Illustrator CS6 is shipping! I’m sure most of you know and have already downloaded the the trial version, but if you haven’t, go and get it already! In the following post I breakdown some of the new features in CS6 and it’s not quite a review, just an overview at what is new. I want to use CS6 for a solid month in production work before I put up my review.

Adobe Mercury Program

The most significant change in Illustrator is the the Mercury Performance System. With the Adobe Mercury Program, Illustrator has native 64-bit support on Mac OS and Windows. You can access all the RAM on your computer to easily open, save, and export large files and preview complex illustrations. Mordy Golding has a good breakdown of what 64-bit Illustrator CS6 actually means and you can read more about the Mercury Performance System over at Adobe.

Flexible Interface

On the surface, Illustrator’s new interface looks darker, but there is a lot more going on under the hood. Now that Illustrator has a new 64-bit framework every panel had to be rewritten. Now a bunch of old issues have been taken care of and we can benefit from new technology. For example: inline editing of layer names, precise color sampling, UI brightness, and a lot more. Mordy has another great post on these enhancements.

Click here to view the embedded video.

Pattern Creation

Creating patterns in Illustrator can be a tedious process but in CS6 the pattern process is greatly improved. Now pattern creation and editing is quicker and more intuitive.

Click here to view the embedded video.

New Image Trace

Illustrator CS6 comes with a new Image Trace engine tailored to create cleaner tracings with less paths, anchor points, and better color recognition than in Live Trace.

Click here to view the embedded video.

Gradients on Strokes

In CS6 you can add gradients on a stroke along the length, across the width, or within the stroke itself. You will also have complete control over gradient placement and opacity.

Click here to view the embedded video.

Gaussian Blur Enhancements

Gaussian Blur and effects such as Drop Shadows and Glows are applied significantly faster than before. To improve accuracy, preview directly on the artboard rather than in a dialog box.

Panel Enhancements

Below are some of the panel enhancements thanks to the new 64-bit framework and interface changes.

Inline editing in panels

Efficiently edit names in layers, swatches, brushes, artboards, and other panels directly in the panels themselves without using intermediate dialog boxes.

Color panel enhancements

Sample colors faster and more precisely using an expandable color spectrum in the Color panel. And now, copy and paste hex values into other applications more quickly.

Transform panel enhancements

One of my favorite enhancements is the Scale Strokes and Effects option, thanks to its new availability in the Transform panel.

Type panel improvements

Use arrow keys to change fonts in context for selected text. Glyphs for caps, superscripts, and more. It can now be accessed in one place, the Character panel.

Control panel enhancements

Quickly find what you need in a more efficient Control panel, now with consistency across options, anchor point controls, clipping masks, envelope distortions, and more.

Dockable hidden tools

Tear off and dock previously hidden tools, such as the Shape and Pen tools. Dock tools horizontally or vertically for a more efficient workspace.

Workspaces with rooms

Move fluidly from workspace to workspace with support for rooms. Achieve consistency across your work areas and maintain layout changes until you actively reset them.

Vectips

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Gmail is probably the most widely used e-mail provider between creative people. It is always simplistic, modern and always works.

Personally, besides my personal e-mail, I use their "custom domain" feature for handling the e-mails of all my projects.

As expected, the content there is very valuable and hard to risk losing. Gmvault is an open source tool that saves the day by backing up Gmail accounts to your drive smartly.

It can backup the entire Gmail account at once and can synchronize afterwards by only picking the non-backed-up ones (there is also an optional encryption).

If we ever want to restore them, Gmvault can do that as well. They can also be restored to another Gmail address (including labels).

There is a Windows installer and ashell/batch client exists for Linux, Mac OSX and Windows.

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Nathaniel Kelso created a couple of really handy scripts to fit text boxes to their content. This might seem like a really basic problem, but these problems are usually the most annoying. There is a script for a text box’s Depth and a script for the text box’s Width. If you work with a bunch of typography in Illustrator I’m sure they will come in handy. Thanks to John Wundes for pointing it out. Download the script here (you need to scroll down a little ).

Vectips

Split Frequency Healing is a technique that you can use in Photoshop that will allow you retouch photos without affecting the photo’s respective tone or texture. In this tutorial, commercial retoucher, Daniel Meadows, who has worked for clients such as Harper’s Bazaar, Elle, Marie Claire, Chanel, and L’Oreal Paris, will explain this technique and how it can be used in your workflow. Let’s get started!

