+J shortcut. Head to Filter > Other > High Pass and enter 2px. Invert this high pass layer with the CMD+I shortcut, or the Image > Adjustments > Invert menu option. Change the blending mode to Overlay to soften the image with a subtle blur. While this blurring helps smooth out the skin, we don’t want the effect being applied to the facial features. Add a layer mask and use a soft brush to effectively erase the effect from the eyes, nose, mouth and hair, leaving the blurring applied to the rest of the image. Select the merged and liquified layer again and make another duplicate. Add the High Pass filter again with the same 2px setting. Change the blending mode of this High Pass layer to Overlay, without inverting it first, which will sharpen the image. Add a layer mask, but this time use the ALT+Backspace shortcut to completely fill it with black, which will erase the whole effect. This time use a soft brush while painting with white to restore the sharpening on those key areas of eyes, nose, mouth and hair. Create a new empty layer and drag it to the top of the layer stack. Go to Edit > Fill and choose 50% Gray. Change this layer’s blending mode to Overlay. Select the Burn tool and configure the settings in the top toolbar to Shadows with an exposure of around 20%. Paint over the subject tracing all the darker areas. Switch to the Dodge tool and target the Highlights, also with a 20% Exposure. Paint over all the bright portions of the subject. Scale the brush tip down to accurately trace the eyes and teeth to brighten them. Reduce the opacity of the dodge and burn layer to tone down the high contrast effect until it looks more natural. The final result is a fun caricature effect that transforms the subject with completely exaggerated proportions. Simply altering the size of the features produces the basic effect, then it is enhanced with some surface adjustments which helps give the artwork a hyperrealistic appearance. Credits: blog.spoongraphics.co.uk

