Turn an Ordinary Photo Into an Avatar Style Portrait in Photoshop

The beauty of Photoshop is that you can do nearly anything with it, even turn yourself into a Na’vi alien from Avatar. In this tutorial we will demonstrate how to use basic digital painting techniques to turn an ordinary photo into an Avatar style portrait. Let’s get started!


Tutorial Assets


Step 1: Selecting the Skin Tones

Open the model photo. Our first step is to apply a color adjustment to the skin. Go to Select > Color Range. Click over the skin to add to the selection, watch the preview on the Color Range window (white represents the selected area). Shift-click on other areas of the skin in order to add more skin tones to the selection; you can also Shift-drag to add even more colors. Adjust the Fuzziness value and keep adding colors until you have all the face selected (try to get the forehead behind the hair). Click OK.

Your selection should look like this.

Go to Select > Refine Edge. Adjust the Feather value until you get soft edges (I’ve used 8.0 px), Contract/Expand you selection in order to get rid of the selected hair while keeping the skin. Click OK.


Step 2: Color

With the selection still active, add a Hue/Saturation Adjustment Layer by clicking on the Hue/Saturation icon on the Adjustments Panel (second icon from left to right on the second row of the Adjustments Panel). This will add a Hue/Saturation adjustment layer with a layer mask which reveals the adjustment for the selection and hides it for the non-selected areas. Select Colorize and type a Hue value of +210 and Saturation 35 (I recommend a value between 35 – 55.

Select the layer mask by clicking on the layer mask thumbnail (when the layer mask is selected a black border appears around it). Press D to get the default colors on the Tool Bar.

Select the Brush Tool (B) and open the Brush Preset Picker by clicking on the down-pointing arrow next to the sample brush tip shape on the Control Panel. Choose a soft brush with a Master Diameter 500 px and 0% hardness (if you’re using Mac you have to press Enter to close the panel). Lower the opacity of the brush to 60% (the opacity value of the brush appears on the Control Panel).

Paint over the face including the eyes, lips, nostrils, ear and neck. Paint in one stroke (this way you make sure you paint with 60% opacity, if you paint in more than one stroke over the same area you add opacity with each stroke and you’ll end up with more than 60% opacity). Paint on the forehead where you see skin tones in order to reveal the adjustment layer which will add blue for the skin tones that were not selected with the color range command.

Press X to invert the foreground/background colors, now black should be your foreground color. Select the Brush Tool (B). Open the Brush Preset Picker, choose a soft brush of Master Diameter 200 px and Hardness zero%. Lower the opacity of the brush to 40% and paint over the hair in order to hide the blues of the adjustment layer.


Step 3: Darkening the Face

Go to Layer > New Fill Layer > Solid Color, name the layer “Darken” and change the blend mode to Soft Light. Click OK.

On the Color Picker window (note the name of the window is Pick a Solid Color) type the following values for RGB: R=0 G=0 B=0
and click OK. If the image looks too dark you can lower the opacity of the layer (this will pretty much depend on the screen you’re using).


Step 4: Eyebrows

We’ll darken the eyebrows; this will make the eyes stand out more. Alt-click on the Create New Layer icon at the bottom of the Layers panel, name the layer "Eyebrows" and change the blend mode to Multiply. Click OK.

Select the Brush Tool (B), press D to get the default colors, now black should be your foreground color. Open the Brush Preset Picker, select a brush of Master Diameter 40 px and Hardness zero%. Make sure the opacity of the brush is set to 100% (the brush opacity values appears on the Control Panel). Zoom in on the eyes and paint over the eyebrows. Then lower the opacity of the layer to 50%.


Step 5: Iris

Open the Eyeball image and extract the iris as shown below. Place the extracted eyeball on the canvas and resize as shown.

Press Cmd/Ctrl+J to duplicate the layer. A layer named “Iris copy” should appear on the Layer Panel above the Iris layer.
Select the Move Tool (V) and move the iris into position so it covers the iris of the other eye.

Add a layer mask by clicking on the Add Layer Mask icon on the bottom of the Layers panel. Select the Brush Tool (B), open the Brush Preset Picker and choose a soft brush of Master Diameter 60 px and Hardness zero%. Make sure the opacity of the brush is 100%. Press D to get the default colors on the Tool Bar, then X to invert them and paint with black over the eyelids in order to hide the iris.
Select the other iris layer and repeat the operation.


Step 6: Eyelashes

Go to the top layer. Create a new layer and name it “Eyelashes.”
Select the Brush Tool (B), open the Brushes Panel by clicking on the Brushes icon on the Control Panel or by going to Window > Brushes.

Open the Brushes Panel menu and choose Load Brushes, select the brushes file you downloaded at the beginning of the exercise (you’ll have to locate the file on your hard drive).

The brushes you loaded should appear at the bottom of the presets list. Choose the brush 1502, adjust the diameter to 550 px, make sure your foreground color is black and paint the eyelash of the left eye.

Then select the other 1502 brush (the one that is flipped horizontal), adjust the size to 535 px. Go to Brush Tip Shape menu on the Brushes Panel (the second option on the menu located on the left area of the panel) and enter an angle of seven degrees.

Then paint the eyelash for the right eye.

Now select the brush 504, go to Brush Tip Shape and enter an angle of minus nine degrees and a diameter of 480 px and paint the lower eyelash.

Select the brush 525, enter an angle of fourteen degrees, diameter of 525 px and paint the lower eyelash of the other eye.


