Design Challenge – designing and making a set

Design Challenge – designing and making a set


As a set designer, you will see the design from concept right through to opening night. You’re really the caretaker for that set throughout the whole process. You’re the filter, visually, for everything that happens on that stage. I don’t want people to think they need to be architects or builders or have a degree in engineering in order to be a set designer, you don’t. You need to have an awareness of space and depth and you need to be a great storyteller, you need to know how to get people to believe in a space. The process of creating a new set involves lots of collaboration and lots of discussion to begin with. I first approach a brief by talking to the director about how he wants to approach the piece. Then we do lots of research. I look at films. I look at music videos. I look at other people’s work. I look at other performances. I research past productions and themes within the piece. I research genre, period, architecture. I go to libraries I google, and then I have meetings with the director and we look at how we want to approach the piece and how we want to approach the design. Eventually, fast forwarding, we start producing a scale model. The scale model is a tool for us to work out how the performers are going to move and interact in the space. Eventually that model becomes a tool that we send to the builders in order for them to create the set in real life. A set can help to tell the story of an opera or a ballet by either being architecturally naturalistic, so it provides a recognisable backdrop, or it could be poetic and abstract, it can be providing a colour, or a mood, or a feeling. Essentially there isn’t any difference in how a set can work for opera or ballet or for straight theatre or for an installation. It’s really about supporting the art work that the director is making and hopefully the atmosphere that you create informs the character as to the world they live in and, therefore, what kind of person they are. Because if you know the world you live in, you know who you are. If you’re interested in a career in set deign, a degree is definitely useful. There are lots of great courses, I trained at Central Saint Martins. I don’t think it’s essential to have a degree, you’ve just got to have a lot of exposure to theatre, and the people that I work with on a daily basis come from all different walks of life and have had all different experiences, and it’s those different experiences that create interesting theatre, because everyone brings their own story to the table. I think as long as you have the basics, you have an understanding of scale, and shape, and space, I would say you’ve just got to volunteer in theatre and take every opportunity you can to work in theatre and tell stories. The best advice I can give to somebody designing their own set is to see as much theatre as they can, see as much of other peoples work as they can because the more you see, the more ideas you can feed upon. Ultimately, there’s no such thing as a completely original idea, all there is is an amalgamation of experiences that you’ve had, that you bring together into one cohesive final scene.

Design portfolio photography tips (w. Jon D Barker) | CharliMarieTV

Design portfolio photography tips (w. Jon D Barker) | CharliMarieTV


Hey guys today i have a very special guest
with me on my channel. this is Mr Jon D Barker and he is a freelance photographer. Mainly
I take photos of fashion bloggers, or live music. I also do bits and pieces of tour photography
so I travel around with people like Lindsey Stirling and Bastille and stuff like that
and take pictures of them whilst they’re performing out on the road. Jon is here on my channel today to give you
guys some tips for taking pictures of your work to put in your portfolio which is something
that every graphic designer has to do at some point. So I’m gonna be giving you three tips to hopefully
improve the way that you take those pictures and then get more work as a result of it. the first tip I’m gonna start with… let
me, not be looking down at this while i’m doing that. “you were just saying before that
you really hated that” yeah, I hate it when people like… So the first tip that I’m gonna give you is
the importance of having a nice clear space that you’re gonna be taking the photographs.
Not only will it make it easier for you to actually really work with what you’ve got,
but you’ve got nothing to distract other people when they’re looking at your work. Clear out
either a flat desk or a table. Don’t take it on bedsheets or something like that. it’s
done so often because it’s a convenient space. “i’ve done that” So if you’ve got a nice clean desk or something
that you can make use of, do that. it will keep all the attention on what you’re trying
to take the photo of and therefore when people look they’re not going to be looking to any
of the clutter around it. That was something that i always struggled
with when i was learning photography. My photography teacher would always tell me to look in the
corners of the frame before i took the photo, cos I was doing film photography so you couldn’t
like review your photo afterwards. you don’t really want to be cropping the image
either. as nice as it is, and we can do so much in post now with it, get it done right
at the beginning and then everything else is so much easier. the second tip with that would be working
on making sure you’ve got a nice well-lit image. That includes setting the white balance
beforehand. You can either do this by taking a photograph of a piece of paper before that
and setting your white balance to that image. How about in here we’ll put in some examples
of the white balance being wrong and it being right, so that you can see what the difference
is. yeah you don’t want it to be too warm or too
cold, you don’t want it to be too grey or anything like that. and you wanna show your work in the best light…
haha So once you’ve got a nice space and you’ve
set the lighting up as best as you can, whether that’s using soft boxes or flash guns or something
like that.. What about if you don’t have that sort of
stuff, can you use like, a a bedside lamp for example or anything like that? Is there
anything DIY? Okay so, for instance with your lamp there, you can, if you have like a sheet
of white paper or something that you can have it in front of it, it diffuses it so it makes
the light softer. So from that point you then want to frame
your image in the most important way. If you’ve used things like Instagram you’ll have noticed
that they have, they divide it into like six, so you’ve got three down the side and a line
down the middle. that’s a good way to work out where important parts of your image want
to be. You mainly want to work with the rule of thirds which is.. what is that, that’s
vertical isn’t it? yes. (giggles) Horizontal and the other one,
which is karate chops. You mainly want to be working with the vertical lines and having
key important details of your work in each of those areas. it doesn’t matter if your
image is centred, but usually the eye is drawn to the left or the right of the frame. We
do this a lot in film, and we do this a lot in the photography side of things as well. hopefully you found those tips useful. i think
i learned some as well, so hopefully you guys did too. Thank you for sharing that with us
Jon. “you’re welcome” So sincere! Make sure you go and check out Jon’s channel,
I will leave a link on his face right now. we did a video over on his channel talking
about the importance of your online presence and branding. i gave some tips on design over
there. It was much better than mine so… I don’t
know about that. thanks for watching. Make sure you give this
video a thumbs up if you enjoyed it. “and you can subscribe” oh yeah that too, thanks
Jon. “somewhere down there, you can go click on the red button” there’s a red button yeah.
“it’s worth it. she’s great. there’s so many much better videos than this. This is good
though, this is awesome, but like..” now you’re insulting the video while you’re
in it! I’ll see you guys next time. bye!

CAREERS IN GRAPHIC DESIGN – Certification Courses,Diploma,B.A,M.A in Visual Arts,Salary Package

CAREERS IN GRAPHIC DESIGN – Certification Courses,Diploma,B.A,M.A in Visual Arts,Salary Package


Welcome to our video channel on Jobs and Careers This is Elsa from Freshersworld.com Today I will be talking about career options one can have in Graphic Design Graphic design is a process which involves
process of visual communication and problem solving with the help of space, type and image.
It involves overlapping skills of visual communication and communication design and therefore, the
term ‘Graphic design’ is in use. Graphic designers use a variety of visual
media like shapes, fonts, colour on print design to convey messages. They are required
in many industries like Advertisements, Web designing, Print Industry or Film making.
It is an individual’s profession, rather than a team work. More than educational qualifications,
thrust is given on individual skills, creativity and genius. The skills used in graphic designing
are Adobe Illustrator, Photoshop, 2D, 3D designing, Art direction, Colour theory, typography,
print and editorial design etc. In general, Graphic designers work with images
as well as with text forms in order to create a design which is appealing to eyes and gives
some message. This could be included in any brochures, logos, advertisements and websites.
The images which are included in work are photographs, paintings and output of digital
media. Various Colleges, Academies and Institutes
in India provide various courses on Graphic Design in India. The courses include Certification
and Diploma courses in Graphic Design, Multimedia & Graphics, Graphics & Animation, Advertising
and Commercial Arts. There is Bachelor of Arts (BA) in Graphics design or Bachelor of
Science (B. Sc) in Multimedia, Animation and Graphics. Post graduation in arts (MA) is
available in Visual Arts and Animation. Graphic designers can get an opportunity to
work with any Graphic designer firm. Graphic designing is a growing industry and talented
people are hunted. A benefit of working in a designing firm is that one gets exposed
to variety of work and of several clients, at the same time. Some companies who have
an auxiliary branch of graphic designing hire Graphic designers on work basis. Even working
as a freelance Graphic Designer is also a lucrative and challenging job after gaining
good amount of experience in this field. Companies or institutions like newspaper, magazines,
publishers, restaurants, museums or organisations involved in any kind of public display surely
have requirements for Graphic designers. Alternative jobs like logo designing, advertisement designing,
photography editing, book & magazine layout arts, illustrators or art direction can be
taken up by a Graphic designer. A fresh Graphic designer may start with 1.5
to 2 lakhs per annum. However, a professionally experienced one can get a good remuneration,
depending upon his employer. Working with a renowned firm also includes bonus, profit
sharing and other perks along with the salary. The Indian Graphic design firms are Skyy,
Design parichay, Liquid designs, Zero designs, etc. The Internationally recognised graphic
design firms are many but to name a few top designer firms, they are Pentagram, Landor,
Meta Design, Saffron Band Consultants, Happy Cog, The Chase, Flux Design, Dessein, Labbrand,
Total Indentity Group, Litmus branding, Casa Rex, Brandient, ID&B and eat Creative.
Today, everything in the market has to be appealing to people. Therefore, with the help
of graphic designing, the message can be conveyed in more creative way than the actual thing
itself. Hope you got a glimpse of career in Graphic
Designing. We shall be back with more career options. Stay connected with freshersworld.com We will be back do not forget to hit the subscribe button

