ExTrEmEDwarf

Step 1 To begin, you'll need to find a photograph texture of a leaf. I have chosen this one by a a photographer named Caleb Kimbrough. Step 2 Load your new found texture into a new project. With the Rectangular Marquee Tool (M) selected, Right-click on your layer in the artboard and select Free Transform. Once you have done that right-click on the texture again and select Warp. I have labeled each corner respectively as we will be moving them around quite a bit. Step 3 Now that you have your layer in Warp mode, click and drag the corner (a) down 1/3 of your grid. Step 4 Now click and drag the corner (point c) up 1/3 of your grid. Already our leaf is beginning to take on it's natural form. Step 5 Each corner has 2 arms that you can move in order to manipulate your layer even further. Pull the corner's (point a) left arm down as shown below. Step 6 You should give a sharper edge to your leaf. Something like this. Press Enter to finalize the Warp. Step 7 You should have a sharp point on your leaf after the last several steps. However, your point may be a bit bent due to the Warp Tool curling. Fix this by using the Polygonal Laso Tool (L), selecting the excess curl and pressing the Delete key. Step 8 Now lets focus on the other end of the leaf. Use the Warp Tool again (see Step 2) and drag point d as shown in the picture below. You'll want to get both of the arms of point d to be parallel. Step 9 Now do the same with the top-right corner (point b). Also, if you want you can tweak the leaf into whatever position you require by holding your mouse down and dragging the inner grid, as well as the other points. Step 10 To add a bit of additional perspective Right-click on your leaf and select Free Transform. Now hold Alt + Shift and drag the top-right corner, then move it left a bit. This will give the leaf a bit of distance perspective. Step 11 If you want to make the leaf drop at its point, use the Rectangular Marquee Tool (M) and select only the left half of the leaf. Then proceed to Free Transform > Warp. This will allow you to move that half of the leaf without warping the right half. Make sure not to move the points that are in contact with the leaf that is not selected as this will cause a tear between the two pieces. Step 12 Next, duplicate the layer with your leaf on it, drag that layer below your original leaf layer. Warp it a little to show some discrepancy. Repeat this process as many times as your desire. Play with it and have fun. Step 13 On each layer you can add a simple drop shadow by double-clicking on the layer and checking the box labelled Drop Shadow. To give leaves even more depth, make sure you adjust the Distance, Size, and Opacity accordingly. The larger leaf has an Opacity of 63%, a Distance of 299px, and a Size of 84px (this is on an artboard sized at 2590px by 1943px at 72px per inch). If you have a leaf that is directly on top of another, you will want to have the distance significantly lower, as well as the size. It should be more sharp and distinct. Step 14 Next I added a quick and easy Bevel and Emboss. It is often frowned upon to use this but it gets the job done quick. You can paint the sunlight hitting the leaf if you desire, but this is only an intermediate tutorial. Double-click on the desired layer and check the box Bevel and Emboss. Change your Depth to 100%, Size to 65px, and Soften to 0px. Also you may want to lower the Opacity of the Highlight Mode as well as the Shadow Mode. Step 15 You may want to add some depth of field. To do this I recommend you use a simple Gaussian Blur. Select the leaf that is below the rest of them. Right-click on the layer in the Layer Window and select Convert to Smart Object. Now select Filter > Blur > Gaussian Blur and set it to 2.6 pixels. A Smart Object will allow you to change the settings of your applied filters non-destructively. If you are really thoughtful, you could do this with the Drop Shadow and the Bevel and Emboss on the leaves...repeat this process with the other leaves, but lower the blur as the leaves get closer to the largest leaf. We want that to be the focus. You can also use the paint brush to mask the Smart Filter on the Smart Object. If you select the Smart Filter on your Smart Object layer, select the color black and paint on the artboard with the Paintbrush Tool. You will find that it removes the Gaussian Blur (or any other filter you applied to your Smart Object) in the area that you paint black. I did this with the largest leaf and left only the edges slightly blurred. Final Image There you have it. A quick and easy display of greenery. You can really play around with this and do a lot of different types of leaves and positioning. I hope you've enjoyed this tutorial. Half the fun is just messing around with the Warp tool. The final image is below. You can view it larger here. Credits: Brent Nelson

