Archiwum kategorii: Web Tools

How to Create an Isometric Map Mockup Action in Adobe Photoshop

Post pobrano z: How to Create an Isometric Map Mockup Action in Adobe Photoshop

Final product image
What You’ll Be Creating

From this tutorial, you’ll learn some new techniques and tricks. We’ll be using the Isometric Map Mockup product as an example and seeing in detail how it was created. At the end, you’ll have a fully workable action and confidence in building “transformation actions”. 

Got no time and need this action as soon as possible? You can purchase this Isometric Map Mockup over on GraphicRiver.

Portfolio link

1. How to Prepare Your Workspace

Open up the test.psd file attached to this tutorial. I’ve created it for your convenience so that you don’t have to follow any long-winded steps about document creation.

Make sure you have set up your workspace properly. For this tutorial, we need some panels to be visible: the ActionsLayers, and Styles panels. If you don’t have these panels visible, then go to Window and enable the panels one by one by their names.

Then you need to make sure the Ruler Measures are pixels. If you don’t see the rulers, press Command-R to activate them, and then right click on the ruler itself and select Pixels

select pixels

2. How to Get Ready for the Recording

For now, since we’ve set up our work space as needed, we can start recording our action.

Step 1

Go to the Actions panel and create a new Action Set. You can call it whatever you like. 

create a new action set

Step 2

Inside the Action Set, create a New Action. Give it any name—for example, „Isometric Map Action„. 

create a new action

After that, press the Stop Recording button. That’s because, by default, after creating an action it automatically starts recording. We don’t want that to happen just yet.

stop recording

Select the „main” layer, because we don’t want this step to be recorded. For us, it will be the step performed by a user. The user decides which layer to select. 

select the layer main

Step 3

Now it’s time to click the Record button on our Actions panel. From this moment on, almost everything we’ll be doing within Photoshop will be recorded. After we are finished recording our action, we can run this action once again, to apply exactly the same working process on other images. 

start recording

3. How to Prepare for the Transforms

Step 1

Here we have a task. We need to slice the „main” layer into three parts vertically, and also we need to record these steps.

Create a Smart Object from the „main” layer. To do this, right click on it, and choose Convert to Smart Object. We are doing this because we need a brand new space for our further steps.

Convert to Smart Object

After that, double-click on the Smart Object layer to Edit the content. You’ll be switched to a new document. Here is the place where we’ll be working with our image.

Step 2

Now we want to make more free space around our image by increasing the canvas size. Go to Image > Canvas Size, and in the dialog window, instead of „Pixels”, choose „Percent” and input 200% for both sides. It will increase the canvas size proportionally.

expand the canvas size

Step 3

Here we’ll quickly go over and create an alignment template. This layer will help us later to align some of our map parts to the center of the canvas.

Create a new layer. To do this, click on the little „sheet of paper” icon at the very bottom of the Layers panel. After creating it, the layer will stick up above the „main” layer.

create a new layer

Hold Command-[ to move our newly created layer under the „main” layer. Rename the layer „template”.

rename the layer template

Fill this layer with any color you want by pressing Command-Backspace. For us, the color really doesn’t matter because the „template” layer is a temporary layer, and it will be deleted later.

Finally, we need to switch to the „main” layer, so that it will be selected. Press Option-] to switch to the „main” layer. When making actions, we need to make everything flexible, so that we can apply the process again in the future.

switching on to the main layer

4. How to Slice and Transform the Map Parts

Step 1

To cut the „main” layer into three equal parts, we actually need to make two cuts. We’ll be splitting the „main” layer using the Selection Tool. Make a selection around our layer by holding Command and clicking on the layer’s thumbnail. Then go to Select > Transform Selection.

make selection around the main layer

Now for a little bit of math. If we take 100% of our actual image size and divide it by 3, we get approximately 33.34%.  So this is exactly the value we want to see in the Width input field. Put in the value you see in the picture below. It’s important not to forget about the Reference point location. This is a snap point for the transforms. Choose the center-left snap point. 

enter the values

After you have input everything correctly, press the Enter key.

select the left part

Step 2

We are almost finished with this. Now we need to expand the current selection to the left a little bit, so that we’ll be 100% sure that we won’t cut any unexpected pixels around the cutting area. We do this because lurking pixels can cause problems in the future while transforming, and it is hard to identify them. 

Go to Select > Transform Selection. The reference point must be center-right, and then enter these dimensions in the fields: W:110%; H:110%;

Press Enter.

enter the values for the transform

Step 3

Before moving on, we need to do a little trick that I call „Clear Cut”. The whole idea of this trick is to cut the layer without transparent pixels on the edge of the cut. How do we do this? Go to Selection > Select and Mask. Then navigate to the right menu and enter the following values:

  • Radius: 0 px
  • Smooth: 0
  • Feather: 0.0 px
  • Contrast: 100% 
  • Shift Edge: 0%
  • Output To: Selection

Then click OK

enter the values for the select and mask

Right-click on the selection and from the drop-down menu choose Layer Via Cut.

layer via cut

Rename our newly cut layer and give it the name „1”. Press Option-[ to select the backward layer. Now the „main” layer is selected. 

Step 4

Here we have two separate layers. Basically, in this step, we’ll be doing all the same things as we did previously. The only difference is that we’ll be shrinking down the selection by half.

Make sure the „main” layer is selected. Once again, make a selection around the current layer by holding Command and clicking on the layer’s thumbnail. Alright, now we’ve got the selection around the layer. 

make selection for the layer main

Next, go to Select > Transform Selection. Let’s shrink down the selection by half. Type in the value of 50% in the Width input field. Don’t forget about the Reference point location, which must be center-left. 

enter the values

Press the Enter key.

Step 5

As I promised, the steps are pretty similar. And for this instance, we also need to expand a selection around the left side. Take a look at how we did it previously.

Go and grab Select > Transform Selection (the Reference point must be center-right), and then enter these values in the fields: W:110% H:110%. 

Press the Enter key.

enter the values for the middle part transform

For this part, also repeat the “Clear Cut” method as we did in Step 3 of the current section. 

Right click on the selection and from the drop-down menu, choose Layer Via Cut. Rename our newly cut layer and give it the name „2”. Press Option-[ to switch to the layer below. Rename it „3”

rename all three  layers

Step 6

We’ve now got three equal cut parts. Now, we are ready to transform two of them, namely “1” and “2”. What to do with the third one, you will know later. For now, let’s get into transforming.

Select layer “1”. Go to Edit > Transform and select Scale. Enter the following values:

  • W: 53.9%; 
  • H: 74.2%;  
  • <: 0.00; 
  • H: 0.00°; 
  • V: 45.5°; 

The Reference point is bottom-right. Press Enter.

transform the left part

Step 7

Select layer “2”. Go to Edit > Transform and select ScaleEnter the following values: 

  • W: 96.00%
  • H: 74.1%  
  • <: 0.00° 
  • H: 0.00° 
  • V: 12.8

The Reference point is bottom-left. Press Enter.

transform the middle part

5. How to Use the Align Tool

Step 1

As you might have noticed, now we have a problem. We can see the gap between the third untransformed layer and the rest of the layers. If we now transform the third layer, it won’t work for us.

In an ordinary situation, we would have transformed the third layer and then moved it to the left. But since we are recording the action, this method doesn’t work for us. So we need to make something more universal. This is to make sure that it will work for all kinds of image sizes.

Okay, now we need to make a multi-select. We are standing on layer “2”.  We want to select both layers: layer „2” and layer „1”. Hold down the Command key and click on layer “1” to add it to the selection. Now you should see both layers selected. 

select multiple layers one and two

Then we need to convert the selected layers into a Smart ObjectRight-click on one of two layers—it really doesn’t  matter on which one—and from the drop-down menu select Convert to Smart Object

convert to a smart Object two selected layers

Step 2

We can’t align objects easily one after another when recording an action. Maybe you’ll say that it’s simple, considering the current example, but it’s not exactly. You can succeed in aligning for the current image, but it won’t work for another. Hence, we need a very flexible method that would work for all kinds of images. 

Here’s a little trick. We need to align our smart object layer to the bottom left corner. 

aligning smart object to the bottom left corner

As we are continuing, we have our smart object layer already selected, and we need to add the “template” layer to this selection. Hold the Command key and click on the „template” layer.

Go and grab the Move Tool. Aligning in Photoshop goes about a layer that is bigger. Choose Align left edges—it will stick the Smart Object to the left side.

Next, click Align bottom edges. We placed it at the bottom of the canvas. 

align the smart object

Step 3

It’s time to align the third part of our map. 

Select the layer „3”. Then select the Marquee Selection Tool. Hold down the Command key and click on the Smart Object thumbnail to make the selection. 

make selection around the smart object

Select the Move Tool. Align layer „3” to the bottom side. Then align the layer to the left side. Lastly, align the layer to the right.

align layer to the right side

Press Command-D to deselect the current selection.

Go to Edit > Transform and choose Scale. Set the Reference point to Right. Then Go to  Edit > Transform and choose Flip Horizontal or in the Width input field enter the value of -100%

inverse the width

The last step will be mirroring the layer back. Go to  Edit > Transform and choose Flip Horizontal. 

flip the layer horizontal

Step 4

Select layer “3”. Go to Edit > Transform and select ScaleEnter the following values: 

  • W: 55.2% 
  • H: 74.1%
  • <: 0.00°
  • H: 0.00°
  • V: 46.00

Set the Reference point to bottom-left. Press Enter.

transform the right part

Step 5

For now, we have our map in a weird position. We need to rotate it to the position we actually need. 

Select layer “1”. Hold down the Command key and click on layer “2” so that both layers will be selected. Go to Edit > Transform and select Rotate.

Enter the following values: 

  • W: 100%
  • H: 100%
  • <: 51.6%
  • H: 0.00°
  • V: 0.00° 

Press Enter.

rotate the map surface

6. How to Release Parts Out of the Smart Object

Now we need to free up parts out of the smart object. We perform this step because we want to apply some shading styles to the middle part layer. So we want our parts to be separated.

Step 1

Select layer “1”. Right-click on the layer and from the drop-down menu, select New Smart Object via Copy

the new smart object via copy

Double click on the newly created layer to Edit the content 

double click to edit the content

In the opened document, select layer “2”.

select layer two

Press Delete (Backspace) to delete the layer “2”.

Close the current document and, while closing it, click the Save button. 

click the save button

Step 2

Next, rasterize the current layer we have just closed. Right-click on the layer and choose Rasterize layer. Rename it “1”. Press Option-[ to switch to the layer below.

For another Smart Object, the steps are pretty the same. Double-click on the current layer to Edit the contents.

In a newly opened document, select layer “1”. Press Backspace to delete layer “1”. Close the document and, while closing, click Save.

Rasterize the layer. Right-click on the layer and choose Rasterize layer. Rename it “2”

rasterize and rename Layer into layer two

7. Final Steps on the Map Surface

Step 1

In this short section, we are applying styles to the middle part of layer “2”. We want our map to look more realistic. So, we’ll add some shading to it.

Select layer “2”.  Double click on it to call up the Layer Styles window. Select the Color Overlay section. In this section, bring down the Opacity to 35%. Choose the color #000000 (pure black). 

Click OK.

set layer styles

Step 2

It’s time to center the map parts in the middle of our canvas. 

Select layer “1”. Add to the selection layers “2” and „3”. Do this by holding the Command key and clicking on layer “2” and then on layer „3”. We need all three layers to be selected.