Step 7: Cleaning Up

Alt-click on the Create New Group icon at the bottom of the Layers panel, name the group “Eyes” and click OK.

Select the following layers: Eyebrows, Iris, Iris copy and Eyelashes by clicking on the top most layer and Shift-clicking on the lowest layer (you can also Cmd/Ctrl-click on each layer). Then drag the layers into the group by dragging the selected layers into the name of the group.

Now the layers should appear indented, close the group by clicking on the down-pointing arrow next to the group name so you have more room on the Layers panel.


Step 8: Face Painting

Create a new layer, select the Brush Tool (B), open the Brush Preset Picker, go back to the top of the presets list and choose a soft brush of Master Diameter 300 px and Hardness zero%. Click on the foreground color on the Tool Bar to open the Color Picker, type the following values for RGB: R=46, G=108, B=147 and click OK.

Paint over the face (you can follow the area I painted over or design your own painting).

Change the blend mode of the layer to Multiply and lower the opacity to 65%.

Go to Filter > Blur > Gaussian Blur, choose a Radius of 35.0 px and click OK.


Step 9

Create a new layer. Select the Brush Tool (B), open the Brush Preset Picker, choose a soft brush of Master Diameter 150 px and Hardness zero%.
Click on the foreground color on the Tool Bar to open the Color Picker, type the following values for RGB: R=180, G=95, B=177 and click OK.

Paint the eye shadows, reduce the size of the brush to paint below the eyes (you can reduce the size of the brush from the Brush Preset Picker or by pressing ]).

Change the blend mode of the layer to Color and reduce the opacity to 40%.

Go to Filter > Gaussian Blur (this will apply the Gaussian Blur filter with the last setting skipping the options window).


Step 10

Create a new layer. Select the Brush Tool (B), open the Brush Preset Picker, choose a soft brush of Master Diameter 150 px and Hardness 0%. Click on the foreground color on the Tool Bar to open the Color Picker, type the following values for RGB: R=86, G=90, B=205 and click OK. Paint lines over the face. You can vary the size of the brush.

Change the blend mode of the layer to Multiply and lower the opacity to 40%.

Go to Filter > Blur > Gaussian Blur, choose a Radius of 20.0 px and click OK.


Step 11

Create a new layer. Select the Brush Tool (B), open the Brushes panel and select a soft brush of 17 px of diameter. Press D and X.
Go to Brush Tip Shape and choose Spacing 500%.
Go to Scattering and choose Scatter 840% and Count one.

Paint over the cheeks and forehead.

Lower the opacity of the layer to 80%.
Create a new layer. Select the Brush Tool (B), open the Brushes panel and select a soft brush of 9 px of diameter.
Go to Brush Tip Shape and choose Spacing 500%.
Go to Scattering and choose Scatter 900% and Count one.
Paint over the face, then change the blend mode of the layer to Luminosity and lower the opacity to 50%.


Step 12

Create a new layer. Select the Brush Tool (B), open the Brush Preset Picker, choose a soft brush of Master Diameter 100 px and Hardness 0%. Open the Color Picker and type the following values for RGB: R=220, G=108, B=108. Paint over the lips.

Change the blend mode of the layer to Soft Light and lower the opacity to 80%. Create a new layer, open the Brushes panel and choose a soft brush of diameter 9 pixels. Go to Brush Tip Shape, choose spacing 500%. Go to Scattering and choose Scatter 500% and Count two. Paint over the lips.
Change the blend mode of the layer to Color Dodge and lower the opacity to 50%.


Conclusion

Create a new group named “Face painting” and move all the face painting layers into the group.
Keep the group closed so you have more room on the Layers panel.

Last Day to Save $30 on Vandelay Premier Membership, and 23 New Premium Resource Packs Added in December.

During the month of December we have released 23 new resource packs at Vandelay Premier! Members get unlimited access to all of the resources on the site, and today is the final day to get a one-year membership for $49 ($30 off of the normal $79 price).

If you’d like to have unlimited access in 2011 to hundreds of high-quality resource packs, with more being added all the time, you can sign up with the coupon code “vandelay2011” to get the discount on your first year of membership.

Now, to wrap up December we’d like to showcase the new resources that have been added during the past month.

Icons:

Real Estate Icon Set
Non-member price: $6

Real Estate Icon Set

Vector Price Tag Icon Set
Non-member price: $5

Vector Price Tag Icon Set

PSD Files:

T-Shirt Mockup PSD
Non-member price: $6

T-Shirt Mockup PSD

Product Box Mockup PSD – Part II
Non-member price: $5

Product Box Mockup PSD - Part II

3D Screenshots Display PSD – Part II
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3D Screenshots Display PSD - Part II

Letterpress and Deboss Text Styles
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Letterpress and Deboss Text Styles

Sticker Photoshop Text Styles
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Sticker Photoshop Text Styles

Login Boxes
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Login Boxes

Vectors:

Fish and Sea Animals Silhouettes
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Fish and Sea Animals Silhouettes

Sunrays Vectors
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Sunrays Vectors

Hand-Drawn Arrows
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Hand-Drawn Arrows

Skylines Vectors
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Skylines Vectors

Photoshop Brushes:

Soft Grunge Photoshop Brushes
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Soft Grunge Photoshop Brushes

Foam Brush Strokes Photoshop Brushes
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Foam Brush Strokes Photoshop Brushes

Textures:

Dirt and Grunge Textures
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Dirt and Grunge Textures

Cracked Pavement Textures – Part II
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Cracked Pavement Textures - Part II

Monument Stone Textures
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Monument Stone Textures

Wood Textures – Part II
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Wood Textures - Part II

Metal Textures – Part II
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Metal Textures - Part II

Gravel Textures
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Gravel Textures

Brick and Stone Textures
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Stone Wall Textures – Part III
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Stone Wall Textures - Part III

Colored Paper Textures – Part I
Non-member price: $4

Colored Paper Textures - Part I

Join Today and Save!

