An Intro to Working with Vectors

Vectors are images that are suitable for illustrations that contain precise measurements. A vector is different from a bitmap image (jpg) because its information is much simpler, and it is scalable to any size and can be edited freely. Vectors are not as useful for displaying photo-realistic images like photographs because those types of images generally do not contain well-defined shapes and curves. 

In this tutorial, you will learn how to work with a vector to make it easily editable for you. You will change the color of individual shapes, color many shapes together, and edit a path, which is what defines a shape in Illustrator.

Let’s use this vector from contributor Fixer00.

1. Find your vector image. To narrow your search down to vector images only, make sure the “Vectors” checkbox is clicked. Once you find your image, download it, making sure you click the “vector” option. You’ll then download an .eps file.
search for vector on bigstock

2. Open your vector image in Illustrator. To edit a vector image, you must have
Adobe Illustrator. Once downloaded, open your .eps image in Illustrator. Once opened, your vector will appear on an artboard, which is the white working space in your file.
Open in Illustrator

3. Zoom. To zoom in and out of your workspace, use the zoom tool. Hold down the “Option” button to zoom out. For a keyboard short cut, use command-plus(+) or command-minus(-) on the mac and alt-plus(+) and alt–minus(-) on the pc.

4. Take a look at the layers palette. If the layers palette is not visible, open it by going to Window>Layers. Here you can see that you can select individual shapes, change the order of the shapes, toggle visibility, and perform other actions, all from the layers palette. If you click on the arrow next to a group, you will see what shapes are contained within a group. A group is two or more shapes that can be selected, moved, re-sized, colored together as though they are one shape. This also helps to organize objects and shapes and make them more manageable.
layers palette

5. Select Tool. In your tool bar, the first tool, which is a black arrow, is the “Select” tool. Use this to select shapes and paths of your vector. Click on your vector to select. As you can see from the layers palette, the entire vector is grouped, so now everything is selected. To ungroup your selection, go to Object ungroup, or command-shift-G on a Mac or control-shift-G on a PC. Now you will be able to select more specific elements of your vector.
select tool
Now, we will click on one of the light pink shapes. This is a compound path, which is a group of paths that act as one path, so all of the light pink brain matter will be selected. – This is will be labelled in your layers palette. You can release this compound path by going to Object>Compound Path>Release
ungroup and select tool

6. Color Palette. Now select one of the light pink brain matter shapes by clicking on it. On the right side of your screen, you can toggle the color palette. If it’s not there, go to Window>Color>Color. Make sure your desired color mode appears by clicking on the pull down menu on the upper right hand corner of the color palette and selecting a color mode.

In this case, I am using CMYK. To adjust the color, use the sliders, click on the color bar at the bottom, or double click on the fill swatch in the upper left corner. I chose to increase the Y value and make this shape yellow. You can give the shape a stroke, or an outline, by clicking on the stroke swatch (behind the fill swatch) and giving it a color.
color palette

7. Direct Select. The direct select tool is the white arrow in your tool bar below the select tool. You can use this tool to select shapes that are part of a group, or edit points on a path. Click on the direct select tool and click on the edge of one of the light pink brain matter shapes. The shapes are contained by a path. You will see the points of the path appear. They are white because they are unselected.
direct select, edit path
Continuing to use the direct select tool, click on one of the points. You can move the point around by clicking and dragging. You can also move the points a little at a time (nudge) by using the arrow keys. You will also see that once the point is selected, its curve handles will appear. Still using the direct Select tool, you can click and drag the ends of the curve handles.
curve handle, edit path

8. Select Same. Use your Select tool to select one of the light pink brain matter shapes. Go to Object>Same>Fill and Stroke. This will select everything in the document that is the same Fill and Stroke as what you have selected, so all of your light pink brain matter shapes will be selected.
select same

8. Eye Dropper. An eye dropper will change the color of a selected shape by sampling a color that exists on your artboard. With all of your light pink brain matter selected, click on your Eye Dropper tool which is near the bottom of your tool bar on the left side of your screen. With all of your light pink brain matter selected, click on the yellow brain matter that you adjusted earlier, or on any shape of another color. Now, all of your light pink brain matter should match the shape that you eye-dropped.
eyedropper color

This is only the beginning of the amazing things you can do in Illustrator with a vector file. The great thing about vectors is that they are extremely editable and flexible, so if you learn these techniques, you’ll be able to download a Bigstock vector and customize it for any project. Good luck!


Bigstock Basics: How to Find the Perfect Image

Image Find It Key on Computer Keyboard

(Contributor: Iqoncept)

Finding the perfect image can be as easy as 1-2-3. Keeping the below steps in mind can make your search even more effective.

1. Enter Basic Keywords
Let’s say you want to find an image of a dog. But not just any dog. You want an adorable dog. To begin, you can enter the basic keywords dog and adorable in the main search box. You don’t want to add too many keywords. Entering too many keywords can be limiting, and you’ll end up with too few results.