BenQ SW271 4K Review | Perfect Monitor for Photographers (srpski prevod)

BenQ SW271 4K Review | Perfect Monitor for Photographers (srpski prevod)


monitor for me is really important tool in photography and today I will be talking about Bank usw 271 professional monitor made for photographers so let’s start hey guys it’s Nemanja and welcome to another fun episode this is review of Bank usw 271 4k uhd professional monitor made for photographers and for videographers too of course for me as a professional photographer monitor is one of the most important tools in a set of tools that I’m using to create my final project my final photo manipulation that I will be later delivering to client so my workflow usually starts by grabbing a camera going outside or in studio to take all the necessary photos that I will later combine and retouch in Photoshop and in that part of my workflow camera is really important tools so I’m using a good quality camera that can produce good quality files high dynamic range raw files and I’m using a good quality lenses to have the best files that I can get to later retouch them in Photoshop after I finish all that I transfer my files on a computer and then in that moment the monitor is really really important to in my peripheral why well because if I’m using a low quality monitor with a bad color reproduction bad luminosity reproduction etc low quality panel maybe I will I will get photos retouched of course but maybe my photos will be darker or brighter than it should be because my luminosity levels are off or maybe my colors will be off because my yellow is not pure yellow maybe it’s going towards the greens etc so that’s why having the great quality monitor is really important to have a great color reproduction color accuracy wide color gamut good screen quality with good sharpness to have all details visible etc right now that we covered why the monitor is so important to let’s talk about some specs this is 27 inch size monitor with 3840 by 2160 pixels resolution with sixteen by nine aspect ratio it has 99% almost 100% coverage of Adobe RGB and 100% coverage of srgb and rec709 so this is really amazing to have almost 100% coverage of Adobe RGB for me this is really important because in my workflow I like to retouch all my images in Adobe RGB color space because I get to play with wider color gamut so I have more colors to work with and to have a monitor that can produce all those colors that you can see all those colors actually is really nice addition this monitor is HDR content support ready so that means that you will be able to enjoy in that high dynamic range content from maybe Netflix or place I’m HDR games so you will be seeing an image more like your eyes are seeing in a real life this monitor is Technicolor color certified so that means that it has the same strict standard for color accuracy used in Hollywood productions this monitor has the 10 bit display and 60 Hertz refresh rate so if you’re a gamer maybe this monitor is not a good choice for you but as I already said at the beginning this monitor is especially made for photographers and videographers too the build quality is really good it’s made out of the metal and high-quality plastic and base the stand of the monitor is nice heavy and sturdy which is really important to me because I don’t have to worry that the monitor will accidentally fall off the table if I accidentally nudge the table that actually happened to me a few years ago when I was using some lightweight monitor and you can imagine the rest the SW 271 comes with a detachable shading hood that effectively reduces the monitor screen glare resulting from ambient lighting so it will ensure superb color accuracy even in those kind of conditions and the shading hood has this really nice hole so you can put your calibrator cable true when you want to calibrate your screen the monitor has really tiny bezels as you can see and it’s really nice for to monitor setups if you’re up to it the screen can be rotated left and right and tilted up and down and of course you can adjust the screen height you can even rotate the screen by 90 degrees clockwise so you can work in portrait mode if you’re up to that and this IPS panel is visible from almost all viewing angles this monitor already comes calibrated with a calibration certificate in the box but you can always recalibrate it using some external calibrator like color monkey or spider Pro etc there variety of AI ports input/output ports on this monitor so on the bottom side you have hdmi 2.0 you have 2 minute DisplayPort 1.2 have USB type-c port which is really useful especially for Mac users because they can connect their laptops with this monitor with just one cable and then they can use card reader and USB ports on this monitor too then there is a headphone jack and of course on the bottom side there is one USB upstream port on the back side of the monitor you have SD card reader with a really nice speed of USB 3.0 and you have 2 USB 3.1 ports but there is a downside having a SD card reader and those USB ports on the back side of the monitor because they are not so easy to read you need to rotate your screen and to see where you need to plug SD card or USB on those ports the better solution will be if they could move all those ports all the way here on the edge of the monitor all the way to the side like they did on PD 3200 you serious which I already did review you can find it right here except that I didn’t found any other cons on this monitor there’s another really useful thing on this monitor and that’s a hot key puck hockey puck is something like a remote control for your monitor you can control all the monitor settings straight from it and you don’t need to reach those monitors buttons ever again and there is another really useful thing that you can do with the hot key back you have three customizable buttons that you can set them to do certain things for example I set mine to switch between Adobe RGB srgb and black-and-white color space and that is really important in my workflow because as I already said at the beginning in Photoshop I really love to work in Adobe RGB color space because I have more colors to work with and I can really easily just be the press of a button switch to sRGB color space to see those colors will look on the web for example or just switch to black and white color space when I’m dodging and burning because basically when I’m dodging and burning I playing with highlights and shadows and I always dodge and burn in black and white color space so before I had this monitor I did that by adding a new adjustment layer in Photoshop a new black and white adjustment layer and just toggle it on and off when I need it or I don’t need it but now I have a possibility just by pressing a button to switch to another color mode black and white color mode in all programs that I want Premiere Pro Lightroom or any other programs that I use switching to black and white from time to time is really important in my retouching workflow because in that way I can rest my eyes a little bit from all those colors on the screen and then when I come back to a color mode I can much easier work with those colors and color grade my image besides Adobe RGB srgb and black and white color mode we have rec.709 we have DCI p3 we have HDR DICOM and darkroom modes we have two another use for modes that’s picture by picture and picture in picture in picture by picture you have two screens side-by-side that you can compare different color space for example you want to see srgb or Adobe RGB or Adobe RGB and black and white color space etc so this is really useful if you want to preview different color spray space for prints for maps etc or if your color grading your video and exporting in rec 709 and srgb and I don’t know some other useful situations this is really really nice you can do exactly the same in picture-in-picture mode this is a little bit different you’ll see here on the screen so the bigger portion of the screen is now black and white color mode and the upper corner is in Adobe RGB so you can change this bigger portion of the screen between some modes and see how this will work one more thing that I didn’t mention is the price of this monitor here so the price basically depends of the country you are in but roughly the price is around 1,100 US Dollars and for that price this monitor is providing really awesome specs so if you want a good quality monitor with a great color reproduction that is Technicolor color certified that has a white color gamut that supports almost 100% of Adobe RGB and has a 10-bit display etc this is a really good choice for you I give a two thumbs up for this monitor and I will continue using this one in my professional workflow but if you’re not in that price range you want something a little bit cheaper but still good thank you has same series SW series made for photographers but a little cheaper model so you can check them the link is down there in the description rid guys and that’s a wrap for this review if you have any questions regarding to this monitor you can ask me down there in comments below I will be happy to answer them have fun and see you in my next one episode bye bye

