Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

305 Simulating hand lettering with art brushes

From: Deke's Techniques

Video: 305 Simulating hand lettering with art brushes

Hey, gang, this is Deke McLellan. Alright so the first step is to copy the uniformly stoked vector based You can see that I've got my final seal already open, Now, those of you who worked away through the previous You'll notice that our original layers are intact, but if I go ahead And you can see, if you click on it, you're And now that we have a properly colored red brush, Zoom out just a little bit here, and now, I'll click on a square to once again Now with all these path outlines selected, you want to Alright, now we have a few placement issues to take care of.

305 Simulating hand lettering with art brushes

Hey, gang, this is Deke McLellan. Welcome to Deke's Techniques. This week, I'll show you how to simulate calligraphic lettering inside of Illustration using art brushes. Specifically, we'll take this Chinese shop that we created last week with these uniform path outlines, and we'll turn it into this more desirable effect Fact here. Now, we're going to see a bunch of different things happening. First of all, we're going to create a vector based smart object inside of Photoshop. So we can see how Photoshop and Illustrator interact with each other.

And then, over the course of time, I'll show you how to hand modify the letters in order to make the art brushes fit the letter forms that much better. So, if nothing else this will serve as a glimpse into a real world design project. Here, let me show you exactly how it works. Alright so the first step is to copy the uniformly stoked vector based chop that we created last week or if you prefer, in the previous movie. So here inside Illustrator, you want to press Control A or Command A on a Mac to select all of the path outlines and then press Control C or Command C on the Mac in order to copy them into the clipboard.

And then, go ahead and switch over to Photoshop. You can see that I've got my final seal already open, but we are once again going to create this thing from scratch by going up to the View menu and choosing the new command or you can press Control N or Command N on a Mac. I'm going to change my unit to points and that way I can dial in the exact same values that I used for my Illustrator document, which is to say a width of 720 points, a height of 500 points, and we might as well raise the resolution value to 300 pixels per inch.

Color mode is RGB and the background contents are white. Then go ahead and click Okay in order to create that new document. I'll go ahead and zoom in here and then I'll press Ctrl+V or Cmd+V on the Mac in order to invoke the paste command. Photoshop naturally wants to know how I want to paste this illustration. And the answer is smart object. That way we can go back and modify the illustration any time we like. Which is to say, pretty much right away. So I'll go ahead and click Okay in order to paste that copy-chop.

And I'll press the Enter key, or the Return key on a Mac, in order to accept its default size. Now, those of you who worked away through the previous movie will note right away that we've lost our rounded corners. And that's because, well, all these sizing dynamic effects, it is those transform commands that we applied, all of them remain intact. Photoshop does not necessarily pick up on the fact that there's a dynamic effect applied to an entire layer. So what we need to do is make it aware of that fact by reapplying that effect back inside of Illustrator.

And to launch Illustrator with this document just go ahead and double click on this thumbnail on the vectors smart object thumbnail here inside the layer panel. You may end up seeing this alert message that's basically just telling you how smart objects work, just click Okay in order to switch over to Illustrator like so. Now in my case, it's make my windows smaller. So I've gotta maximize the window once again, and then zoom back on in, and I'm going to actually zoom out just a little bit here.

By clicking inside this little zoom icon in the lower left corner of the window and pressing the down arrow key until I like what I see. You'll notice that our original layers are intact, but if I go ahead and click on a circle to target the Chop layer, and then I switch over to the Appearence panel, which you can do by going to the Window menu and choosing the Appearence command, you will not see any dynamic effect. So it's dropped away. Not really a big problem though because it's so easy to reassign. By going up to the effect menu, choosing stylized, and then choosing round corners.

And you want to set the radius value to 12 points, and then click Okay. And that will go ahead and round off those corners like so. And this is for the entire layer incidentally including this M. Now I'll go ahead and click off the path outlines to deselect them. Now, if I were to go ahead and close this illustration, by the way, and then click on the Yes button in order to save my changes or the Save button on the Mac, you're not going to save your changes to disk, rather, you're going to save your changes into the Photoshop document.

And if I switch back over to Photoshop, you can see that's the case. And you can also see I now have my round corners intact. So you can apply dynamic effects to the layers, it's just that they don't really translate across the clipboard. That is, across the copy and paste operation. But there's still more modifications I want to apply. So I will, once again, double click on the thumbnail for that smart object and then click Okay in response to the alert message. Go ahead and maximize my window once again, center my zoom by pressing Control zero or Command zero on the Mac.

