Step 1 – New File/Pen Tool Technique

Open Photoshop and set up a new document (Command/Ctrl + N). Use the following settings:

• Resolution: 72dpi
• Color Mode RGB color
• Dimensions: 600×600 px

Create the following shape using the Pen tool (P).

Step 2 – Creating Shapes Using Pen Tool

Draw the back part of the folder using the Pen Tool using the same drawing technique. Then draw the stripe as shown.

Step 3 – Finishing the Shapes

Once you have finished drawing your folder, go ahead and add the paper and arrow as shown. You should now have the following 5 layers. Each shape will be in its own layer. Be sure to give each layer a unique name.

Step 4 – Adding Colour Effects

Add the following layer styles to the front part of the folder. Lower opacity to 90%.

Add the following layer styles to the Paper. Lower the opacity of the layer to around 90-95%.

Add the following layer styles to the Stripe.

Add the following layer styles to the rear part of the folder.

Add the following layer styles to the arrow.

Your icon should now look like this.

Step 5 – Adding Reflections

Add a new group named “refs.” Use the pen tool to draw reflections as shown. Make sure you draw your shapes as paths instead of shape layers (see arrow). After you have closed the path, right-click on the workspace and choose “make selection” (feather 0). Pick up a big brush (master diameter around 470, hardness 0) and brush round the right part of the selection as I did creating a white reflection. Change the blending mode to Overlay and reduce the opacity to 63%.

Step 6 – Margins

Create a new group named “margins,” create a new layer in it (Command/Ctrl + Shift + N). Adding highlights on the margins emphasizes the effect of the 3d icon. Use the pen tool to create the stroke lines around the corners and all the margins of the folder, paper and arrow. Then, right-click on the workspace and choose stroke path – brush. The brush settings must be changed to 8 px master diameter, hardness 0.

Step 7 – Shadows

Create a new layer (Command/Ctrl + Shift + N) for shadows and place it into a new group (Command/Ctrl + G). Make selection as you did in step 5 for creating reflections. Fill the selections with black and then blur the margins using the blur tool. If the shadows look too strong, it means that you must lower the opacity of the layer to 40%.

Step 8 – Adding Text

Add text using whichever font you like. In this case, I chose “Agency FB.” Font size: 40, Layer Opacity: 75%.

Step 9 – Add the Final Reflections and Shadows

Add some more reflections to the paper using the same techniques we demonstrated in Step 5.

Add a shadow using the ellipse tool (E). Draw an ellipse as shown and add a slight motion blur. Reduce the opacity to your liking.

Final Preview

I hope you enjoyed this tutorial. I added some additional icons that I created using the same techniques below.

Step 1

Job number one, as ever, is pooling your assets together. I got the man from iStockphoto here and the tree bark (courtesy of K. Tuck) from stock.xchng here.

Step 2

Cut out the face using the Pen tool (set to Paths not Shape Layers). Cut and paste it into your blank canvas (1562 pixels by 1172 pixels at 300dpi). Open up the bark image, and import it into your working document. Resize and rotate the document as in the screengrab.

Step 3

Use the Clone Stamp tool to fill in the rest of the texture. Avoid easily recognizable repetitions in the texture like the ones circled. Clone them out. I used a 200 pixel, soft-edged brush to do this

Step 4

Turn the visibility of the “Bark” layer off (clicking the eye icon next to the layer thumbnail will do this). Go to the Channels palette, select the channel with the best contrast, and duplicate this channel into a new document.

Step 5

Apply a 2 pixel Gaussian Blur to your new document and then adjust the Levels as in the screengrab below. Save as “Displace.psd.”

Step 6

Reselect the “RGB” channel (so all channels are selected and the image is now back in color) and return to the Layers palette. Make the “Bark” layer visible and select it. Go to Filter > Distort > Displace. Set the Horizontal and Vertical scale to 1 (or try other values), select Stretch To Fit and Repeat Edge Pixels. Set the Layer Blending Mode to Multiply. You can see how it’s distorted over parts of the face.

It hasn’t quite put it in the right place so move the “Bark” down the face until the distortions match the face. Use this wrinkle (circled) as a guide as to where to put it.

Step 7

Duplicate the “Bark” layer twice. Set one to Multiply with an Opacity of 100%. Set the other to Normal at 40% Opacity. Position in the Layer hierarchy as in the image below.

Step 8

Command-click on the “Face” Layer to create a selection. Select the “Bark Normal 40% Layer” and go to Layer > Layer Mask > Reveal selection. Repeat this for the “Bark Multiply” Layer. Zoom into 300% and use the Pen tool to draw around the eyes and the mouth. Add a rough edge to the top of the mouth. Press Commmand-click on the Path thumbnail to create a selection.

Step 9

Select the “Bark Normal 40%” Layer Mask thumbnail to work directly on the Mask. Select black as the background color and then delete the selection from the Layer Mask. Repeat this process for the “Bark Multiply” Layer.

Step 10

Go to Layer > New Adjustment Layer > Curves and set up as shown below. Then fill the Adjustment Layer Mask with black so the effects aren’t visible.

Step 11

Turn off the visibility of the “Bark” Layers and use the Pen tool to draw a paths around the hard edges we need to mask. The bottom of the nose and cheek lines are good examples. Command-click on the Path thumbnail to create a selection from it.

Step 12

Select a soft-edged (0% Hardness) brush, loaded with white (as the foreground color) and set to 16% Opacity. Paint directly on the Layer Mask. Press Command + H to hide selection the, if it helps. Draw over several times, applying more at the shadow source and less as you get further from the harsher shadows.

Step 13

Draw around other features which produce hard lines such as the bottom lip. Draw the Shadows in the same manner.

Step 14

Create a selection from the “Face” layer by Command-clicking the layer thumbnail. Draw all the shadows in…

Step 15

…Changing the Brush size to suit size of the area you’re treating. Around the lip for example, use a small brush.

Step 16

Turn the “Bark” layers off to see the key areas of shadow. You can still work on the Mask with the face showing. I flick between working with the “Bark” visible and invisible.

Step 17

In order to soften or erase any shadows that you’re not happy with, change the brush color to black and draw on the mask in the same way as before. Keep working on the Mask until you get it right.

Step 18

Whilst drawing on the Mask, you should be changing your brush size and the opacity to suit the shadow. For a big gradual shadow you’ll want around a 300 pixel brush set to 16% Opacity, all the way down to 18 pixels and increasing the opacity to suit. Finally, apply a 0.6 pixel Gaussian Blur to the Adjustment Curve Layer Mask to soften the hard edges.

Step 19

Duplicate the “Bark” Layer that sits beneath the “Face” Layer. Set them up so they are the same as the top Bark layers, one Normal at 40% opacity, one Multiply at 100%. Then under those two layers create a new layer and fill it with C=61%, M=66%, Y=66%, and K=62%.

Step 20

Create a selection from the “Face” Layer (Command-click the Layer thumbnail) and go to Select > Inverse. Then go to Select > Modify > Expand. Give it a 1 pixel expansion. Select the Curves Adjustment Layer Mask and Fill the selection with 20% black.

Step 21

Create a selection from the Eyes/Mouth Path you made earlier. Add some shadows by drawing on the Curves Adjustment Layer Mask.

