Creating an image-based menu with CSS

<div style="background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #ffffff; font-family: Georgia, 'Times New Roman', Times, serif; color: #303536; background-position: initial initial; margin: 8px;"> The year is 2008 and I come upon a new site on a daily basis using the Javascript method of creating an image-based menu with rollover effects. I’m not talking flashy rollover effects like the types given to you by various <abbr class="shownd_DEFAULT" title="Javascript">JS</abbr>libraries such as <a class="shownd_DEFAULT" style="text-decoration: none; color: #006699; border: initial none initial;" href="http://mootools.net/">MooTools</a> and <a class="shownd_DEFAULT" style="text-decoration: none; color: #006699; border: initial none initial;" href="http://http//script.aculo.us/">script.aculo.us</a>, I’m talking a simple image replacement effect. Invoking JS for this sort of thing is bulky and unnecessary when it can be done oh-so-easily with some straightforward CSS. One highly used method, which I’ll cover another time, allows you to place browser-rendered text in that menu. That’s useful for many reasons, but sometimes you don’t WANT browser-rendered text because you’d like to use a non-web standard font but wish to maintain the text in place for screen readers and SEO. In this case we want to create a menu using the “Cooper Std” font. So let’s get started. First, the markup: <pre><code style="display: block; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #eef1f2; border-left-width: 3px; border-left-style: solid; border-left-color: #d2d3d3; background-position: initial initial; padding: 10px;"><ul id="menu"> <li class="home"><a href="#">Home</a></li> <li class="locations"><a href="#">Locations</a></li> <li class="about"><a href="#">About Us</a></li> <li class="contact"><a href="#">Contact Us</a></li> </ul></code></pre> That’s all. It’s very short and semantically relevant. For this sort of method it’s best to create your images as sprites (or one big sprite, up to you.) What I mean by that is to take the image for the normal state and the image for the hover state and place them on one image, like so: <img src="http://orlandodefrias.com/examples/image-based-menu/step2/images/menu_home.png" alt="Menu image sprite" /> Then rather than calling a different image for the hover action, you just call the same image with an altered background position. You’ll see what I mean in the code. This helps stop the flicker you would get when the browser tries loading the new image when hovering, and it also lowers the amount of requests made to the web server. It would be even better to place all of the images into one big sprite map, but for the sake of this tutorial we’ll just create one sprite per menu item. This, without styling, will produce <a class="shownd_DEFAULT" style="text-decoration: none; color: #006699; border: initial none initial;" href="http://orlandodefrias.com/examples/image-based-menu/step1/index.html">the following results</a>, so anyone in a text browser will still be able to see your links. So let’s start adding some styles. <pre><code style="display: block; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #eef1f2; border-left-width: 3px; border-left-style: solid; border-left-color: #d2d3d3; background-position: initial initial; padding: 10px;">body { margin: 0; padding: 10px; font-family: Arial; background-color: #303136; font-size: .75em; color: #333; } ul#menu { list-style: none; margin: 0; padding: 0; height: 25px; width: 520px; } ul#menu li { float: left; display: inline; height: 25px; margin: 0 10px; }</code></pre> This will give your menu a bit more structure. What you’re doing here is creating the menu as an unordered list with static height/width dimensions. With text-based menus you generally want to stay away from hard-coded height properties to account for users who wish to increase or decrease their font sizes and not allow that to break your design, but in this case that’s not necessary since these are images. We’re floating the list items to the left to create a “seemingly inline” list out of what are block elements. The “display: inline” property is there <a class="shownd_DEFAULT" style="text-decoration: none; color: #006699; border: initial none initial;" href="http://www.positioniseverything.net/explorer/floatIndent.html">as a fix for IE6</a> adding a random margin. Next thing we want to do is add the images to each class along with their corresponding width properties: <pre><code style="display: block; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #eef1f2; border-left-width: 3px; border-left-style: solid; border-left-color: #d2d3d3; background-position: initial initial; padding: 10px;">ul#menu li.home a { background: url(images/menu_home.png) 0 0 no-repeat; width: 67px; } ul#menu li.locations a { background: url(images/menu_locations.png) 0 0 no-repeat; width: 119px; } ul#menu li.about a { background: url(images/menu_about.png) 0 0 no-repeat; width: 115px; } ul#menu li.contact a { background: url(images/menu_contact.png) 0 0 no-repeat; width: 136px; }</code></pre> Note the background position, “0 0″, which is the same as “left top.” This will show the image in its normal state. However, we’ve got a little problem here. The browser-rendered text is showing up, and the menu image only spans as high and wide as the text itself. We can fix that pretty easily with the following snippet: <pre><code style="display: block; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #eef1f2; border-left-width: 3px; border-left-style: solid; border-left-color: #d2d3d3; background-position: initial initial; padding: 10px;">ul#menu li a { display: block; height: 25px; text-indent: -999em; }</code></pre> Setting the inline anchor element to a block element allows us to specify its height and width explicitly. The text-indent will move the text completely out of view. Google frowns upon using “black hat” tactics such as hidden text for SEO purposes, but when you’re doing this to a few words in a menu in which the images you’re replacing the words with say the same thing, I’ve never heard of them having a problem with that. It’s when you start hiding paragraphs of key words out of view that Google decides you’re no good. The only thing left to do is the hover state. This will do the trick: <pre><code style="display: block; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #eef1f2; border-left-width: 3px; border-left-style: solid; border-left-color: #d2d3d3; background-position: initial initial; padding: 10px;">ul#menu li.home a:hover, ul#menu li.locations a:hover, ul#menu li.about a:hover, ul#menu li.contact a:hover { background-position: bottom left; }</code></pre> See that? All you’re doing is moving the background’s position to the bottom left rather than the top left. It’s the same image, but it gives the illusion of loading a new one. No flicker. <a class="shownd_DEFAULT" style="text-decoration: none; color: #006699; border: initial none initial;" href="http://orlandodefrias.com/examples/image-based-menu/step2/index.html">View the menu</a> <h4 class="shownd_DEFAULT">Final touches</h4> If you’re using Firefox, when clicking a menu item you’ll see an ugly dotted line border around the element going all the way to the left edge of the screen. This is something the browser adds itself. There’s a way to get rid of it though, just add a hidden overflow property: <pre><code style="display: block; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #eef1f2; border-left-width: 3px; border-left-style: solid; border-left-color: #d2d3d3; background-position: initial initial; padding: 10px;">ul#menu li { float: left; display: inline; height: 25px; margin: 0 10px; overflow: hidden; }</code></pre> Also, if you want to specify a selected state for a menu item, just add an ID attribute called “selected” and add this CSS: <pre><code style="display: block; background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: #eef1f2; border-left-width: 3px; border-left-style: solid; border-left-color: #d2d3d3; background-position: initial initial; padding: 10px;">ul#menu li#selected a {background-position: bottom left;}</code></pre> <a style="text-decoration: none; color: #006699; border: initial none initial;" href="http://orlandodefrias.com/examples/image-based-menu/step3/index.html">View the final menu with selected item</a>   </div> 2

