#how to make a clipping path in illustrator

[lisatgilliam]

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[theesteemedladydebourgh]

well, i started this for the great, wonderful @clare-with-no-i​’s birthday last year (and also as a combination of two prompt’s from @efkgirldetective​‘s summer of jily 2022!) and it is officially almost a year late...

let’s see if i can finish this extremely self-indulgent, illustrator-James, author-Lily who clings to self-control like a barnacle, high-powered best friends, co-worker duo buys a house in the countryside and then slowly implode from repressed feelings and heartbreak over the course of several years (also berry picking! and swimming in the ocean! and a cat named Eclair!) fic over the next week! (w caution set aside for unforeseen calamity ofc, but i’m optimistic)

little snippet below!

Spring

It’s an odd story, how Lily buys a house with her illustrator.

A hand brushes along the back of her head, warm and soft.

She jolts, then glances back. Feels the hand fall away.

James is standing there, chest still a bit sunburned from the beach. His fingers still hover slightly, before settling back at his side.

She stares up at him for a second, a silent question. Her instinct is to tense, to turn to stone, to demand recompense. She wouldn’t let just anyone touch her.

“Your clip was crooked,” he murmurs after a second.

Lily swallows. Sweat presses against the nape of her neck, but somehow not as warm as his touch was. She can still feel the salt and sand clinging to her toes, pressed against the warm stone of the garden path.

“I like it,” he adds, then shrugs. As if he’s guilty of something, but can’t be bothered to apologize for it.

Her eyes fall to his chest, stained pink.

“I don’t,” she remembers to say after far too long has passed. Her fingers curl around the armrest of the hot metal chair.

James tilts his head, then shrugs again. He steps backwards, towards the house. His shirt is untucked, sunburned chest slipping through like a violent sunset. “Then wear your hair down.”

Her laugh is crackly, dry, warm in her throat. The thought flashes through her head, lightning fast: So you can run your fingers through it?

It doesn’t make it past her lips.

[fatimahkhblog]

Week 07 | 07 Mar. 24

What was planned this week:

Submit midterm jury progress

Write 2 more articles.

Design subpages for the blog.

What actually happened:

I designed Instagram posts and reels.

I draw illustrations.

I finish the blog layout.

I started the mobile version.

I wrote two articles.

I modified the illustration for one of the previous articles.

Reflection:

It's been a long time since the last blog post. The pressure has been high as we need to almost finish half of the project. I've been trying to accomplish as much as possible in a short time and still enjoy my break. The project has changed somewhat from what it was before the mid-term break, for the better. The break started with a change in the illustration style. I needed more mature drawings that fit the identity. I felt that the current style suited the tone better, as it's more expressive and has a texture that conveys a kind of poetry, yet despite its many details, it's easy to look at. After that, I moved on to the website; I was satisfied with the initial release, so I continued on the same path. Finally, I started some Instagram posts and edited the clip I had started before. Although I had planned a lot, I overlooked some details to achieve the essentials and the most important.

During the jury, the arbitration jury members commented on the logo, indicating that it didn't quite match the identity's personality. I was already aware of this and tried to adjust it, but I didn't reach a suitable result yet. Therefore, after the jury, I started making adjustments to it. I also began working on the mobile version of the blog. The comments and suggestions during the jury were very helpful this time.

After these challenges and achievements, I feel like I understand more what I ultimately want to achieve and how I will accomplish the work accurately and what data I need.

.

[tedturneriscrazy]

The latest clip really illustrates the tone of voice Camila adopts when she's desparately trying (and, sadly, failing) to understand and connect over the things that Luz loves. Not to mention how this is obvious to Luz, who still believes that Camila wants her to give up the demon realm and is feigning interest to try and make her feel better.

I'm sure that this will be resolved, since the whole "Dana doesn't like happy endings" assertion is bullshit, but it's clear we're taking the classic Don Bluth approach in that the path to this resolution will be paved with quite a bit of pain.

[lookatmeallthetime]

Hey, wanna make some mountains? In honor of the launch of the music video I just finished, here’s a tutorial on how to build out 2D layers in 3D space in after effects.

Getting Started

First of all, build your vector layers. You can build them as shape layers directly in After Effects, but I prefer Illustrator. Here’s the file where I organized the vectors for each scene:

I highly recommend using Overlord for moving shape layers back and forth between illustrator and AE. It can preserve layer positions relative to each other or center vector shapes in comps, group and ungroup layers, all kinds of nice things. But also, Adobe software costs enough as is. Look up one of the many tutorials about pasting vectors into shape layers and get your vectors in there!

Wigglin

I wanted my vector layers to squirm a little. Originally it was to mimic the effect of paper cut animation, but once I moved away from that look it was to keep the background feeling alive and, sigh, like its own character. Everything except for very curvy layers (like the bridge in the first scene) has Wiggle Paths > Corners applied to it as a Shape Layer effect. This tutorial by Ben Marriott helped me get the wiggle paths + posterize time cutout effect I was looking for.

In order to keep the amount of wigglin’ consistent from scene to scene, I stored all my layer styles in their own precomp with a slider effect attached, applied Wiggle Paths to each vector, then connected the layer properties with the pickwhip. I ended up with an expression like

this = comp(“Wiggle control comp”).layer(“Wiggle parent”).effect(“Detail Slider”);

Apply it to the Detail attribute of your Wiggle Paths shape effect, and you can adjust the intensity of the look across multiple comps!

Parallax

I’m guessing you’re here for the parallax effect and notes on laying out out vector shapes and textures in 3D space. This tutorial from Camp Keyframe lays it out better than I could, but here’s the short version:

1. Set all your layers to 3D

2. Set your workspace to 2 views and select top view so you can see how your elements are positioned on the z-index

3. Make a null, set it to 3D, and make a camera.

4. Parent null to camera and adjust the position so its z-index matches the z of the camera.

5. Parent null to camera and use null for camera controls hereafter.

6. Parent all unparented layers to null, adjust the null’s scale property, and unparent your layers once they’re where you want them. What we’re doing here is scaling layers as we push them back in the frame, preserving the layout of our original vector comps while arranging them in 3D space. (Even shorter version - mountains are big but far away, rocks are small but close up.)

