Nanomega - Electronic design tutorials

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noreply@blogger.com (Unknown) — Fri, 12 Apr 2013 15:06:00 -0400

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Vintage Frames Vector Pack for Premium Members

Posted: 11 Apr 2013 11:00 PM PDT

This week Access All Areas members have been treated to a fantastic sample of the kinds of design resources available at FanExtra. With over 2000 professional design tutorials and resources FanExtra is the place to go to learn how to create amazing designs. Today's gift to Access All Areas members ...

Not a member? Becoming an Access All Areas member gives you the ability to view exclusive members-only content just like this. The premium category is already packed full of discount codes and useful design resources, and there's plenty more to come! Find out more about becoming a member, or take a peek at what's available to premium members so far.

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noreply@blogger.com (Unknown) — Mon, 8 Apr 2013 15:25:00 -0400

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How To Give Your Photos a Gloomy Split Toning Effect

Posted: 07 Apr 2013 11:00 PM PDT

We’re probably all familiar with the classic techniques of photographic toning from seeing various examples of Sepia toned images, but for years analog photographers have been experimenting with chemical toners to create various processing effects. One such technique is to split tone a print to create a dark blue and copper coloured image with a dark dejected mood. In this tutorial we’ll look at using Photoshop to replicate this classic technique in digital form, using Color Balance adjustments to achieve the same range of blue and yellow tones.

Typical sepia toning of a photograph gives the image that classic orange/brown appearance, resulting in a much warmer atmosphere than the basic black and white alternative. Split toning on the other hand produces much more stark effects by creating unusual colour combinations. One popular technique is the bleaching of highlights with sepia, followed by the treating of the shadows with selenium to give a harsh mix of blue and yellow tones. The result is a cold and dejected mood which works great with photographs of abandoned ruins or urban exploration. Here’s an example of this effect applied to a photo from a friend’s exploration of Chernobyl. See more of his great shots of Dark Pripyat.

Sepia/Selenium split toning effects work best with photographs that feature some kind of desolate scene in order for the dark blues to give the image a gloomy atmosphere. My buddy Ric kindly supplied one of his Dark Pripyat shots as the base for this tutorial.

The whole purpose of photographic toning was to inject some colour into a basic black and white image before the colour film was available. Therefore the first step we need to take in Photoshop is to convert our modern digital image to monochrome. The best way to do this without losing the image’s contrast is to click the “New adjustment layer” icon at the bottom of the Layers palette and select Black & White.

Add another Adjustment Layer, this time selecting Color Balance. There’s a few different ways to adjust the toning of your image, such as Gradient Maps or Curves adjustments on each channel, but the Color Balance option make it easy by allowing you to adjust the amounts of specified colours such as Yellow or Cyan.

Make sure the Preserve Luminosity checkbox is selected, then change the Tone option to Shadows. Increase the Cyans and Blues in the shadows to create the Selenium effect by moving the sliders to 30 Cyan and 40 Blue.

Next, change the Tone selection to Highlights, then adjust the sliders to represent the sepia tones in the highlights. This means moving the sliders to 25 Red and 35 Yellow.

The image has already been given the dark split toning effect, but final adjustments of the overall tone can be made using the Midtones sliders. Adding just an extra +10 Red helps warm up the sepia tones a little, or conversely adding more blue will enhance the coldness of the effect.

The split toning effect is complete, but I always like to sharpen up images with a quick High Pass filter. Press CMD+A to Select All, then go to Edit > Copy Merged. Paste a copy of the image at the top of the layer stack.

Go to Filter > Other > High Pass then adjust the slider until the details are subtly appearing from the grey background.

Change the blending mode of the high pass layer to Linear Light then reduce the opacity to around 30% to tone down the sharpening effect until it looks more natural.

The final sepia/selenium split toning effect replaces all the tones of the image with blues and yellows and creates a dark and gloomy mood which enhances this particular subject of an abandoned city.

Download the source file

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noreply@blogger.com (Unknown) — Fri, 5 Apr 2013 15:16:00 -0400

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Art & Design Inspiration Fix for April 5th 2013

Posted: 04 Apr 2013 11:00 PM PDT

The Art & Design Inspiration Fix pulls together a collection of my favourite graphical images that I've come across over the past week to give you a fix of creative inspiration. This week we have designs from Nick Nelson, Chris Zimmerman, Ehsaan Mesghali, Lukas Brezak and Jungshan.

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noreply@blogger.com (Unknown) — Mon, 1 Apr 2013 15:03:00 -0400

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How To Create a Military Style Emblem Logo Design

Posted: 31 Mar 2013 11:00 PM PDT

If you’ve been a reader of my blog you’ll know I love a good badge or emblem style logo design. I’ve done a couple of tutorials before and featured plenty of great examples in showcases. Today I fancied creating another logo of my own, so I used the IGN Alliance network my @spoongergaming alter-ego is a part of to create a military style emblem. Follow this step by step Illustrator to see how the whole thing was put together, using various tools to create the range of vector shapes.

IGN Alliance is IGN’s YouTube network for gamers. This little emblem I put together uses a military theme to relate to first person shooters like Call of Duty and Battlefield. The logo uses a Staff Sergeant insignia surrounded by a wreath with two large banners, all constructed from scratch with Illustrator’s vector tools.

We’ll begin with the sergeant insignia, draw a black square on the artboard then hold Shift and rotate it by 45 degrees.

Hold ALT and Shift while clicking/dragging a duplicate of the rectangle. Position it to create the first chevron shape then Intersect the two objects with the Pathfinder tool.

Go to Object > Envelope Distort > Make with Warp and add an Arc distortion of around 20% to bend the shape slightly.

Use temporary rectangles as tools with the Pathfinder Subtract option to clip off the sides to create straight edges.

Create a couple of duplicates by dragging the shape while holding ALT and Shift. You’ll notice the bends don’t align perfectly, so squash the shapes slightly to create a parallel gap.

Draw a circle then select 3 of the 4 points using the Direct Selection tool and delete them, leaving a quarter circle.

Rotate this quarter circle by 45 degrees then increase its stroke weight to match the thickness of the chevron shapes.

Shift and select the quarter circle path and one of the chevron shapes. Give the chevron an extra click to make it the key object then Align the elements vertically. Making the chevron the key object prevents it from moving out of place.

Select the quarter circle and scale it to match the width of the chevrons, then go to Object > Transform > Reset Bounding Box. Use the lower bounding box handle to stretch the shape and create more of a curve.

