Final Image Preview
Take a look at the image we'll be creating. Want access to the full PSD files and downloadable copies of every tutorial, including this one? Join Psd Plus for just $9/month. You can view the final image preview below. You can view the large version here.
Our video editor Gavin Steele has created this video tutorial to compliment this text + image tutorial.
To begin, you'll need to find a photograph texture of a leaf. I have chosen this one from lostandtaken.com by a a photographer named Caleb Kimbrough.
Load your new found texture into a new project. With the Rectangular Marquee Tool (M) selected, Right-click on your layer in the artboard and select Free Transform. Once you have done that right-click on the texture again and select Warp. I have labeled each corner respectively as we will be moving them around quite a bit.
Now that you have your layer in Warp mode, click and drag the corner (a) down 1/3 of your grid.
Now click and drag the corner (point c) up 1/3 of your grid. Already our leaf is beginning to take on it's natural form.
Each corner has 2 arms that you can move in order to manipulate your layer even further. Pull the corner's (point a) left arm down as shown below.
You should give a sharper edge to your leaf. Something like this. Press Enter to finalize the Warp.
You should have a sharp point on your leaf after the last several steps. However, your point may be a bit bent due to the Warp Tool curling. Fix this by using the Polygonal Laso Tool (L), selecting the excess curl and pressing the Delete key.
Now lets focus on the other end of the leaf. Use the Warp Tool again (see Step 2) and drag point d as shown in the picture below. You'll want to get both of the arms of point d to be parallel.
Now do the same with the top-right corner (point b). Also, if you want you can tweak the leaf into whatever position you require by holding your mouse down and dragging the inner grid, as well as the other points.
To add a bit of additional perspective Right-click on your leaf and select Free Transform. Now hold Alt + Shift and drag the top-right corner, then move it left a bit. This will give the leaf a bit of distance perspective.
If you want to make the leaf drop at its point, use the Rectangular Marquee Tool (M) and select only the left half of the leaf. Then proceed to Free Transform > Warp. This will allow you to move that half of the leaf without warping the right half. Make sure not to move the points that are in contact with the leaf that is not selected as this will cause a tear between the two pieces.
Next, duplicate the layer with your leaf on it, drag that layer below your original leaf layer. Warp it a little to show some discrepancy. Repeat this process as many times as your desire. Play with it and have fun.
On each layer you can add a simple drop shadow by double-clicking on the layer and checking the box labelled Drop Shadow. To give leaves even more depth, make sure you adjust the Distance, Size, and Opacity accordingly. The larger leaf has an Opacity of 63%, a Distance of 299px, and a Size of 84px (this is on an artboard sized at 2590px by 1943px at 72px per inch). If you have a leaf that is directly on top of another, you will want to have the distance significantly lower, as well as the size. It should be more sharp and distinct.
Next I added a quick and easy Bevel and Emboss. It is often frowned upon to use this but it gets the job done quick. You can paint the sunlight hitting the leaf if you desire, but this is only an intermediate tutorial.
Double-click on the desired layer and check the box Bevel and Emboss. Change your Depth to 100%, Size to 65px, and Soften to 0px. Also you may want to lower the Opacity of the Highlight Mode as well as the Shadow Mode.
You may want to add some depth of field. To do this I recommend you use a simple Gaussian Blur. Select the leaf that is below the rest of them. Right-click on the layer in the Layer Window and select Convert to Smart Object. Now select Filter > Blur > Gaussian Blur and set it to 2.6 pixels.
A Smart Object will allow you to change the settings of your applied filters non-destructively. If you are really thoughtful, you could do this with the Drop Shadow and the Bevel and Emboss on the leaves...repeat this process with the other leaves, but lower the blur as the leaves get closer to the largest leaf. We want that to be the focus.
You can also use the paint brush to mask the Smart Filter on the Smart Object. If you select the Smart Filter on your Smart Object layer, select the color black and paint on the artboard with the Paintbrush Tool. You will find that it removes the Gaussian Blur (or any other filter you applied to your Smart Object) in the area that you paint black. I did this with the largest leaf and left only the edges slightly blurred.
There you have it. A quick and easy display of greenery. You can really play around with this and do a lot of different types of leaves and positioning. I hope you've enjoyed this tutorial. Half the fun is just messing around with the Warp tool. The final image is below. You can view it larger here.
Final Image Preview
Take a look at the image we'll be creating. Want access to the full PSD files and downloadable copies of every tutorial, including this one? Join Psd Plus for just $9/month. You can view the final image preview below.
Create a new layer and name it "Background." Set your foreground color to #5e1114 and your background to #140306. Select the Gradient Tool, and with the settings pictured below drag from top to bottom like the arrow indicates.
To the "Background" layer, apply the following layer styles.
Reset your foreground and background colors to black and while by clicking the D key on your keyboard. Create a new layer and name it "bg_clouds." Now go to Filter > Render > Clouds. Set this layer's blending mode to Overlay. Dab at it in random areas with the eraser tool, set to a 30-50% Opacity with a soft brush to create interesting highlights. Try to match my result below.
Download this image from sxc.hu (Thank you Javier González). Call the layer "castle," resize it and place it roughly in the top-center of the stage. Set the layer's blending mode to Multiply and the Opacity to 60%. Use the Eraser Tool to erase any harsh edges. Below is my result after this step.
Okay, so far so good. Let's start creating our logo. Grab your Pen Tool and create the outline of a dragon's head. To do this you can either trace a random dragon image, or make up your own. This one will however end up with some heavy duty layer style effects, so try to keep the shape fairly simple.
There's a wide variety of free shapes and dingbats you could use instead, if you don't wanna spend time tracing or coming up with a dragons head. Where there's a will, there's a way.
Duplicate your shape 2 times (layer > duplicate layer...), so that you have 3 dragonhead layers. Name the bottom one "dragon_1," the middle one "dragon_2," and the top one "dragon_3."
Time to make our dragon shine. This technique is heavily based on Elliot AKA TrueLovePrevails' tutorial on how to replicate the warcraft logo style, so a huge thanx goes out to him for developing this fantastic technique, and for letting me use it. Click here to visit the original tutorial.)
Apply the following layer styles to each layer respectively, beginning with the "dragon_1" layer
Now apply the following layers styles to "dragon_2" and set this layer's fill Opacity to 0%.
And again to "dragon_3" and set this layer's fill Opacity to 0%.
Right, dragon looks good - check! Next up is the text.
Select your Type Tool and set the size to 60pt. Type out the text "Dragon." Right-click the layer and select Convert To Shape. The reason for this is that we want to remove the underline of the "o." To do this we use the Direct Selection Tool. Activate the vector mask by clicking the thumbnail and select all the nodes of the underline, then hit delete on the keyboard. If you can't get them all in one go, hold down Shift to add to the selection.
Next, grab the Path Selection Tool and click the "o." Go to edit > Free transform and drag the bottom center node down so the "o" looks like it belongs with the rest of the text. Now duplicate the layer twice, just like we did with the dragonhead. Name the layers from the bottom one and up "dragontext_1," "dragontext_2," and dragontext_3" respectively.
Let's hide the "castle" layer for now, since it's of little importance to the layout, and mainly causing a bit of a distraction while designing.
Right-click the layer "dragon_1" and select "copy layer style." Now right-click the "dragontext_1" layer and select Paste Layer Style. Right-click the layer "dragon_2" and select Copy Layer Style. Now right-click "dragontext_2" layer and select Paste Layer Style. Change the shadow mode opacity under bevel and emboss to 43%.
Select "dragontext_3" and set the fill Opacity to 0%. Then apply the styles shown in the image below. When finished, repeat Steps 9 and 10 for the "Storm" text (naming the layers stormtext_#) and place the text roughly as shown below.
Command-cick the vector mask thumbnail of "dragontext_2" layer to load the selection. You'll see the marching ants appear around your text. Make sure "dragontext_2" is your active layer, as this will make sure we place the adjustment layer we are about to create just above "dragontext_2."
Now click the Create New Fill Or Adjustment Layer button located below your layers palette. From the list select Color Balance and apply the settings below. Afterwards, click Command + D to deselect. Now do the same for the "swordtext_2" layer.
Details speak for themselves, so lets throw in some more text for added effect. Type out "Scroll of the Wicked" using the Scurlock font again, at a size of 18.5 pt. For the "Scroll" and "Wicked" text, set the text size to 14.5 pt. For "of the" text, use #C9C9C9 as the text color and apply the following layer styles.
Hopefully you're still with me. Let's move on to the sidebar.
Using your Pen Tool, create a block-like shape like the one in the image below. Be creative here. There is no right or wrong when making stuff like this, so just throw a shape together without paying too much attention to detail. Duplicate this layer and call the the top one "sidebar_base." Name the bottom one "sidebar_perspective." Now apply the following layer styles To the layer "sidebar_base."
Nudge the "sidebar_perspective" layer 6px to the left, right-click it and select Rasterize Layer.
Set the Burn Tool up using the settings below, and paint the perspective edge - keeping the light source from the concept sketch in mind - where the light is least likely to hit it. With the Dodge Tool, paint the opposite areas. When doing this for stone textures, I find that it's effective to dab rather than stroke, as this creates the illusion of a rough surface. Finally, give the layer a drop shadow.
Download this brush set by Lee Richardson. Create a new layer above "sidebar_base" and name it "sidebar_texture_1." Now, Command-click the "sidebar_base" layer to load the shape selection. Without releasing Command press Shift to add to the selection and click the "sidebar_perspective" layer. Next Grab your Brush Tool and select the second brush of the set you just downloaded. With your foreground color set to black, click once inside the selection and hit Command + D on your keyboard. Set this layer's Opacity to 50%.