How To Create 3D Objects From Photos in Photoshop

How To Create 3D Objects From Photos in Photoshop


Welcome back to another very exciting tutorial
here at the PhotoshopTrainingChannel.com. My name is Jesus Ramirez, and you can find
me on Twitter @JRfromPTC. In this video, I will show you how to create
a 3D model from a photograph. We’ll use two Adobe Stock images and we’ll create a phone
advertisement composition, something that has a night life feel to it. This technique
will allow you to create other types of images, like this one. But in this tutorial, we’ll
only focus on the composition with the night club Also, stick around after the tutorial because
I will take a few minutes to show you how to import 3D models into Sketchfab directly
from Photoshop. From Sketchfab, you can create a portfolio of all your 3D models, and also,
embed them into your website or blog, and interact with them in 3D space. It’s a real
cool way of displaying your 3D models online. Okay, let’s get started with the tutorial.
The first thing you need to do is create your document, so I’m going to go into File, New,
and I’m going to have a document that’s 1920 by 1080. I’m going to press okay, and, now,
we need to find images that we’re going to use for this tutorial. I already found those
two images on Adobe Stock. I created a library called 3D Phone Tutorial. You can create a
library by clicking on this button, here, Create New Library. You can name it what you
want and you don’t necessarily need to follow these steps in order to accomplish the effect,
but I wanted to mention the libraries, in case you want to start using them in your
projects. And, the two images that I want to use, as
I mentioned, are from Adobe Stock. So I’m going to go into Adobe Stock website Stock.Adobe.com,
and I already found the images that we’re going to use for this project. For the background,
we’re going to use this one titled ìbar in a nightclub.î You can see the file number
here, and, also, in the corner here. You can pause the video and write it down if you like.
And, what I’m going to do is I’m going to copy this number here and I can paste it in
the search bar, here, and click on go, and Adobe Stock will find that particular image.
You can click on it, and you can save a preview to any of your libraries or to the desktop.
If you’re in Adobe Photoshop CC, then you can create a library and save it there. If
you’re in an older version of Photoshop, you can just save it to the desktop. The phone that we’re going to use is this
one here. I’ve already licensed this image, so you can see the icon here, and you can
save this to your library. Notice that there’s no Preview button because this one has already
been licensed. You can copy the file number. In your case, of course, you, probably, will
have to write it down, and you can also find images directly from Photoshop. Notice this
search bar hereóSearch Adobe Stock. I can paste that number there and Adobe Stock will
immediately find that file, and I can download it to one of my libraries if I want to. I’m
just going to click on this X to get rid of that, and I have my two files here, so the
phone is easy to bring it. I can just Click and Drag that over on to the composition that
you’re working it with. So, from my background, I’m going to show
you how you would bring it in using an older version of Photoshop. Just go into File, Place
Embedded, find the file, and click on Place, and that’s going to bring it in. So you can
do either/or, and what I’m going to do now is Click and Drag at the background below
the phone. And I just want to mention that if you’re using a Preview file, you’re going
to see the watermark across the image, and that’s okay. You can still work with that
and practice with it, and if you’re ready to purchase, simply license the file. Okay,
so, now, let’s start working in the actual project, and the first thing that I’m going
to do is I’m going to create a mask around the phone, and I’m going to use a Vector Mask.
So what I’m going to do is I’m going to click on the Rounded Corner Rectangle Tool, and
make sure that I have Path selected, and then, I’m going to Click and Drag, and create a
rectangle that follows the shape of the phone. I’m not worried about the curve of the edges
yet. I’m just worried about the horizontal and vertical lines of the phone, and I’m going
to try to match those accordingly. I’m holding the Spacebar on the keyboard to
move the Path that I created, and once I’ve matched the lines of the edges of the phone,
I’m going to release my mouse button and it’s going to create a Path. Then, in the Properties
panel, I can Click and Drag, and round the edges more, so they match the actual phone.
And I’m a little bit off in certain areas, and that’s okay. It’s not going to make a
big difference. Then, I’m going to come and select the phone. I’m going to hover over
the mask icon button, here, at the bottom, and I’m going to hold Alt and Ctrl, that’s
Option Command on the Mac, and click. And this is going to create a Vector Mask. This
is not a mask that is created with pixels because the mask is created by using vector
curves, and if I click on the Path Selection Tool, you can see the Path here, and I can
move that around, but I don’t really want to do that. I just wanted to show you that.
What you want to do at this point is you want to make sure that there is no white along
the edges of the phone. If there is, just click on the Vector Mask, and then, press
Ctrl T, Command T on the Mac, and simply adjust the edges a little bit, and I’m going to bring
this in just a little bit more, and, maybe, bring this side in, as well. And that looks
pretty good. What I’m going to do now is click on the bar
background, and, actually, before I even do that, I’m just going to delete the original
background because I don’t need it, and I’m going to rename this layer to ìbackground,”
and I’ll rename the top layer “phone.” Okay. So, now, with the background layer selected,
I can press Ctrl T, Command T, to Transform, and I’m going to scale that up. I’m not going
to lose any resolution by up scaling it, because it’s a Smart Object. You can see the icon
there. The icon on the top, the little cloud icon, it means that it’s tied to the image
in your Adobe Creative Cloud library. The one on the bottom is not tied to anything,
but it is a Smart Object. So, I can move this around, and find a good spot for it and I’m
going to lapse this, just so we can see it better, and I’m going to Zoom In a little
bit, and I’m Zooming in by holding Alt, Option on the Mac, and using the mouse wheel to Zoom
In or Out. Now, it’s time to turn our phone into a 3D
model, so I’m going to click on the phone layer, then, I’m going to go into 3D, New,
3D Extrusion From Selected Layer. Photoshop, then, is going to ask me if I want to change
my work space to the 3D Work Space, and I’m going to click on Yes because I like this
arrangement of my panels when working in 3D. If you’re working in 3D, and you have the
Move Tool selected, you’re also going to get the 3D Tools on the Options bar, here, and
at the bottom, here. You should also see the ground plane grid. You can see those lines
here. And by using these three handles here, you can control the camera in orbit. You can
pan, and you can dolly the camera. And the first thing you want to do is adjust the camera
so that it matches the ground plane of the image. So, I’m going to place this accordingly,
here, and since there are no real lines that you can follow to find the horizon line, and
match the horizon line, there’s the horizon line of the 3D model here. You sort of have
to guess where it would be, and I think this is a good guess, so I’m going to dolly this
back, and pan this right about there, maybe, dolly it forward and I think this is going
to be a very good spot for it. What you want to do now is save your camera
so you can always come back to it. And before I save it, I’m, actually, going to Zoom Out,
just to make sure things look good, and I think that they do. So, this is going to be
a good place for my camera, and I’m going to click on Current View here in the 3D panel,
then I’m going to go into the View drop down, and save it. And I’m going to call it “final
view,” then I’m going to press OK. Now, if I move my camera around, I can always come
back to that same spot by clicking on the final view camera icon here. It brings that
back. So, no matter how much I move my camera, I can always come back to that spot that we
set as our final view. If at this point your phone is looking a little too small, you can
click on it, and you’ll see these handles, here, that you can Click and Drag. Each of
these handles has three areas we can click on. You have the tip here, which moves the
3D model, this one, here, rotates it, and this one scales it on whatever axes you’re
clicking on. I’m going to Undo that, and just remember, these handles control the 3D Object,
right down here, this control the camera. Okay. So, what I’m going to do now is I’m
going to rotate the camera a little bit just so I can see the side of the phone, and work
on the thickness. I can, of course, come in here and scale it along the Z-axis, but there’s
a better way of doing this. You can simply go into the Properties panel. Make sure that
this icon is selected, which is the Mesh icon, and Click and Drag the slider of the Extrusion
Depth to the left. Notice how the Extrusion Depth decreases and you just got to find an
appropriate width for your phone, so, maybe, something like that will work. Notice that
if I rotate the phone to the back, we also see the screen of the phone, and we want to
remove that. So, I’m going to click on it once, and notice how the Back Inflation Material