Zoom in and make any final scaling adjustments so the strokes match up perfectly, then draw little rectangles to fill in the gaps.

The shape looks solid to the eye but the curved shape is still made using a path. Go to Object > Expand and select the Stroke option to convert this path into a solid shape.

Draw a selection around all the elements then hit the Merge option from the Pathfinder palette to blend all the individual shapes together.

Next, go to Object > Path > Offset Path. Enter around 8mm in the options. Right click and Ungroup the various elements so the original sergeant insignia shapes can be selected and grouped again.

Merge any fragmented shapes from the offset path together, then send the outline to the back (CMD+Shift+[)and delete or adjust any points that make up unwanted areas.

Elsewhere on the artboard draw an oval with the ellipse tool. Use the Convert Anchor Point tool from the Pen toolbar to create a point at the top. Give this shape a 2pt black stroke.

Rotate the shape slightly, then copy (CMD+C) and paste in front (CMD+F) a duplicate. Go to Object > Transform > Reflect to flip this shape in the opposite direction.

Group the shapes, then hold ALT and Shift and drag a copy a considerable way up the artboard. Select the two then go to Object > Blend > Make. Head back to Object > Blend > Blend Options to adjust the count under Specified Steps until the leaves begin to overlap.

Go to Object > Envelope Distort > Make With Warp and add a Vertical Arc distortion at 100% to bend the series of leaves into a semi-circle.

Go to Object > Expand and select the Object checkbox, then use the Direct Selection tool to select and delete out a couple of leaves from the top so the wreath doesn't form a complete circle.

Copy, paste and flip a duplicate of the wreath shapes to form a circular layout. Group these elements together.

Scale and position the wreath over the insignia. Allow some of the leaves to overlap positions of the emblem.

Add an Offset Path of around 3mm to the wreath elements. Ungroup the shapes to select the offset path elements separately from the original leaves.

Merge all the offset path shapes together using the Pathfinder then give it a complete black fill. Press CMD+[ to alter the stacking order and send the offset path below the wreath and emblem.

Use the ellipse tool to draw a circle encompassing all the gaps within the centre of the design, then hit CMD+Shift+[ to send it to the bottom of the stack.

Select the black background shape from the sergeant emblem and go to Object > Path > Offset Path. Enter 3mm in the options.

Give this new offset shape a white fill to differentiate it from the black backgrounds.

Elsewhere on the artboard draw rectangles to create a simple banner illustration. Give these shapes a white fill with a thick black stroke.

Use the Pen tool to fill out gaps with black shapes to give the impression of folding edges. Zoom right in and use Smart Guides (CMD+U) to snap to the existing points.

Give this shape a slight Arc using the Envelope Distort tool. Position this banner at the top of the logo design, aligning it centrally with the existing elements.

Decorate the banner with some text or a logo along with a couple of star shapes to fill out any unused space.

Bring the sergeant insignia shapes to the top of the stack (CMD+Shift+]) then add a 5pt black stroke. The subtle overlap helps create an interesting stacking effect and anchors the shapes together.

Draw another banner, this time longer in length and flowing in the opposite direction. Align this banner with the bottom of the logo and centre it with the existing shapes using the Align palette.

Adjust the stacking order of the objects to allow the emblem to overlap the banner.

Elsewhere on the artboard type out the word Alliance in a font of your choice. I’m using Franchise, but to fit in with the military theme stroked lines are added to create a stencil effect.

Use an original stencil font for reference as to where the breaks between the letters should appear, then carefully align the stroked lines to flow seamlessly across each letter. Select all the paths and go to Object > Expand to convert them into solid shapes.

Convert the text to outlines (CMD+Shift+O) then ungroup the letters and ungroup the lines. Create two separate compound paths of the letters and the lines using the shortcut CMD+8. Select both compound paths then punch out the lines from the text using the Pathfinder tool’s Subtract option.

Position the text over the lower banner then add an Envelope Distort to match the curvature of the banner shape.

Finish off the design with a series of icons in the negative space within the sergeant emblem. I cheated here and downloaded ready made graphics from the Internet ;-)

This leaves the military style emblem design complete. The large sergeant insignia and the stencil type definitely boasts the army theme while the banners and wreath help compose the logo into a neat and compact circular badge.

Download the source file

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noreply@blogger.com (Unknown) — Fri, 29 Mar 2013 15:06:00 -0400

Blog.SpoonGraphics | Latest Blog Entry

My Top Links of the Week for March 29th 2013

Posted: 29 Mar 2013 12:00 AM PDT

I regularly post links to interesting design tutorials and articles over on my Twitter and Facebook accounts, but in case you missed them here’s a roundup of my top pickings from my recent browsing of the web. This week we have some great content from SpyreStudios, Codrops, Psdtuts+, DzineBlog and Design Instruct.

33 Modern iPhone & iPad App Landing Page Websites

iPhone and iPad app websites are great sources of design inspiration. They’re always designed with clean and modern layouts, often with vibrant photography. This showcase from SpyreStudios rounds up some of the best examples.

How To Create a Thumbnail Grid with Expanding Preview

This how-to post from Codrops shows you how to create a Google Images inspired thumbnail grid with an expanding preview. It looks like a cool way to showcase your work in your portfolio.

Create an Adorable Children's Illustration in Photoshop

Liran Szeiman describes how to use digital painting Photoshop techniques to create this adorable children’s illustration in a detailed tutorial for Psdtuts+.

50 New Creative Wedding Invitations for Design Inspiration

Regardless of whether you’re actually getting married, browsing collections of wedding invitation designs can offer some great inspiration, particularly for elegant design styles and clever printing techniques.

How to Make a Beautiful Landing Page with Photoshop

Follow this step by step tutorial on Design Instruct to create a clean and modern grid based landing page design in Photoshop.

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noreply@blogger.com (Unknown) — Mon, 25 Mar 2013 15:04:00 -0400

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12 Free High Res Dry Brush Stroke Photoshop Brushes

Posted: 25 Mar 2013 12:00 AM PDT

I recently received some great comments about my old Photoshop brush packs from way back in 2009, so I thought I’d get busy and create a fresh set to add to the collection. This free pack of Photoshop brushes features 12 bristly dry brush strokes with whispy lines and detailed edges, perfect for roughing up your artwork or distressing your edges.

