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Step 1

Start by typing each letter separate so you can adjust the angle and 3D qualities of each. I’m using a font called Futura Bold. I’d recommend using a font that is not thin and delicate. The more weight the font has the better.

Also, use a grey or light color so when you proceed to the next step you’ll be able to see what your 3D text looks like.

Step 2

Go to Effect > 3D > Extrude & Bevel… Enter variables where I’ve highlighted below to achieve the look indicated.

Step 3

Even after you apply 3D effects that you would like your letter to have you can also continue to rotate the letter to whatever angle you like, as I’ve done below. Just use the Selection Tool (V) to rotate the letter.

Click on a color and the shading will automatically be applied to the different faces of the letter.

Step 4

Use the same technique on the other letters. Use the Swatches Palette to quickly pick a range of vibrant colors and apply them to each letter.

Step 5

Create a depth-of-field (the appearance of objects being closer and farther away) by going to Effect > Blur > Gaussian Blur… Enter the variable below and click OK.

Note: Make sure your letter will not need to be scaled larger or smaller after you apply the blur, as blur effects do not scale regardless of any preferences you have designated in Adobe Illustrator.

Step 6

To create an even wider focal range, you can give different letters a unique blur amount.

Observe how the angle, scale, blur and color all factor into how the entire word is perceived. Each letter has a random quality about it. The scale is varied to suggest distance. Again, the blur reinforces the depth and the colors are all bright and not repeated next to each other.

Step 7

Type the rest of the phrase. The font I’m using is Bickham Script. As you can see, the font is very different from the font that the word “Playful” is written in. This creates a nice range and contrast between the two. Do the same for your layout.

Step 8

Using the Rounded Rectangle Tool to draw a rectangle as shown below.

Note: You can adjust the curvature of the corners by holding the up or down arrow while you draw the shape.

Step 9

Fill the rectangle with a 3-point gradient. The right-most green color helps create a slightly darker green that will frame the rectangle even more.

Step 10

Move the text over the background. In order to apply a gradient to the text you will first need to turn it into outlines. Go to Type > Create Outlines. Now, select the text and give it a subtle grey to white gradient.

Step 11

To make the text look even more 3D add an Inner Glow by going to Effect > Stylize > Inner Glow… Select Screen, in the Mode drop down. Enter about 75 for Opacity and set the blur to your liking.

Step 12

Now that the letter looks somewhat rounded we’ll take it a step further and add a drop shadow. Go to Effect > Stylize > Drop Shadow… Set the Mode to Multiply (so the shadow blends nicely with the background). Set your Opacity to about 20 and give it a blur of your choosing.

Step 13

This is what your design should look like right now.

Step 14

We’ll give certain faces of each letter an enhanced look by giving them gradients. First, make a copy of the letter. Select the copy and go to Object > Expand Appearance. Now go to Object > Ungroup. Continue to Ungroup the object until you can select the face of the object.

Step 15

Select the face of the letter and give it a moderate red to dark-red gradient.

Step 16

You can now delete the leftover parts of the letter that you did not apply a gradient to. Place the face of the letter over the letter with the 3D effects applied to it.

Step 17

Use this same technique to create depth on any other letters that need it. For instances where the letters are blurred simply apply the same blur to the face of that letter. To see how much blur a letter has double-click on that effect in the Appearance Palette.

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Step 18

Next we’ll give the background a random circle pattern. Draw a circle using the Ellipse Tool (L). For the purposes of this tutorial I’ve used a black circle but your circle should be white, or whatever color you want your pattern to be. Drag the circle into the Brushes Palette. The dialog in the next step will open…

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Step 19

Select New Scatter Brush and click OK…

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Step 20

Select Random for Size, Spacing and Scatter. Next, drag the small triangles to both sides of the slider for all three options. This will ensure the circle pattern is varied and not too repetitive. Click OK.

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Step 21

In the Brushes Palette select the circle brush you just created. Select the Paintbrush Tool (B) and draw an arbitrary line. Your line will be replaced by a circle pattern similar to the one below. If your circles are not as random as you like, just double-click on the circle in the Brushes Palette to change the parameters.

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Step 22

Place the circles on their own layer behind the letters. Feel free to draw more lines or copy and paste the other circle pattern to build a mass of circles.

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Step 23

Using the Ellipse Tool draw a circle and give it a Radial fill with a 3-point gradient. Using 3-points will allow you to give the circle an extra highlight that will add to its realism. Copy and paste this shape a few other times throughout the layout.

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Step 24

You can create other brushes using different shapes like squares, triangles and outlined versions of each shape to keep things interesting.

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Step 25

Using the Pencil Tool (N) draw some erratic shapes that will function as moss or general greenery on the letters.

When you’re drawing with the Pencil Tool it’s sometimes difficult to close the shape. The easiest way to close a shape is to hold down the Option key when you are nearing the starting point of the shape. This will automatically close the shape.

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Step 26

Add other assorted shapes and give them a green to dark-green gradient.

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Step 27

To make vines I’ve simply used one of the alternate characters that was included with the font Bickham Script. If your font does not have alternate characters you can try using parts of other letters, like an S for example. Otherwise you will need to draw some curly shapes the old fashioned way… using a Wacom Tablet and the Pen Tool.

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Step 28

Create a leaf shape in much the same manner that you did for the moss shapes. You’ll get better at drawing shapes the more you practice.

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Step 29

To amplify the look of the leaf give it an Inner Glow by going to Effect > Stylize > Inner Glow…

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Step 30

This is what your layout should look like right now.

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Step 31

We’ll give the background a bit of motion by using the Pen Tool (P) to draw a shape similar to the one below.

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Step 32

Duplicate the shape a couple times and adjust the Opacity to lessen the appearance of the shape. Give some of the shapes a tenuous blur to again create the illusion of some of the swooshes being farther away.

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Step 33

Using the Rectangle Tool, draw a rectangle and give it a 4-point gradient with white being on both ends.

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Step 34

Place the gradient over the background and give it a blur. In the Transparency Palette set the shape to Multiply, so it blends well with the background. Feel free to also adjust the Opacity if need be.

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Final Image

Here is the final image. You’ve just learned how to create a vector 3D letter design. Cheers!

The post Let’s Make a Playful Yet Robust 3D Letter Design appeared first on Morph Academy.

Step 1

Lets jump right in and open a new document by selecting File>New from the main menu or by pressing the keyboard shortcut Command-N (PC: Ctrl-N). The size of my working document for this lesson is 540×300 at 72ppi.

Create a new layer by choosing Layer>New Layer from the main menu or by using the keyboard shortcut Shift-Command-N (PC: Shift-Ctrl-N) and call the layer Sticker. Click on the foreground swatch in the Tools palette and set the color to #e0dac7. Now lets grab the Elliptical Marquee tool (which is in the Rectangular Marquee tool fly out menu) and while holding down the Shift key to constrain, click and drag a circular selection onto the stage. If you’re following along at home and want yours to be exactly like mine, my selection is 95x95px.

