Welcome to our Photoshop in 60 Seconds series, in which you can
learn a Photoshop skill, feature, or technique in just a minute!
Photoshop in 60 Seconds: Instagram Filter
Have you ever wondered how to create your own Instagram filter? Well, with a few simple adjustments you can achieve a cool photo effect like your favorite app in Adobe Photoshop. And in this quick tutorial, I’ll show you how to make a Photoshop action that recreates the famous Hudson filter for any future project.
How to Create an Instagram Filter in Photoshop
Open your photo into Photoshop. I’ll be using this Woman Stock.
Start with the action. Go to Window > Action to bring up the Actions palette. Click on the folder icon to create a New Set. Name the set „Instagram,” and then select New Action and name it „Hudson.” Once you hit Record, the action will automatically record your steps.
Then go to Layer > New Adjustment Layer > Color Lookup. Set the settings for the 3D LUT File to Fuji F125 Kodak 2395, and then set the Layer Blend Mode to Luminosity.
Now create a New Layer and Fill it with a pale yellow color #fef3d5 using the Paint Bucket Tool (G). Set this layer to Divide.
Finish with a vignette. Fill a New Layer with black. Use the Elliptical Marquee Tool (M) to create a large circle, and then hit Delete to remove the center. Now go to Filter > Blur > Gaussian Blur and blur the edges with a Radius of 65 px. Lower the final Opacity to 40%.
When you’re done, hit the Stop button on the Actions palette to use this new action for other photos.
Here is the final effect.
Want to see this in action? Check out the quick video above to see this lesson at work!
5 Instagram-Inspired Photoshop Actions
Want to create awesome Instagram-inspired effects fast? Check out these premium Photoshop actions from GraphicRiver and Envato Elements.
Achieve the look of your favorite filters with these amazing actions! Included in this download are 47 Instagram-inspired Photoshop actions that are super easy to edit. Simply apply any filter to your photo and use the additional workflow actions for more options.
This awesome Photoshop action package includes 22 of the most popular filters Instagram has to offer. Get access to cool effects like Mayfair, Clarendon and more for easy, non-destructive photo editing.
Sizing your photos for Instagram can be tricky. Make the process easier with this Photoshop action. This download includes one action file with a five-step tutorial that is easy to follow. Transition your photos to Instagram easily with this awesome action.
Create beautiful photo effects inspired by an elegant carbon ash tone. This Photoshop action features two separate actions with plenty of variations for intensity and color. Get access to free sharpening and noise actions included in this download!
Or test out different flavors of deliciously chocolate photo effects with this set of premium actions. Included in this set are eight elegant retro effects that work with a wide range of photos.
60 Seconds?!
This is part of a series of quick video tutorials on
Envato Tuts+ in which we introduce a range of subjects, all in 60
seconds—just enough to whet your appetite. Let us know in the comments
what you thought of this video and what else you’d like to see explained
in 60 seconds!
On the engineering side, we use inline SVGs. These have many advantages. One advantage is that SVG is a well-structured format that we can manipulate with code. Paper is also using React and has a component for inserting icons.
They:
Use a single Sketch file, checked into the repo, as the place to design and house all the icons.
The build script continues by optimizing them all and building a source of data with all the icons and their properties.
That data fuels the their <SvgIcon /> React component. (Also see our article).
They call it Papercons.
Now, whenever someone asks for an icon, we can just share a link to all the latest production icons. No more hunting, context switching, and long conversation threads.
This tutorial will show you how to use a couple of layer styles, textures, and brush settings to create a bright, galaxy-inspired text effect. Let’s get started!
Create a new 960 x 720 px document. Click the Create new fill or adjustment layer icon at the bottom of the Layers panel, choose Solid Color, and use the Color#0c0e22.
Step 2
Go to File > Place Linked to open the Cosmos image. Resize it as needed, and rename its layer to Background Image.
Step 3
Add a Hue/Saturation adjustment layer and change its Blend Mode to Color.
Change the Hue value to 23, and the Saturation to -45.
2. How to Create Text Layers
Step 1
Create the text in All Caps using the font Bungee. Set the Size to 230 pt, and if you use more than one line of text, change the Leading value to 210.
Step 2
Change the text layer’s Fill value to 0.
Step 3
Duplicate the text layer twice.
3. How to Style the First Text Layer
Double-click the original text layer to apply the following layer style:
Step 1
Add a Bevel and Emboss with these settings:
Size: 20
Check the Anti-aliased box
Shadow Mode: Color Dodge
Color: #47fcc7
Opacity: 70%
Step 2
Add a Contour with these settings:
Contour: Rolling Slope – Descending
Check the Anti-aliased box.
