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My further adventures in manipulation
Feb. 10th, 2005 11:54 amJust photo manipulation. My Photoshop adventures continue and I have new questions this morning!
First, I think canvas size and image size are different, but how are they different. Is the canvas the base upon which all of the layers are placed. And why, when I change the size or perspective of the first copied layer, does the original layer change as well?
Also, how you you get the effect of having two pictures on a single icon? Is it two layers and the images have been trimmed or cropped for that layer? And if so, how does that happen.
Is the polaroid effect a brush? And how do you get the little picture into the polaroid?
I figured out how to get a border, but not how to get it to show up, and the whole image/canvas thing might help me figure out how to get the effect of the color layers showing up on the edge or in the midst of the images.
Does any of this sound like I'm on the right track?
And hee, these two icons, while simple, represent a huge learning curve for me. However, the one I made two days ago is still MIA. I did "Save As Web", turned it into a gif and now I can't find it!!
So,
( Two icons )
We did watch Alias last night, and I don't have much to say largely because I couldn't shake the whole "Wasn't this also an X-Files ep" feeling. ( Minor speculation )
I re-read Robert Parker's Early Autumn last week, out of nostalgia and a need to read something that I was familiar with, a book I knew both the text and texture of and it has not suffered with age. It's still such a good piece of work, spare and bright, and whatever the Spenser series has become in recent years, this book is a distillation of Parker's talent and the ethos of this character. As a writer, I'm amazed by the amount of information, the sheer impression Parker gives us of Spenser in the face of the spare dialogue. It's pure show not tell. His phrasing, the choices he makes, the few times that exposition do weave into the narrative are all perfectly balanced. I know who these characters are. I know that there are levels of morality going on, unspoken rules, family connections, loss and understanding and meanness and grace. The book's, what 140 pages, maybe, and a whole story is told. It's a simple premise, not much of a plot, but it's a purely dynamic work, starting with a problem, solving it, and still leaving questions open for thought.
First, I think canvas size and image size are different, but how are they different. Is the canvas the base upon which all of the layers are placed. And why, when I change the size or perspective of the first copied layer, does the original layer change as well?
Also, how you you get the effect of having two pictures on a single icon? Is it two layers and the images have been trimmed or cropped for that layer? And if so, how does that happen.
Is the polaroid effect a brush? And how do you get the little picture into the polaroid?
I figured out how to get a border, but not how to get it to show up, and the whole image/canvas thing might help me figure out how to get the effect of the color layers showing up on the edge or in the midst of the images.
Does any of this sound like I'm on the right track?
And hee, these two icons, while simple, represent a huge learning curve for me. However, the one I made two days ago is still MIA. I did "Save As Web", turned it into a gif and now I can't find it!!
So,
( Two icons )
We did watch Alias last night, and I don't have much to say largely because I couldn't shake the whole "Wasn't this also an X-Files ep" feeling. ( Minor speculation )
I re-read Robert Parker's Early Autumn last week, out of nostalgia and a need to read something that I was familiar with, a book I knew both the text and texture of and it has not suffered with age. It's still such a good piece of work, spare and bright, and whatever the Spenser series has become in recent years, this book is a distillation of Parker's talent and the ethos of this character. As a writer, I'm amazed by the amount of information, the sheer impression Parker gives us of Spenser in the face of the spare dialogue. It's pure show not tell. His phrasing, the choices he makes, the few times that exposition do weave into the narrative are all perfectly balanced. I know who these characters are. I know that there are levels of morality going on, unspoken rules, family connections, loss and understanding and meanness and grace. The book's, what 140 pages, maybe, and a whole story is told. It's a simple premise, not much of a plot, but it's a purely dynamic work, starting with a problem, solving it, and still leaving questions open for thought.
