Graphique

Graphique

The biggest Graphic Designers: - Carlos Segura-David Arey

Tutorials that you can not miss.

GraphiqueBetter Websites 1

David Arey 2

Carlos Segura 4

Bamboo 6

Tutorial I 9

Tutorial II 13

Volvo 15

David Arey I’m a graphic designer and oc-casional author who specialises in designing brand identities. People hire me because I help make their busi-nesses more profitable. Companies I’ve worked with in-clude Yellow Pages (Canada), Giacom (England), Asian Development Bank (Philippines), and Berthier Associates (Japan). Self-employed since 2005, my business is successful because it’s less about me, and more about my clients;

about the direction their com-panies are heading and about the success they will achieve. The ideas I create don’t just ensure my clients stand-out, they also provide timeless visual expressions that enable clients to engage and con-nect with their own customers more effectively than ever before.The people I work with are often kind enough to offer

testimonials.I’ve gained experience in both the United Kingdom and the United States and you’ll now find me in my home studio in Northern Ireland where I work with great people all over the world.A selection of previous identity proj-ects are in my design portfolio.

“We have been very much impressed by David’s ability to literally read our minds and deliver a corporate identity which perfectly symbolizes our vision and conveys the stylish, elegant and modern image we

needed to sustain the international development of our company.”

— DAVID SADIGH, FOUNDER & CEO,

My first book, Logo Design Love: A Guide to Creat-ing Iconic Brand Identities, has been translated into Chinese, Portuguese, Czech, German, Polish, Korean, Russian, and Japanese (publisher links).“Anyone involved in creating visual identities, or wanting to learn how to go about it, will find this book invaluable.”— AIGA MEDALIST TOM GEISMAR

My second book, Work for Money, De-sign for Love, went on sale in November 2012.I’ve featured in publications including Creative Review, Computer Arts, HOW Magazine, Digi-tal Arts, LogoLounge, and others.My graphic design blogs Logo Design Love, davidairey.com and brand identity showcase Identity Designed are visited by more than 600,000 designers each month.My Twitter ac-count is followed by thought leaders in design that include Chermayeff & Geismar, Pentagram, Debbie Millman, John Maeda, Siegel+Gale,

Mark Boulton, John Boardley, Moving Brands, Landor Associates, The Partners, Antonio Carusone, Tina Roth Eisenberg, Vi-taly Friedman, Interbrand, Simon Manchipp, Cameron Moll, and Khoi Vinh.If you’re in need of a new brand identity it’d be great to talk.“I recommend David unequivocally and would hire him again in a heartbeat.”— DR TAMMY LENSKI

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Carlos Segura Carlos Segura, founder of the Chica-go-based design firm Segura Inc., came to the United States from Cuba at the age of nine. He began his career in graphic de-sign as a production artist but soon gained more interesting challenges. He moved to Chicago in 1980 and worked for many prestigious ad agencies, including BBDO, Marsteller, Foote Cone & Belding, Young & Rubicam, Ketchum, and DDB Need-ham. In 1991 he founded Segura Inc. to pursue design more creatively with the goal of blending as much “fine art” into “commercial art” as he could.

Segura Inc was the beginning of a series of commercial ventures that ex-panded Carlos Segura's creative efforts. In 1994, the T26 Digital Type Foundry was born to explore the typographical side of the business. T26 fonts are now distributed throughout the world.Segura Inc. and T26 have received numerous awards from organizations around the world, including the Tokyo Type Directors Club, The Society of Typographic Arts, both the New York Art Directors Club and the New York Type Directors Club, and the American Cen-ter for Design. Segura's work has been shown in many journals including Gra-phis, Print magazine, HOW, and publica-tions by PIE Books, North Light Books, Duncan Baird Publishing, F&W Publica-tions, Rockport Publishers, Die Gestalten Verlag Publishing and others. His work has been shown in exhibits from the Den-ver Art Museum to Tokyo Japan.

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In 2001, He again ventured into a new category by starting 5inch, and in 2004, launched Cartype with further expansions of the typographical segment with Biketype Mototype and Trucktype. In 2004, Segura was named 1 of the 21st Century’s 100 best designers. (See pages 512 through 517 of Graphic Design For The 21st Century (100 of the World’s Best Graphic Designers) 2003 annual. Taschen Publishers. 4 projects published).

