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Deke's Techniques
Illustration by John Hersey
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266 Creating dripping, gooey ghost letters


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Deke's Techniques

with Deke McClelland

Video: 266 Creating dripping, gooey ghost letters

Hey, gang this is Deke McClelland. As usual here's the final version of the art work, so you can see it on screen.
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  1. 29m 37s
    1. 305 Simulating hand lettering with art brushes
      20m 8s
    2. 306 Adding texture to your hand stamp
      3m 34s
    3. 307 Creating a black chop on red paper
      5m 55s
  2. 4h 53m
    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 an object’s 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
  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 a 2D character’s face
      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 Illustrator’s 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 Photoshop's Blunt Instruments
      11m 8s
    89. 089 Creating a stained-glass ornament
      8m 26s
    90. 090 Designing a stained-glass window
      10m 23s

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Deke's Techniques
50h 26m Intermediate Jan 11, 2011 Updated Apr 15, 2014

Viewers: in countries Watching now:

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.

Subjects:
Design Raw Processing Design Techniques
Software:
Illustrator Photoshop
Author:
Deke McClelland

266 Creating dripping, gooey ghost letters

Hey, gang this is Deke McClelland. Welcome to a very special Halloween episode of Deke's Techniques in which I show you how to take this boring type right here. And we're going to stretch it and then roughen it inside of Illustrator and then we'll add this dripping, gooey ooze inside Photoshop and finally, we'll dress up the letters to create this spine-tingling ghost type. Wooo! Here let me show you exactly how it works. As usual here's the final version of the art work, so you can see it on screen.

I'm going to switch over to our starter document and if I press the T key to switch to the time tool you can see that this text is set at impact and the type size is two hundred points, so nothing special. So first thing we want to do is press Ctrl+J or Cmd+J on the Mac in order to go to make a copy of your original type in case you need to come back to it some time latter. Then turn off the original type, go up to the Type menu and chose Convert To Shape. Then you want to switch from the path selection tool the back arrow, to the wide arrow, which is the direct selection tool.

And marquee these anchor points right there. It's very important if you're working along with me that you grab exactly these anchor points, because they all occur at vertical segments, so that we're not going to do any damage. Then, you want to go up to the Edit menu and choose Free Transform Points, or you can press Ctrl+T, or Cmd+T on the Mac. Go ahead and click on this little Delta icon, this triangle right here. So that both your X and Y values are zero and then change the y value to 300 pixels, and press the Enter key or the Return key on the Mac.

We want to do the same thing for the top portion of the text. But we've got a little problem right there. On the right side of teach one of the Rs, so we've gotta add a point at this location by switching to the Pen tool, which you can do by pressing the P key. And then click right about here. Notice I want to be below this point over on this side, so right about there should do it. And then, same with this R. And thankfully, the word, horror, is half R's.

So we've gotta set another one right there. Press Ctrl+0, or Cmd+0 on the Mac in order to Zoom out. I'll switch back to my White Arrow tool, which I can do by pressing the A key. And then I'll go ahead and marquee these points like so. And you don't want to marquee down so that you select the other anchor point, right there. On the right side of the Rs. You want to just select that top guy like so. So, we're creating a very fine tune selection here. So, I'll press Ctrl+T or Cmd+T on the Mac to invoke that free transform command.

And then I'll change this Y value to negative 300 pixels. In order to move all those points upward like so. Now I'll press the Enter key a couple of times in order to accept that change. Next, you want to switch back to the Black Arrow tool which you can do by pressing Shift+A incidentally. And then marquee all the letters in order to select them and just to make sure everything's okay here, press Ctrl+K, or Cmd+K on the Mac in order to bring up the preferences dialogue box. And make sure that the Export Clipboard checkbox is turned on, that's very important.

Then click OK and now you can go up the Edit menu and choose the Copy Cmd or just press Ctrl+C or Cmd+C on the Mac. Now you want to switch to Illustrator and I've already got a document open. I'm come back to that in a moment. What you do, if you're just working by yourself, is you press Ctrl+N, or Cmd+N on Mac, in order to bring up the new document dialogue box. I went ahead and set the profile to basic RGB and I've got this guy set so the orientation is landscape, that is we have a horizontal page.

And then you want to click OK. And I'll go ahead and Zoom in and press Ctrl+V or Cmd+V on a Mac, in which case you'll see this dialog box right here. And what you want, even though compound shape, which is fully editable is selected by default, what you want is compound path. Which is a lot better for our purposes and it's just as editable as you'll see. Go ahead and click OK and you'll see these path outlines, they probably won't be filled. So you'll have to go up to the Control panel and click on the very first color swatch. And change it to black, in order to produce this effect here Go up to the effect Menu, chose Distort and Transform and chose the Roughen Cmd.

