Good Tutorials

Paging with the DataGrid and VB.NET

Admin — Fri, 18 Sep 2009 15:58:22 +0000

I sat there until recently and did ALT in ASP, as I felt that it was the easiest and when I only had to make as simple a thing as paging it was not necessary to use ASP.NET. But then I sat down to learn ASP.NET and its possibilities as I had heard so many good things about. One of the things that fascinated me most were those web controls and their capabilities.

In this article (my first) I will show how to make use paging in DataGrids with ASP.NET.

I have in my time as ASP scripts used paging many times and it gives a fantastic overview of the data as one ‘pager’. therefore, it was also one of the first I started with when I started with ASP.NET.

ral ways to do paging in the ASP.NET just as there are several ways in ASP. The way I will review here is the simplest and easiest of them all.

For the beginner who would read this text without knowing what a DataGrid, I can

Beginner

Admin — Thu, 13 Aug 2009 14:47:26 +0000

Step 1: View Ports

The four large four edges are called view ports (Figure 1) and that is where you work with your project. View gates called topview, left view, front view and perspective ie. what you represent you will see from four angles.

View The gates can be changed to eg bottomview or right view if you want this (to be done later). This is done by right clicking on the name (left, TOP, front and perspective) to get a menu appears. Click on Views and select a second view port. However, you can not see any difference until you have signed a figure.

When you are working on a graph, it can be nice, the view port you work in is larger. So you can change the view port you work in to fill all four view ports. To do this, click the Min / Max troggle in the bottom right corner. Click again to return.

Step 2: Drawing menu

On the right side you will find a menu (Fig.2). We will only deal with the first (create) In this tutorial. During the create menu, find a sub menu with 3D shapes, a menu with 2D images, a menu of light, a menu with cameras and some other menus that you will not need right away.

We will now draw two 3D shapes: a box and a torus knot. Click Create ->; geometry ->; box. Now you have decided that you will draw a box. Right-click the front view port to activate it. When activated, you can see if a framework for view port.

Now in front view and hold the mouse button and move the mouse to select the height and width of the box. Release the mouse when you think the shape is correct. Now select the depth of the box by moving the mouse forward or backward. Click again when you’re happy – congratulations you’ve made your first figure.

Signs now a torus knot by clicking on the pulldown menu and select extended primitives (Figure 3). Here there will be new characters appear. Click torus knot and click in front view adjacent to the box and hold the mouse button. Release the back when you’re happy with the size.

Step 3: Camera

You should always make a camera when you subscribe 3Dmax – it makes it very easy to change the angle and distance to the characters.

Before we put a camera up, we should just prepare for it. Click in the bottom right corner and click in topview to zoom out a bit (about as fig.5). Now click in the bottom right corner and click in topview to move the view port. Move it until your characters are in the middle.

Now we will put a camera up. Click Create ->; Camera ->; target. You now have selected a target camera, you can later examine what the difference is between a target and a free camera. Click the bottom of topview and hold the mouse button. Slide the mouse up until the cursor is on top (or near) the figures and release (Figure 6). Now you have placed a camera. The camera will not work on the finished image.

Now we would like to see through the camera and you do as follows. You must change the view port as described earlier. Right-click the perspective, select view and click camera01 (Figure 7). Now you can see through the camera. If you find the distance to the characters is too long, you can select and move the camera in topview – or make it if you want another angle.

Step 4: Surface (material editor)

To make the characters beautiful, they must have a surface (texture). Press M to get the material editor. This window to use to create and / or find the surfaces similar shapes to have.

Click to get the browser up. Now click on the mtl library. Now you can then choose between many different surfaces – from the stone walls of glass and wood (Figure 9). Select the instance named Granite gray pink or the like. (Double click on it to select it). Now you can see that the type of surface has been transferred to the Material Editor window. Click on the ball next to activate it. Click again to get the browser up again and select one surface to another shape. Then close the browser.

In front view, click the box to activate it (it becomes white when it is activated). Box is the first to get a surface. In the material editor click on the first surface you found and click now. Now the surface is transferred to the Treasury. Assets now torus ratty and click on the second surface in the material editor and click again. Close the material editor now.

Now figures finished and the time has come to render (get the finished picture).

Step 5: Rendering

Click on the rendering of the pulldown menu (Figure 10). Now the rendering window emerged (Figure 11). Here you can eg select how big the picture should be. Click 640×480 (if not already doing so) and select from the pulldown menu camera01 view port. This means that the picture is created through the camera’s view. Now click run.

Wow – you have created an image in 3D Studio Max

Now you know little about how the program works, but you are far far from practically all the functions. Try some of the other tutorials to learn different and more advanced features.

Make an Awesome Military Themed Vector Package

Admin — Wed, 15 Jul 2009 01:00:42 +0000

Discover how to create a shiny military themed ration package. This Adobe Illustrator tutorial is ideal for advanced users. We’ll use an interesting combination of techniques to create this themed package design. Let’s get started!

Final Image Preview

Below is the final image we will be working towards.

Tutorial Details

Program: Adobe Illustrator
Version: CS3
Difficulty: Advanced
Estimated Completion Time: 1.5 hours

Step 1

Using the Rectangle Tool (M) draw a rectangle like the one below.

Step 2

Select the Warp Tool (Shift + R) and drag it over the edges of the rectangle to vary the edges. You can also double-click the Warp Tool to change its settings.

Step 3

We’ll make the ridges along the sides of the package by first copying and pasting the rectangle shape. Now stagger the two shapes slightly. Lastly, use the Pathfinder to subtract the large area from the thin edge.

Step 4

Use the Direct Selection Tool (A) to get rid of the leftover fragments that you don’t need.

Step 5

Duplicate the ridge twice and use the Align Palette to make them perfectly spaced.

Step 6

Repeat the process to create the ridges for the other edge of the package.

Step 7

Fill the ridges with a gradient that varies from light to dark a few times. You can give each ridge a similar but not identical gradient to add some visual interest.

