A few people have asked that I explain further about the Rule of Thirds. So, here is goes… Rule of Thirds is a simple composition to…
A few people have asked that I explain further about the Rule of Thirds. So, here is goes… Rule of Thirds is a simple composition tool and easy to use. It was the second element of composition that I learned and have taught it to kids as young as 10 years old. Special high-tech cameras are not necessary; R3 composition is possible with any camera, including a cheap disposable. It is a technique used not only in photography, but all forms of art and, as pointed out to me by RBer Jim Filmer, a phenomenon of nature. Rule of Thirds is the placement of the subject and other elements of the photograph within the frame. Divide the scene into equal thirds horrizontally, then vertivally, like a tic-tac-toe grid. Aim the camera so the key elements fall at the intersecting points or lines. / Examples: placement on intersecting points – focal point of color, subject’s eye, figure (building, mountain peak, person), lines- diagonal, V, C and S curves (including subtle or implied lines) placement on line – horizon, foreground, space, figure (tree, building, person, eyes, defined line (flag pole, roof) Placement off-center on the lines or intersection can create depth and dynamics to a photograph. Centering the subject makes the photo static (inactive) and sometimes flat. You can easily fix many centered photo simply by cropping, either electronically/digitally or the good old fashioned way- scissors. But, why not train your eye to do this as you compose and take your picture. There are times when the Rule of Thirds needs to be broken, such as reflections, create symmetry or harmony. However, It is still in use, as you are centering the subject within the lines. Hope this answers everyone’s questions. I’d like to show more examples, but I haven’t figured out yet how to put a picture in this journal entry box (I’m techno dumb), plus, I’ve seen so many better examples from other RB photographers than my own work. Excellent examples in the Photography 101 group.
REDBUBBLE Team Thank you very much for Featuring my Sunset photo:))) You have created a WONDERFUL SITE! I am very Happy with it and thank…
REDBUBBLE Team Thank you very much for Featuring my Sunset photo:))) You have created a WONDERFUL SITE! I am very Happy with it and thanks to LoisBryan too for inviting me here. I wish all the Best to REDBUBBLE and a LOT of Sales! Kind regards, Tereza Del Pilar My Dear Friends thank you so much for your kindness and lovely words. You make my day, when you come to visit my work.:)) Wishing you all the Very Best! Tereza Del Pilar. >
Guys, just wanna share a link with all of you… I was always eager to learn… / Interesting articles about *Digital Photography Composit…
Guys, just wanna share a link with all of you… I was always eager to learn… / Interesting articles about Digital Photography Composition.. / You can find here information about: * The Rule of Thirds * Working the Lines in Your Photography (how to use horizontal, vertical and diagonal lines) * Finding Fresh Angles to Shoot From * Photographing Children – Composition * Getting Horizons Horizontal * Getting Images Straight * Fill Your Frame * The Importance of Focal Points * Creating Active Space – Photographing Moving Subjects * Getting Backgrounds Right * Framing Your Shots * How to Use Converging Lines to Enhance Your Photography * 4 Rules of Composition for Landscape Photography * How to Break the ‘Rules’ of Photography May be this will help someone to improve and develop the passion for photography we all share… / Photography Composition Tips / Cheers, / Vicky
Thank you Redbubble for featuring my photograph Stripes… in the art s…
Thank you Redbubble for featuring my photograph Stripes… in the art section of the Home Page! :) / Julian
click Me I am speechless and cannot thank you enough Navybrat
Rich colors, excellent composition, amazing details, beautiful all round photo art can be found right here...
