Minime Arts: Tutorial

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Great Gooey Photoshop Text Tutorial (0)

23:23 by Minime , under Tutorial

Create great looking, 3-Dimensional, gooey looking text . This technique does require minimal drawing skills but is definitely suitable for beginners. Enjoy and stay tuned for more tutorials!

Gooey Photoshop Text Tutorial

Step 1 – Canvas

It’s important for this tutorial that you set up the same size canvas as the effects we’ll apply will vary depending on how many pixels it’s across. To use in smaller or bigger projects you will need to tweak the settings applied throughout this tutorial. Set up a 2500 X 1500 pixel, RGB document at 300dpi.

Step 2 – Texting

Select the Horizontal Type Tool, set the colour to a lightish grey and write your word. It’s best to use a fairly uncomplicated and bold font, I’ve gone for Avant Garde in Bold. Adjust the tracking to 50 as we’ll need space in between letters to allow for gooey growth. Press CTRL+T or go to Edit > Free Transform and resize your text by holding the SHIFT key (to maintain aspect ratio) and pulling one of the corner points with the mouse.

Step 3 – Ready the Tools

Select the Pen Tool and set it Shape Layers. Set the foreground colour to 40C, 10M, 100Y, 0K. Zoom into 100% and you are now ready to draw.

Step 4 – Drawing

Draw your first point at the start of the first letter. The best way to draw a curve is to position one anchor point at the origin of the curve and one at the end point or point at which the curve changes. To split an anchor point you hold the ALT key and click on the last drawn anchor point. This will delete the outward part of the handle and allow you to draw another one in (on the same anchor point) at any angle without altering the direction of the inward handle. This splitting technique allows for sharp angles following a curve.

Step 5 – Editing your points

Continue drawing loosely around the shape, adding some drips at the bottom to mimic gravity. Use the Direct Selection Tool (Behind the Path Selection Tool if you hold the mouse button) to manipulate the anchor points and the curve handles. In order to create an elongated bulbous end at the bottom of a drip you’ll need to pull the bottom facing handles out further. At any point if you’re not happy with the position or angle of your point, you can manipulate it with the Direct Selection Tool.

Step 6 – Best foot forward

I find it’s easier to draw the drips from top to bottom (following the gravitational pull) so once you hit the bottom of the letter, use the Direct Selection Tool to click anywhere on the canvas. Then select the first point (at the top of the letter) with the Pen Tool and draw in the rest. Something I forgot to mention earlier is to set the fill at 80% so you can see the letter underneath.

Step 7 – Subtracting

To get the hole in letters such as ‘O’ or ‘A’ you’ll need to set the Pen Tool to Subtract from shape area. Draw the outer shape of the ‘O’ and close off the path. Select the path thumbnail so that it highlights the path, set the Pen Tool to Subtract from shape area and draw in where the hole should be.

Step 8 – Finishing off

Complete the rest of the letters and set the Fill for each layer at 100%.

Step 9 – Inner Shadow

Select the ‘G’ layer and go to Layer > Layer Style > Inner shadow and setup as in the screen grab.

Step 10 – Inner Glow

Working on the same layer, select the Inner Glow setting and setup as in the screen grab.

Step 11 – Bevel and Emboss

Do the same with the Bevel and Emboss…

Step 12 – Satin

…And finally Satin.

Step 13 – Copy and paste

Select the ‘G’ layer and go to Layer > Layer Style > Copy Layer Style. Select the remaining letter layers and go to Layer > Layer Style > Paste Layer Style.

Step 14 – Ol’ Drippy

Draw in more drips on top of the letters. Copy and paste the Layer Style as before and go to Layer > Layer Style > Scale Effects… scale them back to fit the size of the drip, in this case it’s 40%. Then go to Layer > Layer Style > Inner Glow and scale the opacity back to 60%.

Step 15 – Rasterize and Mask

Create a new layer directly below the new drip you just drew. Select the drip and the blank layer and merge them (Layer > Merge Layers). Add a Layer Mask (Layer > Add Layer Mask > Reveal All) and use a soft-edged paintbrush loaded with black to mask off the top of the drip. Repeat this process until you’ve covered the word.

Step 16 – Depth

To add depth, draw some more drips beneath the letter layers. Copy, paste and scale the layer effects to save time.