Screen Shot SEARCH 1

2. Exclude Keywords
After your first search, you will notice that you now have a lot of photos of adorable dogs; however, some cats have managed to sneak in there too. To filter the cats out, we can use the Exclude Keywords field in the REFINE YOUR SEARCH box to the left of the search results.

Screen Shot Search 2

Simply type the word cat in the Exclude Keywords field, and press Search. Poof! You have now filtered away the felines.

Please Note: The Exclude Keywords field can take more than one term. You can remove other unwanted subjects (children, for instance) from your adorable dog images by adding words like children, boy, girl, and baby, just to be safe. And, after clicking on Search again, you will be left with only your adorable dogs. No cats, no kids. You can go on to add any term you do not want included.

3. Open It Up
After filtering what you don’t want, include what you do want. Let’s say you want your dog to have a yummy bone in the image, you can do so by typing bone next to adorable and dog on the search bar right below the REFINE YOUR SEARCH title.

4. Select The Format
If you want a specific type of image, an illustration instead of a photo for instance, you can use our check boxes (also in the REFINE YOUR SEARCH box, to the left). Just check the type of image you want – image, illustration, or vector – and the search will exclude the others.

5. Sort the Results
By default, results are returned showing you the most popular images in your search. The order can be changed to show images that may be more relevant to your keywords. You can also choose to view the newest images in the category. To switch sort order, use the links on the upper right corner, on top of the results, as shown below.

Screen Shot SEARCH 3

Remember, you can refine your search even further. Select whether you would like the images to be only horizontal or vertical. You can even check or un-check our SafeSearch box to include or exclude material that may not be appropriate for all ages.

And, of course, you can always use our “Categories” for inspiration. Happy searching!

Contributor’s Corner: The Hows & Whys of Metadata

Metadata: The informational text that accompanies your image. It is how you identify your content. Metadata is also how your content is identified, searched for, and found by customers.

Screen shot of meta data pop-up window

Metadata 'Info' Page.

Q. How does metadata help me?
A. Good metadata sells images. It is how your content is discovered during searches. By improving the visibility of your images, you will increase your potential to have your images downloaded. The value of your content will increase if your Titles, Descriptions, and Keywords accurately describe what is in each specific image.

Q. How does metadata help a customer?
A. It is important that our customers get the best and most relevant results during their searches. Customers may simply stop searching if they see false or inaccurate (search) results. If a customer is searching for a skyline of Boston, and you have keyworded your New York skylines with ‘Boston’ (just because the cities are both on the East Coast), it will naturally cause some confusion. We always want our customers to have successful searches, and your metadata contributes greatly to that success.

Q. What if I just don’t have time to fill out the metadata?
A. Make the time! Entering metadata may be the final step in the image uploading process, but it is just as important as capturing the perfect shot or creating the perfect illustration. You always have the option to revisit and edit your metadata at any time, but providing accurate and relevant information when you first upload your images will increase your overall earning potential from day one.

A great time saver is to make your own Master Keyword List. Create a document with groups of keywords that are relevant to the type of imagery you usually create. Then, you have saved time by having the same, relevant metadata at hand! We will cover creating lists for keyword metadata in an upcoming Contributor’s Corner Blog Post. You already gave your time and thought to creating images that mean something to you – good metadata will allow customers to find those images easily.

Q. What are some tips for creating metadata?
Think Like A Buyer: Pretend you are a customer looking for something specific. Make a long list of keywords that could pertain to your image. Then, edit. Narrow the list down, being careful to trim what you consider to be on the outer margins of relevance.

Literal then Figurative: Think literally first (“What is actually in the image?”). Then, think about your image figuratively (“What message or theme does my image convey, and what conceptual words can I use to describe it?”).

Latin: Yes, Latin! If you’re providing metadata for plants and animals, Latin words will help give those images an even better chance of being discovered (by scholastic publishing companies, for example). This is also shown in the lobster example, above.

Concepts: Include concepts specific to your image in your keyword list, and be sure to choose the appropriate conceptual Category, too.

screen shot of categories meta data page

Metadata 'Categories' Page.

Q. How can I make sure my metadata isn’t considered Keyword Spamming?
A. We are conducting more audits, more frequently to ensure that customers do not need to scroll through irrelevant results before finding the images they need. We understand that you want the broadest reach possible, but including irrelevant or even semi-related words still constitutes spamming. Keyword spamming multiple locations or using the title field incorrectly not only hurts your sales, but your fellow contributors‘ sales as well.

Q. What’s the best way to create metadata for Editorial Photos?
A. As more and more news organizations are turning to stock imagery for their visual aids, factual accuracy is vital. For this reason, a dateline caption format in the description field for images designated ‘Editorial Use’ is now mandatory. While this topic deserves a post of it’s own, a quick tip is to Think like a photojournalist when writing your captions. Be factual and concise. Without a proper caption/description, all newsworthy editorial images will be returned to your Edit & Submit area.

