Adding our first Plugin Lorem Ipsum to Adobe XD

Adding our first Plugin Lorem Ipsum to Adobe XD


Hi everyone, I hope you’re
ready for amazingness. It’s time to look at
Plugins in Adobe XD. Now there’s lots of plugins,
we’re going to, in this case… look at a Lorem Ipsum plug-in,
because it’s nice and easy… but throughout this course we’re going to
look at more and more plugins as we go. What is a plugin?
So Adobe, when they made XD… when they were making it, they’ve built
all the kind of core features for it… plus some really other cool stuff… like the Repeat Grid, Character Styles,
and the Assets Panels. They’ve done some really nice stuff. What they’ve allowed though
is they’ve said to the world… if you know how to make a plugin,
you can go into ‘Development’ and make one. So if you are a software engineer,
or a cody nerdy type person… you can make your own plugins. They’ve given really good documentation
for people to go off and make plugins. The cool thing about that is,
it’s just stuff that’s missing… and then somebody’s
gone off and like… “I’m going to make something
to fix that problem.” And the benefit for us is that
we don’t have to wait for Adobe to do it. Somebody else can do it, add it
to the library, and we can use it. Let’s look at making one.
So we’re going to use– first of all let’s look at the plugins. So go to ‘Plugins’ along the top here,
and go to ‘Discover Plugins’. Plugins are coming out all the time,
I’m going to cover a few in this course… but Latest Release is a great place to get
started I guess, in terms of which ones– So these ones have come out today,
so brand new today. I haven’t even gone through them yet. So I’ll have a look through these
as we go through the course… but you do the same, there’s going to be
stuff in here that’s going to be new. They do all sorts of different things;
Pattern Maker, Color Blend. What else is nice? User Images,
we’ll do that later on. The one we want for the moment is… in here in ‘Search’, we’re going to
go to Lorem, just type in Lorem. So we’ve done Lorem Ipsum,
remember it’s the placeholder text. This one here works, you can
click on ‘See Details’. It tells you a little bit about
it before you install it. Click ‘Install’ when you’re ready. It will tell you it’s installed
when it’s finished. There it is, I’m going to close it down. And they appear here in the Plugins Panel. You can see, you’ve got a few
already installed. This is the one we’re going to use. They all have their quirks… this particular one, you have
to grab the ‘Type Tool’. You have to draw out an Area Type Box,
because it needs to fill it, right? So it needs a width. You need to have some text in there,
some text. It’s a weird quirk with XD. If you don’t have any text
in a text box, watch this. You might have noticed this already.
If I do this and I forget to type in it… it’s no longer there,
it’s like completely gone, forever. So just jam in some text,
get it to be the right size… like in our case we’re going
to use the Roboto 16-point. I’ll use my Style there. You have to have it selected
with the black arrow… otherwise this doesn’t work. There’s a whole lot of rules
for this plugin. And you can’t be in your cursor like this. You can’t have your text kind
of highlighted, or your cursor flashing. You have to be on the black arrow. Cool. So we’ve got a text box,
I want to add some placeholder text. I’m going to go to
‘Plugins’, ‘Lorem Ipsum’… and I’m going to go to ‘Quick Lorem Ipsum’. It just throws it in there. How much better is it,
than going to this file here… that I gave you at the beginning… and opening it, copying and pasting it? Not much when this thing is opened… but going and finding that file
that Dan gave you… in that course a year ago can be tough. So a little plugin like this,
super quick, super easy. Let’s have a look at some
of the options for it. So we went to the Quick Lorem Ipsum… let’s look at this one here. This top option gives you
a few more extra things. So by default that’s what it’s given us. We can turn off line breaks if we want. This one here, doesn’t do a hop,
can you see this empty gap at the bottom? This is going to trim that box, look. You see, just tucked
that up nicely in here. Handy, I guess. Next thing I want to do is,
in here, same thing. You can use the shortcut. Is Lorem Ipsum might be useful,
you could use the Cicaro option. What is the Cicaro option?
I might butcher this, but… I think Lorem Ipsum is just
mixed up Latin words… but they mix that up based on something. And it was an essay by this old Roman dude. Now he wasn’t just an old Roman dude,
he was a famous old Roman dude. Anyway, they’ve derived that this original
kind of a lot of mixed-up Lorem Ipsum… came from an essay of his. And you can use it, the only
difference really for me… because I don’t speak Latin… well not today anyway… is that, that’s actually
proper structure… whereas Lorem Ipsum’s all mixed up. But for me doesn’t matter
because it’s all mixed up. What else can you do,
just quickly, same one. There’s this one here,
Panagram is the “quick brown fox.” It’s got all the letters available… which might be handy when you’re
kind of doing, like this stuff… you want all the fonts, or see
what all the characters look like. Now I can’t think of anything else it does. You can do different languages, which
is cool, for placeholder text. And what you’ll also find out,
if you’re using the exact same plugin… it might be updated and there might be
different things it can do. I’d love it if the shortcut worked. At the moment my shortcut actually
zooms in and out of my XD. They kind of battle with
other things in here. Also, just so you know,
XD doesn’t allow you at the moment… to go into Preferences,
which is real weird. I’d like to go in there, maybe play
around with keyboard shortcuts. That will change as well,
but if you’re like, Googling… “Why is it grayed out?”
you will find a foreign post that says… “Oh, we’ve done that on purpose,”
because it doesn’t work… and then you’ll think to yourself,
“Why did you put it in?” And then they say, “It has to be
because of something Mac does.” Anyway, at the moment you can’t
change any of the preferences… and you can’t update
the keyboard shortcuts… which I can’t wait to do, because I’d
love for some of these plugins… to be a keyboard shortcut that actually
worked, that would be awesome. We kind of looked at Lorem Ipsum… but really we’re looking
at plugins in general… and how they extend
the ability of Adobe XD. We’ll throw more in, in the course
as we go along. I just want to throw in nice
and early here to get used to them… and we’ll do more as we go along. All right, I will see you
in the next video. Hi there, I hope you enjoyed the video. My name is Daniel Scott. If you would like to do the full course… there will be a link in
the description for that. Please give this video, on YouTube here… a thumbs up, really helps me
in what I’m doing. Also, consider subscribing to the channel. I release a video like this every week,
for your viewing pleasure. All right, bye.