Create your world. Here’s a Bamboo that is just right for those with artistic in-terests! With its larger digital canvas, Bam-boo Create is great for all types of digital art projects, including sketching, illustrat-ing and digital painting. Inspire. Create. Imagine. Bamboo Cre-ate opens up a new world for digital art and photo projects. With twice the workspace of other Bamboo tablets, Bamboo Create gives you plenty of space to express your-self, enabling broad brushstrokes or arm movements.

Let your imagination soar as you freely and naturally draw, paint, doodle and sketch in your favorite software. Use soft-ware applications like Adobe® Photoshop® Elements, Corel® Painter™ Essentials and Au-todesk® SketchBook® Express, all included in the box, to explore a variety of digital media, includ-ing pencils, pens, markers, chalks, watercolors, oil paints and more. Your pen gives you the feel of working in natural media.

Bamboo Create is perfect for art projects that require a larger digital canvas. Turn digital images into special mementos. Use the pen to add hand-drawn embellishments or journaling to your projects and photos. Create unique, personal invitations, greeting cards and photo books to print and share digitally with friends and family.

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Bamboo Create

fKeegan Phillips I love my Create tablet. I got it a year ago, set it aside for awhile, but then started testing it out...and I was extremely satisfied! It is very user-friendly, in my opinion, and everything is working properly. I really appreciate being able to adjust the pressure sensitivity, and I was very satisfied with the accompanying programs considering the considerably low price of the complete package. I highly recommend this product to others looking to purchase a drawing tablet at an affordable price!

Al Jollimore Had mine for almost a year. Twice I had to reboot my pc to get it going and I am half way through my second nib. I use it almost daily. I thought the connection at the tablet end looked a bit dodgy so I added a little foam and tape around it. The tablet and pen have both survived a couple drops. It works perfectly. Out of the bundled software I like Autodesk’s Sketchbook the best, bought the $29 upgrade to Sketchbook Pro. Even better. Thank you Wa-com and Autodesk, good stuff, I’d buy another in a second.

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DINES from Studio Blup walks through how to inject life into your work by ma-nipulating found imagery and natural elements. In this tutorial I’ll explain how to create a stunning piece of artwork using found natural elements and hidden shapes within objects. By creating a story within your work, you can really bring your art-work to life – the theme for this piece is be free’.When you get yourself out into a natural envi-ronment and photograph found objects, you’ll

discover inspirational shapes and tex-tures everywhere. I’ll talk you through how to warp and abstract these images to bring your artwork to life.01 The first step is to source images from your local surroundings. Hunt out textures and interesting visuals – in this particular design I’ve included natural elements. These will form the key fo-cal point in the final collage. Look out for unusual and abstract shapes that you think will work well in your design. 02 Take your images and cut them out in Photoshop using the Pen tool, with feather settings at 0.

03 Add a coloured circle (mine is yellow): this will act as a guide for the core shape of your artwork. You can now begin adding in elements to your collage by selecting the clouds and danc-ers from your disc and placing them on your art board. Use the Transform tool to play about with the size of your images.04 Start selecting interesting shapes and contours to use in your collage. Look for contrasting tex-tures – I’ve used sharp edges as well as the soft curve highlighted in sections 2 and 4 of my bin bag image.

05 Cut out your chosen sections and position them on your art board. I’ve also added sections of purple cloth, which can be found on your disc, to build up my de-sign. At this stage, experiment with the shapes in your collage and try out different arrangements to create the effect you want with-in your image. 06 Now sharpen the colour con-trasts of the dancer figures. Firstly adjust the saturation to -83 and then change the levels to 25 black, 0.48 grey and 223 white. The white out-put levels need to be set at 213.07 Select the tree stump from the sup-port files and place it onto your art board. Use the Warp Transform func-

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tion on this image and adjust its levels to help the object blend into the collage effectively. You can duplicate as many of these as you want. 08 Place the purple vectors from the sup-port files onto your design, and use the Transform tool to decide how big you want them to be. Keep in mind that you want the focus to be on the natural ele-

ments, so don’t overuse these vector shapes.09 Next, begin to cut the tree stump out. Ad-just the levels of this to 40 black, 0.50 grey and 225 white. The white output level needs to be at 124. Once this is done, place the stump onto the back layer of your image.10 When you’ve added in these various ele-ments, you can begin to bring the piece to life. You want to create the impression of movement and organic life by wrapping the warped tree stumps around the arms and faces of the dancers. To do this, select any stump with the Free Transform tool, and adjust and rotate to the desired size.11 Continue to build up your design with different items – I’ve included doves, a large warped log, gold fabric and spots on your

