Gabriel Pulecio has some great style frames in his portfolio. Some of which were generated for Lobo, one of my all time favorite motion houses (with the added Brazilian bonus).
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Idealist > a platform for sharing ideas, concepts and designs
Show your stuff!!
Gabriel Pulecio has some great style frames in his portfolio. Some of which were generated for Lobo, one of my all time favorite motion houses (with the added Brazilian bonus).
Canadian designer Paul Sych A.K.A. Faith utilizes lyrical typographical elements to create a unique interplay with photography.
About Faith:
“For over 2 decades, Paul Sych has been exploring and practicing many of the parallels between art and music. After completing his studies from both York University’s prestigious Jazz Program and from the Ontario College Of Art & Design, Paul founded his multi-disciplinary design studio Faith, in 1989. Paul has consistently offered new methods of expression by using custom typography as a catalyst within his work and has challenged both clients and peers alike to enter his world of unique and flamboyant use of type and imagery. In addition to being commissioned by legendary designers, art directors, educators and forums on typography internationally, his work has been widely exhibited and published globally. Paul continues to explore visual and typographic works in print, branding, public art, motion graphics and broadcast design. Recently, Paul has focused his interests in teaching, lecturing, conducting workshops and personal critiques to both students and colleagues alike in a effort to begin a new dialogue on typography and design methods.”
Via FFF.
The histogram is one of the best ways to check for accurate exposure in the camera, and yet it’s underused by many photographers. Use this tutorial to learn to use histograms in-camera and as part of further Photoshop processing.
1. Understand What the Histogram RepresentsA histogram is a two-dimensional graph that most digital cameras record for each exposure taken. It’s a simple graph - it keeps track of all the tones in a photograph, from dark (on the left side) to light (on the right).
Spending time looking at histograms, whether in the display of your digital camera or on the computer screen, will make them more familiar and a useful tool for taking exposures. Histograms look very different depending on the scene, the color and the light in each photo.
Here are some examples of different photos and their histograms. You can see the difference in the histograms of these three based on their backgrounds, environments, object colors and light.
2. There is No Such Thing as a “Correct” Histogram
One thing to avoid is to try to emulate a histogram - they look very different based on what’s in the photograph. If you photograph someone with dark clothing or hair, for example, the photo’s histogram is going to skew toward the left of the graph, whereas the opposite is true with light colored clothing, background or light. Even if the histogram is heavy on one side of the graph, or has unusual spikes, you just want to make sure your histogram has some information from one end of the graph to the other.
Look at these two examples of photographs and their respective histograms. The first is a darker image, considered low-key because of its dark background, which causes the histogram to skew to the left.
The second photograph, however, skews to the right because it is a high-key image (meaning that the background is lighter than the subject). Backgrounds can make this distinction, but so can objects in the photo. It all depends on the number of pixels in the photo that are a dark color, a gray mid-color or a light color.
3. Avoid Clipping
While there is no such thing as a wrong histogram, there is something very important to watch for in your histograms. This is called clipping, and it occurs when the photograph is incorrectly exposed, which can lead to blown-out highlights (where no detail can be seen) or clipped shadows, where detail is lost in darker areas of the photo. Since you want detail to remain in all parts of the photograph, this is one of the most important uses of the histogram.
When highlights or shadows are clipped, the histogram will have a large slope leading up to either edge of the graph, and that slope does not return to the bottom axis of the graph before it ends. This is a sign that detail has been lost either in the whites or blacks in your photograph. If you can catch this in-camera, it will give you an opportunity to adjust the exposure and correctly expose the photograph.
In the example below, the first photograph is over-exposed, meaning too much light has entered the camera, clipping the highlights and losing details in the light areas of the photo. Next to it is the correctly exposed version, which can be created by simply shortening the exposure time by adjusting to a quicker shutter speed.
The second is just the opposite: this exposure is too dark, and has therefore lost detail in the shadow areas. To correctly expose this image, the shutter speed should be slower to allow more light in.
4. Adjust Your Display to Show the Histogram
While viewing histograms at the computer can tell you much information about your photos and help with editing, one of the most useful applications of being able to read the histogram is the usefulness of evaluating an exposure in the field, right after the photo is taken. This is also a great way to understand and get comfortable reading histograms quickly.
