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RESOURCEBOOKcurator / garret steider
/curator / garret steider
resource book / table of contents
websitesDesignisHistory.com
Designspiration.net
Aisleone.net
Swisslegacy.com
Behance.net
From Up North
the99percent.com
untcomdes.blogspot.com
aiga.org
dsvc.org
designishistory.com
fontsinuse.com
booksMegg’s History of Graphic
Design
Graphic Design: A Critical
Guide
Graphic Design Refer-
enced
Thinking With Type
Communication Arts
Archive
Print Magazine
Graphis Magazine
Eye Magazine
Saul Bass: A Life in Film
and Design
Elements of Typography
Graphic Design: A New
History
Symbol
tutorialsArtist Poster
Vintage Effect
RAWZ lighting effect
palettesGotham
PB&J
Miami
Pink Arctic
typographyUniver
Ziggurat
Akzidenz Grotesk
Futura
artifactsRequiem For a Dream
1979 Graphis Diagram
1976 Olympic Identity
Fruita Blanch Package
Scott Pilgrim vs The World
photographersHenri Cartier-Bresson
Vik Muniz
Annie Leibovitz
illustratorsTy Wilkins
Paul Tebbott
Fernando Volken Tolgi
designersSaul Bass
Paul Rand
Dieter Rams
Alvin Lustig
Designers / Illustrators / Photographers
Design Artifacts / Typography
Color Palettes / Tutorials
Resources /
Table of Contents/
resource book / designers
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources
/
/SaulBass
Biogr aphy /Opened Saul Bass & Associates 1955, Saul Bass was a
graphic designer and filmmaker, best known for his design
of film posters and motion picture title sequences. During
his 40-year career Bass worked for some of Hollywood’s
greatest filmmakers, including Alfred Hitchcock, Otto
Preminger, Billy Wilder, Stanley Kubrick and Martin
Scorsese. Amongst his most famous title sequences are
the animated paper cut-out of a heroin addict’s arm for
Preminger’s The Man with the Golden Arm, the credits
racing up and down what eventually becomes a high-angle
shot of the United Nations building in Hitchcock’s North
by Northwest, and the disjointed text that races together
and apart in Psycho. Bass designed some of the most
iconic corporate logos in North America, including the
AT&T “bell” logo in 1969, as well as AT&T’s “globe” logo in
1983 after the breakup of the Bell System. He also designed
Continental Airlines’ 1968 “jetstream” logo and United
Airlines’ 1974 “tulip” logo which became some of the most
recognized airline industry logos of the era.
1920-1995 / the bronx, ny / saul bass and associates / saulbass.tv
resource book / designer / saul bass
/
resource book / designer / paul rand
Paul Rand
biography /Paul Rand (Born Peretz Rosenbaum, August 15, 1914 –
November 26, 1996) was a well-known American graphic
designer, best known for his corporate logo designs.
Rand was educated at the Pratt Institute (1929-1932), the
Parsons School of Design (1932-1933), and the Art Students
League (1933-1934). He was one of the originators of the
Swiss Style of graphic design. From 1956 to 1969, and
beginning again in 1974, Rand taught design at Yale Uni-
versity in New Haven, Connecticut. Rand was inducted
into the New York Art Directors Club Hall of Fame in
1972. He designed many posters and corporate identities,
including the logos for IBM, UPS and ABC. Rand died of
cancer in 1996
As Orthodox Jewish law forbids the creation of graven
images that can be worshiped as idols, Rand’s career
creating icons venerated in the temple of global capitalism
seemed as unlikely as any. It was one that he embraced at
a very young age, painting signs for his father’s grocery
store as well as for school events at P.S. 109. Rand’s father
did not believe art could provide his son with a sufficient
livelihood, and so he required Paul to attend Manhattan’s
Harren High School while taking night classes at the
Pratt Institute, though “neither of these schools offered
Rand much stimulation.” Despite studying at Pratt and
other institutions in the New York area (including Parsons
School of Design and the Art Students League), Rand was
by-and-large “self-taught as a designer, learning about the
works of Cassandre and Moholy-Nagy from European
magazines such as [Gebrauchsgraphik].
