fake fisheye tutorial
July 31, 2009
if you don’t have a fisheye camera or can’t afford a fisheye lens; i have good news now you can actually fisheye with photoshop. (p.s: i have cs3 version so i don’t know if this is possible in previous versions)
File>Open (Ctrl+O) the photograph you want to apply fisheye effect in photoshop.
Hold Shift and with Elliptical Marquee Tool select the area you wish to apply fisheye effect.
When you have made a selection with the elliptical marquee tool, next step is Select>Modify>Feather
Once the Feather Selection Menu appears type 15 to apply 15pixels of feather to your selection.
When you have applied 15pixels of feather to your selection, click Filter>Distort>Spherize.
For maximum fisheye effect set the amount to 100%
Once you have applied the spherize effect to your selection press Ctrl and C. You will have copied your selection. Then press Ctrl and N to open a fresh page. Then to paste your selection into the fresh page, press Ctrl and V. You will have this:
Then create a new layer and position it below the layer of your fisheye-d image.
Paint that layer (Layer 2) black with your Paint Bucket Tool. And there you go -you have your fisheye image!
I hope this was helpful to you. 
moody. admire
July 30, 2009
This is someone I don’t know much about. These are some of her works.
But if a photograph is worth a thousand words…
I link like a good girl.
Push Pin Studios
July 30, 2009
About Push Pin Studios
“While students at The Cooper Union, Seymour Chwast, Milton Glaser, Reynold Ruffins, and Edward Sorel worked after hours as Design Plus, doing a few commissions and silkscreening without much financial success, and, after graduation in 1951, they went their seperate ways: Chwast to work for the New York Times, Glaser first for Vogue and then to study etching in Italy, and Sorel and Ruffins for independent studios. However, Chwast, Sorel, and Ruffins, unfulfilled by their day jobs, began producing a promotional publication, the Push Pin Almanack (modeled after the Farmer’s Almanac with a bevy of illustrated facts, quotes, and even horoscopes), to gain freelance commissions. Back from Italy, Glaser joined them in 1952, and by 1954 they founded Push Pin Studios (Ruffins was not one of the original founders, but joined in 1955).
The Almanack was published until 1956; it gave way in 1957 to the Push Pin Monthly Graphic, but the Monthly was dropped from the title in 1961, when it was evident the publication schedule did not match the name. The Push Pin Graphic, showcasing the remarkable and unprecedented stylistic diversity of its members, became a magnet for work and acclaim for Push Pin Studios. Sorel and Ruffins left in 1956 and 1960 respectively, but Push Pin Studios had no problem attracting talent to meet demand: Paul Davis, James McMullan, and Isadore Seltzer were all part of the group throughout the 1960s and contributed to the Push Pin Graphic as well. In the early 1970s, Glaser left to start his own studio; Chwast remained in charge (and still is), expanding the pool of illustrators represented through the Push Pin Graphic, which continued its run of original content until 1980, through 86 influential issues.”
(from Graphic Design Referenced by Bryony Gomez-Palacio and Armin Vit)
I link like a good girl.
Pentagram
July 29, 2009
About Pentagram
“Established in 1972 when Crosby/Fletcher/Forbes (previously Fletcher/Forbes/Gill) the partnership of architect Theo Crosby and graphic designer Alan Fletcher and Colin Forbes grew to include graphic designer Mervyn Kurlansky and product designer Kenneth Grange, taking on the black magic-inspired name of Pentagram, a five-pointed star. This partnership and the blueprint it established for growth was unique in several aspects: It was multidisciplinary, allowing a single firm to offer a broad scope of practices; it gave each partner an equal salary, equity, and profit-sharing; it centralized administrative resources while allowing each partner to operate in relative independence as active designers running their own teams and responsible for their own clients; and it established a precedent so the accumulated personalities through the years could compete against large, tiered, corporate agencies and firms. It was Forbes, for the most part, who was able to establish this unconventional structure as he took on the responsibility of setting the parameters for Pentagram’s growth as well as introducing, and chairing for the next 18 years, the partner meetings occurring every six months- a task that grew increasingly complex as partners around the world joined.
How designers become partners in the firm is a constant source of discussion in the industry, but an agreed set of criteria informs the selection process, which was more clearly defined around 1991, when Forbes decided to delegate his chairmanship: “A partner must be able to generate business, a partner must have a national reputation as an outstanding professional in the chosen discipline, a partner must be able to control projects and contribute to the profits of the firm, and a partner must be a proactive member of the group and care about Pentagram and the partners.” The criteria emphasize the need for each addition to be able to perform not just as a designer but as a businessperson as well- a symbiosis that does not always succeed. Across four decades, more than 35 individuals have either been partners or given the opportunity to be through the two-year probationary period, giving the firm a consistent flux as partners join and leave.
Pentagram grew quickly; John McConnell joined in 1974, and then in 1978 Forbes launched a New York office. The firm has since expanded at an organic pace, adding partners not to boost profits or billings but when the right person comes along, and opening locations not to exploit industries or markets but to blend with the partners’ original location. Not all additions have proven successful; Peter Saville and April Greiman, two of the most celebrated designers of the 1980′s, did not last more than two years, and a Hong Kong office headed by London-based David Hillman operated just three years.