These are the Must Have GRAPHIC DESIGN Tools For Your CREATIVE TEAM!! w/ Gio Dizon

These are the Must Have GRAPHIC DESIGN Tools For Your CREATIVE TEAM!! w/ Gio Dizon


Hi I’m Gio Dizon senior graphic designer
at Hall Pass Media you might be curious on how creatives come up with really
cool looking designs in this age of digital and cloud computing today I’ll
be giving you a glimpse of what’s inside the toolbox of the creative team at
HallPass at Hall Pass Apple products are the hardware of choice for computing
they have been an industry standard for creatives for a long time having this
Apple ecosystem allows us to share files and communicate with different devices
seamlessly the creative team uses Adobe products more than any application the
days of compact discs and serial numbers are long gone and have been replaced
with Adobe Creative Cloud having a subscription to Adobe CC allows us to
use every single Adobe product like Photoshop Illustrator InDesign After
Effects Lightroom and XD to name a few for any creative it is great to have all
these applications available in one subscription back in the day you only
have one or two of these applications with Creative Cloud all of these are
available if you need web design starts with mock-ups and wire framing which are
valuable steps in the web development process a couple of great tools for this
are Adobe XD and sketch once the designs are approved they are now ready to be
developed as live website web flow and WordPress help us transform those
mock-ups to beautifully designed responsive websites a few other
invaluable tools in the design process that help our team include a font
manager like expensed a suitcase a Pantone color book and even a pen tablet
like Wacom Intuos these are just the basics new and improved devices plugins
and applications are being developed as fast as we can think of them and those
are topics for the coming days I hope you have learned a few things about the
essential tools that we use we are a passionate team of creatives that are
adapting and evolving with the latest technology to best help us and our
clients achieve and exceed our goals all of that happens here at Hall Pass Media

Path Visualizer New Plugin for After Effects Available now

Path Visualizer New Plugin for After Effects Available now


path visualizer allows you to peek
inside the magical world of text and path anatomy the scientific term being TEXTICLES whether you’re creating a technical style animation or just
wanting to show off your curves path visualizer can elegantly display your
vertices handles and Bezier curves in real-time updating with any text or path
animations available now in a scripts com symptoms persist contacting with
Alverez spoken by Jeff authorized by plugging everything on my camera