The style of ‘Old School’ tattoos is a popular aesthetic in the tattooing scene and has become an iconic illustration style in other genres of art. The stylised handmade drawings feature thick black outlines and bold colours, often depicting roses, anchors and pin-up girls from the tradition of sailor tattooing. Follow along with today’s Photoshop tutorial to produce a digital illustration inspired by the style of old school tattoos. Unlike tattooing with ink, Photoshop layers to make it easy to draw with the advantage of being able to delete and try again! We’ll then bring the design to life with colour, and apply a stippled shading effect to create a modern interpretation of a traditional tattoo flash graphic. There are many symbols that are associated with traditional tattoos. Hearts and roses that are accompanied with a banner containing the name of a loved one is an iconic design often associated with sailors. The design I will be creating in this tutorial uses simplistic shapes, a limited colour palette and grainy shading that mimics the style of old tattoo flash graphics. Open Adobe Photoshop and create a new document. I’m working with a canvas size of around 2000x2000px. Set up the Brush tool with an appropriately sized tip for the width of the linework (20px in my case), with the hardness value to 100%. Under the Brush Settings, reduce the Spacing to 1%, then check the Smoothing option. The use of a Pen tablet will make illustrating the design much more natural, but it is possible to draw using a mouse. The Smoothing setting makes it easy to hand-draw your designs with neat flowing lines. Set the Smoothing value to 100% in the top toolbar to see how it helps to iron out the irregularities of a line. Create a new layer and draw a curved line to represent one half of the heart shape. The advantage of drawing digitally is you can use the CMD+Z key to retry as many times are you like to find the perfect shape. Use the CMD+J shortcut to duplicate the layer, then press CMD+T to Transform. Right click and choose Flip Horizontally to make an identical line for the other side. Move the new line into place to form a heart shape. Add a layer mask, then paint within the mask to erase the line where they intersect. Add a new layer to contain the banner. Draw the shape with smooth, slow strokes. Position the brush tip exactly into place at the end of a line to continue the outline without any excess overlap. Merge the two outlines that form the heart shape into one layer, then apply a layer mask and erase the line that overlaps the banner. Draw a series of simplified leaf shapes on a separate layer. Use a layer mask to erase any lines where they overlap. Make a duplicate of the leaves layer and use the CMD+T shortcut to rotate and reposition more leaves elsewhere in the design. Use a layer mask to erase any overlap between the elements. Working with elements across several layers makes it easy to erase areas without affecting the other linework. In order to produce the text within the banner, I used a font named Fairwater as a template. Press CMD+T and use the Distort and Warp options from the right-click menu to position the text, then reduce the opacity to trace the outlines on a new layer. Draw a few additional details on a new layer to finish off the tattoo design, then merge all the linework layers into one by selecting them with the Shift key, then use the CMD+E shortcut (or choose Merge Layers from the right click menu). To apply colour to the design, each hue will be applied one a separate layer. Add a new layer below the linework layer and give it a name for reference. Select the Magic Wand tool and ensure the ‘Sample All layers’ option is checked. Click to select an area, then hold the Shift key and select all other areas that require this colour fill. Choose the hue from the Foreground colour picker and use the ALT+Backspace shortcut to fill the area. Add a new layer for each hue, then sample the area with the Magic Wand and apply the colour as a fill. To apply shading to the design, add a new layer above the first colour and fill it with black. Hold the ALT key and click between the layers to clip the fill to just the area of the layer below. Change the blending mode to Dissolve, then reduce the opacity until the fill into a grainy appearance. Select the Brush tool and change the tip to a much larger size with zero hardness. Add a layer mask to the Shading layer then paint with black within the mask to erase the shading layer. The Dissolve blending mode will fade out the grain due to the softness of the brush. The large the brush, the more gradual the grain will fade. Use the X key to switch between painting with black to erase the mask, and white to restore the mask to apply shading exactly where you want it. Also alter the brush size with the [ and ] keys to paint any intricate areas. Add the same black layer above the next colour, clipped to the layer below and set to the Dissolve blending mode with reduced opacity. Apply shading to this portion of the design. Once the design has been full coloured and shading, a finishing touch to give it the appearance of a vintage tattoo flash drawing is to add an old paper texture to the background. Scale the image to fit the canvas using the CMD+T shortcut, then alter the opacity to reduce its prominence. The final result is a bold design inspired by traditional old-school tattoo art, with thick black outlines, vibrant colours and strong grainy shading. Using Photoshop layers to construct the design makes it easy to draw each line without the worry of having just one permanent attempt. Applying colour just takes a few clicks, then the graphic is brought to life with grainy shading that mimics the stippling of tattoo needles. Credits:blog.spoondesigns.co.uk