Press Command-G to put all the selected layers into a group. Rename the group. Give it the name “All Parts”.

Notice that expanding groups is not a recordable feature in Photoshop. 

Expand the group by clicking on the little triangle on the left side of the group. After that, select layer “1”

This trick is particularly relevant in the automated mode because once we’ve done the group, we won’t be able to see layers anymore. But we still want to be able to pick up layers and to continue recording the action. So, when we click on layer „1”, we expand the group automatically, and Photoshop can see the layers again.

expand the group

Select the „All Parts” group. By holding the Command key, add to the layer selection the „template” layer. 

Select the Move Tool.

Step 3

In the menu, choose Align Vertical centers and then choose Align Horizontal Centers. Pay no attention if the „template” layer moves a little bit.

align vertical and horizontal

Select the „template” layer and delete it by pressing the Backspace key on your keyboard.

Go to Image > Trim. In the dialog, choose Based On > Transparent pixels, and in the Trim Away options, go with all directions: Top, Right, Left, Bottom

trim the transparent pixels

Expand the canvas a little bit. Go to Image > Canvas Size. In the dialog window, instead of pixels, choose percentages and input 200% for both sides. It will increase the canvas size proportionally. 

expand the canvas size

Step 4

We’ve got rid of the „template” layer. Now we need to create the background instead. Select layer “3”. Create a new layer. Click on the new layer icon at the very bottom of the Layers panel. Rename the layer “Background”. 

Move the layer backward by pressing Command-[. Set the foreground color to gray #444444. Use the keyboard shortcut Option-Delete (Backspace) to fill in the layer with the gray color.

choose the foreground color

8. How to Create a 3D Volume for the Map Surface

Step 1

This will be a starting point for creating the volume for the map.

Hold the Command key and select multiple layers: „1”„2”, and „3”. Press Command-E to merge the selected layers. 

merge the selected layers

Now we need to copy the merged layer twice. To do this, press Command-J twice. You should now see three copies. 

make three copies

Step 2

In these steps, we’ll be creating a 3D surface for our map.

Switch to the layer below by pressing Option-[. The layer below will be selected. Group the current layer (Command-G). Rename the group “Volume”. Switch to the layer below (Option-[).

Now we need to add the 3D volume effect. Select the Move tool first. Hold down the Option-Command keys and at the same time press the Up Arrow key six times. 

copy layer six times

Then click and select the group “Volume”, and merge it (Command-E).

Set Layer styles for this layer. Select the Color Overlay section. Next, bring down the Opacity to 35%. Choose the color #000000 (pure black). 

set layer styles

We need to move the face layer a little bit. Switch to the layer above: Option-]. Select the Move Tool and press the Up Arrow key seven times. 

moving the face layer to the top

Rename the layer and call it „Face”.

Step 3

The last step will be creating the „Shadow” layer for our map. Select the „background” layer. Press Option-] to move it to the layer above. 

Apply styles to it. Select Color Overlay. Set Opacity to 100%. Choose the color #000000. Click OK.

set layer styles

Rasterize this layer. 

rasterize layer style

Take the Move Tool and, using your mouse, move the current shadow layer down a bit. 

move the shadow down using mouse

Go to the filter Blur > Gaussian Blur. Set the Radius to 35.0 Pixels. 

apply gaussian blur filter

Step 4

Congratulations! We are finished! Now we can click the Stop Recording button. 

stop recording the action

Awesome Work, You’re Done!

This was a demonstration of the workflow on how to work with transformation actions. It isn’t one of the hardest things to do, but it’s not easy either. If you did everything correctly, now you have a fully working action, and you can apply it to any other images. 

The action building area is not as limited as you might think, so it’s definitely worth learning about if you have already started learning Photoshop. If you learn it, you’ll see how it will help you to save time in performing everyday tasks.

Feel free to ask me any questions down in the comments below. I wish you good luck with your experiments! 

Remember you can purchase this Isometric Map Mockup over on GraphicRiver.

How to Vector Hand Lettering

Post pobrano z: How to Vector Hand Lettering

 

In my course, Mastering Script Lettering, I showed you how to create beautiful script lettering by hand. But what if you want to convert your hand lettering into vector format?

In this video from the course, I show you exactly how to do that in Adobe Illustrator. Watch the video above to see the full vectoring process, and here’s a summary of the main steps:

  • Start by scanning your lettering and opening the image in Photoshop.
  • Adjust the levels and contrast so that you can see your lettering more clearly.
  • Bring it into Illustrator and make it 10% Opacity so that you can trace over it.
  • Vector each letter separately, so that you can later move the shapes around if need be.
  • Use the Pen Tool to trace each letter, placing anchor points on the „extrema”, the furthest points on each letter. You can see a full timelapse of my vectoring process in the video to get a clearer idea of how this works.
  • Also use the shape tools wherever possible—for example, I used the Ellipse Tool to create a circle for the „g” and then altered it to fit the letterform.
  • Go back through at the end, correcting any inconsistencies and making adjustments.
Vectoring script lettering

Watch the Full Course

The full course, Mastering Script Lettering, teaches you script lettering from the basics right up to advanced techniques. You’ll learn techniques such as:

  • angle
  • speed
  • weight
  • contrast
  • kerning
  • flourishing
  • vectoring
  • and more! 

You can take this course straight away with a subscription to Envato Elements. For a single low monthly fee, you get access not only to this course, but also to our growing library of over 1,000 video courses and industry-leading eBooks on Envato Tuts+. 

Plus you now get unlimited downloads from the huge Envato Elements library of 300,000+ photos and 34,000+ design assets and templates. Create with unique fonts, photos, graphics and templates, and deliver better projects faster.

Art History: Cubism

Post pobrano z: Art History: Cubism

Welcome
back to our series on art history! From the dreamy paintings of the Impressionist era, we
now venture onward to the early-20th-century art movement of Cubism.
Let’s see how history significantly affected the art of this time.

Man in a Hammock by Albert Gleizes
Man in a Hammock by Albert Gleizes

Cubism: The Movement

Cubism began during the early 1900s in Paris, France. At the time, artists Pablo Picasso and Georges Braque joined forces to explore this radical style of cube-inspired painting.

But the public wasn’t quite ready to let go of the past.

While most artists were still following the flowy trends of the Impressionist movement, Picasso and Braque worked tirelessly to build a philosophy around Cubism. Their work was seen as bizarre and maddening, but it only reflected their intense passion for analyzing objects, shapes, and colors.

Woman with a Fan by Jean Metzinger
Woman with a Fan by Jean Metzinger

Luckily, they never gave in to the naysayers, because now we have more amazing art styles like Futurism, Dada, and Art Deco as a result.

Let’s learn more about this movement by looking into the minds of the world’s Cubists.

Early Cubism

One of the most recognized names in art is Pablo Picasso. A Spanish painter with a passion for exploring many mediums, Picasso was fascinated with geometry during the earlier years of Cubism.

Seated Nude by Pablo Picasso
Seated Nude by Pablo Picasso

He and fellow Cubist Georges Braque took apart objects and analyzed them in terms of volume, shape, and color. They played with flat visuals that looked glaringly different from their peers, and developed paper collage work which explored three-dimensional planes.

Girl with a Mandolin by Pablo Picasso
Girl with a Mandolin by Pablo Picasso

Their work was very similar too. They both created monotone paintings of different subjects like love, music, and still life. Historians saw Cubism as a way to stamp out ambiguity. It forced the viewer to internalize the subject matter by limiting the color palette.

La guitare by Georges Braque
La Guitare by Georges Braque

At the same time as Picasso and Braque’s discoveries, other artists were emerging as well.

High Cubism

High Cubism came after 1909 when artists who mostly exhibited in non-academic salons in Paris explored a similar cube-inspired style. The group wanted to emphasize research into the expression of form in opposition to the realistic colors of the Neo-Impressionist movement.

LEscale by Andr Lhote
L’Escale by André Lhote

Artists at this time included André Lhote, Jean Metzinger, and Albert Gleizes. In contrast to earlier Cubists, these artists allowed the Impressionist era to influence their work. They painted vibrant geometric explorations of self-portraits and war-related themes.

Dancer in a caf by Jean Metzinger
Dancer in a café by Jean Metzinger

Soon the rules of art were pushed even further. The Section d’Or was a group of artists, sculptors, and critics associated with Cubism who believed that the movement was simply a continuation of the love for the golden ratio. They created abstract art with the purpose of skewing their subjects.

Paysage Cubiste by Albert Gleizes
Paysage Cubiste by Albert Gleizes

Late Cubism

Art became even more abstract after 1914. Artists now began to emphasize overlapping planes and flat surfaces. Crystal Cubism, as it became, was created by artists who desperately needed to escape the realities of the Great War.

Soldier at a Game of Chess by Jean Metzinger
Soldier at a Game of Chess by Jean Metzinger

Though many artists continued to push through with Cubism, it started to decline after 1925. As a result of a shift towards more conservative values, artists dropped the bold colors and shapes for more conservative French styles. Today, it remains a major influence on modern art history.

Three Musicians by Pablo Picasso
Three Musicians by Pablo Picasso

Conclusion

Minimalism is nothing new. Artists have been adoring the simplicity of geometric shapes since way before the invention of modern design software. Though controversial at first, the art world responded to Cubism with many diverse art styles for years to come. Its wide range of culture and influence is a
true testament to
the evolution of art. And I hope you continue to learn more about these
amazing timelines on your own.

For more amazing tales of 20th century Cubism, dive into the links below for further reading. And
join me next month when we discuss the Harlem Renaissance.

The following sources were also included in this article:

10 Days of Freebies From Envato Tuts+

Post pobrano z: 10 Days of Freebies From Envato Tuts+

What better way to celebrate ten years of Envato Tuts+, than with a fantastic selection of freebies and resources for our community? Join us as we take a look at how Tuts+ has changed over the last ten years, and share a selection of free courses, templates, eBooks, graphics, and lots more.

Want to jump straight to the freebies? Just click the banner to join our newsletter and get the first item in your inbox!

10 Years of Tuts+

Not many of you will remember when Tuts+ used to look like this! But at its core, Tuts+ remains focused on exactly the same thing we started out doing. We’re teaching technical and creative skills, helping people grow in their careers. In the past decade, we’ve:

  • Published over 24,000 tutorials (and 15,000 translations)
  • Published over 1,000 video courses
  • Grown from one topic (Photoshop) to nine topics
  • Re-built our entire platform three times (with countless re-designs!)
  • Grown our team from one, to fourteen, fantastic editors and experts
  • Worked with over 1,800 talented instructors and translators

10 Days of Freebies

This month, we’re doing something a bit special to celebrate the ten year anniversary of Envato Tuts+. We’ll have a selection of „10” themed content in Design & Illustration, as well as a fantastic promotion featuring ten days of freebies.

What will we be giving away? We don’t want to spoil the surprise, but you can look forward to a selection of:

  • Free courses and videos
  • Graphics, backgrounds, icons, and brushes
  • Presentation templates
  • Exclusive eBooks
  • And much more!

Just join our Tuts+ newsletter to get started. You’ll receive a daily email for the next ten days, with a different freebie to download (or watch) every day. The first one will land in your inbox straight away! Here’s a sneak peek at some of what you can expect:

Thank You!

We’ve had an incredible ten years creating tutorials, courses, eBooks, quizzes, learning guides, and so much more. We know it’s had a wonderful impact on many of you, changed lives, and helped further countless careers.