Step 22

To further fuse the elements together, and to grade the image, add a Curves and a Hue/Saturation Adjustment Layer to the top of the Layers hierarchy.

Step 23

Flatten the image and go to Filter > Liquify. Select the Bloat tool and set up roughly how it is in the image below. We want to add a 3D quality to the areas such as cheeks, nose, and forehead. Select an appropriate Brush size for each of these areas and click on each a few times rather than dragging the brush around.

Conclusion

You can always add some real world effects such as leaves and bugs to the final image – go nuts. This technique works for applying any texture to any surface, for example you could make a brand new Mercedes SLK rusty and riveted, or make a house out of skin. Go have fun whilst you perfect your craft. You can view the final image below or view a larger version here.

Step 1

Start by creating a file with a size of 700×800 pixels and a resolution of 300ppi.

Step 2

Next, start by opening the file Wall.jpg then desaturating it by going to Image > Adjustments > Desaturate, just like what I did below. You might need to play with the Level settings (Command/Ctrl + L) to add more contrast to the wall.

Step 3

Next, is to add the ceiling. To do this duplicate (Command/Ctrl + J) the “Wall.jpg” then reshape it by pressing Command/Ctrl + T to activate the resizing handles. Press right-click then select Free Transform from the dropdown menu, then follow the indicated direction of distortion below.

Step 4

Next, open the Floor.jpg then resize it just like what we did with the ceiling. I also changed the image’s hue and saturation by clicking Command/Ctrl + U then adjusting it to decrease the overall brightness and saturation of the image.

Step 5

Next, with the use of the Rectangular marquee tool (M), I removed a rectangular section on the lower center area of the wall, just like as shown below.

Step 6

Next, reduplicate the Wall.jpg, our first layer, then reshape it by clicking Command/Ctrl + T then select Free Transform from the dropdown selection. I shaped/distorted it in a certain manner that would create a hallway like structure.

Make sure that the “gap” lines of the wall meet so that the flow of the blocks will be continuous.

Step 7

Next is to add the opening of the tomb, which opens to a sunset colored sky. To do this, open the Sunset.jpg, apply a layer mask then use the Brush tool (B) set to color #000000 and hardness ~85% then start to cover the areas we don’t need. You could also try to use color gradients and digital painting to make the sunset as another way to do this.

Step 8

Next is to add the stairs going to the tomb. To do this, open the Concrete.jpg then cut rectangular shapes out of it just like as shown below. Make a set of these shapes from the bottom up to the main opening of the tomb. Make sure to decrease the size gradually as you go up through the stairs, you can do it by pressing Command/Ctrl + T to activate the resizing handles.

The final result should look like as shown below.

Step 9

Next, I changed the color levels of the stairs. To do this, in the Layers tab, you should first select the components of the stairs by pressing Shift key then clicking the layers needed. Press right-click then select Merge Layers from the dropdown menu. Once merged, press Command/Ctrl + Alt/Option + L to activate the Levels window. Drag the handles so that the result will give you a somewhat dark-brown color just like as shown below.

Step 10

Next add a new layer just below the “merged stairs” layer. Then, using a soft, small-sized brush (B), paint the indicated areas with color #000000 with an Opacity level of ~80%

Step 11

Next, using the same brush settings we used for the shadows for Step 9, paint the areas indicated below but know using color #ffffff.

Step 12

Next, using a soft, mid-sized brush, about ~125px, and Opacity level of about ~30%, brush the areas indicated below. Don’t paint the entire indicated area, just paint some patch of small areas, we did this because we want to emphasize that the ground is uneven.

Step 13

Next, open up the Statue.jpg. Using the Pen tool, trace the entire outline of the statue. Once selected, press right-click then select Make Selection from the dropdown menu. Next, press Command/Ctrl + Al/Option + I to inverse the selection, then press delete. Duplicate the Statue.jpg, then place one on both sides of the entrance. The color tone of the original Statue.jpg is far in comparison with the dominant color scheme of the environment. To fix this, press Command/Ctrl + Alt/Option + U to open the Hue/Saturation window. Here, you can slide the handles to match the color of the statue to the overall color scheme of our scene.

Step 14

Next I started to paint the first shades of shadows in the lower areas of the wall and the statues.

Step 15

Next, using the Brush tool (B) paint the cast of light coming from the environment (light on the walls and stairs), and the one coming from our source of light, which extends to the floor of our tomb.

Step 16

Next, using the Wall.jpg, I cut then reshape, base on the perspective of our scene, a small rectangular shape of the image then placed it on the upper portion of the opening.

Step 17

Next is to add the highlights for our scene. Using different variations on brush settings, paint the areas indicated below, paying close attention on the light source, light reflections, and surface lights. Like what I did below, I painted some highlights on the statues, which comes from the reflected light from the floor.

Step 18

After adding some highlights to our scene, I started out to add the primary set of shadows for our image. Using different size and hardness of brush (B), with color #’s close to 000000, start painting out the shadows to the areas indicated below. Use harder and more opaque brush settings for the corners on the ceiling, the shadows casted by the statues, and the corners on the floor.

Step 19

Next, I added a darker set of secondary shadows with the use of soft, mid-sized brush.

Step 20

Next, add a new layer then using the Paint Bucket tool (G), fill the entire image with color #8d4200. After that, decrease the layers Opacity level to ~36% and change its Blend Mode to Overlay. This step will help us blend the image and set the mood of our scene.

Step 21

Next, using a soft, ~70% Opacity level, mid-sized brush (B), paint the areas indicated below with its corresponding color #’s. Just like what we did in Step 19, change the layer’s Blend Mode to Overlay then decrease its Opacity level to a higher value of about 60%. This layer will add the warm color effect we need for our scene.

Here’s the final effect should look like.

Step 22

Next, using a small brush with hardness level of ~70%, paint some light rays coming from our main light source just like as shown below. Next go to Filter > Blur > Gaussian Blur, then apply a 9.3 pixel blur level.

Finally, decrease the Opacity level of the blurred lines we just made. The effect should look like as shown below.

Step 23

Next, using the Brush tool (B), paint the Sun in our scene. In painting the Sun, start with brushes with hardness level of about 60%, the gradually decrease it as you increase the brush size. After that, add a new layer then paint the areas close to the opening, upper areas of the stairway, with warm yellow to brown color tones, then use Overlay or Soft light as Blending Modes. You can decrease the Opacity level of the layer to adjust the intensity of the layer.

Step 24

Next, I added some “boque”-like effects by using a 100% hardness brush with color #ffffff. After that, I change its Blend mode to Overlay then decrease its Opacity level to about 15%. Make sure that if you’re going to intersect two “circle lights” do this into two separate layers.

Step 25

Next, add a new layer then, using the Paint Bucket tool (G), fill the entire layer with color #000000. Next go to Filter > Render > Clouds, Fig. 1. Next, change its Blend Mode to Overlay then decrease its Opacity level to 70%, Fig. 1. After that, press Command/Ctrl + T to activate the resizing handles, then press right-click then select Warp from the dropdown menu. Warp the clouds just like as shown in Fig. 3. Finally, erase the areas indicated in Fig. 4.

The final effect is shown below. We did this so to add an effect of air and dust rushing outside the tomb.

Conclusion

That’s it, we’re done. The final product is shown below. Hope you had fun working on this project and learned something new! Thanks for reading!

