This week, in the last of a two part series, I’m going to cover setting up a Midtone Luminosity Mask and look at creating multiple shadow and highlight masks to target different levels of luminance for greater tonal control of your images.
Stunning Device Mock-ups from Perfect Pixels
It’s always good when you find a great resource online and even better to share the love with everyone else. I happened upon Perfect Pixels stunning device mock-ups the other day p-px.com
Basic Highlight and Shadow Control in Photoshop
This week, in the first of a two part series, I’m going to run through setting up basic Luminosity Masks for shadows and highlights.
One incredibly useful, but often overlooked, feature in InDesign is the ability to place one InDesign document into another as an Image Link. Go to File>Place... and you’ll see in the file browser that InDesign files can be selected indicating they can be imported/placed within a layout.
Here’s a quick tip for unlocking all the Transform functions when working with Vector Smart Objects.
In the example below I have two versions of a logo placed as Smart Object Layers – the top one is Vector-based and contains an Illustrator file, the bottom one is a standard Raster-based Photoshop layer that has been converted to a Smart Object.
Today I want to look at a simple method for optimising content styling in InDesign. This technique combines Paragraph and Object Styles so I will assume some familiarity – if you’ve used Paragraph Styles before then Object Styles are pretty easy to pick up.
When working in Illustrator we tend to think of our vector shapes in terms of the points, or nodes, that make up each shape. However, each shape is a combination of the both the points and the segments that join them. Because our control system (the Beziér Handles) stem from the points it’s easy to forget that we can in fact select and edit via the segments.