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221 Drawing a distinctive 2D video game character

From: Deke's Techniques

Video: 221 Drawing a distinctive 2D video game character

This is Deke McClelland. Welcome to Deke's Techniques. I could not be more excited about this one. In this movie, I am going to show you how to create this distinctive 2D Video Game Character in Adobe Illustrator. Now I've modeled it after the style of Dan Paladin, the artist for such games as Alien Hominid and Castle Crashers because I am such a huge fan. We're going to start things off with a few pre-drawn elements, as well as this Tracing template and we're going to end up finishing out the helmet as you see here.

221 Drawing a distinctive 2D video game character

This is Deke McClelland. Welcome to Deke's Techniques. I could not be more excited about this one. In this movie, I am going to show you how to create this distinctive 2D Video Game Character in Adobe Illustrator. Now I've modeled it after the style of Dan Paladin, the artist for such games as Alien Hominid and Castle Crashers because I am such a huge fan. We're going to start things off with a few pre-drawn elements, as well as this Tracing template and we're going to end up finishing out the helmet as you see here.

Here, let me show you exactly how it works. All right! Here's the final version of the 2D Character just so you can see him onscreen. We're going to be starting off inside this document, which includes a pixel-based tracing template in the background. I have drawn many of the paths in advance including the entire body, here on the body layer, which includes the walrus's tusks and one of his horns. And then I have this layer called predrawn that contains a few primitive path elements that will be integrating into the artwork.

I'll go ahead and turn those two layers back off and then I'll click on the head layer to make it active. And I'll switch to the Pen tool, which I can get by pressing the P key. You're going to be follow along a lot better with this, if you have some experience with pen, because I am not going to be teaching you how to use the Pen tool from Scratch. I'm just going to be showing you how to trace this template using it. And I'll start things off here by clicking and dragging from this location and then clicking and dragging from this location up here. If you need to adjust your control handles or anchor points after drawing them, then you can press the Ctrl key or the Command key on the Mac to temporarily access the Arrow tool and then you can drag these control handles or anchor points wherever you them to be.

Now it's very tough to see what's going on when I am working in the Preview mode. So, I am going to switch to the Outline mode by going up to the View menu and choosing Outline or you can just press Ctrl+Y or Command+Y on the Mac. Now I'll click and drag from this location, right about here in order to finish off the top of the helmet. I need to convert this smooth point to cusp point. So, I'll press the Alt key or the Option key on the Mac and drag from that anchor point like so and then I'll scroll down a little bit and click and drag from this corner.

Now I'll press the Ctrl key or the Command key on the Mac and drag the control handle into a more desirable location to get that kind of art right there, and I might Ctrl+drag or Command+drag this control handle a little bit over as well. Now I'll scroll up a little more and I'll Alt+drag or Option+drag like so, and then I'll drag from this location right there, and I need a big long control handle in order to pull off this one. Now it's not necessary that you slavishly follow the template by the way it's just there by way of guidance.

So you can always go your own way. Now I'll Alt+drag or Option+drag from this anchor point, and I'll drag right there and by the way if you ever need to change the location of an anchor point on-the-fly as you are dragging, just press and hold the Spacebar, and then release the Spacebar as soon as you get the anchor point into the desired position. I am also going to take advantage of another trick here. While I am drawing this anchor point, I can press and hold the Alt key or the Option key on a Mac in order to move the control handle under my cursor to an independent position.

Now I'll click and drag right about there and I'll press the Alt key or the Option key on the Mac to change the direction of the control handle. I'll click and drag there, press and hold the Alt or Option key in order to move the control handle like so. Then I'll drag from this location and I'll press the Alt or Option key in order to move the control handle to that location, click and drag here, press and hold the Alt or Option key, go ahead and scroll up a little and click and drag and then press and hold the Alt or Option key, go ahead and click and drag here, press and hold the Alt or Option key, click and drag here.

You're doing the same kinds of things over and over, while you're working with this tool. Now it looks like we don't have enough bend at this location, but as soon as i Ctrl+click or Command+click on that segment, I end up selecting the entire darn path outline. So I need to press the A key in order to switch to the White Arrow tool, I'll click off the path to deselect it then I'll click on this segment and I'll drag this control handle up slightly, and then I'll drag this one down. All right! Now I am going to switch back to the Pen tool by pressing the P key.

Notice because I am seeing a little asterisk next to my cursor that's telling me that the path outline is no longer active. So, I need to Alt+drag or Option+ drag from that anchor point once again. And now I'm going to draw a smooth point right about there. I am going to press the Ctrl Key or the Command Key on the Mac and drag that top control handle down just a little bit. And then I'll Alt+drag or Option+drag on the very first point in the path outline in order to close the path and convert the anchor point to a cusp point and we end up with this result here.

Now we need to apply some attributes. So I'll press Ctrl+Y or Command+Y on the Mac to switch back to the Preview mode and I'll press the V key to get my Black Arrow tool and I'll click on the path outline to select it, and I'll click on this first color swatch up here in the Control panel and I'll change its color to this light shade of gray in which the red green and blue values are all set to 179. Now, I'll change the Line Weight right here to 2.5 points and I'll click on the word Stroke and I'll switch to corners to round joint by clicking on this icon.

