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Adding wings to a horse in Photoshop

Adding wings to a horse in Photoshop provides you with in-depth training on Design. Taught by Deke M… Show More

Illustrator CS5 One-on-One: Mastery

with Deke McClelland

Video: Adding wings to a horse in Photoshop

Adding wings to a horse in Photoshop provides you with in-depth training on Design. Taught by Deke McClelland as part of the Illustrator CS5 One-on-One: Mastery
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  1. 37m 22s
    1. Welcome
    2. Linking AI and EPS files to Illustrator
      6m 34s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 56s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 24s
  2. 1h 35m
    1. My favorite features in all of Illustrator
      1m 21s
    2. Introducing the Transform effect
      5m 30s
    3. Repeating the last effect you applied
      4m 52s
    4. Applying multiple passes of a single effect
      5m 21s
    5. The wonders of editing dynamic artwork
      7m 13s
    6. Applying effects inside effects
      5m 11s
    7. Assigning an effect to an entire layer
      5m 42s
    8. Building a complex bevel effect
      5m 44s
    9. Placing artwork as a Photoshop Smart Object
      4m 55s
    10. Editing that Smart Object in Illustrator
      4m 21s
    11. Rotating continuously overlapping objects
      5m 34s
    12. Adjusting a dynamic transformation origin
      6m 22s
    13. Vector vs. raster effects
      5m 46s
    14. Introducing the Scribble effect
      5m 23s
    15. Copying effects between layers
      4m 20s
    16. Introducing Graphic Styles
      6m 50s
    17. Controlling the Filter Gallery preview
      2m 28s
    18. Document Raster Effects Settings
      4m 31s
    19. Combining and saving styles
      4m 32s
  3. 1h 25m
    1. Airbrushing with points and handles
      1m 45s
    2. Introducing the gradient mesh
      6m 10s
    3. Working with the Mesh tool
      6m 12s
    4. Lifting colors from a tracing template
      5m 47s
    5. Finessing the colors of mesh points
      4m 17s
    6. Creating a mesh with the Mesh tool
      7m 19s
    7. Adding a gradient mesh to a circle
      4m 37s
    8. Adding a gradient mesh to a slender shape
      8m 7s
    9. Creating soft and sharp transitions
      6m 56s
    10. Converting a linear gradient to a mesh
      7m 29s
    11. Editing a linear gradient mesh
      5m 6s
    12. Converting a radial gradient to a mesh
      8m 19s
    13. Editing a radial gradient mesh
      8m 15s
    14. Creating credible cast shadows
      5m 32s
  4. 1h 15m
    1. The best of static and dynamic adjustments
    2. Adding wings to a horse in Photoshop
      6m 52s
    3. Introducing the Warp tool
      6m 29s
    4. Brush size, Detail, and Simplify
      8m 24s
    5. The Twirl, Pucker, and Bloat tools
      6m 13s
    6. The Scallop, Crystallize, and Wrinkle tools
      5m 55s
    7. Creating a mind-blowing custom starburst
      4m 29s
    8. Introducing Envelope Distort
      5m 21s
    9. Editing the contents of an envelope
      5m 20s
    10. Warping an envelope mesh
      5m 20s
    11. Liquifying the contents of an envelope
      7m 7s
    12. Creating and editing an envelope mesh
      7m 59s
    13. Blending an envelope into a background
      4m 35s
  5. 2h 1m
    1. Outlines along a path
      1m 13s
    2. Weaving a pattern throughout an illustration
      6m 24s
    3. Introducing the Brushes panel
      4m 21s
    4. Applying and editing a calligraphic brush
      8m 28s
    5. Applying and scaling art brushes
      6m 6s
    6. Applying and editing a scatter brush
      5m 29s
    7. Formatting and scaling brushed text
      5m 40s
    8. Editing the path outlines of an art brush
      6m 2s
    9. Replacing an existing art brush
      6m 46s
    10. Creating and refining an art brush
      8m 3s
    11. Tiling pattern vs. pattern brushes