Is this Better Than Drop Shadow? | Crazy Plugins

Is this Better Than Drop Shadow? | Crazy Plugins


Introducing the Shadow WiFi extension for
Photoshop. Unfortunately, you still need to pay for WiFi
because this is a Shadow Creation extension and it claims to create flat or realistic
shadows very easily. And it also does all these things for the
Green Tech. We’ll see how green they are later. But the point is we already have Drop Shadows
in Photoshop. So why do we need this? Here’s the note from the creators – ‘Drop
Shadows in Photoshop often look unrealistic. Shadowify WiFi allows you to create more natural
shadows by applying stepwise blur.’ So they say it’s all customizable so that
you can also turn off Blur. Is this translated from Chinese? Anyway, the product does look interesting
to me. But with so many features already in Photoshop,
do you really need this plugin / extension? Let’s find out. So without any further ado, let’s get started. So here we are back in the brilliant world
of Photoshop, and the way that it works is this – first of all, select the layer for
which you want to create a shadow. So here we have a simple white background. On top of that we have some text. I want to create a shadow for the text. So let’s go ahead and select the text right
there and open up the extension. So here is the Shadowify extension. There we go. The second thing we need to do is to set the
angle. What angle do you want the shadow to follow? This is not about the light. Just as in Drop Shadow we determine the angle
of light, this is not that. This is the angle of shadow. So, I want the shadow in this direction. So, I’m going to set an angle of something
like this, 123 degree or 120 degree looks good to me. The second thing we need to set is the length
of the shadow and that is something you set by manipulating distance. So, how do you figure out what distance to
use. Use a Ruler in Photoshop. So, Ruler is a very important and underrated
tool in Photoshop. You can find it over here. If you cannot see it, it’s in the Eyedropper
group. So, click and hold and you will find the Ruler
tool. So, I want the shadow to be this long. So, I’m going to click and drag. I want it to be this long. Have a look at L. L is the length of the ruler
that you just dragged in. So, it’s about 591 pixels. So, I can make it smaller/larger, it will
correspond to that. I would like it to be this length. So I’m going to set it to 400. So Distance, you’re going to set it to 400
pixels. You can also clear up these Rules by clicking
on Clear. Now, the third thing is, well, there are lots
of things. For now, let’s just create the shadow and
see what it is. We will manipulate the rest of the settings
later. So click on Create Shadow. Now, this reminds me of shadows when I tried
to play high risk games on a potato computer, but, it really shows how this extension actually
creates the shadow stepwise. As you can notice, the steps of the shadow
right here and with each step, the distance between two shadows keeps on increasing. Notice that carefully. Seems like there are very less steps. So let’s go ahead and increase it. Luckily, with this extension, you can undo,
unlike most actions where you can’t, you just can undo – Ctrl or Command + Z, it’s gone. Now, let’s redo it. Now, I need to bring this up that while you
can undo, unfortunately, you cannot adjust things on the fly. So let’s say you created the shadow, just
as we did before, and on the fly, you just wanted to increase the steps of it, you cannot
do it. You will have to undo it by pressing Ctrl
or Command + Z and then redo it by increasing the steps. So let’s try increasing the steps. Let’s increase the steps from 20 to 200 this
time, and let’s go ahead and create a shadow. This should work, but, I’m not very sure. Have a look at this. This still looks jagged, right? Maybe the steps are still too low. 200 is not enough because the distance is
400 pixels. So what if we put 400? That should work, righ? 400 – 400 pixels distance? It makes sense. So,let’s go ahead and try 400. So we’re going to put 400 right there and,
well, it still doesn’t look quite satisfactory. Have a look. I can still see the steps. Maybe it is because the distance is increasing
as the number of shadows increase. Disappointment in my Photoshop abilities. So maybe it’s not the Steps, maybe it is the
Blur. So let’s go ahead and try it. What if we increase the Blur from 40 to 150? Maybe it will be better. So let’s increase the Blur and let’s decrease
the steps to 200, because 400 is kind of too much. Delete the shadow, make sure the Shadow layer
is selected, press the Delete key. Select HELLO and let’s go ahead and create
the shadow. Now, this is decent. Have a look at this one. It’s better than before, it’s not excellent,
but it’s better than before. And it’s something that we can work with. I would use it, but in my opinion, it still
needs some adjustments. So, this is very dark around the edge. So let’s go ahead and decrease the Opacity
to something like 70%. That’s better, or maybe 75%. As you see the shadow is not clearly very
nicely blending in with that of the white background. So we can clearly create a mask to make it
softer. So with the HELLO shadow layer selected, click
on the Mask button right there. And then with the Gradient Mask, click on
the Gradient right there. Just choose a gradient from black to white,
just like this, and we’re going to drag in a Gradient. There you go. It’s much softer that way. And what if you want to change the direction
of the shadow? Look, I’m a very firm believer in non destructive
workflows and it’s great to see that they have given a checkbox that allows me to uncheck
Flattening or in other words, it allows me to avoid merging all the layers. But is that really helpful? Let’s take a look. Now as you can see, this is the flattened
version of the shadow. You cannot change anything. However, you can just uncheck Flattening right
there and let’s apply the same shadow again. Just select the HELLO text and create shadow. So here we have a group which is pretty nice. Here’s the before, here’s the after. And if you open up the group, have a look
at it. There are 20 copies. Have a closer look..20 copies of the HELLO
text and in each one of these copies, 10 filters of Drop Shadows have been applied. So that totals up to 20 x 10=200. Right there, 200 steps. So basically that’s exactly what we did in
this video where we created realistic shadows using Drop Shadows by creating multiple drop
shadows, but this one is in a much larger scale. Anybody who can open up and manipulate 200
filters of Drop Shadow should be given a Nobel Prize for patience. However, if you look at it closely, it’s not
all that bad. There’s some good reason behind this button. Unchecking Flattening has a very practical
use if you do one more thing, that is check Global Light. Have a look at this, there is this Global
Light checkbox. Now, this will check the Global Light check
box wherever it applies Drop Shadow filter. Again, how is that going to be helpful? Well, this is a really good trick that we
all must know. Let’s delete the shadows, I’m going to delete
the group. And this time, let’s check Global Light and
keep Flatten unchecked. So select HELLO and this time again, create
the shadow. You can actually change the angle on the fly
by going to Layer and then Layer Style. Have a look at this one – Global Light. Interesting, isn’t it? Now once you choose that, you can change the
angle. So I’m going to change the angle to, let’s
say, 175 and have a look. Suddenly, it all changes. Isn’t that amazing? You can easily change the angle just by coming
to Global Light. Now this is something which really impressed
me about this extension. I’m so happy that the creator thought about
Global Light. Whenever you are we applying and effect like
Drop Shadow and you check Global Light, in all of the drop shadow filters where you have
checked Global Light, will respond to one collective light source or Global Light source. Now let me show you what Photoshop can achieve
with its built in features and tools and whether it can beat it. So basically, I found two main ways in which
Photoshop can replicate this effect. Hold on to the second one because that is
absolute favorite. Starting with the first one – the Multiple
Drop Shadow technique, the same technique that we used in this video, but we’re going
to manually do it and see if it’s worth it. Double click on the right hand side of the
HELLO text, just check in Drop Shadow. I’m going to decrease the size and you can
also change the color of the Drop Shadow. Let’s change it to the default Black. So let’s change it to Black and hit OK. You can actually drag the shadows. You don’t have to play with the angles and
stuff. Just click and drag it just like this. So I’m going to have it at this distance. Looks nice to me. And let’s increase the size, that looks fine,
and decrease the Opacity, just a little bit. Now let’s add one more Drop Shadow on top
of it. Click on the ‘+’ sign right there. And this one, I want to to bring a little
closer. Make sure you have checked Global Lights so
that all shadows are in the same alignment. So this time again, let’s decrease the size
and bring it just a little closer, like that. If you want, you can also decrease the Opacity
and click on the ‘+’ again, one more shadow, decrease the size even more. Let’s bring it even closer just like this. That works. Decrease the Opacity if you want to. Click on the ‘+’ again, decrease the size. So this is something which we are doing manually. Opacity is fine. One more. This one I’m going to bring even more closer
and increase the Opacity so that we can actually see what it is. Keep it probably right here and then increase
the size. Yeah, that looks good. Now control the Opacity. Not bad at all. Let’s create one more. And this one, we’re going to bring it even