And the settings that came up with were absolute, so you want to go and select that Radio button. And then change the size to ten points and then tab your way to detail and take it down to five per inch. And then you want to turn on the smooth points Radio button right there. Move this guy off to the side and turn on the preview check box, so we can see what has happened then click OK. Next, you want to go up to the Object menu and choose Expand Appearance, so that you've got the expanded anchor points. Now, the thing about Roughen is that every time you apply it, you get a different result.

At least every time you re-launch Illustrator. So in other words, it's a random filter. Which means that, I've got to go back to this document that I saved in advance in order to make sure I get exactly the same results. Now if you don't have access to my exercise files, you may get a different result, which is totally okay. But if you do have access to them, then you'll probably want to switch to this file. Press Ctrl+A or Cmd+A on a Mac in order to select all of the text and then press Ctrl+C, or Cmd+C in the Mac to compute. Now we're going to switch back to Photoshop.

And I'm going to turn off this layer that I've created right there and I'm going to press Ctrl+V or Cmd+V in the Mac in order to paste those path outlines from Illustrator. Even though Paste As is set by default to Smart Object, which is generally a really great thing, what we want is the Shape layer. So go ahead and select that and click OK and you'll end up with this text right here. I'm going to go ahead and rename this layer Rough Horror like that. And then press Ctrl+T or Cmd+T on the Mac to once again invoke free transform.

And you should still have the triangle selected, the delta option, in which case go ahead and change the y value to negative 200 pixels in order to raise the letters like so, and press the Enter key, or the Return key on the Mac, a couple of times in order to apply your change. Now you want to press the M key to switch back to the rectangular marquee tool, and you want to right-click inside the image window and choose Convert To Smart Object. Because in just a moment we'll be applying liquify as a smart filter. But for now just go ahead and choose the command. Now let's try out a layer affect here, I'm going to drop down to the FX icon.

And I'm going to choose Inner Glow and I'm going to go ahead and click on the little Color Swatch there and the color I'm looking for is not very different than the default. I'm just going to change the hue value to 45 degrees. Otherwise you want the saturation, and brightness values to be 25 and 100% as by default. Then click OK. And now, I'm going to change the opacity value to 77%. I thought that'd make it easier to enter, even though it's already 75% by default so you can probably leave it that way. A blend mode of screen is just fine and then I'm going to take the size value up to 35 pixels like so and you'll end up with this effect on screen.

Now we have another layer effect to apply, but in order to get a sense of what's going on here. Just go ahead and click OK. And then I'm going to turn on this layer called The Wall from the fotolia image library, about which you can learn more and get special deals and a bunch of Halloween images at fotolia.com/deke. And now, with the rough horror layer still selected, I'm going to change the fill value to 0%, like so. Now we need to apply another layer effect by dropping down to the Effects icon and choosing Bevel And Emboss.

And what you want to do, if you're working along with me, is go ahead and accept the first couple of default settings. Take the depth down to 50%, and then we want to take the size value here up to 100 pixels. Now, go ahead and change the angle value to 110 degrees. Make sure use Global light is turned on and take the altitude value up to 30 degrees. Then click on the little White color swatch associated with the highlight mode and we're going to dial in the same values that we used in the inner glue that is a hue of 45 degrees, a saturation value of 25% and a brightness value of 100%.

Then go ahead and click OK. And screen and 75% are just fine. The shadow mode stuff is just fine as well. The only other change we want to make is to set the direction to down and we'll get this effect here. Now click OK. All right, now comes the tough part. Now I'm going to make it look pretty darn easy. Because otherwise, we're going to be spending all day on this movie. But if you're going to do it for yourself it is going to take a fair amount of time, in order to pull it off. What you want to to do, you've got to have once again, Photoshop CC in order to pull this off.

So make sure that that small object is selected and then go to the Filter menu and choose Liquify. Here's what you want to do if you want to create drooling text inside of Photoshop. You want to go ahead and turn on the Advanced Mode check box over on the right side of the screen. Brush size can be anything you want. And you can change it, of course, on the fly by pressing the right bracket key to make it bigger or the left Bracket key to make it smaller. The brush pressure is set to 100 by default. You want to raise the brush density value to 77. And then, go ahead and click, at the bottom of the H, for example and Shift Click directly down below in order to stretch out a line.

And then I'm going to do it again. Click and Shift+Click in order to stretch the line down further. And I'll Click and Shift+Click over on the right side of that left stem of the H. And then I'll Click and Shift+Click right about here and if you don't like the results of course. You can just go ahead and press Ctrl+Z, or Cmd+Z on a Mac to undo that change. Because I didn't like mine. Anyway I'll Click and Shift+Click again And click and Shift+Click right there and then maybe click and Shift+Click a second time in order to produce this effect.

You can also do things, by the way, when you run into problems like this. Like grab the reconstruct tool and maybe just click and see what happens and that looks pretty good even though I'm creating a kind of hole there. But I could just go ahead and switch back to the warp tool. Which has a keyboard shortcut of W. And you're going to want to use it by the way because you are going to be going back and forth between this tool and the bloat tool as I'll show you in just a moment. Anyway I'm going to kind of mush this stuff around right there. Now you want to turn these spikes into drops and you do that by switching to the blow tool which has a keyboard shortcut of B.

