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How to Draw a Nose

Post pobrano z: How to Draw a Nose

Final product image
What You’ll Be Creating

Drawing something from a reference is one thing, but if you want to draw from memory/imagination, you must really understand the topic beforehand. In this tutorial I will tell you everything you need to know about a human nose: how its anatomy can be simplified to forms and lines, and how to draw it in every view and style without a reference.

1. The Anatomy of a Human Nose

The nose consists of three parts: bone, cartilage, and connective tissue. Its upper half is all made of bone, an integral part of the skull:

skull nose bone

The lower half is more complex and consists of:

  1. Alar cartilage (the ball of the nose)
  2. Lateral and septal cartilage
  3. The ala (the wings of the nose made of connective tissue)
  4. The nostrils (notice they’re made of two parts: the hole in the ball and in the wings)
  5. The philtrum (the groove connecting the nose with the lips)
anatomy of the nose

All these elements can be turned into a 3D form:

3d forms of the nose
nose planes

Once you understand what this form looks like, you can rotate it and reshape it to create a nose from imagination.

Photo credit: Laura Auffray
nose planes views

But it’s still not easy to remember! Let’s simplify it to something easier to draw:

  1. The ball of the nose can be drawn as a sphere.
  2. The wings can be drawn as two smaller spheres.
  3. The septum can be drawn as a small sphere below the ball, behind it, and between the nostrils.
  4. The bridge can be drawn in two parts, to symbolically separate the bone from the cartilage.
  5. The tip of the nose is the upper part of the ball. You don’t always need to draw it, but it should be accentuated with shading. A great place to put some shine on!
  6. The sides of the nose should blend with the rest of the face, but the shading should gently reveal their shape.
  7. The root can be drawn as a „bent fan”.
how to simplify nose

2. Nose Shapes

This was a general „recipe” for a nose. But noses vary a lot among people! For example, we can talk about a „masculine” and a „feminine” nose. Traditionally, males are drawn with big, wide, roughly chiseled noses, and females with small, smooth, gentle ones.

feminine masculine nose

However, this difference is mostly an artistic exaggeration (based on beauty standards and used to differentiate the „beautiful, feminine” characters from the „rough, masculine” ones) —both males and females can have various nose shapes that have nothing to do with their sex. It’s not unusual for a woman to have her father’s nose!

If you look at a nose in profile, there are lots of ways you can arrange the elements to create a nose. It can be pointing up or down, round or pointed, straight or humpy. There is not one perfect shape, „default” to all humans!

nose shapes side

Noses can also differ in front view. Both the ball and the nostrils can have various sizes and proportions. Also, the nostrils can appear wide or tiny. Because the shape of a nose is mainly genetic, various ethnicities can have their own characteristic shape. Experimenting with the nose shape will therefore help you create unique characters, with a story hidden in their faces (you can make certain characters look related, or show their affiliation to a clan or tribe).

nose shapes front

3. How to Draw a Nose in the Side View

Step 1

First, sketch the general shape of the nose as you imagine it. This will help you get an idea about the proportions of the elements you’ll need to draw later.

sketch nose shape in profile

Step 2

Draw the ball in the front according to the shape you want to achieve.

draw the ball

Step 3

Draw the circle for the wing. Adjust its size to your vision.

draw the nose wing

Step 4

Draw the tiny circle for the septum. It should be placed slightly below the ball, at the back.

draw seprum circle

Step 5

Draw the nostril. Remember the two parts of it!

draw the nose hole

Step 6

Outline the bottom of the nose all the way down to the philtrum. „Cut” the upper part of the nose to create the root, and divide the rest roughly into halves.

add more guide lines

Step 7

Outline the bridge and the tip.

nose bridge bottom
nose bridge top

Step 8

Draw the sides of the nose.

draw bottom side of nose
draw top side of nose

Step 9

Add the details.

draw details of nose

Step 10

Draw the final lines and shade it, if you want to.

outline the nose
shade the nose

4. How to Draw a Nose in the Front View

Step 1

Sketch the general shape, adjusting the length and width of your imagined nose.

sketch nose in front

Step 2

Add the ball at the bottom.

add ball below

Step 3

Sketch the circular wings.

draw two nose wings

Step 4

Add the small circle for the septum.

draw nose septum

Step 5

Outline the nostrils. Remember that they’re 3D—they bend towards the front.

draw notrsils symmetrically

Step 6

„Cut off” the upper part of the nose to define the root. Mark the border between the two halves of the nose, too.

add more guide lines

Step 7

Outline the bridge.

draw lower part of bridge
draw ipper part of bridge

Step 8

Outline the sides.

draw lower sides
draw upper sides

Step 9

Add the details.

draw nose detailes

Step 10

Finish the drawing.

finish nose in front
shade nose in front

5. How to Draw a Nose in Perspective

Although drawing in perspective is considered difficult, there’s actually one rule you need to remember here: rotation from side to front creates an intermediate state between them. So you need to draw all the elements as a transition between one state and the other.

Step 1

Sketch the general shape of the nose. It should be an intermediate shape between the side and the front, depending on the angle of rotation.

sketch nose in perspective

Step 2

Draw the ball. Notice it’s almost on the side, but not really.

draw ball on the side

Step 3

Draw the circular wings. In the side view, they would cover each other. In the front view, there would be a distance between them. Here we have a compromise between these two states.

draw both wings

Step 4

Add the septum. It still needs to be under the ball, behind it, and between the wings.

draw the septum

Step 5

Sketch the outline of the nostrils. Remember the 3D shape!

draw nostrils in perspective

Step 6

Draw a line along the nose, accentuating its 3D form. „Cut off” the top to create the root, and mark the middle of the bridge.

draw 3d form of nose

Step 7

Draw the bridge.

draw nose tip in perspective
draw nose bridge in perspective

Step 8

Draw the sides.

draw side of nose in perspective
draw whole nose in perspective

Step 9

Add the details.

draw details of nose

Step 10

Finish the nose.

draw nose in perspective
shade nose in perspective

6. Nose Styles

Drawing the nose in styles different than realism is pretty straightforward—you simply need to replace shading with lines. You can also ignore almost everything besides the ball, the wings, and the outline of the bridge. The simpler your style, the more elements you can safely ignore.

drawing nose various styles

In cartoon styles, you can exaggerate visible elements of the nose. If the nose is pointed, you can make it almost sharp, if it’s small, you can make it tiny, and so on. This will let you accentuate the difference between the characters and will make drawing them easier.

how to draw cartoon nose
Learn how to draw cartoon noses in Cartoon Fundamentals: How to Draw a Cartoon Face Correctly

In manga style, noses are almost non-existent, symbolic, which directly follows the simplification of other facial features (a detailed nose would bring attention to them being unrealistic). The simpler the variation of manga, the simpler the nose, with chibi being the extreme—no need to draw a nose at all!

how to draw manga nose

Conclusion

Now you know how to draw a nose in any view and style you need! Do you want to learn more about drawing human characters? You may be interested in these tutorials, then:

Or maybe you want to become better at drawing in general, but you don’t know exactly how? Check out these!

how to draw nose step by step

How to Create a Poster Using Layer Masks in Adobe Photoshop

Post pobrano z: How to Create a Poster Using Layer Masks in Adobe Photoshop

Final product image
What You’ll Be Creating

For this tutorial we will design an empowering poster using typography interwoven into flowers using the Layer Mask tool in Adobe Photoshop.

For poster and flyer inspiration, head on over to GraphicRiver.

What Will You Need

You will also need to download and install the following font file and image: 

Install the font on your system and you are ready to get started! 

1. How to Prepare the Flower Image

Step 1

Open the flower photo in Photoshop.

Open the image in photoshop

Step 2

We need to remove the background before using the flowers on the poster. To do this, on the Layers panel, Duplicate the Background layer by pressing Command-J and Hide the visibility of the original Background layer.

Duplicate the background image

Step 3

While selecting the new layer on the Layers panel, click on the Vector Mask button to add a Layer Mask to Background copy.

Add a layer mask to the new background layer

Step 4

While selecting the new Layer Mask, use the Brush Tool (B). Reset the foreground/background colours by pressing and X to switch between them. Use black as the foreground color and paint over the image to erase the background.

Use the brush tool to eliminate the flower background

Step 5

Once we have painted over with the Brush Tool, we can zoom in and work on the details. Tap the backslash key (\) to display a red overlay on the layer mask. This is useful to see if we are erasing the right parts on an image.

Use the backlash  key to see the red overlay and work on details

We should have something like this:

Flower image cleaned up and ready to use on our poster

2. How to Set Up a New Document and Create Guides

Step 1

In Photoshop, go to File > New. Name the document Woman Up and set the Width to 1275 px and Height to 1650 px. I am using this composition as an online pamphlet, so I will be using 72 dpi. Click OK to create the document. 

Create a new document

Step 2

Select the Background Layer and paint the layer using the Paint Bucket Tool (G) and black as the foreground colour.

Paint the page with black using the bucket tool

Step 3

Activate the rulers by pressing Command-R. I am using inches—you can change this by going to Photoshop > Preferences > Units and Rulers.

Activate rulers and change units if desired

Step 4

Click on the rulers and drag towards the page to create guidelines. I’ve set mine to 1 inch on each side. Hold Shift to drag the guideline to an even number.

Hold Shift to create even number guides

3. How to Duplicate Layers

Step 1

We will duplicate the cleaned-up flower layer into the new file. To do so, select the layer Right Click > Duplicate Layer, under As: change the name to Flowers, and select Document > Woman Up. Click OK to continue.

Duplicate flower layer

Step 2

The flowers will appear larger than we need, so let’s resize by pressing Command-T while selecting the flowers layer. Head over to the options bar, on the Reference Point Location select the top left corner, and also select the Maintain Aspect Ratio icon. Change the Width to 30% and press Enter.

Resize the flower layer on the new document

Step 3

Let’s centre the image on the poster by selecting the Background layer, pressing Shift, and clicking on the flowers layer. Head over to the options bar and click on Align Vertical Centre. Then visually align the flowers layer to the poster.

Optically centre flower layer on the new document

4. How to Add Text Layers

Step 1

Bring up the Characters panel by going to Window > Character. Press T to add a new text layer. One the first layer, add a date, and on the second layer, add Woman Up.

Bring up the Character Panel and add text

Step 2

Select the text layers by holding Command and clicking on both. Let’s rotate these two layers vertically by pressing Command-T, head over to one of the corners until the rotation symbol appears, and hold down Shift to make an even rotation.  

Select both text layers and hold Shift to rotate evenly

Step 3

We want to fill up the whole poster to create something with impact. Bring up the guides by pressing Command-;. Resize both text layers by pressing Command-T to fill the poster, vertically, from guide to guide. The goal is to have the title and date interact with the flower.

Use guides to resize the text layers

Step 4

Let’s add a website to balance the poster. I used Open Sans, at 25 pt, white in colour, and placed it in the top right corner, leaving about an inch margin. I used something different because Playfair Display is used, as its name suggests, for display settings and doesn’t read well in small sizes.

Add a website to create balance on the poster

5. How to Add Mask Layers

Step 1

We want to create an illusion that the text is interwoven with the flowers. Let’s duplicate the flower layer by pressing Command-J and place it at the very top of our Layers panel.

Duplicate the flower layer and move to the top of the layers panel

Step 2

We want to work on the new flower layer and more specifically on the layer mask. Start by setting the Brush Tool (B) followed by Right-Click to a size of 30 px and Hardness of 100%

You can interchange between black and white colours to hide or reveal parts of the image. Pressing X will interchange between these two colours, making it easier to work on the details.

We also want to pay attention to the petals that are in the foreground and background for these to make sense in terms of what is covering the text and what is behind the text. The final file and layers should be looking like the image below:

On the layer mask of the new flower layer use the brush tool to reveal parts of the flower

Step 3

Do the same with the date on the very left.

Do the same as the above with the date text layer

6. How to Add Effects to a Text Layer

Step 1

To create a depth of field, we will add a Drop Shadow layer style to the main text. Select the Woman Up text layer on the Layers panel. Click on Effects > Drop Shadow.