      5m 12s
    12. Creating a pattern brush
      8m 20s
    13. Designing the perfect side pattern
      7m 1s
    14. Start, end, and corner tiles
      8m 58s
    15. Expanding and filling brush outlines
      6m 49s
    16. Text brushes vs. type on a path
      6m 55s
    17. Combining a text brush with the Width tool
      8m 43s
    18. Introducing the bristle brushes
      5m 43s
    19. Adjusting the hairs in a bristle brush
      5m 24s
  6. 1h 32m
    1. Charts can be beautiful
      1m 17s
    2. Adding a gradient mesh to a complex path
      8m 9s
    3. Importing and graphing data
      5m 22s
    4. Switching between the kinds of graphs
      6m 8s
    5. Changing the Graph Type settings
      8m 7s
    6. Correcting and editing data
      6m 51s
    7. Selecting and coloring graph elements
      6m 29s
    8. Making nuanced changes to a graph
      8m 6s
    9. The pitfalls of manual adjustments
      8m 45s
    10. Creating and applying graph designs
      6m 28s
    11. Making a basic pictograph
      6m 47s
    12. Assembling sliding graph designs
      8m 33s
    13. Making last-minute tweaks and edits
      5m 37s
    14. Composing and customizing a graph
      5m 44s
  7. 2h 6m
    1. Perspective is all about real life
      1m 44s
    2. Assembling an isometric projection
      8m 5s
    3. Introducing Illustrator's Perspective Grid
      6m 8s
    4. Drawing a basic perspective cube
      8m 1s
    5. One-point, two-point, and three-point perspective
      8m 25s
    6. Creating automatically scaling box labels
      4m 41s
    7. Setting up a Perspective Grid
      6m 45s
    8. Perspective Grid tips and tricks
      6m 39s
    9. Drawing and editing a perspective shape
      5m 20s
    10. Shifting between planes on the fly
      5m 24s
    11. Creating a freeform shape in perspective
      7m 8s
    12. Working with perspective symbols
      8m 57s
    13. Matching perspective with the Shear tool
      2m 50s
    14. Rendering an off-plane path in perspective
      5m 7s
    15. Replicating symbols in perspective
      8m 12s
    16. Mass-modifying perspective instances
      2m 56s
    17. Adding and editing perspective text
      5m 37s
    18. Duplicating perpendicular shapes
      7m 17s
    19. Adjusting multiple shapes on a single plane
      4m 48s
    20. Creating a perspective column
      9m 23s
    21. Duplicating a series of perspective paths
      3m 20s
  8. 1h 25m
    1. Just another dynamic effect
      1m 10s
    2. Introducing the 3D Revolve effect
      5m 1s
    3. The 3D Revolve settings
      7m 24s
    4. Fixing 3D rendering problems
      6m 32s
    5. Establishing symbols for 3D art
      6m 50s
    6. Mapping symbols onto 3D surfaces
      6m 14s
    7. Adjusting shading and light
      6m 25s
    8. Toning down 3D art in Photoshop
      5m 43s
    9. Adding a photographic texture
      7m 36s
    10. Converting from Illustrator paths to Photoshop masks
      4m 50s
    11. Making 3D droplets in Photoshop
      5m 58s
    12. Unifying textures with Smart Filters
      5m 48s
    13. Creating 3D type with Extrude & Bevel
      6m 44s
    14. Coloring and correcting extruded edges
      9m 15s
  9. 1h 3m
    1. Take action today, save effort tomorrow
    2. Introducing the Actions panel
      4m 16s
    3. Initiating a new action
      5m 33s
    4. Recording a practical action
      4m 56s
    5. Four ways to play an action
      4m 27s
    6. Streamlining by disabling dialog boxes
      5m 48s
    7. Editing an action set in a text editor
      7m 20s
    8. Inserting an unresponsive menu item
      6m 16s
    9. Match-processing a folder of files
      5m 42s
    10. Recording a transformation sequence
      6m 11s
    11. Editing and troubleshooting an action
      5m 6s
    12. Recording actions within actions
      7m 21s
  10. 1m 36s
    1. See Ya
      1m 36s

