Monday, September 21, 2009
$12/sq ft on vinyl. The image on the right of the mural is a famous Seminole and the one on the left is a drawing of their ancient people. The brown background on the right is leather made 100% in Photoshop. The map of Florida shows their travel routes. We wanted to show their heritage and the journey they embarked.
For this project, we decided to focus on the clans of the Seminole indian tribes ♥ Everybody did they're part and then we put everything together. We took everyones images and merged them together and adjusted the blending options. We also adjusted the levels and the hue and saturation. We made the animals red to blend in better with the colors we chose for the background. We decided to keep the colors similar to the seminole indian flag.
For the final project of image manipulation we were told to make a mural for an entrance way to a Seminole Indian museum. We started with the process and the overall layout of the piece. We knew we wanted a photo of an Indian in there and some representation of Florida as well. There is a pinkish worn out texture behind the whole piece and we changed the blending modes of all the photos to make the image look rough and weathered. We also used the eraser with a low opacity to blend the water scene and Florida together. For the vector image we used text taken from illustrator and blended that as well to make it fit with the whole image. Overall we are satisfied with the final outcome.
Group: Alan Rodriguez, Drew Grywalski, Robert Cabral
The two figures within the image are the first two chiefs of the Seminole tribes. The one on the left Osceola was chieftain by reason of his abilities as a warrior and commander during the memorable struggle of his people with the United States in the Seminole war of 1835. On the right is Coacoochee, the chief of The Black Seminoles, they lived together but maintained a different identity. He fought along side with Osceola, and then after of which drifted to the north west of Florida.
Alan R - Researched history and inspired various design possibilities.
Robert C - Initial pattern design generated and stretched, as well as locating images of the chiefs
Drew G - Composed the images in Photoshop and thought up of the pattern repetition along with border design.
Josh Halford, David Short, Wendi Williams - Image Manipulation student project - cc - not for commercial use
We went for a classical look. We kept to the sepia tone and wanted to give a very old, worn look. We wanted to combine several images associated not only with native Americans, but the Seminole tribe specifically. That's why we included a picture of Florida where the Seminole are known to have resided. We also added the native American patterns on the top and bottom to help communicate the theme to the viewer.
Sunday, September 20, 2009
Kyle Kortvely and Brittany Howard - Image Manipulation - Final Student Project - cc - not for commercial use
Our goal for this project was to make a striking and powerful image. We didn’t want to go with anything too traditional, or something that felt like a painted mural. We picked images of strong Indians, and wanted to highlight them the most in the image. We used the cut out filter to make the images seem strong, and edgy. The background is a picture of a creek. It’s symbolizing that the Seminole Indians are descendants of the Creek Nation, and their love of nature.
We manipulated the background to keep with the bold imagery. The red, yellow, black, and white theme keeps with the colors of the Seminole Indian logo. We added the feathers for another design element, and circled them around the main Indian’s head to reflect the circle used in their logo. The feathers are our vector shapes.
For our process, we did a lot of research on the Seminole Indians, mainly with their website as the most informational source. We wanted to make sure the information we got was from their culture, and not another Indian culture. We made several concepts, some traditional, and some not. We got all the images from Getty. For the feathers, we got images of a regular feather, and used the pen tool to trace it inside Illustrator.
Monday, September 14, 2009
Please email me a write up of your research regarding printing process and paper choices to firstname.lastname@example.org. Include all group members names in the title of a .pdf process/research document optimized for web viewing.
I apologize but I will not be returning to class, but will grade your final projects.
Monday, August 31, 2009
The image below is an image from the subway in New York City. As you can see, the image is lacking a bit of contrast and also has a slight underexposure. It's not that bad, but it looks somewhat dirty and dark. The image has plenty of shadows, but the mojority of the highlights have been washed out in that inadequate light was present when the photo was taken. Many of the figures look like sillohuettes in the dim light.
Step 2: Setting the Black Point
We are now going to set the black and white points in the Levels settings. After duplicating the original layer, create a new adjustment layer in the Layers palette. This is the half-white, half-black circle located at the bottom of the palette.
Step 3: Black point settings
You will see a color picker. Set everything to solid black and then change the setting under "B" to 5, as shown below. This sets the black point to 95% black. Click OK
Step 4: Setting the White Point
Double-click the Set White Point tool, which is the white eyedropper. In the color picker, set for pure white and then enter 95 into the "B" setting as shown to the left and below. The white point is now set to 95% white.
Step 5: Finding Shadows
We are now ready to perform the image correction. We will click the Set Black Point tool in the darkest part of the image and the Set White Point tool in the lightest part.
To locate the darkest part of the image, hold down the Alt (Option on
Mac) key, and as you move the shadow slider to the right, the image should turn white. As you move the slider you will see some areas start to show through. This is the Black Point threshold, as show to the left. The areas that start to show are the darkest areas of the image.
Step 6: Adjusting the Shadows
Take note of where the dark portions of the image are on the threshold and return the slider to the far left. Choose the Set Black Point tool and click on the darkest portion of the image in the main image window as shown in the image to the right. The image will be shifted and the area we clicked on will now be set to the 95% black that we selected earlier.
Step 7: Finding Highlights
Hold down the Alt (Option on Mac) key and move the right slider to the left to reveal the whitest point of the image. The image will begin as black and the highlight areas will show through as shown below.
