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Deke's Techniques is a collection of short Photoshop and Illustrator projects and creative effects that can be completed in ten minutes or less. The series is taught by computer graphics guru Deke McClelland, and presented in his signature step-by-step style. The intent is to reveal how various Photoshop and Illustrator features can be combined and leveraged in real-world examples so that they can be applied to creative projects right away.
Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. Today I appear before you gray and grizzled, just like Gandalf the Grey and grizzled, because this week the movie The Hobbit is out, the first one, the one that covers like the first 36 pages of the book. Which is why in celebration, I'm going to show you how to create a Hobbit movie logo effect in Photoshop. Just for the sake of reference, here is a detail from the actual Hobbit movie logo, and here's the effect that we're going to create inside Photoshop.
It's very nearly an exact match, and in the end, we're going to create this top-notch beautiful piece of artwork here. Here, let me show you exactly how it works. All right, here is the final text treatment, just so you can see what it looks like here inside Photoshop. But we're going to have to start off inside Illustrator, the reason being we need these rippled edges that we're seeing along the contours of the characters, and that's something that Illustrator does much better than Photoshop. So I'm going to switch over to Illustrator, and you can see that I started off with this text here that's set in the font Trajan Pro, which ships along with most SQUs of the Creative Suite.
I've also set it to the Bold style and so forth. Then I went ahead and converted the text to path outlines by going to the Type menu and choosing the Create Outlines command. And then I applied some hand modifications. For example, I stretched the T, I made the E shorter, I changed the angle of the tail coming off the Q, which were all changes I could make now that I'm working with path outlines. The next step--I'll go ahead and scroll up here--is to make a copy of this text by dragging it while pressing the Shift and Alt keys, or the Shift and Option keys on the Mac, and then I'll press Shift+X to swap the Fill and Stroke so that I can better see what I'm doing.
I'll reduce the Line Weight up here in the Control panel to 0.5 points, and now I'll press Ctrl+H, or Command+H on the Mac, to hide my selection edges. The characters are still selected, however. Just so I can better see what I'm doing, I'll go ahead and zoom in a little bit on this text. In order to rough up the edges, you go up to the Effect menu, you choose Distort & Transform, and then you choose Roughen. By default, you're going to end up with this effect here, which obviously is no good.
So here's what you do: switch from Relative to Absolute, and then reduce the Size value to something that looks better. In my case, I came up with 1.2 points, it's just through trial and error. And I increase the Detail value to 17/inch, like so. I left the Points set to Corner, and I ended up achieving this effect here. Now click OK in order to apply the effect. I'll press Ctrl+H, or Command+H on the Mac, to bring back my selection edges just so I can confirm that the letters are selected, and then I'll go up to the Edit menu and choose the Copy command, or you can press Ctrl+C, or Command+C on the Mac.
Now we want to switch back to Photoshop. And I'm going to press Shift+Tab in order to bring back my right side panels, and I'll switch to this background image that I've created in advance. You can see that I've got a couple guidelines set up here which will help me place the text exactly where I want it to be. If you're working along with me and you can't see the guides, then press Ctrl+Semicolon, or Command+Semicolon on the Mac. Then go up to the Edit menu and choose the Paste command, or of course, you can press Ctrl+V, or Command+V on the Mac. Now, by default, you may see Paste As set to Smart Object.
We want to set it to Shape Layer so that we're keeping those path outlines, then click OK in order to generate the new shape. It comes in black by default, so I'll press Ctrl+Backspace, or Command+Delete on the Mac, to fill the letters with white, which just makes them easier to see. Then I'll go ahead and rename that new Shape Layer roughed up, just so I can better keep track of it. And now to move it to the proper location. I'll switch to the Move Tool, which you can also get by pressing the V key, and I'll drag the Type until the upper-left corner of the T snaps into alignment with the guidelines.
That's all there is to the guides, so I'm going to get rid of them now by going to the View menu and choosing the Clear Guides command. Now we need to infuse the characters with a little bit of color, and we'll do that using the Layer Effect. So click on the fx icon at the bottom of the Layers panel and choose Gradient Overlay in order to bring up the Layer Style dialog box. Then click on the black to white Gradient bar in order to bring up the Gradient Editor dialog box. Double-click on the first color stop, which is black by default. I'll dial in a Hue value of 35 degrees and Saturation and Brightness values of 75% apiece, then click OK.