Step 3
Add a Stroke with these settings:
Size: 1
Fill Type: Gradient
Use the faucet 30 gradient fill
Step 4
Add a Drop Shadow with these settings:
Opacity: 100%
Distance: 5
Spread: 30
Size: 10
This will style the first text layer.
4. How to Style the Second Text Layer
Double-click the first copy text layer to apply the following layer style:
Step 1
Add a Bevel and Emboss with these settings:
Size: 35
Uncheck the Use Global Light box
Angle: 107
Altitude: 37
Gloss Contour: Ring – Double
Check the Anti-aliased box
Highlight Mode:
Color: #ef1d58
Opacity: 70%
Shadow Mode: Color Dodge
Color: #a81227
Opacity: 70%
Step 2
Add a Contour with these settings:
Contour: Cone – Inverted
Check the Anti-aliased box.
Step 3
Add an Inner Shadow with these settings:
Blend Mode: Screen
Color: #b2b412
Opacity: 50%
Uncheck the Use Global Light box
Angle: 90
Distance: 25
Size: 30
Step 4
Add an Inner Glow with these settings:
Blend Mode: Lighter Color
Opacity: 25%
Gradient: Create the gradient fill using the Colors#4c1061 to the left, #3e2b6a in the middle, and #504b71 to the right.
Size: 18
This will style the second text layer.
5. How to Style the Third Text Layer
Double-click the second copy text layer to apply the following layer style:
Step 1
Add a Bevel and Emboss with these settings:
Size: 55
Uncheck the Use Global Light box
Angle: -39
Altitude: 58
Gloss Contour: Ring
Check the Anti-aliased box
Highlight Mode: Overlay
Color: #e3dc26
Shadow Mode: Color Dodge
Color: #0eb483
Opacity: 70%
Step 2
Add a Contour with these settings:
Contour: Rolling Slope – Descending
Check the Anti-aliased box.
Step 3
Add an Inner Shadow with these settings:
Blend Mode: Color Dodge
Color: #ab60f1
Opacity: 35%
Distance: 10
Size: 20
Step 4
Add an Inner Glow with these settings:
Opacity: 35%
Color: #ff1d48
Source: Center
Size: 65
Contour: Cone – Inverted
Step 5
Add a Satin effect with these settings:
Blend Mode: Color Dodge
Color: #ae8010
Opacity: 10%
Angle: 90
Distance: 143
Size: 95
Contour: Ring – Double
Check the Anti-aliased box
Check the Invert box
Step 6
Add an Outer Glow with these settings:
Blend Mode: Linear Dodge (Add)
Opacity: 25%
Color: #53abde
Size: 25
This will style the final text layer.
6. How to Stroke a Work Path
Step 1
Right-click any text layer and choose Create Work Path.
Pick the Brush Tool and open the Brush panel (Window > Brush). It is important to do all the work inside the Brush panel, especially choosing the tips.
Step 2
Pick a soft round tip, and use these settings under the Brush Tip Shape and Shape Dynamics tabs:
Step 3
Create a new layer on top of all layers, call it Fade Stroke, and set the Foreground Color to #29ecee.
Hit the Return key once to stroke the work path. If you want a different result, you can change the Size of the tip, or the Fade value under the Shape Dynamics tab.
Step 4
Change the Fade Stroke layer’s Blend Mode to Overlay.
7. How to Create a Texture Stroke Layer and Brush Tip
Step 1
Place the Stars texture on top of all layers, resize it as needed, rename its layer to Texture Stroke, and change its Blend Mode to Linear Dodge (Add).
Step 2
Option-click the Add layer mask icon at the bottom of the Layers panel to add an inverted mask that hides the layer’s contents.
Step 3
With the Brush Tool active, pick the Flat Angle 32px tip, and use these settings for the Brush Tip Shape and Shape Dynamics tabs:
8. How to Stroke a Work Path on a Layer Mask
Step 1
Select the Texture Stroke layer’s thumbnail, set the Foreground Color to White, and pick the Direct Selection Tool (A).
Right-click the work path and choose Stroke Path. Set the Tool to Brush, check the Simulate Pressure box, and click OK.
We will repeat this step to stroke the rest of the textures in this tutorial, but with the Simulate Pressure box unchecked.
Step 2
Command-click any text layer’s thumbnail to create a selection.
