Declining Attention Spans And Your Design and Website Strategy: 9 Tips

user retention strategy

Declining attention spans is one of the biggest threats to your website.

In fact, a Microsoft study found that the average human attention span is shorter than that of a goldfish. More surprisingly, a recent Jampp study found that most mobile app users suffer an 88 percent decrease in attention span on an annual basis.

As a webmaster, it is important to pay special attention to these statistics. We, as humans, are becoming increasingly impatient, and this can have great implications for your business. In fact, the following statistics show just how dangerous having a slow website can be:

  • Slow loading websites cost the U.S. ecommerce market more than $500 billion annually
  • A one second delay in your site load time can cost you 7 percent in conversions
  • 40 percent of web users will abandon a website that takes longer than 3 seconds to load
  • A site speed increase from 8 to 2 seconds can boost your conversion rate by 74 percent
  • Google now uses site speed as a ranking factor

user retention

What a Slow Website Means for Your Business

If you have a slow website, here’s the impact it will have on your business:

It will cost you visitors: If you feel you’ve been doing your best but can’t seem to retain visitors to your website, perhaps it is time to address your website speed. As highlighted in the statistics above, at least 40 percent of visitors to your website will stop visiting if your website takes longer than 3 seconds to load.

It will cost you sales: Improving your website speed can dramatically boost sales on your website, even by as much as 74 percent as revealed in one of the statistics earlier referenced. It has also been established that a one second improvement in site speed can boost conversions by 7 percent.

It will cost you search engine rankings: Google has announced that they use site speed as a ranking factor and that faster sites will always outrank sites that are slow. If you’re not experiencing an improvement in your search engine rankings despite all your SEO efforts, then perhaps site speed is a culprit.

Thankfully, all hope is not lost. If your website is not fast enough, here are 9 practical tips guaranteed to insulate your website from declining attention spans:

  1. Get a Good Web Host

Your web host is the foundation of all your site optimization efforts; your web host controls the server infrastructure and configuration — and these are factors that impact your website speed more than anything else. I’ve had great experience with both Bluehost and Hostgator, and I did a comparison here.

  1. Get a Better Theme

You’ll be amazed to find out that many websites are ridiculously slow due to bloated code and poorly-constructed themes. More often than not, outside your web host, your website theme will determine your website speed.

  1. Enable GZIP Compression for your Website

In an article for Smashing Magazine, Marcus Taylor reported being able to reduce the size of his client website from 63kb to 13kb. That’s basically around 400 percent reduction in the site size, resulting in a massive boost in site load time since a user’s browser has to download much less. What did he do differently? He enabled GZIP compression on his client’s website.

GZIP works in a similar way to ZIP compression on computers, but for websites; a group of files that will ordinarily be big when their individual size is added together can instantly be reduced to one small ZIP file, resulting in a faster site load time and an increase in site speed for your site visitors.

  1. Optimize and Compress Your Images

Images alone can make your site a lot more slower; often, a site could be seven to ten times or more heavier due to images used on the website. The solution to this is to compress the images used on your website drastically; thankfully, there’s a way to do this without the quality of your images suffering much. If you use WordPress, the plugins Smush.it and/or EWWW Image Optimizer can help with compressing your images. If you don’t use WordPress you should check out the image compression tool offered by Kraken.io.

  1. Combine Your Images into CSS Sprites

Often times the number of requests a user’s browser sends to your server will influence how long it takes to load your website; the more requests sent, the slower your website will be for visitors. Background images can result in a lot of server requests, especially if they are hosted individually and have to be requested individually from your server — this eventually results in a much slower website. The solution to this is to combine your images into Sprites; basically, when several individual images are combined into one main image, the end result is a Sprite. Once your Sprite is ready, you can use CSS commands to tell your user’s browser to interpret various parts of that image individually.

  1. Use a CDN to Ensure Consistently Fast Access to Your Site Across All Locations

A CDN is a network of proxy servers in multiple locations that automatically serve users a version of your website closest to their location; for example, with a CDN, it isn’t unusual to have a version of your website hosted in all continents. So, someone trying to visit your website from India will be served a version of your website hosted in Asia instead of a version hosted in North America.

Two great CDN options are CloudFlare (both free and paid) and MaxCDN (paid).

  1. Focus on Creating a Better User Experience

While making your website faster will solve some of the problems, ensuring you’re better able to retain people on your site goes beyond that. It is essential to also work on creating a better user experience for your audience; when people visit your website, what happens? Your goal should be to ensure they easily find what they want, and that their experience with your website is satisfactory. Here are a few tips:

  • Pay special attention to your design; an appealing design won’t just make people love visiting your website, it will also make them likely to take the desired action you want them to.
  • Besides having clean design, user experience matters; let your users inform the direction of your site. Embrace usability best practices to ensure your site is easy to use.
  1. Introduce Elements of Social Proof

Thanks to technology and increasingly declining attention spans, we no longer have the patience to waste time with meaningless tasks. How do you then convince people to pay more attention to your website? By letting them know that they are not alone; research has shown that social proof is one of the biggest factors that influence human decisions; when we see that other people, like us, are doing something, we are more likely to do the same thing.

If you have a major achievement, or if you have a record number of people using your products, do not hesitate to indicate it on your website.

  1. Don’t Waste People’s Time; Create a Point of Focus

This is especially important if your goal is to get people to take action. Don’t waste their time by rambling around and beating about the bush; it also won’t help to present them with too many options than is necessary. Instead, create a focus point; make it clear what you want them to do, and ensure that’s your focus. Conversion optimization experts recommend focusing on one goal for one page; do that, and – by preventing distractions – you’ll be able to get people to focus more on your offer.

 

Read More at Declining Attention Spans And Your Design and Website Strategy: 9 Tips

15 Great Google Font Combinations For Your Next Project Design

For any website, content is the most important part. So, naturally, you would want it to be as simple and straightforward as possible, in order not to worry about viewers trying to understand the cryptic messages hidden behind poor color choices and messy fonts.

This is why not only the general design and imagery but also the font choices and the overall consideration for typography are important for conveying the right message to the audience. By choosing appropriate font combinations and assigning the right hierarchy where needed, you can decrease the confusion and let the viewers stay and read your content.

In terms of appealing visual language, your text should have few characteristics, of which the most important are a readable font, the high contrast, and the hierarchy.

