#my iPad is filled with 8% finished drawings and sketches

[idonthaveanyurlideas]

sorry if this has been asked before but i'd love to know your process for creating animatics. not only are they so incredibly fluid and perfect to the music but they're COLORED! absolutely inspiring. i'd love to know what you do for planning and editing, basically how to put an animatic together in general. i use procreate to make art but other than that i'm completely clueless on how to make animatics

ooooh okay i would LOVE to tell you!!!! So first things first I will say that my animatic process is probably not the most like. Efficient way to do it. I'm not an artistic expert and I'm very self-taught so this is just what I've come up with over the years with the resources I had.

This has ended up VERY long so I'm sticking a read more in

All that to say I have two main programs that I use, one to draw (Medibang Paint Pro) and one to put the frames together for my animatics (Davinci Resolve). These days, I have both of these programs on my laptop so I have everything on one device. Before I had my current laptop, I used Medibang Paint on my iPad and iMovie on my laptop, but the overall process is basically the same.

So. I have five main stages of making an animatic once I have a song and a character/narrative in mind.

Stage 0 is arguably the most important stage, which is deciding it's something I for real want to do. Making an animatic is a big commitment, so it has to be something im 100% on board with or I'll get bored before I finish it. So usually when I hear a song and I think "oh I can apply that to x character" I'll have to listen to that song on repeat for at least a few weeks just to iron out the story in my head, decide what moment I'm going to put with each lyric, basically plot out the narrative internally.

This stage is a bit different for every animatic. For some of them, like the Snackrifice as an example, I heard the song for the very first time and went: i know EXACTLY how this is going to go and then I went home and started planning it out immediately. Others, like Aequitas Aug, I had the song as a vague "oh this is Coin vibes" for months before Expansion Era ended and I finally knew I had all the material I would need for a full cohesive narrative. And then a bit longer to really decide "okay so the redactions are going to be at this point, the semicentennial will be at This moment" and so on.

I have a whole playlist full of songs that I COULD make into animatics that I vibe to on a regular basis, basically marinating them until I have enough content and ideas to start actually planning them out into an animatic.

Stage 1 is scripting it out: I write out all the lyrics of the song, count up how many beats correspond to each line, and plan out what I'm going to do with each section. As an example here's a portion of my script for Miguel's first animatic Autoignition. As you can see my script is often pretty loose and jokey at myself, because I already kinda know what I want it to look like by the time I start scripting it, this is just to get it down for pacing and to fill in any gaps.

[Image ID: Screenshot of white writing on a dark background. There are eight lines, alternating between bolded writing to signify planned action, and regular writing to signify the lyrics of the song Everybody Loves Me by OneRepublic. Line 1, in bold: Uh oh Zack is fallin into fire and hell and disintegrating ur gonna earn that content warning. Line 2, regular: And you don't have to make a Line 3: Miguel left alone at edge of Solarium :) fire everywhere :) big f Line 4: Sound 'Cause they got what you Line 5: Miguel falls to her knees for a moment, stunned. Line 6: Need. What you need Line 7: Then he runs away Line 8: Oh, oh, oh, oh, oh /end ID]

Stage 2 I do my actual draft. I do every frame as a very quick sketch. This stage is where I put all my frames into Divinci Resolve and match it all up to the beats of the song. I work out my timings, I figure out if I need to add/delete frames somewhere. The majority of the fiddly work happens here in terms of lining it all up to the music. All the frames look about as basic as this lmao the idea is Quick and To the point so i get can idea of what I'm working with. Very often I'll have figures in this draft stage where, as an example, I know I'll need to put players from the Flowers or the Dale from a certain point in time, but I haven't decided exactly who yet, so they're just vague humanoid blobs.

[Image ID: A very basic sketch with black lines on a white background, showing two figures facing away from the camera with loose lines showing the ground exploding in the distance. /end ID]

Stage 3 is Lineart, and this stage takes the longest because I'm actually doing the proper drawings for everything. I don't do colouring yet, because this stage takes so Long and I prefer to do my colouring all in one go so I can keep it consistent. it also allows me to catch any errors that I might make in my Lineart because I get to go over it again when I colour. This is where I make my final decisions on who all the extra characters are that show up that don't Really need to be there.

When it comes to deciding Who Gets To Appear in the Animatic, there are a few tiers.

Characters that NEED to be there for plot/emotional reasons (think like Nagomi Mcdaniel appearing in Alaynabella because Layna switched with her for the Shadows)

Characters that I want to put in there for theme reasons (think Luis Acevedo in Hall Stars, I included them as a cameo because they were later incinerated and the whole animatic was about incinerated players)

Characters that I like/my friends like (Esme and Howell making appearances at the start of Aequitas Aug)

Characters that are just easier to draw, depending on how many times I have to draw them and how tired I am at the time (when in doubt, I tend to default to humanoid characters with reasonably simple designs. If I'm like 400 frames in on Aequitas Aug and I have to choose between horse person Winnie Hess and regular human Eizabeth Guerra to help represent the Breath Mints getting got, I'm gonna go with Eizabeth even if Winnie is technically more iconic and recognisable.)

[Image ID: Lineart of a digital drawing showing Miguel James and Zack Sanders as humans, facing away from the camera and looking towards the ground exploding in the distance. Miguel is kneeling on the ground while Zack is standing. /end ID]

And so of course Stage 4 is Colour. I add in the colours, any lighting effects, all the extra fun bits.

My colouring is USUALLY pretty basic, to save time and effort. For colours that I tend to reuse a lot (typically sunbeams uniforms and the main colours for the various beams) I have them saved in my paint app so I can access them easily. For other players I've drawn before I usually have to bring up one of my previous drawings to reference the colours. Backgrounds are the bane of my existence and as thus are usually kept as simple as possible, and lighting is typically something I use sparingly. Basically, I take as many shortcuts as I possibly can to save my sanity.

[Image ID: The above picture but with basic colour. The background is a pale orange. There are some lighting effects on the explosion. /end ID]

And voila! Off to Youtube. Like I said above, I'm sure this isn't the quote unquote 'Best' way to do it. But it works for me, and doing it in these stages give me a fun little progress video to look back on when I'm slogging through the lineart stage.

It's definitely really tedious at times, and keeping up the motivation to do hundreds of frames three times in a row can be really difficult (especially with a full time job) but it's definitely sooooo exciting when I finally finish. I publish all the draft and lineart videos on youtube as well as unlisted videos, and its always fun to look back on them to see the difference between the draft and the final finished product.

Most of all though, it took me AGES to get to the point of animatic making where I am now. My very first animatics for Dimension 20 were SO different to what I do now, and I was very lucky for a while to have a lot of free time to focus on doing it a lot. My VERY first animatic wasn't even set to a song. It was from a Fantasy High clip, and i never got past the draft stage for it.

The other part of animatic making that I had to start taking really seriously was character design credit. For Quite a while, I did not include credits for designs of players that I did not create. It wasn't until Aequitas Aug (which had an OBSCENE number of players) that I realised what a massive oversight that was. Nowadays I have a big spreadsheet that lists every Blaseball player that has ever appeared in my animatics and the creator of the design that I used/riffed off of if I could narrow it down to one or two. For some players its trickier, often because their design was consistent over multiple artists or I couldn't be sure what the origin was, but I do my best to be as accurate as possible. If you're looking to make some blaseball animatics, I totally encourage you to do so, but I would advise getting on top of credits sooner rather than later! It's so much easier to add in new characters and their designers now as I find them rather than trying to backtrack and remember exactly which picture on the wiki I took inspiration from, along with it being a lot more respectful to all the other amazing artists in the fandom.

Overall, animatics are a lot of effort, but they're soooo worth it. If you have any more questions please feel free to ask me, I love to talk about my animatics and my process.

#ask #my art #animatics #long post #i hope this is helpful!!! #legitimately feel free to ask me more questions or send me a dm #i love to talk about myself and my work

[desultory-novice]

Ask game let's hear it for: 2,8,9

Wah! Thank you!

2 / Favorite Thing About My Style

Probably that it's fast? XD I remember worrying early on that I'd never be a really stunning artist because I didn't have as much time to devote to it as other people. A smart friend told me to just focus on making pieces I could call "complete" in a short amount of time.

Basically, adjust my view of what my "art" would be. And it worked! I have other artist's styles that I like more, but I realized too some of my favorite fanart back in the day was fanart that looked like it was pulled right out of someone's sketchbook. With big chunky lines and little marks and forms that tell you where their focus was!

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[More Answers Below!]

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8 / Most Fun and Least Fun Parts

I really enjoy the "concept" phase. You put just anything down, and because I'm a Kirby fanartist, that's usually a circle and then you just keep adding onto it. A pair of triangle horns ears? You've got a Magolor. Big eyes? A Marx. Draw a circle on top? A Meta Knight. Draw a circle halfway below it, a Dedede. Etc...

I'll often pick a perspective at random and then start filling in what the character might be seeing/doing from that!

Least fun is figuring out things like light and where my characters are in space. I've got a vision impairment that means I can't see "depth" in RL so perspective is hard for me. I found a trick for lighting that has you douse the object in shadow and then "carve out" the light, which helps because I can imagine what's on "top" easier than what casts shadows, but I still haven't gotten perspective down. I've even used 3D models but things just get more confusing somehow!! :cries:

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9 / Finished Piece and Original Sketch

Here's two, based on the fact that I have two different brushes I use for sketching and that leads sometimes leads to two different styles.

The first one, for my Father's Day piece, I did the rough sketch in PaintStorm Studio, which is an under-appreciated little app (It doesn't work flawlessly on iPad but it's highly functional) and is my favorite app for concept sketches because it's like the FocusWriter of drawing apps. Then I imported it to Clip Studio, adjusted the size (I draw my concepts VERY small, usually starting with a box to help figure out how much canvas I want to use) and built it up from there.

The second, I did the sketch in Clip Studio using this soft painterly builder brush I made based on some other artist's brushes. This style of sketch is more "chisel-y" and I'm frequently carving out areas as I draw them by lowering the brush's alpha to zero. It's pretty easy to apply colors on top in this style (as opposed to the previous style, which requires cleaner line work.) I also started this piece as just a solemn, lonely Magolor looking "captured" and regretful. Adding the crown and then adding the reflection in the water came later on.

I was gonna have him be hanging by some Dark Matter looking vines originally, but then I remembered I'd seen someone on JP Twitter say that his magic circles in Soul form were almost like handcuffs restricting his actions, which is why I switched to those.

(You can't see it here from the sketch, but I knew from the beginning I wanted it to be color on a black background.)

One last thing because I think this is probably something weird only I do? (But maybe other novice artists will find it freeing??)

When I'm drawing sequential comics, even for the four-panel ones, because I can lose my train of thought easily, I tend to draw them completely OUT OF ORDER, going with whatever image is strongest in my mind first. Then I just scatter the rest over the page wherever there's room as I get ideas, finally using the lasso tool to re-arrange them later! You can see everything in the proper sequence here!

(You can also see that originally, Marx shows some barely concealed sorrow that Kirby doesn't recognize his childhood friend after all that he's been through. In the finished piece, I had him respond by going all fangs-out crazy instead. He IS a villain after all!)

#Dess Answers Questions #Dess Text Post #TYSM for the ask! #Ask Game #Dess Sketch Post

[gayfairyorc]

Commission Prices

Cost: Depending on what you want, anywhere from $16 to $70

Payment Method: USD through paypal, Ko-fi, or Cashapp. I also accept DA Points and Amino Coins

Turnaround: Up to 1 week per piece (allowing for breaks and my full time job)

Tools of the Trade: Ipad, Apple Pencil, Procreate

What I WILL Draw: RPG characters, humans/humanoid (male and female), Anthros, Ferals, Ponies, Geological fantasy maps, backgrounds

What I Will NOT Draw: Heavy gore (intestines and blood are my extent), Extreme NSFW (I can draw nudity, but no porn), anything illegal (This includes minor/adult relationships of any kind, bestiality, and hard drugs), any hate towards any group of people

**COMMISSIONS RULES**

I have the right to decline any piece I do not think I can do or do not want to do. I will not tolerate begging or insulting. You will be reported and blocked.

I do not work for exposure. Obviously if you're reading this, you intend to pay me for my work, but I feel I need to add it to the rules anyway.

You must pay for the commission up front. I will not start on the commission until payment has been received. I can also accept half up front and half when finished before I send the unwatermarked image through email or toyhouse. I understand that people get ghosted and lose trust in people. I'm okay with some payment beforehand and some payment after.

Commissions can take time depending on my schedule. I'm chronically ill, have a full time job, and take care of children when I'm not working. Please be patient. Each piece takes anywhere from a few hours to a few days. I try my best to get pieces out as quickly as possible while still providing excellent work. If there's an issue on my end that will delay your piece, I will keep you updated.

I am a digital artist only. I do not do tradition or canvas art.

If you repost the art on Deviantart (gayfairyorc0930), Instagram (gayfairyorc0930), Twitter (gayfairyorc), Amino (gayfairyorc), or Reddit (gayfairyorc), I'd love it if you could tag me. I love seeing happy customers spreading a good word.

