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Take a 10-minute recess every week and join Bert Monroy in Adobe Photoshop or Illustrator, the playgrounds of digital artists. Every Friday Bert walks through a fun, self-contained project that tests your skills and challenges the imagination. These programs aren't just image editors; they are sandboxes for creativity and experimentation. Take a spin through a carousel of tools and get reinspired, each and every week.
Last week we looked at how I created this mink coat for this two page spread. Well, what I want to do now is, I want to get in on this little charm right here. So let's get a little closer on the charm. And what I want to do, is how this was created. Now it's going to take me more than one episode to do this, but. That's what we're going to do, we're going to create this little charm. So, let's create a whole new file where we're going to create our charm. keep it low res, you could make it any res you want.
click OK. So, now, go to full screen here, there it is and just double click on the hand there. And now what I'm going to do is I'm going to get my rectangle, my rounded rectangle tool. Now for this particular resolution I had the radius set to 30 pixels which is going to give me just what I want. I'm going to get about the middle here and hold down my Option key to draw from the center out and my shift key to constrain it so I get a perfect square. I'm getting this nice big, right there.
So, I've got this outside area ready to go. So what I'm going to do is I'm going to just select that path, and I'm going to copy it. And then I'm going to paste it. So now, it looks like nothing happened but what happened is this path just got pasted directly on top of the other one. It is selected, the one in back is just a line without the handles visible. What I'm going to do is, I'm going to go in here and go to Free Transform or Transform the Path. Either one this gives me a whole bunch of different choices and this just gives me everything generalized so I can do it all in one place.
And I'll hold it from the option the button again from the center out and shift to constrain and I'm going to go down and make it a little smaller, about like that. Make it happen. Hit the Return key and there it is. So now I'm gong to take that one and copy that and paste it. And I'm just using the keyboard equivalent and Command-T is going to bring me to my transform where I'm going to shrink this one down. . A little more about like that. And then I'm going to do it one more time. I'm going to copy that and I see that there's a slight transformation happening where you losing some of that curvature.
See it's becoming wider. When you see something like that start to happen you could fix it ahead of time by just grabbing say this point right here and the one on the opposite side and get just a little nudge up just a little bit. A little more and then you see that we have a nicer, clean edge. And you can do it to the bottom but it won't be that noticeable once we're done. But now I'm going to select that inside, okay, one more time, and copy him, and paste him, and make him smaller. There, all right.
So now that last one we just created, the purpose of that is, that's the inside hole in the charm. So what I'm going to do is, I'm going to go in here and I got my selection tool, my direct selection tool, which allows me to select individual pieces, like this line right here. What I'm going to do, is I'm going to click and drag to encompass the two points at the bottom. Right there. Now I'm going to hit the Delete key. So now, there's a curvature here. So what happens if I click here, and then start to click here, see I'm getting a curve? Let me undo that.
I want to continue from that point but I want it to be hard edge down here. I want it to be cornered, as really sharp rather than rounded on top. Okay so hold I'm going to hold on the Option key, click on the point, and change It from a smooth point or beerier curve to a corner point. Then I'm going to come down here. And I'm also going to hold down that Option key 'because if I don't, and I click, see there's a curve. I'm going to undo that, and that is because this has the original long smooth point from the arc down below. So I'm going to Option+click here and Option+click there.
That connected the two point together. Switching back to my selection tool, I'm going to grab the line here, and holding the Shift key, I'm going to push it up, to about the middle there, and that's where we going to have our hole. So now we need this ship, there is a little medallion for the QE2, so I'll need a picture of the QE2, something that I could choose to create, something that looks like it, alright? So, I did a little search on the web, and I got this little picture. It's very low-res. But it gives me the dramatic look of the Q-E-2 that I wanted.
And that's what we're going to work with. So what I'm going to do is I'm going to come in real close. And it doesn't matter that it's such bad resolution. Cause we're not really using the picture. We're just going to use its shape. So we're going to do, is I'm going to take my Pen tool, and I'm going to get in real close. So let's see, I'm going to start right here on this corner there. Now, we see there's a little bit of a curve, so I'm going to do is I'm going to start the top of that curve and click and drag. I'm going to hold down my Shift key to constraint it because I'm right on the tip the curve, so I want to be equal.
See, right through there. Bring it out to about there. Now this line here is a control point, it's going to control it to the next point. So I'm going to go down this area here. So I got this nice curve. I'll come down here and click, and drag. See, look at the nice curve. Now here I got a longer handle because I'm further away and I got a longer arc right there. Now I can come all the way down to the bottom here. Click and drag. Now, it's not exact, no problem, we don't have any more room, it doesn't matter because after the fact, I hold down my Cmd key.
