28.04.2022 - 10.07.2022 [ Week 1 - Week 15]
Janaan Ahmed (0353333)
Digital Photography & Imaging / Bachelor of Design (Hons) in Creative Media
Weekly Posts: Lectures &+ Exercises
Lectures
Week 1
Mr. Martin, (who also happens to be some of our FLAME mentor) introduced
himself and briefed us on the assessment criteria on the MIB. He also gave
a brief history on imaging, and walked us through Project 1. We were also
recommended certain materials for our module (worth investing in a simple
tripod).
W1 Practical
PEN TOOL & PHOTOSHOP
1) Bezier Game: This was a little task for us to practice using the pen tool better.
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| Fig 1.1: Beziér Game Result |
2) Create your E-Portfolio (if not already made)
3) Register Pinterest:
4) List down your 3 favourite graphic design work from Pinterest and explain why you like the designs.
Design 1
DESCRIPTION:
This work caught my eye because of its futuristic ambience and surrealism. Despite the obvious surrealist premise of the image, I like how seamlessly the elements fit together. I quite like the balanced use of space in this piece as it helps add depth and dimension to the environment. The blue hues in this composition express an almost monotonous, somber mood which I think compliments the social isolation and detachment that is not only prevalent in today’s societies, but projected to increase in the future.
Design 2
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DESCRIPTION:
Slightly distorted portraits like these are some of my favourite styles of photos. I think one of the strengths of this image is its simplicity. Though in the grayscale, there is good use of contrast that draws the viewer in to the photo. I like how the slight graininess that achieves an almost vintage film-like feel. The subtle overlay is quite beautiful as well. Overall, the skillful use of balance, contrast and alignment make for a very pleasing composition.
Design 3
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DESCRIPTION:
I was drawn to this image because of how cinematic it is. This picture feels like a window into a fantastical world; the kind that adventure/ sci-fi/ fantasy novels evoke in the imagination. The softness of the image also makes for an ethereal, magic look. To actually tangibly see a scene like this with all its details is quite cool, instead of the vague blurry vision formed in one’s imagination.
Week 2
Intro to Basic Composition
Composition is fundamental to good design. It is the way in which all the elements come together to form a whole/cohesive design.
Ask yourself when browsing pictures on Pinterest (or wherever) "how does it work?"
i.e. "how does the composition work in its favour?"
ELEMENTS OF A GOOD COMPOSITION
1. Focal Point
- "Where do your eyes naturally settle on first?"
- A strong focal point helps direct viewers' attention to the most important pieces of your design.
2. Scale & Hierarchy
- Scale is often used to communicate hierarchy (i.e. by directing eye towards or away from certain elements to signify importance to the communication)
- Larger elements attract more attention (they have more visual weight)
- Hierarchy - order of information from most important to least
- Eye contact is a strong drawing point because of the natural reaction of humans to gravitate towards eyes (evolutionary).
3. Balancing the Elements
- All elements have visual weight
- Larger elements --> more visual weight
- Arrange elements so that they complement each other in the design i.e balance weighted elements until an effective equilibrium is reach
4. White Space/Negative Space
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| Fig. 2.1: An example of good and bad use of white space |
- A support element for boosted clarity
- Balances out main focus of a composition
- Helps design to 'breathe'
THE RULE OF THIRDS
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| Fig. 2.2: Distribution of attention to each intersection point |
- The four intersection points created - best for focal points
- Basically a guideline
- From the 4 intersection points, some have a higher % of attracting the viewers' attention
- A finding - based on western culture; reading from left to right, top to bottom.
- A majority of the global population is influenced by western culture through western media. (a possible repercussion of colonialism?)
THE GOLDEN RATIO
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| Fig. 2.3: The Golden Ratio in works of Design |
- A mathematical ratio
- Very commonly found in nature
- Generally pleasing to the eye because it fosters organic and natural-looking compositions
Week 3
Intro to Photoshop 2
Today's lecture involved a more hands-on approach of learning where Mr.Martin tasked us with navigating Photoshop alongside his demonstration of using different selection tools.