The Walrus's Helmet includes some teeth. So, I am going to go ahead and turn on this predrawn layer and select this path outline right there. And the reason I have drawn some of these paths in advance is just because it's a lot of the same thing over and over again. So, I figured it made sense to somewhat expedite the process. Anyway I'll select this path outline and then I'll move it to the head layer by dragging this little base square down to the head layer like so. Now I'll turn off the predrawn layer so I can see what I am doing and I'll click on the helmet to select it.

What I want to do is subtract this path outline from the helmet in the background, and that's something I can do by applying a pathfinder. So, I'll go up to the Window menu and choose Pathfinder to bring up the Pathfinder panel. And the operation, I am looking for is this guy right here Minus Front. But if I click on it, notice that it makes a big mess of things, and that's because, my path outline, the one with the teeth, didn't come down far enough. So, I'll press Ctrl+Z or Command+ Z on a Mac to undo that change. Now I'll go ahead and switch to my Pen tool once again. I'll just go ahead and click right here in order to activate this path outline and I'll click down like so in order to add some more points to the path.

So, it goes all the way under, not only the helmet, but the teeth as well. Now we are ready to apply the Pathfinder Operation, but before you do, go ahead and press the A key in order to switch to the White Arrow tool and marquee the lowest points on these teeth right there in order to select them, and then press Ctrl+C or Command+C on the mac to copy them to the clipboard. Now I'll press the V key to switch back to the Black Arrow tool, click on this guy, Shift+click on the helmet in order to select them both and once again click on Minus Front in order to subtract those teeth shapes.

Now the next step is to make the big walrus teeth right there, that are associated with the helmet and of course they are designed to protect the walrus's actual tusks. And I created them just by pressing the A key to switch to the White Arrow tool, then I marqueed these two anchor points and I dragged them down and I adjusted the control handles a little bit and so forth. But we just got done copying these shapes, so we might as well employ them. So, select these two anchor points as you see here on screen and then Shift+drag around these two to select them as well, using the White Arrow tool and press the Backspace key or the Delete key on the mac in order to get rid of them.

Then press Ctrl+F or Command+F on a mac in order to paste those shapes that we just copied in front. Now I'll press the V key to switch back to the Black Arrow tool, go ahead and Shift+click on the outer helmet shape like so, and Shift+ click on this inner tooth in order to select them all. And then go up to the Object menu, choose Path and choose Join in word to fuse those path outlines together. Now in my case I ended up losing the fill. So I'll go ahead and click on this first color swatch in Control panel and again change it to this light shade of gray and we end up with this effect here.

Press Ctrl+0, Command+0 on a mac to zoom out. Now if you take a look at the final version of the character, you can see that there is some dark gray shading inside the helmet. That's something that I have drawn in advance as well. We're going to need to take that shape and paste it inside of the larger helmet shape to create a clipping mask. So, we'll go ahead and switch to the illustration in progress, turn on my predrawn layer once again and grab this big gray shape right there, and press Ctrl+X or Command+X on the Mac in order to cut it to the clipboard. Now turn the layer off and select the helmet by clicking on it.

Now my screen is too short to show the bottom of the tool box so I am going to need to switch over to the Two Column display, and notice this icon right there Draw Inside. You want to click on it, at which point you will see these dotted corners surrounding the shape and then go up to the Edit menu and choose Paste in Place, or you can press Ctrl+Shift+V or Command+Shift+V on a Mac and that goes ahead and pastes the dark gray shape into the light gray helmet in order to create this affect here. Now I'll go ahead and switch back to the Draw Normal mode at the bottom of the toolbox and I am going to switch my toolbox back to the Single Column Display.

Now we need to draw a seam down the center of the helmet and you can see that seam if you press Ctrl+Y or Command+Y on the Mac to switch back to the Outline mode, it's this guy right there, very easy to draw. We want to press Ctrl+Shift+A or Command+Shift +A on the Mac to deselect the artwork, press the P key in order to get the Pen tool, and then click and drag from the top of the line down like so, and then go ahead and click and drag from the bottom of the line as well. I'll press the Ctrl key or the Command key on a Mac to temporarily access my Arrow tool so that I can adjust the position of the control handles.

Now I'll press the V key to switch back to the Black Arrow tool, click on this line to select it, change the Fill up here in the Control panel to None and then change the Line Weight for the Stroke to 2.5, click on the word Stroke and change the Cap to Round Cap by clicking on this icon here. Now if you press Ctrl+Y or Command+Y in the Mac, you'll see that you've got this line drawn right through the center of the helmet. The problem is it exceeds the boundaries of the helmet, which is no good. So, I'm going to twirl open the head layer right there and also twirl open this clipping group item right there, which is the clipping mask itself and I am going to grab this path, which is the one we just created through the center of the helmet.