7. Once your layers are all unparented, move your null around to text the parallax view. Now you can move your camera to pan left and your layers will respond.

Two side notes:

1. If you want an element to follow the motion of the camera, leave it parented to the null and it will stay where you put it in the frame as the background moves.

2. You see that little pixelated line in your switches? That pre-rasterizes your layers. This makes render times way faster because it’s inserting your precomp as a 2D plane, but if you want to blend scenes, turn it off to use your precomps in 3D space.

One more thing!

Even if two elements on screen aren’t touching, you’ll still get nasty collision renders if they’re on the same z-index. Select everything and press P to show your element’s position, and make sure the z is different for each of them.

Final step: textures!

Let me start by saying I did this step incorrectly on this project. If I could do it again, I’d export my shape layers to Procreate, use them as clipping masks, and scribble on them real nice and export them as transparent 2x pngs.

What I did instead was try to get spray and scribble and brush textures in Illustrator. Illustrator does not want to do this, it doesn’t like doing this, and it didn’t like me much by the end of the process. The one benefit was it was easy to name them the same as their corresponding shape layer, which made compositing easier.

Once you’ve imported them as layers, not a png series), it’s just a matter of copying and pasting the scale data (you can copy all dimensions at once if you select the attribute name rather than any one value) and position data. Make sure to set your texture layers to 3D and watch for z-index collisions!

Closing thoughts

I wrote this up in order to be useful to the community and find other folks who are at or near where I am as I learn After Effects. If this was useful to you or there’s something you think would be interesting, please comment or share your work!

[justgallifreyanthings]

Hi I love your designs. Do you have any tips for beginners, workflows or tutorials you'd recommend?

I have the alphabet down and have been trying to move to PS but it is a nightmare. I've been trying with doing each word on a layer but I end up with a million vectors.

Thank you!

Hi, thank you so much!

Nailing down a digital workflow definitely takes a bit of trial and error. It took me a good 2 years to figure out how to work in Photoshop, especially since I was learning from scratch, and another year or so to figure out a workflow when I moved to a tablet.

In terms of tools, I use Photoshop Elements 2011, Illustrator (though I've used Inkscape before), and Autodesk Sketchbook on my tablet. Other Gallifreyan writers use GIMP and AutoCAD (yeah idk how that last one works either). In general, I think the same tips work across platforms, both raster and vector, though of course YMMV.

Ultimately, the massive number of layers is somewhat unavoidable. This piece had 31 layers in Photoshop; this simple one had 10 layers in Illustrator. But here are some tips for getting from hundreds down to less than 50! I'm gonna move the rest of this under a readmore to avoid clogging dashboards.

First, you probably don't need to put each word on its own layer. I tend to group structural elements together. So for each sentence, I'll do the sentence circles on one layer, all word circles on 1-2 layers, and then consonants, vowels, line decorators, dot decorators, and punctuation all on individual layers. With both raster and vector software, you can move individual elements within a layer - with vectors you just pick up the whole path, and with raster you can use the lasso or magic wand to select all pixels within a certain area on a layer. With raster, the main thing you need to watch out for is overlapped shapes - so when I work in Photoshop, I'll have 2-3 layers for word circles and for consonants, so I can switch between the various layers when things overlap.

Second, clipping masks and groups are your friend!! Clipping masks help you get clean, sharp edges without having to zoom in to erase individual pixels. Grouping helps consolidate the various elements of a word or sentence; especially when you're happy with how something looks, group all the individual parts of it so you're only working with one object instead of 15.

Third, I find it really helpful to sketch out my designs physically before making them digitally - sometimes I do this in my sketchbook, sometimes I draw things on my tablet. But sketching the design out helps me get a sense of how all the pieces are fitting together, which in turn gives me a sense of how to tackle them. For example, when working in Photoshop, I draw word circles for words without divots before drawing word circles that have divots, so that I can use the nondivot-circles to inform divot positioning. But in order to do this, I have to know upfront which words are going to have divots and how everything is fitting together.

Finally, you may want to take a look at Sirkles' youtube explanations. She makes these to explain how to read her translations, but on occasion, she'll go into her GIMP file to fix something, and that might help explain the behind-the-scenes process. Annnd you can check out these 2 Twitch VODs of mine from back when I had pipe dreams of a Patreon where I offered Twitch VODs as a patron benefit: VOD 1 || VOD 2. Both are for pieces I did in Photoshop. I apologize in advance for the garbage sound quality.

I hope you're able to find something useful in this wall of text. Unfortunately I think it really does just take practice, and a lot of trial and error, so I wish you the best of lucky and a speedy learning curve!

[bradfoe]

Vampires at Universal, 1930

Last weekend (this is an article from 2015), the actress Lupita Tovar passed away at the age of 106, more than eighty years removed from her starring role as the female lead in Drácula. This distinction had made her one of the last surviving links to the early days of Universal Pictures, when its founder Carl Laemmle oversaw the transition to the new era of talkies. Universal was then earning a reputation for its horror movies and the worldwide success of Phantom of the Opera in 1925 only added to its growing association with Victorian monsters.

Universal had an inadvertent role, though an inciting one, in the birth of sound cartoons. Through the actions of independent producer Charles Mintz, to whom the studio had given a contract, Walt Disney was dismissed from the Oswald series just prior to the revolution he helped to unleash with Steamboat Willie. After that, Universal was quite slow to respond, trying some half-measures to keep up with its more technically savvy competitors.

In a sense, the jig was up. The studio had to respond with versions that had dialogue in those languages. And mind you, the art of dubbing had not yet taken hold. So, on October 10, 1930, filming began on a movie that perfectly illustrated a short-lived Hollywood solution. In most ways, it was exactly the same movie as the classic Dracula starring Bela Lugosi with his sweeping cape and leering glare. However, this alternate version had a Spanish-speaking cast and was titled Drácula. It made use of the same sets and a translated shooting script.

