IntroductionWelcome| 00:00 |
(music playing)
| | 00:04 |
Hi, I'm Nigel French.
| | 00:05 |
Welcome to Photoshop for Designers,
Working with Illustrator.
| | 00:09 |
In this course, we're going to be
exploring some of the ways you can
| | 00:12 |
combine Photoshop with Illustrator.
Because I believe the best way to learn
| | 00:17 |
something is by diving in a doing it.
We'll be completing a series of mini
| | 00:22 |
projects that demonstrate how, in a real
world way, these two powerhouse programs
| | 00:27 |
can be used together.
Photoshop and Illustrator are
| | 00:32 |
fundamentally different, but share many
of the same features and conventions.
| | 00:37 |
I'll be concentrating on their areas of
difference in order to demonstrate how,
| | 00:42 |
when using both together, we can play to
their strengths.
| | 00:46 |
We'll look at extending our range of
creative possibilities in Photoshop by
| | 00:51 |
leveraging the creative potential of
Illustrator.
| | 00:54 |
In the form of Live Paint Groups, Symbol
Sets, Extra Typographic options, Blends
| | 01:00 |
and Transformations.
These are tools we don't have in
| | 01:03 |
Photoshop, but because we can seamlessly
move artwork back and forth between the
| | 01:08 |
two programs.
We can tap into a whole new range of options.
| | 01:13 |
So without further adieu, let's get
started with Photoshop for Designers
| | 01:17 |
Working with Illustrator.
| | 01:19 |
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| Using the exercise files| 00:00 |
If you are a premium subscriber to
lynda.com, you can download the exercise
| | 00:05 |
files used in this course.
These are arranged in folders by the name
| | 00:09 |
of the project.
Even though this course was recorded in
| | 00:12 |
Photoshop and Illustrator CS6, I have
back-saved the Illustrator files to
| | 00:17 |
version CS4 for maximum compatibility.
Note that in some instances I may use
| | 00:23 |
fonts that are not on your system.
In such cases, just substitute a similar font.
| | 00:28 |
If you do not have access to the exercise
files you can follow along with files of
| | 00:33 |
your own.
| | 00:33 |
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| What you need to know about this course| 00:00 |
This course is structured as a series of
mini projects some are contained within a
| | 00:05 |
single movie, while others take several
movies to complete.
| | 00:09 |
There's no linear progression from easy
to difficult, rather you can just dip in
| | 00:14 |
and out of the projects as you like.
While the same result might be achieved
| | 00:18 |
in either Photoshop or Illustrator.
I will favor Photoshop both because this
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is fundamentally a course about Photoshop
and because Photoshop is where I'm more comfortale.
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I will start each project by showing its
finished state.
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Then go about recreating it from scratch.
In some cases to save time I have
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pre-prepared certain elements.
The end result will be a close match to
| | 00:44 |
the original.
But there will be some differences in
| | 00:47 |
terms of the exact colors, position, and
relative sizing of the elements.
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What's important is the process.
The course is intended for intermediate
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users, and I will take it for granted
that you are comfortable with using both
| | 01:02 |
Photoshop and Illustrator.
If you are not, you might want to first
| | 01:06 |
check out the Essential Training titles
here at lynda.com for both Photoshop and Illustrator.
| | 01:13 |
But then be sure to come back and take
this course when you have done so.
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|
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1. Creating a MontageSetting up the project and creating the clipping mask| 00:00 |
I'm going to re-create this simple
montage, assembled in Photoshop, but
| | 00:05 |
using elements from Illustrator.
Let's begin by deconstructing the
| | 00:09 |
finished version.
At the bottom of our layer stack, we have
| | 00:13 |
a Color Fill layer.
I have a folder full of extras which I
| | 00:17 |
didn't end up using but that were useful
in the creation process.
| | 00:23 |
And that group is turned off.
Then, I have this Background layer which
| | 00:27 |
contains two elements.
One is a live traced version of the photograph.
| | 00:34 |
And the other, the one that's actually
called background, is a very abstracted
| | 00:39 |
version of the building.
And this was created in Illustrator.
| | 00:43 |
On top of this, we have the building
itself.
| | 00:47 |
And you can see that this is clicked to a
Vector Smart Object shape.
| | 00:52 |
The kind of shape that would be difficult
to make in Photoshop, so this was created
| | 00:57 |
using a spiral in illustrator.
This has been converted to black and
| | 01:02 |
white using a Black and White Adjustment
layer.
| | 01:04 |
On top of this we have a group that I've
labeled Type in which there are two
| | 01:10 |
pieces of type and one color Rectangle.
These all have a Layer mask applied to
| | 01:17 |
them which adding some texture to the
type.
| | 01:20 |
And then, at the very top of the layer
stack, we have this pointing hand.
| | 01:25 |
This is a glift that has been Copied and
Pasted from Illustrator.
| | 01:30 |
The first step is to start out in Bridge,
where I have, in the folder, all of the
| | 01:34 |
various elements that went into the
creation of this.
| | 01:37 |
Including some that weren't used in the
final piece.
| | 01:40 |
But all we need are these two to begin.
The image of the flatiron building and
| | 01:46 |
this texture.
I am going to select both and from the
| | 01:50 |
Tools menu choose Photoshop > Load Files
Into Photoshop Layers.
| | 01:55 |
So, that's going to create for me a
document that has two layers.
| | 01:59 |
The Texture layer, I am going to turn Off
for now, we will get back to that a bit
| | 02:04 |
later on.
And before I go any further, I will Save
| | 02:08 |
this and I'm now going to switch over to
Illustrator will I will create the spiral
| | 02:14 |
that I will use as the clipping mask
shape.
| | 02:18 |
So in illustrator I will create a New
Document and then come and choose my
| | 02:25 |
Spiral tool.
When drawing the spiral, I can add lines
| | 02:30 |
to the spiral if I hold down the Cmd key.
And then pull in and that will add more.
| | 02:36 |
It doesn't really matter for me in this
case.
| | 02:38 |
All I'm after is the overall shape.
And I'm just going to go with it like that.
| | 02:43 |
And then, I am going to rather than apply
the color to the stroke.
| | 02:48 |
And then I'll apply the color to the
fill.
| | 02:51 |
And I can then spin that around wherever
I want it to go, and adjust the scaling
| | 02:58 |
and the size.
And I think I would like it to look like that.
| | 03:04 |
I could save this as a file just to make
it quicker.
| | 03:08 |
And, more realistically, I would probably
just Copy it and then switch over to Photoshop.
| | 03:14 |
And Paste it where I will Paste it as a
Small Object.
| | 03:20 |
Now that I have it as a Small Object in
my Photoshop document, I will increase
| | 03:24 |
its size.
If necessary, modify its proportions.
| | 03:30 |
Then drag this underneath the image in my
layer stack, hold down my Option or Alt
| | 03:37 |
key, and click on the line between those
two layers.
| | 03:39 |
So that I click the image to that shape
at which point I may want to then just
| | 03:45 |
use my Move tool and Drag the image
around in that shape.
| | 03:49 |
Let me do two more things in this movie
before we finish up.
| | 03:53 |
And the first of those is I am going to
add a Color Fill layer.
| | 03:59 |
So I am going to come to Solid Color, and
I would like this to be white.
| | 04:03 |
And the second is I would like to convert
my color image to black and white.
| | 04:08 |
So I will come to the top of my layer
stack and to my Adjustment layers, Black
| | 04:12 |
and White.
I'm going to add a sepia tint to it by
| | 04:15 |
just checking the Tint box.
So we're now ready to move on to the next
| | 04:19 |
step, and that I will do in the next
movie.
| | 04:21 |
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| Incorporating a traced version of the image| 00:00 |
Quick recap before we get going with part
2.
| | 00:03 |
Here's where we're at.
This is where we're aiming for something
| | 00:06 |
like this.
And we have pasted this shape from
| | 00:09 |
Illustrator, which we are using as a
clipping mask here in Photoshop.
| | 00:13 |
I now want to switch over to illustrator
where I'm going to open a new document
| | 00:19 |
and then I'm going to place the image in
Illustrator.
| | 00:26 |
(SOUND) And live trace it.
Now this is a medium resolution image and
| | 00:31 |
I will likely get a warning message
telling me that live trace is going to be slow.
| | 00:36 |
If you find it is very slow you might
want to make a copy of this and then
| | 00:41 |
trace that.
But I'm going to go ahead and trace the original.
| | 00:44 |
So I'm going to come and click on image
trace.
| | 00:48 |
And then I need to modify my results, so
I will click on the Image Trace icon to
| | 00:55 |
open up my Image Trace panel.
And I'm going to move the threshold to
| | 00:59 |
the left, so that we introduce more white
area into the image.
| | 01:05 |
Now because I am working with quite a
large image, my image trace is going to
| | 01:10 |
be rather slow.
I'm going to turn off the preview for a
| | 01:13 |
moment while I just make a few
adjustments so that I don't have to wait
| | 01:17 |
for it to redraw after every one.
I am going to choose to ignore white, and
| | 01:25 |
this doesn't need to be super accurate.
So I'm going to move the Paths slider
| | 01:30 |
towards the low end.
And now lets turn on my preview and see
| | 01:35 |
what that gives me.
Okay.
| | 01:37 |
We're nearly there.
I'm just going to turn off my preview
| | 01:39 |
again and come down a little more with
the threshold.
| | 01:44 |
(SOUND) And that's looking good.
So, I'm now going to expand this to
| | 01:50 |
convert that to pixels.
Let me just click away from it to
| | 01:54 |
deselect, so I can review the result.
And I think I would like to just clean
| | 01:59 |
this up ever so slightly.
So, I'm going to find my eraser and then
| | 02:03 |
just come and rub out some of these
elements, including this building here on
| | 02:08 |
the left-hand side.
(BLANK_AUDIO) Okay.
| | 02:14 |
So once you've made those modifications,
it's time to save this file.
| | 02:18 |
I could copy and paste it, but in this
case, I'd like to have a copy of this
| | 02:23 |
file to come back to, should I need to.
So I'm going to choose to save this.
| | 02:29 |
And I will call this Trace.
Now I'll switch back to Photoshop.
| | 02:35 |
And in Photoshop I will place that saved
file.
| | 02:44 |
I will scale it up.
I'm holding down the Option and the Shift
| | 02:48 |
key here, so I'm scaling it
proportionally and from its center point.
| | 02:53 |
Now, it doesn't matter to me if it lines
up with the original.
| | 02:57 |
In fact, I kind of want it to be
off-register with the original.
| | 03:01 |
But I'm going to leave it like that for
the time being.
| | 03:04 |
I am then going to move this down and I
would like this element to be black and
| | 03:10 |
white rather than the brown that it
currently is, which it's acquiring that
| | 03:16 |
color from this adjustment layer.
Some reorganization of my layers here.
| | 03:22 |
I'm going to select these top three
layers, which all go to make up the image
| | 03:28 |
shape that we did in the first movie and
make them into a group.
| | 03:32 |
And then change the blending mode of that
group from Pass Through to Normal, so
| | 03:37 |
that, that Sepia toning that is applying
to the image is only now applying to the image.
| | 03:45 |
And then it stops when it reaches the
bottom of that group.
| | 03:50 |
So that is part 2.
I'm now going to increment this file and
| | 03:55 |
we're then ready to move on to part
three.
| | 03:58 |
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| Creating an abstract background with Create Object Mosaic and the Simplify command| 00:00 |
In this step, I want to add some more
texture to the background.
| | 00:03 |
And to do that I'm going to work with
another version of the image and apply a
| | 00:09 |
different treatment to it in Illustrator.
So I'll switch over to Illustrator and
| | 00:14 |
here I will create new document.
And this time, I'm going to have it be a
| | 00:18 |
tall document and I'll leave the profile
as it is at the moment.
| | 00:22 |
That is going to cause me to want to
change something but I'd like you to see
| | 00:26 |
that thing that I need to change, when it
become relevant.
| | 00:30 |
So here I'm going to place the image
file.
| | 00:35 |
So there's the image placed in
Illustrator.
| | 00:38 |
I'm now going to scale that down so that
it fits onto my art board.
| | 00:44 |
And I want to make this into an Object
Mosaic.
| | 00:49 |
You can see that option is not currently
available to me, and it's not available
| | 00:54 |
to me until I first restorize the image.
Here's the thing I alluded to earlier,
| | 01:00 |
that I will need to change.
You can see the color mode here is CMYK.
| | 01:05 |
The Color Mode of the master document is
RGB, so it makes sense for me to have
| | 01:10 |
this also be in RGB.
It's not going to make a whole lot of
| | 01:15 |
difference, but with another type of
treatment, it might.
| | 01:18 |
So I will cancel out of there and then
come to the File menu and to Document
| | 01:23 |
Color Mode, and change the color mode to
RGB.
| | 01:26 |
Then when I go to Rasterize, that's the
Color Mode that I will get.
| | 01:31 |
Resolution 300, and that will not give us
a rasterized version of the image and
| | 01:38 |
open up the possibility of using this
option.
| | 01:42 |
For my Object Mosaic, I'm going to use a
two to three aspect ratio.
| | 01:48 |
Since that is the aspect ratio of my
image, this will give me tiles that are
| | 01:53 |
square, I'm going to go with 40 by 60.
Now, with everything selected, it's
| | 01:58 |
difficult to evaluate, so I'm going to
click away from it, and we could see
| | 02:02 |
that's the result that we get.
Okay, this is interesting, but this is
| | 02:06 |
not really what I'm after.
So I'm going to select everything.
| | 02:09 |
Let's make that a little bit bigger in
view size.
| | 02:12 |
And the next thing I'm going to do is
simplify this.
| | 02:17 |
Now, I have to confess that I chanced
upon this technique, rather than it be by
| | 02:23 |
design, but I have had some interesting
results using Simplify although, the
| | 02:29 |
result I got here was not entirely what I
had expected.
| | 02:33 |
But I'm happy to say that I do really
like it.
| | 02:36 |
So, Simplify is going to reduce the
number of points that you have and with
| | 02:41 |
this option checked, it will straighten
out the lines.
| | 02:44 |
Working on an Object Mosaic, it will give
me that sort of result.
| | 02:49 |
Okay, I like this, but I found that when
I place this into Photoshop, the lines
| | 02:55 |
are just a little bit too light.
So, I want to beef them up just a fraction.
| | 03:01 |
I'll select everything and then, from the
Effect menu, I will come to Path, and to
| | 03:06 |
Offset Path.
And I'm going to offset the path by half
| | 03:11 |
a point.
And if I now click away from my
| | 03:14 |
selection, you can see that by offsetting
the path, we've made those diagonal lines
| | 03:19 |
a little bit heavier.
I'm going to Save this, and I will call
| | 03:25 |
it Simplified.
I'll now switch over to Photoshop where I
| | 03:30 |
will place that file into my montage in
progress.
| | 03:35 |
And I'm going to scale that up so it's at
the same proportion and size as the rest
| | 03:41 |
of my composition.
And I'm not going to put these two
| | 03:47 |
elements into a layer group which I will
call background.
| | 03:53 |
And we know have the major parts of our
composition.
| | 03:57 |
I think they do need some rejigging and
at some repositioning and that is what I
| | 04:02 |
will do in the next movie.
| | 04:04 |
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| Repositioning the elements on the canvas| 00:00 |
Here I want to take a few moments just to
reposition the elements that we have.
| | 00:05 |
And, I'm actually going to start out by
coming to the Trace layer, which as you
| | 00:10 |
remember is that one, and reduce the
Opacity on that.
| | 00:14 |
I'm going to knock that down to 20%, so
I'm in my Move tool, I can just press 2
| | 00:18 |
to change the Opacity of that layer to
20%.
| | 00:23 |
Then I am going to open up my top layer
group, which I never actually named.
| | 00:28 |
So maybe now's the time to do that.
And then come to that vector Smart Object
| | 00:34 |
which is the clipping mask shape, and
make some adjustments to that.
| | 00:39 |
Cmd+T to put a transformation rectangle
around it.
| | 00:42 |
Now, I could open up this vector Smart
Object as a document in it's own right
| | 00:48 |
and it would take me to Illustrator.
But since all I want to do is make a few
| | 00:52 |
changes to its angle and it's general
proportions, I don't think that's necessary.
| | 00:59 |
What I'm doing here is holding down the
Cmd key and pulling on the corners.
| | 01:04 |
And I'm also rotating it a bit.
(SOUND).
| | 01:08 |
Like so.
Alright.
| | 01:09 |
I prefer that overall shape.