Rich colors, excellent composition, amazing details, beautiful all round photo art can be found right here. / That’s Kaushik Rabha, and here’s a teaser:
The Fine Art Composite group has feature another of my works, Once In A Dream!! I’m…
The Fine Art Composite group has feature another of my works, Once In A Dream!! I’m just totally blown away and thrilled to be included with the amazing work in this new group. I’m just excited that this group now exists. Thanks Vonne and the other administrators for featuring my work. I’m so appreciative!!:-) /
Ragman has put together some journals covering some basics of doing it right when it comes to ar…
Ragman has put together some journals covering some basics of doing it right when it comes to art/photography. Here are some of the excerpts from his up-coming book. Very worthwhile reading, for everyone, IMHO! I’ll add this to my list of handy tips and tricks, so it’s easy to find from my profile page. Concept / Context / Content / Constructs / Composition / Capture / Chance / Canvas / Camera and Computer / Creative Connection
/ Thanks to the Group for this great feature…Appreciated very much
Ok, I thought I’d give back what I’ve learned since so many people on the Internet have helped me out! If you already know this and I’m t…
Ok, I thought I’d give back what I’ve learned since so many people on the Internet have helped me out! If you already know this and I’m the only one who just figured it out recently, then I’ll slap myself silly and call it a day LOL. Today, I’d like to show you how to get the most in terms of pixels on your subject, without cropping or enlarging the actual subject. We all know that when you crop an image, you lose pixels, when you enlarge, you may get blur depending on the software you use. I use Photoshop CS and CS4 (recently got). Let’s take this picture as an example. / It’s a nice tight shot taken vertically with some white space all around her. I have learned to frame my subjects like this and ensure I have space all around, because later I can have more options to work with. Now with that image, all you can pretty much do is print vertically, which is ok. Now let’s say you wanted to achieve the same shot but framer her to the right, like 1/3 of the picture for an interesting composition. With you camera, you would turn it sideways and have to “zoom out” to fit her in the right or left side and have all that white space on either side. Now, it will be a great image, except now your subject has gotten much smaller in terms of the overall portrait. Get it? You got that shot, but you had to lose out on the size of the subject. So if you cropped or enlarged, you would lose out a bit on pixels and maximum enlargement size. Well I just learned that the crop tool, ain’t just for cropping in photoshop, well at least just not for cropping “down”. What I’m about to show you will work mostly on solid white or black backdrops, with very little effort, since colors will match perfectly. You can do it with other shades of white, but you will have some cloning, dodging or burning to do. I opened Kaylie’s picture, the one I took vertically against a solid white backdrop that was overexposed. In photoshop, I took the crop tool and dragged it over the entire photo. Then instead of dragging one side in to crop it smaller, i dragged it “out”, making my canvas larger! Before doing this, i made sure my swatch color was white. After I expanded the crop to one side, I hit enter. This made the canvas size larger and filled it in with the white color from my swatch! Really in like less than 2 minutes! Now you see the same image with Kaylie on the right and all this white space on the left, looking as if I shot it this way. But, you will notice now that it is landscape and Kaylie’s body size remains the same, so we have not lost any pixels on her. ! So now we have an image that works either in portrait or landscape printing! You can also do this in case you wanted a subject centered, etc. You can also do this by increasing canvas size, etc, but this is quick and super easy! This works great if you shoot musicians or anything that later may require that extra white space for words for a poster or CD cover, etc. Final image: / Please note that this image wasn’t completely white, so I did some cloning in the final image. But you will get the point I’m trying to make in this tutorial. Let me know if you have any questions! Enjoy! xoxo / Jen
Go on have some very nice listening with my latest track; the colours of the mind. MUSCULARTEETH...
Go on have some very nice listening with my latest track; the colours of the mind. MUSCULARTEETH the track will autoplay.
For those of you who like to work with textures, I have decided to share a lot of my photos that I use in my composites. Not all of them…
For those of you who like to work with textures, I have decided to share a lot of my photos that I use in my composites. Not all of them, mind you! I worked hard to create some of them, so I will hold on to them jealously for a little while longer. In any case, there are a little more than 50 of them in a special album of my Flickr account, under Creative Commons licence. Most are big images with the larger side at over 3000px. I you use them, I would appreciate if you could give me proper credit and a link back to my Flickr home page as mentioned in the description of each image. Click on the image below to go to my texture album. Please note that only the images from that album are stock resources and free for the taking. All other albums are protected by copyright . Enjoy! Featured in TUTORIALS – Help and Advice Forums on May 7, 2009
Hi everyone / A good friend here on RB asked me to help out with a new group which has just been accepted and we need some members please…
Hi everyone / A good friend here on RB asked me to help out with a new group which has just been accepted and we need some members please !! All Original Fusion is a group specifically for layering or composite images ,the layered work must only be from your own images or artwork also collaborations with other RB artists as long as the art originally derived from this site,so if you have something that you feel suitable for the group ,think you may try and dabble with this type of PS work in the future or indeed would just like to give some support etc to others submitting we would love to see you there ! also if you think anyone you know may be interested and has this type of work l would appreciate you spreading the word around :-)) Thanks as always everyone and have a great Tuesday :-)) Trudi xx
!http://images-3.redbubble.net/img/art/border:blackwithdetail/product:laminated-print/size:large/view:preview/3389701-2-listen-to-your-he…
A huge thank you to the Animal Composites and Fine Art Group and the voters for my recent Challenge win with Listen to your heart! The group has also featured my work again and added me as their first featured member as well! / I was also asked to do an Interview for this wonderful group, something I’m not too good at, but I gave it a go…... / So thank you so much Colleen for the feature, featured member and interview, I’m over the moon and so very grateful! This image is also number one in 30 days most popular pages which is a huge first for me as well…. Oh and I also sold a card a few days ago too, so thank you very much to the secret buyer!! xx Trace / :)
I found this interesting little summary of 10 Top Photography Composition Rules...