LASSO TOOL, PEN TOOL & LAYERING
We were all provided a set of images (shown in figure X) that were to be photoshopped onto a living space. Each table required us to use different selection tools depending on best suitability.
1. Lasso Tool:
- Freehand selection
- Similar to pen tool
- Hard to follow contours
- Not very practical
2. Polygonal Lasso:
- For straight lines
- More precise!
- Use [DLT] to undo (not [CMD] Z)
3. Magnetic Lasso:
- Automatically follows contours (as detected by Photoshop)
- Press [SHIFT] to add to selection
- Press [option] to subtract from selection
4. Pen Tool:
- Good for organic lines
- Can create extremely precise shapes + paths (by manual placement of anchor points)
- Click [option] to change direction of handles
5. Magic Wand:
- Can select objects in clean backgrounds
- Invert selection - [CMD] I
6. Quick Selection Tool:
- Convenient selection tool with brush-like quality.
- Adjustable 'brush' sizes
- Press [SHIFT] to add to selection
- Press [option] to subtract from selection
W3 Practical
SELECTION TOOLS
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| Fig. 3.1: Images used for in-class exercise (14/04/22) |
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| Fig. 3.2: Progress of in-class exercise (14/04/22) |
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| Fig 3.3: Final Outcome of exercise |
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Week 4
Intro to Photoshop 3
ADJUSTMENT LAYER & FILTERS
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| Fig 4.1: Adjustment layers can easily be edited and discarded |
You can edit and discard them or restore your original image at any time.
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| Fig 4.2: How to modify adjustment layers |
SOME TYPES OF ADJUSTMENT LAYERS:
1. Brightness/Contrast
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| Fig 4.3: before/after brightness/contrast adjustments |
- Makes adjustments to tonal range
- Brightness: adjusts highlights
- Contrast: adjust shadows
2. Level
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- Modifies tonal values (shadows, midtones, highlights)
3. Curves
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- Adjust points throughout entire tonal range
4. Exposure
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- Exposure: highlights
- Offset: midtones
- Gamma: dark tones
5. Selective Colour
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- Selectively modifies the amount of one primary colour without affecting the rest
W4 Practical
VITAL TOOLS
This exercise was meant for us to practice matching lighting and use adjustment layers + filters.
In the demo video we watched, the pen tool was used to make the selection of the person and remove the background. However Mr.Martin mentioned that a quicker way of achieving the same result would to be to use the quick-selection tool.
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| Fig 4.8: Going to the 'select & mask' tab after making selection |
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| Fig 4.9: Fixing selection errors using the brush tool |
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| Fig 4.10: Using the refine brush tool to define hair strands + eyelashes |
After completing selection, refinements we set the output to either 'layer mask' or 'new layer with layer mask'.
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| Fig 4.11: Setting the appropriate selection output |
Afterwards we can make further refinements to the selection and fix errors by selecting the clipping mask and then using the brush tool on the problem areas.
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| Fig 4.12: Fixing more selection errors |
Make sure the clipping mask layer is selected before brushing.
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| Fig 4.13: select clipping mask |
Note: the white region indicates the selection, and the black region indicates what's not visible. There make sure to use white to add selection area, and black to remove.
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| Fig 4.14: Choose black or white depending on whether you're removing or adding to selection |
We then go to adjustment layer > solid colour, and set a background colour.
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| Fig 4.15: Creating a solid colour background |
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| Fig 4.16: Selecting a bg colour of choice |
We then create a curves adjustment layer above our image and make it a clipping mask. This ensures that the changes we make translate only to the image it is clipped to.
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| Fig 4.17: Adjusting Curves layer |
Adjust the curves so that it creates an 's'. and voila, you're done!
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| Fig 4.18: Final outcome of exercise (21/04/22) |
Week 5
Double Exposure & Image Blending Mode
DOUBLE EXPOSURE PHOTOGRAPHY
This refers to merging multiple images, with the goal of making something surreal, emotional or humorous. They usually feature silhouettes.