Resizing an image sounds like one of the simplest things you could do in Photoshop, but there are actually some common mistakes you should avoid. In today’s digital age, you will probably want to resize an image so it fits nicely on a computer screen, however, if you’re a professional designer or photographer, it becomes a little more complicated when you need to factor in print size and resolution. In today’s guide I’ll cover the basics of resizing an image in Adobe Photoshop, and explain when you should (or should not) choose the Resample option. Resize vs Resample Resizing and resampling are two confusing terms because we tend to use them the wrong way round. We often talk about resizing an image, when what we are actually doing is resampling it! In Photoshop, go to Image > Image Size, or hit the CMD (or CTRL on Windows) + ALT + I shortcut. By default, the Resample option in Photoshop is checked, which will mean the dimensions of the image will change by adding or subtracting pixels from the width and height. This is known as resampling, and it’s usually what we’re doing when altering the size of a digital image. If the Resample option is unchecked, you’re now Resizing the image. Photoshop will now redistribute the existing pixels to alter the physical size or resolution of the image. This is typically reserved for graphic designers and photographers who are producing prints. How to make an image smaller (Downsampling) Photographs from cameras are pretty huge these days, they contain millions of pixels which make both the dimensions and the file size very large. Making an image smaller is known as Downsampling. The Image Size window in Photoshop shows the current size of the image. Change the units to Pixels if they aren’t set already. Pixels are the standard unit of measurement for digital screens. Enter your desired pixel dimension in either the Width or Height field. The Constrain Aspect Ratio’s chain icon is set by default to automatically calculate the other dimension so the image isn’t squashed or stretched. Photoshop provides some information at the top of the window showing the new file size compared to the original size of the image. How to make an image bigger (Upsampling) Images are made up of pixels. The number of pixels along the width and height of an image determines its size. It’s easy to make an image smaller because any excess pixels can be thrown away, but if you want to make an image bigger, Photoshop has to conjure up some new pixels to construct the larger size. This is called Interpolation. The general rule of thumb is to never make an image bigger than its current size because it will result in degraded quality with a fuzzy or pixelated appearance. However, the technology behind Photoshop can cleverly upsample an image with the best results possible. By default, Photoshop will choose the most suitable interpolation method itself with the Automatic option, but you can have finer control over the result by choosing one of several options. Each one is designed specifically for enlargement or reduction. Upsampling an image will never be perfect, but you can minimise the image degradation by smoothing or preserving details, depending on what works best for your specific picture. How to change the resolution of an image Traditionally, 72ppi is the go-to resolution for screen use, while 300ppi is the standard for print. PPI (pixels per inch) refers to the digital file, which translates to DPI (dots per inch) when the image is reproduced as a print. These terms are often used interchangeably. A high-quality 300ppi stock photograph will be perfectly suited for print use because it has a combination of large dimensions and high resolution. On the contrary, a 72ppi image might look huge on screen, but the maximum size it can be printed at 300ppi will be pretty small because those 72 pixels in every inch will soon run out when you need to fill each inch with 300 pixels… resulting in a smaller print size. We know upsampling should be avoided to prevent image degradation, but you can increase the resolution of an image as long as you DISABLE the Resample option. If you don’t, the image will say it’s 300ppi, but thousands of new pixels will be interpolated by Photoshop, resulting in awful quality. To correctly change the resolution, the image should be resized (not resampled). Uncheck the Resample option, which prevents you from altering the pixels dimensions of the image. You can then change your 72ppi image into a 300ppi image, but notice how the physical size in inches is reduced? Resizing only works with the existing pixels, without interpolating any new ones. You will have a crisp, high-quality 300ppi image with no loss of quality, but the overall print size is small because 300 pixels are added to every inch, rather than just 72, so you can’t fill as many inches! You don’t have to physically change the resolution of all your images when constructing a design. If you create a canvas at your desired dimensions and resolution, whenever you paste an image into the canvas, it will be automatically scaled relative to the document resolution. Remember not to scale your layers larger than their original size either. That is effectively the same as resampling them. Scaling down = Good. Scaling up = Bad. That’s why it’s important to source your assets such as photos and textures at the highest size and resolution possible, so they will be usable in real world projects like posters or canvas prints. Credits: blog.spoongraphics.co.uk