Set your foreground color to #160A02 and create another layer. Name this one - you guessed it - "sidebar_texture_2." Repeat the process from Step 15, this time using the fourth brush of the set. It's smaller, so you'll need two clicks to cover the entire surface. With this layer selected, go to Filter > Blur > Gaussian Blur. Set it to a radius of 1.5 then click OK. You should have something like the image below.
Let's add some imperfections to the rock surface. Create a new layer and name it "cracks." Select the Brush Tool and vary between a master radius of 2px to 5px, Hardness 60% to 80%, and keep the brush Opacity at 55%. Try not to worry about getting it right. The layer style will do most of the work, and the weirdest shape may turn out great. When you are happy with the cracks, apply the following layer style and become even happier.
Create yet another layer, this one above the "cracks" layer, and call it "edge_bumps." Select the Pencil Tool with a master diameter of 1px and draw in some imperfections in black color along the highlighted line below. set the layer Opacity to 76%, then apply the following layer style to the layer.
Create a new layer above the "edge_bumps" layer. Command-click the "sidebar_perspective" layer. Grab any one of Photoshop's default spatter brushes and dab here and there down the edge, while still keeping the brush Opacity at 55%. Copy the layer style from the "edge_bumps" layer and paste on to this layer. Set the layers Opacity to 55%.
Let's move on to creating the wood. Make a shape like the one below for our big wooden saved games board. Set the color of the shape to #463118. Call the layer "saved_games_base" and apply the following styles to it.
Using your Pen Tool, try to replicate the shape you see below, and place it below the "saved_games_base" layer. The important edges are highlighted in red. Name it "saved_games_perspective" and set the color of this shape to #14100D. Also, apply a drop shadow as shown.
Download the first texture from this texture set by cgtextures.com. Drop it onto your stage and resize/rotate it until you like how it looks. Place it above and over the layer "saved_games_base" and rename it "wood_texture_1". Command-click "saved_games_base," then Command + Shift-click "saved_games_perspective" to add to the selection. Select "wood_texture_1" and click the add layer mask button, located underneath the layers palette. Set this layers blending mode to Soft Light.
Duplicate this layer once, name it "wood_texture_2," set the blending mode to Overlay and Opacity to 15%.
Repeat Steps 20-22 for the buttons. Try to vary the gradient a bit, and use reflected instead of radial. To keep track of your layers, you may want to add the button layers to a group. Try to match the results shown below.
Let's lighten things up a bit. select the top layer of the document, and click the Create New Fill Or Adjustment Layer, just like we did in Step 11 for the text. This time select levels from the list, and drag the center node to 1.39, which is a little to the left.
Command-click the "stormtext_1" layer, now press Command-shift and click both the "dragontext_1" and "dragon_1" layers. Select the levels layer thumbnail and go to Edit > Fill, and fill the selection with black. Now the text and dragonhead won't be affected by the levels layer.
Next we are going to add a brightness/contrast adjustment layer, using the exact same method we used for levels, including making sure the "Dragon Storm" TEXT ONLY this time is not affected by this layer by masking it out. Set the Brightness to 25 and Contrast to 35.
With your Rectangle Tool, above the "wood_texture_2" layer, create a square shape like in the images below. Name this layer "inset_rim," now duplicate this layer and call the top one "inset_base."
Apply the following styles respectively, starting with "inset_rim" and using a Fill Opacity of 0%.
For "inset_base," use the same settings and a Fill Opacity of 60%.
Duplicate both "inset_rim" and "inset_base" twice and place as shown in the bottom of the below images.
Download "Livingstone" by PrimaFont from dafont.com. Type out all the text you see below, using #ECDECB as the text color. Size isn't too important, just try to match roughly what is shown below. Then apply the following style to all of these text layers.
Set your foreground color to #636363 and create a new layer below the buttons. Using your brush tool set to 85% Hardness with a master diameter of 1px, paint a O shape, like in the image below. See the marching ant selection. Duplicate it, and place the copies as shown.
Do the above step for all the areas in the image below that has chains and apply the following style to all layers. It's going to be many layers, so use groups to keep track of them.
Let's make the "castle" layer visible again. Since we're moving in to the detailing stage of this project it's nice to get a clear view of what the end result will be.
Now, using your pen tool again, with black set to your foreground color, create a shape like the one inside the saved games box below. Make it mainly square, but cut the corners to give it a more interesting shape. Call this layer "tablet". Apply the following layer styles:
Using the font Livingstone again, type out the text you see in the saved games stone tablet below, and apply the following layer styles. When finished, duplicate the whole tablet and place it in the second box, as shown in the image below.
Set your foreground color to #2E343A, and with your Pen Tool create a small diamond shape (about 10px by 10px). This is going to be the base of our rivets. Name the layer "rivet_inset," and duplicate it twice. Name the middle rivet layer "rivet_base" and the top one "rivet_style." Add the following styles respectively, beginning with "rivet_inset."
Now apply the following layer styles to the "rivet_base" layer.
Now apply the following layer styles to the "rivet_style" layer.
Now duplicate the whole rivet three times and place one in each corner of the saved game box, just like in the image below.
Create 4 small circles (about 4px by 4px) at the base of the saved games box, using the ellipse tool and #CCB55A as your foreground color. These will be the page indicators often found in iPhone applications. To the first three, apply these styles.
Change the color of the fourth circle to #FFA200 by double-clicking the shape color thumbnail. Then apply the following style.
Time to dive into the last and probably the most difficult step. This could in fact be a whole other tutorial in itself, but I'll try to keep it basic. I'm gonna try to explain this to the best of my ability using images, but it's gonna be a learning by doing experience for anyone new to this technique.
Optionally you can also add an unsharp mask to the leaf if you want crisper detail. Settings would be along the lines of Amount 50%, Radius 0.5px and threshold of 0 levels.
- Create a shape, using the Pen Tool, that somewhat resembles a leaf. Doing this in a separate document is a good idea (see image 1 below).
- Rasterize the shape you just made, and grab the Burn Tool.
- Vary the settings for the brush (size and exposure) and try to replicate my result (picture 2).
- Grab the Dodge Tool and try to replicate the results shown, again varying the settings of the brush (picture 3).
- For good measure, also draw a line down the center of the leaf using the Burn Tool (picture 3).
- Use the Eraser Tool, set to a Hard Brush to further shape the leaf (picture 4).
- Zoom in and add additional detail using dodge and burn (picture 4).
- Go to Filter > Noise > Add Noise, and use the following settings: Amount of 1%, select Gaussian and check Monochromatic (picture 5).
- Resize the leaf to the actual size you need it to be, and create a new layer above it. Now with a soft 1px black brush, draw in the veins. set this layers Opacity to 20% (picture 6).
- Change the foreground color to white and the brush Opacity to 70%, and draw in some highlighted areas around the veins (picture 7).
- Add a simple drop shadow using layer styles, and merge the whole leaf into one layer (picture 7).
Add greenery, here and there to make it look more interesting. You could go even further than I did and add some on the saved games box as well. Thanks a lot for following along with this tutorial and I hope you learned some new techniques. Below is the finished result.
Well, to get things started off right, let's make a new document with the dimensions of 2304 pixels by 1708 pixels, and 300dpi. These dimensions worked great while creating this tutorial, so let's stick with them!
Next we'll set some guides. Be sure your snap feature is turned on View > Snap (Command + Shift + Colon key). Unfortunately there is no visual aid to show that it is turned on. Press Command + R to display your rulers, then use the Selection Tool (V) to drag a guide from the left and top rulers, ensuring they snap to the center of the artboard. Press Command + Colon key to hide any Guides at any time.
Don't worry, if you make a mistake, just press Command + Z to undo. If you make a few mistakes, just press Command + Option + Z to step back to where you were. Now that we have that out of the way, let's get to the fun stuff!
Here's an interesting trick. Change the background of your artboard by selecting your favorite color, grabbing your Paint Bucket Tool (G), then Shift-clicking on the artboard. Cool right?
Lets work from the bottom up, kinda like a painting. First lets create a nice blue gradient for the background. Select the Gradient Tool (G), select radial from the gradient choices. When choosing your colors, you can use #3e5198 for the foreground, and #222d53 for the background.
The effect we want is a lighter center, and a slightly darker outside. This creates more visual interest, rather than just a plain solid color. Once you have your colors selected, simply click and drag from the center of the artboard to the right edge and release.
For Psd Plus members, Drag in the supplied "concreteTexture.jpg" image that is found in the "source" file in this tut's member download, or grab a texture you prefer off the net. Make sure it is on a layer above the "background." Scale (Command + T) and adjust as needed. Set the color mode to Overlay (V, then Shift + or -), and reduce the Opacity of the layer to 30% (V, then 3). This will give us a nice subtle effect.
Here's a quick note on Opacity and Fill. The number pad (1 = 10%, 2 = 10%......0 = 100%) will change the Opacity or Fill (press Shift and number to change Fill) to whichever tool is selected. If the Selection Tool (V) is active, then it will adjust the layer. If the Brush Tool (B) is selected, then it will adjust the brush. The same goes for the Gradient and Paint Bucket Tool (G).
Create a new layer and name it "Main Clock." Select the Circular Marquee Tool (M), and drag from the center of the artboard out towards the edge. The trick is to press Option+Shift while dragging. This will constrain proportions and create a marquee from the center, out.
Leave some free space on the top and bottom. Press (D) to change to the default colors. Next, press Option + Delete to fill the marquee with your foreground color. Deselect the marquee (Command + D). Don't like the color you just filled the circle with? Pick a different color and press Shift + Option+ Delete and see what happens! The transparency is preserved!