Step 8

Apply a Radial Gradient to the package too.

Step 9

Now we’ll make shadows on the left and right side of the package. Select one of the ridges and give it a dark gray fill. Go to Effect > Blur > Gaussian Blur and enter a value that looks good to you.

In the Transparency Palette set the mode to Multiply so the shape blends well with the colors behind it. This will be more obvious on the right side of the package, where that edge will eventually have the camouflage pattern behind it.

Step 10

To give the package the illusion of bulk and shine we’ll add some highlights around the edges of it.

Use the Pen Tool to draw an arbitrary shape like the one below. Don’t try to draw all the shinny areas with one shape, rather, make at least one or two shapes along each edge of the package. This will give you the opportunity to vary the intensity of the shine on each area.

Step 11

While they are comprised of more of an organic shape it’s still important to have a general idea of how reflections work.

Below you’ll notice that toward the edge of the package the lines are smoother. Towards the center of the package the lines taper down to a point. This suggests that the plastic has something inside it causing the plastic to protrude where the object inside meets the plastic. So, as the highlight reaches the center it is likely to come to a point. again, there is no finite method but this technique seems to be realistic enough.

Step 12

Using the main rectangle shape as the basis, add a drop shadow by going to Effect > Stylize > Drop Shadow. Place the object behind all the other elements and on a separate layer so it’s out of the way.

Step 13

Here’s what your package should look like right now.

Step 14

The beauty of this simple white packaging is complemented by the military camouflage pattern. To make the pattern first draw a square.

Step 15

Duplicate the square several times. Use the Align Palette to adjust the spacing between each square so they are equally spaced apart. The objective is to make sure there is no gap between the squares. After the squares are evenly distributed, group them by going to Object > Group.

Step 16

Duplicate the rows of squares and again adjust the spacing between them so they’re uniform. Try to position them so that there is no white space between any of the squares.

Step 17

Ungroup all of the squares. Select a pattern of squares and give them a different color.

Step 18

Continue giving the squares more colors.

Step 19

Since I wanted the design to spread onto the packaging from the lower right corner I decided to get rid of a few squares in the upper left corner. The squares you get rid of will be determined by the final design you want to achieve.

Step 20

Select all the squares and give them a rounded corner by going to Effect > Stylize > Rounded Corner. Once you do this you may notice that there are small white gaps in between. There is an easy fix for this…

Step 21

First, make sure all the squares are ungrouped. Select them all and go to Object > Transform > Transform Each, and enter about 105 for both the Horizontal and Vertical Scale, then select OK.

Step 22

Now, your shapes are slightly larger which fills in the gaps! It’s OK if all the shapes aren’t touching exactly at their corners. The actual military camouflage pattern is similar in this fashion.

Step 23

We’ll want the squares to have a slight distortion so they fit better when we place them over the packaging. To do this select them and go to Object > Envelope Distort > Make with Warp. Select Flag and enter a subtle variable to add some movement to the squares.

Step 24

Use the main package shape as a mask for the squares. To make a mask press Command + 7 or go to Object Clipping Mask > Make.

Step 25

Place the military pattern behind the highlights. Fill the reflections with a black to white gradient and select Screen in the Transparency Palette. This will make the reflections blend seamlessly with the color below it. also, adjust the reflections’ Opacity if need be.

Step 26

Use the Pencil Tool (n) to draw an arbitrary shape, as shown below. Fill the shape with white, give it a Gaussian Blur and adjust it’s Opacity so it is almost completely see-through. This shape will create a nice overall shine for the package.

Step 27

Add the text to your package. I’ve used a font called ITC Franklin Gothic.

Step 28

We’ll give the text a little distortion like we did with the camouflage. Select the text (either one text area at a time or all at once, it’s up to you) and go to Object > Envelope Distort > Make with Warp. Under Style select Flag and adjust the sliders slightly to suit your taste.

NOTE: When you apply a warp to text you can no longer edit what the text says. Once you apply a warp to text you have to Expand it by going to Object > Expand in order to adjust gradients or colors.

Step 29

Once you get all the elements of the package in place you may want to add in a few more highlights to balance or complete the effect. I’ve added in a couple more gray shapes that I’ve blurred and some white blurred shapes to all four corners, which act as highlights.

Step 30

We’ll create a rough and dirty background texture by using the chalk brushes in Illustrator. To open this panel go to Window > Brush Libraries > Artistic > Artistic_ChalkCharcoalPencil. Drag any one of the shapes onto the Artboard.

Step 31

In order to successfully edit this shape you’ll need to use the Direct Selection Tool to get rid of the invisible shape around the edges. Select the points in each of the corners and delete them.

Step 32

Now, you can fill the shape with whatever colors or gradients you choose.

Step 33

Overlap the shapes in interesting and unique ways to create a completely new texture. Place the new shape behind the package and you’re all set!

Final Image Preview

Here is the final package. You’ve just learned how to create a shiny military themed ration package!

How to Create Your Own Stylized, Vector Badge

Admin — Wed, 15 Jul 2009 00:24:58 +0000

In this tutorial, we will learn how to illustrate a face with the help of a photo, and how to create a customized pin button out of it. This is a fun tutorial using relatively simple techniques. Let’s get to it!

Final Image Preview

Below is the final image we will be working towards.

Step 1

I went over to stock.xchng and picked a photo that I thought would suit an illustration for a face. The guy had such a cool look on his face that I couldn’t pass. Let’s start with placing the image into a new Illustrator document.

Step 2

Lock the image layer and create a new layer. Then start tracing the face with the Pen Tool (p). I chose a gray since I am going for a black and white look.

Step 3

Start tracing the eyebrow with a black fill. Be as easy going about it as possible. We are not going for a photo realistic look, but rather for a stylized one.

Step 4

Trace the other eyebrow too, as shown below.

Step 5

Then move on to the eyes themselves. Start by simply tracing the outline.