Special thanks to Dubai Photographer, Sherif Mokbel for providing the photography for this tutorial.

Tutorial Assets

The following assets were used during the production of this tutorial.

• Model

Before You Begin

Let’s take a look at the image that we’ll be using for this tutorial. Below you’ll see a typical example of markup you might receive from a client. It might be a jpeg like this, a scan of a pen-annotated print or simply a set of instructions or suggestions, but ultimately you’ll be expected to deliver on a set brief.

We have instructions to clean up the image, a little liquify for a more pleasing curve to the back and waist, and to remove the purple-blue tone from the model’s legs. I’ll cover the techniques you’ll need to complete the shot over the course of several tutorials. Remember not to deviate too far from what your client is asking for, run it by them first. If you think a background color change is really going to make the subject pop, try discussing your ideas, especially if it’s for a portfolio project. If it’s a commercial or editorial job however and the art director wants neutral white, he or she of course, gets white.

There are quite a few ways to achieve a similar result in Photoshop, and I’ll be going through a number of them, often focusing on one in particular and giving a couple of alternatives you might want to try.

The first step we’re going to follow in completing this shot is the healing, the ‘basic cleanup.’ For this we’re going to be mostly using the clone stamp (S), but we’ll do it a little differently to the way the software intended. Be sure to start off using the key commands for your tools, you’ll save yourself a lot of time in the long run. When you’re trying to meet an unreasonable deadline and your left hand is bringing up every tool and command without giving it a thought you’ll thank me for it. Take a look at the look at the shot we have to work with:

The lighting’s a blessing, the well defined shadows and highlights give us a great guide to follow when we come to carving, but we’ll get to that. The skin is very good, with just enough marks and texture variance to give us a good run at the exercise. Remember that with high end commercial retouching you’re going to be getting professional models with great skin, great lighting, make up, wardrobe etc. It isn’t about changing the shot, or the model, it’s about perfecting it. Here’s a close up of the kind of texture variations I mentioned:

It might be instinctive to head straight for the clone stamp or healing tools, but the clone stamp will carry luminosity and tone with it, causing problems in light to shadow or vice versa. The healing tools carry the texture and then attempt to approximate the tone and luminosity with an algorithm. What if there was a way of cloning nothing but the texture, ignoring the luminosity and tone, and simply replacing a piece of texture elsewhere? Well we’ve got one, and it’s called frequency separation.

Split Frequency Healing

Now we’re going to split the image into its low and high frequencies. To get a better idea of what that means, take a look at this blog post regarding the reason for the famous ‘Mona Lisa Smile.’

It was very clear to me that when I looked at her mouth, she wasn’t smiling as much as when I looked at her eyes.

Da Vinci’s Mona Lisa smiles in the blurry low frequency, but not in the high frequency texture. Look directly at the lips in the full image on the left, and then at the shadow that suggests a more pronounced smile in the blurred image to the right:

To split an RGB image into it’s low and high frequencies do the following. Create two copies of your background layer (when we’ve finished the following steps, one will be low, one high, and the original background image is kept for reference).

You’ll notice I’ve renamed them to ‘LF’ and ‘HF.’ As you might expect, to achieve the low frequency image, we use a blur. Gaussian Blur the LF layer at a radius of around 15.

The interesting bit is how we turn the HF layer into one that contains only the high frequency data, so we can view it together with the low frequency layer as one composite image. For an 8bit image, select the HF layer, head to Image > Apply Image, and use the following settings:

For 16bit images use the settings in this box:

Hit ok and you’ll have an image that looks like this:

In that layer is all the sharp, high frequency texture detail we’ve been hoping to isolate, against a neutral grey. To tell Photoshop to ignore the unhelpful grey, set the Layer Mode to Linear Light:

Our image should now look like the image below which is indistinguishable from the original (the eagle-eyed amongst you might notice a barely perceptible difference if you look very closely).

If you switch off the Background layer for a moment and toggle the visibility between just the LF and just the HF layers, you’ll notice that the image we now have is a true composite, one layer without the other doesn’t work.

But together we get the full image. The benefit we have now is that we can clone and heal on just the HF, or ‘texture’ layer without affecting the tones, and we also have the opportunity to fix tones and luminosity on the LF layer without ever affecting the texture.

