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How to Create a Cafe Illustration in Adobe Illustrator

Post pobrano z: How to Create a Cafe Illustration in Adobe Illustrator

Final product image
What You’ll Be Creating

Everybody has their own way of relaxing and enjoying their life. One of
my favorite times of the day is taking a sip of morning coffee—this is
pretty much the only time when I can sit back and read some books
because once that time’s over, I’m in my Wonder Woman gear trying to get
everything done. 

In this tutorial, I want to share this special
moment by illustrating a lady who is relaxing with her coffee. While
creating this illustration, you’ll learn to manipulate shapes and also
get acquainted with the Width Tool, which I haven’t used before in my
previous tutorials. As usual, we will use basic shapes and the Warp Effect.

Why don’t you browse through GraphicRiver and find more characters? Maybe you will decide to make another hair style or even clothes, who knows…

1. How to Create the Head

Step 1

After
opening the Adobe Illustrator, create a new document with 850 x 850 px
Width
and Height. We’ll begin by illustrating the head.

Using
the Ellipse Tool (L), draw an oval. In the image below, you can see
which fill color you need. To give the head an irregular shape, go to
Effect > Warp > Inflate. Enter the options you see below.

creating the head shape

Step 2

Let’s
start by drawing the top part of the hair. Draw two cream ovals with
the Ellipse Tool (L). Take the Direct Selection Tool (A) and move the
handles of the anchor points to create the shape you want.

creating the front hair

Step 3

To
create long hair, make another cream oval and change its shape: go to
Effect > Warp > Inflate. Enter the options shown below. Be sure
to place this oval behind the head (Control-C, Control-B).

creating the back hair

Step 4

Let’s
make a hair band. Create two more circles by using the Ellipse Tool
(L)
, and make them overlap as in the image below. Go to the
Pathfinder
panel and press the Minus Front button.

creating the hair band

Step 5

Place this hair band on the hair. 

Now
we will add the ears. Make another small oval and rotate it to the
left. Place this ear on the left side of the head. While keeping the
left ear selected, right-click your mouse and select Transform >
Reflect
. Once you get a dialogue box, select Axis Vertical, Angle 90
degrees, and press Copy. Move the new ear to the right.

placing the hair band

Step 6

For
the dreamy, relaxed eyes, create an oval. Then grab the Scissors Tool
(C)
and click on the left and right sides of the ellipse. Delete the
upper part of the ellipse by pressing the Delete button on your
keyboard. You should be left with an arc. Increase the stroke Weight and
check Round Cap on the Stroke panel. 

To add the eyelashes, make a copy
of this arc, decrease the stroke weight, and attach it to the left corner
of the larger arc. Make another copy of this small arc. Our romantic
eye is ready.

creating the eye

Step 7

Place the left eye on the face and
create the right eye. Right-click your mouse and select Transform >
Reflect
. Once you get a dialogue box, select Axis Vertical, Angle 90
degrees
, and press Copy. Move the new eye to the right.

placing the eye and creating another one

Step 8

Now
the lips. Let’s create a little matte red ellipse and by using the
Convert Anchor Point Tool (Shift-C), make the left and right anchor
points sharp by clicking them. After that, select those two anchor
points again (with the Direct Selection Tool (A)) and move them up by
pressing the Up Arrow on your keyboard.

For the upper lip,
create another small red ellipse. Select the top and bottom anchor points
with the Direct Selection Tool (A)) and move to the right by pressing
the Right Arrow on your keyboard. Make a reflected copy of this shape:
right-click
your mouse and select Transform > Reflect. In the
dialogue box, select Axis Vertical, Angle 90 degrees, and hit Copy. Move
this copy to the right. The lips are ready. 

(Note: You don’t need the
black strokes—it’s just to show you the shape and the placement).

creating the lips

Place the lips on the face.

placing the lips

Step 9

Let’s give the lady a pair of glasses.

Create
an oval with a dark gray stroke color and no fill. To create the shape
shown below, move the handles of the anchor points by using the Direct
Selection Tool (A)
. Add a line from the left side of this shape using
the Line Segment Tool (\)

Then create the right part of the glasses, just as we’ve been doing in the previous steps: right-click, Transform > Reflect. In the dialogue box, select Axis
Vertical, Angle 90 degrees
, and hit Copy. Move this copy to the right.
Use the Arc Tool to make the middle part of the glasses and attach the
lenses together. An elegant pair of glasses is ready. You can play with
the shape of the frames to create a unique pair of glasses you
like.

creating the glasses

Now place the pair of glasses on the face.

placing the glasses

2. How to Create the Body

Step 1

Let’s
start by creating the neck and the shoulders. For the neck, create a
rectangle using the Rectangle Tool (M) and attach it to the head. After
that, create a horizontal oval (use the Ellipse Tool (L)) and attach it
to the neck.

creating the neck

Step 2

In this step, we will create the lady’s
body. Using the Rounded Rectangle Tool, create a gray rounded rectangle.
Let’s modify the bottom part of this shape. We’ll use the Fish effect:
go to Effect > Warp > Fish and enter the options below.

creating the body

Step 3

To
create the arms, we will start with an arc. First, delete the fill
color and set the stroke color similar to the body color. Check Round Cap on the Stroke panel and make the Weight of this stroke very
thick. Now, using the Arc Tool, draw the woman’s arms. Move the handles
of the anchor points to achieve the result you need.

creating the arms

Step 4

Let’s continue drawing the arms.