is selected, and what controls the color and texture of your 3D object is the Diffuse.
Currently, it’s set to gray, but notice this icon here of a file. That means that we have
a texture attached to it. That texture, if I hover over that icon, you’ll
see that it’s the phone that we started with. So I’m going to remove it. I’m going to click
on it and select Remove Texture. Notice what happened; this changes, and then, I can change
the Diffuse Color to whatever color I want. In this case, I want my phone to be black,
so I’m going to click on black, here, and notice the color changed. Then, press OK.
I can, also, click on the Extrusion, here, on my phone, the Extrusion Material. This
one does not have a material, but I can change the color to black as well, and I can rotate
the camera around. Now, we see our phone. And just as a point of reference, in case
you want to make some adjustments to your phone, if I click on one of the edges, it
gets highlighted on the appropriate material as you can see here or here. Anyway, so, on the Front Inflation Material,
we have a texture, and we obviously know what the texture is because the image that we started
with and I can edit that if I want to. So I can go into Edit Texture, Photoshop is going
to open up a new tab, and you can see the texture we’re working with. If I hide this
layer, you can see the UV properties of the texture. And this is what gives the texture
to the phone, so I can come in here and select this icon, here, and I can turn off the UV
Overlays, or I can change the color to, maybe, like red, or something else, but I’m just
going to leave it at black, for now. I can turn this on. I can create a new layer, and
I can paint something in here, so, maybe, I’ll just paint with red, so you can see how
that works. I’m just going to simply paint this red line. Then, I’m going to press Ctrl
S, Command S on the Mac, to Save, go back on to my 3D model, and you can see how that
change was applied. I want to go back into my texture here and
just simply delete that layer because we don’t need it. So that’s how you would go about
making changes to what’s displayed on the phone and I’m just going to close this and
save it. Notice that it’s now gone, and you can, actually, do the same thing to the back
side and add, for example, a logo or something like that, if you wanted to, by clicking on
the Move Tool, rotating the camera to the backside, clicking on it, and just make sure
you’re inside the 3D model, here. So I’m going to double click on this, click on the back
side. Notice that the Inflation Material is selected and you can just create a new texture
and place whatever you would like in the back of the phone. I’m not going to do that for
this tutorial, but I just wanted to mention that. Anyway, so now we have our phone in the 3D
space, and I’m going to click on the final view, just so you could see how it’s going
to look at the end, and we can work on lighting now. I can click on the Infinite Light. This
interactive display appears, and I can click on it and drag it and adjust the lighting.
Notice that the lighting matches the ground plane. And, by the way, if you have an object
and it is, maybe, under the ground plane, the effect won’t work. You got to make sure
that your object is sitting directly on the ground plane. So, if it’s not, select the
Object, then go into 3D, Move Object to Ground Plane, and there it is, sitting on the ground.
So, now, you can see the shadow interacting with the ground. So, maybe, this is a good
spot for the shadow. I like that, but it’s a little too sharp. So what I can do is under
the Infinite Light, soften up the shadow, and I’m going to soften that up quite a bit,
so, maybe, around 69%, and then, with the Marquee Tool, you can press M, or click on
this icon here, make a selection around the shadow and click on Render. The reason we’re making a selection is because
rendering can take quite a bit of time and by selecting a certain area, we save a lot
of time on rendering and we can see how an adjustment affects a specific part of the
3D model. And I like the shadow, and I’m just going to press the Escape key on the keyboard,
and then, press Ctrl D to Deselect, and I can keep working on my phone. I’m going to
click on the Move Tool, select the phone, and one of the things I’m going to work on
now is the cap of the 3D model, which is going to give a Bevel to the edge of the phone.
So what I’m going to do is I’m going to rotate it just a little bit, so I could see it right
about here. Then, click on the cap here, adjust the width. You can see how the phone comes
out, where you can have the phone go in a little bit, and, maybe, you can have a different
contour. So, maybe, a Cone Contour, press OK, and notice how that changes. And I got
to go back into the cap here, and adjust the width. It might be a little too much, and
you back in just a little bit, something like that, maybe. And, now, you can see the cap
there on the edge, and you can adjust that however you like. So, what I’m going to do now is go back into
the final view, click on the phone, hover over the Y-axis, rotate handle, Click and
Drag it and rotate it just a little bit, maybe, something like this, and, now, I’m going to
add just a little bit of reflection on the phone. And to do that, I’m going to use an
Image Based Light, so I’m going to click on the environment. I’m going to click on this
icon, here, and I’m gong to edit the texture. That’s going to open up a new tab. Currently,
this is our Image Based Light. If I click on the Layers panel, you can see it here,
and I want to work with the actual background that we’re working with. I’m going to click
on this tab, here, and I’m going to click on the background layer, right click on it,
and select Duplicate Layer. And I want to duplicate that on to the default IBL.psd.
Press OK, then go back to the Image Based Light, and you’ll see the image here. Unfortunately, the canvass is too small, but
we can increase the canvass to match the size of this layer by going into Image, Reveal
All, and it’s going to reveal all the pixels inside of this document, and here it is. So
what I’m going to do now is I’m just going to delete the background because we don’t
need it anymore, and I’m just going to press Ctrl S, Command S on the Mac, to Save, and
go back into the image we’re working with. Notice that now the phone has a little brown
tint to it, and that’s because the Image Based Light in the environment, here, is controlling
some of that light. If I Click and Drag on this orb, you’ll see that the phone is somewhat
reflecting the environment, but the reason that it’s not reflecting it that much is because
the reflection is set to zero. If I click on the Front Inflation Material,
hold Shift and click on the last material at the bottom. It’s going to select all of
them, and I can adjust the reflection of all the materials at the same time. I’m just going
to increase the reflection a little bit, about 19%. I can come back into the environment
and watch what happens when I rotate. Now, it’s reflecting more of that background, and
you can see on the edges, here, how that background is reflecting, and you just have to find an
area that you like, so, maybe, something like this. I think I kind of like that light. I
can click on the Marquee Tool, or simply press M, and just make a Render on the phone, just
so you can see how that’s working out. And, I can already tell that things are looking
pretty good, but the problem is that the phone is a little too bright, so, maybe, I want
to reduce the Infinite Light a little bit, so, maybe, bring that down, like so, and make
another render just to see how that looks. And that’s looking a little bit better. So
I’m just going to press the Escape key on the keyboard, and I want to move the Environment
a little bit more. I donít really like that red on the side of the phone, so I’m going
to try to get some of this blue there, and I like that better. So, let me just make a
Render here and see how that looks, and we’re just going to keep it here, for now. I’m not
100% happy with it, but I think this will work for the tutorial. What I’m going to do now is create the reflection.
It’s going to be coming off the table here. Notice that these lights are reflecting on
the table, so we want to match those reflections. With the environment selected, under Properties,
you can come into the ground plane options, and notice the reflections here. You can increase
the Opacity, so, maybe, do something like 17%. With the Marquee Tool, make a selection
under the phone, and click on Render, and you’ll see the reflection. The problem is
that it’s not strong enough and it’s not rough enough. So, I’m going to press the Esc key,
Ctrl D, Command D, to Deselect. Increase the Opacity a little bit; maybe 27%, and increase
the roughness about 11%, make a selection, Render. And I think this might be a little
too strong, still, so I’ll increase the roughness even more, 33%, and render again, and, I think,
this will probably work. So, we’re going to keep it here, for now. At this point, we can make final adjustments
to our phone. For example, we can position it better if we need to, so, maybe, move it
back, move it to the left. That way you can have room on this side to include some text
if you want to, and, now that I’m looking at it, I don’t think the phone is big enough,
so I can click on the center scale uniformly box, click and drag it to the right, to scale
uniformly, so, maybe, something like that. The problem, now, is that our 3D object is
not sitting on the ground plane, but we know how to fix that. We can go into 3D, Move Object
to Ground Plane, and there it is, and I’m going to push it back, just a little bit,