Step 1 With the main image opened, use the Clone Stamp tool to remove any unwanted entities, like the elderly couple walking. Try and clone areas around the couple so it doesn't look odd and mix your usage of soft, and heavy round brushes to define those edges. Step 2 Next you will want to cut around the edges of the roof tops so we can add in our stormy sky. Use the Polygon Lasso Tool for this. Don't worry about accuracy, as we'll be blending everything later, just make sure that the sky is cut out. Once selected, unlock the "background." Now double-click the layer, then rename it to "backdrop" and hit Enter. Delete the sky. Step 3 Open the Stormy Sky image and place it underneath your "backdrop" layer. Then press Command + T to Free Transform), hold Command while you drag the bottom corners inwards to add some perspective to the sky, don't forget to resize if necessary. Apply the transformation when you are happy. Step 4 It doesn't look very nice does it? That's because we're not done yet. Open and place the wave image in the center of the image. Now use the eraser, and a soft brush on it. Get in close and erase the bits you don't want. Don't worry if your messy, as the tidying comes later. Then go to Image > Adjustments > Brightness/Contrast and use the settings shown below. Then go to Image > Adjustments > Hue/Saturation and use these settings. Rename the layer to "Wave," and your image should now look like the one shown below. Step 5 Now comes the complicated bit. What you'll need to do is add all the water files to you're image and one by one, free transform them to flow with the perspective of the water then erase the hard edges. You might also need to duplicate some files in order to fill up areas. Always remember to play about with the textures using the distortion method in free transform and a soft eraser. The more you do, the better it will look. You can see the phases of building up the flooding water in this image. Step 6 Now we have our water sorted, merge all the "water" layers into one single layer and go to Image > Adjustments > Color Balance and use the following settings. Your water should now be nice and blue and match the "wave" layer from earlier. Now merge the "wave" layer with the "water" one. Step 7 Remember the tidy up I mentioned a while back? Well its time now. Turn off the "water" layer so you are left with just the backdrop and the sky. With the Burn Tool selected at highlights and at 50% exposure, and a soft brush set, start burning the rooftops and the sky around the rooftops so they appear darker. Step 8 Let's tidy up some more. Turn on the "water" layer sand and start tidying around the edges using a soft eraser. Then select the Smudge Tool and a 20px charcoal brush using the settings below. Start smudging the edges of the "water" layer creating very small splashes and more defined edges to realistically create the effect of water hitting a surface. This might require patience and a steady hand, but time will pay off. It might also be wise to duplicate the layer before smudging as you don't want to use all your undo's. Step 9 Next, select the backdrop layer and go to Image > Adjustments > Color Balance and use these settings. And your piece should now be coming together. Its still a little off, but there is a lot more to do, so lets move on! Step 10 Time for the splashes. Now this is the hardest step of the tutorial, and requires a lot of patience, but persevere and you will find that patience is in fact a virtue (I know, silly right?). Open up the splash1 and splash2 images and carefully cut out the splashes themselves one by one. Place them onto the canvas. Now use the Warp Transformation (Edit > Transform > Warp) to get the arches you need to create effective splashes, and erase any unwanted areas. You'll need to do this for the two cars and for where the water hits the wall down the buildings of the street. You might also benefit from smudging the edges of the splashes to give them more movement, as well as adding some white brushing to a new layer and smudging it. Now merge all your "splash" layers. Step 11 Getting there right? Now you need to do some tweaking to the colors of the image. This can mean anything from water, to the sky or the buildings. In my example, I think the water is a little too blue, so I'm going to desaturate it a little. Basically use this step for any odd bits and bobs to tweak your image to make it look more streamlined. Be creative, and more importantly, make it look tidy. I lowered the saturation of the water a little, and added some red to the buildings. Step 12 Now we'll work on the fog. Its sounds daunting but its actually fairly simple to do. Select a blue color from your water using the Eyedropper Tool. Now select the Gradient Tool and use the following settings. You will need to create a new layer underneath you're "water" layer and create the gradient so it blocks out any backdrop behind the water. Duplicate the layer (Command + J) and place it on top of your water layer, at about 30% opacity. Set this layer to Multiply. Step 13 This next step is to add rain. There are lots of tutorials on the web that show how to create rain. Here is one that goes into great detail, which you could check out. We'll keep it relatively simple in this tutorial though. First, create a new layer and fill it with black. Go to Filter > Noise > Add Noise and use these settings. Then Filter > Blur > Motion Blur> and use these settings. Then Image > Adjustments > Levels and use the following settings. Set the Layer to Screen and use a soft eraser to erase the bottom and top of the Layer, then go to Edit > Transform > Free Transform the "rain" Layer so it covers the whole screen. Step 14 It looks a little bit empty in the middle of the water doesn't it? Open up the car image and place it somewhere in the distance, underneath the "fog" layer. Resize the images and erase the edges carefully and use the splash1 image to give some life to the car. Step 15 Now is the fun part. You'll need to create a few gradient maps first. Click the Adjustment layer button located at the bottom of your layers window and select the Gradient Map option. Then Click the little arrow in the top-right of the box and select Pastels as shown. Use the following settings. Finally, set the layer to Multiply at 100%. Conclusion Now its just a case of adding depth and a few other adjustments. Select the Blur Tool at 20% strength, then start blurring the "backdrop" layer in the distance and on the rooftops. Create a new layer and go to Image > Apply Image and then go to Filter > Sharpen > Sharpen, which gives the image a more detailed and stylized feel. Now you're done! Credits: Andrew Gardner