Thank you for reading Tuts+, subscribing to watch our courses, commenting, sharing, and being part of Envato’s incredible community of creators.

Here’s to the next ten years!

How to Create a Set of 10 Folk Flowers in Adobe Illustrator

Post pobrano z: How to Create a Set of 10 Folk Flowers in Adobe Illustrator

Final product image
What You’ll Be Creating

We all know that April showers bring May flowers, but what about rainy September days? Usually in September we start to grow the seeds of our new skills.

So let’s start with a tutorial devoted to creating a bunch of ten folk flower elements from Adobe Illustrator’s basic shapes and tools. Our bunch inspired by folkish patterns will consist of many repeating elements so you’ll learn how to construct many interesting elements from a limited quantity of repeating parts. Also, you can use this trick to make elements of any of your designs more connected to each other.

If you’re looking for more floral vector designs, head on over to GraphicRiver for more.

1. How to Make the First Flower

Step 1

Create a New Document (File > New) following these settings:

  • Number of Artboards: 1
  • Width: 800 px
  • Height: 600 px
  • Units: Pixels
  • Color Mode: RGB

Next, make 11 layers by using the Layers panel—one for each flower element and one for a background.

Then, go to the View panel and turn Smart Guides on.

Creating of a New Document

Step 2

Make a 100 x 100 px pink (#f4908a) circle by using the Ellipse Tool (L). Choose the Scissors Tool (C) and click on both right and left anchor points of the circle. Then, delete the upper half and click Unite on the Pathfinder panel.

Add a 100 x 25 px pale pink (#f9c4be) rectangle with the help of the Rectangle Tool (M) and place it on the upper side of the pink base.

Make a small 9 x 18 px pink (#f4908a) oval (also by using the Ellipse Tool (L)) and click on the upper and bottom anchor points with the Anchor Point Tool (Shift-C). Place this shape on the pale pink rectangle to the left. 

Then Copy it and move the copied piece to the right. Choose the Blend Tool (W) and click on both left and right shapes, and then click twice on the Blend Tool thumbnail. Set up Specified steps and 3, and click OK. Expand the effect by going to Object > Expand.

Making of a base of the first flower

Step 3

Make a 9 x 9 px bright pink (#ed5a62) circle and place it above the left converted oval. Holding the Alt button on your keyboard, drag the bright pink circle to the right edge, and do the same trick with the Blend Tool (W) as we did in our previous step.

Make a 45 px high bright pink (#ed5a62) line with the help of the Line Segment Tool (\). Go to Window > Stroke and set up Cap: Round cap. Set up Width: 6 pt.

Copy (Control-C) and Paste (Control-V) the converted oval, recolor it to bright pink (#ed5a62), and change its size to 20 x 40 px. Then rotate it while holding Shift, and place it near the line, on its left side. Copy the leaf and reflect it Vertically by going to Object > Transform > Rotate. Add two additional branches to the left and right sides of the main stem. And place one 15 x 15 px bright pink (#ed5a62) circle on each of these additional branches.

Our first flower is done!

Adding of a stem and leaves

2. How to Make the Second Flower

Step 1

Make a 40 x 40 px cyan (#1a9cb4) circle and a 70 x 70 px blue (#18477b) circle. Place the blue one beneath the cyan and Align them by using the upper Align panel.

Create a 50 x 50 px dark gold (#b55a2d) circle and place it behind the previous two shapes on the upper left side. Copy it and move the copied shape to the upper right side. Then copy both these shapes and move them to the bottom.

Making of a base of the second flower

Step 2

Copy the stem from the previous flower, and recolor it to blue (#18477b). Also copy the big leaves, make them blue too, and place two copies near the stem and two leaves to the left and right of the flower. Then, make four copies of the small leaves, recolor them to dark gold (#b55a2d), and place them around the flower.

Adding of a stem and leaves to the second flower

3. How to Make the Third Flower With Hearts

Step 1

Copy the pink semicircle base from the first flower, make a 25 x 25 px circle, and place it on the base. Then, make three copies of this circle and place them in sequence after the first one.

Create a 70 x 70 px dark blue (#1c2949) circle, and place it beneath the pink base. Add three white circles on the dark blue shape: one 15 x 15 px and two 9 x 9 px.

Make two dark blue (#1c2949) lines with these options: 6 pt Stroke and 35 px Height. Rotate these lines while holding Shift and place them on the bottom of the pink base. Add a 40 x 40 px dark blue circle under the pink basic shape.

Making of a base for the third flower

Step 2

And now we’ll quickly make a perfect heart.

Create two 20 x 20 px pale pink (#f4908a) circles and place them near each other. Then, with help of the Pen Tool (P), make two triangles which unite the both circles. Merge all these shapes with the help of the Pathfinder panel.

Place one heart on the flower and two hearts above it.

Creating of a heart shape

4. How to Make a Minimalistic Fourth Flower

Step 1

Create a 60 x 60 px blue (#18477b) circle, cut its upper half with the help of the Scissors Tool (C), and add a 40 x 40 px dark blue (#1c2949) circle on it.

Making of a base for the fourth flower

Step 2

Add three bright pink (#ed5a62) 15 x 15 px circles above the flower’s base. 

Make a 45 px Height blue stem. And Copy two big leaves and four small ones from the second flower, recoloring the big ones to blue and the small ones to bright pink. Place them around the stem.

Adding of a stem and leaves to the fourth flower

5. How to Make the Fifth Flower, Inspired by a Folk Dymkovo Toy

Step 1

Start with a 100 x 100 px pink (#f4908a) circle and a 75 x 75 px bright pink circle (#ed5a62) with 6 pt stroke and no fill. Did you notice that all our elements have the same 6 pt stroke? It makes our design more complex. So add a 50 x 50 px blue (#18477b) circle and three dark blue (#1c2949) lines (with 6 pt weight each) inside the blue circle.

Making of a base for the fifth fower

Step 2

Copy any leaf from the previous flowers, scale it to 60 x 30 px, and color it in blue (#18477b). Place two leaves on the left and right sides of the flower. Then, copy a 40 x 20 px leaf from the second flower, recolor it to dark blue (#1c2949), and paste four copies of it around the flower. Also add four 15 x 15 px gold (#d38932) circles and place them between the leaves.

Adding of leaves to the fifth flower

6. How to Make a Sixth Composition of Flowers

Step 1

Create an 80 x 80 px pale pink (#f9c4be) circle and a 55 x 55 px pink (#f4908a) circle shape inside of it. Make a 40 x 40 px dark blue (#1c2949) circle and place it on top of the pale pink circle beneath it. Keeping the dark blue shape selected, choose the Rotate Tool (R) and click in the center of the pink circle while holding the Alt key. Set up Angle: 360/6 (6 is the number of our petals) and click Copy. Then, click Control-D as many times as it needs.

Using of the Rotation Tool to add petals

Step 2

Create a dark blue (#1c2949) stem with 100 px Height. Copy the dark blue leaf from the fifth flower and place four copies of it on the left side of the stem and four on the right.

Adding of a stem and leaves

Step 3

Create an 80 x 80 px dark blue (#1c2949) circle. Add a 55 x 55 px blue (#18477b) and a 30 x 30 px cyan (#1a9cb4) circle on it.

Make a 90 px high cyan stem. Also, make two small branches and add a 15 x 15 px cyan circle on each. Move this flower to the left of the dark blue flower.

Making of the minimalistic cian flower

Step 4

Copy the pale pink heart from the third flower, recolor it to bright pink (#ed5a62), and change its Width to 75 px. Don’t forget to click the Constrain Width and Height Proportions button.

Paste the pale pink heart again and move it to the center of the bright pink shape. Add a 50 px Height bright pink stem and two leaves from each side of the stem. Move the flower to the right side of the big dark blue flower.

Then select all these elements and Group (Control-G) them.

Making of a heart-shaped flower

7. How to Make the Seventh Flower Composition by Using the Rotate Tool

Step 1

First, make two 45 x 45 px circles. One is pink (#f4908a), and the other is dark blue (#1c2949). Move the pink shape to the top of the dark blue circle behind it. 

As we did before, keeping the pink shape selected, choose the Rotate Tool (R) and click in the center of the dark blue circle while holding the Alt key. Set Angle: 360/5 (because we need 5 petals now) and click Copy. Then, click Control-D as many times as it needs. So, you made a perfect flower!

Make a seventh flowers base using the Rotate Tool

Step 2

Add three 15 x 15 px golden (#d38932) circles between the petals. Make (or copy from our other flowers) a 30 x 15 px blue (#18477b) leaf and move it to the center of the dark blue shape. You can do it with the help of the Smart Guides or by using the Align panel. Also, add eight small white circles around the leaf.

Copy five petals, recolor them to blue (#18477b) and, while keeping the Constrain Width and Height Proportions button selected, change the Width to 50 px. Add a 15 x 15 px dark blue (#1c2949) circle in the center. Then, move this small flower to the left side of the pink flower and place its copy on the right side.

Adding of two small copied flowers

8. How to Create an Eighth Flower Composition

Step 1

As we’ve already made it, start with a pale pink (#f9c4be) 30 x 30 px circle. Copy five petals from the previous flower and change the Width value to 90 px. Move the pale pink shape on the petals to the center. Don’t forget to add a 70 px Height dark blue stem.

Creating of a base for the eighth flower

Step 2

Add a 60 x 30 px dark blue leaf (grab the color from the petals by using the Eyedropper Tool (I)), rotate it by holding Shift, and place it near the stem on the left side. 

Then, copy another leaf from the dark blue flower which we made in section 6 and place it above the big leaf. Copy both these leaves, reflect them horizontally, and move them to the right side.

Adding of a stem and leaves to the eighth flower

Step 3

Copy the pale pink circle again, and add a 40 px high pale pink stem (Stroke: 6 px) and four equal-sized leaves. Then, add a golden circle, copied from section 7, above the heart-shaped flower. Place one heart-shaped flower on the left side of the dark blue flower and one on the right.

Adding of a pale pink heart-shaped flower with a stem and leaves

9. How to Quickly Make a Stylish Ninth Composition From Leaves

Let’s copy the big dark blue leaf from the eighth chapter and play around with rotation. Form a cross consisting of four leaves. 

Then copy and paste a vertical half of this composition to the left and to the right (see the picture below). Add nine golden circles copied from the eighth part.

Quick making of the ninth leaves composition

10. How to Make a Tenth Flower Composition With Berries

Step 1

First, make a 65 x 65 px pink (#f4908a) circle. Add a white 30 x 30 px circle with a 6 px pale pink (#f9c4be) stroke on the pink shape. Also make a 50 x 50 px dark blue (#1c2949) circle and place it on the top of the pink shape behind it.

Making of a base for the ninth flower

Step 2

Keeping the pink shape selected, choose the Rotate Tool (R) and click in the center of the dark blue circle while holding the Alt key. Set up Angle: 360/6 and click Copy. Then, click Control-D as many times as it needs.

Paste two big leaves from the ninth section, recolor them to blue (#18477b), and place them above the flower. Reflect them horizontally and move them to the bottom side of the flower.

Adding petals and leaves to the tenth flower

Step 3

And the last element—a berry! Make its base from a 35 x 35 px pink circle. Add a small 9 x 9 px dark blue circle in the middle of the left side of the berry and a white circle of the same size as a reflection.

Create a 30 x 30 px circle with dark blue 3 pt stroke and choose the Width Profile 1 brush type. Cut the left side of this shape with the help of the Scissors Tool (C). We’ve made the berry! Now, you just need to rotate the berry and place one on the left side of the flower and another on the right.