If you like the resources presented here, there is much more on the way! Sign up today with the coupon code “vandelay2011” to get the discount on your first year of membership.

Is Good the Enemy of Great in Web Design?

Is Good the Enemy of Great in Web Design?

The popular phrase "good is the enemy of great" echoes a cautionary advice for the inspired and hopeful. The phrase means settling for acceptable or "good enough" results will prevent you from achieving greatness.

This advice, by logic, does stand to be true–allowing our second best effort so that we can just get the job done by the end of the day will always leave us short of our true potential as web designers.

Instead, it would be ideal for us to give 100% every time we fire up Photoshop or lay down a new line of code. Being great–under the premise that good enough prevents us from being great–means never failing, never being wrong, never producing work that sucks or is mediocre, and always being afraid and cautious of what we do.

However, is striving for greatness on every pixel we touch always the best approach to becoming successful in this business? Is good always the enemy of great?

Here’s my proposition: It is entirely possible to make great web designs without being a great web designer. Being a great web designer consists of making your clients or your boss happy, all of the time. It means your sites are usable, flexible and semantic. It also means you meet deadlines. It means holding a solid reputation within the design community. It means all of that, and more.

A great web designer doesn’t really need to make great web designs all of the time. And also, you can easily create superficially great web designs, even when your bosses and clients hate your guts, even if you always miss deadlines, and even if you use table-based web layouts. So, what does being great really mean? And is being good enough counter-productive to being great?

Defining Greatness

Defining Greatness

Experienced designers know that perfection frequently falls beyond a deadline, and that getting there is often impossible when we are trying to reconcile many other aspects of being a web designer, like staying within a project’s budget, communicating with bosses and clients, managing our junior staff, dealing with personal issues that might be affecting our productivity, and so on. When projects have deadlines and limits in resources, a great web project can quickly turn into a good enough web project because good is, well, good enough.

Many designers out there make a great and comfortable living creating work that is consistently just good enough and mediocre. And, to be honest, there is nothing wrong with that. They might not get their designs featured in design showcases and galleries, but hey, for them, the income they make is a good enough indicator of success and greatness.

On the other hand, we do always have the option to push ourselves to be better at what we do. We always have the choice to say, "Hey, you know what, I want to innovate today." Let’s face it, if every web designer was just good enough day in and day out, then the web design community wouldn’t have a whole lot to look forward to.

Being great, then, doesn’t mean not being good enough; it just means choosing times when we can afford to be great.

Those who dig down to achieve great things drive us all to improve. For this reason, great web design plays a huge role for all of us; it leads to constant and perpetual innovation.

The good news here is that great web designers aren’t born with the talent to knock our socks off–so anyone can be a great web designer.

The bad news is that great web designers have had to earn it with hard work, sacrifice, and a true commitment to the craft. Do you have it in you?

The Mentality of Being Great

The Mentality of Being Great

Sometimes things are just not as complicated and hard as we would hope them to be, so we’re left with no excuse not to pursue them. It’s easy to think that some people are born with better abilities, so we can justify to ourselves that there’s no use in putting the effort and making sacrifices to becoming better.

But just like with many professions in this world, web design is a skill that, through practice and commitment, can be mastered. The drive to always learn more and always improve is what separates good designers from great designers–not some innate, superhuman ability.

Hard work has a great tendency of paying off. Those who are working hard to be great web designers will be rewarded so long as they take advantage of opportunities as they are presented to them.

Breaking out of a daily routine of good enough web design and into great web design can simply be a matter of taking advantage of an opportunity.

Greatness Is in Opportunities

Opportunity can come in a variety of forms, and often depends on the environment we have created for ourselves.

For the freelancing designer, opportunity may come in the form of a fun and exciting project or a great idea for a personal project. For those working in an office or on contract, it can be in the form of a new direction for the company or getting a lead role on a critical project.

Keeping an eye out for the opportunity to try something new, to improve, or to try and be in a better situation than where you currently are is what great designers do constantly.

Some people may argue that boredom is the root of evil when it comes to the lack of opportunity. I believe the real troublemaker here is fear. Web design isn’t exactly the most terrifying job on the planet, but our fears can still get the better of us. For a lot of designers who find themselves stagnant in the good enough area, the problem may be a fear of breaking out into something new and something outside of their comfort zone.

Greatness Is in Opportunities

Developing new skills by leaving behind what you are comfortable with can be a risky thing because we aren’t always promised improvement. For example, early implementation of CSS3 and HTML5 in your web forms may be two steps forward, or it may be one step back.

But if we take no steps at all, sooner or later, we are going to find ourselves way behind.

The real secret here is that you can’t be afraid to suck and you can’t be afraid to be wrong. Eventually, we will learn that becoming great at something requires a lot of time spent being really bad or being just good enough at it.

When Greatness Strikes

So we have an enthusiastic eye out for that unique opportunity that provides us the chance to become even better at what we love. What happens when that moment arrives? What do we do when the opportunity to become great at what we do is upon us?

