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.
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.
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.”
Beer Bottle Sand Credits
The Beer Bottle Sand campaign was developed at Colenso BBDO.
“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!
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.
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.
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.
Step 3
Choose 3D > New Extrusion from Selected Layer. If you’ve not got the 3D workspace active, the following prompt will appear.
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.
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.
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.
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.
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.
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.
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.
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.
Step 5
Change your Foreground Color to #f9f5f7 and add a central Radial Gradient on a new layer called „Inner glow”.
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.
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.
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%.
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.
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”.
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.
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.
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”.
Step 4
Clip a Color BalanceAdjustment to „Texture 2” and boost the Reds to +23.
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.
Step 6
Clip a Levels Adjustment with these settings to the „Texture 3” layer to Darken the midtones.
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.
Step 8
Clip another Levels Adjustment and increase the Midtones on „Texture 4” as well.
Step 9
Place the same choc ice as a final layer and label it „Texture 5”, then mask as shown.
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.
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.
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.
Step 3
Clip a Color Balance Adjustment to „Texture 2” and increase the Reds and Yellows.
Step 4
Now clip a Levels Adjustment to the same layer to boost the Contrast.
Step 5
Now Clip a Hue/Saturation Adjustment to the same layer and adjust the Master, then the Reds and Yellows as shown.
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”
6. How to Add Texture to the Letter E
Step 1
Repeat the process as before toaddand 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”
Step 2
Clip a Levels Adjustment to the „Texture 1” layer and set the Output whitepoint value to 59 to darken it.
Step 3
Add the same image again and name it „Texture 2”. Now apply the same masking technique as before.
Step 4
Clip a Levels Adjustment to „Texture 2” and copy these settings. Place these layers within a group folder called „LETTER E1”.
Step 5
Now clip a Hue/Saturation Adjustment to the same layer and reduce the Reds Saturation to -15.
Step 6
Extract and Place a cookie image over the next letterform. Mask, then lower the Opacity to 45% and name it „Texture 1”.
Step 7
Modify the Mask with a black-filled Selection from the face of the corresponding text layer.
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.
Step 10
Clip a Levels Adjustment to the „Texture 2” layer and Copy these settings.
Step 11
Now clip a Color Balance Adjustment to the same layer.
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”.
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”
Step 14
Finally, add a Mask the original type layer and hide the area interfering with the bite mark.
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%.
Step 2
Clip a Levels Adjustment to this layer and Copy these settings.
Step 3
Add the same cake texture as another layer and label it „Texture 2”. Now mask, so just the front face is visible.
Step 4
Clip a Color Balance Adjustment to the „Texture 2” layer and apply the following settings.
Step 5
Now Clip a Levels Adjustment to the same layer.
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.
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”.
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.
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”.
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.
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”.
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”.
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.
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”.
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”.
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”.
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”.
Step 11
Clip a Levels Adjustment to this layer and Copy these settings to darken it.
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.
Step 13
Clip a Color Balance Adjustment to this layer and Copy the following settings.
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.
Step 15
Clip a Levels Adjustment to this layer and Copy these settings to darken it.
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”.
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.
Step 2
For this image we’ll need an accurate selection, so grab the Quick Selection Tool (W) and select the white background.
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.
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.
Step 5
Now Add a Mask and carefully blend the new strawberry into hand.
Step 6
Clip a Hue/Saturation Adjustment to the „Hand” layer and slightly increase the Saturation levels as shown.
Step 7
Now Clip a Levels Adjustment to the „Strawberry” layer to increase the Contrast.
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.
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.
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”.
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.
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”.
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.
Step 3
Place a New Layer above all the group folders and name it „Retouch”. Now grab the CloneStamp Tool (S) and use a small brush at around 50% Hardness to clone around the edge of the lettering to make it less uniform.
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”.
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!
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!
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.
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.
Elite CEOs employ gatekeepers to make them unavailable. CEOs are whisked from function to function via black cars and private jets. They have private elevators. They have people screen their mail.
They are impervious to advertising.
They are also discrete.
Barring charity, most Canadian CEOs avoid flaunting wealth. We would have to reach them publically, while respecting their privacy.
So we invited them to the council with huge billboards—right beside their corporate headquarters. Each board was anonymous but unmistakably about one person. We also made custom newspaper wraps and handed them to the CEOs’ employees at the head office. News of the nearby billboards and newspaper wraps quickly trickled up to the boss.
Within 48 hours of our launch, we had a 60% response rate.
We live in uncertain times – people do not seem to trust each other anymore. Or at least that’s how it feels when you open global media these days. But trust doesn’t seem to be the problem if you ask the Danes: Denmark has built a very successful society based on trust. In a new film the biggest Danish political party Socialdemokratiet, the architects of the welfare model, want to test if the Danes are still as trustful as they used to be. Click CC to see English subtitles.
As a care home for ex-servicemen, Broughton House is a building full of stories. Yet even in its cenentary year, the house and its residents were largely unknown outside its community. The campaign served to raise awareness and some much-needed funds for the home by sharing the stories of its inspiring residents.