**COMMISSION PRICES**

HEAD SHOTS (Neck Up)

Lineart- $16 (1280pts, 1600ac)

Flat Color-$18 (1440pts, 1800ac)

Shaded (your choice of blended or cell)-$20 (1600pts, 2000ac)

BUSTS (Chest Up)

Clean Sketch-$22 (

Lineart- $24 (1920pts, 2400ac)

Flat Color-$26 (2080pts, 2600ac)

Shaded (your choice of blended or cell)-$30 (2400pts, 3000ac)

HALF-BODY (Thighs Up)

Clean Sketch-$32

Lineart- $34 (2720pts, 3400ac)

Flat Color-$36 (2880pts, 3600ac)

Shaded (your choice of blended or cell)-$40 (3200pts, 4000ac)

FULL-BODY (Entire Body)

Clean Sketch-$42

Lineart- $44 (3680pts, 4400ac)

Flat Color-$46 (3840pts, 4600ac)

Shaded (your choice of blended or cell)-$50 (4000pts, 5000ac)

REFERENCE SHEET (2 Full-bodies, 1 Bust, and tidbits of info) begins at $50, 4000pts, 5000ac

Info I need:

NON-D&D CHARACTER

-Name, gender/pronouns/sexuality, age

-usual outfit(s)

-6 to 10 likes and dislikes OR 5 specific favorite things (favorite food, drink, flower, etc)

-any other information you wish to give me about your character

FOR D&D AND OTHER RPG CHARACTERS

-Name, gender/pronouns/sexuality, background

-usual outfit and current equipment

-stats and proficient skills

-a bag filled with common items your character has ($5, 400pts)

-An animal companion (cats, dogs, rodents) ($5, 400pts)

-An animal companion (horses, dragons, birds) ($8, 640pts)

-Additional Bust ($10, 800pts)

-Additional Fullbody ($20, 1600pts)

#commisions open #open commissions #commission #art commission info

[arthurhwalker]

reMarkable 2 Review

I had some requests for a review of this device, and I am glad to oblige in this case. I've been closely following digital pen stylus tech for about eight years. I'm just old enough that I still need to handwrite a lot of things to tap into my creativity, but greatly dislike clutter in my life.

The reMarkable is for the person that writes enough by hand to fill several notebooks a year. For someone that wants the tactile and somatic component of writing on paper to associate with their process. The new reMarkable 2 does basically what the reMarkable 1 did; faster, better, and with a much improved piece of hardware.

If you've read my previous review from May 2018, you know I basically raved about the first generation reMarkable. I had a few criticisms of the Gen 1, and a lot of that has been addressed with the Gen 2.

Support & User Experience

I've used a reMarkable tablet continuously for almost three years. I've never had a support issue with one. The software is updated regularly, features added, and user experience improved with each iteration.

There is really no comparisons to be made with that kind of uninterrupted usage. No smartphone, tablet, or computer you ever own will be that reliable. A 3-4 year old Thinkpad, running Linux, is about as close as it gets to that level of, switch-on-and-use, every day, without fail feeling.  

The reason is that the reMarkable 2 is leveraging the most reliable hardware, user input methods, stylus technology, and operating system basis available. My fear has always been that my reMarkable wouldn't be as reliable as a regular piece of paper, and a good pen. So far, that fear has never been realized with the reMarkable 1, or 2.

Pen Stylus Input

The majority of what one picks up and uses will be Microsoft Pen Protocol (MPP) stylus tech, with Microsoft Surface Products, or Wacom AES (Active Electrostatic) like that found in a lot of Asus, Dell, Lenovo, and so forth. The older Wacom EMR (Electromagnetic Resonance) is used less frequently, and usually only with their own products, or a version thereof with Samsung Phones and Tablets.

Of the three options, Wacom's EMR is still the best.

That's what you'll find on the reMarkable Tablet, and if you get their Marker Plus (it's the black one) it has the magical EMR eraser tip opposite the drawing point. There is no better pen stylus experience, for general use, sketching, handwriting capture, tilt sensitivity, and so forth.

The Marker Plus is $50 more than the regular Marker. It is worth it.

What if you're like me, and you have a drawer full of pen stylus products? Products that include the legendary Excalibur stylus pen that came with the Thinkpad Tablet 10 Gen 1, and worked with the EMR capable Thinkpad Yoga S1 from 2013? The one with the eraser tip, and sweet felt tip point? Will that stylus work?

Yes. Yes, yes it will.

However, the reMarkable Marker Plus just feels better. It's heft (19g) is perfect, eraser tip rounded to feel like the real thing, and tips that degrade gracefully without marking up the screen. Buy. The. Marker. Plus.

The Hardware

The manufacturer says that the reMarkable 2 gets 3 times the battery life of the 1, is 2 times as responsive (relative to rendering digital ink), and is the world's thinnest tablet at 0.19". Mostly, this is all of this seems to be true. Also, as mentioned before all the new Marker Plus has a built in eraser, all the new accessories snap together with magnets, and it charges with USB-c.

The screen is capacitive touch capable now. No more page turning buttons, and you can swipe down from the top to back out of a document or folder. You can turn pages with the swipe of a finger now. It takes a second to get the gestures down, but they're crisp and reliable once you do.

The tablet runs off of a dual core ARM process (a good thing, in my opinion).

My only quibble is that it is supposed to be able to connect to both 2.4GHz and 5.0GHz WiFi, but so far I've only gotten it to connect to 2.4. It might be something with my specific router, and I'm not sure if my experience is typical.

On the lower left hand side of the tablet there are 5 connection points. This suggests that the tablet may have the ability to connect to other accessories in the future. If reMarkable added a Plain Text Editor, and a keyboard cover to the reMarkable, I would be over the moon.

There is no evidence that they will do this, but a guy can dream. Having what's basically an e Ink Typewriter this thin and light would be the ultimate for this writer.

The Software

It is much the same experience as the reMarkable 1 with a few new additions.

You can convert your handwritten notes into text, cursive or block letters, and share by email. There is support for 33 languages.

With a Google Chrome plug-in, you can read web articles and pages on your reMarkable. If you're already battling with eye strain from looking at glowing screens all day, this is a nice feature.

Reading large PDFs and eBooks is still not crisp and snappy, but it is a vastly improved experience when compared to the reMarkable 1. Large graphically intense documents can be navigated without it taxing your patience. What I store on my reMarkable is vastly different now because of how much improved document handling has become.

I find the small sacrifice in speed rendering pages worth it, compared to the eye strain I get reading on other screens.

More pens, features, page templates, and ease of organizing have been added incrementally over time. With regard to the core functioning (Linux Based Codex OS) of the device, the manufacturer has only ever improved and supported the reMarkable.

Aesthetics

The reMarkable 1 was good for what it could do. It wasn't a bad looking product, but compared to the reMarkable 2, it was a rough prototype. Most tablets do not feel as nice in the hand as the reMarkable 2.

Rubber no-slip nubs on the back, rounded edges, satin finished glass and aluminum, make the tablet itself feel like it's from the future. I bought the Polymer Weave Book Folio, a step up from the regular Folio. A close friend got the same device and marker options as I did, but opted for the Premium Leather Folio.

Definitely, get the Book Folio, and if you can scrabble together the extra money, get the premium leather. That's my only regret is that I didn't spring for the best accessory offered. Is the Polymer Weave good? Absolutely, worth the $99. It is rigid, will protect your investment, and it's very classy looking.

My friend who picked up the Leather Folio is a graphic designer, and has greatly informed my sense of aesthetics over the years. She says the Leather Book Folio is well worth the extra. She is, most certainly, correct.

So, yeah, if you're going to get a reMarkable 2 and want a slightly used Polymer Weave Book Folio (mine), I'll let it go for cheap (so I can atone, and get the leather version, ha ha).

Value

The reMarkable 2 doesn't have a web browser, app store, Merge Dragons, audio player, or other third party applications. It won't replace your iPad, or Android Tablet. It will replace all the paper, notebooks, and pens in your life. This is especially true if you have a small scanner (like a Doxie), and leverage reMarkable's Smartphone app and cloud sync feature.

This tablet is for people that like paper, a lot, but don't want to carry it around or keep track of it. It is for people that fill 8-12 Moleskines a year, and mark up hundreds of pages of documents, for themselves, and others. It is for people that tap into their creativity by writing things down, sketching diagrams, and making lists.

The act of holding a pen or pencil against paper is a cognitive trigger, built into their implicit memory, every day, for years, that allows them to do their things.

$399 will buy a decent Samsung or Apple branded tablet, but neither of those is designed to emulate the experience of writing on paper like the reMarkable 2 tablet is. The reMarkable 2 will run you $399, a Marker Plus $99, and a Polymer Weave Folio $99, bringing it all to almost $600.

Unless you lurk reMarkable's website, and wait for a promotion. They did run a promotion for their pre-order, and will likely do something similar within a year of release. It is my recollection that the manufacturer ran at least two promotions for the Remarkable 1, and the savings were significant.

If you don't need one right this minute, check the website every week or so, their Amazon Store edifice, and whatever other options they have for your region.

Competitors

In the last few years, reMarkable has only acquired more competition in the e ink Tablet market. That competition varies depending on where you live in the world. In the US, no one makes a thing that directly competes. I looked at other products, didn't see anything that made me pull out my reMarkable 1 and make a list of pros and cons for comparison.

That isn't to say there isn't a better thing for your use case, but there wasn't for mine.

Final Thoughts

If I didn't drive this point home earlier, I'm going to make it now. The reMarkable 2 will not replace your laptop, mobile OS (iOS/Android) Tablet Device (meant to replace your laptop), or Smartphone. There isn't even a calculator app on the reMarkable 2.

The Remarkable 2 will replace the pens, pencils, highlighters, notebooks, and print outs cluttering up your daily carry bag, desk, and life. It's a digital paper option, not a personal computing option. When used for that purpose, it is exceptional, and well worth the investment.

#reMarkable #reMarkable Tablet 2 #E Ink #eink #linux #digital ink #review

[toxicsquad]

There is no better way to get to know someone than through a good question tag. In this case we have decided to make an Indie game dev question tag with the responses of our four developers. We hope that it will reveal many unknowns, but if you are left with any questions, do not hesitate to use our ask.

What part of game development are you responsible for?

Athe: I write and write, I melt in my seat, I correct, I cry and then I program. It’s an endless cycle. Occasionally I laugh like crazy while I eat Pringles.

Sam: I draw and color without leaving the lines (almost always) the sprites, the illustrations and the ravings that usually occur to us past 3 in the morning.

Illy: English translations.

Sher: I draw BGs

What tools do you use (hardware / software)?

Athe: Recently my desktop PC has passed away, so I’ve had to rescue my old PC from the garage. I also have a laptop that saves my life more times than I would like to admit. As for the software, I need, above all, drive documents, video editing programs, image etc (I have an Adobe package) and of course Renpy and Atom.

Sam: My main friend and companion is my tablet, a wacom intuos S (pistachio color, so cute). As programs I mainly use the Paint Tool Sai, because there is nothing in this life like its stabilizer. And less frequently than I would like (for details, texture brushes, effects ...) I also use Clip Studio Paint, which I only know how to use at about 2% of its capacity ... If someday I have time I would love to stop and learn seriously what can be done with it.

Illy: During the school year I live in a residence, so I use an old laptop, and when I return home I use a desktop computer that never has memory space. I translate the chapters in the same Atom where the complete script is and I keep them in google drive files where I share them with our beta reader. I also use editing programs like photoshop when I have to translate comics or procreate for when my artistic skills are required.

Sher: ipad+procreate+some final tweak in photoshop, I don't need much more

What is your favorite part of the job?

Athe: Would it be wrong if I say that is when we released the episode? During the whole production time everything is very stressful, there are times when it’s really uphill, but when we release a new chapter it feels soooo good. It's like saying to yourself, yeah, dammit, I can do it. Look at everything you've climbed by yourself. You're doing it right.

Sam: In general, my favorite parts are when the first scenes start to be programmed, and I can see the sprites with the backgrounds, the texts, and how the illustrations look. Everything always looks so much better when viewed in-game… I also really like being able to check out the script as it is written. And from the artistic part that concerns me, when I see that my hands capture the idea that I had in my head ... Especially in character designs.

Illy: Having to find a way to translate very spanish expressions into English, research vocabulary that I have never had to use and commenting on some translations with our beta reader (which we adore) to make it understandable without losing the original meaning.

Sher: I like to do the lineart when the sketch is complete, if I no longer have to think about anything else and it's just going through it, I find it very fun and relaxing

What is the most difficult part for you?

Athe: Offf, yes, I admit it, sometimes writing is the WORST. Other times I love it, especially when I can expand on the descriptions or stop at a part that is intimate or that I find interesting (for example, Hasiel's conversation from 6.3, small spoiler: P). But, I HATE having to paste scenes, often the protagonist moves between scenes and you always have to add lines to those transitions that really do not interest anyone, but that otherwise the text would be confusing. Anyway... It is a very wide world, with a lot of history, I have to deal with what I need readers to know to understand the facts, although sometimes it gets a bit boring.

Sam: What part does not... Rather who e.e Zihel and Ariel are a thorn in my side. Especially Zihel. I know it has to do with the fact that it has never been my strength to draw boys, and much less if they are more masculine in appearance... That's why I also suffer a lot from drawing muscles. Another thing that brings me a headache is the perspective of the illustrations. Every time I try to get out of the typical shot or poses a little... It doesn't work out.

Illy: Doughy’s  stuttering ¬.¬

Sher: chairs, sofas, tables... anything with four legs is my enemy

Anything to help or encourage you while you are working?