Even if there is a large library of fonts out there, many designers choose a sans serif fonts such as Helvetica, Verdana or Arial as their main font because they are familiar, very easy to read and adaptable to any design project. They also come standard, so by choosing fonts as these, they can be sure that the text will visually be the same not just for print, but also for web design.

Thankfully, the design world has advanced to the point where fonts are not nearly as limited as they once were. Starting with 2010 the Google Fonts were released, making the process of choosing and pairing fonts easier and quicker.

However, you should be aware that not every font combination in Google’s library is a recipe for typographical success. With the right font pairings and usage considerations, your brand will convey the right message to your audience, professionalism, and reader friendliness without the need for expensive customized fonts.

In this article, I’ll show you 15 great Google Font combinations that will help you to accomplish all this.

You will find below 15 spectacular Google Font combinations that together with images and graphics, will help you define your brand’s personality.

Open Sans Condensed + Open Sans

Open Sans Condensed / Open Sans

Here’s the easiest combination that works wonderfully for nearly any design project. Open Sans is one of—if not the—most versatile font in the entire collection of Google Fonts. It’s extremely easy to read in large blocks of text, at the same time being salient enough for headlines.

I can’t imagine any scenario where Open Sans would go wrong. Unless you’re looking specifically for a serif font, this one will serve perfectly almost any business, blog, landing page, or web app.

Simple. Elegant. Familiar.

Montserrat + Merriweather

Monserrat / Merriweather

Montserrat is a very appreciated font among designers for its versatility and simplicity, and Merriweather pairs wonderfully with it because its contrasting style and easy readability. It doean’t matter if you interchange them as headlines or paragraph text—they both work great as either!

This particular combination is a nice balance of modern and classic design. Therefore, its variety of uses could support many types of businesses.

Raleway + Roboto Slab

Raleway / Roboto Slab

Roboto Slab is a versatile font,  yet a bit more classical in style. When paired with the distinctive and bold Raleway, we can see an amazing match of clean and refined typography.

Raleway is one of those fonts that defines sophistication. When used as an all-caps headline, it works beautifully for luxury items like jewelry, designer clothing, perfumes and so on. Roboto Slab supports it well with simple and approachable descriptive text.

Playfair Display + Source Sans Pro

Playfair Display / Source Sans Pro

Playfair Display was inspired by the letterforms of the 18th century during the transition from quills to steel-tipped pens. So, it’s no surprise that this font expresses an old charm while having a modern twist.

This font adds a personal touch to something like a tagline or product description. If you use its currency symbols, you’ll immediately see why it’s the perfect choice for a product or service centered around luxury and appearances.

At the same time, Source Sans Pro keeps the text grounded in a modern and clean presentation, while pushes things a little further into the future and creates an intriguing combination.

Alegreya + Lato

Alegreya / Lato

Alegreya is a font without no pretense about its personality; what you see is what you get. On the other side, Lato could be champion of all-purpose fonts in Google’s library. Together they make for a combination that is fun, easy to read, and pragmatic.

This combination is great for small local businesses like cafes, or professionals who want to suggest a warm feeling to their clients’ design projects.

Fjalla One + Cantarell

Fjalla One / Cantarell

Maybe it’s not one of the most versatile fonts, but Fjalla One creates headlines that demand attention. Small or large, lowercase or all caps, those letters are hypnotic no matter what you do with them. Similarly, Cantarell has a charm that seems to attract the same attention that Fjalla One draws for headlines.

This pairing works extremely well for blogs, landing pages or anything else that includes long bodies of text that needs noticeable subheadings to break up content.

Roboto Condensed + Roboto

Roboto Condensed / Roboto

The Roboto font-family is extremely versatile, having many font weights, there’s practically no limitation to what the font could be used for. Modern and geometric, yet somehow friendly and dependable, Roboto is an exceed in terms of forms and functions.

Here’s another pairing that you could use. While Roboto works for just about anything, but it would work particularly for tech startups, modern small businesses, or any type of brand that looks into the future.

Amatic SC + Josefin Sans

Amatic SC / Josefin Sans

This is more for people with artistic inclinations. Obviously, the combination won’t work for everyone, but the bizarre nature of both Amatic SC and Josefin Sans create something that for sure will stand out, as long as you don’t overdo it.

If you’re a fun-spirited artist, musician or entertainer, you could use this pairing to capture your unique personality. Depending on the niche, tone, and topics, this combination could also work for a blog.

Oswald + Droid Serif

Oswald / Droid Serif

Regardless the font-weight or use of caps, Oswald is a great font for headlines. Its condensed nature helps it grab attention and pop, but it also makes for a pleasant text, if you use it as your main body’s font. On the other side, Droid Serif has a classic look, similar to Garamond. Used properly, this serif font can bring a nice elegance to your professional appearance.

The versatility of Oswald and the timelessness of Droid Serif make this combination great for professionals dealing with high-end clientele or for product descriptions where the text is important to emphasize a premium quality.

Unica One + Vollkorn

Unica One / Vollkorn

Unica One can be pretty funky on its own, but when used as all caps it becomes a headline that is all business. Vollkorn is a font reminiscent of classical literature. Contemporary and impactful, when they are used in this combination, somehow the two of them work amazingly together.

Archivo Black + Tenor Sans

Archivo Black / Tenor Sans

Archivo Black was designed to meet the intensive needs of print and digital platforms. Originally created for headlines and highlights, this font is ideal for high-geared press work.

On the other hand, Tenor Sans has as purpose to aid page body text setting. Because of its legible characters, this font gives an elegant and relaxed feel and it can also be applied to headlines. Combining these two fonts, you will have a highly legible and well-crafted typography that’s a recipe for high-performance typesetting.

Pathway Gothic One + Cardo

Pathway Gothic One / Cardo

Cardo is a large font perfect for linguists, classicists, medieval specialists and biblical scholars.  It is largely used for documentation and other extensive publications. It offers a variety of punctuation techniques, text figures, and ligatures.

Pathway Gothic One is a stylish font with an outlandish compressed design. It is an attractive choice among typesetting and typography experts. The result of combining these two fonts is nothing short of amazing.

Six Caps + Archivo Narrow

Six Caps / Archivo Narrow

Six Caps is a highly condensed and tight display font. It is a stripped down and normalized version of classic grotesque display letterforms.

Archivo Narrow was designed to be used simultaneously in print and digital platforms and it was originally created for highlights and headlines. The technical and aesthetic characteristics of the font are both crafted for high-performance typography.

With a warm and modern feeling, the combination works perfectly for design projects related to the entertainment industry.