Step 3
Make sure that the Texture Stroke layer’s thumbnail is still selected and that the Background Color is Black, and press Command-Backspace to fill the selection with Black.
Press Command-D to deselect.
9. How to Create a Stroke Texture Group
Step 1
Place the Galaxy image below the original text layer, resize it as needed, and rename its layer to BG Stroke 1.
Step 2
Add an inverted mask to the BG Stroke 1 layer, and then place the layer in a group and call it BG Stroke.
Step 3
Duplicate the BG Stroke 1 layer three times, and rename the copies to add the numbers 2, 3, and 4.
10. How to Create Big Particles Brush Tips
Step 1
Pick the Brush Tool, choose the Erodible Point 9px tip, and use these settings:
Brush Tip Shape
Shape Dynamics
Scattering
Step 2
Select the BG Stroke 2 layer mask’s thumbnail, and stroke the path using the Direct Selection Tool.
Make sure to uncheck the Simulate Pressure box for all the BG Stroke layers.
Step 3
Change the settings of the same brush tip to get a different outcome, by unchecking the Shape Dynamics tab, and using these settings for the Brush Tip Shape and Scattering:
Step 4
Use the modified tip to stroke the path on the BG Stroke 2 layer mask, and change the layer’s Blend Mode to Lighter Color.
11. How to Create Dust Brush Tips
Step 1
Choose the Airbrush tip below, and use these Brush Tip Shape and Scattering settings:
Step 2
Click the Create new brush icon in the bottom right corner of the Brush panel, set the Name to Dust Brush, and click OK.
Step 3
Select the BG Stroke 3 layer mask’s thumbnail, stroke the work path with the Dust Brush tip, and change the layer’s Blend Mode to Color Dodge.
Step 4
Change the Brush Tip Shape and Scattering settings of the same brush tip as below:
Step 5
Stroke the work path on the BG Stroke 4 layer’s thumbnail, and change the layer’s Blend Mode to Color Dodge.
With the Direct Selection Tool active, hit the Return key to get rid of the work path.
12. How to Add Light Streaks
Step 1
Place one of the P-Series.Black-BG – C4D Set images on top of the Texture Stroke layer, resize it as needed, and change its layer’s Blend Mode to Screen.
Step 2
Press Command-T to enter the Free Transform Mode, and click the Warp icon in the Options bar.
Click-drag the points and/or the sections to warp the light into a shape you like. When you’re done, hit the Return key to accept the changes.
You can also resize, rotate, and adjust the image while in the Free Transform Mode.
Step 3
You can add a layer mask, and use a soft round brush tip, with the Foreground Color set to Black, to paint over any unwanted areas and hide them.
Step 4
Add more images and warp them.
If the light’s background is visible, you can go to Image > Adjustments > Levels, click the Sample in image to set black point icon, and click the background area you want to make black.
Step 5
Add as many images as needed, and place them anywhere you like.
13. How to Adjust a Background and the Global Coloring
Step 1
Add a layer mask to the Background Image layer, pick the Brush Tool, choose the Dust Brush you saved earlier, and click-drag slightly in the center of the document to erase a part of the image’s center.
Step 2
Add a Gradient Map on top of all layers, check the Dither box, and create the gradient fill using the Colors#5c3d69 to the left, #94516a in the middle, and #e8977a to the left.
Change the Gradient Map layer’s Blend Mode to Soft Light, and its Opacity to 30%.
Step 3
Add a Color Lookup adjustment layer on top of all layers, and use the FoggyNight.3DL table from the 3DLUT File menu.
Step 4
Press Command-A to select all, go to Edit > Copy Merged, and Edit > Paste Special > Paste in Place.
Rename the pasted layer to Overlay, and hide the Color Lookup layer.
Step 5
Decrease the Overlay layer’s Opacity to a value you like.
Congratulations! You’re Done
In this tutorial, we used a simple texture for the background, and created a couple of text layers. Then, we styled the text layers to create the main effect.
After that, we used textures and brush settings to create a couple of stroke layers. Finally, we used adjustment layers to enhance the final result.
Please feel free to leave your comments, suggestions, and outcomes below.
Writing code is only one small piece of being a developer. In order to be efficient and capable at our jobs, we must also excel at debugging. When I dedicate some time to learning new debugging skills, I often find I can move much quicker, and add more value to the teams I work on. I have a few tips and tricks I rely on pretty heavily and found that I give the same advice again and again during workshops, so here’s a compilation of some of them, as well as some from the community. We’ll start with some core tenants and then drill down to more specific examples.