Well, you need to milk it for all it’s worth, of course. You don’t get these opportunities every day, so go balls to the wall, all out, to get the most out of every opportunity that you possibly can.

Confidence is a huge factor here. A fearless designer will realize that they may be wrong at any time, and that being wrong is better than never trying.

When Greatness Strikes

Second-guessing yourself will quickly land you back into that nasty pile of good enough work, and you won’t get everything out of the opportunities that present themselves to you.

As a web designer, you should embrace every opportunity you have to try a new technique that may be a better approach to the way you’re currently doing things. Experiment with a new web layout structure you’re not comfortable with, or a color scheme that you’ve traditionally been avoiding. We all need to take a measure of when we can get away with pushing forward and taking risks. We need to do this today, because tomorrow might just be another day where good is good enough.

Is Good the Real Enemy?

Good web design is more of a barrier to great web design only because we still need to be good enough and consistent at what we do, day in and day out. But good is never the stopping point of becoming great from time to time. It might be unrealistic to think that any of us can achieve greatness every day, but it is realistic to at least try, and the more we take advantage of the days we suck at design, the greater the opportunity for us to learn and grow.

Fear can blind us from seeing our true potential because it is scary to try and fix a problem that we never knew was broken.

At the end of the day, being just a good designer isn’t the enemy of being a great web designer; the one thing that levels the playing field is good, old-fashioned hard work.

Your Turn

What situations in your daily routine could be an opportunity for improvement and growth?

Have you experienced times when you didn’t take advantage of an opportunity to develop professionally because of a practice that was outside of your comfort zone or a skill that you had to learn?

Share your thoughts in the comments.

Related Content

About the Author

Jason Gross is a freelance web designer focused on creating clean and user friendly websites. Jason currently lives in Indiana and can be found on Twitter as @JasonAGross or on the web at his personal blog and portfolio.

Create a Futuristic, Fantasy Matte Painting – Psd Premium Tutorial

Matte painters often take several photos and combine them with 3D elements to create futuristic or fantasy scenes for movies, film, or video games. In this Psd Premium tutorial, author Ed Lopez will demonstrate how render objects in Cinema 4D and then combine them with stock photos to create a really nice futuristic spaceport scene in Photoshop. This tutorial is available exclusively to Premium Members. If you want to take your matte painting skills to the next level, then Log in or Join Now to get started!


Professional and Detailed Instructions Inside

Premium members can Log in and Download! Otherwise, Join Now! Below are some sample images from this tutorial.


Psd Premium Membership

As you know, we run a premium membership system here that costs $9 a month (or $22 for 3 months!) which gives members access to the Source files for tutorials as well as periodic extra tutorials, like this one! You’ll also get access to Net Premium and Vector Premium, too. If you’re a Premium member, you can log in and download the tutorial. If you’re not a member, you can of course Join Today!

45 Nature-Inspired Logos

Nature provides design inspiration all around us. Nature’s impact on web design can be easily seen by browsing through design galleries and observing how many quality designs are inspired by nature. In addition, many logos include some element from nature.

In this post we’ll showcase 45 logos that have been inspired by nature. Many use trees or leaves in the design of the logo, while others use other things from nature such as a landscape, mountains, and more.

Bollywood Masala

Bollywood Masala

Native Explorers Foundation

Native Explorers Foundation

Westlands Solar Farms

Westlands Solar Farms

Ecobox

Ecobox

Coastal Gardens

Coastal Gardens

Coastline Industries

Coastline Industries

Werner Lumber Company

Werner Lumber Company

Encon

Encon

Serenity Resorts

Serenity Resorts

Blue Oak Construction

Blue Oak Construction

Outdoor Living Today

Outdoor Living Today

Thrive Food Coaching

Thrive Food Coaching

Grassland Grains & Kitchens

Grassland Grains & Kitchens

Abricot

Abricot

Taste of Watters Creek

Taste of Watters Creek

Tea Garden

Tea Garden

Mango

Mango

Providence

Providence

Blue Mountain Electric

Blue Mountain Electric

Woodland

Woodland

Spice Mountain

Spice Mountain

Los Remansos

Los Remansos

Walk in the Park

Walk in the Park

Lifelong

Lifelong

Green Eagles Development

Green Eagles Development

Sprowty

Sprowty

King Land

King Land

Solar Research

Solar Research

Frut

Frut

Evotweet

Evotweet

SEO Harvest

SEO Harvest

Tony’s Organic Food

Tony's Organic Food

Tee

Tee

Watermelon Event Management

Watermelon Event Management

Hardtree

Hardtree

Nature of Value

Nature of Value

Tulipa

Tulipa

Natura

Natura

BioRegions

BioRegions

Cherie

Cherie

Lancashire Landscapes

Lancashire Landscapes

Wild Eye Photography

Wild Eye Photography

Amari

Amari

Green Path Garden Supply

Green Path Garden Supply

Scenic Garden

Scenic Garden

For more design inspiration please see:

Creating Fashion Contrast Photo Effect

In this easy, step-by-step tutorial I´m going to show you how to create fashion contrast photo effect in a few minutes. This tutorial will be useful for designers who are doing professional fashion photo editing.

Final Image Preview

Creating Fashion Contrast Photo Effect

Resources

Step 1

Start by finding a photo that you can demonstrate the effect or you can use the one i will use. Open photo in Photoshop and resize it by going to Image > Image Size (Width 1000 px, Height 667 px). Layer name is

Creating Fashion Contrast Photo Effect 1

Step 2

I´m going to use filters to remove small shortcomings quickly without basic retouching. Apply Filter > Blur > Smart Blur with following settings:

Creating Fashion Contrast Photo Effect 2

Creating Fashion Contrast Photo Effect 3

Step 3

Then i would like to increase sharpness and brightness a little bit by using Filter > Sharpen > Smart Sharpen.