Step 1 The first step is to browse stock sites or take photographs to gain a basis for the finished piece. After browsing, pick out a few images that have potential to turn into a manipulation. After doing so, create enough thumbnails to further establish the theme and composition of the piece. This are small rough sketches that allow you to explore concepts and layouts quickly. The first thumbnail out of the set below was chosen for further development. Step 2 Now, open the the base image and set it to 300 pixels per inch. Step 3 Next, go to Image > Adjustments > Brightness/Contrast. Set the contrast to +55. Also, erase the unwanted elements of the photograph. Step 4 Now it’s time to add more elements into the picture. A glass dome is added to give the image a purpose. You don’t want an image that people are going to have to guess what they are looking at. The dome adds to the believability that people could live and work on this platform. When making concept art, believability is essential. Step 5 The perspective of the dome doesn't exactly match the perspective of the initial image. To fix this, go to Filter > Liquify and warp the image until it matches. Make sure to use a fairly large brush since the whole image is being edited and not just sections. Warping the dome gives the platform a futuristic and fantastic feel by giving it some unusual curves. Step 6 Next, clean up the bottom edges of the dome. Then paint a connecting border between the dome and platform to join the two. Step 7 Next, cut out the image of a tree and paste it multiple times. After pasting the tree, erase the edges with a speckled brush to decrease repetition. Step 8 First, roughly paint in the area you erased with blue. You can work on blending that into to the image as you work through the tutorial. Next, create a new layer and start painting over the trees you just placed. The best type of brush to paint foliage with is a speckled brush. When painting the leaves, start with darker values first and then build up to a highlight. You also want to remember the light source of the rest of the image. Making everything consistent leads to a believable finished illustration. Step 9 The next step is to create a plane for the runway. Start off with creating a random shape with the Lasso Tool (L). Step 10 Then select the Fill Tool (F) and fill in the shape with white. Step 11 Then paint in the detailing and basic shading for the plane. Step 12 Next, place the plane into the environment. Erase the firing touch on the platform and replace it with a beacon light. Also, start adding in some brighter colors to your trees to add some visual interest. Step 13 To give the image more depth it is a good technique to add structures behind the foreground image. Create a new layer and place the new dome below the main structure’s layer. Adding another dome reinforces the structure of the platform. Also, continue to work on the sky in the background. Step 14 Continue painting more leaves and details of the foliage. Step 15 Next, create a new layer. Set the layer to multiply and select the color black. Paint the left side of the image to add a deep shadow. The Opacity of that layer should be 69%. Also, add a plane in flight to reinforce the purpose and use of the platform. Conclusion To finish off the illustration, create a new layer, add some random spatter over the illustration, add some highlights, and the final image has a painted feel. You can view the final image below or view a larger version here. Credits: Justice Von Brandt