Step 8: Adjusting Highlights
Choose the Set White Point Eyedropper tool from the Levels palette. Click on the whitest area of the image as shown below. The lightness of the image will be adjusted to match.
Step 9: Setting the Gray Point
The tonal qualities of the image look much better now and the colorcast is reduced a bit. Now to totally remove the color cast. Choose the Set Gray Point eyedropper from the Levels dialog box (below). When we click on the image with this tool it will choose the selected area as the gray point of the image and balance all the color to match. Click on a portion of the image that should be a neutral gray, such as the ladies pants. The colors will shift; if you are not happy, keep experimenting by clicking the Set Gray Point tool in different parts of the image.
When you are happy with the result, click OK to apply the Levels to the image. You have now learned how to use the Levels tool correctly. The image below shows the final corrected image, a huge improvement from the original. Now the figures can clearly be seen without being lost in the shadows of the image.
We chose to create a tutorial on how to create and use actions in photoshop.
Here is the link to our tutorial. http://createanaction.blogspot.com/
Wendi was responsible for writing the different steps out and taking the screenshots of all the steps.
Dave was responsible for finding the example images and and resizing the captured screenshots.
Josh was responsible for designing and putting all of the steps into the tutorial format.
Here is a link to our tutorial.
We made a lot of concepts for this tutorial, about four. We wanted to put more of a design element on it, but since it was only made for the blog, we felt a bit more constricted. We made the tutorial very easy to follow along, humorous and cheery. We decided to use more than five images because we wanted to make someone who wasn't very familiar with photoshop could easily follow along.
For our process we wrote down everything we wanted to include in the tutorial by actually doing the steps as we went along, pretending we were the user.
After that, we made the screen shots, and also added some personal notes on the images. So that the person would still find the tutorial fun and helpful.
Finally we just placed the images and text together on the blog, edited the HTML a bit so the tutorial would post, and that was that.
Brittany wrote the tutorial, and Kyle did the screenshots, and photoshop editing. We both decided how best to place the images and text together.
-Brittany Howard and Kyle Kortvely
Monday, August 24, 2009
- Researched various tutorials
- Began a document via Adobe Illustrator
- Composed images needed for our tutorial
- Compiled the proper text explaining the steps in the images
- Added aesthetic elements such as drop shadows to make the images feel off the page instead of flat.
- Touched on the title to pop it out
- Enclosed an ending statement
Tuesday, August 18, 2009
Monday, August 17, 2009
Here I have all three images, and the "restored" version I worked on for them.
The first was a very simple restoration. The photo itself maintained overall accurate texture, so the only necessary editing was to the color (the black and white had faded to a brown) and contrast. After that, there was just a little bit of dodging to bring out parts of the husband's jacket that had started to lose definition after the conversion to black and white.
This next one is a picture of a 20's couple, I believe. The photo was severely discolored, but managed to hold on to a lot of the value of the original image. I converted it to grayscale and adjusted the contrast to bring out the bride's dress. I attempted to correct the darkness of the background, but even the healing brush didn't help me fix it perfectly.
This final image is an old family portrait. There was a lot of work on this one, including healing brush, dodging, burning, clone stamping, and color/tone adjustments. I spent the most time on this one and feel it is by far my most successful restoration. The larger version of it is below.
I wanted to do something that seemed different from most restoration photos. Apparently, since I couldn't find any really old photos in my house, I took one from the Internet. It seems to be in the late or mid 1800s (if not early 1900s) and had A LOT of cracks and marks in it.
It took me at least 5 to 7 hours to get this photo restored and came down to be a pain when I came a crossed some missing spots on the clothing (notably on the woman's chest). I can't say that I even touched the Clone tool on this photo due to the Healing Brush had all the modes I needed. Aside from modifying the levels, I adjusted the exposure to get a more natural lighting as best as I could.
All in all, I never really took part in restoring a photo, but I kind of found it really easy to do after the first few hours.
This is a photo I got from a co-worker. I used the level adjustments first to make the image darker and then proceeded to use the healing, and spot healing, and the clone tools to make the image more defined. It could use a few more hours of work but I like it. I would like to finish touching it up and give it to my friend.
This was capture by my grandfather, at my Marine Corps Recruit Training Graduation, back in 2004. There were better ones to pick from, but my grandfather kept the negatives and I didn't have doubles for them. Anywho, after manually damaging it, I scanned it and fixed it little by little. Aside from the clone tool, I used some smearing and softening for some of the more stubborn spots. To finish it off, I kicked the vividity up a tad. That's all I have...
This project was kind of a challenge at first but now I understand the idea but I still need to work on the tools. I still have a lot of work to do but but I'm starting to understand why prepping first helps.
My main objective was to get rid of the spots and even out the discoloration. I used the burn tool quite a bit to help bump the contrast up. I selected the foreground using the pen tool and isolated it on it's own layer, and then turned the contrast of the sky down so it wouldn't distract from the girl.
This is an old picture of my dad I found, I thought it would make the project a little more interesting if you knew who it was in the photo, so I decided on this. Mainly I used the spot healing brush tool and the healing brush tool to get rid of the scratch marks in the photograph. Then I played with the vibrance, hue/saturation, and color balance. I was trying to bump up the contrast and get rid of the yellowish color, but I still wanted that dirty old look to it. The main problem I had was with the reddish blob behind and overlapping his head, I did what I could but it still looks a little blurbish to me. I'm mainly satisfied with getting rid of the scratches, the color was extremely annoying and i'm still not satisfied with it.