Now group the whole composition (Control-G).

Making of berries for the tenth flower

Step 4

Finally, add an 800 x 600 px white rectangle (by using the Rectangle Tool (R)) on the Background layer, and Align it to the artboard.

Place on the screen all of our ten flower compositions, and look what beautiful work you’ve done!

So, September Flowers Are Here!

Now you know how many interesting variations you can make even with a limited number of elements. I hope that you also have learned some new tricks from this tutorial. 

Don’t forget to share your results in the comments. You can create your own patterns using the elements from our today’s tutorial—all your experiences are welcomed in the comments too!

I’ll see you later!

All 10 flower compositions

How to Create a Surreal Animal Photo Manipulation With 10 Photos in Adobe Photoshop

Post pobrano z: How to Create a Surreal Animal Photo Manipulation With 10 Photos in Adobe Photoshop

Final product image
What You’ll Be Creating

In this tutorial I’ll show you how to use Adobe Photoshop to create a photo manipulation featuring an elephant and a rat skateboarding together. 

First we’ll build the base scene using two stock images. Later we’ll add the road shadows, replace the sky, and import the skateboards. After that, we’ll add the elephant and rat, and we’ll blend them using adjustment layers, masking, and brushes. We’ll import other elements, such as hats, lollipop, and luggage, and we’ll use several adjustment layers to complete the final effect. 

Tutorial Assets

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

1. How to Build the Base Scene

Step 1

Create a new 2000 x 1293 px document in Photoshop with the given settings.

new file

Step 2

Open the background image. Drag the image into the white canvas using the Move Tool (V). Convert this layer to a Smart Object.

add background

Step 3

Go to Filter > Blur > Gaussian Blur and set the Radius to 12 px.

background gaussian blur

On the filter mask, select a soft round brush with black color (soft
black brush) to erase the midground and foreground, leaving the blur
effect visible only on the background.

background gaussian blur masking

Step 4

Create
a new layer and set it as Clipping Mask. Activate the Clone Tool (S) to
remove the existing shadows of the objects on the road. We’re aiming to make
the main light come straight across from left to right, so the existing shadow
should be erased or reduced.

background cloning

Step 5

Go to Layer > New Adjustment Layer > Color Balance and change the Midtones settings:

background color balance

Step 6

Add a Curves adjustment layer and increase the contrast a little. On
this layer mask, use a soft black brush to erase the middle to keep it a bit hazy.

background curves 1

Step 7

Make another Curves adjustment layer to increase the fuzziness of the
middle. On the layer mask, paint on the top and the bottom of the
background.

background curves 2

Step 8

Open
the road image. Use the Rectangular Marquee Tool (M) to select the road
area only and drag it into our main document using the Move Tool. Place
it over the existing road. Convert this layer to a Smart Object.

add road

Add a mask to this layer and use a soft black brush to remove the sidewalk.

road masking

Step 9

Apply a Gaussian Blur of 6 px to the road. On this filter mask, use a
soft black brush to clear the blur effect in the midground (this is
in order to locate the main elements).

road gaussian blur

Step 10

Use a Color Balance adjustment layer to alter the road’s color.

road color balance

Step 11

Make a Curves adjustment layer to bring more light to the road.

road curves 1

Step 12

Create another Curves adjustment layer to make the road hazier and mistier. Paint on the foreground to reduce the hazy effect there.

road curves 2

2. How to Make the Road Shadows

Step 1

We will now add shadows for the objects on the road. 

First, create a new
layer and use the Polygonal Lasso Tool (L) to select the sign with the
letters JCT/181 (no need to be so precise). You should disable the
Gaussian Blur filter on the background layer to see more clearly.

select sign

Fill this selection with a dark brown color (#1c190c) and flip it
vertically (Edit >Transform> Flip Vertical). Use the Free
Transform Tool (Control-T
) to rotate it onto the right of the sign to
fit the light direction. Make it longer and much thinner.

sign shadow

Step 2

Lower the opacity of this layer to 80% and apply a Gaussian Blur of 8 px to this layer.

sign shadow gaussian blur

Step 3

Make shadows for the other objects: signs, bushes, etc. They should be long and thin.

other road shadows

Step 4

Make
another layer and use a soft brush with the same shadow color (#1c190c) to paint random shadows for the small bushes in the distance.

bushes shadow

Select all shadow layers and hit Control-G to make a group for them.
Lower the opacity of this group to 30%, and enable the Gaussian Blur
filter on the background one.

shadow lowered opacity

3. How to Replace the Sky

Step 1

Open the sky image. Use the Rectangular Marquee Tool to select the sky only and place it in the upper half of the canvas.

add sky

Use a layer mask to remove the hard edges at the bottom and blend it
with the existing sky. Lower the brush opacity when masking off the sign
area so the integration looks smooth and natural.

sky masking

Step 2

Apply a Gaussian Blur of 2 px to this layer.

sky gaussian blur

Step 3

Make a Photo Filter adjustment layer and pick the color #ece900.

sky photo filter

Step 4

Add a Color Balance adjustment layer and alter the Midtones and Highlights settings:

sky color balance midtones
sky color balance highlights

Step 5

Use a Curves adjustment layer to brighten the sky.

sky curves

Step 6

To make the sky blend better with the background, create a new layer
and use a large soft brush with #d6c7b3 color and about 45% opacity to
paint on the middle of the canvas. You can use a layer mask to correct
anything that looks too misty.

paint mist

4. How to Import the Skateboards

Step 1

Open the skateboard image. Cut out the skateboard from the white
background and place it on the right-hand side of the road. Duplicate it and make
it much smaller, and then place it on the left.

add skateboards

Step 2

Create a group for the skateboards and change the group’s mode to Normal
100%
. The light on some wheels of the skateboards doesn’t really suit the
main light source. To fix it, make a new layer and change the mode to
Multiply 100%. Use a yellow color for the brush (#b8ab0) and paint on the
indicated details to reduce the light there.

skateboards reducing light 1

Step 3

Use another layer (Multiply mode) with the color #5e5847. Paint on the
metal details below the deck to make them a bit darker.

skateboards reducing light 2

Step 4

Add a Hue/Saturation adjustment layer to change the skateboards’ color.

skateboards hue saturation

Step 5

Make a Curves adjustment layer to bring more light to the skateboards.
Paint on the shadow areas below the deck so they won’t be
affected by this adjustment layer.

skateboards curves

Step 6

Add a Levels adjustment layer with the same purpose. The selected areas show where to paint on the layer mask.

skateboards levels

Step 7

The main light comes straight from left to right, so the shadows will only
show the griptapes and decks. Create a new layer below the skateboard
group and use the Polygonal Lasso Tool to select the deck of the big
skateboard and fill it with the color #1c190c. Convert this layer to a
Smart Object.

select big griptape

Lower the opacity of this layer to 60% and use Control-T to make the shadow longer below the skateboard.

transform big skateboard shadow

Add a mask to this layer and remove the left of the shadow. Also decrease its visibility on the right.

big skateboard shadow masking

Step 8

Apply a Gaussian Blur of 3 px to the shadow layer. On the filter mask,
paint on the left part of the shadow as it
should be harder than the rest.

big skateboard shadow gaussian blur

Step 9

Duplicate this shadow layer and move it below the small skateboard.
Scale it down a lot to fit the size of the skateboard. Use a layer mask
to remove the left and right of the shadow (the lifting parts).

small skateboard shadow

5. How to Retouch the Elephant

Step 1

Open the elephant image. Isolate the one on the right and place him
above the big skateboard. Resize him to fit the skateboard and remember
to convert this layer to a Smart Object.

add elephant

Step 2

We’re aiming to turn this elephant into a baby one. Searching for references using Google, we can see the top of a baby’s head is rounder, the legs and trunk
shorter and plumper, and the skin smoother and less wrinkled. 

First, we’ll
change the pose of the elephant a bit. Select Edit > Puppet Warp and
drag the points on the top of the head downward a bit until it looks rounder. Also lift the trunk and legs a bit.

elephant puppet wap
elephant puppet warp result

On the filter mask, use a soft black brush to erase the legs and eye.

elephant puppet warp masking

Step 3

Add
a mask to the elephant layer and use a medium-hard brush to remove the
trunk and the bottom of the legs a bit so he looks as if he’s standing
on the skateboard.

elephant masking

Step 4

We’ll use the legs from the original image and scale them much less than
the existing ones so they will look shorter and plumper. Select the front
leg from the original image and add it to the same position as the
existing one. Use Control-T to lift this leg a bit higher.

add leg 1

Use a layer mask to blend the legs with the existing body.

leg 1 masking

Step 5

Add the other legs and the chest part using the same method.

add more legs chest

Step 6

Add the trunk to replace the old one. Use Control-T with the Warp mode to make it shorter and raised a bit.

add trunk

Step 7

It’s time to clone the skin, which will help the skin look smoother. Start
with the least rough area of the skin, and from that, clone over the
elephant’s body. The trick is to reduce the brush’s opacity (about 50-60%)
so that the cloned areas will look smooth, but still show some original details
and textures.

elephant cloning

Step 8

Make a group for the elephant layer and related ones. Use a Color Balance adjustment layer and alter the Midtones values:

elephant color balance

Step 9

Add a Hue/Saturation adjustment layer to change the elephant’s color a bit.

elephant hue saturation

Step 10

Create a Curves adjustment layer to bring more light to the elephant.
Paint on the shadow areas and the part behind the ear to make its shadow
on the body.

elephant curves 1

Step 11

Use another Curves adjustment layer to strengthen the shadow of the
elephant. The selected areas show where to paint on the layer mask.

elephant curves 2

Step 12

Create a new layer above the elephant group. Change the mode to Overlay 100%, and fill with 50% gray:

DB new layer

Activate the Dodge and Burn Tool (O) with Midtones Range, Exposure about
15-20% to refine the light and shadow on the elephant. You can see how I
did it with Normal mode and the result with Overlay mode.