Step 1

Make a new .PSD document, size 600 x 450 pixels, RGB color, 72 dpi and transparent background. Paint the new layer with black color (press Alt + Backspace key to use the foreground color of PS toolbar). Now we will create a layer style based on a gradient that will include several grey tones, with a bright area to simulate a metallic car door.

Step 2

We will add Color Overlay in Multiply Blend mode using color #990000. But we can later give the car the color we wish.

Step 3

Create some text using an extra bold font in grey color #999999, similar to the ones that are usually used in this kind of motor badges. I have chosen TS Block. Reduce the size of the X as shown and increase the baseline shift in order to join some edges of these 3 letters and give more realism to the fake industrial design. So type “4” with TS Block font and apply some character parameters (see image). Type “x” and edit it (see image) and then Copy-Paste the first “4” (press Command/Ctrl + C + Command/Ctrl + V) to get “4×4” text.

Step 4

Add a layer style with a 3 pixels Outside Stroke and color #666666.

Step 5

We will separate the stroke style in a new independent layer. To do so we click the mouse’s right button on the “fx” icon of the layer and then choose the option “Create Layer”.

Step 6

Now we have a new layer -with the name of the style we use- and we will add new layer styles to this layer to simulate the badge’s bevel. But first let’s define the style of the front text.

Step 7

With some values inside the layer styles window we will create the front of the badge. The layer that will work as a pseudo 3D bevel can be seen behind.

Step 8

Now we will work on the bevel of this badge with the values for Bevel and Emboss and Outer Glow you can see in this picture. The idea is to add the chrome effect to the bevel of the object. You can choose the angle and color tones that better help you create this effect.

Step 9

Now we will create the black plastic base that these badges have in the back, which is the area that is stick to the car. Duplicate the text layer and Clear its layer styles. We will use a very hard Drop Shadow little bigger than the text and lightly moved towards down, using color #202020. Repeat Step 05 to separate this style in a new layer.

Step 10

This must create a 3D effect that we will add more layer styles to give some embossed effect to this new element. We will give a Bevel and Emboss effect to this layer as well for it to have a tridimensional look. Then add a Drop Shadow that simulates the shadow of the badge projected on the vehicle.

Step 11

Always using the same editable 4×4 text, we will now create a mask using a selection with a 3 pixels feather.

Step 12

We will add an outer glow effect to this soft masked text in order to simulate the light sparkle that passes through the badge.

Step 13

To finish the work we will add a Lens Flare in the edge of the badge. I usually create these effects with a KPT plug-in for Photoshop but I share a download link of a .PNG with a pack of flares of my own collection.

Step 14

Choose a lens flare FX from the .PNG and copy- paste it into our .PSD file. Edit its size and place it in the left side of the badge, matching it with the passing light Y position.

Conclusion

You could try with a logo or other fonts. Don’t forget to join the letters or shapes of your work in order to give more realism to your badge. You can view the final image below. Good luck!

Step 1

Create a 700 by 700px document then select the Rectangle Tool (M). Create a 256 by 256px square, fill it with white and name it “Grid”.

Step 2

Enable the Grid (View > Grid) and the Snap to Grid (View > Snap to Grid). Next, you’ll need a grid every 5px. Go to Edit > Preferences > Guides & Grid, enter 5 in the Gridline every box and 1 in the Subdivisions box. You can also open the Info panel (Window > Info) for a live preview with the size and position of your shapes. Do not forget to replace the unit of measurement to pixels from Edit > Preferences > Unit > General. Al these options will significantly increase your work speed.

Step 3

Pick the Rectangle Tool (M) and create a 15 by 395px shape. Fill it with R=255 G=222 B=23 then duplicate it. Select this copy, move it 15px to the right and fill it with black. Reselect both rectangles and go to Object > Distort & Transform > Transform. Enter 12 in the “Copies” box and 30px in the Move-Horizontal box then click OK and go to Object > Expand Appearance.

Step 4

Select the shapes made in the previous step, rotate them and place them above the shape made in the first step (as shown in the image below). Make sure that you cover the entire square. Select the yellow shape and go to Object > Compound Path > Make then select the black shapes and go again to Object > Compound Path > Make.

Step 5

Make two copies of “Grid”. Select the yellow shape along with a copy of “Grid” and click on the Intersect button from the Pathfinder panel. Select the resulting shapes and go to Object > Compound Path > Make. Select the black shape along with the other copy of “Grid” and click on the Intersect button from the Pathfinder panel. Select the resulting shapes and go to Object > Compound Path > Make.

Step 6

Select the original “Grid” shape and Bring it to Front (Shift + Control + ]). Fill it with none, add a 15px, aligned to inside stroke (R=255 G=222 B=23) then go to Object > Expand Appearance. Select the resulting shape along with the other yellow shapes and click on the Unite button from the Pathfinder panel.

Step 7

Select the yellow shape, add a new fill (from the flyout menu of the Appearance panel) and use the linear gradient shown in the second image. Take a closer look at the gradient, the yellow text stands for Opacity and the white text stands for Location. Add a third fill, make it black, lower its opacity to 5% and change its blending mode to Multiply. Select this fill (from the Appearance panel), go to Effect > Artistic > Film Grain, enter the data shown below image #3 and click OK. Finally, add a 2px, aligned to inside stroke. Make it white and lower its opacity to 15%.

Step 8

Pick the Ellipse Tool (L), hold Shift and create a 150 by 150px shape. Double click on it (in the Layers panel) and name it “Button”. Duplicate this shape (Control + C > Control + F) then select the copy and go to Object > Path > Offset Path. Enter a -5px Offset and click OK. Select the resulting shape along with the copy and click on the Minus Front button from the Pathfinder panel. Pick the Rectangle Tool (M), create a 150 by 150px shape and place it as shown in the fourth image. Grab the Delete Anchor Point Tool (-) and click on the bottom, right anchor point. Select the resulting shape along with the thin shape and click on the Minus Front button from the Pathfinder panel. Name this newly created shape “Right”.

Step 9

Make another copy of “Button”. Select this copy and go to Object > Path > Offset Path. Enter a -10px Offset and click OK. Select the resulting shape along with the copy and click on the Minus Front button from the Pathfinder panel. Pick the Rectangle Tool (M), create a 150 by 150px shape and place it as shown in the fourth image. Grab the Delete Anchor Point Tool (-) and click on the top, left anchor point. Select the resulting shape along with the thin shape and click on the Minus Front button from the Pathfinder panel. Name this newly created shape “Left”.

Step 10

Select shape “Button” and fill it with R=190 G=30 B=45. Select the fill (from the Appearance panel) and add the Inner Glow effect (Effect > Stylize > Inner Glow) shown below image #1. Add a new fill for this shape and use the radial gradient shown below. Select this second fill and lower its opacity to 75%.

Step 11

Select “Left”, fill it with the linear gradient show in the first image, lower its opacity to 80% then add a 5px Gaussian Blur effect (Effect > Blur > Gaussian Blur). Select “Right”, fill it with the second linear gradient, lower its opacity to 30% then add a 5px Gaussian Blur effect. Next, you need to mask these two shapes. Group them (Control + G) and open the Transparency panel. Duplicate “Button”. Select this copy, Bring it to Front (Shift + Control + Right Square Bracket) and fill it with white (remove the extra fills and effects). Select this white shape along with the the group, open the flyout menu of the Transparency panel and click on Make Opacity Mask. Now your group should look as shown in the fourth image.