1914-1996 / brooklyn, ny / paul rand / paul-rand.com
/
resource book / designer / dieter rams
Dieter Rams
biography /Rams studied architecture at the Werkkunstschule
Wiesbaden as well as learning carpentry from 1943 to 1957.
After working for the architect Otto Apel between 1953
and 1955 he joined the electronic devices manufacturer
Braun where he became chief of design in 1961, a position
he kept until 1995.
rams’ ten principles of good designGood design: Is innovative
Good design: Makes a product useful
Good design: Is aesthetic
Good design: Makes a product understandable
Good design: Is unobtrusive
Good design: Is honest
Good design: Is long-lasting
Good design: Is environmentally friendly
Good design: Is as little design as possible — Less, but
better — because it concentrates on the essential aspects,
and the products are not burdened with non-essentials.
Back to purity, back to simplicity.
1932 / wiesbaden, hessen / braun / dieter rams: as little design as possible (book)
/
resource book / designer / alvin lustig
Alvin Lustig
biography /Alvin Lustig was an American graphic designer and
typeface designer. He studied at Los Angeles City College,
Art Center, and independently with Frank Lloyd Wright
and Jean Charlot. He began designing for books in 1937.
In 1944 he became Director of Visual Research for Look
Magazine. He also designed for Fortune, New Direc-
tions and Girl Scouts of America. He began teaching in
1945. Lustig developed diabetes as a teenager. He later
went blind as a result of diabetes in 1954. He developed
Kimmelstiel-Wilson syndrome, an incurable kidney
disease connected to diabetes. Lustig died at the age of 40
of diabetes related complications on December 4, 1955. He
was inducted into the Art Directors Club Hall of Fame in
1986. In 2010, a book showcasing his art career came out:
Born Modern: The Life and Design of Alvin Lustig. With
the current interest in American design history, it is fitting
that Alvin Lustig be honored for his significant influence
on American design and design education. His wide-rang-
ing work from the 1940s and early 1950s included book
and book jacket design, magazines, letterheads, catalogs,
signage, furniture and lighting, textiles, interior design,
logos, identity programs, sculpture and architecture. This
diversity mirrored a philosophy that eschewed specializa-
tion and embraced synthesis. For Lustig, all design projects
involved problem solving and all solutions were found in
form and color.
1915-1955 / denver, colorado / look magazine / alvinlustig.com
/
resource book / illustrators
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources
/
/TyWilkins
biography /Ty Wilkins is an independent graphic designer and il-
lustrator living in Austin, Texas. Prior to striking out on
his own, Ty worked for Gardner Design where we had the
opportunity to redesign LogoLounge. A complete typoma-
niac, Ty is also the founder and editor of the contemporary
typography blog Type Theory. Ty’s illustration and design
work have been recognized by Grain Edit, Uppercase
Magazine, Drawn, DesignWorkLife, Pikaland, Graphic
Exchange, the Charley Harper Blog, HOW Magazine and
numerous other publications. Ty graduated with a BFA
in graphic design from Auburn University in 2003 and
before that lived in Buenos Aires, Argentina for two very
formative years where he developed a passion for Spanish
and international travel. He currently teaches Typography
for the Academy of Art University online undergraduate
program. Ty spends his free time illustrating, drawing and
collecting books by mid-century modern illustrators. Ty
is curious, obsessed and extraordinarily passionate. Type
Theory is a journal of contemporary typography featuring
news, views, reviews and interviews.Ty Wilkins founded
Type Theory in January of 2009
austin, tx / ty wilkins illustration and design / tywilkins.com
resource book / illustrator / ty wilkins
/
resource book / illustrator / paul tebbott
Paul Tebbott
biography /Paul Tebbott is a visual artist, illustrator and designer from
Manchester, UK. His work has been featured on Grain
Edit and the blog site ISO. I personally love the minimal
style of his work that incorporates bold colors and inter-
esting compositions.