Unlike past times, we can now utilise Photoshop to replicate double exposure effects through editing.
SOME TECHNIQUES:
1. Using the Tilt-Shift Effect
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| Fig 5.1: Tilt-Shift Effect Example |
This tool softens your work. Try blurring one photo instead of the entire image. Go to Filter > Blur Gallery > Tilt-Shift
2. Create Fake Reflection
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| Fig 5.2: Fake reflection example |
3. Combining Simple Portraits & Detailed Textures
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| Fig 5.3: Example of simple portrait+textured details |
This helps give a balanced result.
4. Converting Results to B&W
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| Fig 5.4: Black & white double exposure example |
A lack of colour can strengthen emotions, evoke a sense of vulnerability, and provide unique depth to the result.
5. Work with Silhouette
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| Fig 5.5: Silhouette double exposure example |
Quite a doable way to experiment creatively.
6. Pick Two Random Photos
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| Fig 5.6: Result of two random photos |
A random process don't make the results void of meaning. They can create interesting stories for audiences to interpret. Experiment shooting interesting textures, shapes, and form.
7. Make Simple Objects Look Fascinating
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| Fig 5.7: A dull-building with a starry sky |
Turning everyday objects into something interesting can help enhance your imagination.
8. Use Shadow
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| Fig 5.8: Shadows used for double exposure |
Outlines in general are fascinating to work with for double exposure. This makes shadows just as effective as silhouettes in creating stories.
BLEND MODES:
These are extremely experimental because outcomes are often unpredictable!
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| Fig 5.9: Blend Modes Map |
An example of using a blend mode is as follows:
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| Fig. 5.10: Red smoke to be integrated into image on left |
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| Fig 5.11: After using Screen blending mode on smoke |
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Week 9
Digital Surrealism
REALISM VS SURREALISM
Realism:
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| Fig 6.1: Real Still-Life |
- Subject matter is what's commonly considered ordinary and part of reality
- Captures reality as it appears
- No out-of-the-box thinking
Surrealism:
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| Fig 6.2: Surreal Still-Life |
- Twist on realism with bizarre juxtapositions
- Explores the subconscious mind
- Is a distortion of the ordinary and of reality
- Dream-like in nature; defies logic
SURREALISM & DADAISM
Dadaism: An anti war art movement with art works that is satirical and nonsensical in nature.
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| Fig 6.3: The Persistence of Memory by Salvador Dali |
Surrealism was fuelled by Dada artists. Surrealists like Salvador Dali promoted dreamlike imagery and free association.
DIGITAL SURREALISM
Photoshop makes it more accessible now more than ever to explore personal artistic expressions.
W9 Practical
BLENDING MODES
This week we experimented with blending modes from 3 subsections: namely screen, multiply, and soft light.
Put simply:
- Screen: black = transparent, white = opaque
- Multiply: black = opaque, white= transparent
- Softlight: black= darker, white= brighter, grey (50%)= transparent
EXERCISES:
We were provided with a set of images for this practical:
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| Fig 6.4: Provided images for exercises |
EX 1: SCREEN
Gradient applied= radial
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| Fig 6.5: Layers of Final Outcome |
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| Fig 6.6: Final Outcome of EX. 1: Screen |
Gradient applied= radial
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| Fig 6.7: Layers of final outcome |
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| Fig 6.8: highlights reduced in levels (clipped to bird layer) |
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| Fig 6.9: Final Outcome of EX. 2: Multiply |
EX 3: SOFTLIGHT
Gradient applied= radial
Gradient applied= radial
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| Fig 6.10: Layers of Final Outcome |
.jpg) |
| Fig 6.11: Final Outcome of EX.3: Softlight |
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Week 10
Intro to After Effects (AE)
WHAT IS AE?
It is an animation software used for animating, visual effects and motion picture compositing. AE allows you to easily manipulate imagery by combining layers of video + images into the same scene.