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Adding wings to a horse in Photoshop
Video Duration: 6m 52s 13h 5m Advanced


Adding wings to a horse in Photoshop provides you with in-depth training on Design. Taught by Deke McClelland as part of the Illustrator CS5 One-on-One: Mastery

View Course Description

In Illustrator CS5 One-on-One: Mastery, the third and final part of the comprehensive Illustrator One-on-One series, author and industry expert Deke McClelland shows how to take advantage of the wide array of dynamic effects in Illustrator CS5. Deke explores Illustrator’s powerful Gradient Mesh feature, great for creating photorealistic airbrushing effects. He also covers graphic styles, the liquify tools, envelope-style distortions, the new Bristle Brushes, 3D text, and perspective drawing. Exercise files accompany the course.

Topics include:
  • Working with dynamic effects
  • Placing artwork as a Photoshop Smart Object
  • Creating and editing a Gradient Mesh
  • Distorting artwork with an Envelope Mesh
  • Using the Calligraphic, Art, and Scatter Brushes
  • Creating an intricate Pattern Brush
  • Importing and graphing data
  • Creating a complex pictograph
  • Drawing and editing a perspective shape
  • Working with the new Perspective Grid tool
  • Using the 3D Revolve effect
  • Creating 3D type with Extrude & Bevel
  • Recording and playing automated actions

Adding wings to a horse in Photoshop

Over the course of this chapter, we are going to take this file here called Winged horse at, and we are going to transform it into this final version of the composition, with this big, dramatic, thick version of the winged horse. And we've got these rolling grassy hills here in this distorted text, and this big starburst in the background. And we'll achieve these effects using a combination of the Liquify tools, which are painting tools inside of Illustrator, as well as a couple of enveloped distortion commands, which allow you to distort path outlines and other objects inside of a mesh wireframe.

And we are going to see how all of those features work, but before we go there, I want to show you how I put together the original winged horse in the first place. So if you take a look at the Layers panel, and you twirl open the horse layer, you'll see this Tracing item right there. That's a live trace object like the ones that we saw back in chapter 13 of the Advanced portion of the series. Go ahead and meatball that tracing item, if you want to see how it's put together, and then go up here to the control panel and click on the Tracing Options dialog icon. That will bring up the Tracing Options dialog box, and for the most part, all of these options are set to their defaults.

For example, I change mode to Black and White, so that I am tracing a black-and- white version of the image. The Threshold value is set to 128, so I am tracing the darkest stuff black and the lightest stuff white. Blur is 0, of course. I just left the Resolution set to 267 pixels per inch, which is the resolution of the actual image file, and so forth, throughout the dialog box. The only setting I changed was Ignore White. So if I left Ignore White turned on, as by default--I'll go ahead and show you the preview here--we would see a black horse against the white background.

I didn't want that; I wanted to drop the background away, so I went ahead and turned on the Ignore White check box, and Illustrator just traced the black horse and nothing else. All right! So slightly interesting as that is, the bigger question is, how did I create this image in the first place? Well, it involved almost no painting whatsoever. It's largely a combination of silhouettes that I created from actual photographic images. So if you'll permit me here, I am going to show you how I made this image file inside of Photoshop for a moment. So I am going to switch over to Photoshop, and I've got opened this file called Horse with wings.psd.

I am going to bring up the Layer Comps panel by clicking on this little Layer Comps icon, and layer comps allow you to save various states of your layered compositions inside of Photoshop. So for example, I went ahead and saved this one right here, and you switch between comps just by clicking in this little column in front of the comp names. And then I added a single wing, like so, which I thought looked really good. The problem is that's not the way the silhouette would really look, because we can see both legs for example, upfront and in the rear. So we've got to be able to see both the wings in the background.