Select the Main Clock Layer and the "Background" Layer by Command-clicking each layer (if a marquee appears, that means you clicked on the layers thumbnail. Oops!) Press (V) for your Selection Tool, then align the circle by pressing the Align Vertical Centers, and the Align Horizontal Centers. This is a precautionary measure to make sure everything lines up later down the road.
Filling Note: If you press Command + Delete, the marquee will fill with the background color. An easy way to remember which one does which is to observe on the left side of your keyboard, the Option button is on the left of the Command button (just like the foreground and background colors).
Now we get to add some effects. Double-click on the "Main Clock" layer to open up the Layer Style dialog box. Enter the following adjustments (everything else can remain as the default setting):
- Drop Shadow: Opacity = 65%, Angle = 90 (make sure Global Light is checked), Distance = 49, and Size = 79.
- Inner Shadow: Opacity = 65%, Distance = 0, Choke = 12, and Size = 38.
- Inner Glow: Blend Mode = Color Burn, Color = #a32025, Size = 111
Bevel: Technique = Chisel Hard, Size = 81, Soften = 14, Highlight Mode Opacity = 45, and Shadow Mode Opacity = 45.
Here comes the fun part! Let's create the numbers for the face of the clock. Select your Type Tool (T) and click anywhere to make a text field. Type in the number 00 (a nice round number to help us align everything) and make sure the text is center aligned. The size should be approximately 40pt (to increase or decrease the size of the font use Shift + Command + < or >.... Helvetica Neue Font was used, but almost any font will work. Click your check mark box to accept the changes.
Now let's align this text to the background, the same way we did in the previous step. Command-click the text layer and the background layer , then use the align tools to ensure we are directly in the center.
Next, Shift-drag the text box to the top of the circle, and let it snap into place. It should be half on, half off of the top edge of the "Main Clock." Aligning it this way will give us a nice visual, letting us know that everything aligned properly.
Once in place, press Command + T for the Free Transform Tool. Your anchor will be in the center of the transform box. Shift-drag it down to the center of the circle. Zoom in (Command + Plus key) if you need to be more precise. Change the angle to 30 degrees and click the check box to accept the changes.
Now press Command + Option + Shift + T eleven more times to repeat the transform and make a new layer via copy. Wow, that's amazing!
Adjust the number to read correctly by selecting the layer, then pressing Command + T. Grab the bounding box corner and rotate it into place while holding Shift. Edit the text by double-clicking the text layer and entering the appropriate number.
Note: Using the bounding box to rotate the numbers into place is the quickest way, but you have other options as well. Try rotating it 30 degrees, then click the check box to accept the changes. Now press Command + Shift + T to repeat the transform. Keep doing this until the number is in place. Now you can select a different number layer and use the same keyboard shortcut. Neat!
Once all of the numbers are correct and can be read properly, select all of the numbers by Shift-clicking the entire set of numbers. Press Command + G to group all of the numbers together. Name the group "Numbers."
Now we want to make a copy of all of the numbers to one layer. Option-click the eye on the "Numbers" group. This will turn all of the other layers off. Press Command + Option + Shift + E to stamp everything visible to a new layer via copy. Name this layer "Merged Numbers."
Now turn on the other layers by clicking on each layer eye. You can keep the group "Numbers" turned off. The reason we made a copy is to keep an editable copy of the numbers, to apply the effects to only one layer which reduces file size, and to learn a great shortcut!
Resize the Merged Numbers layer (Command + T), so it fits inside the clock as shown below. Be sure to hold Option + Shift while dragging to constrain the proportions to the center.
Apply effects to the "Merged Numbers" layer. Use the settings indicated below. Don't be afraid to choose your own settings either. Make it your own!
Here are the settings used:
- Outer Glow: Opacity = 56, Color = #a32025.
- Bevel: Style = Pillow Emboss, Size = 24, Soften = 8, Highlight Mode Opacity = 30, and Shadow Mode Opacity = 30.
- Gradient Overlay = #ffffff, #c8c8c8, #ffffff, #c8c8c8, #ffffff (refer to image below) Click New to add this gradient to the presets field because it will be used in Step 13).
Create a new layer and name this "Hour Hand." Use your Custom Shape Tool (U) and choose the pencil shape from the drop down menu at the top. This looks most like a clock dial. Drag out a shape to make it look like a short, thin hour hand. Press Command + T, then hold Shift while rotating the hand so it is straight up and down. Position it towards the center to help you measure the next hand.
We need a longer minute hand now. Duplicate the layer by pressing Command + J. Rename this layer "Minute Hand." Select the Square Marquee Tool (M) and drag a square around the upper part of the hand. Now press Command + T and drag the hand so it is a little longer than the other one. Doing this will keep our pointed area proportional between the two hands.
Turn off the visibility of the "Minute Hand." Drag the "Hour Hand" up so the end is within the center guides. Press Command + T, rotate it holding Shift, then move the anchor point to the center guides (zoom in if necessary). Rotate the hand to the location of your choice (sometimes the anchor can't be edited until the object is rotated). Now do the same with the "Minute Hand."
Use the settings below to style both hands. The "Minute Hand" will have slightly more distance in the drop shadow, so it appears to be above the "Hour Hand." Here are the settings:
- Drop Shadow: Opacity = 55, Distance = 11 (14 for the "Minute Hand"..., Size = 13.
- Inner Shadow: Opacity = 42.
- Bevel: Technique = Chisel Hard, Size = 9, Highlight Mode Opacity = 55, Shadow Mode Opacity = 55.
- Gradient Overlay: Use the same color of gradient that was saved in Step 10, Angle = 96.
Adding some light spots to the clock hands will make our effect even more realistic. Create a new layer and name it "Highlights." Press (D) for your default colors, then (X) to switch to white.
Press (B) and from the brush menu (if you are using CS4 you can use the following shortcuts) select a brush diameter of 150 (Control + Option-click-drag), and a hardness of 0% (Control + Option + Command-click-drag). Set the Opacity to 30% (press 3). For earlier versions of PS, use the Bracket keys to adjust the diameter, and Shift + Bracket keys to adjust hardness.
Paint the white spot anywhere you can see it. Now select a Brush Diameter of 50, with 0% Hardness. Set the Opacity to 60% (press 6). Click once in the center of the previous highlight.
Now select your Circular Marquee Tool (M). Drag a circle around your highlight. Press (V), now click inside the marquee to cut it and reposition it. Find a white part on the "Hour Hand" and try to center your highlight to the upper edge of the hand (it depends on where you put your hands, but remember the light source is coming from the top).
Before you deselect, Option-click and drag a new copy to a highlight on the "Minute Hand," and the upper edges of the numbers 7 and 12. Now you can deselect, and pat yourself on the back for making it this far!
Add your company logo if you would like. Just drag it into your document, making sure the logo layer is below both hand layers. Position it, then use Command + T to resize it.
Copy the layer style of the numbers by right-clicking and selecting Copy Layer Style, then right-click on your "logo" layer and select Paste Layer Style. Decrease the bevel effect until it looks more realistic (Bevel: Size = 5, Soften = 0).
Hold the hands together by creating a center piece. Create a new layer and name it "Center." Command-click on the "Main Clock" layer thumbnail to create a marquee. Fill it with any color (Command + Delete), Deselect the marquee (Command + D), resize to the center (Command + T). Don't forget to hold Shift + Option to constrain the proportions to the center.
Now copy the "Main Clock" layer style, and paste it onto the "Center" layer. Make a few minor adjustments as shown below. The drop shadow distance should be a little more than the "Minute Hand" layer because it is above both hands:
- Drop Shadow: Distance = 19 and Size = 13.
- Inner Glow: Uncheck this effect.
Let's create the cover now. Create a new layer and name it "Cover." Command-click on the "Main Clock" layer thumbnail to create a marquee. Press (D) for default colors, then press Command + Delete to fill it with white. Deselect the marquee (Command + D). Lower the layer opacity to 20% (V, then 2).
Resize (Command + T, then hold Shift + Option-drag) the "Cover" layer to fit a little inside the beveled edge of the "Main Clock." See the image below.
Create a Layer Mask by clicking on the button at the bottom of the Layer Panel, select your Gradient Tool (G), make sure Linear is selected, then choose the same gradient from Step 10. Now click on the Layer Mask to select it. Zoom out if necessary, and drag a gradient from the upper left corner of the image, down to the lower right corner. This effect will had some variation to the cover and make it appear to be a more reflective surface.
Now we need to continue to build up the glare effects to make the "Cover" look more realistic. For those of you who have watched my Glass Ball Tutorial on YouTube, this step will be a breeze.
Create a new layer and name it "Glare." Command-click on the "Cover" layer thumbnail to create a marquee. Press (D) for default colors, then press Command + Delete to fill it with white. Deselect the marquee (Command + D). Lower the layer Opacity to 40% (V, then 4)
Transform the "Glare" layer by pressing Command + T, then Shift-dragging from the bottom and bring it above the center line. Shift + Option-drag from the right side to squeeze the layer, then Shift-drag from the top to squeeze it down into place. Use the image below for reference. Make sure the glare is covering the number 12, as shown.
Create a Layer Mask for the "Glare" layer. Select your Gradient Tool (G) and make sure the Linear Gradient is selected from the gradient field above. Choose default colors (D). Select the Layer Mask, then drag a gradient from the bottom of the circle to the top. Instant Glare! We still have some polish to add though.
Default Colors Note: If you are on a layer, the letter D makes black the foreground, and white the background. But, if a Layer Mask is selected, and D is pressed, then the default colors are reversed. Just press X if you need to swap them.
Create a new document by pressing Command + N. Let's make this a square document. The size should be 7 inches by 7 inches at 300dpi.
