We’ve updated all our products to support M1 Mac computers. Exposure X6 supported the new Apple Silicon computers back in December, but now all our software does!

The Exposure Bundle supports Apple Silicon Macs. That includes Exposure, our creative photo editor and organizer, Snap Art, for creating beautiful art that looks painted by hand, and Blow Up, for making crystal clear enlargements at enormous sizes. The list of Apple Silicon Mac supported products also includes our graphic design application Eye Candy, which creates great-looking graphics like chrome, glass, and fire in an easy-to-use interface.

You can update your software right now on our website. Or, if you haven’t used our software before, you can try it free for 30 days by downloading the trial.

Quickly adding support for the latest platforms is another way our team shows our commitment to making the best software money can buy. Frequently that means we are continually making adjustments behind-the-scenes to squeeze more performance out of computing systems on the cutting-edge.

The post Apple M1 Support Available appeared first on Exposure Software.

My inspiration for this piece came from the trailer for Star Trek Beyond. Proudly, we’re all nerds here at Alien Skin, so I don’t hesitate to claim that Picard is a better Captain than Kirk. I know how brave such a statement can be… With that out of the way, let’s make stuff!

Step 1 – Simple Gradient

We will start with a new RGB image in Adobe Photoshop. I’ll add a new layer (⌘⇧N)

[Ctrl Alt N]. I’ll fill the layer using the Gradient Tool (G). First, I’ll set up a simple linear gradient with a light orange (#ffb049) on one side and navy blue (#012744) on the other. Use the image below for reference.

Step 2 – Text Layers

Next, we need to setup our text elements. With the Text Tool (T), I’ll add three separate text layers using Final Frontier font, one for each message. Separating the messages into different layers makes adjusting the lettering behavior easier. It will add a few layers to the file, but if you keep them properly named, you shouldn’t have an issue with complexity. The Character panel (Window>Character) is where you can make adjustments to font size, tracking (distance from letter to letter – not to be confused with kerning, which is the process of adjusting the spacing between characters in a proportional font), and vertical scale.

The standard behavior of font placement isn’t very inspiring. This is what the messaging looks like before it has a defined hierarchy.

 

A few simple adjustments on the Character panel can help strengthen the graphic message. Plus, it’s fun to play around with!

Step 3 – Smoke Effects

Now that we have our text elements ready to go. Let’s add some smoke effects with Eye Candy 7. I plan to build up the effect using multiple layers, so I’ll do some prep work beforehand by converting the EYE CANDY layer into a smart object (Layer>Smart Objects>Convert to Smart Object). This handy trick allows you to make changes to the original text layer and any effects from Eye Candy will automatically update. I’ll use Eye Candy’s Smoke filter (Filter>Alien Skin>Eye Candy 7).

 

In the Smoke filter, I started with Wispy (Large)>Expanding Breeze. Then I dialed in a few parameters to make it behave in a way that’s pleasing to my eye. I want to develop an atmospheric look, so I’ll make the smoke direction horizontal to the left. Compositionally, I want the graphic to read from left to right, so anything that doesn’t read in that direction is used sparingly. The smoke color is changed to work with the background (#80A8F3). The layer in Photoshop is set to Hard Light mode.

 

 

Now let’s duplicate the EYE CANDY layer (⌘+J)[Ctrl+J] and double-click the smart filter in the layers panel to reopen the Eye Candy app. I’ll choose the dark, cloudy preset Billowing (Large)>Newark at Sunset. This time, I’ll set the direction to the right. I’ll turn on the Layered Smoke checkbox, which makes the effect much more prominent. The smoke color is changed to bright white (#000000). The layer is set to Vivid Light mode.

Adjust the canvas settings on the bottom toolbar in Eye Candy when an effect is hard to see on the standard grey and white transparent grid.

Step 4 – Extrude Effects

We’ll duplicate the EYE CANDY layer one more time (⌘+J)[Ctrl+J]. I’ll open the Eye Candy plug-in again and change the effect to Extrude.