Athe: I need music, no, seriously, I NEED IT. I’m unable to focus without it. If, on top of that, I can get what I hear to act as a sounding board for what I write, the text is a thousand times better... But the muse is a pretty bad person.

Sam: Having a show/movie in the background that entertains me. The longer the better, so I don't have to stop to think what I want to put on next.

Illy: Eating sunflower seeds to trick my brain and not be tempted to do something else that distracts me.

Sher: I try to see other artists to motivate and inspire me before I start drawing, what I find most difficult is that initial push and that is where I need the motivation, then I usually have something in the background but it is not necessary

Something that’s a pet peeve or discouraging?

Athe: Some narrative climax moments. Generally, they are not important plot moments (that is almost entirely decided), they are often small decisions to go from scene A to scene B, but I can spend a LOT of time deciding which is the fastest and best way to tie those two ends. I'm the worst.

Sam: Many times when starting, I can't get the poses to fit the way I want, for example.

Illy: Finding many parts in a row that I find especially difficult to solve and that make me believe that I have forgotten how to English properly. And looking at how many lines I still have left.

Sher: When I don't know how to fill in some area, if I see something very empty but I don't know how to solve it, I can spend days looking at the screen without being able to advance, even if I have other areas that I could do in the meantime

What is required on your table or work surface?

Athe: Notebooks, sticky notes, pens… I’m a person who writes everything down, especially the tasks, but I also order the story by color schemes. The stack of sticky notes have 9 different colors, each one represents a character and I play a lot with them for a lot of nonsense. Besides, even though I have been writing on the computer for many more years than I wrote by hand, I still have a preference for the analogical.

Sam: Coffee, sweets, chocolate, cereals... And cats.

Illy: My phone, the sunflower seeds, a Capital America: Civil War 1L water cup, sticky notes that remind me of tasks.

Sher: I have nothing really lol all my things are for decoration

Your most productive hours?

Athe: Owl. Totally nocturnal. Although I have several crises a month to force myself to work at other times that always end... Wrong.

Sam: Also at night for the most part, although I can no longer stay awake as long as I endured before having a job (the good old days...) However, in the middle of the afternoon, when the zoo that I have at home is still taking a nap, I also manage to go a long way.

Illy: From when I finish eating until 7 or 8 in the afternoon, when I don't have to cook, clean, run errands...

Sher: I take over for Illy apparently, from 7 or 8 is when I start to get into the mood until bedtime

Do working hours make you forget to eat or make you eat twice as much?

Athe: It depends, in the past I ate a lot, now if I have stress I don't eat anything. If I'm in a normal productive phase and I'm not on my nerves, I'm probably eating by inertia.

Sam: They make me eat more, but especially junk food e.e And they make me forget healthy meals, especially dinner at night.

Illy: It depends on my mood, but I usually eat twice as much.

Sher: I'm generally a VERY distracted person so I don't usually get to focus on a task to get to either of those two modes but I guess when I am sooooooo much on the task, I forget. But that happens like a couple of times a year and "forgetting" is "I delay an hour."

What part of your set up would you improve / change (in aesthetics or functionality) if you had no money limit?

Athe: I'm trying to match some of my peripherals with the rest. They are all a damn different color, apparently I'm cursed... Now seriously, I wish I had a better graphic card that would allow me to make video captures, some speakers and a quality printer.

Sam: Actually, I don't think I need anything more complex than what I already have… But if I had to improve something, I'm curious about the most professional tablets, the big ones with the included screen and all that stuff.

Illy: A new laptop that lets me open 4 chrome tabs, Atom and photoshop at the same time without dying.

Sher: A pc screen that will not change the colors I use on the iPad would be nice, really

Which character are you most like? And why?

Athe: Phew I think the easy answer would be to say Akane ... But, Akane is a better person. : P

Sam: This is very difficult... They are all very different, but still I do not think I look much like any of them. If I have to say something, I could identify with Maske's tendency to avoid problems, and his more homey and calm side. And well… Since Akane has been an OC of mine for many years, surely I have something of her too.

Illy: I think I partly have Maske's instinct to stay out of trouble, and on the other hand Joe's shallowness, although tbh I wish I really did look like any of our awesome babies.

Sher: surprised because (unpopular opinion around here) is one of those who I "least care" about really but I would say that Pin because he is a little dumb, happy and probably has a Satanic room and proud of it

Favorite CG/art.

Athe: AT THE MOMENT. Maske chapter 1. It couldn't be more predictable. I know.

Sam: I quite agree with Maske in chapter 1. But I would also put Pin in chapter 5 and Akane in chapter 6.2 on the top.

Illy: Kyeran in Coco's tank ?? Is he even real? Being basic is my brand.

Sher: surprised again and disappointed but I would say that of angel Hasiel because I like pretty dresses, pretty hairs and pretty wings

Favorite BG/scene.

Athe: The Red Light District amazes me. I already liked the life of that place, its history, but the way of expressing it... Uggg Sher took it to another level. The dirt on the street, the night, the constricted buildings...

Sam: I think I’ll say Raziel’s square, I like it a lot from the first day.

Illy: I don't know if I can choose just one T__T but I would say that the Red Light District and Valefar's pub are at the top.

Sher: for not repeating the red light district that I also like very much, I really like the areas of Coco's laboratory, including the “main” area although the perspective is horrible and makes the characters look tiny, but I like how it looks :(

Your favorite chapter to date?

Athe: Ufff... The first and second one I assure you no, hahaha. I will say that the third one, but also for things that are not necessarily from the chapter, but of the production. It was a good moment. I felt that everything was flowing with ease. We all assumed a clear role, they were times that made us feel comfortable and capable of assuming what came next, I think it was a qualitative leap also, both in texts and in art.

Sam: Oh. Well let's see... Chapter 5 is amazing for me, for everything that happens but also because there are many personalized interactions and choices. I can't say I have a definitive favorite, but it could come close… Also from the last ones I really like the 6.2.

Illy: Chapter 5 has so many details, so many things happen, it's hard not to be my favorite. But the last ones with the specific routes are so great that if I stay with the 5 it’s with the  pain of my heart to have to choose one.

Sher: I would say 5 also because in the end when a lot of things happen is when you remember the most

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No hay mejor forma de conocer a alguien que a través de un buen tag de preguntas. En este caso hemos decidido hacer un Indie game dev question tag con las respuestas de las cuatro desarrolladoras. Esperamos que os aclare muchas incógnitas, pero si os quedáis con alguna no dudéis en usar nuestro ask.

¿Qué parte del desarrollo del juego llevas a cabo?

Athe: Escribo, escribo, me derrito sobre mi asiento, corrijo, lloro y después programo. Es un ciclo sin fin. Ocasionalmente me río como una demente mientras como Pringles.

Sam: Dibujo y coloreo sin salirme de las líneas (casi siempre) los sprites, las ilustraciones y los desvaríos que suelen surgir a partir de las 3 de la mañana. 

Illy: Las traducciones a inglés.

Sher: Hago fonditos

¿Qué herramientas utilizas (hardware/software)?

Athe: Recientemente mi PC de sobremesa ha fallecido, así que he tenido que rescatar mi viejo PC del trastero, también tengo un portatil que me salva la vida más veces de las que me gustaría admitir. En cuanto al software, necesito, sobre todo, documentos de drive, programas de edición de video, imagen etc (tengo un paquete de Adobe) y por supuesto Renpy y Atom.

Sam: Mi principal amiga y compañera es mi tableta, una wacom intuos S (color pistacho, muy cuqui.) Como programas uso sobretodo el Paint Tool Sai, porque no hay nada en esta vida como su estabilizador. Y con menos frecuencia de lo que querría (para detalles, pinceles de texturas, efectos…) también utilizo el Clip Studio Paint, el cual sólo se usar como a un 2% de su capacidad… Si algún día tengo tiempo me encantaría pararme a aprender seriamente todo lo que se puede hacer con él. 

Illy: Durante el curso vivo en una residencia, así que uso un portatil del año que reinó carolo, y cuando vuelvo a mi casa un ordenador de sobremesa que nunca tiene espacio en la memoria. Los capítulos los traduzco en el mismo Atom en el que está el guión completo y los guardo en drive donde los comparto con nuestra beta reader. También uso programas de edición como photoshop cuando tengo que traducir viñetas o procreate para cuando mis habilidades artísticas son requeridas.

Sher: ipad+procreate+algún retoquito final en photoshop no necesito mucho más

¿Cuál es tu parte de favorita del trabajo?

Athe: ¿Estaría mal si digo que es cuando sacamos el episodio? Durante toda la producción todo es muy estresante, hay veces, que se hace realmente cuesta arriba, pero cuando liberamos un nuevo capítulo sienta taaaan bien. Es como decirte a ti misma, sí, joder, puedo hacerlo. Mira todo lo que has escalado tú solita. Lo estás haciendo bien.

Sam: En general, mis partes favoritas son cuando se empiezan a programar las primeras escenas, y puedo ver los sprites con los fondos, los textos, y cómo se ven las ilustraciones. Todo queda siempre mucho mejor cuando se ve dentro del juego… También me gusta mucho poder cotillear el guión conforme se va escribiendo. Y de la parte artística que me toca, cuando veo que mis manos plasman la idea que tenía en mi cabeza… Sobretodo en diseños de personajes. 

Illy: Tener que buscar la forma de traducir a inglés expresiones muy nuestras, investigar vocabulario que no he tenido que usar jamás y comentar algunas traducciones con nuestra beta reader (a la que adoramos) para conseguir que se entienda sin perder el significado original.

Sher: me gusta hacer el lineart cuando el sketch está completo, si ya no tengo que pensar nada más y es solo ir repasando me parece muy divertido y relajante

¿Cuál es la parte que más te cuesta?

Athe: Ufff, sí, lo admito, escribir a veces es lo PEOR. Otras me encanta, sobre todo, cuando puedo explayarme con las descripciones o detenerme en una parte íntima o que a mí me parece interesante (por ejemplo, la conversación de Hasiel del 6.3, pequeño spoiler :P). Pero, ODIO tener que empastar escenas, a menudo el protagonista se mueve de escenarios y hay que agregar siempre líneas a esas transiciones que realmente no interesan a nadie, pero que de lo contrario el texto quedaría mal montado. En fin… Es un mundo muy amplio, con mucha historia, tengo que lidiar con lo que necesito que los lectores sepan para entender los hechos, aunque a veces se haga un pelín peñazo.

Sam: Qué parte no… Quiénes, más bien e.e Zihel y Ariel son mi espinita. Especialmente Zihel. Sé que tiene que ver con el hecho de que nunca ha sido mi punto fuerte dibujar chicos, y menos si son de aspecto más masculino… Por eso también sufro mucho dibujando músculos. Otra cosa que me trae de cabeza es la perspectiva de las ilustraciones. Cada vez que intento salirme un poco del típico plano o poses… No sale bien. 

Illy: El tartamudeo de Doughy ¬.¬ 

Sher: sillas, sofás, mesas… cualquier cosa con cuatro patas son mis enemigos

¿Algo que te ayude o anime mientras estás trabajando?

Athe: Necesito música, no, en serio, LA NECESITO. Soy incapaz de concentrarme sin ella. Si ya consigo que lo que escucho haga de caja de resonancia de lo que escribo, el texto es mil veces mejor… Pero la musa es bastante mala gente.

Sam: Tener alguna serie/peli de fondo que me entretenga. Cuanto más larga mejor, así no me toca pararme a ver qué es lo que quiero poner después. 

Illy: Comer pipas para engañar a mi cerebro y no tener la tentación de ponerme a hacer otra cosa que me distraiga.

Sher: intento ver otros artistas para motivarme e inspirarme antes de empezar a dibujar, lo que más me cuesta es ese empujón inicial y es donde necesito la motivación, luego ya suelo tener algo de fondo pero no es necesario

¿Algo que te corte el rollo o te desmotive?

Athe: Los nudos narrativos. Generalmente, no son nudos gordos de la trama (eso está decidido casi en su totalidad), a menudo son decisiones pequeñas para pasar de la escena A a la escena B, pero puedo tirarme MUCHO tiempo decidiendo cuál es la forma más rápida y mejor planteada para atar esos dos cabos. Soy lo peor.

Sam: Muchas veces a la hora de empezar, no conseguir encajar las poses como quiero, por ejemplo. 

Illy: Encontrar muchas partes seguidas que me cueste especialmente resolver y que me hacen creer que no tengo ni idea de hablar inglés. Y mirar cuantas líneas me quedan todavía.

Sher: cuando no se como rellenar alguna zona, si veo algo muy vacío pero no se como solucionarlo puedo tirarme días mirando la pantalla sin ser capaz de avanzar, incluso aunque tenga otras zonas que pudiera ir haciendo mientras

¿Qué no puede faltar en tu mesa o superficie de trabajo?

Athe: Libretas, post-its, bolígrafos… Soy una persona que lo anota todo, sobre todo, las tareas, pero también ordeno la historia por esquemas de colores. La pila de post-its tienen 9 colores diferentes, cada uno representa un personaje y juego mucho con ellos para miles de idioteces. A parte, a pesar de que llevo muchos más años escribiendo a ordenador de los que escribí a mano, sigo teniendo querencia a lo físico.

Sam: Café, chucherías, chocolate, cereales… Y gatos. 