Double-click on the background layer,then press OK to unlock the layer. Fill the layer with black (try to use those shortcuts you learned in the previous steps). Go to Filter > Render > Lens Flare, then select the 105mm Prime option at 110%, and press OK.
Lets Fade the Filter we just applied. Press Command + Shift + F. Lower the Opacity to 90%.
Fade Filter Note: This shortcut is only accessible directly after a filter is applied. It's great for lowering the Opacity or changing the blending mode of a filter without affecting the pixels it is sitting on top of.
Go to Filter > Distort > Polar Coordinates. Select Polar to Rectangular, and press OK. Whoa, what happened! Don't worry, it's going to look great I promise!
Now flip it vertically. Go to Edit > Transform > Flip Vertically. Now go back to Filter > Distort > Polar Coordinates. This time select Rectangular to Polar, and press OK. Wow, now look at that! Did I keep my promises or what!
All you have to do now is cut out the fat. Create some quick center guides like we did earlier. Choose your Circular Marquee Tool (M), then drag a circle from the center out to the edge of the glare. Be sure to hold Shift + Option while dragging.
Now press Command + Shift + I to inverse the selection. Press Command + X to cut out the fat.
Shift-drag your creation into your clock document so it is centered.
Resize the reflection by pressing Command + T and Shift + Option dragging it to the same size as the "Cover" layer. Rotate the reflection so the beads of light are at the top, and aligned to the center. Accept the changes by pressing the Check Mark.
Rename this layer to "Flare," and make sure it is above the "Glare" layer. Press (V), then hold Shift and press the Plus or Minus keys to cycle through your layer modes. Soft Light works best in our case.
We need to add more pop to the glare at the top. Command-click on the "Glare" layer thumbnail to create a marquee. Select the "Flare" layer, then press Shift + F6 to bring up the Feather Selection dialog box. Type 100 pixels and click OK. This will fade our flare and blend it more.
Now make a new layer via cut by pressing Command + Shift + J. Now set the Blending Mode to Screen (V, then Plus or Minus keys). Rename the layer to "Flare2."
We better add one more lens flare for good measure. Create a new layer and name it "Flare3." Command-click on the "Cover" layer to get a marquee. Fill it with black and don't deselect the marquee yet. This will confine our lens flare to the pixels inside the marquee.
Go to Filter > Render > Lens Flare. This time choose 50-300mm Zoom, and position the flare crosshair on the left side so all of the reflections are aligned from left to right. Select 110%. Press OK.
Deselect the selection (Command + D) and press Command + T to rotate it so the brightest part is centered at the top. Accept the changes. Now set the layer mode to Soft Light.
Creating a Mac-Type Background in Photoshop
Sep 14th in Effects by Collis This tutorial is about making a "mac" style background. You can use these in all sorts of situations, including the obvious --your desktop-- as well as part of your designs or for corporate work (Powerpoint presentations, Flash work, etc). Naturally, you wouldnâ€™t want to use this exact set of steps, but following them will give you a good idea of the technique. Good luck!
Hello! I started Psdtuts+ because years ago reading Photoshop tutorials was how I got into design. You can find me on Twitter or on my blog theNetsetter.
We begin with a blank canvas and then draw a subtle gradient across it. (Iâ€™m using a 1280x1024 canvas here.) Donâ€™t be fooled by the black border, incidentally, thatâ€™s just Photoshop. So anyhow, Iâ€™ve chosen two orange colors that are similar to each other to make a very subtle gradient indeed.
Add a NEW LAYER Now take your Polygonal Lasso Tool (L) and draw in a rough triangular selection as shown. Then take a really fat soft brush (size 300 or so) and draw some faded-in white with the edge of it, again as shown. Be careful not to make it too strong.
Set your white from step 2 to Overlay. NEW LAYER Now again, take your Polygonal Lasso Tool and do a similar triangle but back and against it (like shown). This time add some black. I actually used a gradient fill here using black and nothing. You can get this type of gradient by selecting your gradient tool then dropping down and choosing the second one along:
Set your black layer to Overlay at 34%. NEW LAYER Now use the Pen Tool and draw a nice-looking curve. The secret to nice curves with the Pen Tool is dragging the handle a long way. Join the path back up so it is one continuous blob, then right click and select Make Selection
You should now have a selection of a nice curve (as shown). Once again use the Gradient Tool, this time with white fading to nothing and add some white. Set this layer to Overlay and you should have something similar to what is shown.
NEW LAYER And again grab the Pen Tool and this time make a new even more interesting shape. You can see the shape I created on the leftâ€¦ Close the shape back in on itself so it is one continuous path and again right click and choose Make Selection.
Now with your selection, grab that fat soft brush again (size 300) and add some black just at the top on one side (as shown). Donâ€™t let go of your selection as you'll need it for the next few steps.
NEW LAYER Now choose a selection tool (doesnâ€™t matter which one) and hit the Down arrow key 10 times. You need to have a selection tool on to move your selection around or Photoshop will try to move some of your artwork (since you are on a new layer, it will give you an error). So make sure youâ€™ve chosen a Polygonal Lasso Tool or one of the others. Now press Ctrl+Shift+I to inverse your selection. Then with your soft brush (size 300) paint some black down the bottom as shown. When youâ€™re done set the layer to Overlay and fade it back to 60%.
NEW LAYER Now press Ctrl+Shift+I to inverse your selection again (back to the original) and this time paint some nice white as shown. Note that because we moved our selection down back in Step 8, this wonâ€™t quite align with the black.
NEW LAYER Now grab your Gradient Tool, choose white to nothing and set it to Radial Gradient. Then add a white light at the top left as shown. Set this layer to Overlay.
Now at the moment, the colors arenâ€™t looking quite right. If I were really energetic, Iâ€™d go back to the beginning and start again with a different set of oranges. But instead weâ€™re going to do a quick adjustment. NEW LAYER On the new layer, add a fill of a good orange similar to the one shown. Set the blending mode to Color and set the Opacity to 55%. This should adjust nicely.
Now thatâ€™s looking a bit better. NEW LAYER Now once again, use the usual method of using the pen tool to draw a nice curved selection (as shown) and then right click and choose Make Selection.
Use the White â€“ Nothing gradient and add a smooth white transition from left to right as shown. And set the layer to Overlay.
NEW LAYER As you can see, weâ€™re getting close. Now create one final curved selection down in the bottom left add a white gradient fading to nothing (our favorite tool as you can see) and switch to Overlay.
For the final touches, I added a tinge of black overlayed bottom right and a bit more white overlayed on the top left. But these are inconsequential changes. You might want to go through and polish yours up a little too at this point because other than that youâ€™re done! You'll find the Photoshop PSD file for this tutorial available up above on the right. Enjoy!
Download the PSD for this tutorial
Take a look at the image we'll be creating. Want access to the full PSD files and downloadable copies of every tutorial, including this one? Join Psd Plus for just $9/month. You can view the final image preview below or view a larger version here.
Our video editor Gavin Steele has created this video tutorial to compliment this text + image tutorial.
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.
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.
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
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.
Apply a 2 pixel Gaussian Blur to your new document and then adjust the Levels as in the screengrab below. Save as "Displace.psd."
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.
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.
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.
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.
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.
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.
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.
Draw around other features which produce hard lines such as the bottom lip. Draw the Shadows in the same manner.
Create a selection from the "Face" layer by Command-clicking the layer thumbnail. Draw all the shadows in...
...Changing the Brush size to suit size of the area you're treating. Around the lip for example, use a small brush.
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.
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.
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.
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%.
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.
Create a selection from the Eyes/Mouth Path you made earlier. Add some shadows by drawing on the Curves Adjustment Layer Mask.
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.
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.
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.
بارك الله فيك
لا اله الا انت سبحانك اني كنت من الظالمينان دعتك قدرتك على ظلم الناس فتذكر قدرة الله عليك
So before we start the tutorial, here is a little diagram about how light might hit an object. Here we have a square object in the middle with light coming from the top left. You can see that where the light hits the object, a shadow is cast on the other side. Note that the shadow is not a Photoshop drop shadow, which makes the object look like it's hovering above the canvas. Here we want the object to look like it's a three dimensional thing stuck on the canvas, extruding if you like. Now tell me what other Photoshop tutorial site gives you diagrams? It's like being back in school!
We begin the tutorial by drawing a subtle Linear Gradient from dark grey to darker grey. Note that because we want our light to come from the top left, that's where the lighter part of the document is.
Now we place some text. I've used a very cool font called Agency FB, which has a condensed, hard-edge feel to it. You should make the text a grey-ish blue color - #c2c8d4 to be precise.
Next Ctrl-click the text layer and create a new layer above it. In the new layer, with that selection still held, draw a linear gradient of #495a79 to transparent from bottom right to left. So in other words you are darkening the bottom right as shown.
Set your foreground color to Black (you can do this by pressing the letter 'D' on your keyboard which restores the defaults).
Now Ctrl-click the text layer again and create a new layer beneath the text layer. Now press the down arrow on your keyboard once and the right arrow on your keyboard once. Then press Alt+Backspace to fill it with black. Then press down and right again one time and fill with black. Each time you will be moving 1px right and 1px down. You should repeat this process about 30 times (which is why it's important to use Alt+Backspace instead of the Fill tool).
Note also that to move the selection but not the fills when you press your arrow keys, you have to have one of the Marquee tools on. If you switch to the Move Tool (V) when you press down and right you will actually move the black fill as well as the selection and will just be filling the same pixels over and over.
Here's what you should now have. Now deselect and make sure you are on the shadow layer, then go to Filter > Blur > Motion Blur and use values of -45 degrees and a distance of 30px.