closer and decrease the size, just like this, and control the Opacity. There we are, that was not bad at all. Once you’re satisfied with this, hit OK. There you have it. Now let’s compare this with the extension. This is the one that we just created, and
this is the one with the extension. Now in all seriousness for this technique,
I believe that the shadow file extension does a better job. But if you need a lesser number of shadows
and easier control, this is the way to go. If you manually create Drop Shadows, there’s
one more advantage that you have. You can actually go into settings of each
one of these Drop Shadows and just change whatever you want. You can change the color, you can change the
distance and the spread and the size; everything you can do manually because there are less
number of Drop Shadows, so you don’t have to mess with it all the time. Plus, it’s all one layer. There are no 20 copies of layers with 10 drop
shadows applied to each. That can get a little confusing. Now the second technique is something which
blows my mindall the time and there’s no match for it. Guess what it is. Photoshop 3D. See, when we are talking 3D, we are actually
rendering these shadows by throwing real light on it. There is no fakery going on, no illusions,
just pure real shadow. Even Drop Shadow is an illusion, right? So where we just feel the shape with a darker
color, put it at a distance and blur it. But the 3D technique actually calculates where
the light is falling, where it’s not reaching and thus, create shadows. And you’ll be surprised how it even realistically
creates reflections from those texts. First of all, let’s convert this background
to 3D. So we’re going to convert it to a postcard. So, select the background, let’s go to 3d
and then New Mesh from Layer and choose Postcard. Now it’s going to ask you – Do you want to
switch to 3D workspace? You can go ahead and choose Yes because that’s
more easy to work with 3D in that workspace. So let’s go ahead and close Shadowify. We don’t need this anymore. Now we have the background in 3D, but we also
want HELLO text to be in 3D . Here’s what we do. Let’s go to Type and then select Extrude to
3D. Make sure that the Text layer is selected,
just click on that. Have a look at this. This is the top view. It’s extended into 3D. But there’s a problem with this. If you go back to the layers panel, the HELLO
text and the Background are on separate layers, so they don’t respond to each other in 3D. So we need to merge it. So select the HELLO and hold the Ctrl or Command,
select the Background as well and merge it. Press Ctrl or Command + E. Now when you merge
3D layers, they don’t rasterize like everything else. Press Ctrl or Command + E. Now they are one
object. Let me show you something interesting. If I just rotate this and show this to you
see how the HELLO is extruded. It’s looking fantastic, isn’t it? Now, let me just set the Camera right. Let’s go back to 3D and let’s choose Current
view. And we’re going to change the view to Default. This is nice. Now you can extend the HELLO as much as you
want. So I’m going to bring it a little bit to the
front, just like this and extend it so that it touches the postcard at the back. So at the top, you can see there’s a lot of
gap in here. So all you have to do is to come to the Text
Properties, so let’s bring it out right there, and here, just increase the Extrusion Depth. There you go. I don’t want so much of a depth, so I can
just take it back, just a little depth. There we are. Now, there’s no shadow here yet. So how do we bring the shadow? Think of it like real life. In real life, if you want a shadow, what do
you do? Throw some light. So, right now, there is this image based life,
which is creating a very flat looking stuff. We need to add lights in a direction. So let’s go to the Lights tab right there
and let us open up the Properties. Let’s go to Window and make sure Properties
is checked. If you have a closer look, so I’m going to
bring it at the top, there’s this image based light. We don’t want that. Let’s turn it off. Now there’s no light so that’s why there’s
absolute darkness. We need to add a directional light. So click on the light, you can also add a
Spotlight, but I’m going to add an lnfinite Light. It’s easy to work with. Now, you can move the direction of light in
any direction you want and it automatically creates the shadow. Isn’t that amazing? So I’m going to leave it at that, something
like this. And now you can control the intensity by just
clicking on the light, it increases the intensity. And also you can increase the softness of
the shadow by just increasing the softness right there, as you can see. How soft do you want the shadow to be? Now once you have decided that, all you have
to do is just render. So click on the Render button. Now take a look at this. Isn’t this looking amazing? What’s more interesting is, have a look at
the reflection of the light. See, the light is a jumping off the text and
creating this golden reflection right here on the wall. Now this is totally impressive on an absolutely
next level. But there’s a problem with this. It’s not actually a problem. What if you want flat designs? So, right now we have added 3D, but if you
have a closer look, this extrusion is showing up. What if you don’t want to see this extrusion
as a result of 3D? All you have to do is to change the Camera
View. So you need to choose a camera, which is very
far apart from the text and then zooms in. See when you’re very far from your subject
and then you zoom in just like in a telephoto lens, you don’t see so much of an extrusion. And the opposite is if you take a wide angle
lens, and just go closer to the subject, you will see all of this. So that’s what we have to do. So let’s go to the View, let’s go to this
tab right there, click on Current View, and we need to change the Camera to Orthographic. Now, it doesn’t look right, because we need
to increase this to 1. So let’s dial in 1 there and there you have
it. It’s the exact same thing, just a different
view. And now you can adjust the light accordingly. Now, let me show you a few tricks about this. So let’s click on the Infinite Light. And this looks nice to me. All right. Now, what I’m going to do is increase the
Shadow all the way high and decrease the Intensity of the light. Because now, I’m going to add one more light. Let’s go to the Lights tab and click on the
Light button right there and New Infinite Light. And this one, I’m going to add a different
direction, just a little lower like this, and make sure it’s all soft, very soft, and
decrease the Intensity just a little bit. Maybe for the longer one, the first one, I
don’t want it to be so soft. So you can add multiple lights, which is absolutely
amazing. So let’s add one more. Click on the Light and choose New Infinite
Light. And this time, I’m going to choose something
like this. And this one is going to be pretty soft and
not that intense. Now, let’s render it and see how this one
looks. Maybe I need to decrease the Intensity, it’s
kind of too much. So let’s decrease the overall intensity of
this one and this one as well. And now let’s render it. Since rendering takes time, I made little
adjustments in the Direction of light, Intensity of light and Softness and this is what I got. This is my final render. Look at the reflection off of these letters. That’s what impresses me. Now you can of course turn it off if you want
to, but it’s good have. Now as for flat shadows, you can also create
them super easily by using Photoshop 3D. You can check out this tutorial on how to
do that. It’s also very easy to customize. As you can clearly see Photoshop 3D smokes
this panel out. Now the real question is, is this extension
/ plugin for you? Let’s go through the pros and cons. As for the pro – Number one – it quickly creates
the long shadow effect, but it does need a little bit of practice. Number two – I love that the extension comes
with a checkbox that prevents it from flattening the shadows and also apply Global Lights so
that it can actually change the angle of all the shadow filters at once. Number three – if you try to manually create
it with the Drop Shadow folder in Photoshop, it’s going to take a lot of time. Number four – unlike Photoshop 3D, you do
not have to render it every time you want to move things around. And yes, rendering does take a lot of time. Now as for the cons – Number one, this is
a big one – Photoshop 3D is just the best, if you want the highest quality shadows and
lighting. If you’re going for quality, there is, indeed,
no match. Number two – Although this is faster than
Photoshop 3D, you cannot adjust things on the fly. For instance, let’s say you want to make the
shadows softer or decrease the length of the shadows, it is tough. Whereas in Photoshop 3D, all you gotta do
is change the properties of light. Just move the handle, that’s it. Number three – to be honest, it’s just a little
difficult to use. Maybe with a little bit of practice, I will
get a hang of it. But at the moment having to dial all the numbers,
doing hit and trial, I find it not easy to use. Just my personal opinion. Is this the one for you? Well, that for you to decide. If you are in Envato Elements’ member you
can download it at no extra cost. Try it and see if it’s for you. Or you can also get it as stand-alone at Creative
Market. I have both the links in the description and
I’m not sponsored by anybody. Thank you so much for watching. This time around, I tried to do a different
kind of video. Please let me know if you enjoyed it and would
you like to see more of these? If there’s something you want me to review
or have a look at, let me know down in the comments below as well. Please don’t forget to subscribe and ring
the bell so that you don’t miss any of the future tips, tricks or tutorials. I would like to take this moment to thank
all these nice and amazing people for supporting this channel on Patreon and helping keep PiXimperfect
free for everybody forever. Thanks so much for watching. I’ll see you guys in my next one. Till then stay tuned and make sure that you
keep creating.

