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May 11 2012
Friday Fresh Free Fonts #152
Friday fresh free fonts is a series of free fonts posted every Friday, yes I know it's awesome. I will look forward to bring a lot of great fonts that will sure help you improve your typography work. Check out what I selected for you on the FFFF#152 and make sure to comeback for more next week.
Click here to view all Friday Fresh Free Fonts
Coneria Script
by Måns Grebäck
Download Coneria Script
Rio Oro
Download Rio Oro
Chapleau
Download Chapleau
Vermin Vibes
Download Vermin Vibes

Sites of the Week #204
For this Sites of the Week we have selected some great sites such as Picto Pro and Writer. Also we're featuring the J.Development's portfolio, and much, much more! As usual we would love to hear from you, keep sending your suggestions to us and we will be more than happy to feature your site.
You can keep sending me your suggestions via Twitter twitter.com/FabianoMe or twitter.com/abduzeedo, and include #abdz_sites in the message.
DESIGN / CSS
picto pro - pictopro.com
Professionally handmade vector icons.
The Thomas Oliver Band - thethomasoliverband.com
The Thomas Oliver Band, affectionately known by fans as The T.O.B., have taken modern rock by the collar and shaken the soul back into it. The T.O.B. seamlessly fuse genres and bend.
APP / WEB APP / SERVICE
Writer - iawriter.com
iA Writer is the #1 focussed writing app in the App Store. It lets you keep your hands on the keyboard and your mind in the text. And this is where the magic happens.
ZenCash - zencash.com
Aaaargh! Customers not paying you on time? Automatically follow up with customers who don’t pay – and say thanks to the ones who do.
COMMUNITY / PORTAL / STORE / EVENT
DIY - diy.org
A community of kid who make, learn new skills, use technology constructively, begin a lifelong adventure of curiosity, and spend time offline, too.
Front End Design Conf 2012 - frontenddesignconference.com
ront End Design Conference 2012. June 8th & 9th. St. Petersburg, Florida.
STUDIO / PORTFOLIO / BLOG
ABA - aba-design.co.uk
Our story is simple. We bring business and brand together. It's a blend of right brain left brain thinking. We guide and inspire with straightforward processes but plenty of rigor.
J.Development - jpunt.nl
Jpunt is about developing cool things, and doing it the right way. Mostly working on websites, both frontend and backend, and always looking for nerdy new things to play around with. Lately this comes down to HTML, CSS, JS and Ruby on Rails, but this could change as time goes by.
THEMES
Levvo - themeskingdom.com
Levvo WordPress theme is a amazing blog style WordPress theme with a clean, unique and minimal design, it allows you to display your featured posts on home page. Levvo WordPress Theme is just the perfect theme if you don’t have much knowledge of wordpress, with an extensive documentation you won’t have any problems setting your website up.
Query - themeskingdom.com
Query WordPress theme is a great looking personal blog and portfolio theme. The theme comes with five color styles (Grey, Red, Orange, Green, Blue), gorgeous typography style, custom widgets and much more.

5 Reasons Why Metaphors Can Improve the User Experience
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There are many ways to experience the world around us. Especially offline, we can make use of our different senses to collect information, interpret our environment and make judgments.
On the Web, however, our senses are more limited. As designers, we need to present information carefully to make sure our users think, feel and do the right thing.
A great way to help your users understand abstract content, create a sense of familiarity, trigger emotions, draw attention and motivate action are metaphors.
"The way we think, what we experience, and what we do every day is very much a matter of metaphor."
- Lakoff and Johnson
In their frequently cited book, Metaphors We Live By, Lakoff and Johnson demonstrate the important role of metaphors in our language and in our everyday lives. Our conceptual system is largely metaphorical, which means that we use metaphors to reason and understand the world.
Let’s look at how you can use metaphors to add to the user experience on your website. Below are five reasons why metaphors can improve the user experience.
1. Metaphors Can Put Abstract Concepts in Concrete Terms
Metaphors are a great tool to help your users understand abstract or unfamiliar content. By linking abstract information to a concrete concept, it becomes easier for people to understand the information.
Let’s start off with the most basic and common use of metaphors on the Web: Icons. These little symbols help users grasp a concept quickly. Icons usually refer to something that we know from the physical world and that we can somehow relate to an abstract concept on the Web.
For example, on the site Startups, This Is How Design Works, you can see how a light bulb icon is used to denote the word "innovation", a wrench icon to refer to making a product useful (utility), and a paintbrush icon to represent the word "aesthetic":
Metaphors can be used creatively to explain complex or uncommon concepts. For example, take a look at Huw Wilkins’s 404 error page on his blog:
Many Web users don’t know what a 404 error is, and generic 404 error pages may be intimidating to them. Instead of giving a technical explanation of why the requested page is not available, the user gets a humorous image of a running ninja who stole the page being requested.
Metaphors can also be used to explain a process. Datashift shows an imaginary machine that turns different social media icons into statistics that can be displayed on your screen:
Of course, the machine isn’t real and the process is way more abstract than what’s displayed in the image, but it becomes very clear what kind of service they offer.
2. Metaphors Create Familiarity
We love to recognize things. Whenever we can’t recognize something, our brain tries its best to make sense of whatever we’re looking at. (That’s why Gestalt principles can be applied to our design work.)
In his article Brains Agree: The Case for Website Usability Guidelines, Todd Follansbee explains that we use patterns to get an idea of what to expect. Recognizing mental patterns helps us to accept and understand the unfamiliar.
The user interface of Paper, a drawing app for the iPad, makes use of a sketchbook metaphor to create familiarity:
The app is designed to look and work like a sketchbook. You can easily bring sketches onto paper, choose between different pens and colors, flip through the pages and show your creations to friends by sharing them on social media. By applying familiar features to a digital tool, interactions become very intuitive and easy to learn.
Everyone knows knock-knock jokes, right? The people from Knock Knock Factory use the positive associations linked to the words for the image of their company.
Not only does the name promise us that they’re a down-to-earth company, it also sounds familiar. Even someone who has never heard of the agency before will most likely have some fun and positive memories that stem from the company’s name.
3. Metaphors Can Trigger Emotions
You can use metaphors to trigger emotions. Emotions not only make your design appealing to people, but also more effective, pleasurable and memorable.
As mentioned before, icons help us grasp abstract concepts. However, if exaggerated and designed with personality, like on the site of Eye Bridge, they can also trigger emotions:
While we associate the abstract icon of a coffee cup with a certain meaning or function, a detailed picture makes us think of yummy, hot coffee at the same time.
The Roambi app works with a metaphor to trigger emotions as part of their marketing strategy:
Of course, a business doesn’t have a pulse and taking a pulse into your hand is not physically possible either. However, the idea of doing so anyways is very attractive.
As a side note, great references for emotional design are Don Norman and Aarron Walter, who both focus on the additional value we can add to a website when we consider human emotions.
4. Metaphors Can Draw the Attention of Users
Numerous techniques can make certain elements of a web design more distinctive than others, and the use of metaphors is among them. Metaphors can be used to draw attention to a website in general or to very specific elements within a web page. Things we recognize draw our attention, just like when we recognize familiar faces in a big crowd of unfamiliar people.
For example, we associate nametags with events and social gatherings, such as conferences and workshops. A nametag means that you are a registered member, a paying attendee, or entitled to things people without a nametag are not entitled to. So a nametag metaphor was used in the following login web form concept by Meng To to make an otherwise plain web form more attractive:
Flourish decided to use a tree illustration to explain what they do, along with the tagline "We plant Web sites that flourish in the harshest climates." They show a big flourishing tree in the middle of a desert to denote the power of their services. The illustration and metaphor is eye-catching and memorable.
5. Metaphors Can Motivate Users into Action
Another interesting aspect of metaphors is that they can influence people’s actions. By translating interactions that we know from the real world to the Web, we can also transfer our knowledge to the screen. This way, metaphors can be very engaging and actionable because we intuitively know what to do.
The Cascade Brewery Co website offers a very engaging metaphor for their navigation menu:
Users can brew their own content by adding different proportions of content categories. It is quite creative how this navigation menu grabs your attention and makes you check out the content just to see what happens if you change the brewing proportions.
Another great way to trigger users to register for beta access is this countdown clock on Minute Race:

There is no indication of what happens if the time has run out, but still, I felt a strong urge to register as quickly as possible. Also, making it sound like a competition adds to my motivation to register immediately.
Conclusion
Metaphors can be a powerful tool for improving the user experience. Metaphors can:
- explain abstract or complex concepts
- create a sense of familiarity
- trigger emotions
- draw attention to your site or certain components of it
- motivate users to take action
How do you use metaphors in your designs? Have you seen other great examples of how metaphors are used on the Web?
Related Content
- Human Behavior Theories That Can be Applied to Web Design
- How Cognitive Biases Shape User Experience
- Becoming a Better Web Designer
- Related categories: User Interface and Usability
About the Author
May 10 2012
Comic Book Artist: Bruce Timm
Although the initial dream of Bruce Timm was to become a comic book artist, he actually turned into the great animator behind the DC comics animated series for TV such as Batman Beyond, Batman Adventures, Superman and Justice League. Later he would do some comics based on the same series, anyway his influence on the comics area is undeniable.
You can sse more of Bruce's drawings at his Comic Art Community profile.

Logo Design: Sausages
We keep going through our weekly journey checking out great logos! We're thinking ahead and we want to find new topics, good ones, to share with you guys. Last week we had a great post about logos with brains, and today it's all about logos with sausages!
Every week we search through our favorite galleries: Logopond and Dribbble. Both are a great communities for designers everywhere. Also, if you you'd like to suggest ideas for the next subjects, please, tell me by sending me sending me a tweet: @paulogabriel. Cheers! ;)

Awesome Type Work by Young Jerks
Young Jerks is the one man design studio of Dan Cassaro, located in Brooklyn, New York. Young Jerks is specialized in custom type, illustration, logo design, and powerful 70's rock and roll. Check it out!
For more visit youngjerks.com
Highway Typeface
HIGHWAY is an attempt to capture the charm of hand-done early to mid-century type, the kind of beautiful lettering that happens when a human hand tries to recreate something mechanical. Created during (and inspired by) a cross-country roadtrip, Highway may very well be the first typeface created in the back of a camper. Tons of alternate characters, ligatures, and OpenType sorcery make for endless custom lettering for logos, signage, and seminal prog-rock double albums. Roll on, Babes.
The Manual
I worked on some illustrated type for The Manual inspired by old speedball/how-to lettering books. It's a manual for how to write The Manual. See what I did there? Get the shirt over at United Pixelworkers.
Wise Men
Lettering for the cover of a new novel by Stuart Nadler, Wise Men.
Deus Ex Machina
Type treatments created for motorcycle company Deus Ex Machina.
Shipwrecks of the Modern Age
Type treatment and cover proposal for short story by the talented Nik Ruckert.
Ace Hotel
I was honored to be asked to create a mural for The Ace Hotel in New York. If you get a chance to stay there ask for room 617! Thanks to Jou-Yie Chou for setting this up.
Living Social
Type treatments commissioned for 2 television spots by LivingSocial.