2008-11-21T22:12:37Z

1 true

2008-11-21T22:19:01Z

Are you still creating your roll-over menus with Javascript? There's a better way to do that using pure CSS in a cross-browser compliant method I'll be outlining in this article. Creating an image-based menu with CSS

2008-11-21T22:19:01Z

Not all portfolios need to have a serious business feel to them. Whether it's the color scheme or the illustrations, the following twelve portfolio web sites contain an aura of professional playfulness. <a class="FontSize_HUGE" href="http://darkmotion.com/">Darkmotion</a> <a class="screen_img" href="http://darkmotion.com/"><img src="http://files.shownd.com/articles/112308/darkmotion.jpg" alt="" /></a> Darkmotion's beautiful illustrations and tone really give it that playful edge.   <a class="FontSize_HUGE" href="http://jduerr.com/">Jason Duerr</a> <a class="screen_img" href="http://jduerr.com/"><img src="http://files.shownd.com/articles/112308/jduerr.jpg" alt="" /></a> Jason's attitude is all in his color scheme.   <a class="FontSize_HUGE" href="http://designdisease.com/">Design Disease</a> <a class="screen_img" href="http://designdisease.com/"><img src="http://files.shownd.com/articles/112308/designdisease.jpg" alt="" /></a> Who knew so much blue could be so easy on the eyes?   <a class="FontSize_HUGE" href="http://branded07.com/">Branded07</a> <a class="screen_img" href="http://branded07.com/"><img src="http://files.shownd.com/articles/112308/branded07.jpg" alt="" /></a> Nothing says "playful" like a couple of puffins. Nothing.   <a class="FontSize_HUGE" href="http://hicksdesign.com/">Hicks Design</a> <a class="screen_img" href="http://hicksdesign.com/"><img src="http://files.shownd.com/articles/112308/hicksdesign.jpg" alt="" /></a> Just look at the Silverback icon!   <a class="FontSize_HUGE" href="http://kyanmedia.com/">Kyan</a> <a class="screen_img" href="http://kyanmedia.com/"><img src="http://files.shownd.com/articles/112308/kyan.jpg" alt="" /></a> Clouds and paper airplanes can turn anything into a playground.   <a class="FontSize_HUGE" href="http://freshnessdesign.com/">Freshness</a> <a class="screen_img" href="http://freshnessdesign.com/"><img src="http://files.shownd.com/articles/112308/freshness.jpg" alt="" /></a> Orange and purple; two colors with no rhymes, but in this case reason.   <a class="FontSize_HUGE" href="http://volll.com/">Volll</a> <a class="screen_img" href="http://volll.com/"><img src="http://files.shownd.com/articles/112308/volll.jpg" alt="" /></a> Hint: If you see anything cute, try clicking it.   <a class="FontSize_HUGE" href="http://turbomilk.com/">Turbomilk</a> <a class="screen_img" href="http://turbomilk.com/"><img src="http://files.shownd.com/articles/112308/turbomilk.jpg" alt="" /></a> When you think milk, you normally don't think green. Strangely, it works.   <a class="FontSize_HUGE" href="http://jeffsarmiento.com/">Jeff Sarmiento</a> <a class="screen_img" href="http://jeffsarmiento.com/"><img src="http://files.shownd.com/articles/112308/jeffsarmiento.jpg" alt="" /></a> A bit of a blast to the past meets the present.   <a class="FontSize_HUGE" href="http://jengermann.com/">Jen Germann</a> <a class="screen_img" href="http://jengermann.com/"><img src="http://files.shownd.com/articles/112308/jengermann.jpg" alt="" /></a> Dog trainer. Classic.   <a class="FontSize_HUGE" href="http://studiomikmik.com/">Studio MikMik</a> <a class="screen_img" href="http://studiomikmik.com/"><img src="http://files.shownd.com/articles/112308/mikmik.jpg" alt="" /></a> Very clean, very polished, very nice. 2

2008-11-24T02:10:34Z

2 true

2008-11-24T07:15:40Z

Not all portfolios need to have a serious business feel to them. Whether it's the color scheme or the illustrations, the following twelve portfolio web sites contain an aura of professional playfulness. <a class="FontSize_HUGE" href="http://darkmotion.com/">Darkmotion</a> <a class="screen_img_small" href="http://darkmotion.com/"><img src="http://files.shownd.com/articles/112308/darkmotion_small.jpg" alt="" /></a> Continued on next page... 12 Examples of Playful Portfolios