I found this interesting little summary of 10 Top Photography Composition Rules at amateursnapper,com It gives brief descriptions, and examples, of: 1. The Rule of Thirds. / 2. Balancing Elements. / 3. Leading Lines. / 4. Symmetry and Patterns / 5. Viewpoint. / 6. Background. / 7. Create Depth. / 8. Framing. / 9. Cropping. / 10. Experimentation.
/ There are a lot of…
/ There are a lot of things regarding this image that remain as a complete mystery to me up to this day. / First weird thing was the choice of the main figure. All of sudden one day I decided to create a 3D rendered image by recreating Mata Hari, the Dutch-Frisian exotic dancer and courtesan who was executed by firing squad for espionage during World War I. Why I choose Mata Hari? Mmmm…Heaven knows! / And this was the image of her that I intented to recreate. / So I opened my cinema 4D software, imported Victoria 4 (the basic female Poser figure) into it by using the InterPoser plugin; then I positioned her in a similar pose to that of Mata Hari, and from that point on I started the hard task to create/build rest of elements such as cloths, hairdo and accessories. Considering that I just wanted to recreate the original image, and not to make an exact copy of it, I decided to take some liberties regarding most of these elements. / This was the first result. The original idea was that of obtaining an alpha image so that it´d be relatively easy to create a convenient background for it. / I exported it into Photoshop and started experimenting with several background options, mainly outdoors photographs from old buildings. Then I realized that there was a problem with the camera angle; none of the available background options matched with the original camera angle; so, to make things short, have to say that none of them finally worked out . / So I had to went back to cinema 4D in order to create a background for the main image. I tried with different options with no acceptable results till I recall I had this portentous Temple Of Megaera, a DAZ 3D product I had bought some time ago. This time I made a full render _ main figure plus the Temple_ avoiding hard shadows. I still don´t know why I took this decision; cause I use to work with well defined shadows, mostly the hard ones. / Then, I went back to Photoshop again. I resized the canvas in order to concentrate the view on the main character. I knew I had to give up the idea of using a full color image and that it´d be necessary to desaturate it in order to give it a vintage look; but how? / Well, those were the days when I first met Redbubble, and I was deeply impressed by artists such as Martin Muir and Headcrime, also WanderingSoulArt _ navybrat came later to me, or it was viceversa?_ just to mention a few of those ones who can achieve highly impressive artistic results by texturing and blending layers, that´s to say, the compositing techniques. So I ask myself: why not trying to do something similar with this image? / So I search the web for some free textures. I found very interesting sites, image*after, for instance, which is a large online free photo collection. I downloaded one of their free texture images _ sorry, don´t remember which one_ and blended it with the original render by using the overlay mode. ( I had previously desaturated the original image). / And this was the resulting image. / / Have to confess that I never thought of having these results. All I wanted was to create an image with a vintage feel. It was more of “let´s see what I can do with this”, just a simple try, I mean. / Now, one of the main mysteries for me resides on the wide acceptance that this image has had among viewers: 67 comments, 51 favoritings and 2380 views. / But what impresses me the most are comments such as “…it reminds me of an old horror ghost film”, “a little scary”, “haunting”, “very eerie and mysterious”, “the creepy subject, textures and fantastic background…”. / Needless to say I´m more than honoured by these and other comments viewers have made for this image. But now you can see that I was miles away from trying to create a haunting, or creepy, or even a ghostly looking of it. Honest. / I´m very proud of VIntage Study No. 1 and it´s been my pleasure to share this image, as well as the process of creating it with all of you. Thanks a lot for your kind support. / .