Test Your Photoshop Knowledge #9
We know how much you guys like to test your knowledge of Photoshop so today we are giving you an opportunity to do so with another quiz from Martin Perhiniak. Please take a moment to complete this 10-question quiz and see if you’re prepared to pass our test! Good luck!
Editor’s note: this quiz is for Photoshop CS5.
20 Fresh CSS3 Tutorials
The design industry is probably one of the fastest changing and growing. Designers have to keep their eyes on everything, including new trends in visual design, as well as interaction technologies like jQuery, HTML5, and CSS3. Designers are using these technologies to express more creativity in design production and make user experience richer.
In this post today, I would like to share with you some amazing and beautiful CSS3 tutorials for creating various web design elements and interactions. Use this collection to learn something new and be prepared for the near future of the web.
Quickly Build a Swish Teaser Page With CSS3
In this tutorial, you’ll learn how to build a teaser page using just CSS, no images or even a Photoshop design. Use it for any app or website that’s getting ready to launch.
How to Create a CSS3 Dropdown Menu [Tutorial]
In this short tutorial you will learn to code navigation menu in pure CSS3. Simple, clean and professional outcome.
Orman Clark’s Vertical Navigation Menu: The CSS3 Version
By following this tutorial you will learn to recreate Orman Clark’s vertical navigation menu with CSS3 and jQuery while using the minimal amount of images possible.
Accordion with CSS3
In this tutorial you will see how to create an accordion that will animate the content areas on opening and closing using hidden inputs and labels.
Tutorial: CTA button without images using CSS3 and Entypo
In this tutorial you will learn to create button using 100% CSS and Entypo. Buttons without images are more flexible, require less data to be downloaded and are easily changed and updated.
Create the Illusion of Stacked Elements with CSS3 Pseudo-Elements
In this tutorial Tom Kenny will guide you in creating the illusion of stacked elements with CSS3 pseudo-elements.
Pure CSS3 LavaLamp Menu
Another cool tutorial for creating originally jQuery based effect. Learn how to create LavaLamp effect using only CSS3 transitions.
CSS3 signup form
In this article you will find out how to design a clean and attractive CSS3 signup form.
Timeline Portfolio
In this tutoriail you will see how to create beautiful and impressive portfolio using Timeline jQuery plugin and CSS3.
Apple-like Login Form with CSS 3D Transforms
In this tutorial you will see how you can use CSS3 transforms to create an interesting flipping effect on an Apple-inspired form.
How to Create an Image Slider using jQuery and CSS3 [Tutorial]
In this tutorial you will learn to create a slider with “Nivo Slider jQuery Script” and CSS3.
Making an Impressive Product Showcase with CSS3
Amazing tutorial showing you how to spice up a plain old product page with some CSS3 magic and jQuery.
How to Create a Stylish Image Content Slider in Pure CSS3 [Tutorial]
In this tutorial you will see how to create a clean and beautiful CSS3 only image slider.
CSS3 Pricing Table
This tutorial consists of a whole bunch of new CSS3 features including: transforms, gradient, shadow and nth-child.
CSS3 breadcrumbs
Catalin Rosu will show you how to create your own cool CSS3 breadcrumbs in order to increase website’s usability.
Animated Content Tabs with CSS3
In this tutorial you are going to implement some simple CSS3 content tabs using radio buttons together with the :checked pseudo-class and sibling combinators.
Responsive Horizontal Layout
In this tutorial you will find out how to create a horizontal layout with several content panels.
Login and Registration Form with HTML5 and CSS3
In this tutorial you are going to create two HTML5 forms that will switch between login and registration using the CSS3 pseudo class :target.
Responsive Content Navigator with CSS3
In this tutorial Mary Lou will show you how to create a content navigator with CSS only.
How to Create Calendar using jQuery and CSS3 [Tutorial]
In this tutorial you will learn to code the CSS3 calendar using jQuery and jQuery UI.
May 09 2012
Which Tuts+ Site Should We Launch Next?
We’re planning our next few Tuts+ sites, and would love your opinion and advice on which topics you think we should cover next! We’d be really grateful if you could take a minute to answer our quick poll and share your thoughts…
Have Your Say
We’ve been considering lots of different ideas for our next Tuts+ sites over the past few weeks, and wanted to also ask the opinion of our awesome community!
A selection of different concepts are included in the poll to the right, along with the option for you to submit your own ideas as well.
The important thing to note is that these are just ideas. Some of these are close to making our final cut, and others aren’t… We’d love to hear what you think, to help guide our decision.
Thanks for taking the time to offer your suggestion — I can’t wait to see what you have to say!
Win a 6-Month Tuts+ Premium Membership
Our poll will be running for the next couple of weeks, and we’ll be choosing one respondent at random to receive a six-month Tuts+ Premium membership!
To be entered into the giveaway, just leave a comment on this post to go into a bit more detail about your site suggestion. We’ll choose one comment at random to win the Tuts+ Premium membership when the poll ends.
Best of luck!
Stijn Debrouwere on Journalism
A sobering diagnosis of how extensive the crisis is for journalism as something people need in their lives. Stijn is a technologist working in journalism and has an apparently keen understanding of the situation that he expresses clearly and urgently. Full blog post here. Via Mike Davidson.
To follow me on Twitter click here.
How to Use Drop Shadows in Photoshop
Photoshop layer styles are a popular way to add effects, such as drop shadows and strokes, to layers in a non-destructive way. With the right knowledge and experience, any effect can be achieved. To achieve these effects, however, you need to understand what each setting does and how they can be combined to achieve a certain look. In this series by John Shaver from Design Panoply, we will explain every aspect of Photoshop’s layer styles feature and show you how to unlock their potential. In this article, Part 2: How to Use Drop Shadows in Photoshop we will explain the Drop Shadow settings, what they each do, and how we can use them to create different effects. Let’s take a look!
What Are Drop Shadows Used For?
The traditional use for a drop shadow is to simulate 3D depth in a 2D image. This is done by creating an offset shadow behind an object to indicate that the object is hovering above the background in 3D space.
Below you will see an example of how a drop shadow can indicate how big the light source is and where it is coming from, as well as how far away an object is from the background. By changing only the settings of the shadow, you can dramatically change the look of an image.

The Layer Styles Drop Shadow Dialog Box
The Drop Shadow Dialog Box is a good place to start for beginners because the settings are pretty basic and will give you an overall feel of how to use the rest of the effects as well. A subtle drop shadow is also one of the best effects to give your design a little pick-me-up.

Blend Mode
The Blend Mode allows you to set the blending mode for your shadow. Typically you will want this to be Multiply or Linear Burn, so that your shadow darkens the layer that is behind it.
If you are unfamiliar with how all the different Blending Modes work, I highly recommend checking out the Blending Is Fun Basix tutorial.
This is also where you set the color of your shadow by clicking the color block next to the Blend Mode dropdown menu. By default, the shadow color will be black, but you can add a tint of color or even try something outrageous to get special effects.

In the following example, you can see that the color of the shadow on the left is black, while the color of the shadow on the right is a dark maroon color. This creates the result you see below. One simple change can make a totally different looking style.

Opacity
The Opacity slider allows you to specify how transparent your shadow will be. A setting of 0% is completely see through while 100% is completely opaque.

In the following example, you can see that simply by changing the opacity from 25% to 60%, the shadow becomes much more prominent.

Angle
The Angle spinner and corresponding box allow you to change the apparent angle that the light source comes from. By turning the "Use Global Light" checkbox on, any changes you make to the angle of the drop shadow will also change the angle of the light sources used in other effects like Bevel and Emboss, Inner Shadow, etc. By leaving it unchecked, you can change the light angle for the drop shadow independently of other effects.
The recommended setting is "checked" for most cases, because we want to have a uniform light source for the most cohesive looking effect.

In the following example, changing the angle of the light source changes the way in which the shadow falls, and since "Use Global Light" is checked, it also changed the light angle for the Bevel and Emboss effect as well.

Distance
The Distance slider changes the apparent distance between the subject and the background. The effect is achieved by altering the distance between the subject and the drop shadow itself.

In the following example, increasing the distance gives the effect that the text on the left is hovering just above the background while the text on the right is farther away.

Spread
The Spread slider changes the falloff of the shadow in a linear fashion, or in other words, how gradually it fades out at the edges.
For a typical drop shadow, you will normally want to leave this at 0%, but for harder shadows you should increase it, and for shadows with hard edges or even extra strokes you can set it all the way to 100%.

In the following example, increasing the spread percentage changes the falloff of the shadow so that it stays darker longer as it fades out at the edge.

Size
The Size slider changes the apparent size of the shadow. When it is set to 0, the shadow is exactly the same size as the shape of the object. As you increase the size, the shadow grows in 1 pixel increments.

In the following example, increasing the size of the shadow gives us flexibility over controlling not only the overall size of the shadow, but the softness of it as well.

Contour
The Contour shapes allow you to change the falloff of the shadow in a non linear fashion. By choosing different curve profiles, you can get the shadow to fade out in different ways.
The only time this is really useful is when you are trying to achieve special glow or abstract effects.
In addition, the "Anti-aliased" checkbox allows you to improve the quality of the shadow falloff with a very slight drop in performance. The performance decrease is negligible, so we recommend always keeping the box checked.