Oswald + Open Sans

Oswald / Open Sans

Here again Open Sans. This humanist sans serif typeface was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms.

Regardless the font-weight or use of caps, Oswald is great for headlines, so pairing them will bring you the timeless feeling of elegance and refinement.

Poppins + Sintony

Poppins / Sintony

Sintony is a modern sans serif typeface, drawn with a slightly square structure and smooth stroke modulation. It’s great for long passages of text, providing any text with a calm and clear feeling.

On the other side, Poppins is one of the newcomers to the long tradition of the geometric sans serif fonts. These typefaces have been a popular design tool ever since these actors took to the world’s stage.

The combination works perfectly and can serve almost any business, blog, landing page, or web app.

 

 

 

 

 

 

 

 

 

Read More at 15 Great Google Font Combinations For Your Next Project Design

35 Design Jokes That Will Make You Laugh

Have you ever had one of those bad days when it seems that everything is crashing around you? Fatigue, stress, nerves, tight deadlines or a difficult client often makes us want to escape. Regardless of the jobs we have, we are all human and we need from time to time a bit of relaxation to change our mood. This is where design jokes come along. It not only helps us overcome the difficult moments but also reload our batteries and focus on the projects we have to do. There are many ways to get ahead of the difficult moments: some of us listen to music, others do sports, others go for a walk, or others just dream eyes open J. But I think the simplest and easiest way to change our mood (or not even get into the dark and cold cave of the bad mood) is, well, to laugh.
😄

As the saying goes, a day without laughter is a day wasted! And well, once again, we all need a good laugh to break up the ho-hum and the stress of everyday life.

Cheer up with these 35 funny design jokes that will definitely make you laugh! I selected some really funny jokes turned into images, cartoons, memes, photos, posters, drawings and many other funny images. All of them are about subjects such as Photoshop, designer school, designer work, freelancing, fonts, clients, icons, creative process, and so on!

Check them out and enjoy!

Designers vs regular people

Some people say the graphic designers are extremely complicated human beings. Let’s take a look at this real proof of how they perceive the colors.

Photoshop always works

I don’t know what’s in the mind of this patient, but for sure, he would like the surgeon to be as good as the graphic designer.

Gotcha!

That delightful moment when you get the invoice from your web designer :). Some pills against heart attack, please!

Why Photoshop is more powerful than Sketch

It could be a good thing if the designer knows what he is doing. And it seems is for free, so… I would expect a lot of people to park there :).

What’s your ideal client?

You know the life of a graphic designer is pretty hard, but… you can keep dreaming, right?

How to piss the Rock

Relax, this is almost the regular conversation between a graphic designer and his client, especially when the last one doesn’t know what’s all about!

Thanks to the Courier, we have different fonts

Sometimes, the regular people ask themselves why we love so much to be a graphic designer….. conferring character to the fonts is just one of the reasons.

How web designers ask for help

Maybe you should think better if you have the crazy idea of web designer from drowning. Unless you are not a web designer also, God knows what you could understand!

The difference between doctors and web designers

Thankfully, the doctors are not treated like web designers. Otherwise, we would have just designers and no doctors :).

What’s missing here?

Life isn’t always #000000 and #FFFFFF…. even if we would want this. Does someone see the missing of the gray area?

Comic Sans walks into a bar….

Even if the characters have a modern twist here….. does someone see the picture of a classic western?

Font guide

I might be taught, but I just hope you’ll never follow this guide when you’ll choose the font for your next design project.

The Little Mermaid

If the Little Mermaid would have been a font…. Probably she would have looked like this. Fortunately, she’s just a character of Hans Christian Andersen’s imagination and a beautiful story. Let’s stay to the origins. 🙂

Corporate graphic design guide

Maybe you know this process… Maybe you experience this process… But don’t be sad, you are not alone :(.

Did you know?????

….. the most regular people don’t have any idea what’s going on if you speak Klingon with them? Please repeat it in English! Please….

How people see the design

Do you see the process here? Wow! This is actually happening! Don’t tell me I haven’t warned you!

Self-discipline according to web designers

I know the web designers could be the hardest workers on the planet, but…. Do you need a time management app? An efficient one?

There are always two sides of a coin

 

The most important part is to find the balance between both of them…. Can you see the picture???

The many emotions of a programmer

Like all of us, the programmers are also people. They live their emotions like all people. So, do not wonder why their invoices are so big. Just see what happens to them after they complete a project…

When a client says “We love your style”……

…. You could expect something like this. Don’t tell me I haven’t warned you! Just 1 question: do you think it could be better NOT to like your style???

Starting another side project

Just remember to keep the track of them, even if this could be a daunting task. In the end, you don’t want your projects to look like a war field, do you?

This is the eternal question….

For civilians, it’s a matter of imagination…. But…. does the equation make sense to you? Maybe someone can explain it to us, novices :).

Sex and design

From time to time, we should go back to the basics and listen to the advice of the wisest ones than us. This is one of those situations…..

Don’t use that tone with me!

The designers always say the colors have a voice and express a message. But….. can you imagine a real conversation between them? This could be an option :).

Make the logo bigger

….. But, please keep it in your mind that it should fit somewhere….. on print…. or in some different screen sizes….

Can you turn this around…

…. so, we can see more of the front? Again, a very-often heard question…. This is happening when the clients don’t know Photoshop is a design software, not a cloning or a 3D printing one :).

The designer has many faces…

… I’m sure you know this. Just pick how many you want and tell us which are yours :).

The creative process

You shouldn’t believe what you hear: the creative process is nice, smooth and you have time for everything. Rather, it looks like here :).

The real life of a graphic designer

Never, but never…. do not take into account what your friends think you do. It might be a huge difference.

Every designer in this world knows this

I’m sure you have been there with at least one of your client. But here’s the tip: save just the last two files and maybe you’ll not suffer anymore.

This is how they did it

Back to the origins…. Does someone remember how to do some handcraft work?

We are designers, not tools

This is a global message for clients around the world who think the designers are just some tools ready to execute their weird and ugly ideas. We don’t have any problems with the screwdrivers.

The Unforgiven

And now? What’s next? Or even better: what’s the reward?

The best endorser

Sometimes, a barter could be a smart choice. Especially when your client is Santa Clause. 🙂

Why we call it italic

This is what italic looks like in real life. Does anyone have any doubt?

Let us know which one of these designer jokes you liked most. Do you know more jokes? Don’t be shy – let us know in the comments!