I am going drag it down, so it's sandwiched between the helmet shape and the dark gray shape below it and we end up placing the line inside the clipping mask and it no longer exceeds the boundaries of the helmet. Now we need to create a dark half of this shadow line right there, and we're going to do that based on lines we already have. So, I am going click on this circle right next to the line, the so-called meatball and I am going to Shift+click on the meatball next to the dark gray shape in order to select both of these items.

And then I'll press Ctrl+C or Command+C on a Mac in order to copy them to the clipboard. Now you want to press Ctrl+Shift+A or Command+ Shift+A on the Mac to deselect the artwork, and then press Ctrl+F or Command+F on the Mac in order to paste those shapes to the front of the layer. Now I'll press Ctrl+Y or Command+Y on a Mac in order to switch to the Outline mode and I'll press the P key to select the Pen tool. Then, I'll go and click right there to activate that last anchor point. And I'll click here beyond this tooth and then I'll click at a couple of other locations outside of the path outlines, and finally I'll close that path and then press Ctrl+Y or Command+Y in a Mac to switch back to the Preview mode, press the V key to get the Black Arrow tool, click on this path outline to select it, and Shift+click in a darker gray path to select it as well.

Then bring back the Pathfinder panel and click on this third icon, Intersect, in order to save just the intersecting areas like so. Now, I'll hide the Pathfinder panel. We want the Stroke to be None and you also want the Fill to be this dark shade of gray in which the red green and blue values are all 77 and you end up with this effect here. Now we need to go ahead and grab this group and drag it into the clipping group and you do that by dragging it here inside the Layers panel, down to below that vertical line and you end up with this effect here.

Now I have got a few other path outlines that I've drawn in advance. I'll go ahead and turn on the predrawn layer and I'll press the V key to switch to the Black Arrow tool and then I'll press Ctrl+Y or Command+Y in a Mac to switch to the Outline mode and I'll partially marquee these path outlines as you see me doing here, and that's going to select too much. So, I'll Shift+click on this path to deselect it and Shift+click on the outline of the helmet as well to deselect it, press Ctrl+Y or Command+ Y in a Mac to switch back to the Preview mode. So, you can see exactly what's selected onscreen and then I'll press Ctrl+X or Command+X on a Mac in order to cut those path outlines to the clipboard, and now I'll turn off the predrawn layer.

I'll scroll down to the insides of this clipping group and I'll go ahead and meatball this dark gray group right there and I'll press Ctrl+F or Command+F on a Mac in order to paste these items in front of that path outline and into the clipping mask. So, if I click off the shapes to deselect them, you can see that they are indeed clipped inside the helmet. Just a few more paths to draw on the background here. I'll press Ctrl+Y or Command+Y in a Mac to switch back to the Outline mode and I'll press the P key to get my Pen tool.

Now these paths are pretty easy to draw, because they just require a bunch of clicking around. However in order to precisely align the points, I want you to go up to the View menu and turn on Smart Guides. If the command already has a checkmark in front of it, then just go and press the Escape key. And now notice that we get a bunch of flashing on screen here. Click at this location, then click right there in order to set an anchor point directly on top of an anchor point associated with the teeth and then click at this location to set another one, click right on that anchor point in order to align it, click right there.

What we're doing is we are drawing the rear edge of the teeth by the way and I'll go ahead and click at this location, then click here and then click up right about there. Now click down at this point and then click over here and that's not quite where I want it to be, so I'll press the Up Arrow a couple of times in order to nudge it upward, click right there and this time my path outline became deselected. So, I'll press Ctrl+Z or Command+Z on a Mac to undo that creation of that free-floating point. And I'll click on this anchor point to reactivate the path outline and then I'll click there, and at this location, and right about there, and finally here, and here as well, and I'll nudge that dial up as well.

And probably you have to reactivate this path, sure enough I do. So I'll click here, then I'll click and click and click down like that. That doesn't give me a lot of clearance right there. So, I'll press the A key to switch to the White Arrow tool and I'll grab this anchor point and I'll move it up like so. Now I'd also need to add a little bit of a path outline in back of this area, so I'll press the P key to switch back to my Pen tool. I'll click here, click right about there as well, then click down at this location, and then I'll set an anchor point right about there and go ahead and close the path outline like so.

Press Ctrl+Y or Command+Y in a Mac in order to switch back to Preview mode, go ahead and grab your Black Arrow tool, click on this path outline to select it and Shift+click on this one to select it as well. I'm going to press Ctrl+U or Command+U on the Mac to turn off the Smart Guides, so, I'm not seeing as much flashing onscreen. Then I'll press the I key to switch to the Eyedropper tool and I'll click right about there in order to lift that black stroke then I'll press the V key to switch back to the Black Arrow tool, right-click on the shapes, choose Arrange, and then choose Send to Back.

I am going to change the Fill that's associated with these path outlines to the R=77, G=77, B=77 swatch right there. That's dark enough for this rear shape right there however it's not dark enough for the shaded edge of the teeth. So I'll Shift+click on this top half outlined to deselect it, and then I'll click on this Color Swatch once again, and change it to the darkest gray I have in this necro-gray's group. And in this case the Red, Green and Blue values are all 51 and we get this effect here.