2008-11-24T07:15:40Z

Putting together a pre-1920s photographic effect is easier than you think. In the earlier days of photography, camera and film quality generally produced dull, hazy photos lacking contrast and sharpness. Our goal here is to recreate this look with some Photoshop magic. This tutorial should help spice up your online portfolio. <a class="articleEntry" href="http://files.shownd.com/articles/120808/large.jpg"><img src="http://files.shownd.com/articles/120808/small.jpg" alt="" /></a> Let's achieve this effect. Step 1) First, let's start off with an image. The one I chose is a free image from <a title="iStockPhoto - Cheap stock photography" href="http://istockphoto.com">iStockPhoto</a>, something they give away every week. While everyone doesn't love the police for whatever reason, I'm sure we can all agree on loving firefighters, so we'll work with that image. You might consider using an image from your portfolio and adding the finished photograph up for display in your showcase. Step 2) Once you've got your image handy, open up the Channel Mixer (Image > Adjustments) and click the Monochrome option on the bottom left of the Channel Mixer.  Set Red, Green, and Blue to +20, +30, +50, respectively. Click OK. <img src="http://files.shownd.com/articles/120808/channel_mix.jpg" alt="" /> Step 3) Next, duplicate your layer (Ctrl/Cmd+J) which will give you your original background layer plus a duplicate copy of that same layer. We'll be working on this new one. Add some Gaussian Blur (Filter > Blur) to your new layer. Set it to a radius of 4.0 pixels. <img src="http://files.shownd.com/articles/120808/blur.jpg" alt="" /> Add a layer mask by clicking the Add Layer Mask button in the layer panel. Step 4) What we need to do next is add more focus onto the face. In Ye Olden Times cameras lacked the sophistication they do now, so objects had a tendency to blur on exposure. However, the focal point of the lens provided a bit more sharpness, so let's create that effect to bring more focus to the fireman's face. Select the brush tool (B) and set the master diameter to a very large size, say, roughly the diameter of the man's face. In the case of my file we're looking at 960px, but your mileage may vary so try experimenting a bit until you find the right size. Set the brush's hardness to 0%, opacity to 45%, flow to 55%, foreground color to black, and enable airbrush capabilities by clicking the appropriate button. <img src="http://files.shownd.com/articles/120808/brush.jpg" alt="" /> When you've done that, just click your big, beautiful brush over what you'd like the focal point to be, in this case, the firefighter's face. About 2 clicks should be enough, any more than that and you'll be creating too much sharpness. Once you've done that, merge all of your layers (Ctrl/Cmd+Shift+E.) <img src="http://files.shownd.com/articles/120808/face.jpg" alt="" /> Step 5) Now we need to add a bit of glow to simulate the Ye Olden Times old-timey uncoated lenses. Add some Diffuse Glow (Filters > Distort.) Set your graininess to 3, glow to 3, and glow amount to 10. <img src="http://files.shownd.com/articles/120808/glow.jpg" alt="" /> Step 6) Fantastic. Let's get rid of the colors with a black and white gradient map. Create a new Gradient Map (Image > Adjustments), click the arrow and select the black and white option. Click OK. <img src="http://files.shownd.com/articles/120808/gradient.jpg" alt="" /> Step 7) The final step is to give it that subjectively cool sepia effect. This is simple using a Photo Filter (Image > Adjustments) and selecting the Sepia option. Add some more density to the default 25%, maybe going anywhere between 30-40%. There you have it, a Hollywood firefighter circa 1915. <img src="http://files.shownd.com/articles/120808/very_large.jpg" alt="" /> 5

2008-12-08T16:53:38Z

3 true

2008-12-08T18:25:58Z

Putting together a pre-1920s photographic effect is easier than you think. In the earlier days of photography, camera and film quality generally produced dull, hazy photos lacking contrast and sharpness. Our goal here is to recreate this look with some Photoshop magic. This tutorial should help spice up your online portfolio. <a class="articleEntry" href="http://files.shownd.com/articles/120808/large.jpg"><img src="http://files.shownd.com/articles/120808/small.jpg" alt="" /></a> Let's achieve this effect. Continued on next page... Creating a Classic Photograph Effect in 7 Steps

2008-12-08T18:25:58Z

You’ve got digital photos.  Your camera even has a black and white setting, but somehow those black and white shots never look quite like they should.  They’re faded and grey.  This is because your camera only removes the color.  To get the look you want, you need to change the levels and bump up the contrast.  If you want to get that classic black and white look without paying for Photoshop, you can do it with the Gimp. The Gimp is free photo editing software.  It’s not as seamless and user friendly as Photoshop, but you can do a lot with it. You can download it here if you use windows:  <a href="http://www.gimp.org/windows/">http://www.gimp.org/windows/</a> or here: <a href="http://www.gimp.org/macintosh/">http://www.gimp.org/macintosh/</a>  if you use Mac. Always shoot in color.  Always.  Your camera picks up more information that way and you will always have the option of changing it later once you learn how. Open the picture you want in The Gimp. <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/Carousel.jpg" alt="" />   Never use your original file.  In case something goes wrong, duplicate it. Do this by going to “Image” and then “Duplicate.”  Make any changes or edits to your duplicated version.   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/DuplicateImage.jpg" alt="" />   Now we’re going to take the color out:   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/Desaturate.jpg" alt="" />   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/DesaturateOK.jpg" alt="" />   Easy, right? But it’s too grey. Let fix it.   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/ColorLevels.jpg" alt="" />   Go to “Color” then “Levels” and play with the levels.   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/ChangeLevels1.jpg" alt="" />   Move the triangles until your picture looks the way you want it to.  You will have more subtle control of the image if you use the triangles under the histogram (the thing that looks like a mountain). Here you have a grey triangle to control your greys, too.   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/ChangeLevels2.jpg" alt="" />   That's better, right? Make sure to hit “OK” to save your changes. Now go to “File” and then “Save” and save it.  It’s best to save your photo as a JPEG so you can open it with any computer and any program.  Pick the highest resolution.  Why not?   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/SaveAsJPEG.jpg" alt="" /> <div> </div> So there you have it.  A perfect black and white, ready to print photo, and you didn’t spend a dime.   <img src="http://i128.photobucket.com/albums/p190/KCrimini/Gimp%20Tutorial/CarouselBW.jpg" alt="" /> 5