DB normal mode
DB overlay mode

Step 13

Make a new layer under the elephant group. Use a soft brush with the
color #1c190c, opacity about 45% to paint the shadow of the elephant’s feet
on the back of the skateboard.

elephant shadow

6. How to Retouch the Rat

Step 1

Cut out the rat from the original background and place him above the
small skateboard. Use the Puppet Warp to lift his head a bit.

add rat

Step 2

Use a layer mask to remove the bottom of the feet outside the griptape.

rat masking

Step 3

Change the rat’s color using a Color Balance adjustment layer.

rat color balance

Step 4

Use a Curves adjustment layer to brighten the rat. The selected areas show how to mask off the shadow area of the rat.

rat curves 1

Step 5

Add another Curves adjustment layer to increase the shadow of the rat.

rat curves 2

Step 6

Make a new layer, change the mode to Overlay 100%, and fill with 50%
gray. Use the Dodge and Burn Tool to enhance the light and shadow of the
rat.

rat DB

Step 7

Create a new layer below the rat one. Hold Control and click the rat thumbnail layer to load his selection.

load rat selection

Fill
this selection with the color #1c190c and flip it vertically. Stretch
it and place it above the top of the small skateboard’s shadow.

rat shadow transforming

Apply a Gaussian Blur of 2 px to this layer. Also use a layer mask to
remove the legs’ shadow and make the rat’s one blend smoothly with that of the
existing skateboard.

rat shadow gaussian blur

7. How to Add the Hats

Step 1

Cut out the hat and place it above the elephant’s head. Duplicate this
layer and make it much smaller. Add it to the head of the rat after
flipping it horizontally.

add hats

Step 2

Make a new layer below the hat ones. Use a soft brush with the color #1c190c to paint shadows for the hats.

hats shadow

Step 3

Create a group for the hats and add a Color Balance adjustment layer. Alter the Midtones settings:

hats color balance

Step 4

Make a Curves adjustment layer to brighten the hat. Use a soft black
brush to paint on the shadow area (the right side) of the hats so it
won’t be affected by this adjustment layer.

hats curves 1

Step 5

Create
another Curves adjustment layer to increase the shadow of the hats.
Paint on the left side (bright area) to keep their lightness.

hats curves 2

8. How to Create the Lollipop

Step 1

Open the lollipop image. First, isolate the stick of the lower one and
add it below the elephant’s trunk. Use Control-T to rotate it to fit the
direction of the trunk.

add stick

Cut out the candy part and add it below the stick.

add candy

Step 2

Use the Dodge Tool on a new layer (set as Clipping Mask) to brighten the top of the candy.

candy DB

Step 3

Make a group for the stick and candy layers. Use a Hue/Saturation adjustment layer and reduce the Saturation value to -55:

lollipop hue saturation

Step 4

Create a Color Balance adjustment layer and alter the Midtones settings:

lollipop color balance

Step 5

Use a Curves adjustment layer to bring more light to the lollipop.

lollipop curves

9. How to Import the Luggage

Step 1

Extract the luggage 1 image from the background and place it onto the big skateboard, between the front legs of the elephant.

add luggage 1

Use a layer mask to remove its bottom outside the griptape.

luggage 1 masking

Step 2

Add a Hue/Saturation adjustment layer and change the Master values:

luggage 1 hue saturation

Step 3

Use
the Dodge and Burn Tool on a new layer to refine the light and shadow
of the suitcase. Also paint the shadow of the handle and some small details
to fit the light sources.

luggage 1 DB

Step 4

Open the luggage 2 image. Take the highest piece of luggage and place it onto the
small skateboard, to the right of the rat, after resizing it down. Use a
layer mask to remove its bottom.

add luggage 2

Step 5

Add a Hue/Saturation adjustment layer to desaturate the luggage’s color a bit.

luggage 2 hue saturation

Step 6

Use the Dodge Tool to brighten the luggage as it looks too dark at the moment.

luggage 2 DB

Step 7

Make several new layers and use a medium-soft brush with the color
#1c190c
to paint the shadow of the handle of the small suitcase, the shadow of
the rat on his luggage and skateboard, and the shadow of the leg of the elephant
on the big suitcase.

rat luggage shadows

10. How to Make the Final Adjustments

Step 1

Create a new Color Fill adjustment layer on top of the layers and fill
with the color #18011c. Change this layer mode to Exclusion 100%.

whole scene color fill

Step 2

Add a Gradient Map adjustment layer and pick the colors #e10019 and #00601b. Lower the opacity of this layer to 20%.

whole scene gradient map

Step 3

Make a Color Balance adjustment layer and alter the Midtones and Highlights values:

whole scene color balance midtones
whole scene color balance highlights

Step 4

Create a Photo Filter adjustment layer and pick the color #d4a383.

whole scene photo filter

Step 5

Add a Curves adjustment layer to increase the light and contrast of the whole scene.

whole scene curves 1

Step 6

Make another Curves adjustment layer to bring more light to the left part of the scene. The right should be erased.

whole scene curves 2

Step 7

Use a Vibrance adjustment layer to enhance the final effect.

whole scene vibrance

Congratulations, You’re Done!

I hope that you’ve enjoyed the tutorial and learned something new for
your own project. Feel free to share your results or leave comments in
the box below. Enjoy Photoshopping!

final result

Design Styles Across 10 Decades

Post pobrano z: Design Styles Across 10 Decades

In celebration of Envato Tuts+’s ten-year anniversary, we’re going to look back even further in time to explore the era-defining trends and styles in graphic design and illustration over the past ten decades. 

Studies of design and illustration have always given historians intriguing insights into changing trends in aesthetics, buying patterns, and popular culture, but it’s also invaluable for designers to know what has influenced and continues to influence their work today. 

Love vintage design, or simply want to find out more about how designers worked in the past? You’ll want to keep reading!

Make sure to pay a visit to GraphicRiver and Envato Elements to source vintage-inspired photos, illustrations, fonts and templates to channel a bygone time in your own designs.

Design in the 1920s

The 1920s marked one of the most important and exciting decades for the visual arts, and its remarkable influence is still felt across the design industry today. 

The ‘Jazz Age’ marked an era of new social freedoms and economic growth, and favored design styles followed suit. At the start of the decade, more fluid, realist styles such as Art Nouveau were still very popular across the commercial arts, but by the middle of the decade this was dramatically replaced by new modernist styles which were gaining traction in Europe. 

kodak poster
Travel poster published by Victorian Railways, Australia, which has a very striking Art Deco design.

Art Deco, a style defined by modernist, geometric designs and luxurious materials and colors, first emerged in France but quickly grew in popularity, becoming one of the first international design movements and resulting in some of the most glamorous buildings, interiors and artworks the world has ever seen.

Particularly in New York, the post-war economy was booming, and in this atmosphere of financial excess, advertising design experienced an incredibly creative period. Poster artists embraced the Art Deco style wholeheartedly, focussing on creating strongly graphic layouts, with rich color palettes and geometric type styles. The glamor of flapper girls, exotic travel, and new food and drink dominated billboards, enticing viewers to dance the Charleston or buy Coca-Cola. 

pivolo art deco poster cassandre
French-Ukrainian artist A. M. Cassandre designed this Art Deco poster for Pivolo in 1924. This now famous example of poster advertising displays the traits of early Art Deco style—strong silhouetted forms, simple layout style, and geometric type. © www.cassandre.fr

Design in the 1930s

The excesses of the 1920s unfortunately couldn’t last forever. The Great Depression had a sombre influence over design in the 1930s, with a more restrained form of Art Deco which focussed on curved forms replacing the glitter and glamor of the decade before. In poster art, we can see how the rich palette of colors from early Art Deco is replaced with more subdued tones.

twinings poster
Twining tea poster by Charles Loupot, circa 1930

Also influential during this decade was the accessibility of modern technology for consumers. Electricity, the automobile, and the telephone made radical changes to daily life, and design increasingly reflected this. 

The Futurist art movement emphasized the supremacy of technology, speed and industry in an ever-changing world. Designers and illustrators focussed their efforts on giving a sense of movement and scale to their designs. 3D-style gradients and textures also became popular, helping poster work feel immersive and larger than life. 

latlantique art deco poster
„L’Atlantique” poster by A. M. Cassandre, 1931. © www.cassandre.fr

Design in the 1940s

With the outbreak of the Second World War in 1939, fascism began to creep across Europe and threatened to spill over onto a global platform during the early part of the 1940s. This frightening new reality led to the once commercial emphasis of design to be replaced by propaganda and motivational imagery. 

Some of the most interesting design to emerge in this period was that of the Soviet propaganda artists, who were inspired by Art Deco and Constructivism (a Russian art movement which emphasized art as having a social purpose) but developed a unique and direct style rendered in sombre shades of red, black and grey. 

Stylistically, modernism was becoming a more influential movement, and we can see this in the use of abstract illustration, irregular layouts, and minimal color palettes. At the start of the 1940s, realist illustrations which romanticized battle were very popular, but by the end of the decade, consumers were ready for something very different. 

We can see the roots of the Mid-Century Modern movement in design and illustration from the late 1940s. Visible brush strokes, witty designs and rich colors marked the end of the dark days of war and heralded a sunnier Post-War period. 

forties advert psd
This retro advertisement kit is inspired by the more colorful, optimistic style of the late 1940s

Design in the 1950s

Designers have looked back to 1950s design time and time again, and with good reason. The era was an incredibly rich, optimistic and exciting time for design. Just as we have today, there were many different trends which found their place in the Fifties design landscape. 

In America, a booming economy meant that ordinary homes now had kitchen appliances, motor cars, and televisions, all of which were advertised heavily to the public. Across commercial advertising we see atmospheric, cheerful illustrations and photos in pastel ice-cream shades or technicolor brights. The sense of movement, youth and excitement generated by this style of image is infectious, and still has remarkable influence over advertising design today.

car of the future magazine
Magazine cover illustration for the August 1950 issue of Science and Mechanics.

Meanwhile, other designers were exploring modernism’s potential and giving it a fun, playful twist. Flat design was made popular by the Mid-Century Modern movement, which focussed on playful patterns and textures, and used simple, pared-back color palettes in earthy shades.

The Fifties were also a time for boundary-pushing in typography and typeface design. Perhaps the most famous example is designer Paul Rand’s reimagining of the logo for IBM in 1956. With its distinctive jaunty, geometric lettering, this type style influenced the perky, animated character of other typefaces which came to dominate billboards and signage across the last half of the decade. 

Design in the 1960s

Graphic design in the Sixties tended to split into two main stylistic groups. Some designers continued to evolve the simple, modernist style favored during the 1950s, and many were influenced by the Swiss Style, which came to have a huge influence over layout design and typography during the decade. 

The Sixties were also a wonderful time for modernist illustration, with artists like Charley Harper exploring geometric shapes, stylized design and grainy textures in their drawings. Their simple, striking work had commercial appeal, making them a perfect fit for advertising work and textile prints during the period. 

charley harper birds
Charley Harper’s 1963 book plate illustration of finches is a lovely example of Sixties modernist illustration at its most whimsical and charming.

The other popular design movement in the Sixties was a reaction to the restrictions of minimal, modernist design. Psychedelic design was influenced by the free love movement, rock ‘n’ roll, and hallucinogenic drugs. 

Graphic design merged with art, as designers and illustrators became more experimental and threw out the traditional rule books preaching grid structures and ordered layouts. A rainbow of acid colors, fluid lines, and trippy patterns came to define the look of the pop culture scene of the Sixties, and it’s still much more evocative of the Sixties in popular culture today than its modernist counterpart.

oracle cover
This cover of the San Francisco Oracle, January 1967, has an Art Nouveau-inspired psychadelic design 

Design in the 1970s

1970s design has enjoyed a recent revival in design, fashion, and illustration, and perhaps this is in part because it’s such a rich resource for retro design in so many forms. The decade was defined by a diverse range of pop culture and social movements, which allowed individuals to express who they were more extrovertly through fashion, music, and art. Punk, Disco and the hippy movement were just a few of the cultural trends which defined the decade, and their influence spilled over into the world of design. 

seventies flyer
Flyer template inspired by the music-centric design styles of the 1970s.

In graphic design, we start to see photography becoming more dominant during this period, with illustration taking a more supportive role in magazine and ad design. Photography, as with everything in the Seventies, explored extremes—it was either moody greyscale or disco-bright technicolor. Magazines like Rolling Stone embellished photos with anarchic collage touches, bright color, and ‘look at me’ typography.

Developments in typesetting technology also helped the Seventies to become the decade that is defined by jaw-dropping typography, which is at turns both garish and revolutionary. Three-dimensional effects, curved lettering and cartoonish proportions make for type that pushes the limits of good taste, and has become the defining characteristic of ‚retro’ design.

Design in the 1980s

In the decade of boom and excess, there’s also nothing subtle about Eighties design. Topping the Seventies for sheer ‘look at me’ value, this decade carried over the more brash elements of Seventies design, such as disco typography, and exaggerated them even more. 