So I can better see what I'm doing and I'll just dial in that zoom value of 142% down here in the lower left corner of the screen. Anyway, that's going to be enough going back and forth between Illustrator and Photoshop. From here on out, I'm just going to make my changes and then we'll save' em back to Photoshop just for the sake of expediency. We need a couple of brushes. And so what you want to do is go up to the window menu, and choose the brushes command to bring up the brushes panel which has nothing in it, as you can see. But Illustrator shifts with a bunch of brushes that you can load by clicking on a little books icon in order to bring up the library's menu.

Then choose artist, and in our case, we want to choose choc, charcoal pencil in order to bring up this little independent panel right here. I'll go ahead and make it a little bigger. The ones that were interested are the second and third ones. Chalk blunt and chalk round. To transfer them over to the brushes panel just click on one, and then click on the other. And now they're both members of this document. Now you can close the floating panel if you like to get it out of the way. Now the problem is what I want to do here is select this outer shape, the square, and I want it's stroke to be set to chalk round.

But if I click on chalk round, you're going to see that it's a little bit lighter than the red we're looking for because it's automatically tinted and you can go ahead and click on options of selected object down here at the bottom of the brushes panel to bring up this big dialog box here. And you can change the colorization method, assuming that you've got your preview box on, you can see what you're doing. You can change it to none, that looks wrong. You can change it to tints and shades, that's going to darken it up. Or you can change it to hue shift, and hue shift looks like it's doing the right thing, but it's actually slightly lighter than the red in the center.

So in other words, there's no way to make this specific brush work. So, cancel out, click off the square to deselect it, and grab this brush stroke right here. Let's go ahead, and scroll over a little bit. Grab it, and drag it and drop it into the document. Now, let's go ahead and zoom in on it. And you can see, if you click on it, you're going to select both it, and its little bounding box here. That's not what we want. So press the A key to switch to the white arrow tool. Click off the path to deselect it. Press and hold the Alt key, or the Option key on a Mac, so that you see a plus sign next to your white arrow. And click twice on that blob of brushiness right there in order to select everything, but the bounty box.

So just click twice with Alt or Option uuu, you don't have to double click, you're just clicking twice in a row. And now go up to this black swatch, the fill swatch, on the far left side of the control panel and shift click on it in order to bring up the RGB values, if you don't see the RGB values choose RGB from the fly out menu and then dial in a red value of one fifty and set both the green and the blue values to zero like so. And now that we have a properly colored red brush, you can press the V key to switch to the black arrow tool, click off of it and then click on the brush again to select the entire thing including its bounding box.

And drag it and drop it into the Brushes Panel, we want to create a new Art Brush. So select Art Brush here inside the New Brush dialog box. Click Okay, and now let's go ahead and call this guy Red Chalk, let's say and click Okay. All right. Now you can press the Backspace key or the Delete key on a Mac to remove the brush from the document. Zoom out just a little bit here, and now, I'll click on a square to once again select it, and I'll click on red chalk in order to apply it to the path outline.

Now this isn't the exact effect I'm looking for so I'll click on this little options of selected object icon down here at the bottom of the panel, and with the preview check box on. Make sure that this value, this first value's selected and press Shift up arrow, a couple of times in order to increase the thickness of that brush and then select the Flip Across option and set colorization to none. So that we have the proper shade of red, and then just go ahead and click Okay in order to create this effect here.

Alright, now I'm going to hide my brushes panel, because I'm done with it for the moment, and I'm going to select this fill here inside the appearance panel, I want to make it slightly bigger. So I'm going to twirl open that red fill right there by clicking on it's little triangle. Then I will click on the Work transform to bring up the transform effect dialogue box and I will change both the horizontal and vertical values to 94%. Turn on the preview check box and you can see that makes that red interior area a little bigger, then click Okay. Now we need to brush up the rest of the paths by going up to the Select menu and choosing the Inverse command and that way we'll select all the paths except for the big square and I'm getting some flashing of the path outlines up on the screen here and that's because I have my smartguides turned on.