Step 12

Select the shapes made in the last four steps and place them as shown in the following image. Make a new copy of “Button” and move it below the original shape (in the Layers panel). Select this copy, move it several pixel down and to the right then fill it with black and add a 10px Gaussian Blur effect. Pick the Ellipse Tool (L), create a smaller circle and place it as shown in the second image. Fill it with black, lower its opacity to 80% then add a 15px Gaussian Blur effect.

Step 13

Pick the Type Tool (T), click on your Artboard and add the white “Launch” text. Use the info shown in the Character panel then go to Object > Expand. Select the resulting group, add the Inflate effect (Effect > Warp > Inflate) then go to Object > Expand Appearance. Select the resulting shapes and go to Object > Compound Path > Make.

Step 14

Now, let’s add a grunge effect for the text. Open the Brushes panel (Window > Brushes). Open the flyout menu and go to Open Brush Library > Artistic > Artistic_ChalkCharcoalPencil. Pick the Pen Tool (P), draw a horizontal path (as shown in the first image), click on the Chalk brush then go to Object > Expand Appearance. Select the resulting shapes, fill them with black and go to Object > Compound Path > Make. Open the Transparency panel. Select the text along with the black path, open the flyout menu of the Transparency panel, click on Make Opacity Mask then uncheck the Clip box. Finally, select this masked shape and lower its opacity to 80%.

Step 15

Pick the Ellipse Tool (L), draw a 35by35px shape and place it as shown in the first image. Fill it with white, lower its opacity to 90% then go to Effect > Blur > Gaussian Blur. Enter a 15px Radius and click OK. Reselect the Ellipse Tool (L) and draw a 15by15px shape. Place it as shown in the second image, lower its opacity to 40% then add a 5px Gaussian Blur effect.

Step 16

Group all the shapes created so far (Control+G) and grab the Rectangle Tool (M). Draw a shape the size of your artboard (700 by 700px) and Send it to Back (Shift + Control + Left Square Bracket). Select this rectangle along with the group, pick the Selection Tool (V), click on the border of the rectangle (it should get emphasized), then click on the Horizontal Align Center and Vertical Align Center buttons from the Align panel (Window > Align). Now, your group should be placed in the center of your artboard.

Step 17

Duplicate the group made in the previous step. Select it and click on the Unite button from the Pathfinder panel. Select the resulting shape along with the larger rectangle and click on the Minus Front button from the Pathfinder panel.

Step 18

Select the shape made in the previous step, fill it with R=40 G=40 B=40 then add a new fill. Select this second fill, make it black, lower its opacity to 10%, change its blending mode to Multiply then go to Effect > Artistic > Film Grain. Enter the data shown below then click OK. Finally, add a 4pt, aligned to inside stroke (R=100 G=100 B=100) and a 2pt, black, aligned to inside stroke.

Step 19

Reselect the group made in the sixteenth step, move it in the top of the Layers panel and go to Effect > Stylize > Drop Shadow. Enter the data shown below, click OK and you’re done.

Conclusion:

Now that the button is complete, you can apply it to a variety of uses, such as icons, web designs or user interfaces. You can even use the techniques you’ve learned in this tutorial to make additional icons and elements for a pretty cool looking web design.

3D Modeling

Step 1

Take the Ellipse Tool (L) and create a circle without a stroke, filled with a random color.

Now take the Rectangle Tool (M) and create a rectangle as shown in the figure below.

Select both shapes and align them towards the horizontal that passes through the centers of these figures using the Align palette.

Step 2

Keep the shapes selected, hit the Intersect button from the Pathfinder palette.

Now build another rectangle and place it as shown in the figure below.

Select both shapes and hit the Minus Front button from the Pathfinder palette.

Now we’ve created the shape of the vertical section of the wedding ring.

Step 3

Take the Pen Tool (P) and create a vertical line at a certain distance to the right of the created shape.

Now select and group up these two objects (Command + G). Keep the group selected, go to Effect > 3D > Revolve…

Leave the effects parameters at random, it is only the Offset that should be set from Right Edge. As a result of these actions, we’ve created the ring shape.

Step 4

At this step we can edit the shape of the ring by moving the ring section horizontally and editing the shape of the section itself, if needed. To do this, use the Direct Selection Tool (A).

Step 5

Suppose, that we were creating a man’s wedding ring. Now let’s create a woman’s wedding ring. Duplicate the man’s ring (move it using the Selection Tool (V) while holding down the Opt/Alt key). Now reduce its size proportionally by holding down the Shift key.

Step 6

Let’s proceed to the wedding ring’s design composition. To get the access to the 3D parameters of the rings, you have to select the corresponding ring and open the Appearance palette (Shift + F6), and click on the 3D effect.

In this step, you can experiment by creating your own design.

In my opinion, the composition should carry some kind of idea. So I placed the rings so that they could form a heart shape, besides that the rings should intersect like the links in a chain. You’ll learn how to make this kind of intersection later in this tutorial. The 3D effect parameters of the rings are shown in the images below.

Before you transform the 3D effect into objects, temporally fill the ring with different colors. Set the No Shading value for the Surface parameter in the 3D Revolve Options dialog box.

Step 7

Select both rings, and go to Object > Expand Appearance.

In the center of the rings there are utility elements for developing a cylindrical shape. Find and select these elements in the Layers palette, then delete, by pressing the Delete button.

We can see plenty of objects in the Layers palette that belong to the front ring. Be sure to double-check that you remove all the unnecessary ones, leaving only those that form its shape. After the cleanup of the layers palette there were only four objects left.

Step 8

The front surface of the ring consists of two objects (these objects are filled with a blue and a light brown color in the image below). In the meanwhile paint the objects in different colors, then it will be much more convenient and more fun to work with. Select these objects and hit the Unite button from the Pathfinder palette.

Step 9

Do the same with the other ring.

Creating the Ring’s Intersection

Step 10

Select the flat end and the inner surface of the front ring, copy and paste it in front (Command + C, Command + F). Keep the objects selected, unite them into one shape by hitting the Unite button from the Pathfinder palette.

Step 11

Perform the same sequence of operations with the face and front surface of the furthest ring.

Step 12

Select the shapes created in steps 10 and 11, then press the Intersect button from the Pathfinder palette.

Remove the unnecessary shapes formed as a result of the intersection.

The intersection of rings has the shape of a coffee pot, edit it in order to remove its nose.

To do this, remove the extra point with the Delete Anchor Point Tool and edit the shape using the Direct Selection Tool (A), bringing it to the view shown in the figure below.

Step 13

Continue the transformation of the rings intersection shape. Copy and paste in front the face of the closer of the ring. Keep this shape selected, go to Object > Compound Path > Release. As a result, we got two ellipses.

Remove the bigger of them. Now take the Scissors Tool (C) and cut the achieved shape at points A and B.

Delete the larger part of the ellipse, leaving only the AB arc.

Step 14

Select the arc and the rings intersection shape and press Divide from the Pathfinder palette.

Now remove the bottom corner of the intersection shape.

Step 15

Change the fill of the shape to a black color. Select this shape, the inner surface, and the flat end of the closer ring. Now click on the Make Opacity Mask from the Transparency palette menu.