Step 6

I filled the eye outline shape with a light gray. Then add the eye details. Simple but effective. Just add a shape filled with a darker gray.

Step 7

Then add the pupil as a half moon black filled shape.

Step 8

Add some highlights to bring the eyes to life. You can do that by simply adding two small white circles and place them into the pupil.

Step 9

Next we need some eyelashes. Take the Pen Tool (p), and start tracing an eyelash, then duplicate it several times and place them around the eye.

Step 10

Next we will trace the lips. again, keep the shapes simple, just trace in easy shapes with the Pen Tool (p). Remember, the Pen Tool is your best friend. Now fill the shapes with a red color and a black stroke, and fill the upper lip with a darker red. This will give the face a dramatic look, since we kept the other shapes black and white.

Step 11

Start tracing the hair. Since the photo cuts of the rest of his head, we need to get a little creative. Just imagine the hair and add as many points and loops you need. Fill it with black.

Step 12

Don’t forget the nose. Trace it and then fill it with a gray gradient, linear or radial, it depends on how it will blend in with his face color.

Step 13

Here is the finished face. I went ahead and stylized it some more, sliced it up, and filled each shape with a different gray or black.

Step 14

Let’s move on to the pin button. Create a circle and fill it with a white to black radial gradient, then add a Drop Shadow. Set the Layer Mode to Multiply.

Step 15

Make two copies of the circle, scale one down and set the Layer Mode to Normal. Now add a gray Stroke of 6pt to the inside. Select both and Divide them via the Pathfinder palette.

Step 16

Delete the inner part with the Direct Selection Tool (A) and place the circle shape on top of the other.

Step 17

Duplicate the first circle in Step 14 and scale it down a bit and place it on top.

Step 18

Create a small rectangle (M) and fill it with a black to white to black linear gradient. Apply rounded corners (Effect > Stylize > Rounded Corners) and a Drop Shadow.

Step 19

Repeat Step 18 and create another rectangle, but don’t apply the rounded corners, just a Drop Shadow.

Step 20

Next, create a needle shape with the Pen Tool (p) and fill it again with a linear gradient, then add a Drop Shadow.

Step 21

Create another small rectangle (M). Add rounded corners, a Drop Shadow, and set the Layer Mode to Color Burn.

Step 22

Create another rectangle, but cut out the middle, just like you see below. also, add a Drop Shadow.

Step 23

Let’s move on the top part of the pin button. Create a circle that is the same size as the back part of the pin button. Fill it with white and add a Drop Shadow.

Step 24

Create a sickle like shape by simply dividing two circles via the Pathfinder palette. Fill it with black and set the Layer Mode to Multiply.

Step 25

Create another circle on top and fill it with a radial black to white gradient. Set the Layer Mode to Multiply.

Step 26

Create two funky shapes, one in black and one in red, then overlap them.

Step 27

Select both and apply the Pucker and Bloat effect (Effect > Distort & Transform > Pucker & Bloat). Apply the settings shown below.

Step 28

This is what it should like with the effect applied to both shapes.

Step 29

Make a copy of the circle for the pin button, remove all effects and fills, then place it on top of the puckered shapes. Select all and apply a Clipping Mask (command + 7).

Step 30

Place the clipped shape on top of the pin button. Then create a small circle filled with a very light gray to white radial gradient and set the Layer Mode to Overlay.

Step 31

Take the face and group it (command + G), then place it on top of the pin button and scale it down if necessary.

Conclusion

This is the final result. A stylized pin button with an illustrated face. Of course, you could use your own photo, or even a photo of yourself. Enjoy!

Alpha Channels

Admin — Tue, 14 Jul 2009 01:05:48 +0000

Alpha channels (Alpha Channels) can be used to correct very, browse. to create meshes (marquees). Especially in conjunction with smooth transitions between transparent and robust use alpha channels, but what is it really?

An alpha channel is defined in black and white and is actually “invisible” information you can store a picture for you to use them afterwards.

An alpha channel does not have to be a black and white version of the photo Monday just looking; Actually, an alpha channel is completely different than the picture. As stated earlier, to use alpha channels to define the transparency, but we also use them to make selections / marquees. In conjunction with the mapping of 3D applications is also using alpha channels to define Specular & Highlights, bump & displacement, and much more.

Try it!

In Photoshop you can see the R (Red) G (Green) and B (Blue) channels by pressing the tab “channels” which stands beside the “Layers”.

Try to create a new channel by pressing the small “Create new channel” icon.
There is now a full black layer, called “Alpha 1″:

Character somewhere with a white brush – anything on this new layer.

Hold now CTRL on your keyboard while clicking on the alpha layer “Alpha 1″ with the left mouse button. As you note does the new alpha channel as a selection – where the variety is “not chosen” (no selection), white is selected (selection) and grayscale are partially selected. Your selections outline appears with an animated stiblet line.

Release the CTRL and select the top layer – it just says “RGB.”

Try. To run something “Brightness / Contrast” so you can see how it affects your image:

File Formats

Admin — Tue, 14 Jul 2009 00:53:26 +0000

File Formats

Adobe Photoshop has a variety of formats, which you can choose to hide in. It may seem confusing and unmanageable, but actually it is not so bad … Your camera also has probably the highest 3 different formats.

There are many ways to save their photos / drawings on. What format should be in store depends entirely on the medium as the image is presented.

Is it the Internet, desktop background or print / pressure? If it is print / prints are JPG since so bad?

I will review the most common and well-known graphic formats, complete with a brief description of their advantages and disadvantages, and provide examples of how it can be used.