Many of us already know and use the rule of thirds, however if you have a photo that doesn’t fit the rule of thirds there are other optio…
Many of us already know and use the rule of thirds, however if you have a photo that doesn’t fit the rule of thirds there are other options you can consider for obtaining a astetically pleasing composition. One of them is the “Golden Ratio” if you want to learn more about that some good reading can be found here. Here are some templates if you want to use them as a learning tool. You may flip them over or rotate them to fit your scene. Just delete the white background and size them to your image and you can see where the composition might be better if positioned or cropped to the golden ration or the rule of thirds. Feel free to download this. / Golden Triangle / and the Golden Spiral /
Thank you to the person who purchased a card of “Letters From Paris”. / It’s very special to me since it’s a composite photo I created of …
Thank you to the person who purchased a card of “Letters From Paris”. / It’s very special to me since it’s a composite photo I created of my mom (1917-1996) from an old b&w photo: Letters From Paris /
2 Weeks Turns 10 is featured in Cee’s Fun, Artsy Friends...
2 Weeks Turns 10 is featured in Cee’s Fun, Artsy Friends / Thanks to the group hosts for this feature:) /
The aim of this Guide is to provide easy-to-follow step-by-step instructions on how to add clouds to an image which has an otherwise blan…
The aim of this Guide is to provide easy-to-follow step-by-step instructions on how to add clouds to an image which has an otherwise blank sky, without the necessity of being a Photoshop guru to achieve it. Many stunning images on RB are in fact composites, with clouds being brought in from another image to add impact. (Sometimes you can’t easily tell!) It works very well and can transform an image. I have only uploaded to RB one artwork which is a composite of two shots, one being clouds: The original image of the building was clear sky – not a cloud in sight – and was thus a bit bland and boring and a perfect candidate for some cosmetic surgery. This tutorial was prompted by a request to explain how I did it. I still call myself “new to Photoshop” and I have found a lot of on-line Photoshop tutorials, including some others on RB, assume a much higher level of knowledge than I have and are not very intuitive. So, I try to explain the steps in easy to understand terms (hopefully!) and, importantly, describe what each step should look like after it’s done. So if you are not seeing the result of each step replicated on your screen, you know you have to stop and try again. If this happens, go to the top toolbar, select Edit then Undo [whatever it is you’ve just done] from the drop-down menu and try again. (Many many tutorials lose me when they fail to include this vital “check back”.) This tutorial is my longest one yet, given the patience I apply, but once you get the hang of the actions, you will find the process rather quick to do. If you have already read and followed my Orton Effect tutorial (now updated and expanded to include thumbnails), you’ll know what I mean, hopefully, so don’t be put off by this one. I explain the steps based on using Photoshop Elements 7, but users of more advanced Photoshop programs will be able to follow the same steps. I also have Photoshop CS2 (v9.0), for example, and there’s only one slight difference from the PE 7 interface from what I can tell, which I will point out where it’s relevant. If you want to refer back to this tutorial at leisure, feel free to favourite it as I never delete my tutorials. (After all, they’re more popular than my images!) In writing this tutorial I just want to point out a few things. First, I have not read a single tutorial by someone else on this particular process, and the words are all mine. I wish to also acknowledge that Tatiana originally showed me this process. She’s so patient dealing with my impatience! And, finally, there is more than one way to skin a cat, and there is more than one way to achieve what I describe. I’m just relating the method shown to me. Another popular method involves masking. There are LOTS of tutorials on masking. If I have the time and the inclination I will update this tutorial later to include the steps for masking as an alternate process – it’s a completely different path to take to achieve the same result. Lastly, please excuse the standard of screenshots. They’re my first ever attempt at including graphics in a tutorial, or anything for that matter! OK, here we go. Ready? Step One Clouds. You need some cloud photos. Beg, borrow or steal some, or better still, shoot some. I have a folder of nothing but cloud photos. Any day the sky puts on a show I will try and shoot the clouds, just to save them for later use. If you shoot some clouds in JPEG, make sure you shoot them