Creating Fashion Contrast Photo Effect 4

Creating Fashion Contrast Photo Effect 5

Step 4

Duplicate current layer with photo by using Ctrl+J and apply Image > Adjustments > Channel Mixer with similar settings to these:

Creating Fashion Contrast Photo Effect 6

Creating Fashion Contrast Photo Effect 7

Step 5

Change layer mode to Color Burn for this layer.

Creating Fashion Contrast Photo Effect 8

Step 6

Now we have two layers: one original layer on the bottom and one copied modified layer on top. Go to lower original layer and duplicate it again with Ctrl+J. Move it above all the layers on Layers palette and apply Image > Adjustments > Brightness/Contrast:

Creating Fashion Contrast Photo Effect 9

Creating Fashion Contrast Photo Effect 10

Step 7

After that change layer mode for this layer to Lighter Color:

Creating Fashion Contrast Photo Effect 11

Step 8

Now we are going to reduce saturation of the photo. Duplicate current layer again and desaturate copy with Image > Adjustments > Desaturate.

Creating Fashion Contrast Photo Effect 12

Step 9

Increase brightness with Image > Adjustments > Brightness/Contrast:

Creating Fashion Contrast Photo Effect 13

Creating Fashion Contrast Photo Effect 14

Final Image

Finally change layer mode to Screen for current layer.

Create a Greeting Card for Christmas and New Year

Now you know how to create fashion contrast photo effect in a few minutes. Have fun trying.

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Colour Modes and Bit Depth – Basix

This entry is part 12 of 4 in the series Photoshop Basix

Are you new to Photoshop? Have you been trying to teach yourself the basics of Photoshop but have found the amount of amount of educational material available on the net a bit overwhelming? As the world’s #1 Photoshop site, we’ve published a lot of tutorials. So many, in fact, that we understand how overwhelming our site may be to those of you who may be brand new to Photoshop. This tutorial is part of a 25-part video series demonstrating everything you will need to know to start working in Photoshop.

Photoshop Basix, by Adobe Certified Expert and Instructor, Martin Perhiniak includes 25 short video tutorials, around 5 – 10 minutes in length that will teach you all the fundamentals of working with Photoshop. Today’s tutorial, Part 4: Colour Modes and Bit Depth will explain the difference between RGB vs. CMYK, JPEG vs. RAW, as well as how to proof and manage colours. Let’s get started!


How to Create Social Media Buttons Using CSS3

How to Create Social Media Buttons Using CSS3

CSS3 is truly amazing. It gives web designers the ability to create flexible and easily reusable design elements, and reduces our reliance on images and graphics editors. This is a guide shows you how to create stylish social media buttons using CSS3, HTML, and some freely available social media icons.

Inspiration

One day, I stumbled upon Louis Harboe’s personal website, Graphicpeel, and I noticed his simple yet nicely designed social media buttons at the bottom of the site’s About page. I thought to myself, these are nice but I bet I could do this using just CSS3. And off I went!

Inspiration

HTML

First off, we will set the foundations with some simple HTML. We want to create a div that will contain our buttons and that has a class name of inset. Then we want use an unordered list (<ul>), with each button being a list item (<li>).

Inside each <li> tag, we will have a link (<a>). Each link will have an <img> inside it that represents the social media icon, as well as a <span> to hold the text for the button (which will be "LinkedIn", "Facebook", and so forth). The social media icons I used are from Handycons 2 and 108 Free Matte White Square Social Networking Icons.

We can give the span elements a class name of site to be able to style them later on.

Your HTML should look something like the following:

<div class="inset">
 <ul>
  <li>
   <a href="mailto:ansarob@gmail.com">
    <img src="images/gmail_16.png" alt="gmail icon" />
    <span class="site">E-Mail</span>
   </a>
  </li>
  <li>
   <a href="http://linkedin.com" title="My LinkedIn Page">
    <img src="images/linkedin_16.png" alt="LinkedIn icon" />
    <span class="site">LinkedIn</span>
   </a>
  </li>
  <li>
   <a href="http://facebook.com" title="My Facebook Page">
    <img src="images/facebook_16.png" alt="Facebook icon" />
    <span class="site">Facebook</span>
   </a>
  </li>
  <li>
   <a href="http://twitter.com" title="My Twitter Page">
    <img src="images/twitter_16.png" alt="Twitter icon" />
    <span class="site">Twitter</span>
   </a>
  </li>
  <li>
   <a href="http://flickr.com" title="My Flickr Page">
    <img src="images/flickr_16.png" alt="Flickr icon" />
    <span class="site">Flickr</span>
   </a>
  </li>
 </ul>
</div>

CSS

The bulk of the code will be in CSS. We’ll go over the basic style rules first, and then progressively build up our buttons.

Basic CSS

Let us give our buttons some basic styles. The following code block simply uses CSS2 specs, which will give us a good fallback for browsers that don’t have support for CSS3 specifications (progressive enhancement).

The following is pretty self-explanatory: We just style the list items so that they appear to look like boxy buttons that are laid out side by side (using display:block and float:left).