BMP – Bitmap

BMP files are images stored in a raw bitmap format (not to be confused with camera RAW format). Other formats of the same type with the same qualities Examples include IMG, PCX, and DIB. These can contain almost infinite number of colors, but the disadvantage is that the format is a kind of RAW format, and therefore turns terribly much. Palette using the RGB (Red, Green, Blue). An image of 800×600 pixels will fill 1,440,000 bytes (equivalent to 1.37 megabytes), which we calculate 800 * 600 * 3! This format is largely used today by Microsoft, where they distribute their Windows, Office, etc. ..
This format is NOT web-friendly in that it fills very much compared to GIF, PNG and JPEG! However, it may well be used by all browsers can display BMP.

GIF – Graphics Interchange Format

GIF files are images stored in the max. 8-bit color, ie. 256 colors. This makes the course to a given image in GIF fills much smaller than an image, For example. 24 bit (16.7 million colors) stored in the aforementioned BMP. That unfortunately also means that there is cheerless much color information is lost.
On the other hand, GIF is one of only two formats that can store a picture with TRANSPARENT background – even when it appears in a web browser! Images are aware always square, and it can quickly look bad next to a picture with the yellow background on a website with black background. If you want to build a fancy title with transparent background, so you will typically choose GIF.
In addition, the GIF can be animated! You can save multiple images in a GIF file, and thus make a little short animation. Today, Flash, However, virtually taken over this function and GIF animations are used almost exclusively in the small icons to draw attention to itself (attention) in web …
GIF is suitable for Internet use, since it is supported by all browsers.

JPEG – Joint Photographic Experts Group

JPG / JPEG files are images stored in a compressed format destructive. This format can store the full 24 bit color, but by extreme hard compression is also very similar image, information is lost. It loses sharpness, detail and color the more you compress. The advantage is that JPEG can be compressed with an optional value! If you have a very colorful, nuanced and detail-rich image selected typically a low compression factor and has a mono-empty and simple image (a few colors, get crisp types) selected typically a HIGH compression factor. Even with a low compression factor will fill the image much smaller than a BMP!
JPEG is ideal for Internet use, since it is supported by ALL browsers in addition to space savings in the other end also makes it quick to show. On the other hand, it is more doubtful format to use for professional printing. You may as well save the 150 PPI intern (and for that matter, PPI dpi internal) and it actually makes that one may well use it for printing / processing in Photo instance Japan, Føtex or Bilka. In Photoshop you can save in JPEG in two ways, either as “save as” (quality: 1 – 12 WHERE 12 is the highest quality) Or “Save for Web ‘(quality: 1% – 100% where 100% is highest quality). Even at the very highest quality (100% in “Save for Web” Or 12 “save as”) the picture will lose a bit of information, and if you save the same image over itself, many times, it will slowly become worse and worse. It helps in other words, not to save a JPEG image at 100% quality; this will only spoil the picture further.

PSD – Adobe Photoshop

PSD files are images saved in Adobe Photo Shop image. They fill very much, because they are uncompressed. The advantage of the format is that it stores things such as layers, masks, and other miscellaneous settings adjustments. If you have edited / created an image from scratch in Photoshop, you should ALWAYS make sure to keep the PSD file with all layers intact, before compressing, For example. JPG or PNG. Furthermore, you can choose between several favorites’ (LIKE. RGB, sRGB, indexed and CMYK).
PSD is suitable for PRINT / print, but no pigeons around the internet, as it does not appear in browsers. Due Forma’s size, it is not suitable for the transport / forwarding.

PSP – Paint Shop Professional

PSP files have images saved in the Jasc Paint Shop Pro format. The formats are a response to Adobe Photo Shop and have similar properties.

PCD – Kodak PhotoCD

PCD files are images stored in Kodak format Photo CDs. It is available in 5 And 6 amateur professional formats. It can compress the non-destructive, which on the one hand, there will no loss of quality, while on the other hand means that you can still up in the relatively large size compared with JPG and PNG.

PNG – Portable Network Graphics

PNG is the “new” file format (from 1995), which is designed to replace JPEG and to some extent with GIF. It compresses the non-destructive (ie not as a JPEG), and can use transparency in more than 256 colors, ie. with true alpha channel (32 bit)! Especially the latter makes it a truly attractive format. It turns around half of a TIFF image, and quality is the same for the eye!
The reason why PNG has not been used fully yet, is probably that the format is not fully supported by Internet Explorer 6 (only version 7 can display 32-bit PNG correctly) and the slightly larger file size compared to JPG. PNG, However, in many respects the best format to use, especially if quality means more than the file size. PNG may apply different bit types; 1 bit per channel, 2 bits per channel, 4 bits per channel, 8 bits per channel and 16 bits per channel.
The loss-free compression as PNG uses a non-patented, and this has to do with the creation of PNG – which originally had a secondary role, namely “PNG – Not GIF”, by Unisys patented LZW algorithm (used, inter alia, in GIF format).

TIFF – Tagged Image File Format

TIFF files are images stored with the aim that they be used for press / PRINT. It is a professional format that compresses without information loss at all! This is done with LZW compression, which can be said to remind some of ZIP format can compresses anything. TIFF format is standard in the electronic graphics industry when you send files to hidden.
The format can not be used for internet, since it is not supported by browsers.

This was so little about the different file formats. As something else include Corel draws format. This use is not to point (pixel) Description, but by vectors. This implies that one can zoom infinitely without getting the familiar quality loss in the form of mouse stairs, color pixels, etc. It should then be said that the format be used only for computer drawings and example Can not take pictures, nor scan with it.