Turn off the Clip in the Transparency palette.

There appeared some seams on the edges of the mask.

In order to get rid of them, it is necessary to correct the shape of the mask a bit. Select the underlayer with the opacity mask in the Layers palette and switch to the adjustment mode of the mask in the Transparency palette.

Now edit the shape of the sides of the mask using the Direct Selection Tool (A).

Step 16

Turn off the opacity mask, but turn it on when the rings are completely ready.

Lock the underlayer with the shape of the mask and make it invisible.

Working with the Gradient Mesh

Step 17

Describing all the colors that I used creating the rings is a bit tedious so instead I’ll describe the principles of making them. I used three basic colors: brown, yellow and white. There is one efficient technique of getting the hues that I often use.

This technique can only be applied to CMYK color mode. So, open the Color palette, we can see by the combination of colors forming the basic color. To obtain dark shades of the basic color, shift any slider to the right by holding down the Shift key. To obtain light shades of the basic color, shift any slider to the left, while holding down the Shift key.

To create smooth transitions between the colors, use colors directly from the Mesh object using the Eyedropper Tool (I). And do not forget that in order to get the hues of the basic color you can use the Color Guide palette (Shift + F3). Learn how to tune the colors, your design success depends on that.

Step 18

Fill the outside part of the closer ring with a solid dark yellow color.

Keep the object selected, go to Object > Create > Gradient Mesh… and set the number of Rows and Columns.

Remember that you can always edit the location of the grid lines. To remove grid lines take the Gradient Mesh Tool (U), move to the line, but not to the anchor point and click while holding down Alt.

Step 19

To create a new line there you can use the Gradient Mesh Tool (U), it is not necessary to hold down the Alt button.

If necessary, edit the grid lines with the Direct Selection Tool (A). So use this technique to reduce the grid to the view shown in the figure below.

Paint the anchor points of the grid to give volume to the ring.

When painting anchor points on the grid, which are on the edges of the shape, they can easily be confused with the anchor points of the shape. The difference is that the anchor points of the grid have a basic color when selected – dark yellow, and the anchor points of the shape are white.

Step 20

Proceed to working on the reflection in the ring. Take the Pen Tool (P) and create the shape shown in the figure below.

This shape should be trimmed along the upper edge of the ring. Typically, trimming is performed using the Pathfinder palette tool or the Shape Builder Tool (Adobe Illustrator CS5). In our case, we cannot apply these tools, because one of the shapes is a Mesh object.

To trim, create a new object of the same shape as the Mesh object. To do this, select the Mesh object with the Selection Tool (V), and go to Object > Path > Offset Path…, set the value of offset equal to 0 px.

Now the operation is possible. Select the new object and an object that should be trimmed in the layers palette and click on the Intersect button in the Pathfinder palette.

Fill the object with a solid dark brown color.

Step 21

Using the technique described in steps 17 and 18, create a gradient mesh as shown in the figure below.

Step 22

Create another reflex. Take the Pen Tool (P) and create a shape similar to the one shown in the figure below.

Thanks to the line’s magic your work can be expressive. Always try your best working on the shape. Fill the shape with a linear gradient that goes from white to white with a 0% Opacity.

Step 23

Using the techniques mentioned above to create the outside of the furthest ring.

Step 24

Proceed to the flat end of the rings. Select the flat end of the closer ring and fill it with a linear gradient as shown below.

Now create a play of light at the flat end of the ring. Keep the flat end selected, go to Object > Path > Offset Path …, set the offset value equal to -2 px.

Fill the achieved shape with a linear gradient. Gradients should not be the same, although you can use the same colors as a result you’ll get the play of light on the edges of the flat ends.

Do the same procedures with the flat end of another ring.

Step 25

Proceed to the inner surfaces of the rings. It does not differ at all from the work on the outside surfaces of the rings. The images below show the steps for creating a gradient mesh on the inner surface of the closer ring.

Step 26

Use the Pen Tool (P) to create a shape of reflection on the inner surface.

Now create a gradient mesh in the manner described in steps 17 and 18, paint the grid points as shown in the figure below.

Step 27

Use another shape to create it, I used a circle that I cut in the shape of the ring using the technique described in step 19.

Fill the achieved shape with a radial (elliptical gradient) that goes from white to white with 0% Opacity.

Step 28

Now I’ll tell you about another interesting technique for working with the gradient mesh. I named it Gradient Mesh + Opacity Mask. So, using the Pen Tool (P), create a shape of another reflection and create a simple gradient mesh for this object.

Copy and paste in front the Mesh object and change its fill to a black color.

Now repaint the center point of the gradient mesh to white.

Select the top and bottom shapes in the Layers palette, click on the Make Opacity Mask from the Transparency palette.

Step 29

When creating this artwork I did not use an image as reference. All the reflections were created intuitively. You might somehow not agree with me. Therefore I am showing their location and the technique of its creation, take a look below.

Step 30

Go back to Step 16. Turn on the visibility of the underlayer to form a black mask.

Now using the Selection Tool (V), select all objects of the front ring and group them (Command + G), locate this group below the mask shape in the Layers palette.

Select the shape of the mask and your group, click on the Make Opacity Mask from the Transparency palette.

Step 31

We just have to create a shadow under the rings. Use the Ellipse Tool (L) to create three ellipses in the underlayers below the rings.

The smaller ellipse has a light yellow fill – that is the reflex of gold on a white background. The medium ellipse has a light gray fill. The larger ellipse also has a gray fill, but with 0% Opacity. Select all three ellipses and go to Object > Blend > Make.

Step 32

If the object is illuminated by two light sources, there is going to be another shadow. The technique of its creation is the same as the original one.

Final Image

The final image is below.

Step 1 – Creating a New Document

Go to File > New and create a new blank document, on the dialog set Width and Height values to 600px, and Resolution to 72. Set the background color to White, and hit OK.

Step 2 – Color Fill Layer

At the bottom of Layers Panel, click on the Create new fill or adjustment layer icon and select Solid Color… on the color picker set the color to: #C7C7C7 which is a nice gray, and hit ok, now you have a fill layer to work with.

Step 3 – Create a 3D Sphere From a Layer

Now let’s start with the main element of this tutorial: the actual sphere. Select the previous’ step Fill Layer on the Layers Panel, then on the menu bar click on 3D > New Shape From Layer > Sphere. This process will create a nice gray sphere on your document, you can edit it this layer as a 3D object, rotate it, scale it, and more… we will see how to do it forward. Change the 3D Layer name to “Sphere” on Layers Panel.

Step 4 – Scale the 3D Object

Now we will slide the sphere a little bit to make it look closer to us using the Slide Tool under the 3D tools. On the Tool bar, look for the 3D tools section, by default the active tool is the 3D Object Rotate Tool, click and hold over it to see the different options, you can see them as well on the Options Panel which is on top of the Photoshop Workspace. Select the 3D Object Slide Tool, click and drag cover the sphere to slide it front and back, try to get something like the bottom of the following image.

If you want to dig into the 3D Tools, you can take a look at this Basic Guide, which describes all the different options of Photoshop’s CS4 3D Tools.

Step 5

We will add a reflected texture to our sphere, but first we need to edit the texture to have it ready. Open the “Clouds and Water” image. We will edit this image in order to leave it ready to be applied as a texture, this is an optional step, you can skip it and jump to the Step 8 and apply the texture image as is.