InDesign Data Merge Photos/Images into Grid (no plugin)

InDesign Data Merge Photos/Images into Grid (no plugin)


let’s look at how to use Adobe InDesign
and data merge with images or photos to create a yearbook page or some other type of ad that has a grid
of photos and some type of text such as names and titles this is a the document
setup I just have a letter size with an eighth inch bleed and going to my master
page I have a name and title text box styled and I’m gonna recreate this image
frame just so you can see I know that my tech my image frame is going to be a
width of two inches by two point eight seven five make sure that’s aligned just
as an addition let’s go ahead and make rounded corners on this which is kind of
a nice addition okay now that we have our master set up
let’s go ahead and apply the master to our first page let’s open up Excel and
this is the data we’re going to dynamically input into this page so I
have a column for names another column for titles and the last column is
slightly different for images for the image header cell you need to do an
apostrophe at sign and image so these are all relative links I don’t want
these specific to my computer so if I were to package the InDesign file and
keep the images with it I want them to be linked and I want the path to be
relative. Data Merge Photos/Images into Grid in InDesign. so that starts with the forward slash and if we look at my setup I have
the images and a folder called images so this is the directory path and so you’ll
just name them – the names of your images with other people or something
else now we’re going to make sure this is saved as a CSV so file format CSB and back in InDesign we’re going to go
to window utilities data merge and this gives some instruction we’re going to go
to the flyout menu and select data source select the CSV and it’s populated
the columns with their titles of what we’re going to use. Data Merge Photos/Images into Grid in InDesign. double click on your
page and you won’t be able to select the text boxes now so you’re going to need
to hold command shift or ctrl shift on a PC double click and delete your text
placeholder and drag and drop the value that you’re going to want to fill and do the same for the image we can
preview this and you can go back and forth using this arrow pagination so now
let’s look at how to make this a grid format go back to the flyout and go
create merge document we’re going to want all records and we’re going to do
multiple records on a page. Data Merge Photos or Images into Grid in InDesign. let’s go ahead and do a preview and zoom out a
little bit now if we go to multiple record layout we can adjust the margins
on the page and you can also adjust between the columns and the rows and for image options you can also
select how you want the images I had sized all of these to fit or to be the
exact dimensions but you may want these to fit you know and a different
placement so select what you need I want to link my images so they’re not
embedded. Data Merge Photos/Images into Grid in InDesign. and let’s go ahead and click OK and it’s letting us know that the text
from our excel sheet all fit within the text boxes we had so this is a preview
it’s created two pages or we could have adjusted our margins to make sure all of
them fit on the same page it as you can see the data merge opened a new document
so we still have our original if we need to recreate this