Add a drop shadow effect to the Woman Up text layer

Step 2

A Layer Style window will pop up, and you will notice that on our poster, the text will have a shadow. We want a softer look, so let’s change to the values in the image below and click OK.

The Layer Style window will open up Tweak the settings to create a soft shadow

Step 3

Our text layer now will have an “fx” symbol next to it. We want to copy the drop shadow effect onto the date text layer. Select the Woman Up text layer and Right click > Copy Layer Style. On the date text layer, Right click > Paste Layer Style. The layers and the image should be looking like the image below:

Copy and paste the effects onto the date layer

7. How to Add Adjustment Layers

Step 1

At the bottom of the Layers panel, click on Add Adjustment Layer > Brightness/Contrast.

Add a new Adjustment Layer on top of all the layers

Step 2

The Properties panel for this new layer will open. We want to add more contrast and some brightness to the image to make it stand out. I added the following values; Brightness: +15 and Contrast: +20.

Tweak the brightness and contrast to make the poster stand out

8. How to Save the Poster as .PSD and for Web

Step 1

Click File > Save As to save the file as a .PSD to edit it later. 

Save the poster as a PSD file

Step 2

For a lower-resolution web jpeg and smaller file size, click File > Save for web (Shift-Option-Command-S). Here you can alter the quality of the image and the image size. Click on Save … and save the file.

Save the poster for web for a lower file size and lower resolution poster

Congratulations on Finishing This Tutorial!

We have covered an interesting skill for putting together typography poster that interacts with an image. Today we’ve learned to:

  • Use Layer Masks to hide and reveal parts of an image.
  • Use Adjustment Layers to add Brightness/Contrast to an image.
  • Format typography and use it in different directions to interact with the image.
  • Use the image’s levels of focus to our advantage to create a poster with depth.
  • Use Effects layers to add drop shadows to a text layer to create depth of field.
End result

How to Warp Text in Adobe Illustrator

Post pobrano z: How to Warp Text in Adobe Illustrator

Final product image
What You’ll Be Creating

Want to warp some text? In this video from my course, 10 Essential Design Tips in Adobe Illustrator, you’ll learn all the ins and outs of distorting and warping text in Adobe Illustrator.

How to Warp Text in Adobe Illustrator

 

Prepare the Text for Warping

So we’re going to learn how to warp stuff. Let’s grab our Type Tool, left click anywhere on the artboard, and type some text. Let’s type „WARPED”. And we can go to the Character panel at the top, and we can pick a font—let’s go for Gotham Bold

Then I’m going to go to the alignment options and select Align Center so that it’s in the middle. Now let’s create a couple of copies by holding Alt-Shift and dragging. So your screen should look like this:

Plain text ready for warping

Create a Bulge Effect

We’ll select the first piece of text, and go to Object > Envelope Distort > Make with Warp. We’ve got the Preview option checked, and we can choose the Style as well. There are lots of presets to choose from, so let’s go for Bulge, and see how that looks. 

Bulge effect

So at the moment, we are bulging this text horizontally, and we can adjust that Bend slider. So, of course, we can go up a few percent and you’ll see it starts to bulge outwards. Or we can go ever so slightly into the negatives and it will go inwards.

You could also bulge this vertically, so it’ll behave slightly differently. It really does depend what you’re going for.

Vertical bulge

Add Distortion

We could also distort this both horizontally and vertically, using the slider. So you could make one side appear larger by dragging the Horizontal Distortion slider to -100

Horizontal distortion

But let’s go for something more subtle. Choose the following values:

  • Horizontal Bend: -2%
  • Horizontal Distortion: -54%
  • Vertical Distortion: 25%

Then click OK, you can see that we’ve warped the text.

Bulge effect final

And if we click on it, we still have all of these options along the top, where you can change the preset and other values. 

Adjust the Bulge Effect

Now, at the moment, if I press Command-Y to go into outline mode, you can see that it’s still got a box and lines around it, and I can’t change the fill color or anything. 

Unexpanded text

So what I recommend is once you’ve done your warp, and you’re happy with your text, go to Object > Expand. Leave Object and Fill selected, click OK, and then we can switch into outline mode again, and you’ll be able to see your text. 

Expanded text

Now remember, when you expand anything in Illustrator, essentially what you see becomes the paths of the shape. So this is now made up of lots of different anchor points, and we can go in and adjust these if we want to fine tune that warp. 

Adjusting anchor points of warp text

But also, when we select it, it now has a fill color, and we can easily change it if we want to.

Create an Arc Effect

So let’s go and warp something else. 

Click on the second piece of text and, as before, go to Object > Envelope Distort > Make with Warp. This time, for the Style, let’s choose Arc. So we’ll set the Distortion back to 0, and then we can bend this up or down, and of course, you can adjust the Bend to Vertical as well. 

Let’s try these settings:

  • Vertical Bend: -72%
  • Horizontal Distortion: -100%
  • Vertical Distortion: 0%

And it should look like this:  

Arc effect

Adjust the Arc Effect

Once you’re happy with your warp, and you’d like to start adding color to it, or possibly getting creative and adding some strokes or brushes, you can go to Object > Expand. Leave Object and Fill selected, click OK, and now we can get creative with this. 

Let’s add some brushes. We’ll start by swapping the fill and the stroke, so we now have an outline. And from the Brushes panel, let’s choose a pencil brush with an orange color. 

Arc with orange pencil brush

So those are a few ways to warp text in Illustrator, and now I’ll leave you to go and have a lot of fun experimenting with them.

Final results of warped text in lllustrator

Watch the Full Course

In the full course, 10 Essential Design Tips in Adobe Illustrator, you’ll learn about ten essential design tips to help you bring your creative ideas to life in Adobe Illustrator. You’ll master a variety of different techniques, helping you to boost your creativity and transfer your ideas to a digital canvas.

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 490,000+ creative assets. Create with unique fonts, photos, graphics and templates, and deliver better projects faster.

How to Create a 3D Floral Collage in Adobe Photoshop & Lightroom

Post pobrano z: How to Create a 3D Floral Collage in Adobe Photoshop & Lightroom

Final product image
What You’ll Be Creating

In this tutorial I’ll show you how to use Adobe Photoshop to create a colorful 3D floral collage featuring a beautiful woman.

First, we’ll isolate the model from the background. After that, we’ll add our background. Then we will cut out the model to create a 3D effect. Later, we will add the flowers and crystals. Next, we will import the waves, the jewelry, and the crow on the model. Then, we will the tribal marks and geometrical shapes to keep the collage balanced. Finally, we will adjust the contrast, vibration, and saturation using Adobe Lightroom. Let’s get started!

Tutorial Assets

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

1. How to Isolate the Model and Prepare the Base Background

Step 1

Create a new 2160 by 1440 px document in Photoshop with the given settings:

Setting up the canvas

Step 2

Open the model image. Cut out the image using the Pen Tool (P). Find a spot on the main image to start drawing the outline. As we’re drawing, we want to zoom in closer to the subject. Press Control-(+) or Control-(–) to zoom in and out.

Outlining the model to remove background
End result of outline

Step 3

Now that we have drawn the outline, we want to soften the edges of the hair before removing the background. Right-click, Make Selection, and then select the Marquee Tool (M). Once the option bar pops up, choose Select Inverse and click on Select and Mask. This will open the Select and Mask Workspace.

Select and masking the picture

Step 4

Then, activate the Refine Edge Brush Tool (R). Brush over any detailed hair areas that are missing from your selection with this tool (we can change the brush size and hardness from the brush drop-down in the top left). This will select the detailed hair areas and remove the contrasting background. When you are done, click OK.

Refining the edges of thair

Step 5

Now we want to remove the background. Select the Marquee Tool (M)Right-click and Select Inverse. Then hit Delete.

2. How to Bring the Image Into the Main Canvas

Drag the image into the main canvas using the Move Tool (V).Then, resize by pressing Control-T. This will bring up the transformation tools you want. We do not want the image to deform or stretch, so press Shift while resizing. Then press Enter.

Bringing the main image into the canvas

3. How to Create a Colorful Background

Step 1

Press Control-Shift-N to make a new layer. Name the layer “Background”. Set this layer under the model’s one.

Step 2

Activate the Rectangle Tool (U) fill it with the blue color #1caeb3 and drag the rectangle over the whole background.

Adding the background

4. How to Create the 3D Cuts on the Model

Step 1

We want to cut out the model’s top head and a little bit of the forehead. Activate the Pen Tool (P), and then outline the top part as shown below. 

Outlining the forehead

Step 2

After drawing the outline, Right-click and select Make Selection. Make sure the model’s layer is selected. Then press Delete on the keyboard.

Selecting the outlined part
Removing the outlined part

Step 3

Next, we want to cut out the bottom part of the model. Activate the Pen Tool (P), and then outline the bottom part, following the body shape as shown below.

Outlining the bottom part

Step 4

After drawing the outline, Right-click and select Make Selection. Make sure the model’s layer is selected, and then press Delete on the keyboard.

Removing the bottom part

Step 5

Now we want to create the 3D effect. Activate the circle Ellipse Tool (U), fill it with black #000000, and then draw a circle on top of the model’s head and place the layer under the model’s layer. Next, name the layer head ellipse.

Creating the 3D effect on top of the head

Step 6

Next, we want to do the same for the bottom part. Activate the Ellipse Tool (U), fill it with black #000000, and then draw a circle on the bottom part and place the layer under the model’s layer. Next, name the layer body ellipse.

Creating the 3D effect on the bottom part
Bringing the ellipse layer under the models layer

5. How to Add the Flowers and Crystals

Step 1

Drag the flower onto the main canvas. Then, Press Control-T to resize the image. We do not want the image to deform or stretch, so press Shift while resizing, and then press Enter. Use the Move Tool (V) to center the image. Next, place the flower’s layer under the model’s layer.

Adding flower in the models head

Step 2

Now, press Control-J to duplicate the flower. Activate the Move Tool (V) to bring the flower onto the bottom part.

Step 3

Then, we want to make the flower slightly bigger. Press Control-T to resize the image, holding Shift while resizing. Right-click and select Flip Horizontal, and then press Enter. Use the Move Tool (V) to center the image. Then, place the flower’s layer under the model’s layer. 

Next, we want to change the flower’s hue.

Adding flowers on the bottom part

Step 4

Now we want to change the flower’s hue. Select both layers, Right-click, and Merge Layers. Then, Press Control-U to bring out the Hue/saturation adjustment layer. Then change the Hue to -61 and the Saturation to +31.

Step 5

Now we want to add the crystals. Drag the crystal onto the main canvas. Then, press Control-T to resize the image, holding Shift while resizing, and then press Enter. Use the Move Tool (V) to place the crystals on the right.

Step 6

Now, we want to add another small crystal in the head. Press Control-J to duplicate the crystal and press Control-T to resize the image, holding Shift while resizing. Use the Move Tool (V) to place the duplicated crystal as shown below. 

End result of hue changed and crytals added

6. How to Add the Waves, the Jewelry, and the Crow

Step 1

Import the waves onto the main canvas. Place the layer above the model’s layer, and then press Alt and click on the adjustment layer to place the image on the model only.

Adding the waves

Step 2

Open the mirror picture in Photoshop. Use the Pen Tool (P) to cut the crown and remove the background. Drag the jewelry into the main file on top of the model’s neck. Press Control-T, holding Shift while resizing the image.

Cutting out the mirrors crown
Isolating the outlined part from the background

Step 3

Drag the crow image into the main file. Resize the image. Press Control-T, holding the Shift key while resizing. Use the Move Tool (V) and bring the crow onto the model’s left shoulder.

Isolating the crow from the background
End result after adding the crow and jewelry

7. How to Make the Model Black and White and Add the Circle and Tribal Marks

Step 1

Now we want to turn the model black and white. Select the Model layer in the Layers panel and turn it to black and white. Click on Image > Adjustments > Black and white, and then click OK or Alt-Shift-Control-B.

Switching the model in black and white

Step 2

Now that we’ve turned the model black and white, we want to add a colorful circle behind to make her pop. Activate the Ellipse Tool (U), make the fill color of the circle sky blue (#00fcff), and place the layer right above the background layer.