Illy: El móvil, las pipas, un vaso de 1L de agua de Capital America: Civil War, post-its que me recuerdan las tareas.

Sher: no tengo nada realmente lol todas mis cosas son de adorno 

¿Tus horas más productivas?

Athe: Búho. Nocturna totalmente. A pesar de que tengo varias crisis al mes para forzarme a trabajar a otras horas que acaban siempre… Mal.

Sam: También por la noche en su mayoría, aunque ya no aguanto trasnochando tanto como antes de trabajar (qué tiempos aquellos…) Aunque a media tarde cuando el zoo que tengo en casa aún está echando la siesta también consigo dar un buen empujón. 

Illy: Desde que acabo de comer hasta las 7 o las 8 de la tarde, cuando no tengo que cocinar, limpiar, hacer recados...

Sher: le tomo el testigo a Illy aparentemente, a partir de las 7 u 8 es cuando empiezo a entrar en el mood hasta que llega la hora de dormir

¿Las horas de trabajo hacen que te olvides de comer o te hacen comer el doble?

Athe: Depende, antes comía mucho, ahora, si tengo estrés no como nada. Si me encuentro en un rango productivo normal y no estoy de los nervios, probablemente, esté comiendo por inercia.

Sam: Me hacen comer más, pero sobretodo porquerías e.e Y hacen que me olvide de las comidas sanas, sobretodo de cenar por la noche. 

Illy: Depende de mi estado de ánimo, pero normalmente comer el doble.

Sher: en general soy una persona MUY distraída así que no suelo conseguir centrarme en una tarea para llegar a ninguno de esos dos modos pero supongo que cuando estoy muuuuuuy dentro de la tarea, me olvido. Pero eso pasa como un par de veces al año y “olvido” es “lo retraso una hora”.

¿Qué parte de tu set up mejorarías/cambiarías (en estética o funcionalidad) si no tuvieses límite de dinero?

Athe: Estoy tratando de que alguno de mis periféricos peguen con el resto. Todos son de un maldito color diferente, al parecer estoy maldita… Ahora en serio, desearía tener una mejor gráfica que me permitiese hacer videocapturas, unos altavoces y una impresora de calidad.

Sam: En realidad, no creo que necesitara nada más complejo de lo que ya tengo… Pero por mejorar, me llaman la atención las tabletas más profesionales, las grandes con la pantalla incluida y eso. 

Illy: Un portátil nuevo que me deje abrir 4 pestañas de chrome, el Atom y photoshop al mismo tiempo sin quedarse tieso.

Sher: Una pantalla de pc que no me cambiara los colores que uso en el ipad seria bonito la verdad 

¿A qué personaje te pareces más? ¿Y por qué?

Athe: Ufff Creo que la respuesta fácil sería decir Akane… Pero, Akane es mejor persona. :P

Sam: Esto es muy complicado… Son todos muy distintos, pero aún así no creo que me parezca mucho a ninguno. Por decir algo, me podría identificar con la tendencia a evitar problemas de Maske, y su lado más casero y tranquilo. Y bueno… Dado que Akane es OC mío de hace muchos años, seguramente tenga algo de ella también. 

Illy: Creo que en parte tengo el instinto de alejarme de las movidas de Maske, y por otro la superficialidad de Joe, aunque tbh ojalá parecerme realmente a nuestros bebés geniales.

Sher: sorprendida porque (unpopular opinión por aquí) es de los que “menos me importan” realmente pero diría que Pin porque es tontito, feliz y probablemente tenga una habitación satánica y orgulloso de ello

Tu CG/arte favorito.

Athe: DE MOMENTO. Maske capítulo 1. No podría ser más predecible. Lo sé.

Sam: Coincido bastante en la de Maske del capítulo 1. Pero también metería en el top la de Pin del capítulo 5 y la de Akane del capítulo 6.2. 

Illy: ¿¿Kyeran en el tanque de Coco?? ¿Es siquiera real? Ser básica es mi marca.

Sher: sorprendida de nuevo y decepcionada pero diría que la de Hasiel de ángel porque me gustan los vestidos bonitos, los pelos bonitos y las alas bonitas

Tu BG/escenario favorito.

Athe: Me flipa el Barrio Rojo. Me gusta la vida de ese sitio, su historia, pero la forma de plasmarlo… Uggg Sher lo llevó a otro nivel. La suciedad de la calle, la nocturnidad, los edificios constreñidos...

Sam: Creo que me quedo con el de la plaza de Raziel, me gusta mucho desde el primer día. 

Illy: No sé si puedo elegir solo uno T__T pero diría que el Barrio Rojo y el bar de Valefar están en el top.

Sher: por no repetir el barrio rojo que también me gusta mucho, me gustan mucho las zonas del laboratorio de Coco, incluida la zona “principal” aunque la perspectiva sea horrible y haga a los pj parecer diminutos, pero me gusto como quedo :( 

¿Tu capítulo favorito hasta las fecha?

Athe: Ufff… El uno y el dos os aseguro que no, jajaja. Diré que el tres, pero también por cosas que no son necesariamente del capítulo, sino de la producción. Fue un buen momento. Sentí que todo estaba fluyendo con facilidad. Todas asumimos un rol claro, unos tiempos que nos hacían sentir cómodas y capaces de asumir lo que venía después, creo que fue un salto cualitativo también, tanto en los textos, como en el arte.

Sam: Ay. Pues a ver… El capítulo 5 es una pasada para mi, por todo lo que pasa pero también porque hay muchas interacciones personalizadas y elecciones. No puedo decir que tenga un favorito definitivo, pero podría acercarse… También me gusta mucho de los últimos el 6.2. 

Illy: El capítulo 5 tiene tantos detalles, pasan tantas cosas, que es difícil que no sea mi favorito, pero los ultimos de rutas específicas son tan geniales que si me quedo con el 5 es con un poco de dolor de tener que elegir uno.

Sher: Diría el 5 también porque al final cuando pasan muchas cosas es cuando mas se te queda grabado

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Screen Share Ios Lg Tv

Lg Screen Share Apple

Screen Share Iphone To Lg

How To Screen Share On Lg Tv

Screen Share Iphone To Lg Tv Youtube

Screen Share Iphone Lg Tv Free

Once all your devices are connected to the same network, follow these steps to mirror your iPad screen to your Samsung smart TV: 1) via the App Store (a $ 4.99 value). 2) Run the application from your. 3) Wait for your Samsung smart TV to appear in the list of available TVs and then tap on it: 4) Your Samsung TV will ask if you want your device to connect. Make sure that your devices are on and nearby. Check that your AirPlay-compatible devices are on. TV Mirror for Fire TV is the easy screen mirror app to share your iPhone or iPad screen on your Fire TV. It's the most advanced screen mirroring solution with zero delay and the highest screen quality. Mirror photos, videos, games, websites, apps, presentations, documents and spreadsheets on Fire TV. How To Reset an LG Smart TV to Default Settings Press the Home button on your remote, and select the cog icon in the top-right corner of your screen to open then Settings menu. Next, head to General Reset to Initial Settings. With AirBeamTV’s app for LG TV, you can watch anything from your iPhone and iPad on your television screen! Here is how it works in 3 easy steps: Make sure that your iPhone or iPad runs on iOS 13 or higher and is connected to the same local network as your Samsung TV. Don’t use multiple VLANs, a.

Can anybody show me how to share iPhone screen with another iPhone?

How do I mirror my iPhone to my Samsung Smart TV?

In most cases, people want to mirror the iPhone screen to a large display, like a TV or PC. Thus, more people can see the screen sharing iPhone contents.

Well, no matter which digital device you want to use, you need to update your iDevice to iOS 11 first. Because you can mirror your screen with the default iOS 11 screen sharing function directly. Otherwise, you may fail to broadcast an iPhone screen.

Screen Share iPhone

Part 1: 5 Methods to Share iPhone Screen with PC

If it is the first time you know iOS 11 screen sharing, you need to add this function to the Control Center first. So open your “Settings” app first. Choose “Control Center” followed by “Customize Controls”. Later, add the “Screen Recording” option to the “Include” list. Now you can start to share your iPhone screen to PC.

Method 1: Share Your iPhone Screen with PC and Record iOS Screen

By using Apeaksoft iOS Screen Recorder, you can capture all on-screen activities from your iPhone to PC wirelessly. For instance, you can record gameplay videos, tutorials and other videos with a large display.

Moreover, there are much editing filters you can use while recording the iPhone screen. This program is compatible with all Apple smartphones running iOS 7.1 to iOS 12.

Mirror and record the iPhone/iPad/iPod touch screen on your PC with no lag.

Capture on-screen live contents from any iDevice in real time.

Export the recorded HD video in MP4 format by default.

Customize the screen recording settings freely to meet your needs.

Work with all iOS devices, such as iPhone XS Max/XS/XR/X, iPhone 8, iPhone 7, iPhone 6 and more.

Step 1 Connect to the same local area network

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Free download and install iOS Screen Recorder on your PC. To start with, you need to connect your iPhone and computer to the same Wi-Fi network.

If your computer connects to the local area network, you need to put your iOS device under the same network, too. Otherwise, you may fail to share your iPhone screen.

Step 2 Share your iPhone screen to the computer

Different iOS models require different steps to mirror the screen to your PC. So you need to choose the most relevant method to share your iPhone screen.

For iOS 7/8/9:

Swipe up from the bottom of your iPhone screen, you see the Control Center. Trigger the “AirPlay” option to the “On” state, choose “Apeaksoft iOS Screen Recorder” under the “AirPlay Mirroring” list.

For iOS 10:

Tap the “AirPlay Mirroring” option in the Control Center. Later, select “Apeaksoft iOS Screen Recorder” to share your iPhone screen with the computer.

For iOS 11/12:

Open the Control Center by swiping up from the bottom. Choose the “Screen Mirroring” icon. Then you can see all available options under its list. So tap the “Apeaksoft iOS Screen Recorder” option to enable iPhone screen sharing.

Step 3 Record your iPhone screen on PC

Lg Screen Share Apple

Once the screen sharing function is triggered, you can see a gray icon with a red dot inserted on your iPhone. This button plays an important role in iPhone screen recording. You can start and stop recording your iPhone screen with this button. Once the screen recording process ends, you can see the recorded video file directly.

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Method 2: Screen Share iPhone Contents with PC Using TeamViewer

TeamViewer is a popular screen-sharing program that allows users to share the iPhone screen remotely. You can mirror iPhone and iPad screens to other mobile or desktop devices as well.

For instance, it lets you share iPad screen with another iPad using TeamViewer. All you need to do is updating your iDevice to the iOS 11/12. Then TeamViewer can do the left things effectively.

Step 1 Run TeamViewer on your iPhone and PC

Install TeamViewer Quick Support app on your iOS device. Then download TeamViewer 13 software on your PC. You need to enter the TeamViewer partner ID and password to establish the connection.

Step 2 Share your iPhone screen to PC wirelessly

You will be prompted with “Allow remote support?” on your iPhone. Choose “Allow” to confirm.

Swipe up your iPhone to access the Control Center. Tap the “Record” button. Then select “TeamViewer” followed by “Start Broadcast”. Sooner, you can see the mirrored iPhone screen on your PC.

When you want to stop sharing iPhone screen, you can choose the “Stop Broadcast” option to finish the process.

Method 3: Share an iPhone Screen with Your PC by Reflector

Reflector 3 can mirror an iPhone screen with your PC seamlessly, too. Both Windows and Mac computers are supported. Thus, you can share an iPhone screen with your Mac computer by Reflector 3, too. In another word, Reflector 3 can mirror devices using Google Cast, Miracast and AirPlay mirroring features.

Step 1 Run Reflector 3 on PC

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Download Reflector 3 from its official site on your PC. Well, you will receive the notification from Windows Firewalls. Choose “Allow” to move on. Launch Reflector 3 after the installation.

Step 2 Share your iPhone screen with PC

Turn on your iPhone. Swipe up from the bottom to get the Control Center. You need to choose the “AirPlay” icon. Then select the name of your computer from various choices. Be aware that you need to turn on the “Mirroring” toggle under the selection. Once you trigger the iPhone screen mirroring feature, you can see your iPhone displaying on the PC.

Method 4: Enable Screen Sharing from Your iPhone to PC with AirServer

AirServer can turn your Windows computer as a remote mirroring receiver. As a result, you can share the display of an iPhone or iPad through AirPlay mirroring wirelessly. Remember that you need to make sure your iPhone and computer work in the same network.

Step 1 Launch AirServer

Download AirServer on your PC. Follow its setup wizard to complete the installation. When you locate the “Activation” section, you can try its trial version or activate the program directly.

Step 2 Share the iPhone screen with PC remotely

Open the Control Center on your iOS device. Find and tap the “AirPlay” or “AirPlay Mirroring” option. Later, you can trigger the iPhone screen sharing feature. There is no need to prepare a lightning USB cable.

Screen Share Iphone To Lg

Method 5: Share an iPhone Screen with PC Using LonelyScreen

LonelyScreen can cast your iPhone screen to a PC or Mac, just like what a TV used to do. Consequently, you can share the display of your iPhone or iPad with more people. Furthermore, LonelyScreen allows users to share the captured iPhone screen video to YouTube or Vimeo by one click.