(*note: To create a new layer without the Layer Properties pop-up message use the keyboard shortcut Shift-Option-Command-N (PC: Shift-Alt-Command-N))

Step 2

Fill the selection with your newly set foreground color by pressing Option-Delete (PC: Alt-Backspace), then deselect by pressing Command-D (PC: Ctrl-D)

Step 3

Now lets go back to that Rectangular Marquee tool fly-out menu and re-select the Rectangular Marquee, or do it the easy way and use the keyboard Shift-M to switch back and forth between the two.

Drag a nice sized square selection onto the stage (don’t forget to hold Shift to constrain the proportions). Next lets rotate the selection by choosing Select>Transform Selection from the main menu. This will give you the Free Transform controls that you’re used to, but the transformation will only be applied to the selection (not the stuff on the layer). Using the Options bar at the top of Photoshop enter 48° into the rotation field and hit Enter to commit the transformation.

Step 4

With the Marquee tool still selected, click and drag inside the selection to position it over the corner of the sticker that you want to be folded back.

Step 5

Now lets use a tricky keyboard shortcut to cut the selected area out of the current layer and place it on it’s own layer above. Press Shift-Command-J (PC: Shift-Ctrl-J) and watch the magic happen. Rename this new layer Residue by double clicking directly on the layer’s name in the Layers palette. Now duplicate the Residue layer by making sure it’s selected as the active layer in the Layers palette and then pressing Command-J (PC: Ctrl-J). Name this new layer Peel. Note that at this point nothing on the stage looks any different.

For the moment, lets turn off the Residue layer by clicking on the little eye icon at the left of it’s thumbnail in the Layers palette.

Step 6

Lets lighten the corner of our circle that lives on the Peel layer. With the Peel layer selected, click on the Lock Transparent Pixels checkbox. Change your foreground color to a lighter shade of the same color, something like #efe4d0 should due nicely. Since the pixels are locked, all we have to do is fill the layer with color by pressing Option-Delete (PC: Alt-Backspace).

While we’re at it, lets go ahead and rotate the Peel layer so things are oriented correctly before we continue. We can do this easily by choosing Edit>Free Transform>Rotate 180° from the main menu (if for some reason this places the Peel somewhere other than where it ought to, simply press V to switch to the Move tool and move the little sucker into place.)

Step 7

Before we get onto the body of the sticker, lets add a few layer styles to the Peel layer to complete it’s effect. Control-Click (PC: Right-Click) on the Peel layer in the Layers palette and choose Blending Options from the menu to bring up the Layer Style dialog box. We’ll be adding a Drop Shadow followed by a Gradient Overlay as shown below. Be sure to check each setting to make sure you’ve made all the necessary adjustments for the effect.

Notice in the Gradient Overlay dialog that we can get the Linear Gradient to lay perfectly onto the Peel because we know the exact angle we rotated it.

Step 8

If you go it right, your Peel should now look like mine… if not, do not pass go, do not collect $200, just get yourself back to Step 7 and figure out where you went wrong!

Step 9

Now that we’ve got the Peel layer out of the way, lets click back down to the Residue layer, turn it back on by clicking the empty box at the left of the layer (which brings back the little eye icon) and then lower the layer’s Fill to 40%.

Step 10

Click on the Sticker layer in the Layers palette and add the following Layer Styles (just like we did in Step 7), remember to pay close attention to each setting.

Step 11

And if you did it right, things should be lookin’ like this.

Step 12

With the Sticker layer still selected, add a new layer above it called Orange (unless you want to use some other color, then name it that. Anything but purple is ok… you know how I feel about purple). Set the foreground to a nice orange color like #eb8206 then press the M key to switch back to the Marquee tool (if you’re not still there). Make sure that you’ve got the Elliptical Marquee tool selected and drag a nice round selection into the middle of the sticker… and don’t make me remind you about the Shift key again.

If at any point while you’re dragging out your selection you feel like you need to move it, just reach over and press down the Shift key with your thumb. It’ll allow you to move the selection before you actually let go of the mouse and commit it. Now just press Option-Delete (PC: Alt-Backspace) to fill the selection with color followed by Command-D (PC: Ctrl-D) to deselect.

Step 13

Now obviously we don’t want the orange sticking out past the edge we peeled back, so lets clip the Orange layer to the Sticker layer. To do this, hold down the Option (PC: Alt) key and place your mouse exactly between the two layers in the Layers palette. The cursor will change to what looks like two circles overlapping, when that happens, simply click your mouse to set the clipping mask. You’ll know the layer has been clipped because it will now be indented with a little arrow pointing down to the layer it’s clipped to.

(*note: You can also create a clipping mask by Command-Clicking (PC: Right-Clicking) on the Orange layer and choosing Create Clipping Mask from the menu.)

Step 14

Now lets add some dimension to the Orange layer by adding a few simple Layer Styles. We’ll be adding an Inner Glow (which we’ll actually use to shadow the edges of the object), a Gradient Overlay to add some color variation and a Stroke to lightly define it’s edge. Follow along carefully.

Step 15

If your sticker doesn’t look like mine I’m going to have to send you to detention.

Step 16

The OnWired sticker has been antiqued a little, so why don’t we go ahead and beat ours up a little as well.

Start by adding a Layer Mask to the Orange layer (which should still be selected in the Layers palette) by clicking on the little icon at the bottom of the Layers palette that looks like a white circle in a gray box. You’ll notice in the Layers palette that a new thumbnail has been added next to the original one. This is the layer mask. By default when you add a Layer Mask, Photoshop selects the mask and you can tell it’s selected because it’s got little black brackets around it.

Using a layer mask will allow us to mess with the layer without actually damaging any of it’s pixels. It’s a great alternative to using the Eraser tool because you can always alter it later.

Step 17

Reset the foreground color to black by pressing the D key, then press the B key to switch to the Brush tool. I’m going to use a grunge brush that looks like splatters to help me distress the layer. I’ve bundled every grunge brush in my collection into a single brush set which is included in the lesson download at the end of the tutorial. This brush is called Sampled Brush 4 and I’m using it at it’s default 551 pixel size.

With the brush selected and my foreground color set to black, I’m going to place the brush over my orange circle and click once or twice until I get the effect I want. By painting with black on the Layer Mask I am telling Photoshop to ignore any part of this layer that is masked by black on the Layer Mask.

Step 18

Now lets decorate the sticker a little. Create a new layer above the Orange layer called Circle and clip it to the layers below (just like we did in Step 13) by holding down the Option (PC: Alt) key and clicking the line between the Circle and Orange layers in the Layers palette.

With the Elliptical Marquee tool create a selection just slightly smaller than the orange circle, press Command-Delete (PC: Ctrl-Backspace) to fill the circle with the background color (which should still be set to white). From the main menu choose Select>Modify>Contract, set the size to 3 and click OK. Press Delete (PC: Backspace) to remove the color within the contracted circle and then press Command-D (PC: Ctrl-D) to deselect.