Adding the circle behind the model

Step 3

Now we want to add some tribal marks. Use the Ellipse Tool (U), make sure the fill color is white, draw a circle, and use the Move Tool (V) to place it on the model’s forehead. Then press Control-J to duplicate the circle and use the Move Tool (V) to place the duplicated circle on the chin.

Adding tribal marks

Step 4

We want to add the remaining marks on the model’s chest. Use the Ellipse Tool (U), make sure the fill color is white, draw a small circle, and duplicate the layer four times by pressing Control-J. Select all four layers, Right-click, and Merge Layers. Then duplicate the merged layers three times and use the Move Tool (V) to place them as shown below.

Adding more tribal marks

8. How to Add Lines, More Flowers, and Additional Elements

Step 1

Activate the Rectangle Tool (U). Fill it in sky blue (#00fcff) and drag a thin rectangle on top of the model. Then, press Control-J to duplicate the rectangle three times. Place one rectangle under the model’s layer and use the Move Tool (V) to place it under the shoulder. Now we want to make this line thicker. Press Control-T and drag the rectangle vertically to make it thicker.

Step 2

Next, we want to add two circles at the end of the thin lines to balance it. Activate the Ellipse Tool (U), fill it in sky blue (#00fcff) and draw a small circle on the left side, on top of the rectangles. Then, press Control-J to duplicate the circle and use the Move Tool (V) to place the duplicated circle on the right side as shown below.

Step 3

Now that we’ve added the lines, we want to add more flowers. Select the flowers layer and press Control-J to duplicate it. Then activate the Move Tool (V) to slightly move it to the right side as shown below.

Adding the lines and more flowers

Step 4

Now we want to add a colorful line on the model’s hair to make it pop more. Activate the Rectangle Tool (U), fill the color in purple (#ff00d2) and draw a thin, medium rectangle. Then press Control-T to rotate the rectangle. Then, use the Move Tool (V) to place it on the right edge as shown below.

Adding a line on the right edge to make the hair stand out

9. How to Do the Final Retouching in Adobe Lightroom

Step 1

Now we want to make the entire image pop out more. Export the photo as a JPEG from Photoshop. Import the picture in Lightroom. Then click develop. Boost the Temperature to +5, Clarity to +33, Vibrance to +14, and Saturation to +7.

Adjusting the contrast exposure clarity and vibrance

Step 2

We want to play more with the hue and saturation. Go to the hue palette. Bring the Purple hue to +100 and the Magenta hue to +100. Then click on the Saturation panel. Set the Red hue to -9, the Orange hue to +24, the Aqua hue to +100, the Blue hue to +2, and the Purple and Magenta hue to +100.

Adjusting the hue and saturation

10. How to Export the Final Artwork From Adobe Lightroom

Now that we are finished, we want to export our artwork as a JPEG. Click File, and then Export. Select in which folder we want to save our image. Then click Export.

Before and After

Awesome Work, You’re Done!

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

End result

How to Draw a Star (Multiple Points!)

Post pobrano z: How to Draw a Star (Multiple Points!)

Final product image
What You’ll Be Creating

Drawing a star may seem simple and overwhelming at the same time. For example, how to construct a five- or a seven-pointed star and make your drawing technically correct? If this theme is something you’re interested in, let’s dive into the fascinating world of stars and geometry.

In this tutorial, I’ll show you the way to design different kinds of stars, from a three-pointed to an eight-pointed one. We’ll use ordinary tools like a ruler, a graphite pencil, compasses, and a protractor.

As a fun bonus, we’ll also explore a way to draw a five-pointed star in a casual way, without any serious measurements.

I recommend following this tutorial from start to finish; every part demonstrates the common basic features, but an understanding of the simpler examples will help you to master more complex methods.

If you’re interested in this type of tutorial, we have a whole series of Geometric Drawing tutorials which you may also enjoy.

What You Will Need

You will need the following equipment to complete this project:

  • a graphite pencil (I recommend using an HB or H type, and please make sure it’s sharp)
  • a pair of compasses
  • a protractor
  • a ruler
  • an eraser
  • an ink pen (an optional tool)
  • drawing paper
The art supplies for this project

1. How to Draw a Three-Pointed Star

Step 1

I mark the central point with a graphite pencil, and then draw a small circle of an arbitrary radius, using the compass. It’s important to leave enough space around this circle.

Keep your pencil marks light, just in case you decide to erase the subsidiary lines later on.

Drawing the small circle

Step 2

I draw a bigger circle, using the central point as a reference.

Adding the bigger circle

Step 3

I draw a straight line that is going upwards from the center of the circumference. If you need perfectly even lines, make sure you use a ruler. 

Adding the vertical line

Step 4

A circle has 360 degrees. To draw a three-pointed star, we should create three equal sectors; 360 divided by 3 is 120.

With a protractor, I construct a sector that has an angle of 120°. The central point and the vertical line are our references for the measurements.

Creating a sector inside the circle

Step 5

I create another sector of the circle with the angle of 120°. Now we have three lines; the points where they meet the bigger circumference are the apexes of our star.

Creating another sector

Step 6

It’s time to divide each sector in two. With the protractor, I find the angles of 60° and mark the segments with dashed lines. 

I also mark the points of intersection where these lines cross the small circle.

Dividing the sectors in half

Step 7

I connect the points with the apexes. Now we have a beautiful three-pointed star!

Connecting the points

Step 8

I outline the contours of the star, using an ink pen. 

This step isn’t obligatory; it’s just useful to emphasize the main lines of the figure. You can erase all subsidiary pencil lines or leave them—it’s completely up to you.

The three-pointed star outlined with black ink

2. How to Draw a Four-Pointed Star

Step 1

I draw a small circle of an arbitrary radius, using a pencil and a compass.

Drawing the small circle

Step 2

I add a bigger circle that is encircling the existing one.

Drawing the bigger circle

Step 3

I add a straight vertical line going from the center of the circle.

Drawing the vertical line

Step 4

With the protractor, I find a 90° angle and create the first sector.

Creating the first sector

I add two more lines, based on the same method; now we have four sectors, each with an angle of 90°. The points where the lines cross the bigger circumference are the apexes of our star.

All sectors are in place

Step 5

Let’s divide each sector in half. To do that, I find the angle of 45° within each sector and mark the new segments with dashed lines.

I also mark the points of intersection, where these lines cross the small circle.

Dividing each sector in half

Step 6

I connect the points with the apexes, using straight lines. The four-pointed star is complete!

The shape of the star is complete

Step 7

I outline the contours of the star, using the ink pen.

The star is complete

3. How to Draw a Five-Pointed Star

Step 1

I mark the central point with a pencil, and then draw a relatively big circle of an arbitrary radius, using the compass.

Drawing the circumference

Step 2

I add a vertical line that is going from the central point of the circle.

Adding the straight line

Step 3

Let’s find the first sector with a protractor; its angle should be 72°.

Finding the first sector

Using the same principle, I add more lines. Now we have five sectors; the points where the lines cross the circumference will be the apexes of our star.

I also name these points with letters, just to simplify the process and make it visually clear.

All sectors are in place

Step 4

I connect the points A and B with a straight line.

Connecting the points

Step 5

I connect the points A and C with a line.

Joining the points with a line

Step 6

In the same manner, I join the point B and the point D.

Connecting the points

Step 7

I connect the point E with the points D and C. The shape is complete!

Completing the shape

Step 8

With an ink pen, I outline the contours of the star, and then erase the unnecessary captions.

Outlining the contoursa of the star

4. How to Draw a Six-Pointed Star

Step 1

I mark the central point and draw a relatively big circle of an arbitrary radius, using the compass.

Drawing the circumference

Step 2

I add a straight vertical line from the center of the circle.

Drawing a vertical line

Step 3

To draw a six-pointed star, we need to create six equal sectors, each with an angle of 60°.

I create the first sector, using the protractor.

Drawing the first sector

I add the sectors, using the same principle, and name the points of intersection with letters.

All sectors are in place

Step 4

I connect the points A and B.

Connecting the points

Step 5

Now I connect the points B and C.

Connecting another pair of points

Step 6

I connect another pair of points, this time A and C. Now we have a triangle.

Joining the points

Step 7

I connect the points D and E with a straight line.

Connecting the points

Step 8

I join the points E and F.

Joining the points

Step 9

I connect the points D and F; now we have another triangle, and the shape of the hexagram is complete.

The basic shape is complete

Step 10

I outline the contours of the star with black ink pen lines.

The shape of the star outlined with ink pen

Step 11

By the way, there is another method of drawing a six-pointed star, this time without a protractor. Let’s try this option!

I draw a circumference of an arbitrary radius, using the compass.

Drawing the circle

Step 12

I add the lines (a vertical and a horizontal one) that are going right through the central point of the circle. Let’s agree that the upper point of intersection is the point A.

Drawing the lines

Step 13

Put the needle point of your compass right into the point A, and measure the distance between this point and the center of the circle.

Then, without removing the needle point, measure the same distance on the circumference. You’ll get the point C on the right side and the point B on the left side. 

Repeat this action several times, shifting the needle point of the compass, and name the points you get with letters.

Measuring the distance and finding the points

Step 14

I connect the points A and D, A and E, and D and E with straight lines. Now we have the first triangle.

Connecting the points

Step 15

I connect the points B and C, C and F, and F and B with straight lines. We get the second triangle, and the star is complete!

Another six-pointed star is complete

5. How to Draw a Seven-Pointed Star

Step 1

I draw a circumference of an arbitrary radius, using the compass.

Drawing the circle

Step 2

I draw a straight vertical line that is going downwards from the central point of the circle.

Adding the vertical line

Step 3

When 360 is divided by 7, we get a fractional number, so we have to pick the closest value (51°). I create a set of sectors that have angles of 51°, using the vertical line as a reference.

I also name the points of intersection with letters.

Creating sectors

Step 4

I connect the point A with the points B and C.

Connecting the points

Step 5

I join the points B and D.

Joining another pair of points

Step 6

I connect the points D and E.

Connecting the points

Step 7

I join the points E and F.

Connecting the points

Step 8

I connect the points F and G.

Joining the points

Step 9

I connect the points G and C. The shape is complete!

Completing the shape of the star

Step 10

I outline the contours of the heptagram, using the ink pen.

The seven-pointed star is complete

6. How to Draw an Eight-Pointed Star

Step 1

I draw a circumference of an arbitrary radius, using the compass.

Drawing the circle

Step 2

I add a straight vertical line that is going upwards from the center of the circle.

Drawing the vertical line

Step 3

360 divided by 8 is 45, so we have to construct the sectors that have angles of 45° each. I create the first sector, using the existing vertical line as a reference.

Creating the first 45 degrees sector

I complete the set of sectors and name the points of intersection.

All sectors are in place

Step 4

I connect the points A and D with a straight line.

Connecting the first pair of points

Step 5

I connect the points D and G.

Connecting the points

Step 6

I join the points G and B.

Connecting the points

Step 7

I connect the points B and E.

Joining the points

Step 8

I connect the points E and H. Do you foresee where the next line will be?

Joining the points

Step 9

I join the points H and C.

Connecting the points

Step 10

I connect the points C and F.

Joining the points

Step 11

I connect the points F and A. The octagram is complete!

The basic shape is complete

Step 12

I outline the contours of the star with ink lines. 

The star is complete

7. How to Draw a Five-Pointed Star in a Casual Way

Step 1

Are you tired of making calculations and measuring everything? The serious part is over, so let’s relax and draw a pentagram in a casual way.

I draw a straight inclined line, using a pencil and a ruler. You can use a ruler, too, or draw the lines just by hand.

Drawing the first line

Step 2

I draw another inclined line, starting from the top point of the existing one. Now we have a contour resembling an upturned “v” letter.

Adding another line

Step 3

I add another line going to the left-hand side.

Adding the third line

Step 4

I add a straight horizontal line.

Adding a horizontal line

Step 5

I complete the shape of the star, connecting the points with a finishing line.

By the way, it’s possible to draw a star following the same method, by marking all five points beforehand and then connecting them with lines.

