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Next we need to pixelate the new layer, and we can do that by going up to the Filter menu at the top of the screen, choosing Pixelate, and then choosing Mosaic. Now that we've pixelated the image, there's a few different things we can do with it, and we'll look at them next. We can also tell that the layer mask, not the contents of the layer, is currently selected by the white highlight border appearing around the layer mask thumbnail. Press "D" and then "X" on your keyboard to set black as your Foreground color and white as your Background color. With the Gradient Tool selected and our Foreground and Background colors set to black and white, look up in the Options Bar at the top of the screen to see which gradient you currently have selected.
If it's showing some other gradient, click on the small, down-pointing arrow to the right of the gradient preview area. Click the down-pointing arrow to the right of the gradient preview area and select the gradient in the top left corner of the Gradient Picker. Now that we have our black to white gradient, we can use it to blend the Background layer and the pixelated layer together, creating our first variation on the effect. Drag out a gradient through the area where you want the blend between the two layers to appear.
The area between where I started and finished my gradient is going to become the transition area between the pixelated image on "Layer 1" and the original image on the Background layer.
Using a soft-edged brush and with black still as our Foreground color, I'm going to reveal the main part of his face by simply painting over it with my Brush Tool. Use a soft-edged brush to paint away parts of the pixelated layer, revealing the original image underneath.
The main parts of his face now appear as they were in the original photo, while the rest of the photo remains pixelated. I'm going to let the original image partially show through the pixelated image, and I can do that simply by going up to the Opacity option in the top right corner of the Layers palette and lowering the opacity value. Lower the opacity of the pixelated layer to allow the original image to partially show through.
To create even more variations on the effect, experiment with different blend modes for the pixelated layer by going up to the blend mode options in the top left corner of the Layers palette and selecting different ones from the list. Set the Opacity of the pixelated layer back to 100%, then change the blend mode of the pixelated layer to "Darken".
Just to show you how much different an effect can look simply by changing layer blend modes, we'll try one more. The misconception about resolution in digital images bound for the web is that they must meet a certain number of dots per inch. When someone asks you for a web image that’s, say, two inches wide, they’re estimating how it would appear on their own monitor.
A pixel (which is short for “picture element”) is the smallest unit of measure on a grid displaying a digital image.
Shown above, resampling changes the image’s size by increasing or decreasing its number of pixels. Web design is concerned with resampling, not resizing, because every pixel in a web page will always be the same size. You can’t make an image appear larger on screen by resizing its pixels because every pixel on the same screen will always be the same size. Photoshop’s Image Size box (Image ‚Ui Image Size) controls both the resizing and resampling of images.


The “Resample” checkbox changes how many pixels fit into a linear inch—literally the pixels per inch.
With the resampling box left unchecked, changing the “resolution” box would alter the image’s physical size when printed, but not its number of pixels.
The number of pixels per inch is still relevant online, but DPI settings do not affect how an image is displayed. Computer monitors can be physically measured in inches, and each displays a certain number of pixels. A digital billboard measuring 47 x 12 feet might use only 888 x 240 pixels (about 1.6 PPI). A single PNG file measuring 100 x 100 pixels would fit on both the 888 x 240 billboard and the 320 x 480 iPhone. Print the same number of pixels at different pixel densities to see different sizes on paper. The result is that this one image would have the same number of pixels but a different width in inches. None of the units ever strayed far from 12 points per pica: 6 picas per inch = 72 points per inch. Each pixel on the original Mac’s 9-inch (diagonal) and 512 x 342 pixel screen measured exactly 1 x 1 point.
Today, designers and clients alike understand that the sizes of items on the screen are not absolute.
As PC monitors surpassed the pixel density of Mac monitors in the mid-1990s, websites built on Windows boasted smaller font sizes, much to the dismay of Mac users. We know now that DPI alone doesn’t change an image’s size on the web, and we have no control over which device an image is displayed on. Fluid-width layouts, which change according to the browser’s size, can better accommodate a range of devices and monitors. WDD staff are proud to be able to bring you this daily blog about web design and development.
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Normally those are Photoshop's default Foreground and Background colors, except when we have a layer mask selected, which we currently do. I want the transition area of my blend to appear across the guy's face, so half of his face (and half of the image as well) is pixelated and the other half is not.
Since I'm painting on the layer mask and not on the image itself, anywhere I paint with black will hide the pixelated layer and reveal the Background layer beneath it.
That's our look at how to create a simple "digital pixel" effect and a sample of how we can create different variations on the same effect, and even create entirely new effects, by experimenting with layer masks and blend modes in Photoshop.
From proper alignment to getting just the right amount of white space, sizing photos and graphics properly beforehand is essential to creating a balanced look. Without changing the image’s pixel dimensions, that image would appear larger or smaller on different monitors—and would even look different on the same monitor at a different resolution setting. We’re not increasing or decreasing the number of pixels, only changing how large those pixels are when printed.
If we turn off resampling, the only way to change the image’s size would be to enlarge its pixels for printing.
If we alter an image from 300 x 100 pixels at 72 DPI to 300 x 100 pixels at 144 DPI, how many pixels would we have?


On a Mac, go to Apple Menu ‚Ui System Preferences, and then click on “Displays” to see the various resolutions at which you can set your monitor. But if you hold a ruler to the screen, you’ll see that the size of icons and windows is inversely proportional to the number of pixels displayed.
The differences in each display’s PPI make the image on the right-hand display appear larger, even though it has fewer pixels overall. It was an important standard by 1984, when Apple prepared to introduce the first Macintosh computer. As screen technology and memory improved, computers were able to display more pixels on the same size monitor.
Today, screens for both platforms enjoy pixel densities high enough to make the differences moot. Modern browsers, from FireFox 3, Safari 3 and Internet Explorer 7 and up, are better than older versions at scaling images on the fly. If the page width were flexible, resizing your browser window would expand the image—but not past its original 800 x 323 pixel dimensions. Drag the slider bar at the bottom to change the Cell Size option, which increases or decreases the number and size of pixels that are created from the image.
Whenever we have a layer mask selected, the default colors get swapped, with white becoming the default Foreground color and black becoming the default Background color. It’s an inverse relationship: images with larger pixels will have a lowerpixel density (fewer pixels in the same number of inches) when printed.
For Windows, right-click on the desktop and select “Personalize,” and then choose “Display settings.” Change the screen resolution (number of pixels) and watch as the items on your Mac or PC desktop get larger or smaller. Many image editors, including Adobe Photoshop, assume that an image is 72 DPI if the information is not stored. The Mac’s interface was designed to help people relate the computer to the physical world. This way, if you printed an image or piece of text and held it next to the screen, both the image and hard copy would be the same size. Matching a print-out to the screen became even less certain when raster and vector apps allowed users to zoom in and examine pixels closely.
The max-width CSS property forces images to fit their container but not grow past their actual size.
Dragging to the right creates fewer but larger pixels, while dragging to the left gives you more but smaller pixels. To quickly set our Foreground and Background colors to black and white respectively (remembering that we have a layer mask selected), press D on your keyboard to reset them to their defaults, and then press X to swap them. Software engineers used the metaphor of a desk to describe the arcane workings of a computer, right down to “paper,” “folder” and “trash” icons. By the mid-1990s, Microsoft Windows could switch between 72 and 96 pixels per inch on screen. This made smaller font sizes more legible because more pixels were available per point size.



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