Using the Line Segment Tool (/), create the lower part of the right arm. Then using the Arc Tool, create the left arm.

Now
we will modify these shapes so that this part is a bit thinner than the upper
arm. Select the Width Tool (Shift-W) and when you place the mouse over
the woman’s wrist, you will see new handles. If you move these
handles outside the line, the width of the line will increase on one
end. If you move anchor points inside the line, the width will decrease.
So go ahead and make the arms a little thinner around the wrist area.

creating the arms 2

Step 5

For the hands, we will use two ovals, which will be modified by manipulating
their handles. Remember to delete the stroke color and set the fill
color. 


creating the hands

Here’s a closer look at the handle positions for the lady’s right hand.

creating the hands 2

Step 6

Now
we will create the cup. Pick the Rectangle Tool (M) and create a
rectangle. Keep it selected and go to Effect > Warp > Bulge.
Adjust the options as shown in the image below. Remove the fill color
and make the same stroke. Increase the stroke on the Stroke panel and
draw a circle (for a nice round circle you need to hold down the Shift
key). That’s the handle.

creating the cup

Place the cup under the lady’s right hand, but over the body.

placing the cup

3. How to Create the Hips and Legs

Step 1

Using
the Ellipse Tool (L), make an oval and attach it to the bottom part of
the body. Using the Direct Selection Tool (A), move both side anchor
points down. That’s the hips.

creating the hips

Step 2

Let’s make the legs.

Grab
the Line Segment Tool (\), and draw two vertical lines. To get a straight
line, hold the Shift key as you draw the line. Remember to remove
the fill color and choose the same stroke color as the skin color.
Before drawing, be sure to check the Round Cap button on the Stroke
panel and adjust the appropriate Weight of the stroke. To change the
thickness of the legs, select the Width Tool (Shift-W) and move the handles to make the upper part of the leg thicker and the bottom
ankle part a bit thinner.

creating the legs

Step 3

For the shoes, draw an oval
with the Ellipse Tool (L) and place it behind the leg. Using the Direct
Selection Tool (A)
, move the handles of the oval to create the shape
which will look like a shoe. Feel free to design your favorite shoes!

creating the shoes

4. How to Create the Background and the Table

Step 1

Create a light blue square behind the woman, 850 px Width and Height, by using the Rectangle Tool (M).

creating the background

Step 2

For the table top, add a white rounded rectangle by using the Rounded Rectangle Tool.

creating the table top

Step 3

Add two vertical rectangles by using the Rectangle Tool (M), for the table legs.

creating the table legs

Step 4

For
the table decoration, add two spirals next to the table legs by using
the Spiral Tool. If you don’t see this tool, hold the Line Segment Tool
(\)
for a few seconds, and a pop-up menu will appear—then you can select the
Spiral Tool.

Click on your artboard and a new dialogue window
will appear, asking you about the Radius of your spiral, Decay and Segments.
I recommend playing with different Decay and Segments to find out what
you like the most. Select the Round Cap button on the Stroke panel and
adjust the appropriate stroke Weight for this spiral. Create one spiral
and make another vertical copy of it.

creating the table decorations

5. How to Create the Chair

Step 1

For the seat of the chair, create a rounded rectangle using the Rounded Rectangle Tool.

creating the chair top

Step 2

For
the back of the chair, create an oval with no fill and white stroke by
using the Ellipse Tool (L). Place this oval behind the table and the
lady. Slightly modify the oval shape by moving up its bottom anchor
point.

creating the chair back

Step 3

To add the chair legs, create a vertical
rectangle using the Rectangle Tool (M) and a horizontal rounded rectangle
with the Rounded Rectangle Tool.

creating the chair bottom

Step 4

To decorate the
chair, add two spirals on the bottom part of the chair’s leg. Create one
spiral by using the Spiral Tool and make a vertical copy with the
Reflect Tool (O)
.

creating the chair decorations

Awesome Work, You’re Done!

We are done! Great job! I
hope you’ve enjoyed the process of illustrating using Adobe
Illustrator and learned some new tips and tricks, which you can use in
the future! Now it’s time to relax and grab a cup of coffee. Enjoy, have
fun, and don’t forget to share your art with us!

final image

Cadillac Carry at the Oscars

Post pobrano z: Cadillac Carry at the Oscars

GM brand Cadillac has run four commercials in association with the 89th Academy Awards, “Carry”, “Pioneers” and “Pedestal”. The Cadillac Carry commercial, one of the most talked about Oscars ad, focuses on an America with a shared commitment to carry one another, despite differences. “We are a nation divided. That’s what they tell us, right? This chasm between us. But what they don’t tell you, what doesn’t make the news, is this. Maybe what we carry isn’t just people, it’s an idea, that while we’re not the same, we can be one, and all it takes is the willingness to dare.” Footage of protests, rescues and community celebrations is presented alongside historical shots of Muhammad Ali, Marilyn Monroe and Dwight Eisenhower and classic Cadillac models.

