4

Match what's there in most instances and whenever possible. The light is stationary, therefore all object should cast the same angle shadow. The closer together objects are, the similar the shadow angle will be. Based on the plant in that photo, the primary light source is almost directly in front of the plant. If you draw lines to indicate the shadow on ...


4

There's no such thing as a CMYK gold. What you need is a special color which should be marked as 'spot' color in your source file and shaped like the logo and header text. Convert text to outlines and the logo to a single color then apply a pink to all these and make it a 'spot' pink set to 'overprint'. No, I don't know how to do that in Photoshop, but I'm ...


4

If you're using one of the newest Photoshops (2018..2020), it has Brush Smoothing ON by default. You can find the setting in the Tool menu on the top: values greater than zero will make brush follow the cursor with some delay to allow to smooth flickering and hand shaking. Here's the difference between drawing with smoothing and without: Note that I also ...


3

Well I'm sure this is not as 'creative' as your management probably expects you to go into Einstein-mode and invent what nobody else did, but.. moving away from floppies and drives and all that explicit symbolism, you can just type the name of the action and use a good old checkmark. You're done working, so you 'Save and Close', right?


2

A few quick thoughts from an architectural and technical illustrator and renderer on shadows & shadow colours: Shadow colour is complex, and is driven by a number of factors: local tone of the object onto which the shadow is being cast, the colours of the various direct light sources in the space, and the incident or bounced light colour contributions ...


2

In fact you don't need a lot to get there - a hue-saturation-lightness adjustment and a curves adjustment should do it pretty quickly. I masked the laptop screen image mostly, and the popup in front, but left the hand impacted by the blue-shifting and lower lightlevel and higher contrast one typically finds in night scenes - and got to this pretty quickly. ...


1

Select Move Tool V If Auto-Select is on, Shift+Click on a layer you want to add to selection. If Auto-Select is off, Cmd+Shift+Click. On Windows it'll be Ctrl instead of Cmd


1

On Windows I'd go with AHK. This script will remap Numpad Enter to Ctrl+Numpad Enter only for Illustrator: #NoEnv ; Recommended for performance and compatibility with future AutoHotkey releases. #Warn ; Enable warnings to assist with detecting common errors. #SingleInstance force SendMode Input ; Recommended for new scripts due to its superior speed and ...


1

Someone on GD.SE commented that I don't know how light and perspective works. Moreover, the product I placed here near plant is in wrong plane. In this scene, the viewer has the perception of looking slightly down onto the bench top. In other words, the horizon, if you could see it, would be high in the image. So the top face of the box, sitting well below ...


1

Let's do it. First, convert the file to Lab mode. Select the L channel. Increase the black a little to make it more black. I used Levels with black output to 10. Now we can use the L channel to load a selection.Ctrl + LMB. Back to Layers panel, I created two new Layers and fill then using the colors I show in the image below. alt + Shift + Delete. After ...


1

Nice compositing btw, congratulations. Every "color" has color, even black. But to be more precise we could refer as hue when the color is not completely unsaturated. Yes, it can, because in the case of the plant, it has more than one light source, so the light behind the vase has a warm tone on it. You can also note the warm tone of the "shadow" part of ...


1

The shadow should not be plain gray, but should instead take the shade of its surrounding area. That's because of color temperature in the image, which in strong sunlight can take a slight yellow tint. Then during processing, like importing via Camera Raw, you can further manipulate the tint in a photo, which affects everything, including shadows. Then, ...


1

The problem lies at the other end of the cable: different hardware & software (PC vs Mac) sending different rendering to the same monitor. Alot of settings in both your PC and Mac can affect this, and there's no magic button to 'sync' settings affecting color rendering. If I had this problem, I would not worry much. My client will probably see a third ...


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