Download the Dry Brush Photoshop Brushes 4.1mb

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noreply@blogger.com (Unknown) — Fri, 22 Mar 2013 15:03:00 -0400

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Art & Design Inspiration Fix for March 22nd 2013

Posted: 22 Mar 2013 12:00 AM PDT

The Art & Design Inspiration Fix pulls together a collection of my favourite graphical images that I've come across over the past week to give you a fix of creative inspiration. This week we have designs from Jay Roeder, Justin Van Genderen, Dan Matutina, James White and Lauren Hom.

Blog.SpoonGraphics | Latest Blog Entry

noreply@blogger.com (Unknown) — Mon, 18 Mar 2013 15:30:00 -0400

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30 Inspiring Hand Drawn Lettering Poster Designs

Posted: 18 Mar 2013 12:00 AM PDT

I love browsing for hand letting artworks, not only are they a great source of design inspiration, they often promote inspirational sayings or lyrics which can lift your mood on a bad day. This post showcases 30 fantastic hand drawn lettering illustrations, each one boasting the quaint irregularities, textures and character of hand crafted type.

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noreply@blogger.com (Unknown) — Fri, 15 Mar 2013 15:04:00 -0400

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MightyDeals Giveaway for Access All Areas Members

Posted: 15 Mar 2013 12:00 AM PDT

This week MightyDeals have arranged another great offer for Access All Areas members. They are giving away any of their current deals to 3 lucky winners! Fancy some new stock vectors, a T-Shirt design kit, or maybe a handy set of icons? Log in and add your comment to be ...

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noreply@blogger.com (Unknown) — Mon, 11 Mar 2013 15:31:00 -0400

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How To Create a Simple Landscape Scene in Illustrator

Posted: 11 Mar 2013 12:00 AM PDT

Today’s Illustrator tutorial is perfect for beginners. You don’t need to be a master illustrator to create cool artwork, just using simple shapes and limiting yourself with a small colour palette can result in some great designs and artworks. In this tutorial we’ll use Illustrator’s basic shapes and tools to create a stylized landscape scene illustration then finish it off in Photoshop with the addition of some texturing.

The artwork we’ll be creating features a simple landscape made up of basic shapes and a limited colour palette of greens and yellows. Vector artwork does tend to look a little flat and lifeless, so for the final step we’ll switch over to Photoshop to quickly distress the design with some dirty textures. This gives the final artwork more of a tactile appearance with subtle changes in tone.

View the final landscape scene illustration

Open up Adobe Illustrator and create a new document. The document dimensions don’t matter too much, just go to View > Hide Artboards to remove the document boundary. We’ll need a cool colour scheme for our illustration, I picked out a ready-made series of colours from ColourLovers named Enchanted Woods. Paste a screenshot of the palette into Illustrator then create a series of little squares each with a fill using the Eyedropper tool. Use the lightest colour from the palette to create a large rectangle as the background to the illustration.

Select one of the mid green colours then draw a rectangle and an oval to represent the foreground and a hill. With both of these shapes being the same colour they will appear to blend together but vector shapes can always be individually selected and moved around.

Choose a darker green colour then draw another oval shape to represent another hill. Repeatedly press the shortcut CMD+[ or select the Send Backward command from the right click menu until the shape sits behind the lighter green objects but above the yellow background rectangle.

Hold shift while drawing with the Ellipse tool to constrain the dimensions into a perfect circle. Elsewhere on the artboard use the Pen tool to draw a triangle with four simple clicks. To adjust its shape use the Direct Selection tool to select and move any of the three points. Use the Eyedropper tool to give this shape a dark green fill from one of the predetermined swatch squares.

Move the triangle shape into position over the green circle to represent the trunk of a tree, then copy and paste a duplicate of the triangle and scale & rotate it to form a smaller tree branch. Overlap the two shapes so they seem to blend seamlessly.

Hold Shift while selecting all the individual shapes that make up a complete tree, then hold Alt while dragging them to one side to create duplicates.

Go back and adjust the orientation of the tree branches to give each tree a unique appearance.

Select the yellow background rectangle and press CMD+C to Copy then CMD+F to Paste in Front. Clear out the fill colour in the toolbar.

Hold Shift and add the green foreground rectangle and the two hills to the selection. Press the Crop button from the Pathfinder palette to trim these shapes to size.

The cropping process will mess up the layering of the elements, so use the CMD+[ shortcut to send the elements down the stack until the foreground elements are visible again.

The Illustrator portion of this tutorial is now complete. We’ve used Illustrator’s basic tools to create a cute little vector landscape illustration but we can inject a little life by copying & pasting the whole design into Photoshop.

Open up a subtle grunge texture from LostandTaken and paste it over the artwork in Photoshop.

Use the shortcut CMD+Shift+U to quickly desaturate the image then change the layer blending mode to Soft Light. This will allow the texture to interact with the colours of the illustration.

Go to Filter > Sharpen > Sharpen to bring out the detail of the texture. Press CMD+F to repeat the filter one or two times to achieve a series of really crisp distressing marks to match the sharp linework of the vector illustration.

If the texture appears too harsh, reduce the opacity of the layer slightly to tone down the effect.

This leaves our simple landscape scene complete. Using simple shapes in Illustrator can result in some cool stylized artwork, plus the addition of textures in Photoshop really complements the artwork and gives the design an aged retro feel, especially when a limited muted colour scheme is used.

Download the source file

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noreply@blogger.com (Unknown) — Fri, 8 Mar 2013 14:16:00 -0500

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Art & Design Inspiration Fix for March 8th 2013

Posted: 07 Mar 2013 11:00 PM PST

The Art & Design Inspiration Fix pulls together a collection of my favourite graphical images that I've come across over the past week to give you a fix of creative inspiration. This week we have designs from Moshi-Kun, Blanca Gómez, Doaly, Fernanda Suarez and Dean Falsify Cook.

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noreply@blogger.com (Unknown) — Mon, 4 Mar 2013 14:31:00 -0500

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Create a Trendy Retro Landscape Design in Photoshop

Posted: 03 Mar 2013 11:00 PM PST

My number one most popular tutorial from last year described the process of creating a trendy retro cityscape in Photoshop. I’ve noticed the retro and vintage styles are still in vogue, so today let’s take a look at creating another design that captures the abstract theme of old album art. Follow this step by step Photoshop tutorial to manipulate a landscape photo with various color adjustments and lay out a typographic quote to create a retro style landscape design.

The design we’ll be creating is based on the theme of a mountain and uses a landscape photo to create an abstract layout that would work perfectly as a retro style album cover. Clippings of the original photo are used to make up the layout of the design, then a range of color adjustments and textures are added to give the artwork that classic retro style.