Lupita Tovar

The role played by Helen Chandler was performed instead by Tovar, who was recently signed on contract from Mexico to be a “Universal player.” In fact, the entire Spanish version of Dracula was shot at night, 7pm to 7am, after the English-speaking cast and crew were finished with a day’s work. They did not cross paths, working on opposite shifts. Tovar said she never once even met Lugosi. All of her scenes were filmed with a caped Carlos Villarías as the famous blood-sucking Count.

The existence of this nearly shot-for-shot counterpart, a sort of movie doppelgänger, has spawned a fairly lively internet debate about which is better, with a lot of momentum pressing toward the lesser known “Spanish Dracula” on account of a crew that, it is rumored, was competing to make a superior version at night. A century later with side-by-side comparisons online, the debate has hit high gear, but the famous performance of the undead Lugosi does not lie down easily and so the argument continues.

Regardless of which version is better, a certain respect arises from knowing that the Spanish-language shooting schedule enforced a vampire lifestyle on all its cast and crew. There is a ‘Method acting’ purity to this version: everyone involved slept during the day and then went to work at night. Just knowing that makes it seem intrinsically more authentic. Here is an edited clip from Drácula, released in 1931:https://www.youtube.com/embed/MoO_QWF7q8Q

Perhaps less well known is that Walter Lantz, who inherited the responsibility for producing the Oswald the Lucky Rabbit cartoons, might also have been up late some of those nights while Conde Drácula, played by Villarías, was readying for his closeup on the legendary Stage 28 at Universal. This revelation comes to us from a 1978 interview with Manuel Moreno, in which he disclosed that the Oswald production schedules were so challenging to maintain that Lantz would work at night even after a tough day at the studio.

“Lantz used to come at night, and he’d stay there all day Saturday,” said Moreno. It is easy to get the impression that Walter, lacking a precise production discipline, may have brought the cartoons across the finish line by fusing the elements together himself, working alone in the editing room. Considering how loose and improvised we know these early Universal cartoons were—recollections exist of animators stating how nonspecific their scene directions could be—it would make sense that Lantz used the quiet of his nighttime work to assemble his vision from among the individual parts.

Manuel Moreno, a leading animator at Universal, seen here reflected in a mirror at his desk.

In a way, the knock on Lantz has always been that he delegated creative vision for his cartoons to his directors for most of his career. However, the situation would have been different in a year like 1930, when he was a new producer charged with keeping Oswald relevant in light of innovative new sound cartoons coming from Disney. The technical challenge was paramount and Lantz had actually proven himself quite a whiz with hybrid cinema techniques on his prior Dinky Doodle films for Bray, so he was versatile and up for the task.

In 1930 he was still actively a director in addition to being a producer. He was young and hungry and he was the force moving the Universal Cartoon Dept. into the sound era. However, Lantz was not hard-charging and uncompromising like Disney, so maybe some of the magic of his process only manifested as something special if he could bring it all together with the final edit and post-synch. The orderly sophistication of the Disney method was challenged at Universal by a more slapdash approach. And because of the tight budgets Lantz was given, his pragmatism was always a factor in the making of his cartoons.

Bill Nolan was the other producer-director working alongside him, but Nolan was chiefly there for his prodigious ‘pencil mileage’—as one of the fastest animators in the industry—and not necessarily for his management skills. Eventually, as Lantz became the undisputed boss, Nolan moved on and Moreno unofficially became the manager of the animation staff, basically a surrogate who was taking on directing responsibilities. According to Moreno:

“The sound recording was always supervised by Lantz. I had nothing to do with the recording because I couldn’t afford the time, and there wasn’t much that I could do, with Lantz there as supervisor. He knew exactly what the story was about, because he had been with it all through its construction. And the sound effects were no problem: a lot of times [story man] Vic McLeod would record the sound effects or [Pinto] Colvig would… Lantz did all the editing and patching the sound together, synchronizing the tracks”.

It seems that Lantz developed a business practice of being involved in the initial story meetings and then supervising the recording sessions at the end. For the middle of the process he appeared to be mostly hands-off. There were no “sweatbox” reviews of the pencil animation to ensure quality and continuity, as with Disney. That would have been too costly and, in any case, Moreno felt that “we were practically always behind schedule.” The animators really only had one shot at any sequence.

Lantz felt the stress of his situation, especially because his Universal budgets decreased year to year, but he was remarkably easygoing in spite of it and he negotiated the setbacks quite capably, keeping Oswald in production for nearly a decade. It is interesting to think of Lantz returning to Universal at night, editing and completing the cartoons. Lantz was technically adept and perhaps he liked the solace of quietly working alone without distractions.

Walter Lantz at the Movieola

I suspect he developed this nocturnal habit by 1930, growing his proficiency with the finer art of comedic synch-sound. Since this was a paradigm shift that shook the industry, failure to adapt was not an option. Musical director Jimmie Dietrich helped him with this process during regular hours, but it may have been at night that Lantz honed his craft, running the strips of film elements back and forth. Although Lupita Tovar never met Bela Lugosi, it is possible she crossed paths with Lantz. It is fun to speculate about such a thing, though we will never know.

A connection we do know is that Manuel Moreno and his brother George were amateur film enthusiasts and, during the early 1930s, they shot a home movie of the Universal animators clowning around on Stage 28, the legendary ‘Phantom of the Opera’ set that was repurposed for many classic monster movies. Judging from a copy of this home movie that I own, “The Gang at Universal” — as they are referred to on the title card — had a blast using the opera house façade for their filmed gags.

As an animated homage to this famous stage of horror, the 1930 Lantz cartoon Spooks is an outright spoof of Phantom of the Opera, possibly even made to be shown in front of the featured “international sound version” released that same year. Oswald meets the phantom in the cartoon and then vanquishes him by answering a riddle (“Ouch!”) that was the punchline to a popular American joke at the time. Enjoy watching this cartoon. And imagine Walter Lantz working the vampire shift.https://www.youtube.com/embed/oR067Tv7-SI

Manuel Moreno was interviewed by Milton Gray in January 1978, in Santa Ana, California. Excerpts above are from this interview, a copy of which exists in the Manuel Moreno collection archived at Stanford University. The frames of Walter Lantz and Manuel Moreno are taken from a “Going Places with Lowell Thomas” short titled Cartoonland Mysteries (1936) from an HD transfer by Steve Stanchfield. For the top image, I stitched together Bela Lugosi and Lupita Tovar, day for night, forever linked and yet never to have met.