The star is complete

Your Drawings Are Complete

Congratulations—you did it! Now you can draw different kinds of stars. I hope the compass and protractor became your best friends, and together you’ll create many more geometrical objects.

Creating technically perfect figures requires skill and patience, so if your stars came out slightly uneven at the first attempt, don’t give up—just try again. Sometimes the tools we use allow imperfections, like the inaccuracy of the protractor’s grid.

At the same time, remember to have fun and enjoy the process! 

The result of our work

How to Create an African Celebratory Pattern in Adobe Illustrator

Post pobrano z: How to Create an African Celebratory Pattern in Adobe Illustrator

Final product image
What You’ll Be Creating

In this tutorial, I will teach you how to create an African celebratory pattern in Adobe Illustrator. To bring this pattern to life, we’ll create different elements that represent African culture such as sacred African symbols, shapes, and silhouettes, and then we’ll combine all the elements to create a seamless pattern. Excited? Let’s get started then!

1. How to Set Up the Canvas

Create a new 600 px by 600 px document in Illustrator with the given settings:

Setting up the canvas

2. How to Create the Triangles

Step 1

We’ll start by forming the first element of our pattern: triangles. First, select the Polygon Tool, and then click once on the canvas and change the radius to 50 px and the Sides to 3.

Step 2

Next, change the fill color to teal #14aaa3.

Changing the color of the triangle

Step 3

Now that we have changed the color of the first triangle, we want to duplicate the triangle and rotate it. Activate the Selection Tool (V), and then select the shape and hold down Alt on the keyboard, and drag the shape while pressing Shift. Next, press Control-D seven times to create more triangles.

Duplicating the triangle once
Duplicating the triangle multiple times

Step 4

Now that we have our triangles, we want to group them and change the rotation. Activate the Selection Tool (V), select all the triangles, and press Control-G to group them. Next, select the grouped elements, Right-click, select Transform, and then Rotate. Change the angle to 180.

Changing the rotation

Step 5

Now, we want to center the shapesSelect the elements, and then press Shift-F7 to bring out the Align panel and click on Horizontal Align Center. Make sure to select Align to Artboard in the Align adjustment panel.

Aligning the shapes

Step 6

Next, we want to add another layer of triangles on top. Activate the Selection Tool (V), and then select the triangles, hold down Alt, and drag the shape slightly on top while pressing Shift. Fill it in yellow #edb71e.

Adding more triangles

3. How to Create the Circles and the African Symbol

Step 1

Create a new layer and name it medium circles. Then, activate the Ellipse Tool (L), fill it with red #e22227, and click on the canvas. Change the Width and Height to 20 px

Setting up the size of the circle

Step 2

Next, place the circle between the first two triangles. Activate the Selection Tool (V), select the circle, hold down Alt, and drag the shape down while pressing Shift as shown below.

Step 3

Now, we want to duplicate the circles between each triangle. Activate the Selection Tool (V), select the circles, and press Control-G to group them. Then, hold down Alt and drag the shapes into the spaces while pressing Shift as shown below.

Duplicating more circles to fill the space

Step 4

Before creating the African love symbol, we want to separate each part with thin rectangles. Activate the Rectangle Tool (M), fill it in red #e22227, and then click on the canvas and change the Width to 600 px and Height to 5.3333 px as shown below.

Changing the settings of the rectangles

Step 5

Next, activate the Selection Tool (V) and place the shape under the triangles. Then duplicate the shape by pressing Alt on the keyboard, and drag the shape as shown below.

Duplicating the rectangle

Step 6

Now we want to create the African love symbol. Create a new layer and name it Love symbol. Then, activate the Pen Tool (P) and start by drawing half of the shape as shown below.

Drawing the love symbol

Step 7

Then duplicate the shape by pressing Alt on the keyboard, and drag the shape as shown below.

Step 8

Now, we want to reflect the shape. Select the duplicated shape, Right-Click, and select Transform > Reflect.

Transforming and reflecting
End result

Step 9

Now that we have reflected the shape, we want to finish the symbol. Activate the Pen Tool (P), click on the bottom right anchor point, and draw the shape as shown below.

Drawing the right wing

Step 10

Next, select the Pen Tool (P), and click on the top left anchor point to finish the left wing as shown below. 

Finishing the left wing

Step 11

Now that we have finished drawing the symbol, we want to change the color. Fill it in a light yellow #fcde62. Next, activate the Selection Tool (V) and make the shape smaller, pressing Shift while resizing. Then, select the symbol and place it as shown below. 

Next, we want to duplicate the shape. Select the symbol and hold down Alt on the keyboard, and drag the shape while pressing Shift. Next, press Control-D until the space is filled.

Changing the color and duplicating the symbol

4. How to Create the Woman Silhouette

Step 1

Create a new layer and name it woman. Then, activate the Ellipse Tool (L) and fill it in cream #f4eabc, and click on the canvas. Change the Width and Height to 15 px

Drawing the silhouettes head

Step 2

Then, select the Pen Tool (P) and start drawing the body as shown below. Start from the circle to the left arm and keep moving. 

End result of shape

Step 3

Now that we have finished drawing the silhouette, activate the Selection Tool (V) and place the shape under the rectangle shape. Next, we want to duplicate the shape. Select the silhouette, hold down Alt on the keyboard, and drag the shape while pressing Shift. 

Duplicating the silhouette

Step 4

Next, we want to fill the space with more silhouettes. Press Control-D until the space is filled as shown below.

Filling the space with more silhouette

5. How to Create the Man Silhouette

Step 1

Before drawing the man silhouette, we want to break the designs with more lines and circles in between. First, drag one of the previous red rectangles, hold down Alt on the keyboard, and drag the shape while pressing Shift. Duplicate the shape twice, as shown below.

Adding more lines to break down the design

Step 2

Next, we want to fill the space between the two lines with small circles. Activate the Ellipse Tool (L), fill it in yellow #ecb71e, and click on the canvas. Change the Width and Height to 9 px

Settings for the circle

Step 3

Now, use the Selection Tool (V) to place the circle between the two shapes, and duplicate the circle once. Press Alt on the keyboard and drag the shape while pressing Shift. Duplicate the circle as shown below.

Duplicating the circle

Step 4

Next, we want to fill the space with more circles. Press Control-D until the space is filled as shown below.

Filling the space with more circles

Step 5

Now that we have broken down our pattern a little bit, we want to draw the man silhouette. Activate the Pen Tool (P) and draw the silhouette as shown below.

Drawing the man silhouette

Step 6

Next, we want to draw another shape between the arms and the trumpet. Activate the Pen Tool (P) and draw the shape as shown below.

Finshing the drawing

Step 7

Now that we’ve finished drawing the silhouette, we want to change the color and duplicate the silhouette to fill the space. Select the silhouette and fill it in cream #f4eabc. Then, select the shape between the arms and fill it in green #10755b. Next, select both shapes and press Control-G to group them. Then, press Alt on the keyboard, drag the shape while pressing Shift, and press Control-D until the space is filled as shown below.

Filling the space with the man silhouette

6. How to Create the Waves, Triangles, and Background

Step 1

First, we want to break down the pattern a little bit. Activate the Rectangle Tool (M), fill it with cream #f4eabc, and draw a thin rectangle under the silhouette as shown below.

Step 2

Now, we want to draw the waves. Choose the Pen Tool (P), fill it with blue #17aaa3, and then place each wave between the silhouettes as shown below.

Adding the waves

Step 3

Next, we want to duplicate the triangles and circles from the top to the bottom. Select the triangles and circles and press Control-G to group them. Then, press Alt on the keyboard and drag the shapes under the rectangle as shown below. Hold Shift while duplicating. Next, select the duplicated elements, Right-Click, Transform > Rotate.

Adding the final elements

Step 4

Now that we have finished drawing all objects, we want to add our background. Create a new layer and name it background. Place this layer under all layers. Then, activate the Rectangle Tool (M) and fill it in green #10755b. Next, drag the rectangle all over the canvas as shown below.

Adding the background

7. How to Make the Pattern Seamless

Step 1

Now, we want to readjust the design to be able to make it seamless. All elements except the lines have to be inside the artboard. Activate the Selection Tool (V), select all the objects that are hanging on the sides, and resize them as shown below.

Re-arranging all elements inside the artboard

Step 2

Now that we have adjusted everything, we want to make a clipping mask to remove any objects hanging around the artboard. Activate the Rectangle Tool (M), fill it with white #ffffff, and click on the canvas. Change the Width and Height to 600 px. Then, select all elements, including the background, and Right-click > Make Clipping Mask.

Making a Clipping mask

Step 3

Here is the fun part! We can now make it seamless. Select the artwork, and then go to Object > Pattern > Make. Change the Width and Height to 600 px. 

Making it seamless
Final result

Congratulations! Our African Celebratory Pattern Is Done!

Great job! We’ve finished creating our African celebratory pattern. I hope this tutorial brought you a joyful mood and helped you to discover some new tips and tricks which will be useful for your future artworks! Keep creating.

End result

How to Design Elegant Business Card Mockups Using Smart Objects in Photoshop

Post pobrano z: How to Design Elegant Business Card Mockups Using Smart Objects in Photoshop

Final product image
What You’ll Be Creating

In this tutorial we’ll create an editable business card mockup using very simple photography and Photoshop techniques. You’ll be able to transform your photo into a customizable template, to showcase your design with elegance.

You can find my Business Cards mockups Bundle with 15 mockups on GraphicRiver.

Elegant Business Card Mockup Bundle Photoshop psd Templates

What Is a Mockup?

A mockup is an editable template that you can use to showcase a replica/model of your final product: in the graphic design field, it’s used to offer your clients a very detailed preview of what they ordered—in this case, a photo of their printed business cards.

What is a psd template mockup

The Workflow

These are the steps we’re going through for this tutorial:

  1. How to Design Your Card/Flyer. Use any software you prefer; Illustrator and InDesign are recommended when designing printable graphics.
  2. How to Photograph the Business Cards. Place blank cards or any stationery element on a surface and take photos of them.
  3. How to Choose and Edit the Photos in Photoshop. Choose the best photos and retouch the composition.
  4. How to Add Smart Objects to the Photographs. The card design will be added using these smart templates that automatically apply transformations and filters to a given image.

You can apply the techniques used in this tutorial when creating any type of stationery or branding mockup, so that you can show your customers a photo of the final printed result, without having to actually print it.

Not everyone has access to professional photo shooting tools, but I will show you how to achieve a professional looking mockup nonetheless. For this tutorial, you need Adobe Photoshop CS5 (or superior) and the best camera that you can access (even a good smartphone camera is surprisingly efficient).

1. How to Design Your Business Card

Step 1

When you have to design a standard business card, consider the country to which you will have to deliver it and establish with your client the dimensions before starting your work. Each country has its own most used dimensions; you can refer to this guide for more information

You most likely want to set up your document in Illustrator or InDesign, because they’re specifically created for the printing process. However, Photoshop can prepare a print document as well. 

If you like to work in Photoshop when it comes to printable graphics, you can use these useful Photoshop Actions: they automatically create documents in CMYK mode, 300DPI, with most of the standard international print sizes, including bleeds (necessary for the printing process).

Business Card psd template with guides

Step 2

When creating a mockup, you don’t need to consider the bleeds and cut size because you can just place your design in the correct position. However, you should always design a business card in vector format, with print-ready colors, and consider the necessary bleed amount. Check out more detailed guides on how to design a business card if you want more information. 

For this tutorial, we’ll use this simple design that I prepared.

Business Card Design Sample

2. How to Prepare the Scene and Take Photos of Blank Business Cards 

When it comes to photography, there’s a great abundance of guides and books dedicated to the photo shooting process: the lighting setup, the camera setup, etc. I’m not going to pretend to give you a complete explanation of these vast topics in these few lines, but I will tell you the simple key steps that will make your photo decent, even if the setup and the lights are not ideal.

Step 1

A darker photo is always better than a brighter one. To deal with an underexposed photo is easier than an overexposed one. To retouch a darker photo is better than a darker one because in Photoshop you can restore information from darker shadow areas and reveal some of the lost details a lot more easily than you can from areas that are too bright, where sometimes all the pixels are just plain white.