View the final abstract retro landscape design

The whole design relies on a landscape photo of some kind. The photo I picked out is a scenic mountain view from Shutterstock. Download the Super sized version and crop the photo into a square format to capture the main mountain peak.

Select the Elliptical Marquee tool and draw a selection around the main mountain peak. Press CMD+C to copy this selection of the image to the clipboard. Go to Image > Image Size and scale down the super sized image to a more suitable document, this will allow the circular selection to be pasted back in at a larger proportion to the rest of the image.

Add guides to identify the centre of the document then paste and scale the circular selection to fill a large portion of the design.

Create a new Curves adjustment layer in the Layers palette and change the drop down menu to the Red channel. Add a slight bend to the curves graph to increase the reds in the shadows and very subtly decrease them in the highlights.

Change the drop down menu to the Blue channel then adjust the lower point to crop the shadows inwards towards the first grid point. Move the upper point downwards to clip the highlights.

Switch back to the full RGB channel and adjust the curve profile to a smooth convex line, thus brightening the image in the midtones.

Duplicate the Curves adjustment layer in the Layers palette but reduce the opacity of this new copy to 60%. CMD-click the thumbnail of the circular clipping layer to load its selection, then add a Levels adjustment layer. Move the midtones marker to the right slightly to darken the centre image.

Download a cool grungy film texture from LostandTaken and paste it into the main design document. Scale the texture to size to allow the distressed marks to fill the square canvas.

Change the blending mode of the film texture to Screen to render the black areas transparent, then adjust the shadows and midtones markers in the Levels window (CMD+L) to darken the image and tone down the distressing effect.

Add a new layer at the top of the stack and fill it with black. Go to Filter > Noise > Add Noise and alter the settings to 25%/Gaussian/Monochromatic.

Change this layer’s blending mode to Screen and its opacity to around 20%. These grainy textures really help capture the aged appearance of old album covers.

Create a new layer then press CMD+A to Select All. Right click on the canvas with the Marquee tool to open up the fly out menu and choose the Transform Selection option.

Alter the dimensions of the selection to 95% in the header bar then press Enter. Right click again and this time Select the Stroke option. Set the size to 1px and colour to White.

Change the blending mode of the stroke outline layer to Screen and reduce its opacity to 30% to give it a more of a subtle border effect.

Select the Rectangular marquee tool and hold Alt while dragging out a selection from the centre of the document. Choose a suitable width for the typographic elements and add guides to identify the area.

Use the Type tool to lay out multiple lines of the quote “Make a mountain out of a molehill”. I’ve chosen the fantastic League Gothic font for its strong but slim appearance.

Press CMD+T to transform each section of type and scale it to fit within the guides. Don’t forget to hold Shift to constrain the proportions to avoid squashing or stretching the text.

Butt up each line to the previous then hold the Shift key while nudging with the keyboard cursor keys to set an exact amount of spacing between each line, then group all the elements and align them centrally.

Select the background layer and copy/paste a large clipping from the lower left corner. Move this layer above the circular layer but below the adjustment layers, then press CMD+Shift and click the thumbnails of the various text layers to load their selections.

Turn off the visibility of the text elements group, then click the Create Layer Mask icon at the bottom of the Layers palette to clip the background selection to the outline of the text.

The final artwork boasts a kind of collage effect with the various elements being created from clippings of the same background photo, then the addition of colour adjustment layers and distressing textures all help give the design a trendy retro album sleeve appearance.

Download the source file

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noreply@blogger.com (Unknown) — Fri, 1 Mar 2013 14:37:00 -0500

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CSS Hat Photoshop Plugin Giveaway for Members

Posted: 28 Feb 2013 11:00 PM PST

Have you heard of CSS Hat? If not you really should check it out! CSS Hat is a plugin that turns Photoshop layer styles into CSS3, instantly! It's not hard to imagine how much of a time saver this will be when coding up your website designs from the Photoshop ...

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noreply@blogger.com (Unknown) — Mon, 25 Feb 2013 14:53:00 -0500

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50 Inspirational Branding & Identity Design Projects

Posted: 24 Feb 2013 11:00 PM PST

Print is definitely not dead! No matter how big the web becomes the tactile nature of printed material will always form a crucial part of a brand’s overall identity. This post showcases a huge collection of inspirational branding and identity projects with each example presented in a neat layout, often with clever complementary objects that reinforce the theme or style of the design work.

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noreply@blogger.com (Unknown) — Fri, 22 Feb 2013 14:48:00 -0500

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Art & Design Inspiration Fix for February 22nd 2013

Posted: 21 Feb 2013 11:00 PM PST

The Art & Design Inspiration Fix pulls together a collection of my favourite graphical images that I've come across over the past week to give you a fix of creative inspiration. This week we have designs from DKNG Studios, Črtomir Just, Martín Azambuja, Dan Christofferson and Craig Henry.

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noreply@blogger.com (Unknown) — Mon, 18 Feb 2013 14:07:00 -0500

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How To Make a Cool Cinemagraph Image in Photoshop

Posted: 17 Feb 2013 11:00 PM PST

No doubt you’ll have heard of the term Cinemagraph since it exploded onto the Internets. Originally coined by Photographers Kevin Burg and Jamie Beck, a cinemagraph is a clever revival of the classic animated GIF. It combines features of video and photography to create a the illusion of a still image but with cool motion effects. Let’s take a look at how to create your own animated GIF cinemagraph by playing around with Photoshop’s animation tools.

Some of the best cinemagraph examples can be found on the creators’ own website. Their original cinemagraphs from New York Fashion Week capture moments just like an ordinary photograph, but also preserve that living moment in time to re-experience endlessly.

As the popularity of the cinemagraph grew we began to see mobile apps such as Cinemagram emerge, which allows the easy creation of amateur cinemagraphs using the device’s built in camera. These apps provide a quick and easy cinemagraph solution, but as always you can achieve the best results when you have fine control over the whole production process, so let’s take a look at how to create our very own cinemagraph from scratch.