Hello! I would like to share with you a tutorial about how to composite a car into a new background So let's start! Compositing a new background dramatically transforms a bland and boring setting into a much more visually appealing location that can help enhance the mood or atmosphere you want to achieve with the photo. These two photographs were both taken on the same empty road, but with the magic of some Photoshop editing, one is now set in a cold mountainous region, and the other in an exotic metropolis! These Photoshop compositing techniques can be applied to all kinds of photo subjects, but they are particularly effective for automotive photography. Whilst cars are a relatively easy subject to work with, reflections are the biggest factor that determines the suitability for a composition. Using a Circular Polarising Filter on your camera can reduce the majority of reflections in the car body and windows, but any leftovers can either be edited out using Photoshop’s stamping tools, or incorporated into the theme of the new environment. For instance, this photo has a warped reflection of a building along the side of the car, but it will complement the new city location. Download the image from your camera and make any necessary post-processing adjustments to correct the overall tone and colour balance. In order to place the car onto a new background, it first needs clipping out. Use the Pen tool to trace around the car outline, staying a couple of pixels away from the edge to avoid capturing any slithers of the backdrop in the selection. Roughly create the path along the bottom of the car, then follow the outline to the starting point to form a continuous path. Right click and choose Make Selection, then Copy and Paste the clipping of the car onto a new layer. A new background can now be pasted between the original Background layer and the new car clipping. The new scenery photo must have been taken at a similar angle and resemble the lighting of the scene. This image of a Road In The City by Jimmy Yan on Shutterstock features a road receding into the distance in the same direction as my original photograph, and the area is shaded just like the initial location. To accurately match the angle of the scenes, reduce the opacity of the new background layer and move it into position so the horizon lines overlap. The compositing process becomes much easier if the original road is preserved in the final edit, since the car is already realistically positioned with the correct shading and angle. Apply a Layer Mask to the new scenery layer and begin painting with a soft black brush in the mask to erase the foreground to bring back the original road Kerbs or sidewalks are convenient features of almost every road photograph that can be used as a seam to blend the two backgrounds. Adjust the size of the brush and use the X key to switch between black and white to erase and restore the mask. The new background will need some adjustments to make the composition more realistic. First convert the layer to a Smart Object so any filters are applied non-destructively, so they can be edited if necessary. Toggling off the new background layer to compare it with the original shows a difference in the depth of field. The elements in the background of the original image are considerably blurry, whilst the stock photograph was taken with a much smaller aperture. Make a mental snapshot of the blur amount from the camera image, then toggle back the visibility of the layer and go to Filter > Blur Gallery > Field Blur. Increase the Blur value to mimic the depth of field effect of the original image. Typically this will be a relatively small value of under 10px. The Blur Gallery filters have some additional tools that are useful for matching the appearance of the two photographs. The car shows some subtle ISO noise, whereas the background is much cleaner. Increase the Grain Amount slider to simulate some noise in the background too. The car was clipped around its outline, but the area within the window still shows the original backdrop. Apply a layer mask and use the brush tool to erase the unwanted portion to reveal the correct background. Using a moderate hardness setting for the brush tip helps avoid an unrealistic hard edge. The area through the glass wouldn’t be so bright and clear, so draw a path around the window with the Pen tool and make a selection. Add a new layer, then fill the selection with a colour sampled from the nearby window. Change the blending mode of the layer to Multiply to allow the background to show through. Reduce the opacity of the window overlay layer until the background looks like it is being realistically viewed through glass. Viewing the image up close shows the car with an unrealistically hard edge from where it has been clipped with the Pen tool. Select the car layer, then activate the Blur tool. Reduce the strength of the tool to around 50-70% in the toolbar, then using a small brush, paint around the edge of the vehicle to simulate the natural lens blur. The edges farthest away require more blurring than the foreground. A great way to finish off an image with some natural color grading and lighting effects is using my free light leak overlays. Open one or more files then copy and paste them into the document and scale them to size. Change the blending mode to Screen to make the dark background invisible, allowing the colourful portion to interact with the image. Reduce the opacity of the layer to adjust the impact of the overlay. Layering up overlays can add some vibrant light casts across the image. Credits goes to: blog.spoongraphics.co.uk and its author.!

Without More describe and words i go ahead to the preview of my creation! Preview: R n CnC!!!! Go go go!!!! Also Suggestions are acceptable!!!!

Not perfect but simple advertising banner just for you @l2shop.info Preview: If you don't like it and want to do any changes i uploaded for you the psd file, Download link bellow: Download Me

Yo! I want your attention please! The following Signature is my first time creation with Photoshop CC 2019, So whatever will be your comments and rates, do not blame.. Let's go with the preview of it: Preview: Thanks for your time to Rate and comment my first Creation.! -Vince*

Α, Δεν με νοιάζει καθόλου.! Σιγά μην κάτσω να σκάσω για μαλάκες ψάχνεις ? εν πάση περίπτωση σταμάτα να ασχολείσαι με τον καθένα και κοίτα λίγο τον εαυτό σου, καταντάς κουραστικός να ξέρεις.!