Step 17 – Texture

It’s a good idea to add texture to the final text to make it feel more ‘real world’. You can either overlay an easily downloadable grunge texture or try the following method: Go to Filter > Noise and add a 2 pixel noise filter. Then go to Filter > Blur Gaussian Blur and apply a 0.6 pixel blur.

About the author

My name is Gino Orlandi and I am a graphic designer and blogger. I have been freelancing since 2004 and in 2007 I launched You the Designer. I look forward to publishing quality graphic design resources, graphic design tips and much more on You the Designer with the hopes that aspiring design professionals, and pros alike, will find this site inspiring and helpful. Enjoy!

Design a Shiny Photorealistic Apple Remote (2)

22:04 by Minime , under Tutorial

Apple has so many beautiful products. Their product designs consistently attain a sought-after status, which distinguishes them as an innovative company. In this tutorial, I'll teach you how to make a shiny new apple remote.

Step 1

First of all, create a new document and fill it with black.

Step 2

Make a new shape like the next image using the Rounded Rectangle Tool with a Radius of 5px or so. You decide. Name it "Remote shape."

Step 3

Make a selection of this Remote Shape. Create a new layer, and using the Gradient Tool, drag from left to right. Use the settings in the image below, with left color (#ffffff) and right color (#e4e4e4). The gradient is not very strong, but it is needed to stand out a bit.

Step 4

Now we will add some simple shades to the shape to make it look more real. Make a white shape similar to the image below. Make sure it is higher than the remote shape. Go to Filter > Blur > Gaussian Blur and use a small Radius.

Step 5

Now using the same technique, make a darker shape. Make it thinner than the white one. Apply a Gaussian Blur using the settings below.

Step 6

Now get the white and the grey shapes closer. Move them to the left side of the remote shape. Next duplicate them, rotate them, and move them to the right side.

Step 7

Now we need to make the upper part of the remote. To do this, you need to make a new shape using the Rounded Rectangle Tool. Fill it with black. Then place it behind the remote shape.

Step 8

We need to mask the white and gray shapes for the remote. Ctrl-click (MAC: Command + Click) on the remote layer to make a selection. Then Ctrl + Shift + Click (MAC: Command + Shift + Click) to add the remote head to the selection. Make sure you have selected one of the shade layers in the Layer Palette. Go to Layer -> Layer Mask -> Reveal Selection. Do this for each shade.

Step 9

Now crank down the opacity of the gray and white shapes till it looks something like this.

Step 10

You can make the background a light gray color because now we can see the product better. The shape of the remote is finished. Now we need to add some buttons to it.

First we will make the MENU button. Start by making a circle using the Ellipse Tool and the settings below.

Step 11

Now we need to make the Play, Pause, Fast-Forward, Fast Backwards, Volume Up, and Volume Down buttons. Start by making a new circle above the first one, making sure it's bigger.

Next, we need to subtract a circle out of this one. To do this, hold Alt and Minus (MAC: Option and Minus). At this point, a Minus will appear near your cursor. This indicates that you will subtract a piece out of your shape. Click and subtract a circle starting from the middle of this big circle while holding the Alt and Minus (MAC: Option and Minus) and dragging a circle (press shift to make a perfect circle). Look at the images below to see the result.

Step 12

Fill this shape with (#f6f6f8) and add the settings below to the Blending Options.

Step 13

Now make the last button, which will be used as the Play/Pause button. You need to make it exactly where you just subtracted a circle. After you make it, fill it with (#f6f6f8) and use the settings below.

Step 14

We need to add the text that goes on the buttons now. Use Arial Black for the font and this color: (#c4c4c4). For the shapes, use the same color. Make them by using the Rectangle Tool and Custom Shape Tool. Do the same thing for the Volume and Forward/Backwards buttons.

Step 15

Now it's time to make the buttons a shinier. We do this by simply making a selection of the Play/Pause button by Ctrl + Click on the button. Then subtract from this selection with the Elliptical Marquee Tool. Hold Alt and drag a circle over the selection. Make a new layer. Move it on top of the other layers. Fill the selection with white.

Step 16

Next repeat Step 14, but this time do this shiny effect for the volume button.

Step 17

The remote is finished. Now we need to complete a very important step. The way we present the products is very important, so we need to make a simple and attractive background.

Make a new layer and place it behind the remote. Using the Gradient Tool, set the Radial Gradient from black to white. Make sure that Reverse is selected. Now click and drag from the middle outward. Next, decrease the Opacity of this layer to 33 percent.