In the following example, changing the Contour shape to an inverted "U" results in an odd looking "halo" shadow effect.

Noise
The Noise slider is a useful tool to give your shadow a gritty feel. If you are creating a style that is going to resemble dirt or concrete, adding some noise can help the overall effect. For a totally smooth shadow, leave it at 0%.

In the following example, setting the noise to only 15% gives us a pretty substantial amount of grit in the shadow. A good range to use is 0%-25%, as going higher than 25% can often result in a very unnatural look.

Knock it Out
What in the world does "Layer Knocks Out Drop Shadow" mean? It is simple once you understand the concept, but can be tricky for beginners because it only applies in certain situations. Luckily, this setting is almost always better left checked.

When you create a new layer and apply a drop shadow to it, you are looking at two things, the layer contents, and the layer style. If you recall from Part 1 of our guide, you can hide the layer contents while still showing the layer style by setting the "Fill" in the Layers Palette to 0% for a given layer.
In the following example, both sets of text have their "Fill" set to 0%, but the one on the left has the "Layer Knocks Out Drop Shadow" checkbox checked, while the one on the right does not. The result is that the text on the left creates a type of transparency mask (or "knocks out" the drop shadow), which does not allow the drop shadow to show through. Alternatively, the text on the right does not "knock out" the drop shadow, allowing it to show through.

Saving and Loading Default Settings
You can save and load default settings for each effect in the Layer Styles dialog box. By clicking "Make Default", Photoshop will store whatever settings are currently active as the new default settings for that effect.
By clicking "Reset to Default", Photoshop will then load whatever settings were last saved. This allows you to experiment and simply reload custom default settings if you want to start over.

One for the Road
Until next time, this free, exclusive layer style and accompanying .PSD will allow you to experiment with your own Drop Shadow settings.