Punk still had a huge influence on popular culture in the early 1980s, and an anarchic use of color was used by designers to contrast against newspaper-clipping text and moody silhouetted photography. Anti-establishment British bands like The Smiths and The Clash used traditional design elements like serif typefaces and reimagined them with a neon color palette and jumpy grids, creating engaging, confrontational album art in the process. 

the clash london calling
Album cover for London Calling by The Clash (Released in 1979 in the UK, and 1980 in the US) 
the smiths the queen is dead
Album cover for The Smiths’ The Queen is Dead (1986) 

In the latter part of the decade, garish, neon-saturated styles came to dominate commercial design and spilled over into music and the arts. Some of the most recognisable design traits of the Eighties can be sourced from the inescapable type styles that were developed from the mid-Eighties onwards. Sharply italicized lettering fonts in neon pinks and purples adorned album covers and advertising billboards alike. 

While not all Eighties design is considered to be indeed ‘good’ at all, let alone tasteful, thankfully some designers were still creating amazing work, some of which has come to be recognized as iconic and well-loved as examples of ‘nostalgia art’ decades later. Some of the most incredible design during the 1980s appeared on movie posters, with complex collage designs, super-bright colors and highly detailed layouts. Illustrations were hyper-realistic and dramatic, with exaggerated light and shadows. 

labyrinth artwork
The promotional artwork for movie Labyrinth (1986) is a beautiful example of the highly detailed, illustrated collage style favored by poster designers in the 1980s

Design in the 1990s

The designs that defined the 1990s take a little longer to come to mind than the visual culture of the hippy 70s and brash 80s, but it’s actually an incredibly significant decade for the development of graphic design as we know it today. Digital design technology had evolved and become more accessible (remember Microsoft Paint?), which meant that the days of creating layouts by hand were fast disappearing. As a result, layouts took on a more polished, clean appearance. 

While design may have cleaned up its act, its influences were altogether much rougher around the edges. Grunge was a significant influence across pop culture, fashion and design over the early part of the decade, and in many ways this clashed with the clean, tech-forward focus of designers who were embracing digital design wholeheartedly. 

You can’t mention Nineties graphic design without paying homage to American art director David Carson, who founded alternative music magazine Ray Gun in 1992. A world away from the measured minimalism of digital design, he ‘broke the grid’, experimenting with collage-style type and edgy photography. It remains the most evocative design example of the grunge era.

ray gun magazine
Ray Gun magazine covers from the 1990s

Towards the middle and later part of the decade, minimalism became the order of the day, which felt completely refreshing after the scruffy grunge years. Calvin Klein pioneered minimal graphic design in his adverts featuring a waif-like Kate Moss posing next to an ultra-simple, watermarked logo design. It marked a new era for advertising design in which less became more, setting the benchmark for the pared-back fashion advertising we see in print today. 

Design in the 2000s

While the 90s marked the first venture into digital design for many designers, it was inescapable during the 2000s. No longer was computer-aided design simply an option, it became a necessity, with designers needing to craft layouts that would work just as well on computer screens as they would on handheld devices like mobile phones. 

Logos had been around for decades, but the 2000s were the boom years for branding, with some of the most iconic tech brands like Google, Twitter and Facebook creating and honing their brand identities during this decade. Logo design became a consuming area of focus for many graphic designers during this decade, with many judging the future success or failure of a business from the quality of their brand design. 

facebook logo
The original Facebook logo, which has since been redesigned to make the type appear less rounded.

The 2000s were a decade of great political and social change across the world stage, and design followed was often employed to raise awareness of causes such as environmental change and the impact of events like the financial crisis of 2007. 

One of the most memorable examples of design as a political tool was Shepard Fairey’s “Hope” poster for the 2008 US presidential campaign. Stylistically, it referenced older street art styles, a hallmark of 2000s design, but the strong sans serif type and ultra-realistic portrait of Barack Obama made it feel fresh and relevant, and ultimately was a significant contributing factor to the success of Obama’s campaign. 

obama hope
Shepard Fairey’s „Hope” poster design for Obama’s 2008 campaign.

Design in the 2010s

Sure, we’re only seven years into the decade, but the 2010s have already seen plenty of incredible work and look to be an exciting decade for graphic design and illustration. While it can be difficult to assess the dominant trends of the decade without hindsight (and still with three promising years to go!), we can already look back on a few styles that have proved to be almost universally popular in the early and middle part of the decade. 

Vintage mania hit the graphic design world at the start of the decade and still remains very dominant in design. With the internet becoming an all-encompassing influence in people’s lives, vintage, folk and ‘hipster’ styles can be seen as reactions to a technology-mad world, even if antique-style textures and vintage logos are used to brand tech products! 

Illustration has also experienced a welcome revival this decade, with flat design revisiting some of the modernist traits of mid-century design and vectorized and digital illustration evolving as an art form. We’re starting to see more explicitly tech-inspired design gradually creep back into illustration now too, with low-poly and line art taking their cues from the ever-evolving world of web and app design. 

Conclusion

A lot can change in a century! Design and illustration offer amazing insights into the social and cultural trends and changes that defined decades, and I hope you’ve found this trip back in time interesting and perhaps inspiring for your own creative work. 

No designer can truly work in a vacuum, so it’s fantastic to be able to see what visual culture would have been a constant presence in the lives of your parents, grandparents, great grandparents and beyond.

Do you have a favorite decade for design? Let us know which eras get your creative juices flowing in the comments below.

Head over to GraphicRiver and Envato Elements to find vintage-inspired design elements to take a trip back in time in your own creative work.

How to Draw 10 Different Varieties of Berry

Post pobrano z: How to Draw 10 Different Varieties of Berry

Final product image
What You’ll Be Creating

In this tutorial, I’ll show you an easy and quick way to sketch with graphite pencils. We’ll also learn to apply different types of hatching to achieve impressive results.  

You don’t need anything fancy to complete this tutorial; just two pencils, an eraser, several sheets of drawing paper, and, of course, a desire for experimenting with your art supplies and creativity! 

A background in drawing is desirable but not obligatory. To understand and repeat the steps, you just need to become familiar with the hatching techniques and observe my illustrations closely. 

Nothing benefits an artist more than thoughtful observation and daily practice!

What You Will Need

In order to complete this tutorial, you’ll need the following equipment:

  • an HB graphite pencil
  • a 3B graphite pencil
  • an eraser
  • drawing paper
The art supplies I will be using

1. How to Draw With a Graphite Pencil

Step 1

This part of the tutorial is devoted to the tips and tricks of using graphite pencils. We’ll observe different ways of applying strokes and provide a starting point for developing your skill set.

The first type of hatching is a group of straight lines that have the same direction and approximately equal length.

An example of a simple hatching

Step 2

Another important technique for creating an illusion of three-dimensionality is contour hatching. 

As you can see in the image below, the lines are slightly bent, as if they are repeating the contours of an object.

An example of contour hatching

Step 3

Let’s compare the possibilities of our pencils. We have two types: an HB and a 3B.

Create two samples of simple parallel hatching, just to observe how they look next to each other. In my image, the HB sample is on the left, and the 3B is on the right.

The HB pencil leaves lighter marks on the paper, and we’ll use it mostly for creating the initial contours and designing the drawing.

The lines made with the 3B pencil are darker and more intense, so this tool is the optimal choice for shading. 

Comparing the HB and 3B pencils

Step 4

Let’s create a beautiful, velvety-looking texture. I’m making lines with soft rubbing strokes, holding my 3B pencil at an angle.

Try to vary the pressure and layer the graphite strokes; you can get a dark surface which will seem almost black. 

Creating a soft heavy graphite texture

Step 5

Sometimes it’s great to smooth over the look of the graphite strokes, making them blurry. To do that, I use my finger, gently rubbing the end of the hatching sample.

Please be sure that your hands are clean and dry before you make anything like this. Human skin has natural oils, so your drawing may get dirty. 

If you don’t like using your own hand, you can get a blending stump or an ordinary cotton bud.

Making a blurry graphite texture

2. How to Draw a Strawberry

Step 1

Technically, a strawberry is not a berry—it’s an aggregate fruit. However, for the sake of this tutorial, let’s close our eyes to this fact.

With an HB pencil, I draw the rough shape of the strawberry. Then I add the shapes of the leaves and the stem.

Creating the rough sketch

Step 2

I refine the shape of the strawberry and the contours of the leaves.

I also add the subsidiary lines; they will help us to allocate small seeds on the fruit’s body. Our goal is to make an illusion of volume, so the lines should be slightly bent. 

Refining the strawberry

Step 3

I soften the subsidiary lines with an eraser, so that they are barely visible, and draw the seeds. They arrange themselves in a staggered order.

Drawing the seeds

Step 4

It’s time to apply the hatching, using a 3B pencil. I accentuate the sides of the strawberry, leaving the thin lines of the reflected light, and darken the leaves. 

I also emphasize the small hollows (where the seeds are located) and then add the drop shadow. Please be sure to leave a highlight on the upper part of the strawberry.

This drawing already looks as if we’ve worked on it for a long time!

Shading with the 3B pencil

3. How to Draw a Cherry

Step 1

I draw the shape of the cherry, using the HB pencil. This shape resembles a circle with a narrowed bottom part.

Then I add a curved line for the stem.

Designing the shape of the cherry

Step 2

I add a small hollow to the upper part of the cherry and refine the stem.

Refining the drawing

Step 3

With the 3B pencil, I add the shadows.

I accentuate the hollow and the sides of the cherry with the contour hatching. Then I add some graphite strokes to the stem and mark the drop shadow.

It’s important to leave the highlights because a cherry is a smooth, glossy object.

Completing the drawing with a shading

4. How to Draw a Blackberry

Step 1

With an HB pencil, I draw a rough shape of the blackberry; then I add the parallel, slightly curved subsidiary lines.

Berries like blackberries are composed of a cluster of small drupes around a central stem. The reference lines are helpful for adding the rows of the drupes.

Drawing the shape of the berry and the lines

Step 2

Just imagine that the center of each drupe is sitting on the line you drew in the previous step. The rows are fitting closely to each other.

I noticed that it’s much easier to fill the shape of the blackberry with the small elements, starting with the bottom row.

Adding the rows of the drupes

Step 3

With the 3B pencil, I darken the borders between the drupes. I also add a shadow to each small element, leaving a highlight and a thin stripe of the reflexed light.

I’ve drawn a separate drupe just for your reference—you can see it in the image below.

As a finishing touch, I add a drop shadow.

Shading the blackberry

5. How to Draw a Raspberry

Step 1

With the HB pencil, I draw the shape of the raspberry and then add the opening of the berry.

I sketch the subsidiary lines, just as we did with the blackberry drawing.

Sketching the shape of the raspberry

Step 2

I draw the rows of drupes, starting with the upper one. The principles of perspective are important here; the side drupes are less visible to the viewer.

Adding the drupes

Step 3

I add the shadows, making a soft texture with the 3B pencil. A raspberry doesn’t look glossy, so we don’t have to create deep shadows and contrasting highlights.

I’ve also added a sample of an individual drupe, just for your reference.

Adding the soft graphite strokes to the drawing

6. How to Draw a Blueberry

Step 1

With the HB pencil, I draw two oval shapes of the berries and add the small openings. To make this composition more interesting, I place a small leaf between the berries.