Now I would like to rotate the position
| | 01:17 |
of the building that is clipped to that
shape.
| | 01:21 |
So I will select that Cmd or Ctrl+T.
And let's go a little bit smaller in a
| | 01:26 |
view size so that I can see that
transformation rectangle.
| | 01:30 |
And then I'm going to move that over to
the left slightly, and I might also come
| | 01:36 |
to the trace and select that, and move
that slightly to the right.
| | 01:42 |
And somewhat increase the size of that,
so they're clearly out of register with
| | 01:48 |
each other.
And that's it.
| | 01:50 |
We're now ready to move on to the next
step.
| | 01:51 |
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| Adding type and texture| 00:00 |
Our composition is crying out for some
type.
| | 00:03 |
And it's now time to add some.
Just a quick reminder.
| | 00:06 |
This is the finished version that we are
working towards.
| | 00:09 |
So I'm going to come to the top of my
layer stack.
| | 00:14 |
Tap T, for my type tool.
And then click onto my canvas, and we'll
| | 00:19 |
have the number 23.
So I'm using this term 23 skidoo, which,
| | 00:23 |
if you're interested, you can look on
Wikipedia, and it has a connection with
| | 00:29 |
the Flatiron Building in New York, or at
least a speculated connection, which is
| | 00:34 |
kind of interesting.
And the typeface I would like to use, is, Clarendon.
| | 00:41 |
Clarendon is not one that comes installed
with the Creative Suite, so you may not
| | 00:47 |
have it.
In which case, just use something else
| | 00:50 |
that you like.
Something nice and bold.
| | 00:53 |
I would like the color of this to be red.
And then, I'm going to switch to my Move
| | 01:00 |
tool and scale that up with a
transformation.
| | 01:05 |
And then, below that on a separate layer,
I'll add the world skidoo.
| | 01:12 |
But this, I don't want to be in
Clarendon.
| | 01:14 |
This I just want to be a Sans Serif
typeface.
| | 01:18 |
In my original, I had to use Gotham.
And we do have Gotham here so I'm going
| | 01:23 |
to use Gotham again.
Gotham is also not a typeface that comes
| | 01:28 |
with the Creative Suite, so you will,
perhaps, need to substitute something else.
| | 01:33 |
But I'm using Gotham Black and I'd like
to rotate that somewhat.
| | 01:42 |
I would also like the color of the type
to be black.
| | 01:45 |
So I'll now switch to my Move tool, apply
that transformation, reset my foreground
| | 01:50 |
color to black, and then press Option or
Alt+Delete.
| | 01:55 |
And that can probably get a little bit
smaller.
| | 01:58 |
And I'd like to put behind this a yellow
rectangle.
| | 02:03 |
And I will start out with just a regular
rectangle using one of the vector shapes.
| | 02:10 |
Now, we are mixing up vectors with pixels
and for the heavy lifting of the vectors
| | 02:17 |
we are going to Illustrator, but for
this, just a simple rectangle, we can
| | 02:21 |
stay in Photoshop and use its Shape
tools.
| | 02:24 |
Make sure that we have the behavior of
the shape tools set to this to actually
| | 02:29 |
create a shape rather than paths.
There is my rectangle.
| | 02:34 |
Let's come and choose a yellow.
And then fill the rectangle Option or
| | 02:40 |
Alt+Delete with that yellow.
And that needs to move below the word skidoo.
| | 02:46 |
I'm now going to select it, Cmd+T, and
pull it around into a less uniform shape,
| | 02:56 |
like so.
And that yellow is a little bit too pure
| | 03:00 |
for me, so I'm going to double-click on
the layer of that rectangle, which would
| | 03:05 |
take me to my color picker and then move
down in the color picker, so that we have
| | 03:11 |
a darker shade of that yellow.
I now want to arrange these three
| | 03:16 |
elements together, the rectangle and the
word skidoo.
| | 03:19 |
These belong together.
So I'm going to select those two and then
| | 03:24 |
link them.
I'm, then, going to select all three of
| | 03:28 |
these layers and put them in a group,
called Type.
| | 03:32 |
So if I wanted to move them all as one I
can now do that.
| | 03:35 |
I actually want to move 23 closer.
I'll drag that to the top.
| | 03:43 |
And then using my Move tool, I'll just
drag that around.
| | 03:46 |
I'll also rotate it slightly.
Now, to give my type some more character,
| | 03:53 |
I would like to apply some texture to it,
to make it look somewhat distressed.
| | 03:59 |
And that's where this texture layer comes
in.
| | 04:03 |
You will remember, we saw this at the
very beginning when we created our
| | 04:07 |
layered document of the building and the
texture.
| | 04:10 |
And we've not used it until now.
And it is now time to call this in to play.
| | 04:15 |
So I'm going to hold down the Option or
Alt key, click on my visibility eyeball,
| | 04:19 |
so that we see just that layer.
Come to my Channels panel, Cmd+click on
| | 04:25 |
the RGB channel to load the Luminance
values of this texture.
| | 04:31 |
And then I'll come back to my layers.
Option or Alt click in the same position
| | 04:38 |
to switch my visibility back to how it
was.
| | 04:41 |
So that this layer mask that I'm about to
create applies to the whole group, I will
| | 04:47 |
select that layer group and then add the
layer mask like so.
| | 04:52 |
That is knocking back my text a little
bit too much, so I'm going to just adjust
| | 04:58 |
the gray values of that layer mask by
pressing Cmd+L to bring up my levels.
| | 05:03 |
And then if I get my white point slider
and bring this closer to the center, that
| | 05:09 |
is going to reveal more.
Okay.
| | 05:13 |
I like that.
I do now think that I want the whole
| | 05:17 |
thing to shift somewhat to the left or at
least the building group.
| | 05:24 |
So I'm going to select the building
group, and then, using my move tool, drag
| | 05:28 |
this slightly over to the left.
And then I will also reposition the type
| | 05:35 |
slightly, like so.
| | 05:37 |
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| Incorporating a glyph from Illustrator| 00:00 |
To finish off our composition I would
just like a poitning graphic hand coming
| | 00:05 |
from the bottom left-hand corner.
And here's the original.
| | 00:08 |
Now I originally thought that this would
work best as a photograph of a hand.
| | 00:14 |
And let me show you, how that looks.
If I switch back to Bridge, you can see
| | 00:18 |
that in my folder I have this source file
for a hand image.
| | 00:22 |
And I can open that one up.
And it already has a layer mask applied
| | 00:28 |
to it.
So if I wanted to include this in the
| | 00:32 |
composition, the easiest way would be to
select all and then come to the Edit menu
| | 00:37 |
and choose Copy Merge.
That way it will bring across the Level
| | 00:41 |
adjustment, and the Layer mask all
combined into one so that when I Paste it
| | 00:49 |
it looks like that.
And, I can position this.
| | 00:54 |
It does need to be black and white so I
can then use a Black and White adjustment layer.
| | 00:59 |
I only want the black and white
adjustment layer to affect the hand itself.
| | 01:04 |
So I will clip that adjustment layer to
the hand layer.
| | 01:08 |
And that was how it looked and I didn't
really like it too much so I abandoned
| | 01:13 |
that idea in favor of using a Dingbat.
As you may know, there are several fonts
| | 01:21 |
that include, as part of their character
sets, a pointing hand Dingbat.
| | 01:27 |
Zapf Dingbats being one of them, and
Adobe Wood Type Ornaments being another.
| | 01:33 |
Now the problem with accessing those in
Photoshop is that we have no Glyphs panel
| | 01:38 |
in Photoshop.
I don't know why it seems like a real oversight.
| | 01:44 |
So that if you are working with a picture
font, it's really difficult to access the
| | 01:49 |
actual character that you want.
For that reason, I am going to create the
| | 01:55 |
dingbat in Illustrator, and I will do
this in a blank document, and I'll choose
| | 02:01 |
my Type tool.
Click onto my art board, and then come to
| | 02:06 |
my Type menu, where we do indeed have a
Glyphs panel.
| | 02:11 |
So I will compare the pointing hand from
Zaf Dingbats, which is that one.
| | 02:19 |
Double-click to insert it to the one that
we have in Adobe Wood Type Ornaments,
| | 02:28 |
which is that one.
So these have both come in at 12 point
| | 02:34 |
obviously, and they need to much bigger
than that.
| | 02:35 |
But now that we have them on our art
board, we can just scale them up.
| | 02:41 |
And I see from this that I much prefer
the version that we get from Adobe Wood
| | 02:46 |
Type Ornaments.
So I will Delete the other one, size this
| | 02:52 |
one up.
I'm going to convert it to outlines,
| | 02:56 |
Cmd+Shift+O, and then Copy it.
Switch over to Photoshop, where I will
| | 03:02 |
Paste it as a Smart Object and then
position it where I want it to go, which
| | 03:12 |
is right there.
So there we have our finished
| | 03:15 |
composition, and I'm just going to
dissect it once again for you the way we began.
| | 03:20 |
So we have the Color Fill layer, and on
top of that we have the live traced or
| | 03:26 |
imaged traced version of the image that
was simplified a bit.
| | 03:30 |
We use the Eraser tool to erase some,
extraneous elements.
| | 03:36 |
And next we have this very graphic
simplified version which was created by
| | 03:41 |
applying the simplify command to an
object mosaic, created in Illustrator.
| | 03:47 |
So those two combine and on top of that
we have the building and the building
| | 03:54 |
clipped to this spiral shape.
It is made sepia tone by the addition of
| | 03:59 |
the Adjustment layer.
And then we have the type to which there
| | 04:03 |
is a texture, and then as we have just
added the pointing hand.
| | 04:08 |
| | Collapse this transcript |
|
|
2. Creating a Horror Film PosterPreparing the background with layer masks and textures| 00:00 |
Here's a fun project to recreate this
spoof of a horror movie poster.
| | 00:05 |
I'm in Photoshop and I'm going to begin
by deconstructing this.
| | 00:09 |
We have four layer groups.
At bottom, the background, which is
| | 00:14 |
comprised of two color fill layers, one
of which has a texture layer mask applied
| | 00:21 |
to it, allowing the two layers to combine
with that interesting effect.
| | 00:26 |
On top of that, I have the landscape
layer, which is comprised of an image I
| | 00:32 |
took in Death Valley, California, to
which I have applied a layer mask.
| | 00:37 |
I have extracted the moon from that, and
sized it up and repositioned it.
| | 00:42 |
I've also applied a filter, a poster
edges filter, to the image.
| | 00:48 |
And then on top of that, we have the ants
layer.
| | 00:51 |
This is comprised of the swarm of ants.
You can see this is a smart object, and
| | 00:57 |
this is part of Illustrator's
contribution to the whole.
| | 01:00 |
This swarm was created using the Symbol
tool in Illustrator, and to this, I have
| | 01:07 |
applied a color overlay.
On top of that, we have, the large ant,
| | 01:11 |
which I have inverted, to make it a bit
more sinister.
| | 01:17 |
And I've also applied a drop shadow to
that ant, separated that drop shadow from
| | 01:24 |
the layer, so that it can hover
menacingly over the background.
| | 01:28 |
And then, on top of all of that, we have
a layer group of type, and the type was
| | 01:34 |
also created in Illustrator by applying
brush strokes to the outline of the letters.
| | 01:40 |
So let's by just coming to this, as
starting point, and I'm going to size up
| | 01:49 |
my canvas to begin with.
The width is currently correct.
| | 01:54 |
I want the height to be 17.25.
So this is going to be at tabloid size,
| | 01:57 |
and I would like that to grow from the
bottom, adding the extra canvas to the top.
| | 02:08 |
I'm now going to make a layer mask.
For this image, using the Quick Selection tool.
| | 02:14 |
I'm going to select the sky.
And then holding down the Option or Alt
| | 02:19 |
key, click on the Add Layer Mask icon.
And I realize I also need to incorporate
| | 02:25 |
into that mask that piece of extra canvas
at the top.
| | 02:29 |
So I'm going to click onto that layer
mask, tap M for my marquee tool.
| | 02:34 |
Make a selection of that area and then on
the layer mask itself, fill that
| | 02:39 |
selection with black.
I'm now going to turn off the layer mask
| | 02:44 |
so that I can see the moon and zoom in.
I'll then switch to my Elliptical Marque
| | 02:51 |
tool and make a selection of the moon as
close as I can get it.
| | 02:57 |
Reposition that if necessary and then
come to my Transform Selection and then
| | 03:04 |
when I have a decent selection of the
moon, I am going to copy that to a new layer.
| | 03:09 |
And we'll zoom out, re-enable that layer
mask, we'll label that moon and I will
| | 03:17 |
then reposition up there and I am
going to size it up.
| | 03:22 |
Now, actually just before I do that, and
I realize I am upsampling this and
| | 03:27 |
slightly breaking the rules here, but
that's okay.
| | 03:31 |
I'm going to let myself get away with
that.
| | 03:34 |
And before I do it though, just in case I
should want to change my size about the
| | 03:39 |
actual scale of the moon.
I'm going to convert this to a smart object.
| | 03:44 |
And that way I can go back and forth with
the scaling if I need to.
| | 03:50 |
Next, I need to create my background.
So I'm going to do this by adding a layer
| | 03:56 |
of solid color.
And we'll start out with one layer of
| | 04:00 |
orange, which I'll then just duplicate.
I forget which goes on top of which.
| | 04:07 |
Let me just refresh my memory by going
back to the original.
| | 04:10 |
So we want the red at the top and the
orange at the bottom.
| | 04:13 |
So I'll come and change this one.
(SOUND).
| | 04:17 |
So now on that layer mask, I need to add
some texture.
| | 04:21 |
So I'm now going to switch to Bridge and
from Bridge I'm going to open up that
| | 04:26 |
texture, Cmd+A to select or Cmd+C to copy
and Cmd V to paste.
| | 04:34 |
I'll move this down to the bottom of the
layer stack, and then hide everything else.
| | 04:39 |
Come to my Channels panel, Cmd+click on
the RGB channel to load the Luminance
| | 04:44 |
values of that texture.
Come back to the layers, revert the
| | 04:50 |
visibility to how it was.
And I'm going to throw away that
| | 04:55 |
currently empty layer mask, and then
create a new one based upon my current
| | 05:01 |
selection, so that we get a nice
combination of the red and the orange.
| | 05:09 |
And then I realize I also need to move my
whole landscape down, including the moon.
| | 05:17 |
So I'm going to select those too.
I'm using my move tool we'll drag them
| | 05:22 |
down, like so.
Although, I think the moon can probably
| | 05:26 |
go up a little bit more.
That's our starting point, and that's
| | 05:31 |
where I'm going to conclude this first
movie.
| | 05:34 |
| | Collapse this transcript |
| Creating a channel mask and independent shadow for the giant ant| 00:00 |
So here's where we're going on the left,
and here's where we're at.
| | 00:04 |
The next stage is to add a flying ant to
our composition.
| | 00:09 |
So we'll come to this file, Select All,
Copy, move back to our work in progress,
| | 00:15 |
and Paste.
Before I do anything else, flip it horizontally.
| | 00:21 |
And now I need to create a mask for it.
So to do this, I am going to turn off all
| | 00:28 |
of the other layers.
And I can tell you that when I tried to
| | 00:31 |
do this, I had a problem with this
portion of the wing here.
| | 00:36 |
And we're just losing too much detail.
We want this to be partially translucent,
| | 00:40 |
so that we're seeing some of the
background through it, but the exposure
| | 00:43 |
on that part of the wing is a little bit
too bright.
| | 00:46 |
So before I go any further, I am going to
take my Lasso tool and make a pretty
| | 00:53 |
rough selection around that portion of
the wing, like so.
| | 00:57 |
And then add an adjustment layer to that
Levels adjustment layer.
| | 01:01 |
I'll get the gray point slider and I'll
move that to the right.
| | 01:05 |
Now that may look like I'm overdoing it a
bit, but when we get the overall effect,
| | 01:09 |
it should work.
Okay, having done that, I'll come back to
| | 01:14 |
Layer 2, which I'm now going to rename
ant.
| | 01:17 |
Come to my channels panel, and then to my
Mmage menu calculations.
| | 01:24 |
I'm going to create a duplicate channel,
blending the blue channel with the blue
| | 01:29 |
channel, and using this blending mode,
Linear Burn.
| | 01:33 |
Typically, when doing this, I would use
Overlay.
| | 01:36 |
But you can see the overlay is just not
going to give us enough contrast in this context.
| | 01:41 |
So Linear Burn is the blending mode that
in this particular context will give us
| | 01:46 |
the most contrast.
