Perfect Effects 4 Free
Improved! Library of Effects
Create images with impact using over 70 professional effects that help you enhance detail, add contrast, evoke moods, and more.
Combine Effects
Design a look all your own by combining multiple effects and adjusting the strength of each effect. With the live previews in Perfect Effects 4 Free, you can see what each effect will look like on your photo before applying it. Your creative options are limitless and easy to achieve with the easy-to-use tools in Perfect Effects 4 Free.
Masking Controls
Selectively apply any effect to specific parts of your photo with the powerful masking controls in Perfect Effects 4 Free. Use the Masking Brush to apply effects to specific areas and the Masking Bug to quickly create vignettes and graduated filter looks.
New! Paint-In Effects
With a handy set of Basic Brushes, you can solve some of your most common digital photography problems exactly where you need. Use simple brush strokes to make areas darker, lighter or warmer. Add detail, glow or more color. You can also reveal highlights and recover shadows.
New! Perfect Brush
Smoothly apply or remove effects to the specific areas you're working on without going "outside of the lines."
Turn on the Perfect Brush when using the Masking Brush or the Paint-in Effect Basic Brushes.
New! Blending Modes
Blend effects to create amazing and highly stylized looks in Perfect Effects 4 Free. By changing the Blending Modes, you can control the brightness, contrast and color of the image to dramatically alter the appearance. And, by adjusting the opacity, you can control the strength of the effect.
Combine Images for Endless Creative Options
In the Layers home module, you'll find tools designed specifically for photographers to combine the best parts of multiple photos and quickly retouch your images. You'll easily be able to swap faces or create a balanced exposure. You can also blend images for creative effects, create layouts, build composites, and more. Enjoy all of the benefits and creative power of a layered workflow, even without Adobe Photoshop. Your creative options are endless.
29 Ways to Boost Creativity
There’s no secret recipe to being creative. Generally when we’re researching new concepts or working on a new task, creativity breeds out of conception. That said, it’s easy to burn yourself out when consistently churning out new and creative ideas. There are however, a few ways to maintain your creative state of mind.
The below INFOGRAPHIC (from Islam Abudaoud) outlines 29 ways to wake and reinvigorate the creative side of your brain. Here’s some of our favourites:
- Carry a notebook everywhere you go, you never know when opportunity might strike!
- Get away from the computer, even if it’s for 5 minutes.
- Quit beating yourself up, stress can stunt creative thinking.
- Sing in the shower. Really, go for it!
- Be open. Don’t shut out ideas just because they’re unfamiliar, you’ll be surprised at what you can learn!
- Surround yourself with creative people.
- Always get feedback. It’s important that you know what you’re doing right/wrong in order to improve.
- DON’T GIVE UP!
- Break the rules. As long as you’re not harming yourself, or someone else – try going against the norm.
- Stop trying to be someone else’s perfect – just be YOU.
- Finish something. Even the most mundane of tasks can breed innovation, give yourself a sense of accomplishment!
- Get lots of rest. A tired brain is a useless one.
Impact The Perception
“Architectural illustrators must realize how their input can impact the perception of a project for good or ill, and the results of their aesthetics and integrity can have considerable influence.”
F*ck You. Pay Me.
Our speaker at the March 2011 San Francisco, CreativeMornings (creativemornings.com) was Mike Monteiro, Design Director, and co-founder of Mule Design Studio (muledesign.com). This event took place on March 25, 2011 and was sponsored by Happy Cog and Typekit (who also hosted the event at their office in the Mission).
Mike's book "Design is a Job" is available from A Book Apart (abookapart.com/products/design-is-a-job)
A big giant thank you to Chris Whitmore (whitmoreprod.com) for offering to shoot and edit the video. Photos were graciously provided by Rawle Anders (twitter.com/rawle42).
The San Francisco chapter of Creative Mornings is run by Greg Storey (twitter.com/brilliantcrank).
Follow us on Twitter at twitter.com/SanFrancisco_CM
Signing Nondisclosure Agreements (NDA) and Work-for-hire Agreements
Whether working directly with the client or through an agency, a freelancer architectural illustrator may be asked to sign one or both. It's also possible that a client or agency won't require either.
Let's start with an NDA; a Non-Disclosure Agreement. It's common that an agency will ask you to sign an NDA. Often, it means that their client has asked them to sign an NDA and that everyone working on the project understands that the work is confidential.
NDAs is written by attorneys, so that language is dense and confusing. I'll explain the basic gist of an NDA. The document states the date and place of the agreement along with the party's legal names. It ensures that the project is confidential and restricts any disclosure about any part of the project for a particular amount of time. Sounds simple, right? Yes, and no.
You may be asked to sign a Work for Hire agreement. It states that you will not own any of the work reproduced, even work that wasn't used. Work for Hire agreements means that, for whatever fee, you retain no copyright to the work you have done. If you are employed or an architectural illustration freelancer, the law states that, by default, you're working in a Work for Hire agreement. This ensures that when an agency sells your work to a client that it's theirs to sell. If you're working directly with the client, your agreement can be different.
Work for Hire agreements are very restrictive and should not be entered into lightly. As a freelance architectural illustrator, you need to be aware of who owns your work and when copyright transfers. It's common that copyright transfers from the designer to the client or agency when the designer is paid. Architectural Illustrators have contracts that sell limited rights to these images as opposed to the image itself. If you are acting as an architectural Illustrators, you should have two separate agreements stipulating what the agency owns or does not own, at what point, and for how long.
My final recommendation is that if you're in any way confused about a document given to you to sign, ask the agency or client to go through it with you point by point, just to make sure you're absolutely clear what you're agreeing to. Under no circumstances should you sign a document if you're not clear about what specific actions you need to take.
Cut the Crap
Simplicity in one phrase means, “Cut the crap”, in your 3D Architectural Rendering, leave only what you want the viewer to see. Make the background less cluttered, remove unnecessary distractions and have few important elements. Very Simple!
Clean and Simple Composition
Finding and Keeping Good Clients
A recent freelance industry report says that 30% of business comes from referrals and word of mouth, and less than 3% from social media. It's an important statistic to consider where to burn your calories to pursue more business. Recently, I tracked my business where it has come from over the last years.
I created a client family tree. More than 75% of my business over the last 20 years has come from an ongoing relationship with one smart, well-connected marketing director. She takes me with her when she makes career moves, and I usually retain business from an organization she's moved on from.
She's referred me to colleagues in various industries. I've been very, very lucky, but there are some things that I've paid close attention to that maybe other architectural illustrators might not have.
In the beginning of a relationship, whether personal or business, I often get clues as to exactly how it's going to go. It sounds a little crazy, but within the first 20 minutes of an initial meeting with a new customer, your intuition will tell you exactly what you need to know. For example, if an agency is disorganized, rushed, and indecisive, you can be assured that the project will be run that way too.
If a customer appreciates what you do, treats you with respect, and communicates with you in a calm, clears and inspirational way, they're probably going to be great to work with. So take off your emotional hat and put on one of objectivity and observation.
- Do you trust this person?
- Does what they do really interest you?
- Do you respect them?
- Are they hiring you for the reason you want to be hired?
The bottom line is doing good work for smart, well-connected clients is the best business development strategy for a freelancer. Staying away from task-oriented, anonymous, online projects will ensure the potential for more continuous meaningful business relationships.
The goal is to have clients describe you to others as a pleasure to work with.