White Business Cards on clean clear table

Step 2

Always have one or more dominant light sources. Try to have a clear light direction in order to create an attractive defined contrast between lights and shadows that will make your design a lot more distinguishable.

If you have no distinctive light in your scene, the subject will be very dull and bland in the final photo. You can use as many lights as you want. If you think the natural available light is too strong and will burn your shot, tune down the exposure in your camera: the correct exposure is always between 0 and -1.

Visual differences between Light exposures of 0 and -1

Step 3

Be generous with the subject’s background. Maybe this is personal, but from experience I think it’s always better that you take a photo which includes more background than you will actually need: you can crop the photos in Photoshop carefully and focus on the exposure and scene while taking the photos.

Many times it will happen that you want more „air” on your subject, and you’ll have to create parts of the background because we took the photo too close to the subject.

White Business Cards on dark brown table Original Photo

For this tutorial we’ll be working on this sample above: as you can see, I included more background than I would need, so that in Photoshop we have an easier time cropping the subject and a lot of space to work with. Below, you can see the actual final area used.

White Business Cards on dark brown table Crop Guides in Photoshop

Step 4

Prepare the scene, being consistent with your task. Take your time positioning your elements on the surface and use your taste trying to create a composition that makes sense. Showing two sides of the card is the most obvious choice, but not mandatory.

For example, it’s not a fixed rule that the cards have to be placed with geometry (as I do in most my mockups because they look more institutional/corporate): in fact, they could be scattered on the table, or even aligned as a card castle as long as you think it’s attractive for you or your client. 

Experiment, and don’t stop trying other positions, moving the elements on the surface. Take many photos from many angles, change the light direction and intensity, etc. Always guarantee yourself plenty of selections at the end of the shooting section.

White Business Cards on white clear table psd template

3. How to Do the Photo Selection and Retouching

Step 1

Once we have finished the photography phase, transfer the photos from the camera to the computer and open Photoshop. If you prefer Lightroom to adjust lighting and contrast, that is also a very valid alternative, but you will need Photoshop to create the Smart Objects for the business card design.

Let’s continue with our sample: we’ve reached the point where we’ve decided how to crop our photo to enhance the subject. Use the Cropping Tool (C) or make a Selection with the Rectangular Marquee Tool (M) and then go to Image > Crop.

White Business Cards on dark brown table Cropping Process

Step 2

Now let’s move on to adjusting the lighting, color, and contrast, and removing eventual spots and unwanted details. Before doing anything, we want to remove dust and spots that sometimes will be visible on the surface that we used, especially if it’s dark.

Cleaning the unwanted spots with Clone Stamp S

Step 3

Select the Clone Stamp Tool (S)Alt-click on a clean spot to refer to that portion of image, and then click on the spot that you want to cover. Also, the Healing Brush Tool (J) can be used efficiently. Below is the clean photo.

White Business Cards on dark table cropped and clean photo

Step 4

To reduce the reddish tone of the photo, I applied these „Black & White” adjustment settings. To create a new Adjustment Layer, go to Layer > New Adjustment Layer > Black & White…

Black and White Adjustments

Step 5

I added also a soft light in the center to brighten the scene a bit. To create that soft light effect, pick a large Brush (B) with hardness set to 0%, and paint a white circle on a New Layer. Change the Blending Mode of this layer to Soft Light, and our document should look like the image below.

Adding a soft light to a photo using a New Layer and the Brush Tool B

Step 6

Now it’s time to add the Smart Objects that will contain our card designs. First of all, we need a template the same size as the card, so we create a selection using the Rectangular Marquee Tool (M) in Fixed Ratio mode, and enter the proportions of our card, which are in this case 3.5 x 2 since the card itself is 3.5 in x 2 in.

It’s not important that this selection matches the actual size of the card design; however, it is mandatory that we use the same proportions. In this step, you have to create a selection which is as close as possible to the business card below. It depends on the photograph’s dimensions.

Selection that will be the template for the Business Card the Selection must be the same proportions of the Business Card design

Step 7

Fill the selection with any color on a New Layer and name this layer Front Card.
The layer in blue named Front Card will become our front card design.

Selection Fill with any Color on a New Layer

Step 8

Right Click on it in the Layers panel and Convert to Smart Object. 

Conversion of the Layer into a Smart Object

Step 9

Set the Front Card Layer to Multiply Blending Mode so we can see what happens, and transform the layer using the Free Transform Tool (Control-T). At the corners of your layer there are anchor points indicated by small squares; while holding Control, click on each of them to position this layer and match the card’s perspective. 

Transformations of the Smart Object Layer to match the photography

Step 10

Sometimes you will also need to use the Warp Tool while transforming, because the cards bend slightly. (The Warp Tool on Smart Objects is available only from Photoshop CS5 and higher.)

Transformations of the Smart Object Layer to match the photography using also the Warp Tool

Step 11

Do the same process with the card back, creating a New Smart Object (we’re using a red color this time). The fastest way to do this is to create a duplicate of that Front Card Smart Object. 

So Right-Click on the Front Card Layer and choose the option New Smart Object Via Copy, which will create a new editable copy of that Smart Object.

Creation of a New Smart Object via Copy of the Business Card Template

Step 12

Enter in the newly created Smart Object (Right Click > Edit Contents) and fill this one with another color (I used red) so we can distinguish them better. Finally, name this red layer Back Card. Apply the same transformations as we did with the blue layer, trying to match the corners as precisely as possible. The document should look like this.

The Front Card blue and Back Card red Business Cards Mockups Templates

Step 13

In this case, for the red Back Card layer, we will also have to apply a Layer Mask because the card at the back is partially covered by the ones in front. To do so, hold Control and click on the Front Card layer in the Layers panel; this will create the selection that we need. 

Selection for the Mask of The Business Card Back Card Layer

Step 14

Then click on the Back Card layer and then on the Layer Mask icon.

The Layer Mask on the Back Card Layer not inverted according to selection

Step 15

We just need to Invert the Layer Mask for our task, so click Control-I on the Layer Mask.

The Layer Mask on the Back Card Layer inverted

Step 16

Make manual adjustments if needed; below you can see how it was necessary to cover a bit of the card space that didn’t match the starting selection. Using the Lasso Tool (L), we select the small parts that still need masking.

Manual Adjustments with the Lasso Tool L on the Layer Mask

Step 17

Now we need to blend the cards smoothly into the photo. The Multiply Blending Mode and the Layer Mask already do a great job, giving the illusion that the tops of the cards are now blue and red, but there’s a detail that makes the composition still not realistic, and that is the depth of field.

To give the illusion of depth of field in certain areas, we just need to blur the edges of the Smart Objects so that they match the amount of blur in the photo below. Select the Back Card Layer (and not the Mask), go to Filter > Blur > Gaussian Blur, and choose an amount that matches the photograph below—for our photo, a value of 2/3 pixels.

Non Destructive Smart Filter Blur application on the Smart Object

Step 18

Below you can see the edges before and after the blur. Remember to work on the Smart Object so that it will register the Blur Filter as a Smart Filter and it will not modify the starting image inside of it. That’s why it’s called non-destructive, because it doesn’t actually modify the content of the Smart Object, but it works on its appearance. 

As you can see on the right where the Blur has been applied, the corners and edges blend together with the photo, resulting in a more realistic effect. But not only the edges—once you apply the design on the card, it will look out of place if it’s really focused and sharp, while the area surrounding it is all blurred. 

The blur amount must be consistent throughout the picture in order for the design to really blend in the photo. 

Template differences with and without Blur applied

Step 19

Select Back Card, Right Click on the layer, and then Edit Contents: doing so will open a new document (the Smart Object) where you can see our red layer. 

How to Edit Contents of a Smart Object and place your own image

Step 20

The content of the Smart Object should look like this.

Starting Back Card Image

Step 21

At this point, we just need to place our design into this document. Go to File > Place and select your image. 

Business Card Back Design sample

Step 22

Close the Smart Object now and Photoshop will ask you to Save. Click Yes and the Smart Object will automatically update the image, maintaining transformations and adjustments, so instead of the red color we have our design now.

Updated mockup with Business Card Back Design

Step 23

Do the same process with the Card Front Layer, and you have your beautiful, ready-to-use, customizable mockup. 

Closeup of finished Business Card Template mockup with custom design
Business Card Template mockup with custom design

Awesome! Our Mockup Is Ready to Be Used

Test this mockup with other designs: the Smart Object will do all the work for us, and we can utilize this template to preview as many as we want. They can be also used to showcase flyers and posters because the photo doesn’t give any reference to the real size of the paper sheets. So they could be any size you need, as long as the proportions of the card and your design are more or less maintained.

Sample of Business Card Template mockup with blue and yellow custom design
Sample of Business Card Template mockup with blue and red custom design

You can find my Business Cards mockups Bundle with 15 mockups on GraphicRiver.

Elegant Business Card Mockup Bundle Photoshop psd Templates

How to Create a Poster Using the Liquify Tool in Photoshop

Post pobrano z: How to Create a Poster Using the Liquify Tool in Photoshop

Final product image
What You’ll Be Creating

For this tutorial, we will design a poster using the Liquify Tool on a traditional object in Adobe Photoshop to give it a digital feel.

Find more poster and flyer template inspiration over on GraphicRiver.

What You Will Need

You will need to download and install the following font file and image: 

Install the font on your system and you are ready to get started! 

1. How to Prepare the Bust Image

Step 1

Open the bust photo in Photoshop.

Open the image in Photoshop

Step 2

Before using it on the poster, we will remove the background and use the bust that is in focus. To do this, in the Layers panel, Duplicate the Background layer by pressing Command-J. Click on the eye icon to Hide the visibility of the original Background layer.

Duplicate layer and hide visibility of the original background layer

Step 3

While selecting the new layer in the Layers panel, click on the Vector Mask button to add a Layer Mask to Layer 1. 

Create a layer mask over the duplicated image

Step 4

While selecting the new Layer Mask, select the Brush Tool (B). Use black as the foreground color and paint over the image to erase the background. 

Use the brush tool to paint over the background

Step 5

Once we have painted over most of the image with the Brush Tool (B), we can Zoom in (Z) and work on the details.

Zoom in to work on the details

Step 6

If needed, tap the backslash key (\) to display a red overlay on the layer mask. This is useful to check if we have erased the right parts of the image.

Use the backlash key  to display a red overlay mask

Step 7

Let’s go ahead and crop the image using the Crop Tool (C) and crop the bust to a manageable size.

Crop the image to a manageable size

2. How to Set Up a New Document, Create Rulers, and Duplicate Layers

Step 1

In Photoshop, go to File > New. Name the document The Future of Philosophy, and set the Width to 1275 px and Height to 1650 px. I am using this composition as an online pamphlet, so I will be using 72 dpi with Background Contents White. Click OK to create the document.

Create a new document

Step 2

Activate the rulers by pressing Command-R. I am using inches—you can change this by going to Photoshop > Preferences > Units and Rulers.

Activate rulers and change Units to Inches on Preferences if desired

Step 3

Click on the rulers and drag towards the page to create guidelines. I’ve set mine to 1 inch on each side. Hold Shift to drag the guideline to an even number.

Create 1 inch margin guides by dragging from the rulers towards the page Hold Shift for even measurements

Step 4

Let’s duplicate the bust layer with the layer mask onto our Future of Philosophy file. To do so, select the layer and Right Click > Duplicate Layer. Under As, change the name to Bust and select Document > The Future of Philosophy. Click OK to continue.

Duplicate bust layer

Step 5

Let’s make the image smaller by using the Transform Tool (Command-T). I am leaving about 1 inch on the top and the bottom as margins. You can hide the guides by pressing Command-;.

Resize bust image to margins

Step 6

Select the background layer and paint the layer using the Paint Bucket Tool (G) and black as the foreground colour.

Use color black and the paint bucket tool for the background

3. How to Use Adjustment Layers

Step 1

The image is looking yellow in tone, so let’s manipulate it to give it a futuristic feeling. On the Layers panel, select the Bust Layer and click on Create New Fill or Adjustment Panel > Black & White. This will add a layer on top of our image without committing to turning the image itself Black and White.