Step 1 Run LonelyScreen software on PC

Visit the official site of LonelyScreen. Download and install the latest version on your computer including Windows 10/8/8.1/7/Vista, etc.

Step 2 Share the screen of your iPhone to PC

Head to the Control Center on your iPhone, you can swipe up from the bottom to access it quickly. Enable the AirPlay mirroring feature manually. You can find this icon near the bottom of your iPhone screen. Tap an icon with the name of your computer.

Once the “Mirroring” icon turns green, it means you can start to share the iPhone screen immediately.

Part 2: Frequently-asked Questions about Screen Sharing Your iPhone

In spite of those methods, you may want to mirror the iPhone screen to other digital devices. Therefore, this section introduces hot questions while sharing an iPhone screen. You can read and check if you have the same problem.

Question 1: How Can I Share My iPhone Screen with The LG TV

Answer 1: LG TVs are popular in the smart TV market. Many people are attracted by LG TVs because of the WebOS and Netcast features mainly. So it is quite common to mirror the iPhone screen to a LG TV. During this time, you can use Video & TV Cast for LG TV to solve the problem.

Step 1 Connect your iPhone and LG TV to the same Wi-Fi network.

Step 2 Download and LG TV screen sharing app from App Store.

Step 3 Open your LG TV and locate the “TV cast” section.

Step 4 Run the “LG Content Store” and enter your IP address.

Step 5 Choose “OK” to confirm the iPhone screen sharing on your LG TV.

Question 2: How Do I Mirror My iPhone to My Samsung Smart TV

Answer 2: You need to put your iPhone and Samsung Smart TV under the same Wi-Fi network. Well, Mirror for Samsung TV is a screen mirroring app you can use. Though you need to pay $4.99 to unlock all features.

Step 1 Download Mirror for Samsung TV app on your iPhone.

Step 2 Find and tap the Samsung Smart TV within the app.

Step 3 Choose “Allow” when you are prompted with the screen sharing request.

Step 4 Go back to the Mirror for Samsung TV app, then follow the on-screen guide to start sharing your iPhone screen to the TV.

Question 3: How to Share the iPhone Screen Using Skype

Answer 3: You can share photos and websites while having a Skype call with your friends. Long press the file and choose “Share” to enable Skype. However, the screen-sharing feature is not supported in the latest Skype 6 version. You are not allowed to share your screen with your contacts. But others can share their screen during the one-to-one video call.

From the above 5 methods, you can share your iPhone screen with PC easily and quickly. Still have questions about iPhone screen sharing? Please don’t hesitate to contact us. You can also share other good screen sharing software in the comments below.

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October 19, 2018 10:00 / Posted by Andrew Miller to Tips Laurie berkner video songbook.

The Simplest Way to Use AllShare Cast to Mirror Samsung Screen

What is AllShare Cast? How to use AllShare Cast dongle to mirror screen on Samsung Galaxy S3/S4/S5/S6? Get the details here to use AllShare Cast to mirror your photos and videos.

Control Mac from iPhone – 4 East Apps You Can Use for Remote Access

From this article, you can learn how to control Mac from iPhone without tech background easily. Moreover, you can get 3 excellent applications to remotely control your computer, too.

Android Screen Mirroring & Mirror Android to TV/PC/Mac

What is Android screen mirroring? How to mirror Android screen to PC/TV/Mac? This post will show you how to use Chromecast, Rokku, Amazon Fire TV, Miracast, and Xbox One/360 to do it.

If you do not want to watch a movie sitting in front of your Mac, you can share your Mac screen to TV and enjoy the movie on a larger screen. Also, this can help you display a presentation or any files from your Mac to your TV if you are discussing a topic in a large audience. Luckily, there are top screen mirroring tools that can help you screen share Mac to LG TV. Check out these tools below.

Top 3 Tools to Mirror Mac to LG TV

LG Smart Share

To connect Mac to TV, you can rely on the built-in screen mirroring feature of the LG TV – Smart Share. This feature allows you to mirror your phone, tablet, and PC, and Mac to LG TV including the audio-visual capability of the devices. With this, streaming videos and watching movies are highly enjoyable as these movies and being casted on a wider screen. Just follow the simple and easy steps below to mirror Mac to TV.

Using your TV remote to navigate to the Smart Share feature of your TV.

On your Mac, click the AirPlay icon located on the right side of the Menu bar. Select your LG TV then choose the name of your Mac to connect.

Your Mac is now mirrored to your LG TV.

LetsView

Next, we have LetsView. This amazing screen mirroring tool can help you cast your Mac’s screen to your LG TV in no time. It is useful for entertainment, app presentations, meetings, livestream, and also teaching because of its high-quality screen mirroring display. To learn how to use this tool to cast and stream Mac to LG TV, simply follow the steps below.

Go to the official website of LetsView and download the application on your Mac. Also, install LetsView for TV on your LG TV. You can also click the button below to get the tool.

On your Mac, launch the app and click Computer Screen Mirroring.

Input the PIN code displayed on your TV to connect your Mac to your LG TV.

How To Screen Share On Lg Tv

ApowerMirror

ApowerMirror is also a great tool for screen mirroring Mac to LG TV. This top screen mirroring tool allows you to connect your Mac to your LG TV smoothly with a high definition resolution. You can stream videos, browse photos, display files, and many more with this tool. Check out the steps below to learn how to mirror Mac to LG TV.

Screen Share Iphone To Lg Tv Youtube

Get the app and have it installed on your Mac and LG TV. Run the app once installed.

Go to your Mac and click TV option on the application’s interface.

Enter the PIN code and click the Start mirroring button.

Then your Mac will be connected and mirrored to your TV immediately.

Screen Share Iphone Lg Tv Free

Conclusion

These are the best screen mirroring tools for you to cast Mac to LG Smart TV. All listed tools are helpful and feasible when it comes to using your LG TV as an external screen for your Mac. Moreover, these methods and tools are safe, easy, and free to use. Just choose the one that fits your needs best.

Related posts:

[itssiennatheasian]

How to Paint a Spirit Day Inspired Illustration in Procreate

What You'll Be Creating

Spirit Day, celebrated in October, is about supporting the LGBTQ+ community and taking a stand against bullying. We'll show some support for this day and its cause in this Spirit Day inspired illustration tutorial. 

Please note that Procreate is required for this tutorial, as well as a compatible pen. This tutorial was created using an iPad Pro and an Apple Pencil. My setup includes an extra wide pen holder/cushion for added support and a matte screen protector, to give the screen more tooth.

1. How to Create a Sketch in Procreate

Step 1

First, let's start with a New Canvas. Select the Plus Sign in the upper, right-hand portion of Procreate. We'll select Create Custom Size.

Step 2

Now, input your desired dimensions. I worked at 10 inches by 8 inches. I like to work at 300 dpi, so it's a resolution appropriate for printing. 

Step 3

When creating the sketch, I like to use the 6B Pencil under Sketching. It has a lovely texture and is generally great to use, right out the box!

Step 4

Here's a look at my settings for my 6B Pencil. You'll notice that I didn't stray far from the defaults, although I do like to raise the Size Limits. 

I also like to create a new Color Palette for myself, so I can quickly save any colors I might want to reference later. You can do so by clicking below the Color Wheel. To Save a Color, simply click within your palette. 

Step 5

Create a New Layer by clicking on the Plus Sign in the Layers Panel. I like to keep my artwork on a separate layer, so it's easier to manipulate as I go along.

In this case, I drew each character in a different color. This helps me block out where the different parts of the body are and how they interact with each other. 

Again, you can select different colors via the Colors Panel. In the screenshot below, it is the green circle (as I have green selected).

I wanted to draw a hug to visually symbolize support and love. I thought a wing might be a fun addition, as support and compassion can feel heaven-sent, when dealing with something damaging, like bullying. 

Step 6

I created another Layer to experiment with other aspects of the illustration, like the clothing and hair.

Step 7

Once I was pleased with my work, I Merged my Layers and then Lowered the Opacity of the Combined Layer. 

Step 8

Now, using my rough work as my guide, I began to draw a more refined sketch on a New Layer, on top of my initial work. 

I hesitate to call this "line art" because I like to paint on top of my lines. This is just a stylistic choice; I enjoy continually painting on top of my work and manipulating it that way. That's the method we'll experiment with in this tutorial. 

2. How to Add the Initial Colors in Procreate

Step 1

Once I've finished my refined sketch, I like to alter the color of the lines. In this case, I thought I might like them a little lighter. 

Click on the Adjustments Icon in the upper left-hand side of Procreate. Then, select Hue, Saturation, Brightness. This will bring up three sliders that you can use to alter the Hue, Saturation, and Brightness of the selected Layer. 

Step 2

When adding my initial colors, I like to do so on top of my lines. Here, I've created a New Layer and set its Blending Mode to Multiply. Notice how the color also alters the color of the lines. 

Step 3

Proceed in the same fashion for the other colors in the illustration. I often like to separate each color on its own Layer, as it makes it easier to adjust them if need be. 

Step 4

Once I'm happy with my color choices, I like to Flatten all of them into one Layer. This helps prevent some color overlap that was giving me undesired results on my lines.

3. How to Paint a Background in Procreate

Step 1

Now, let's create a simple background. First, I started by Creating a New Layer below the character artwork. Fill this Layer will a blue color. You can do this by selecting the Layer and then choosing Fill.

Step 2

I wanted to set these characters against the sky, because I thought that would help illustrate a free and uplifting feeling. 

Under Organic, I chose the Cotton Brush. We'll use this to paint some clouds. 

Step 3

Create a New Layer between the layer containing the character art and the layer with the blue fill. 

Using the Cotton Brush, create the basic shapes of our clouds. Notice that my Brush Opacity is around 50%. I used a light blue color that is a little lighter than the background.

Step 4

Create a New Layer above the one we just worked on. Raise the Opacity of your Brush, and begin adding lighter values. 

Step 5

Next, Create a New Layer above the one we just worked on. This time, I used the background color to create little "gaps" between the clouds. Again, this is all using the Cotton Brush with its default settings.

Step 6

Once I was happy with my clouds, I Merged my Layers. Again, you can do this by selecting the Layer you want to Merge and choosing Merge Down.

4. How to Add the Initial Shadows

Step 1

Now, let's decide where our light source is and add some initial shadows.

To do so, Create a New Layer on top of the character art. Set this Layer's Blending Mode to Multiply. At this point, I don't really worry about things being perfect. Instead, I just messily experiment with color and placement. In this case, I used a light purple color. 

Step 2

To clean up those edges, however, we can use Procreate's Selection Tools. Select the Selection Icon, highlighted below in blue. With my character artwork Layer selected, I chose Automatic, and then selected the background area. 

Step 3

This is what my selected work looks like. Now, I can easily erase the content outside of this area. Note that my Shadow Layer is selected now, as that's where I wanted to remove extra content.

Step 4

Moving forward, I'm going to use the Soft Pastel Brush a lot. It has a really nice texture to it, and I like to use it for softer edges in the composition. 

Step 5

Please note these other key points, now that we have all the basics laid out. 

Procreate makes it very easy to "pick up" color, and I do this often while I'm painting. Just touch and hold, and a circle will pop up, as shown below. In this example, I've picked up the brown in the character's hair.

The Brush Size and Brush Opacity are also a very important part of my process. I highly recommend experimenting with them and adjusting them regularly!

5. How to Refine and Blend in Procreate

Step 1

At this point, I'm ready to start refining my work. In areas like the face, I like to keep things softer and smoother. I used a Soft Pastel Brush to do so. 

Personally, I like to achieve a soft look in two ways. First, I adjust the Brush Opacity and take advantage of the pen's sensitivity. Secondly, I continually lift mid values as I paint and use them to blend.

For harder edges, I like to go back to my 6B Pencil Brush. For example, I used this brush on the eyelashes.

Step 2

I applied this premise to the skin areas, as I generally like to portray them as smooth. You'll see that I also did so in the afro textured hair. The only difference here is that I used rounder strokes and did less blending in those areas.

Step 3

Clothing folds, however, are different from skin. My work is stylized, so there's room for interpretation, but folds tend to have a harsher presence, in general. In this case, I want to maintain some harsher edges and a little less softness. 

I achieved this using the Soft Pastel Brush with varied Size and Opacity. However, if I need a harsher edge, again, I like to go back to the 6B Pencil. 

Step 4

However, this raises the question: "How do you know where folds go?" I generally like to think about the basic shapes that the cloth is wrapped around. For example, arms are generally cylindrical shapes. Therefore, the folds should look as if they naturally fall in a way inspired by this shape, as illustrated in pink, below. 

Step 5

The second character (in the background) has a different hair type. I'd like it to look straighter, so I want it to have visible strands. To start this off, I created a New Layer and used a 6B Brush to begin to define the direction the hair flows and falls on the head.

Step 6

Then, Create a New Layer with the Blending Mode set to Add. I used a Soft Pastel Brush and a light brown color to place down some initial highlights. 

Step 7

Finally, Create a New Layer and use it to build and refine the hair. I like to "pull" color directly from the illustration, so I know I'm using colors inspired by what I've already drawn. Keep the direction of the hair in mind; these lines and shapes should flow with it and not be haphazard.  

6. How to Add the Finishing Touches

Step 1

Now, on to the finishing touches. I wanted the foreground character to wear a heart earring that visually relates to the LGBTQ+ flag. This would further visually communicate the Spirit Day message. I drew this using a 6B Pencil Brush.