Press Ctrl+0, Command+0 on a Mac in order to zoom out for my artwork. I'll deselect it as well, go ahead and twirl this head layer closed and turn on the predrawn Layer. And I want to grab this horn here and Shift+ click on this little highlight, both of which of course have drawn in advance. I'll drag this little base square down to the head layer so that they're part of the head layers as well. Then I'll turn off the predrawn Layer and I'll turn on my body layer so that you can see the extent of our work so far.

And that friends, is how you draw the base path outlines required to create a distinctive 2D video game character here inside Illustrator. If your are a member of the lynda.com Online Training Library, then I have a follow-up movie, in which I show you how to take the guys we've drawn in so far, and add in his facial features including not only the eyes, but also the whiskers coming out of his mask, a whole lot of fun, I tell you. If you're waiting for next week's free movie, I'll show you how to trace this character in his entirely without drawing any new path outlines to create this kind of undulating red radioactive aura.

Deke's Techniques, each and every week. What the heck, why not keep watching?

Show transcript

This video is part of

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Deke's Techniques

351 video lessons · 133159 viewers

Deke McClelland
Author

 
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  1. 26m 40s
    1. 349 Mixing a low-color photo with Camera Raw
      11m 2s
    2. 350 Mixing a low-color photo with adjustment layers
      10m 7s
    3. 351 Saving your effect as a color lookup table
      5m 31s
  2. 13h 16m
    1. 282 Ringing in the New Year with dynamic effects in Illustrator
      12m 59s
    2. 283 Dynamically transforming fills and strokes
      13m 41s
    3. 284 Tracing an avatar from a photograph in Photoshop
      12m 24s
    4. 285 Drawing a vector-based avatar in Illustrator
      19m 44s
    5. 286 Coloring and shading your avatar
      16m 0s
    6. 287 Exporting an illustration as a universally supported PNG file
      10m 54s
    7. 288 Upsampling a layered composition with great results
      13m 43s
    8. 289 Rebuilding a pattern at a higher resolution
      7m 29s
    9. 290 Painting happy little trees
      13m 46s
    10. 291 Shading and lighting the happy forest
      15m 15s
    11. 292 Enlarging a low-res photograph in Photoshop
      12m 20s
    12. 293 Enlarging a photo by tracing it in Illustrator
      13m 10s
    13. 294 Mastering Exposure in Camera Raw
      11m 40s
    14. 295 Super smooth and unflinchingly sharp
      10m 46s
    15. 296 Deleting an inadvertent photo bomber
      8m 13s
    16. 297 Correcting a distorted panorama
      17m 23s
    17. 298 Rebuilding bad stitching in a panorama
      14m 53s
    18. 299 Nondestructive dodge and burn
      8m 54s
    19. 300 Blending a shadow into any background
      8m 37s
    20. 301 Saving a PNG image with a translucent shadow
      8m 45s
    21. 302 Cleaning up a smart phone photo
      11m 17s
    22. 303 Using Photoshop 1.0
      5m 45s
    23. 304 Creating your own Chinese seal (or chop)
      26m 4s
    24. 305 Simulating hand lettering with art brushes
      20m 8s
    25. 306 Adding texture to your hand stamp
      3m 34s
    26. 307 Creating a black chop on red paper
      5m 55s
    27. 308 Auto-hiding iconic panels in Photoshop
      3m 44s
    28. 309 Creating a custom toolbox in Illustrator CC
      4m 21s
    29. 310 Creating the perfect passport photo
      20m 18s
    30. 311 Retouching your passport photo
      13m 38s
    31. 312 Turning a photo into a giant mural
      13m 11s
    32. 313 Enhancing the reality of your mural
      11m 8s
    33. 314 Creating a 3D bump map
      12m 7s
    34. 315 UV overlay and 3D bump paint
      14m 4s
    35. 316 Using Lens Flare for good (not evil)
      10m 48s
    36. 317 Using the Perspective Crop tool
      9m 29s
    37. 318 Reducing real-world camera shake
      10m 4s
    38. 319 Reducing glare in a photograph
      15m 25s
    39. 320 Restoring repeating details
      13m 43s
    40. 321 Integrating a detail captured with a phone
      9m 6s
    41. 322 Blending two exposures of a single scene
      12m 25s
    42. 323 Masking mountains away from sky
      14m 22s
    43. 324 Creating a photographic caricature in Photoshop
      10m 7s
    44. 325 Exaggerating facial features with Liquify
      12m 48s
    45. 326 Masking a caricature against a new background
      11m 20s
    46. 327 Shading and sharpening a caricature
      10m 6s
    47. 328 Drawing a Möbius strip in Illustrator
      12m 21s