Cadillac Carry commercial

One ad, called “Pedestal,” features the Escala concept car. Another ad called “Pioneers” spotlights technology used in Cadillac vehicles. A fourth ad is dedicated to the CTS-V.

Cadillac Carry Credits

The Cadillac Carry commercial was developed at Publicis New York by chief creative officer Andy Bird, executive creative director John Kenney, chief production officer Lisa Bifulco, executive producer Anthony Garetti, producer Justine Palivoda, chief executive officer Carla Serrano, managing director Adam Hunt, strategy directors Ben Zumsteg and Patrick White, music supervisor Rachel Rauch, group account director Emily Shahady and account director James Bundy.

Editor was Jay Rabinowitz at Lost Planet with executive producer Krystn Wagenberg and producer Felix Cabrera.

Visual effects were produced at Black Hole. Colorist was Tom Poole at Company 3.

Sound was produced at Sound Lounge. Music is “Climb” from the score of “The Mission”, by Ennio Morricone.

Further Credits

Pedestal and Pioneers were developed at Rokkan by chief creative officer Brian Carley, associate creative director Noel Nickol, creative directors Billy Veasey, Bill Carlson, Mario Stipinovich, senior art director Steff Wilson. Production was by Independent Media.

Piper wins Oscar

Post pobrano z: Piper wins Oscar

Pixar’s film, “Piper” has won the Oscar for Animated Short Film at the Academy Awards. Released in tandem with the animated feature film Finding Dory, “Piper” tells the story of a hungry baby seabird overcoming fear of water. Animation director Alan Barillaro found his inspiration for the short film as he jogged along the beach near Pixar Studios. He observed birds fleeing from the incoming waves but returning immediately to find their food. In “Piper” the baby sanderling is inspired by hermit crabs who dig into the sand to find food in the deeper water. The six minute film was developed over three years, with animation informed by regular visits to beaches in San Francisco Bay and Monterey Bay Aquarium. Macro photography and special effects software were combined to recreate sand, waves and feathers with a new level of accuracy in lighting and movement.

Piper Beach Bubble

Credits

Piper was produced at Pixar by director/writer Alan Barillaro, producer Marc Sondheimer, director of photography Erik Smitt and Derek Williams, executive producers John Laseter and Andrew Stanton, production managers Sarah K Reimers and Richmond Horine, storyboard artists Rejean Bourdages and Enrico Casarosa, Tony Maki, Tony Rosenast and Rosanna Sullivan, head of story Brian Larsen, layout artists Colin Levy and Charlie Ramos, animation coordinator Samantha Jane Samuels, animators Dovi Anderson, Evan Bonifacio, James W. Brown, Simon Christen, Claudio de Oliveira, Graham Finley, Rob Gibbs, Joey Gilbreath, Catherine Hicks, Patty Kihm, Erick Oh, Bret ‘Brook’ Parker, Alli Sadegiani, Tal Shwarzman, Ricky Wight, Kureha Yokoo, sets shading artist Tracy Lee Church, effects artists Shaun Galinak and Sarah Beth Eisinger, digital artist Andrew Jimenez, visual effects artists David Lipton and Andrew Wheeler, FX technical director Leon JeongWook Park, character shading and grooming artist Kiki Mei Kee Poh, VFX supervisor Ferdi Scheepers, sets support Andrew Schmidt, effects animation technical director Vincent Serritella, colourist Susan Brunig, rendering supervisor Reid Sandros, title designer Laura Meyer, supervising technical director Brett Levin, technical developer Brandon Wang.

Sound was produced by sound designer Ren Klyce, production sound designer Samuel Lehmer and foley mixer Scott Curtis.

Music was by Adrian Belew.

DB Export launches Beer Bottle Sand

Post pobrano z: DB Export launches Beer Bottle Sand

DB Breweries has launched “Beer Bottle Sand”, an environmentally friendly campaign designed to encourage the recycling of glass beer bottles. In New Zealand, three out of every twelve beers sold end up in landfill. The Beer Bottle Sand project aims to keep recyclable glass out of landfill and sand on New Zealand’s beaches. The brewery has built a fleet of machines that let their drinkers instantly turn their empty bottles into sand substitute. DB Export Beer Bottle Sand will then be supplied to construction companies and commercial partners, reducing the country’s dependence on beach-derived sand. To do their bit, New Zealanders simply have to empty a bottle of DB Export. The Beer Bottle Sand campaign follows on from the ongoing DB Export Brewtroleum campaign.

DB Export Beer Bottle Sand Truck


http://www.dbexportbeer.co.nz/db-beer-bottle-sand
http://www.dbexportbeer.co.nz/sand-machine

The Beer Bottle Sand Machines reduce an empty bottle of DB Export into sand substitute in just 5 seconds. As the bottle is inserted, a laser triggers a wheel of small steel hammers spinning at 2800rpm. As the bottle is pulverised a vacuum system removes silica dust and plastic labels, leaving behind 200 grams of sand substitute. The brewery is in the process of finalising a two year deal to supply DB Export Beer Bottle Sand to Drymix – New Zealand’s biggest producer of bagged concrete. Beer Bottle Sand will also be supplied to national roading projects, commercial and residential construction, right through to golf bunkers.