Now double-click on the final color stop, which is white by default, change its Hue value to 45 degrees, enter a Saturation value of 35%, and a Brightness of 75%, and then click OK inside the Color Picker to hide it, and click OK inside the Gradient Editor to hide it as well. Now, all the other options are fine by default: the Style is set to Linear, the Angle is 90 degrees, the Scale is 100%, and so forth. The next step is to add the Bevel & Emboss effect in order to create those chiseled layers, and we'll do that by clicking on Bevel & Emboss, which is located at the top of the list here in CS6.
A Style value of Inner Bevel as by default is just fine. Now we want to increase the Size value, and I'm doing so by pressing Shift+Up Arrow, and I'm going to take that value all the way up to 30 pixels so that we're essentially filling the letters all the way in with a Bevel & Emboss effect. We want a chiseled effect, and you might think the hardest chiseled effect you're going to get is Chisel Hard, but you're actually going to get a sharper effect with more chiseling if you switch to Chisel Soft instead.
And you can see that, that makes quite a difference. So I'll leave the Depth value set to 100%, I've got my Angle value set to 115 degrees, the Altitude is 30 degrees, but I'm going to change the Highlight and Shadow modes a little bit here. I'm going to switch the Highlight mode from Screen to the more aggressive lightning mode Linear Dodge (Add). And then I'll change the Shadow mode from Multiply to the more aggressive darkening mode, which is Linear Burn in order to achieve this effect here. Notice that my Highlight is white and my Shadow is black, as by default.
I'm going to increase the Opacity of the Highlight to 85%, and then I'll take the Opacity of the Shadow down to 55% in order to achieve this effect here. Now click OK in order to apply the effects. Now I'm going to zoom in so we can better see the results of the next steps. We need to add a little bit of texture to these letters. So I've added this layer of texture at the top of the stack. And this image comes to us from the Fotolia Image Library, about which you can learn more at fotolia.com/deke.
We want to put the texture inside the letters, so I need to drag that roughed up layer to above the support text group so that it appears directly below the texture. And then you want to clip the texture inside the letters by pressing the Alt key, or the Option key on the Mac, and clicking the horizontal line between the two layers. That does clip the texture inside the letters; however, we can't see it because it's covered up by this Gradient Overlay effect, which is currently Opaque. In order to change that, double-click on Gradient Overlay and change its Blend mode from Normal to Multiply, and we end up with this effect here. Now click OK.
Now, this texture works well in certain areas. For example, it works great inside of this Q, but we're not really seeing the effects of the texture much over here on the left side of the characters. What I decided to do is create a copy of this texture, so I'll click on it to make it active and then press Ctrl+J, or Command+J on the Mac, in order to create a copy. That ends up taking the new layer out of the clipping group. So you want to press the Alt key, or the Option key on the Mac and click the horizontal line between the two texture layers.
Let's go ahead and flip the copy texture around by going up to the Edit menu and choosing Free Transform, or you can press Ctrl+T, or Command+T on the Mac. Then just right-click inside the image and choose Rotate 180 degrees in order to flip the texture both horizontally and vertically. Now I'll press the Enter key, or the Return key on the Mac, in order to apply that change, and you can see that we get more of a textured interaction here inside the T and E. We need to also create an interaction between these two textures, however, and I'm going to do that after converting the top texture to a Smart Object, and it will become evident why I'm doing that in just a moment.
But for now, just bring up the Layers panel flyout menu and choose Convert to Smart Object, and then change the Blend mode in the upper left corner of the Layers panel from Normal to Multiply, and you'll end up multiplying the top texture into the bottom one. Now we need to infuse this layer with a little bit of color, and we'll do that by clicking on the fx icon at the bottom of the Layers panel and next choose Color Overlay. That's going to make the letters red by default. Click on the red swatch in order to bring up the Color Picker dialog box and dial in 35 degrees for Hue, and then 75% apiece for Saturation and Brightness, and then click OK.
Now we need to change the Blend mode from Normal to Overlay, ends up creating this interaction right there. Now click OK. Now, the final thing that we need to do is add a little bit of noise, and we're going to do so by applying a filter, which is why I converted this texture to a Smart Object in the first place is so that we have a nice editable version of that filter. So now go up to the Filter menu, choose Noise, and choose Add Noise. And I ended up arriving at an Amount value of 10%. You want to set Distribution to Gaussian and turn on the Monochromatic checkbox so we don't have any color inside the noise and then click OK.