Most display modes on a digital camera’s back LCD will have an option that shows a small preview of the photo alongside a small version of the histogram. After you take a photo, especially in a tough lighting situation, check in with the histogram to make sure there is no clipping and then you’ll have an opportunity to correct any over-exposed or under-exposed photographs before leaving the scene.
5. Boost Contrast in Photoshop by Adjusting the Histogram Using LevelsIf reading the histogram in-camera to correct exposures hasn’t worked and you need to fix your exposure, it is possible to do in Photoshop. This adjustment can also be used to boost contrast in a photo where the light or scene hasn’t allowed for a very high-contrast exposure.
This photo, while underexposed, is not yet to the point of having lost information in the shadows, and we’ll be able to restore a wider range of tones in Photoshop.
6. Adjust Histogram in the Levels Adjustment Window
The first way to do this, and a good way for more beginner Photoshop users, is to open the Levels Adjustment window. Here you’ll be looking at the photo’s histogram, and there are sliders below the histogram that allow you to bring in the sides of the graph nearer to the tone blocks. This can make darks darker and lights lighter, which is why it makes for a good contrast-boosting measure.
A good rule of thumb is to slide the sliders in so that they hug the main data slopes in the graph, eliminating any areas in the graph with little to no data.
In this photo, by adjusting the slider on the right-hand side (just click and drag the white triangle) we can bring back some of the tones lost in the graph.
Notice how the edge of the graph has been moved in to where the data stops, in order to spread the information more evenly across the histogram. This results in a better-exposed photograph, with more visible information.
7. View Individual Color Channels
Another view to take advantage of in Photoshop is the expanded histogram view, which will show you an individual histogram for each color channel (in this example, red, green and blue). To expand this view, click the right-hand arrow button on the histogram panel and choose All Channels View.
Viewing all three color channels will allow you the added advantage of being able to correct your midtone levels closer to the as-shot levels. Here is the beginning photo, one that needs adjustment and has fairly different histograms in each color channel.
8. Keep Midtones Consistent
Begin by opening the levels adjustment window again, and moving the right-side slider over to near where the data starts. But notice how that shifts the histogram’s midpoint quite dramatically.
Now you can move the slider in the middle just slightly to try to align the graph with the version as-shot. This boosts the contrast while keeping the photo’s midtones in place.
Conclusion
These Photoshop techniques for repairing photographs without a wide dynamic range or with exposure problems work, but remember that controlling exposure in-camera will always lead to a more vibrant result.
Denver based motion graphics studio Spillt releases their new reel.
I’m on the look out for a couple of freelancers.
One userbility nut for a top Leeds based agency and another flasher who’s happy to work remotely for an East Yorkshire design house.
If you’re up for finding out more drop me a line at darren@charactercreative.co.uk
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The technical lead is a key player on any project at Your Majesty. He or she drives the technology approach and execution in every project. The lead is involved throughout the entire life cycle of high complexity projects including, but not limited to: research and analysis, design, development, testing, implementation, training, and documentation – following > evolving > leading YM’s standards and procedures. You are someone who fully understands design as well as the overall creative and functional goals of a project.
In this position, you will work in symbiosis with the creative Knights; producers, designers and other programmers to create internet applications, web sites and beyond. You must be comfortable working within a predefined scope and provide reasonable and accurate time estimates for development.
Most Key Duties
Requirements
Desired
We’re looking for a full-time and long-term relationship where you’ll spend time with:
Your Majesty is a creative agency established in 2006.
Driven to inspire by design, technology, style, music and cultural immersion — our aim is to form a constellation of creative components infusing each other to ultimately serve our customers and our lives.
We work and partner directly with forward-thinking advertising agencies and clients who want to align with great ideas to build companies, strengthen brands, engage audiences and create relationships.
We’re based in New York City with Stockholm, Sweden and São Paulo, Brazil offices underway.
Our company is small and intimate with the goal not to exceed more than 20-25 people per office with governed organic growth. We believe in the power of working in smaller teams, and the social benefits of a company where everyone is part of a family.
Please introduce yourself and what you can bring to the round table.