Step 2

Then, I wanted to push my shadows a little further. I did so on a New Layer with the Blending Mode set to Multiply. I used a light purple, again, as I did initially. 

With these added values down, I could place even more refinement on top, on another New Layer. This is great for minor tweaks like cleaning up lines and edges.

Step 3

I also wanted to push the lighter values further, too. So, I created a New Layer and set its Blending Mode to Add. Then, using a Soft Pastel Brush, I applied large, soft areas of color, using a light brown.

Step 4

Finally, let's take a look at the wing. Select Alpha Lock to maintain the Layer's edges. With this selected, I could easily use a Soft Pastel Brush to apply whites and blues to this area. 

To soften it, however, I applied a slight Gaussian Blur in the Adjustments Panel, as shown below. Make sure to Turn Off the Alpha Lock first!

Awesome Work, You're Done!

We've created a Spirit Day inspired illustration—I hope it inspires you to create your own works, as well as spread love and compassion, not only on Spirit Day, but every day!

If you enjoyed this tutorial, here are some others that you might enjoy!

How to Draw & Paint a Rainbow Date Duo in Adobe Photoshop

Love comes in so many beautiful shapes and colors! In this tutorial, we'll draw and paint a happy, colorful couple in Adobe Photoshop.

Daisy Ein

05 Jun 2018

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How to Create an Awareness Avatar Action in Adobe Photoshop

Join us as we celebrate Spirit Day to rally against teen bullying. In this tutorial, we'll create a Photoshop action to create a purple themed avatar for...

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How to Draw People

Here you'll find a list of great free tutorials to learn how to draw humans—everything from gesture to anatomy, hands, feet, and other details. Every...

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from Envato Tuts+ Design & Illustration https://ift.tt/2CoW2vC via http://www.webmasterforum.ws/rankwyz-discount-code-2015-coupons/

#Envato Tuts+ Design & Illustration

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Deke’s Techniques

Title: Deke’s Techniques ID: 789179d7a2766e48952a94501b4700b6 Original Page: Deke’s Techniques Released: 1/13/2011 Duration: 144h 31m Author: Deke McClelland Level: Intermediate Category: Photography Subject Tags: Design Techniques Design Photography Raw Processing Software Tags: Illustrator Photoshop Description: This course is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.Note: Because this is an ongoing series, viewers will not receive a certificate of completion.

Course Content: (Please leave comment if course url is broken)