[clippingpathassociatesblog]

Clipping Path: Mastering the Art of Image Perfection

In the world of digital imagery, the term clipping path is often mentioned, but what does it really mean? For those involved in graphic design, photography, and online retail, understanding this concept is crucial. This article delves into the intricacies of clipping paths, their applications, and how to select a reliable clipping path service provider to ensure your images stand out.

Understanding Clipping Path

A clipping path is a vector path used to isolate objects from their background. By doing so, you can create a clean, professional look for your images, which is essential for e-commerce, advertisements, and various other digital presentations.

The Importance of Clipping Paths in Digital Imagery

The significance of a clipping path cannot be overstated. Whether you're a photographer looking to enhance your portfolio or a business owner wanting to showcase your products, the clarity and precision provided by a clipping path are indispensable. By removing distracting backgrounds, you allow your subject to shine, making your images more appealing and engaging.

How Clipping Path Services Elevate Your Visual Content

While it's possible to create clipping paths manually using software like Adobe Photoshop, the process can be time-consuming and requires a keen eye for detail. This is where a professional clipping path service provider comes into play.

Benefits of Using a Clipping Path Service Provider

Time Efficiency: By outsourcing to a clipping path service provider, you free up your schedule to focus on other important tasks.

Professional Quality: These providers have the expertise to deliver high-quality results that might be challenging to achieve on your own.

Cost-Effective: In the long run, using a clipping path service provider can be more cost-effective, especially when considering the time and effort saved.

For example, companies like Clipping Path Associate specialize in delivering top-notch clipping path services tailored to your needs.

Choosing the Right Clipping Path Service Provider

Selecting the right clipping path service provider is critical to ensure you get the best results. Here are some key factors to consider:

Experience and Expertise

Look for a provider with a proven track record. Experienced providers are more likely to understand your needs and deliver superior results. They are also well-versed in handling various complexities associated with clipping paths.

Turnaround Time

In the fast-paced digital world, quick turnaround times are essential. A reliable clipping path service provider should be able to deliver your images within the agreed timeframe without compromising on quality.

Quality Assurance

Quality is paramount when it comes to clipping paths. Ensure that the provider you choose has a robust quality assurance process in place. This might include multiple reviews and revisions to ensure the final product meets your expectations.

For more insights on choosing the best clipping path service provider, you can refer to this comprehensive guide.

The Process of Creating a Clipping Path

Understanding the process behind creating a clipping path can help you appreciate the skill involved. Here’s a step-by-step breakdown:

Step 1: Image Selection

Select the image you want to edit. High-resolution images work best as they allow for more precise clipping paths.

Step 2: Choosing the Right Tool

Tools like Adobe Photoshop and Illustrator are commonly used for creating clipping paths. The Pen Tool in Photoshop is particularly popular due to its precision.

Step 3: Drawing the Path

Using the Pen Tool, carefully trace around the object you want to isolate. This step requires a steady hand and an eye for detail to ensure the path is accurate.

Step 4: Applying the Path

Once the path is complete, apply it to isolate the object from its background. You can then replace the background or keep it transparent, depending on your needs.

Step 5: Final Adjustments

Make any necessary adjustments to ensure the clipping path looks natural. This might include refining edges or adjusting the contrast and brightness of the object.

Applications of Clipping Paths

Clipping paths have a wide range of applications across different industries. Here are some of the most common uses:

E-Commerce

In e-commerce, product images are everything. High-quality, background-free images can significantly enhance the appeal of your products, leading to increased sales. A well-executed clipping path ensures that your products stand out against any background.

Advertising and Marketing

In advertising, the visual impact of your images can make or break a campaign. Clipping paths allow you to create clean, professional images that grab attention and convey your message effectively.

Photography

Photographers use clipping paths to enhance their images, whether it's for a portfolio, a client, or personal projects. By isolating the subject, photographers can experiment with different backgrounds and effects to create stunning visuals.

Graphic Design

Graphic designers rely on clipping paths to create versatile and visually appealing designs. Whether it’s for print media, web design, or digital art, clipping paths provide the flexibility needed to bring creative visions to life.

Why DIY Clipping Paths May Not Be Ideal

While the idea of creating your own clipping paths might be tempting, it’s often not the best approach, especially if you require a high volume of images or complex paths.

The Time Factor

Creating clipping paths is a meticulous process that can be extremely time-consuming. If you’re handling a large number of images, the time required can quickly add up, taking you away from other important tasks.

Skill Level

Achieving professional-quality clipping paths requires a certain level of skill and experience. Without the right expertise, the results may not meet your expectations, potentially impacting the overall quality of your images.

Consistency

Maintaining consistency across multiple images can be challenging, particularly if you’re not using professional tools and techniques. A clipping path service provider ensures uniformity and precision in every image.

Conclusion: The Value of Professional Clipping Path Services

In conclusion, the clipping path is a vital tool in the realm of digital imagery. It enhances the visual appeal of your images by providing clean, background-free visuals that captivate viewers. While it’s possible to create clipping paths manually, the advantages of using a professional clipping path service provider are undeniable. From saving time to ensuring professional-quality results, these services are invaluable for anyone looking to elevate their visual content.

Remember, the quality of your images can significantly impact your brand’s perception. By investing in a reliable clipping path service provider, you ensure that your images always look their best, helping you stand out in a crowded digital landscape.

For more information on clipping path services and how to choose the best provider, visit Clipping Path Associate. If you’re interested in a detailed guide on selecting the right service provider, check out this helpful article.

Elevate your imagery with professional clipping path services and make a lasting impression on your audience.