COMPOSITING IN PHOTOSHOP
Photoshop allows you to composite your layers. Arrange and rename them accordingly so they can be easily animated when transferred to AE
COMPOSITING IN AFTER EFFECTS
Layer elements can be imported from external softwares such as Photoshop & Illustrator. They should be organised and synced on them, as AE directly links to it.
W10 Practical
ANIMATING ON AFTER EFFECTS
We are provided with a photoshop composite as shown below, and instructed to import it into AE.
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| Fig 7.1: The provided photoshop composite |
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| Fig 7.2: Import settings |
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| Fig 7.3: Selecting editable layer option |
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| Fig 7.4: Composition settings |
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| Fig 7.5: Button to enable solo mode for an object |
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| Fig 7.6: Adjusting position of anchor point |
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| Fig 7.7: Creating keyframes |
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| Fig 7.8: creating 2nd keyframe for the typewriter |
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| Fig 7.9: changing position of typewriter |
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| Fig 7.10: path of the shark |
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| Fig 7.11: enabling motion blur, and using keyframe assistant to smoothen transitions |
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| Fig 7.12: exporting |
Fig 7.13: Final Outcome for exercise
Week 11
W11 Practical
ANIMATING ON PHOTOSHOP
We did 3 exercises for this practical, 2 on Video Timeline, and 1 on Frame by Frame.
Part 1: Removing the subject from the background
This is done since they will be animated separately.
step 1: use quick selection to mask the subject (Yowa). Then load selection onto the background layer by pressing [cmd] + [clicking mask of Yowa].
step 2: Since the selection around the subject is quite tight, expand selection by 5px.
Select>Modify>Expand
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| Fig 8.1: loading selection onto bg and expanding selection |
step 4: Use the healing brush tool [ J ] to spot heal mistakes/residue of Yowa to reveal clean background.
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| Fig 8.2: Using content aware to remove Yowa from the background |
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| Fig 8.3: Clean background revealed! |
step 5: Convert Yowa and the background each to Smart Objects*, to allow for warping and transforming.
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| Fig 8.4: Convert to Smart Object |
*Smart objects also allows to make changes and undo them easily if you didn't like the change.
eg. from Mr. Martin's demo: add filter>gaussian blur
Part 2: Animating on Video Timeline
We then open the timeline panel by going to Window>Timeline.
In this example, Yowa will get smaller and the background larger by the end of the animation.
step 6: Select Yowa's (subject) layer, and click the stopwatch next to Transform to create a keyframe at the beginning.
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| Fig 8.5: Click stopwatch to create keyframe |
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| Fig 8.6: Creating 2nd keyframe for Yowa |
step 8: Repeat the same for the background layer, but increase its size at the end of the timeline.
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| Fig 8.7: Creating 2nd keyframe for background |
step 9: To export video click render video, as shown below.
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| Fig 8.8: Location of the Render button on Photoshop |
FINAL OUTCOME:
Fig 8.9: Final Outcome of exercise 1
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| Fig 8.11: Subjects that will be animated |
Fig 8.13: Final Outcome for Exercise 2
Part 3: Animating on Frame-By-Frame Timeline
Instead of clicking the video timeline, for this exercise, we use frame by frame. The end-product will be a GIF.
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| Fig 8.14: Provided Image |
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| Fig 8.15: Layer Panel |
The first frame is set to 0.5 secs, and duplicated.
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| Fig 8.16: Timeline panel |
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| Fig 8.17: Visibility of layers adjusted to match corresponding frame |
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| Fig 8.18: Using Puppet Wrap to move Yoga Girl |
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| Fig 8.19: Final Outcome of exercise 3 |
Reflection
I quite liked that our classes were more based on practical hands-on learning. Doing these exercises alongside Mr.Martin's demo tutorials was really helpful and effective in helping to solidify some of the basic tools and features of Photoshop. I feel a lot less overwhelmed with Photoshop by the end of this module for sure!
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