I'm, then, going to use my brush tool in
| | 01:50 |
the overlay blend mode.
And I'm just going to paint over some of
| | 01:54 |
those dark gray areas to make them
completely black.
| | 01:59 |
I think that should do it.
I'll now come back to my composite channel.
| | 02:04 |
I will load that selection by
Cmd+clicking on the alpha channel,
| | 02:08 |
Thumbnail, Inverse it, come back to my
layers, and then make that selection into
| | 02:15 |
a layer mask.
I'm now going to invert that, Cmd + I, so
| | 02:21 |
that it appears in negative.
And then we can turn the other layers on,
| | 02:25 |
we can turn that layer at the top off.
In fact, we can throw that one away.
| | 02:30 |
That's served its purpose.
And we now have our flying ant.
| | 02:34 |
I am going to just adjust its angle of
attack slightly.
| | 02:38 |
And while I'm here, I'm also going to fix
a problem that I've just noticed.
| | 02:43 |
And that is that with the background, we
have a seam right here, and that is
| | 02:49 |
because the black on this layer mask does
not go all the way to the top of the canvas.
| | 02:56 |
So, if I choose my Marquee Selection
tool, making sure I'm on the layer mask,
| | 03:00 |
make a selection of that area, and fill
it with black.
| | 03:04 |
That will address that problem.
I also see that I forgot to apply the
| | 03:10 |
poster edges filter to the background and
to the moon.
| | 03:13 |
So that I can apply a filter to two
layers.
| | 03:18 |
In one go, I am going to select those two
layers and make them into a smart object
| | 03:24 |
and then I can come and apply Post to
Edges.
| | 03:27 |
Now, Post to Edges, you will find in the
Artistic group.
| | 03:31 |
If you have your filters arranged the
old-school CS5 and earlier way, which I
| | 03:36 |
prefer to do, even though I'm working in
CS6, you will also find it in the Filter gallery.
| | 03:41 |
And I'm going to go with the suggested
values.
| | 03:44 |
Edge Thickness, 1.
Edge Intensity, 5.
| | 03:48 |
Posterization, 6.
One last step for this movie and that is
| | 03:54 |
to create the menacing drop shadow.
And this is the reason that the ant had
| | 04:00 |
to be isolated, it had to be masked.
You might have thought, and I thought
| | 04:05 |
this initially too, that we could have
just gotten away without masking it but
| | 04:09 |
just changing its Blend mode to Screen.
Which works fine, until you come to apply
| | 04:15 |
a shadow to it because the shadow does
not apply to the ant's shape, but rather
| | 04:20 |
to the rectangle of the whole layer.
So that's the reason I've gone and built
| | 04:24 |
that mask.
So we'll come to Drop Shadow.
| | 04:28 |
And I'm not really worried about these
figures here because what I will do next
| | 04:36 |
is come and right-click on the Effects
badge and choose Create Layer separating
| | 04:42 |
the shadow from the ant itself and then I
will choose that and with the Move tool.
| | 04:49 |
I will pull it down.
And we can adjust its Opacity as necessary.
| | 04:53 |
But I'm pretty much going to leave it
like that.
| | 04:56 |
I might just, since we wouldn't be
casting a shadow over the sky, I am going
| | 05:03 |
to add a Layer mask to that, and then
choose my Gradient tool, and I have a
| | 05:11 |
foreground to Transparent gradient.
I'm just going to do that.
| | 05:16 |
Paint the top of that shadow away, like
so.
| | 05:19 |
And just before I continue, I realized I
need to come to the ant layer and select
| | 05:25 |
that, and put that blending mode back to
normal.
| | 05:28 |
| | Collapse this transcript |
| Adding a layer effect to the ant| 00:00 |
So this is really an addendum to the
previous movie, and what I want to do
| | 00:04 |
here is just fix the problem of the
flying ant's wing, which we're losing the
| | 00:08 |
definition of.
And a quick solution I've found to that
| | 00:12 |
is by adding an outer glow using a layer
effect, and I'm going to change the color
| | 00:17 |
of the glow to white.
And then click okay now that's bringing
| | 00:23 |
back some definition on the wing but also
we have a glow around parts of the ant
| | 00:29 |
where we don't want it.
So I'm going to do what I did before and
| | 00:32 |
that's seperate the effect from the layer
using the create layer command.
| | 00:39 |
And you can see that we now have that as
a whole separate layer.
| | 00:43 |
And I'm going to add a layer mask to that
layer, switch to my brush tool, make sure
| | 00:50 |
I'm in the normal blending mode, opacity
100%.
| | 00:54 |
And I'm going to paint out the bits of
that glow that we don't need.
| | 00:59 |
And if I turn that layer off, you can see
there's the before, and there's the after.
| | 01:05 |
So just a quick fix for that troublesome
wing, so that we now have a decent amount
| | 01:11 |
of definition with it, and I now have
three layers that need to all move
| | 01:17 |
together so.
I'm going to select all three of those,
| | 01:21 |
and, put them into a group, Cmd+ or
Ctrl+G, and we'll name the group Ant.
| | 01:27 |
| | Collapse this transcript |
| Combining Photoshop with Image Trace in Illustrator| 00:00 |
Our next step is to create a swarm of
ants in the background.
| | 00:04 |
And to do this I am going to image trace
a copy of the ants, a low resolution copy.
| | 00:10 |
And then make that into a Illustrator
symbol and then paint a symbol set which
| | 00:16 |
we will then copy and paste into our
composition.
| | 00:19 |
Let's come to this file, ant.tif, now
this is a low resolution version of the
| | 00:26 |
same file that we were working with.
And I've made a low resolution because
| | 00:31 |
it's going to massively speed up the
performance of the image trace command in Illustrator.
| | 00:37 |
And it doesn't, for our purposes, need to
be high-resolution.
| | 00:42 |
So I'm gojng to switch over to
Illustrator and create a new document,
| | 00:47 |
and then place that file in there.
Now when I live trace this, that's the
| | 00:54 |
result that we get which obviously is not
good enough.
| | 00:57 |
I can come and change my image trace
parameters, and I'm going to increase the
| | 01:01 |
threshold to 190.
And that's an improvement, but still not
| | 01:07 |
good enough.
We see a similar problem to what we had
| | 01:09 |
before, and that is that we are losing
definition on the wing.
| | 01:14 |
I'm going to show you now how we can use
Photoshop in conjunction with
| | 01:18 |
Illustrator's Image Trace to get a much
better result.
| | 01:23 |
I'll switch back to Photoshop where you
can see that I have a couple of extra
| | 01:28 |
layers and also some filters that were
not turned.
| | 01:32 |
I'm now going to turn these on.
So I'll just explain what we're doing.
| | 01:36 |
We have this Dodge Burn layer.
It's set to the Overlay Blend mode.
| | 01:40 |
It is neutral grey, but you can see that
there is a patch of black on there.
| | 01:47 |
If I just turn this its Blend Mode to
normal for a moment and then unclip it
| | 01:51 |
from the layer beneath, you can see what
it looks like.
| | 01:54 |
By itself it doesn't make any sense.
But when we see it in conjunction with
| | 01:59 |
the layer beneath, that when it is
clipped to the layer beneath, and when
| | 02:03 |
its Blend Mode is set to Overlay.
If I turn it off, and then turn it back
| | 02:08 |
on, you can see what it's doing.
That's one element, another element is, I
| | 02:12 |
applied Post Edges and Smart Sharpen as
filters so that we accentuate all this
| | 02:18 |
textural detail in the wing.
Now that doesn't look very good right now.
| | 02:23 |
But when we trace it, it's going to give
us a better result.
| | 02:27 |
And then to simplify it further I have
added a threshold adjustment layer which
| | 02:33 |
is making everything black or white.
So, with these other elements turned on,
| | 02:38 |
I'm now going to Save that file and come
back to Illustrator where we get this message.
| | 02:45 |
Some files are missing or modified, would
you like to update them?
| | 02:49 |
Yes, I would.
And then the trace happens again and we
| | 02:53 |
now get a much better trace than we had
before.
| | 02:56 |
I'm also going to choose to Ignore White
and then I am going to expand that.
| | 03:03 |
And I think I will stop there and in the
next movie, we'll see how we can turn
| | 03:08 |
this now vector object into a symbol and
then paint with that symbol.
| | 03:14 |
| | Collapse this transcript |
| Making an Illustrator symbol| 00:00 |
Continuing where we left off in the
previous movie, we had just image traced
| | 00:04 |
the ant.
Made some modifications to the original
| | 00:07 |
photograph to refine that trace, and we
know have our vectorized ant.
| | 00:12 |
Which we want to turn into a symbol and
then use that symbol to make a swarm of
| | 00:18 |
flying ants.
As is the case when you expand an image
| | 00:23 |
trace, you will always have a bounding
rectangle around it so the first thing I
| | 00:27 |
want to do is Delete that edge.
I'm going to select my Direct selection
| | 00:31 |
toll just swipe over that edge right
there and then press the Delete key a
| | 00:35 |
couple of times.
Before I make this into a symbol, I'm
| | 00:40 |
going to scale that down, because it's a
bit too big, that size seems about right.
| | 00:45 |
So I will select that, come to my symbols
panel, and then drag this over onto the
| | 00:51 |
symbols panel.
I'll give it a name, and there we have a symbol.
| | 00:56 |
I'm not going to put the original over on
the Pasteboard.
| | 00:58 |
We probably won't need that again.
I'll just keep it there for insurance.
| | 01:02 |
Now to give me a guide as to where I
paint with my swarm of ants, I am going
| | 01:09 |
to place a version of my work in progress
into the Illustrator document.
| | 01:14 |
Just a visual guide and so that is a more
reliable indicator I need to make the
| | 01:20 |
size of my Illustrator art board the same
size as my Photoshop canvas.
| | 01:24 |
So I'm going to come to my Artboard tool,
change the Size to Tabloid and the
| | 01:30 |
Orientation to Portrait, like so.
And then come to File and Place, there's
| | 01:37 |
our work in progress, and that can go
right there on the Artboard.
| | 01:42 |
I will then Lock that layer, create a New
Layer about it, on which I can add my ants.
| | 01:50 |
So this what we're seeing here is just
for guide purposes only and we'll end up
| | 01:55 |
deleting this by the time we finish this
step.
| | 02:00 |
I'm going to come and chose my Symbol
Tools, and tear off that whole tool set
| | 02:05 |
and start off with my Symbol Sprayer.
Choose the tool that I want, and then you
| | 02:11 |
can see I can just spray these ants as
many as I want, like so.
| | 02:17 |
Now that may be a few too many.
So I'm going to Undo that and then try again.
| | 02:25 |
But you get the idea, we want to have a
scary number of flying ants.
| | 02:29 |
I'm now going to turn off that layer.
What I want to do now is use these other
| | 02:34 |
Symbol Tools to change the size, to
change the rotation and to change the
| | 02:41 |
position of these.
To make it a little bit more plausible looking.
| | 02:45 |
And I'm going to begin with this one the
Symbol Shifter.
| | 02:51 |
And this is going to allow me just to
break up the groupings.
| | 02:54 |
And I have to say that none of these
tools work quite as easily you might hope
| | 02:59 |
they would do but you do get there
eventually.
| | 03:04 |
I'll turn the Background back on.
Now, I'll move on to the next one, which
| | 03:10 |
is the Symbol Sizer.
Now, with the symbol sizer, when I click
| | 03:13 |
on it, that's going to make it bigger.
If I Option or Alt+click, that will make
| | 03:18 |
it smaller, and that's more likely what I
want to do to some of these, make some of
| | 03:22 |
them smaller.
Some alt clicking on those that I want to
| | 03:25 |
reduce in size.
This may cause me to go back and do a
| | 03:29 |
little bit more shifting.
And I'll try a little bit of that scrunching.
| | 03:34 |
And the Spinner is going to give me the
chance to change their angle somewhat.
| | 03:41 |
And I'm going to reduce the size of my
brush so that I can work on individual
| | 03:45 |
symbols rather than bunches of them.
And I do find these tools somewhat frustrating.
| | 03:50 |
They don't give you the kind of control
that you would like.
| | 03:53 |
The symbol Screener Tool, this is
going to allow me to knock back the
| | 03:57 |
Opacity of selected ones, which I might
want to do.
| | 04:01 |
Okay, let's again see it in the context
of the whole background.
| | 04:07 |
And the Symbol Stainer, I'm not going to
use that one, I'm going to change their
| | 04:10 |
color in Photoshop using a color overlay,
but I don't want to change their color here.
| | 04:14 |
So I'm now going to do a save as here and
save this as and symbol set.
| | 04:20 |
And then, once I've gone through the Save
symbol options, come over to Photoshop
| | 04:25 |
where I will place that symbol set.
And that's going to look like that.
| | 04:34 |
Now I want this to go beneath the ant but
above the Moon layer, and that is indeed
| | 04:38 |
where it's going.
And then, I might consider adding some
| | 04:45 |
layer effects to this, and I think the
layer effect that I want is an overlay so
| | 04:52 |
that I can change the color of them.
And the color that I want, I'm going to
| | 04:56 |
sample from my large ant.
And I'm going to reduce the Opacity of
| | 05:01 |
this layer and I am also going to add a
gradient layer mask to it.
| | 05:05 |
So I'll add a layer mask.
Tap G to go to my Gradient tool ,black as
| | 05:18 |
my foreground color.
And then I'm going to swipe out from
| | 05:21 |
there, like so.
Now, I'm not entirely sold on the ant swarm.
| | 05:27 |
It seemed liked a good idea.
It's not really worked out that well.
| | 05:30 |
Let me see I can improve it by going back
to the Vector Smart Object.
| | 05:39 |
So I can do one of two things here.
If I want that one to update that file,
| | 05:43 |
that swarm of ants.
I can come back to the illustrated
| | 05:47 |
document right here and since I'm having
a hard time controlling this symbol set.
| | 05:53 |
I think what I'm going to do, is I'm
going to expand it.
| | 05:56 |
So now we have just a bunch of vector
objects, and those that I don't want, I'm
| | 06:02 |
going to Delete.
I'll first of all need to ungroup them.
| | 06:05 |
But let's say we want to get rid of that
one, and that one, and that one, and that
| | 06:08 |
one, seems like there's just too many of
them.
| | 06:11 |
So I'm now going to Save this file.
Go back to photoshop.
| | 06:14 |
We're not going to see it automatically
update in Photoshop.
| | 06:16 |
That's now how a Smart Object will work,
but I can do this.
| | 06:21 |
On that layer I can right-click on it and
choose Replace Contents.
| | 06:27 |
I can now go to my updated file and place
that.
| | 06:30 |
And it will go in place of the one that
was already there.
| | 06:34 |
And it will incorporate any affects and
any layer masks that I've added to it.
| | 06:39 |
So, I think that is, while not brilliant
it's slightly more effective than it was before.
| | 06:45 |
And if I did want to mess around with
that more, then that's how I could do it.
| | 06:50 |
Just go back and forth, to the original
file, Save it, and then back to
| | 06:54 |
Photoshop, Replace Content.
So all that remains is for us to add the
| | 06:58 |
type, and that I will do in the next
movie.
| | 07:01 |
| | Collapse this transcript |
| Creating painted type with Illustrator brushstrokes| 00:00 |
I'm now ready to add the type.
This, I will start out in Photoshop.
| | 00:04 |
Get the type positioned the way I want it
to be, and then export it to Illustrator.
| | 00:09 |
In Illustrator, I will add brush strokes
to the letter shapes, to get the effect
| | 00:15 |
that we have here, of a hand painted
look.
| | 00:18 |
And while I could just go and find myself
a horror movie type font, I find it more
| | 00:24 |
pleasing to modify my own fonts.
So we're taking perhaps the longer
| | 00:30 |
approach here, but it's I think a more
interesting one.
| | 00:33 |
And it's a more unique result.
So I'm going to start out with my Type
| | 00:36 |
tool and just click onto my canvas.
And get my type onto my canvas, not
| | 00:44 |
really worrying too much at the moment
how it looks.
| | 00:48 |
I'm now going to select that, and we'll
open up the Character panel.
| | 00:51 |
And I want this to be in Myriad Pro, Bold
Condensed.
| | 00:58 |
Now I have other fonts here that might be
more appropriate for this usage, but I
| | 01:03 |
want to work within the constraint of
using only the fonts that come installed
| | 01:08 |
as part of the Creative Suite.
And even though Myriad Pro, great font
| | 01:13 |
though it is, is not suited to the task.
By the time we finish with it, it's not
| | 01:18 |
going to look that much like Myriad Pro.