Cinemagraphs require some kind of motion, so while the final image looks much more similar to a photograph than a video, we need to begin with actual video footage. Not all videos are suitable though. A cinemagraph is made from a loop using specific portion of the image, so the scene must feature both stationary and animated objects. Here’s a few tips to keep in mind when filming your own cinemagraph footage:

Use a tripod. The background of your scene must remain perfectly still in order for just a specific subject to be animated.
Feature a scene that includes some kind of continuous or looping motion. Cinemagraphs of subway trains or escalators work really well because they move consistently and predictably.
Sometimes subtle effects result in the best cinemagraphs. A visually intense scene might just work better as a video, whereas the subtle animation of grass blowing in the wind or an intermittent blink of an eye can create a really impactful image.

Alternatively you could always play around with existing stock video footage. In this tutorial I’ll be creating a cinemagraph using this footage from VideoHive. I figured it would make a cool effect by animating the girl’s reflection while keeping the rest of the scene still, giving a kind of insight into her imagination as she admires the red dress in the mirror.

Step one is to scan through the video footage and pick out a portion that would be suitable for animating. We’re looking for a relatively short section that would either seamlessly loop, or reverse without looking too weird. Trim out and save the short footage as a new video file. In Quicktime this is made easy with the Trim function, but the same procedure can be done in a video editing application.

Open Photoshop and go to File > Import > Video Frames to Layers. Leave the default options of “From Beginning To End” and “Make Frame Animation” checked. Mac users receiving some kind of 32bit/64bit error might find this link useful.

Every frame of the image will be imported as an individual layer. Some intricate cinemagraphs may need to be painstakingly crafted frame by frame, but most can be created with a single mask, so group all the frame layers together with the exception of the first layer.

The key to achieving that clever cinemagraph effect is masking out the subsequent layers leaving only the subject intact. Make sure the mask doesn’t allow any other moving elements to creep in further along in the footage.

Open up the Animation window to see the frames in sequence. You’ll currently see 99% of the frames have a transparent background thanks to the Layer Mask, to fix this click on the first (bottom) layer and check the Unify Layer Visibility icon.

Click the play button in the Animation window to test out the basic cinemagraph effect. Unless your footage perfectly loops the scene will awkwardly stop and repeat. To fix this we need to play the motion backwards in reverse. Select all the frames and select Copy Frames from the menu.

Next, select the Paste Frames option to add the frames to the end of the original animation sequence.

Before deselecting these new frames, open the fly out menu and select Reverse Frames to switch their order to the animation plays forward then back to the start to form a loop.

Real looping animations always provide the best and most realistic results as sometimes these reversed effects sometimes look a little obvious. You can tweak the animation to make the reversing effect look a little more natural though, change the pause of certain frames to ease the animation in and out.

Gradually slowing the animation as the girl twirls in each direction generates a more natural movement and eliminates some of the awkward looping motion.

Adding retro style colour correction effects not only makes the image look trendy, it also helps limit the colours so the final GIF file looks better with its limited 256 palette. Add a Color Balance adjustment layer to the top of the layer stack and adjust the slider to 100% Blue in the shadows. Make sure Preserve Luminosity is turned off.

Select the Midtones option and tweak the colours towards Cyan and Magenta.

Change the selection to the Highlights and alter the sliders towards Red, Green and Blue.

Add a Gradient Map adjustment layer and set up a gradient from a very dark blue (#020413), mid-blue (#2b4a61), green (#a8c6a0) to pale yellow (#feffe6). Change this layer’s Blending Mode to Lighten.

Add a Curves Adjustment Layer and tweak the shadows and highlights to increase the contrast of the image.

An animated GIF image with this much detail in every frame will soon amount to a whopping file size. The best way to reduce the filesize is to physically reduce the size of the image.

Go to File > Save for Web and change the file type to GIF. Alter the Dithering options to achieve the best quality reproduction. Reducing the colour palette further with duotone or black and white effects can also help improve image quality.

Our final image kind of reflects the cool Cinemagraph effect by capturing this girl’s admiration of the dress, but I have to admit the animation loop still looks a little jumpy. There was a long section of this video that would have made a great cinemagraph, but it became unusable when the second girl moves in front of the subject, thus making the frame masking impossible. Still, it’s a technique that’s fun to use and might come in handy in the future. I’d love to see animated GIF Cinemagraphs make a return as banner ads, digital posters or as cool album art.

Download the source file

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noreply@blogger.com (Unknown) — Fri, 15 Feb 2013 14:53:00 -0500

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Business Card Design Template for Premium Members

Posted: 14 Feb 2013 11:00 PM PST

Vandelay Premier has been a supplier of some really great resources to the Access All Areas section here on Blog.SpoonGraphics. This premium business card template is especially useful for anyone looking to spread the word about their services and network at events and conferences. It comes all ready set up ...

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noreply@blogger.com (Unknown) — Mon, 11 Feb 2013 14:40:00 -0500

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How To Create a Retro Style Race Poster in Photoshop

Posted: 10 Feb 2013 11:00 PM PST

I recently put together a little vintage style poster to let my friends know about a karting event I’m organising for my stag do. I know lots of my readers are also big fans of the retro style and I had loads of fun creating the design, so I thought I’d share the process as a tutorial to give an insight into the techniques used. We’ll use Photoshop to put together the poster layout with various textures and brushes, but also switch back and forth to Illustrator to create the typographic elements.

Here’s the little poster design I put together for my karting event. I initially had no plans of making it public, but I’m pretty proud of how it turned out and I know some of my readers will be interested in how to create the retro style. Before getting started, it’s worth gathering some inspiration from Google images for various retro and vintage race posters to pick out common styles.

All old school posters from the 50′s & 60′s that have survived until today will have aged and feature yellow tones and various stains. To represent this in our design and achieve that aged appearance we’ll use a paper texture file as a background. This particular texture is available from LostandTaken.com

We’ll begin at the top and work down, starting with the red banner. Rather then fill a selection with red I used a watercolor Photoshop brush to generate more detail and texture.

Use the rectangular marquee tool to square off the banner and create a little stripe along the bottom edge. Change this layer to Multiply to allow the paper texture to show through the red ink.

Enter the text “Drivers Wanted” using the powerful Franchise font. Scale it to fill the banner area while sitting centrally on the page.

CMD-Click the thumbnail of the text layer to load its selection, then add this selection as a Layer Mask to the red banner layer. The Layer Mask might need inverting to produce a knock-out effect. The original text layer can now be deleted.

Typographic elements on old poster designs often continue a sentence but are set in a variety of type styles and layouts. Lay out the next line in a cool script font and set it at a dynamic angle overlapping the banner slightly.

Load the selection of this text by CMD-Clicking the layer thumbnail, then go to Select > Modify > Expand. Enter 5 pixels in the options window.

