[Weaving Farm Burlap Bag] Techniques for adding light and shadow effects to prepress design
[Weaving Farm Burlap Bag ] Techniques for adding light and shadow effects to prepress design
Packaging printing refers to printing decorative patterns, patterns or text on the packaging to make the product more attractive or descriptive. Before the product is printed and packaged, it is necessary to perform prepress processing on the product. The prepress processing includes the prepress design, and the prepress design plays a great role in the entire printing and packaging process. Here are some of the design ideas Tips for adding light and shadow effects.
First, in the gradual real world, nothing is always flat. Light and shadow are attached to everything. Using gradients is a great way to create depth and authenticity. The key to using gradients is not to go too far. When drawing gradients in Photoshop, make gradient overlays in the layer style to ensure the editability of your gradient, and as the layer is scaled, the gradient can be scaled without loss.
Second, the use of light sources should be said that the use of light to understand where the light source is the most important basic problem. The position of the light source determines the position of the highlights and shadows (but you can break these rules in web design). In Photoshop, you can use the "Global Illumination" in the layer style to ensure that all the light and shadow effects you create are in one place. Controlling the position of the light source can create a unique atmosphere for your page design (even a simple linear or radial gradient can achieve the effect). Light and shadow effects can also guide the shift of the visual center.
Third, the basic shadow is the same as the gradient, and the projection is also widely used by web designers. When used correctly, projection can indeed add visual depth and texture to a design. The key is not to overdo or abuse. The depth of the shadow depends on the direction and intensity of the light, and the distance from the object to the projection surface. The stronger the light, the sharper and darker the shadows; the weaker the light, the weaker the projection.
Fourth, the advanced shadow should give the object a three-dimensional feeling. In addition to simple projection, you have many options. Long shadows can greatly change the spatial relationship of objects on a page.
Fifth, high light High light can balance shadows and should be located on the edge of the object near the light source. Highlights are ignored most of the time, because if you use them well, you hardly feel their presence. But not all scenes are suitable for the existence of highlights. A subtle highlight can make a huge difference in the surface finish of an object. The more "sharp" the highlights, the stronger the glossiness of the surface of the object. To appreciate highlights, we need to zoom in on these details. When doing a high-gloss design, it's a good idea to double your design draft more than once, because you may not be able to figure out what you are tinkering with when displayed at the original scale.