[plexailperfect]

Enhancing Visual Appeal: The Importance of Clipping Path Services

In today's digital age, visual content plays a crucial role in capturing attention, conveying messages, and engaging audiences. Whether it's for e-commerce product images, advertising campaigns, or graphic design projects, high-quality visuals are essential for making a lasting impression. Clipping path services are a valuable tool in the digital editing toolkit, helping to enhance visual appeal and create polished, professional-looking images. Let's explore what clipping path services are and how they can help elevate your visual content.

What is Clipping Path Service?

Clipping path is a digital image editing technique used to isolate objects or subjects from their background. It involves creating a precise outline or path around the desired element within an image, effectively separating it from the rest of the picture. This process allows for seamless removal, replacement, or manipulation of the background while preserving the integrity and quality of the subject.

How Does it Help?

Background Removal: One of the primary uses of clipping path services is to remove the background from an image. Whether it's to create a clean, transparent background for product photos or to replace a distracting background with a more suitable one, clipping path allows for precise and accurate background removal, resulting in a polished and professional-looking image.

Product Photography: Clipping path services are invaluable for e-commerce businesses looking to showcase their products effectively. By isolating products from their background, clipping path allows for consistent and uniform product images that highlight the details and features of the items, ultimately enhancing the overall shopping experience for customers.

Image Manipulation: Clipping path services also enable image manipulation and enhancement, allowing for creative edits and transformations. Whether it's resizing, reshaping, or repositioning elements within an image, clipping path provides the flexibility and control needed to achieve the desired outcome while maintaining image quality and integrity.

Graphic Design: In graphic design projects, clipping path services are used to create custom shapes and elements, adding depth, dimension, and visual interest to designs. Whether it's creating custom illustrations, icons, or logos, clipping path allows designers to precisely control the shape and composition of elements within their designs.

Clipping path services are a valuable tool for enhancing visual appeal and creating professional-looking images. Whether it's for background removal, product photography, image manipulation, or graphic design, clipping path allows for precise and accurate editing, resulting in polished and impactful visuals that captivate audiences and elevate the overall quality of visual content. With clipping path services, businesses and creatives can unlock endless possibilities for creating stunning, visually compelling imagery that leaves a lasting impression.

Contact us to book our service.

[chaya-mga2022mi6021]

Looking at Other Animated Films with Similar Concepts

I started off by looking for movies that show one's life unfolding on a static piece of paper, tattoos, cloth, etc. The first that came to my mind was the movie Moana. In the movie, Moana discovers a cave filled with boats and ancient drawings that show the voyages of their ancestors. And the drawings come to life at the end of the scene, showing the adventures of Moana's ancestors.

Taking inspiration from Moana, maybe I could rewrite the narrative in my story to depict an old man taking his grandson to a place where the tapestries of all their ancestors are stored in. The old man could take the child through each tapestry that belonged to their past kings and queens, etc, and in the hands of the child would be a blank tapestry that is his own. At the end of the animation, I could show the child looking down at his tapestry on his own hands with fascination as he now realizes the amount of potential it holds and that the future awaiting him lies in his own hands.

Maui's tattoos in Moana were also an aspect of the movie that really inspired me for my own animation. Maui has tattoos covering his entire body that showcase significant events and achievements in his life. The tattoos come to life to animate his life stories at points in the movie, making it a more engaging way for the audience to learn more about his past. Therefore, taking inspiration from this, maybe I could also illustrate significant events in people's lives on tapestries and animate it for the audience in a similar way to how Maui's tattoos work.

Another movie that I realized I could get inspiration from was, 'Brave'. There's also a tapestry in Brave that is involved in a key scene in the movie. Merida's mother, Queen Elinor, gets into an argument with Merida trying to remind her of the responsibilities that she's expected to follow. During the argument, the tapestry was seen to be in one side of the room, illustrating a beautiful image of their family. Yet it is also a visual representation of the predetermined path set by the parents for Merida's future. And Merida frustrated with this, tears the tapestry during the argument in anger.

From there onwards, Merida's fate completely changes and everything seems to go south, making her actions with the tapestry a central point of the story. And the torn tapestry becomes a metaphor for breaking free from societal expectations and developing one's own path.

.

Other animated short films with similar concepts:

In the movie "The Princess and the Frog" (2009), the witch doctor uses a magical tarot card set that has a main role in the story. And the tarot cards come to life at points in the story, and show movement and personality, illustrating the futures of specific people. I also found this quite inspiring as it made me think of giving a different personality to each tapestry in the film.

In "Brother Bear" (2003), there are 'spirit lights' similar to northern lights, that illustrate important moments from the protagonist's life in the sky that help guide him in his journey.

Another movie I got inspired by was "The Hunchback of Notre Dame" (1996). In parts of the movie, the stained glass windows within the cathedral come to life through animated sequences. And they unfold like living artworks, illustrating key moments and themes in the storyline. The movie has used the architectural elements in the story with a narrative purpose, technically making them another character in the story, which I found to be inspiring.

[spacenutspod]

