How to write the details of PhotoShop training experience requires 800 words.

It provides a good method for designing peers.

Which is faster, text overprint design or independent creative design? More effective? Better effect? Each has its advantages and disadvantages. With the deepening of digital technology in China Digital Studio, the requirements for later digital technicians are getting higher and higher. However, a considerable part of the technical level of later artists still stayed a few years ago. They lack creativity and information because of overprinter, and some even have no basic aesthetic feeling. Apart from mechanical overprinting, they have no creativity at all. How to break through this situation and use Photoshop skills as soon as possible to better and faster express the intention of pre-shooting and post-creativity of digital photos? Here, based on my personal experience in digital work in the later stage of the studio for several years, I summarized and sorted out this concise article, hoping to share it with you. Establishing a correct aesthetic view and having a certain professional aesthetic view are the most basic prerequisites for our creative design. First of all, we should understand the basic elements of digital photos. A qualified digital photo, of course, first of all, someone must have vision and thought. It needs to pass such things as: the contrast of light and the relationship between light and shade, the composition of the picture, the graceful posture of the characters in the picture, the use of the overall photo color of the picture, and even whether the eye light is reasonable. It has a direct impact on the quality of digital photos. All these factors, in fact, reflect a photographer's pre-imagination of the final work effect when shooting for customers, and are also the main cognitive source for digital personnel to understand the photographer's shooting intention when receiving a task in the later period. Only by understanding this, can we work closely with photographers in the whole process and design satisfactory works. How to cultivate and improve their own aesthetic cognition? It's simple. Learn from life. Art comes from life and is higher than life. Our digital later stage is a job of creating beauty. Although it has its universal commercialization, it is far from pure art, but many thoughts and feelings about beauty actually come from everyone's side. In the Internet age, we can find countless related contents on the Internet, and we can also pay attention to every bit of our daily life. For example, when you go to the supermarket, please pay attention to the packaging of the CD box you want to buy, or the appearance design of a cosmetic, or look up and see the hanging POP label. These things often contain a lot of information you need, and can give you inspiration and use it. Did you watch TV? It is very annoying to suddenly interrupt advertisements in the middle of a fascinating TV series. Don't worry, a cosmetic advertisement is very beautiful. Is it just the creative layout of a digital photo? I like watching Faye Wong's MTV, not because she sings well, but because her MTV production is really first-class, which has inspired me a lot. Have you studied art? Learn a little. No one wants you to be a painter, but learning a little sketch and watercolor will only do you good. Didn't you say you should know something about aesthetics? If you don't understand the basic concept of art, let alone appreciate other people's good works with expert eyes, because you don't know what is good about a good work and why. At best, I can only say: this photo is very nice, that's all. The learning method is: spend an hour drawing a picture every day, which can be a sketch or a watercolor painting. Of course not graffiti. You can go to a special training school if you have the conditions. If you want to teach yourself? Relax. You just need to buy an apple and put it under the lamp, and then draw it with your pen according to the relevant teaching books you bought in time. Only in this way can you truly understand the relationship between light and shade, the principle of color matching, the way of composition, and finally express the ideological connotation. It is so important to appreciate a good work with an expert's eyes! This is the source of your endless creative thinking. Learn to imitate. Every time I train a photo studio, I will repeatedly emphasize the need to learn to imitate. From an artist who has just begun to learn how to make digital products to a master designer, it is bound to go through this imitation stage. It can be said that without imitation, there is no accumulation of creative experience. Only having good aesthetic value without specific means and skills to express intentions can only be a critic with a high eye and a low hand. There are methods of imitation. I have the habit of collecting other people's works. I will not only collect other people's good works, but also collect other people's bad works, because I think even if others do bad works, there are always one or two advantages worth learning and imitating. There is a classic saying in the science of success: make progress every day 1%! I think that's enough. I will classify the collected works and store them in a folder on my computer. At work, I will open it at any time, browse these works while doing it, and apply what I think is suitable to my homework. Using this method, I designed my first set of digital wedding proofs just one month after studying digital post-design, which was widely recognized by my peers after it was published in the digital section of China Wedding Photography Network Forum. Imitation is not simply copying, but constantly digesting various production techniques in the process of imitation, constantly merging and changing while using these techniques, and turning it into something suitable for you. While imitating, try to make better works than what you imitate. It's entirely possible! Because other people's works can't be perfect, why do you try to refine and improve yourself, but you can't make a better work than him? Third, understand the main elements of digital post-design and production. Where there is light, there is color. Every work we design, the first impression that people can feel beautiful is color. So color is the most important thing in design. Color, as a professional subject in our society, is profound and ever-changing in color elements, which constitute the whole content of our life. I can't describe it all clearly in this essay, and I don't intend to do so. In order to let our later artists use it as soon as possible, I have subjectively summarized some rules, hoping to inspire everyone.