And then, finally, in order to darken up that noise, double-click on that little Slider icon to the right of Add Noise here inside the Layers panel, which brings up the Blending Options dialog box, and change the Mode associated with the filter to Multiply. So we end up with this darker effect right there, then click OK. And if we take a look at the final version of the letters here, you can see that some of them have divots in them. For example, the T, we've got this hole cut out of the K, we've got some notches in the N and the I, and a divot in the Q as well, and I created those by drawing tiny path outlines using the Pen Tool.
So I'll go ahead and switch back to my art in progress once again, and I'll switch over to the Paths panel, and you can see that I've got this path called tiny paths. Go ahead and click on it to make it active, and then I'll zoom out so that I can see all my letters at once. And I'll switch to the Black Arrow Tool, which you can also get by pressing the A key, and then drag around the letters like so in order to select all five of these tiny little path outlines. Again, I just drew them by hand using the pen. Now, you want to go to the Edit menu and choose the Copy command and then switch back to the Layers panel and click on the roughed up layer to make it active so that we can see the character outlines and then return to the Edit menu and choose the Paste command, and that goes ahead and pastes all of these paths into place.
Now currently, we're adding these little paths to the letters, and that's not really the effect we want. We want to subtract them instead. So in CS6, you go up to the Options Bar and you click on the Path Operations icon, and then you choose Subtract Front Shape, that's the same function you want inside CS5, it's just located in a slightly different position. And that will go ahead and subtract those paths, as you see here. Now I'll press the M key to switch back my Rectangular Marquee Tool, which goes ahead and hides the path outlines as well. I'm comfortable with these notches in the I and in the N and this hole here in the K, but I don't want a hole in the T or in the Q.
I want those areas filled in, and that means I need to create a copy of my texture and put it in back of the letters at those locations. To copy that texture, I need to turn off my letter outlines temporarily. In CS5 you can just go ahead and Shift- click on the Vector Mask to turn it off, but in CS6, what we've got to do is go up to the Window menu and choose the Properties command, and then you reduce the Density value to 0%. Now I'll go ahead and zoom out so you can see we're left with just the texture and all the colors applied to it.
I'll go ahead and select the texture by pressing the Ctrl key, or the Command key on the Mac, and clicking on the thumbnail for either one of the texture layers, and then you want to go up to Edit menu and choose Copy Merged, or you press Ctrl+Shift+C, or Command+Shift+C on the Mac. Now we want to bring back the letters, and you do that by increasing the Density value once again to 100%, then you can hide the Properties panel. And now you want to click on the support text group in the background there, so you're clicking on something that's behind the letters.
With the selection outlines still intact, go up to the Edit menu and choose the Paste command, and thanks to the fact that we had that selection, we've exactly registered the texture into place. Now you want to select a tiny area inside that Q. Be careful not to go too far out, so you just want to select the area inside of that hole, and then Shift-drag around that area inside the T right there in order to select it as well and then drop down to the Add Layer Mask icon at the bottom of the Layers panel and click on it, and that will go ahead and just fill in that region inside the Q, as you can see here, and inside of the T.
And you can also see that the textures exactly line up. I'll go ahead and rename that layer filler just so I know what it's up to. So the last thing to do here is to turn on the support text group so that I have all the other elements necessary for my poster art. Press the F key a couple of times in order to switch to the Full Screen mode, and then zoom out a click so we can take in the final version of the artwork, and the result is a Middle-earth worthy Hobbit text effect, complete with chiseled and textured characters, begun inside Illustrator and finished here inside Photoshop.
All right, so if you're a member of the lynda.com online training library, I have a follow-up movie in which I show you how to take this image that I captured on my trip to Ireland, of the Cliffs of Moher. It leaves something to be desired, but we're going to enhance it in Adobe Camera Raw in order to create this landscape photo, worthy of being the background image for this gorgeous poster. If you're waiting for next week's movie, next week in December 25th, and I gather there's some sort of holiday, so we're going to skip that week, and we're going to come back on Wednesday, January 2nd, and I'm going to show you how to create this calendar, with all the days of the weeks and the months and everything on a single artboard so that you can scale it to any size you want inside Adobe Illustrator.
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