manchester, uk / chemtrail / cargo-collective.com/paultebbott/About
/
resource book / illustrator / fernando volken togli
Fernando V. Togli
biography /Fernando Volken Togni is a Brazilian graphic designer and
illustrator living in Porto Alegre. He develops intricate
compositions which combines soft vector shapes, organic
swirls and harmonious colors. Fernando says, he likes to
use eye-catching bold shapes that express vivid energy
and the idea of a simple thing that’s full of meanings. Read
more about him in this interview.
Hello, I am graduated in Advertising but I have always
worked with graphic design, brand and packaging at ad-
vertising agencies here in Porto Alegre, southern Brazil. I
was born in Roca Sales, a small town but I moved to Porto
Alegre to study and work. I always liked art and drawings,
so about five or six years ago I started to develop my own
illustration style because I always loved to work with
vector software. I’ve loved illustration and art since I was
a child. I decided to study advertising about ten years ago,
because I thought it was something I could succeed at.
I almost studied arts, but I never gave up, I am sure that
in the future I will study and maybe work with it. Over
the last six years I worked more with illustration software
at advertising agencies and that made me to develop my
own style to illustrate. It was a simple process, but I never
thought it would work, I didn’t see myself doing it for a
living, I used to think I would always work as a designer.
1984 / porto algre, brazil / freelance / fernandovt.com
/
resource book / photographers
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources
/
resource book / photographer / henri cartier-bresson
Henri C. Bresson
biography /Henri Cartier-Bresson (August 22, 1908 – August 3, 2004)
was a French photographer considered to be the father
of modernphotojournalism. He was an early adopter of
35 mm format, and the master of candid photography.
He helped develop the “street photography” or “real
life reportage” style that has influenced generations of
photographers who followed. Cartier-Bresson was born in
Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of
five children. His father was a wealthy textile manufac-
turer, whose Cartier-Bresson thread was a staple of French
sewing kits. His mother’s family were cotton merchants
and landowners from Normandy, where he spent part of
his childhood. The Cartier-Bresson family lived in a bour-
geois neighborhood in Paris, near the Europe Bridge. They
were able to provide him with financial support to develop
his interests in photography in a more independent man-
ner than many of his contemporaries. Cartier-Bresson also
sketched in his spare time.
Cartier-Bresson’s, The Decisive Moment,the 1952 US
edition of Images à la sauvette. The book contains the
term “the decisive moment” now synonymous with
Cartier-Bresson: “There is nothing in this world that does
not have a decisive moment.” Cartier-Bresson achieved
international recognition for his coverage of Gandhi’s
funeral in India in 1948 and the last (1949) stage of
theChinese Civil War. He covered the last six months of
the Kuomintang administration and the first six months of
the Maoist People’s Republic. He also photographed the
last surviving Imperial eunuchs in Beijing, as the city was
falling to the communists.
1908-2004 / paris, france / photogra-pher / henricartierbresson.org
/
resource book / photographer / vik muniz
Vik Muniz
biography / Vicente José de Oliveira Muniz, known as Vik Muniz
(Portuguese pronunciation: [vik-mu-nis]; born 1961, São
Paulo, Brazil), is a visual artist living in New York City.
Muniz began his career as a sculptor in the late 1980s.
Muniz became best known for his 1997 series Pictures of
Chocolate and 2006’s Pictures of Junk.
In 2010, the documentary film Waste Land, directed by
Lucy Walker, featured Muniz’s work on one of the world’s
largest garbage dumps, Jardim Gramacho, on the outskirts
of Rio de Janeiro. The film was nominated to the
Academy Award for Best Documentary Feature at the
83rd Academy Awards.