How To Begin Your Creative Dream Job – Today
Maybe this scenario sounds familiar to you: A few years ago I found myself working an office job that was ok. It paid ok, I liked the work ok, I liked the people I worked with ok, and I was pretty ok at what I did. Like I said, it was ok. But I didn’t love it. I didn’t wake up in the morning with a sense of purpose that drove me to excel at my job. It wasn’t what I really wanted to do, but for the longest time I put up with it because I’d done the math. What I really wanted to do was go into digital publishing, which in my mind required a new computer that would cost at least $3,000, software that my current laptop couldn’t handle, at least one or two creative/business partners, and a camera/other gear I couldn’t afford.
See, my background at the time (creatively) was in film and television. Before my office job I had interned at a small studio where my work over two years ran the gamut of print design, copywriting, scriptwriting, motion graphics and some non-profit documentary work. While the studio itself was small we had a lot of interns and volunteers which meant that our total creative team was around 70-80 people when all hands were on deck.
I loved that atmosphere. I loved racing towards a tough deadline with a team of resourceful creatives at my side. I knew that was ultimately what I wanted in a job. The type of challenging creative collaboration that left you tired to your bones but satisfied in a job well done. So why was I settling for less? I was settling for less because I had bought into a lie. I bought into a lie that said I need MORE before I can start doing what I really want to be doing. More experience, more money, more equipment, a better computer, etc. But then I realized that wasn’t true. I thought about all the projects I had been forced to do on the barest of budgets, with limited cast and crew, with whatever was at hand…and I knew what I had to do.
Instead of looking at my lack of resources as a hinderance, I began to look at them as creative constraints. So I took an inventory of the resources at my disposal, I made a plan of action that began with projects I could complete right away, and I set goals for growing the pool of resources I would need in the future. Then I got to work.
A Lesson Learned
Not long after that decisive moment I left my office job, began writing full time, and started implementing my plan of founding a digital publishing company. In other words, I stopped thinking about how I couldn’t do what I really wanted to because I didn’t have all the pieces right in front of me – i.e. more money, a full team, better equipment, more connections, etc. I began with what I had (which was a laptop and all the spare time I could scrounge up) and I started writing my ass off until more resources became available.
None of this is to say that my input here is the end-all in how to start a creative business or be successful or any of that non-sense. I don’t think there is any sure way to succeed and if there were I would not be qualified to write about it. That said, some of the best advice I have ever heard on “success” and how to achieve it comes from composer Phillip Glass who said, “You get up early in the morning and you work all day. That is the only secret.” While not even that is a guarantee of success, I couldn’t agree more with its principle. In fact, because I’ve thought about that quote so much since I heard him say it in the documentary Glass: A portrait of Phillip in twelve parts, I can attribute much of this post to the implied inverse of his statement; The only sure way to fail is to do nothing.
It is in that spirit that I have written this post. Not as an expert on business or success, but as a fellow creative who has taken action in pursuit of a creative dream and learned something of value along the way. I’m far from the end of my journey – and I’ve done my fair share of stumbling in the dark – but after two years of relentless application (and some fantastic results) I think this lesson is one worth sharing.
Start with what you have – today.
Begin With An Inventory
Whatever your creative goals or career aspirations, you may be surprised at how many resources are already at your fingertips or easily within reach. It’s fruitless and discouraging to constantly think about what you would do “if only”. If only I was a better designer, if only I had that camera, if only I had a better computer – if only. How does that type of thinking get you anywhere? It’s pointless. And besides, is it even realistic to expect that just because we want to do something that we can just jump from point A to point B and be done? In my experience creative work is less like a straight line and more like an unpredictable zig-zag headed in the general direction of your end goal.
I won’t belabor this point too much, but have you ever seen Martin Scorsese’s first full length film Who’s That Knocking at My Door? In all respect to one of my favorite film makers of all time – it’s nothing to write home about. It was low budget, he was working with talented but also very young and inexperienced actors, and the script gives the impression that each scene is little more than an exercise just barely knit together by a central theme and story. But yet, in certain scenes, a glimpse of his unrefined genius is visible. It was only after six more full length films that he created Taxi Driver and blew the door off the industry.
So here’s my point: if Martin Scorcese of all people had to start small, figure things out as he went along, and wait for a budget/cast/crew/equipment – we probably will too. And there’s nothing wrong with that.
When I sat down two years ago to make an inventory of my resources, the list was pretty short. That is to say, ideally, when starting a digital publishing company – a company that would eventually make media rich websites, ebooks, ezines, and the like – you would have the equipment, team, and money required to begin. I had none. As I mentioned above, all I had was an aging macbook pro and a few spare hours each day before and after work. At least, that was what I thought I had. Once I actually opened my eyes I soon realized that for someone looking to carve their own creative and professional path in the world there is an incredible amount of free resources.
At the time I took special note of the following:
- Google Apps
- Multiple blogging platforms such as wordpress, blogger, and tumblr.
- Zoho Client Relationship Management software
- Paypal
- And of course my own creativity and experience
In fact, when I really thought about it I didn’t even need my laptop. I actually had MORE than I needed! If I had nothing but the free resources available online, I could go to the library and start my own business by working off of their computers. Wouldn’t be my first choice, but there it was. I had everything I needed to create content, manage clients, and accept payments. At the end of the day, I decided I had absolutely no excuse not to get started right away.
Make A Plan
Obviously, everyone’s plan will be different. Yours will be unique to your creative endeavor as well as your current resources. But whether or not you want to freelance, start a passion project, create a company, or even just gain the experience and clout needed to join your dream company – the benefits of making a plan are the same. Creating a plan that you actually have to carry out using nothing but the resources immediately available allows you to eliminate the impossible and start winning small victories that will help generate the momentum you need to grow.
In my case, the plan was this: Use my personal network and the creative work I’d already done to get a few free blogging/copywriting gigs that might lead to paid work. In turn, I decided to immediately implement the lessons I learned from writing for others, for myself, so I started a personal blog that would be the hub I eventually grew my business around. My logic was that quality free writing would lead to quality paid writing. Enough quality paid writing for enough blogs and businesses around the web and I would kill two birds with one stone: not only would I be able to pay my monthly bills freelancing but some of that traffic would find its way back to my personal blog. Of course a lot of work on my personal blog would lead to a loyal following. A loyal following that could then be leveraged to form revenue generating partnerships which in turn would allow me to diversify my products/services as well as build out a creative team.
After creating this general direction for myself I wrote out detailed to-do lists that would bring me closer to my end goal with each finished task. And then I got busy.
Get to Work
Looking back it’s sort of hard not to laugh. To say that my plan was a bit circumspect would be putting it mildly. But you know what it did? It got me moving in the right direction. It gave me a path, albeit a roundabout one, from what I had at that moment to what I wanted for the rest of my life. And the best part is that once you get moving you become aware of options you never knew existed before. The plan simplifies. Opportunities come as a result of your work that could not have happened otherwise. Others see what you’re doing and they join in not because you have a ton of cash or connections but because they’re passionate too. Eventually what you find is that the simple act of doing makes just about anything possible.
Final Thought
This post is really about one thing. Whether you’re a web designer, developer, blogger, videographer, or any other creative type – if you’re not doing what you love for a living there’s no reason why you can’t change that starting today. I guarantee you that if you sit down and write out your end goal, there is a way to reverse engineer a path to that goal starting with nothing but the resources you currently have access to. You might even be thinking, “but what I really need right now is cash. I’ve already done every possible thing before my next step which involves $X.” Ok, maybe that’s true. Are you on kickstarter.com yet? Are you working overtime? Have you asked friends, family, and anyone else who supports you to help out? If you haven’t, then your plan and resource list are not complete.
Never settle
Posting a price list on your web site: does it work or fail?
When I first saw a web site designer who had posted a laundry list of prices on his site, I gasped in horror. It created some buzz in the design circles in which I traveled. No one agreed with the concept. Then, a well-respected design firm owner announced he was going to try it.
He said that he thought by posting his prices, using a basic, bottom line cost, he would weed out the people who wanted bargain basement prices and he would save time of not having to deal with them for initial meetings and creative briefs, only to be told that the $10,000 he stated at for web sites was $9,750 too high.
It made sense when he put it that way. Figure the total amount of time one spends in a first meeting, listening to a prospective client talk about what they want, then explaining how your service works to them, following up with a short creative brief and then having to explain why it is the proper way to do a proper web site, he would cut out at least 75% of the people who are “just browsing” or looking at costs on their way to a crowdsourcing site.