and, maybe, push it to the right some more, maybe, something like that. And we have room
to put text on this side, maybe, another phone on the bottom, and another phone behind this
one, and I’ll show you how to do that. When you select your phone, you have two ways
of duplicating the phone. You can duplicate a 3D object or create an Instance. A duplicate
means that you’re going to create another version of the same phone, but it’s not going
to have any ties to the original. If you Instance an object, you’re going to duplicate the phone,
as well, but it will be tied to the original, meaning, any changes you make to the original
will also affect the Instances. So that’s what I’m going to use for this tutorialóan
Instance Object. Notice that here, Phone 1, and I can Click and Drag it here, and, now,
I have two phones, and I actually want to put this one behind the other phone and I
also want to rotate it, so I’m just going to rotate it all the way to the back there.
And we move it out a little bit more, so we can see the back of the phone. Keep rotating
on the Y-axis, and just place it wherever you think looks good, maybe, something like
that. If I make a quick Render, you’ll see how that
looks. And we’ll just leave that there, for now. That looks okay. We can keep moving it
more if you want to, to create a better composition, but for this tutorial, I think, this will
be good enough. I’m going to Instance the original phone one more time, just so I can
show you how to place a phone lying on the table. So I’m just going to make an Instance,
Click and Drag that and move it out, and rotate it along the Z-axis 90 degrees. If you can’t
get to it by dragging this, you can always click on this icon here, on the coordinates,
and just type 90. Then, click and push it down or simply go into 3D, Move Object to
Ground Plane, and now the phone is on the table, and we can move it around. We can rotate
it accordingly. Maybe, we can just rotate this one to this side, and move it back along
the table, somewhere there. I’m going to press M on the keyboard for the Marquee Tool. At
this point, I can do a render of the entire composition, or I can come into the Layers
panel, and I can keep making adjustments that will further enhance this image. One of the things I’m not liking is that I’m
looking for a night club type of vibe, and it’s a little too bright. It doesn’t have
a lot of contrast, so I’m just going to use a regular adjustment layer to fix that. I’m
going to click on the Adjustment Layer icon here, then go into Gradient Map, and I’m just
going to color gray this image using this gradient map. I’m going to select a different
one, though. I’m going to click on this Gear icon, here, and choose Photographic Toning,
press Ok, and then, click on this one right here, right in the middle, blue number two,
then go into the Blend Modes, and choose Soft Light, and look at the difference, before
and after. Now it has more of that night club feel that I’m going for. I’m just going to
bring the Opacity down just a little bit, maybe, about 81%. What I will recommend doing
now is just rendering the entire image and after you make that render, you may need to
make a few adjustments with Gradients, with Curves, or something like that. And what I’m going to do now is I’m going
to render the entire scene by making a selection around the areas where I have 3D models, and
I’m just going to subtract the areas where there are no 3D models, like right here, just
so that the image only renders these areas. I don’t need to waste time on the side here,
so this is what I’m going to render. I’m going to actually subtract from this side as well,
and I’m just going to disable the Gradient Map layer, and just do a render, just so we
can actually see what the render’s going to look like without the effects. But, once the
render is complete, we will apply the effect again, by enabling the Gradient Map. And the
rendering is going to take a little while. So what I’m going to do now is just pause
the video and let Photoshop continue with the Render. And the rendering is now complete.
You can see the shadows and reflections of the phones on the surface here. I’m going
to go ahead and enable the Gradient Map Overlay to apply the style we had before. At this point, we pretty much know what the
composition. One of the few things that you might want to do is make some adjustments
just to further enhance the realism of this image. One of the things that I will do, for
example, will be to work with the screen. The screen looks a little bit dim, so one
of the things that you can do is with the phone layer selected, you can come into the
Polygonal Lasso Tool and I’m just going to do it quickly here, but you may want to take
a little more time if you’re working on a project. Make a selection out of the screen.
Once you have the selection, you can press Ctrl J, Command J on the Mac, and that duplicates
that layer, and I can just set the Blend Mode to Color Dodge, and the screen looks just
a little bit brighter. You can also bring down the Opacity if you like, or even apply
a Layer Mask, and mask out some of the areas that might be a little strong. So I’m going
to select a Soft Brush, so the Hardness will be at 0%. Use the bracket keys on the keyboard
to increase or decrease the size of the brush, and just, maybe, brush out some of the parts
in the middle here, but with the mask selected in the Properties panel, I can use the Density
and adjust the Opacity of that mask. And then, maybe, I could add an Outer Glow, so I would
select Overlay, and, maybe, an orange color, like so, and adjust the Opacity of the glow,
maybe, something like that. So, this is what we had before, and this is after. And you
may want to do the same on the reflection in the surface, just to make it a little more
realistic. Creating the tutorial, I decided that I was
just going to spend just a few minutes showing you how you can get your 3D model into Sketchfab,
which allows you to create an online portfolio of your 3D models, and you can embed them
into your website, much like you could embed a YouTube video. So, I’m going to quickly
show you how to do that through Photoshop. I’ve gone ahead and added just a few things
to the 3D model that we created in the tutorial, including some buttons, here on the side,
and a camera, and the Photoshop Training Channel logo on the back of the phone. And, before we go any further, I just want
to point out that you do need to create a Sketchfab account. So you need to go into
Sketchfab.com and create an account. So, what you need to do is go into Photoshop, then
go into 3D, Share 3D Layer on Sketchfab. Click on that and Photoshop is going to ask you
to input a token ID, which is going to allow you to import the 3D model on to the website.
You can click on Request Token and have a token emailed to the email that is tied to
your account. I usually find that this takes a little bit too long for me. What I like
to do instead is go into the actual Sketchfab website, then, go into their Settings, Password
and API, and copy the API token directly from here. So, highlight it, copy it, go back into
Photoshop, and you can paste a token here. Then, you can add a title, description and
tags to your 3D model. You can decide whether it’s a public 3D model or a private 3D model,
then click on Upload, and Photoshop will then upload the 3D model onto the website. And,
from the Sketchfab website, you can see the 3D model that you brought in from Photoshop.
You can click on it, and rotate it, and see the 3D model in 3D space. You can also click
on this embed button. You can copy the code and paste it on your website. This is an iframe,
much like a YouTube video, so you can just copy that code onto your website, and display
this 3D model. Essentially, this window you see here on your website. A couple of things I want to mention before
we finish is that if you want to get this glossy, reflective effect, you need to go
into Settings, 3D Settings, and adjust the materials for each of the faces of the phone.
So, for example, the front face material, here, is Front Inflation Material. And notice
what happens when I change the Specular Colors to the reflection. So adjust it accordingly
on Specular, and then, on Environmental Reflection, you can bump that up or bring it down accordingly.
And you will need to do that for all the Inflation Materials that you want to have a reflective
surface on, and then, you can just rotate it and see how the reflection works. I’m going
to go ahead and exit this. I’m not going to save it but you may want to save it. And, the last thing that I want to mention
is that when I was working on importing this 3D model onto Sketchfab, I kept getting this
result. The textures were not working properly, as you can see there. So, what I needed to
do is go into Photoshop. With the 3D model selected, go into 3D, Generate UVs, press
OK, and uncheck Merge Materials and keep Low Distortion checked, and press OK. And this
is going to regenerate the UV Textures on our phone, and it should allow it to be imported
into Sketchfab accordingly. And, by the way, after you create a Sketchfab account, feel
free to follow me. My username is JRfromPTC. You can search that on the search bar, or
you can find a link to it from the description of this video. And that’s it for this tutorial. I hope that
you enjoyed it and that you learned something new. If you have any comments or questions,
leave them down below. If you enjoyed the tutorial, don’t forget to click that “Like”
button and share this video with a friend. If you haven’t already, subscribe to the Photoshop
Training Channel now. Thank you for watching and I’ll talk to you again, soon.