Members of the DSOC team react to the first high-definition streaming video to be sent via laser from deep space on Dec. 11 at NASA’s Jet Propulsion Laboratory. Sent by the DSOC transceiver aboard the Psyche spacecraft, nearly 19 million miles from Earth, the video features a cat named Taters.NASA/JPL-Caltech A computer screen in the mission support area shows Taters the cat in a still from the first high-definition streaming video to be sent via laser from deep space, as well as the incoming data stream delivering the frames from the video.NASA/JPL-Caltech The video, featuring a cat named Taters, was sent back from nearly 19 million miles away by NASA’s laser communications demonstration, marking a historic milestone. NASA’s Deep Space Optical Communications experiment beamed an ultra-high definition streaming video on Dec. 11 from a record-setting 19 million miles away (31 million kilometers, or about 80 times the Earth-Moon distance). The milestone is part of a NASA technology demonstration aimed at streaming very high-bandwidth video and other data from deep space – enabling future human missions beyond Earth orbit. “This accomplishment underscores our commitment to advancing optical communications as a key element to meeting our future data transmission needs,” said NASA Deputy Administrator Pam Melroy. “Increasing our bandwidth is essential to achieving our future exploration and science goals, and we look forward to the continued advancement of this technology and the transformation of how we communicate during future interplanetary missions.” The demo transmitted the 15-second test video via a cutting-edge instrument called a flight laser transceiver. The video signal took 101 seconds to reach Earth, sent at the system’s maximum bit rate of 267 megabits per second (Mbps). Capable of sending and receiving near-infrared signals, the instrument beamed an encoded near-infrared laser to the Hale Telescope at Caltech’s Palomar Observatory in San Diego County, California, where it was downloaded. Each frame from the looping video was then sent “live” to NASA’s Jet Propulsion Laboratory in Southern California, where the video was played in real time. This 15-second clip shows the first ultra-high-definition video sent via laser from deep space, featuring a cat named Taters chasing a laser with test graphics overlayed. To see a “cheat sheet” explaining the components of the video, click here. Credit: NASA/JPL-Caltech The laser communications demo, which launched with NASA’s Psyche mission on Oct. 13, is designed to transmit data from deep space at rates 10 to 100 times greater than the state-of-the-art radio frequency systems used by deep space missions today. As Psyche travels to the main asteroid belt between Mars and Jupiter, the technology demonstration will send high-data-rate signals as far out as the Red Planet’s greatest distance from Earth. In doing so, it paves the way for higher-data-rate communications capable of sending complex scientific information, high-definition imagery, and video in support of humanity’s next giant leap: sending humans to Mars. “One of the goals is to demonstrate the ability to transmit broadband video across millions of miles. Nothing on Psyche generates video data, so we usually send packets of randomly generated test data,” said Bill Klipstein, the tech demo’s project manager at JPL. “But to make this significant event more memorable, we decided to work with designers at JPL to create a fun video, which captures the essence of the demo as part of the Psyche mission.” Feline Frequency Uploaded before launch, the short ultra-high definition video features an orange tabby cat named Taters, the pet of a JPL employee, chasing a laser pointer, with overlayed graphics. The graphics illustrate several features from the tech demo, such as Psyche’s orbital path, Palomar’s telescope dome, and technical information about the laser and its data bit rate. Tater’s heart rate, color, and breed are also on display. Members of the JPL team pose after the first streamed ultra-HD video was received from deep space. Remote team members (including Taters the cat) appear on the meeting screen. Standing, from left, are: Dan Goods, Abi Biswas, Ryan Rogalin, Meera Srinivasan, Bill Klipstein, Oliver Lay, and Christine Chen.NASA/JPL-Caltech “Despite transmitting from millions of miles away, it was able to send the video faster than most broadband internet connections,” said Ryan Rogalin, the project’s receiver electronics lead at JPL. “In fact, after receiving the video at Palomar, it was sent to JPL over the internet, and that connection was slower than the signal coming from deep space. JPL’s DesignLab did an amazing job helping us showcase this technology – everyone loves Taters.” There’s also a historical link: Beginning in 1928, a small statue of the popular cartoon character Felix the Cat was featured in television test broadcast transmissions. Today, cat videos and memes are some of the most popular content online. Milestone After Milestone This latest milestone comes after “first light” was achieved on Nov. 14. Since then, the system has demonstrated faster data downlink speeds and increased pointing accuracy during its weekly checkouts. On the night of Dec. 4, the project demonstrated downlink bit rates of 62.5 Mbps, 100 Mbps, and 267 Mbps, which is comparable to broadband internet download speeds. The team was able to download a total of 1.3 terabits of data during that time. As a comparison, NASA’s Magellan mission to Venus downlinked 1.2 terabits during its entire mission from 1990 to 1994. “When we achieved first light, we were excited, but also cautious. This is a new technology, and we are experimenting with how it works,” said Ken Andrews, project flight operations lead at JPL. “But now, with the help of our Psyche colleagues, we are getting used to working with the system and can lock onto the spacecraft and ground terminals for longer than we could previously. We are learning something new during each checkout.” More About the Mission The Deep Space Optical Communications demonstration is the latest in a series of optical communication demonstrations funded by the Technology Demonstration Missions (TDM) program under NASA’s Space Technology Mission Directorate and supported by NASA’s SCaN (Space Communications and Navigation) program within the agency’s Space Operations Mission Directorate. The Psyche mission is led by Arizona State University. JPL is responsible for the mission’s overall management, system engineering, integration and test, and mission operations. Psyche is the 14th mission selected as part of NASA’s Discovery Program under the Science Mission Directorate, managed by the agency’s Marshall Space Flight Center in Huntsville, Alabama. NASA’s Launch Services Program, based at the agency’s Kennedy Space Center in Florida, managed the launch service. Maxar Technologies in Palo Alto, California, provided the high-power solar electric propulsion spacecraft chassis For more information about the laser communications demo, visit: https://www.jpl.nasa.gov/missions/dsoc Media reel for DSOC ultra-HD video transmission News Media Contact Ian J. O’NeillJet Propulsion Laboratory, Pasadena, Calif.818-354-2649ian.j.oneill@jpl.nasa.gov 2023-184 Share Details Last Updated Dec 18, 2023 Related TermsDeep Space Optical Communications (DSOC)Jet Propulsion LaboratoryPsyche MissionSpace Communications & Navigation ProgramSpace Operations Mission DirectorateSpace Technology Mission DirectorateTech Demo Missions Explore More 4 min read Armstrong Flight Research Center: A Year in Review Article 4 days ago 6 min read NASA’s NEOWISE Celebrates 10 Years, Plans End of Mission Article 5 days ago 4 min read NASA Provides Update on Venture-Class Launch Services Article 5 days ago

[creativealys]

Unlock Your Creative Genius with Inverted Text Masks in Adobe Illustrator!