DB Export Beer Bottle Sand Machine
DB Export Beer Bottle Sand Machine

Says Colenso BBDO Creative Chairman Nick Worthington: “Brewtroleum’s success came through finding partners who could make the idea more than advertising. We’re thrilled to partner with the country’s biggest construction companies to make DB Export Beer Bottle Sand a viable alternative to beach sand. And we’re excited to work with DB Export drinkers to ensure a reliable supply of empty bottles.”

Says Sean O’Donnell, Marketing Director at DB Breweries: “We can’t solve the problem alone but we knew we could do more to help. Our ambition is to help drive more recycling whilst looking out for the beaches which are an integral part of our Kiwi DNA. We’re proud to launch an initiative that can help us do our bit to protect our beaches for future generations.”

DB Export Beer Bottle Sand Banner
DB Export Beer Bottle Sand Banner
DB Export Beer Bottle Sand Infographic

Beer Bottle Sand Credits

The Beer Bottle Sand campaign was developed at Colenso BBDO.

Filming was produced at Finch.

Media was handled at PHD.

PR was handled at Spark PR & Activate.

Shopper marketing work was done at Raydar.

Digital work was produced at Union Digital.

Genesis Noir – Teaser

Post pobrano z: Genesis Noir – Teaser

Genesis Noir” takes place before, during and after the Big Bang as you race to stop the expansion of the universe and save your love. “A cosmic gunshot expands towards the heart of a god and the player must explore the universe, seeking clues on how creation might be undone.”  Inspired by the world of animation and motion design, “Genesis Noir blends visual storytelling and interaction into one seamless experience”. With its beautiful and unique style, cosmic premise, and generative gameplay, we at Motionographer are very excited to find out more about this game and what is going on over at the Feral Cat Den!

You can find out more info below.

How to Create a Tasty 3D Typographic Illustration in Photoshop

Post pobrano z: How to Create a Tasty 3D Typographic Illustration in Photoshop

Final product image
What You’ll Be Creating

This tutorial was originally published in May 2012 as a Tuts+
Premium tutorial. It is now available free to view. Although this
tutorial does not use the latest version of Adobe Photoshop, its
techniques and process are still relevant.

If you’ve got a sweet tooth, then we’ve got a mouth-watering treat for you. In this tutorial we will show you how Photoshop CS6 Extended’s new 3D tools can be utilized to create a typographic illustration. We will also use plenty of free stock images and make full use of Photoshop’s non-destructive features, such as Adjustment Layers and Masks. Let’s get started!

Want an easier way to create tasty text? Browse the incredible selection of Candy Text Effects from GraphicRiver. Or enlist the help of a design professional from Envato Studio for all your typography needs.


Tutorial Assets

Note: The following references have been updated with workable links similar to the originals. But feel free to collect and experiment with your own.


1. How to Create 3D Letters

Step 1

Create a new canvas 14.85cm wide x 10.5cm high with the Resolution at 300dpi. Set the Color Mode to RGB and the Background Contents as White.

Create 3D Letters

Step 2

Grab the Type Tool (T) and add the first character at 160pt in this font, then click the color chip in the Character tab and recolor it to #5d1e0f.

Create 3D Letters

Step 3

Choose 3D > New Extrusion from Selected Layer. If you’ve not got the 3D workspace active, the following prompt will appear.

Create 3D Letters

Step 4

If you ever used CS5’s 3D Repousse Tool, you’ll know how far it was from being user-friendly. The 3D experience in CS6 has been totally overhauled and is much more intuitive as everything is built into your workspace. Grab the Move Tool (V), drag to reposition the 3d plane as shown.

Create 3D Letters

Step 5

You’ll see the Properties panel on the right. Click the Cap icon (1) and copy the settings shown. Now activate the Deform icon (2) and Copy these settings too. Now activate the Mesh icon and turn off both shadow options.

Create 3D Letters

Step 6

Duplicate your first 3D text layer. To modify text while still in 3D Mode, click the Edit Source button in the Properties panel. This will open a „child document”, Edit, Save, then close and your text will automatically update. Now Drag the new 3D layer along the X-Axis in 3D space to reposition it.

Repeat this until each word is complete, then place each character clearly labelled in a separate word folder as shown.

Create 3D Letters

Step 7

Now use the 3D Tools to Rotate/Move each character. Be careful not to use the Z-Axis, as this will move the object towards or away, making it appear larger or smaller.



Step 8

When you’re happy with the lettering arrangement, choose 3D > Render, then and sit back while until the render process is complete.

Create 3D Letters

2. How to Create the Background

Step 1

At this point I decided I would need a little more space at the top for the hand/strawberry. To do this, press Alt-Control-I to access the Canvas Size window, set the anchor point to bottom centre and increase the Height to 11.85cm.

Create the Background

Step 2

Place a new layer called „Pink solid” above the „Background”. Use the Color Picker to set your Foreground Color to #e2b4c1, then hit Alt-Delete to fill the layer with pink.