I rather prefer doing the following edition before creating a texture to avoid undesired sharpen areas with ‘lines’ on the texture. Using the Rectangular Marquee Tool, select a perfect square from the picture (you can hold the Shift key while dragging to have a squared selection) then Copy (Command/Ctrl + C) the selection.

Step 6

Create a New Document, set the Width and Height values to 1200px and the Resolution to 72 pixels per inch. Paste the copied image and using the Move Tool (select the Show Transform Controls checkbox on the top Options Panel) scale the pasted image in order to exactly match the new document boundaries.

Then, go to Filter > Other > Offset, on the dialog change the Horizontal value between 500 and 600. You should have something like the bottom of the image below.

Step 7

Next we need to hide the line dividing the image, on the Tools Bar, select the Clone Tool, holding the Option / Alt Key, click on a spot which will be the source of the cloning, then paint as if you are using the Brush Tool all across the merging line. Try to get something like the image below. Finally save the document with a descriptive name like “sky texture.psd”.

Step 8 – Reflection

Select the “Sphere” on the Layers Panel, open the 3D Panel (Window > 3D). Click on the three icon from the top to show only the Material options, on the list below select the Sphere_Material, on the options at the bottom of the Panel, set the following values: Reflection: 50, Gloss: 80% and Shine: 50%. Now the sphere is looking shinier.

Step 9 – Bump Texture

Still under the Materials option, Click on the tiny folder next the Bump value, select Load Texture and browse to the texture folder on your Photoshop Installation, (Presets/Textures). In case you don’t have it, you can Google any other puzzle pattern, just ensure the patter is black and white. When you select the pattern, hit OK and see the result, you can use the 3D Object Rotate Tool to look the Bump Texture being applied.

Step 10 – Polishing the Puzzle Texture

Click again on the tiny folder next to the Bump Value, there click on Open Texture… a new window will be opened with the plain texture. On the new window, adjust the Levels (Command/Ctrl + L) and set the values as shows the screenshot below, save the texture document and save it, then back to the main document you’ll see the change.

Step 11 – Scaling the Bump Texture

The pieces are looking a little bit big, we will scale the texture a little bit, on Bump Texture’s tiny folder icon, select Edit Properties. On the opening dialog, set the U and V Scale values to 1,2. This will reduce the pattern size a bit. It looks good so far, let’s add more details to our Sphere material.

Step 12 – Image Light

On the 3D Panel, click on the fourth little icon from the top to show the Lights options, then on the bottom of the Panel click on the New Light button and select New Image Based Light. On the tree at the top of the lights panel, click on the brand new image light, and on its options click on the little folder next to Image, select the Load Texture option and load the “sky texture.psd” texture we created before. Set the Intensity to 0,5.

If you want to, back to the Materials Panel, and reduce the intensity of the Reflection to 30.

Step 13 – Set the Final Size and Position

Rotate and Scale the sphere using the 3D tools. On the 3D Panel, click on the first icon on the top, you’ll see the Scene Options, there click on the Scene on the top list, and below set the Quality value to Ray Traced Final, this option will render the image with the highest quality possible, and there you will see if the texture and the reflection looks good.

Step 14 – Add the Hands

Open the “Hands” picture from the assets, copy it and paste it on a Layer over the 3D sphere (Tip: you can drag the image over the document and a Smart Object of it will be automatically created). Resize it using the Move Tool and the Transformation controls trying to match the hands’ concavity with the sphere radius.

Ensure the “Hands” Layer is above the 3D “Sphere” Layer, select the layer and on the Layers Panel, set the Opacity Value to 50%, this way you will have a better look of the hands’ position.

Step 15 – Circle Marquee

Turn back the opacity of the “Hands” layer to 100%, with that Layer selected, Command/Ctrl + click over the 3D “Sphere” Layer. This process will create a circular selection active over the “Hands” layer.

Step 16 – Subtracting Areas of the Circular Selection

Without deselecting the circular marquee, down the Opacity of the “Hands” Layer to around 50%. Then, on the Tools Panel, select the Lasso Tool, on the Option panel on top click on the Subtract From Selection option. Then draw a selection covering the right hand’s thumb, part of the palm and the fore finger, close the selection and this area will be subtracted from the circular selection. Finally turn the Opacity to 100% again.

Step 17 – Masking the Hands

Always with the “Hands” layer selected on the Layers Panel, go to Layer > Layer Mask > Hide Selection. If you make it right, the sphere will show up nicely placed over the hands. Then hit Command/Ctrl + D to remove the selection.

Step 18 – Adjust the Hands Saturation

Now, Double click on the hands Layer, since this is added as a Smart Object we cannot edit it directly, if you just copy and paste it, there’s no need to double click. Either on a new window, or on the same document, hit Command/Ctrl + U to open de Hue Saturation Adjustments Dialog, there set the values shown on the screen shot below and press OK, the hit Command/Ctrl + L to open the Levels Adjustment window, set the values shown below and press Ok. Finally, Save the document and close it (in case you are working over a Smart Object).

Step 19 – Masking the White Background

Once again, select the Hands Layer, then using the Magic Wand Tool and setting the Tolerance Value to 16 on the Options Panel, click over the White area of the image. This process will create a quick selection all around the hands. Next, Option / Alt – Click the Layer Mask miniature on the Layers panel to show the actual mask, there using the Paint Bucket Tool fill the selection with Black (#000000) and remove the selection (Command/Ctrl + D). Then, click over the “Hands” layer miniature to see how it looks, the best way of check if the extracting is good, is by changing the background color for a moment for a darker variant, like dark gray or white, and then switch it again as shows the bottom of the image below.

Step 20 – Adjusting the Lights

Select the 3D “Sphere” once again, on the 3D Panel, select the Scene Options and find under the Scene elements the Infinite Lights, by default two lights are added. Select the first light and on its Options set the Intensity to 0,9. If you need to, you can move the Light Position using the particular tools for this element, by clicking on the Rotate Tool but not the one on the Tools Bar but the little tool on the Options panel on the 3D Window.

For the Infinite Light 2, set the Intensity to 0,4 and rotate its position behind the hands.

Step 21 – Rasterize the Sphere

Click on the Scene and under Render Settings select Ray Traced Final. Then duplicate the 3D Layer by dragging it on the Layers Panel to the tiny New Layer icon at the Bottom, then select the copy, Option Click over it and select Rasterize, then hide the original 3D Layer.

Step 22 – Remove Some Pieces

Working with the rasterized copy of the 3D sphere, select the Lasso Tool from Tools Panel and draw a selection around a piece of the puzzle (it can be any piece). Then, Cut (Command/Ctrl + X) the selection and Paste (Command + V) the piece above the “Sphere copy” layer, repeat this step with as many pieces as you want.

Step 23 – Fill the Inside of the Sphere

Command/Ctrl + Click over the hidden 3D “Sphere” Layer to create a circular selection. Then, create a new layer behind the “Sphere Copy” layer and name it “Sphere BG”, using the Paint Bucket Tool fill the selection with the following color: #292929 and press Command/Ctrl + D to remove the selection.

Step 24 – Polish the Cut

Select the Eraser Tool and on the options panel set a brush tip size of around 2 px, then on the “Sphere Copy” layer delete all the possible imperfections on the missing pieces’ holes.