Read More at 35 Design Jokes That Will Make You Laugh

My New Project: A Curated, Quality New Marketplace for Designers

Hey PSDFANs,

It’s been a while! I realise that things have been a little quiet here, and today I wanted to share exactly what I’ve been working on.

As you may know in addition to PSDFAN I also run Design Cuts, which has established a reputation for being one of the most active and friendly communities for creatives online. This really followed on from the incredible audience right here at PSDFAN.

For the past 3 years I’ve been super busy building up Design Cuts, and I’m so incredibly proud of all we’ve achieved there. Recently, we launched a new marketplace for designers. This has been a massive project, and I’m so excited as this isn’t simply ‘just another marketplace’, it’s something much more special than that.

Today, I just wanted to share what’s so unique and incredible about this new marketplace, and give you some insight into what I’ve been working on these past few months.

I Wanted to Create The Most Quality-Focused Marketplace in the World

As a creative, I have always found that other design marketplaces simply had too many items – making it difficult to find the truly great resources. After all, who needs to trawl through 5000 near-identical packs to find the one that’s right for them?

At the Design Cuts marketplace, I’ve hand-selected and carefully curated every single product, to ensure that you only need to browse through the very best products in the world. This features top products from the likes of Ian Barnard, Latinotype, Retro Supply Co, Yellow Design Studio, Lisa Glanz, 2 Lil Owls and many more world famous designers. You don’t have to second guess the quality of resources as every single product in the marketplace is at the top of its field.

Here’s a look at just some of the awesome products you can find in this new marketplace:

I Wanted to Give Creatives a Unique Way to Save

The most unique feature of this new marketplace is the ability to create your own bundles. The more products you grab, the more you save! As you add products to your cart, you can see your savings increasing, and our recommendations ensure that you find the best and most relevant products for your needs.

This is the only place that you can save on these items, which otherwise are only available at their regular full price.

I Wanted to Provide Crystal Clear, Super Flexible Licensing

Licensing can be a tricky issue, and many of the main marketplaces impose needless restrictions, such as only using items for a single project (meaning that you need to purchase additional licenses each time you use the resources for a new project!). That just didn’t sit well with me.

At Design Cuts we have the most clear and generous license that we’ve seen anywhere. This means that you can use your items within wider designs available for sale and merchandise. All of this means less worrying about licensing, and more time spent creating amazing work!

Join the 85,000 Designers Already There

I’m so proud of what we’re building at Design Cuts, and I’d love for you to join us. You can visit our new marketplace via the link below, and I’d love it if you dropped us a line to say hi. I’m now leading an amazing, incredibly friendly team, and our sole aim is to give you the maximum possible support and guidance on your creative projects.

Click here to check out the new Design Cuts marketplace

Create a Dark Night Hunter Scene with Photoshop

Create a Dark Night Hunter Scene with Photoshop

In this tutorial I’ll show you how to create a dark night hunter scene. You’ll learn how to combine different stock images together, turn a scene from day to night, add a moonlight, create a dark atmosphere as well as make some special effects. Along with this tutorial, you’ll also learn how to work with groups, manage your layers and pay attention to the details.

Final Image

As always, this is the final image that we’ll be creating:

Step 1

Create a new document with the given settings:

Step

Open the street image. Isolate it from the background and drag it into the white canvas using the Move Tool (V):

Step 3

Open the sky image. Select the sky part using the Retangular Marquee Tool (M):

Drag this selected sky into our main document using the Move Tool. Set this layer under the street one.

Step 4

Create an adjustment layer and set it as Clipping Mask to change the sky color. Go to Layer > New Adjustment Layer > Color Balance:

Step 5

Create a Curves adjustment layer to darken the sky:

Step 6

Come back to the street layer. Make a Color Balance adjustment layer (set as Clipping Mask) to change its color:

Step 7

Use a Curves adjustment layer to darken the street:

On this layer mask, use a soft black brush with a very low opacity (about 5-10%) to reduce the Curves effect on the parts below:

Step 8

Make another Color Balance adjustment layer to change the street color a little:

Step 9

Create a new layer, change the mode to Overlay and fill with 50% gray:

Active the Burn Tool (O) with Midtones Range, Exposure about 10% to daken a detail below. You can see how I did it with Normal mode and the result with Overlay mode:

Step 10

Make a Curves adjustment layer on the top and darken the whole scene:

On this layer mask, use a soft black brush with the opacity about 10-15% to erase the pavement and other parts to give them some light there:

Step 11

Create a Gradient Map adjustment layer to change the light and color of the scene:

Change this layer mode to Exclusion 90%.

Step 12

Use another Curves adjustment layer to darken the scene. On this layer mask, use a soft black brush to refine the light and contrast of the image.

Step 13

Open the model image and isolate her from the background using your familliar method.

Make two new layers on the top. On the first, use a brush with the color #8a6454 to paint some missing hair for the model:

On the second, use a brush with the color #d2bba9 to paint some lighter flying hair for her head.

Hide the background and the fill layer and hit Cmd/Ctrl+Option/Alt+Shift+E to merge all transparent layers into a new one.

Step 14

Place the merged model layer onto the street.

Use a Curves adjustment layer (set as Clipping Mask) to darken the model. On this layer mask, use a soft black brush to reduce the effect on the arm, shirt and gloves.

Step 15

Use a Hue/Saturation adjustment layer to reduce the model saturation:

Step 16

Make a Gradient Map adjustment layer with the colors #494996 and #f7e68a. Change this layer mode to Soft Light 100%.

Step 17

Make a Photo Filter adjustment layer and pick the color #f3e784.

Step 18

Create a new layer with the same settings in the step 9. Use the Dodge and Burn Tool to give more light to the hat and gloves, also create more details for them.

Step 19

Create a new layer, use a soft brush with the color #0d0b19, the opacity avout 20-22% to reduce the highlight on her trousers:

Step 20

Open the sword image. Select a sword using the Polygonal Lasso Tool (L).

Place the sword under the lower arm of the model:

Add a mask to this layer and use a hard black brush to make the sword look like being held inside the hand:

Step 21

Make a Hue/Saturation adjustment layer (set as Clipping Mask) to change to sword color:

Step 22

Use a Curves adjustment layer to darken the sword. On this layer mask, use a soft black brush to erase the top of the sword blade:

Step 23

Create a new layer with the same settings in the step 9. Use the Dodge and Burn Tool to refine the light and shade of the sword:

Step 24

Create a Curves adjustment layer on the top of the layers and reduce the lightness.