Grab your Clone Stamp (S), making sure it is set to ‘Current Layer’ (we don’t want to carry any of the low frequency information onto the texture layer):

And begin to remove any blemishes by Alt (Mac: Opt)-clicking an area of good texture and painting over the areas of poor texture:

As you can see, the overall tone and lighting has remained, with only the texture affected. It’s not something we can usually do with the Clone Stamp, and the Healing Brush can fall short.

You may notice that this method fails when dealing with hard edges, and areas where there is a dominant tone beneath the texture, such as the rather extreme example below:

For this reason, it’s necessary to start a new layer above your frequency layers, and clone over any problem areas this way. Don’t forget to set the Clone Stamp’s Sample back to Current & Below.

Healing Completed

And here’s a close up of the skin after nothing but some careful cloning, 95% of which was done on the high frequency layer:

Conclusion

At this point, we’ve improved the condition of the model’s skin so we don’t have to worry about print size, we know the blemishes are gone and for many purposes this is far enough. Not for us of course, in the next tutorial we’re going to head into dodging and burning, locally adjusting luminosity to even out tones. Please share and post your comments, and I’ll see you soon!

Psdtuts+

This post is part of a weekly series showcasing inspirational vector art. Although the series showcases vector art, some work might just be vector inspired, not created completely with vector art. If you have any art suggestions, feel free to comment! For more vector art inspiration, check out the Vectips Flickr Group.

M Magazine, C’est une maison verte by LA TIGRE

M Magazine, C’est une maison verte by LA TIGRE

M Magazine, C’est une maison verte by LA TIGRE

IL #40, Cover + Coverstory Design by LA TIGRE

IL #40, Cover + Coverstory Design by LA TIGRE

IL #40, Cover + Coverstory Design by LA TIGRE

mondo: toy story by strongstuff

Mic’s Chilli by Steve Simpson

Mic’s Chilli by Steve Simpson

Cavistons by Steve Simpson

Cavistons by Steve Simpson

Sangwine by Lydia Nichols

Sangwine by Lydia Nichols

Glen Brogan

Ride by bandito design co

Andrew Kolb

dark-side cats by zutto

De Flore by ilya kazakov

De Flore by ilya kazakov

Man-Tsun

Man-Tsun

The Pendoring Awards 2012 by Clement de Bruin

Infografía – Composta en la ciudad by Yurex Omazkin

Migros magazine by Lindedesign

Vintage Water Pistol by Glennz Tees

Flora by Invisible Creature

Print Mighty T-Shirt by Anna Johnstone

The Manual, Iss. 2 by Always With Honor

TV EMAs by Always With Honor

Trouble in Lost Woods by Always With Honor

Vectips

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.

• Milk splash
• Chocolate texture
• Volcano depth
• 3D Lights and Chocolate Material
• Wrexham Script

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

Psdtuts+

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.

Psdtuts+

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JQVMap is a jQuery plugin for rendering vector maps by using SVG for modern browsers and VML for the rest.

It is a heavily modified version of another plugin, jVectorMap, and comes with ready-to-use maps of "world, USA, Europe and Germany".

There are several customization options for beautifying the maps including colors, borders or their opacities.

Maps can have zooming enabled or not, show tooltips of data when hovered and there is callback for clicks.

Also, it is possible to select any regions on initial load or after any custom event.

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In this article we will showcase the work of Ukrainian artist, Alla Mingalyova (AKA AllaD8). Mingalyova’s photo manipulations are fun, feminine, and beautiful. Let’s take a look!

The Swan Princess

I Need a Hero

My Secret Friend

Spirited Away 2

Waking Up

Farewell

Blonde

Miss S.

2008

Psdtuts+

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When working on a new web project, during the HTML coding process, using Lorem Ipsum as filler content is a common approach (yet, there great Lorem Ipsum alternatives).

Fixie.js is a simple JavaScript library (with no JS framework dependencies) that automatically analyzes your semantic HTML5 tags and adds the right type of content inside the related elements.

It is not limited to simple text but can also add links, sections and images. Just add the fixie class to the element you wish and the matching dummy content will be displayed there.

Special Downloads:
Ajaxed Add-To-Basket Scenarios With jQuery And PHP
Free Admin Template For Web Applications
jQuery Dynamic Drag’n Drop
ScheduledTweets

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