Here at last is a list of names of the different file formats:

AG4 Access G4 Document Imaging
ATT AT & T Group IV

BMP Windows & OS / 2
BRK Brook Trout Fax

CAL CALS Group IV
CIT Intergraph Scanned Images
CLP Windows Clipboard
CMP Photo Matrix G3/G4 scanner format AND LEAD Technologies
CPR Knowledge Access
CT Scitex Continuous Tone
CUT Dr Halo

DBX DATABEAM
DCM DICOM medical image
Intel dcx fax
DX Auto Trollasen document imaging

ED5/ED6 EDMICS (You. With. DOD)
EPS encapsulate PostScript

FAX Fax
Fmv Frame Maker
Fpx Flashpix

GED Arts & Letters (draw)
GDF IBM GDDM format
CompuServe GIF
Gp4 CALS Group IV – ITU Group IV
GX1/GX2 Show Partner

ICA IBM IoCA
ICO Windows Icon
IFF Amiga ILBM
IGF Inset Systems (HiJaak)
IMG GEM paint

JFF / JPEG JPEG format (or. JFIF and JPEG)

KFX Kofax Group IV

LV Laser View Group IV

MAC Mac Paint
MIL See “gp4″
MSP Microsoft Paint

NIF Navy Image File

PBM Portable Bitmap
PCD Photo CD
PCX PC Z-Soft Paintbrush
PIX See “IGF”
PNG Portable Network Graphics
PNM / PPM UNIX portable bitmap
PSD Photoshop native format
PSP Paint Shop Professional native format

RAS (gridless) SUN
SGI RGB (see “SGI”)
RIA Alpharel Group IV document imaging
RLC Image Systems
Miscellaneous RLE RLE-compressed formats, similar to BMP
RNL GTX RunLength

SBP IBM Story Board
SGI Silicon Graphics RGB
SUN Sun Corp.

TGA Target
TIF Tagged Image File Format

Wpg WordPerfect Image

XBM X Window Bitmap
XPM X Window pixelmap
XWD X Window dump

It should be mentioned that many of these formats are either past, present, or by being so. Most are not available in Photoshop, hence their relevance not elucidated here …

Digital Camera Formats

RAW

All SLRs and a range of semi-compact cameras can save in reformate. This is called global RAW, but says it is Nikon NEF, Canon says in CR2, Minolta MRW at etc. .. These reformatted is unfortunately not compatible with each other, but Photo Shop RAW plugin supports processing of the vast majority reformate. It must be said that Adobe has created a general reformate with open specifications – namely DNG. This format, we will probably see more widespread in the future – already supported by including Pentax K10D.

RAW comes directly from the camera, and as such is unaffected by the camera’s internal processing software, camera software, simply enter draft settings of the RAW file, but the user will be able to change these settings in the preferred RAW editor.

This will also retain the high bit types – typically 36-bit, and you can pay much more dynamic in your images, and even a lower noise level. RAW files turn to turn a lot more than as JPEG.

If you have the option, you should shoot in RAW whenever “it is important pictures we take.” Now almost all the pictures Monday shooting, some potential to become important later, so I am trying to say is – detonating money, buy a pair of 2GB memory card (they are cheap now) or greater, and shoot only in RAW .

The advantages of RAW is therefore:
# Major bit types (12 bits per channel, compared to 8 bits per channel to JPEG)
# More dynamic in the picture
# Option to remove noise more effectively
# Option to remove the objective phenomena such as fringing more effectively

Only downside is as mentioned before, the extra space it takes. If you do not have software available which can thumbnail browse RAW images, you should shoot in RAW + JPEG (which both make a RAW file and a JPEG file for each photo shoot Monday).

JPEG

All digital cameras (except Sigma DSLR) can save the image in JPEG. This format is fine, but you should ALWAYS shoot the highest quality! There is no reason to get pictures with a little amative colors and sharpness are slightly lower, just because it would save 200-300 dollars for a new memory card.

TIFF

Some digital cameras can save in TIFF. Images stored in TIFF may have the same bit types as RAW, but TIFF images do not have the same opportunities as RAW editing. In contrast fills the slightly smaller than RAW, but still a lot more than JPEG.

pixels, DPI and PPI

Admin — Tue, 14 Jul 2009 00:29:18 +0000

Pixels in Photoshop (and on screen in general) are the dots, forming the display itself. 1 pixel is the smallest unit a screen can display.

For flat panel applies to the creation of a particular solution, as most 18 “- 19 "parachutes designed for 1280 ×1024 pixels, while most 20.1 “- 23″ Flat panel displays are built to 1600×1200 pixels. If you do not use the solution as a flat panel is created, you are punished with a cloudy and blurred image (some flat screens, however better to compensate for this than others).

An image of 1280×1024 pixels is called sometimes the 1.3 MPixel (Mega-pixel).

Each pixel has its own color and position. If you zoom all the way into your image in Photoshop (shortcut key: CTRL and + simultaneously) you’ll see “blocks”. These are the pixels that you see in the picture is composed. Note that each square can only have one color. The image is thus made up of a mass of these squares.

Squares are called pixels, and when they be such as it is known as a bitmap.

Even the pixels your monitor can work with you might not see with the naked eye – but go in and turn on the TV and plug fully into the nose against the screen – which lets you can see anything. A television screen is far from being as good as a PC screen (technically) – if we talk tube displays is being done …

DPI & PPI – lies and deceit …

DPI = Dots Per Inch = dots per inch.
PPI = Pixels Per Inch = pixels per inch.

Photoshop does not indicate DPI century.

Photoshop indicates PPI figure, the pixels per inch. Many argue the opposite, but here comes the proof:

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I have surrounded it – and it says “Resolution” (it means “Resolution”) – 72 pixels / Inch. You can choose to display it as Pixels / cm, but do not so; standard pixels per inch (pixels / Inch).

There is no “dots / Inch” (DPI).

So we got this resolved.

Find the difference between these two images.

Look carefully.

Can you see any difference? No doubt? The difference is that the picture on the up are in 1 DPI and the image on the down is 1000 DPI.

But both pictures are actually quite similar, in spite of this. While file size is the same. And images physical size of both, 350×233 pixels.

Ergo is the DPI figuring none of the image quality. And now will ever say that it applies only to the screen – and to a printer will take care of DPI century.

It is not the case. If your image is as 1600×1200 pixels (2 MPixels) then there are many pixels to do well, regardless of how many or few DPI image is in. Today’s printers and developer machines do not use the DPI figure, since the machine is already set to print out at a given size, For example, 13 × 10cm. Thus converted your 1600×1200 pixels image automatically to the number of DPI is naturally derived from the fixed print size.