Lower the Circle layer’s Fill opacity to 80%.

Step 19

You’ll notice that although we’ve clipped the Circle layer to the Orange layer at the bottom of the clipping stack, the entire circle is still visible even where the Orange layer has been masked by it’s Layer mask. Obviously we can’t have that, so let me show you a little trick. Hold down the Option (PC: Alt) key and click and drag the Layer Mask that’s on the Orange layer onto the Circle layer in the Layers palette. This will copy the layer mask we’ve already created onto the other layer.

Step 20

How ’bout we add some text to our sticker now? Press the T key to switch to the Text tool, press the X key to switch the white color swatch to the foreground color and type in your text. I’m using a font called Chicago House which will also be included in the lesson download. Click onto the stage to set your text field and type your message… mine’s LOVE, because, as you know… I love you.

Clip this text layer to the layers below just like we did in Step 18, then copy the layer mask from the Circle layer onto the text layer as well.

Step 21

Lets use an Outer Glow Layer Style to make our text pop a little more. You know the drill…

Step 22

Your sticker is now complete! Add some background elements, some more text… go nuts!

And yes, for those of you who are wondering how I did the background, it’s all in the .PSD file download at the end of the lesson. Enjoy!

The post Peeled Back Sticker Effect II appeared first on Morph Academy.

In this Photoshop tutorial we’re going to step outside my usual Photoshop Only philosophy and use the 3D rendering power of Adobe Illustrator to create a cool little 3D text effect. Don’t worry noobs, you don’t need to know anything about Illustrator, as usual I’ll coach you through the whole process.

Step 1 – Setting Up The Photoshop File

Lets get started by opening a new Photoshop document by choosing File > New from the Main Menu or by using the keyboard shortcut Command-N (PC: Ctrl-N). I’m using my usual 540px by 300px size at 72 pixels/inch and a background color of White. When your new document opens, switch over to the Text tool by pressing the T key and type your text onto the canvas (this will create a new layer above the Background layer named after your text). I’m using the Ballpark font which can be downloaded from daFont.com for free. At this point color doesn’t make any difference, but font-size does… I’m using 90pt text.

Step 2 – Convert Text To Paths

With the Text tool still active, Command-Click (PC: Right-Click) on your text and choose Create Work Path. You may only notice a small change on the stage if you’re using black text, so lets switch over to the Path Selection tool by pressing the A key and then click and drag a selection around your text. This will select the paths we just created and make them much easier to see.

Step 3 – Hop Skip And Jump To Illustrator

With our paths selected, lets first make sure that our lettering all stays together as one single unit by going up to the options bar across the top of Photoshop and clicking the Combine button (if you don’t see a combine button, chances are good that you don’t have the Path Selection tool active). With the paths combined you can now copy the selected paths by pressing Command-C (PC: Ctrl-C). This will effectively copy the vector paths into your computer’s memory so that we can switch over to Illustrator and use them there. Now, I know some smart-ass is going to leave me a snooty note about how you could have created this text in Illustrator and saved some trouble, but then you wouldn’t have just learned how to convert your text to a path would you?… And this is after all primarily a Photoshop site, so just know that you could have typed your text in Illustrator too. Both ways are equally correct.

So now that we’ve nipped that in the bud, lets move on and open Adobe Illustrator.

With Illustrator open, lets use the same keyboard shortcut to create a new document over there: Command-N (PC: Ctrl-N). In this instance our canvas size doesn’t matter one bit, so I’ll just leave it at it’s default Letter size and click OK.

Step 4 – Paste The Paths Into Illustrator

Remember those paths we copied to our invisible Clipboard? Lets go ahead and paste those right into our Illustrator document by pressing Command-V (PC: Ctrl-V). If the Paste Options dialog appears, choose Compound Shape and click OK. We’re not worried about where they are on the document or anything but if you’re Obsessive Compulsive feel free to move them to wherever makes you feel warm and fuzzy.

By default your paths won’t be filled with any color, which isn’t good since we won’t be able to see them if they become deselected, so lets use the Color palette to change the fill color to a nice light gray (#E5E5E5). If you don’t see the Color palette, choose Window > Color from the Main Menu. Double-Click on the Foreground color swatch and enter the color code into the box as indicated below and click OK to set the color.

Step 5 – Making The Text 3D

Now comes the fun part! With the path still selected on the stage, choose Effect > 3D > Extrude & Bevel from the Main Menu to bring up the 3D Extrude & Bevel Options window. If the More Options button is visible in the right sidebar, click it to expand the dialog box completely and change your settings to match mine below. Notice that I’m using a zero (0) setting in the Y and Z Axis settings because I only want to push the lettering back a little while keeping all other aspects the same. It’s also important to notice that I’ve moved my light source to the lower left hand corner of the shading ball in the Surface Shading area. Make sure the Preview box is checked if you want to see what’s going on with your text as you work. Once all your settings are complete, click OK to commit your 3D transformation.

Our 3D edges are currently not in a form that Photoshop will understand, so lets quickly fix that before moving back to Photoshop to complete the process. From Illustrator’s Main Menu choose Object > Expand Appearance. This will convert the 3D edges into their own paths, making them Photoshop compatible.

Step 6 – Moving Back To Photoshop

(*note: We’ll be switching programs in a second, but don’t close this Illustrator file just yet, we’ll need it one more time)

With our object still selected in Illustrator, lets copy it back to the Clipboard by pressing Command-C (PC: Ctrl-C) to copy and then click over to your Photoshop document and press Command-V (PC: Ctrl-V) to paste it onto the canvas. You will now be asked how you want to Paste, and if you’re using Photoshop CS4 or higher, choose Smart Object so that we can retain the editing capabilities of our object should we need it later and then click Return (PC: Enter) to commit the paste to the canvas (DO NOT RESIZE WHEN YOU PASTE! If you wish to resize, I’ll let you know when to do it later). (*note: If you’re using a version of Photoshop older than CS4, select Pixels when you Paste)

You can no go ahead and delete your original text layer and paths if you’d like as well as rename your new 3D text layer.

Step 7 – Back To Illustrator One More Time

Ok, like I said, we’re going to make a quick run back to Illustrator to get another set of paths, but this time we only want to copy the original flat text on top of our 3D rendering because it’s perspective has changed since we originally brought it into Illustrator and we’re going to need it isolated for later.

Now, to isolate our top layer of text, we’re going to need to click down into the object, so I want you to double-click on the dark top text 3 times in a row, then click it once to select it. Confusing, I know, but if you followed my instructions right, your document should look like mine below. Notice that the 3D areas are now faded out because you’re deeper into the object.