 

I’ll use the preset Below>Short Left (No Taper) as a start. I’ll make the direction directly down (270°) with a tiny extrude Distance of 1 and a Taper at 5. This layer is set to Normal blend mode.

 

Let’s apply a similar Extrude effect to the BEYOND layer. In the Layers panel, I’ll right-click on the smart filter, copy the filter, and then paste the filter on the BEYOND layer. Then I’ll open Eye Candy by double-clicking the smart filter in the Layers panel. Because the size of the elements in this layer are smaller, I’ll use half of the Extrude Distance that was applied to the EYE CANDY layer.

 

The letters are small enough that the edge between the text and the extrude effect is blending together. Let’s fix that with a simple stroke effect. Duplicate the BEYOND layer (⌘+J)[Ctrl+J]. Delete the smart filter (Layer>Smart Filter>Clear Smart Filters). Then add a stroke effect (Layer>Layer Style>Stroke) positioned inside at just 1 or 2 pixels. Color (#A28153).

 

I want to create a knockout effect to the EYE CANDY letters. For this, we’ll need to apply a layer mask of the letters to a folder. I’ll select all of the EYE CANDY layers in the layers panel in order to group them together (⌘+G)[Ctrl+G]. Select the outlines of the letters by ⌘+click on the EYE CANDY layer thumbnail. Then select the folder and mask the selection (Layer>Layer Mask>Hide Selection).

Step 5 – Flare and More Flare

Star Trek Beyond is an Abrams film, so we have to do it justice by adding some lens flares in Photoshop. The process of creating them is simple. Make a new layer (⌘⇧N)[Ctrl Alt N] and fill the layer (Shift+Delete) with 50% grey. Set the layer to Hard light blend mode.
Then run the Lens Flare filter (Filter>Render>Lens Flare). There are a couple of different types of flares to choose from, so let’s add a few different layers of them to blend the look together. I’ll add one below the lettering.

Adding a single movie prime lens flare effect below the lettering punches up the graphic’s depth.

 

A second lens flare layer is placed above the lettering adds detail to the knockout lettering. The layer is set to Vivid Light mode.

 

Add a few more lens flare embellishments, such as blue horizontal bars. The easiest way to make them is with the Brush tool (B). Make a new layer (⌘⇧N)[Ctrl Alt N]. With color (#00afeb) set at 50% brush hardness, hold Shift and drag horizontally across the image. I keep a single stroke per layer because that lets me adjust each layer opacity independently. It’s easy to duplicate (⌘+J)[Ctrl+J] and move (V) the layers.

 

I hope that you’ve enjoyed the tutorial. Eye Candy 7’s smoke and extrude effects made this fun little project possible. There are tons of possibilities of using Eye Candy, so take a look through our video tutorials and example images. If you don’t have Eye Candy 7, you can give it a try with the fully-functional free trial, here.

The post Eye Candy Smoke Effect appeared first on Exposure Software.

—

I started my career in New York City at R/Greenberg Associates. It’s an interactive agency now, but at the time it was the design firm behind many famous movie title sequences. While in New York, I had the opportunity to work with Ryszard Horowitz. He’s a noted photographer and artist that specializes in creative photo composite work. It stimulated my interest in the subject.

I moved to Los Angeles when R/GA opened a west coast office. I was the acting Creative Director. In 1996, I left to supervise computer animation for the feature film, Independence Day. Since then, I’ve remained a freelancer. I have contributed work to companies such as Pacific Title & Art Studio, yU+Co, and Imaginary Forces.

In 2005, I took up photography in a more serious way. I’m particularly interested in digital photo composite work. Rather than create the expected digital composite work that might come from someone with a background in visual effects–like robots or dinosaurs, I want to incorporate subtle digital assets into my photography. These assets could be anything such as a realistic but virtual drawing room in a French chateau, an elaborate gown, or the perfect white birch tree in the snow. I’d rather people wonder whom my seamstress is than estimate how long it took my dragon to render.