So I'm going to go up to the view menu and turn them off for now. Now with all these path outlines selected, you want to bring back up the brushes panel which you can also do of course by choosing brushes from the window menu and this time we are interested in chalk blunt. And if you click on it you're going to get this effect right here which is very blunt indeed. Go ahead and hide the brushes panel. Notice that some of the brushes are thinner than others and that's a function of the fact that we have some dynamic effects applied so let's go ahead and take care of that problem by clicking out the past to deselect all of them and then click on the c right there in order to select it.

That is the small c up here at the top. And now what you want to do is bring back up the brushes panel and click on that options of selected object icon to bring up the stroke options dialog box and change this first value here to 150% and you'll end up with this thicker c. And then go ahead and click Okay. Alright now, click an e this time, the first e in order to select it. Click on that same options of selected object icon and this time we're going to take this scale value up to 175%.

And basically what I'm doing, by the way, I'm not sure if you're interested in the math, if you want to be able to figure this stuff out. But you may recall that I had originally scaled the e to 57%, that's in the previous movie, and so to figure out how much you need to compensate, you whip out your phone calculator and you divide 1. You take 1 divided by 0.57, which is 57% and you end up with 1.75, which is 175%, so that's how you do that math.

Just in case you're curious. Of course, you can always eyeball it if you want to. Then click Okay, in order to apply that change. Alright, now we have a few placement issues to take care of. Notice that the e is a little too far to the right. It's kind of poking into the second l. To compensate for that, go ahead and click on the word transform here inside of the appearance panel, to bring up the transform dialog box. And turn on the preview check box and see what you are doing and then click in the horizontal value, the horizontal move value and then just press the down arrow key as many times as it takes in order to that guy over to the left a little bit.

I have found that a value of negative two or negative three is going to do the trick. In my case, it's negative two. So I'll go ahead and click on the Okay button, but there's the 57% that I applied in a previous movie that I was compensating for, by one divided by .57, to get 1.75, which is a 175% in the previous dialog box. Anyway, just wanted to show you that. I'll click okay in order to apply that change. Notice the k's kind of a mess, because we've got this corner that's digging into the e. To get rid of it it, select that v, that upside down v shape, then click on options of selected object.

And go ahead and select this guy, this first overlap option. And that's going to cut that short right there like so. And then click okay. And then lets go ahead and hide the Brushes panel. I've got another placement problem right here. Notice the big c doesn't quite come in to the first L the way that it should. So I'm going to go ahead and select it and we're going to transform this guy dynamically by going up to the Effect menu, choosing Distort and Transform and choosing the Transform command. And I'm going to select this left hand point in this tiny little reference point matrix in the down left corner of the dialogue box, turn on preview check box; so we can see what we're doing, then click in the horizontal scale value and press the up arrow key in order to scale that guy over.

And in my case I'm scaling it to a horizontal value of 103%, you're results may vary a little bit. Now I'll click okay in order to apply that change. Now we need to bring the bottoms of the M's and L's and everybody down. And the biggest trick here is trying to select these guys. So press control Y, or command Y in the Mac, in order to switch to the outline mode, so we can better see what's going on. And then press the a key to select the white arrow tool and marquee the bottoms of all of these l's and the bottoms of the m's.

So all these bottom anchor points here. Avoid the bottom of the square, of course. And then press Control Y or Command Y on a Mac to switch back to the preview mode. And then press shift and arrow just once in order to move the bottoms of all these paths down. And now you can press the Shift key and press every one of these bottom anchor points except the very first one. So I'm shift clicking all of them except this guy right there so that he remains selected and then I'll press shift down arrow a couple of times actually and then up arrow a little bit about right there is what I'm looking for and you will see a little bit of the M hanging down, but that's okay I think that looks fine.

All right, notice that we also have a problem with the tops of the Ls, they don't really align to the top of the M here, because of the shape of the brush. So again press Ctrl Y or Cmd Y on the Mac, so that you can see the paths by themselves in the outline mode. Go ahead and marquee around the tops of the three L' s. Press Control Y or Command Y on the Mac to switch back to the preview mode and press shift up arrow a couple of times in order to raise the tops of those L' s like so. And you know what? I think I want the L' s to be going in the other direction here.

Same with this guy right there. So I'll shift click somewhere on this middle bar, that middle stem of the M, and I'll bring back up my brushes panel for the mteenth time and I'll go ahead and click on options of selected object in order to bring up the stroke options dialogue box and I think I want flip along. Let's see if that works. It does. The effect that we are getting now is that we can see the tops of those brushes, like so. I think that's a better look, so I'll click okay in order to accept that and I'm going to ahead and shift click on this stem to turn it off.