!! OPTION B !!If you’re having trouble try this alternate method:
Double click on the stage (outside of the object) to ensure you’re at the top level of your document in Illustrator, then select your text object by clicking and dragging a selection around it with the Selection tool. Now, choose Window > Appearance from the Main Menu to bring up the Appearance palette and inside that palette click on the Extrude & Bevel link to reopen the 3D Extrude & Bevel Options palette. Next simply change the Extrude Depth to 0pt and click OK to commit the change. You can now continue to Step 8.

Step 8 – Copy And Paste Back Into Photoshop

Just like the title says, we’re going to repeat our Copy and Paste process by pressing Command-C (PC: Ctrl-C), switching back to Photoshop and Pasting just like we did before with Command-V (PC: Ctrl-V). And yes, again CS4 and newer will use Smart Object while older versions will use the Pixels option when pasting.

It’s going to be hard to see this new version pasted over the original, so lets change the color by using a Layer Style. In the Layers palette, Command-Click (PC: Right-Click) on the new layer which should appear at the top of the Layers palette and which I’ve conveniently named 2D Text #1 and choose Blending Options to bring up the Layer Styles dialog box. Click on the Color Overlay option in the left hand list and change the color (click on the swatch) to #323232 and click OK to add the style to the layer. And now that you can tell the 2D layer from the 3D layer, use the Move tool (or your arrow keys) to position the 2D layer over the top of the 3D layer where it belongs. It may help to zoom in to get it perfect by using the Command + and Command – (PC: Ctrl + and Ctrl -).

Step 9 – Making The Top Pop

In this step we’re going to do a few things to make the top layer stand off of the 3D sides a little bit. Lets start by duplicating the 2D Text #1 layer by selecting it in the Layers palette and then pressing Command-J (PC: Ctrl-J) to duplicate the layer. Rename this new top layer 2D Text #2. Press the V key to make sure that the Move tool is active and then using the arrow keys on your keyboard press Up and Left each one time to offset the layer slightly from the one below.

Now lets edit the Color Overlay layer style of the 2D Text #1 layer. To do this, simply double click on the little FX icon on that layer (alternately you can Command-Click (PC: Right-Click) on the layer and choose Blending Options) to bring back the Layer Styles dialog. Click on Color Overlay in the left hand column and change the color of the overlay to White and then click OK to commit the change.

Step 10 – Adding The First Shadow

If you’re using CS4 or newer with Smart Objects, this is the point where you’d want to resize your text if needed. Be sure to select all 3 text layers and transform them together

Next we’re going to add a tiny shadow immediately below our 3D Text layer to really make it pop off the background a little more. Command-Click (PC: Ctrl-Click) on the thumbnail of the 2D Text #2 (or #1) layer to load the layer as a selection. Press the D key to reset the foreground and background colors and return the foreground to black, then create a new layer below the 3D Text layer and fill the selection with foreground color by pressing Option-Delete (PC: Alt-Backspace). You won’t be able to see anything yet, but that’s ok, rename this new layer Shadow #1 and continue to the next step

Step 11 – Blur And Move The Shadow Into Place

Now we’re going to dull the edges of our shadow just a little bit, so from the Main Menu choose Filter > Blur > Gaussian Blur and when the dialog pops up set the Radius to 0.5 pixels and click OK. And now press your Down Arrow key on your keyboard until the shadow becomes visible at the bottom of the 3D Text layer. We only want a pixel or two showing, just enough to give us a nice tight shadow below the text. (I only dropped it 1px below the 3D text)

Step 11 – Create The Final Shadow

With our first shadow in place, creating the 2nd will be easy. Duplicate the Shadow #1 layer by pressing Command-J (PC: Ctrl-J) and call it Shadow #2. Go back to the Gaussian Blur filter (Filter > Blur > Gaussian Blur) and this time use a radius of 2px and click OK.

Because our light source for our 3D objects was coming from the lower left hand corner of the text, lets make a small modification here to make the effect a little more convincing. While still on the Shadow #2 layer, press Command-T (PC: Ctrl-T) to invoke the Free Transform tool, and pull out the left and top center points just slightly to pull the shadow away from the text in those directions as shown below. You don’t need to go too far, just enough to pull the shadow slightly. Click Return (PC: Enter) to commit your transformation when you’re done.

Conclusion

For my final image I pulled the Shadow #2 Layer’s Opacity down to around 60% just to soften up the effect a little bit and then added a slight gradient to the background. There are a lot of great instances where you’ll be able to use 3D text, you can use this same process with any object made from a path… logos, custom shapes and all kinds of stuff. So play around, and have a little fun with it.

The post Modern 3D Text Effect appeared first on Morph Academy.

Step 1

Hit Control + N to create a new document. Enter 600 in the width and height box then click on the Advanced button. Select RGB, Screen (72ppi) and make sure that the “Align New Objects to Pixel Grid” box is unchecked before your click OK. Now, turn on 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 set the unit of measurement to pixels from Edit > Preferences > Unit > General. All these options will significantly increase your work speed.

Step 2

Pick the Ellipse Tool(L) and create a 255px circle. Fill it with black, lower its opacity to 30% and go to Object > Path > Offset Path. Enter a -60px Offset and click OK.

Step 3

Reselect the two concentric circles created in the previous step, open the Pathfinder panel and click on the Minus Front button. Fill the resulting compound path with R=241 G=242 B=242, increase its opacity to 100% and move to the Layers panel. Double click on it, name it “Body” and make a copy in front (Control + C > Control + F).

Step 4

Pick the Ellipse Tool(L), create a 195px circle and place it as shown in the first image. Select this new circle along with the copy created in the previous step and click on the Divide button from the Pathfinder panel. Move to the Layers panel and you will find a new group with three simple shapes. Open it, delete the small circle then ungroup (Shift + Control + G) the remaining two compound paths.

Step 5

Focus on the two compound paths created in the previous step and fill them with the linear gradient shown below.

Step 6

Disable the Snap to Grid (View > Snap to Grid) then go to Edit > Preferences > General and make sure that the Keyboard Increment is set at 1px. Reselect “Body” and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and hit the up arrow three times (to move it 3px up).

Reselect both copies and click on the Minus Front button from the Pathfinder panel. Select the resulting group of shapes and turn it into a compound path (Object > Compound Path > Make). Fill it with R=134 G=139 B=145, lower its opacity to 30% and bring it to the front (Shift + Control + ] ).

Step 7

Reselect the second compound path edited in the fifth step (the large one) and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 5px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Select the resulting group of shapes and bring it to the front (Shift + Control + ] ).

Open it, select the top shape, fill it with white and go to Effect > Blur > Gaussian Blur. Enter a 3px radius and click OK. Keep focusing on this group, select the bottom shape, fill it with R=134 G=139 B=145 and go to Effect > Blur > Gaussian Blur. Enter a 5px radius and click OK.

Step 8

Reselect the first compound path edited in the fifth step (the small one) and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 5px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Select the resulting group of shapes and bring it to the front (Shift + Control + ] ).

Open it, select the top shape, fill it with R=134 G=139 B=145 and go to Effect > Blur > Gaussian Blur. Enter a 5px radius and click OK. Keep focusing on this group, select the bottom shape, fill it with white and go to Effect > Blur > Gaussian Blur. Enter a 3px radius and click OK.