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In this tutorial, we'll guide you through the magic of Clipping Masks, the precision of Pathfinder, and the versatility of Compound Paths in Adobe Illustrator. 🧙‍♂️✨

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[jorjawdesign]

Week 3

Making a Penguin

The goal of this lesson was to show how the pen tool and everything we’ve learnt about it so far can be used to create illustrations like a penguin! We were also shown other tools and methods that can make this process easier such as; the join command (Ctrl/Cmd + J), the reflect tool, adding/removing anchor points, stroke properties, filled shapes, compound paths, pathfinder tool, layers, gradients, colour swatches, global colours, group/ungroup (Ctrl/Cmd + G/Shift + G), colour tool and shape and opacity.  

I believe I did pretty good with making a penguin and liked how it wasn’t something that you have to do perfectly and can be easily changed to how you want it, and I found this whole activity really fun as a whole. The parts I found difficult was the tail, feet and the darker fur/shading,

I believe I found these parts difficult because they were more finicky and required more effort/time to make it look how I wanted, the feet and darker fur also used tools that I were new to me. I think what could be improved with my penguin is the tail, if I spent more time making it look sharper and more like a penguin’s tail or Toby’s example it would make the penguin look better but I am very happy with how it looks.  

I enjoyed making the penguin as a whole but I think my favourite parts was making the eyes, shading/darker fur and adding the colours.

The eyes were very intriguing as I never really use gradients, or the gradient tool and I think this was such a cool way to make them and I will definitely use the method again. I enjoyed adding the colours and creating the shading/darker fur because these parts really brought the whole vector together and I could see the penguin forming and I was able to add my own things to my penguin like stars to the fur and the eyes. Overall, this was a great activity to do, and I would like to do more like it, there are also many tools and methods that we used that I will most likely use again in my other classes, especially in Graphic Design and Illustration where tools like pathfinder and clipping masks will be great for making my poster and editorial illustrations. I also have a better understanding of these different tools and methods which I was unsure of and usually avoided them. 

[smitmb1]

week 8 part 1

today was just a day to spend more time on our own and creating two images on illustrator. we were instructed to document the process of every step.

we learnt a quicker way to take screenshots. (select, object, direct selection). also to get rid of points when points won't join together. (select, object, stray points).

I started off with this drawing of a plant in a pot. I got an image of Pinterest and used a portion of the image. once I had the drawing on procreate I drew up where I would need to put all the handles. this was all an estimate and I was not 100% sure so I will see how it goes in illustrator.

this was my first attempt. as you can see it is not at all like t˙e handles I drew. I think I will try this again but only draw half of the pot and then use the reflect tool to make both sides symmetrical.

this was my second attempt. although it does not line up as well I like this shape and will continue with the drawing. it worked so much better using the reflect tool because I was able to make both sides exactly the same.

to make the leaves and the stem I ended up using a new tool. I used the width tool on a stroke to make the one appear thicker in certain points. then once I made a shape like a stem I make the stroke into the outline path with the tool under the heading object. from there I used the clipping mask wth the leaf and the stem then with the direct selection tool on I was able to make the stem flow into the leaf by creating more rounded corners.

when I looked at the hands and anchor points it began to look a bit hectic. this was because of the tool I used. but if those points were al there it would look more similar to my original sketch. you can see what I mean below...

overall I am happy with my first drawing but I think I can definitely choose something more challenging for myself. I learnt new skills today more specific to what I was drawing to make things easier.

these are the tools I used...

reflect tool (for the pot to make both sides even)

width tool (to make the thickness and range of thickness in the stem)

object outline tool (to turn the stroke into a shape)

colour dropper tool (for making all leaves and stems the same colour.

clipping mask (to join a stem to a leaf to the go ahead and make them seamlessly fit together)

along with these tools I also used the basic pen too to create all my shapes in this image.

[best-clipping-path-services]

Clipping path service for image resizing

Clipping Path Services - The Basics

When you're working with images, one of the most important things to understand is how to properly resize them. Depending on the file type, this can be done in a number of ways. For example, when dealing with JPG files, you can simply open them in an image editor like Photoshop and use the "Image Size" tool to resize the image. However, when dealing with other file types, such as PNG or TIFF, you need to use a different method. This is where clipping path services come in.

A clipping path is a vector path that is used to define the outline of an image. This path can be used to cut out the image from its background or to resize the image. When you're working with an image editor like Photoshop, you can use the "Pen" tool to create a clipping path around the image. Once you have created the path, you can then use the "Image Size" tool to resize the image.

There are a number of different services that offer clipping path services. These services can be used to resize your images or to remove the background from your images. The services vary in price, but you can usually find a service that fits your budget.

When you're looking for a clipping path service, you want to make sure that the service offers a money back guarantee. This way, if you're not happy with the results, you can get your money back. You also want to make sure that the service offers customer support. This way, if you have any questions or problems, you can contact the service and get help.

Finally, you want to make sure that the service you choose offers a free trial. This way, you can try out the service before you commit to using it. This is a great way to make sure that the service is right for you.

Clipping path services can be a great way to resize your images or to remove the background from your images. When you're looking for a service, make sure to find one that offers a money back guarantee, customer support, and a free trial. This way, you can be sure that you're getting the best possible service.

2. Clipping Path Services - The Benefits

When you think about image resizing, you might think that there are only two methods to do so. You can either use a free online tool or purchase a paid one. However, there are actually two clipping path services that can help you resize your images. Here are the benefits of each:

1. Free Online Tool

The first clipping path service is a free online tool. This is a great option if you only need to resize a few images. All you need to do is upload your image to the website, select the new dimensions, and download the resized image.

There are a few downsides to this method, however. First, you are limited to the dimensions that the website offers. Second, you don’t have much control over the quality of the resized image. It can often be quite pixelated.

2. Paid Clipping Path Service

The second clipping path service is a paid one. This is a great option if you need to resize a large number of images or if you need more control over the quality of the resized images. With a paid service, you can typically select any dimensions you want and have a high-quality image.

The downside of a paid clipping path service is that it can be quite expensive. However, if you need to resize a large number of images, it can be worth the investment.

3. Clipping Path Services - The Top Service Providers

When it comes to clipping path services, there are a few things you should know. First, what is a clipping path? A clipping path is an vector path used to clip or cut out an image from its background. This allows for the image to be placed on a new background, or to be used in a design with a transparent background. In order to create a clipping path, you will need a vector editing program like Adobe Illustrator.