Main Concepts
Isolate the Problem
Isolation is possibly the strongest core tenant in all of debugging. Our codebases can be sprawling, with different libraries, frameworks, and they can include many contributors, even people who aren’t working on the project anymore. Isolating the problem helps us slowly whittle away non-essential parts of the problem so that we can singularly focus on a solution.
Some of the benefits of isolation include, but are not limited to:
Figuring out if it’s actually the root cause we think it is or some sort of conflict
For time-based tasks, understanding whether or not there is a race condition
Taking a hard look at whether or not our code can be simplified, which can help with both writing it and maintaining it
Untangling it and seeing if it’s one issue or perhaps more
It’s very important to make the issue reproducible. Without being able to discern exactly what the issue is in a way where you can reproduce it, it’s very difficult to solve for it. This also allows you to compare it to working model that is similar so that you can see what changed or what is different between the two.
I have a lot of different methods of isolation in practice. One is to create a reduced test case on a local instance, or a private CodePen, or a JSBin. Another is to create breakpoints in the code so that I can see it execute bit by bit. There are a few ways to define breakpoints:
You can literally write debugger; inline in your code. You can see how this will fire small pieces at a time.
You can take this one step further in Chrome DevTools and even walk through the next events that are fired or choose specific event listeners:
Good 'ol console.log is a form of isolation. (Or echo in PHP, or print in python, etc…). You are taking one tiny piece of execution and testing your assumptions, or checking to see if something is altering. This is probably the most time-tested form of debugging, that no matter how advanced you become, still has it’s uses. Arrow functions in ES6 have allowed us to step up our console debugging game as well, as it’s now a lot easier to write useful one-liners in the console.
The console.table function is also a favorite tool of mine, especially great for when you have a lot of data you need to represent- large arrays, large objects and the like. The console.dir function is also a nice alternative. It will log an interactive listing of an object’s properties.
console.dir gives an interactive listing
Be Methodical
When I teach workshops and help students in my class, the number one thing that I find holds them back as they try to debug a problem is not being methodical enough. This is truly a tortoise-and-the-hare kind of situation. They understandably want to move quickly, so they change a ton of things at once, and then when something stops working, they don’t know which thing they changed is causing the error. Then, to debug, they change many things at once and get a little lost trying to figure out what is working and what isn’t.
We all do this to some extent. As we become more proficient with a tool, we can write more and more code without testing an assumption. But if you’re new to a syntax or technology, being slow and careful behooves you. You have a much better shot at backing out of an issue you might have inadvertently created for yourself. And indeed, once you have created an issue, debugging one thing at a time might seem slower, but exposes exactly what changes have happened and where the error lies in a way that a seemingly faster pace doesn’t allow. I say seemingly because the time isn’t actually recovered working this way.
Do you remember when you were a kid and your parents said, „if you get lost, stay where you are?” My parents did, at least. It’s because if they were moving around to find me and I was also moving around to find them, we’d have fewer chances of bumping into one another. Code works the same way. The less moving pieces you have, the better- the more you are returning consistent results, the easier it will be to track things down. So while you’re debugging, try not to also install anything, or put in new dependencies. If you see a different error every time you should be returning a static result, that’s a big red flag you should be headed right for with your sleuth hat on.
Choose Good Tools
There are a million different tools for solving a variety of problems. I’m going to work through some of the tools I find the most useful and then we’ll link off to a bevy of resources.
Syntax Highlighting
Sure, it’s damn fun to pick out the new hotness in colors and flavors for your syntax highlighting theme, but spending some time thinking about clarity here matters. I often pick dark themes where a skip in syntax will turn all of my code a lighter color, I find errors are really easy to see right away. I tend to like Oceanic Next or Panda, but really, to each their own on this one. It’s important to keep in mind that when looking for a good syntax highlighter, awesome-looking is great, but functional for calling out your mistakes is most important, and it’s totally possible to do both.
Linting
Linting helps flag suspicious code and calls out errors we might have overlooked. Linting is incredibly important, but which linter you choose has so much to do with what language/framework you’re writing in, and then on top of that, what your agreed-upon code style is.
Different companies have different code styles and rules. Personally, I like AirBnB’s, but take care and don’t just use any old linter. Your linter enforces patterns that, if you yourself don’t want to enforce, can stall your build process. I had a CSS linter that complained whenever I wrote a browser hack, and ended up having to circumvent it so often that it stopped being useful. But a good linter can shine light on small errors you might have missed that are lurking.