Step 9

Reselect “Body” and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 10px down. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Select the resulting group of shapes and turn it into a compound path (Object > Compound Path > Make). Fill it with white, lower its opacity to 30% and bring it to front (Shift + Control + ] ).

Step 10

Reselect “Body” and make two new copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 5px down. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Turn the resulting group of shapes into a compound path (Object > Compound Path > Make), fill it with white, lower its opacity to 70% and bring it to front (Shift + Control + ] ).

Step 11

Select all the shapes created in the last five steps and group them (Control + G). Reselect “Body”, make a copy in front (Control + C > Control + F) and bring it to the front (Shift + Control + ] ). Fill it with white and open the Transparency panel. Select this white compound path along with the group created in the beginning of the step, open the fly-out menu of the Transparency panel and click on Make Opacity Mask. In the end your masked group should look like in the fourth image.

Step 12

Re-enable the Snap to Grid (View > Snap to Grid), pick the Ellipse Tool(L), create a 195px circle and place it as shown in the first image. Fill it with none but add a 30pt stroke. Set its color at R=150 G=150 B=150 then go to Object > Path > Outline Stroke. Select the resulting path and change its blending mode to Overlay.

Step 13

Reselect “Body” and go to Effect > Stylize > Drop Shadow. Enter the data shown in the left window, click OK then go again to Effect > Stylize > Drop Shadow. Enter the data shown in the right window and click OK.

Step 14

Pick the Ellipse Tool(L) and create a 265px circle. Fill it with black, lower its opacity to 30% and place it as shown in the first image. Pick the Rectangle Tool(M) and create a 65 by 75px shape. Fill it with R=255 G=30 B=45, lower its opacity to 30% and place it as shown in the second image.

Step 15

Focus on the red rectangle created in the previous step. Pick the Direct Selection Tool(A), select the bottom, left anchor point and move it 10px to the right then select the bottom, right anchor point and move it 10px to the left. In the end your red shape should look like a trapezoid (image #2). Make sure that it’s still selected and go to Effect > Warp > Bulge. Enter the data shown in the following image, click OK and go to Object > Expand Appearance. Select the resulting shape along with the circle created in the previous step and click on the Intersect button from the Pathfinder panel.

Step 16

For this step you’ll need the Round Any Corner script. You can find it here. Save it to your hard drive then return to Illustrator and grab the Direct Selection Tool (A). Focus on the red shape edited in the previous step, select the four anchor points highlighted in the first image and go to File > Scripts > Other Script.

Open the Round Any Corner Script, enter a 5px Radius and click OK. In the end your shape should look like the second image. Reselect it and got Effect > Warp > Arc Lower. Enter the data shown below, click OK and go to Object > Expand Appearance. Finally, select the resulting shape and increase its opacity back to 100%.

Step 17

Select the red shape created in the previous step and go to Object > Transform > Rotate. Enter a 180 degrees angle and click on the Copy button. This will create a vertically flipped copy. Select it, drag it down and place it as shown in the second image. The Snap to Grid should ease your work. Reselect both red shapes and go again to Object > Transform > Rotate. This time enter a 90 degree angle and click on the Copy button. In the end you should have four red shapes placed like in the fourth image.

Step 18

Reselect “Body” and make two copies in front (Control + C > Control + F > Control + F) then select the four red shapes and duplicate them (Control + C > Control + F). Select these red copies, turn them into a compound path (Object > Compound Path > Make) and go to Object > Path > Offset Path. Enter a 2px Offset and click OK.

Fill the resulting path with black and lower its opacity to 10%. Select it along with one of the two copies of “Body” created in the beginning of the step and click on the Intersect button from the Pathfinder panel. Turn the resulting group of shapes into a compound path (Object > Compound Path > Make).

Step 19

Reselect the red compound path created in the previous step and go again to Object > Path > Offset Path. Enter a 4px Offset and click OK. Fill the resulting path with black and lower its opacity to 10%. Select it along with the other copy of “Body” created in the previous step and click on the Intersect button from the Pathfinder panel. Turn the resulting group of shapes into a compound path (Object > Compound Path > Make). Finally, delete the red compound path and make sure that you keep the four separated red shapes.

Step 20

Let’s add some extra details for the red shapes. Start with the top one. Select it and replace the flat red with the linear gradient shown below.

Step 21

Disable the Snap to Grid (View > Snap to Grid). Reselect the red shape edited in the previous step and go to Object > Path > Offset Path. Enter a -2px Offset and click OK. Select the resulting shape, make a copy in front (Control + C > Control + F) and move it 1px down. Reselect the two shapes created in this step and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown below. The yellow zeros from the gradient image stand for opacity percentage.

Step 22

Reselect the top, red shape go to the Appearance panel and add a new fill using the Add New Fill button. It’s the little, white square icon from the bottom of the Appearance panel. Select this new fill from the Appearance panel, lower its opacity to 15%, add the linear gradient shown below and go to Effect > Path > Offset Path. Enter a -3px Offset and click OK.

Step 23

Focus on the remaining red shapes and repeat the techniques mentioned in the last three steps.

Step 24

Re-enable the Snap to Grid (View > Snap to Grid), pick the Ellipse Tool(L), create a 195px circle and place it as shown in the first image. Fill it with none, add a 15pt stroke (any color) and go to Object > Path > Outline Stroke. Select the resulting path, fill it with the linear gradient shown in the second image, change its blending mode to Overlay and go to Effect > Blur > Gaussian Blur. Enter a 5px radius and click OK.

Step 25

Pick the Ellipse Tool(L) and create two, 10 by 155px shapes. Fill them with the linear gradient shown below and place them as shown in the following image. Select the left shape, lower its opacity to 50%, change the blending mode to Overlay and go to Effect > Warp > Arc. Enter the data shown in the left window and click OK. Select the right shape, lower its opacity to 50%, change the blending mode to Overlay and go to Effect > Warp > Arc. Enter the data shown in the right window and click OK.

Step 26

Pick the Ellipse Tool(L) and create two, 10 by 95px shapes. Fill them with the linear gradient shown below and place them as shown in the following image. Select the left shape, lower its opacity to 40%, change the blending mode to Overlay and go to Effect > Warp > Arc. Enter the data shown in the left window and click OK. Select the right shape, lower its opacity to 40%, change the blending mode to Overlay and go to Effect > Warp > Arc. Enter the data shown in the right window and click OK.

Step 27

Pick the Ellipse Tool(L) and create two, 95by 10px shapes. Fill them with the linear gradient shown below and place them as shown in the following image. Select the top shape, lower its opacity to 40%, change the blending mode to Overlay and go to Effect > Warp > Arc. Enter the data shown in the left window and click OK. Select the bottom shape, lower its opacity to 40%, change the blending mode to Overlay and go to Effect > Warp > Arc. Enter the data shown in the right window and click OK.