The discussion begins…
The internet, technology itself, has affected the way we all do business. The rise of Amazon.com and the effect it has had on certain retail sectors (i.e. retail toy and book sales). We have gotten use to the ease of point-and-click buying. Personally, I prefer to hold the product in my hands before buying. I like looking at the package, flipping through pages, trying on clothes and shoes BEFORE considering the purchase. Unfortunately, that option is disappearing.
Some would say that’s a con and not a pro but apparently society doesn’t agree as evident in the bankruptcy and closing of retail stores and chains. How does this affect the design industry?
There will always be the design projects that need the personal touch. The meetings, the briefs, the back and forth and the negotiations for the fees involved…followed by the arguing and non-payment thereof. When it happens for the big projects, it’s necessary but, having many large corporate clients, I’m seeing increasing requests for flat out pricing that allows “flexibility” on my part as the vendor. As one client put it when they returned my contract with an addendum added to the list of service provided for the flat fee, “and anything else we deem necessary.”
I didn’t accept that addition and lost the project. To me, it sounded as if the open-ended wording would have me providing service until I died.
Most people misunderstand the concept of a price list for creative services. Under much discussion and anger amongst some of my local peers was an ad posted by a designer that promised ANY design job for $299 with unlimited revisions. ANY? UNLIMITED? We were outraged that the designer had turned our industry into a discount shoe store. We discussed taking up a collection for the $299 and then hiring the designer to create a web site and keep asking for changes to see how far he/she would go before breaking.
When people we all knew started admitting to considering adding a price list, the laughter subsided and the discussions ensued. How would one approach creating a price list that could turn a profit without leaving the question of changes a client could request open to interpretation? What kind of clients would go for it? Would it put off some clients? We started formulating what a price list would contain.
We all had a good idea of how long an average job took to complete and everyone had his/her hourly rate in mind. We were frank about what a logo would cost when quoted to a client with the usual research, sketches, changes and delivery. We discussed how much we all charged up front and how long the thirty-day payments took to receive once the job was delivered. It seems payments in thirty days were getting rare among our clients and arguments about upfront deposits were increasing. The first thing we all agreed upon was that using a price list would include a 50% deposit with the final payment due upon delivery. As files were emailed by most of us or uploaded for digital projects such as web sites, it would be easy to hold the job for ransom until the final payment was made.
There was discussion about using PayPal or a credit card and the fees involved. The answer was to just incorporate those fees into the price. As with anything ordered online, we figured that clients would be willing to use their credit card for payments. It’s instant, easy, and common these days when making any purchase.
In creating a price list, it would need to leave no holes or misunderstanding – this is what you pay and this is what you get. Most people argue that any list can’t cover everything a client will demand. By the same thinking, neither can a contract for a project.
As we all know, a contract means nothing when a client starts arguing about wanting what they want despite what was agreed in the beginning. When I was working the wonderful service position of serving obese idiots greasy burgers and fries, they would argue over having to pay to supersize their disgusting food orders. A dollar was too much. So, what happens when the same slobs are ordering a web site and are told they have to pay $500 for supersizing their logo? Looking across the plastic counter into the eyes of these cheap bastards, I would have to smile when they scolded me for never hearing the phrase, “the customer is always right!”
The manager would inevitably give them their supersized poison without charging for it. The day I quit that nightmare job, I had the pleasure of answering those who used the aforementioned phrase with, “only from people who want something for free. Pay the extra dollar and sit down or I’ll spit in your food!”
Aside from that amusing anecdote, which still haunts me when I drive past a fast food place, there are three things one can count upon: The first is that people like to see the posted price for whatever it is they are considering buying and second: People have trouble negotiating for a price (hence the multitude of articles on how to negotiate the price when buying a car). The third thing is: Even when it’s spelled out in front of them, people just don’t read or understand price lists! 90% of the morons I waited on couldn’t order a simple burger, fries, and soda without help from me.
Creatives run up against the same problem but with less grease. I too often hear my peer designers complain about a client who wants something extra, a complete change, to renegotiate the original price and other problems we usually encounter. When I ask about the contract they have with the client, more often than not, they say they don’t have a contract. Why? Fear! They think that asking a client for a contract will cause the client to not give them the project. By the same token, they don’t feel comfortable saying “no” to lowering the price when the client starts negotiating.
A friend of mine who is known for her biting humor tells me:
“When I’m asked how much I charge? I answer, more than your average crack-addicted hooker but significantly less than a small agency.”
“I don’t list prices on my site because I don’t want to be held to it. I have a base price, which I convey, in person or over the phone, and then I add an “annoyance” tax as needed — in the form of extra hours over what I’d normally charge. Don’t want to send me revisions in one nice, tidy email? Boom! Annoyance tax applied. That 2-minute change just cost them 15 minutes. Every single time!”
Let’s look at some price posting examples…
Here are some companies that post a price for design services. Let’s look at how they do it. The first example from countrylovin.com has the weakest self-protection terms. It is exactly what people fear will be the problem with putting up a price list. There’s no word about revisions, delivery, payments, etc. A basic “here’s the cost.”
GoDaddy.com, known for their slightly more then semi-pornographic commercials, is a very popular web hosting company and, as with most hosting companies, offers web design. There’s the option for a do it yourself, drag-and-drop, template and stock image site for an ongoing, monthly fee. Quality isn’t part of the price but how many small businesses and sole-proprietorships really know or care about cost? When designers complain that they are being asked for free work, it’s by those who have seen the $4.99 a month option.
When it comes to custom web design for clients, their price list is presented in two parts. The first part is a quick overview of “standard” and “premium” design but it isn’t a one-time fee. Maybe they think prospective customers won’t do the math of what the monthly fee will add up to in six months or a year. Of course, what happens to your “custom designed site” once you drop the service? I can’t seem to find any information on that.
Still, the prices are…“competitive” and although there might be outsourcing and templates available for basic HTML to get a head start on the “custom design,” only those inside GoDaddy.com truly know…unless they comment on this article.
One thing that cannot be ignored, if you look at what is included in both custom packages: There is almost no way for a freelancer or design studio to compete with these prices.
Triad Web Design is yet another contender in the rising number of price list companies that are increasing. Their flat rate includes, among a laundry list of services, “unlimited revisions.” Whether they are off shore outsourced isn’t a concern – they are competition that must be considered with price levels set by freelancers and design firms alike.
While I detest the idea of crowdsourcing, it is a practice that has taken hold of our business. Here’s one of the companies that run these “design contests.” Just look at the prices of the completed sites.
One question that arises is that of revisions. Unfortunately, in the FAQ section, it posts the question of, “can I get designers to revise the designs they created for me?”
The answer is, “absolutely. Designers thrive on guidance, so the more feedback you provide, the better the quality of your finished product.”
I don’t know if this means that once the “judging” is over, the client can request endless revisions for the set bid or there are additional fees. The mere fact they write, “designers thrive on guidance” has me throwing up forever. I mean, there’s guidance and then there’s endless second-guessing. Get me a new, empty bucket, please.
This “offshore” company offers ridiculously low prices but the inclusion of “USD” (U.S. Dollars) shows it’s aimed at an American customer base. With prices like these, you might as well give up design, join the armed forces, and kill everyone in the nation that provides this cheap work!
Some other opinions…
Having put the question of price lists on LinkedIn, I received some interesting opinions. Unfortunately, as it’s open to anyone, there were some maniacal responses, too.
One person’s answer showed a good amount of time and thought to formulate her answer:
I would not post a price list on my website because the majority of my projects are quoted in lump sum with milestones for various deliverables. While my lump sum is based upon my hourly rate, I determine the level of effort on the entirety of the project and not on exactly the length of time it’s going to take me. By posting fixed prices, the customer might get fixated on the hourly rate or on fixed lump sums for projects instead of my estimate of the level of effort.
I can give an example:
Not all logo projects are created equal. On the one hand, a new client contacts me to create a logo for them. They want a text type logo, with very simple colors and a small graphic. They leave the design completely up to me with a few color guidelines. For such a simple project, I would charge $70 – 105 for two logo designs, and then have the client take elements of both or choose one as the final. My usual rate is $35 (per hour).
On the other hand, I could have a client contact me for a logo and they want 5 distinct elements, an illustration, a tag line, and different color schemes to try. I would end up charging a lot more than $70-105!
If I had put $70-105 on my website as my Logo Design fee, then I would be stuck when Client No. 2 comes around and brings me their laundry list of requirements. I could still give them a lump fee proposal, but it would be on what I believe their project requires…not what my website says it will be.