Vik Muniz often appropriates the images that serve as the
basis for his artworks from works by other well known
artists. For example, Muniz used jelly and peanut butter
in the creation of the work Double Mona Lisa, After
Warhol, 1999, based on a 1963 screen print by pop artist
Andy Warhol and which, in turn, was an appropriation of
Leonardo da Vinci’sMona Lisa. He also made a portriat
out of spaghetti and portriats of children that were made
out of salt.
1961 / sao paulo, brazil / sculptor & photographer / vikmuniz.net
/
resource book / photographer / annie leibovitz
Annie Leibovitz
biography /Photographer. Born Anna-Lou Leibovitz, on October 2,
1949, in Waterbury, Connecticut. She was one of the six
children born to Sam, an Air Force lieutenant, and Marilyn
Leibovitz, a modern dance instructor. In 1967, Leibo-
vitz enrolled at the San Francisco Art Institute, where
(although initially studying painting) she developed a love
for photography.
After living briefly on an Israeli kibbutz, Leibovitz
returned to the U.S., in 1970, and applied for a job with the
start-up rock music magazine Rolling Stone. Impressed
with Leibovitz’s portfolio, editor Jann Wenner offered her
a job as a staff photographer. Within two years, the 23-year-
old Leibovitz was promoted to chief photographer - a title
she would hold for the next 10 years. Her position with the
magazine afforded her the opportunity to accompany the
Rolling Stones band on their 1975 international tour.
While with Rolling Stone, Leibovitz developed her trade-
mark technique, which involved the use of bold primary
colors and surprising poses. Wenner has credited her
with making manyRolling Stone covers collector’s items,
most notably an issue that featured a nude John Lennon
curled around his fully clothed wife,Yoko Ono. Taken on
December 8, 1980, Leibovitz’s photo of the former Beatle
was shot just hours before his death.
1949 / waterbury, ct / vanity fair, rolling stone / vanityfair.com
/
resource book / design artifacts
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources
/
resource book / design artifacts / requiem for a dream
Poster DesignName / Requiem For A DreamDate / Produced 2011
Client / The Silver Screen Society
Designer / Mike McQuade
Discipline / Poster Design
Description: An awesome wood type poster paying
homage to Darren Aronofsky’s Requiem For A Dream.
The combination of objects that form the face greatly
contrast with the type. Each image in the poster is fun to
look at and you can always find new details you hadn’t
discovered before.
/
resource book / design artifacts / graphis diagrams
Graphis
Name / Graphis DiagramsDate / Produced 1979
Client / Graphis Magazine
Designer / Walter Herdeg
Discipline / Publication Design
Description / A beautiful publication on information
design and the use of Swiss Style. If only I could get my
hands on this beauty.
/
resource book / design artifacts / montreal olympic logo 1976
Olympic Logo ‘761976 Montreal Olympic Logo designed by Georges Huel and Pierre-Yves Pelletier.Name / 1976 Olympic Identity Mark
Date / Produced 1976
Client / Montreal Olympic Committee
Designer / Georges Huel and Pierre-Yves Pelletier
Discipline / Identity and Branding
Description / In my poinion one of the best olypic
marks designed to date. The influence of the International
Typographic Style is clearly seen in the logo. It is timeless
and a whole hell of a lot better than recent marks for the
Olympic games.
/
resource book / design artifacts / fruita blanch packaging
Package DesignName / Fruita Blanch PackagingDate Produced / 2011
Client / Fruita Blanch
Designer / Atipus studio
Discipline / Packaging
Description / Simple no non sense packaging. The
orange of the product contrasts well with the rich grey and
parchment color of the label. A custom typeface was used
and designed by the studio. The packaging has a retro feel,
but also looks very modern in its simplicity.