Create a new black  white adjustment layer

Step 2

The Properties panel will open up, and we can adjust the colours that are turning black and white. The highlights are looking too burned and we are losing some definition, so let’s look for the blue colour and move the slider to the left. That looks better!

Alter the properties panel to tweak black  white shades

Step 3

To make it even more futuristic, let’s add a blue overlay. On the Layers panel, click on create a New Layer. Using the Bucket Tool (G), select a foreground colour of blue with the following code: #0030ff. Paint over the layer and set the Blending Mode to Overlay.

Add a blue layer and set the blending mode to overlay

4. How to Use the Liquify Tool

Step 1

Select the Bust Layer and duplicate it by pressing Command-J. Hide the visibility of the original layer by clicking on the eye icon, and go back to the copy.

We need to keep the masked image only. If we go ahead and use the Liquify Tool, we will only see the results on the spaces the mask is revealing. While selecting the bust layer, hold Command and select the Layer Mask. This will select the spaces we didn’t hide at the beginning. 

Hold Command and select the Layer Mask of the duplicated layer

Step 2

Make sure that the bust layer is selected and not the layer mask. We want to delete the opposite of this, so let’s inverse it by pressing Shift-Command-I and Delete.

Press Shift-Command-I to select the opposite and delete

Step 3

Deselect by pressing Command-D. Delete the Layer Mask by clicking on the layer mask, Right Click > Delete Layer Mask.

Delete layer mask

Step 4

Go to Filter > Liquify (Shift-Command-X), and a new window will pop up showing the selected bust later. For this specific image, we want to create a digital glitch look.

Go to Filter  Liquify to use the liquify tool

Step 5

Let’s use the Forward Warp Tool (W). On the right side of the window, we can tweak the Tool Options. Since we want to make small glitches, we can start with a Brush Size of 150, Brush Density of 100, and Brush Pressure of 50. We can now brush over the image. Feel free to experiment with other settings! Once you are done, click OK.

Use the forward warp tool to create waves on the bust image

Step 6

We have our image almost ready. To give a more digital look to this traditional bust, we can reinforce the brightness and contrast. At the bottom of the Layers panel, click on Create a New Fill or Adjustment Layer > Brightness/Contrast. The Properties window will pop up, and we can adjust the settings to Brightness: -15 and Contrast: 70.  

Tweak contrast and brightness with a new adjustment layer

5. How to Add Text

Step 1

In order to create a contrast with the horizontal lines we created on the bust, we will use vertical text. Press T to add a new text layer and add other details. Set the font to Lato Regular, at 75 pt in white, and select Underline on the Character panel to add prominence to the title. I also used two text boxes for the title of the poster. In the first, type „The Future of Digital Philosophy” and in the second, A New Way of Thinking About Physics”

Press T to add a title to the pamphlet

Step 2

Select both of these text boxes by clicking on one, holding Shift, and clicking on the other. Rotate by pressing Command-R and hold Shift for an even rotation. Let’s place them on the bottom left corner margin.

Rotate the text by pressing Command-R

Step 3

You will notice that the white text is slightly conflicting with the image. Let’s add a gradient to darken the bust. On the Layers panel, select the blue layer and add a new layer.

Use the gradient tool to create a new layer with a gradient

Step 4

On the toolbar, select the Gradient Tool (G). Set your background and foreground colours as black and white. Drag from the left side of the poster to the centre to create a partial gradient. Let’s set the Blending Mode for this layer to Multiply.

Use black on the left and white on the right side of the layer and set the blending mode to Multiply

Step 5

Now let’s add more details to our poster!  Using the same Text Tool as before, we can add more components to bring it to life. I added dates and the kind of event at 46 pt in size, and to create balance on the poster I placed this text on the opposite side to the title. I also added bits of information parallel to the bust to reinforce the theme of the event and add another layer of detail with the same character style, but this time at 18 pt in size. 

Add more details to the pamphlet with the Text Tool

6. Saving the Poster for Web

Click File > Save As to save the file as a .PSD to later edit it. For a lower-resolution web jpeg, click File > Save for web (Shift-Option-Command-S) to save the file as a .JPEG. Here you can alter the quality of the image and the image size. Click on Save… and save the file.

Save the poster for Web

Congratulations on Finishing This Tutorial!

We have covered some interesting skills for putting together a promotional piece for social media. Today, you’ve learned to:

  • Clean up an image using Layer Masks.
  • Use Adjustment Layers to tweak images endlessly.
  • Use the Liquify Tool to change a traditional object into a digital one. 
  • Format typography and use it in different directions to interact with the image.
Final poster

Quick Tip: How to Create an Illustration of Pussy Willow With a Chick in Adobe Illustrator

Post pobrano z: Quick Tip: How to Create an Illustration of Pussy Willow With a Chick in Adobe Illustrator

Final product image
What You’ll Be Creating

In today’s quick tutorial you will learn how to create a pussy willow and chick illustration. We will basically create one branch and then turn it into many. We will then make three compositions using these branches. At the end, we will cheer up our illustration by creating a little chick. 

This is a quick and easy illustration that is perfect for beginners. To create this image, we will be using basic shapes in Adobe Illustrator and deforming them to create a cute illustration.

To remind yourself how the real willow catkins look, be sure to check out Envato Market.

Whenever you’re ready, let’s go!

1. How to Create the Pussy Willow 

Step 1

After opening Adobe Illustrator, create a new document with 850 x 850 px Width and Height

Let’s start with the catkin of the willow. Set the fill color as you see in the image below. Now take the Ellipse Tool (L) and create a grey ellipse. Then we will transform this ellipse by going to Effect > Distort and Transform > Roughen. You can play with the options for the rough effect (Size and Detail) to get a result close to the one shown below or whatever you like. Expand this shape (Object > Expand Appearance).

Now create a copy of the rough ellipse in the front (Control-C, Control-F) and shift it to the upper left side. In the image below, the black stroke color of these ellipses is used only for better visibility. 

Next, create another copy of the first ellipse in front (Control-C, Control-F) and, while keeping this copy and the shifted one selected, press the Minus Front button on the Pathfinder panel (Window > Pathfinder). This action leaves us with a new crescent shape. Change the color of the crescent shape to a darker grey.

After this, add a light colored ellipse on the top left side to show the volume of the catkin. To finish the catkin, add small yellowish circles of different sizes all over it. It is better to group the whole catkin now, as it will be easier to move it later (right-click > Group).

how to create the willow catkin

Step 2

Using the Rounded Rectangle Tool, create a thin, vertical rounded rectangle for the stem. Place the catkins on both sides of the stem. Rotate and change the size of some catkins to get a result similar to the image shown below. Do not place each catkin evenly, but place them more randomly.

how to create the branch

Step 3

To make the stem look more realistic and not so perfectly straight, we will roughen its surface by using the Warp Tool. Double-click on the Warp Tool (Shift-R) and enter Width and Height dimensions for the brush of around 20-30 px, Intensity 100% and hit OK. Place the rounded rectangle in front the catkins (Control-C, Control-F), and select it before you use the Warp Tool (Shift-R), otherwise you will affect the other objects surrounding it.

Move your mouse over the stem (as shown in the image) to create the part where the catkin sits on a branch.

In a similar way, create another stem, which should be smaller and should have a different number of catkins. Group each stem (right-click > Group). Later in this tutorial we will combine them in different ways, so it’s important to have at least two different stems.

making the branch more natural

Step 4

In this step we will create a set of stems, which will be used for the three different compositions. Therefore make a few copies of the large and small stems and combine them.

First, we will select one stem and warp it. Go to Effect > Warp > Arc. For your convenience, select Preview while adjusting the options to get a result you like. In the new dialogue window, select Vertical, Bend -20%, Distortion Horizontal 0%, Vertical 0%, and hit OK. Do the same warping process for each branch, just by varying the Bend percentage.

Expand each branch (Object > Expand Appearance).

how to create the different branches

2. How to Create the Compositions of Pussy Willow

Step 1

First, let’s create our first composition. Draw a blue circle (use the Ellipse Tool (L) while holding down the Shift key for an even circle).

Add a set of willow branches on the left side of the circle. Now select all of the stems, right-click the mouse, and select Transform > Reflect. This will bring up the Reflect dialogue window, where you should enter Axis Vertical, Angle 90 degrees, and press Copy. Move the copy of the newly created stems to the right. You’ll end up with a composition similar to the one shown below.

how to create the first composition

Step 2

Now we will create our second composition.

Make another copy of the blue circle created in the previous step, and place a set of pussy willows on the circle as shown in the image below. Notice that the willow is overlapping the sides of the circle.

Next, select the circle and make a copy of it in front of the willows (Control-C, Control-F), cut it off (Control-X), and place it in front of everything (Control-F). To be able to see the willows under the circle, we will remove its fill color and add a black stroke color.

Now, as we want to make the top part of the willows visible, we have to distort the top circle so as to be able to cover the willow on top. Move the handles of the anchor points of this circle by using the Direct Selection Tool (A) to achieve the result you need. You want to place the black stroke color inside the top part of the willow.

After that, select the willow and the front shape, and then go to Object > Clipping Mask > Make (Control-7). This action will cut the part of the willow beyond the blue circle.

how to create the second composition

Step 3

For the third composition, create a copy of the blue circle again. Place the willow branches around the circle to have a wreath look as shown below.

how to create the third composition

Step 4

Place all three compositions together.

three compositions together

3. How to Create the Chick

Step 1

We will start by drawing the head of the chick. Using the Ellipse Tool (L), draw an oval. In the image below, you can see which fill color you need. Then go to Effect > Warp > Inflate to shape the head. Enter the options you see below.

For the eyes, create a brown ellipse and add a tiny white circle to brighten up the eye. Place this eye on the left side of the head. While keeping the eye selected, take the Reflect Tool (O). Hold down the Alt key and click in the middle of the head. In the new dialogue window, select Vertical, Angle 90 degrees, and press Copy. You should now have two eyes.

how to create the chicks head

Step 2

Let’s add the chick’s beak. In the middle of the head, add a pink oval and modify it with a warp effect: go to Effect > Warp > Inflate. Select the required options and expand the shape.

Next, select the pink shape, and create a copy behind it (Control-C, Control-B). Using the Direct Selection Tool (A), select the bottom anchor point of the upper copy. Then move this anchor point a little bit upward.

Change the fill color of the bottom copy to a darker color. The beak of our chick is ready!

how to create the chicks beak

Step 3

For the chick’s body, add an ellipse below the head and distort it with the warp effect: Effect > Warp > Inflate. After adjusting the options as shown, expand the resulting shape.

how to create the chicks body

Step 4

In this step, we will create the chick’s wing. Start with an ellipse and modify it with the Arc effect (Effect > Warp > Arc). Enter the options shown below. Expand the shape.

Next, add four ellipses that should be slightly rotated to the right, and place them over the deformed ellipse. For better visibility, I added a black stroke color which should not be present in the final image. In the end, group the whole wing (right-click > Group).

how to create the chicks wing

Step 5

Put the wing on the left side of the chick’s body. Then make a vertically reflected copy of this wing to get another one. To do so, while keeping the wing selected, right-click your mouse and select Transform > Reflect. Once you get the dialogue box, select Axis Vertical, Angle 90 degrees, and press Copy. Move the new wing to the right.

how to create another wing

Step 6

To create the chick’s leg, start with a pink ellipse. Next, use the Direct Selection Tool (A) to select the left and right anchor points and move them up.

Then, create a copy of the shape, place it on the left side, and rotate it to the left. Make another copy and rotate it to the right to get the three toes of the chick’s leg.

Finally, add a fourth copy of the shape, make it smaller, and place it as the fourth toe.

how to create the chicks fingers

Step 7

Below the chick’s body, add two circles to start creating the legs. Place the foot (which should be grouped together) below the chicken, and slightly rotate it to the left as shown below.

Next, we will add chick’s leg. First, we will delete the fill color and set the stroke color. To do so, hit the double arrow Swap Fill and Stroke (Shift X) in the Tools panel. You should now have the same pink fill color as you had for the toes. Increase the stroke Weight and check Round Cap on the Stroke panel (Window > Stroke). Now, create an arc which will connect the two legs (you should rotate the arc) and place it behind the chick’s body. Move the handles of the arc by using the Direct Selection Tool (A) until you get the necessary result.