    48. 329 Shading the Möbius strip with gradients
      9m 0s
    49. 330 Adding twisting edges to the Möbius strip
      8m 9s
    50. 331 Creating an impossible Penrose triangle
      10m 37s
    51. 332 Shading the cubes in your Penrose triangle
      8m 15s
    52. 333 Selectively converting a photo to black & white
      7m 53s
    53. 334 Straightening and “uncropping” a photo
      16m 17s
    54. 335 Restoring a missing photograph detail
      11m 26s
    55. 336 Drawing a hand (clenched in a fist)
      11m 44s
    56. 337 Cleaning up a sketch captured with a phone
      6m 17s
    57. 338 Four hands united in brotherhood, solidarity, and teamwork
      12m 24s
    58. 339 Swapping out colors in existing gradients in Illustrator
      4m 37s
    59. 340 Select > Focus Area and the pseudo engraving effect
      12m 26s
    60. 341 Integrating 3D art into a 2D scene in Photoshop
      13m 41s
    61. 342 Creating a 3D shark in Photoshop
      11m 16s
    62. 343 Creating a 3D doughnut in Illustrator
      15m 23s
    63. 344 Creating a golden 3D ring in Illustrator
      10m 21s
    64. 345 Mapping Elven runes (or text) onto a 3D ring
      15m 57s
    65. 346 Hand-drawing custom-made letters in Illustrator
      19m 33s
    66. 347 Drawing letters with curves and holes
      15m 56s
    67. 348 Enhancing your hand-drawn text in Photoshop
      7m 20s
  3. 17h 21m
    1. 185 Creating a custom 2013 calendar in Illustrator
      11m 44s
    2. 186 Adding dates to a calendar using tables
      9m 50s
    3. 187 Branding your calendar with a field of logos
      10m 54s
    4. 188 Crafting an Infinity symbol to match a specific font
      12m 6s
    5. 189 Op art experiment 1a: Inflated checkers
      10m 49s
    6. 190 Op art experiment 1b: Rounded windows
      6m 39s
    7. 191 Building a universal ISOTYPE man with strokes
      15m 6s
    8. 192 Building a universal ISOTYPE woman with strokes
      11m 7s
    9. 193 Drawing an ISOTYPE couple in love
      12m 55s
    10. 194 Creating a Warhol-style silkscreen effect
      14m 43s
    11. 195 Creating a series of Warhol-style variations
      10m 43s
    12. 196 Adding Warhol-style background variations
      8m 20s
    13. 197 Creating opaque colored shadows
      5m 20s
    14. 198 Assembling multiple variations into a single comp
      5m 9s
    15. 199 Creating a pattern of unique inset circles
      9m 55s
    16. 200 Changing a static blended color scheme
      7m 16s
    17. 201 Op art experiment 2a: Undulating pattern
      20m 26s
    18. 202 Op art experiment 2b: Concentric rings
      9m 43s
    19. 203 Developing a dramatic castle in Camera Raw
      13m 21s
    20. 204 Artificially coloring a photo in Camera Raw
      9m 38s
    21. 205 Creating an antique photo effect in Camera Raw
      7m 53s
    22. 206 Adding a weathered old-photo frame effect
      12m 0s
    23. 207 Drawing an Angry Birds-like character
      16m 59s
    24. 208 Stroking an entire layer in Illustrator
      9m 21s
    25. 209 Drawing a classic snarling cartoon face
      11m 10s
    26. 210 Drawing a radiant, cheerful cartoon background
      18m 29s
    27. 211 Stroking any kind of type in Illustrator
      5m 0s
    28. 212 Creating synthetic water droplets
      9m 29s
    29. 213 Simulating liquid reflections with effect
      5m 19s
    30. 214 Simulating liquid refractions with a dmap
      5m 30s
    31. 215 Creating an eye-catching splatter effect
      9m 8s
    32. 216 Defringing purples and greens in Camera Raw 7
      10m 4s
    33. 217 Making a danger sign more dangerous
      15m 9s
    34. 218 Using texture and depth to add realism
      10m 22s
    35. 219 Precisely aligning artwork to the bleed
      7m 16s
    36. 220 Creating and importing a tracing template
      6m 50s
    37. 221 Drawing a distinctive 2D video game character
      18m 52s
    38. 222 Adding features to the face of a 2D character
      14m 3s
    39. 223 Creating a vivid aura around an entire character
      7m 25s
    40. 224 Adding variable-width strokes in Illustrator
      11m 23s
    41. 225 Animating bird wings with Puppet Warp
      12m 15s
    42. 226 Animating text by onion skinning in Photoshop
      8m 0s
    43. 227 Creating an animated movie in Photoshop
      9m 15s
    44. 228 Exporting an animation to QuickTime and GIF
      5m 44s
    45. 229 Correcting an underwater photograph
      10m 30s
    46. 230 Making a photo razor-sharp and porcelain-smooth
      7m 17s
    47. 231 Reducing noise in a high-ISO shot with Camera Raw
      8m 33s
    48. 232 Creating highly reflective sunglasses
      10m 43s
    49. 233 Adding drama to an outdoor portrait shot
      6m 35s