And I suddenly get my pointer tool so I can pull it up and now I can adjust these till I them just the way I want them, right there like that. So now, like we said before, I'm going to hold down my Option key, click there, come way down here, click and drag. Here I'm dragging cause I want to curvature towards the end. So that can come up, right into there. Then come, hold down my Option key, pull that handle, come way out to about here. An then here I'm just going to, click, an drag, just a little bit. There now, seems a little tight in there.
Well, again, we can adjust it after the fact. So I'm going to go in here and pull that out even more. So there, I got this nice dramatic arc that's even better than the one that was in the photograph. So I got a really dramatic arc there. That's that. So I'm going to deselect it by just clicking off it. Get my pen tool back, and go right on top of here. So I'm going to start right there on the line and go up and over, that, this, and down, and over, way down to here. And down to that line.
And that's it. I'm now going to go in this, come back this way, and reconnect it. Why? Because it's just lines that I'm looking for, and right there we have that line for the body or the hull of the ship. So I deselect that, and it's very important to deselect it. If you don't, then next time you click, it's going to connect. Like, right here, if I click here, see, it's not connecting to anything. So I go over here, and I come over here, and go, and go in. See, now that's all I want is that little line. So now let's do the tower.
See how its connected? So I'd have to deselect that by just pull down the Command key for a second, get the pointer, click, and that's it. For then, its a lot to go to cover this whole thing up, so You know what I have just to save us some time, is I have the original charm that I did for that two page spread. Here we do have if we look at the paths, and this sees only the background so we can see the paths easier. There's the QE2 right there which also tells you why thing, it's important to name things so you can easily find them when you need them.
This was done years ago and I needed that boat, so there it is So, now I'm going to take that and get my past selection tool. Select all of em right there and copy it. Then I go back to my other file where we're creating our piece and I'm going to say paste. Comes in a little small. No problem. I'll Cmd + T so I can scale it. Holding down the Option from the center out and the Shift to constrain. Bring these up and scale it to about like that. Let's say like that. We'll move it over to the right a little bit and I'm hitting my Cursor keys.
And there it is. I'm going to hold down the Shift key and push it straight up to the top so it just intersects Along the top there. Right in there like that. Okay, so there's our piece going. I'm going to say Apply, there it is. And so now, we're going to go in here and start to colorize this. I'm going to create a layer, I'll call this layer, the charm. And I'll say underscore plate. This is the actual metal Piece that this whole thing is engraved on to.
Now, I'm going to select just this outer path. Now, you notice that even though all the path's out here, I can target a specific path to do a specific thing. So with that path selected, I've got a gold color selected, which, a nice, rich, gold color, which'll be good for my foreground color. And I'm in that layer. Alright go to the path and say fill it. I clicked on that little guy and it filled it. Now I'm going to select that inter-most rectangle or square and go into my layers.
And I am still there and going to my paths and make sure that I am still in that layer. And in my path, this time I'm going to take this selected path and say make it is a selection. So now, I have that area selected. Now I'm going to hit the Delete key. If I hit the Delete key now, you'll notice that that paths are gone. So let me undo that. And let's turn off the paths, so the paths are no longer visible. And now, I'll hit the Delete key. And there, you see that we have cut a hole in that layer. Cut a hole exposing the background through our charm.
And now deselect that. Now, the boat. Let's go in there back to our paths and there is all our paths. And what I'm going to do is I'm going to go in there, and, let's just get out direct selection tool here. And just going to draw a little marque there, kind of encompasses all the different pieces of the ship. And, this one here really doesn't matter. But I'm going to go ahead and shift click on it as well so they're all selected. And in that same layer I'm going to take that path and fill it with the same gold.
Now, this design is going to be engraved into the metal. So we see it right along the edge, so we need that, expand our metal plate here so that it will go beyond here. So what I'm going to do is I'm going to select the outside path, go around that whole area and shift select these two outside paths right there; cause they weren't selected as, well, they're separate from the other paths. And I'm going to go in there and do another different thing to it. I'm going to stroke it but first before I stoke it see if I say stroke it here and does something happen.
Yes something happens stroked it with the pencil cause here's what happens when you say stroke some path that's just choice you can choose others. But, it's better to do it this way, to actually choose the tool that you want, so you have full control over how it's going to, be applied. Make sure I have the size and hardness set to zero, or, to 100% rather. And go into my brush engine and make sure it's spacing is down so I get a really nice solid stroke. And right there, I'm going to make the brush a little bit bigger.
So just go in here and just make it a little bigger, about like that. That looks good. 20, and then in that same layer, I'm going to take that path and I'm going to stroke. See, it used the currently-selected tool to stroke, and it gave me that edge of that metal beyond the path. So now, there's a little area up there, we can turn off our paths. There's a little area we would like to just fill in, no problem, because we are in a paint brush, and we can just go in there, just touch that up, and there we've got it nice and full.
Now, next week, what we're going to do is, we're going to go in there, we're going to start to add all these little details in the engravings, and make it look like it's made of gold.
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