2009-02-10T01:24:02Z

5 true

2009-02-10T17:39:19Z

How to Transform your Color Digital Shots into Beautiful Black and White for Free Kate Sedgwick shows you how to transform your color digital photographs into rich black and white shots using free software. The Gimp has many of the features of Photoshop and can be downloaded and used at no cost whether you use a Mac or a PC. Gimp Your Way to the Perfect Black and White Shot

2009-02-10T17:39:19Z

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If you don’t know what a Jesus tortilla is, check out <a href="http://www.jesustortilla.com/">JesusTortilla.Com</a>. Jesus appears everywhere if you believe <a href="http://www.ibiblio.org/pub/electronic-publications/stay-free/5/jesus.htm">these people</a>, but you have to take their word for it since they don’t provide any photographic evidence. Are you tired of hoping and waiting for a miraculous Jesus tortilla of your own? Do you want to impress your friends or serve your grandma a treat she’ll remember for whatever's left of her life? I would like to impress upon you the fact that miracles come in all shapes and sizes. If you want your miracle to be Marlon Brando from "The Godfather" or Goetse, more power to you. The sky's the limit and no one's stopping you. We're sticking with a classic for the time being, though.  I’m here to bear witness to that fact that manufacturing a miracle is not as easy as it may seem.  I will share with you some things to do and one thing not to do.  To be clear, this project involves fire and sharp things.  Be judicious. I learned everything I know about burning Jesus into a tortilla through trial and error and experimentation.  In certain instances, I may have been a little overzealous in my approach.  You, however can learn from my mistakes.  Let's get started. Here's what you'll need: A Jesus Stencil:   <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/JesusStencil.jpg" alt="" width="427" height="640" /> I don’t recommend going much bigger than this unless you want to buy some aluminum flashing and do a big one on a large flour tortilla.  This is about all your tall boy can (which you will be using for your metal stencil) can handle.  Actual size is 8 x 12 centimeters. <div>Depending on your screen, you may have to make some adjustments.</div> <div> If you have to use regular grade printer paper, you can reinforce your stencil before cutting with clear packing tape. This will make your stencil durable and prevent tearing from some of the finer cuts you will have to make. </div> <div> </div> <div>Tools and Materials: </div> <div><img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/Materials.jpg" alt="" /></div> <div> </div> <div> </div> <div> <ul class="general_list"> <li>Tortillas (flour used here - results not guaranteed with corn)</li> <li>Crack lighter (butane - flame burns in a controlled point)</li> <li>Aluminum foil</li> <li>Tall Boy Can*</li> <li>Clear packing tape*</li> <li>Permanent Marker</li> <li>Cotton first Aid Tape</li> <li>Cutting Board</li> <li>Lightweight utility knife</li> <li>Paper Stencil of The Lord</li> <li>Butane for your lighter</li> <li>Helpful: scissors</li> </ul> *not pictured here <div> </div> <div><img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/9TapeYourJesus.jpg" alt="" /></div> <div class="FontSize_HUGE">Tape Your Jesus</div> </div> <div> </div> <div><img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/2CutYourJesus.jpg" alt="" />Cut Your Jesus</div> <div> </div> <div><img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/CutYourTallBoy.jpg" alt="" />Cut Your Tall Boy</div> <div> </div> <div>It's worth mentioning here that you ought to be careful.  Use scissors if you must.  Give the beer to someone who is not using sharp tools and razor thin aluminum.  Don't say I didn't warn you.</div> <div> </div> <div>Your can will be curly once it's cut.  You can straighten it gradually against the edge of a table.  Be patient.  It will relax.</div> <div> </div> <div>Now you are ready to trace the paper stencil onto the can.  It’s best to leave the painted side of the can up.  The pigment on the can has a tendency to catch fire and transmit temperature irregularly, and if you can see it happening, you can nip it in the bud.</div> <div> </div> <div><img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/4CutCanStencil.jpg" alt="" /> </div> <div> </div> <div>Cut the stencil from the can with your utility knife.  If you didn't follow the advice about not drinking the beer, maybe leave this for the next day? Manual dexterity is a must here.  Go slowly to avoid cutting long, destructive and unintentional lines.</div> <div> </div> <div>A cutting board is recommended here to conserve your blade and protect household surfaces.  Expect to replace (or snap off) the blade once or twice for this step.</div> <div> </div> <div><img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/Foil.jpg" alt="" /> </div> Tape tinfoil to all four edges on the front of your stencil.  Cotton fiber first-aid tape works well. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/Foil2.jpg" alt="" /> Add another piece of foil to the front to cover your tape and for reinforcement.  This piece need not be taped, but it should have a hole large enough to expose the entire stencil.  Maybe this is overkill, but the less burning hot, fiery surface area is next to your fingertips the better, I say. Carefully center your tortilla behind the stencil.  Select a tortilla that has few dark spots in the center as they may interfere with your stencil. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/ThatsaWrap.jpg" alt="" /> Wrap the tortilla snugly inside the tinfoil taking care not to jostle or fold your tortilla.<img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/CrashandBurn.jpg" alt="" /> Use your crack lighter to cook the image of Jesus into the tortilla.  The method I found works best is to move the lighter much as you would a can of spray paint.  You may not see anything at first.  The tortilla is moist and you must dry the exposed parts before they begin to toast.  Soon you will see a change in color.  It will be irregular as the surface of the tortilla is, but this makes your Jesus tortilla more authentic. Use something non-flammable to push your stencil snug with the tortilla at the same time you're burning it.  This prevents buckles in the stencil from exposing parts that aren't meant to be exposed to the flame.  Keep the tip of your scissors or knife close to the parts you are burning at all times. Be patient.  Allow plenty of time as you want to avoid overheating and destroying your lighter.  Miracles take time. If you think you can take care of this project quickly, like this: <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/NotRecd.jpg" alt="" /> I have to tell you that it will not work.  You will burn your stencil out of any possible recognizability and destroy your tortilla in the process.  Flame-throwing is not the answer.  Jesus will only appear if you exercise the virtue of patience. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/HeIsBorn.jpg" alt="" /> When you think you’ve pretty much got it, remove your tortilla and check out your Jesus.  If he’s not quite what you imagined, don’t worry.   <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/FineTune.jpg" alt="" /> <div> You can clean him up with a knife point.  Carefully scrape away the parts you would like to be lighter.  I personally found it disturbing that Jesus was sporting a Hitler 'stache, so I did a little scraping under his little nose. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/ReBurn.jpg" alt="" /> You can also burn a little more for accent and shading.  If you go a little overboard, you can still potentially rescue your Tortilla in God's Image with the previous step. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/FinishedProduct.jpg" alt="" /> So there you have it!  Have fun, enjoy and go freak everyone out! </div> 5