Set your shadow layer to Multiply and about 40% Opacity and then hold down Shift and press the down arrow and then the right arrow. This will move your object right and down 10px each (Shift tells Photoshop to go 10px at a time instead of 1). Now you may have some of the blurred parts of the shadow sticking out to the top and left of the object. If this is the case, grab a small soft eraser and gently erase away anything which shouldn't be shaded (remember the diagram at the beginning).
Next duplicate the shadow layer, hold Shift and move it down and right again. Then run the Motion Blur filter again with a distance of 50px this time and set this layer to Multiply and 20% Opacity. This is just to give our shadows more of a trail off.
Now create a new layer above all the other layers, hold down Ctrl and click the main text layer to select its pixels and back on your new layer fill the selection with White. Don't let go of the selection just yet though. Instead press down and right one time to move 1px away and then hit Delete.
Set this thin white line layer to about 80% Opacity.
As you can see, the thin white line gives a sort of highlight effect where the light source is hitting the text and gives the impression that the text is more three dimensional.
Next we want to create some streams of natural light. Create a new layer above all the others and draw four or five white rectangles approximately similar to those shown (i.e. getting fatter as they go down).
Now press Ctrl+T to transform and rotate and enlarge the rectangles as shown. Now normally you'd press Enter when you're finished, but this time don't let go just yet. Instead, right-click and you will get a pop up menu showing you other types of transforms you can do. Choose Perspective. The reason it's important to do this in one step is so that you don't lose your bounding box. So take the top left two points and bring them closer together so that the light appears to be coming from one place and spreading out.
Here we have our four strips of "light." Now set the layer to Overlay and 20% Opacity and then go to Filter > Blur > Gaussian Blur and give it a blur radius of 6px.
You should now have something that looks like this.
Now since those thin strips are meant to be light, it would make sense if our highlight layer only showed up where the light was hitting right? So Ctrl-click the light layer and then click on the highlight layer from earlier, then while the selection is still on, click on the Add Layer Mask button (it's the one at the bottom of the layer palette to the right of the 'f' icon). This will create a Mask that only shows the highlight layer where the light overlaps it.
So you could stop here; it's already looking pretty good, but we'll finish this effect off by adding some warm lighting.
So first of all create a new layer just above the background and fill it with a pinkish color - #9d506c.
Now set the pink layer's blending mode to Colour and the opacity to 20%. This gives our background a nice reddish-warmth. Over the top of this we can now mix in some yellows. If we don't put in the reddish cast underneath, the result comes out looking overly yellow and not particularly real.
Next we create a layer just above the pink. Fill it completely with white and then go to Filter > Render > Lighting Effects. I don't often use Lighting Effects, but it does have one very cool preset called the Two O'clock Spotlight, which you can select by going to Style at the top and looking through the options. You can pretty much use this as default, but for our purposes it helps to extend the ellipse to make it a little longer (i.e. the spotlight is a little further off).
Now we set the lighting layer to Overlay and you have something like shown below. Now duplicate that layer, move it above all the other and set it to 40% Opacity. This makes sure that our warm lighting is also interacting with the text and not just the background.
Finally, we duplicate the top lighting layer one more time and set it to 65% Opacity, then click the Add Layer Mask button on the layers palette again and draw a linear white to black gradient from top left to bottom right. This makes the extra lighting layer fade off as it goes down right.
و الله تسلم على الدرس جميل جدا...(من الدروس المستفذة التي تجعلك ما تعرفش تنام الا لما تنفذها)....
تقبل مروري اخي
انــــا عربي و ابـــــويـــا عربي
شكرا على الدرس الجميل و مجهودك الرائع بقى في حركة في القسم....
انــــا عربي و ابـــــويـــا عربي
Copper is a wonderful metal. It's strong and resistant but easy to handle. Besides, copper is great when you're designing grunge and old-style graphics or websites. So here's a simple and quick way to add this particular effect to your text and shapes.
First, create a new black document, 1024 pixels by 768 pixels this time. Then decide where you're going to put your text in. I've found this image of a ruined wall, and after adjusting the Hue/Saturation (Command + U), and Levels (Command + L) using the values of the image below, our background is ready.
Since the copper has green tones when it gets old (like the Statue of Liberty in New York, USA). We'll need to add some green details here and there, Create a new layer and set this color (#1A3404) as the foreground, then using a medium size soft brush draw some spots. Next, change the "Green Spots" layer Blending Mode to Color Dodge.
Press Command + A to select all, then Command + Option + D to Feather the selection 50px.
Fill the selection with black (#000000) into a new layer called "Frame." Then go to Filter > Distort > Wave, and set the Max Wave length to 370.
Now create a new layer, name it "Light" and fill it with a White to Black (#FFFFFF to #000000) Reflected Gradient. Then go to Image > Adjustments > Curves (Command + M) and set the curves just like it shows in the image below. Finally, change the "Light" layer Blending mode to Overlay. Keep this layer always above all others in the layers palette.
Now begins the fun part! Write your text, I'm using Rockwell typeface, but you can use any other.
Now let's look at the creative flow of making a layer style. A good point to start is adding a Gradient Overlay matching the scene lightening. In this case add a five colors gradient (#000000, #160700, #783501, #421F01, and #050505) and an Angle of 140º. Also, add a 5 pixels Gradient Stroke effect using five colors (#803C17, #A44F30, #52230F, #52230F, and #381408) Angle: -95º.
Now add the shadows, first an Inner Shadow, then a Drop Shadow, take special care with the Blending Modes of every Style. Both shadows must be in Multiply mode.
Next add a Color Overlay effect (#742901), but set the Blend mode to Linear Dodge (Add). Then add a dimmed (Opacity 16%) Satin effect.
This Step may be the most important one in this tutorial process. Add a Bevel and Emboss Style, Set the Style to Inner Bevel and Technique to Chisel Hard, this way you'll get a sharpen bevel. Set all the values as shown below. Increase the Depth mode to maybe 715% and notice the changes to both Highlight and Shadow modes.
Once you add the basic Bevel style, mark the Contour checkbox and set a Gaussian Contour with a Range of 50%. Finally, mark the Texture checkbox and then set the "Rusted Metal" texture loading the default Photoshop CS3 Patterns library.
Command-click the "Copper" layer to select the text. Go to Select > Modify > Contract and set 4 pixels (the Gradient Stroke size) and hit OK.
Create a new layer named "Inner Effects" and fill the selection with black (#000000). Then apply an Inner Glow and a Satin style, using the values shown below. Finally, set the layer's Fill value to 0%.
Duplicate the "Copper" layer and name the copy "Text shadow," then delete or hide all the layer styles and go to Layer > Rasterize > Type. Put the copy below the "Copper" layer in the layers palette, then hide the styled text layer for a now. Apply a Filter > Blur > Motion Blur to the "Text shadow" layer. Finally, show the "Copper" layer again, select the "Text shadow" layer and delete all the top and right extra shadows.
Let's add some light rays. Using the Rectangle Tool draw four or five parallel rectangles above the "Light" layer. Merge them and Command-click the corners to distort them, as shown below. Next, apply a Gaussian Blur (10px radius). Finally, change the "Light stripes" layer's Blending mode to Overlay and set the layer Opacity to 50%.
Command-click the "Light stripes" layer miniature, then select the "Text Shadow" layer and delete the selection.
Just to improve the lighting, Command-click the "Copper" layer one more time, but this time fill the selection with a White to Black (#FFFFFF to #000000) Reflected Gradient into a new layer just below the "Light" layer. Finally, change the Blending Mode to Overlay and Opacity to 25%.
As a final detail, add a texture layer above everything else, in this case I'm adding this old paper sheet changing its Blending Mode to Multiply and it Opacity to 50%.
A final tip, as this layer effect is ready to copy and paste in the PLUS file, you can use it on different typefaces or shapes. If you want to apply this effect onto a small object, it is better to create a big size text or shape first and convert it into a Smart Object before resizing it. This way you'll preserve the aspect ratio of the effect.
I hope you find this effect useful. Now it's up to you experiment with the layer styles, or download the PSD file from PSDTUTS PLUS and copy the layer effect if you want to save time. You can view the final image below or view a larger version here.
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Create a new document. Fill the background layer with a dark brown.
Set the background color to black and the foreground color to white. Select the background layer and go to Filter>Texture>Texturizer.
Select the Horizontal Type Tool (T) and type PSD. Then Select the Rectangle Tool (U) and create some shapes like the image below. After that, group the PSD text and the rectangles. Rename the group to "white lines."
Rotate the group like the image below.
Using the Pen Tool (P), create some shapes to fill the gaps before the P, the S, and the D. Make sure that these shapes are beneath the "white lines" group. Use yellow for the first shape, red, for the second, and blue for the third. After that, group these layers and name the group "colors."
If you use Photoshop CS3 convert the yellow, red, and blue shapes to Smart Filters and go to Texture>Texturizer again. Apply the filter to all three shapes. If you don't use the CS3 version, just apply the filter.
Now select the white lines and using the Layer Styles, select Drop Shadow. After that put the PSD text layer in front of the lines.
Double-click on the PSD text layer and in the Layer Style box, select Drop Shadow This time let's make a bigger and stronger shadow. After that, click with the right button of the mouse over the text layer and select Create Layer. That command will create a layer only with the shadow. Then go to Layer>Layer Mask>Reveal All and delete some parts of the shadow that go above the white lines. Make the text and the lines be the same.
Create a new layer and name it "dirty." Change the Blend Mode to Color Burn. Select black for the background color and a white for the foreground color. Go to Filter>Render>Render Clouds.