Scanner DPI gives much more sense, here we are talking about a conversion corresponding to the scanner see x number of dots per inch. For example, you get an electronic image of 1535×1181 pixels, if you scan a 13×10cm photo at 300 DPI. But if you change your DPI settings for the scanner to 72 DPI, then your electronic image only 369×283 pixels. Here DPI a quality sense in higher DPI gives a more detail-rich image from the scanner.

In some DTP (Desk Top Publishing) programs provide DPI century sense to use. If you work with A4, and will insert an image, you can usefully change the image PPI figures (yes, you read correctly – pixels per inch, not Dots Per Inch) and insert the image with this figure, so the picture will appear as if it as only filling the 13×10cm it is on your A4 sheets, while it still has its high resolution – and it derived DPI figure correctly.

What one needs for the induction of pictures around 200-220 PPI (pixels per inch).

Regardless of how much the photo trades shouts after 300 PPI – only want a higher PPI figures make sense, and then do not. Your image quality is still dependent on its dimensions specified in the number of pixels.

In Photoshop, you can however choose simply to adjust its image PPI figures, but now something good out of it?

# You have an image 2048×1536 pixels (3.1 million pixels). Your Photoshop shows that it is saved in the 72 PPI.
# You want it provoked in 13 x 9.75 cm
# You’ve heard that 300 PPI is good for the calls
# You choose to put the figure up from 72 to 300 of Photoshop
# You will now have an image of 8533×6400 pixels – in 300 PPI
# You get a hell of trouble uploading the big picture directly to your photo is, and the server may reject you because the image is too large.
# To select a harder JPEG compression, violence and power, this picture is called!
# You may receive a few days after a difficult bad image because of the strong JPEG compression, which gives jitters and color errors.

But why all this fuss – your image of 2048×1536 pixels at 72 PPI was perfect. At 13 x 9.75 cm would you actually get up to over 400 PPI if only you had sent it away as it was! That is twice what is truly needed – As I said; 200-220 PPI is far enough.

More about PPI

To use the Internet usually 72 PPI (see what ppi a given image has to open it in Photoshop and choose Image> Image Size (it is down in the box next to “Resolution”). This is because it assumes that people are with old 14 “monitors, but today we are actually closer to 96 PPI.

To print 200-220 PPI is often abundant, in spite of under rumors claiming that 300 ppi is required.

The best developer machines nowadays can give you the highest in your photos 200-220 PPI, so there is no point in using 300 ppi.

To set the PPI figure correct in Photoshop

If you’d like to check up on how many PPI your image resolution corresponds to the physical print size you want, and then go up the menu “Image” and select “Image Size”. (Or shortcut: Ctrl + TOTAL + in). There is now a box as shown below:

# Make sure that there is no checkmark in the “Resample Image” box!
# Change the “Width” And “Height” after how many centimeters image must be!
# Look at the figure for the PPI.
# In this example, I have a 2 Mpixel image (1600×1200 pixels) to 200 PPI, which gives approx. A5-size print.

Introduction

Admin — Mon, 13 Jul 2009 18:40:33 +0000

What is Photoshop?

Adobe Photoshop is one of the most powerful tools for PC and Macintosh when we speak imaging and 2D bitmapgraphics. GIMP and Paint Shop Pro is just the biggest competitors, and they do really well. Paint Shop Pro is very cheap compared to Photoshop, GIMP is completely free!

Photoshop is available in an academic license, which for many is the way forward. Moreover it can download a free demo version and you can get a “light” version called Photoshop Elements.

What is a bitmap?

There are usually only 2 digital imaging types, vector and bitmap.

Vector is used as the CorelDraw, Freehand, Flash, and even various 3D programs. Photoshop also has a few vector tools; them we know as the “Shapes”.

Vectors are mathematical equations that describe a line cutting a section through a vector lining. Thus one can scale the image with vector graphics unbridled up and down in size without losing quality! In addition, vector graphics fills little on the hard drive, compared with bitmapgraphics. The disadvantage is that the format can not be used to take pictures, since the organizations of such vectors are not equal can be calculated from the signal from an image sensor.

Bitmapgraphic is as simple as a right: A bitmap consists of a lot of pixels (dots), each of which may have their individual colors.

Each pixel has a basic x-position y-position and one color.

Exactly this is very important to understand when we work with Photoshop – because we can not build things in a picture which does not exist in the image without having to sign them (or copy them in from another picture).

Bitmap fills more than vector, since each pixel must have explained its position and color – while the vector is, as I said just mathematical equations. Therefore invented a wide range of compression for bitmaps; those we come in to later.

Computer requirements

Photoshop CS2, as such, does not require a huge machine to start, but if you want to work intensively with larger files, especially files intended for print, so it is strongly recommended to have at least 1 GB of RAM. Actually, I would recommend 2GB of RAM, so you often avoid the computer is slow because it runs out of RAM on the way, even if you have multiple things running (eg background music from your Winamp or Windows Media Player).

Your monitor should be able to display colors with high accuracy as your pocketbook can handle. Older deep CRT delivers incredibly beautiful color of money – at the time of writing, the visual nature of a much better buy than TFT displays.

TFT displays (flat panel) is a bit trickier; typically the cheap TFT monitors are based on a panel technology called TN +, and is NOT suitable for imaging.

Explanation of link between bits and colors …

Admin — Mon, 13 Jul 2009 15:42:05 +0000

Basics of bits

A color image information is divided into red, green and blue colors (RGB) when it appears on the screen. These three colors (Red, green and blue) are the basic colors of light – also known as additive color mixing.

Sometimes seen, However, also be used for CMYK images, it is converted color values to prepare the image to print – but it brings us into the future.

However, there are many different bit types you can work, and while we primarily work with Photoshop 24 bit (8 bits per channel), then bit types important theory to have in place.