On this layer mask, use a soft black brush to erase some parts of the model, the street and some of the houses:

Step 25

Make a new layer, hold Cmd/Ctrl and click the sword thumbnail layer to load its selection. Fill this selection with the color #c2f1f2:

Add a mask to this layer and use a soft black brush to erase the bottom and make the color faded out into the sword.

Step 26

Double click this layer, choose Outer Glow:

Step 27

Make a new layer and fill in the sword with the color #fd83df, also paint on her trousers with the same color. Apply a layer mask to erase any unwanted parts then change this layer mode to Overlay 100%:

Apply an Outer Glow effect to this layer:

Step 28

Create a new layer under two sword effect layers. Use a soft brush with the color #c2f1f2 to paint around the sword area. Change this layer mode to Soft Light 100%:

On a new layer, change the brush color to #fd83df and paint the light on the trousers part around the sword. Change this layer mode to Overlay 100%:

Step 29

Cut out the devil woman 1 from the background and place her on the top of a left house:

Create a new fill layer (set as Clipping Mask) to change the contrast of this woman. Lower the opacity of this layer to 70%. On this layer mask, use a soft black brush to reveal the woman and reduce the effect as shown below:

Step 30

Use a Curves adjustment layer to darken the woman a little. On this layer mask, use a soft black brush to erase the model head and a hand one.

Step 31

Add the devil woman 2 after isolating to the roof of the right house:

To make the shadow for her on the roof, create a new layer under this one. Hold Cmd/Ctrl and click the devil woman layer to load her selection and fill with black. Flip it vertically (Edit > Transform > Flip Vertical):

Lower the opacity to 50%. Go to Filter > Blur > Gaussian Blur and set the radius to 4 px:

Add a mask to this layer and reduce the intensity of the top of the shadow:

Step 32

Use a new fill layer with the color #8a8f9f (set as Clipping Mask) and lower the opacity to 30%. On this layer mask, use a soft black brush to erase the lower part of the head to keep the shade there:

Step 33

Select all the devil woman layers and press Cmd/Ctrl+G to make a group for them. Change the mode of this group from Pass Through (default group mode) to Normal 100%. Create a Hue/Saturation adjustment layer within this group to desaturate these women:

Step 34

Use a Color Balance adjustment layer to match the devil women with the background:

Step 35

Open the horns image. Select the horns and add them to the women’s head. Add a mask to each of these layers and blend them with the heads using a soft black brush:

Step 36

Make a group for the horn layers. Use a Hue/Saturation adjustment layer to desaturate the horns a bit:

Step 37

Use a Curves adjustment layer to brighten the horns:

Step 38

Add the smoke image to our working document and use a layer mask to reduce its intensity:

Use a Curves adjustment layer (set as Clipping Mask) to make the effect more subtle. On this layer mask, use a soft black brush to keep some smoke areas more visible:

Step 39

Add the moon after cutting it out to the top of the scene:

Double click the moon layer, choose Outer Glow and Inner Glow:

Step 40

Use a Color Balance adjustment layer to change the moon color a little:

Step 41

Create a new layer on the top, use a soft brush with the color #cecfd6 to paint more glowing light for the moon and the area around it. Change this layer mode to Soft Light 100%.

Step 42

Make a Gradient Map adjustment layer on the top of the layers.

Lower the opacity of this layer to 20%:

Step 43

Make a Color Balance adjustment layer to change the whole color a bit. On this layer mask, use a soft black brush to reduce the light on the moon and the model.

Step 44

Time to add another light and color to the scene. Use the Lasso Tool to select the bottom right of the street and set the feather to 60:

Go to Layer > New Adjustment Layer > Channel Mixer:

Step 45

Load the mask selection of this Channel Mixer layer and go to Layer > New Adjustment Layer > Color Balance:

Step 46

Use a Curves adjustment layer to brighten the effect at the bottom right and some details of the model and sword. On this layer mask, use a soft black brush to erase the rest as I don’t want it to be affected by this adjustment layer:

Step 47

Time to take of the model shadow. First make a new layer under the model one and use a soft black brush with the opacity about 40% to paint the shadow under the model shoes:

Step 48

As you see we’re having two light sources, one from the moon and one from the blue effect at the right corner of the street. Make two new layers under the model one. Use the same method as done with the devil woman 2 shadow to create two shadows with the approriate directions as indicated in the previous sentence. I lowered the opacity of the shadow created by the street light to 50% and the one created by the moon to 40% (as it’s further). Apply a Gaussian Blur of 4 px to each of these layers.

Step 49

Make a Vibrance adjustment layer to enhance the final effect. On its layer mask, use a soft black brush to erase some parts of the shirt to reduce the effect there:

And We’re Done!

You can view the final outcome below. I hope that you enjoyed the tutorial.

Congratulations ,You’re all done!

You can view the final outcome below. I hope that you enjoyed this tutorial and would love to hear your feedback on the techniques and outcome.

Get deeper insight into the workflow and techniques used in this tutorial. Access the source files for this tutorial:

The source files for this tutorial are available to our FanExtra members community. If you want to access the source files for this tutorial (and all of our tutorials + thousands of other resources) then sign up here.

If you’re already a FanExtra member then you can login here to access the source files.

Create an Aquatic Photo Manipulation of a Giant Tortoise

Create an Aquatic Photo Manipulation of a Giant Tortoise

Hey PSDFANs!

In this tutorial, I’ll show how you can combine different stock images to create this cohesive and unified scene of an aquatic Giant tortoise. You’ll also learn how to manipulate trees, stones, waterfalls and textures to create an island on the tortoise. Finally, we’ll add lighting effects and adjust the colour of our entire scene.

Let’s get started

What you will be creating

Here’s look at the outcome you’ll be able to produce by the end of this lesson.

Step 1

Create a new document by selecting File > New and set the setting as shown in the image below.

Step 2

Now, place the underwater image by selecting File > Place. Place it as shown in the image below.

Step 3

Add a layer mask to it by clicking on the second button on the layer panel at bottom right side. Grab the brush tool by pressing (B) on the keyboard. Use a soft round basic black brush to hide the upper part of underwater as shown in the image below. You can see the result below.

Step 4

Duplicate the underwater layer and move it to the right as shown in the image below.

Step 5

Place the underwater image again but this time in the center of the main document as shown in the image below.