There are a few different types of clipping paths, but the most common is the single layer path. This is where you create a path around the image you want to cut out, and then use that path to cut out the image. You can also create multiple layer paths, which can be used to cut out multiple images from a single background.

Now that you know what a clipping path is, you may be wondering why you would need one. There are a few reasons you might need a clipping path service. One reason is if you need to resize an image. If you have an image that is too large or too small for your design, you can use a clipping path to resize it. This is a great way to keep the quality of the image high, while still being able to resize it to fit your needs.

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Clipping path service for photo retouching

Another reason you might need a clipping path service is if you want to change the background of an image. If you have an image with a white background that you want to place on a black background, you can use a clipping path to change the background. You can also use a clipping path to remove a background from an image. This is a great way to make an image stand out, or to make it blend in with its new background.

There are a few different companies that offer clipping path services. Some of the more popular ones are Fotolia, iStockphoto, and Shutterstock. These companies offer a variety of different services, so you can find one that fits your needs.

When you are looking for a clipping path service, you want to make sure you find one that offers a variety of services. You also want to make sure the company you choose has a good reputation. You can check out reviews of different

4. Clipping Path Services - The Bottom Line

As a photographer, you know that the size of your images matters. Image resolution is key to getting the perfect print, and the only way to change an image's size is to use a clipping path service.

A clipping path service is a type of image editing in which the background is removed from an image so that it can be placed on a new background, or so that the image can be made smaller or larger without affecting the quality.

There are many clipping path services available, but not all of them are created equal. Here are four of the most popular clipping path services, and the bottom line on each one.

1. Photolemur

Photolemur is a popular AI-powered photo editing software that offers a clipping path service. The software is easy to use and offers a wide range of features, making it a great choice for both amateur and professional photographers.

Photolemur's clipping path service is quick and easy to use, and it offers a wide range of features. The software is able to automatically remove backgrounds from images, and it also offers a wide range of customization options so that you can get the perfect result.

The only downside to Photolemur is that it is a bit pricey, but it is definitely worth the investment if you are looking for a powerful and easy-to-use clipping path service.

2. Photoshop

Adobe Photoshop is the industry-leading image editing software, and it offers a clipping path service that is second to none. Photoshop is a bit more complicated to use than Photolemur, but it is still relatively easy to use, and it offers a wide range of features and customization options.

Photoshop's clipping path service is extremely powerful and offers a wide range of features. The software is able to automatically remove backgrounds from images, and it also offers a wide range of customization options so that you can get the perfect result.

The only downside to Photoshop is that it is a bit pricey, but it is definitely worth the investment if you are looking for the most powerful and customizable clipping path service available.

3. GIMP

GIMP is a free and open-source

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[masking-services]

Why You Should Outsource Professional Image Masking Service

In fashion, real estate industries, and eCommerce businesses, good-looking product photos are essential. They must be visually appealing and follow a specific set of guidelines to increase the selling rates.

To get the best results, these companies must hire professional Image Masking Services. These companies will remove unwanted elements from the background of the photos and make them more attractive.

Clipping Path Asia

Professional Image Masking Service is a complex type of work and requires high-end skill and patience. It can also be a bit time-consuming and costly.

It involves removing unwanted portions of an image while keeping the wanted parts. This can be done using Photoshop software.

Clipp Asia offers top-notch masking services at a reasonable price. Our team of experts can handle a variety of projects.

Our team is experienced in converting any logo, illustration, stencils, maps, signs, crests, decal designs, badges, patches, photographs, race cars and paintings.

In addition, we offer a wide range of photo editing services. These include color correction, retouching, and gamma ray correction.

We have a large team of experts who are well-versed in all aspects of Photoshop. We have a number of clients who have used our services for their digital projects. This has helped us build a solid reputation in the industry.

We Offer Top-Notch Masking Services at a Low Rate

Professional photos masking services are a very important part of product photography. This service ensures that the product images look appealing and engaging to viewers.

There are many companies that offer image masking services today. These companies use Photoshop layer masking to add, change, or remove things that are transparent.

They can also use this service to adjust the ratio of how much one or more parts of an image are clear or blurry. This service is helpful when you need to remove the background of glass objects or see-through clothing materials.

Retouching Labs offers a professional photo masking service that is highly affordable. Our experts can handle even the most complicated photo masking projects. They start with hand-drawn clipping paths along straight edges and then use advanced Photoshop techniques to accurately remove the background of your image.

We Have a Team of Experts

Whether you're a photographer, a marketing professional, or an eCommerce owner, image masking can help you stand out from the competition. It's a process that can increase the quality of your product images, which in turn will make them more attractive to customers and drive more sales.

Our expert teams can provide high-quality image masking services to help you achieve your goals. We'll work with you to understand your specific needs and ensure that our image masking services are perfect for your business.

We're a leading provider of specialized masking services for photographers, marketing professionals, graphic designers, and eCommerce owners. Our team has the training and software you need to make your images look their best.

We offer a wide range of masking services, including clipping path masking, photo reflection shadow masking, multiple clipping path masking, and more. Our expert teams can handle any project, no matter how big or small. You'll never have to worry about delays when you outsource your masking services to us.

We Are Affordable

Our professional image masking service provider is not only cheap but also very fast and accurate. We offer a free trial on one photo for your comparison purposes.

Object masking is a useful photo editing technique that helps separate unwanted objects from the main subject in a picture. Real estate agencies, eCommerce businesses, and fashion houses use it to enhance the value of their images.

Super Complex Image Masking Services include things like highly intricate borders (like a flower with thousands of tiny leaves) or high levels of transparency in a single object (like semi-transparent clothing). These techniques require more than one path or alpha channel to get the job done, and we’re happy to help.

The main difference between clipping path and image masking is that the former physically cuts up an image to remove a foreground while the latter uses a clever Photoshop tool to create a transparent outline around a desired area. If you have a complex image with many angles and curves, the image masking method can be the best way to remove it.

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