Digital image late-stage communication platform

An interactive platform for later image design;

1. Match with the shades of one color. Many late artists lack basic knowledge of color, but due to work needs, they must complete the design task of studio layout. So I adopted a very conservative method, using a color to match the color. The so-called monochrome color matching is actually to use the light and shade of one color to match the color. In most cases, using the light and dark colors of one color for color matching will not have too many undesirable effects. But also make the picture more unified, integrated and harmonious. There are many colors in the design layout. In order to strengthen the sense of unity, wholeness and harmony mentioned above, you can't use too many colors in the same page. And only three shades can basically meet the demand. There are main colors, secondary colors, embellishment colors, and sometimes more embellishment. 3. The determination of hue comes from the digital photo itself. In particular, the determination of the main color of the layout usually comes from the clothes or backgrounds of the characters in the digital original film and some special things. As long as you can feel that the main color you choose can fully express the theme of this digital original film, you can be sure. Background 1. The background color is the main color of the layout. So it is very important to choose what color to handle the background. The simplest and most direct method, I have already talked about the color. 2. The background can be expressed in several ways: (1) monochrome background. I personally don't advocate this background, especially when we design wedding digital. This kind of background gives people a sense of no space. It looks flat, dead and dull. (2) Gradient background. This kind of background expression can make the whole layout look fresh and concise, and increase the sense of space and change of the layout. The usual method is to use PS gradient tool for gradient processing in the background. This gradient processing can be varied, and no one will object to your flexible use of various gradients. However, it should be noted that in the use of any gradient, we should also consider the composition of the page, and know how to respond from beginning to end and how to weigh it properly. (3) Contrast the background. The contrast background is fashionable and vivid. If combined with gradual background processing, sometimes there will be unexpected results. The so-called contrast background is actually to use some color blocks to express the background. (4) Add background materials. I never specify what kind of background material I need to do. In my opinion, the style of the original digital film itself is the most important, and the purpose of any background material is to set off the theme (characters). Based on this, we only need to process a background material into the background we need to use, even if you close your eyes, you can find this background material. Whether the background material is suitable or not lies not in the content of the background material itself, but in its processed effect. Generally speaking, the background is the foil of the theme in the layout, and it is not recommended to be too eye-catching at any time. In many cases, it will be conservative to use virtual scenes to express it. Unless you're sure you can handle the background easily. Besides representing the background in a virtual form, we should also pay attention to beautifying the background. If the figure in the original digital photo is a red flower, it certainly needs good green leaves to match it. Otherwise, even if the customer's photo is taken well, it may be destroyed by a defective background. Let me talk about the specific processing methods of background in the specific steps of rapid design. Composition I have seen some experts in many places make a detailed analysis of the composition of the picture, and make a specific classification of the composition: for example, comparative composition can be divided into: area contrast, density contrast, size contrast, dynamic and static contrast, cold and warm contrast, virtual and real contrast, light and dark contrast, complementary color contrast and so on. Others have set three principles for composition: 1, balanced composition; 2. Simple composition; 3. Pluralistic composition. All these. There is nothing wrong with them. But personally, I feel that composition should not be bound by a certain framework. In any theory of composition, there is a topic that will not be less, and that is balance. As long as the balance between picture composition elements is achieved on the two-dimensional plane, whatever composition you want is scientific. Balance produces psychological harmony, and harmony is beauty. The balance in the design only needs to achieve two points, that is, the elements of balance: the center of gravity is actually the fulcrum of the whole layout, and it is not required that the existence of the fulcrum is invisible in the center of the whole layout, and the interaction with the lever we will talk about below will have an effect. Without this center of gravity, there is no leverage. Leverage has to go back to the student days to review our physical leverage. Because it is very important in our graphic design and composition. If we can't take this into account when designing, the work is likely to fail. If you have three digital