Hold the Command Key (Mac) or Control (PC), and click on the thumbnails of the layers, which will create selections from the layers. With all white objects selected, create a new layer and fill the selection with white. After that go to Texture>Texturizer...
Select the white objects again and create a new layer. Then go to Filter>Render>Render Clouds. After that go to Image>Adjustments>Levels and add more white to the clouds.
Now go to Image>Adjustments>Hue/Saturation. Select the colorize option and change move the sliders until you get a beige color.
Select all layers and group them. With the group folder selected go to Layer>Add Layer Mask>Reveal All. Now select some grunge or dirty brushes and start deleting some parts of the image. You can get amazing brushes at http://www.brusheezy.com/brushes
Using the Horizontal Text Tool (T), create the word TUTS. Rotate it to the same angle as the other text, perpendicular to the lines. And you can repeat the Texturizer filter as well.
As a base, we will use this photograph I took. It's not the greatest photo, but we can use it to define the basic shapes. The advantage of this photo is the fact that it was taken with wide-lens camera, and the perspective is nicely visible. When we talk about icons, perspective is very often VERY excessive, so this is perfect.
So firstly, cut the helmet out of its background. You can do this using the Pen Tool, or your favorite way of extracting images. Then copy this photo into a new Photoshop document and resize the image to fit the icons dimension — probably 128x128 px. You can use, for example, a new layer sized 128x128, which will help you to be more accurate. Or you can, of course, use document sized 128x128 px, but I like to have more space for drawing.
Select the Pen Tool and step-by-step trace each part of the helmet. We begin with the visor area. DonÂ´t worry about the color, it's the shape that's important. For better accuracy, it's good to decrease the layerÂ´s visibility (Opacity). Simply press the numlock key corresponding to the percentage opacity you want &mdash for example, 5 for 50% Opacity. When tracing, be sure to draw as a Shape Layer (first icon on the Options bar), so you can modify this layer in the future.
Note that because we're just tracing the visor, it doesn't matter that the rest isn't accurate around the helmet shape (we'll do that in the next steps).
Create the second part of the "peak" by copying the previous layer (Ctrl + J) and move the selected points upward with the Direct Selection Tool (A).
Then trace the main part of the helmet as shown below.
DonÂ´t forget the embossed part in the middle (magnified on the next screenshot). You can make it purposely bigger, because the middle streak will nicely help you to define the 3D shape of the helmet.
That is why you can draw this streak as a new layer too. First, start with the right part - which is in the shadow.
Then duplicate this layer (Ctrl + J) and with Direct Selection Tool, move the point on the right to the left. This way, the right side of this shape will perfectly fit the left part of the previous layer.
You are ready to go to the next level. Hide the photograph (or move it to the side), and as you can see, the basic shape of our icon is done. You should now have five layers of shapes ready for the next stage. I'll refer to them by numbering in order of how we drew them (1-5)
To start, hide all layers except the first one (1) and fill this layer with yellow color (#FFDF14). Then create new layer (Ctrl + Shift + Alt + N), and group it with previous (Ctrl + Alt + G). On this screenshot, itÂ´s layer (2). Into this layer, draw with big soft brush with darker color (#D59D00) so the layer will be darker on the right side. Next, load the selection of layer (4), invert the selection (Ctrl + Shift + I), create new layer (3) and again use big soft brush to draw a shadow on the right side ( #3B1C02).
So that you donÂ´t have to do it all again for layer (4), show this layer with decreased opacity to 50%. This way, you can still see the shadow from the previous layer — how easy. For now, the "peak" is done and you can continue with the main part of the helmet.
So, unhide the shape of main part and recolor it to the yellow (#FDDB13). Again, create a new layer, group it with previous (Ctrl + Alt + G), and in the marked areas, use big soft brush with darker color. ItÂ´s not necessary to make a very big shadow...
For a better result, you can use the middle streak. Unhide this layer, recolor it to the dark yellow (#AA6F00), and add a layer mask. Into this mask, draw in the middle with a big soft black brush (as shown below), and the layer will be visible only on the sides, not in the middle.
Next, unhide the last layer, the main part of the streak. Recolor it to yellow (#FBD500). In this step, you can also darken the main part of the helmet to match the peak.
To make the shape of the helmet more accentuated, use this simple method: draw a one-pixel outline around every shape where the light shines.
Start with second peak layer. Load the selection (Ctrl-click on the layer), create new layer, and from the Edit menu select the Stroke function. Set the Width to 1px, color white.
Add a layer mask to this layer and fill it with black color. This way nothing is visible. Then select a big soft white brush and draw into the mask where the light should shine. The outline will be visible only where the white area is in the mask.
Use the same method for the other shapes. The icon is really starting to take shape now!
Continue with another darkening in selected areas (shown) where the contrast between the helmet parts is too low.
To make the icon even better, you can add backlight with another color. This will help a lot because icons with only one color tend to look a little dull.
Firstly, load the selection of all shape layers (Ctrl + Shift – click on the layers), create new layer, contract the selection of 1 pixel (Select > Modify > Contract), and use a big soft brush to draw the backlight, as the arrow shows. Use whatever color you like, light blue or violet work well.
The last thing you will be adding is the very big highlight. As in the tutorial iMouse — Creating an Apple Mouse (which I also wrote!), start with Pen Tool and draw the window shapes:
Copy this layer (Ctrl + J) and blur it with Gaussian Blur filter (set the Radius to some low number).
Now draw with big soft white Brush over the highlights, to make it even more shiny. DonÂ´t worry about the window shapes, itÂ´s not necessary to see them completely.
And thatÂ´s it!
As you can see in this picture, the helmet is more outstanding on the dark background, so donÂ´t be afraid to experiment and try to create icons from different photographs. Good luck with your work!
Let's begin. First create a new document, use the size of your screen resolution if you want to. In my case 1440 pixels by 900 pixels. Then fill the background with a radial brown to black gradient. Notice that I always use two guides to obtain the center of the document.
Now look for your pumpkin image, or download this picture and paste it into the middle of the document. It doesn't matter if your pumpkin is too large or wide or even if the colors aren't right. That's why we'll be using Photoshop, to make it look like a contest winner pumpkin.
Extract the pumpkin from the background, you can use the Lasso Tool or by creating a path around the contour and creating a vector mask, either way it's fine. Free Transform the pumpkin to reduce it width. Also, take care with the details, like the little branch on the top, I'm making it softer. Finally, you'll get something like the bottom of the image below.
Select the "Pumpkin" layer, then using the Lasso Tool, make a selection around the little branch area and hit Command + Shift + I to invert the selection. This way you'll be editing all the pumpkin without the branch area, then hit Command + U to adjust the Hue/Saturation of the selection mark the Colorize option to make the selection more orange. If you want, set the first group of values of the image below. Invert the selection again and hit Command + U to adjust the Hue/Saturation of the branch this time, make it more green you can use the second group of values shown below.
Hit Command + L to adjust the levels of the "Pumpkin" layer, increase the dark areas levels, you can set the values below. Also, it's a good moment to resize the pumpkin if you want it a little bit smaller.
Create a new layer above the pumpkin, name it "Sketch." Now using the Brush Tool, draw a quick sketch of the pumpkin face: the eyes, nose, and mouth, I'm using a tablet so this step is really easy. Anyway, you can use the Pen Tool, draw the face, apply a Stroke effect to the paths, and change Fill value to 0%, then rasterize the result by merging the paths layer with an empty layer above or below it.
Now create a new layer above the "Sketch" layer, name it "Fill." Next, using the Magic Wand Tool, select inside the sketch. Now. using the Fill Tool, fill the selection with black into the "Fill" layer. Then hide the "Sketch" layer.
Now to create a inner light effect, apply a Radial Gradient Overlay effect and also a Pattern Overlay effect to the "Fill" layer. Just set the Blend Mode of the Gradient Overlay to Multiply to see the pattern effect.
Command + Click on the "Fill" layer's miniature to select the holes' shapes. Select the "Pumpkin" layer and fill the selection into a layer mask, or simply delete the selection. Then put the "Fill" layer below the "Pumpkin" layer in the layer palette and place the "Sketch" layer above everything.
Now let's add some light sources, in this case some candles, I'm using this one. Paste it into a new layer and just make a quick selection around the candle, hit Command + Option + D to Feather the selection, Command + Shit + I to invert it, and then delete the selection. You'll get something like the image below.
Now, a good way to add this candle to our design without spending hours extracting the fire is by changing the "Candle" layer Blending Mode to Screen. Just put the candle layer below the "Pumpkin" layer and above the "Fill" layer. Duplicate the candle a few times if you want to.
Show the "Sketch" layer, and draw some lines to improve the hole's effect by adding depth. Select the new areas using the Magic Wand Tool. Create a new layer below the "Pumpkin" layer, I call it "Fill 2," and fill the selection with black. Finally, hide the sketch once again.
Now add a Radial Gradient Overlay and a Pattern Overlay effect to the "Fill 2" layer just to give it more depth and texture.
Now it's time to add some light and dark details to our pumpkin. Create a new layer called "Light details." Start with a small soft brush maybe around 5px, paint a few lines close to the carved edge borders and use the Smudge Tool to make the lines softer.
Add more clear lines over the white light reflections.
Now to add volume to the holes' borders. Let's add some soft dark lines here and there. Create a new layer called "Dark details" and use the same 5px brush, but this time change the color to a dark brown. Then Smudge the lines a little bit.
Now select the "Fill 2" layer, and in the Layers Palette double-click on the Gradient Overlay effect and change the gradient to make it more light with these colors: (#741A02 - #AC3304). Hit OK and see the result.
Again, using the dark Brush, paint some dark areas inside the carves. This way you'll have inner shadows for each hole.