Create the Background

Step 3

Add a New Layer called „Floor shadow” above the previous one, change the Blend Mode to Multiply and reduce the Opacity to 94%. Choose the Gradient Tool (G) and set it to Linear and Foreground to Transparent in the Options bar. Set your Foreground to a slightly darker pink of #c18088. Now press Shift and Drag as indicated by the length and direction of the arrow.

Create the Background

Step 4

Add another layer called „Top shadow”. Keep the Blend Mode as Default, then set your Foreground Color to #e38da4. Shift-Drag a short Linear Gradient from the top, then change the Gradient to Radial and add two further gradients from both top corners.

Create the Background

Step 5

Change your Foreground Color to #f9f5f7 and add a central Radial Gradient on a new layer called „Inner glow”.

Create the Background

3. How to Create a Ground Shadow

Step 1

Now we’ll add a ground shadow. Grab the Elliptical Marquee Tool (M) and draw a selection below the text as shown. Add a new layer in Multiply Mode above the „Inner glow” and name it „Shadow 1”. Set your Foreground Color to #d0879c and Fill the active selection.

Create a Ground Shadow

Step 2

Go to Filter > Blur > Motion Blur, set the Angle to 0 Degrees and change the Distance to 531px. Next, use the same menu to choose Gaussian Blur and enter a Radius of 15px.

Create a Ground Shadow

Step 3

Reduce the „Shadow 1” layer to 53% Opacity. Now Duplicate and rename it „Shadow 2”. Nudge the layer content up slightly, then hit Control-T to access Transform and reduce in size as well. Finally, drop the Opacity of this layer to 31%.

Create a Ground Shadow

Step 4

To reduce the intensity of the background, add an unclipped Hue/Saturation Adjustment Layer, Copy these settings, then reduce the adjustment to 27% Opacity.

Create a Ground Shadow

Step 5

To break up the gradient banding and the solid pink, target the „Shadow 2” thumbnail and choose Filter > Noise > Add Noise, enter 3px and activate the Uniform button. Target the remaining layers in turn (as indicated) and hit Control-F to reapply the filter. Now place all these layers within a group folder called „BACKGROUND”.

Create a Ground Shadow

4. How to Add Texture to the First Letter

Step 1

Now we’ll move onto texturing the first letter. Use the Lasso Tool (L) to create a rough Selection of a chocolate image. Copy > Paste as a new layer above the type folders, then Duplicate and reposition next to the original. Use a soft-edged Eraser (E) to blend the hard edge of the duplicate, then hit Conrol-E to Merge Down and name the layer „Texture 1”.

Transform/position over the letter, then Control-Click the corresponding text layer to generate a layer-based selection. Ensure your new layer is targeted, then click on the Add layer mask icon located at the foot of the Layers tab.

Add Texture to the Letters

Step 2

This first layer will appear over the darker extruded areas of the letterform, so add a clipped (to affect this layer only) Levels Adjustment and set the whitepoint Output slider to 94.

Add Texture to the Letters

Step 3

Now we’ll add a toffee and chocolate topping. Use the Quick Selection Tool (W) to extract this a cookie. Place as a new top layer and Transform/Position as shown. Add a Layer Mask, then use an assortment of Soft and Hard brushes to blend into the top and front face of the letterform. Name this layer „Texture 2”.

Add Texture to the Letters

Step 4

Clip a Color Balance Adjustment to „Texture 2” and boost the Reds to +23.

Add Texture to the Letters

Step 5

Extract the same entire choc ice (as used on Step 19), then Rotate, Scale and Position as a new layer. Name this layer „Texture 3”, add a Mask, then hit Control-I to Invert the mask to black. Now use a selection of white brushes to reinstate the area as shown.

Add Texture to the Letters

Step 6

Clip a Levels Adjustment with these settings to the „Texture 3” layer to Darken the midtones.

Add Texture to the Letters

Step 7

Add the same entire choc ice again as a new top layer and label it „Texture 4”. Position over the bottom of the letterform, then repeat the masking technique as used the previous layer.

Add Texture to the Letters

Step 8

Clip another Levels Adjustment and increase the Midtones on „Texture 4” as well.

Add Texture to the Letters

Step 9

Place the same choc ice as a final layer and label it „Texture 5”, then mask as shown.

Add Texture to the Letters

Step 10

Place all these floating layers within a Group folder called „LETTER S”, then add a mask to the folder. Now Paint within a Selection from the letter „W” to hide the overlap.

Add Texture to the Letters

5. How to Add Texture to the Letter W

Step 1

Extract the chocolate bar from its background, with the select active, hit Control-J to Copy as a new layer and Disable the Visibility of the original layer. Target the new layer, activate the Move Tool (V), then hold Control and drag out the top anchor points to remove the perspective.

Add this as a top layer called „Texture 1” and Resize/Position over the second letterform. Reduce the Opacity to 32%, then use a selection from its corresponding type layer to create a mask.