So actually I want to use the keyboard
| | 01:24 |
shortcut option and the Down Arrow to
increase my leding.
| | 01:29 |
And then I'm going to increase my Type
Size, increase my Leading a bit more.
| | 01:34 |
Let's actually do a transformation on
that, that would be quicker.
| | 01:37 |
Cmd or Ctrl T.
We do want the type to actually be
| | 01:43 |
centered and then have to reposition it.
And the word ANTS needs to get
| | 01:50 |
substantially bigger.
Okay.
| | 01:52 |
At this juncture I am then going to
rotate it and distort it a bit, holding
| | 02:00 |
down the Cmd key to just pulling on the
corners.
| | 02:05 |
That's about as close as I will get it in
Photoshop.
| | 02:08 |
Now what I will do is convert this to a
smart object and export the contents.
| | 02:16 |
I'll just accept the name that it is
suggesting for me, save that, and now
| | 02:20 |
switch over to Illustrator, where I'm
going to open that file.
| | 02:24 |
(SOUND) Now, when I try and open a PSB
file, which is the file format, that's
| | 02:33 |
the file format you get when you export
something as a smart object.
| | 02:37 |
I can't do that, unless I change this to
all documents, in which case I can.
| | 02:43 |
That brings up my Photoshop import
options and I want to make sure that I am
| | 02:47 |
converting layers to objects, making the
text editable where possible.
| | 02:53 |
I'm then going to just get myself a
little bit more room on my art board.
| | 03:00 |
Now I will come to my Appearance panel,
where I'm going to add a new stroke to that.
| | 03:07 |
And the stroke that I want I will have to
come and get from my brushes.
| | 03:12 |
I will tear off my Brushes panel and then
come down to my Artistic Paintbrush set.
| | 03:22 |
And this is the one that I want, Brush 2.
But currently, its stroke is too heavy.
| | 03:27 |
So I will return to my Appearance panel
(SOUND) and then double-click on that
| | 03:32 |
Brush 2, so that I can bring out it's
options.
| | 03:35 |
And I'm going to take it's Scale down to
about 40%.
| | 03:41 |
And I want that to apply to the strokes.
Having added the one brush stroke, I'm
| | 03:46 |
now going to add another.
This will be added on top, and this time
| | 03:54 |
I'm going to use Brush 1.
As I did before, I'm going to need to
| | 03:59 |
come and change the percentage of that.
Again, applying it to the strokes.
| | 04:06 |
I'm now going to add a third brush
stroke.
| | 04:10 |
This third stroke comes from a different
brush grouping.
| | 04:14 |
(SOUND) And it comes from my Artistic Ink
group.
| | 04:21 |
And the one that I want is Marker-Rough.
Now that I have the type the way I want
| | 04:28 |
it, I am going to copy this, switch back
to Photoshop, and paste it as a smart object.
| | 04:35 |
I'll reposition it over the type (SOUND)
I formally created in Photoshop.
| | 04:40 |
That type can now be thrown away.
And here, I need to make some
| | 04:45 |
modifications to it.
I'm going to start out by applying a
| | 04:50 |
color overlay to it.
And red is the default color for color overlay.
| | 04:55 |
I just need to make that a deeper, darker
red.
| | 05:02 |
I also want to add a color stroke to it,
and I would like the stroke color to be
| | 05:08 |
yellow, an orangey yellow.
Something like that.
| | 05:13 |
And then I'm going to increase the size
of that up to 16 pixels.
| | 05:18 |
Maybe a little bit more.
And I think maybe the yellow needs to be
| | 05:21 |
a bit brighter.
(SOUND).
| | 05:30 |
And then a third layer effect I would
like to add is the Drop Shadow.
| | 05:35 |
I can just pull my shadow where I want it
to go, and I can.
| | 05:39 |
If I don't want it to be black, I can
just sample the color of that shadow from
| | 05:44 |
the background itself.
And I just need to change the
| | 05:50 |
layer-stacking order of that so that that
goes above the ant layer group.
| | 05:55 |
Comparing this with the original, I think
I have my stroke far too heavy.
| | 06:00 |
So, let's reduce that.
Now, I think I actually do want to go
| | 06:05 |
back to having a black shadow.
Like that.
| | 06:10 |
I now need to add this type down at the
bottom.
| | 06:13 |
To do this, I'm going to switch back to
Illustrator.
| | 06:16 |
I want to keep this piece of type around.
I don't want to affect this, just in case
| | 06:20 |
I need to modify it.
But I want the new piece of type that I
| | 06:24 |
create to inherit all of the same
properties as this.
| | 06:27 |
So, what I will do is duplicate that
layer, turn off the visibility of the
| | 06:33 |
bottom layer, and then come and edit the
content of the top layer.
| | 06:38 |
(SOUND).
And this needs to be substantially smaller.
| | 06:47 |
Now, when scaling this, I want to make
sure that I am also scaling the stroke values.
| | 06:54 |
So I need to be scaling the effects as
well.
| | 06:56 |
And I notice that that's currently not
happening.
| | 06:59 |
So I'm going to undo that and come to my
preferences and make sure that this
| | 07:04 |
option is checked.
Scale strokes and effects.
| | 07:09 |
So now when I scale it you can see my
stroke weight is also scaled and I think
| | 07:14 |
the type that this size would also
benefit from some positive tracking.
| | 07:20 |
Currently there's negative tracking
applied to it, so I'm going to increase
| | 07:26 |
the tracking on this to 50 and maybe a
little bit of extra leading as well.
| | 07:30 |
I will now copy this.
Switch back to Photoshop, paste it as a
| | 07:36 |
smart object, drag it down into position.
Having committed to that position, I'm
| | 07:41 |
then going to copy the effects I added to
the type up here down to the piece of
| | 07:46 |
type in the bottom right by holding the
Option or Alt key and dragging from the
| | 07:51 |
effects patch.
I think maybe that can get a little bit bigger.
| | 07:54 |
So I'm now going to consolidate my view
to tabs so that we're looking at just the
| | 08:00 |
one poster rather than two.
Now that I have all of my elements on my
| | 08:06 |
canvas, I just want to make a few minor
adjustments to the position of those elements.
| | 08:12 |
I'm going to come and select ant layer
group.
| | 08:15 |
I'd like to move that down.
I feel like it's too close to the top
| | 08:19 |
piece of type, and too far away from this
bottom piece of type.
| | 08:23 |
So I'm going to move that down.
You can see the shadow is with it.
| | 08:26 |
And I also feel that the density of the
drop shadow is too much.
| | 08:31 |
So I will expand that layer group, select
that layer within the layer group.
| | 08:38 |
Its Fill Opacity is currently 75%.
I'm going to take that down to 45%.
| | 08:45 |
I think I'm now ready to call that
finished, but just to recap how the type
| | 08:48 |
was created.
Begun in Photoshop, get it as close as
| | 08:52 |
you can.
Put it over into Illustrator.
| | 08:55 |
Add some brush strokes to it.
Copy it back into Photoshop.
| | 08:59 |
And in Photoshop, add some layer effects
to it.
| | 09:01 |
| | Collapse this transcript |
|
|
3. Creating a Newsroom-Style BackgroundConverting a Photoshop custom shape to a symbol and mapping it to a 3D object| 00:00 |
Our objective here is to recreate this
newsroom background.
| | 00:04 |
So let's imagine that we're creating a
backdrop for the nightly news and this
| | 00:09 |
how we want it to look.
So this is going to involve creating an
| | 00:13 |
Illustrator symbol and mapping a vector
piece of art that is the world map to
| | 00:19 |
that symbol.
And then incorporating it with this background.
| | 00:22 |
Adding some type and adding this bar of
color on the right-hand side.
| | 00:26 |
But the main part of it is creating the
Illustrator symbol and mapping that
| | 00:30 |
symbol to a 3D Object.
There are several places we can go for a
| | 00:36 |
vector World Map.
I'm going to go to deviantart.com where I
| | 00:42 |
found this one created by someone called
Luke Roberts and it works brilliantly.
| | 00:48 |
You can download this file, and then
double-click on the custom shape file
| | 00:54 |
that you get, and then that will open up,
as a custom shape in Photoshop.
| | 01:00 |
So let me just show you that, if we come
to Bridge where I have downloaded the CSH file.
| | 01:08 |
The file format for a Photoshop Custom
Shape.
| | 01:11 |
When I double click on that, I will now
find those custom shapes in my custom
| | 01:18 |
shape menu list.
So this is going to begin in Photoshop.
| | 01:23 |
Then we're going to Copy and Paste the
Vector outline into Illustrator, create
| | 01:28 |
our 3D world and then Copy that back to
Photoshop.
| | 01:32 |
Let me create a blank canvas on which to
just draw my custom shape.
| | 01:38 |
And if I hold down the Shift key I'll
keep it nice and proportional.
| | 01:48 |
And I'm now going to choose my Path
Select tool, Copy that.
| | 01:52 |
Move over to Illustrator, where I will
create a new Art board with a web
| | 01:58 |
profile, let's make it 1024 by 768.
And I will Paste that artwork in and as
| | 02:06 |
you have, may have seen before, I have a
problem with my Cmd V.
| | 02:12 |
It doesn't seem to work in this
particular context, I don't know why.
| | 02:16 |
But, when I come and do that it does
work, okay.
| | 02:21 |
So my compound shape has no fill and no
stroke.
| | 02:25 |
Let's begin by giving it a fill.
And I'm now going to make this into a symbol.
| | 02:33 |
So I will come and open up my Symbols
panel.
| | 02:37 |
So I'm now going to drag this over, on to
my Symbols panel and I can give it a name.
| | 02:42 |
And we can now Delete this.
The next thing I want to do is create my sphere.
| | 02:50 |
And I'll do this with my Ellipse tool,
create a perfect circle.
| | 02:56 |
Use my Direct Selection tool, select
that, particular anchor point and Delete it.
| | 03:03 |
So that we just have, half of that
sphere.
| | 03:06 |
And I'm now going to come and make this a
very light gray color.
| | 03:10 |
Then, I will come to my effect and my 3D
revolve, and if we turn on the preview,
| | 03:18 |
we can see that that is what we're going
to get.
| | 03:23 |
I now want to Map Art to that.
And at the bottom of that list will be
| | 03:30 |
the symbol I just created.
That's what I will choose.
| | 03:33 |
And then I'm going to scale that up.
And I can rotate my globe to see any part
| | 03:44 |
of the world that I want to.
And I'm going to have it like so.
| | 03:48 |
Now, you may remember in the original, I
had those gridlines.
| | 03:52 |
We don't see any gridlines here.
It would seem logical that if we chose a
| | 03:58 |
Wireframe, as opposed to shading, that
would solve the problem.
| | 04:02 |
But the Wireframe is also going to make
the symbol itself into a Wireframe.
| | 04:08 |
So that's not a solution.
We're going to leave that a plastic
| | 04:12 |
shading, but what we're going to do is
modify the symbol.
| | 04:15 |
And when the symbol updates, it will
update in place on the globe.
| | 04:22 |
So I'm now going to park that over there.
I'm now going to come to my Symbols panel
| | 04:29 |
and place an instance of that symbol on
my Art Board and then come and Edit that symbol.
| | 04:35 |
I will next choose my Rectangular Grid
Tool and draw myself a grid over the world.
| | 04:42 |
And I would like my grid to have eight
rows and eight columns.
| | 04:46 |
If I need to add columns, I can press my
right arrow to subtract columns, my left
| | 04:52 |
arrow, if I need to add rows, my up
arrow, subtract rows, my down arrow.
| | 04:58 |
And I want the color of the stroke to be
white.
| | 05:03 |
And I would like the weight of the stroke
to be 0.25.
| | 05:06 |
It's not going to let me do that, it
seems to insist I have a stroke weight of
| | 05:14 |
1 pt.
And if I change it to anything less, it
| | 05:17 |
reverts to 1 pt.
So I'm going to have to take a drastic
| | 05:20 |
measure here.
But let's see how things look when we
| | 05:22 |
leave Isolation mode.
We can see that we now have a updated
| | 05:27 |
symbol mapped to our 3 D sphere.
The only problem is that the grid lines
| | 05:33 |
are a little bit too heavy.
And to fix them I'm going to do this.
| | 05:37 |
I'm going to select that symbol.
I'm going to break the link to that symbol.
| | 05:43 |
I will then come and select that grid.
And I can now change the weight of its stroke.
| | 05:50 |
I don't know why I couldn't before, but
as part of a symbol it seemed to insist
| | 05:54 |
that it was one point.
So I now will select both the grid and
| | 05:59 |
the map and I'm going to overwrite the
existing symbol.
| | 06:02 |
And what we want to see to see happen is
for those gird lines to become not quite
| | 06:08 |
so heavy.
It's going to be a subtle change so blink
| | 06:11 |
and you might miss it, but I'm going to
hold down the option or alt key as I drag
| | 06:16 |
this onto the old symbol.
That will replace it, and there, the
| | 06:20 |
gridlines now become more faint.
So this has served its purpose, that can
| | 06:25 |
be deleted.
So now that our globe is created, we're
| | 06:29 |
ready to incorporate it with the rest of
the background.
| | 06:33 |
I'll do that in the next movie.
| | 06:34 |
| | Collapse this transcript |
| Finalizing the layers| 00:00 |
So we have created our globe.
We now need to get it into our Photoshop composition.
| | 00:05 |
I'm going to Copy this, move over to
Photoshop.
| | 00:08 |
Let's just remind ourselves what the
finished version looks like.
| | 00:11 |
That's what we're aiming for, something
like this.
| | 00:13 |
Here is where we're beginning, and I just
want to, before I Paste it, break this
| | 00:18 |
down for you.
I have a background that is built up from
| | 00:20 |
three overlapping layers.
The first of them, just a field of color
| | 00:25 |
to which there is applied some film grain
and also a Gradient Overlay.
| | 00:31 |
On top of that, in the luminosity blend
mode, a layer of clouds.
| | 00:34 |
And on top of that, also in the
Luminosity Blend mode, this texture.
| | 00:39 |
Both of these layers, Layer 2, and the
bokeh texture, have a reduced Opacity.
| | 00:45 |
So it is into this document that I'm
going to Paste my globe as a Smart Object.
| | 00:51 |
I can now adjust its rotation as
necessary.
| | 00:55 |
I can adjust its scaling as necessary, of
course it's completely vector, so we can
| | 01:00 |
scale it to our heart's content without
degrading its quality.
| | 01:04 |
And I'm also going to adjust its Opacity
down to 20% so that it blends in nicely
| | 01:13 |
with the background.
Although it perhaps blends in a little
| | 01:16 |
bit too much around the edges.
I'm going to add an Outer Glow.
| | 01:20 |
Now an outer glow typically has a
lightening effect, but in this case, I
| | 01:23 |
want it to have a darkening effect.
I'm going to make the color of the glow
| | 01:29 |
the same as the Color of the continents,
and change it's Blend Mode to Multiply.
| | 01:36 |
And then increase the size of that Outer
Glow.
| | 01:39 |
You can just see that appearing down
here.
| | 01:43 |
And in addition to that, I'm also going
to add an Inner Shadow.
| | 01:48 |
And I'm going to increase the size of the
Inner Shadow.
| | 01:50 |
And if I drag that, you can see that now
appearing down there.
| | 01:57 |
So those two layer effects just giving it
a bit more presence within the context of
| | 02:02 |
the overall composition.
Next I'm going to add a Vector Shape on
| | 02:07 |
the right-hand side, which will serve as
a side bar.
| | 02:11 |
And I would like this to be filled with
red.
| | 02:17 |
And set to a Blending Mode of Multiply so
that we bring back the texture of the
| | 02:21 |
layers beneath.
Now I'm going to add some Type.
| | 02:26 |
Now I need to be careful that when I add
the type it doesn't get added inside that shape.
| | 02:32 |
So I'm going to start out by clicking
outside of that shape and then type in my text.
| | 02:41 |
It's remembering the font I used last
which just happens to be the font I want
| | 02:45 |
to use and that font is Gill Sans, Bold,
Italic.
| | 02:50 |
I would like it to be White in color.
And then I'm going to change it's size by
| | 02:59 |
transforming it, holding down the Shift
key as I do so.
| | 03:04 |
To reduce the letting I will select that
type layer, and press the Option or Alt
| | 03:10 |
key and the up arrow.
I will then duplicate that layer, and
| | 03:17 |
type in the name of our news reader.
And this needs to get significantly
| | 03:27 |
smaller, like so.
I do need to just adjust that letting
| | 03:36 |
ever so slightly.