2009-02-18T04:48:42Z

6 true

2009-02-20T17:39:06Z

<img src="http://i128.photobucket.com/albums/p190/KCrimini/MiracleTortilla/MakeYrOwnSm.jpg" alt="Jesus!" /> Step by step instructions guiding you through the delicate process of making your own Miracle Jesus Tortilla. This project is not for the faint of heart or those with little manual dexterity. Attempt at your own risk. Make Your Own Miracle Jesus Tortilla!

2009-02-20T17:39:06Z

383

Tuesday, 2:30am: My eyelids droop and my eyes red. I long for my bed yet I still have so many files images to complete by the end of the next day. Opening each file, one at a time, I carefully adjust each one to my liking. 10 or so images later a yawn interrupts me and I realize it's 3 AM. I have been editing for 6 hours now and realize I still have over 250files to go. I can only think two things: One, I need to take less photographs. Two, something needs to change.   Wednesday, 10am: I make coffee to ready myself to dig into a full day of editing to meet my deadline. I decide to download a free trial of Adobe Lightroom while I'm waiting for the coffee to brew. Once installed, I upload my images and with 3 clicks have completed what was taking me 5 minutes a photo in Photoshop. Lightroom is a lifesaver. With each click, I am getting my life back. No longer will I have loads of backed up photoshoots to edit. Being familiar with Photoshop, Lightroom is a breeze. Of course, I will still use Photoshop often for many things, but nothing can compare to the amount of time Lightroom is going to save me. I had a beer that night to celebrate. <img src="http://shannonleeimages.com/lightroom-sm.jpg" alt="lightroom" /> Go to <a href="http://www.adobe.com/products/photoshoplightroom/">http://www.adobe.com/products/photoshoplightroom/</a> to download a free 30 day trial.  It retails between $250-$300 and is worth every single penny. If you are a student (or if you know one) you can get it around $70-$100. There is still much I need to learn of Lightroom, as I learn I'll share my tutorials... more to come soon! 4

2009-02-28T05:39:28Z

7 true

2009-02-28T22:01:00Z

Praises for Adobe Lightroom for professional photographers. How Lightroom Gave Me My Life Back

2009-02-28T22:01:00Z

389

Whether it is a company, an individual, or an event organizer - More often than not, people in general will want to hire a photographer that is able to give them a cutting edge, contemporary image. As a matter of fact, one of the number one things people look for in a photographer is something visually modern in style and technique. If you have been a photographer for many years, you know that popular visual styles are constantly changing all of the time. Things that were once "never to be spoken of" are now the hot new thing. It can be hard to keep up with all of the buzz, and it can be even more difficult to change the way you photograph things after shooting a certain way for an extended period of time. The following are four key ideas of how to keep up with the times.   <h3>Keeping up with magazines </h3> If you want to keep up with the times, the best method is to look at any up-to-date photography magazines. It is usually a top priority for magazines that specialize in photography to know what is visually "in". Sometimes magazines even view it is as their responsibility to bring something new to the table to inspire photographers. A great genre of magazines to follow is fashion magazines. Now, before you give me droopy eyes and tilt your head the other way - There is a great reason I bring up fashion magazines. Fashion is built around the idea of consistently and continually reshaping trends. This means fashion photographers always have to be on top of their game to keep up with the fashion industry. Although fashion styles go in and out, a lot of fashion photography actually lingers for years and is used by other industries.   <h3>Striving for constant redefinition </h3> As mentioned before, it can be difficult to keep up with the times on a visual level. This indirectly means that things are constantly changing and it is ideal to keep it a prime concern to strive for redefinition. By this I mean taking your own person "twist" on things and continuously integrating it with sought after, present-day techniques. This alone will set you ahead of over half of your "competition". Striving for new techniques before they even happen will eliminate any remaining competition, which brings us to the next key idea...   <h3>Being an innovator </h3> If you take a moment to think how trends are set, it becomes easy to understand that anyone can become an innovator in the realm of photography. Like any other industry, trends are set by innovators. Innovators are not scientists in labs who work for companies to meld together chemicals and formulate things that will become popular. Something becomes popular with a mixture of two things: Exposure and making something look(visually and/or mentally) different in a good way that people are either not familiar with or have never really thought of before. This may be a new twist on old techniques, or something no one has ever seen period, as long as it is something that can be viewed as "different". This type of innovation is usually set by professional photographers who have such a desire to strive with their photography that they are constantly looking for new ways to shoot. They experiment with new forms/levels of light in places that they usually don't/wouldn't put them and using focal lengths that they might not usually use which, again, brings us to our last idea...   <h3>Experimenting with different lenses </h3> When you become one with a particular workflow, you also become partial to particular techniques that sometimes prohibit you from being more creative than you could be. This includes using only a particular bag focal lengths that you are used to shooting with. If you're used to working only with a 50mm and a 100mm, the possibility of you using a wide lens is pretty slim and thus cuts your creative freedom by leaps and bounds. It is in your best interest as a photographer to learn how to work with all types of lenses, but only to the point where you know how to operate them. Getting used to certain focal lengths can become a disadvantage because it often times reduces the amount at which someone experiments. Remember that one of the key elements of being a great photographer is to treat each location as if you have never been there before and to capture everything as a stranger. This concept works on many levels and should never be forgotten!   Learning cutting edge photography can be stressful at first but you get used to the constant strive and it becomes a priority once you realize how important it is to keep on top of your game. It not only keeps you fully booked, but will also set your standard above most of your competition and that's what you're high paying customers want to see - Passion, and high standards. Always remember - If you don't like what you see, try something else until you LOVE what you see! 4