Simple tricks for great product photography: Tips from Chelsea Thomas of I Heart Bargains

Simple tricks for great product photography: Tips from Chelsea Thomas of I Heart Bargains


[Chelsea Thomas] Hi, I’m Chelsea from I
Heart Bargains. You don’t need to spend a fortune to achieve great looking shots for
your social feeds. I’m going to take you through how to get that perfect picture; luxe
for less. Step one: Clear the clutter away from a space
near natural daylight. A clean bright space will ensure your images look nice and crisp.
To give your shots some variety, invest in some flooring options.
This flooring that I use is under a hundred bucks at Bunnings. It’s quick and simple
to lay and makes each image look like it’s been shot in a different location.
Choose which product you want to be the ultimate hero of your shot and then make sure it’s
not over-shadowed by other product. Next, get some perspective. Add some greenery
or plant life to create depth and a bit of homeliness to your shot.
Lastly, use filters and editing apps to brighten your photos, ready for posting.
I really like to use the filters within Instagram; they’re simple to use and your photos will
look great. But, there’s heaps of other things out there if you need.
And there we have it, the end result; the perfect pic.

Build a tower, build a team | Tom Wujec

Build a tower, build a team | Tom Wujec


Several years ago here at TED, Peter Skillman introduced a design challenge called the marshmallow challenge. And the idea’s pretty simple: Teams of four have to build the tallest free-standing structure out of 20 sticks of spaghetti, one yard of tape, one yard of string and a marshmallow. The marshmallow has to be on top. And, though it seems really simple, it’s actually pretty hard because it forces people to collaborate very quickly. And so, I thought this was an interesting idea, and I incorporated it into a design workshop. And it was a huge success. And since then, I’ve conducted about 70 design workshops across the world with students and designers and architects, even the CTOs of the Fortune 50, and there’s something about this exercise that reveals very deep lessons about the nature of collaboration, and I’d like to share some of them with you. So, normally, most people begin by orienting themselves to the task. They talk about it, they figure out what it’s going to look like, they jockey for power. Then they spend some time planning, organizing, they sketch and they lay out spaghetti. They spend the majority of their time assembling the sticks into ever-growing structures. And then finally, just as they’re running out of time, someone takes out the marshmallow, and then they gingerly put it on top, and then they stand back, and — ta-da! — they admire their work. But what really happens, most of the time, is that the “ta-da” turns into an “uh-oh,” because the weight of the marshmallow causes the entire structure to buckle and to collapse. So there are a number of people who have a lot more “uh-oh” moments than others, and among the worst are recent graduates of business school. (Laughter) They lie, they cheat, they get distracted and they produce really lame structures. And of course there are teams that have a lot more “ta-da” structures, and among the best are recent graduates of kindergarten. (Laughter) And it’s pretty amazing. As Peter tells us, not only do they produce the tallest structures, but they’re the most interesting structures of them all. So the question you want to ask is: How come? Why? What is it about them? And Peter likes to say that none of the kids spend any time trying to be CEO of Spaghetti, Inc. Right? They don’t spend time jockeying for power. But there’s another reason as well. And the reason is that business students are trained to find the single right plan, right? And then they execute on it. And then what happens is, when they put the marshmallow on the top, they run out of time and what happens? It’s a crisis. Sound familiar? Right. What kindergarteners do differently is that they start with the marshmallow, and they build prototypes, successive prototypes, always keeping the marshmallow on top, so they have multiple times to fix when they build prototypes along the way. Designers recognize this type of collaboration as the essence of the iterative process. And with each version, kids get instant feedback about what works and what doesn’t work. So the capacity to play in prototype is really essential, but let’s look at how different teams perform. So the average for most people is around 20 inches; business schools students, about half of that; lawyers, a little better, but not much better than that, kindergarteners, better than most adults. Who does the very best? Architects and engineers, thankfully. (Laughter) Thirty-nine inches is the tallest structure I’ve seen. And why is it? Because they understand triangles and self-reinforcing geometrical patterns are the key to building stable structures. So CEOs, a little bit better than average, but here’s where it gets interesting. If you put you put an executive admin. on the team, they get significantly better. (Laughter) It’s incredible. You know, you look around, you go, “Oh, that team’s going to win.” You can just tell beforehand. And why is that? Because they have special skills of facilitation. They manage the process, they understand the process. And any team who manages and pays close attention to work will significantly improve the team’s performance. Specialized skills and facilitation skills are the combination that leads to strong success. If you have 10 teams that typically perform, you’ll get maybe six or so that have standing structures. And I tried something interesting. I thought, let’s up the ante, once. So I offered a 10,000 dollar prize of software to the winning team. So what do you think happened to these design students? What was the result? Here’s what happened: Not one team had a standing structure. If anyone had built, say, a one inch structure, they would have taken home the prize. So, isn’t that interesting? That high stakes have a strong impact. We did the exercise again with the same students. What do you think happened then? So now they understand the value of prototyping. So the same team went from being the very worst to being among the very best. They produced the tallest structures in the least amount of time. So there’s deep lessons for us about the nature of incentives and success. So, you might ask: Why would anyone actually spend time writing a marshmallow challenge? And the reason is, I help create digital tools and processes to help teams build cars and video games and visual effects. And what the marshmallow challenge does is it helps them identify the hidden assumptions. Because, frankly, every project has its own marshmallow, doesn’t it? The challenge provides a shared experience, a common language, a common stance to build the right prototype. And so, this is the value of the experience, of this so simple exercise. And those of you who are interested may want to go to MarshmallowChallenge.com. It’s a blog that you can look at how to build the marshmallows. There’s step-by-step instructions on this. There are crazy examples from around the world of how people tweak and adjust the system. There’s world records that are on this as well. And the fundamental lesson, I believe, is that design truly is a contact sport. It demands that we bring all of our senses to the task, and that we apply the very best of our thinking, our feeling and our doing to the challenge that we have at hand. And sometimes, a little prototype of this experience is all that it takes to turn us from an “uh-oh” moment to a “ta-da” moment. And that can make a big difference. Thank you very much. (Applause)