Step 28

Pick the Ellipse Tool(L), create a 195px circle and place it as shown in the first image. Fill it with none but add a 3pt stroke. Make it white, lower its opacity to 30% and go to Effect > Blur > Gaussian Blur. Enter a 3px radius and click OK.

Step 29

Pick the Rectangle Tool(M), create a 255px square and place it as shown in the first image. Fill it with none but add a 3pt stroke. Set its color at R=194 G=181 B=155, align it to the outside and go to Object > Path > Add Anchor Points. Make sure that this rectangle is still selected and switch to the Direct Selection Tool(A).

Select the top, left anchor point and drag it 15px down and to the right then select the top, right anchor point and drag it 15px down and to the left. Move down, select the bottom, left anchor point and drag it 15px up and to the right then select the bottom, right anchor point and drag it 15px up and to the left. In the end your shape should look like in the second image.

Step 30

Reselect the shape created in the previous step and go to Effect > Stylize > Rounded Corners. Enter a 25px radius, click OK and go to Effect > Warp > Fisheye. Enter the data shown below and click OK. In the end it should look like in the following image. Make a copy in front (Control + C > Control + F), select it and go to Object > Path > Outline Stroke.

Step 31

Disable the Snap to Grid (View > Snap to Grid). Select the path created in the end of the previous step and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px down. Reselect both copies and click on the Minus Front from the Pathfinder panel. Turn the resulting group of shapes into a compound path and make sure that it’s filled with R=194 G=181 B=155.

Step 32

Reselect the path created at the end of the step 30 and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px up. Reselect both copies and click on Minus Front from the Pathfinder panel. Turn the resulting group of shapes into a compound path and fill it with R=89 G=74 B=66.

Step 33

Reselect the path created at the end of the thirtieth step, remove the color from the fill and add a 1pt stroke. Set its color at R=99 G=74 B=66.

Step 34

Reselect the path edited in step 30 (the one with the stroke), and drag it above the path edited in the previous step (in the Layers panel). With this path still selected, focus on the Appearance panel and add a second stroke using the Add New Stroke button. It’s the little, black square icon from the bottom, left corner of the Appearance panel. Select this new stroke, make it 3pt wide, align it to the outside, set its color at R=89 G=74 B=66 and open the Stroke panel.

Check the Dashed Line box and enter 3pt in the dash line. Reselect this path, make sure that no fill or stroke is selected (in the Appearance panel) and go to Effect > Stylize > Drop Shadow. Enter the data shown in the left window, click OK then go again to Effect > Stylize > Drop Shadow. Enter the data shown in the right window and click OK.

Step 35

Select all the shapes created in the last six steps, group them (Control + G) and send the group to back (Shift + Control + [ ).

And We’re Done!

That wraps up the tutorial. Thanks for following it through to the end. Once again, here is what the final result should look.

The post Adobe Illustrator Tutorial: Create a Detailed Lifebuoy Illustration appeared first on Morph Academy.

Step 1

Open Photoshop CS 5 Extended and type with the Horizontal Type Tool (T) type the word 3D using Impact for the font.

Step 2

Go to 3D>Repoussé>Text Layer, this is the new 3D tool built-in in Photoshop CS Extended. With Repoussé we will be able to create all sorts of extrusions from text layers, selections and layer masks. In this case we will use a text layer.
Once the Repoussé settings window is opened you will have quite a few settings. First you can choose from some Shape Presets, which have a basic extrusion, different kinds of bevels and other presets. For this tutorial I use the basic one but, I’ve changed the Extrude values to create the effect I wanted. You also have the Materials, Bevel, Scene and Inflate settings but I won’t get into these right now because I’m still learning them and preparing new tutorials about them as well.
For the Extrude settings I used 4.94 for the Depth and 0.30 for the Scale so the 3D seems to be coming from the ground to up in the sky with a very strong perspective.
Another cool thing here is that you can rotate, scale and move the object around until you find the right position.

Step 3

This is the 3D text I wanted, in the past I would have to use another software like Illustrator or a 3D app such as Cinema 4D, now I can do that in Photoshop.

Step 4

To add and edit textures is pretty easy as well. As in Photoshop CS 4 we have the 3D palette where we can edit our 3D objects, you can access this palette going to Window>3D. Select the 3D object and then you will have the 3D front Inflation, 3D front Bevel, 3D extrusion… all of these are the areas where you can apply materials. Select the 3D Extrusion Material and the on Diffuse click on the folder next to the color (1) and select Open Texture. The texture will be open in a new window like when you edit a Smart Objects. So in this window you can create your material
I’m using a brick texture from Shutterstock, you can find it from the web. So adjust your texture in terms of colors then save this file. Photoshop will automatically updates the 3D object adding the texture. If you want to make the bricks smaller just click again on the icon next to the color and select Edit Texture. A dialog box with Texture Properties will open where you can adjust the UV Scale and Offset. I used 10 for the U and V Scale.
The last thing here is apply the same texture to the Bumpmap (4). Simply repeat the same thing. The bump will add depth to the texture like the displacement map where the light areas go up while the dark areas go down.

Step 5

Now select the 3D Front Inflation Material and repeat the same thing we did in the previous step, this time however I’m using another texture, a concrete one which was courtesy of Shutterstock and you can find it from the internet search.

Step 6

Once you changed the materials this will be the result you will have. As you can see the whole process was much easier than if you have to do that using different tools and them exporting and importing in Photoshop.

Step 7

As you can see there is light as well. Yes you can add lights to make your scene more realistic. In this first part I have only one light. It’s a Point Light with Intensity of 2. It also creates shadows, where I’ve changed to 100% of softness to make the shadows really soft.

Step 8

In this step I started mixing the 3D object with 2D objects, in this case a photo I took from an airplane when I was traveling. I wanted to give a sort of warm feeling to my image so first I went to Image>Adjustments>Hue and Saturation and changed the Hue to -10, the Saturation to -65 and the Lightness to 10. Then I went to Image>Adjustments>Color Filter. I selected orange for the color and 50% density. Then at last, I went to Layer>New Adjustment Layer>Gradient Fill. I used grey and black for the gradient with Radial for the Style, so the grey would be in the center of the radial gradient. After that I changed the Blend Mode of this Gradient Fill to Color Dodge to create the sun behind the 3D text.

Step 9

Add a new layer on top of the other layers including the 3D object. Then make sure you have black and white for the color and go to Filter>Render>Clouds. Change the Blend Mode to Color Burn.

Step 10

With the Eraser Tool (E) delete parts of the layer leaving just the bottom part of the layer. Use the image below for reference.

Step 11

I have already shown you how to create clouds using the Brush Tool (B), so let’s do it again. Add a new layer on top of the others and go to Window>Brushes. For the brush settings use the image below for reference. The most important part is the Texture where you will selec the clouds pattern. It’s also important to notice that if you increase the size of your brush you will have to increase the scale of the brush texture.