photos in front of you, you need to typeset them now. Usually three photos will not be the same size, otherwise they will look dull. Three photos of different sizes can't be combined on a parallel line (otherwise it will look dull or too neat), so they must be arranged irregularly, and design elements such as words should be added. In the process of discharging, if we compare them to objects on a balance, should we put the same weight on both ends of the balance? The problem is that it is impossible for all objects to have exactly the same weight at both ends of the balance, which will cause the two ends of the balance to tilt. That's right, it's tilted. If you lean, you can keep your balance. This is called leverage. That is to say, when we arrange photos on the layout, we can follow this idea, and arrange the three photos in your hand at an inclined angle on the layout in order to get a balance. As long as this is done, the problem of how to compose a picture will be solved. The role of words and design elements In my opinion, the role of words and design elements in digital design is similar. Of course, it is undeniable that words have their own content and meaning. It's just that in the commercial digital design of the studio, facing a lot of photo processing, it's not very important for the content expressed by the text itself, as long as it can express the meaning of poetry, romance, beauty and blessing. Of course, this also needs to match the content of the layout. Text and design elements have three main functions in our digital design: 1. After all, decorative functional words and design elements are not the main body of the layout, but they can beautify the picture. Without them, our design layout may seem monotonous and dull. Just like when we cook fried meat, we will put some other vegetables and seasonings with pigments, which will not only make the dishes look better to arouse people's appetite, but also increase the flavor of the dishes. Words and design elements should be fluent and ingenious in the specific application, and be integrated with the overall layout. If used properly, they can play the role of finishing touch. 2. Composition is about composition again! The composition of words and design elements plays an auxiliary role in the whole layout design process. What is auxiliary composition? When you can't achieve a balanced composition by just using the subject (that is, the characters in the digital photo), you can use words and design elements to help you achieve your goal. 3. Relevance is often in the layout design. The lack of relevance between characters makes the picture look too loose and not compact enough, which easily leads to disorder and lack of integrity in the layout. In this case, words and design elements can play a very good role. Make a good connection between the characters.

Fourth, how to quickly get started with super creativity in the later stage of digitalization? First, I don't know how to get creative when I get photos. Please pay attention to the general steps of production and design: pre-color → retouching → building a new canvas as needed → determining the main color → background processing → character discharge → supplementing text and design elements → adjusting the overall color → output processing → saving. Second, quickly start the production design steps. Step 1: Pre-color matching is called "pre-color matching" because when you first open an original picture, you are not sure what the final effect will be. Only when the overall layout is a foregone conclusion will the overall color harmony be adjusted again. In this sense, the "preliminary" color matching in this step is mainly to brighten and compare the original photos to get a relatively normal gray level and a relatively normal character skin color. The specific method has been mentioned in my training course. Some people like to repair and color the film, which is feasible in theory, but in practice, because the gray scale of the film without color adjustment is usually in a narrow state, it is generally said that there are not enough highlights and dark parts. In this case, it is impossible for human eyes to predict whether the repaired film can meet our requirements after color matching. However, more often than not, the original layering has changed, and the unpainted patches can not be restored after color matching. Unless you have a set of very standardized and complicated professional retouching procedures, it is a bit unrealistic for an entity like a photo studio. Step 2: Repair the film. One key point of repairing the film is how to quickly grind the skin. The traditional retouching method is to make up for the defects in the photos by constantly copying and covering them with PS repair tools or seal tools. This method is undoubtedly cruel to the workload of repairing hundreds or even thousands of digital photos every day. Therefore, the historical brush as the main tool, supplemented by repair tools or seal tools, can greatly reduce this burden and ensure that the relationship between light and shade of the characters in the original picture will not be destroyed to the greatest extent. I talked about the use of the history brush in the training class, and I want to remind you here: (1) When using the history brush, you must keep the edge outline of the character from being destroyed. (2) Before using the historical brush, it is a key to master the measurement of Gaussian blur step size, and the