Consistent throughout Pentagram’s history has been a remarkably multidisciplinary practice- first, across disciplines, from corporate identity to packaging, editorial design, posters, and exhibit design; second, across client types, from nonprofit organizations to consumer brands and business-to-business corporations; and, third, across a dizzying number of markets and industries, from fashion to culture and hospitality -all without a specific or implicit adherence to any given style, resulting in an extremely diverse portfolio. In its most recent incarnation, Pentagram’s roster comprises mostly third -and fourth- generation partners -San Francisco- based Kit Hinrichs, who joined in 1986, is the longest standing -yet the principles remain the same more than 35 years later.”
(from Graphic Design Referenced by Bryony Gomez-Palacio and Armin Vit)
I link like a good girl.
![No_2_Final [Converted].eps](http://zeynepkinli.files.wordpress.com/2009/07/ps_two_sm.jpg?w=460 "No_2_Final [Converted].eps")
A Muse: Alexey Brodovitch
July 28, 2009
About Alexey Brodovitch
“Arriving in Paris in 1920 from revolution torn Russia, Alexey Brodovitch began his career painting sets for Ballet Russes and gradually immersing in design earning recognition through the International Exposition of Modern Industrial and Decorative Arts and by winning a poster competition for Bal Banal, a dance benefit for Russian artists. Approached to establish an advertising art department at Philedelphia Museum and School of Industrial Art (now the University of the Arts), he moved to the United States in 1930, providing a starting point for his highly influential teachings -among his first group of students was Irving Penn. Brodovitch worked across design and advertising in Philedephia and New York, but his pivotal career poing came in 1934 when Camel Snow, new editor-in-chief of Harper’s Bazaar, saw an advertising show hosted by the Art Directors Club in New York curated by Brodovitch and offered him the art director position that evening.
With an unparalleled sensibility and approach to photography, layout and typography Brodovitch governed the look of Harper’s Bazaar for the next 24 years. He commissioned work from European artists like Man Ray, Salvador Dali, and A.M.Cassandre and American photographers like Richard Avedon, Lisette Model, and Diane Arbus -most of whom were Brodovitch students in his Design Laboratory class at the New School for Social Research in New York that ran from 1941 to 1959. Brodovitch collaborated with art director Frank Zachary to create the short lived Portfolio, a luscious magazine for visual artists published for just three issues. Brodovitch published Ballet in 1945, a collection of his own photographs -blurred and full of motion- of the Ballet Russes de Monte Carlo taken between 1935 and 1937. He left Harper’s Bazaar in 1958 and moved back to France in 1966, he passed away in 1971 in Le Thor, France.”
(from Graphic Design Referenced by Bryony Gomez-Palacio and Armin Vit)
Viewpoint Project
July 27, 2009
Tell A Lie Project
July 27, 2009
About Henry Hadlow’s Tell a Lie Project
The most controversial lies told with photography today are those told by news photographers who manipulate their work photographs to tell a different story, for example, Liu Weiqiang’s faked photograph of antelope and the rail link with Tibet.
Working with my friend Ed Cornish, we decided to flip this lie on its head and use a camera to mimic common Photoshop effects.
I link like a good girl.
Born in 1989: Nelson Balaban
July 26, 2009
About Nelson Balaban
From Curitiba, Southern Brazil. Loves graphic design, arts, illustration and typography. Has worked with Adidas, BBDO NY, Billboard Magazine, Camel, Cansei de Ser Sexy, Coca Cola, Diesel, Nike, Sony Ericsson and many more.
I link like a good girl.
MR.TRASH! (or Thomas Schostok)
July 26, 2009
About {ths} Mr. Trash
“Who took the ‘T’ into Trash? {ths}. Who is playing songs of Elvis in the background to get weird ideas. {ths} again. Who loves ‘Big ’Uns’, love, sex, rock & roll, girls, hot rod, dirtygraphy, Elvis songs from the ’70s, atom physics, Barry White, chocolate, wrestling, meat, viva Las Vegas, all things shaved, cocktails, horror B-Movies, German beer and rusty machinery halls? Our boy {ths}. Who call his style ‘Trash urban warfare porn dirt style pop’? Yes, {ths}. And who lives in a world of his own – a world in which you do not need a driving licence to drive a Mustang?
Well, that would be {ths} as well. Mr. Trash reproduces the extravagant work of Thomas Schostok {ths}. Raw, dirty, irreverent, uncensored, Mr. Trash spares no cliche, no absurdity in bringing you what the book’s publisher called “world’s strangest ejaculation of graphic design”. Not bound to the field of graphic design, the book represents the last 10 years of his work, blurring art and graphic design. Graphic design, typography, paintings, collage, Gluebooks – all his work in one book. Mr. Trash is an independent book, without the help of a publisher and without censorship. Hail to the King, Baby.”
About Thomas Schostok
The artist Thomas Schostok {ths}, works with graphic design, collage, typography, drawing and painting. His work, reflected by mass cultural boredom, psychological warfare and professional wrestling, his artworks reference both graphic arts and ultimate trash. He lives and works in Germany.
I link like a good girl.
Ok, i’ll add this one last photo just because i fell for its irrelevancy.
Graphic Designer: Dimo Trifonov
July 26, 2009
About Dimo Trifonov
“Hello ! I am 18-years old Graphic designer with passion for many kinds of art,like Photography, Motion graphics, Print, Illustration and Experimental arts.I am currently based in Bulgaria. Call it hobby or whatever but art from part of my life become my life. Now 2009 i have almost 5 years of design behind me. I hope the next 5 years will be in our studio. It’s now just an idea but i hope in near future it will become true. You can check it on Studio Nufabric.”
You can view his portfolio here.