In short, placing a price list on your website may put you in a position where you have to bargain for a better rate or fee if you feel a project requires more work than customary.
Unfortunately, this person is not a full-time professional designer (and very limited part-time, as per her LinkedIn profile), as her rates attest and help lower the bar for full time designers. She does, however, bring up one of the arguments for not putting prices on one’s web site: Flexibility.
Unless you can really judge the time it takes to execute a project, a flat rate can be a money-losing possibility. To keep extraneous changes from draining the fee, what is promised under the price would have to be iron clad with an hourly change rate listed for work above and beyond the flat fee. Giving unlimited revisions, as listed in some of the price lists shown, as examples would break you and your ability to make a profit.
Someone involved in the creative business but not a designer imparts:
The upside = it makes the value of your work non-negotiable. The downside = it makes the value of your work non-negotiable.
If your prices are set for all clients regardless and do not change, then by all means. However, if you want room to raise or lower prices on the value of a client, then don’t post them.
An interesting observation but one can change prices easily on their site as needed. The “value” of a client is an interesting concept. What do you do if a client who may represent regular business is turned off by your price list?
As someone who has heard the old promise of “do this for $XX dollars now and in the future, it’ll be $XXXXXXX,” I have little faith in return clients based on price. In my experience, I retain clients due to the value of WORK.
Another designer adds:
I price all my work on a project basis after I’ve had a conversation and an opportunity to review what’s needed. Yes I have an hourly rate. Do I ever charge or reveal that hourly rate? No. It’s always per project. I give a price that I think is fair to both parties, if someone chooses to take it, great…if not…great. If they don’t like it, then they’ve just been weeded out.
Again addressing the question of posting prices, one commenter said:
I would also have a disclaimer allowing you to alter the prices so a customer doesn’t see them say in February, you raise them in March, then they come back in June, and ask for the February price.
This is very true! As with giving a prospective client a written quote in February and then having them return in June and demand the same quote, even if you have raised you rates (perhaps material costs have increased, office space cost, equipment rent, etc.), what can you do?
There has long been the agreement among designers that a written quote should have a time period of two to four weeks in which that quote is considered “good.” You can honor it months later if you have no need to raise the quote or wish to gain the client but, if the price is changed on your site in March and someone comes back in June and demands February prices, I believe that’s a red flag that you don’t want to get involved with such a client…and would only end up spitting on their burger! Legally, if the price is posted on your site, even if it has changed, you are in the right. How many people have sued food markets for raising prices after one week? How many people thought their burgers weren’t as delicious without my spit on them and felt cheated?
One respondent wrote this excerpt:
Since each assignment, client, approach, strategy, and deliverable is different (or should be), it would be difficult to sell a pre-packaged solution associated with a fee that is the “right” solution for a client.
I guess if you are in the ‘drive-thru’ design business, then posting your fees would be appropriate and go ahead and offer them the option to supersize their logo for an extra fee.
Price lists don’t have to be a just a “one-size fits all” practice. The price list is like a menu with available items that a prospect picks from and then, after they have seen the total and the terms and clicks the accept button, the next step should be the meeting to discuss needs and the addition/deletion of items needed for the client’s needs. THEN they get a link to pay the deposit before the job starts.
A “relationship marketing specialist” adds a candid view:
Sometimes it works as it certainly weeds out those who won’t invest, other times it can scare off a potential client who simply needs to interface with you to get comfortable enough to invest. There is not absolute answer here. Personally, I prefer transparency but that is actually rare.
One of the few web and graphic designers who weighed in on the question posted:
Pricing can be a barrier to sales, on the other hand if the quality of your work is stunning people may make the assumption they can’t afford you.
My suggestion is to have a low, medium and high rate card that you submit via email after initial contact with the client. And that you also have “rate ranges” i.e. starting as low as…($30-$50/HR) for certain types of work, etc. The reason for this is that projects for individuals vs. companies will have different levels of involvement and resources associated with them even if it is the same type of work like a logo design, for example.
Doing this for an individual starting their first company, vs. doing a brand refresh logo design for an established company with a regional presence involves vastly different amounts of research, revisions, and attention to detail, not to mention the time in communicating with the parties involved will be different (one decision maker vs. design by committee).
So in a scenario like that it’s only fair that they pay differently. They are getting a different level of service (not necessarily a different quality).
A well-made contact form with clear instructions should direct them to contact you for rates and quotes. Estimate calculators are good, but sometimes people get that “quoted price” fixed in their mind and when you discuss project details with them they get too attached to that number.
A respondent put it very succinctly:
Try it and if it doesn’t work, stop it. If you want to try it both ways, try an A/B testing.
It’s not unheard of to test market an initiative. One has to consider what the appearance of a price list would do when viewed by a regular client. For A/B testing, you would need an entirely new site for new prospects and that presents too many problems and upfront costs.
A design firm in England has found a unique middle ground to this question. Promo Design hits the “process,” “value,” and samples of their work right up front on their home page. Their contact page asks the PROSPECT to layout all of their needs AND budget before the first contact is ever made. The pulldown menu of budget will act to weed out the clients looking for a bargain but it still gives the salesperson at Promo a chance to negotiate the work and fee. Seems like a good approach!
In conclusion…if there is one
I shouldn’t be too hard on those who ventured to offer their opinions. They are, of course opinions and this is something that is just coming to the surface in many industries. Out of the fifteen answers I received on LinkedIn, almost all the respondents agreed that they would rather have a consultation with the client first and prove the value of their service and then negotiate the price. Some asserted that a fixed price left no room for negotiation or any misunderstandings. Personally, I think no matter how much things are spelled out, people will either not read the whole agreement or misinterpret the terms, causing problems after the fact.
Has the industry or society evolved (or de-evolved as some would argue), to a point and click type of purchasing? ARE people looking for price and not “value?”
Large corporations routinely ask advertising agencies to make presentations on spec to gain an account and then negotiate the fee. Is web site surfing for the purpose of viewing design samples and prices really any different?
We unleashed the internet and failed to watch it as it grew almost without us. Entrepreneurs sought a better way and innovated sales and customer service. Now we need to follow suit or be left behind like those who insisted in producing buggy whips while other leather companies retooled and made car seats for Henry Ford. It’s a hard question to answer. Where is the future taking our field?
Speider Schneider is a former member of The Usual Gang of Idiots at MAD Magazine and has designed products for Disney/Pixar, Warner Bros., Harley-Davidson, ESPN, Mattel, DC and Marvel Comics, Cartoon Network and Nickelodeon among other notable companies. Speider is a former member of the board for the Graphic Artists Guild, co-chair of the GAG Professional Practices Committee and a former board member of the Society of Illustrators. Follow him on Twitter @speider
Have you posted a price list on your site? Are you thinking about doing it and why? Please let us know how you feel about this practice.
Why Publishers Don’t Like Apps
From MIT Technology Review, a summary of the publishing industry’s ill-fated dalliance with iPad apps, including first hand experiences.
“And Technology Review? We sold 353 subscriptions through the iPad. We never discovered how to avoid the necessity of designing both landscape and portrait versions of the magazine for the app. We wasted US$124,000 on outsourced software development. We fought amongst ourselves, and people left the company. There was untold expense of spirit. I hated every moment of our experiment with apps, because it tried to impose something closed, old, and printlike on something open, new, and digital.”
If the moment is not here already, then it’s getting very close to the time when we can definitively declare the first generation of iPad magazine apps to be a failure. Full article here.
To follow me on Twitter click here.
May 08 2012
Adobe Creative Suite 6 Now Available
Yesterday, Adobe announced the immediate availability of Adobe Creative Suite 6. This means that you can now purchase Photoshop CS6, as well as all the other Adobe applications directly from Adobe’s website.
For the last few months we have been talking about the new features available in Photoshop CS6 Beta. We think that Adobe hit a home run with the new features that were included in Photoshop CS6, and we are really excited to finally get a look at the other apps available in the suite, as well.
We will have more news and tutorials about Adobe Creative Suite 6 and the Adobe Creative Cloud (which will be released on May 11) in the coming weeks and months. In the meantime, you can purchase Adobe Creative Suite 6 below.
For more information about Photoshop CS6, take a look at our Introduction to Photoshop CS6 Series and the tutorials listed below.
- Use New Features in Photoshop CS6 to Create an Administrator Dashboard Interface
- Use Photoshop CS6 to Create a Micro Machines Inspired Scene
Create a Chocolate Volcano Using 3D Effects
In this tutorial we will use the 3D capabilities of Photoshop CS5 Extended to create a chocolate volcano and text effect. Let’s get started!
Tutorial Assets
The following assets were used during the production of this tutorial.
Step 1
Create a new Photoshop document, the size is 1200×1200 px and resolution 96 px/inch. Fill background layer with the radial gradient. Then add small noise effect, Filter > Noise > Add Noise.