in colour – you can always desaturate to B&W if the image you want to use them in is also in B&W, but if you shoot them in B&W in JPEG you won’t be able to convert to colour to match a colour image. Just another reason to shoot in RAW, really. For this tutorial, however, I am going to use a colour image needing a sky and a B&W sky shot. In theory, this will look weird, and it does, but I will also show you how you can then gradually desaturate the colour image after inserting the B&W sky and achieve quite a startling effect when you leave just a touch of colour. For best results, try to have nothing else in the frame of your cloud shot but sky. No trees or power lines! (If that’s not possible then crop the crap out. But note that creates a potential problem because now your cloud shot will be a different size than the image you want to drop the sky into. That can be fixed, but let’s just worry about equally-sized images for now.) Another advantage of having a “clean” cloud shot is that you can rotate it to horizontal or vertical, depending on the aspect of the image you want to use the sky in. Here’s a little cloud photo I prepared earlier: Step Two Your main image. The one without any clouds. The one you want to insert some action into, some drama. Try to select an image with a completely blank sky. It makes it so much easier for the Magic Wand (I’ll explain later) to figure out the portion of the sky you want to replace, ie all of it. Try to also select an image with straight lines, like a building or, even better, a straight uninterrupted horizon of a landscape or seascape. If you’ve got stuff popping up into the sky, like trees, the method I describe is just made soooo much harder and you may as well stop reading now and go watch TV or a movie. (At this point, the Photoshop gurus are shaking their heads and groaning, because THEY know another method to get around this when doing composites, but we’ll leave THEM on their lofty perches, ok?) Here’s a little image I prepared earlier. You may recognise the building: Cool, but be aware of one important thing: perspective. Unless you are trying to be rather obvious in creating your composite, the perspective of your main image needs to be the same as that used to capture your chosen cloud image. The images I am using for this tutorial were shot from the same perspective, or in other words, with the lens at roughly the same angle for both shots – looking up, at around 70 degrees relative to the ground. If I was to choose instead as my main image a landscape with a horizon, the cloud image I have chosen will not be suitable unless you actually want that abstract feel. Have I explained that well? Tell me if I haven’t. Now, let’s commence cooking our composite. I will refer to my two images in this tutorial as Clouds and Building, just for ease of reference. Step Three You’ve got Photoshop Elements (“PE”) open. Now select File from the top toolbar and select Open from the drop-down menu. Choose your Building shot and open it. Ok, now look across to the right of the screen. See the Layers palette? It should be showing a thumbnail of the Building image, together with the label Background, like so: Now, once again, select File from the top toolbar and select Open from the drop-down menu. Choose your Cloud shot and open it. Look back across to the Layers palette. You should now see a thumbnail of the Cloud image, together with the label Background, like so: Now, left click and hold down the mouse on the Cloud image, and drag it to the side, just enough to show some of the sky of your Building shot. Release the mouse button. Move the mouse over to the Layers palette. Left click and hold over the thumbnail of the Cloud, and drag it over to the sky – anywhere in the sky. Release the mouse button. A copy of the Cloud image should now be “superimposed” over the Building image. Don’t worry if it doesn’t fit. Look back over to the Layers palette. You should now be seeing two thumbnails – the top one called Layer 1 which is the “front” image, and the bottom thumbnail called Background, which is your Building image, like so: Now, ignoring the Layers palette, left click on the Cloud image sitting behind the “superimposed” image. Close it. Step Four Look over to the Layers palette again. See that group of little icons just above the top thumbnail? Hover your mouse slowly over them and their functions should come up, eg the 3rd icon from the left looks like a trash can and when you hover the mouse over it a little word bar comes up saying Delete layer. Well we don’t want to do that. Instead, hover the mouse over the icon on the far left, the one that is a square with an upturned corner. It should say Create new layer. Just remember where that icon is for now. (If you are using Photoshop CS2 or CS3 or CS4, the group of icons is at the bottom of the Layers palette. Hover the mouse over the