/
resource book / design artifacts / scott pilgrim v the world
Title SequenceScott Pilgrim Vs the World Title SequenceName / Scott Pilgrim vs The World Title Sequence
Date / Produced: 2010
Client / Universal Pictures
Designer / Title Sequence Design: Shynola Creative
Director / Richard Kenworthy Main Title Graphics and
Flashback Animated Sequences : VooDooDog Title Direc-
tor: Andrew White Producer:David Z. Obadiah Design:
Andrew White, Roger Philips Animation: Alice Dupre,
Maki Yoshikura
Discipline / Motion
Description / An epic and very fitting title sequence for
the fantastic movie Scott Pilgrim vs The World. Chaotic,
spastic, retro, and overall a visual feast, the title sequence
accurately depicts the mood and style of the film which is
what a title sequence should do. The only complaint is the
kerning on some of the names is way off.
/
resource book / typography
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources
/
resource book / typography / univers
Univers
Date / Produced: 1957
Client / Deberny & Peignot
Designer / Adrian Frutiger
Type Style: / Sans Serif
Description / Univers is one of a group of neo-grotesque
sans-serif typefaces, all released in 1957, that includes
Folio and Neue Haas Grotesk (later renamed Helvetica).
These three faces are sometimes confused with each other,
because each is based on the 1898 typeface Akzidenz-
Grotesk. These typefaces figure prominently in the Swiss
Style of graphic design.
Different weights and variations within the type family
are designated by the use of numbers rather than names,
a system since adopted by Frutiger for other type designs.
Frutiger envisioned a large family with multiple widths and
weights that maintained a unified design idiom. However,
the actual typeface names within Univers family include
both number and letter suffixes.
Currently, Univers type family consists of 44 faces, with 16
uniquely numbered weight, width, position combinations.
20 fonts have oblique positions. 8 fonts support Central
European character set. 8 support Cyrillic character set.
Despite the large family of widths, the @ mark is not
rescaled by width.
/
resource book / typography / ziggurat
Ziggurat
Date / Produced: 2000
Client / Hoefler Frere-Jones
Designer / Hoefler Frere-Jones
Type Style / Slab Serif
Description / Ziggurat is the cornerstone of The Proteus
Project, a collection of four interchangeable type families
designed in different nineteenth century styles.
Not explicitly a revival of any one typeface, Ziggurat
takes its cues from the entire aesthetic of early slab serif
(or “Egyptian”) metal types, primarily those produced in
Great Britain between 1815 and 1840.
/
resource book / typography / akzidenz grotesk
Akzidenz GroteskDate / Produced: 1898
Client / Berthold Type Foundry
Designer / Günter Gerhard Lange
Type Style / Sans Serif
Description / The design of Akzidenz-Grotesk was
theorized to be derived from Walbaum or Didot, as
demonstrated by the similar font metrics when the serifs
are removed. However, the font family also included fonts
made by other foundries, such as the c. 1880 typeface
Royal Grotesk Light from the Berlin foundryFerdinand
Theinhardt Schriftgiesserei, designed by Ferdinand Thein-
hardt for the scientific publications of the Royal Prussian
Academy of Sciences in Berlin. FTS also supplied the
regular, medium and bold weights of the typeface. While
Hermann Berthold took over Theinhardt’s Berlin foundry
in 1908, it wasn’t until the fall of the Prussian monarchy
in 1918 that Royal Grotesk was published as part of the
Akzidenz-Grotesk font family and renamed Akzidenz-
Grotesk Condensed.
/
resource book / typography / futura
Futura
Date / Produced: 1927
Client / Bauer Type Foundry
Designer / Paul Renner
Type Style / Sans Serif
Description / Futura has an appearance of efficiency and
forwardness. The typeface is derived from simple geo-
metric forms (near-perfect circles, triangles and squares)
and is based on strokes of near-even weight, which are low
in contrast. This is most visible in the almost perfectly
round stroke of the o, which is nonetheless slightly ovoid.
In designing Futura, Renner avoided the decorative,
eliminating non-essential elements. The lowercase has tall
ascenders, which rise above the cap line. The uppercase
characters present proportions similar to those of classical
Roman capitals.