Step 25 – Create a Shadow for the Floating Pieces

Select one of the extracted pieces, on the Layers Panel, drag the piece layer over the New Icon at the bottom to duplicate it, then using the Move Tool, move the copy a few pixels down and left (or right if applies). Then, still with the “Piece Copy” layer selected go to Layer > Layer Style > Color Overlay and set this color: #262B2F. Now repeat this action with all the other extracted pieces.

Step 26 – Dodge and Burn

Working over the pieces, select the Dodge Tool and set a soft Brush Tip on the options panel, then start highlighting some areas on the extracted piece, repeat this process wherever you consider it necessary.

Step 27 – Add an Effect to the Sphere Inside

Select the “Sphere Bg” Layer, and go to Layer > Layer Style > Gradient Overlay, set a Radial Gradient using the following colors: #2C2D31 and #606165.

Step 28 – Puzzle Inner Shadows

Sometimes using a plain Filter is not enough to create a determinate effect, in this case add an inner shadow to the holes of the missing pieces. Using the Magic Wand Tool make a selection of the hole on the “Sphere copy” layer, then select the “Sphere bg” layer and copy the selection and paste it just above the “Sphere bg” layer. Next, Command/Ctrl click over the recently pasted layer miniature on the layers panel, select the Marquee Tool on the tools panel and move the selection a few pixels down left (or right if applies) and delete the selection. Repeat this process with all the holes of the floating pieces.

Step 29 – Hands’ Shadows

Let’s add the hands’ shadows, create a new layer named “Hand Shadows” above the “Sphere copy” layer. Using a 40px Brush Tool (Hardness 0%) Color: #292929 and Opacity and Flow to 50% paint the shadows over the sphere as shows the image below.

Step 30 – Dodge and Burn the Hands

Select the “Hands” layer and use both the Dodge and Burn Tools to adjust the lights and shadows trying to match the overall scene.

Step 31 – Gradient Background

Go to Layer > New Fill Layer > Gradient… behind all the other layers. Set the gradient colors to #FFFFFF and #D8DCDF and Style: Radial. Move the position of the gradient as you prefer.

Step 32 – Curves

Open the Adjustments Panel (Windows > Adjustments), and add first a Curves Adjustment Layer above all the other layers on the design. Use the values shown on the following screenshots, we are adjusting the general RGB colors, and a particular fixes on both Red and Blue channels.

Step 33 – Levels

Now, let’s add a Levels Adjustment Layer to increase the intensity of the dark colors. Use the values shown on the following image.

Step 34 – Hue Saturation

Next add a Hue/Saturation adjustment layer, select the Reds colors and adjust the values as shows the image below.

Step 35 – Gradient Map

Finally to give the image a dramatic look, add a Gradient Map Adjustment Layer, set a Black – White gradient. On the Layers Panel, select the Gradient Map adjustment, set its Blending Mode to Overlay and its Opacity to 50%.

Conclusion

At the end you should have something like this, now is your turn to create something new playing with different shapes and colors.

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Step 1

Create a new document with size of 600 x 300 pixels and fill it with white color.

Step 2

Create a new layer. Select the Polygon Tool, set sides to 3 and on Polygon Options select Smooth Corners.

Set foreground color to #91D638 and draw a polygon facing up.

Step 4

With layer selected, go to Layer > Layer Style > Blending Options > Stroke.

Step 5

Create a new layer. Add a white polygon on the center, slightly smaller than the green polygon.

Step 6

Create a new layer. Draw another green polygon, slightly smaller than the white polygon.

Step 7

With this layer selected, go to Layer > Layer Style > Blending Options and add the following styles:

Step 8

Merge all visible layers into one except background layer. Duplicate layer and rotate upside down and you will have something similar to what i have.

Final Image

Now add some text using font Myriad Pro, Semibold, Smooth, 47px and color #888888.

You can see now logo with different colors:

www.morphacademy.com

Step 1

First, download the Earthling font and move in your Fonts directory. Now, open Illustrator, create a 700px by 300px document and pick the Type Tool (T). Click on your Artboard, enter your text and go to Object > Expand. Select the resulting group of shapes and fill them with R=142, G=198, B=64.

Step 2

Select the group made in the previous step and go to Effect > 3D > Extrude & Bevel. Click on the More Options button, enter all the data shown below, click OK then go to Object > Expand Appearance.

Step 3

Drill down in the group and subgroups created in the previous steps. First, delete all the Clipping Paths then use the Unite button from their Pathfinder panel to unite some of these shapes.

Step 4

Select all the top, letter shapes and go to Object > Compound Path > Make. Fill the resulting path with R=6, G=105, B=57, then Bring it to Front (Shift + Command + Right Bracket key). Double-click on it (in the Layers panel) and name it “vectors.” Select the rest of the shapes and replace the fill color with R=91, G=164, B=69.

Step 5

Open the Gradient and the Swatches panel. Create the four gradients shown below and save them in your Swatches panel. Name them from “1″ to “4″ as shown in the following steps. Take a closer look at the gradient and you’ll notice some yellow text above some of the gradient sliders. It stands for Opacity.

Step 6

Let’s focus on the “v” shapes. Ignore the top letter shape and focus on the other two. Select the top shape, open the fly-out menu of the Appearance panel and click on Add New Fill. This should add a second fill for the selected shape.

Select this new fill, and use “Gradient 01,” as shown below. Select the bottom shape, add a new fill, and use the same gradient as shown in the first image. Add a third fill for each of these shapes and use “Gradient 02.” Select the bottom shape, add two new fills and use “Gradient 03,” as shown in the third image. Add one final fill for the bottom shape and use “Gradient 04.”

Step 7

Now that you understand how to work with multiple fills, use the same gradients for the rest of the shapes, as shown in the following images. Finally, select all these shapes and group them (Command + G).

Step 8

Return to the “v” shapes. In this step, we’ll see some discrete detail. First, create two copies of the bottom shape, then pick the Rectangle Tool(M) and create two rectangles as shown in the first images. Select each of these shapes along with one of the copies and click on the Intersect button from the Pathfinder panel. Fill both shapes with white and lower their opacity to 10%.

Step 9

Repeat the same techniques for the rest of the shapes. Notice that these fresh rectangles must be places above the lightest areas (where “Gradient 03″ is applied). Finally, select all these white shapes and group them (Command + G).

Step 10

Now, let’s focus on the “vectors” shape. Select it and make two copies (Command + C > Command + F). Go to Edit > Preferences > General and enter “1″ in the Keyboard Increment box. Select the top copy and hit the up arrow once (to move it 1px up). Reselect both copies and click on the Minus Front button from the Pathfinder panel.

Fill the resulting shapes with R=142, G=198, B=64. Reselect the vectors shape and make another two copies. Go to Edit > Preferences > General and enter “0,5″ in the Keyboard Increment box. Select the top copy and hit the down arrow once (to move it 0,5px down). Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shapes with R=0, G=67, B=31.

Step 11

For the following step you’ll need a grid every 1px. First, turn on the Grid (View > Grid) and the Snap to Grid (View > Snap to Grid), then go to Edit > Preferences > Guides & Grid. Enter “1″ in the “Gridline every” and “Subdivisions” boxes, then click OK. Now, pick the Ellipse Tool (L) and create three squeezed circles (a 6×5 px, a 4×3 px, and a 3×2 px shape) and place them as shown in the following image.