Bits & bytes

Bits and bytes are undeniably linked. Bytes used on the size of a file (software) may have, while the bit is the information depth. Relations between them are:

* bits = 8 byteWith

bytes / = 8 bits

This relationship is as valid for the calculation of possible download speed in kB / s (kilobytes per second) according to the specified MBit for your Internet.

Relationship between the number of colors and bits sees something different.

We have 1 bit which can be either 0 Or 1 This can eg be to 0 tells the screen to display white, And 1 tells the screen to show black. So we have 2 options. Mathematical write it: 2 ^ 1 = 2

If we have 2 Bits, we say that the 2 options we had before are now 2 options each. bit – so we get 4 colors because:
2 ^ 2 = 4.

At 8 Bits, we say again:
2 ^ 8 = 256. So 8 bits can display 256 colors.

Consequently will review the bit types we have available in Photoshop CS2.

1-bit images

1 bit is also called “duo tone” Or “Monochrome” because there are only 2 colors. For pure black and pure white.

1-bit images should not be confused with using grayscale typically up to a total of 256 different gradients.

8-bit images

8-bit images contain 256 colors (often 16 color palette basic + 80 gradients of red, green and blue). What colors of these 256 colors will be, one can nevertheless effectively be chosen from a 24 bit palette.

The advantage of 8 bit images is that one can make an “indexed” palette. Notably GIF format is restricted for maximum use of 8-bit color.

When in Photoshop will convert a 24-bit color image to 8 bit (Image> Fashion> Indexed Color …), there are many options – but it is recommended that you use “Local: Adaptive” because this method adjusts the 256 colors you have available to suit the colors used in the picture. In contrast to the flat as “Windows System” Range, just trying to get your picture to look similar basis, using the “Windows System palette.

24 bit images

24-bit images contain 16.7 million colors, also called “True Colors”.

Here we 8bit per color channel (8 bit red, 8 bits green, 8 bits blue) = 24 bits total.

Indeed, all JPEG images in 24 bit, even as Windows is set to display 32 bit color. yes, Actually 24 bit color is that Windows sometimes called 32 bit color! Read on for an explanation …

32 bit images

When we talk about 32-bit color we often 16.7 million colors – that is, it is 24 bit color.

But what is 32 bit color? yes, 32 bit color 24 bit colors with an alpha channel (a extra channel that provides transparency in the picture). 24 bit color is 8 bits per color channel (8bit for Red, Green and 8bit to 8bit for Blue), and the last 8 bits is the alpha channel. Known file formats, which may use an alpha channel (English: alpha channel) are TIFF (. Tif), TARGA (. Tga) and Portable Network Graphics (PNG).

48 bit images

Adobe Photoshop can work with 16 bits per channel, equivalent to 281,474,976,710,656 colors. This is much more than what your computer can display, so that you see on your computer when you work for 48 bit is a converted representation of the real picture, you see it in 24 bit (because your monitor can not display greater color depth than this) but Photoshop makes it possible to work with 48 bit colors.

96 bit images

Adobe Photoshop to work 32 bits per channel, it is called “floating point” (floating point representation calculations). 96 bits are used for HDR (High Dynamic Range) Images, ie. images with extremely high dynamic range, which may prove more dynamic than even the human eye can capture.

When you work in 96 bit, you will often need the ability to preview in Photoshop – Select menu “View”> “32-bit Preview Options.”

Note; printable (and less resource-view in general) you must convert to 48-bit (16 bit per channel) or 24-bit (8-bit per channel).

Color Space

To refer to colors, we need to have a system we can refer to them in. Ex. in chemistry have of course the periodic system. In computer graphics, it will be a little more math than that.

Adobe Photoshop can work with all common color spaces.

We will look briefly at the different color spaces. Note incidentally that not all color spaces are compatible with all bit types. For example, LAB can

Color space: RGB

Logically, giving the most sense for us to work RGB (Red Green Blue), since this is how the screen shows colors (additive color mixing). Thus, we define the colors from 3 values that represent, respectively. Red, green and blue.

To read later in this article how the RGB values defined.

Color space: CMYK

CMYK for print, while the RGB is used for displays.

CMYK stands for Cyan Magenta Yellow Key where Key is mostly black.

When considered as RGB additive color (ie, colored light), so does the subtractive CMYK colors (eg, like when you mix paint). therefore, extremely well suited for CMYK printing, which colors are mixed correctly from a specified converted color value (from hexadecimal).

If you need an image generated, so you should convert it to CMYK before sending. In Photoshop makes it very simple menu “Image> Fashion> CMYK Color.” This will allow Photoshop to convert your RGB image to the color values as Photoshop estimates, the corresponding CMYK values, and you’ll get a more authentic impression of how your image will look like when it comes out in writing.

Color space: LAB

Lab stands for Luminance (Brightness) and a + b is the component values, WHERE “A” controls the red-purple <->; green spectrum, And “b” controls the Blue <->; yellow spectrum.

Lab is an absolute color space, ie. the colors are solid here, unlike RGB and CMYK.

Other absolute color spaces include sRGB and Adobe RGB.

When we talk Lab in Photoshop, then it is really CieLAB spoken about.

Color space: sRGB

sRGB (standard RGB) is an absolute color space based on RGB as we looked at before. sRGB standard is extremely widespread, and although it is primarily adapted (The “old” deep) so that both digital cameras / scanners / TFT monitors also said to go under the sRGB standard.

Color space: Adobe RGB

Adobe RGB is an absolute color space, based on CMYK as we looked at before; it is a way to reproduce in CMYK as RGB values.

Compared to Adobe RGB, sRGB has improved:
- Cyan-green midtone reproductions
- Orange-magenta highlights reproductions
- Cyan and green shadow reproductions

Hex values

The last part of this article will deal with hexadecimal.

Usually we are working with decimals – that is, We have 0, 1, 2, 3, 4, 5, 6, 7, 8 And 9 — and from these 10 numbers, we can create both small and large figures and define committal until we get tired of your hands.

