I made the conscious effort to skip PHOTOSHOP (3); the tutorial was far more focused on Web Design and not towards my area of study…DIGITAL DESIGN for TEXTILES.
Going forward, I have decided to make a note of the numerical value of a favourite/specifically chosen colour within the CMYK range. This will make replicating the colour for future endeavours really easy. Clicking on the Foreground/Background Tool will make the Colour Picker Tool to pop-up, allowing the choice of colour.
Wow!!! I knew that this tool would be beneficial eventually to my ongoing creative projects, but found that it can be super useful for my current project. Firstly, select the SWATCHES Tab, which can be found at the top right of the Photoshop screen. Creating a SWATCH LIBRARY is incredibly easy; click on Foreground/Background Tool, which will pop-up the Colour Picker Tool. Simply choose the specified colour for the particular brief you are working on, and press ADD TO SWATCHES.
I find it particularly useful to rename the colour, to avoid confusion if using at a later date. The colour will now be available in MY LIBRARY, meaning it will now be available to access anytime.
I disovered that I could remove the pre-populated (Default) Colour Swatches and replace them with my own. This feature will be invaluable for my professional career; I can create a range of individual colour schemes for different clients without bulking the palettes together.
By clicking on the tab in the top right corner of the Colour/Swatches Window I found a menu with many options appeared. I scrolled down to PRESET MANAGER, which caused the PRESET box to appear. By holding down SHIFT and selecting the colours I didn’t want, I selected the DELETE button, removing all the unwanted palette.
Say for example I was working on a brief for John Lewis, who stipulated that they wanted a Yellow Floral Colour scheme for a Spring/Summer collection. Now that I had removed all the unwanted colour swatches I could now create my own.
The wonderful aspect of being able to save this specific palette for a specific client will allow me to have a clutter-free and tailored palette at the ready should I need it.
If I wanted to reintroduce the Default Colour Swatches back I would simply click on the top right tab, scroll down to RESET SWATCHES and select OK to replace current swatches with the default colours.
BLENDING MODES, OPACITY & TRANSPARENCY
Application to apply overlay in interesting and specific ways. I began by choosing to create a Rectangle via the RECTANGLE TOOL and renaming it to avoid future confusion. Secondly, I created a NEW LAYER and also created a second Rectangle (overlapping), which was also renamed.
The Blending Mode option can be found within the LAYER section described as NORMAL in the drop-down menu. After allowing myself a few minutes to explore the individual modes, I decided to choose MULTIPLY; a fantastic mode allowing the exact fusion of the two colours.
I played around with the OPACITY; the translucency was dictated by decreasing the percentage via the scrollbar. Although similar to the Opacity tool, the FILL tool could only be demonstrated by applying a border (STROKE) to the second shape.
The difference between toggling the Opacity and Fill tool is that the Opacity will alter both the border and fill of the shape/design/image, and the Fill will only alter the fill of the shape/design/image, leaving the border unchanged. This could be a really helpful tool/application when looking at my current/future designs.
The majority that I explored really isn’t appropriate for the type of design I undertake. However, I did find a few which may have merit.
The FILTER option is accessed via the FILTER tab, and in the first instance, I decided to choose STYLIZE: EMBOSS. I was really surprised to see how interesting and abstract my design became. I actually really like the EMBOSS mode.
The CRYSTALIZE tool was equally as interesting; I actually played around with the Cell Size, to find that the design looked better somewhere within a median range rather than that of a small or large selection.
Last, but not least was the OIL PAINT mode. I really loved this application and could happily see it being used within some of my digital designs. There are 4 individual elements to explore; Stylization, Cleanliness, Scale & Bristle Detail. The overall effect was really subtle but created a wonderfully painterly effect to what was originally a stylised observational pen study.
An incredible tool to manipulate, add or extend my own designs. The BRUSH mode can be accessed through the WINDOW tab and scrolling down to Brush Settings. The Brush Settings menu will pop-up, but will be greyed out. I simply pressed the letter B, and hey presto I am able to access all these wonderful features.
I must have spent around 20minutes just exploring the settings. The possibilities are endless within this feature, and this is something I am going to exploit when I have more time. Some of the effects that I have shown interest towards are as follows:
(Clockwise) I fell in love with this bold and highly textural ‘split-brush’ (306) tip effect, and strangely enough, the effect resembles the foliage and leaves of some of the flowers I have been trying to capture. Could I use this tool to help with some of the motif elements? The second effect (284) would be an incredible way to create a varied and textural background, not to mention its striking resemblance to the patterns found on some birds eggs. Finally, I love how this effect (60) can be built up to create depth and structure. Could this be used as a wonderful way to create the patterns and shapes of a tree? Exciting times.
An exploration of Scale, Spacing, Colour, Smoothing, Texturisation, and Brushstrokes.
Always create a new layer when using a new/different brush; quicker to remedy a problem on one single layer rather than altogether.