Here are some resources:
I recently found this responsive images linter, that tells you what opportunities you might have to use picture, srcset, or sizes.
Extensions can be really awesome because they can be enabled and disabled so readily, and they can work with really specific requirements. If you’re working with a particular library or framework, chances are, having their extension for DevTools enabled is going to give you all sorts of clarity that you can’t find otherwise. Take care though- not only can extensions bog a browser down, but they have permissions to execute scripts, so do a little homework into the extension author, ratings, and background. All that said, here are some of my favorites:
Codopen: pops you out of the editor mode into a debug window for CodePen. Full disclosure: my husband made this for me as a present because he was sick of watching me manually opening the debug window (best gift ever!)
Pageruler: get pixel dimensions and measure anything on a page. I like this one because I’m super duper anal about my layout. This helps me feed the beast.
DevTools
This is probably the most obvious of debugging tools, and there are so many things you can do with them. They can have so many packed-in features that can be easy to miss, so in the next section of specific tips, we’ll go into a deep dive of some favorites.
One of my favorite recent ones is this CSS Tracker Enhancement, shown here with permission from Umar. This shows all of the unused CSS so that you can understand the performance impact.
The CSS tracker shows color-coded rules for used and unused sets.
Misc Tools
What input is a global utility for tracking the current input method (mouse, keyboard or touch), as well as the current intent- this can be really good for tracking down accessiblity leaks (hat tip to Marcy Sutton, accessibility expert for this tipoff)
Ghostlabapp is a pretty snazzy tool if you’re doing responsive development or checking anything deployed across a ton of devices. It offers synchronized web development, testing, and inspection.
Eruda is an awesome tool that helps debug on mobile devices. I really like it because it takes a simulator a step further, gives a console and real devtools to help you gain understanding.
Specific Tips
I am always interested in what other people do to debug, so I asked the community through the CSS-Tricks account and my own what they were really into. This list is a mixture of tips I like as well as a roundup of tips from the community.
Props to Michael, this is one of the most useful debugging tools I know of. That snippet „pretty prints” the state of the component you’re working with onto the component so that you can see what’s going on. You can validate that the state is working the way that you think it should be, and it helps track down any errors between the state and how you’re using it.
Animation
We got a lot of responses that said they slow the animation way down:
I mentioned this on a post I wrote right here on CSS Tricks about debugging CSS Keyframe animations, there are more tips too, like how to hardware accelerate, or work with multiple transforms in different percentages.
I also slow down my animations in JavaScript- in GreenSock that would look like: timeline.timeScale(0.5) (you can slow down the whole timeline, not just one thing at a time, which is super useful), in mo.js that would look like {speed: 0.5}.
If you want to use the Chrome Devtools timeline to do performance audits, it’s worth mentioning that painting is the most expense of the tasks, so all things being equal, pay a little more attention to a high percentage of that green.
Checking different connection speeds and loads
I tend to work on fast connections, so I will throttle my connection to check and see what the performance would look like for people who don’t have my internet speed.
This is also useful in conjunction with a hard reload, or with the cache empty
@sarah_edo Not so secret trick. But still many people are unaware. You need DevTools open, and then right click over the refresh button. pic.twitter.com/FdAfF9Xtxm
I mentioned simulators with Eruda before. iOS users also get a pretty sweet simulator. I was going to tell you you have to install XCode first, but this tweet showed another way:
I actually didn’t know about this tool until seeing this tweet. Pretty useful!
CSS Grid Debugging
Rachel Andrew gave a presentation at Smashing and mentioned a little waffle thing you can click on in Firefox that will illuminate the gutters in the grid. Her video explains it really eloquently.
Rachel Andrew shows how to highlight gutters in Firefox DevTools.
Array Debugging
Wes Bos with a really useful tip for searching for a single item in an array:
Finally, I’ll put in a bittersweet resource. My friend James Golick who was an excellent programmer and even more excellent human gave this great conference talk about debugging anything many years ago. Sadly James has passed, but we can still honor his memory and learn from him:
They asked her to create a social app for mountain bikers. Talk out how the app might work, sketch out some flows, you know, UX work. Exactly what they were expecting and what I would have done. But then Robyn turned the table on them and asked what they are going to do about saftey. This app is going to allow strangers to connect and meet in the woods together, how can you ensure their safety?