These points are still selected and I'll press shift down arrow to nudge them down a little bit. That looks better to me anyway. Alright now I'll press the v key to switch to the black arrow tool and I'll click on the d here to select it. I'm not exactly loving this shape right here. So what I'm going to do is I'm going to take this guy and I'm going to switch over to the layers panel I'm going to drag this little orange square from not round down to the top layer, which as you may recall, has the round corners effect assigned to it. And notice that now, I'm running the corners of the D and I'm getting an entirely different effect like so.

Now I'm going to go ahead and select the other letters, one at a time here. I'm going to select the E, and I'm going to nudge it down until the two letters, the D and the E touch, and then I'll press the down arrow key. One, two, three, four, five times in order to create a little bit of room between those two letters, so I'm basically hand curving the letters by pressing the down arrow key. And now click on this portion of the K and shift click on the stem right there, and I'll nudge it down to right about there, and then I'll press 1, 2, 3, 4, 5 to hand cut those two letters.

And then I'll grab this E and I'll scoot it down to the very bottom until it touches the bottom and then I'll press the up arrow key one, two, thre, four, five times in order to create the proper amount of spacing and you know this guy is a little too far over to the right so I'll press left arrow key a total of 3 times actually to move him over just a little bit to the left. So he's not cutting into the second L, don't you know? Alright now we need to work on the ampersand and I'm going to start by adding a little bit of roundness right there at kind of the nose inside of it's face if you will.

And I'm going to do that by grabbing the orange square here inside the layers panel and dragging and dropping it down to the chop layer which moves this to the chop layer Which goes ahead and rounds off those corners and thanks to the fact that we have this brush applied, it's not so noticeable that we have those lumps in the path outline. Now press the A key to switch to the white arrow tool. I'll click off the shape to deselect it and I'm going to click on that end point to select to and I'll shift click on this end point to select it as well and I'll press shift right arrow to move both of the points ten points to the right.

It'll click off and I'll click on this top guy to select him independently. And I'll press shift down arrow a total of three times to scoot that point down. And then, I'll drag the control handle upward while pressing the shift key so that I constrain the angle of that control handle to vertical. That moves this little bit of brush outside the path into the red region, into the red stroke. So, I'll go ahead and press left arrow key a couple of times in order to move that anchor points slightly. Alright now I'll select this bottom end point, and I'll press shift up arrow three times in a row, then I'll drag down, while pressing shift key on the control handle and we end up with this final effect.

And now I'll press Control zero or Command zero on a Mac in order to zoom and I'll press the v key to switch to the black arrow tool and I'll click off the path outlines to deselect them and now, I can go ahead and close this file inside of Illustrator and then click the Yes button, that would be the Save button on the Mac in order to save my changes back into Photoshop. And I want you to notice that my original document the one we copied at the outset of this movie it still has uniform strokes, it doesn't have any of the brush strokes we saw just a moment ago. And that's because everything that we've done is actually truly saved inside of the Photoshop document.

To see that document, go ahead and switch back over to Photoshop, and you will see your changes. And if you want a before and after press Ctrl+z or Cmd+z on the Mac. This is the before version of the document. And this is the after version, thanks to our ability to fundamentally change the appearance of a vector based drawing, using brush strokes applied inside of Illustrator, and now rendered, here inside Photoshop. Alright, if you're a member of the lynda.com online training library, I have two, count them two, follow up movies.

In the first, I show you how to add this organic paper texture, so that our chop looks more like an actual stamp inside Photoshop and in the second movie I show you how to create this black stamp on red paper variation. If you're waiting for next week I have a mercifully short movie in which I show you how to auto hide iconic panels in Photoshop. It's much more exciting than it sounds. Geeks techniques each and every week. Keep watching.

Show transcript

This video is part of

Image for Deke's Techniques
Deke's Techniques

342 video lessons · 130723 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 24m 57s
    1. 341 Integrating 3D art into a 2D scene in Photoshop
      13m 41s
    2. 342 Creating a 3D shark in Photoshop
      11m 16s
  2. 11h 26m
    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
  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

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Join now "Already a member? Log in

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Deke's Techniques.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.