For More Information, visit the Contributor Help Center. Thank you!

Movie Magic

A tutorial in movie poster design by Art Director and founder of Pureworks, Victoria Jordan.

Lately, I’ve been inspired by a few of the big summer movies like the Dark Knight Rises and The Bourne Legacy which I was lucky enough to screen last week (definitely go see it…lots of great action!) As an homage to summer blockbusters, I looked for a subject among the cool images that Bigstock has to offer. I found this one, which I love, that made me think of the new Total Recall remake. With that inspiration in mind, I’m going to design a poster inspired by Total Recall, in celebration of the summer blockbuster. Keep in mind this is just an inspirational ad. Make sure to check copyright laws when working on your own designs.

So, looking at this image, I think what I’ll do is put a silhouette of a man with a gun into the middle part of this synapse and then bring the title in at the bottom. For the silo of the man, I’ll go back to Bigstock’s collection…

The first thing I’m going to do is to delete the white background from behind our guy. I’ll go to Select > Color Range and use the eye dropper in the white area of the image. This will select all the white areas.

That worked pretty well, but some of the lighter parts of the image (like his forehead, neck and hand) were selected as well and I don’t want to lose those when I delete the white background so I’ll hold down option and use the Lasso tool to subtract those parts from the selection.

Now I’m going to select the inverse of this selection (Select > Inverse) so that I have our guy selected rather than the white background. I’ll copy, and then paste into our synapse image, which I’ve already rotated 90° clockwise (Image > Image Rotation > 90° CW) so that it’s more vertical, like a movie poster.

Now, I’m going to scale and rotate our guy to fit into the center of the synapse.

Next, I’m going to use the Pen tool to create a path to block out the offshoots of the synapse that exist beneath our silo’d guy.

I’ll create a new layer and fill the selection with the same black that makes up the background of the synapse image. [Edit > Fill > Foreground color (use the eyedropper that comes up when this dialog box is on the screen to select the background color of the synapse image.)]

Now I’m going to put in the title. I’d like to use some of the texture that the synapse has in the title so I’ll duplicate the background layer. I’ll do this by dragging the background layer down to the Create A New Layer button in the Layers palette.

OK, I’ve set my type, and I’m going to bring the synapse texture in on the “Recall” part of the title since it’s a heavier weight and will still be readable with a texture in it.

Using the Select > Color Range we used before, I’m going to go back to our duplicate background layer, make the other layers invisible, and select the black in the synapse image. Then I’ll feather it by 1 px (Select > Modify > Feather) so that the edges aren’t so harsh and I’ll hit delete.

Now I’ll duplicate our title layer and turn on the original background layer so we can see the texture of our duplicated synapse as we work. I’ll also duplicate the text layer the same way we duplicated the background layer. Next, I’ll Rasterize the type on this layer (Layer > Rasterize > Type). This will make it into an image and un-editable as text, but it will also make it easier to play with texture.

I’ll drag the duplicate background above our rasterized type and position it where I want it.

Now, I’m going to select the “Recall” letters.

Now I’ll go to our first duplicate background layer and Select > Inverse and delete.

I want to make sure that you can see the texture in the letters so I’ll select inverse again and go back to my rasterized text layer and hit delete. Now that it’s allowing some of the black to show through from the background there’s a more vivid representation of the texture.

Next, I’ll crop a bit of the right side of this off so that my image and title are centered properly.

We could stop here and have a very simple, clean movie poster, or we could add a simple 3D effect. To do the effect, the first thing I do is open a new document In Illustrator and type set the title the same way I did in Photoshop. Then I make a shape out of the type by going to the Type menu and selecting Create Outlines.

The next thing I’ll do, is to copy the title and drag the duplicate above the first title. (Hold down Option + Shift and click on the first title and drag to where you want the duplicate to be.)

Next, I’m going to scale the duplicate title down so that we can create a growth effect. I want the title to look like it’s emerging from the background of our synapse image. (When you have the duplicate title selected, a bounding box will automatically appear. Hold down Command + Option + Shift and drag from one of these corners to scale down, in perspective and centered.)

Since the background of the synapse is black I’ll send the smaller title to the back (Object > Arrange > Send to Back) and make it black. Since our title is basically white, I’ll make the large title white. Now, I’m going to use the Blend tool to create our growth effect. I’ll select both titles, double click on the Blend tool which will bring up a dialog box in which I’ll select “Specified Steps” (this will allow me to control the smoothness of the growth from small title to big title)…

Then I’ll click first on a point in the small title, then I’ll click on the SAME point on the large title (ie. the top right point that makes up the “L” in “Total”). And we’ve made our fab effect!

Now, I’m going to select all (Command + A) and copy and paste it into our Photoshop document as a Smart Object.

Next, I’ll make sure it’s behind our type layers and move it down to where it lines up with the title, and take the opacity of the layer down and…

Voila! We have our movie poster!