Creating the basic outline of this composition

Step 2

I refine the upper part of each blueberry, adding a flared crown with the uneven edges.

I also add a drop shadow, using the 3B pencil.

Refining the shapes and adding a drop shadow

Step 3

With the 3B pencil, I add smooth graphite strokes to the sides of the berries. It’s important to accentuate the borders between the objects and darken the openings.

If you wish to make your drawing more credible, you can add the groups of short hatches to create a beautiful spotty texture.

Completing the blueberry drawing

7. How to Draw Grapes

Now we are getting to some things you may not think of as berries. But grapes, tomatoes, and even bananas are berries according to the scientific definition. So let’s keep going!

Step 1

Drawing grapes can seem intimidating—there are so many elements to keep in mind! But don’t worry, we’ll find an easy way to design a small bunch of grapes.

I start with a framework, drawing a vertical core line and adding the shorter divergent lines. The grapes can grow singly or in a small group.

Creating a framework

Step 2

I add some thickness to the stem and draw the elongated shapes of the grapes.

To make this process easier, let’s draw the elements that are closer to the viewer first. Some grapes overlap the vertical twig and other grapes.

Drawing the grapes

Step 3

I add the remaining grapes. The initial sketch is complete! 

Adding the remaining grapes

Step 4

With the 3B pencil, I apply the shading. Basically, it’s just a layer of the contour hatching at the sides of each grape. Please be sure to leave the small highlights!

Adding the shadows with the 3B pencil

8. How to Draw a Tomato

Step 1

I draw a round shape of the tomato, using the HB pencil. I also mark the hollow in the upper part of the shape.

Outlining the shape of the tomato

Step 2

I draw the stem and long shapes resembling leaves. 

Refining the upper part of the drawing

Step 3

I add the contour hatching, using the HB pencil. It’s important to accentuate the area of the hollow and the sides of the tomato.

Applying the contour hatching

Step 4

I darken the shape even more, using the 3B pencil. The strokes should be smooth and soft; you can shade them with your finger or a blending stump.

As usual, I check that the highlight and reflexes are in place, and add a drop shadow.

Accenting the shadows and adding the drop shadow

9. How to Draw a Banana

Step 1

I sketch a rough shape of the banana, using the HB pencil. This form consists of two elements: a long, wide shape for the banana’s body, and a thinner, shorter one for its upper part.

Creating a framework of the drawing

Step 2

I refine the contours of the banana, making this drawing more realistic. 

A banana’s body has several sides (and we see two of them), so don’t forget to mark the border between these sides.

Refining the shape of the banana

Step 3

I apply the contour hatching, using the 3B pencil. It’s important to darken the underside of the banana and accentuate the border between its sides.

I leave a strip of reflected light at the bottom side of the banana and create a drop shadow.

Adding the contour hatching

10. How to Draw an Eggplant (Aubergine)

Step 1

With the HB pencil, I draw the shape of the eggplant. It is an oval, with a prominent curve. I add the rough shape of the stem.

Creating the initial outline

Step 2

I refine the upper part of the eggplant, adding the leaf-like elements.

Refining the shape of the eggplant

Step 3

With the 3B pencil, I start shading the drawing; contour hatching is the best choice to give this sketch more volume.

The body of an eggplant is dark and glossy, so I apply a thick layer of the graphite strokes to its bottom part.

Adding the graphite strokes

Step 4

I add more hatching to the sides of the eggplant, making it dark and contrasting.

I leave a bright highlight on the object’s body and add a drop shadow. With an eraser, I make the line of the reflected light at the bottom part of the eggplant.

Completing the eggplant drawing

11. How to Draw an Avocado

Step 1

With the HB pencil, I outline the shape of the avocado. It resembles a pear: a thinner upper part proceeds smoothly to a wider circular base. 

I also add a stem and a leaf; these elements will help us to balance the composition.

Creating the shape of the avocado

Step 2

I add a pattern of the small semicircles and wavy lines to create the beautiful texture of the avocado.

Working on the texture

Step 3

I add the contour hatching to the sketch, using the HB graphite pencil. I accentuate the sides of the avocado with an additional layer of strokes.

I also add a drop shadow, using the 3B pencil.

Adding the contour hatching

Step 4

With the 3B pencil, I work on the texture of the avocado and make my drawing more three-dimensional.

I apply the soft graphite strokes to emphasize the small surface imperfections, accentuating the dents and bumps. I also darken the sides of the avocado and blend the strokes with my finger.

Completing the avocado drawing with soft pencils strokes

Your Drawings Are Complete

Congratulations—we’ve created ten beautiful graphite pencil sketches! I hope you were inspired by the berries and enjoyed the process of drawing.

For practice, I recommend that you try getting some real berries (or other objects) and making your own sketches. It will help you to develop your observation skills and understand the principles of shading with graphite pencils much better.

Let your creative journey be successful and full of joy!

And if you are interested in other simple, step-by-step drawing tutorials, please check out these:

The result

10 Essential Adobe Photoshop Brushes You Should Own

Post pobrano z: 10 Essential Adobe Photoshop Brushes You Should Own

To celebrate ten years of Envato Tuts+, we’re giving away this essential pack of Photoshop brushes! Learn how to create your own, and find more inspiration from our trusted tutorials.

10 Essential Brushes You Should Own

Do you love Photoshop brushes? So do we! Create magical paintings and manipulations with incredible, high-resolution brushes. In this collection of essentials, I’ll show you various basic and texture-based brushes every designer should own. 

How to Create Custom Photoshop Brushes

To build the ultimate toolkit, you’ll need amazing Photoshop brushes. They’re super easy to make, and you’ll be glad you made them in the long run.

Here is the method I’ll be using to create most of these brushes. Feel free to leave any questions for more clarification.

1. Basic Round Brush

I’ll try not to play favorites here, but after painting for nearly ten years, I generally stick with a basic round brush. Here’s the reason:

1 Round Brush = Many, Many Brushes

You see, the Round Brush stands alone. It’s the first brush you’ll get to know and the one you’ll never put down. But you also won’t want to! You can use it for photo editing, painting, calligraphy, and so many other cool projects.

Here are a few examples of the type of magic you can make with a round brush:

The standard Round Brush features 100% Hardness, which usually stumps people in the beginning. It can feel very reminiscent of Microsoft Paint (RIP), but it doesn’t have to.

Instead, take advantage of learning about Brush Opacity and pen pressure sensitivity. If you have a graphics tablet, you’ll be blown away by the amount of options and flexibility available.

I, for example, like to have at least one Photoshop Round Brush with 100% Hardness and no extra pressure settings. A blunt brush that reminds me to think about crisp details often.

Basic Round Brush
Simple brushes like this are made using the Create New Brush option.

But like many people, I like having choices.

So I’ll show you two examples of how to work with this brush with different settings. Bring up the Brush panel (F5). Now go to Shape Dynamics. Change the brush Control to Pen Pressure.

For sketches, comics, and general inking, use this brush.

Sketch Round Brush

For soft, atmospheric effects, and general blending, you can try this brush below. All you have to do is lower the Hardness to 0% and set the Transfer to Pen Pressure.

Don’t worry, you won’t have to remember these settings—I’ve included them as bonuses with our pack!

Bonus Soft Round Brush

Still having trouble with the basics? Here are a few more tips!

  • Vary the Brush Opacity often.
  • Use 50–100% Hardness to create crisp, clean details.
  • Use 0–50% Hardness for general blending and shading.
  • If you’re pressing too hard on the tablet, then the Opacity is too low.

2. Grunge Brushes

Despite all of the minimalism we see, grunge brushes are here to stay. Just like round brushes, they hold an important place in our essential brush kit.

So what can you use them for?

Just about anything. Grunge brushes are so varied in texture, style, and overall complexity that you can use them for a variety of projects. Check these out, for instance:

Grunge brushes are usually made from texture stocks. Some of the more common ones come from paper, stone, and glass images.

So for the next brush in our pack, I’ll create one using this paper image. Feel free to play with Adjustment Layers for more variation.

Grunge brush pack

Subtle textures are more flexible, so a simple grain like this is multipurpose for any creative need. You can also try out more images for incredible effects.

3. Drip and Splatter Brushes

Though still considered grunge, drip and splatter brushes are next up on the list for basic Photoshop essentials.

Horror, retro, and antique design are all amazing styles creatives love. And although these brushes seem mostly gruesome, drip and splatter textures are actually a natural part of weather and erosion.

Here are two completely different results using drip and splatter elements:

This splatter was created using the bristles of a paint brush to flick paint onto paper. If you need some ideas for how to use this brush, consider trying it out on an explosive effect. Or add more debris to a post-apocalyptic scene with just a few clicks.

Splatter Custom Brush

Learn how to create Gothic photo manipulations with blood and splatter. Give this fun tutorial a try:

4. Watercolor Brushes

Every designer should have a set of watercolor brushes. They add great texture to any design and are often multipurpose.

But what can you use watercolor brushes for?

Watercolor brushes are perfect for:

  • print design
  • text effects
  • photo manipulations
  • paintings

Here are a few tutorials to inspire your watercolor creations:

For this set, I’ve included several brushes for your projects. These brushes are made using very diluted paint and a soft bristled brush.

Watercolor Brushes

Want to create your own watercolor brushes? Check out this tutorial:

5. Smoke and Fire Brushes

Fire is so hard to replicate that many artists just give in with a stock. And there’s absolutely nothing wrong with mixing multiple mediums.

Using these brushes is also pretty simple. Anytime you need a bit of smoke or fire, just click once (or a few times) on the canvas.

Want to see these in action? Check out these tutorials:

Great for designers, matte painters, and photo manipulators, smoke and fire brushes create realistic, fiery details with fantastic atmosphere.

To create a Smoke Brush specifically, you’ll need a high-resolution image first. I’ll be using this smoke image from Envato Elements. Hold Control-I to Invert the image.

Then use the Rectangular Marquee Tool (M) and go to Edit > Define Brush Preset to create your new brush.

Custom Smoke Brush

It’s that simple! Gather dozens of smoke images to create your own smoke brush set!

6. Geometric Brushes

Going all the way back to the Egyptians, geometric design has always been a huge part of art and creativity. And you can explore elegant designs with various minimal shapes.

Get started with a photo effect for more experience with geometric elements. Try out this fun Photoshop tutorial to learn how:

When it comes to creating the actual brush, keep it simple sweetheart! Here I used Photoshop’s Shape Tool to create a multipurpose circular brush.

Circle brush

This brush can be used to create awesome tube designs or texture for clothing and metal. Keep the Brush Opacity between 70–100% to accentuate the pattern, or at low levels like 1–20% for a bit of grunge.

7. Art Brushes

Whenever you want to feel like Da Vinci, just open Adobe Photoshop. You too can feel like your favorite traditional artists, even with digital software.

Art brushes are used to create beautiful artistic effects. They simulate traditional art strokes and are used in collaboration with normal round brushes. Check out these tutorials for more painting inspiration:

The best way to create these brushes is to go back to the basics.

Use a simple brush along with acrylic paint to paint several brush strokes. Scan them into your computer or just take a quick picture with an iPhone.

Art Brushes

Here I’ve created two different brushes made from the same paint stroke. The first is the original paint texture, and the second mimics the actual art form. Experiment with both to find the style you like.

8. Star Brushes

Another popular trend highlights the spectacular outer space. Star brushes allow artists to paint dozens of tiny star dots in fewer steps.