Let me just make one more point, and this
| | 03:40 |
point is that the Vector Smart Object is
continuously editable.
| | 03:45 |
So, if I wanted to give emphasis to a
different part of the globe, all I would
| | 03:51 |
need to do is double click on the Smart
Object badge.
| | 03:54 |
That takes me to a Vector Smart Object in
Illustrator, where I can then select it.
| | 04:01 |
Come to my Appearance panel, click on 3D
Revolve, turn my Preview back on, and
| | 04:10 |
then change the angle of rotation.
Let's imagine that this segment of the
| | 04:17 |
news is concentrating on the Americas, so
that's the part of the globe that we want
| | 04:22 |
to see.
I would then Save that change, switch
| | 04:27 |
back to Photoshop, and we see an update
in place with the same Opacity.
| | 04:32 |
With the same Layer Effects, and at the
same position.
| | 04:36 |
| | Collapse this transcript |
|
|
4. Experimenting with TransformationsCreating a repeating pattern by combining transformations with the Offset filter| 00:00 |
Here, I'm going to experiment with the
Transform tool in Illustrator, which is
| | 00:05 |
going to give me this result which I then
put into Photoshop and use the Offset Filter.
| | 00:12 |
And then make this into a pattern which
we can apply like so.
| | 00:18 |
So in Illustrator, this all begins with
just two ellipses.
| | 00:23 |
It's so beautifully simple, you cannot go
wrong here.
| | 00:26 |
That said, it's not always predictable
what you're going to get.
| | 00:31 |
So I'm going to just work with the file
that I have already created here, since
| | 00:36 |
it turned out so well.
But I do just want to break this down for you.
| | 00:40 |
You can see there, when I make a
selection, I have two circles.
| | 00:45 |
And if I were to go to the View menu and
choose Outline, that's all we have.
| | 00:50 |
So each of these circles is transformed a
specified number of times with each
| | 00:56 |
transformation at a specific angle.
To the one that came previously and at a
| | 01:01 |
specific scale, to the one that came
previously.
| | 01:04 |
It's all a live effect, and can be
changed very easily.
| | 01:10 |
If I select this circle, and come to my
Appearance panel, we see here the Transformation.
| | 01:16 |
I'm going to click on that, and these are
the settings I used, and it was trial and error.
| | 01:21 |
100.6% for the scale, both Horizontal and
Vertical I'm moving them by this amount,
| | 01:28 |
this is the angle.
I'm reflecting them up across x and y
| | 01:33 |
and, furthermore, I just throw in the
kitchen sink as well, I also made it Random.
| | 01:37 |
If I turn off Random and we turn on
Preview, then that's how it would have looked.
| | 01:43 |
Like I said, there's no wrong result
here.
| | 01:45 |
You can just get a remarkable array of
different effects.
| | 01:49 |
But that wasn't really what I was after
so I went with the Random instead.
| | 01:53 |
Having made one, I then duplicated it
simply by holding down the Optional or
| | 01:58 |
Alt key, dragging away from it and then I
have two.
| | 02:00 |
And I changed the Stroke color of one
copy to Cyan the stroke color of the
| | 02:07 |
other to yellow.
And using the transparency panel I made
| | 02:13 |
the Blend Mode Multiply so that we get a
nice interaction of those two colors
| | 02:20 |
where they overlap.
At this point I select them, Copy and
| | 02:25 |
move over to Photoshop.
And this bit I will recreate from scratch.
| | 02:30 |
I'll start out a new file, and the file
size, 1024 by 1024.
| | 02:35 |
And then I will Paste my Clipboard as a
Smart Object.
| | 02:42 |
It goes to the center of my canvas.
I'd like it to stay in the center of my canvas.
| | 02:47 |
So I'm holding down the Option key and
the Shift key when I scale it.
| | 02:53 |
Okay, now this is a smart object which
means that when I apply a filter to it,
| | 02:59 |
the filter is applied as a smart
non-destructive filter.
| | 03:02 |
And the filter that I'm going to apply is
the Offset filter.
| | 03:07 |
And I want to offset it by half the size
of my canvas, 512 pixels right and 512
| | 03:17 |
pixels down.
I'm then going to make a copy, but the
| | 03:21 |
copy I am not going to apply the Offset
filter to.
| | 03:25 |
So we have now created a pattern tile.
And by offsetting it we have made this a
| | 03:32 |
potentially repeating pattern tile.
So I will now Select all, come to my Edit
| | 03:39 |
menu and choose define pattern, Pattern 2
is fine, I'll leave it called that, click okay.
| | 03:46 |
And now to test out my pattern, I'm going
to create a canvas that's substantially larger.
| | 03:52 |
Let's have it be 3,000 pixels by 3,000
pixels.
| | 03:59 |
I'll then come to the Edit menu and
choose Fill.
| | 04:02 |
And I want to use Pattern two, and there
we have it.
| | 04:08 |
Couldn't be simpler, a very satisfying,
really easy to achieve, repeating pattern tile.
| | 04:14 |
| | Collapse this transcript |
| Converting a filtered transformation into a custom brush| 00:00 |
In a similar vein to the previous movie,
where we worked with a transformed
| | 00:05 |
circle, and then we put it into Photoshop
and applied a filter to it.
| | 00:08 |
Here's something else we can do.
So, we begin in Illustrator with an
| | 00:13 |
ellipse that has a transformation applied
to it.
| | 00:16 |
And if I come to my Appearance panel,
click on Transform, we can see that we
| | 00:21 |
have 359 copies with these parameters.
I arrived at these somewhat randomly.
| | 00:27 |
That's the result I get.
I then copy and paste this into Photoshop.
| | 00:34 |
Where I then apply a layer effect to it,
and I also, and this is what really
| | 00:41 |
changes its appearance, apply the wave
filter to it.
| | 00:45 |
Now, you may be thinking, wait a minute,
don't we have Photoshop filters in Illustrator?
| | 00:51 |
Well, we do, but there's no wave filter.
And there's no offset filter either.
| | 00:56 |
And even those filters that we do have in
Photoshop where we also have the same
| | 01:01 |
filters in Illustrator, you tend to find
that when you apply them in Illustrator,
| | 01:06 |
you take a massive hit in performance
every time you do something.
| | 01:10 |
Having applied one of these filters to
your art work, your screen needs to redraw.
| | 01:15 |
So even though they're here, I tend to
prefer to apply them in Photoshop.
| | 01:20 |
But in the case of the wave filter, there
is no Illustrator equivalent.
| | 01:24 |
So I'm applying the wave filter.
And if I turn that off, you can see there
| | 01:27 |
we have our nautilus, spiral type design.
That's what it ends up as.
| | 01:33 |
Now, we can take even further as I did
and make this into a custom brush and
| | 01:39 |
then start painting with this brush.
So we get this really great texture.
| | 01:44 |
And then to that I just added this piece
of text and on top of the piece of text,
| | 01:49 |
I also painted using that brush shape on
the layer mask just to incorporate the
| | 01:55 |
texture into the shape of the letter
forms.
| | 01:58 |
So, I will recreate this one by scratch.
I'll start out with a new document, and
| | 02:05 |
I'm going to have it be square.
So, we'll do 768 by 768, in size and I'll
| | 02:13 |
create an ellipse, something like that, I
want to make sure that the ellipse has no
| | 02:19 |
fill, but does have a stroke.
Then come to the Effect > Distort &
| | 02:25 |
Transform > Transform.
And, let's put in a few parameters before
| | 02:30 |
we turn the Preview on.
Now I used 359 copies in my last two
| | 02:36 |
examples, and the rationale was there, if
there are 360 degrees in a circle, we've
| | 02:41 |
already got one copy.
359 gives us a total of 360.
| | 02:46 |
I'm not really sure that that was
absolutely necessary, but it certainly
| | 02:49 |
doesn't hurt to follow that kind of
logic.
| | 02:53 |
Now, when you are changing the Scale
values, a very small adjustment can go a
| | 03:00 |
very long way.
So I am just going to set this to 100.5
| | 03:06 |
and I'll make the angle 1 point.
And I'll move it one pixel horizontally
| | 03:11 |
and one pixel vertically.
Now let's just see what that gives us.
| | 03:15 |
Okay.
Well, that's interesting but that's not
| | 03:19 |
what I want.
I could use a different reference point
| | 03:22 |
to start that from, and we get that
result.
| | 03:26 |
But I think I need to adjust the angle.
Let's change the angle.
| | 03:32 |
And Deke McClelland has an interesting
movie about using this tool, and he's
| | 03:37 |
thought it through very methodically.
And he can explain why this behaves the
| | 03:43 |
way it does.
My approach to this has always been mess
| | 03:47 |
around with it and see what you get.
So it's a far less scientific approach.
| | 03:51 |
But, as I mentioned in the previous
movie, there really is no wrong answer
| | 03:54 |
here because all the results that you get
will be interesting.
| | 04:04 |
I'm going to go with that result.
I am going to come and change my stroke
| | 04:09 |
weight to 0.5 points.
And then, I will center this on my art board.
| | 04:18 |
So I'll come and choose align to art
board, and then I'm going to center it
| | 04:21 |
horizontally, and I'm going to center it
vertically.
| | 04:25 |
And just adjust the size.
Now, that may be centered horizontally
| | 04:33 |
and vertically, but it's not including
all of my artwork.
| | 04:36 |
So I am going to then just nudge it over
so that we see it all.
| | 04:40 |
Now, for the way I intend to use this in
Photoshop, I would like the outline of my
| | 04:44 |
spiral to be white.
So I'm going to choose my stroke property
| | 04:49 |
and change it to white.
If I do want to see it in Illustrator,
| | 04:53 |
which I might should I need to change it,
I need to create a new layer.
| | 04:59 |
So, I'm going to create a new layer.
(SOUND).
| | 05:01 |
And on that new layer, I am going to draw
myself a rectangle.
| | 05:07 |
(SOUND) And then I'm going to fill that
rectangle with a color.
| | 05:11 |
(SOUND) And drag that layer down beneath
the layer on which the spiral currently resides.
| | 05:20 |
Okay.
So, now I can see it.
| | 05:21 |
If I do need to go back and change that
in any way.
| | 05:24 |
And to do that, I would use the
Appearance panel, click on Transform, can
| | 05:29 |
make any adjustments I needed to.
But I am now going to turn off that
| | 05:35 |
layer, I'm going to select my spiral.
It appears as just one item that is selected.
| | 05:41 |
Because it's a live effect, I'm going to
copy it, and then come over to Photoshop
| | 05:45 |
and I'll create myself a new document
here.
| | 05:49 |
I'll make this document 1024 by 768.
And, I will paste it as a Smart Object.
| | 05:58 |
I'm now going to, come and choose a solid
color, and that solid color is going to
| | 06:05 |
be a dark red, like so.
Alright.
| | 06:11 |
So now we get to the fun and interesting
part.
| | 06:14 |
I'm going to start out by applying the
Wave filter to this.
| | 06:19 |
Now the Wave filter is in the Distort
group.
| | 06:22 |
It's a very old filter, there is no
preview.
| | 06:26 |
Your only preview is what you see here.
And that's not showing us the background
| | 06:30 |
color, so that's not particularly useful
to us.
| | 06:37 |
I'm just going to make a few tweaks to
the sliders as they are.
| | 06:42 |
And we get that result.
Now if we don't like that we can go back
| | 06:45 |
and revisit the Wave filter.
And maybe we'll have fewer generators.
| | 06:52 |
Okay.
Well, let's say that I like that.
| | 06:54 |
Because now what I what to do is I want
to capture that as a brush.
| | 06:59 |
I'm going to hold down my Cmd key and
click on that Vector Smart Object.
| | 07:05 |
And from the Edit menu, I will define a
brush preset.
| | 07:11 |
I can now turn off that Vector Smart
Object and create a new layer.
| | 07:17 |
I'll choose my Brush tool.
And from the bottom of my Brushes panel,
| | 07:23 |
I will chose that brush that I just made.
I'll make my foreground color white and I
| | 07:29 |
can just start painting with that custom
brush, layering the different strokes on
| | 07:34 |
top of each other to get this result.
So to complete the effect, I added a
| | 07:40 |
piece of text.
And suggested by the nature of the
| | 07:44 |
artwork, my text is this.
I'm just adding in a Shift Return there
| | 07:51 |
to take each letter pair down to the next
line.
| | 07:55 |
And let's say that we want that to be
black.
| | 07:59 |
And I position that wherever I want it to
go.
| | 08:02 |
But I also want to integrate it more with
the texture, so I'm going to add a layer
| | 08:08 |
mask, come and choose my Brush tool and
then using that same custom brush paint
| | 08:13 |
on that layer mask.
So that we introduce the texture into the
| | 08:19 |
shapes of the letters themselves.
| | 08:21 |
| | Collapse this transcript |
| Combining abstract transformations with a photographic illustration| 00:00 |
We've already seen some interesting
things we can do with the Transform
| | 00:04 |
feature in Illustrator and how we can
combine the result with Photoshop artwork.
| | 00:08 |
Here's another idea.
Drawing around the shape of the petal and
| | 00:12 |
then transforming that result and then
combining the transform effect with the
| | 00:18 |
illustration in Photoshop.
And adding some texture to the overall result.
| | 00:23 |
I'm going to begin with this image of a
daffodil, and this time I will start out
| | 00:29 |
in Photoshop itself.
I'm going to use my Pen tool, making sure
| | 00:33 |
that it is set to draw paths as opposed
to shapes and then draw around the shape
| | 00:39 |
of one of the petals and I am
intentionally somewhat simplifying that.
| | 00:47 |
I will now choose my Path Selection tool.
Select that part, Copy it, move to
| | 00:54 |
Illustrator where I will create a New
Document.
| | 00:57 |
The size of the document isn't important
here, but I do want to make sure that it
| | 01:01 |
has an RGB color mode since that is the
color mode of my daffodil photograph.
| | 01:07 |
I'm now going to Paste that path, Cmd+V.
And I have noticed that when I do that
| | 01:13 |
nothing happens.
I can't explain why this might just be a
| | 01:17 |
glitch with my particular system.
But using the keyboard shortcut to paste
| | 01:21 |
that path doesn't work.
But if I use the menu item than it does,
| | 01:25 |
and I can't explain why.
I'm going to paste this as a compound shape.
| | 01:32 |
I do just want to give that shape a
stroke color and stroke white.
| | 01:42 |
Now let's Zoom in on that, and, before I
transform it, I'm going to complete the
| | 01:48 |
circle of the petals.
So I will choose my rotate tool,
| | 01:52 |
Alt+click on this point of the petal and
rotate it 360 degrees making a copy.
| | 02:02 |
And then I will repeat that
transformation Cmd+D until we get all the
| | 02:07 |
way around to the starting point and we
have our completed flower.
| | 02:12 |
I will now select the individual petals
and group them.
| | 02:16 |
Now I will come to distort and transform
where I will transform the group result.
| | 02:24 |
And I'm going to use these settings,
scaling to 95%, no movement, rotating at
| | 02:31 |
an angle of six degrees and from the
center point.
| | 02:37 |
And I'm going to make 15 copies.
Now I when turn on my preview, we can see
| | 02:42 |
I get that result.
So I'm now going to Copy and Paste my
| | 02:47 |
transform result back to my Photoshop
illustration.
| | 02:51 |
Before I do that, I will Delete my
original path, and Paste the contents of
| | 02:57 |
my clipboard as a smart object.
And we see that we can more or less align
| | 03:07 |
those petals with the petals of the
original daffodil.
| | 03:11 |
That's not exactly what I want to do, but
it's just interesting to be able to do that.
| | 03:15 |
But I'm going to leave this here for now,
and we'll see in the next movie how we
| | 03:18 |
can further integrate this into our
illustration.
| | 03:22 |
| | Collapse this transcript |
| Continuing with abstract transformations| 00:00 |
So, we need to do a few things to make an
illustration work.
| | 00:04 |
And this is going to involve applying
some layer effects to our vector smart object.
| | 00:09 |
Also adding a texture, and also
experimenting with some blending modes.
| | 00:14 |
Let's start out by just repositioning
this vector smart object.
| | 00:19 |
And perhaps the most important point I
want to make here, is that we can change
| | 00:24 |
the appearance of this.
Not by returning To Illustrator but here
| | 00:29 |
in Photoshop by applying a layer effect
to it.
| | 00:33 |
The layer effect could be a color overlay
which would change the color of the stroke.
| | 00:38 |
Or, it could be as it's going to be in
this case, a gradient overlay.
| | 00:45 |
So I'm going to use a gradient overlay
and we can see immediately how that
| | 00:49 |
changes things.