icons until you find the one that says Create new layer. Remember it.) Now, left click and hold down the mouse over the bottom thumbnail in the Layers palette – it’s the thumbnail of the Building that’s labelled Background – and drag it over to the Create new layer icon. Release the mouse. You should now see three thumbnails in the Layers palette, labelled, from top to bottom: Layer 1, Background copy, and Background, like so: Step Five This is a slightly tricky step. Another click and drag, but best done smoothly and slowly. Left click and hold down the mouse over the Background copy thumbnail in the Layers palette and drag it to just over the top of the Layer 1 thumbnail. Release the mouse. All we are doing here is reversing the order of the top and middle thumbnails, so now your Layers palette should still show three thumbnails, but now in order from top to bottom: Background copy, Layer 1, and Background, like so: Step Six Ok, now the meaty stuff starts. Look over to the left toolbar now (or palette, whatever you want to call it). Hover your mouse until you find the icon labelled Magic Wand. It looks like, um, a magic wand, but don’t confuse it with the Quick selection tool immediately below it. This is the Magic Wand icon: Click on the Magic Wand icon. Your mouse pointer should now have the distinct look of a, um, magic wand. Look up at the little toolbar immediately above the image (which, incidentally, should be of the Building). Make sure the box marked Contiguous is ticked, like so: Now left click once on the sky in the Building image. You should now see marching ants completely around the sky and along the exterior part of the building which protrudes into the sky, like so: (Believe it or not, the technical term for marching ants is …. marching ants.) Step Seven Look closely at the marching ants where they meet the edge of the building. Are there any gaps where you can see the sky? This is important, because if you don’t shift the path of the ants so that they align to the edge of the building, your new sky won’t cover that gap. Enlarge the image if you are not sure. If you see a gap, it is easily fixed. First, press and hold Shift on your keyboard. Second, left click once on the mouse on a gap. Let go the Shift key. You should immediately see those obedient ants form up against the building across the image, like so: Cool, eh? Now, go to the top horizontal toolbar and select Edit. From the drop-down menu select Delete. This will delete your bland boring sky and replace it with your new dramatic sky !!! How cool is that?! Epic. Step Eight Now we have to send the ants home. Go again to the top toolbar and select Select. From the drop-down menu now select Deselect (ha! ha! I love a good alliteration!). Your marching ants should be no more, gone in fact. Does your image look something like this? How cool is that? Step Nine Nearly done! At this juncture, you have two options. You can finish now with the image you’ve got or you can adjust the look of the Building alone and/or the Clouds alone and then finalise the image. To finish now, right click and hold the mouse over the top thumbnail in the Layers palette. Select Flatten image from the drop-down menu – it’s the last menu option: The thumbnails should have collapsed into one thumbnail, called Background, like so: You can now save your image, you’re all done! To work further on the Building alone and/or the Clouds alone, simply left click once on either the Background copy thumbnail and/or the Layer 1 thumbnail and make your adjustments as you would normally do with an image, and then flatten your image and save it. Which is what I did with this image. I simply increased the contrast on the building and desaturated it to the level where there is just a hint of colour. To alter contrast, select Enhance from the top horizontal toolbar, then select Adjust Lighting from the drop-down menu, then select Brightness/Contrast from the second drop-down menu. A separate window will open and there is your contrast slider: To desaturate, select Enhance again from the top horizontal toolbar, then select Adjust Colour from the drop-down menu, then select Adjust Hue/Saturation from the second drop-down menu. A separate window will open and there is your saturation slider: So, how does it look? Epic or what?! Cheers and happy clouding – time to get freaky !!!
I hope my English will be good enough to make it simple to understand. It has been a while I wanted to find how to make my cards fit p…