Add a layer mask to it and use a soft round basic black brush to hide it’s parts to blend it properly to the scene. Here are the results. Now select all the underwater layer then press (Ctrl+E) on keyboard to merge all three layer into a single layer.

Step 6

Now, add a Brightness/Contrast adjustment layer as clipping mask to the underwater layer (see the image below for New Adjustment layer button and clipping mask button). Set the setting as shown in the image below.

On the layer mask of Brightness/Contrast Adjustment layer I hided the selected effect as shown in the image below.

Here are the results so far.

Step 7

Now, add a Curves adjustment layer to the underwater layer as shown in the image below.

Here are the results.

Step 8

Now, place the sky below the underwater layer.

Step 9

Now, add a Curves and Exposure adjustment layer to the sky image. Set the setting as shown in the image.

Here are the results.

Step 10

On the layer mask of Exposure adjustment layer I hided the selected effect as shown in the image below.

Here are the results.

Step 11

Add a Color Balance adjustment layer to the sky as shown in the image below.

Here are the results.

Step 12

Add a Brightness/Contrast adjustment layer to the sky. On the layer mask of Brightness I hided the selected effect as shown in the image below.

Here are the results so far.

Step 13

Now, place the underwater 1 image above the underwater layer and activate the Free Transform tool by pressing (CTRL + T) on keyboard. Resize it, so it can cover the entire scene.

Step 14

Add a layer mask to it and using a soft round basic black brush hide the selected part as shown in the image below.

Change the blend mode of underwater 1 to soft light. Here are the results.

Step 15

Add a Gradient Map adjustment layer above the underwater 1 without clipping it. Set the setting as shown in the image below.

Change the blend mode of Gradient Map to soft light and reduce the opacity to 69%. Here are the results.

Step 16

Extract the tortoise using your favorite selection tool then place it to the main document as shown in the image below.

Step 17

Add a layer mask to tortoise and partially hide the underwater area of the tortoise by painting in the layer mask about 30% opacity and flow with soft round basic black brush.

Step 18

Add a Hue/Saturation and Brightness/Contrast Adjustment layer to the tortoise to blend it the scene.

Here are the results.

On the layer mask of both adjustment layers I hided the selected effect.

Here are the results.

Step 19

Add a Photo Filter adjustment layer to the tortoise and set the setting as shown in the image below.

Reduce the opacity of Photo Filter to 80% and here are the results.

Step 20

In this step, we’ll add water waves to the scene. Place the water waves image to the main document as shown in the image below.

Step 21

Add a layer mask to the water waves and hide the parts of water waves as shown in the image below using a soft round basic black brush.

Now, change the blend mode of water waves to hard light and reduce the opacity to 50%. Here are the results.

Step 22

To blend the water waves to the scene I added the Brightness/Contrast and Curves adjustment layer to it.

Here are the results.

Step 23

Now, duplicate the water waves layer two times including Brightness/Contrast and Curves adjustments layer. Position it in different places like shown in the image below to get more water waves inside the underwater. Here are the results.

Step 24

Add the Volcano image to the main document as indicated below. We only need the selected parts (see the image below) of volcano not the rest of.

Add a layer mask to it and hide the unwanted part to blend it to the tortoise.

Step 25

Set the blend mode of volcano to hard light. Here are the results.

Step 26

Now, duplicate the volcano layer two times and place it to left and right to cover the tortoise parts (don’t forget to use the layer mask) as shown in the image below.

Step 27

Now, select all the valcano layer and then press (Ctrl+G) to group them. Name this group ‘Island’. Then add a Hue/Saturation adjustments layer to the Island group. Set the setting as shown in the image below. You can see the results below.

Step 28

Place the tree image to the main canvas.

Step 29

Add a Brightness/Contrast and Photo Filter to the tree. Set the setting as indicated by below image.

Here are the results.

On the layer mask of Brightness/Contrast adjustments layer I hided the selected part as shown in the image below to brighten the right part of the tree.

Step 30

Place the stone image to the main document as shown in the image below.

Add a layer mask to the stone. Use a soft round brush tool to hide the unwanted parts as shown in the image below.

Step 31

Add Moss texture to the stone. Clip it to the stone layer then change the blend mode to Multiply. Reduce the opacity to 70%. Here are the results.

Step 32

Add the following adjustment layer to the stone.

Reduce the opacity of 2nd Brightness/Contrast adjustments layers to 53%. Here are the results. Now, select all the stone layers and group them then name this group ‘Stone’.

Step 33

Duplicate the stone group and move it to the right as shown in the image below. Here are the results.

Step 34

In this step we’ll extract the tree 1 using Calculation technique. Open the tree 2 image in Photoshop. Goto Window > Channel. Choose the blue channel duplicate it by right clicking on it then choose duplicate channel. After that Goto Image > Calculation (Make sure that duplicated blue channel is selected). Then set the setting as shown in the image below. You can experiment with any blend mode but most of the situation the Overlay and Multiply blend mode works best.

After using the Calculation, there will be an Alpha channel below the Blue Copy channel. Choose the Alpha Channel then load the selection by holding the Ctrl/Cmd key and then click on the thumbnail of Alpha channel. Go back to the RGB layer and add a layer mask to the tree 1.

Here are the results after extracting the tree 1.

Step 35

Now, place the extracted tree 1 to the main document. Add a layer mask to it and hide the unwanted part using soft round black brush. Here are the results.

As you can see we have so many rough edges on tree 1. We need to fix this. To fix it I added a blending option effect to the tree. Here are the values for blending options.

As you can see by applying a blending option effect all the hard and rough edges have gone. We have pretty much decent results.

Step 36

I reduced the saturation of tree 1 by applying Hue/Saturation adjustment layer to it.

Step 37

Duplicate the tree 1 layer and move it to the left as shown in the image below. Don’t forget to hide the unwanted parts.

Add a Blending Options effect to this layer again. Note that I have used same color for Inner Shadow used in previous step only the angle, distance, opacity are slightly different. Here are the setting.

Add Brightness/Contrast adjusment layer to it. Here are the values.

Here are the results.

Step 38

Duplicate the tree 1 again and place it, with the same Blending Option setting in previous step, as indicated by below. Here are the results.

I added a Brightness/Contrast adjustment layer to it. Set the setting as shown in the image below and here are the results.

Step 39

Duplicate the tree 1 layer again and place it, with the same blending option effect in previous step, as shown in the image below.

I added again a Brightness/Contrast adjustment layer to it. Here are the results.