Why you should make useless things | Simone Giertz

Why you should make useless things | Simone Giertz


Hello. My name is Simone. You know how people tell you
if you get nervous when onstage, picture people in the audience naked? Like it’s this thing that’s supposed
to make you feel better. But I was thinking — picturing all of you naked in 2018
feels kind of weird and wrong. Like, we’re working really hard
on moving past stuff like that, so we need a new method of dealing with if you get nervous onstage. And I realized that what I’d really like is that I can look at you
as much as you’re looking at me — just to even things out a little bit. So if I had way more eyeballs, then we’d all be
really comfortable, right? So in preparation for this talk,
I made myself a shirt. (Rattling) (Laughter) It’s googly eyes. It took me 14 hours and 227 googly eyes to make this shirt. And being able to look at you
as much as you’re looking at me is actually only half
of the reason I made this. The other half is being able to do this. (Googly eyes rattle) (Laughter) So I do a lot of things like this. I see a problem and I invent
some sort of solution to it. For example, brushing your teeth. Like, it’s this thing we all have to do,
it’s kind of boring, and nobody really likes it. If there were any
seven-year-olds in the audience, they’d be like, “Yes!” So what about if you had
a machine that could do it for you? (Laughter) I call it … I call it “The Toothbrush Helmet.” (Laughter) (Robot arm buzzing) (Laughter) (Applause) So my toothbrush helmet is recommended
by zero out of 10 dentists, and it definitely did not
revolutionize the world of dentistry, but it did completely change my life. Because I finished making this toothbrush
helmet three years ago and after I finished making it, I went into my living room
and I put up a camera, and I filmed a seven-second
clip of it working. And by now, this is a pretty standard
modern-day fairy tale of girl posting on the internet, the internet takes the girl by storm, thousands of men voyage
into the comment sections to ask for her hand in marriage — (Laughter) She ignores all of them,
starts a YouTube channel and keeps on building robots. Since then, I’ve carved out this little
niche for myself on the internet as an inventor of useless machines, because as we all know, the easiest way
to be at the top of your field is to choose a very small field. (Laughter) (Applause) So I run a YouTube channel
about my machines, and I’ve done things
like cutting hair with drones — (Drone buzzes) (Laughter) (Drone crashes) (Laughter) (Drone buzzes) (Laughter) (Applause) To a machine that helps me
wake up in the morning — (Alarm) (Laughter) (Video) Simone: Ow! To this machine
that helps me chop vegetables. (Knives chop) I’m not an engineer. I did not study engineering in school. But I was a super ambitious
student growing up. In middle school and high school,
I had straight A’s, and I graduated at the top of my year. On the flip side of that, I struggled with very severe
performance anxiety. Here’s an email I sent
to my brother around that time. “You won’t understand
how difficult it is for me to tell you, to confess this. I’m so freaking embarrassed. I don’t want people
to think that I’m stupid. Now I’m starting to cry too. Damn.” And no, I did not accidentally burn
our parents’ house down. The thing I’m writing about in the email
and the thing I’m so upset about is that I got a B on a math test. So something obviously happened
between here and here. (Laughter) One of those things was puberty. (Laughter) Beautiful time indeed. But moreover, I got interested in building robots, and I wanted to teach myself
about hardware. But building things with hardware,
especially if you’re teaching yourself, is something that’s really
difficult to do. It has a high likelihood of failure and moreover, it has a high likelihood
of making you feel stupid. And that was my biggest fear at the time. So I came up with a setup that would
guarantee success 100 percent of the time. With my setup, it would be
nearly impossible to fail. And that was that instead
of trying to succeed, I was going to try to build
things that would fail. And even though I didn’t
realize it at the time, building stupid things
was actually quite smart, because as I kept on
learning about hardware, for the first time in my life, I did not have to deal
with my performance anxiety. And as soon as I removed
all pressure and expectations from myself, that pressure quickly
got replaced by enthusiasm, and it allowed me to just play. So as an inventor, I’m interested in things
that people struggle with. It can be small things or big things
or medium-sized things and something like giving a TED talk
presents this whole new set of problems that I can solve. And identifying a problem
is the first step in my process of building a useless machine. So before I came here, I sat down and I thought of some
of the potential problems I might have in giving this talk. Forgetting what to say. That people won’t laugh — that’s you. Or even worse, that you’ll laugh at the wrong things — that was an OK part to laugh at, thank you. (Laughter) Or that when I get nervous,
my hands start shaking and I’m really self-conscious about it. Or that my fly has been
open this entire time and all of you noticed but I didn’t, but it’s closed so we’re
all good on that one. But one thing I’m actually really
nervous about is my hands shaking. I remember when I was a kid, giving presentations in school, I would have my notes on a piece of paper, and I would put a notebook
behind the paper so that people wouldn’t be able
to see the paper quivering. And I give a lot of talks. I know that about half of you
in the audience are probably like, “Building useless machines is really fun, but how is this in any way
or form a business?” And giving talks is a part of it. And the arrangers always put out
a glass of water for you onstage so you have something to drink
if you get thirsty, and I always so badly
want to drink that water, but I don’t dare to pick the glass up because then people might be able
to see that my hands are shaking. So what about a machine
that hands you a glass of water? Sold to the nervous girl
in the googly-eye shirt. Actually, I need to take this off
because I have a thing — (Googly eyes rattle) Oh. (Clanking) (Laughter) I still don’t know what to call this, but I think some sort of
“head orbit device,” because it rotates
this platform around you and you can put anything on it. You can have a camera;
you can get photos of your entire head. Like it’s really —
it’s a very versatile machine. (Laughter) OK, and I have — I mean, you can put
some snacks on it, for example, if you want to. I have some popcorn here. And you just put a little bit like that. And then you want to — there’s some sacrifices for science — just some popcorn falling on the floor. Let’s do the long way around. (Robot buzzes) (Laughter) And then you have a little hand. You need to adjust the height of it, and you just do it by shrugging. (Laughter) (Applause) It has a little hand. (Hand thwacks) (Laughter) (Applause) I just bumped my mic off, but I think we’re all good. OK, also I need to chew this popcorn, so if you guys could
just clap your hands a little bit more — (Applause) OK, so it’s like your own
little personal solar system, because I’m a millennial, so I want everything to revolve around me. (Laughter) Back to the glass of water,
that’s what we’re here for. So, I promise — I mean, it still has — it doesn’t have any water in it, I’m sorry. But I still need to work
on this machine a little bit because I still need to pick up the glass
and put it on the platform, but if your hands
are shaking a little bit, nobody’s going to notice because you’re wearing
a very mesmerizing piece of equipment. So, we’re all good. OK. (Robot buzzes) (Singing) Oh no, it got stuck. Isn’t it comforting that even robots
sometimes get stage fright? It just gets stuck a little bit. It’s very human of them. Oh wait, let’s go back a little bit, and then — (Glass falls) (Laughter) Isn’t it a beautiful time to be alive? (Laughter) (Applause) So as much as my machines can seem
like simple engineering slapstick, I realize that I stumbled
on something bigger than that. It’s this expression of joy and humility
that often gets lost in engineering, and for me it was a way
to learn about hardware without having my performance
anxiety get in the way. I often get asked if I think I’m ever
going to build something useful, and maybe someday I will. But the way I see it, I already have because I’ve built myself this job and it’s something that I could
never have planned for, or that I could — (Applause) It’s something that I could
never have planned for. Instead it happened just because
I was enthusiastic about what I was doing, and I was sharing that enthusiasm
with other people. To me that’s the true beauty
of making useless things, because it’s this acknowledgment that you don’t always know
what the best answer is. And it turns off that voice in your head that tells you that you know
exactly how the world works. And maybe a toothbrush helmet
isn’t the answer, but at least you’re asking the question. Thank you. (Applause)