Step 18

Now duplicate the remote folder. Merge this copied remote into one single layer. Do this by right-clicking the copied remote folder and then selecting Merge Group. Next, rotate the copied remote upside down. Move the gradient layer you just made over it. Then select the remote layer again. Go to Filter > Blur > Gaussian Blur. Set the Blur to 2 percent. Next move the copied remote lower.

Step 19

Make a selection. Create a new layer. Make a shiny floor for the remote to reflect onto using the Gradient Tool. Click and drag from up to down. Move this layer over the remote copy.

Step 20

Now make the shadow that the remote will reflect onto this floor. Make a shape similar to mine. Move it on top of the gradients. Then go to Filter > Blur > Gaussian Blur. Use 8%. Next decrease its Opacity to 7 percent. Well done! You just finished the design.

Bonus

Below is a bonus for you guys. It covers how to simply change the color of the remote in a few seconds.

Go inside the remote folder and look for the Remote Shape layer. Above it is the Gradient layer that you need to make invisible. Now go back to the Remote Shape. Chose a color for the foreground color. Then press Alt + Backspace. Tadaaa! You have a red remote.

Do the same thing for the play button layer and the volume button layer. Lastly, decrease the opacity of the shiny volume button and shiny play button. And of course make the reflection for this one as you did for the first remote. Good Luck!

Conclusion

Author: Constantin Potorac

I am a freelance designer living in Romania. I discovered the beauty of design a few years ago. Since then I have dedicated my time to becoming a great designer (work in progress)!

Basic Coloring Tutorial by Loleia (0)

01:40 by Minime , under Tutorial

Lola Rodrigues aka Loleia, is an awesome Illustrator from Spain and decided to share with us her ticks to a basic painting in photoshop, the tutorial is very simple and well explained so you can learn to paint your own drawings, check it out.

Make sure you check out the gallery of works of Loleia here loleia.deviantart.com and thank her for the tutorial.

So, the first think I need is a line art. This nice girl here volunteered, so we’re going to be coloring her.

The first thing I always do is name the layers, because I am kind of a neat freak and I need everything to have a name and be in its proper place. I call the line art layer –wait for it- Lineart.

Next, I create a layer underneath the Lineart and choose a background color to fil it with. I call the layer Background (tadaaa!)

Having a colored background is very useful when it comes choosing the color palette for the drawing itself because it makes you use a range of colors that are all similar, giving the final piece a consistent look color-wise.

I tend to choose pastels tones. Here I have picked yellowish ochre.

The next thing I do, neat as I am, is create a folder for the flat colors and call it Flats. Flat colors are colors without shadowing or light. They make the base of the coloring in my drawings. Inside the Flats folder I then create a layer for each different area of color’ the Hair, the Face, the Skin, the Shirt, the Shoes etc.

Now that I have layers, I can start coloring the drawing. I always start with the skin but you start wherever you want. To choose the skin color I just slid the arrows down from the yellow to the orange. The result is a skin tone that matches the background perfectly and is not too pale, nor too tan. You can play with this all you want; make it a bit pinker, or more orange if you want the skin to look more tan etc.

When I have chosen the color, I pick the Paint Bucket Tool, make sure the box “All Layers” is checked and I start filling in all the parts of the drawing that have skin in them.

I repeat this step with all the parts, but as you can see the Paint Bucket just fills the “easy parts”, it doesn’t go into the small places of behind the black lines of the drawing.

Make sure to add the colors in the appropriate layers this will be important later when we add the shadowing and need to select every individual color.

When we’re done filling in the colors, it’s time to fill in the little blank space with your tablet (or your mouse) and a round, hard brush. Zoom is love!

When I’m done with the flats I usually add any patterns or details I want the clothes to have. In this case the clothes are based on my own, so it will be easy to copy all the patterns using flat colors again.

The arm-warmers have big horizontal stripes and the shirt has pink vertical and horizontal stripes.

So I create a new layer inside the Flats folder on top of all the other ones and I call it Patterns. That’s where I’m going to draw all the details on the clothes. A lot of times I like to add textures to clothes as well, but I don’t add them until shadowing has been added.

It’s now time to start with the Shadows. The fist thing we have to do is decide where the source of light is. If it’s on the right, then the shadow will be on the left. If it’s behind, then the shadows will be on the front etc. I have decided that the light is going to be coming from the right, so the shadows will generally be on the left side.