disc. At this

stage, you also want to consider your background. I

changed the background colour to a light grey and darkened it in areas by applying a deeper shade of grey with a soft brush tool.12 Now to add a sense of dimension to the piece by adding a shadow effect. Begin by mapping out the areas where you think a shadow would natu-rally fall. I tend to look out for curves and sharp edges as indications of where the shadows should go. You can insert red circles to act as a guide to where you will be placing your shadows. I set the opacity to 78% so that I could still see through to the artwork underneath.13 Once you’ve mapped out where they should go, you can begin to cast your shadows. To create the shadows, select the soft brush tool and set the mas-ter diameter to 90px, the hardness to 0%, the blend mode to Multiply and the opac-ity to 69.14 Add the finishing touches to

your artwork by bringing in more natu-ral imagery – I’ve chosen some leaves. Use the Duplicate command to place these throughout the design. Feel free to adjust the sizes and colours to help blend these into your image. I’ve also put in some white highlights behind the doves to create a soft glow and really accentuate the sense of movement.15 Finally, add a vector from Illustra-tor. I’ve created my own typeface – the lettering reads ‘BE’ to fit the title of the artwork ‘Be Free’. Copy and paste your vector into your image in Photoshop, and position it or layer it as you wish.

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01 To create the futuristic effect seen here, start off with a simple photograph – in this case, an office ceiling, which we’ll add speed and action to through the ad-vanced use of some Photoshop techniques. First dupli-cate your photo and expand the canvas vertically, then transform and mirror it to create a kaleidoscope effect.02 Now add more depth to the image by enhancing the feeling of perspective. Create a single line with the Pen tool on a new layer and then add some motion blur to it by selecting Filter>Blur>Motion Blur. Do this vertically only and the edges will become much more fluent. Select the layer with the Marquee tool and use the Transform command to place your new lines on the roof of the

image.03 You can now add a light source to make it look like the lines are shining from the core of the im-age. I’ve chosen white and then painted onto a new layer before adding a lot of Gaussian blur to it. Next, transform the layer with the Perspective tool to keep it in line with the perspective we already have in the photograph. Now that there are lights and light beams following the photo, it makes our image feel much more realistic.04 Now it’s time to change the colours. The easi-est way to do this is to create several colour layers (multiple shades of blue and purple, in this case) and play around with them to get the look you want. Experiment with the Exclusion and light source tools on dark- and lightcoloured layers.05 Now add some motion to the image. Draw a circular object, go to Filter>Distort>Twirl, and then add blur by going to Filter>Blur>Radial. Repeat and

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duplicate layers until you get the feeling you want.06 Now to add an element of 3D perspective to the focal point. Select the Marquee tool and, vertically through the centre of the im-age, mark an area 1 pixel wide and the height of your canvas. Go to Edit>Define Pattern, then create a new layer and select it with the Rectangular Marquee tool. Now Ctrl/right-click the image and choose Fill, open the drop-down menu, select

Pattern and choose the new pattern you just created.07 With this layer selected, go to Filter> Polar Coordinates to create a circular pattern. This filter can be used in other ways too, and your whole image doesn’t need to be filled. Play around and see what kind of effects you can create – why not try half-filling the pat-tern layer, for example?08 You can turn it into a symmetrical circle by selecting the Marquee tool, Ctrl/right-clicking and choosing Scale, depending on the dimen-

sions of the image you’re working with. You can also use the Marquee tool with Ctrl/Cmd pressed down and View>Snap on, to mark a circle out of the centre of the image. Then go to Select>Inverse to delete all content outside this circle09 To integrate this element more fully into the picture, I’ve added thin, white-lined circles around the focal point. If you have Snap on and drag guidelines onto the work area, you can snap them as a cross in the centre of your image. This way, if you use the Marquee tool with Cmd/ Ctrl held down, the circles will be centred and look far more symmetrical.10 Finally, add some particle details by making dots with the Pen tool. Now add blur to the layer, duplicate it, move it, and scale it to a smaller size. This process can be re-peated as many time as you like for more particles, but when you’ve finished, merge all the particle layers. To make them blend into the im-age use a bit of twirl, or add the Filter>Distort>Polar coor-dinates again.