Step 40

Duplicate it again and place it as shown in the image below. I have used the same color for inner shadow but this time I have changed the Opacity to 49%, Distance to 0, choke to 9 and size to 6.

Here are the results.

Add a Brightness/Contrast adjustment layer and set the setting as shown in the image.

Step 41

Now, extract the tree 1 again for last time. Use the free tranform tool by pressing (Ctrl+T) on keyboard to resize it then place it as shown in the image below. Don’t forget to hide the unwanted parts using layer mask. Here are the results.

Step 42

Add a blending options effect to it and this time overall setting are changed. You can see it below.

Here are the results.

Step 43

Add a Brightness/Contrast adjustments layer to it. Set the values as shown in the image below.

Here are the results.

Step 44

On the layer mask of Brightness/Contrast adjustment layer I hided the selected effect as shown in the image below.

Here are the results. Select all the tree 1 layer and group them then name this group ‘Tree 1′.

Step 45

Add the Waterfall to the main document and place it as shown in the image below. Don’t forget to resize it using free transform tool.

Step 46

Add a layer mask to the waterfall and hide the unwanted parts of waterfall using soft round basic black brush. Here are the results.

Step 47

Add a Brightness/Contrast adjustment layer to the waterfall. Set the setting as shown in the image below.

Reduce the opacity of Photo Filter to 60%. Here are the results.

Step 48

On the layer mask of Brightness/Contrast adjustment layer I hided the selected effect as shown in the image below.

On the layer mask of Photo Filter adjustment layer I hided the selected effect as shown in the image below.

Here are the results.

Step 49

Add a Color Balance and Photo Filter Adjustment layer to the waterfall. Here are the values of these adjustment layers.

On the layer mask of Photo Filter I hided the selected effect.

Here are the results. Select all the waterfall layers and group them. Name this group ‘Waterfall’.

Step 50

Select all the tree 1, stone and waterfall groups. Group them into a new group and name it ‘Created Island’.

Add a Brightness/Contrast adjustment to the Created Island group. Set the setting as shown in the image below.

Here are the results.

Step 51

Hide the selected the effect on layer mask of Brightness/Contrast adjustment as shown in the image below.

Here are the results.

Step 52

Load the Water Splash brush in Photoshop. Use the water 07 brush to create a waterline like shown in the image below. I have used 7 layers to create this waterline.

Step 53

Below the waterfall I created another waterline. Then use warp tool to alter the shape of waterline as shown in the image below.

Here are the results.

Step 54

I added some more water splashes as shown in the image below using water splash brushes.

Step 55

Now, we’ll add the lighting effects to the scene. I created a new layer by pressing (Ctrl+Shift+N) on keyboard then grab the brush tool and change your foreground color to #412b15. Set the opacity and flow to 100% with the size to 900 pixels then paint a big stroke as shown in the image below.

Change the blend mode of this layer to Color Dodge and reduce the opacity to 50%. Here are the results.

Step 56

Now, again create a new layer then fill it with black color. Add a Lens Flare Filter to it by selecting Filter > Render > Lens Flare. Then set the setting as shown in the image below. .

Here are the results on layer.

Move it as shown in the image below.

Step 57

Set the blend mode of Lens Flare to screen. Don’t forget to hide the unwanted parts using layer mask because we’ll only need the Lens Flare as a light source. Here are the results.

Step 58

Add a Level and Hue/Saturation adjustment layer to lens flare as shown in the image below.

Here are the results.

Step 59

Cut out fishes and place them as shown in the image below and use blend modes to blend them inside the underwater. I have used 7 layer to arrange them with different blend mode and opacity.

Step 60

Group all fish layer and name this group ‘Fish’. Add a Hue/Saturation to this group as shown in the image below.

Step 61

Load the Bubbles brush in Photoshop. Paint some bubble as shown in the image below.

Step 62

We need to paint some more lights on island. To do this, create a new layer and pick the brush tool with 30% opacity and flow. Change your foreground color to #634b11 and paint as shown in the image below.

Change the blend mode to Color Dodge. Here are the results.

Step 63

We are almost done but still short of Final Adjustments. Add a Gradient Map adjustment layer to the scene and set the setting as shown in the image below.

Change the blend mode of Gradient Map to soft light and reduce the opacity to 60%. Here are the results.

Step 64

On the layer mask of Gradient Map I hided the selected effect as shown in the image below.

Here are the results.

Step 65

Now, add a Color Balance adjustment layer and set the setting as indicated below.

Here are the results.

Step 66

Add a Brightness/Contrast adjustment layer.

Here are the results.

Step 67

On the layer mask of Brightness/Contrast adjustment layer I hided the selected effect.

Here are the results.

Step 68

Add the last final adjustment layers to the scene which is Selective Color adjustment layer.

Here are the results.

Congratulations ,You’re all done!

You can view the final outcome below. I hope that you enjoyed this tutorial and would love to hear your feedback on the techniques and outcome.

Get deeper insight into the workflow and techniques used in this tutorial. Access the source files for this tutorial:

The source files for this tutorial are available to our FanExtra members community. If you want to access the source files for this tutorial (and all of our tutorials + thousands of other resources) then sign up here.

If you’re already a FanExtra member then you can login here to access the source files.

Create a Dark Landscape Matte Painting with Photoshop

Hey PSDFANs,

In this tutorial I’ll show you how to create a misty landscape matte painting with a dark castle. We’ll create a misty scene with the layered mountains and the light from afar. The main technique here is blending with adjustment layers, masking and brushes. There are something basic you should know about contrast, distance, intensity etc, and we’ll dive into all of those in today’s lesson!