Make a vertical copy of the chick’s toes and attach them to the right leg.

how to create the chicks legs

Step 8

Place the chick in the middle of the two compositions, as shown below.

placing the chicks

4. How to Create the Background

Step 1

Create a blue square with Width and Height of 850 px, send it to the back (Control-X, Control-B), and center it to the artboard. For the alignment, select this square and on the Align panel (Window > Align) from the pop-up menu, choose Align to: Align to Artboard, and hit the Horizontal Align Center and Vertical Align Center buttons.

how to create the background

Step 2

Arrange the created compositions on the background to get the complete image.

placing the compositions with chicks on the background

Conclusion

Good job! I hope you had fun creating these cute compositions. To make them brighter, you can add some bows. If you want to know how to create such a bow, you can follow the instructions from one of my previous tutorials. You can also add other details if you wish. Just be creative and enjoy the process! See you again in my next tutorial!

final

How to Create an Ornate Gold Text Effect in Adobe Photoshop

Post pobrano z: How to Create an Ornate Gold Text Effect in Adobe Photoshop

Final product image
What You’ll Be Creating

In this tutorial I will show you how to create an ornate gold text effect in Adobe Photoshop CC. And as a bonus, you will learn how to create seamless textures.

I know that many readers of Envato Tuts+ are from Indonesia, so I decided to create this tutorial using an Indonesian word. „Mulia” means „noble” in Indonesian, and I think that it works very well with the text effect that we are going to create.

This text effect is part of Epic Metallic Styles 3. The complete pack
has 15 different text effects and works with shapes and text.

Epic Metallic Styles 3 promo image
Epic Metallic Styles 3

Tutorial Assets

The following assets were used in this tutorial:

  • Titania font
  • pattern and gradient inside the zip file attached to this tutorial (optional)

1. How to Create the Ornamental Pattern

Step 1

Create a new 2000 x 2000 px 300 dpi document and name it Ornamental Pattern.

Creating a new document

Step 2

Press Shift-Backspace to open the Fill panel. Choose Color… and set the color to #1a1515.

Changing the color of the background

Step 3

Pick the Brush Tool (B) with these settings:

  • Brush: Hard Round
  • Size: 35
  • Hardness: 100%
  • Mode: Normal
  • Opacity: 100%
  • Flow: 100%
  • Smoothing: 100% (only available in Adobe Photoshop CC)
Brush tool settings

Step 4

Press Control-Shift-N to create a new layer. Name it Brush and click on OK.
Then go to Window > Brush Settings and use these settings:

  • Brush: Hard Round
  • Size: 35 px
  • Roundness: 100%
  • Hardness: 100%
  • Spacing: 1%
Brush tool extended settings

Step 5

Now starts the relaxing part (at least for me). With the Brush Tool selected, choose a color that you like and start drawing some abstract curves.

The secret here is to maintain a constant speed with the mouse, and try to maintain the same space between the lines. But it’s OK if you make some lines closer or farther than others; sometimes it looks better this way.

Please do not touch the borders of the document while drawing; we will deal with that later. Don’t worry if you have shaky hands, because the 100% of smoothness on the Brush Tool will help you with that.

Drawing the first line of the pattern

Step 6

Continue drawing the lines. If you don´t like the result, press Control-Z and try again. Take your time!

Sometimes you will have to draw some branches. Remember to start the branch precisely from the middle of the previous line, so that your drawing will look smooth and natural.

How to draw branches

Step 7

This is what I came up with. You can try to copy, but I don’t recommend that you do that. It’s important that you create your own pattern if you want to learn how to do it.

Showing the basic pattern

Step 8

Now we’re going to make this pattern seamless using the Offset filter. This filter can move the corners of the document to the center, making it a lot easier for you to complete the texture in a seamless way.

Go to Filter > Other > Offset… and use these settings:

  • Horizontal: +956
  • Vertical: +949
  • Wrap Around: Checked
Adjusting the Offset filter

Step 9

With the same brush settings that we used before, continue drawing more lines and filling the empty spaces. Remember to not touch the border of the document.

Drawing more lines to complete the pattern

In the next image, you can see how I did it. I changed the color to red, so you can see the new lines.

Showing the new lines

Step 10

Now turn off the visibility of the background layer, and then go to Edit > Define Pattern and click OK.

Saving the basic pattern

Step 11

Now activate the visibility of the background layer again. After that, press Control-R to activate the rulers in Photoshop. Then click on the rulers and drag four margins to the borders of the document.

Placing 4 margins to the document

Step 12

Go to Image > Canvas Size and use the following settings:

  • Width: 2665 px
  • Height: 2665 px
  • Relative: Unchecked
  • Anchor: Center
  • Canvas extension color: Other
  • Color: #1a1515
Expanding the canvas size

Step 13

Select the Brush layer and press Shift-Backspace to open the Fill panel. Then choose the following settings:

  • Contents: Color…
  • Color: #262626 (any color will do)
  • Mode: Normal
  • Opacity: 100%
  • Preserve Transparency: Unchecked
Filling the brush layer with a color

Step 14

With the Brush layer still selected, set its Fill to 0%. After that, go to Layer > Layer Style > Blending Options and add a Pattern Overlay with these settings:

  • Blend Mode: Normal
  • Opacity: 100%
  • Pattern: Ornamental Pattern.psd (The one we just saved)
  • Scale: 100%
  • Link with Layer: Checked

… and click OK.

Note that we have a seamless texture inside the margins, so no matter where you move the pattern overlay, it will always be seamless.

Adding the ornamental pattern to the brush layer

Step 15

Now right-click the Brush layer and choose Rasterize layer. Then go to Layer > Layer Style > Blending Options and add a Color Overlay with these settings:

  • Blend Mode: Normal
  • Color: #ff8400
  • Opacity: 100%
Adding a color overlay effect

Step 16

Add a Bevel & Emboss with these settings:

  • Style: Inner Bevel
  • Technique: Smooth
  • Depth: 1000%
  • Direction: Up
  • Size: 16 px
  • Soften: 0 px
  • Shading Angle: 20°
  • Shading Altitude: 26°
  • Use Global Light: Off
  • Anti-aliased: On
  • Highlight Mode: Lighter Color
  • Highlight Mode Color: #ffd179
  • Highlight Mode Opacity: 66%
  • Shadow Mode: Darken
  • Shadow Mode Color: #1c1505
  • Shadow Mode Opacity: 100%

Click on the thumbnail of the Gloss Contour to edit it with the following settings:

  • Point 1: Input: 0% Output: 100% Corner: Off
  • Point 2: Input: 13% Output: 29% Corner: Off
  • Point 3: Input: 38% Output: 45% Corner: Off
  • Point 4: Input: 44% Output: 76% Corner: Off
  • Point 5: Input: 76% Output: 100% Corner: Off
  • Point 6: Input: 87% Output: 1% Corner: Off
  • Point 7: Input: 100% Output: 0% Corner: Off

After that, click OK.

Adding a Bevel and Emboss effect

Step 17

Activate the Contour option of Bevel & Emboss with these settings:

  • Contour: Rolling Slope – Descending
  • Anti-aliased: On
  • Range: 74%
Activating the Contour option of the Bevel and Emboss

Step 18

Add an Outer Glow with these settings:

  • Blend Mode: Darken
  • Opacity: 74%
  • Noise: 0%
  • Color: #000000
  • Technique: Softer
  • Spread: 0%
  • Size: 59%
  • Contour: Linear
  • Anti-aliased: On
  • Range: 48%
  • Jitter: 0%

After that, click OK to close the Layer Style panel.

Adding an Outer Glow effect

Step 19

Now hold down the Control key and click on both layers (Brush and Background) to select them. Then right-click on any layer and select Convert to Smart Object.

Converting to smart object

Step 20

Go to Filter > Filter Gallery and add a Plastic Wrap effect with these settings:

  • Highlight Strength: 4
  • Detail: 1
  • Smoothness: 9
Applying the Plastic Wrap filter

Step 21

Now pick the Rectangular Marquee Tool (M) and select a small square.

Creating a square selection

Step 22

Right-Click on that selected square and select Transform Selection. Then scale up the selection to match the margins that we previously created. It has to be perfectly aligned with the margins.

Expanding the selection

Step 23

Now pick the Crop Tool (C) and press Enter twice to crop the image. Then go to Edit > Define Pattern and name it Ornamental Pattern Final.

You can close the document after doing that.

Saving the final ornamental pattern

Note that we first expanded the document size, and then we contracted it again. That was necessary because we don’t want the layer style being cut by the borders of the document.

2. How to Create the Secondary Pattern (Optional)

You can install the optional pattern (it is inside the zip file) and skip to „3. How to Create the Text Effect” if you don’t want to learn how to create the secondary pattern. The secondary pattern is a radial metallic texture that goes on the top of the ornamental pattern. This texture is optional on the final text effect too.

Step 1

Create a new 980 x 1696 px 300 dpi document with a red background #d11212 and name it Radial Pattern. Then pick the Ellipse Tool (U) and set it to Shape mode.

Setting the Ellipse tool to shape mode

Step 2

With the Ellipse Tool selected, click on the middle of the document and create a 980 x 980 px ellipse.

Creating a new ellipse

Step 3

Press Control-A to select the entire document, and then pick the Move Tool (V) and click on Align Horizontal and Vertical Centers. This will place the ellipse exactly in the center of the document.

Movint the ellipse to the center of the document

Step 4

Turn off the visibility of the Ellipse layer and create a new layer called Noise. After that, press Control-Backspace and fill this layer with the color #797979. This color will help us when we start moving the radial shapes. We don’t want to see any red in the final texture.

Filling the layer with a grey color

Step 5

Go to Filter > Noise > Add Noise and use these settings:

  • Amount: 400 %
  • Distribution: Gaussian
  • Monochromatic: On
Adding noise to the image

Step 6

Go to Filter > Blur > Radial Blur and use these settings:

  • Amount: 100
  • Blur Method: Spin
  • Quality: Best
Adding a radial blur to the noise

Step 7

Press Alt-Control-F to apply the same radial blur again. Then Control-Click on the thumbnail of the Ellipse layer to create a selection. After that, press Control-C and Control-V to create a new layer, name this layer Radial, and convert it to a Smart Object. After that, you can delete the noise layer.

Creating an ellipse selection and converting to smart object

Step 8

Control-Click on the thumbnail of the Radial layer to create another selection, and then click on the Add vector mask icon.

Creating a vector mask

Step 9

With the Radial layer selected, go to Layer > Layer Style > Blending Options to open the Layer Style panel. Then add a Color Overlay with these settings:

Adding a color overlay

Step 10

Now add a Gradient Overlay with these settings.

  • Blend Mode: Color Dodge
  • Dither: Off
  • Opacity: 87%
  • Gradient: Radial gradient (inside the zip file attached to this tutorial)
  • Reverse: Off
  • Style: Angle
  • Align with Layer: On
  • Angle: -90°
  • Scale: 100%
Adding a Gradient Overlay

To install the gradient file, click on the drop-down menu of the Gradient option, and then click on the little gear icon in the top-right corner and choose Load Gradients…

Installing the gradient file

Step 11

Add a Bevel & Emboss with these settings:

  • Style: Inner Bevel
  • Technique: Smooth
  • Depth: 834%
  • Direction: Up
  • Size: 250 px
  • Soften: 16 px
  • Use Global Light: Off
  • Angle: 73°
  • Altitude: 37°
  • Anti-aliased: On
  • Highlight Mode: Color Dodge
  • Highlight Opacity: 25%
  • Highlight Color: #ffffff
  • Shadow Mode: Multiply
  • Shadow Opacity: 34%
  • Shadow Color: #000000

Click on the thumbnail of the Gloss Contour to edit it with the following settings:

  • Point 1: Input: 0% Output: 0% Corner: Off
  • Point 2: Input: 15% Output: 89% Corner: Off
  • Point 3: Input: 22% Output: 24% Corner: Off
  • Point 4: Input: 33% Output: 99% Corner: Off
  • Point 5: Input: 58% Output: 37% Corner: Off
  • Point 6: Input: 100% Output: 53% Corner: Off
Adding a Bevel and Emboss

Step 12

Activate the Contour option of the Bevel & Emboss and use these settings:

  • Contour: Rolling Slope – Descending
  • Anti-Aliased: On
  • Range: 56%

Then click OK to close the Layer Style panel.