Want to see them in effect? Master beautiful star and flare light effects with these tutorials:

Select the Brush Tool (B) and use a Hard Round Brush at 100% Opacity to create many small dots on your canvas. Then use the Polygonal Lasso Tool (L) to follow the same steps as before to create your custom brush.

Star Photoshop Brush

Add small clusters of stars to your landscape paintings for realistic night-time environments.

9. Realistic Hair Brushes

Google recently told me that our hair contains 100,000 hair follicles. 100,000!

Will you be painting them all by hand? I certainly won’t!

Use hair brushes to make the process easier! Yes, it’s true! You can paint dozens of hair strands with a single brush stroke. Learn how to paint realistic hair from these tutorials:

To create a Photoshop hair brush, the process is pretty simple. Use the Brush Tool (B) again, at full Hardness and Opacity.

Paint four black dots in a row. Capture these dots as a custom brush. Then enable Pen Pressure under the Shape Dynamics and Transfer settings for a fluid result.

Use this efficient hair brush to save valuable time!

Hair Brush

10. Nature Brushes

Build a forest without ever drawing a single tree. Nature brushes are essential for a fast painting workflow.

And the best types of brushes are usually in the form of a silhouette. These brushes can be used to paint background bushes, flowers, and more. Learn how to work with natural brushes with these tutorials:

For this brush, I used this 3D object from Envato Elements. After downloading the tree at the angle you prefer, pass it through the Threshold filter at a high level. Enjoy a clean silhouette effect that can help you overcome depth of field issues.

Nature Photoshop Brush

Nature brushes can also be made from high-quality stocks! Check out this video to create a custom leaf brush set:

Get the Essentials!

Conquer the Brush Tool one tutorial at a time. Experiment with different styles and textures by downloading brushes from your favorite artists.

Essential Photoshop Brush Pack

New to Photoshop? No problem!

Learn more about the Brush Tool to make the most out of these assets:

How to Create a Celebration Countdown Sticker Set in Adobe Illustrator

Post pobrano z: How to Create a Celebration Countdown Sticker Set in Adobe Illustrator

Final product image
What You’ll Be Creating

In today’s tutorial we’re going to learn how to create a set of messenger stickers to share on our chat apps. We will use basic Adobe Illustrator geometric
shapes and tools, grasping some quick, useful tips along the way.

I have roughly sketched out the concept that we will be creating: the numbers from 10 to 1 in various balloon forms and fireworks. If you’re looking to speed up your workflow or buy similar illustrations, you can always head over to GraphicRiver to buy graphics to decorate the pack.

Let’s start popping with our balloon countdown!

sketch concept celebration baloon countdown tutorial

Tutorial Assets

In order to complete this tutorial, you’ll need the following:

1. How to Set Up the New Project File

Step 1

Start up Adobe Illustrator.

Let’s set up
a New Document (File > New or Command-N)
using the following settings:

  • Name: Celebration_Countdown
  • Width: 512
    px
  • Height: 512
    px
  • Units:
    Pixels
  • Number
    of Artboards:
    11
  • Color Mode: RGB
  • Click Create
Create New Document Pixels RGB

2. How to Illustrate the Balloon Shapes & Numbers

Step 1

Begin by typing in the countdown numbers, 10 to 1.

Open the Character panel: Window > Type > Character (Command-T). Select the Type Tool from the Tools panel. Choose a bubble-like font; for example, I used SnigletSet
the stroke color to null, with black fill color. 

From the Character panel, set the font size to 215 pt, and type onto each Artboard the corresponding countdown number, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, and leave the last artboard empty.

Sniglet font Type countdown Number characters Type Tool

Step 2

Let’s begin drawing our balloon shapes.

First you need to transform all the type into objects. To do so, Select > All (Command-A), to select all the numbers. Next, Type > Create Outline, to turn the numbers into objects.

Select All Type Create Outlines

Step 3

From the Tools panel, select the Pen Tool (P), and set
the stroke color to black, with no fill color. Draw in all the balloon shapes freehand except the circular ones, for which you can use the Ellipse Tool (L).

Then from each artboard select the elements, expand them gradually to fit within the artboard space, and rotate them slightly to create a floating illusion.

Pen tool Ellipse Tool Draw Balloons

Step 4

Next, take the Selection Tool (V), select all the black filled numbers, and  Shift-X as a shortcut to swap fill with stroke color.

Then select the balloon shapes and Object > Path > Offset Path. Set Offset at -13px and Joins: Round, then OK.

Object > Ungroup (Command-Shift-G), to ungroup them from one another.

Path Object Offset path SWap Shift X

Step 5

Select the Pen Tool (P), from the Tools panel, keeping
the black stroke color, with no fill. Draw the inner balloon highlight and shadow areas.

Pen tool Draw highlights shadow Balloons

Step 6

We need to put in the balloon strings.

Start by opening the Brushes panel: Window > Brushes. Then from the panel menu: Open Brush Library > Show Calligraphic Brushes > Artistic > Artistic_Calligraphic library.

Choose the 10pt Calligraphic Brush, from the Artistic_Calligraphic library. Then select the Paintbrush Tool (B), with a black stroke, no fill, and draw the balloon strings for each balloon.

File > Save (Command-S).

Calligraphic Brush Paintbrush tool draw balloon strings

3. How to Color & Add Effects

Step 1

Let’s color!

First, give the following colors to the inner, outer and balloon knots:

  • Pink: Inner (#FA3D9E) : Outer (#FFA1D5) : Knot (#DD1482)
  • Blue: Inner (#2B8EF9) : Outer (#5FD2FF) : Knot (#0977DB)
  • Red: Inner (#F63536) : Outer (#FF9CBB) : Knot (#E01C1D)
  • Green: Inner (#71BA0B) : Outer (#ABED27) : Knot (#5F9B00)
  • Yellow: Inner (#FFDC0D) : Outer (#FFFB73) : Knot (#FFBC00)

Make sure to change the stacking arrangement of your objects as you move along.

To Arrange top or bottom in position: Object >
Arrange > Bring to Front
(Shift-Command-]) or Object > Arrange >
Send to Back
(Shift-Command-[).

To Arrange one step front or back: Object > Arrange > Send Backward (Command-[) or Forward
(Command‑]).
Object > Arrange > Bring Forward.

Give the fireworks red and yellow colors.

Color Fill and Arrange Objects Front Back Shortcuts

Step 2

Next, let’s add gradient color to the numbers.

Open the Gradient panel: Window > Gradient. Apply the following gradients:

  • Yellow: #FFDC0D to #FFBC00 set at -90° angle
  • Red: #F63536 to #E01C1D set at -90° angle
  • Green: #71BA0B to #5F9B00 set at -90° angle
Color Gradient panel 90 degree angle

Step 3

Next, let’s add some highlights.

Open the Transparency panel: Window > Transparency. Take the Selection Tool (V) and select all the balloon highlights. Remove the black stroke color, and select Fill (X).

Then from the Transparency panel, set Blending Mode to Screen. On the Gradient panel, choose a white fill for the left gradient slider, and set an Opacity of 80%, fixed at a -45° angle.

Afterwards, choose a white fill on the right gradient slider, and set its Opacity to 0%.

gradient opacity screen transparency panel highlight 45 angle

Step 4

Then move on to placing the shadow gradients.

Start with the shadow area of the pink: Take the Selection Tool (V) and select all the balloon shadow areas. Remove the black stroke color, and select Fill (X). Choose Blending Mode: Multiply, from the Transparency panel.

Then on the Gradient panel, choose a dark pink color fill on the left gradient slider, and set Opacity: 80%, at a 120° angle. On the right gradient slider, keep it white and set Opacity at 8%.

color gradient mulitply transparency opacity angle shadows

Repeat the same steps for the other shadows, except match the dark color gradient slider with the respective colors, so dark red slider with red, dark green on green balloons, etc.

color gradient mulitply transparency opacity angle shadows

Step 5

After, with the Selection Tool (V), select each balloon string and give it a stroke color of your choice. Make sure all are sent back: Object > Arrange >
Send to Back
(Shift-Command-[).

apply color stroke strings balloon

Step 6

Let’s add some shine.

From the Tools panel, under the Paintbrush Tool (B) dropdown, select the Blob Brush Tool (Shift-B). Select a white fill.

Then choose a Blob Brush Tool size by holding the left square bracket key ([) to decrease and the right square bracket (]) to enlarge the brush size, to draw some shine blobs on the balloons.

Paintbrush Tool Blob Brush Shift B Highlights

Step 7

Afterwards, add highlights to the numbers.

Use the Blob Brush Tool (Shift-B), but instead of a white fill use light color tones, and apply Screen: Blending Mode from the Transparency panel.

Blob Brush tool Transparency Screen Blending Mode Highlights

Step 8

Let’s draw some confetti!

Draw the confetti using the Paintbrush Tool (B). Use the 5pt Oval brush from the Artistic_Calligraphic library and use a 2-3pt Stroke Weight.

Try drawing confetti swirls with different colors and stroke weights.

Paint Brush Tool Artistic Calligraphic Brush Stroke

Step 9

Add more confetti using the Ellipse Tool (L), Star Tool and Rectangle Tool (M), and use different colors and shape sizes. Note: Don’t draw tiny elements.

Then Arrange to the front or back: Object >
Arrange > Bring to Front
(Shift-Command-]) or Object > Arrange >
Send to Back
(Shift-Command-[).

Looking colorful!

USe ellipse Star Rectangle tool Arrange Front Back Color

Step 10

Next, we need the numbers to pop out a bit.

Use the Selection Tool (V) to select the numbers inside the balloons: 10, 9, 7, 5, 4, 3, and 1. Duplicate the selection by Shift-Option-Dragging slightly lower.

Give the selection a yellowish gold color #CCB842. Then set the Blending mode to Multiply, from the Transparency panel.

You will need to Arrange one step back: Object > Arrange > Send Backward (Command-[.

Selection Duplicate Blending Mode Multiply Arrange Balloons

Step 11

Finally, use the Selection Tool (V) to Group (Command-G) each balloon with its respective parts, center it on the artboard, scale it, and modify anything you find misfitting.

File > Save (Command-S).

Group Selection Center Artboard Modify Balloons

4. How to Export & Share

Step 1

Once you’ve finalized the artwork, you need to Export your files.

File > Export > Export As, and select a location for the file. Make sure to choose a PNG format, and select Use Artboards to Export.

Set the PNG Options settings:

  • Resolution: Screen (72 ppi)
  • Background Color: Transparent
  • OK
PNG Options Export transparent background files

Step 2

Now that you have created your sticker set, it’s time to upload it.

Head over to Sticker Market, and Register yourself a Creators Account, and wait to get verified. This is a relatively quick process, compared to other sites. Once you are verified, fill in your details.

Follow the sticker upload GuidelinesUpload the set, fill in the description, price and tags, and Save.

StickerMarket Misschatz Creator Upload Set Celebration Stickers

Step 3

On the next page, select the type of Action and Emotion for each sticker. Fill in the details and Save for submission.

sticker market details tags sticker set save

Wait for approval, and your stickers will be ready for the public to purchase.

stickermarket celebration countdown sticker set sell

10, 9, 8, 7, 6, 5, 4, 3, 2, 1…..Congratulations!!!

Hope you had fun following this tutorial and you were able to learn some useful tips.

I would love to see what you create! Please feel free to share your sticker designs with us.

Count down, have fun, and share with your friends on chat messengers like WhatsApp, Viber, Line, iMessage and more on Android or iPhone!

Final Balloon Countdown Sticker Set Stickermarket