Final Image

As always, this is the final image that we’ll be creating:

Step 1

Create a new document in Photoshop with the given settings:

Step 2

Open the sky image. Use the Move Tool (V) to drag it into our white canvas, use the Free Transform Tool (Cmd/Ctrl+T) to enlarge it as shown below:

Step 3

I used an adjustment layer to darken the sky. Go to Layer > New Adjustment Layer > Curves:

Step 4

Drag the mountains 1 image into our main document and place it as shown below:

Click the second button at the bottom of the Layers Panel to add a mask to this layer. Use a basic, soft brush with black color to erase its sky and mountain part as the screenshot below shows:

Step 5

I used an adjustment layer with Clipping Mask to reduce the mountains saturation a little:

Step 6

I used Curves (Clipping Mask) to darken the mountains:

On this layer mask use a soft black brush with a very low opacity (10-15%) to reduce the effect on the top of the mountains:

Step 7

Isolate the mountains 2 image and place it in the foreground:

Add a layer mask and use a soft black brush with a very low opacity (10-15%) to erase the top of the mountains as shown below:

Step 8

I used Hue/Saturation for these mountains:

Step 9

I used Color Balance to add some cyan/blue to these mountains:

Step 10

You can see that the mountains contrast does not fit the dark background. I used a Curves adjustment layer to solve it:

Step 11

Make a new layer, change the mode to Overlay 100% and fill with 50% gray:

Active the Burn Tool (O) with Midtones Range, Exposure about 15-20% to darken a part on the top of a mountain. You can see how I did it with Normal mode and the result with Overlay mode:

Step 12

Open the mountains 3 image. Place it over the working document as shown below:

Use a layer mask to blend it with another mountains, we need the layered mountains on the left:

Step 13

I used Hue/Saturation for these mountains:

Step 14

I used Curves to darken them:

Step 15

Add the mountains 4 image to our main document:

Mask off some parts of the image to get a similar result like below:

Step 16

I used Curves to increase the contrast of these mountains.

Step 17

Make a Color Balance adjustment layer to match their color with the background:

Step 18

We’ll make some mist to add some depth to the scene. Open the sky image. Use the Retangular Marquee Tool (M) to choose a sky part:

Place it at the right edge of the image, also set this layer between the mountains 1 and 2 ones:

Add a layer mask and use a soft black brush to remove the hard edges and leaves some smoke/mist between the mountains layers.

Step 19

Duplicate this layer and move it to the left. Use a layer mask to reduce the clouds opacity and make the mist effect more subtle:

Step 20

Duplicate this layer again and place it between the mountains 2 and 3 ones. Use a layer mask to create some mist between these layers:

Step 21

Take another sky part and place it in the foreground, also set this layer above the mountains ones:

Add a mask to this layer and use a soft black brush to create some subtle mist effect for the foreground:

Step 22

Isolate the castle from its background and place it on the top of the mountain near the middle.

Add a mask to this layer and use a soft black brush to blend the castle with the mountain:

Step 23

I used Hue/Saturation for this castle:

Step 24

I used Photo Filter to add some subtle cyan to the castle:

Step 25

The castle looks too bright so I used Curves to decrease its lightness:

Step 26

The castle does not look blended well with the misty mountains so I used a Color Fill layer to fix it. Go to Layer > New Fill Layer > Solid Color and pick a dark brown color (#343c45):

Lower this layer opacity to 70%:

Step 27

Make a new layer on the top. Use the Retangular Marquee Tool to select a window of the castle and set the feather radius to 2:

Fill it (Shift+F5) with a red color (ff0000):

Duplicate it several times and arrange them randomly on the windows, transform them if needed:

Step 28

Apply the Outer Glow effect for each red light layer:

Step 29

Make two new layers on the top. Change the brush to the birds ones and the color to #010b15. Choose the birds you like and paint them on the top of the mountains, around the castle top:

Step 30

It’s time for coloring the whole scene. Make a Color Balance adjustment layer on the top:

Step 31

I used Curves to increase the contrast a little:

On this layer mask use a soft black brush with the opacity about 20-30% to reduce the dark of the middle:

Step 32

Final step : Make a Vibrance adjustment layer to boost the whole color:

And We’re Done!

You can view the final outcome below. I hope that you enjoyed the tutorial.

Get deeper insight into the workflow and techniques used in this tutorial. Access the source files for this tutorial:

The source files for this tutorial are available to our FanExtra members community. If you want to access the source files for this tutorial (and all of our tutorials + thousands of other resources) then sign up here.

If you’re already a FanExtra member then you can login here to access the source files.

Selfie Fables — Disney Alternative Art Illustrations by Simona Bonafini

What if Disney stories had Instagram?

10 - sB6qP68

Probably not a good idea

Instagram has been a huge part of the social media sphere ever since its introduction in 2010. Created by software engineers Kevin Systrom and Mike Krieger, it gained rapid popularity with over 300 million active users at the end of 2014. It was so popular that social media giant Facebook purchased it for $1 billion in cash and equity.

If Disney fairy tales existed in real life, they would probably have Instagram too. Something freelance designer Simona Bonafini illustrated in her series Selfie Fables (which is still ongoing!)

Disney characters come to life as they share candid selfies using Instagram’s tilt-shift effect and filters complete with #modern #era #hashtags. Even other characters from their respective movies show up and comment on their pics.

Check the rest of Selfie Fables below.

 

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She’s a Game of Thrones fan!

Simona Bonafini is a graphic designer from Politecnico di Milano, now working as a freelance illustrator. Check out her websites: Facebook Behance Tumblr DeviantArt. If you would like to buy her prints, check out Society6.

Do you think these selfies need more Sutro? Comment below!

Read more posts by Kevin Mark Rabida

These Japanese Barcodes Are So Kawaii!

In today’s commercial world, barcodes are almost everywhere.

Present in every product packaging that we use today, barcodes have become universal with their use in automating supermarket checkout systems. Recently, innovations in barcode technology have made it possible to do more than tagging products. They can also be used to encode music, images, URLs and emails.

Barcodes encode data by varying the widths and spacing of parallel lines. At some point, they evolved to rectangles, hexagons, and other geometric shapes which encoded more than their 1-dimensional counterpart. They serve their function but sadly, they are not as decorative and might even be intrusive to the packaging.

But not in Japan, the land of kawaii.

The concept of kawaii (roughly translates as “cute”) is prevalent across Japanese culture and can be seen in almost every aspect of the Japanese life. Everything from teen idols and lolita fashion to anime and RPG games speak of kawaii in varying degress. Heck, they even have Pokemon-themed airlines.

And barcodes are no exceptions.

Japanese group Design Barcode has been creating custom barcodes since 2005. Asking themselves “Why has the barcode never changed?”, the group began innovating a process of integrating design elements into the barcode.

The result? The mundane parallel lines of black and white become a refreshing way for brands to use as a communication tool.

Check out some of the designs of Design Barcode below.

 design-barcode-product-main-1 design-barcode-product-main-2 design-barcode-product-main-5

Codigo-1

d-barcode1

2e86129ccd9837ce54344729f83b3ad6

For more design barcodes, check out their Japanese website here or their English website here.

Do barcodes need a redesign? Comment below!

 

Read more posts by Kevin Mark Rabida