884 Faking a GoPro over-under shot

885 Developing your over-under in Camera Raw

860 Using an iPad as a Sidecar drawing tablet

861 Introducing Adobe Fresco for the iPad

862 Adobe Fresco paints halftone patterns

863 Live brushes in Adobe Fresco

864 Using oil brushes in Adobe Fresco

865 Masking layers in Adobe Fresco

866 Repurposing and inverting masks

867 Vector brushes in Adobe Fresco

868 Opening Fresco art in Photoshop

869 Customizing the Auto Color command

870 Camera Raw 12: Panoramas with fill edges

871 Developing your panorama in Camera Raw

872 Healing with Clone Source plus Diffusion

873 The improved Simplify command in Illustrator 2020

874 Filling in any post-Simplify gaps

875 Posterizing colors, in the style of “Hair”

876 Recoloring art with the Paint Bucket tool

878 Adjusting your poster art dynamically

877 Posterizing colors nondestructively

879 Hiding the Filmstrip in Camera Raw

880 Making an awful photograph awesome

881 What if Rembrandt had painted sea lions?

882 Recolor a freeform gradient in Illustrator

883 Recoloring a gradient using a color group

767 Mandala patterns in Photoshop CC 2019

768 Painting a free-form mandala pattern

769 Painting mandala-style dot patterns

770 Coloring your mandala pattern

771 The final full-color mandala

772 Illustrator CC 2019 new preview mode

773 Illustrator CC 2019 presentation mode

774 Global edit in Illustrator CC 2019

775 Applying a global edit from the control panel

776 Freeform gradients in Illustrator CC 2019

777 Freeform gradients: Points versus lines

778 Freeform gradient limitations

779 Crop and develop a great white shark

780 Sharpening your great white shark

781 Low vibrance and high saturation

782 Vibrance, saturation, and sharpness

783 Actioning a full-color hedcut in Photoshop

784 Recording an action to play all actions

785 Draw something, color the outlines

786 Combining multiple works of line art

787 Group your line art, clip to the group

788 Coloring outside your line art in Photoshop

789 Flip horizontal view in Photoshop CC 2019

790 Creating a White Walker in Photoshop

791 The White Walker begins

792 Giving a guy a digital shave in Photoshop

793 Carving deep wrinkles or scars into skin

794 Shading the White Walker’s deep-set brows

795 Creating pale, lifeless lips in Photoshop

796 Giving your White Walker glowing blue eyes

797 Adding some creepy lifeless pupils

798 Adding a cold and gloomy background

799 Adding cold and brittle snowflakes

800 Using the Transparency Shapes Layer option

801 Combining a radial filter with a range mask

802 Flipping a photograph in Camera Raw

803 An actual dream effect, in Photoshop

804 Augmenting your Photoshop dream

805 Applying distortions as Smart Filters

806 Combining distortions with blend modes

807 Drawing a 24-sided star in negative space

808 Making your star a repeating hex pattern

809 Shading your star pattern in Illustrator

810 Creating a gradient pattern in Illustrator

811 Making one pattern fade into another

812 Welcome to my seamlessly repeating summer

813 Drawing a cubical gobstopper in Illustrator

814 Creating a pattern of gobstoppers

815 Aligning your many gobstoppers

816 Blending line textures in Illustrator

817 Combining object blends with a pattern

818 Carving cubical holes into cubical objects

819 Nesting gradients inside a pattern

820 Drawing 3D isometric arrows in Illustrator

821 Positioning the tips of your arrows

822 Filling in the gaps in a repeating pattern

823 Drawing cartoon teeth aligned to the hair

824 Drawing a triangular cartoon eye

825 Adding windows to the houses pattern

826 Creating a perfectly tessellating pattern

827 Op art experiment 4: Triangle tunnels

828 Expressing your triangles as a hex pattern

829 Adding color to your triangle tunnels

830 Recoloring your triangle tunnels

831 Creating rainbow gradients with blends

832 The downside of using blends in patterns

833 Drawing an impossible trident in Illustrator

834 Shading an impossible trident with gradients

835 Painting paths with opposing gradients

836 Adding impossible shadows in Illustrator

837 Drawing an impossible hex object

838 Creating impossible latticework

839 Painting like Joan Miró in Adobe Sketch

840 Painting a watercolor wash background

841 Signing your artwork like Joan Miró

842 Opening your Sketch artwork in Photoshop

843 Enlarging your Miró to poster size

844 What if Joan Miró had met Jordan Peele?

845 Coloring your terrifying Miró/“Us” scene

846 Painting a Rorschach background

848 What to do when Content-Aware Fill fails?

847 Finishing your “Us” artwork in Photoshop

849 Hand turkey 2019

850 Tracing your actual hand on an iPad

851 Drawing a highly articulated hand

852 Adding color to your hand-drawn hand

853 Painting your hand-drawn fingernails

854 A hand becomes a Thanksgiving hand turkey

855 Painting the turkey’s tail feathers

856 What’s wrong with this drop shadow?

857 Introducing Photoshop for the iPad

858 Photoshop for the iPad: Part 2

859 Photoshop for the iPad: Part 3

669 Customizing a QR code in Photoshop

670 Adding more color to your QR code

671 Coffer illusion and the hidden circles

672 Filling out the hidden circles illusion

673 Shading the panels in a Coffer illusion

674 Drawing a classic “café wall” illusion

675 Skewing your crazy café walls in Illustrator

676 Creating a “magical checkers” illusion

677 Swapping magical checkers for dots

678 Reversing the direction of your illusion

679 Decorating your illusion

680 Adding more and more gizmos

681 Connecting the gizmos wirelessly

682 Drawing a Wi-Fi symbol in Illustrator

683 Drawing the official Bluetooth logo

684 Introducing Trajan Color Concept

685 Trajan Color Concept in Illustrator CC

686 Using stylistic sets in Photoshop CC

687 Using stylistic sets in Illustrator CC

688 Creating gradient molecules in Photoshop

689 Sharpening your very soft molecules

690 Editing your smart-filtered molecules

691 Exploring regular molecule patterns

692 Blending opposing rows of colorful molecules

693 Sharpening molecules with High Pass

694 Creating shimmering cells in Illustrator

695 Turning regular hexagons into organic cells

696 Enhancing your organic cells in Photoshop

697 Making dead cells spring to life

698 Creating letters with accordion extrusions

699 Combining object blends with skews

700 Making one object blend cut through another

701 Making one object blend slice across another

702 Object blends and dynamic distortions in Illustrator

703 Another random distortion: Roughen

704 Dynamic warp distortions: Fish and Twist

705 Adding a dynamic background, part 1

706 Adding a dynamic background, part 2

707 “Quieting down” an overly elaborate design

708 The Marvel disintegration effect

709 Building up more flakes and ashes

710 Enhancing and masking your disintegration

711 Turning your flakes into dull, dead ash

712 Jogging your memory with the Note tool

713 Contour mapping with Distort > Displace

714 Contour map + gradient map

715 Contour map + arbitrary map

716 Riffing on a contour map in Photoshop

717 Smoothing out jagged contour lines

718 Contour mapping for cash in Photoshop

719 Infusing an image with the color of money

720 Simulating an adjustment layer in Illustrator

721 Drawing a stylish computer key

722 Spelling a word in computer keys

723 Creating a faux hedcut in Photoshop

724 Tracing outlines around your hedcut

725 Creating a full-color hedcut effect

726 Creating an E.T. moon in Photoshop

727 Adding a forest of trees for your E.T. moon

728 Combining the best of E.T. and Jurassic Park

729 Tracing vectors with a universal glow

730 Creative uses for Content-Aware Fill

731 Creating a porthole to a far-away galaxy

732 Enhancing your crazy space porthole

733 Creating a galaxy of rushing stars

734 Using the Puppet Warp tool in Illustrator CC

735 Illustrator Puppet Warp tips and tricks

736 Puppet-Warping very complicated selections

737 Shift-P for Puppet Warp!

738 Introducing the Pentagon Patterns

739 Types 1–5: The Reinhardt pentagons

740 Types 6–8: The Kershner pentagons

741 Type 10: The James pentagon

742 Types 9, 11, 12, and 13: The Rice pentagons

743 Type 14: The Stein pentagon

744 Creating a type 15 pentagon in Illustrator

745 Tessellating your type 15 pentagon

746 Expressing pentagons as proper tile patterns

747 Applying and modifying a tile pattern

748 Combining complementary patterns

749 Combining a tile pattern with a photograph

750 Adjusting a tile pattern to fit its photo

751 Creating a creepy Candy Keeper in Photoshop

752 Enhancing the Candy Keeper text

753 Creating an old monster movie poster

754 Adding a monochrome halftone effect

755 Enhancing a special word, such as “Haunted”

756 Cheating letters into an ancient border

757 Naming an adjustment layer as you create it

758 Under the sea in strict monochrome

759 Backscatter and split toning

760 Sampling any color outside Photoshop

761 Designing a vector-based logo in Photoshop

762 Free-transforming shape layers

763 Adding a photo element to your vector logo

764 High-resolution snowflakes in Photoshop

765 Enhancing your big, juicy snowflakes

766 Adding a snowflake bokeh “on the lens”

576 Creating a two-way portrait in Photoshop CC

577 Quick-and-dirty chalk type in Photoshop

578 Creating spray-painted stencil type

579 Adding drips to your spray-paint type

580 Symbols and spaces in Illustrator CC 2017

581 The wacky world of live polygons

582 Creating custom arrowheads in Illustrator

583 Creating custom line caps in Illustrator

584 Creating tinted arrowheads in Illustrator

585 Designing multicolor arrowheads

586 Multicolor arrowheads emojis

587 Customizing a new document in Illustrator

588 Creating trendy Twirl art in Photoshop

589 Creating symmetrical Twirl art

590 Turning a face into a piece of Twirl art

591 Increasing the resolution of your Twirl art

592 Capturing a screen that can’t be captured

593 Adding color and grid lines to a histogram

594 Creating an LCD screen effect in Photoshop

595 Mastering Adobe Illustrator 88

596 Fixing jagged Illustrator art in Photoshop

597 Fixing problems with an AI smart object

598 Center-stroking letters in Illustrator

599 Hand-drawing inline character strokes

600 Cropping inline strokes with an opacity mask

601 Oodles of differently angled screw heads

602 Creating dynamic inlines using Offset Path

603 Drawing a half circle in Keynote

604 Using the Pen tool in Keynote

605 Auto-stitching scanned artwork in Photoshop

606 Auto-trimming without clipping artwork

607 Creating crinkled paper with Clouds

608 Making your crinkled paper even crinklier

609 Bringing back Refine Mask in Photoshop CC

610 Power up with dekeKeys for Photoshop CC

611 Creating your own shortcuts in Photoshop

612 Every keyboard shortcut for Photoshop CC

613 Creating a multipage doc in Photoshop CC

614 Photoshop CC artboard tips and tricks

615 Exporting a multipage PDF from Photoshop CC

617 Photoshop Clouds pattern variations

616 Seamless patterns with the Clouds filter

618 Healing with a pattern in Photoshop

619 Creating a vector-based gradient mask in Photoshop

620 Creating a multicolor vignette in Photoshop

621 Excluding elements from your custom vignette

622 Masking like a pro with Photoshop’s Pen tool

623 Contrast: bright image, dark background

624 Tattoo your face in Photoshop

625 Drawing tattoos with the Pen tool

626 Selecting and masking eyes in Photoshop

627 Selecting and masking ruby-red lips

628 Pasting Photoshop paths into Illustrator

631 The 2017 American Solar Eclipse

632 Smoothing out a noisy universe in Photoshop

633 Designing an intriguing cube logo

634 Stroking your logo with mitered corners

635 Turning an orthogonal cube into a pattern

636 Turning a photo into a Chuck Close effect

637 Making a seamless pattern of paint splotches

638 Imbuing your Chuck Close effect with color

639 Infusing more colors into the midtones

640 Creating a wrapped logo in Illustrator

641 Enhancing your wrapped logo

642 Creating a gently blanketed logo

643 Completing your gently blanketed logo

644 Modify a TIFF clipping path in Illustrator

645 Modify an EPS clipping path in Illustrator

646 The best way to mask an image in Illustrator

647 Dr. Frankenstein’s monstrous emoji

648 Frankenstein’s emoji’s eyelids and brow

649 Frankenstein’s emoji’s rippling hair

650 Frankenstein’s emoji’s mouth and scar

651 Frankenstein’s emoji’s iconic neck bolts

652 Drawing HAL 9000 from 2001: A Space Odyssey

653 Adding realistic reflections to HAL’s eye

654 Op art experiment 3a: Volumetric waves

655 Op art experiment 3b: Rolling windows

656 Create a concentric ring logo in Illustrator

657 Create an octagon of concentric rings

658 Automatically converting circles to diamonds

659 Drawing a perfect snowflake in Illustrator

660 Adding lines to your snowflake pattern

661 Enhancing a perfect snowflake in Photoshop

662 Editing a smart snowflake in Illustrator

663 Creating a gradient sunset in Photoshop

664 Simulate a total solar eclipse in Camera Raw

665 Celebrating the winter solstice at Carhenge

666 Adding a time lapse of partial eclipses

667 Oh Illustrator, where is your Control panel?

668 Downsizing the massive Properties panel

486 Creating high-resolution ice type in Photoshop

487 Editing type inside a nested smart object

488 Introducing PixelSquid: 3D for 2D designers

489 Creating your own Jurassic Park in Photoshop

490 Lighting up a dinosaur’s eyes and teeth

491 Combining Field Blur with a depth mask

492 Helping your dinosaur escape to the big city

493 War of the Worlds: The sun attacks!

494 Weaving tendrils of lightning into a cloud

495 Turning off Live Rectangle widgets in Illustrator CC

496 More Live Shapes: ellipses and polygons

497 Turning off the new CC Start screen

498 Correcting shadows with Dehaze

499 Creating an infrared/snow effect in Photoshop

500 Creating a custom angry emoji in Illustrator

501 Adjusting your emoji to match Apple’s style

502 Exporting your emoji as a device-compatible PNG file

503 Elongating a snake in Photoshop

504 Blackening an animal to create a silhouette

505 Two ways to select a silhouette in Photoshop

506 Moving and scaling a selection outline

507 Auto-tracing a masterpiece in Illustrator

508 Drawing a dynamic atom symbol in Illustrator

509 Rotating your atom with electrons intact

510 Applying Knockout Group to a dynamic path

511 Solving the world’s problems with Illustrator’s Rasterize effect

512 Blending multiple shots to better frame a photo

513 Rebuilding an octopus’s garden

514 Turning a logo into a star in Illustrator

515 Dressing up your logo star

516 Using chromatic-style fonts in Illustrator

517 Using chromatic-style fonts in Photoshop

518 Casting 3D font shadows in Illustrator

519 Creating a pattern in Adobe Capture

520 Bringing Capture patterns into Photoshop

521 Creating an authentic Möbius strip in Illustrator

522 Coloring the Möbius strip with Live Paint

523 Shading your authentic Möbius strip with gradients

524 Masking a Tilt-Shift landscape in Photoshop

525 Combining Multiple Group Photos

526 Introducing Adobe Photoshop Sketch

527 More fun with Adobe Sketch

528 Tracing a photograph in Adobe Sketch

529 Tracing facial features with the Ink Pen

530 Painting with the Blend and Combine modes

531 Lips, eyes, and specular highlights

532 Painting hair with Pencil and Marker Brush

533 Blending a photo with your Sketch art

534 Tweening a layer’s position and opacity

535 Tweening new layers across existing frames

536 Turning the world upside-down in Photoshop

537 Zooming thru the universe with Photoshop

538 Turning a panorama into a tiny planet

629 Drawing a kern-perfect logo in Illustrator

630 More kern-perfect, now with overlap

539 Adding depth and shading to your tiny planet

540 Rendering a person in chrome

541 Creating a fiery blast in Photoshop

542 Rendering a person in liquid metal

543 Creating a better screen shot

544 Recording a screen shot action

545 Drawing a bacterium with Gradient Mesh

546 Drawing randomly waving pili (or hairs)

547 How Bézier curves really truly work

548 Drawing Bézier time and tangent lines

549 Drawing a complex network of lattice lines

550 How many dots can you see at once?

551 Creating a scintillating grid in Illustrator

552 The two-thirds rule of Bézier curves

553 Creating a classic neon sign in Illustrator

554 Adding real-world neon light fluctuations

555 Connecting neon letters with dark blockouts

556 Creating photorealistic neon in Photoshop

557 Photoshop CC’s top-secret banana tool

558 Toast and transient witticisms (Easter eggs)

559 Creating a hovering head in Photoshop

560 Connecting head and neck with a grisly spine

561 Projecting simple shapes into 3D perspective

562 Creating an American flag in Photoshop

563 Creating a field of 50 evenly spaced stars

564 Designing an M.C. Escher-like tessellation

565 Completing your Escher-inspired creature

566 Making an M.C. Escher-inspired hex pattern

567 Designing matching pattern variations

568 Creating a Doctor Strange–like mirror world

569 Replacing one mirror world with others

570 Creating wildly purple supervillain eyes

571 Adding ominous crystallized skin texture

572 Creating embroidered type in Photoshop

573 Stitching the letters in a script font

574 Cheerful holiday trees in Photoshop CC

575 Lighting your holiday trees in Photoshop CC

377 Two ways to create center guides in Photoshop

378 A new way to create center guides in Photoshop CC

379 Two ways to create center guides in Illustrator

380 Clearing the list of recently used fonts in InDesign

381 Two ways to search fonts in InDesign CC

382 Drawing flowering vectors in Illustrator

383 Stroking the petals to create a lattice effect

384 Creating a flowering origami effect

385 Painting shapes with transitional gradients

386 Correcting the brightness and banding of a printed image

387 Further reducing banding with a gradient layer

388 Smoothing away noise with the Mean stack mode

389 Developing a sweetly romantic tropical island

390 Creating a Caribbean blue sea with Photo Filter

391 Creating letters chiseled into stone

392 Adding a chiseled border

393 Assembling MRI slices into a 3D volume

394 Assigning multiple strokes to gradient type in Illustrator

395 Filling in the gaps between stroked letters

396 Fragmenting a photo through ribbed glass

397 Applying a displacement map with the Glass filter

398 Infusing an image with vivid nightclub colors

399 Adding MDNA-inspired bands of color

400 Patching badly displaced edges

401 Styling type with a pattern of vertical lines

402 Reshaping letterforms to match the intervals of a pattern

403 Swapping one image for another with smart objects

404 Forging a million-dollar stamp in Photoshop

405 Masking graphic frames and natural edges

406 Matching a real-world paper texture

407 Casting multiple drop shadows in Photoshop

408 Developing an awesome angelfish in Camera Raw

409 Tweaking a fish photo to perfection

410 Assigning spot colors to a logo in Photoshop

411 Blending spot colors inside a logo

412 Exporting spot-color separations from Photoshop

413 Exporting spot-color separations from Illustrator

414 The latest and greatest 2015 Facebook image specifications

415 Creating the perfect Facebook cover photo 2015