.inset {
  font-family: Helvetica, Verdana, Arial, sans-serif;
  font-size: 14px;
  list-style-type: none;
  margin: 10px 0 0 10px;
}

.inset ul { list-style-type: none; display: block; }

.inset li {
  float: left;
  height: 30px;
  margin: 0 8px 7px 0;
}

.inset li a {
  background-color: gray;
  color: #424242;
  float: left;
  font-size: 16px;
  font-weight: bold;
  height: 24px;
  padding-left: 27px;
  padding-top: 6px;
  position: relative;
  text-decoration: none;
  border: 1px solid #bfc1c6;
}

.inset li a:hover {
  border: 1px solid #b4b7bb;
}

.inset li a img {
  height: 16px;
  left: 7px;
  margin-right: 7px;
  position: absolute;
  top: 7px;
  width: 16px;
    border: none;
}

.inset li a span {
  display: block;
  height: 22px;
  padding-right: 7px;
  overflow: hidden;
  /* width: 70px; Uncomment this to add a fixed width */
}

span.site { font-size: 14px; line-height: 20px; }

What we have so far is pretty boring; but that’s to be expected since we haven’t used any CSS3 yet.

Rounded Corners with CSS3

To make these buttons look a bit more stylish, let’s give them some rounded corners using the border-radius property. Keep in mind that we must use vendor specific browser extensions for Mozilla (-moz- for browsers such as Firefox, SeaMonkey, and Flock) and WebKit (-webkit- for browsers such as Safari and Chrome). Other browsers such as Opera and IE9 will recognize the border-radius property without vendor prefixes.

Add these properties to the .inset li a selector:

/* Mozilla browsers that use Gecko layout engine */
-moz-border-radius: 5px;
/* Safari and Chrome that use WebKit layout engine */
-webkit-borer-radius: 5px;
/* W3C CSS Level 3.0 specifications. For Opera and IE9 */
border-radius: 5px;

Color Gradients with CSS3

With CSS3 gradients, we can do some pretty cool stuff that otherwise would need to be done with CSS background images created in a graphics editor like Photoshop. CSS3 gradients allow us to add color gradients to any HTML element that can result in many interesting things such as CSS3 design patterns and illustrative renderings such as Christmas baubles.

To create the gradient on our buttons, we will use the gradient value syntax (i.e. linear-gradient() and gradient()) assigned to the background property.

The implementation for Mozilla browsers and WebKit browsers is different, so although we’re trying to do the same thing, the code will be different for each browser layout engine.

Notice that for Mozilla (-moz-), I have used percentages, whereas for WebKit (-webkit-) I have to use decimals; 1% in Mozilla is .01 in WebKit, 10% in Mozilla is equivalent to .10 in WebKit, and so on.

Add these styles to the .inset li a selector:

/* Mozilla browsers that use Gecko layout engine */
background: -moz-linear-gradient(#a5a7aa, #bec1c5 1%, #d8dbdf 10%, #d8dbdf);
/* Safari and Chrome that use WebKit layout engine */
background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #a5a7aa),color-stop(.01, #bec1c5),color-stop(.10, #d8dbdf),color-stop(1, #d8dbdf));

Styling the :hover Pseudo-class

Let’s go ahead and change the way the buttons look when the user hovers over them. By changing up the gradient colors slightly when a user mouses over one of the buttons, we can give her a visual cue that it is clickable. If you wanted to make these even more visually-engaging, you may want to experiment with CSS3 transform functions.

Add these styles to the .inset li a:hover selector:

background: -moz-linear-gradient(#9c9fa2, #b4b7bb 1%, #cdd0d5 10%, #cdd0d5);
background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #9c9fa2),color-stop(.01, #b4b7bb),color-stop(.10, #cdd0d5),color-stop(1, #cdd0d5));

In the image below, I’ve hovered over the E-mail button. As you can see, it is slightly darker than the others.

<pre>

Alternative Result: "Outset" Buttons with Different Colors

To demonstrate the flexibility that CSS3 offers, let us create a different version of the buttons using the same HTML structure.

HTML

In this example, we need to change the class of the containing div from inset to outset-colored.

Additionally, since each button will be a different color, we must also give them a unique class. We can assign these classes to the <a> tags; for example, Facebook will have class="facebook". You’re probably wondering why I chose to use the class attribute versus the ID attribute: It’s because I want to account for the situation that multiple buttons of the same class can appear on the same page.

Here is the HTML:

<div class="outset-colored">
  <ul>
    <li>
      <a href="mailto:ansarob@gmail.com" title="My E-Mail" class="email">
        <img src="images/gmail_white.png" alt="gmail icon" />
        <span class="site">E-Mail</span>
      </a>
    </li>
    <li>
      <a href="http://linkedin.com" title="My LinkedIn Page" class="linkedin">
        <img src="images/linkedin_white.png" alt="LinkedIn icon" />
        <span class="site">LinkedIn</span>
      </a>
    </li>
    <li>
      <a href="http://facebook.com" title="My Facebook Page" class="facebook">
        <img src="images/facebook_white.png" alt="Facebook icon" />
        <span class="site">Facebook</span>
      </a>
    </li>
    <li>
      <a href="http://twitter.com" title="My Twitter Page" class="twitter">
        <img src="images/twitter_white.png" alt="Twitter icon" />
        <span class="site">Twitter</span>
      </a>
    </li>
    <li>
      <a href="http://flickr.com" title="My Flickr Page" class="flickr">
        <img src="images/flickr_white.png" alt="Flickr icon" />
        <span class="site">Flickr</span>
      </a>
    </li>
  </ul>
</div>

CSS

The CSS is lengthier than the original, but that’s because each button has a different color. The CSS3 used is very similar; the alternative result just has different color values for the gradients.