Add Texture to the Letter W

Step 2

Duplicate this layer, rename it „Texture 2” and change the Opacity to 95%. Drag the mask into the trash icon and click Delete in the following window. Temporarily Switch Off the Visibility of both texture layers, then use the Magic Wand (W) to select the front face from the corresponding type layer (shown by the marching ants in the screenshot). Now press Shift-F6 and Feather by 3px, then Select > Modify > Expand By 5px. Finally, click the Add Layer Mask icon.

Add Texture to the Letter W

Step 3

Clip a Color Balance Adjustment to „Texture 2” and increase the Reds and Yellows.

Add Texture to the Letter W

Step 4

Now clip a Levels Adjustment to the same layer to boost the Contrast.

Add Texture to the Letter W

Step 5

Now Clip a Hue/Saturation Adjustment to the same layer and adjust the Master, then the Reds and Yellows as shown.

Add Texture to the Letter W

Step 6

As a final modification, clip a Selective Color Adjustment to the same layer and increase the Blacks to +72. Add all these floating layers into a group folder called „LETTER W”

Add Texture to the Letter W

6. How to Add Texture to the Letter E

Step 1

Repeat the process as before to add and Mask the reference image. This texture only need to cover the extruded areas, so don’t worry if it falls short on the left. Name this layer „Texture 1”

Add Texture to the Letter W

Step 2

Clip a Levels Adjustment to the „Texture 1” layer and set the Output whitepoint value to 59 to darken it.

Add Texture to the Letter E

Step 3

Add the same image again and name it „Texture 2”. Now apply the same masking technique as before.

Add Texture to the Letter E

Step 4

Clip a Levels Adjustment to „Texture 2” and copy these settings. Place these layers within a group folder called „LETTER E1”.

Add Texture to the Letter E

Step 5

Now clip a Hue/Saturation Adjustment to the same layer and reduce the Reds Saturation to -15.

Add Texture to the Letter E

Step 6

Extract and Place a cookie image over the next letterform. Mask, then lower the Opacity to 45% and name it „Texture 1”.

Add Texture to the Letter E

Step 7

Modify the Mask with a black-filled Selection from the face of the corresponding text layer.

Add Texture to the Letter E

Step 8

Clip a Levels Adjustment to the „Texture 1” layer and adjust the Midpoint slider to 0.84.



Step 9

Add the same texture as a New Layer, label it „Texture 2” and Mask as shown, including the top bite mark.

Add Texture to the Letter E

Step 10

Clip a Levels Adjustment to the „Texture 2” layer and Copy these settings.

Add Texture to the Letter E

Step 11

Now clip a Color Balance Adjustment to the same layer.

Add Texture to the Letter E

Step 12

Extract the right-hand broken portion from an eaten portion of a candy bar. Position over the bite, then access Warp (via the Transform menu) to bend it into shape. Add a mask and gently blend the edges into the underlying texture. Name this layer „Texture 3”.

Add Texture to the Letter E

Step 13

Clip a Hue/Saturation Adjustment to this layer and modify the Reds and Yellows as shown. Now place all your floating layers into a Group folder called „LETTER E2”

Add Texture to the Letter E

Step 14

Finally, add a Mask the original type layer and hide the area interfering with the bite mark.

Add Texture to the Letter E

7. Add Texture to the Letter T

Step 1

Extract and add a cake image as a New Layer and name it „Texture 1”. Use the same masking technique so only the extruded areas are visible, then reduce the Opacity to 90%.

Add Texture to the Letter T

Step 2

Clip a Levels Adjustment to this layer and Copy these settings.

Add Texture to the Letter T

Step 3

Add the same cake texture as another layer and label it „Texture 2”. Now mask, so just the front face is visible.

Add Texture to the Letter T

Step 4

Clip a Color Balance Adjustment to the „Texture 2” layer and apply the following settings.

Add Texture to the Letter T

Step 5

Now Clip a Levels Adjustment to the same layer.

Add Texture to the Letter T

Step 6

Add the same cookie texture as used on the very first letterform and name it „Texture 3”. Position as shown, then blend with a mask.

Add Texture to the Letter T

Step 7

Clip a Color Balance adjustment to this layer, then increase the Red to +17 and the Yellow to +7. Now clip a Levels Adjustment to the same layer and change the midpoint to 0.67 and the whitepoint to 215. You can now place these layers into a group folder called „LETTER T”.

Add Texture to the Letter T

8. How to Add Texture to the Rest of the Letters

Step 1

The letter „O” will be more straightforward. Extract and place a glazed chocolate image as a New Layer. Resize to cover the letterform and label it „Texture 1”. Use a Selection from the corresponding text layer to create a Mask, then deselect and carefully paint back areas as required around the outer edge and centre hole.

Add Texture to the Rest of the Letters

Step 2

Clip a Levels Adjustment to this layer and Copy these settings to darken the texture. Place these two layers into a Group folder called „LETTER O1”.

Add Texture to the Rest of the Letters

Step 3

Lasso a rough Selection from the darker edge of a chocolate image. Copy > Paste several times and position over the extruded areas of the next letterform. When you’re happy Merge them and name the layer „Texture 1”. Now use the original type layer to create a Mask.