So I added a second wing, like so. Now to give you a sense of how I put this file together, I am going to switch to this comp, the one that's called starting point, which just shows the background layer and nothing more. And then I'll build up the file for you here inside the Layers panel. Now this is a grayscale image, so there is no color associated with it whatsoever. I brought in this horse image. And both of the images I used, by the way, both the photographic images come from the fotolia image library. And in this case I took this full-color horse. I went to the blue channel. So an RGB image inside of Photoshop has three channels: a red channel, a green channel, and a blue channel.

I went to the blue channel, copied that channel because it was the darkest, and then pasted it into this file. Then I added a Levels Adjustment layer in order to increase the contrast of the image, so virtually everything turned either black or white. Now there are some exceptions. We have a few white flecks up here in the head and over on the rump, and we've got some big white areas over here in the hooves, and then we have this little bit of gray shadow that I wanted to turn white instead. And I did that on an independent layer. I have got this brush work layer right there. I'll turn it on, and all I did was, working on this independent layer, I went ahead and grabbed my Brush tool over here inside the toolbox, and then I just painted inside the image.

The only caveat is that I used a hard brush. So if I right-click inside the Image window, you will see that the Hardness value is cranked up to 100%, and that's the way you want to work, so that you don't introduce any arbitrary soft edges. All right! So that was probably the most time-consuming part of it. It took me couple of minutes in order to fill in those details. Then what I did was I went out and grabbed the goose, of all animals, just because I like the way the wings looked. And then I had to go ahead and increase the contrast of the goose as well. So I got rid of that background, kept the foreground, didn't have to do any painting where the goose was concerned, but I did have to go ahead and do some masking.

And so I have got this layer mask right here that's currently turned off. I'll Shift+Click on it to turn it on, so you can see that I went ahead and masked away the right-hand wing and left just the head in place down there. I also masked away the tail feathers in back. This little gray area is a little bit of the horse's mane that's revealed in the background. And now to merge the goose with the rest the artwork, I went up to the Blend Mode pop-up menu and I changed the blend mode from Normal to Multiply, which, as you well know by now, goes ahead and drops out the whites and keeps the blacks, and we get this great silhouette interaction right here.

For the other wing, I took that exact same goose and rotated it to a different angle, and then I went ahead and copied that contrast later, that Levels Adjustment layer, and popped it on top. And notice that all of these adjustment layers, for those of you who are familiar with Photoshop, all these adjustment layers are clipped by the layers below, so they're only affecting the immediate layer below them. And then I went ahead and masked that layer as well, so that I am just keeping this little bit of wing over here in the upper left-hand corner of the image. So if I Shift+Click on that layer mask, you can see this is the portion of the bird I kept.

It is getting hard to read this image at this point; that's why I need to go ahead and click on that goose layer to make it active and then change its blend mode from Normal to Multiply as well. And I end up getting a little bit of this wing fringe in the background. Now I figure the wings should really have an elbow in this area someplace, and so I just went ahead and drew that in manually, and I actually did so using a path. So if you go over to the Paths panel and you click on elbow, you'll see that I've drawn this path outlined here using the Pen tool, a Pen tool that works almost identically to the one inside of Illustrator, and then I went ahead and converted that to a selection outline--and you do that by pressing the Ctrl key or the Command key on the Mac, and just clicking on that path thumbnail; that makes a selection outline.

Then I want to the Layers panel and I created a new layer right here, and I filled that selection with black and I will just go ahead and show you what that final layer looks like. And so that goes ahead and completes the winged horse. So a lot of image editing going on, very little in the way of painting, so pretty different from that tracing project that we saw back in chapter 13 of the Advanced portion of the series, but it works just as well, and we end up coming up with this resolution-independent vector-based tracing object, here inside of Illustrator. In the next exercise, we will take a look at the Liquify tools inside Illustrator.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Mastery .

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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."





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