Here is the CSS for the alternative result:

/* COLORED OUTSET BUTTONS */

.outset-colored {
  font-family: Helvetica, Verdana, Arial, sans-serif;
  font-size: 14px;
  list-style-type: none;
  margin: 10px 0 0 10px;
}

.outset-colored ul { list-style-type: none; display: block; }

.outset-colored li {
  float: left;
  height: 30px;
  margin: 0 8px 7px 0;
}

.outset-colored li a {
  color: #424242;
  float: left;
  font-size: 16px;
  font-weight: bold;
  height: 24px;
  padding-left: 27px;
  padding-top: 6px;
  position: relative;
  text-decoration: none;
  border: 1px solid #bfc1c6;
  border-radius: 5px;
  background-color: #D8D9DD;
  -moz-border-radius: 5px;
  -webkit-borer-radius: 5px;
}

/* EMAIL */
.outset-colored li a.email {
  background: -moz-linear-gradient(#ff6666, #cc0000 10%, #c40202);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #ff6666),color-stop(.10, #cc0000),color-stop(1, #c40202));
  color: #f3f3f3;
  border: 1px solid #c40202;
}

.outset-colored li a:hover.email {
  background: -moz-linear-gradient(#c40202, #cc0000 1%, #e03434 10%, #e03434);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #c40202),color-stop(.01, #cc0000),color-stop(.10, #e03434),color-stop(1, #e03434));
}

/* LINKEDIN */
.outset-colored li a.linkedin {
  background: -moz-linear-gradient(#7cd0fb, #38a5dc 10%, #2c83ae);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #7cd0fb),color-stop(.10, #38a5dc),color-stop(1, #2c83ae));
  color: #f3f3f3;
  border: 1px solid #2c83ae;
}

.outset-colored li a:hover.linkedin {
  background: -moz-linear-gradient(#2c83ae, #38a5dc 1%, #41b9f6 10%, #41b9f6);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #2c83ae),color-stop(.01, #38a5dc),color-stop(.10, #41b9f6),color-stop(1, #41b9f6));
}

/* FACEBOOK */
.outset-colored li a.facebook {
  background: -moz-linear-gradient(#7aa3f7, #4c72c3 10%, #3b5998);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #7aa3f7),color-stop(.10, #4c72c3),color-stop(1, #3b5998));
  color: #f3f3f3;
  border: 1px solid #3b5998;
}

.outset-colored li a:hover.facebook {
  background: -moz-linear-gradient(#3b5998, #4c72c3 1%, #5c8aea 10%, #5c8aea);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #3b5998),color-stop(.01, #4c72c3),color-stop(.10, #5c8aea),color-stop(1, #5c8aea));
}

/* TWITTER */
.outset-colored li a.twitter {
  background: -moz-linear-gradient(#8ae0fd, #24bce6 10%, #1e9ec1);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #8ae0fd),color-stop(.10, #24bce6),color-stop(1, #1e9ec1));
  color: #f3f3f3;
  border: 1px solid #1e9ec1;
}

.outset-colored li a:hover.twitter {
  background: -moz-linear-gradient(#1e9ec1, #24bce6 1%, #33ccff 10%, #33ccff);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #24bce6),color-stop(.01, #33ccff),color-stop(.10, #33ccff),color-stop(1, #33ccff));
}

/* FLICKR */
.outset-colored li a.flickr {
  background: -moz-linear-gradient(#fc75ba, #e10374 10%, #c10263);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #fc75ba),color-stop(.10, #e10374),color-stop(1, #c10263));
  color: #f3f3f3;
  border: 1px solid #c10263;
}

.outset-colored li a:hover.flickr {
  background: -moz-linear-gradient(#c10263, #e10374 1%, #ff0283 10%, #ff0283);
  background: -webkit-gradient(linear,left top,left bottom,color-stop(0, #c10263),color-stop(.01, #e10374),color-stop(.10, #ff0283),color-stop(1, #ff0283));
}

.outset-colored li a img {
  height: 16px;
  left: 7px;
  margin-right: 7px;
  position: absolute;
  top: 7px;
  width: 16px;
   border: none;
}

.outset-colored li a span {
  display: block;
  height: 22px;
  padding-right: 7px;
  overflow: hidden;
  /*width: 70px; Add a width here if you want all the buttons to be the same size.*/
}

span.site { font-size: 14px; line-height: 20px; }

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About the Author

Andrew Roberts is a Christian with a passion for web design and development. His web interests focus mostly on HTML/CSS, JavaScript, & PHP/MySQL. When he’s not glued to the computer, he’s spending time with his girlfriend Kaitlynn, photographing animals, or reading. His goal is to attend graduate school for Biblical Studies & Ministry.

Our Favorite Photoshop Tutorials of 2010 on Psdtuts

Wow! Another year has come and gone. 2010 is coming to an end and 2011 is quickly approaching. 2010 was a great year for Psdtuts. Sure, we had some ups and downs but we managed to finish strong with a few of the strongest months we’ve ever had in terms of traffic. We published a lot of content in 2010 so I decided to go through the archives to find some of my favorite tutorials from 2010; choosing only 1 tutorial from each month, and share them with you here. What I found were some awesome lessons on matte painting, drawing, typography, and layout. Please take a moment to review some of my favorite tutorials from 2010 and feel free to share your favorites in the comments.