Select the Layer Mask for the banner layer in the Layers palette, then fill this expanded selection with black to erase this portion of the banner and create a cool offset border effect.

For the next typographic element we’ll need to switch over to Adobe Illustrator. Enter the word “Karting” using the Franchise font, then go to Object > Envelope Distort > Make with Warp. Add an Arc Lower effect at around -20%.

Copy/Paste this element into the main document and scale it to size. There’s no harm stretching the text slightly to bring back its elongated appearance.

I originally had no plans to make this design public, so I was a little naughty and pinched an old vintage karting photo from Google Images. For live projects royalty free or stock imagery should always be used. Use the Pen tool to clip out your chosen image by drawing an outline around the main figure.

Paste the clipping into the main document, but load the selection and fill it with a light beige colour. Being a retro style design we’ll try and recreate some of the old screen printing effects seen on those classic posters.

Create a temporary new document and paste in the photo clipping. Go to Select > Color Range and select the Shadows option. Copy this new selection and paste it into the main poster document.

Align the shadows clipping to the beige outline, then load the selection and fill it with a mid-brown.

Switch back to the temporary document and load the selection of the Blue channel by CMD-Clicking the thumbnail. Invert the selection then copy this final clipping.

Paste and align the channel clipping with the previous layers and change the blending mode to Multiply.

Load the selection of the main outline, but nudge the selection off centre slightly so the outline isn’t perfectly aligned. Add a Layer Mask to the Karting text layer and erase this portion of the type by filling the area with black.

Add a streak of red using one of the watercolor brushes then scale/stretch it to fit the width of the poster.

The old printing techniques used to create these classic posters often exhibited mistakes and inaccuracies such as mis-registration. Simply offsetting the layering of the elements can create an authentic retro effect.

Switch back over to Illustrator to use the powerful vector tools to create a banner. Begin with a rectangle, then create end pieces by adding an extra point with the Pen tool and moving it inwards with the Direct Selection tool.

I chose the Geared font to lay up the textual content within the banner.

Nevis is another great font that works well with retro style designs. The date was laid out underneath the banner with a couple of star shapes.

Retro style posters wouldn’t be complete without an abundance of script fonts. Here I’ve chosen the Mission Script font to add some details above the banner.

Being a race poster it makes sense to draw up some chequered flags. Use the rectangle tool to draw the basic outline of a flag using a stroked and a solid shape.

Turn on Illustrator’s Smart Guides (CMD+U) and use the snapping to align a series of squares. Three rows of four squares works well.

Change the fill colour of each alternating square to white, then move the whole block into position over the flag elements. Adjust the size of the flag outline shape to snap to the dimensions of the chequered blocks.

Rotate the flag by 45 degrees then Copy (CMD+C) and Paste (CMD+F) a duplicate. Go to Object > Transform > Reflect and choose the Vertical option then position the duplicate flag so it crosses the original.

Move the flags illustration into place on the typographic layout. Make any final adjustments to align the elements centrally.

Draw a selection around all the objects then add an Envelope Distort Warp. Select the Arc option and set the bend to 10%.

Paste the layout into the main document and position it centrally in the lower portion of the design. Use the Magic Wand tool to select and delete any white fills from the text and chequered flags.

Create a footer for the poster using the same method as the top banner, using a watercolor brush to paint a strip of red.

This time use an elliptical marquee to trim the footer to size with an arc matching the shape of the typography.

Switch over the Illustrator one final time to add an Envelope Distort with an Arc Upper style to a block of “Sign Up Now!” text using the Franchise font.

Paste and scale this block of text into position in the poster document.

Make a selection of the text and add it to a Layer Mask to erase the text from the background strip.

Group all the text elements together then add a Layer Mask. Use a couple of subtle grain brushes to distress the type and add to the aged appearance of the design.

This leaves the retro style race poster complete. The basic colour scheme of red and black ink, as well as the recreation of the print inaccuracies helps represent the style and quality of old school posters.

Download the source file

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noreply@blogger.com (Unknown) — Fri, 8 Feb 2013 14:18:00 -0500

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Art & Design Inspiration Fix for February 8th 2013

Posted: 07 Feb 2013 11:00 PM PST

The Art & Design Inspiration Fix pulls together a collection of my favourite graphical images that I've come across over the past week to give you a fix of creative inspiration. This week we have designs from Aaron Horkey, Dzeri Dela Rosa, Pavlov Visuals, Adam Trageser and Tad Carpenter.

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noreply@blogger.com (Unknown) — Mon, 4 Feb 2013 14:38:00 -0500

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Free Light Leak Texture Pack To Retrofy Your Photos

Posted: 03 Feb 2013 11:00 PM PST

Light leaks effects are one of the key ingredients for giving your photos the retro style treatment. You can quickly achieve a basic light leak effect by simply painting a splodge of red in the corner of your image, but you can’t beat the authenticity of a proper light leak overlay. This free pack of light leak textures allows you to easily add a colourful light burn to your images by overlaying the texture file in Photoshop, giving you an instant retro effect.

The pack contains 15 light leak textures of varying shapes, sizes and orientations. Some slightly creep in from the edge while others cover half the image, but they’re all created with vibrant colours to give your photos the bright light leak effect commonly seen in lomography and old photos from the 70′s.

Open up your chosen texture file in Adobe Photoshop and paste it onto a new layer above your photograph. Simply change the blending mode of the layer to Screen to render the black area transparent and allow the colours of the light leak overlay to interact with your image.

Download the texture pack and feel free to use them in your commercial and personal designs. If you find them useful, I’d really appreciate it if you helped spread the word with a tweet or a ‘like’.

Download the Free Light Leak Texture Pack 850kb

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noreply@blogger.com (Unknown) — Fri, 1 Feb 2013 14:05:00 -0500

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Circlebox Textures Giveaway for Premium Members

Posted: 31 Jan 2013 11:00 PM PST

This week Access All Areas members have the chance of winning what must be the largest texture pack I've ever seen! The Paint and Paper textures pack from Circlebox Creative contains 100 high quality artist textures for both personal and commercial use. Each texture is handmade and is sized to ...

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noreply@blogger.com (Unknown) — Mon, 28 Jan 2013 14:23:00 -0500

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How To Create a Classic Tattoo Style Vector Illustration

Posted: 27 Jan 2013 11:00 PM PST

Follow this step by step Adobe Illustrator tutorial to create a vector illustration inspired by the classic tattoo art of Sailor Jerry. Our dagger and heart design will use clean black linework and perfectly formed shapes combined with vector textures to add an element of shading and appreciate the style of traditional tattoo art.