Duplicate the "Fill" layer and name it "Light." Delete the layer styles and fill it with orange. Place it above all other layers and convert it into a Smart Object. Next go to Filters > Blur > Radial Blur, then set the Amount 100, Zoom, and Best Quality. Apply the filter one more time and change the layer's Blending Mode to Linear Dodge (Add).
Now duplicate the "Light" layer and render the filters, you can do that by adding a blank layer above "Light copy" and merge both. Then apply a Gaussian Blur with a Radius 25 - 26 px to "Light copy" layer. Also, change it's Blending Mode to Linear Dodge (Add). Duplicate "Light copy" layer one more time, then using the Lasso Tool, delete the pumpkin's tooth area without light on the "Light copy 2" layer.
Now, we'll add a nice background. Create a new layer just above the "Background" layer, and name it "Clouds." Press the D Key on your keyboard to set the default black and white colors. Next, go to Filter > Render > Clouds, hit Command + F a few times until you're happy with the result.
Go to Filter > Render > Difference Clouds and apply that filter a few times until you've got something like the middle of the image below. Then go to select "Clouds" layer and change it's Blending mode to Color Dodge, this way we'll be merging the clouds with the background radial gradient.
Finally, merge both the "Background" and the "Clouds" layer, and name this new layer "Bg1," or if you want to keep these layers editable, put both into a new folder, convert it into a Smart object, duplicate the Smart Object, and rasterize it.
Using the Lasso Tool, select a big area of "Bg1" layer and copy it. Paste the copy just above the first one and resize it a little bit, then name it "Bg2." Next, hit Command + U to adjust the Hue/Saturation, change the Hue values to make it more red. Next, change the "Bg2" Blending Mode to Screen.
Add a few more clouds repeating the previous step, use different colors. When you have finished, create a new folder and put all the clouds in it, then convert the folder into a Smart Object.
Notice that our pumpkin has a black shadow on the left side. We'll try to keep that lightening in the final outcome. Select the "background" layer's Smart Object, and go to Layer > Layer Mask > Reveal all.
Now, using the Eliptical Marquee Tool, draw an ellipse as shown. Next, while holding the Shift key, draw another eliptical selection on the pumpkin's base. Then hit Command + Option + D to Feather the selection about 50px. And fill the selection with black directly into the layer mask.
Now add a surface. Draw a black rectangle using the Rectangle Tool just above the "backgrounds" layer, then change the rectangle's Opacity to 75%.
Now we need a ground shadow, Create a new layer called "Ground shadow" above every layer on your design. Make an eliptical selection, then Feather it 50px, and fill it with black. Next, using the Lasso Tool, draw an irregular shape following pumpkin's shape. Feather the selection about 20 pixels and Delete it. Then change the layer's Opacity to 75%.
Next, create a new layer below the "Ground shadow" layer and name it "Inner Shadow." Now using a big dark brush, paint some areas inside the eyes, nose, and mouth. Command-click the "Fill" layer, Command + I to inverse the selection, and Delete all the extra painting of the "Inner Shadow" layer. Then Command-click the "Fill 2" layer, Feather the selection 2 pixels and Delete it.
We're close to finished. Now we'll add more details. Duplicate one of the candles, name it "Candle Front," and bring the layer above all the others. As you can see, the original candle picture has a black fade out that we don't need right now, we need to fix that. Make a linear selection on the "Candle Front" layer, then using the Free Transform options (V), make the selection higher. Fix the brighter areas next to the candle using the Clone Tool and Erase all the dirty areas.
Next select the Clone Tool, set the cloning source somewhere inside the candle, set a small brush and draw some wax drops all around the candle. Use the Smudge Tool to improve the wax drops. Also, use the Clone Tool to add some lightening details.
Duplicate the "Candle front" layer. Go to Edit > Transform > Flip Vertical, and add to it a Layer Mask filled with a black to white Gradient Overlay. Also, fill a small eliptical selection with black above the "Candle Front" layer to add a little shadow to the candle.
Put the three layers ("Candle Front," "Candle Front copy," and "Candle Shadow") into a folder and convert it into a Smart Object. Duplicate the Smart Object and place it above the "Floor" layer. Apply a Blur filter to it.
Finally, put all the pumpkin's layers into a folder, duplicate the folder and merge it. Then apply the same reflection process as the previous step.
Our image is ready! Now we have a nice Halloween's wallpaper to use and share. Obviously, you can create your very own design and carve your pumpkin as you want. Give it a try! You can view the final image preview below or view a larger version here.
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1] Take a new file of 500 pixels, 500 pixels, of resolution 72 dpi in the RGB mode.
 Now create a new shape with the help of Rounded Rectangel Tool,
fill that layer with #373737.
 Take the “Burn Tool” now create the following selection,
with the help of Rounded Rectangle Tool, then create following Shading
with the help of Burn Tool.
 Create a new shape with the help of Pen Tool, right click select make
selection, open a new layer fill the selection with #aaa8ab.
 Take the “Dodge Tool” highlight the
following parts with Dodge Tool.
 Create a new shape with the help of Rounded Rectangle Tool,
right click select make selection fill that layer with #1a1917.
 Create the following selection with the help of Rectangular Marquee Tool,
now hit the delete key on your keyboard now “D” select.
 Take the “Dodge Tool” Cntl+Click the shape layer to get the selection,
& then highlight the following parts with Dodge Tool Do not “D” select.
 Now move the selection with the help of Down Arrow Key, press Cntl+Shift+I,
with the Dodge Tool, highlight the following parts with Dodge Tool.
 Create a new shape with the help of Rectangular Marquee Tool,
open a new layer fill the selection with #dddbde.
 For this shape add the following layer styles.
 Take the Shape Tool select, now create a new shape take the Pen Tool,
right click select make selection open a new layer fill the selection
 For this shape add the following layer styles.
 Create a new shape with the help of Elliptical Marquee Tool,
fill that layer with #545253.
 Take the “Burn Tool” then create following Shading
with the help of Burn Tool.
 Create a shape with the help of Rounded Rectangle Shape Tool.
 Press Cntl+T now right click select “Warp” now apply the following settings.
 After that right click select make selection, open a new layer,
fill the selection with #f4f4f4.
 Take the “Burn Tool” & then move the selection with the
help of Left Arrow key, press Cntl+Shift+I, then create following Shading
with the help of Burn Tool.
 Now Duplicate that layer and place it like me.
 Create a new shape with the help of Elliptical Marquee Tool,
open a new layer fill the selection with #2c2827.
 Take the “Dodge Tool” press Cntl+Shift+I & then highlight the
following parts with Dodge Tool.
 Take the Brush Tool set the Brush Size by 3px.
 Open a new layer create a stroke with the help of Pen Tool,
right click select stoke path, now select brush click ok.
 For this layer set the opacity 26%.
 Download the following logo and write your text.
 Thanks for read this Photoshop Tutorial. I hope this is a good tutorial & you can use
these Photoshop Techniques & the Final Image should look like as shown below.
Eli is a young and aspiring web designer from South Australia.
Before starting, you may want to locate some inspiration for your design. Here are just a few great places for finding design inspiration:
deviantART (Designs & Interfaces)
Smashing Magazine Inspiration
Web Design Inspiration
And there are plenty more sites out there where you can get inspiration, just take a look. You can even get inspiration from stock sites such as iStockPhoto and Vector Stock.
1. Setting up the Canvas
When creating a new document (File > New), you may want to use a Preset size. I selected International Paper > A6. This is just for practice, so we want to keep it fairly small and RGB as the color mode.
Resolution should be at 300, unless you want to change it. To fit the document nicely on your screen you will probably have to zoom out to around 33.3% of the document size.
2. Creating a Basic Background
For our basic background we’ll just be using a radial gradient. Locate and get out the gradient tool, then set your settings similar to these:
The colors seen in the above image are: #a2f0e0 and #3793b3. All done? Create a radial gradient in the center of your document. I recommend you draw some rulers onto your canvas so you can find the center easier.
Now we want to upgrade our basic background a little bit. You can do this by adding a simple texture in there then messing with the layer mode(s) and opacity. First, head on over to Katanaz-Stock on deviantART and download the Light Texture 03 image.
Copy this image onto your canvas, resize/rotate it if you like, then change the layer mode to Multiply and lower the fill/opacity to something very low, 10% for example.
Duplicate your texture layer once, change the layer mode to Screen and put the opacity up to 50%.
Now, we still have a fairly basic background, but it’s much nicer than just a gradient.
3. Choosing your Product
Now you need to decide what sort of product you want to promote in this design. It could be a cell phone, a gaming console, something fashion-related, or anything really. I’ve gone with something a little more unique for this tutorial, a GP2X F-200.
Head over to Google Images and search for a large or an extra large image of whatever product you want to use. I was lucky enough to find a pretty decent, extra large image of a GP2X.
3-2. Touching up Product Image(s)
Part of the job is touching up product images and making them suitable for placing in your main design document. As you can see, the image I’ve chosen has some noticeable blotches, blemishes, etc. so let’s try and remove them using the Clone Stamp Tool. There are a few different tools that you can use to remove imperfections, but I’ve found the Clone Stamp Tool works just fine (maybe even best), in a case like this.
After you have touched the image up, we need to cut the product out from the background. Since the product is very light grey on a white background, you can’t simply use the Magic Wand Tool, can you? So we’ll have to use the Pen Tool to make a very clean, precise selection around the device.
this advanced tutorial on the Pen Tool.
Optional: after you’re done you may want to add a colorful image into the screen of your product.