Add Texture to the Rest of the Letters

Step 4

Clip a Levels Adjustment to the „Texture 1” layer and set the Midpoint to 0.86 and the Whitepoint to 236. Extract the same cake image from it’s background, then duplicate, Offset and Merge as you did with the very first letterform texture. Add as a New Layer, then position and mask as shown. Name this layer „Texture 2”. Place all these layers into a group folder called „LETTER N”.

Add Texture to the Rest of the Letters

Step 5

Repeat the process to add merged segments from this image as a New Layer over the next letterform. Mask as shown, then name this layer „Texture 1”.

Add Texture to the Rest of the Letters

Step 6

Clip a Levels Adjustment to this layer and set the Whitepoint Output slider to 148. Next, clip a Color Balance Adjustment to the same layer and copy these settings.

Add Texture to the Rest of the Letters

Step 7

Roughly Extract the same cake from its background and place as a new layer. Duplicate a feathered central portion and enlarge/stretch as shown. Merge both layers, then Mask so only the front face is visible. Name this layer „Texture 2”.

Add Texture to the Rest of the Letters

Step 8

Clip a Color Balance Adjustment to this layer and apply the following settings. Add these layer into their own Group folder called „LETTER Y”.

Add Texture to the Rest of the Letters

Step 9

The next letterform will be fairly easy to create. Open a donut reference and Extract it from its background. Place as a New Layer, then Transform to fit. Name this layer „Texture 1”, then disable the visibility of the original type layer.

Now Clip two adjustments to this layer: Levels and Color Balance with the following settings. Place these layers within a Group folder called „LETTER O2”.

Add Texture to the Rest of the Letters

Step 10

Extract and add a pie image and position over the final letterform. Transform and Mask to reveal the extruded type area, then name the layer „Texture 1”.

Add Texture to the Rest of the Letters

Step 11

Clip a Levels Adjustment to this layer and Copy these settings to darken it.

Add Texture to the Rest of the Letters

Step 12

Place the same cake texture as another layer and label it „Texture 2”. Resize and Position, then reduce the Opacity to 48%. Now Mask so just the front face is visible.

Add Texture to the Rest of the Letters

Step 13

Clip a Color Balance Adjustment to this layer and Copy the following settings.

Add Texture to the Rest of the Letters

Step 14

Extract and place a bitten chocolate bar as a New Layer and label it „Texture 3”. Flip Horizontal, Rotate, Resize and Position as shown, then blend with a Mask as shown.

Add Texture to the Rest of the Letters

Step 15

Clip a Levels Adjustment to this layer and Copy these settings to darken it.

Add Texture to the Rest of the Letters

Step 16

Clip a Color Balance Adjustment to the same layer, then mask the original type layer to reveal the bite mark. Finally, add all these layers into a Group folder called „LETTER U”.

Add Texture to the Rest of the Letters

9. How to Add the Strawberry and Hand

Step 1

Next, we’ll move onto creating the hand/strawberry layered file. Open a hand image and Crop (C) the excess background.

Add the Strawberry and Hand

Step 2

For this image we’ll need an accurate selection, so grab the Quick Selection Tool (W) and select the white background.

Add the Strawberry and Hand

Step 3

Hit Shift-Control-I to Inverse your selection, then click the Refine Edge button in the Options bar. In the next window choose On Layers (L) from the View Mode drop-down menu, Copy these settings and click OK.

Add the Strawberry and Hand

Step 4

You’ll now see a masked duplicate layer appear and the visibility of the original layer disabled. Drag the mask into the trash icon and click Apply in the next window, then delete the original layer.

The existing strawberry less than photogenic, luckily this is easy to fix. Open a strawberyy image and use the same Selection/Refine Edge workflow to extract it. Delete/Apply the mask, then add as a New Layer and Resize, Position over the hand.

Add the Strawberry and Hand

Step 5

Now Add a Mask and carefully blend the new strawberry into hand.

Add the Strawberry and Hand

Step 6

Clip a Hue/Saturation Adjustment to the „Hand” layer and slightly increase the Saturation levels as shown.

Add the Strawberry and Hand

Step 7

Now Clip a Levels Adjustment to the „Strawberry” layer to increase the Contrast.

Add the Strawberry and Hand

Step 8

Set the Clone Stamp Tool (S) to Current & Below, then fix any minor flaws in the hand on a New Layer above the Hue/Saturation Adjustment Layer.

Add the Strawberry and Hand

Step 9

Add another layer in Overlay Mode („Nails”) above the „Hand retouch” layer. Sample a color from the nail varnish (I used #814564) and Paint over the nails to accentuate them. To remove any overpainting, create a layer-based Selection from the „Hand”, Inverse and hit Delete on the new layer.

Add the Strawberry and Hand

Step 10

Clone over the white edges of the nails as indicated on a New Layer („Nails retouch”) and use the same method as the previous step to delete any excess. Now place all these layers into a Group folder called „HAND”.

Add the Strawberry and Hand

Step 11

Drag the folder thumbnail into your project file and Resize/Position as shown. If you notice any edge halos on the „Hand” layer, target it and go to Layer > Matting > Defringe and enter a pixel or two.