/
resource book / color palette
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources
/
resource book / color palette / gotham
Gotham
Slick, cool, Classic, Batman, gritty, crime,
/
resource book / color palette / pb&j
PB&J
Peanut butter and jelly, fun, summer, indie band, music, easy going,
/
resource book / color palette / miami
Miami
hurricanes, beach, the U, fun, south beach, football,
/
resource book / color palette / pink arctic
Pink Arcticcold, mysterious, cool, chic, sophisticated, awesome, modern
/
resource book / tutorials
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources /
resource book / tutorials / the artist poster
The Artist Poster/ Abduzeedo.com designed by Fabio Sasso
step 1Draw rectangles in illustrator. Make sure they resemble or are similar to the first image on the page. color them that tan color for realzzz.
Step 6Add a new layer and fill it with key [black]. After that go to Filter>Noise>Add Noise. Use 45% for the Amount with Gaussian for the Distribution and Monochromatic. Do not play metal music at night.
step 2 Duplicate rectangles until you create a city scape of your choosing.Play around with perspective and vary height and the width of the buildings.
step 4Main building: create a layer on top and then go to Layer>Create Clipping Mask. With theBrush Tool (B) and a very soft brush, paint with white to create a sort of radial light effect coming from the bottom. Repeat for other buildings
Select all buildings and light effect layers, then duplicate them. Go to Layer>Merge Layers. After that go to Edit>Transform>Flip Vertically. Then go to Filter>Blur>Gaussian Blur. Use 10 for the radius.
Step 7Image>Adjustement>Levels. Change the black input to 160 the grey to 1.00 and the white to 205. That will create a multitude of stars in the black background. This is an elegant way to tackle sensitve design.
Step 9Now just add your text. I used a font called Andes for that. Also duplicate the background and the buildings then merge them into a new layer. Go to Filter>Blur>Gaussian Blur.
Use 10 for the amount. Change the Blend Mode of this layer to Overlay at 50% Opacity. Duplicate it again and change the Blend Mode of the new one to Soft Light at 60%.
step 3Time to jump into the magnificant Photoshop. Copy the main building and paste it into an Adobe Illustrator file.
step 5Fill the background layer with black. Then fill the rest of this text box with aranious text. For example Lorem ipsum la di da one two three four five six seven eight. The 20’s were great, and so was the movie “The Artist.”
Step 8Add a white frame to the design.Create a new layer and fill it with black. Go to Layer>Layer Styles>Stroke. Use 70px for the Size and white for the color. Change the Blend Mode to Screen.
ConclusionTime to add some paper texture on top of the all layers to add the nice vintage look. I used two paper textures using Overlay and Multiply for the Blend Mode.
resource book / tutorials / vintage photo effect
Vintage Photo Effect/by Veerle.duoh.com designed by Veerle Pieters
step 1Hue/Saturation preset Old Style and Red Boost Saturation to -40 and Contrast to 54. Adjust Levels . First place the image in a separate layer. In the Layers palette make the Adjustment layer and make an “S” curve.
step 5The Levels have been tweaked a lot.
step 2 Add Contrast and Satura-tionIn the Layers palette click the Adjustment Lay-ers menu icon and select Brightness/Contrast. Set the Contrast to +20. Click the Adjustment Layers menu icon again and select Hue/Saturation.
step 6Very visible lens correction effect.
step 3Set the Saturation to +20.Adjust Curves. Select Green from the Channel dropdown menu and adjust the curve as shown in the image below. Now select Blue from the Chan-nel dropdown menu and adjust the curve.
step 4Apply Lens Correction and Vignette effectSelect the layer with your photo, go to the Filter menu and select Convert for Smart Filters. In the Vignette option set the Amount to -75 and the Midpoint to +75. Hit the OK button. You’ll see the Smart Filter appear below the layer. Double clicking
the slider icon on the right will give you the option to adjust the Layer Mode and the Transparency of the effect on the layer. Set the value to 70%. Add some Old Style. In the Layers palette click the Adjustment Layers menu icon again and select Hue/Saturation. Select Old Style Change the opacity
of this adjustment layer to 50%. Add Red Boost Depending on the result you’re after, you could add another Hue/Saturation Adjustment Layer on top of this and choose the preset option Red Boost (which sets the Hue to -5 and the Saturation to +20).