Step 1 For this tutorial, I used Photoshop CS3, a skull (you could choose to use a free skull though, such as Skull Vector Pack 1) and some hi-res flames images. The high-res image files are available to Psd Plus members in the download pack. Though non-members are certainly welcome to shoot your own flame photos or find some stock to use here, so you can follow along. To get things started, create a new document 210mm by 290mm with a 100% black background. Step 2 Copy (Command + C) and paste (Command + V) the vector from Illustrator to Photoshop as pixels. Step 3 On a new layer create an ellipse filled with dark red (#4c0400) that surrounds the skull. Next, apply a Gaussian Blur of 250px (maximum value), and place that layer under the skull. Step 4 Let's prepare the skull for the flames. Select the white color from the skull. (Select > Color Range) and fill it with an orange-yellow color(#f9ae31), except the teeth and mandible that will be filled with light red (#e82b19). Step 5 Select the red area using Select > Color Range and then contract using Select > Contract > with 4 px, then and Delete. Step 6 Select the yellow color. Next use a Brush with Toll on 250-300 px, Hardness of 0, Opacity at 10-15%, red for the color (d02207), and gradually color from the interior towards the exterior, until you get a skull with a bit of glow. Step 7 Lets try to add some volume to the skull. Use the Eraser Tool with a diameter of 200px, Hardness of 0, and Opacity of 70%, and erase some of the red. Here we establish the lighter and darker parts of the skull so we can see some volume. Step 8 Now double the Skull layer. Select the skull closest to the background and apply a Gaussian Blur of 8-10 px to create a glow. Select the area under the nose including the teeth. Now grab a 80px Brush with a color of red (#d02207). Brush color on the right and left sides creating a soft gradient that ads depth to the lower part of the skull. Step 9 Now that we have a hot skull on our screen, let's start the fire! Open the files with the flames and prepare each of them to be used on our image as follows: A. Open the flames files. B. Go to Select > Color Range, and select the darker area of the background. Next, Invert the selection (Command + Shift + I). C. Go to Select > Modify > Feather, and set to about 20px. Then drag and drop them into our main skull document. D. Set the blend modes to Screen or Lighten. E. For the flames that will have other flames on top of them, we'll need to adjust the color Balance. You can do this by going to Image > Adjustments > Color Balance (Command + B). Step 10 Use the Free Transform Tool (Command + T) to arrange each flame into the desired position and the desired proportions. Step 11 Notice that the teeth area looks a bit darker than the rest of the skull so using the Brush Tool(B) and yellow (d02207) you lighten some parts of the teeth so they can blend better with the flames. Step 12 Use the Smudge Tool ® on the flames near the eyeballs to make them touch the skull so that you create a smooth transition from the skull to the flames. Step 13 Use the Smudge Tool ® to make the yellow parts of the skull blend with the base of the flames. Step 14 Use the Smudge Tool again in the red areas from the shadow where you try to draw a contour going towards the dark areas. http://psdtuts.s3.amazonaws.com/253_Skull_Fire/16.jpg[/img] Step 15 Use the Dodge Tool (O) to enhance the glowing effect on the edges of the skull. http://psdtuts.s3.amazonaws.com/253_Skull_Fire/17.jpg[/img] Step 16 Use the Burn Tool to work on the shadow areas of the contour so you can smoothen the passes from light to dark. Step 17 Now for the smoke. To create the smoke, use the same flame images and apply the same techniques you did in Steps 10 and 11 to them. The difference here though is that you'll need to desaturate these images to make them look like smoke. You can do this by going to Image > Adjustments > Hue/Saturation > Desaturate (Command + U), then set it to -100 for Saturation, and -16 for Luminosity. Step 18 Now lets apply a 2px Blur filter on the smoke so it blends better. Do this by going to Filter > Blur > Gaussian Blur. Conclusion Now the sparks! Using a Brush of 3px with 100% Hardness and 100% Opacity you start drawing the sparks. You can alter some of them using the Smudge Tool ®. And that puts the finishing touches on this image. http://psdtuts.s3.amazonaws.com/253_Skull_Fire/21.jpg[/img] Credits: Designious