    50. 234 Creating volumetric forms with shape layers
      15m 52s
    51. 235 Creating a bloodshot eye effect
      7m 11s
    52. 236 Shading an image with shapes and layer masks
      13m 2s
    53. 237 Creating fabric textures with pattern layers
      7m 27s
    54. 238 Colorize any layer with Color Overlay
      3m 23s
    55. 239 Turning a portrait into a dot drawing
      7m 40s
    56. 240 Creating a full-color dot drawing
      3m 29s
    57. 241 Drawing an orthogonal cube with the line tool
      7m 9s
    58. 242 Creating a cube of differently colored cubes
      9m 27s
    59. 243 Recreating the Creative Cloud Logo in Illustrator
      16m 18s
    60. 244 Creating a psychedelic fabric texture
      9m 7s
    61. 245 Turning psychedelic fabric into rock letters
      5m 23s
    62. 246 Creating a more finely rendered dot drawing
      8m 29s
    63. 247 Converting from RGB to CMYK via Multichannel
      12m 31s
    64. 248 Creating printer-safe CMYK shadows
      6m 48s
    65. 249 Creating bright, golden motion trails
      12m 32s
    66. 250 Creating schematic art with grid
      12m 41s
    67. 251 Drawing precisely aligned arrowhead
      12m 8s
    68. 252 Adding arrowheads around a closed path
      6m 1s
    69. 253 Drawing the Pen tool without touching the Pen tool
      17m 13s
    70. 254 Merging frames for the best possible UAV photo
      16m 40s
    71. 255 Retouching details in an aerial landscape
      12m 13s
    72. 256 Editing a video and adding transitions in Photoshop
      10m 57s
    73. 257 Importing the quadcopter crash sequences
      9m 4s
    74. 258 Color correcting a video and adding a soundtrack
      8m 56s
    75. 259 Adding precisely timed titles to your video
      11m 43s
    76. 260 Hand-painting an image with a Wacom Cintiq
      13m 11s
    77. 261 Blending the final false-color artwork
      8m 41s
    78. 262 Creating a honeycomb pattern in Illustrator
      12m 50s
    79. 263 Building up strokes to create 3D honeycomb
      9m 8s
    80. 264 Turning yourself into a zombie
      14m 0s
    81. 265 Enhancing an ambience environment for the undead
      9m 26s
    82. 266 Creating dripping, gooey ghost letters
      16m 43s
    83. 267 Turning type into gooey green slime
      11m 19s
    84. 268 Creating heavy metal type (updated for Photoshop CS6 and CC)
      12m 27s
    85. 269 Cleaning up a crummy product shot
      11m 3s
    86. 270 Scaling and rotating photographic objects
      10m 10s
    87. 271 Tracing a line drawing with uniform strokes
      11m 18s
    88. 272 Coloring line art using Live Paint Bucket
      18m 22s
    89. 273 Creating a pigture using shapes and letters
      18m 7s
    90. 274 Integrating a cartoon into a photograph
      7m 27s
    91. 275 Converting a photo into a Lichtenstein drawing
      16m 8s
    92. 276 Adding bring Ben-Day dots and a talk balloon
      15m 31s
    93. 277 Painting an eye using a custom brush
      11m 31s
    94. 278 Painting and smoothing straight-sided brushstrokes
      12m 0s
    95. 279 Simulating pressure with path outlines
      6m 3s
    96. 280 Developing a 32-bit HDR image in Camera Raw
      14m 42s
    97. 281 Converting from 32-bit to the more flexible 8-bit mode
      11m 15s
  4. 14h 31m
    1. 091 Removing people from a photo
      10m 44s
    2. 092 Masking people back into a photo
      10m 58s
    3. 093 Hand-painting a mask
      10m 5s
    4. 094 Masking a real-life shadow
      10m 40s
    5. 095 Turning a photo into line art
      7m 44s
    6. 096 Adding a crosshatch shading pattern
      6m 46s
    7. 097 Creating type that inverts anything behind it
      5m 32s
    8. 098 Creating auto-inverting line art
      5m 7s
    9. 099 Creating movie poster credits
      8m 10s
    10. 100 Creating a dual-focus hybrid image
      6m 24s
    11. 101 Adding text to a hybrid composition
      7m 24s
    12. 102 Drawing with the reshape tool
      10m 39s
    13. 103 Hand-drawing a really great letter
      10m 6s
    14. 104 Creating a vanity frame
      5m 28s
    15. 105 Adding a frame to a photograph
      5m 3s
    16. 106 Drawing a highly graphic explosion with Illustrator
      10m 3s
    17. 107 Drawing a Ninja Turtle nose
      10m 22s
    18. 108 Mapping a dog face onto a duck
      8m 20s
    19. 109 Putting a tongue on a duck
      7m 6s
    20. 110 Making synthetic lightning in Photoshop
      11m 3s
    21. 111 Creating a driving rain effect in Photoshop
      4m 57s
    22. 112 Designing a railroad track
      12m 18s
    23. 113 Bending the railroad track around curves
      7m 46s
    24. 114 Creating a Star Wars hologram effect
      9m 23s
    25. 115 Creating leafy letters