I would like my gradients to be radial as
| | 00:53 |
opposed to linear and I want to change
the color of the gradients.
| | 00:56 |
I'm going to have the color be suggested
by the color of the petals of the flower.
| | 01:03 |
And I'm also going to change the blending
mode of that to hard light.
| | 01:09 |
In addition to that, I would also like
some texture.
| | 01:12 |
So I'm going to come to this texture
file, copy this, and move back to my work
| | 01:18 |
in progress where I will paste it.
You've seen me do this numerous times.
| | 01:22 |
I will now come to the channels panel
command click on the RGB channel.
| | 01:26 |
Return to my layers, turn off that
texture layer, and then come to my
| | 01:31 |
background layer, the daffodil itself,
where I will add that selection as a
| | 01:38 |
layer mask.
Now the layer mask is currently very flat grey.
| | 01:42 |
Which is why we're not seeing much of the
image any longer.
| | 01:46 |
I am going to change that.
But before I do that I'm going to add a
| | 01:50 |
layer of solid color beneath, which will
be the color of my paper.
| | 01:55 |
I would like the color of my paper to be
an off white.
| | 02:02 |
that needs to go at the bottom of my
layer stack.
| | 02:06 |
And now to see more of that, I'm going to
click onto that layer mask, which
| | 02:10 |
currently looks like that, and then
adjust the levels.
| | 02:14 |
I'm going to add in more black by getting
the black point slider and bringing that
| | 02:21 |
over towards the center, and also get the
grey point slider and bring that to the right.
| | 02:26 |
And we can see some of that texture
coming through now.
| | 02:29 |
The only problem there is that we are now
not seeing enough of the daffodil itself
| | 02:34 |
So to redress that, I'm going to
duplicate that layer, direct that layer
| | 02:40 |
to the top, delete the layer mask that is
on that copy, and then change it's
| | 02:47 |
blending mode to color burn and reduce
the opacity to 40%.
| | 02:54 |
Now the problem is the paper texture
doesn't have enough presnece.
| | 02:58 |
So I'm going to add a gradient overlay to
that as well This will also be radial.
| | 03:08 |
It will be reversed so that it's darker
on the outside, and I want to change the color.
| | 03:15 |
I want the color to be a nice, warm brown
Something like that, I'm going to change
| | 03:26 |
the Blend Mode to Multiply, and we'll
take down the Opacity to about 75%.
| | 03:35 |
Now, in addition to that one version of
the VectorSmart object, I would like to
| | 03:39 |
create a duplicate of it.
So, I'm going to hold down the optional
| | 03:43 |
Alt key.
Making sure I'm on the right layer and
| | 03:47 |
then just drag away from it.
And the reason I'm doing this is just to
| | 03:51 |
make the point that we can transform this
copy any way we like so maybe we'll make
| | 03:58 |
it bigger.
But in this case, I'm also going to apply
| | 04:02 |
a Different layer effect to the copy.
So I will turn off, or throw away the
| | 04:08 |
gradient overlay, and instead I'm going
to add a drop shadow.
| | 04:14 |
But what's important about the effect I
want achieve here is that I only want to
| | 04:19 |
see the shadow so I will come to the
blending options and turn down the fill
| | 04:24 |
opacity to zero.
Come back to the shadow, have the shadow
| | 04:30 |
color be suggested by the daffodil, and
then increase the size of that shadow.
| | 04:37 |
Okay.
I just want it to be in the background,
| | 04:41 |
just to add a little bit more texture,
especially in this quiet area of the
| | 04:46 |
image down at bottom left.
And then with the main vector smart object.
| | 04:56 |
Which I will move above the copy.
I am going to reduce it opacity somewhat.
| | 05:03 |
Down to about 60%.
So there we see how we can begin with an illustration.
| | 05:08 |
Draw a path around a portion of that
illustration.
| | 05:12 |
Make a transformation of that path in
illustrator.
| | 05:15 |
Further transform the result, Copy and
Paste it back into Photoshop, and
| | 05:21 |
integrate it into the illustration by
applying layer effects to it.
| | 05:25 |
| | Collapse this transcript |
|
|
5. Creating Frames, Backgrounds, and Type TreatmentsCreating an abstract desktop background| 00:00 |
So here, we're going to see a simple and
very effective interplay of Photoshop and
| | 00:04 |
Illustrator to create this abstract
desktop background.
| | 00:09 |
This is the finished version in Photoshop
and I'm just going to take it apart to
| | 00:14 |
see how it works.
At bottom we have a Gradient Fill.
| | 00:18 |
Above that, we have a Vector Smart
Object, this was created in Illustrator.
| | 00:24 |
To this, we have applied several layer
affects.
| | 00:27 |
An Inner Glow, a Color Overlay and the
Drop Shadow.
| | 00:29 |
On top of this is a copy of that element.
Rotate it, so that we have that interplay
| | 00:35 |
of the two.
And the copy does not have any of the
| | 00:40 |
layer effects applied to it.
But it does have clipped to it a Rainbow Gradient.
| | 00:46 |
And then at the top of the whole layer
stack, we have a layer of film grain just
| | 00:52 |
to add some texture.
I'll now switch over to Illustrator,
| | 00:55 |
create a new document, 1024 by 768, with
a Web Profile.
| | 01:05 |
And then, using my pencil, drawing parts
that have no fill but do have a black
| | 01:11 |
stroke, I'm going to create 3 wavy paths.
There's one and there's a second one
| | 01:23 |
(SOUND) and a third one.
Then I will switch to my Blend tool.
| | 01:29 |
And I'm going to blend from that point to
that point to that point.
| | 01:32 |
Double-click on my Blend tool to specify
the number of steps.
| | 01:39 |
(SOUND) There's some trial and error
here, but I'm going to go with 75 steps.
| | 01:45 |
Now, as well as having the blend from one
shape to another, I also want to blend my
| | 01:50 |
stroke weights.
So I'm going to select one of these, the
| | 01:54 |
topmost stroke, like so, and I will
change its stroke weight to 0.25.
| | 02:02 |
And then I will select the second stroke
and make its Stroke Weight 0.5.
| | 02:07 |
And I think the last one I will make
0.75.
| | 02:14 |
Now what I want to do is make these
strokes overlap.
| | 02:21 |
And that's when it gets interesting.
And of course, it's a bit unpredictable
| | 02:27 |
as well.
So, obviously, the result I'm going to
| | 02:29 |
get this time will be quite different to
the result that I got the first time.
| | 02:33 |
Okay.
I could carry on but I'm just going to go
| | 02:37 |
with this.
I now want to select it, copy it, move
| | 02:41 |
over to Photoshop, where I will start a
document at the same dimensions 1024 by 768.
| | 02:50 |
And I'll paste that in as a Smart Object,
and if necessary scale it, so that it
| | 02:57 |
goes all the way to the edges of my
canvas.
| | 03:00 |
I'll now come to my Background layer.
And above my Background layer, I will add
| | 03:05 |
a gradient.
I want to change the color of that gradient.
| | 03:08 |
We'll go from a blue, like that, to a
similar sort of blue, so I'm actually
| | 03:15 |
going to duplicate that blue, but then
change its color to a darker shade, and
| | 03:23 |
we'll make the Opacity 100%.
And I want it to run the other way.
| | 03:31 |
And I will dither it as well.
Okay.
| | 03:34 |
So there's my Gradient Fill.
I'm now going to add some layer effects
| | 03:39 |
to my Vector Smart Object.
And we'll start out with a color overlay,
| | 03:43 |
which is going to cause the biggest
change.
| | 03:45 |
I'm going to change that to white.
I will also add, add inner glow.
| | 03:51 |
But I need to change the blending mode to
a darkening blending mode, and that will
| | 03:57 |
give me that effect.
I think I want to just temper that a bit,
| | 04:00 |
bring that down to about 50%.
And then, on the original I had added a
| | 04:05 |
Drop Shadow.
I think I'm going to omit the Drop
| | 04:08 |
Shadow, in this case, I don't think it
needs it.
| | 04:10 |
But you can add whichever of these layer
styles you wish.
| | 04:13 |
Okay.
I'm then going to duplicate that Vector
| | 04:17 |
Smart Object by pressing Cmd or Ctrl+J.
Cmd+T to transform it.
| | 04:22 |
I'll hold down my Shift key and I'll just
spin that round through 180 degrees.
| | 04:27 |
And I'll rearrange it on top of the one
we already have.
| | 04:31 |
And I will throw away the layer effects.
going to change it's Blending mode to
| | 04:37 |
Multiply, which doesn't make it a lot of
difference.
| | 04:39 |
But I think it might when I do the next
thing.
| | 04:42 |
And the next thing is that I want to put
a gradient on top of this.
| | 04:46 |
And I want this gradient only to apply to
the topmost copy.
| | 04:51 |
So I'm going to hold down the Option or
Alt key when I choose Gradient from my
| | 04:55 |
list of Adjustment layers.
That gives me the option to check use
| | 04:59 |
previous layer to create clipping mask.
The type of gradient I want is this one,
| | 05:04 |
a Transparent Rainbow.
Of course, I can reduce the opacity of
| | 05:09 |
that if I wish.
And then finally, I will add a layer at
| | 05:14 |
the very top.
And when I add this layer I'm going to
| | 05:17 |
hold down the optional Alt key.
When I click Create New Layer, that will
| | 05:21 |
give me the option of changing its blend
mode.
| | 05:24 |
In this case, to Overlay, and then
filling it with Overlay-neutral gray.
| | 05:29 |
To give myself the option of changing my
mind about exactly how much grain I add,
| | 05:35 |
I'm going to convert this to a small
object and come to my Filter menu>
| | 05:39 |
Atistic > Film Grain.
And if you don't have your filters
| | 05:43 |
arranged in this way, you can also get
Film Grain in the Filter gallery.
| | 05:48 |
And I will use these settings 2, 6, and
8.
| | 05:52 |
For the Grain, Highlight Area, and
Intensity, respectively.
| | 05:56 |
And you can see that just makes a slight
difference there.
| | 05:58 |
And if you want to revisit the amount of
Grain, you can just double-click on that
| | 06:02 |
and change it if you need to.
But there we have a simple abstract
| | 06:07 |
desktop background created from a simple
blend that was started in Illustrator,
| | 06:13 |
and then copied over into Photoshop, to
which we added some layer effects.
| | 06:19 |
We also made a duplicate of it and we
added the Rainbow fill to the duplicate.
| | 06:23 |
| | Collapse this transcript |
| Creating a grunge frame| 00:00 |
Here's a simple technique for creating a
Grunge Frame, creating the frame in
| | 00:04 |
Illustrator, saving it, and then placing
it in Photoshop as a Vector Smart Object.
| | 00:11 |
So this is the finished version.
And you can see that the frame exists on
| | 00:15 |
its own separate layer.
And you can resize this frame to frame
| | 00:19 |
any image that you like.
This is the starting point and before I
| | 00:24 |
make the frame, I'm going to add in some
extra canvas around the image.
| | 00:29 |
If I want the extra canvas to be added as
transparency, which I do, I'm first going
| | 00:33 |
to unlock the background layer, then I'll
tap C to access my Crop tool.
| | 00:38 |
Since I want to crop from the center
point, I'm holding down the Option or Alt key.
| | 00:45 |
And then pulling out onto the pasteboard
to add some canvas.
| | 00:50 |
Now I'm going to switch to Illustrator,
where I will create a new document.
| | 00:54 |
Now I want the color mode of my document
to be RGB.
| | 00:57 |
That's because the color mode of my image
is RGB.
| | 01:01 |
And I'm going to go with 1024 X 768 as my
Size.
| | 01:05 |
But more important than the size is the
aspect ratio of the frame.
| | 01:10 |
Now most of my images that come from my
digital camera are at a 3 to 2 aspect ratio.
| | 01:16 |
So that's the aspect ratio I'm going to
use for my rectangle.
| | 01:20 |
I'll just click on my page, and I'll make
this 900 X 600.
| | 01:26 |
Now I position that on my Artboard.
I want to make sure it has No Fill then
| | 01:31 |
I'll come to the stroke and through the
stroke I am going to apply a grunge
| | 01:35 |
vector pack brush stroke.
So from the Brushes panel, I'll come down
| | 01:40 |
to Vector Packs > Grunge brushes vector
pack.
| | 01:43 |
I'm going to use the first one, and it
looks like that, which is okay.
| | 01:47 |
But, in going around the whole rectangle,
it's left this area at bottom right empty.
| | 01:53 |
A quick solution to that is to Copy the
frame, Paste the frame in front, Cmd+F,
| | 02:00 |
and now rotate that copy through 190
degrees.
| | 02:06 |
So that we actually have two frames, one
on top of the other, and that's our end result.
| | 02:11 |
I'm now going to Save this as an
illustrative file.
| | 02:15 |
I could copy and paste it but I'm
assuming here that I might want to use
| | 02:19 |
this frame again and again so it's going
to be preferable to have it saved.
| | 02:24 |
Just making it easier to access.
I will call this frame 1.
| | 02:32 |
Now I'll switch over to Photoshop where I
will choose File and Place, there's my frame.
| | 02:39 |
I can just adjust the size of that as
necessary, and just so that we don't see
| | 02:44 |
that checkerboard.
I am going to temporarily change my
| | 02:48 |
Transparency and Gamma settings to a Grid
Size of None so we can better appreciate
| | 02:54 |
the result.
| | 02:55 |
| | Collapse this transcript |
| Creating a typographic treatment using Live Paint and a Photoshop texture| 00:00 |
Here I'm going to create this typographic
treatment.
| | 00:03 |
Starting in Illustrator with just three
words stacked on top of each other, the
| | 00:07 |
letter form's slightly manipulated so
that the negative space between them
| | 00:12 |
makes interesting shapes.
The whole thing then converted to a Live
| | 00:16 |
Paint group, and the individual segments
filled with colors.
| | 00:20 |
That is then copied and pasted over into
Photoshop as a Smart Object and combined
| | 00:26 |
with this texture.
So let's see how we can create that in
| | 00:32 |
Illustrator from scratch.
I'm going to create a new document using
| | 00:36 |
a basic RGB profile.
I will tap T for my Type tool and then
| | 00:42 |
type in the word, think.
Let's make that massively bigger.
| | 00:46 |
In the original, I used Clarendon, a nice
slab serif font.
| | 00:49 |
Now this is a type face that does not
come with the Creative Suite.
| | 00:53 |
So in this version, I'm going to use
Rockwell, which is another slab serif,
| | 00:58 |
similar that does come with the Creative
Suite.
| | 01:01 |
And I'm going to use Rockwell Bold.
So this is my starting point and I want
| | 01:07 |
this to be centered horizontally and
centered vertically.
| | 01:11 |
And my, I'm centering to the art board.
I'm now going to turn on my rulers and
| | 01:17 |
draw some guides that mark the left and
right most extremities off those letters.
| | 01:23 |
And then hold down the Option key or Alt
key, and make a duplicate right there.
| | 01:32 |
Change the wording and increase the size
of that, out to that guide.
| | 01:39 |
That's then going to require that I
adjust the position.
| | 01:45 |
I want to make sure that the left-most
tip of the O also, hits that guide for
| | 01:52 |
which I might need to zoom into a larger
view size.
| | 01:59 |
And then, we'll duplicate that one, and
put it right there.
| | 02:04 |
Now, depending on the type fact that
you're using, you may decide that you
| | 02:08 |
want to convert the type to outlines.
And then just modify the shapes of the
| | 02:12 |
letters to create more interesting
negative space.
| | 02:16 |
I'm going to just go with this as it is,
so that you don't have to watch me mess
| | 02:20 |
around with it for more than half an hour
or so, which is how long it took me to
| | 02:24 |
create the original.
Around this, I am going to create a rectangle.
| | 02:29 |
Let me just draw some guides.
And this rectangle will have no fill and
| | 02:40 |
a heavy black stroke.
Just how heavy, I'm not sure.
| | 02:44 |
But I think we want to match the
heaviness of the serifs, so we need to
| | 02:50 |
get heavier than that.
I want to beef up the stroke, so that we
| | 02:54 |
can exclude any awkward areas of negative
space that may creep into the corners.
| | 03:00 |
Although that's not looking too bad.
And I might also consider checking out my
| | 03:07 |
different Stroke Alignment options and
see how this would look aligning it to
| | 03:12 |
the center and making it.