2009-03-04T00:07:09Z

8 true

2009-03-04T00:07:09Z

If you have been a photographer for many years, you know that popular visual styles are constantly changing all of the time. Things that were once "never to be spoken of" are now the hot new thing. It can be hard to keep up with all of the buzz, and it can be even more difficult to change the way you photograph things after shooting a certain way for an extended period of time. The following is three key ideas of how to keep up with the times. Keeping Your Photography Cutting Edge

2009-03-04T00:07:09Z

443

Is film a dying medium?  Many seem to think so with digital taking over.  It’s easy, it’s cheap, it’s immediate.  It offers so much yet I still find film so rewarding.   My first photography class in high school I learned how to develop and print my own photographs using a Minolta Maxxum 5.  There is nothing more terrifying than winding your first roll of film onto a reel in complete darkness, the sweet tinge permeating from the chemicals while being agitated in their metal container, and the delight of watching as your hard work appears in front of your eyes in the developer under the dim red light.    All the big names in photography used film, Ansel Adams, Annie Leibovitz (although she shoots all digital now), Dorthea Lange, W. Eugene Smith, Henri-Cartier Bresson, the list goes on.  But where will this new and greatly rising medium take photography?   Here are a few shots I took in Australia (I took 4 cameras with me, 2 film, 2 digital): <img style="vertical-align: middle; border: 1px solid black;" src="http://shannonleeimages.com/inblog/shownd/090102-40D-1454sm-lxsm.jpg" alt="melbourne, australia" width="625" height="433" />   <img style="vertical-align: middle; border: 1px solid black;" src="http://shannonleeimages.com/inblog/shownd/090112-MFILM-2395sm-lxsm.jpg" alt="melbourne, australia" width="625" height="419" />   Can you tell the difference?  One is better composed and a nicer day of course.  I tried to as closely as possible edit them to look the same in contrast, color and cropping.  For those of you who aren’t sure, the first one is digital, the second is film.  I shot the first quickly, without thinking too hard about it.  The second was taken with a bit more planning and patience on a nicer day.  Unfortunately, this is the best example from my work I could find.  I think I may try experimenting with this in the future.   Using Film Positives: 1. Grain, grain, grain!  I can’t say how much I love film grain.  This can be computer generated though. 2. Set up time – I love the fact that when I’m shooting film I think more carefully about my photo.  I get 24-36 chances (sometimes only 12 on a Holga) to get my shots.  The expense of film forces me to be a better photographer. 3. Unpredictable – never know what you’re going to get and that’s liberating for creative people like me. 4. Size – you can blow up a large format film photo much larger than digital – although this probably won’t be the case much longer with the rapid increase in technology.   Negatives: 1. Unpredictable – never sure what you’re going to get.  If you mess something up, you don’t know until after you get your film back.  You could miss a great memory if the film has gone bad, a light leak, or poor developing. 2. Expense – can be a little or a lot more expensive than digital considering you have to buy film and process it.  Although it can be done for less than $10 a roll. 3. Time – It takes time to get your photos back after taking them.  I can’t go shoot and look at the photos when I get home.  Although 1 hour processing is available.   When it comes down to it, I think that it all depends on what you are shooting.  Being a professional photographer, nothing beats the immediacy, ease and price of digital.  It’s certainly changed photography.  However, there is something about that quality of film that makes it irresistible.  I hope to and would love to shoot a wedding on film someday.  It saddens me to realize that perhaps, yes, film is a dying format.  However, cheap film cameras sold in Urban Outfitters gives me hope that the young, creative souls will keep it alive and film will have its comeback.   4