There are also binary subsystems that use computers, but we will not examine in this article.

Hexadecimal is a 16-representation system. Instead of having invented strange new mug duller, so have chosen to use the first six characters of the alphabet – that is, A, b, C, d, e and f.

Now we are both 0-9 and making good when we simply type a number!

So we see therefore that:

Decimal	Hexadecimal
0	0
1	1
2	2
3	3
4	4
5	5
6	6
7	7
8	8
9	9
10	a
11	b
12	c
13	d
14	e
15	f

As we see, so we write as simply f instead of 15

Hexadecimal variable used in computer graphics, to define the colors with.

Colors are defined as follows:

Each basic color in the additive color mixing (Red, Green, Blue) can be defined with a 2-digit value, where each digit can be between 0 and f.

When we look across the hex value, then there is the three basic colors are each defined by 2 digits. So we have a total of 6 digits.

We mention first red, then green and finally blue. Abridged; RGB.

# 000000 has the lowest value and provides pure black.

# ff0000 is pure red, because we have put the two digits for red, the highest possible values.

# 00FF00 is pure green, because we have the two for green, the highest possible values.

# 0000FF is pure blue, because we have put the two digits for blue, the highest possible values.

# ffffff is pure white, because we have all the digits on the highest possible values.

In Photoshop, you can see hexvarient when you click the palette:

A hexvariant is easy just to pass on to others – as it is both easier and more precise to say / Write: # Ff9900 instead of “orange”. Those who need hexvariant can simply enter hexvariant in its graphics program!

RGB values

Also RGB values are used widely. In Photoshop you’ll see them in the palette:

R stands for Red (Red), G stands for Green (Green) and B stands for Blue (Blue).

A value of R, G or B, can be between 0 And 255 Remember our 24-bit scale before: 3 channels, which are divided by 8 bits for each basic color, corresponding to 256 colors. 0 to 255 gives the total of 256 Figures! Because we assume that we work in 8 bits per color channel, so says this exactly RGB8.

The RGB values equal 255 equal to hexadecimal ff.

Let us look back at our hex values; f corresponds to 16 value (ie, figure 15). When it says later that it is the highest number of options, ie. 16 ^ 2 = 16 * 16. And 16 times 16 gives 256 so the corresponding RGB value.

Or, yes, 256 is not equal to 255 But we have not talked to 0 when we say 255, So 255 is actually seen the 256′ende value (like when you are born – then you are indeed in your first year of life, even if you are 0 years old).

Many programs use RGB values to define their colors, and Photoshop can use both the hexadecimal and RGB values.

Syntax of namespace

Admin — Sat, 11 Jul 2009 12:18:19 +0000

In an XML document refers to a namespace using a special attribute (xmlns) associated with the root element, as in the following example:

This indicates that the feature article and its sub using the names defined in the namespace identified http://www.goodtutorials.org/xml/article identification.

The identifier of a namespace can be represented by any string, provided it is unambiguous. Just to ensure consistency, long-standing practice is to use a URI (Uniform Resource Identifier) as an identifier.

It should be stressed that it is not necessary for the address specified as a namespace identifier corresponds to a file published on the Web, it is simply used as the identifier and the parser does not access the Web to verify the existence of the URL.

To report a namespace with the XML Schema should be stated in the root element as in the following example:

xmlns: xsi = “http://www.w3.org/2001/XMLSchema-instance”
xmlns = “http:/ / www.dominio.it / xml / Article”
xmlns = “http:/ / www.dominio.it / xml / bibliography”
xsi: schemaLocation = “http://www.dominio.it/xml/articolo
articolo.xsd ”
xsi: schemaLocation = “http://www.dominio.it/xml/bibliografia
bibliografia.xsd ”
>

The attribute xmlns: xsi specifies the way in which it is indicated the reference to the diagram, while the attribute xsi: schemaLocation is the namespace and the file where you defined the XML Schema separated by a space.

And can combine multiple namespace so that each element is used that relates to your namespace.

Remember that when we refer to a namespace, this reference applies to the current item and all items included, unless you specify a different namespace.

The following example uses elements taken from two different namespaces: one for the grammar of the structure of an article and the other on the grammar of bibliographies:

bla bla bla

xmlns = “http://www.goodtutorials.org/xml/bibliography”>

Admin

<br /> Works cited<br /> </ title><br /> <year><br /> 2009</p> <p></ year><br /> </ bibliography><br /> </ section><br /> </ item></td> </tr> </tbody> </table> <p>Include reference to a namespace for each element is usually uncomfortable and makes it difficult to read the XML document. You can create abbreviations to refer to the namespace.</p> <p>These <strong>abbreviations</strong> are made up of alphanumeric characters followed by a colon (:) as declared in the root element and used as prefixes of the names of the elements. The following example shows the XML code above the use of these prefixes:</p> <table border="1" cellspacing="0" cellpadding="0"> <tbody> <tr> <td width="590" valign="TOP"><article: Article title = “Guide to XML”<br /> xmlns: art = “http:/ / www.goodtutorials.org / xml / article”<br /> xmlns: bibl = “http://www.goodtutorials.org/xml/bibliography”><br /> <art:paragraph title=”Introduction”></p> <p><art:text><br /> bla bla bla<br /> </ art: text><br /> </ art: section></p> <p><art:paragraph title=”bibliography”><br /> <bibl:bibliography><br /> <bibl:author><br /> Admin<br /> </ bibl: author><br /> <bibl:title><br /> Works cited<br /> </ bibl: title><br /> <bibl:year><br /> 2009<br /> </ bibl: year><br /> </ bibl: bibliography><br /> </ art: section><br /> </ art: article></td> </tr> </tbody> </table> <p>The declarations xmlns: art and xmlns: bibl assign prefixes art: and bibl: their namespace prefixes, and these are used for each element of the XML document.</p> </article> </main></body></html>