416 Extending your profile picture into your Facebook cover photo

417 Preparing images for your Facebook timeline

418 Converting all corner points in a drawing to smooth points

419 Adding field blurs to a vector-based illustration

420 Great uses for Color and Gradient Overlay

421 Easter Island

422 Creating a string of pearls in Illustrator

423 Drawing a letter to match a dingbat font

424 Assembling an interior, vertical panorama

425 Developing a dark and stormy photo in Photoshop

426 Developing a dark and stormy photo in Lightroom

427 Sharpening your dark and stormy photo for print

428 Auto-blending multiple depths of field

429 Assigning multiple strokes in Photoshop CC 2015

430 Combining multiple drop shadows to create faux-3D type

431 Combining multiple Color and Gradient Overlay effects

432 Removing unwanted perspective from a photo

433 Correcting the perspective of a single image element

434 Extracting an unmodified photo from a Smart Object

435 Extracting a raw photo from a Smart Object

436 Orthogonal pattern 1: The boxed towers

437 Repeating a tile pattern Brick by Row

438 Refining the color scheme of your tile pattern

439 Orthogonal pattern 2: Which way is up?

440 Upping the number of colors in a dynamic pattern

441 Achieving real pointillism with the Pointillize filter

442 Adding Emboss to give your painting depth

443 Blending multiple motion photos

444 Creating a wildly colorful High Pass effect

445 Correct in Lab and leave a smooth histogram

446 Combining the best of Lab and Camera Raw

447 Wrapping a gradient around a circle in Illustrator

448 Blending gradients with the Saturation blend mode

449 Using the Join tool in Illustrator CC

450 Using Illustrator’s Shape Builder tool

451 Wrapping text around a graphic in Illustrator

452 Curly quotes and the Smart Punctuation command

453 Creating the perfect smartphone home/lock screen

454 Creating a smartphone graphic in Photoshop

455 Islamic design 1: Flirting with geometric genius

456 Islamic design 2: The eight eight-pointed stars

457 Islamic design 3: Connecting the pieces

458 Islamic design 4: Completing the corners

459 Islamic design 5: Coloring and sculpting

460 Islamic design 6: Photoshopping the pattern

461 Creating a bat-faced moon in Photoshop

462 Cartoon bat 1: Drawing the head

463 Cartoon bat 2: Drawing the bodies

464 Cartooning the moon!

465 Changing a daytime scene to night

466 Lighting up the windows of a dark mansion

467 Adding a moon to a nighttime sky

468 Adding a ghost to your haunted mansion

469 Creating a custom Dual Brush in Photoshop

470 Adding texture to your custom brush

471 Framing a photo with a custom brush

472 Creating place cards for your holiday dinner

473 Tracing your guests with the new Pencil tool

474 Coloring your guests with the Live Paint Bucket

475 Drawing a custom coloring-book place card

476 Drawing a generic male place card

477 Coloring your cartoon place cards in Illustrator

478 Removing power lines from a photo

479 Turning a utility pole into a tree trunk

480 Creating candy cane type in Photoshop

481 The seamlessly repeating candy cane pattern

482 Adding snow to your holiday design

483 Making a little boy fly in Photoshop

484 Creating blast trails with Motion Blur

485 Masking clouds with the Quick Selection tool

282 Ringing in the New Year with dynamic effects in Illustrator

283 Dynamically transforming fills and strokes

284 Tracing an avatar from a photograph in Photoshop

285 Drawing a vector-based avatar in Illustrator

286 Coloring and shading your avatar

287 Exporting an illustration as a universally supported PNG file

288 Upsampling a layered composition with great results

289 Rebuilding a pattern at a higher resolution

290 Painting happy little trees

291 Shading and lighting the happy forest

292 Enlarging a low-res photograph in Photoshop

293 Enlarging a photo by tracing it in Illustrator

294 Mastering Exposure in Camera Raw

295 Super smooth and unflinchingly sharp

296 Deleting an inadvertent photo bomber

297 Correcting a distorted panorama

298 Rebuilding bad stitching in a panorama

299 Nondestructive dodge and burn

300 Blending a shadow into any background

301 Saving a PNG image with a translucent shadow

302 Cleaning up a smart phone photo

303 Using Photoshop 1.0

304 Creating your own Chinese seal (or chop)

305 Simulating hand lettering with art brushes

306 Adding texture to your hand stamp

307 Creating a black chop on red paper

308 Auto-hiding iconic panels in Photoshop

309 Creating a custom toolbox in Illustrator CC

310 Creating the perfect passport photo

311 Retouching your passport photo

312 Turning a photo into a giant mural

313 Enhancing the reality of your mural

314 Creating a 3D bump map

315 UV overlay and 3D bump paint

316 Using Lens Flare for good (not evil)

317 Using the Perspective Crop tool

318 Reducing real-world camera shake

319 Reducing glare in a photograph

320 Restoring repeating details

321 Integrating a detail captured with a phone

322 Blending two exposures of a single scene

323 Masking mountains away from sky

324 Creating a photographic caricature in Photoshop

325 Exaggerating facial features with Liquify

326 Masking a caricature against a new background

327 Shading and sharpening a caricature

328 Drawing a Möbius strip in Illustrator

329 Shading the Möbius strip with gradients

330 Adding twisting edges to the Möbius strip

331 Creating an impossible Penrose triangle

332 Shading the cubes in your Penrose triangle

333 Selectively converting a photo to black & white

334 Straightening and “uncropping” a photo

335 Restoring a missing photograph detail

336 Drawing a hand (clenched in a fist)

337 Cleaning up a sketch captured with a phone

338 Four hands united in brotherhood, solidarity, and teamwork

339 Swapping out colors in existing gradients in Illustrator

340 Select > Focus Area and the pseudo engraving effect

341 Integrating 3D art into a 2D scene in Photoshop

342 Creating a 3D shark in Photoshop

343 Creating a 3D doughnut in Illustrator

344 Creating a golden 3D ring in Illustrator

345 Mapping Elven runes (or text) onto a 3D ring

346 Hand-drawing custom-made letters in Illustrator

347 Drawing letters with curves and holes

348 Enhancing your hand-drawn text in Photoshop

349 Mixing a low-color photo with Camera Raw

350 Mixing a low-color photo with adjustment layers

351 Saving your effect as a color lookup table

352 Extracting a classic painting from its frame

353 Extracting that same painting nondestructively

354 Archiving and enhancing a child’s art

355 Combining a child’s art with a real classic

356 Developing the perfect sunset in Camera Raw

357 Lush landscapes: The real green is yellow

358 Painting away Camera Raw “Clarity halos”

359 Selectively sharpening a stressed photograph

360 Transforming yourself into a Dark Elf

361 Hand-masking the elf against a vivid background

362 Making the Dark Elf that much darker

363 Developing a photograph of The Joker

364 Carving expression lines into The Joker’s face

365 Creating a campaign poster in Illustrator

366 Creating a Prohibition (or Universal No) symbol

367 Using Photoshop CC’s new Flame Generator

368 Creating cool Flame Generator art

369 Setting type on fire with the Flame Generator

370 Blending synthetic flames with type

371 Creating secret-message type in Photoshop

372 Animating a continuously morphing message

373 Creating a piece of Minecraft-inspired art

374 Extruding your Minecraft art into 3D space

375 Adding a big-pixel, Minecraft background

376 Developing the perfect holiday portrait

185 Creating a custom 2013 calendar in Illustrator

186 Adding dates to a calendar using tables

187 Branding your calendar with a field of logos

188 Crafting an Infinity symbol to match a specific font

189 Op art experiment 1a: Inflated checkers

190 Op art experiment 1b: Rounded windows

191 Building a universal ISOTYPE man with strokes

192 Building a universal ISOTYPE woman with strokes

193 Drawing an ISOTYPE couple in love

194 Creating a Warhol-style silkscreen effect

195 Creating a series of Warhol-style variations

196 Adding Warhol-style background variations

197 Creating opaque colored shadows

198 Assembling multiple variations into a single comp

199 Creating a pattern of unique inset circles

200 Changing a static blended color scheme

201 Op art experiment 2a: Undulating pattern

202 Op art experiment 2b: Concentric rings

203 Developing a dramatic castle in Camera Raw

204 Artificially coloring a photo in Camera Raw

205 Creating an antique photo effect in Camera Raw

206 Adding a weathered old-photo frame effect

207 Drawing an Angry Birds-like character

208 Stroking an entire layer in Illustrator

209 Drawing a classic snarling cartoon face

210 Drawing a radiant, cheerful cartoon background

211 Stroking any kind of type in Illustrator

212 Creating synthetic water droplets

213 Simulating liquid reflections with effect

214 Simulating liquid refractions with a dmap

215 Creating an eye-catching splatter effect

216 Defringing purples and greens in Camera Raw 7

217 Making a danger sign more dangerous

218 Using texture and depth to add realism

219 Precisely aligning artwork to the bleed

220 Creating and importing a tracing template

221 Drawing a distinctive 2D video game character

222 Adding features to the face of a 2D character

223 Creating a vivid aura around an entire character

224 Adding variable-width strokes in Illustrator

225 Animating bird wings with Puppet Warp

226 Animating text by onion skinning in Photoshop

227 Creating an animated movie in Photoshop

228 Exporting an animation to QuickTime and GIF

229 Correcting an underwater photograph

230 Making a photo razor-sharp and porcelain-smooth

231 Reducing noise in a high-ISO shot with Camera Raw

232 Creating highly reflective sunglasses

233 Adding drama to an outdoor portrait shot

234 Creating volumetric forms with shape layers

235 Creating a bloodshot eye effect

236 Shading an image with shapes and layer masks

237 Creating fabric textures with pattern layers

238 Colorize any layer with Color Overlay

239 Turning a portrait into a dot drawing

240 Creating a full-color dot drawing

241 Drawing an orthogonal cube with the line tool

242 Creating a cube of differently colored cubes

243 Recreating the Creative Cloud Logo in Illustrator

244 Creating a psychedelic fabric texture

245 Turning psychedelic fabric into rock letters

246 Creating a more finely rendered dot drawing

247 Converting from RGB to CMYK via Multichannel

248 Creating printer-safe CMYK shadows

249 Creating bright, golden motion trails

250 Creating schematic art with grid

251 Drawing precisely aligned arrowhead

252 Adding arrowheads around a closed path

253 Drawing the Pen tool without touching the Pen tool

254 Merging frames for the best possible UAV photo

255 Retouching details in an aerial landscape

256 Editing a video and adding transitions in Photoshop

257 Importing the quadcopter crash sequences

258 Color correcting a video and adding a soundtrack

259 Adding precisely timed titles to your video

260 Hand-painting an image with a Wacom Cintiq

261 Blending the final false-color artwork

262 Creating a honeycomb pattern in Illustrator

263 Building up strokes to create 3D honeycomb

264 Turning yourself into a zombie

265 Enhancing an ambience environment for the undead

266 Creating dripping, gooey ghost letters

267 Turning type into gooey green slime

268 Creating heavy metal type (updated for Photoshop CS6 and CC)

269 Cleaning up a crummy product shot

270 Scaling and rotating photographic objects

271 Tracing a line drawing with uniform strokes

272 Coloring line art using Live Paint Bucket

273 Creating a pigture using shapes and letters

274 Integrating a cartoon into a photograph

275 Converting a photo into a Lichtenstein drawing

276 Adding bring Ben-Day dots and a talk balloon

277 Painting an eye using a custom brush

278 Painting and smoothing straight-sided brushstrokes

279 Simulating pressure with path outlines

280 Developing a 32-bit HDR image in Camera Raw

281 Converting from 32-bit to the more flexible 8-bit mode

091 Removing people from a photo

092 Masking people back into a photo

093 Hand-painting a mask

094 Masking a real-life shadow

095 Turning a photo into line art

096 Adding a crosshatch shading pattern

097 Creating type that inverts anything behind it

098 Creating auto-inverting line art

099 Creating movie poster credits

100 Creating a dual-focus hybrid image

101 Adding text to a hybrid composition

102 Drawing with the reshape tool

103 Hand-drawing a really great letter

104 Creating a vanity frame

105 Adding a frame to a photograph

106 Drawing a highly graphic explosion with Illustrator

107 Drawing a Ninja Turtle nose

108 Mapping a dog face onto a duck

109 Putting a tongue on a duck

110 Making synthetic lightning in Photoshop

111 Creating a driving rain effect in Photoshop

112 Designing a railroad track

113 Bending the railroad track around curves

114 Creating a Star Wars hologram effect

115 Creating leafy letters

116 Creating topiary type

117 Creating type in grass

118 Rendering type in smoke

119 Rendering type in brushed metal

120 Adding brushed copper effect

121 Reflecting type in water

122 Reflecting water back into type

123 Joining type to a circle

124 Making flared type on a circle

125 Making a person emerge from water

126 Creating progressive water ripples

127 Creating an upside-down face effect

128 Achieving silky smooth skin with retouching

129 Pearly white teeth

130 Head-shrinking

131 Getting a big head

132 Adding a photographic texture to vector type

133 Adding strokes in back of photo type

134 Adding a border to an image in Illustrator

135 Two ways to crop in Illustrator

136 Inventing a 3D temple with a depth map

137 Drawing a 3D object with Curves

138 Creating a superhero shield in Illustrator

139 Turning Illustrator paths into Photoshop shapes

140 Creating a photorealistic superhero shield

141 Pimping your ride in Photoshop

142 Masking and blackening a car

143 Drawing a multi-part vector mask

144 Masking and painting a shadow

145 Integrating blades of grass into tires

146 Making a (ridiculously) dramatic sky

147 Adding flame stripes to a car

148 Creating interlocking octagons in Illustrator

149 Hand-coloring line art

150 Creating a custom wave pattern

151 Simulating a screen print

152 Drawing a perfect linear spiral in Illustrator

153 Drawing a spiraling nautilus shell

154 Designing a hex pattern in Illustrator CS6

155 Making a hex pattern in Illustrator CS5 and earlier

156 Creating a Facebook cover in Photoshop

157 Matching a profile picture to your cover

158 Cloning yourself in Photoshop

159 Lighting the clone party

160 Hand-carving letters into wood

161 Creating a Spirograph-like pattern

162 Tracing scalloped gear teeth around a circle

163 Applying custom carve and shadow styles to type

164 Turning a pencil sketch into digital ink

165 Adding a graph-paper background

166 Creating a continuous single-line Spirograph

167 Scaling circles into complex patterns

168 Creating a money-like design

169 Attack of the killer pumpkin

170 Simulating a glowing Jack-o-lantern

171 The headless stranger in the mist

172 Creating 3D punched letters

173 Designing a double-wave line pattern

174 Assembling a seamless pattern brush

175 Creating a hand turkey in Photoshop

176 Creating a depth-of-field cast shadow

177 Creating a lustrous round jewel

178 Cutting and brushing light on a gem

179 Creating a shiny button with inset text

180 Creating a jaunty six-sided star

181 Interweaving star shapes and adding gradients

182 Casting shadows between interwoven shapes

183 Creating a Hobbit-like text effect

184 Enhancing a landscape photo in Camera Raw 7

001 Creating ice type

002 Branding type on a texture

003 Creating an image-branding machine

004 Capturing effects with layer comps

005 Rendering type in gold

006 Creating a hammered metal background

007 Creating heavy metal type

008 Creating a molten letter effect

009 Setting type on fire

010 Using an anti-edge mask

011 Blending textures onto a face

012 Rendering a face as a cave painting

013 Creating a reflection in shattered glass

014 Creating a face in a tree

015 Building a synthetic star field

016 Making 3D type with Repoussé

017 Casting 3D shadows and reflections

018 Adjusting 3D light sources

019 Masking highlights and shadows

020 Masking glass

021 High key high contrast

022 Simulating sub-pixel rendering

023 Fixing chromatic aberrations in Photoshop

024 Fixing chromatic aberrations in Camera Raw

025 Correcting red-eye like a pro

026 Turning a photo into an ink drawing

027 Turning a photo into a pencil sketch

028 Creating a seamlessly repeating pattern

029 Repairing seams in a repeating pattern

030 Creating a 3D pie chart

031 Splitting and modifying 3D meshes

032 Using the Ground Plane Shadow Catcher

033 Creating a talk show-style curtain

034 Assembling a flawless panorama

035 Removing people with image stacks

036 Creative stacking with Maximum and Range

037 Creating synthetic wood grain

038 Making slats of uniquely textured wood

039 Kerning within a single character

040 Creating a raised bevel effect

041 Putting wings on a horse

042 Creating a classic heart in Illustrator

043 Glossing up a heart in Photoshop

044 Shooting and assembling a stereoscopic photo

045 Extending 3D beyond the screen plane

046 Adding stereo 3D text and shapes

047 Tilting text and shapes toward the viewer

048 Creating a shooting star in Illustrator

049 Using blends to draw path outlines

050 Inventing custom starbursts

051 Making a fictional creature

052 Transforming a creature into a monster

053 Capturing a monster in motion

054 Changing the color of a car

055 Painting a colorful car black

056 Coloring the stripes on a zebra

057 Drawing trendy swirls in Illustrator

058 Creating variable-width and brushed swirls

059 Drawing trendy ornaments in Illustrator

060 Designing a magically updating pattern

061 Automatically collapsing a selection

062 Adding a magnifying glass into a design

063 Healing one eye onto another

064 Creating a giant command key

065 Drawing common symbols part 1

066 Drawing common symbols part 2

067 Filtering images with Camera Raw

068 Creating a vivid HDR effect

069 Creating an ambigram in Illustrator

070 Making a two-word ambigram

071 Drawing a Halloween scareflake

072 Creating true clones in Illustrator

073 Taking your scareflakes into Photoshop

074 Making a faux HDR image in Lab

075 Turning a guy into a zombie

076 Miniaturizing the world in Photoshop

077 Creating a synthetic rainbow

078 Casting an artificial shadow from a layer

079 Rendering a portrait in type

080 Rendering a portrait in tile patterns

081 Rotating a pattern layer in Photoshop

082 Tracing an image with path outlines

083 Turning path outlines into a vector mask

084 Drawing rays of light in Photoshop

085 Drawing concentric glow rings

086 Designing an Indiana Jones-style logo

087 Achieving mitered corners in Photoshop

088 Masking with Blunt Instruments in Photoshop

089 Creating a stained-glass ornament

090 Designing a stained-glass window

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