Step 1 Ok, so the very first thing we need to do is create a New Document. Depending on where you are planning on getting your cards printed, you may need different dimensions. The printer I use here in Sydney has a default card size of 90mm x 55mm. When sending things off to printers however, you need to add a sort of border around the image called a Bleed. A bleed is basically the space on the edges of your design where the image keeps going past where the printer is going to cut the paper. That way if the cut lands a mm to either side you don't wind up with blank paper at the edges. How much space you leave for bleed also depends on your printer. Generally speaking 3mm - 5mm is a good amount of bleed. Because of a quirk of Photoshop (which you'll see later) we're going to use a value of 3mm. So when creating the image, instead of making it 90mm high we are making it 90mm + 3mm bleed on the left + 3mm bleed on the right = 96mm. Similarly with the width, we're making it 55+3+3 = 61mm. Note also that because we are making something for print you should set the Resolution to 300dpi and Color Mode should be set to CMYK. We'll talk more about the color mode later, but with the resolution you should note that 300dpi basically means there is more image information available so you get a sharp print out. If you ever have to make a huge poster, you can sometimes get away with as little as 120dpi, but it really depends how far away the person will be looking at your work from. If you are printing 120dpi, the quality up close will be pretty bad. If it's a giant poster (think meters rather than centimeters), then you can get away with it. Anyhow because this is a business card, we should make it 300dpi so it's a nice, high-quality print. Step 2 Once the document is created, the first thing we need to add are some guides to show us where the edges of the business card are and where the bleed starts. So first of all press Ctrl-R to switch on your rulers. Now to add the guides, you can either click on the ruler and drag guides out on to the document, or for a more precise method, go to View > New Guide and then give it a Horizontal position of 3mm. Repeat again with a Vertical position of 3mm. Then repeat twice more with Vertical / 58mm and Horizontal / 93mm. Step 3 You should now have a blank canvas similar to the one below with four guides, each 3mm away from the edge. Now because I made this card for the FreelanceSwitch Card Competition I had to use an element from Arsenal's freebie pack of vectors and textures. I chose this nice texture of concrete because it looks nice and urban! You can download the texture yourself by visiting Arsenal's site and clicking on the Free section. Step 5 So after pasting the texture in, I hit Ctrl-T to transform it to roughly the right size. Now while I want the texture to be dirty and grungy, right now it's a bit TOO dirty and noisy. So first of all we'll get rid of the two gigantic lines running along from left to right. We can do this with the Clone Stamp (S) Tool. You press Alt to select the area you want to clone (in this case I just used the area directly above) and then brush the area you want to clone over. Using a soft brush on a texture like this concrete means it's quite hard to detect if you're not directly looking for evidence of cloning. Step 6 So now we have it looking still rough and urban, but not quite so rough. At this point I decided that I wanted to darken the texture, so I added a layer above filled with the color #797c82 and set it to Multiply. However, the look was a bit strange and has a sort of bluish cast (see below) whereas I want it darker and greyer. This is to do with the color mode we're in - CMYK. So time to talk a little bit about color modes... (at least as I understand them) Basically CMYK are the four process colors that most printers print with. Using these four colors (Cyan, Magenta, Yellow and Black/Key) you can make most other colors. You can, in fact, get special inks like Pantones as well which we'll discuss in a future tutorial, but for most things it's just straight CMYK. Now on your screen, however, you use RGB which as you know stands for Red, Green, and Blue. The difference comes because on a screen you are looking at light mixing, so if you add all the colors together you get white - that's why in RGB the color code for white is R:255, G:255, B:255 - i.e. full red, full green, full blue. On paper, on the other hand, you are seeing the result of light interacting with an object. From my hazy recollection of high school science class when light shines on an object - say a red wall - the object in fact absorbs the light and reflects back the ones it cannot absorb, so the red wall reflects the red, but effectively eats up the rest, giving it the appearance of being red. So basically on paper it's the *opposite* of on-screen where it's projected light. On paper having full Cyan, full Magenta, full Yellow and full Key in fact produces black because it absorbs all the light (which is the reverse of RGB where it produces white). Now all of that was just some useful information explaining why there are different color spaces. The key thing to note