you’re finished!
resource book / tutorials / rawz lighting effect
RAWZ Lighting FX/ by Fabio Saasso on Abduzeedo.com
Step 1Fill the background layer with black. Create a new document and using the Rectangle Tool (U) create squares in black, grey and dark grey. Go to Edit>Define Pattern.
Step 4Go to Layer>Layer Style. Select Drop Shadow. For the Blend Mode use Color Burn at 50% Opacity, 90• for the Angle, 2 pixels for Distance and 5 pixels for the Size. You want to try to make it as real and believ-able as possible.
Step 7Selec Outer Glow. For the Blend Mode use Screen, for the Opacity use 100% and blue (#00a2ff) for the color. Change the Spread to 0 and the “Size to 9 pixels. Select Inner Glow. in the FX options.
Step 10Add a new layer inside the folder with color dodge and fill it with the carbon fiber pattern. Create a marquee selection of the neon layer by clicking on the thumbnail of the layer. Go to Layer>Layer Mask>Reveal Selection.
Step 2Then go toLayer>Layer Style>Gradient Overlay. Use dark grey for the colors. The darker one will be at the bottom. Also change the Blend Mode to Multiply.
Step 5Select Stroke at 3 pixels for the Size, Inside for the Po-sition, 95% for the Opacity and then for the color use #5c7a92, #000000, #5c7a92, #5c7a92, #000000, #5c7a92. For the Style use Linear and for the Angle use 90º.
Step 8Use Lighten for the Blend Mode with cyan for the color. Also select Edgeand change the Size to 10 pixels. Over the Quality change the Contour to the same as in the image. Re-fer to the bottom image.
Step 11Select all layers and duplicate them, after that merge all the new layers into one and go to Filter>Blur>Gaussian Blur. Make sure you group keep your layers grouped. It will help you be organized. Use 10 pixels for the Radius.
Step 3Select Pattern Overlay, then for the Pattern select the Carbon Fiber we cre-ated in the previous steps. Also change the Scale to 60%. Now we can start to see it developing.
Step 6Apply the neon effect and go to Layer>Layer Style. Select Drop Shadow. Use black, with Color Burn for the Blend Mode at 100% for the Opacity. For the Angle use 90º and then 2 pixels for the Distance and 3 pixels for the Size.
Step 9Add a new layer. Change the folder’s Blend Mode to Color Dodge and then with the Brush Tool and a very soft brush, 0 hard-ness, and then paint some spots over the neon to create light spots.
Step 12Duplicate the blurry layer again, change the Blend Mode of the one that is underneath to Overlay and the top to Screen. Change the Opacity to 50%.Go to Layer>New Adjustment Layer>Photo Filter. Use Cyan Filter at 50% density.
resource book / books & sites
Designers
Illustrators
Photographers
Design Artifacts
Typography
Color Palette
Tutorials
Resources /
resource book / resources / books & sites
Communication Arts
Graphic Design Rreferenced by Gomez-Polacio & Vit
swisslegacy.com
untcomdes.blogspot.com
Graphis
The Elements of Typographic Style by Robert Eringhurst
aisleone.net
aiga.org
Meggs’ History of Graphic Design
Eye Magazine
Saul Bass: A Life in Film & Design by Jennifer Bass
Behance.net
dsvc.org
Graphic Design: A New History
Luzer’s Arhcive
Symbol by Angus Hyland
the99percent.com
fontsinuse.com
Graphic Design History: A Critical Guide
Print Magazine
Thinking with Type by Ellen Lupton
Designishistory.com
underconsideration.com
/Books & Sites
/