(For example, check out the image below. Hiromi Paper Dress)

Selected by Alessia Glaviano, Photo Editor of Vogue Italia and L’Uomo Vogue, for
publication on Vogue Italia PhotoVogue.

As a 3D artist, most of my work is built from the ground up. 3D work can be divided into 3 basic phases: modeling, layout, and rendering. The modeling and layout components happen inside of the 3D program. Rendering uses textures that are created for use in the scene. These textures come in many different styles and types. For this article, I’ll show you how I build some of mine.

A good 3D artwork is only as strong as it’s weakest link. If one of the components isn’t great, it will detract from the image’s overall impact. With this in mind, I spend a lot of time in Photoshop in order to make my texture maps look just right.

Below are some of the steps I go through when I’m creating a texture.

In the above image, I used Eye Candy’s Texture Noise – Dots preset. The automatic tiling option makes my work easy. This makes the texture seamlessly wrap around the object I’ve built in 3D. I use this toggle all of the time.

This image was made with the Swirl effect at 80% opacity. I added additional contrast in Photoshop. The swirls are quite nice! They look like illustrated water or clouds in a children’s book.

Here’s a tip: I tiled the spots into a 3×3 grid before mixing in the swirl. Once combined, I extracted the center tile. Mixing effects like this can cause edging artifacts.

I used a gradient to map the color in Photoshop. This gave me additional control with blending modes. I like how it turned out, it looks like clouds or water. I’m not sure what, but I like how it turned out.

I used a simple displacement map to make the texture stand out in 3D. Displacement maps assign a Z-axis value to tones in a B&W image. This technique gives surfaces a sense of depth and detail. In this shot, the texture looks hand-carved.

I can use the same texture as a beautiful, highly-decorative virtual material. This is an example shot of this  in a rendering. Currently, Maxwell Renderer is my weapon of choice.

—-

To see more of Joseph’s work, visit his website. http://www.digitalartform.com

The post Joseph Francis appeared first on Exposure Software.

We used Eye Candy’s glass effect to create this translucent purple variation.

For this effect, we cut out letter shaped holes in a purple field.
We applied Eye Candy’s shadow filter and then composited over a white background.

Here’s a simple treatment using Eye Candy’s perspective shadow tool.

The post Redesigning the new Yahoo logo with Eye Candy appeared first on Exposure Software.

The update also adds compatibility with Adobe Photoshop Creative Cloud. The preset sharing feature is not related to CC compatibility.

Here is a video which shows how the preset sharing feature works. The update is free for current users of Eye Candy 7. You can find it on our downloads page.

The post Eye Candy Update: Preset Sharing and Photoshop CC Compatibility appeared first on Exposure Software.

Cheryl was kind enough to provide us with a tutorial on how to make the design below. There are a lot of tips in here that anyone could use.  You can view the tutorial here.

The post Eye Candy 7 with Cheryl Mabry appeared first on Exposure Software.

Most of the image was made with basic Photoshop shape elements and Eye Candy. Kenny said the prints of this piece are amazing. He works at an aircraft facility in Greensboro, NC. A coworker of his thought the bolts were real!

Kenny said that buying Eye Candy was the best money he could spend. He used to make Chrome and Brushed Metal effects in Photoshop, which ate up a lot of his time.

Beautiful work, Kenny! Thanks for sharing.

Click the image below for a larger view.

The post Eye Candy Planes appeared first on Exposure Software.

Keith used the Bevel and Shadow effects in the artwork below. The wood, grass, and ice images came from photos, not from Eye Candy.

The textural look on the example below came from a photo of an icy window. Eye Candy can produce similar effects to this with the surface roughness controls. They are only found in the Chrome and Bevel effects. Motley or varied surface details like these can add a sense of depth and richness to the effect. Learn about this feature from this video.