(SOUND) Well, as you can see, there's a
| | 03:19 |
lot of scope for going back and forth
with this.
| | 03:21 |
I'm going to undo a few steps and put it
back to about 25 point.
| | 03:27 |
Okay.
Now, at this point, I am going to convert
| | 03:32 |
all of this to outlines.
If I were playing safe, I might make a
| | 03:38 |
copy of that onto my pasteboard so that
I, I always have those letters to go back
| | 03:43 |
to because the text is no longer going to
be editable.
| | 03:46 |
But, I'm just going to go for it,
Cmd+Shift+O or Ctrl+Shift+O to convert to outlines.
| | 03:53 |
I now would like to convert this to a
live paint group.
| | 03:56 |
Just before I do that though, I'm going
to choose a color palettes to work with,
| | 04:00 |
and I'm going to have Kuler.
Help me out here.
| | 04:08 |
I'm going to go with one of these highest
rated color themes on Kuler.
| | 04:13 |
And I think I would like that one, Honey
Pot.
| | 04:16 |
So I'll click on that and then add that
to my swatches.
| | 04:21 |
Now I'll come to my live paint bucket.
And click anywhere in there to convert
| | 04:29 |
this to a live paint object.
I'll now come and choose my chosen color group.
| | 04:39 |
And just go and apply some colors to
those negative spaces.
| | 04:45 |
Okay.
I'm going to go with that.
| | 04:50 |
Lets see that without the guides.
I'm now going to select it all.
| | 04:54 |
Copy it.
Move over to Photoshop.
| | 04:56 |
Create a new document and the new
document it gives me will be the same
| | 05:02 |
size as the clipboard.
And I will paste my clipboard as a Smart Object.
| | 05:09 |
I am going to just slightly reduce that
so that we do have a frame around it.
| | 05:14 |
I'll now go and access my Texture file.
Of course, you can use any texture.
| | 05:19 |
I'll select that, copy it, paste it into
this document.
| | 05:24 |
It's going to come in as a layer above my
Vector Smart Object on the Channels panel.
| | 05:28 |
I will Cmd+click on the RGB channel to
load the gray values of that texture.
| | 05:36 |
I will then turn it off, come to the
Vector Smart Object, and apply that as a
| | 05:42 |
layer mask.
And there we have our simple but very
| | 05:46 |
effective typographic treatment.
And if I wanted to I could also adjust
| | 05:51 |
the levels on that layer mask.
I'm going to move the white point slider
| | 05:55 |
to the left to reveal more of the image,
effectively giving it more contrast.
| | 06:01 |
| | Collapse this transcript |
| Combining Illustrator artwork with the Polar Coordinates filter| 00:00 |
I think this one is best filed in the
interesting category.
| | 00:03 |
It's not entirely successful, but the
technique is interesting and hopefully it
| | 00:09 |
will spark some ideas in you as to how
you can use it.
| | 00:12 |
So here I am in Photoshop, and you can
see that to this vector Smart Object I've
| | 00:17 |
applied two filters.
Spherize, and polar coordinates.
| | 00:21 |
This begins its life in Illustrator
looking like this, and when we take it
| | 00:26 |
over into Photoshop and apply those two
filters, we also need to do some
| | 00:31 |
stretching to it as well, this is the
result that we get.
| | 00:34 |
So let's take this from the beginning.
I said I was going to start in
| | 00:37 |
Illustrator, I'm actually going to start
in Photoshop, because this fish is
| | 00:42 |
actually a Photoshop custom shape.
So staying where I am in this document,
| | 00:46 |
it doesn't matter what document I'm in I
just need to access the shape and then
| | 00:50 |
copy and past it into Illustrator.
I'm in my custom shape tool, and I'm
| | 00:55 |
going to come up to my custom shapes, and
there's the one I'm after right there.
| | 00:59 |
If you don't see it, it's in the animals
group.
| | 01:04 |
And then I'll just click and drag to make
myself a fish shape, come to my path
| | 01:11 |
selection tool, and then I can cut that.
Switch over to Illustrator where I will
| | 01:17 |
create a new document.
Now, I'm going to create a new document
| | 01:21 |
that is square to start with, 1500 by
1500.
| | 01:27 |
And then we'll paste that custom shape
and give it a color.
| | 01:31 |
Okay.
Now the color coordinates wraps your art
| | 01:37 |
work around a circle.
It's not 3D, it's just circular.
| | 01:41 |
Now, I was never very good at maths at
school.
| | 01:44 |
But, I do remember that the circumference
of a circle is the diameter.
| | 01:49 |
Times pi or 3.142.
So I want to make the width of my canvas
| | 01:53 |
3.142 times its current width.
And to do that, I'm going to come to my
| | 01:58 |
art board tool, and the width, currently
1500 points.
| | 02:05 |
I'm going to times that by 3.142.
Now I'm going to create my artwork on
| | 02:12 |
this art board.
And it's very difficult to predict how
| | 02:16 |
your flattened artwork will get converted
into a polar coordinate.
| | 02:22 |
But, from having done it before, I've got
some idea of what to expect.
| | 02:27 |
I'm going to give it a black background,
and I'll put that to the back.
| | 02:30 |
And then I'm just going to put a series
of fish running along the bottom.
| | 02:38 |
And of course we have to flip one of
those the wrong way.
| | 02:41 |
I know they're not salmon but you get the
idea.
| | 02:45 |
Like that and it can have a different
color.
| | 02:48 |
And then I want to add some text to it.
(SOUND) You can't really see what I'm
| | 02:52 |
typing there because it's so small.
Let's see how accurate or otherwise that was.
| | 02:58 |
Let's size that up.
Well I used Adobe Garamond Pro before,
| | 03:02 |
but I'll use Adobe Caslon Pro this time.
Now I want to seperate that into 3
| | 03:10 |
distinct pieces so that I can just size
them differently.
| | 03:19 |
And I learned from my experimentiton with
this, that I wanted one of these woods
| | 03:24 |
the wrong way around.
I'm now going to save that, and I will
| | 03:29 |
call it fishbowl1.
And rather than copy and paste, which
| | 03:35 |
would work.
This time I am going to place it in Photoshop.
| | 03:39 |
So now I'm going to go over to Photoshop
and create a new document, 1,500 pixels
| | 03:44 |
by 1,500 pixels.
And I'm going to place that Illustrator file.
| | 03:52 |
I now need to reposition this, and size
it up so that its height is 1,500 pixels,
| | 03:58 |
which is going to make its width 3.142
times bigger than that, zooming out so
| | 04:06 |
that I can see the whole area of my
selected placed object.
| | 04:11 |
I'm now going to squish it up, so that it
fits within that square.
| | 04:16 |
And the reason I'm doing that is when I
now apply the polar coordinates filter,
| | 04:23 |
this stretching out is applied to it,
should compensate and we should end up
| | 04:28 |
with graphics that are not too distorted.
They will be distorted.
| | 04:34 |
And the closer they are to the center of
the circle the more distorted they will be.
| | 04:40 |
But to minimize that distortion, that's
why I have done it this way, made it
| | 04:43 |
3.142 times bigger and squished it, and
then in the making of it into a circle by
| | 04:50 |
applying polar coordinates, it will end
up like that.
| | 04:54 |
One additional thing that I did in my
original version, which looks like that,
| | 05:00 |
was to also apply the spherise filter.
Neither of these filters exist in
| | 05:05 |
Illustrator, and that is also in the
Distort group.
| | 05:10 |
And I'm going to make it bulge out a bit,
like so, to give us that effect.
| | 05:16 |
Like I said it's more interesting than it
is successful, but this may give you some
| | 05:21 |
ideas for how you can use this technique
and adapt it to your needs.
| | 05:25 |
| | Collapse this transcript |
| Using Polar Coordinates to create a circular logo| 00:00 |
In the previous movie, if you saw it, I
was messing about with the polar
| | 00:03 |
coordinates filter, a filter that we have
in Photoshop that we don't have in
| | 00:07 |
Illustrator, and I was applying it to
artwork that I had created in Illustrator.
| | 00:12 |
It's a fascinating filter, one that is so
often a near miss, so I'm still trying to
| | 00:17 |
find the perfect use for it.
But these are interesting experimentation
| | 00:22 |
I feel.
And, I then went on to come up with this
| | 00:25 |
idea, so one thing leads to another.
And this artwork I created in Illustrator.
| | 00:32 |
And, this begins its life as a calla lily
Illustrator symbol.
| | 00:36 |
And, I broke the link to the symbol, I
took it apart and applied a variable
| | 00:44 |
stroke width to what was left.
Reflected it, made a canvas that is at a
| | 00:49 |
ration of one to 3.14, 3.14 being Pi.
And then save this.
| | 00:55 |
Placed it in a Photoshop document where I
transformed, that vector smart object
| | 01:04 |
back into a square.
And those are all steps that I did in the
| | 01:07 |
previous movie, so I'm not repeating them
here.
| | 01:09 |
And then apply the polar coordinates
filter to it, and this is the result that
| | 01:13 |
I get.
Added some type to it, added a color fill
| | 01:16 |
background, and we have a logo.
Now, there may be easier ways to achieve
| | 01:21 |
this, and there are certainly more
predictable ways to achieve this, but it
| | 01:25 |
is nevertheless quite interesting.
I also applied a color overlay, cause it
| | 01:29 |
starts out as black.
So that's something else that you can do.
| | 01:32 |
But I just want to show you the interplay
between the two.
| | 01:36 |
I'm going to go back now to the
Illustrator document and make a small change.
| | 01:41 |
I'm going to just flip one of these, I'll
flip this.
| | 01:44 |
90 degrees vertically, or reflect it,
rather, and then save that, and then come
| | 01:50 |
back to Photoshop and I now want to
update that, so I'm going to come and
| | 01:54 |
click on my vector smart object layer,
right-click on it, and choose Replace Contents.
| | 02:01 |
That's the one I'm after, the one I've
just saved.
| | 02:04 |
And we can see the knock on effect that
that has.
| | 02:07 |
Anytime you want to change something it's
back to the original vector artwork, save
| | 02:12 |
it, and then replace contents.
That's one workflow.
| | 02:15 |
The other workflow is, I could just
double click on that smart object badge
| | 02:20 |
to open up a separate document as a
vector smart object.
| | 02:24 |
And that's an equally valid work flow.
I've just chosen to do it this way around
| | 02:28 |
in this particular case.
So there just another idea, another
| | 02:32 |
suggestion for something that you might
want to try with the polar coordinates
| | 02:36 |
filter applied to artwork that you have
created in Illustrator.
| | 02:41 |
| | Collapse this transcript |
|
|
6. Creating a Silent Movie Title CardPreparing an image in Photoshop for hand tracing in Illustrator| 00:00 |
Here I'm going to hand-trace a photograph
or a part of a photograph.
| | 00:04 |
Specifically, this decoration and use it
as a framing device to make this silent
| | 00:09 |
movie title card.
I will begin in Illustrator with a 1024
| | 00:16 |
by 768 sized art board.
And I want to make sure that my color
| | 00:21 |
mode is RGB since this is intended for
screen.
| | 00:26 |
Then I will place my tracing image.
I'm going to place it as a template since
| | 00:34 |
doing so will automatically put it on a
locked and dimmed layer and create a new
| | 00:40 |
layer above that for me to create my
artwork on.
| | 00:44 |
So now it's a question of using my Pen
tool, getting it nice and big and tracing
| | 00:52 |
around the elements that we want to
extract.
| | 00:54 |
But, the perspective is all off.
So, what we want to do is use Photoshop
| | 01:00 |
to fix the perspective before we begin
the trace.
| | 01:03 |
Opening up that same image in Photoshop,
I'm now going to use a combination of the
| | 01:09 |
adaptive wide angle, and lens correction
filters to fix the perspective.
| | 01:14 |
And as we'll see, that will only take us
so far.
| | 01:17 |
In addition to that, I'm also going to
use a free-form transformation.
| | 01:23 |
Now, further I can apply these filters in
a non-destructive way, I am, first of
| | 01:28 |
all, going to convert my background layer
to a Smart Object.
| | 01:34 |
Then I will come to Adaptive Wide Angle
(BLANK_AUDIO) and I will use my Polygonal
| | 01:41 |
Constraint tool.
I'm going to use this to draw a rectangle
| | 01:45 |
around the area that I want to be
straightened.
| | 01:48 |
I'm holding down the Shift key as I do
so.
| | 01:53 |
I'm also going to, draw a couple of
lines.
| | 01:56 |
Again, holding down the Shift key as I do
so.
| | 01:58 |
Now I could go further but I'm going to
leave that there.
| | 02:02 |
Now switch over to my Lens Correction.
And here I'm going to use a Vertical
| | 02:09 |
Perspective correction.
I will move this slider to the left, and
| | 02:14 |
the Horizontal Perspective ever so
slightly to the left.
| | 02:20 |
We can see that that has straightened
things up considerably, but it's still
| | 02:23 |
not straight enough.
So I'm going to duplicate that layer,
| | 02:26 |
rasterize the layer, and then make a
transformation of that layer, Cmd or Ctrl+T.
| | 02:33 |
Before I do so, I will draw myself some
guides indicating my vertical and
| | 02:39 |
horizontal planes.
I will make a perspective adjustment by
| | 02:42 |
holding down Cmd+Option+Shift, and
pulling from one of the bottom handles.
| | 02:49 |
Now this is possible to do in
Illustrator.
| | 02:51 |
I just find it a whole lot easier to do
in Photoshop.
| | 02:55 |
And then another perspective adjustment
from the top.
| | 02:58 |
A distortion adjustment from the top
holding down just the Cmd key.
| | 03:03 |
Let's turn off the bottom layer.
You can see I'm close to having that
| | 03:07 |
element straight enough to trace.
I would now save this, and I saved one earlier.
| | 03:12 |
I called it brightonstation2.psd.
I will need to save this in a different
| | 03:18 |
file format so that I can retain the
layers.
| | 03:22 |
Now I'm going to come back to Illustrator
where I want to place or replace my
| | 03:27 |
current image with my changed one.
And it doesn't update automatically
| | 03:32 |
because it is a different image, because
I saved it in a different file format.
| | 03:35 |
But I can use my Links panel and relink
that with my fixed perspective version,
| | 03:43 |
which will look like that.
Now, it's a matter of using my pen tool
| | 03:48 |
and in the case of this circular element
here just drawing a circle with various
| | 03:52 |
smaller circles rotating around it
radiating from its center point.
| | 03:57 |
And I want to make sure that I'm working
with no fill and a light stroke.
| | 04:03 |
Now, when I end up I may well decide that
I want to change my cap to a rounded cap
| | 04:11 |
and my corner to a rounded corner.
But before I even worry about that, I
| | 04:16 |
just need to make my way around the whole
shape.
| | 04:19 |
Ultimately, I will just be filling in the
shape with a solid color.
| | 04:22 |
And if I come back to the finished
version, we can see that my final shape
| | 04:28 |
looks like this.
So once we have the traced element we can
| | 04:32 |
then use it however we chose and that
part I will pick up in the next movie.
| | 04:36 |
| | Collapse this transcript |
| Duplicating, scaling, and arranging the traced result| 00:00 |
Continuing from the previous movie I have
traced over the element of the image that
| | 00:05 |
I want to trace.
And I am now going to use that as a
| | 00:10 |
framing device for my silent movie title
card.
| | 00:13 |
Let's now turn off the tracing layer
completely and I will create myself a
| | 00:18 |
framing Rectangle, which is going to be
1024 by 768 in size.
| | 00:24 |
And using the transform panel I will set
its X and Y coordinates to 0 and fill it
| | 00:32 |
with black.
Then I will send that to the back and
| | 00:36 |
press Cmd+2 to lock it, select all of my
traced elements.
| | 00:43 |
Group them together, to position one in
the top left.
| | 00:47 |
I will now size that up, duplicate it.
I am now going to rotate this, I'll tap
| | 00:53 |
my R key, and then hold down the Shift
key and rotate it through 180 degrees,
| | 01:02 |
duplicate it again.
Rotate it through 90 degrees, and make
| | 01:08 |
these ones smaller.
And then duplicate that one and rotate it.
| | 01:14 |
Position it in place, I will then select
all of those.
| | 01:18 |
And we will change the fill color to
white.
| | 01:22 |
And that's not going to work, so instead,
I will select just one element using my
| | 01:28 |
Direct Selection tool in the select menu
and choose same Fill Color.
| | 01:33 |
And we can convert that to white, I'll
select one of those, select Same Stroke color.
| | 01:42 |
And that can be converted to white.