is that the range of colors you can make with CMYK is smaller than what you can make with RGB. So when you switch to CMYK, you will find that some things don't work as well - things like Overlays, or getting super bright colors to show. Once you actually print out, often they will still look nice enough, but sometimes to do the things you may have gotten used to in Photoshop, you have to switch between color modes. Remember though that if you switch to RGB, you should switch back to CMYK before you send it off to print. To preserve the effects, we will flatten everything down at that point (you'll see what I mean later). Switching Color Modes Ok, hope you're still with me--basically what happened at this step is that I decided I needed to switch back to RGB to get the right darkening grey, and more importantly in the next step when I want to put yellow blocks overlayed, I also will need to be in RGB. So you can do this by going to Image > Mode > RGB Color. It will ask you if you want to flatten the image--say no! You should see an immediate shift in the coloring of the darkening effect. And, yes, I could have made this step a lot shorter and just told you to go to RGB, but it's useful to learn about color spaces :-) Step 7 So here we are in RGB mode. Next we want to draw some diagonal blocks. So grab the Polygonal Lasso Tool (L) and then create a new layer. Now you want to draw the shape shown below. To do this nicely, you should hold down Shift so that it forces the angles to be multiples of 45' and give you a nice even shape. Step 8 Once you have the shape, fill it with Color: #c4b10f, which is an ugly yellow color, and then set the blending mode to Color Dodge. Now you should have a bright yellow that looks like the one below. Note that if you switch back to CMYK, you will see how this effect doesn't work at all and why we had to switch to RGB earlier. Anyhow duplicate this layer a few times until you have six yellow bars and just roughly space them out so that one is right on the left and another right on the right with the rest clumped in between (we'll space them accurately in the next step). Step 9 Now rather than trying to space by eye or by pressing the arrow key the same number of times (which I'm embarrassed to say I often do), we will use the align tools. So first hold down Shift and select all the layers with yellow bars in them. Then up the top click the Align Tool marked below. This will automatically space them accurately! (Note that I think in Photoshop versions earlier than CS2, you need to link the layers with those little paper clips because Shift-Selecting layers only appeared in CS2 - the version I use. CS3 users I expect are similar to CS2.) Step 10 OK, now we have a nicely spaced-out little marking that looks sort of industrial! Step 11 Next I created a new layer above and with a large soft black brush gently brushed along the edges. Remember, that anything outside the guides will probably not make it into the final card (unless the printer misses their cut), so the black should extend just over the line if it's to be visible in the final product. Step 12 So just to discuss bleed again, as I mentioned earlier everything outside those guides is just extra material for the printer to cut away. So it's important at no point to put important things like text anywhere near the edges unless you don't mind it potentially being cut. In my experience most printers in practice don't stray very far from the cut line, however it CAN happen, especially if you use a cheap printer. Step 13 One problem doing this stuff in Photoshop is that there is no way to automatically hide the bleed area, which means sometimes when looking at the design it doesn't quite look right. In InDesign you can switch to a special preview mode that hides the bleed, but in Photoshop we have to do this manually. So often I will create a layer above all the others and fill the bleed areas with white. Then I can switch this layer on or off so that i can see a little more accurately the proportions and area that will actually make it to the final printed item. Just make sure you switch these off before sending to the printer! Step 14 Next I placed some nice text on the card. This is actually the back side of the card (we'll do the front in a second). I used an uber cool font called DIN which is very minimal and as you'll see in a second has an awesome '@' character. I've set the type to be 8pt. If I remember correctly you should never go less than 6pt if you want something to be readable, and if you want it to be easily readable 7.5pt and above is best. As with all these things it depends on who your audience is. When making business cards for I would go with something that a person can quickly read at a glance when flicking through their pile of cards. When making something for myself, I often use small type because I can get away with it! I also set the type to blending mode Linear Light so that it interacts a little with the background. Once this is done, we can save this document as Back.psd then go to File > Save As and this time save it as Front.psd, essentially duplicating the file to make the front. Step 15 Once again