So if you just remember B for bloat and W for Warp, you'll be in good shape, because then using that bloat tool, you can click and hold in order to create a kind of droplet there, and maybe click a little bit right there as well. And then, in order to switch to the Pucker tool on the fly, which doesn't have a good keyboard shortcut, you can see it's S, for whatever reason. So, the better way to get to it is to press the Alt key or the Option key as you're using that bloat tool. And then you can go ahead and drag up the path like so.

That's too much for me. So I'll press Ctrl+z or Cmd+z on a Mac in order to undo, and try it again. And that looks a lot better, in my opinion. And then I'll go ahead and click and hold right there, and Alt or Option drag like so. And click and hold right at this location. And Alt or Option drag once again. Click and hold there, Alt and Option drag upward. Based on my experience, the safest thing to do at this point, is to click OK. That way you kind of save what you've done so far. So click OK and you'll see the text update and then presumably you go up to the File menu and choose Save or Save As.

To save your work so far. And you're probably going to want to do this for every one of these six letters. Now I'm going to double-click on the word Liquify here inside the Layers panel to bring up the liquify window once again. And I'm going to grab the work tool and I'm going to click up here in this empty region about the H and Shift+click down like so In order to create a kind of cleft into it. And you can also go ahead and turn that into a droplet by switching to the bloat tool. Let's go ahead and zoom in a little bit here so we can see what we're doing.

And I'll click and hold right there in order to turn that into a kind of droplet and I'll Alt drag or Option drag it upward that's to much obviously. So I'll try it again. That probably better like so. So sometimes you have to work pretty quickly. And then click OK to accept that change, and then save your changes and so forth. So I've gone ahead and saved my Liquefy settings in advance. And to load them, I'll go ahead and double click on the work liquefy. Once again you have to have the Advanced Mode check box turned on so you can see the Load Mesh button. In which case you want to click on it.

Navigate your way to this folder here and go ahead and select this file. Works only for horror. In other words, it's only going to work for this specific text. Then click on the Open button and voila, my two hours of work, essentially, is brought to life here. Now I'll go ahead and click OK to create those dripping letters. Now let's say you want to adjust the color scheme, as I do. Well, then, you drop down to the little black white icon at the bottom of the Layers panel. Press and hold the Alt key or the Option key on a Mac and choose hue saturation.

That way you can name this layer as you create it. And I'll go ahead and call it Color Scheme, like so, and then click OK. I'm going to make a few adjustments here inside the Properties panel. I'm going to change the hue value to negative 140. And I'm going to take the saturation value up to positive 65. Then, I'm going to go ahead and create a copy of this layer. And notice that it does not have a layer mass. That's very important. And that's because in the Adjustments panel I went ahead and turned off add mass by default.

Which is a command I do not like at all but it is turned on by default. And the reason I don't like is because you're better off being able to create layer masks when and if you need them as we're going to do right now. So if you've got a layer mask, get rid of it, then go ahead and press Ctrl+Alt+J, or Cmd+Opt+J on a Mac, in order to jump a copy of this layer and name it. And I'll call this new layer Letters, and then click OK. And that's going to, once again, rotate the hue values and increase the saturation, which is why we now have bright green text.

I'm going to go ahead and load up these letters by pressing the Ctrl key or the Cmd key on the Mac and clicking on the thumbnail for that rough horror layer right there. And that will load the letters as the selection outline. And then with the letters layer selected go ahead and drop down to the Add Layer Mask icon and click on it. And you'll end up with this effect, here. Now, that's interesting, but I think that green's a little over the top. So I'll switch back to the Properties panel, click on that little Adjustment layer thumbnail, right there. And I'm going to take the hue value up to negative 90.

And then I'm going to take the saturation value down to 50. And, I'm going to take the lightness value, don't normally recommend this guy. But I'm going to take it up to plus 10 in order to create this final effect here. Now press the F key a couple of times in order to fill the screen with this image. And I might even zoom in as well so we can see these gooey, dripping letters. And just to give you a sense of what we've been able to accomplish here. I'll press the F12 key in order to revert the image so we can see the original plain impact version of the word horror.

And then I'll press Ctrl+Z or Cmd+Z on a Mac and we can see what we've managed to accomplish inside Photoshop. Now, if you 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 our ghost type so far and turn into this green slime type here. That has all these drips coming down the face of it. And occasionally you can see some drips extending beyond the bottoms of the letters as well. If you're waiting for next weeks free movie by popular demand I am bringing back a technique that doesn't work the way it use to.

So I'm going to show you how to create heavy metal type in either Photoshop CS6 or CC. Deek's techniques each and every week. Keep watching.

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