A dagger through the heart is a classic tattoo symbol with both religious meanings and associations with betrayal or hurt through love. Amongst other designs this style of tattoo was popular with sailors and is an icon of prominent tattooist Sailor Jerry. The illustration we’ll be creating in this tutorial takes inspiration from these classic tattoo styles but has a much more precise appearance thanks to Illustrators accurate vector tools.

Before getting started, have some fun browsing images of vintage or classic sailor tattoos and sketch out a design concept with pencil and paper to gain a feel for the kinds of shapes we’ll need to construct digitially.

The first element we’ll create is the heart. Double click the Arc tool in Illustrator’s toolbar to open up its options. Make the axis figures the same length and change the Slope to 50% Convex.

Click and and drag a curve on the artboard while holding Shift, then turn on Smart Guides (CMD+U) and continue a second path from the open end point. You’ll notice the curve is the wrong way around, so press the F key to flip it over.

Align the end point with the original using those Smart Guides, once again holding Shift to keep the proportions straight.

Continue a third path to form the lower portion of the heart outline. Don’t hold Shift this time, but make sure the point aligns with the original arc shape.

Use the Direct Selection Tool to alter the bezier handles of this third path to form a more natural heart shape.

Draw a selection around all the paths then Copy (CMD+C) and Paste in Front (CMD+F) a duplicate. Go to Object > Transform > Reflect and select the vertical axis, then align them to form the opposite side of the heart.

Select all the paths that form the heart shape and hit CMD+J (or select Join from the right click menu) to join all the separate paths into one continuous shape.

Draw a long rectangle down the centre of the heart. Add an extra point halfway along the lower edge using the Pen tool, then move this point downwards with the Direct Selection tool.

Use the Convert Anchor Point tool from the Pen tool menu to add bezier handles to the old corner points to round off the lower portion of the dagger blade.

Make sure both the rectangle and the heart are aligned using the vertical option from the Align menu.

Draw a curly path using the Spiral tool roughly where the cross guard will appear at the top of the dagger. Use the Scissors tool to split the path at its lowermost point and delete away the excess.

Copy, paste and reflect a copy of the spiral and position it on the opposite side of the dagger blade.

Group the two spirals together, then add the dagger blade to the selection. Give the blade rectangle an extra click to make it the key object then hit the vertical align option from the Align menu.

Use the Pen tool to continue the two open points between the two spirals, then add an additional line across the upper edge.

Add a couple of decorative circles before drawing a rounded rectangles with maximum corner radius to represent the start of the grip.

Hold Alt and Shift then click and drag a duplicate of the rounded rectangle until it aligns to the upper edge of the original. Repeatedly press CMD+D to repeat this transformation and produce a series of aligned shapes.

Horizontally scale the 4th shape down very slightly while holding the Alt key, then select the next shape and press CMD+D. The shortcut will need to be pressed incrementally more to scale the shapes down in size towards the end.

Finish off the dagger with a circular pommel and align it centrally with the grip. Make one of the grip shapes the key object to prevent it from moving out of place.

Use the scissors tool to clip the top grip shape and remove the section that overlaps.

Draw two aligned circles in the centre of the lower half of the heart object.

Use the Direct Selection tool to select and delete points of each circle to leave two quarter-circle shapes. Scale this linework up so it extends beyond the edge of the blade rectangle.

Use the Scissors tool again to make clips along the blade rectangle outline where the shapes overlap. Select and delete the unwanted portions of the path.

Repeat the process on the lower point of the heart, removing it to give the impression that the blade is piercing through the heart.

Draw a small circle on the artboard under the dagger blade and drag the top most point upwards with the Direct Selection tool. Use the Convert Anchor point tool to remove the bezier curves to form a pointed teardrop shape.

Copy and rotate a couple of duplicates of the teardrop shapes to form a few stylised drips of blood.

Use the Line tool to begin adding some detail to the dagger blade. Use those Smart Guides to keep everything aligned. Please, no phallic jokes you dirty so-and-so’s!

Draw a straight path across the heart using the Pen tool, then add a point to the centre and drag out bezier handles to form a smooth curve. Draw another lines aligned parallel to form the basic shape of a banner.

Continue the open end point with the Pen tool to draw the end of the banner, folding it neatly behind the heart. Repeat the process on the opposite side.

Use the Scissors tool to clip and remove portions of the heart outline to finish off the wrapping banner effect.

Draw a selection around all the paths that make up the design and increase their stroke weight to around 4pt. Select the Round Cap option to remove the square edges from the open ends.

Open up my Vector Bumper Pack of Grungy Textures & Brushes and draw a selection around some of the overspray splatters using the Lasso tool.

In the working document create a new layer and lock the linework so it can’t be selected. Paste the splatters and hit CMD+G to group the tiny pieces together. Scale and rotate the texture into position somewhere over the design so the sprays scatter inwards.

Temporarily ungroup the shapes and use the Lasso tool to draw around any texture shapes that extend beyond the edges of the original linework. Hit Delete just the once to remove them (Pressing Delete twice will remove the rest of the points associated with that shape too).

Draw a selection around all the texture elements and group them back together. Keeping the linework on a separate locked layer prevents them from being selected.

Paste in textures and clip them to size across various parts of the design. Try to find overspray shapes that would be a particularly good fit for certain areas of the design, such as under the banner.

Copy one of the subtle textures into the workspace on its own layer and scale it to size to add a few extra speckles of texture across the design.

Make sure the other layers are locked, then use the Lasso tool to capture and delete any texture outside of the main artwork.

The texture additions both add to the vintage feel of the design and relate well to the shading techniques used by tattooists.

This leaves our classic tattoo inspired vector illustration complete. While we’re basing this particular design on tattoo art, the style can be used to create any kind of vintage themed illustration.

Download the source file

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noreply@blogger.com (Unknown) — Fri, 25 Jan 2013 14:52:00 -0500

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Art & Design Inspiration Fix for January 25th 2013

Posted: 24 Jan 2013 11:00 PM PST

The Art & Design Inspiration Fix pulls together a collection of my favourite graphical images that I've come across over the past week to give you a fix of creative inspiration. This week we have designs from Kontest, Sebastian Martinez, HaiDang, Maxim Nikitin and Jay Rogers.