I hope my English will be good enough to make it simple to understand. It has been a while I wanted to find how to make my cards fit perfectly, so the trimming done when printed wouldn’t affect the composition at all. / I know we could avoid adding elements too close from the edges, but when it comes to traditional art, I want my paper to be filled to the edges. And I’m sure I am not the only one having older works from any art media that are full frame/page, and not wanting to lose any details from them either. After a few trials and errors, I have finally found a way that works ! / Now, I am able to adjust those works and it only takes a few seconds to make them appropriate for RB print process =) / I thought some might find this useful as well, so here is how I do it (see how to below) and a preview for you to see how it works fine. This is how it looks like in our portfolio (preview below). I know it is scary to see those borders! and I know many groups don’t allow borders to works submitted. But keep in mind that they only show up in the portfolio. / When you click the preview to see the card, no borders appear. You see it just as it will look like after RB trimmed the borders in the printing process. I hope hosts will consider it as ‘no border’ works, as it is what it will be when buyers receive their card. It would recommend to always make a preview of the card in your description, so everybody (buyers, hosts, etc) see the neat final product ! / Now, click the preview image to see the card version, if you didn’t yet =) how to for a standard minimum resolution card 1320×920 pixels at 200 dpihere’s what to do: / add 24 pixels to both sides -> (1320+48) total width should now be 1368 / add 24 pixels to the bottom -> (920+24) total height should now be 944 / For this horizontal view, the top of the card will not be trimmed (nothing to add) when doubling the size of the card (2640×1840px); / double the number of pixels on those 3 sides too (same ratio), / so you get 48px to both sides (+96px total for width) and 48px to the bottom / Your card will now be 2736×1888 pixels, and ready to be printed ;-) / . (edit-> Dec 8th) : oh ! and I forgot to say that it is also a good solution if we want borders on a work. That way, there won’t be unproportioned borders anymore / . / So this is it ! as simple as this. / I hope this will benefit to a lot of Bubblers =) / and to all hosts, feel free to give the link to this, if you think it will help to reduce rejection of works that do not fill the card or have borders. Cheers / Aimelle~
It has been a while I wanted to find how to make my cards fit perfectly, so the trimming done when printed wouldn’t affect the compositio…
It has been a while I wanted to find how to make my cards fit perfectly, so the trimming done when printed wouldn’t affect the composition at all. / I know we could avoid adding elements too close from the edges, but when it comes to traditional art, I want my paper to be filled to the edges. And I’m sure I am not the only one having older works from any art media that are full frame/page, and not wanting to lose any details in them either. After a few trials and errors, I have finally found a way that works ! / Now, I am able to adjust those works and it only takes a few seconds to make them appropriate for RB print process =) / I thought some might find this useful as well, so here is how I do it (see how to below) and let’s start with a preview for you to see how it works fine. This is how it looks like in our portfolio (preview below). I know it is scary to see those borders! and I know many groups don’t allow borders to works submitted. But keep in mind that they only show up in the portfolio. / When you click the preview to see the card, no borders appear. You see it just as it will look like after RB trimmed the borders in the printing process. I hope hosts will consider it as ‘no border’ works, as it is what it will be when buyers receive their card. I would recommend to always make a preview of the card in your description, so everybody (buyers, hosts, etc) see the neat final product ! Now, click the preview image to see the card version, if you didn’t yet =) how to for a standard minimum resolution card 1320×920 pixels at 200dpi here’s what to do: / add 24 pixels to both sides (1320+48) total width should now be 1368 / add 24 pixels to the bottom (920+24) total height should now be 944 / For this horizontal view, the top of the card will not be trimmed (nothing to add) when doubling the size of the card (2640×1840px); / double the number of pixels on those 3 sides (same ratio), / so you get 48px to both sides (+96px total for width) and 48 to the bottom / Your card will now be 2736×1888 pixels, and ready to be printed ;-) (edit-> Dec 8th) : oh ! and I forgot to say that it is also a good solution if we want borders on a work. That way, there won’t be unproportionned borders anymore / . / So this is it ! as simple as this. / I hope this will benefit to a lot of Bubblers =) / and to all hosts, feel free to give the link to this, if you think it will help to reduce rejection of works that do not fill the card or have borders. Cheers / Aimelle~
Love this site for all the detail actually is seen = ) Hope you enjoy a closer look, Hugs Vonne / ...