At this stage you may want to clip some more adjustments to the „Hand” and „Strawberry” layers so they sit more comfortably in the composition.

Add the Strawberry and Hand

10. How to Finish Your Text

Step 1

Use the Selection/Refine Edge extraction workflow on the melted chocolate images to add some puddles of chocolate. Use the techniques you’ve learnt to clip relevant Adjustment Layers and also recolor some to resemble drops of jelly. Place these layers within a new Group folder called „ELEMENTS”.

Finish Your Text

Step 2

Extract and add some white chocolate, then Warp over the donut and Mask accordingly. Clip a Levels Adjustment to boost the contrast and a Hue/Saturation Adjustment to recolor it pink. Next, select a a small area from a cookie image and place as a small cookie crumb within the „ELEMENTS” folder.

Add a New Layer in Multiply Mode at the bottom of the stack within the same folder. Now Fill selections from all your drips and crumb with dark brown. Transform as shown, then apply the same blurring and noise as you did at the start of the tutorial for the main shadow. Finally, reduce the Opacity to 90% and Mask with some black to transparent gradients.

Finish Your Text

Step 3

Place a New Layer above all the group folders and name it „Retouch”. Now grab the Clone Stamp Tool (S) and use a small brush at around 50% Hardness to clone around the edge of the lettering to make it less uniform.

Finish Your Text

Step 4

To wrap up, we’ll add some overall sharpening. Place an New Layer at the top, then go to Image > Apply Image. Set the Blending to Normal in the following window and hit OK (This command creates a composite from all visible layers). Name this layer „High pass”. Choose Filter > Other > High Pass and enter 3px. Change the Blend Mode to Overlay to render the grey invisible, then place both floating layers into a Group folder called „FINAL RETOUCH”.

Finish Your Text

Conclusion

I hope you’ve enjoyed this tutorial and discovered some new techniques along the way. I also hope it inspires you to create your own 3D typographic illustrations!

Sweet Candy Text Effect Adobe Photoshop Tutorial

Yummy Candy Text Effects from GraphicRiver

Want to create an awesome sweet-inspired text effect like the one above? Choose from the incredible selection of Candy Text Effects and Layer Styles from GraphicRiver to satisfy your sweet tooth. And check out one of our favorites below!

Delicious Sweet Layer Styles V2

Sink your teeth into this incredible selection of sweet layer styles. This package features 10 delicious layer styles ranging from sweet ginger cookies to a yummy birthday cake. Easy to use, simply add this layer style to the text or shape you want to apply the effect.

Delicious Sweet Layer Styles V2

Psychology of Design and How it Affects Decisions

Post pobrano z: Psychology of Design and How it Affects Decisions

Psychology of design is a little bit complicated than what most people perceive it to be. Each day people are faced with decisions to make. You either sacrifice the convenience of playing at Vegas Palm Online casino so that you can travel miles to the nearest land-based casino or opt otherwise. Generally, choices have to be made, and this is a very important part of cognitive psychology.

And since this area looks complex, scientists have tried coming up with theories to explain how and why people make choices based on certain preferences. This could also give us some hint as to why people play online casino games at Vegas Palms Canada.

Color and how it affects your choice

Colors invoke moods and emotions. If you walked right into a land-based casino, for example, you’d notice colors that typically bring about the mood of playing. The same thing happens on the internet as well. Online casinos use a wide range of colors which are generally perceived to be ideal for a casino environment.

Generally, all researchers believe that colors can impact your decision-making process because of the effect which they have on your brain. For instance, red is the color of power and passion. That explains why slot games which are based on love or romantic matters are shaded red. Purple is about royalty and wealth. Interior designers use it to create sophisticated living rooms and master bedrooms. Casino software designers like Microgaming use it to spruce up slot machines that are based on opulence. This could explain why players sometimes get addicted to playing online games at casinos. Apart from the game being captivating and naturally engaging to play, visitors will come and stick to an online casino because of the wide selection of colorful games that invoke certain moods on players.

The curiosity gap in design

It is not easy to get someone’s attention and eventually keep them listening to you. However, if the concept of curiosity gap (a term that was first coined by George Loewenstein) is explored, people could be made to listen.

Curiosity gap is basically the gap which exists between what you know and what you don’t know. People generally feel compelled to want to fill this gap, hence the curiosity. In newspapers or magazines, this is done through designing headlines or updates that naturally raise curiosity.

If you go to an online casino site, for example, you will see that games with curiosity-driven names tend to get tested more often than those whose titles don’t raise curiosity.

Generally, online casinos face so much competition such that they have to make good use of these marketing elements to attract and keep users. Usually, a good casino that is designed around these psychological elements will keep visitors’ attention a little bit longer on the homepage. That’s because these websites tend to use the best designs which have also been proven to work magic in the psychology of visitors. This is further reinforced with attractive bonuses which are just impossible to resist.

Most online casinos make it clear that you can sign up and test games for free or with the bonus money which is freely given to new players. This is done in an effort to keep people exploring and playing games which they would be interested in. But most important of all, casinos must utilize visual design elements to attract and retain their users.

Featured image by Clem Onojeghuo