The yummy-looking chocolate in the examples above is easy to make with the Bevel effect. Download this Eye Candy 7 preset if you’d like to make some chocolate of your own. The creases at the corners can be decreased by lowering the Bevel Width.

To download the file, right-click on the link and choose “Save As.” Save the preset to your desktop first. That should give you a file with the extension .f1s.

You will need to have Eye Candy 7 installed for it to work. You can download and use Eye Candy in trial mode if you don’t own it.

Double-click the .f1s file to install and the next time you run Eye Candy 7, you should see it in the User Settings list.

The post Eye Candy Hearts appeared first on Exposure Software.

The Chrome effect was used to make the gold details on the plaques below. Learn how to make your own custom gold effects in Eye Candy from this article.

When combining several Eye Candy effects on a single piece, make sure they all use the same light direction. For example, the light in the example below is coming from the upper-left. It can be seen in both the drop shadow and the highlights on the chrome.

If the highlights and shadows change between components, the image can look flat and unconvincing.

Keith’s color choices are attractive. In the example below, the light blue Weave effects work well with the orange-brown accents, their complementary color. It’s easy to find a complementary color in Photoshop. Just use the invert command to view the opposing shade; ⌘+I on the Mac, Ctrl+I on the PC.

We worked with Keith when we were developing Eye Candy 7. He’s a famous drummer! Remember Pickettywitch’s hit “I Still Get That Same Old Feeling?” He played a part in it. Check out the video if you can’t remember the melody. Learn more about his music here.

The post Combining effects with Keith Hall appeared first on Exposure Software.

The post Eye Candy 7 on Technabob.com appeared first on Exposure Software.

I just put the finishing touches on a video about making furry text with Eye Candy 7.  It’s easy to do with the Animal Fur effect. Check out the video below to learn how to give your text a good hair day.

Howard Pinsky made a similar effect tutorial using advanced Photoshop brushing techniques. There are many more steps involved if you do it this way, but if you’re interested, here’s a link.

The post Furry Text Video appeared first on Exposure Software.

Check out this video about the Lightning effect in Eye Candy and learn how to make lightning shots like this yourself.

You can download and use Eye Candy 7 in trial mode if you don’t own it already.

The post Realistic Lightning Effects appeared first on Exposure Software.

As mentioned in the video, here is a custom settings file for the Chrome effect in Eye Candy. Please right click this link and choose “Save Link As”.

You will need Eye Candy 7 installed for it to work. You can download and use Eye Candy in trial mode if you don’t own it.

Save the preset to your desktop first. In most browsers, right-click the link and choose Save As. That should give you a file with the extension .f1s.

Double-click the .f1s file to install and the next time you run Eye Candy 7, you should see Gold Foil in the User Settings list of the Chrome effect.

The post Eye Candy Gold Video appeared first on Exposure Software.

The post Eye Candy Reflections Video appeared first on Exposure Software.

James Dempsey reviewed Eye Candy 7 in exactly the way I would, through pictures instead of words. You can read the article at The Graphic Mac.

Thanks, James!

The post The Graphic Mac: 8 Reasons I LOVE Eye Candy 7 appeared first on Exposure Software.

The post Eye Candy Chrome Video appeared first on Exposure Software.

In the video, I use the keyboard shortcut ⌘+Option+F on Mac or Ctrl+Alt+F on the PC. This key combination reopens the last filter used in Photoshop. It’s a real time-saver when you’re working with Eye Candy.

Don’t confuse this shortcut with ⌘+F/Ctrl+F which reapplies the last filter.

The post Wintery Eye Candy Video appeared first on Exposure Software.

New to Eye Candy 7 are the Lightning, Electrify, and Cloud effects. You can see examples or head straight to our store if you just can’t wait! Owners of any version of Eye Candy or Xenofex can get the upgrade price of $99.

The post Eye Candy 7 is here! appeared first on Exposure Software.