for the front I've added a bit of text with my Web address and Email address and name. And for those type lovers amongst you, have a look at the '@' character--isn't it neat! DIN is an industrial typeface originating in Germany which you can read about on Wikipedia. Typography - or the art of using type/text in your designs - is one of those super important parts of design. If you come from a nondesign education background as I did, then it's very important to go read up about it, because it's the easiest way to pick a good designer from a bad. Step 16 Now the next thing we want to do is to switch off some of those layers that have the yellow bars, so there are just three left over. I want it to sort of look like the yellow bars start on the front and continue around to the back. Next using the Polygonal Lasso Tool (L), draw out a triangular shape as shown. Step 17 Then create a new layer just above the concrete texture and fill it with a dark grey and set the blending mode to Multiply. Now unfortunately that makes the yellow bits look dull, so we'll fix that next! Step 18 So Ctrl-click the first of the yellow bar layers, then holding Shift down, click on the next one, then the next, so that you have the pixels selected for all three. Then press Ctrl+Shift+I to invert the selection as shown. While that's selected, click on the triangle layer and click the Add a Layer Mask icon on your layers palette. This will mask out the areas of the yellow bars so that they shine through. Step 19 And there we have it! All done... Now we need to go to Layer > Flatten Image and then to Image > Mode > CMYK to switch back to CMYK and get ready for print. Note how because we flattened the image we preserve the way the yellow was interacting with the road behind it even though we're back in CMYK. So basically we've taken advantage of RGB to achieve an effect and then flattened it down and switched back to CMYK so that we can print. Step 20 Now go to File > Print with Preview and you should see something like shown below. If you don't have all the options, click on More Options and they will appear. Check the box which says Corner Crop Marks, then click on the button that says Bleed and set it to 3mm. Note that for some reason Photoshop doesn't let you go much higher than 3mm for bleed. I don't really know why they've put an artificial cap on it, but maybe there is some amazing reason that I don't understand. Anyhow one thing you should do (that I just realized I didn't do in the screenshot) is to untick Show Bounding Box. Once you're all done, you should be able to print to a PDF, do the same for the back, and deliver that to your printer. Note that to print to PDF, you need to have a copy of Acrobat installed (not just the free Acrobat Reader, but the full version). If you have this, then you're all finished now! If you don't have Acrobat, never fear... all is not lost! Step 21 If you don't have Acrobat, then forget the Print with Preview way of doing this and instead, go back to your document, create a new layer at the top, then using the Single Column Marquee Tool make selections around your guides as shown. Step 22 Now we are going to draw in our very own crop marks. To do this we need to make sure we use what is called Registration Black. Registration black is basically 100% of all the CMYK colors (as shown). There is a bit more to it than that, and you can read more on Wikipedia if you are interested. Anyhow so select the right color and then fill in those selections from the previous step. Then using the Rectangular Marquee Tool, cut away the lines so that there are just small single lines in each of the four corners left - i.e. four pairs of crop marks. Then go to Save As and save your file as a PDF using Photoshop. This should be OK for a printer, though to be honest I've never actually tried sending a file with crop marks like this to a printer, so it's probably best to ask them if it's OK before you go printing zillions of cards :-) Step 23 Anyhow so there're my simple little business cards. They look kinda neat and should be ready to print. In the sample files you'll find both the back and front as well as the PSD file I used to render this little image below which is my quick attempt at faking the printed cards. Download the PSD Credits: Collis

pas gia am twra? i gia sb

itan sponta

so the bug was this? <cond msgId="113" addName="1"> <target active_effect_id_lvl="5562,3"/> </cond>

`

`

~

`

`

`

`

`

`

fail

First of all after i created this topic i noticed that there should be a forum suggestions board. Anyway, because we have such many posts (around 560k) and when we search we cant find the decent post, i suggest to add on members profile the ability to see The topic Started by some1..i was looking for a topic for like 1/2 hours and i still searching for it..Something like this:

U dont destroy the site..u RIP it. u copy the site to your HDD and u keep it.

this is the 260 revision..now they are alrdy on 287

i heard if u have edited knife it increases the range..if yes, whats the best knife with the best range?

ninja dagger

not the VIP event. The VIP characters..

what is hamachi network..never heard that