How to make a 2D Game in Unity

How to make a 2D Game in Unity


So, a question we get asked a lot is how to make a 2D game? Of course, this is a huge question to answer. But, hopefully, this video should help point you in the right direction. And this is actually filmed on our brand-new video camera. So, I hope the quality is all right. Apparently, this camera has a pretty narrow lens. So, we had to do this crazy setup to make it work. Luckily, making 2D games in Unity has gotten so much easier over the last couple of years Ever since they introduced the new 2D features in version 4.3 We’ve seen a bunch of cool features and workflows for different aspects of working with 2D in Unity Now, 2d games, of course, come in a variety of different art styles and genres. And the tools that are right for you are going to completely depend on the game that you’re making. But, in general, we can split Unity up into two primary workflows. Tile based. And sprite based. The tile based workflow is meant for games that are build on a grid As the name suggests You create environments by placing tiles. Which makes it pretty fast and easy to create and modify levels. The sprite based workflow, on the other hand, gives you more control As it simply means that you place object freely in the world As a result of this you can create more detailed and dynamic environments. But it might not be as quick. And, on top of that, Unity is also working on some tools for vector graphics In case you are really fond of illustrator. But, regardless of what workflow you choose We first have to create a project. So, to create a new project, we go “new” And your UI might look a tiny bit different here But that’s because I’m using Unity hub Which is still in beta But the idea should be the same We then select a name for our project I’m just gonna call mine “2D Game Example”. We then select a Unity version. I’m gonna be using 2018.2 Then we chose a save location I’ll just use my projects folder And, finally, as our template, we want to make sure that we select 2D. Let’s then hit create project And Unity is going to open up a new empty project. And, now, we can see we have this empty scene With only a main camera in it. And because we made sure to select 2d as the template Unity has set up some different settings on our camera And in our editor To work well with 2D. Awesome! Now, when starting with an empty project I really recommend visiting the Unity Asset Store to find some assets to use for your game. Of course, if you want you can always replace them with your own custom assets later. Luckily, there are some really great free assets available that we can use. I’ve gone ahead and compiled a list of some of my favorites. If you want to check them out you can use the link in the description. In here we have a pack for putting together cool pixel art caves They say picks up platformer pack As well as some more toony assets All these are based around tiles And so will fit perfectly with the tile based workflow. If you want to use the sprite based workflow There’s also an incredibly detailed art pack As well as a top-down dungeon pack that would work great for that Some of these also include characters But I’ve gone ahead and added a few separate ones just in case. Now, once you’ve picked something that you like We have to get it into Unity The way that we do this, it’s by opening up the asset store window. So, we’ll go window We’ll go under “General” and select the “Asset Store”. You can also press “Control 9”. We’ll then navigate to the package that we want to download. I’m just gonna get the free platform game assets. It’s right here. So we’ll click on that. And once you find the asset, you can simply click this red button to first download And then import it. We’ll then get this window Where we can see all of the different assets that are included in the pack And if there’s something in particular that you don’t want Let’s say, you already have a character And don’t need this one We can simply uncheck it, But I’d like to import everything. So I’m just gonna a select everything and hit import. This one is called BayatGames And under here we have the free platform game assets And you can see a bunch of different subfolders with the different aspects of our pack And most packs will also come with some kind of a demo scene. In this case, there’s a demo folder right here. If we open that up and double click on the scene to open it. We then go into the scene view And we can see this nice example of how you can combine the different elements to create a level. You can, of course, select the 2D Rect Tool at the top here. The shortcut for this is the T key And if you also make sure that you’re in 2D mode at the top of our scene view. We can then go in and simply click and change different elements around. We can, of course, move them. Rotate them. And scale them, as well. And so you can quickly start modifying these levels to make them your own. But, of course, we want to create our own custom level. So we’ll go back to the default sample scene And we can now start dragging in assets to use them. And how you go about this is going to depend on the pack that you’re using. This pack here splits up all the sprites into individual images. So, if we’re going to say “Tiles” and then “PNG” We have some different sizes available here. I’m gonna go under 256. I’m gonna select the “grass platform” and drag it in. And that works right away. We have all of our different assets and each one of them is a separate image. So, we can simply drag in some different images to sketch out a level. But what most 2D packs do is that they used a tile set And a tile set is basically just a very large image With a bunch of sprites laid side by side For example, if we go to the asset store and download the sunny land And open up the folder here We can see that on the artwork And then environment In here, we can see that there is indeed a file called tile set And if we have a look at this We can see that it’s basically just a bunch of smaller sprites in one larger image. Now, if you want to learn how to create your own tile sets And set them up in Unity. We have a tutorial that I suggest you check out But, luckily, this package has done all that for us. If we just select the tile set sliced here We can see that they’ve actually gone in and marked all the different tiles that make up this tile set And if we expand this arrow here We can actually see each individual tile in our tile set. Pretty cool! And just like any other image we can take any one of these. And simply drag them in to the editor. Now, this one is a lot smaller, but you can see it works just fine. So, now that we know how to work with sprites. Let’s try and build out a quick level here. So, we already have this grass platform here. That’s great. I’m just gonna place it here. Let’s also add a background. So, I’m gonna go under new background. Under PNG. I’m just gonna select the lowest version here Under background And here we have another file. Let’s simply drag that in, as well. And we can see this looks nice in our camera. But we can also see that it’s overlaid on top of a grass. And, of course, we want our background to be behind it. For this we use something called sorting layers So, to the right in our inspector here Under the Sprite Renderer We can see the setting called the sorting layer If we click this, we can add a new sorting layer. This takes us to another menu Where we can hit the plus sign to create a new layer Let’s call this one “background” And if we want this to be behind the default layer We actually need to put it on top That’s because this actually represents the drawing order In other ways, we first draw our background And then we draw the default layer on top Let’s just go in and add another one here called the “foreground” In case you want to have some foreground elements as well. So, now we can go into a new background And we can change the sorting layer here to background. And “voilà”! A grass platform appears. We can also maybe add a coin to our game To do that we’ll go under the coin animation. Let’s go into PNG again And let’s just select the small version here And as you can see this has a bunch of different images And if we go through these quickly We can see that they make up an animation. So, to add these as a single animated object. We simply select the first one Hold down shift And select the last one And we then drag all of them in Unity is going to notice that we are dragging in a bunch of images And so it’s gonna ask us to create a new animation with these images. I’m gonna make a new folder for this I’m gonna store all of our animation in here. Let’s open it up. And let’s call this the “coin animation”. Let’s hit save And inside of our animation folder Unity is now going to create both a animation file As well as an animator controller And this is currently named after one of our images. I’m just gonna rename this to “coin animator”. And now if we select our coin We can see that it has an animator component as well If we go to the animation window Which you can always find on the window Animation We can actually go through each individual image in this animation If we hit play We can play through it Or if we simply hit this button to play the game We can see that the animation plays and repeats by default. So, now we have an animated coin in our game We can, of course, move this around Put it anywhere that we would like And just like when creating any game in unity We can then add components to our different game objects in order to make them do different things Say, for example, that we wanted this coin to have physics applied Well, then we could go ahead and add a new component. We can go under physics 2D And here, we have a bunch of different components for adjusting 2D physics on our game object. I’m just gonna select the Box Collider 2D If we then go into the Scene view and select our coin and hit F to focus on it We should be able to seeing that there’s actually a green line surrounding our coin. It might not be too visible from the screen recording, but it is there. I’m just gonna give it a size of 1 on the X This way we can kind of see it more clearly And the Y is just fine as it is. But adding a Collider is not enough. If we want this to fall onto our platform We also have to apply physics to it To do this, we’ll go add component And we’ll search for rigidbody 2D This will apply it physics to our coin And if we now hit play We should see that immediately our coin falls. However, because we don’t have a collider on our grass, It’s just gonna fall right through on platform So, that’s here go and add a box Collider 2D. And we can go in and edit the collider here And I’m just gonna drag the top a bit down So, that it looks like our coin is landing at the center of our platform I’m also going to take the platform and drag it down a bit And if we now hit play once more We can see that the coin falls and lands on a platform We also see that we have this weird issue Where sometimes our coin is behind a platform And sometimes it’s in front And that’s because they’re currently on the same sorting layer And not only that they have the same order within that layer To change that we can go to our coin here And we can increase the order in layer So, if we set this to any value greater than 1 It will be drawn on top of our platform I’m just gonna set it to something like 10 And now when we hit play Our coin always appears on top of our platform. So, that is kind of the very basics of working with 2D objects in Unity, And currently we’re just using the default sprite workflow We can take any of these objects and drag it around freely. In other words, we aren’t restricted to a grid. However, because this platform actually has a bunch of different tasks in it. It would work great with the tile based workflow. So, let me just give you a quick preview of how that would work. If you want to learn more about using Tile Maps in Unity, We have a tutorial dedicated to that. So definitely check that out. So, for now I’m just gonna take these two objects and remove them And instead I’m gonna right-click in our scene and I’m gonna go to the object And create a new tile map This creates an object in our scene called grid And as you can see this does overlay a grid on top of our scene. I’m gonna set the cell size of this grid to 2 by 2 This way it’s a bit larger And under this grid, we have the tile map. We can also go and open up the tile set window So we’ll go window 2D And select the Tile Palette Let’s dock this to the side of our Scene view And the tile palette is basically just the window where we add all of our tiles And then we can select between them in order to paint them into our scene. So, I’m gonna create a new palette here Let’s just name it something like “Grass Platform palette”. I’m gonna hit create And I’m just gonna store it in the base folder here So, it’s select folder And now we can simply drag sprites in here in order to add them to our palette Of course, we have a bunch of tiles right here So, I’m just gonna select all of them and drag them right in. And it’s going to ask us where we want to generate all the tile assets I’m gonna right click and create a new folder for this. Let’s call it tiles And it’s it that folder It’s then gonna generate all of our tiles And voilà! We can now see all of our tiles inside of this window And we can select any one of them by simply clicking on it And by selecting the brush tool at the top here We can then start painting them into a scene. We can also see that they don’t quite line up with our grid To change that, we need to select all of our sprites. And to the right here, we’ll change the pixels per unit And each of these sprites is 256 by 256 And we want each one of them to be two units wide Because we set our grid to 2 by 2 And so we simply need to take this value and half it And that makes 128. So, we’ll set the pixels per unit to 128. And if we then apply that We can see that they snap right into place So I’m just going to use the paint brush and erase the two two a quick level here Awesome! Again, I really suggest you check out our tutorial on tile maps If this is the workflow that you want to use. So, hopefully, that should give you an idea of what tools you have at your disposal When starting to make 2D games in Unity. Of course, this is only the beginning And we’ll be releasing new videos on the different aspects of making 2D games going forward Starting with player movement If there are any particular subjects that you would like to see Like enemies, one-way platforms or shooting Definitely let us know in the comments Until then I recommend just playing around with Unity And having some fun sketching out your own levels Also if you like this video and the content in general Consider supporting us on Patreon Patreon allows you to make a monthly donation with an amount of your choosing You can cancel it at any time And it’s just a great way to help us keep making these videos On that, thanks for watching! And I will see you in the next video! Thanks of the awesome Patreon supporters who donated in June And especially thanks to… You, guys, rock!

Graphic Design Courses Durban | Video Production |Photography

Graphic Design Courses Durban | Video Production |Photography


Pixel Craft is dedicated to providing you with quality courses in Graphic Design (in Durban) Web Design Animation Video Production and Video Game Design As a Seta Accredited institution and an Adobe Authorised Training Centre we are committed to delivering practical and cost effective training that makes a difference to the careers and lives of our students and our corporate clients. We will teach you the most current software and techniques you need to thrive in the design industry. our training goes way beyond just showing you the how to, we break down and illustrate concepts with real-world examples so that you have comprehensive knowledge as well as the practical skills. Whether you are a newcomer, or someone looking to push their creative limits you need the practical training Pixel Craft offers. so call 031 207 3900 or visit www.pixelcrafttraining.co.za Graphic design is a rewarding career when you have the right training. At Pixel Craft (Durban) we pride ourselves on making a difference to the careers of our students. To this end, we make sure that we are running the most current graphic design courses in Durban.
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