Step 12

Select the Brush Tool (B) and white for the color, then with the brush we created start painting some clouds. First paint just a few clouds like the image below (1-2)

Step 13

Select a light brown now for the color and paint more clouds, especially over the white clouds we created in the previous step.

Step 14

Now select white again for the colors and paint more clouds. The idea of this 3 steps was to add depth to our clouds by adding some dark areas using the light brown.

Step 15

Import a photo of a person to add to our scene, I’m using a photo of a girl sitting on a chair which was courtesy of Shutterstock, you can find it also from the internet. After that extract the background of the image and copy it and paste it in our design. Select just the girl and the chair and then go to 3D>Repoussé>Current Selection.

Step 16

The idea here is to create a 3D object from a 2d photo so we can position it and create some shadows, but also to play and learn with the Repoussé tool. Change the Depth to 0.1 and the scale to 1. Remove the materials leaving only the front one. Now a very important detail, over the Internal Constraints, change the Type to Hole, that will create wholes in the areas that were transparent, otherwise Photoshop would render a big solid and it would ignore those transparent areas.
Once again rotate, move and scale your object until you find the right position. You can do that later on as well.

Step 17

n order to create a 3D scene with the 3D text and the girl we will have to merge them in one 3D layer. To do that is simple, select the 3D layers and go to 3D>Merge 3D Layers. By doing that you will create one 3D layer only with both objects. So over the 3D Palette you will see the 3D text and the Girl objects where you will be able to edit them like scale, rotate, move and change the extrude options as well.

Step 18

Now the most important thing to do is to adjust your objects in your 3D scene (1). Move the lights so you can illuminate the scene properly and play around with other objects. As I mentioned before I’m still learning so the best thing to do is try different things, render a preview to see how it looks and try again.
To see all the 3D objects click on the little icon at the bottom of the 3D palette, the one with the eye and select Show All. (2)

Step 19

The best thing with the Repoussé tool is that you can edit the 3D object anytime during your design process, so if you think a different position might look better you can do it or try a different illumination everything is possible.

Conclusion

The post Photoshop CS5 Extended 3D Type with Repousse appeared first on Morph Academy.

Step 1

Hit Control + N to create a new document. Enter 700 in the width box and 500 in the height box then click on the Advanced button. Select RGB, Screen (72ppi) and make sure that the “Align New Objects to Pixel Grid” box is unchecked before your click OK. Now, turn on the Grid (View > Grid) and the Snap to Grid (View > Snap to Grid).

Next, you’ll need a grid every 10px. Go to Edit > Preferences > Guides & Grid, enter 10 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 set the unit of measurement to pixels from Edit > Preferences > Unit > General. All of these options will significantly increase your work speed.

Step 2

Pick the Rectangle Tool(M) and create eight, 120 by 110px shapes. Place them as shown in the following image and fill them with the two colors shown below.

Step 3

Pick the Direct Selection Tool(A), select the anchor points highlighted in the first image and drag them 10px down. The Snap to Grid should ease your work.

Step 4

Now we will help the map sections take shape. Take the first column of blue shapes. Select the top shape and go to Effect > Warp > Arc Upper. Enter the data shown below, click OK and go to Effect > Warp > Arc Lower. Again, enter the data shown, click OK and go to Effect > Warp > Flag. Once again, enter the data shown below and click OK.

Move on to the bottom shape and go to Effect > Warp > Arc Lower. Enter the data shown in the following image, click OK and go to Effect > Warp > Flag. Again, enter the data shown below, click OK and go to Effect > Warp > Arc Lower. Once again, enter the data shown below and click OK.

Step 5

Focus on the fourth column of shapes. Select the top shape and like before, go to Effect > Warp > Arc Upper. Enter the data shown below, click OK and go to Effect > Warp > Arc Lower. Again, enter the data shown below, click OK and go to Effect > Warp > Flag. Once again, use the data provided below and click OK. Move to bottom shape and go to Effect > Warp > Arc Lower. Enter the data shown, click OK and go to Effect > Warp > Flag. Again, enter the data and click OK.

Step 6

Now move on to the second column of shapes. Select the top shape and go to Effect > Warp > Arc Upper. Use the data provided, click OK and go to Effect > Warp > Flag. Again, enter the data shown below and click OK. Move to the bottom shape and go to Effect > Warp > Arc Lower. Enter the data shown below, click OK and go to Effect > Warp > Flag. Again, enter the data shown and click OK.

Step 7

Select the third column of shapes. Take the top shape and go to Effect > Warp > Arc Upper. Enter the data shown below, click OK and go to Effect > Warp > Flag. Again, enter the data shown below and click OK. Now move on to the bottom shape and go to Effect > Warp > Arc Lower. Enter the data provided, click OK and go to Effect > Warp > Flag. Again, enter the data given and click OK.

Now that we have the basics of the folds created we shall move on.

Step 8

Select all the shapes created so far and go to Object > Expand Appearance. Select the resulting shapes and duplicate them (Control + C > Control + F). Select these copies, open the Pathfinder panel (Window > Pathfinder) and click on the Unite button. Most likely your resulting shape has a few gaps.

Step 9

Now we need get rid of these gaps. Pick the Pen Tool(P) and draw a simple shape around those gaps. Select this new shape along with the shape created in the previous step and click on the Unite button from the Pathfinder panel. Send the resulting shape to the back (Shift + Control + [ ) and add a 1pt stroke. Align it to the outside and set its color at R=117 G=174 B=136. Move to the Layers panel, double click on this new shape and name it "Map".

Step 10

Focus on the eight, blue shapes. Select the top, left shape, make a copy in front (Control + C > Control + F) and bring it to the front (Shift + Control + ] ). Select this copy along with the bottom, right blue shape and click on the Minus Front button from the Pathfinder panel.

Step 11

Keep focusing on the eight, blue shapes. Select the top, right shape, make a copy in front (Control + C > Control + F) and bring it to front (Shift + Control + ] ). Select this copy along with the bottom, right blue shape and click on the Minus Front button from the Pathfinder panel.

Step 12

Move over to the Layers panel, select “Map” and go to Object > Path > Offset Path. Enter a 5px offset and click OK. Fill the resulting shape with the linear gradient shown in the second image and set the stroke color at R=215 G=215 B=215. The white numbers from the gradient image stand for location percentage.

Step 13

Disable Snap to Grid (View > Snap to Grid) then go to Edit > Preferences > General and make sure that the Keyboard Increment is set at 1px. Select the shape created in the previous step and make two copies in front (Control + C > Control + F > Control + F). 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 shape with R=190 G=190 B=190 and remove the color from the stroke.

Step 14

Reselect the shape created in the twelfth step and open the Appearance panel. Add a second fill for this shape using the Add new Fill button. It’s the little, white square icon from the bottom of the Appearance panel. Select this new fill, make it black, lower its opacity to 3%, change the blending mode to Multiply and go to Effect > Artistic > Film Grain. Enter the data shown below and click OK.