Step 2
Insert the texture we will use to create 3D mash from grayscale. You may create your own texture with several simple steps. 1). Create a square Photoshop document, fill the whole area with radial black and white gradient. 2). Create a new layer, fill with the white color and apply Different Clouds Filter (set default colors -black and white, command D), choose Soft Light Blending mode for this layer. 3). Create a dark circle in the central part of composition and draw craquelures by using small round brush. 4). Merge all created layers, apply Gaussian Blur filter (2-3px). Then erase square corners, try to get the circle shape with the ragged edges.


Step 3
In order to extrude volcano 3D shape from the gayscale image, go to 3D > New Mesh from Grayscale > Plane.


Step 4
Move camera and set object position with reference to the ground plane. In order to get the position like in this tutorial, use following camera and object settings.


Step 5
The simple way to snap Volcano shape to the ground and keep all other future 3d shapes in plane is – "Snap Object to Ground Plane". You may see snapped object from the "Front" camera position on the second screen shot.


Step 6
In order to cover volcano shape with chocolate texture, download Chocolate material and install it using 3D settings palette. Choose "Materials" section in the 3D palette, click small arrow next to material thumbnail, then select "Load Materials and find downloaded .p3m file on your computer. You may create material by yourself using settings from the last screen shot, remove gray scale depth texture from the Opacity parameter.


Step 7
You may create your chocolate texture with several steps. Create a new square Photoshop document and fill background layer with the brown color #5a2e07 and apply following filters, start from number 1 – Noise effect. Next one – Filter > Artistic > Dry Brush and Filter > Texture > Craquelure.

Step 8
Download lights file and use it for the volcano 3D scene. Choose "Replace Lights Presets" from 3D palette drop down menu and find "choco_volcano.p3l" on your computer. Duplicate created 3D volcano layer, we will use the duplicate to create small mountains in the background. You can make duplicated layer invisible for a while.

Step 9
Create a new layer below 3D volcano shape and fill it with gray color. Do the same thing as for the volcano grayscale, go to 3D > New Mash From Grayscale > Plane.

Step 10
Keep active 3D gray plane layer and adjust camera position for this shape. Take Camera Moving Tool
and apply absolutely the same seatings as for volcano layer in the previous steps. Just choose volcano camera settings from the View list and apply it for the gray plane.


Step 11
Set object position for the new 3D layer using the same way. First, choose volcano layer position from the drop down menu and change only the Scale parameters, make this object larger.

Step 12
Apply the same material and light preset as for volcano 3D layer.

Step 13
Add layer mask to the ground plane layer and fill the top part with the Linear black and white gradient.

Step 14
Create a path for the future 3D text . Choose Ellipse Tool and Paths Mode and make the ellipse with diameter around 945px. Then choose Direct Selection Tool, select the bottom point and remove it


Step 15
Choose Horizontal Type Tool, adjust the font and size. Position the pointer so that the baseline indicator of the type tool
is on the path and click. After you click, an insertion point appears on the path. Type the text.

Step 16
Convert text layer to the shape, right click text layer and choose "Convert to Shape".

Step 17
Now you will be able to change text contour and add leaking/drops effect. Choose Direct Selection Tool and drag one of anchor point down.


Step 18
Add couple new points using Add Anchor Point tool
and move them with Direct Selection tool
to get similar result as on the screen shot. Use the same way to create other drops.



Step 19
You will have similar result.

Step 20
In order to create 3D effect for the text layer, Make layer path active, go to 3D > Repousse > Selected Path. Apply setting like on the second screen shot.


Step 21
In order to make holes inside the letters, select inside path with any constraint and choose "Hole" type.


Step 22
To return to the 3D Repousse window settings and make changes, just click icon in the bottom part of 3D palette or go to 3D > Repousse > Edit in Repousse. Apply the same chocolate material for this shape as for the volcano and ground plane.


Step 23
In order to prepare combine text layer and volcano, apply the same camera settings, then go to Layer > Merge Down.


Step 24
The text layer merged with the volcano 3D shape has the same lights preset and looks more similar. You may adjust text shape position after merging using Mesh moving Tools. Choose text mesh in the meshes section and apply position parameters just like on the screen shots below.



Step 25
You should get a similar result. Load selection for the combined 3D layer and fill selection with any color in a new layer or save this selection in the channels palette. We will use created silhouette to mask front objects before lens blurring in the final steps.



Step 26
Save the current settings of the camera and objects position, name them "volcano" for example. It should appear in the "View" list.


Step 27
After saving scene positions, choose Top view, it will help to insert correctly the new objects into the 3D scene.

Step 28
Find the copy of 3D volcano, duplicate it once again. Move copied layers above the 3D scene with text and merge them down in turn. Then move, scale and rotate them using Mesh moving tools. You may use mesh position settings from screen shots below:






Step 29
If you change camera position to the "Front" you should see something similar:

Step 30
Return original "volcano" camera position.


Step 31
Insert milk image into a new layer.


Step 32
Select background with the Quick Selection Tool or Magic Wand. Correct missed milk drops using Subtract From Select Mode, check out the last screen shot.



Step 33
Inverse selection.

Step 34
Then go to Select > Refine Edge. Apply settings like on the second screen shot.


Step 35
Click "Ok", then right click milk layer, choose Apply Layer Mask. Cut out the bottom part of the milk glass.


Step 36
Choose Spot Healing Brush and remove glass edges using Content-Aware Mode.


Step 37
You may change splash shape a bit using Warp Transformation. Go to Edit > Transform > Warp. Drag handles and move points like on the example below.

Step 38
Add Layer Mask to the milk layer once again and erase volcano crater contour with small black brash.

Step 39
Apply Auto Contrast to the milk splash, then duplicate splash layer and go to Variations. To better integrate milk image to the current chocolate warm scene, click to the marked tones variations, you will get warmer and darker tone.


Step 40
Play with Opacity Parameter. To make the top part of splash lighter, add Layer Mask and fill it with black and white gradient in the top area.

Step 41
Load selection for the whole document, go to Select > All. Then go to Edit > Copy Merged, paste merged layer content into a new layer. Press Quick Mask icon
and fill the bottom part of the document area with the Reflected black and white gradient.


Step 41
Find volcano and text silhouette, use Command/Ctrl + click layer thumbnail to load selection, Command/Ctrl + Shift + click milk layer thumbnail to add this part to selection. Take a white Brush Tool and erase red shade from selected area, except the bottom part of volcano.


Step 42
Deselect selection and then release Quick Mask.

Step 43
Go to Filter > Blur > Lens Blur. Apply following adjustments:

Final Image
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