2009-03-08T03:31:34Z

9 true

2009-03-08T19:58:51Z

Which is better photography? Film or digital? Film vs Digital

2009-03-08T19:58:51Z

389

I'm the sort of person who feels it's important for all graphic designers specializing in the web front to have a decent grasp of markup (XHTML) and styling (CSS) techniques. This technique will help in creating image-based menus by filling in the colors using CSS rather than the flat image. The obvious benefits include less images to produce as a whole, faster download times, easier maintenance, and painless modifications. This article will cover something which I consider to be extremely useful to designers who wish to make dynamically-colored menus using images rather than text. For example, let's say you have your standard menu with 4 links: Home, Locations, About, Contact. Maybe you want to color each link differently, one red, one blue, one green, one orange. The hover state for all of them will be... let's say white. You can go ahead and make 4 images (home red, locations blue, about green, contact orange) and then 4 additional hover state images bringing your total to 8. Fair enough, it's not really a tough task to undertake, though I can help you cut that time in half. You show your client the menu and he loves it. You continue working on the rest of the site and a few days later the client frantically calls you and says, "we need to change the the menu IMMEDIATELY! Our competitor's menu has the same colors, plus our logo designer decided to use different colors and we want them to match!" This kind of thing happens all the time, and if you're using images instead of browser-rendered text it can start taking up more and more time to recreate those images again. Another example is a menu for a site that lets users choose a theme, or perhaps a seasonal change to the site's colors. Rather than making images for each of the themes, use this method. All right, enough anecdotes, let's get right to it. Most of this markup and CSS is from the <a href="../../articles/1/Creating-an-image-based-menu-with-CSS">first article in the series</a> which means you can just refer to that if you need in-depth explanations of what's going on. The markup: <pre><code> <ul id="menu"> <li id="selected" class="home"><a href="#">Home</a></li> <li class="locations"><a href="#">Locations</a></li> <li class="about"><a href="#">About Us</a></li> <li class="contact"><a href="#">Contact Us</a></li> </ul> </code> </pre> Again, very short and sweet. The CSS is, for the most part, the same as the original with a slight variation which I'll get to: <pre><code class="code_css">html {margin: 0; padding: 0;} body { margin: 0; font-family: Arial; background-color: white; font-size: .75em; color: #333; } a:link {color: white; text-decoration: none; font-weight: bold;} a:hover {color: #87acee;} ul#menu { list-style: none; margin: 0; padding: 10px; height: 25px; background: #303136; } ul#menu li { float: left; display: inline; height: 25px; margin: 0 10px; } ul#menu li a { display: block; height: 25px; text-indent: -999em; } .home a {background:white url(images/menu_home.png) 0 0 no-repeat; width: 67px;} .locations a {background: red url(images/menu_locations.png) 0 0 no-repeat; width: 119px;} .about a {background: orange url(images/menu_about.png) 0 0 no-repeat; width: 115px;} .contact a {background: green url(images/menu_contact.png) 0 0 no-repeat; width: 136px;} .home a:hover, ul#menu li.locations a:hover, .about a:hover, ul#menu li.contact a:hover {background-color: white;} </code></pre> As you can see it's pretty much the same. The differences lie within the background color of the list item element in question. What we're doing here is creating an image of the text with an alpha transparency. This is what it would look like in Photoshop: <img src="http://orlandodefrias.com/examples/image-based-menu-color/step1/images/sample.png" alt="" /> You don't need a hover state image since that will be controlled strictly through the CSS. What you need is the transparent image. If you don't know how to make it, I'll quickly show you how in Photoshop. <h4>Making the images</h4> Step 1: Create a new layer (above the Background Layer) and give it the background color you'd like. I used #303136 for mine. Step 2: Switch to the background layer and either make it transparent or hide its layer visibility. The point is you cannot have a locked layer at the base. Step 3: Use the Type Tool and type out your menu word. Use a color that contrasts your background. I used #ffffff (white) for mine. Step 4: Rasterize the layer (right click the layer in the layers panel, click rasterize type) and open up the layer's blending options by right clicking the layer in the panel and then clicking "Blending Options..." Step 5: In the advanced blending section of blending options, move the Fill Opacity slider to 0 and set the knockout to "shallow." <img src="http://orlandodefrias.com/examples/image-based-menu-color/step1/images/making_font.png" alt="" /> That's that. Crop it up to taste and save your file for web as PNG-24 (that's important.) You can create the other menu item files in the same method. Now when you want to change menu colors, you can do so in the CSS simply by changing the background-color, leaving the image intact, as such: <pre><code class="code_css"> .your_item a {background: #56FD34 url(images/your_image.png) 0 0 no-repeat;} .your_item a:hover {background-color: #9D14AB;} </code></pre> <h4>What about IE6?</h4> As you might have noticed, IE6 doesn't play nice with this on account of using alpha-transparent PNGs to achieve the anti-aliased text effect. In order to fix this while maintaining valid CSS you'll need to use ActiveX but do so in an IE6-specific stylesheet using conditionals. Here is the CSS you'll put in your IE6 stylesheet: <pre><code class="code_css"> ul#menu li a {position: relative;} /*Fix IE6 link bug on PNGs*/ .home a { background-image: none; filter:progid:DXImageTransform.Microsoft.AlphaImageLoader(enabled=true, src=images/menu_home.png, sizingMethod=image); cursor: pointer; } .locations a { background-image: none; filter:progid:DXImageTransform.Microsoft.AlphaImageLoader(enabled=true, src=images/menu_locations.png, sizingMethod=image); cursor: pointer; } .about a { background-image: none; filter:progid:DXImageTransform.Microsoft.AlphaImageLoader(enabled=true, src=images/menu_about.png, sizingMethod=image); cursor: pointer; } .contact a { background-image: none; filter:progid:DXImageTransform.Microsoft.AlphaImageLoader(enabled=true, src=images/menu_contact.png, sizingMethod=image); cursor: pointer; } </code></pre> We're knocking out the background image on IE6 and replacing it with a Microsoft proprietary ActiveX filter. If you placed this in your IE stylesheet, you'll need to tell the XHTML file to load it for IE6 only. Place the following inside your document's <head> tags and replaced ie_styles.css with your stylesheet: <pre><code class="code_xhtml">  </code></pre> <a href="http://orlandodefrias.com/examples/image-based-menu-color/step1/index.html">View the complete menu</a> This kind of technique is something you can get used to putting together on all your image-based menus to make life much easier on you. I was very thorough in this tutorial, so while it may seem like a lot to do, it's actually the kind of thing you can get done in mere minutes. 5