Step 15

Reselect “Map”, make a copy in front (Control + C > Control + F) and send it to the back (Shift + Control + [ ). Fill this copy with black, move it 10px down. Lower its opacity to 10% and go to Effect > Warp > Arc. Enter the data shown in the final image, click OK and go to Effect > Blur > Gaussian Blur. Enter a 3px radius and click OK.

Step 16

Select the top, blue shape from the second column and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px down and 2px to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with white, lower its opacity to 10% and change the blending mode to Soft Light.

Step 17

Select the bottom, blue shape from the second column and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px up and 2px to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with white, lower its opacity to 10% and change the blending mode to Soft Light.

Step 18

Select the top, blue shape from the fourth column and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px down and 2px to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with white, lower its opacity to 10% and change the blending mode to Soft Light.

Step 19

Select the bottom, blue shape from the fourth column and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 1px up and 2px to the right. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with white, lower its opacity to 10% and change the blending mode to Soft Light.

Step 20

Select the bottom, blue shape from the first column and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 10px down and to the left. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with white. Switch to the Delete Anchor Points Tool(-), make sure that your white shape is still selected and click on the two anchor points highlighted in the third image. In the end your shape should look like is shown in the fourth image.

Step 21

Reselect the shape created in the previous step, lower its opacity to 8% and fill it with the linear gradient shown below. Remember that the white number from the gradient stands for location percentage while the yellow zero stands for opacity percentage.

Step 22

Repeat the techniques mentioned in the last two steps and create the three shapes shown in the following images.

Step 23

Select the bottom, blue shape from the second column and make two copies in front (Control + C > Control + F > Control + F). Select the top copy and move it 15px up. Reselect both copies and click on the Minus Front button from the Pathfinder panel. Fill the resulting shape with the linear gradient shown in the third image and lower its opacity to 15%. Repeat this technique for the bottom, blue shape from the fourth column.

Step 24

Select the top, blue shape from the first column and make a copy in front (Control + C > Control + F). Lower its opacity to 20% and fill it with the linear gradient shown below.

Step 25

Select the bottom, blue shape from the first column and make a copy in front (Control + C > Control + F). Fill it with the linear gradient shown in the second image and move over to the Appearance panel. Select the existing fill and lower its opacity to 20%. Add a second fill for this shape, select it from the Appearance panel, lower its opacity to 50% and use the linear gradient shown in the third image.

Step 26

Select the bottom, blue shape from the second column and make a copy in front (Control + C > Control + F). Fill it with the linear gradient shown in the second image and move to the Appearance panel. Select the existing fill and lower its opacity to 20%. Add a second fill for this shape, select it from the Appearance panel, lower its opacity to 40% and use the linear gradient shown in the third image.

Step 27

Select the top, blue shape from the second column and make a copy in front (Control + C > Control + F). Now, you need to copy the properties added for the shape created in the previous step to this copy. Here is how you can easily do it. Go to the Layers panel, focus on the right side and you'll notice that every shape comes with a little grey circle. It's called a target icon. Hold Alt, click on the circle that stands for the shape created in the previous step and drag onto the circle that stands for the copy created in the beginning of this step.

Step 28

Select the top, blue shape from the third column and make a copy in front (Control + C > Control + F). Fill it with the linear gradient shown in the second image and move to the Appearance panel. Select the existing fill and lower its opacity to 25%. Add a second fill for this shape, select it from the Appearance panel, lower its opacity to 20% and use the linear gradient shown in the third image.

Step 29

Select the bottom, blue shape from the third column and make a copy in front (Control + C > Control + F). Again, copy the properties from the shape created in the previous step to this fresh copy.

Step 30

Select the bottom, blue shape from the fourth column and make a copy in front (Control + C > Control + F). Fill it with the linear gradient shown in the second image and move over to the Appearance panel. Select the existing fill and lower its opacity to 40%. Add a second fill for this shape, select it from the Appearance panel, lower its opacity to 50% and use the linear gradient shown in the third image.

Step 31

Select the top, blue shape from the fourth column and make a copy in front (Control + C > Control + F). Lower its opacity to 40% and fill it with the linear gradient shown below.

Step 32

Select all the shapes created in the last sixteen steps and group them (Control + G).

Step 33

For the map you need to start with this simple image . Save it to your hard drive and drag it inside your Ai file. Select it and open the Transform panel (Window > Transform). Check the "Constrain Width and Height" button then enter 500 in the Width box. Select this resized shape.

First, go to Object > Live Trace > Make then go to Object > Live Trace > Tracing Options. Enter the data shown below, make sure that you check the "Ignore White" box, click on the Trance button then go to Object > Live Trace > Expand. Select the resulting group of shapes and go to Object > Compound Path > Make.

Step 34

Select the compound path created in the previous step and place it as shown in the first image. Reselect the "Map" shape, make a copy in front (Control + C > Control + F) and bring it to front (Shift + Control + ] ). Select this new copy along with the compound path and go to Object > Envelope Distort > Make with Top Object. In the end your compound path should look like it’s shown in the fourth image.

Step 35

Reselect the compound path, move to the Transform panel and enter 350 in the Width box. Make sure that your compound path is still selected, change its blending mode to Soft Light then drag it below the group created in step #32 (in the Layers panel).

Step 36

Reselect the “Map”, make a copy in front (Control + C > Control + F) and bring it to front (Shift + Control + ] ). Fill it with white, change its blending mode to Multiply and go to Effect > Stylize > Inner Glow. Enter the data shown below and click OK.

Step 37

Finally, let’s add a nice background. Pick the Rectangle Tool(M), create a shape the size of your artboard, fill it with R=240 G=240 B=240 and send it to the back (Shift + Control + [ ). Add a second fill for this shape and use the radial gradient shown below.

Step 38

For this final step you will need a built-in pattern. Open the fly-out menu of the Swatches panel (Window > Swatches) and go to Open Swatch Library > Patterns > Basic Graphics > Basic Graphics_Textures. A new window with a bunch of patterns should open. Look for the “Diamond” pattern. Reselect the shape created in the previous step and add a new fill. Select it from the Appearance panel, lower its opacity to 15%, change the blending mode to Color Burn, add the “Diamond” pattern and go to Effect > Artistic > Film Grain. Enter the data shown below, click OK.

And We’re Done!

Once more here is a look at what your final result should resemble. We hope that you all enjoyed this all new Adobe Illustrator tutorial and that it was easy to follow along with. Feel free to leave us your thoughts, critiques, or questions in the comment section below.

The post Adobe Illustrator Tutorial: Create a Simple Map Illustration appeared first on Morph Academy.

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.

The post Create a Download Folder Icon in Photoshop appeared first on Morph Academy.

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.

The post How to Apply Textures to Uneven Surfaces appeared first on Morph Academy.

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!

The post Create an Ancient Egyptian Tomb in Photoshop appeared first on Morph Academy.