E-mail hr@your-majesty.com
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Davison Williams are looking for passionate and experienced Freelance Senior Designers to assist our small, friendly and extremely busy Clerkenwell team.
If you have a wealth of integrated experience on known brands, relish the opportunity of taking a brief to the next level, posses an exceptional eye for detail, have a passion for clarity and enjoy the odd pint of Guinness and a fish finger sandwich, please send your CV, hourly rate along with one or two stand-out examples of your work to luke@davisonwilliams.co.uk
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Graphic Clinic, an award winning agency and creators or the Original Designers Workbook, seek an experienced and proven Business Development individual who wants to be central to growth with all the rewards that entails.
Us:
Creative, passionate, friendly, multi-discipline, attention to detail.
You:
Proven, driven, well connected. Plus all our attributes too.
This is a part-time position initially, with a degree of flexibility on working hours.
Send your CV and demonstrate your understanding of the industry in your own way to brian@graphicclinic.com.
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I not only love the the style of work from designer/illustrator Cookie, but I also admire the fact that he takes anything he’s involved with and turns into a design project - An info-graphic map for a hike, logos and t-shirts for a goat race, and a cheat sheet to help friends and family decide what to buy you for Christmas. Amazing!
Brian Brooks is a multi-talented graphic artist working in branding, advertising, & interactive design. Very strong work across the board, it’s not often you see a designer who is as good at package design as they are at interface design.
80/20 is a user interface design group. In their own words, “We conceptualize, research, design, develop and deploy solutions that set new standards in user experience.
Ordinary Kids is an S.F. based graphic studio working in interactive, print, and brand development for some top lifestyle and skate brands. Always nice to see small companies doing such great work.
“PlusPreview of World’s First Rotating SkyscraperPreview of World’s First Rotating SkyscraperThe Associated PressArchitect Dr. David Fisher unveiled the Dynamic Tower, the world’s first building in motion. The rotate skyscrapers, which are planned worldwide, have floors which rotate independently to create a building that constantly changes shape. (June 24)Is it the skyscraper of the future? Or just a “pie in the sky” idea? Italian architect David Fisher unveiled in New York the design for what he’s calling the world’s first “building in motion.” It’s an 80-story residential tower with revolving floors, ostensibly set for construction in Dubai this fall. ((David Fisher, Architect)) “It’s the first building that is dynamic, changing its’ shape. You can adjust the shape any given moment.” Fisher says he is also slated to build one of the “dynamic” buildings in Moscow, and, he hopes, New York City. He says the buildings also double as power generators: wind turbines on every floor will provide power. “Wind has a very negative affect on skyscrapers we all know. So I say ‘why do we want to fight the wind?’ Why don’t we use the wind, to our own benefit? The Dubai condos are going for three-thousand dollars a square foot. Lifts will allow penthouse residents to park their cars right in their apartments. Fisher says the building parts will be prefabricated in a factory in Italy then assembled at the final location. The architect says he’d like to have the Dubai building ready to live in by 2010. Ted Shaffrey, The Associated Press, New York”
Holy crap. What an amazing project. Dubai is really hedging its realestate and architectural bets agains the oil decline. It is absolutely outrageous what is going on over there in terms of development right now.
Fleet Foxes - Mykonos
Director/Animator - Sean Pecknold
Artist/Illustrator - Jesse Brown (papervspencil.com)
Animation Assistant - Toby Liebowitz (inbruno.com)
Animation Assistant - Chris Ando (myspace.com/talbottagora)
Art Director - Sean Pecknold
Produced by Grandchildren
Labels - Bella Union & Sub Pop
Special thanks - Ryan Rothermel, Matt Daniels,
Miles Tillman, Thad Scott, Mike Ragen, That Go,
Britta Johnson, Aja, Greg, Lisa, Smokey, Robin, Christian, Josh, Casey, and Skye.
New site for Mother NY. The new site is very minimal, each portfolio piece is displayed through conceptual video abstractions. Like each piece is a short clip from Sesame Street, pretty sweet.
Great new site full of amazing work from Grow interactive. They’ve had a “coming soon” page up for years now, it’s great to finally see all the awesome work they do.
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