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noreply@blogger.com (Unknown) — Mon, 21 Jan 2013 14:05:00 -0500

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The Making of My New Twitter Background Design

Posted: 20 Jan 2013 11:00 PM PST

I recently posted an article over on my Line25 blog giving some handy tips on Twitter background design, so I thought it was about time I updated my own profile with a fresh new background. In this post I share my step by step design process and explain how I went about creating the background and Twitter header designs to revamp my profile.

I’ve had a fair few backgrounds over the years, back in 2009 one of my most popular posts was Twitter Background Design How-To and Best Practices. In this post I gave a thorough overview of the techniques used back in the day and shared my process for creating a cool background design.

In 2010 I was invited to create a tutorial for MacUser magazine, which led to my more recent Twitter background design. I briefly updated this design in 2011 with the “older and slightly fatter Chris Spooner” in 2011, but after 3 years of service it was due for a change.

I recently overhauled my blog design with a fresh look so I wanted to continue the vintage style and use my new logo in my Twitter profile. This gave me the basic theme for the new design.

I’ve released a couple of Twitter background templates in the past, but with Twitter’s layout constantly changing I find the quickest solution is to just paste in a screenshot of your Twitter profile and use it as a guide by reducing its transparency. Remember when designing your Twitter profile that the amount of background visible will change depending on the user’s resolution, so don’t create anything too large otherwise it will be lost on smaller monitors. If in doubt, take a screenshot of around 1280×1024 or 1440×900 to gain an idea of how your design will look on an average sized screen.

I have a nice collection of photos of myself from a DIY home studio setup a couple of years ago. I picked out a trendy/cool/poser shot and placed it into the Photoshop document. These photos have a plain background so a colour sample can be picked out in order to fill the document background and extend the image.

The tones of the photo alter due to natural lighting and shadows so a layer mask is used to blend the photo seamlessly into the solid background colour. My legs are also faded out so the image isn’t left with a hard crop line on larger resolutions.

To tie the colours into my blog design and overall brand I filled a new layer with a beigey brown and changed its blending mode to Color to replace the blueish background and create a vintage sepia effect.

The opacity of the beige overlay was reduced just enough to bring out some tones from my skin and hair, without allowing too much of the blue background through.

I decided to use my new logo to fill out some of the white space in the background. With this element not being a crucial part of the design it can overlap the main Twitter content area. This will be hidden on smaller screens but will fill out some empty space when viewed on a large resolution.

The logo was changed to Soft Light at 70% so the colour interacted with the background tones to create a subtle watermark effect. A layer mask was used with a small soft brush to erase out the areas over my figure to give the impression that the logo is part of the background.

To add a touch of detail a new layer was filled with black and a speckling of noise was added with the Noise filter. This layer was set to Screen at 50% to add a grainy overlay to the image.

The grain effect needed to fade out to the solid background colour and wasn’t really desired over my figure so a layer mask and a large soft brush was used to erase out the unwanted areas.

Moving the Twitter profile screenshot left and right will give a good indication of how the design will scale across multiple resolutions. As long as the main facial features aren’t lost too early the design should work pretty well.

The screenshot layer was turned off, then the design was cropped to size wherever it faded out to the solid background colour. This portion of the design is what is exported as a JPG and uploaded to Twitter.

One of the main reasons I wanted to revamp my profile was to properly make use of Twitter’s new header feature. Twitter recommends the dimensions of 1252x626px for a header design, even though it only appears at around 500px on their website.

The vintage effect on my background image created a cool colour on my jeans, so I wanted to try and replicate this for the header area. I took a colour picking from the background and filled the header document with this hue.

Six Revisions has a nice collection of free denim textures for download, so I picked out a similar pattern to my jeans and pasted it into the document.

The denim texture was desaturated and changed to Overlay to allow the pattern to interact with the background colour, then a spot of white was added to the centre to create a highlight. The highlight was changed to Screen at 15% to create a subtle change of tone.

Another copy of my new logo was pasted in and scaled to span across the left side of the header. This was then changed to Overlay to give the impression that the logo is printed on the denim by allowing the denim pattern to show through.

The final header design was exported as another JPG, leaving the two images ready to upload directly to Twitter. Compared to some of the clever tricks employed by other Twitter users my header is pretty simple. For some cool header ideas don’t miss my recent post on Line25.

To get the full background design working some options have to be set within Twitter itself. Once the background is uploaded the colour of the solid background is added so the image fades out seamlessly. Twitter also allows the background to be set to the left, center or right, so the correct orientation is set for my particular design.

Have a peek at my live Twitter profile to see the design in action. I imagine this design will be active for at least a couple of years, probably until I get myself some posh new profile photos!

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noreply@blogger.com (Unknown) — Fri, 18 Jan 2013 14:43:00 -0500

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Premium Business Card Giveaway for Members

Posted: 17 Jan 2013 11:00 PM PST

Digital printing specialists Purely Digital have kindly arranged a giveaway of their super luxurious business cards for Access All Areas members. Up for grabs is a pack of 500 cards printed on the finest quality Fedrigoni Old Mill Bianco 350gsm, a rough uncoated stock that gives your cards a sophisticated ...

Nanomega - Electronic design tutorials

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Split toning in Photoshop

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Photoshop Brush previews

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Steep Cliffs by Kari Shea

Leaving by Jay Roeder

Personal Typography by Robert Tenorio

Absolut 90s by onetwentythree

Hurricane Sandy Donation Print by This Paper Ship

Apparel Lettering by Kendrick Kidd

Right Way Signs by Kendrick Kidd

99 Donuts by Jay Roeder

Bad Day by SkNK DSGN

Hazlo Tu Misma by Julian Cardozo

Cut The Lights by Jay Roeder

Hand Drawn Type by Christina Tsevis

Reindeer Games by Linzie Hunter

A Real Mother by Cup Kayke

Hebrews 6:19 by Shannon Sutton

Stay Up Late by Jay Roeder

The Greatest Pleasure by Jay Roeder

Ideas by seanwes

CMYK Magazine by Mary Kate McDevitt

The Duck Course by Mary Kate McDevitt

Hand-Eye Supply by Mary Kate McDevitt

Help Ink by Mary Kate McDevitt

June Poster by Olga Vasik

Just my Type by Steve Simpson

A Sweet Talk Poster by Steve Simpson

When I Die by Steve Simpson

Daily Dishonesty by Lauren Hom

Hand Lettering Boards by BMD Design

Red Planet 2:1 by BMD Design

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AB Revision

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E1337

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Noeeko