How To Create An After Effects Plugin – Development Tutorial

How To Create An After Effects Plugin – Development Tutorial


Hi James Whitman here for PlugInEverything.com And today we’re going to look at how to create an art effects plugin First thing you want to do is type in After Effects SDK into Google and you’ll get this page Then click get the SDKs and that will give you a download. That looks something like this got the Manual and then some examples in here We want under template skeleton and I’d recommend open visual studio in Administrator mode because otherwise you probably won’t be able to build the plugin and if you’re on Mac You won’t have Visual Studio. You’ll have Xcode. So in Windows we want to open the skeleton dot solution And then once that’s loaded, let’s go to skeleton dot CPP and we’re interested firstly in the render function This is a skeleton template project. It actually does something. It’s not very exciting It just fills the screen with a solid color. So we’re gonna delete all this stuff here And we’re also gonna delete the help of functions my simple gain func Course analysis clean if we ran this the plug-in wouldn’t do anything at all It would just be playing what we want to do is draw a straight line and for that we’re going to use an algorithm called bresson Hamm’s line algorithm just typed in bresenhem’s line algorithm and Found this website the crazy programmer. He’s pretty crazy. He’s got an algorithm here that I’m gonna pinch this is the function that draws a line and we’re gonna place it outside the render function and You’ll see it has a reference to a function called put pixel which essentially it takes an x and Y-coordinate and then draws that pixel a certain color the way we’re going to color pixels is first we need access to those pixels have a look in the Sdk, and we open up the sdk guide on page 140 There is a function that does that for us So i’m just going to copy that we want the sample integral 32 not the 64 because the 32 bit 1 that’s going to allow us to Work with 8 bits per channel. So it’s 32 because there’s a red green blue and 4 times 8 is 32 What this function does? Is it returns a pixel? it’s actually a pointer to a pixel what we need to supply it is an effect world and an X and y coordinate an Effect world is kind of like a frame buffer or a texture. It’s it’s the image that we want Or the canvas rather that we want to draw to Instead of saying put pixel x and y we’re going to say we want to have a pixel PF pixel and We’re going to call it my pixel and then we want to say that this pixel is equal to sample Integral 32, then we will provide it with a frame buffer We’ll call it the output and then an X and y coordinate so we’ll just supply the X and y coordinate now We currently don’t have access to the output so what we’ll do is just Put that in here add in a PF effect world and we’re going to make it a pointer and we’re gonna call this the output And this should actually be a pointer not an actual pixel and then we should supply that as a pointer as well Now that we have a pointer to the pixel that we use wanted to sample. We can color blue Mario my pixels red equals 255 which is the brightest value that an eight bits per channel Pixel can have and we might also want that to be on the Alpha. So I’ll say my pixel red equals my pixel alpha Which equals to 255 that will feel the pixel with red if we fill it with red But the Alpha was zero, then the pixel would be blank because it would be it would be red a red pixel But it would be transparent so we don’t want that and then we’re just gonna copy this function to here as well Now we have our draw line function. We actually need to call it. So let’s call it in here draw a line and then we need to supply an X and y coordinate and x and y corn a Gentile let’s just supply it X Y x1. Y1 And output now we don’t have those coordinates yet. So we’ll create those XY X1 y1 and a long if you just go into it is just the aftereffects way to refer to an integer now we might want to initialize these so X can be 0 Y can also be 0 and then so these are the start coordinates and then x1 and y1 can be the end coordinates so I’m gonna make that the Width of the entire canvas that x and y are going to be on the bottom left so the bottom right of the output if I start x and y are up at the top left of the screen and our x1 and y1 a the bottom right of the screen It’s going to draw a line from the top left of the screen to the bottom right of the screen And now we’re ready to test out our plug-in we want to be in Debug mode and then we want to select skeleton hit alt enter and we want to make sure that our output directory is building it to where we want it to be but I’ve got a macro that points to artifacts cc 2018 and then under debugging we want the command to be after-effects so if we hit edit We can actually use After Effects, so I’m gonna use a ECC 2018 which is a macro that I have that points to after-effects and hit apply on that now, let’s press local windows debugger that’s gonna build and run After-effects we want to do in after-effects it’s just pretty much build a blank solid and then Our plugins gonna be called skeleton and it looks good if we chose to 16 bits per channel It’s not really gonna work because we’re only working at 8 bits per channel, but in 8 bits per channel it does work nicely if we wanted it to work at other bit depths we’d have to do some more work and I don’t really Want to do that but this is a pretty boring line because it’s always locked to the top left in the bottom, right? Let’s build a user interface so that we can actually control where this line is. Go back into visual studio and stop that Let’s go under skeleton to Set up and here we currently have two parameters. I’m going to get rid of the first one Now we want to find the macro PF add point because we want to add a Start and end point for our line and this is a macro here and it takes the arguments name x-default Why default restrict bounds and an ID the name is a string will call this start and then we want an extra fault Which is percentage based so we want the left to be at the top right then we’re going to for restrict balance That’s a boolean We’re gonna save false and then the idea is gonna be start ID, which we haven’t actually declared yet so don’t worry about that yet and Then you want to after declaring each parameter clear the struct to make sure you’re starting again with a clean parameter and Let’s work on the second one. It’s gonna be an end and we’ll call this and ID and Then we want to set the X&Y default to 100 and 100 actually let’s go 75 75 and start at 25 25 and then we have a color and We can use that to choose the color of our line. Now. We need to declare these IDs here. I can do that under headers Skeleton not age. So these are the IDS that it’s referring to so we had a start ID and that this first one should be equal to once it’s an enumeration and then we have the end ID Which will be equal to 2 then we deleted this parameter the game disk And I’m just gonna simplify this to color ID because we’re gonna keep that we also have another enumeration up here We want to make the same changes in this enumeration The input is the very first one at 0 and then we have the start and you’re just prefixed with the name of the plug-in So I’m going to call it skeleton start Skeleton and and then we’ve got skeleton color and at the moment this enumeration Actually lines up with the second enumeration. You might be wondering why do we have two enumerations? That’s because this one is allowed the order of it is allowed to change but this one it’s not allowed to change Eventually, they might not match up when we declare parameters. We use the ideas here for going to params set up I just need to change this one to Color ID because I changed it and then we want to in the render function access the parameters we will refer to it by the skeleton prefix and we access these through the params array X is going to be params and That’s an array so then we identify which element we want and that would be skeleton start and then we point that to you and then which kind of parameter this is a Point def which is what we have is referred to as TD. I don’t know why And then we want the x value of that and I think for legacy reasons This value is actually a fixed value. We need to convert that to an integer so we can use the macro fix to Float, which will just I believe divided by 65,000 or something. We can check what that does. Yeah 65536 and that will give us the value that we want even though this is going to return a float value We are sampling whole values. So that’s why we referring to it as an integer That’s X Y will refer to the same but the Y value then x1 will refer to the skeleton and X value Y will be similar but refer to The Y value and let’s just neaten this up a bit Got the start and the end values X and YX and y let’s also pass this a color. We want to P a Pixel and we’ll call this color and then let’s access it from the params Skeleton color and then we want your CD which is color def which kind of makes more sense got value and then we can pass that to our draw line function pass it in after the Output and this will be a PF Pixel called color and then what we want to do is say instead of defining This hard-coded red value here. We can say my pixal equals color, but this is a pointer So we want to say what? Point is pointing to should be equal to the value of the color that we pass in now we just want to make sure that the color that we got has an alpha value because the color picker I don’t think Has an alpha value so we’re going to just set that to 255 here before we pass it in and then that way we don’t have to worry about the Alpha because we know it’s going to be 255 now let’s just make sure that we copy the same I like to rebuild if I change the parameters at all just so that it can refresh any of the resources that it has Otherwise you might have trouble and we got a warning which was treated as an error. So let’s just turn off Warnings treated as errors under C C++ that by default is set to yes But I don’t care about warnings. Let’s go build rebuild and then let’s launch the debugger create another solid and add skeleton and there we have it we have our start and Our end and the reason that that is here and there is because it starts at 25% In and ends at 75% in what we set in our parameter defaults You could move this around and even keyframe those and we also have a color which we can change which is nice Let’s just play with our algorithm. We can see there’s a problem some cases. It doesn’t really work I guess the algorithm isn’t very robust that might need to be improved We just got an exception We tried to access a pixel that actually doesn’t exists fix that by checking that we don’t sample any pixels Outside of the buffer. Let’s write a function that takes in the x and y-coordinate and the output buffer and will tell us whether the coordinates that we passed it or actually in or out will Return a boolean value and we’ll call this is inside X coordinate the y coordinate and then the output buffer or the buffer whichever buffer we passed to it And we’re going to refer to it as the output and then we’ll have a boolean value is Inside and we’re gonna say it’s not inside by default. It’s just to be safe and we need spells correctly and Then if a certain condition is met then is inside its going to evaluate to true and Then we will return Is inside The condition will have to be that X has to be greater than zero because if we pass it a coordinate that was say negative Then it would be out of the bounds. So X has to be greater than zero Y has to be greater than zero X has to be less than the buffers width and Y has to be less than the buffers height Because if for the x-coordinate was greater than the width it would obviously be out-of-bounds same with the height But all these conditions are met then the coordinates that have passed Are inside the bounds and therefore we will return true. Otherwise, we will return false now we can do is say if Is inside which is going to run that function and we need to pass it the coordinates X Y output Only if that’s true Will we color the pixel? Let’s copy that again make sure it’s the same here and Let’s run it again And now let’s draw it out of bounds and we can see that the plug-in does not crash Thankfully although it still plays up you might have also noticed that this line is quite ugly and that would be a very keen Observation that’s because this line does not have any anti-aliasing if you wanted an algorithm that would create a nice smooth line I recommend Shaolin Wu’s I’m not sure if that’s how you pronounce it. Here’s algorithm which draws a anti aliased line Another solution might be to use a third-party library like Cairo which can draw anti aliased lines It can draw Bezier lines or even OpenGL, but that might be a little bit overkill This one is a little bit more code but the result is much better than our very stair-step line because you’ll notice that we’re only ever Drawing full pixels. We’re not drawing transparent pixels the algorithm detects if it’s either on or off It’s a boolean state and that’s why it doesn’t look so crash hot But other algorithms can draw transparent pixels to create the illusion of a straight line Thank you for watching and make sure you check out plugging everything Com where we have lots of cool After Effects plugins, and we even have some free ones