Fill them with R=91, G=164, B=69 then group them (Command + G). Disable the Grid and the Snap to Grid, then make several copies of this group and spread them over the text as shown in the second image.

Step 12

Pick the Rectangle Tool (M), create a 680 by 30px shape and place it as shown in the following image. Select it and go to Effect > Distort & Transform > Roughen. Enter the data shown below, click OK, then go to Object > Expand Appearance. Select the resulting shape and go to Object > Path > Offset Path. Enter a 15px Offset and click OK.

Step 13

Now, let’s add some color for the shapes made in the previous steps. Select the smaller one, fill it with R=142, G=198, B=64 , lower its Opacity to 70%, then go to Effect > Blur > Gaussian Blur. Enter a 5px Radius and click OK. Select the other shape, fill it with R=142, G=198, B=64 , lower its Opacity to 30% and add 5px Gaussian Blur effect.

Now you need to mask these two shapes. First, group them (Command + G), then open the Transparency panel. Make a new copy of “vectors,” fill it with white and move it above this fresh group (in the Layers panel). Now select the shape and the group, open the fly-out menu of the Transparency panel and click on Make Opacity Mask. In the end, it should look like in the final image below.

Step 14

Make another two copies of “vectors,” then pick the Rectangle Tool (M). Create a shape like the one shown in the first image and duplicate it. Select one of the rectangles, along with one of the “vectors” copies, then click on the Minus Front button from the Pathfinder panel. Select the resulting shapes and go to Object > Compound Path > Make.

Fill this path with the linear gradient shown in the second image, lower its Opacity to 20%, then change its blending mode to Overlay. Select the other rectangle along with the “vectors,” copy and click on the Intersect button from the Pathfinder panel. Select the resulting shapes and go to Object > Compound Path > Make. Fill this new path with the linear gradient shown in the fourth image, lower its Opacity to 20%, then change its blending mode to Overlay.

Step 15

Make a new copy of “vectors.” Select it, Send it to Back (Shift + Command + Left Bracket key), place it as shown in the second image and rename it “vectors.back”. Change its fill color to R=0, G=67, B=31, then duplicate it. Select the copy, move it 1px down and to the right, then lower its Opacity to 50%.

Step 16

Reselect “vectors.back” and go to Object > Path > Offset Path. Enter a “3px” Offset and click OK. Select the resulting shape, fill it with R=6, G=105, B=57, and go again to Object > Path > Offset Path.

Enter a “2px” Offset and click OK. Select the resulting shape, fill it with R=38, G=126, B=62, and go once again to Object > Path > Offset Path. Enter a “2px” Offset and click OK.

Select the resulting shape, fill it with R=71, G=150, B=68, and go one more time to Object > Path > Offset Path. Enter a “3px” Offset and click OK. Fill the resulting shape with R=107, G=175, B=68.

Step 17

Select the original “vectors.back” shape and go to Effect > Blur > Gaussian Blur. Enter a 2x Radius and click OK.

Step 18

Select all the shapes made in the sixteenth step and go to Effect > Distort & Transform > Roughen. Enter the data shown below and click OK. Now select only the largest shape and go to Effect > Stylize > Outer Glow. Enter the data shown below and click OK.

Step 19

Pick the Ellipse Tool (L), create 22px by 15px shape, then fill it with R=6, G=105, B=57. Select this shape and go to Effect > Warp > Arc. Enter the data shown below, click OK, then go to Object > Expand Appearance. Make two copies of the resulting shape. Select the top copy and hit the up arrow three times (to move it 1,5px up).

Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with R=91, G=164, B=69. Now add a second fill and use the linear gradient shown in the final image. Group these two shapes.

Step 20

Pick the Ellipse Tool (L), create an 18px by 12px shape and fill it with R=6, G=105, B=57. Select this shape and go to Effect > Warp > Arc. Enter the data shown below, click OK, then go to Effect > Warp > Fish. Again, enter the data shown below, click OK, then go to Object > Expand Appearance. Make two copies of the resulting shape.

Select the top copy and hit the up arrow three times (to move it 1,5px up). Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with R=91, G=164, B=69, then add a second fill and use the linear gradient shown in the final image. Group these two shapes.

Step 21

Select the group made in the previous step and go to Effect > Distort & Transform > Reflect. Check the Vertical button, then click on the Copy button. This will create a horizontally flipped copy of your group.

Step 22

Make some copies of the groups made in the previous three steps. Rotate, resize, then place these groups as shown in the following image. Add a discrete, squeezed circle for each of part of this group, and fill it with R=91, G=164, B=64. Finally, add a simple Drop Shadow effect (Effect > Stylize > Drop Shadow) for the bottom groups.

Step 23

For the background use the Rectangle Tool (M) to create a shape the size of your Artboard (700 by 300px). Fill it with white, then add a second fill and use the radial gradient shown in the second image. Again, take a closer look at the gradient. The yellow test stands for Opacity and the white text stands for Location.

Step 24

Duplicate the rectangle made in the previous step. Select it, select the second fill (from the Appearance panel), then go to the Gradient panel and click on the Reverse Gradient button. Finally, reselect the entire path, lower its Opacity to 25%, and you’re done.

Conclusion

The final image is below.

Step 1

First, make a leaf shape using the Pen Tool.

Step 2

Add a white stroke along the leaf and then press (Command + C) to copy ,(Command + B) to send to the back. Now you have two strokes , the white one in the front and color the other one with green and move it a little bit to the left. Use the image below for reference.

Step 3

Expand the strokes (Object > Expand), select them all and from the Pathfinder panel press merge.

Step 4

Select the leaf then press (Command + C) for copy, (Command + F) paste in front, select the copy and fill it with gradient of half opacity white to 0 opacity white. Erase parts of the leaf (like in the image) to make the leaf shine.

Step 5

Make several leaves in the same manner, and arrange them in a manner similar to the image below.

Step 6

Begin making the water drop with an ellipse shape with a green gradient.

Step 7

Make a smaller ellipse with a white to green gradient and add smaller ellipses inside of it.

Step 8

Distribute the drops on the leaves like in the image below.

Step 9

Now we will make the bubble for behind the leaves, start by making a circle with radial gradient (blue to white).

Step 10

Like with the water drop, make circles inside with a white to transparent gradient and then add a moon shape at the bottom .

Step 11

To make the cloud, make several circles with the ellipse tool and put them together to form the cloud.

Step 12

Now fill the empty space in the middle, select all the shapes and merge them with the Pathfinder.

Step 13

Build your illustration by starting with the clouds, then bubbles, then the leaves.

Step 14

Make a line of circles and group them.

Step 15

Apply a 3D Extrude & Bevel with the settings shown below.

By clicking twice in the transparency panel, you’re going to make an opacity mask and the cylinders will disappear.

Step 16

Alt + Click the opacity mask to edit it, make a rectangle with a gradient gray to black ( the black makes the object disappear and the white makes the object appear).

Step 17

Do the same thing as before, but use a pointy shape like below as the mask. This time the opacity mask will look like the image below.

Conclusion

And there you have it. A soft looking environmental illustration. If you want to use this as a magazine cover, simply add your text and export it for print. I hope you’ve enjoyed this tut.