      6m 12s
    26. 116 Creating topiary type
      6m 22s
    27. 117 Creating type in grass
      9m 0s
    28. 118 Rendering type in smoke
      7m 30s
    29. 119 Rendering type in brushed metal
      9m 57s
    30. 120 Adding brushed copper effect
      4m 14s
    31. 121 Reflecting type in water
      10m 57s
    32. 122 Reflecting water back into type
      11m 14s
    33. 123 Joining type to a circle
      7m 14s
    34. 124 Making flared type on a circle
      7m 17s
    35. 125 Making a person emerge from water
      5m 32s
    36. 126 Creating progressive water ripples
      10m 17s
    37. 127 Creating an upside-down face effect
      10m 17s
    38. 128 Achieving silky smooth skin with retouching
      6m 33s
    39. 129 Pearly white teeth
      7m 28s
    40. 130 Head-shrinking
      8m 26s
    41. 131 Getting a big head
      5m 11s
    42. 132 Adding a photographic texture to vector type
      4m 28s
    43. 133 Adding strokes in back of photo type
      5m 9s
    44. 134 Adding a border to an image in Illustrator
      4m 17s
    45. 135 Two ways to crop in Illustrator
      7m 29s
    46. 136 Inventing a 3D temple with a depth map
      10m 0s
    47. 137 Drawing a 3D object with Curves
      11m 41s
    48. 138 Creating a superhero shield in Illustrator
      16m 28s
    49. 139 Turning Illustrator paths into Photoshop shapes
      11m 42s
    50. 140 Creating a photorealistic superhero shield
      12m 39s
    51. 141 Pimping your ride in Photoshop
      9m 59s
    52. 142 Masking and blackening a car
      10m 20s
    53. 143 Drawing a multi-part vector mask
      12m 46s
    54. 144 Masking and painting a shadow
      8m 26s
    55. 145 Integrating blades of grass into tires
      5m 34s
    56. 146 Making a (ridiculously) dramatic sky
      6m 2s
    57. 147 Adding flame stripes to a car
      8m 23s
    58. 148 Creating interlocking octagons in Illustrator
      7m 44s
    59. 149 Hand-coloring line art
      13m 9s
    60. 150 Creating a custom wave pattern
      9m 56s
    61. 151 Simulating a screen print
      8m 30s
    62. 152 Drawing a perfect linear spiral in Illustrator
      9m 42s
    63. 153 Drawing a spiraling nautilus shell
      11m 4s
    64. 154 Designing a hex pattern in Illustrator CS6
      11m 10s
    65. 155 Making a hex pattern in Illustrator CS5 and earlier
      7m 4s
    66. 156 Creating a Facebook cover in Photoshop
      9m 25s
    67. 157 Matching a profile picture to your cover
      6m 37s
    68. 158 Cloning yourself in Photoshop
      11m 16s
    69. 159 Lighting the clone party
      8m 29s
    70. 160 Hand-carving letters into wood
      8m 0s
    71. 161 Creating a Spirograph-like pattern
      7m 34s
    72. 162 Tracing scalloped gear teeth around a circle
      4m 55s
    73. 163 Applying custom carve and shadow styles to type
      8m 50s
    74. 164 Turning a pencil sketch into digital ink
      12m 55s
    75. 165 Adding a graph-paper background
      13m 42s
    76. 166 Creating a continuous single-line Spirograph
      13m 2s
    77. 167 Scaling circles into complex patterns
      7m 15s
    78. 168 Creating a money-like design
      8m 43s
    79. 169 Attack of the killer pumpkin
      14m 49s
    80. 170 Simulating a glowing Jack-o-lantern
      12m 24s
    81. 171 The headless stranger in the mist
      12m 25s
    82. 172 Creating 3D punched letters
      13m 29s
    83. 173 Designing a double-wave line pattern
      11m 2s
    84. 174 Assembling a seamless pattern brush
      9m 53s
    85. 175 Creating a hand turkey in Photoshop
      18m 42s
    86. 176 Creating a depth-of-field cast shadow
      7m 29s
    87. 177 Creating a lustrous round jewel
      13m 56s
    88. 178 Cutting and brushing light on a gem
      8m 30s
    89. 179 Creating a shiny button with inset text
      11m 5s
    90. 180 Creating a jaunty six-sided star
      15m 1s
    91. 181 Interweaving star shapes and adding gradients
      8m 28s
    92. 182 Casting shadows between interwoven shapes
      9m 12s
    93. 183 Creating a Hobbit-like text effect
      15m 6s
    94. 184 Enhancing a landscape photo in Camera Raw 7
      9m 16s
  5. 13h 11m
    1. 001 Creating ice type
      8m 39s
    2. 002 Branding type on a texture
      7m 6s
    3. 003 Creating an image-branding machine
      7m 13s
    4. 004 Capturing effects with layer comps
      7m 35s
    5. 005 Rendering type in gold
      8m 9s
    6. 006 Creating a hammered metal background
      5m 48s
    7. 007 Creating heavy metal type
      8m 13s
    8. 008 Creating a molten letter effect
      6m 43s
    9. 009 Setting type on fire
      11m 20s
    10. 010 Using an anti-edge mask
      7m 20s