Keyframeable, Tracked Masks with MochaImport+ V6 and the Mocha Ae plugin

Keyframeable, Tracked Masks with MochaImport+ V6 and the Mocha Ae plugin


Hello, this is Eric D. Kirk for mamoworld.com
and in this tutorial I want to show you how to create keyframeable tracked masks in After
Effects with MochaImport+. I already tracked the side of this car here
with the mocha plugin that is bundled with After Effects and imported the tracking data
to MochaImport+. If you don’t know how to do this, please
watch our tutorial about using stabilized precomps, where I show this step in full detail. I also prepared already a solid layer on which
I created an accurate mask around the side of the car – but currently it is not yet moving
with the track. So we select the mask, choose the MochaImport+
function “move points or path” and click apply. Now we can choose to either generate keyframes
or an expression. Let’s first generate keyframes. As you can see, the mask now moves with the
car and the mask shape has lots of keyframes. The keyframes have the advantage that they
calculate faster than an expression, but they have one limitation: It is almost impossible
to adjust the mask shape now. Here, for example, the mask is not 100% accurate,
but if we change it, it is only changed at the current frame, and we would need to change
all the other keyframes now manually, too. So let’s undo everything and apply MochaImport+
again – this time with the expressions option. As you can see, the mask now has only a single
keyframe, which is at the current frame, but it still moves with the track using expressions. Now we can go again to the frame where the
mask was not accurate and with the mask path selected, we click on the keyframe icon of
MochaImport+ to create an additional keyframe. Make sure to always use this icon to add new
keyframes, since if you add keyframes with the usual methods, the new keyframe is not
aware of the expression and the shape will end up in the wrong location. Now if you try to adjust the mask shape, you
will notice that you are unable to change it as long as the expression is enabled. Therefore, we need to reveal the expression
here and disable it by clicking on this equality symbol here. Now we can adjust the shape as needed. Since the expression is now disabled, After
Effects does the usual interpolation between the two shape keyframes we have – and as you
can see, it is way off. Now we enable the expression again and the
result is much more accurate. This is because the expression uses the tracking
data to move from one keyframe to the next one. In other words, the mask is moving with the
track but you are still able to refine the result by adding as many keyframes as you
want. So let’s quickly summarize how you move
masks with MochaImport+: If you don’t plan to modify the mask, best
generate keyframes, because this will calculate faster. If you want to change your mask, use the expressions
option instead – and when adding new keyframes just make sure to use the keyframe icon of
MochaImport+ for that and don’t forget to disable the expression temporarily whenever
you make changes. Again, this is Eric D. Kirk for mamoworld.com
– see you next time!