value of Gaussian blur directly affects the smoothness and realism of human skin texture. It depends on whether the character's skin is fuzzy and smooth in actual operation, but it should not be too fuzzy, which will cause the loss of light and dark levels. (3) There are some shortcomings in using historical brushes to repair patches, mainly at the expense of real skin texture. But I found a more reasonable reason for what I did. The product quality requirements of photo studio photos are different from our usual artistic performance requirements. The studio faces ordinary customers, but most customers only require bright white and smooth skin, and some even disagree with good works with strong skin texture. This is also the aesthetic feature of customers in China. Step 3: Create a new canvas as needed. This step is easy to understand. In our usual parlance, it is called: opening a file. In addition to ensuring the correct size and resolution, you can also determine the center seam with blue auxiliary lines in the middle of the canvas to avoid putting the customer's characters on the center seam by mistake and causing rework. Step 4: Determine the main color Step 5: Background processing The final effect of the background plays a great role in the whole layout. It is an important foil to the main body of the character. Whether the layout can express the creative theme or not, the background is very important. As long as the background is handled properly, the layout of the characters behind may be simpler. One thing to add: when dealing with the background, it is best to consider the characteristics of the photos that need to be discharged. For example, close-ups and full-length shots will have different background processing. Taking full account of the characteristics of these photos for background processing will play a multiplier role in later composition. Step 6: Character emanation Character emanation is the main part of composition. My summary of composition is: there are big and small, there are front and back, there are virtual and real, there are thick and light, there are top and bottom, there are masters and times, mainly the discharge of characters. In fact, the composition of characters is not a simple layout splicing. In the process of layout, we must also consider how to integrate with the background and the whole picture, which is also an aspect that most post-digital designers lack to consider in their work, leading to the so-called number one killer of layout design. The integration of characters and pictures first comes from your understanding of photos (the aesthetic concepts you have cultivated before will play a great role here). Once a feeling is grasped in the design process, we should try our best to strengthen it with various skills. With feelings, there will be inspiration. Where did the inspiration come from? Experienced designers may come up with several schemes as soon as they see the photos. Even more challenging, you may not have any inspiration before designing the launch. In the design process, the path direction of the light-dark transition of a background, the composite way of a layer or the proper position of a photo may make you find a feeling instantly, which is also the greatest pleasure brought by design. Before you find this feeling, the only thing you have to do is to keep trying new ways of launching until you are satisfied. Step 7: There are many specific ways to supplement text and design elements. Here I emphasize that the use of words and design elements requires lightness, agility, coherence and fluency. This is also an important expression of the aesthetic fashion of wedding photos. Step 8: Overall Tone Adjustment As we said before, the pre-adjustment can only be achieved by brightening and contrasting the original photos, so as to obtain "relatively normal gray scale and relatively normal character skin color". But maybe your so-called "relatively normal gray scale and relatively normal character skin color" is not in harmony with your overall layout, because your layout may be dominated by blue tones, and in this case, your character skin color should not be white and red. In other words, in this step, we need to unify the whole and strengthen the sense of wholeness again to express the main idea. Actually, we can omit this step. Because we can also make overall adjustment in all the previous steps at the same time, it is a good idea to coordinate while doing it. Step 9: Output Processing Have you finished the design of spread now? Don't worry, it's not over yet. The picture you designed eventually needs to be output, but we found that the output is not as beautiful as we thought: the skin of the characters looks dry and not delicate enough; Eyes dull and weak; Hair and figures are a little blurred and so on. . Some friends found that my method would have some problems after leaving the training. For example, the output picture looks a little flat? Or like a layer of yarn on the surface? Or the character's skin is too sharp, and sometimes even mosaic particles appear! Don't blame me for the above, hehe, I am innocent! Why won't this happen when I use this method? Is it because you have a problem with one or more steps when using this method? If it really happens, please don't give up this method and try more until you can handle it satisfactorily. I agree with you on one thing: you have found a better way than this! Step 10: Save this step without saying anything, hehe!