The first thing I do now is create a new folder and call it Shadows. This time I will ad the shadow layer as I go (instead of adding them all at once, like we did with the flats). The reason for this is that I usually use more than one layer for each part of the drawing (for the skin or the hair I use at least three).

As I do with the Flats, I always like to start adding shadows on the Skin. So I create a new layer inside the Shadows folder and call it Skin. I set it to Multiply. Then, using Eyedropper Tool I sample the flat skin color choose a color slightly paler for the Shadow.

Here on 1 you can see the result of the first layer of shadow on the skin, set to Multiply. As you can see, most of the shadow is located on the right side of the face and torso, leaving the left side lit.

For this kind of shading I always use a regular default hard round brush. Applying more or less pressure on my tablet I can control the size of the brush, but the important thing here is that the brush’s edges have to sharp. Of course, depending on the brush you can use and the settings on that brush you’ll get incredibly different coloring and painting styles. But for this one, as I said, we’re going for the “sharp approach”.

A Little trick: go to the Flats and select the layer part you want to shadow (eg. Skin) using Ctrl (select the layer while pressing Ctrl). Then go back to the Shadows and you’ll be able to apply the shadow only to the selected part without fear of coloring “outside the lines”.

I add shadows to the rest of the skin on the girl’s body and then I create a new layer, also called Skin, and also set to Multiply. I then add a more detailed level of shadow, still using the same pale color as before. The result 2. You can see the first layer of shadow and then another one that goes around the eyes and on the outer edge of the right side of face and torso. Just add as much shadow as you feel like, and when you’re done, go on the next part, which for me is always the hair.

I basically repeat the same steps as with the face: I create a new layer called Hair and set it to Multiply. I then pick a color paler and lighter than the one I used for the Hair layers as I need and I add shadows as I see fit.

You can see a progression of the Shadow layers below. I repeat the same process on the rest of the parts of the drawing, each time creating a new layer and each time selecting a color lighter and pales than the one used for the Flat. In the case of the shirt, I chose to use the gray instead of the pink.

Now that I’m done with the Shadows, it’s time for the little details (blush etc) and some light. I create a new folder, this time on top of the Lineart layer, and I call it Lights etc.

I’m going to start with the blush, but first I’m going to get rid of the bit of light on her right cheek (you can see it above), or the blush won’t look good (try it, it looks weird).

When I’m all ready to go, I create a new layer inside the Lights etc folder called Blush, and I set it to Multiply.

I choose a red (in this case I used a pale shade of red as well), and then I pick a brush. The best brush for the job is the Airbrush Pen Opacity Flow. I set the Hardness to 0% and the size to 35 px more or less. (see below).

The Great thing about this brush is that its opacity responds to the pen pressure, which means that if I push hard with my pen, it will be opaque, but if I don’t, it will be translucent. So I picked the brush and I start applying the blush gently. I also like to give a little blush to the nose, jus to give more volume.

It’s time now to add a bit of light to the face. I usually add glow to the eyes, the lips, the cheeks and the nose.

For the eyes and the lips I use a small round hard brush (like the one I used to apply the shadows).

For the cheeks and the nose I however I use the same brush I used to apply the blush, only with more Hardness (50%) and much smaller (10 px or so).

A lot of times I also add a bit of shine to the hair, but this time just doesn’t look right so I will leave as it is. I will however add a bit of light on her left side, where the light source is hitting her.

For simply pick a small round hard brush and I paint a line inside the lineart along her right side as you can see here.

And it’s finally time for the finish touches! When I’m done adding the light, I create a last folder called Finishing Touches. In here I usually add a few Adjustment Layers, to tweak the color a bit, make it more vibrant, in this case I have added two Color Balance layers, one Selective Color and Curves layer to adjust the brightness a bit.

At this point I will usually add a Texture on top of everything and set to Multiply, just to make it a bit more gritty. The texture here is mine.

Before the Adjustment Layers

After the Adjustment Layers

+ Textures Set to Multiply

TADAA!

And that’s pretty much it! Of course I sometimes do more stuff, like add light and shadow to the background, or make a thick black outline or add a different texture to each layer of clothing, but the basics are these.

Hope it helped!

Minime Arts

MinimeArts.blogspot.com