2009-03-11T15:42:50Z

10 true

2009-03-11T15:42:50Z

Learn a CSS technique that will help in creating image-based menus by filling in the colors using CSS rather than a flat image. The obvious benefits include less images to produce as a whole, faster download times, easier maintenance, and painless modifications. CSS Menu With Background Colors

2009-03-11T15:42:50Z

Why is it that certain celebrities rub you the wrong way? Do you ever get a little angry when you have to see some celebrity schmuck’s face for the nine-billionth time? The purpose of this tutorial is to give you an outlet - a new way of seeing the celebrities that get on your nerves the most. Ask yourself the following series of questions: 1) What celebrity am I sick of seeing? 2)  Who or what does the celebrity remind me of? <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/CelebArraycopy.jpg" alt="Which Celebrity Makes You Sick?" /> EXAMPLE:  I asked my friend the above questions.   She said, “Dr. Phil is repugnant in a way that sometimes makes my stomach hurt.  He makes me think of a cross dressing wanker in silk panties or an adult baby who longs to crap his diapers and call someone ‘mommy’ to get off.  He makes me sick. My friend has plenty of material to work with if she decides to give Dr. Phil a makeover. The stupid face I'm sick of seeing today is that of Colin Farrell.  Why?  Do I need a reason? I hate him.  He’s like a glorified monkey-faced wuss boy with muscles and he probably waxes his crotch.  He doesn’t have the raw masculinity to pull off the roles he’s cast in.  He’s a whoremonger.  Whatever.  I don’t know why.  I don’t like him. Q: Which of the previous free associations about Colin Farrell could be clultivated with visual imagery? A: Glorified monkey face. Let’s get started. <hr /> What you will need: <ul class="general_list"> <li>Photoshop CS 2 or 3*</li> <li>An internet connection</li> </ul> *You could probably do this in <script src="../../../javascripts/tiny_mce/themes/advanced/langs/en.js?1236204951" type="text/javascript"></script> other versions of Photoshop, but I use the “warp” tool here and that is not available in prior versions of the program. <hr /> Search for images of your target and of what they remind you of. My friend above would search for “Dr. Phil” and “Adult Baby” or “Cross Dresser.” Download several images that might work.  You are looking for a correlation of the angle of the face and the direction of the light so you can combine the photo of your target with the insulting photo you will ultimately superimpose their face over. I found a Photo of Galen from "The Planet of the Apes" that I correlated with the facial angle of a photo of Colin Farrell. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far.jpg" alt="Photo 1" /> The red here is a separate layer so I can remove it at any time.  Best just to orient GMB (Glorified Monkey Boy) over the red area and go from there. Drag the celeb photo onto the insult photo with the move tool. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far2.jpg" alt="Orient and Scale" /> Orient and roughly scale the face of the hated using Transform/Scale <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far3.jpg" alt="Transparent" /> Adjust transparency in your layers palette to help you orient The Hated's face properly in the photograph.  Alternate between Transform/Rotate and Transform/Scale until you are satisfied with the orientation. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far4.jpg" alt="Remove buffer layer" /> Here I've removed the buffer layer and you can see Galen peeking out.   It's time to fine tune the images. Start by using the eraser tool to fit the face over the insult photo. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far5.jpg" alt="Erase" /> If you erase a little too much, no worries.  You will be using the photo below to meld with.  The edges do not have to be perfect. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far6.jpg" alt="Warp" /> Use Transform/Warp to get a closer correlation between the parts of the face. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far7.jpg" alt="Color Balance" /> Use Image/Adjustments/Color Balance to get The Hated's skin tone as close to that of the insult photo as possible.  Here, Galen is very red.  I adjusted for red and yellow for Shadows, Midtones and Highlights to get the closest possible match. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far8.jpg" alt="Peek a Boo" /> I like to incorporate as much of the original insult photo as possible, giving just enough of a sprinkling of the original celebrity features so as to be recognizable.    Here I've used the erase tool to show much more of Galen's face replacing the eyes, nose and mouth with that of  GMF. It's looking pretty apparent that Farrell needs another color adjustment. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far10.jpg" alt="Clone" /> There.  That's better.   Now I switch layers to the background and clone stamp until I've eradicated Galen's original facial features that are still peeping through. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/Far12.jpg" alt="I can live without the nose" width="550" height="550" /> I've decided that I can live without Farrell's original nose.  Once I erase it, his mouth seems out of alignment.  I simply select it with the Marquee tool and bump it over a little. Use your judgement. This project is for your personal satisfaction. If you're happy just putting Britney Spears' eyes over those of a sloth and calling it a day, just pick and choose the steps that will get your desired effect. <img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/MonoFinal-1.jpg" alt="Final" /> So there you have it. The final product. Whew! I feel much better now. Remember: The most important thing is that you amuse yourself. Experiment and have fun! 5

2009-03-20T21:13:51Z

13 true

2009-03-21T01:41:33Z

<img src="http://i128.photobucket.com/albums/p190/KCrimini/MonoFarrell/CelebArraycopy.jpg" alt="How to Deface Celebrity Photos the Right Way" /> Everywhere you look these days, there's some horribly photoshopped celebrity. Stray pixels float in the hair of some anonymous crossdresser while Rush Limbaugh's face beams in unrealistic proportion to the photo it's been superimposed on. You can appreciate the idea, but the skills are lacking. If you've ever thought it would be good fun to deface celebrity photos with at least a moderately convincing outcome, you've come to the right place. Here I outline some tools in Photoshop that will get you going in the right direction. Enjoy, and happy Photoshopping! How to Deface Celebrity Photos the Right Way: A How To

2009-03-21T01:41:33Z

383