Styling Text With CSS3 | XO PIXEL

Styling Text With CSS3 | XO PIXEL


Hey guys! So in last week’s tutorial, we learned all about text in HTML. In this weeks tutorial, you’ll learn all about styling text in CSS. Feel free to follow along by opening your favourite code editor. Before we get started, be sure to check
out my blog post for a copy of the HTML & CSS code. There’s a link in the description box below. Now let’s get started. In CSS, there’s a variety of properties
that can be used to change the appearance of text. Remember that the following CSS properties apply to the text within the elements we specified in our HTML code. Before we make our text all fancy, we first need to tell the browser what typeface we
want to use in the first place. We need to specify typefaces before anything else. To do this we use the “font-family” property. The value of the “font-family” property
is the name of the typeface you want to use like ‘Arial’, ‘Verdana’ or ‘Helvetica’.
In order for fonts to be displayed on your website for many users, the fonts specified must be installed on the user’s computer. You can use more than one font by making a list separated with commas so that if the user doesn’t have the first font installed,
their browser can display the others fonts listed as alternatives.
Fonts with more than one word like “Courier New” or “Time New Roman” must be put
inside double quotes. Once we specify the typeface, we can now use other properties to style the font.
The “font-size” property is pretty self-explanatory; it specifies the size of the font.
There are three common ways you can specify the size of a font: by using pixels, percentages
and ems Pixels is a precise size measurements and
is commonly used for font sizes. This is written by writing the number of pixels followed by the letters px. Percentages are commonly based on the default size of text in browsers which is 16px. Therefore, a font-size set to 50% would be the equivalent
of 8px and a font-size set to 75% would be equivalent to 12px. Lastly, EMS is a bit of an abstract concept. Generally, 1em=16px which again, is the
default font-size in most browsers. If the If the font size for the entire site is set to be 12px by default, then 1em will equal 12px, 2em would equal 24px and so on.
Both percentages and EMS are commonly used in responsive web design. But we’ll get into that in another video. After you’ve set the size of the font, you can specify the weight of the font. Font weights are commonly either bold or normal. The “line-height” property adjusts the
vertical gap between lines of text. To control the alignment of text, use the “text-align” property By using the text-transform property, you can change the case of text to “uppercase”, “lowercase” or to “capitalize” which capitalizes the first letter of each word. In CSS3, we can now add drop shadows to text using the “text-shadow” property. The values in this property is made up of three lengths and a color. The first value indicates how far to the left or right the shadow will be, the second value indicates the distance from the top or bottom and the third indicates the amount of blur to the shadow you wish your text to have. The font style allows you to make the font italic, oblique or normal. You can also indent the first line of text using the text-indent property. The amount you want to indent the text is usually given in pixels or ems. The property “letter-spacing” adjusts the spacing between each individual letter. This is referred to as “kerning”. The “word-spacing” property adjusts the spacing between each word in a paragraph. You wouldn’t need to use the word-spacing property too often. When specifying the value for these properties, it should be in ems. The text-decoration property allows you to specify if you want your text to have an underline, overline, line-through or none which removes any decoration already applied to the text. Now we’re almost done learning about all the properties you can apply to style your text in CSS. But before we wrap up, I want to introduce to you Pseudo-elements and pseudo-classes. Pseudo-elements essentially acts like there’s an extra element in the code. A good example of this is both the ‘:first-letter’ pseudo-element which styles the first letter in a paragraph and the ‘:first-line’ pseudo-element that styles the first line of a paragraph. Pseudo-element & pseudo-classes are written at the end of the selector, like this (see video) pseudo-classes like “:link” and “:visited” are commonly seen when styling links. The pseudo-class “:link” styles links that have not been clicked on or “visited”. The pseudo-class “:visited” styles the look of a link that has been visited. Other pseudo-classes like :hover, :active and :focus changes the appearance of elements when a user is interacting with them. “:hover” effects the look of an element when a user’s mouse is hovering over it. “:active” effects the look of the element when the element has been clicked. Lastly, “:focus” can be used to indicate the element is being focused on, for example, that moment when you’re ready to begin typing in the comment box below, that change in activity to the element indicates “:focus” has been applied to the element. Well, that was a lot of things to learn but
now, you’re a pro at styling text using CSS. You’ve learnt about the many elements, properties, pseudo-elements and pseudo-classes used when styling text in CSS3. Now go ahead and apply your new knowledge on your own personal web development projects. Please give this video a thumbs up if you
liked it and write a comment below to let me know if you have any ideas or suggestions for future videos. Don’t forget to subscribe if you enjoy these videos and as always, thanks for watching! I’ll you see in next weeks video.