Activating the contour of the bevel and emboss

Step 13

Go to Image > Adjustments > Curves to add a curve filter with these settings:

  • Show Amount of: Light (0-255)
  • Channel: RGB
  • Point 1: Input: 0% Output: 0%
  • Point 2: Input: 56% Output: 43%
  • Point 3: Input: 181% Output: 167%
  • Point 4: Input: 255% Output: 183%
Adjusting the curves filter

Step 14

Go to Filter > Sharpen > Sharpen to add a sharpen filter. Then Right-click on the Radial layer and transform it into a Smart Object again.

Converting to smart object

Step 15

Create four copies of the Radial layer and place one copy in each corner of the document, aligning the center of the ellipses with the corners of the document.

Moving four copies of the radial layer

Step 16

Select the first Radial layer and create four more copies, and then move these copies to the back of the original Radial layer. You can change the colors of the layer and group them to make it easier for you to identify the layers.

Creating four more copies of the radial layer

Step 17

Click on the rulers and drag two margins to the center of the document. Place one copy of the Radial layer on each edge of the document, aligning the center of the ellipses with the margins and the edges of the document. (The small circles in the next image represent the center of the ellipses).

Moving the new copies to the borders of the document

Step 18

Go to Edit > Define Pattern and name it Radial Pattern. After that, you can save and close the document.

Savint the radial pattern

3. How to Create the Text Effect

Step 1

Create a new 2160 x 1025 px 300 dpi document with a dark blue background #132125. I’m going to name it Mulia, but you can choose any name you want.

Creating a new document

Step 2

Double-click on the Background layer to unlock it. Then pick the Brush Tool (B) with the Soft Round brush and set its size to 2173 px and color to #365861.

Brush tool settings

Step 3

With the Brush Tool selected, click on the center of the document. Then go to Filter > Noise > Add Noise to apply a noise effect with these settings:

  • Amount: 1%
  • Distribution: Gaussian
  • Monochromatic: On
Adding noise to the image

Step 4

Go to Layer > Layer Style > Blending Options and add a Pattern overlay with these settings:

  • Blend Mode: Luminosity
  • Opacity: 5%
  • Pattern: Ornamental Pattern Final
  • Scale: 10%
  • Link with Layer: On
Pattern overlay settings

Step 5

Convert the layer to Smart Object, and then go to Filter > Sharpen > Sharpen. After that, go to Window > Adjustments and add a new Gradient Map layer.

Creating a new gradient map layer

Step 6

Double-click on the thumbnail of the Gradient Map layer to open the Properties panel. Then click on the gradient bar to open the Gradient Editor.

Gradient editor

Step 7

You can use any color that you like here, but I’m going to make a red background. These squares with small triangles pointing to the gradient bar are called Stops. You can create new Stops by clicking just below the gradient bar. Create a new gradient with these settings:

  • Stop 1: Location: 0% Color: #020007
  • Stop 2: Location: 66% Color: #c61717
  • Stop 3: Location: 100% Color: #ffdbdb
Creating a new gradient

Step 8

Pick the Horizontal Type Tool (T) and set the size of the text to 160 pt. Then choose the font Titania and write your text.

Writing the text

Step 9

Double-click on the text layer to open the Layer Style panel (don’t click on the name or thumbnail of the layer). Add a Pattern Overlay with these settings:

  • Blend Mode: Normal
  • Opacity: 100%
  • Pattern: Ornamental Pattern Final
  • Scale: 50%
  • Link with Layer: On

Tip: If you have the Pattern Overlay selected on the Layers panel, you can click on the text and drag to move the texture to a better position.

Pattern overlay settings

Step 10

Add a Bevel & Emboss with these settings:

  • Style: Stroke Emboss
  • Technique: Smooth
  • Depth: 100%
  • Direction: Up
  • Size: 24 px
  • Soften: 0 px
  • Use Global Light: On
  • Shading Angle: 90°
  • Altitude: 30°
  • Anti-Aliased: Off
  • Highlight Mode: Screen
  • Highlight Mode Color: #ffffff
  • Highlight Mode Opacity: 50%
  • Shadow Mode: Multiply
  • Shadow Mode Color: #000000
  • Shadow Mode Opacity: 50%

Click on the Gloss Contour and create a new contour with these settings:

  • Point 1: Input: 0% Output: 0% Corner: On
  • Point 2: Input: 46% Output: 69% Corner: On
  • Point 3: Input: 50% Output: 0% Corner: On
  • Point 4: Input: 94% Output: 73% Corner: On
  • Point 5: Input: 100% Output: 0% Corner: On
Bevel  emboss settings

Step 11

Add a Stroke with these settings:

  • Size: 28 px
  • Position: Center
  • Blend Mode: Normal
  • Opacity: 100%
  • Overprint: Off
  • Fill Type: Pattern
  • Pattern: Ornamental Pattern Final
  • Scale: 25%
  • Link with Layer: On
Stroke settings

Step 12

Add an Inner Shadow with these settings:

  • Blend Mode: Color Dodge
  • Color: #ffffff
  • Opacity: 96%
  • Use Global Light: Off
  • Angle: 0°
  • Distance: 18 px
  • Choke: 28 %
  • Size: 6 px
  • Contour: Choose Linear, then move the second point to Input 100% and output 71 %
  • Anti-Aliased: Off
  • Noise: 0%
Inner Shadow settings

Step 13

Add an Inner Glow with these settings:

  • Blend Mode: Darken
  • Opacity: 69%
  • Noise: 0%
  • Color: #000000
  • Technique: Precise
  • Source: Edge
  • Choke: 66%
  • Size: 21 px
  • Contour: Linear
  • Anti-aliased: On
  • Range: 55%
  • Jitter: 0%
Inner glow settings

Step 14

Add a Drop Shadow with these settings:

  • Blend Mode: Normal
  • Color: #000000
  • Opacity: 57%
  • Use Global Light: Off
  • Angle: 0°
  • Distance: 27 px
  • Spread: 33%
  • Size: 16 px
  • Contour: Linear
  • Anti-aliased: Off
  • Noise: 0%
  • Layer Knocks Out Drop Shadow: On

After that, click OK.

Drop shadow settings

Step 15

Create a copy of the text layer and name it Mulia TOP, and then right-click on it and choose Clear Layer Style.

Clearing the layer style

Step 16 (Optional)

This step adds a very subtle effect to the text, and sometimes the text looks better without it.

Double click on the Mulia TOP layer to open the Layer Style panel. Then add a Pattern Overlay with these settings:

  • Blend Mode: Overlay
  • Opacity: 100%
  • Pattern: Radial Pattern (you can move this texture just like the first one)
  • Scale: 25%
  • Link with Layer: On
Pattern overlay settings

Step 17

Add a Bevel & Emboss with these settings:

  • Style: Inner Bevel
  • Technique: Smooth
  • Depth: 240 %
  • Direction: Up
  • Size: 68 px
  • Soften: 0 px
  • Use Global Light: Off
  • Shading Angle: 90°
  • Altitude: 37°
  • Anti-aliased: On
  • Highlight Mode: Lighter Color
  • Highlight Color: #ffdb95
  • Highlight Opacity: 7%
  • Shadow Mode: Darken
  • Shadow Color: #000000
  • Shadow Opacity: 26%

Click on the Gloss Contour and edit the contour with these settings:

  • Point 1: Input: 0% Output: 9% Corner: Off
  • Point 2: Input: 35% Output: 25% Corner: Off
  • Point 3: Input: 52% Output: 23% Corner: Off
  • Point 4: Input: 60% Output: 97% Corner: Off
  • Point 5: Input: 100% Output: 0% Corner: Off
Bevel and emboss settings

Step 18

Add a Stroke with these settings:

  • Size: 24 px
  • Position: Center
  • Blend Mode: Normal
  • Opacity: 0%
  • Overprint: Off
  • Fill Type: Any type
  • Color: Any color

This Stroke effect is here just to show the Stroke from the first layer; that’s why the Fill type and Color don’t matter. Note that the Opacity is set to 0%.

Stroke settings

Step 19

Add an Outer Glow with these settings:

  • Blend Mode: Normal
  • Opacity: 100%
  • Noise: 0%
  • Color:#1a1a1d
  • Technique: Softer
  • Spread: 90%
  • Size: 14 px
  • Contour: Linear
  • Anti-aliased: On
  • Range: 100%
  • Jitter: 0%
Outer glow settings

Step 20

Add a Drop Shadow with these settings:

  • Blend Mode: Normal
  • Color: #0c0b0c
  • Opacity: 100%
  • Use Global Light: Off
  • Angle: 0°
  • Distance: 8 px
  • Spread: 100%
  • Size: 14 px
  • Contour: Linear
  • Anti-aliased: Off
  • Noise: 0%
  • Layer Knocks Out Drop Shadow: On

After that, click on OK.

Drop shadow settings

Step 21

We’re almost done; it just needs a few tweaks. Select both text layers and convert them to one Smart Object. Then press Control-T and resize it to 55%.

Converting the layers to smart object

Step 22

Go to Filter > Sharpen > Sharpen. Then Double-click on the text layer to open the Layer Style panel. Add a Drop Shadow with these settings:

  • Blend Mode: Normal
  • Color:#000000
  • Opacity: 23%
  • Use Global Light: Off
  • Angle: -1%
  • Distance: 21%
  • Spread: 8 %
  • Size: 6 px
  • Contour: Linear
  • Anti-aliased: Off
  • Noise: 0%
  • Layer Knocks Out Drop Shadow: On
Drop shadow settings

Step 23

Create a new layer and set its mode to Screen. Then pick the Brush Tool (B) and select the Soft Round brush with a size of 473 px.

Select the color #120202 and start clicking on the text to add some lights to it. The small circles in the next image represent where I clicked.

Lights layer

Step 24

Create another layer and leave the layer mode as normal. Then change the brush size to 213 px and color to #170c00.

Start clicking on the text to add more lights (it will look ugly, but don’t worry).

Second light layer

Step 25

Change the Fill of the second light layer to 0%. Then Double-Click on the layer to open the Layer Style panel and add a Color Overlay with these settings:

  • Blend Mode: Screen
  • Color: #390300
  • Opacity: 41%

After that, click on OK

You just learned two ways to add a simple light effect to the image. The first option is faster, and the second one gives you more control over the effect.

Color overlay settings

Step 26

Now we need to add a shadow to the bottom of the text. Create a new layer and name it Simple Shadow, and then move this layer on the layer panel and place it below the text. 

After that, pick the Ellipse Tool (U) and set the color to black #000000. Then click below the start of the first letter and drag the mouse to the end of the last letter, drawing a very elongated oval shape below the text.

Simple shadow

Step 27

Convert the Simple Shadow layer to a Smart Object. Then go to Filter > Blur > Gaussian Blur and add a blur with 6.4 px. After that, change the layer Opacity to 55%.

Simple shadow with blur

And We’re Done!

Final result

In this tutorial, you learned how to create seamless textures using the Offset filter.
You also learned that increasing the size of the document can help you when you want to add continuity to the layer
style effect, avoiding layer styles being „ended” by the borders. You also learned how to use textures with layer styles and complement that with another layer.

If
you completed the second part of this tutorial, you may have noticed
how good smart objects are for performance. You can try to repeat those steps using groups instead of smart objects, and you’ll see that your
computer will soon become slow.

Remember that this text effect is completely editable.

This one uses the Radial pattern as the stroke:

Alternative result

To change the text color, I recommend opening the text smart object and adding some Color Overlays or Gradient Map layers with Layer Masks.

I hope that you’ve learned something useful with this tutorial!

Epic Metallic Styles 3 promo image
Epic Metallic Styles 3