Love this site for all the detail actually is seen = ) Hope you enjoy a closer look, Hugs Vonne / View My Art Large! Fantasy / / Symbolism / / Storms / / Dark Fantasy
Hello all :-) I’ve just moved from my home in Thornhill to Cambridge. Since things are really busy now, I can’t spend much time here o…
Hello all :-) I’ve just moved from my home in Thornhill to Cambridge. Since things are really busy now, I can’t spend much time here on RB; though I wish I could. I’m just starting my masters: a big part of it is writing a thesis. Though I won’t be posting artwork much, I hope some people can take some interest in my progress which I am here to share (though this content is probably easier for architects to follow). / / / / During my last semester of my undergrad, I knew I wanted to do an origami related thesis. This was what I would say; and many thought it could be interesting. At the same time there were many who asked how that would relate to architecture; good question… In my mind I knew there was great potential, but it was difficult to draw those ideas out; it was difficult to present how my miniature origami could relate to architecture. While I was still in school, I sometimes answered that there could be a potential of finding a way that origami could inspire building construction; and I already knew that it has inspired nanotechnology. At the same time I knew I could draw some sort of connection in terms of presentation. / / / / I thought back about the time I began doing these miniatures; the first of which was Born from the Hand. I just folded that crane while I was daydreaming, and when I realized how small it was I thought I’d post it on Redbubble. I took some pictures; one of my earliest being this: But I wasn’t satisfied with a simple snapshot; I knew I didn’t want to only present a handmade object. After a couple more shots came up with this: Here the story of the creator and the creation unfolds; the crane being framed by the hand spoke so much more than the one simply sitting on top. / / / / Likewise architecture is not just an object sitting on the earth; as well people do not only take it for shelter. Architecture developed from the primitive hut, but as it evolved it would be built to have a relationship with the surrounding site, or to have some symbolic meaning; and it would be detailed and refined for people to experience a space in a particular way; and precision is very important for both function and beauty so everything is measured. / / The refinement of my origami presentation is important too. By that I am not only referring to the precise folding of origami (one that cannot tolerate as much error at a small size), but the set-up for a photo as well. In an image like Born from the Hand, even the slightest change in the position of my hand affected the overall perception. The process of how I got my end result reminded me a bit of the process I’ve been through during design projects at school. / First I came up with the concept of creator and creation; my “parti” being something big framing the small thing it created. (A parti refers to a diagram presenting the basic scheme or concept of an architectural design) / Then it was time to create a layout (which I see as the architectural equivalent of determining drawing a plan). Here I figure out the “building footprint”, the “programming” and the relationship between elements. / Finally I would fine tune it. In my final piece I subtly adjusted the position of my fingers to look more relaxed and natural; and that itself made a great difference (along with converting to black and white). In architecture the final steps include finalizing the exact dimensions of a room, wall thicknesses and details; even a small element such as the thickness of a column can greatly affect the overall perception of a building. In the Parthenon for example, the columns have subtle curves; the columns get narrower towards the capitals, giving the impression of an athlete trying to lift a weight, as opposed to simply being rigid support. I realized that composing a setup was as important to a photograph as the tectonics of a building; and it can go through a process recalling that of designing a building. This was what it was like for me with my very first miniature piece; it took at least 50 shots before I got a result I was satisfied with. Overtime though, I did not have to take as many photos with my later creations to get a result I was satisfied with. / In addition my ideas and presentations have evolved, where I am not only presenting objects, but I use lighting, colour, patterned surfaces or any other special effect to present another idea, create a certain mood, or a sense of movement/liveliness (kind of like determining the finishes of the building). An evolvement is also seen in architecture where, for example, the movement of the sunlight and shadows come into play, or where new technology allows for special lighting effects. / But it’s not to say that the newer creations are better. With the rise of technology, designers can move towards more elaborate and trendy designs, but we can still appreciate the simplicity of early creations. Take the Doric column for example vs. the later ionic and Corinthian, the early version is simple strong and clear. Don’t get me wrong, I’m not saying that I prefer my earlier works to my later ones, but simply that while new creations change and evolve, precedent works are still very important; like the Parthenon that is still regarded as one of the greatest achievements of mankind. As new architecture evolves, there is a great fondness for new ideas, however, those new ideas would not come into place without first understanding the fundamental principles clearly presented in earlier pieces. As I create new miniature origami pieces with new concepts, peers have been drawn to them for the way they are creatively displayed but nonetheless they are a part of a series about presenting a miniature world created by my hands; an idea that is clearly presented in Born from the Hand which seems to still be one of my most popular works today (the idea is also clearer here because I’ve folded a very traditional origami model). / / / / Now this isn’t what my thesis is all about; I have done some research on origami technology and drew connections with city culture and so on; it is more to do with making connections between things that seems so distinct (e.g. art and science, large scale buildings and nanotechnology, architecture and miniature origami… etc); a thesis inspired by my miniature origami. But even as far visual presentation goes I will probably not write that section the same way I’ve done so here; at least not all of it, but it’s still the beginning for me, and I just wanted to share my thoughts. As exciting as it is to write a thesis based on something I am very passionate about, I am often overwhelmed by how much work there is to do; a thesis is pretty much like writing a book after all, and with that much content it’s difficult to get organized. At the same time it can also get out of hand. I’m finding that my thesis can relate to a lot of things, but I would have to narrow it down to get a clear message across. Architecture does influence a lot of things so it is easy to draw out too many ideas – but hey, that might mean that even while I’ve been pursuing a hobby unrelated to architecture, I did get something out of school after all.
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