  • How to Create a Serene Panorama from Multiple Photographs

    In this tutorial, we teach you how to combine multiple stock photos into a single, coherent scene in Photoshop. We’ll start off with a single panoramic photo, and integrate two others along the way. We will also look at ways to make the final result look more dynamic and appealing with a few adjustments layers. If you’re looking to improve your photo manipulation skills, this tutorial should prove very useful!

    Visit Tutorial

  • Use Photo Manipulation and 3D Layers to Design a Surreal Cover Art Illustration

    Clients often ask designers to create impossible scenarios, weird landscapes and surreal images for their projects; images that wouldn’t be possible in real life. It’s situations like these where photo manipulation becomes a powerful design tool. In this tutorial we will show you how to design a CD cover using several photo manipulation techniques, how to keep critical text layers editable for future changes and how to render a quick mockup using the Vanishing Point filter.

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  • Use a Tablet to Create Stunning Comic Book Fan Art Illustrations

    The best digital drawings or paintings in Photoshop are often a result of a well though out sketch, a talented artist, and a strong understanding of Photoshop and the tools that it provides. This tutorial will review some tips and tricks when working with a digital tablet and Photoshop. The artwork we will use is a fan art illustration of the Knights of the Zodiac character, Capricorn Shura (Masami Kurumada).

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  • How to Create an Incredible Typographic Illustration – Part 1/2

    All work and no play makes Jack a dull boy. In this two-part tutorial (Part 1, Part 2), we’re going to learn how to turn a simple proverb into a complex typographic illustration that achieves a level of realism without actually using any photos. Yes, we’re going to build this idea from the bottom up.

    Visit Tutorial

  • Create a Realistic Panoramic Matte Painting in Photoshop

    Matte paintings are images commonly used in the film industry to create the illusion of an environment that would otherwise be too expensive or impossible to build. In this tutorial we will show you how to turn a single stock photo into a realistic panoramic scene. Click to enlarge the image.

    Visit Tutorial

  • Perspective Basics: A Draw-Through Technique, With a Spaceship

    In this tutorial you will learn how to polish your knowledge of perspective with a simple but very useful technique widely used by concept artists and professionals in the entertainment industry.

    Visit Tutorial

  • Create Beautiful Abstract Female Art in Photoshop

    Sometimes, all it takes to create a stunning piece of art is a stock photo, a bit of creativity, a great idea, and some time. This tutorial will demonstrate how to create a piece of art "Beauty of Gold."

    Visit Tutorial

  • Create a Cosmic-Inspired Dreamy Scene in Photoshop

    This tutorial will demonstrate how to use stock photography, 3d elements, and various techniques to create a cosmic-inspired dreamy scene in Photoshop.

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  • Create a Fantasy Girlbird Illustration in Photoshop

    What is more fun than mixing people with animals? The results can often be cute, funny, or even a bit disturbing. This tutorial will demonstrate how to create a fantasy bird girl illustration using digital painting and photo manipulation techniques.

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  • Draw a Pirate Character in Photoshop

    Character design might be one of the most fun things that you can do in Photoshop. This tutorial will demonstrate how to draw a pirate character in Photoshop.

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  • Free Psd Premium Tutorial: Create a Mixed Style Collage

    This tutorial by senior author, Mark Mayers demonstrates the process of exploring new styles of illustration by re-mixing existing elements with new ones. This method of working is a great way to quickly develop your own style and inject some individuality into your artwork. It’s also a fun way to learn and refine new techniques.

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  • Create a Spiral Telephone Cord From Scratch With Photoshop

    Given the right tools, Photoshop can make just about any task easy. This tutorial will demonstrate how to create a still life telephone scene from scratch using the smudge tool.

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Showcase of Night Photography

Browsing through high-quality photographs can be a great source of inspiration for designers. Getting inspiration from a variety of different sources, as opposed to only from web design galleries, can lead to more creative and original work. In this post we’ll showcase some beautiful examples of night photography.

Whether you are a photographer yourself or simply someone who appreciates amazing photography, we hope you will enjoy this collection and find some inspiration for your own design work. If you see something you like, click on the image or the credit link and you’ll be led to the source where you can see more photos from the same photographer.

Night Photography

Photo credit: Vladimir Zivkovic

Night Photography

Photo credit: Jan Lykke

Night Photography

Photo credit: Johnny Lucas

Night Photography

Photo credit: Jakob Wagner

Night Photography

Photo credit: Ren West

Night Photography

Photo credit: Tomasz Kaluzny

Night Photography

Photo credit: Harold Ross

Night Photography

Photo credit: Suren Manvelyan

Night Photography

Photo credit: Vince Cianci

Night Photography

Photo credit: mara-mara

Night Photography

Photo credit: mara-mara

Night Photography

Photo credit: Jim Harmer

Night Photography

Photo credit: Trey Ratcliff

Night Photography

Photo credit: Marcus Kesler

Night Photography

Photo credit: Trey Ratcliff

Night Photography

Photo credit: Anushruti RK

Night Photography

Photo credit: Jason Bouwmeester

Night Photography

Photo credit: Trey Ratcliff

Night Photography

Photo credit: Marlon Malabanan

Night Photography

Photo credit: Doug

Night Photography

Photo credit: Babyc8kes

Night Photography

Photo credit: Brent Pearson

Night Photography

Photo credit: wreck-photography

Night Photography

Photo credit: Mike Behnken

Night Photography

Photo credit: Alfonso Bonilla