    11. 011 Blending textures onto a face
      9m 28s
    12. 012 Rendering a face as a cave painting
      7m 34s
    13. 013 Creating a reflection in shattered glass
      8m 32s
    14. 014 Creating a face in a tree
      11m 20s
    15. 015 Building a synthetic star field
      8m 21s
    16. 016 Making 3D type with Repoussé
      10m 14s
    17. 017 Casting 3D shadows and reflections
      9m 35s
    18. 018 Adjusting 3D light sources
      10m 51s
    19. 019 Masking highlights and shadows
      6m 27s
    20. 020 Masking glass
      10m 39s
    21. 021 High key high contrast
      8m 33s
    22. 022 Simulating sub-pixel rendering
      10m 58s
    23. 023 Fixing chromatic aberrations in Photoshop
      9m 41s
    24. 024 Fixing chromatic aberrations in Camera Raw
      8m 51s
    25. 025 Correcting red-eye like a pro
      11m 56s
    26. 026 Turning a photo into an ink drawing
      10m 42s
    27. 027 Turning a photo into a pencil sketch
      8m 43s
    28. 028 Creating a seamlessly repeating pattern
      10m 56s
    29. 029 Repairing seams in a repeating pattern
      10m 47s
    30. 030 Creating a 3D pie chart
      11m 9s
    31. 031 Splitting and modifying 3D meshes
      11m 52s
    32. 032 Using the Ground Plane Shadow Catcher
      6m 58s
    33. 033 Creating a talk show-style curtain
      7m 57s
    34. 034 Assembling a flawless panorama
      10m 5s
    35. 035 Removing people with image stacks
      11m 44s
    36. 036 Creative stacking with Maximum and Range
      11m 44s
    37. 037 Creating synthetic wood grain
      9m 23s
    38. 038 Making slats of uniquely textured wood
      10m 52s
    39. 039 Kerning within a single character
      10m 31s
    40. 040 Creating a raised bevel effect
      11m 49s
    41. 041 Putting wings on a horse
      10m 41s
    42. 042 Creating a classic heart in Illustrator
      7m 15s
    43. 043 Glossing up a heart in Photoshop
      8m 42s
    44. 044 Shooting and assembling a stereoscopic photo
      8m 15s
    45. 045 Extending 3D beyond the screen plane
      6m 13s
    46. 046 Adding stereo 3D text and shapes
      9m 9s
    47. 047 Tilting text and shapes toward the viewer
      8m 13s
    48. 048 Creating a shooting star in Illustrator
      6m 33s
    49. 049 Using blends to draw path outlines
      8m 8s
    50. 050 Inventing custom starbursts
      7m 33s
    51. 051 Making a fictional creature
      12m 5s
    52. 052 Transforming a creature into a monster
      6m 14s
    53. 053 Capturing a monster in motion
      11m 45s
    54. 054 Changing the color of a car
      7m 12s
    55. 055 Painting a colorful car black
      8m 16s
    56. 056 Coloring the stripes on a zebra
      10m 47s
    57. 057 Drawing trendy swirls in Illustrator
      10m 59s
    58. 058 Creating variable-width and brushed swirls
      10m 46s
    59. 059 Drawing trendy ornaments in Illustrator
      8m 49s
    60. 060 Designing a magically updating pattern
      8m 40s
    61. 061 Automatically collapsing a selection
      7m 43s
    62. 062 Adding a magnifying glass into a design
      7m 5s
    63. 063 Healing one eye onto another
      7m 15s
    64. 064 Creating a giant command key
      9m 15s
    65. 065 Drawing common symbols part 1
      6m 29s
    66. 066 Drawing common symbols part 2
      9m 26s
    67. 067 Filtering images with Camera Raw
      7m 52s
    68. 068 Creating a vivid HDR effect
      5m 29s
    69. 069 Creating an ambigram in Illustrator
      10m 45s
    70. 070 Making a two-word ambigram
      7m 47s
    71. 071 Drawing a Halloween scareflake
      10m 45s
    72. 072 Creating true clones in Illustrator
      11m 7s
    73. 073 Taking your scareflakes into Photoshop
      7m 20s
    74. 074 Making a faux HDR image in Lab
      8m 38s
    75. 075 Turning a guy into a zombie
      7m 3s
    76. 076 Miniaturizing the world in Photoshop
      6m 45s
    77. 077 Creating a synthetic rainbow
      8m 53s
    78. 078 Casting an artificial shadow from a layer
      7m 2s
    79. 079 Rendering a portrait in type
      8m 58s
    80. 080 Rendering a portrait in tile patterns
      7m 43s
    81. 081 Rotating a pattern layer in Photoshop
      4m 16s
    82. 082 Tracing an image with path outlines
      7m 50s
    83. 083 Turning path outlines into a vector mask
      6m 0s
    84. 084 Drawing rays of light in Photoshop
      5m 40s
    85. 085 Drawing concentric glow rings
      7m 24s
    86. 086 Designing an Indiana Jones-style logo
      8m 50s
    87. 087 Achieving mitered corners in Photoshop
      5m 43s
    88. 088 Masking with Blunt Instruments in Photoshop
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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