Geez. Seems obvious after she says it, but at the outset of the question it didn’t seem so obvious. At least to a dude like me. As Mike Monterio put it, we’re both big dudes who don’t think twice about getting into a Lyft with strangers, but is top of mind for plenty of others. There are huge blind spots like this that affect our work.
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Leather is a very durable and pretty material, and it’s been used widely from the earliest days of humankind. In this tutorial I will show you how to draw a beautiful, shiny leather dress and an old leather belt. You can use the techniques shown here for other objects as well, for example for a leather jacket or a piece of leather armor.
What You Will Need
HB pencil
2B pencil
3B pencil
8B pencil
Ballpoint pen (or, better, an empty ballpoint pen!)
Blending stump
Kneaded eraser
Pencil sharpener
3 sheets of paper
1. How to Draw a Shiny Leather Dress
Step 1
Take the HB pencil and gently sketch the body. You can use a drawing manikin as a reference for this.
Step 2
Add the details of the body: breasts and belly.
Step 3
Draw guide lines across the body to define its 3D form, and sketch the outline of the tight-fitting dress.
Step 4
Draw „waves” in the places where the material creases and stretches. You can learn more about drawing folds from this tutorial:
Tilt your pencil and shade the side of the dress, leaving some place for a „shine band” in the middle.
Step 6
Draw a darker seam across the dress—it will be an eye-catching detail breaking the smoothness of the material.
Step 7
Shade the front of the dress as well. Leave a shine band on the side of the seam.
Step 8
Take the blending stump and gently blend the shading, giving a soft edge to the shine in the process. Once the stump is dirtied with graphite, you can use it to „draw” some soft shade between the folds.
Step 9
Take the 3B pencil and shade the side of the dress. Be careful around the creasing! Leave a tiny border between the shade and the outline, to create an area of reflected light here.
Step 10
Blend it with the blending stump.
Step 11
Shade and blend the rest of the side, leaving some space for the previous shade around the shine.
Step 12
Darken the seam to adjust its shade to the current contrast.
Step 13
Darken the front of the dress, leaving some space for a reflected shine. Without it the dress would lose its 3D form.
Step 14
Take the 8B pencil and add the final shade. Press very hard, but don’t ignore the shading that’s already there.
Notice how the creases create shadows for the seam
Step 15
Take your kneaded eraser and „draw” some shine with it. Don’t overuse white shine, or it will look like latex!
Step 16
Finish the drawing by using the 8B pencil even stronger, filling all the unnecessary white spots created by the texture of the paper.
2. How to Draw an Old Leather Belt
Step 1
Take the HB pencil and sketch the belt with a buckle.
Step 2
Drag the other end of the belt through the buckle.
Step 3
Add the „band” and the holes.
Step 4
Take another sheet of paper and place it over the drawing. Make sure you can see at least the outline of the sketch beneath—if you can’t, use a thinner sheet or place them both on the window. Take the ballpoint pen and draw long, horizontal 'X’s all over the belt to simulate a leather texture. If you have an empty ballpoint pen, you can „draw” directly on the drawing. Push hard to make sure you’re making marks.
Step 5
Take the HB pencil again, tilt it, and shade the belt. You’ll see the texture emerging in the process.
Step 6
Draw lines for the seams along the belt.
Step 7
Take the 3B pencil and draw the outline of the seams.
Step 8
Shade the seams carefully. Keep the pencil sharpened!
Step 9
Take the 2B pencil and shade the belt once again, this time going around the seams. Shade the holes as well. Give each part of the belt a darkened edge.
Step 10
Gently shade the side of the belt, giving it a slightly brighter shade.
Step 11
Take the 3B pencil and shade the belt in a more detailed way: create shadows under the band and the buckle, and accentuate some wrinkles of the leather.
Step 12
Take the 8B pencil and add some darker accents. Don’t overuse it!
Step 13
Finish the drawing by adding the metal buckle. You can learn how to draw metal from this tutorial:
In this tutorial, you will learn how to draw shiny metal (polished silver, chrome), and old/used metal (weapons).
Good Job!
Now you know how to draw both new, shiny leather, and old, used leather. If you enjoyed this tutorial and want to learn more about drawing various materials with pencils, check our other tutorials from this series:
The texture of rock is deceptively simple, but it gets quite complicated when you try to get it right. In this tutorial I will show you how to draw a texture…
Fur can be very simple to draw, if you just learn one secret of it! In this tutorial I will show you how to draw long and short fur, but you can use these…
Transparent glass is incredibly hard to draw from imagination. That’s because we know it’s "invisible", so what is there to draw? But the correct…