4. Product Placement
After you’ve made all of your touchups and cutout your product, copy it over your other canvas. If you’re running a newer version of Photoshop (CS3 I think), you should be able to convert your layer to a smart object, so you will be able to resize it, rotate it and resize it again (over and over) without losing quality.
So, if you’re on a newer version of Photoshop, right-click your product layer and convert it to a Smart Object.
Using Transform Mode (ctrl+t), size your product down to something more appropriate and then position it accordingly. To bring your product off of the background, you may want to apply a basic drop shadow via an Outer Glow layer style.
Duplicate your GP2X layer twice, rotate one -15.0 degrees, and the other 15.0 degrees using Transform Mode (ctrl+t). Position your new duplicates accordingly, and size them down a little if necessary. You have to use your own imagination here.
Both duplicates have a similar Outer Glow layer style applied to them, except using a lower opacity.
5. Abstract Elements
To make our design “pop” we’re gonna use some abstract elements.
Using Cinema 4D I managed to muster up a basic but cool abstract render using the GP2X image as the texture. Using this render we’re going to make our design look a whole lot more interesting.
Download Abstract Render
This is how I made use of the 3D abstract:
1. Start by copying it to your canvas, make a few duplicates.
2. Rotate/resize/position your render(s) underneath the product, then erase away the parts of the render that make the overall design look worse than better.
3. Repeat 1-3 times.
And now I have this:
Now that looks much better! If you look around for some inspiration, or in some magazines for creative cellphone ads, you’ll notice these ads have a similar design style going on. The idea is to get some creative elements behind the product/around the product/maybe on top of the product.
6. Vector Elements
I still think our design is a bit boring, so let’s find some vector stocks. Check out the freebie websites such as Vecteezy and find some vectors. Or you can go to iStockPhoto/Vector Stock/Go Media and get some premium vectors.
To start off with I just used two simple splats with a light, sky-blue color (#87ffff), but it should be very easy to find a free brush that will do the job of these vectors just fine.
Next, I used a set of vector icons that I bought a while back from Vector Stock for just one credit (one dollar!) to place underneath the product. This is what I’ve got:
This may look better or worse in your opinion, so please feel free to do whatever you like with the design to make it according to your tastes.
Note: the icons in the above image have an outer glow applied to them, using a light color and Linear Dodge as the blend mode.
Another note: for some reason I’ve been unable to locate these icons again on Vector Stock, otherwise I would have linked to them. I’m sorry if this is an inconvenience.
If possible, find a large version of the logo that belongs to the product you’re trying to promote here. Copy it onto your canvas and resize it to an appropriate size.
Optional: lower opacity and apply layer styles to add extra effect to the logo.
Next, add in some text describing your product.
Top text, description:
Bottom text, website URL:
The font used here is called Frutiger, it’s a commercial font rather than a free one, so you may want to find a suitable alternative. The text you can see in the above images also have a slight Drop Shadow layer style applied to them.
Finalizing the design is up to you. You need to add your own touches to this design to make it perfect. I don’t think I did anything to it that wasn’t stated in the tutorial! Some ideas would be to change the color of the document using some adjustment layers (add more contrast using levels adjustment, etc.)
A good idea would be to add some more color, so if you like, create a new layer, select a large, soft brush and make a few blobs on your canvas using different colors. Change the layer mode to something such as Color Dodge or Overlay.
Let's make the base of the icon using the Rectangle Tool. The color doesn't matter for now. This is going to be used just for orientation.
Rotate the shape using the Transform Tool (Command/Ctrl+T). Next decrease its height using the Transform Tool again.
Now we need to set the middle of the shape. Use the shortcut (Command/Ctrl + R) to bring up the Rulers. Set up your guides as in the image below.
Now go up with a guideline and set the top of the pyramid. Then duplicate the blue shape and move it up. Then set a guide at the top of the duplicated shape. Then you can delete that shape you just duplicated.
Create the left side of the pyramid using the Pen Tool. Fill it with (#feb624).
Create the right side of the pyramid, just as you did with the left side, but this time fill it with (#e49e11).
Move the blue layer on top of the other layers. Next move it up as I did. Then make it bigger using the Transform Tool.
This will be the upper part of the hat. Name it ""Top part"" and fill it with this color (#ffd931). Then duplicate it.
Name the duplicate of the ""Top part"" layer "border." Fill it with the color (#b14f00). Now move the "Top part" layer over the "border" layer.
Make sure you have selected the border layer. Now press once on the Down Arrow key on the keyboard. This will move the layer one pixel down. Next while holding Option/Alt, press the Down Arrow key four times. This will duplicate the border layer four times.
Now merge all those border layers. You can turn the guide lines off now, as we don't need them anymore. Go to View > Show > Guides and set them to not show.
The shape of the hat is done. Now we need to make it look better. We will start with the top part. Select the "Top part" layer and create a new layer. This will place the new layer over all the rest of the layers. Select an orange color for the foreground. Command/Ctrl + Click on the "Top part" layer in the Layers Palette to make a selection. Then on the new layer you just created, using the Gradient Tool, Click and drag from up to down.
Now we highlight the edges of the reflections more. We use the Pen Tool to do this, as you can see in the detailed shots below. Also, decrease the Opacity of this shape to 30%.
Next we need to work on the right side of the pyramid. Make a selection of the right side of the pyramid. Make a new layer. Using the Gradient Tool, with this color (#e37a05), click and drag from left to right.
For the left side we will use a different approach. Highlight the edges of reflections. Then decrease the Opacity of the shape to 30 percent. Look at the images below for details.
Now we need to add a little more light to the left side. We do this by creating a new layer over the left side of the pyramid. Then make a selection of the left side of the pyramid. Use the settings below for the Gradient Tool. Then click and drag in the section I have pointed out in the next image. Finally set the Blending Options for this layer to Overlay.
We will need to make a shadow for the top side. This shadow will cast onto the pyramid. Make a new layer and move it beneath the border layer. Name it "Shadow 1". Use the Pen Tool to make a selection like mine. Set the Opacity to 30%.
Go to the top part and in the middle of it make an orange circle (#c54400). Then make it smaller and decrease the height with the Transform Tool, as you did in Step 3.
Now make a shape that looks something like this using the Pen Tool.
Make a small blue circle at the end of the shape we just made.
This is going to be the last thing we do to the hat. Here we will use the Pen Tool and the Brush Tool. Start by opening a new layer behind the blue circle you just created. With the Pen Tool, make sure that Path is selected and draw a path like the image below.
Use the settings below for the brush and this color (#ee4c05).
And now with the Pen Tool selected, right-click on the path and select Stroke Path.
Repeat the previous step, but each time you make a new stroke make it on a new layer. Also, use different colors. Here you can use the same effect I used in my Valentines tutorial here on PSDTUTS.
You can Merge all these layers you used to make this shape that I call Mot. All we need to do now is make the Mot shadow.
The last things we need to do now are add more highlights, make it shinier, make a reflection for the hat, make a shadow for the hat, and make a nice background. Review the images below for the directions for each step. I only use the: Brush Tool, Pen Tool, and Gradient Tool.
You can simply change the color of the icon in a few seconds. Go inside the hat folder that you want to change the colors to. Double-click on the layers of the shapes you want to change and select your colors. It is the same technique that I used in the Apple Remote tutorial here on PSDTUTS. View the final image result below.
In this tutorial we are going to use only 2 stock images that I found on SXC.
Here are the links:
First thing you need to do is to cut the soldier out of the background using the Pen Tool (P) and delete the background. Leave only the soldier visible and a transparent background. Name the layer Soldier.
Next I want you to make a new layer and place it under the Soldier layer.
Using the Rectangular Marquee Tool (M) make a selection and fill it with black as I did. Name the layer Ground.
Next I need you to bring on the project the other image stock and resize it and maybe remove the pigeons using the Clone Stamp Tool (S). Also name the layer Sky.
Duplicate the sky image and then go to Image – Adjustments – Black & White and play with the settings a little. If you are not using Photoshop CS3 you might not have this buttons. In this case use the Desaturate button.
Now set the Black & White sky layer to Multiply.
Again repeat step 5 but this time, apply the technique to the Soldier.
Now duplicate the Soldier layer that you just made Black & White to make the soldier darker.
Make a new layer and place it above all the layers. Using the Brush Tool (B) simply brush with black over the soldiers feet.
Repeat step 9 but, this time make a selection of the soldier and brush as I did.
Next set the layer to Multiply and Opacity 33%.
Make a new layer over the soldier. Fill it with white and go to Filter – Render – Clouds. Now go to Filter – Sketch – Chrome. Set the Details to 10 and Sharpness to 10.
Transform the chrome layer. Next you need to mask it to be visible only around the soldier. Last set it to Multiply and 78% Opacity. This will make the soldier look like he is wet.
In this step we will make the rain.
Make a new layer, name it Rain and place it over all the other layers. Fill the layer with white then go to Filter – Noise – Add Noise.
Next go to Filter – Blur – Motion Blur and set it to 24 pixels and angle -63.
Now go to Image – Adjustments – Levels and use my settings:
Last thing you want to do is to set the Blending Options to Screen.
Now you need to start adding you text. Use my settings for the Blending Options.
Next make another rain layer just as you did with the first rain layer you made. But this time you will leave the rain to be more intense and also mask the rain layer into the WAR text as I did.
Set the layer to Multiply and Opacity 62%.
Next you will need to add your own text. For the rest of the text I did not used any effect. Just made the text grey #9f9f9f.
In the end you will be able to add more detail to the soldier by brushing some white over him as I did.
Keep experimenting and use what you learned here with your own techniques.
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اشكرك على مجهودك الاكثر من رائع .... استمر. وحقا دروس تستحق المتابعة
wow trés bien ^_^