I will now add my Type, okay.
| | 01:46 |
I don't have a great range of appropriate
typefaces to choose from.
| | 01:55 |
Of course I could go and download one
from a font site.
| | 01:58 |
But I'm just going to work with what I
have, I'm going to use Franklin Gothic,
| | 02:02 |
because it is a typeface that was around,
the time of silent movies.
| | 02:07 |
Let's center it, let's make it a whole
lot bigger.
| | 02:11 |
Think I would like to just change the way
the lines are breaking.
| | 02:15 |
And I'm now going to use my Alignment
options to make sure that this is aligned
| | 02:24 |
to the Artboard, Horizontally and
vertically centered.
| | 02:28 |
So I can now Save this and then move over
to Photoshop where I will finish if off
| | 02:34 |
by adding the texture, so we end up with
a finished version that looks like this.
| | 02:38 |
| | Collapse this transcript |
| Adding type and duplicating elements| 00:00 |
So I have completed the silent movie
title card in Illustrator.
| | 00:04 |
I now want to take it over to Photoshop
where I can add some texture, and bring
| | 00:07 |
it to life, because at the moment, it's
looking a bit flat and boring.
| | 00:11 |
I could take a couple of different
approaches here.
| | 00:13 |
I could choose File and Open and then
open up the .ai file in Photoshop.
| | 00:19 |
This would have the effect of Rasterizing
the document at whatever resolution I choose.
| | 00:25 |
The consequence of that is that my
previously vector type will now become
| | 00:30 |
pixels and will no longer be editable.
So that's not what I want to do.
| | 00:35 |
I could Copy and Paste, or, and this is
what I am going to do.
| | 00:40 |
I could place the document.
So I'm going to create a new Photoshop
| | 00:44 |
document that is at the same size, 1024
by 768, and then choose File, Place.
| | 00:57 |
And it should be exactly the same
dimension.
| | 00:59 |
It does seem that I have one stray row of
pixels at the top that are white.
| | 01:05 |
I'm just going to attempt nudging that.
Now, the consequence, here, is that this
| | 01:10 |
is a Smart Object.
And because it's a smart object, I can
| | 01:14 |
continue to revisit the Vector Smart
Object and make any changes that I deem necessary.
| | 01:20 |
And I can do this in a couple different
ways.
| | 01:22 |
I could return to the illustrated
document, make changes, and then to
| | 01:27 |
update those changes in Photoshop, I
would have to choose Replace Contents.
| | 01:32 |
And effectively relink to that file.
Or, if I initiate the change from
| | 01:37 |
Photoshop, which is what I'm going to do
now, by double-clicking on the Smart
| | 01:42 |
Object badge.
That will open up a wholly separate
| | 01:46 |
document in Illustrator.
So this document, called Smart Vector
| | 01:50 |
Object, is different from my original
source file.
| | 01:54 |
And we need to be aware of that
distinction.
| | 01:56 |
So any changes I make here, will not
update in my original source file.
| | 02:01 |
What I am going to do, is increase the
size of this type.
| | 02:05 |
And now when I save this, I come back to
Photoshop and we see this change
| | 02:10 |
automatically is updated in Photoshop.
So the next change I want to make is to,
| | 02:14 |
and the final change, is to add some
texture.
| | 02:17 |
I'm going to switch back to Bridge where
I have this texture file.
| | 02:21 |
I will open that, Copy it, switch to my
work in progress, and Paste it.
| | 02:27 |
With just this layer visible, I will come
to my Channels panel Cmd+click on the RGB
| | 02:33 |
channel to load the luminance values,
turn that layer off.
| | 02:38 |
Come to my silent movie layer, and add
that selection as a Layer mask.
| | 02:44 |
Now that is a little bit to distressed.
Then I can modify that by adjusting the
| | 02:50 |
levels of the layer mask.
So, on the layer mask itself, Cmd+L and
| | 02:54 |
I'm going to introduce more white, which
will reveal more of the original image.
| | 03:01 |
So I'm going to move the white point
slider to level 150.
| | 03:06 |
And that dramatically improves things.
However, I do feel I'm not seeing enough
| | 03:10 |
of the distressed texture within the
white areas of the design.
| | 03:14 |
To fix that, I'm going to duplicate that
layer.
| | 03:18 |
And then, on the layer mask, I'm going to
invert it.
| | 03:21 |
This is on the layer mask of the
duplicated layer.
| | 03:24 |
Invert the layer mask by pressing Cmd or
Ctrl+I I.
| | 03:28 |
And then changing the Blending Mode of
that layer to Exclusion.
| | 03:33 |
And you can see we now have some of that
distressed texture appearing over the
| | 03:39 |
white areas of the framing device and the
type itself.
| | 03:42 |
So there we have our completed silent
movie title card.
| | 03:46 |
Begun by tracing an image in Illustrator,
an image that had its perspective
| | 03:52 |
corrected using Photoshop.
And then we duplicated the traced
| | 03:57 |
element, added some type, brought it over
into Photoshop where we added some texture.
| | 04:01 |
| | Collapse this transcript |
|
|
7. Creating an Illustration That Combines Live Paint and a PhotographOverview and creating a mask for the photo| 00:00 |
In this example, which is constructed in
Illustrator, we'll see primarily how we
| | 00:04 |
can use Illustrator's live paint feature.
A very effective feature.
| | 00:08 |
And here I'm using it in this
illustration that combines vectors and pixels.
| | 00:15 |
We will also see how we can edit an image
in Photoshop and have it update in Illustrator.
| | 00:23 |
I'm going to create this from scratch.
Starting out with a print profile, that's
| | 00:29 |
going to give me a CMYK color mode.
And I'm going to use a letter size
| | 00:34 |
document, tall orientation.
So that we can compare the finished
| | 00:39 |
version with my work in progress.
I am going to tile my windows and then I
| | 00:45 |
will come to both of them and change the
view size to fit in window.
| | 00:50 |
So, the first thing that I want to do is
create my circle with a gradient.
| | 00:59 |
I'm going to make sure that hand's no
stroke, and for the fill, I'm going to
| | 01:04 |
apply a gradient.
My gradient panel seems to be missing in action.
| | 01:09 |
I'll just apply a grayscale gradient to
begin with and then change it from linear
| | 01:16 |
to radial and then change the color.
I can now open up the swatches panel to
| | 01:22 |
blue or cyan.
Let's now park the gradient panel over here.
| | 01:28 |
With the rest of our panels.
Next thing I want to do is place the hand photo.
| | 01:36 |
You can see that I have two here.
The one that I'm after is hand original.
| | 01:45 |
Now in terms of sizing this, we see on my
tool options the effective PPI, or
| | 01:51 |
resolution of this image.
I'm willing to go as low as 240 pixels
| | 01:57 |
per inch.
So I'm going to size this up.
| | 02:00 |
Keeping an eye on this number.
To about that size.
| | 02:05 |
Now, obviously, we want to lose the white
background.
| | 02:08 |
I could make a clipping mask here, in
Illustrator, by drawing around the shape
| | 02:13 |
of the hand with the pen tool.
But that's far too much work.
| | 02:16 |
There's a much easier solution.
And this is much better handled in Photoshop.
| | 02:21 |
Now because this is a PSD, or native
Photoshop file, I can edit the original
| | 02:28 |
and, when I've saved the edits, have it
update in place.
| | 02:31 |
If this were a JPEG, I could use the same
approach.
| | 02:34 |
But rather than have it update in place,
I would have to use the Links panel to relink.
| | 02:41 |
to the new file, because the new file
will be necessarily in a file format, PSD
| | 02:48 |
or TIFF that supports layers.
Now of course, JPEG does not.
| | 02:53 |
So here I am in Photoshop with the hand
photograph and I want to lose the white.
| | 03:01 |
I am going to use my magic wand tool to
do this.
| | 03:04 |
Just click on the background.
I have a tolerance of 15 which is
| | 03:09 |
Sufficient for what I need here.
I'm now going to inverse that selection.
| | 03:13 |
Command shift I.
And I want to refine that selection.
| | 03:17 |
So, if I come and choose one of my
selection tools, I will see the refine
| | 03:22 |
edge button on my tool options.
I'll click on that and I can change how I
| | 03:28 |
am previewing this selection.
And I want to preview it on black.
| | 03:33 |
And then I'm just going to make a few
adjustments here.
| | 03:36 |
I will put the radius up to one pixel.
I will smooth the edge by one.
| | 03:40 |
I will feather it by a half pixel.
I will increase the contrast to 10% and
| | 03:47 |
then shift the edge slightly inside.
The shape by coming down to minus 15 or
| | 03:54 |
minus 16.
Now if I zoom in on that edge and chose
| | 03:59 |
show original you may be able to see, I
can see.
| | 04:02 |
It may not translate that well to the
video but You may be able to see that the
| | 04:07 |
edge is improved.
That's the original and that is my
| | 04:11 |
refined edge.
So I'm now going to click okay and make
| | 04:16 |
that into a layer mask.
And then save this, switch back to
| | 04:21 |
illustrator, where we see this message.
Some files are missing or modified, would
| | 04:27 |
I like to update them.
Yes I would.
| | 04:29 |
And we now have a transparent image.
So in the next movie, I'll go over how we
| | 04:34 |
create this live paint component of the
illustration.
| | 04:37 |
| | Collapse this transcript |
| Creating the Live Paint grid| 00:00 |
Carrying on where I left off the next
thing I want to do is create my grid that
| | 00:05 |
I can convert into a live paint object
and then fill the segments with different
| | 00:11 |
colors from a color theme.
If we take a look at this finished
| | 00:15 |
version in outline view you get a sense
of how this is constructed.
| | 00:21 |
So we need to make our grid.
Before I do that I am going to add a
| | 00:27 |
bleed guide to my work in progress.
So I'm going to come to Document Setup,
| | 00:32 |
and I would like a nine point bleed on
all four edges.
| | 00:39 |
I'm then going to make that a little bit
smaller.
| | 00:40 |
Now when I do this, the obvious tool to
use would be the rectangular grid tool.
| | 00:47 |
Which in this case, I'm not going to use
it because it's going to be very
| | 00:53 |
difficult to make sure that my grid cells
are perfectly square.
| | 00:57 |
And I want them to be perfectly square
because, I'll just show you this one again.
| | 01:02 |
Each of them is intersected by a line at
45 degrees and that's only going to work
| | 01:08 |
if we have perfectly square grid cells.
But let me just quickly show you the
| | 01:13 |
rectangular grid tour because it is
useful and might be useful in other situations.
| | 01:19 |
When we draw with it, we have a matrix of
rows and columns, and using the up and
| | 01:24 |
down arrows we can change the number or
rows.
| | 01:27 |
Using the right and left arrows, we can
change the number of columns.
| | 01:33 |
Instead, I'm going to approach it like
this, by drawing a rectangle, and I'm
| | 01:37 |
going to make sure that rectangle has no
stroke.
| | 01:41 |
And I'm going to draw it to the bleed
guides.
| | 01:44 |
I'm then going to come to the Object menu
and to Path, and choose Split into Grid.
| | 01:51 |
Now, I can turn on my preview and specify
a number of rows and columns.
| | 01:56 |
I'm going to start out, and this is
fairly random, I'm going to start out
| | 02:00 |
with 10 rows.
And 20 columns.
| | 02:05 |
Now we can see that currently my row
height is bigger than my column width and
| | 02:11 |
we need them to be the same so I'm going
to need here to reduce the number of columns.
| | 02:18 |
And of course it's not going to match up
exactly but what I want to do is take
| | 02:24 |
this number, my column width, mulitiply
it by ten to get my total grid height.
| | 02:32 |
So if I copy that, move that over there
and multiply that by ten, we see that we
| | 02:39 |
now have a height and a width that is
exactly the same.
| | 02:43 |
So I can click okay, I'm now going to
move to my layers and I want to create a
| | 02:49 |
new layer for this.
I'll call it grid, I will move that
| | 02:55 |
element to it and I will lock layer one
so that we can't interfere with anything
| | 03:00 |
on layer one.
My next step is to create the diagonals
| | 03:04 |
that will intersect the grid cells.
To do this I'm going to zoom out and come
| | 03:11 |
and choose my Line Segment tool, and then
with my Smart guides on, so that I know I
| | 03:17 |
am aligning to the anchor point, holding
down my Shift key so that I can strain
| | 03:22 |
the angle to 45 degrees, and holding down
the Option key so that I draw in both
| | 03:28 |
directions, my line goes out in both
directions, I will draw a diagonal line,
| | 03:32 |
extending it some distance onto the Paste
board.
| | 03:37 |
I'm now going to switch to my outline
view.
| | 03:39 |
And I do just want to make sure that that
is intersecting my grid fills the way I
| | 03:45 |
want it to.
Which, indeed, it is.
| | 03:48 |
So I'm now going to duplicate that by
dragging away from it.
| | 03:53 |
Holding down the Shift key as I do so.
And then repeating that transformation by
| | 04:01 |
pressing Cmd or Ctrl D, and you can see
that I'm slightly off.
| | 04:09 |
And if you begin with any minor
inaccuracy, that inaccuracy gets
| | 04:14 |
amplified with each repeat of the
transformation.
| | 04:19 |
Now in doing this, I realize that what is
throwing me off ever so slightly is the
| | 04:23 |
fact that I have my Snap on.
So I'm going to turn off Snap to Point.
| | 04:35 |
And now that is working.
So I'm repeating that transformation.
| | 04:39 |
By pressing Cmd or Ctrl D and once I have
repeated it all the way to the right
| | 04:46 |
needs to make another duplicate up and to
the left and then repeat that one too.
| | 04:52 |
It's a little bit confusing that second
horizontal line is the edge of the page.
| | 04:58 |
So, we are actually intersecting with the
top portion of the square which goes to
| | 05:04 |
the (UNKNOWN) guide.
Now that I have diagonal lines going in
| | 05:11 |
one direction I'm going to copy them and
then rotate that copy so that we have
| | 05:16 |
diagonals going the opposite direction.
Let me make a selection and I want to get
| | 05:20 |
all of those.
So I'll hold down the Shift key to get
| | 05:23 |
all of them.
I'm now going to group them together.
| | 05:25 |
I'm going to copy that and I'm going to
paste in front, Cmd+F.
| | 05:31 |
Then I'm going to double click on my
rotate tool and rotate through 90 degrees.
| | 05:39 |
I am now just going to have to drag that
copy into place.
| | 05:47 |
And get in nice and big, just to make
sure that those intersections are all
| | 05:51 |
working, which they appear to be.
Okay.
| | 05:55 |
That's the hard part.
The fun part comes in the next movie.
| | 05:58 |
| | Collapse this transcript |
| Painting the Live Paint group and applying a clipping mask| 00:00 |
Now to make our grid into a Live Paint
object, I'm first of all going to switch
| | 00:05 |
back to my preview.
Let's increase that view size.
| | 00:08 |
I think we no longer want to tile this,
because I need all the room that I have
| | 00:14 |
for my work in progress.
Let's come and select that element and
| | 00:22 |
then come and choose the live paint tool,
which is that one right there the live
| | 00:26 |
paint bucket and when I click on my
selected object each of these segments
| | 00:31 |
can now be filled with a different color.
So I'm going to choose myself a color
| | 00:36 |
theme, and something I particularly like
about Illustrator, and I wish we had it
| | 00:41 |
in Photoshop, is that we can choose Art
History color themes.
| | 00:47 |
I'm going to go for a Pop Art color
theme.
| | 00:51 |
These are the choices that I get.
Let's say that I want to use this one,
| | 00:56 |
Pop Art 7.
So I'm going to to click on that to add
| | 00:59 |
that color group to my swatches panel,
and now it's just a question of hovering
| | 01:05 |
over the segment and then clicking to
apply the color.
| | 01:09 |
So it's going to be somewhat random.
I'm just going to to do this as quickly
| | 01:13 |
as I can.
Of course, if you don't like the color
| | 01:16 |
that you apply, you can just apply
another one to replace it.
| | 01:19 |
Now I realize that this particular
project is really Illustrator centric,
| | 01:24 |
and this is, of course, essentially about
Photoshop.
| | 01:26 |
But one of the points I want to make here
is that this type of precision isn't
| | 01:32 |
really possible to the same extent in
Photoshop.
| | 01:35 |
And this is where Illustrator really
excels.
| | 01:37 |
When you want to be precise about things,
then we need vectors.
| | 01:41 |
So, if I were trying to create a similar
sort of illustration in Photoshop, it
| | 01:46 |
would be a very tedious and frustrating
task, because Photoshop really doesn't
| | 01:51 |
handle The application of grids,
especially precise grids, very well.
| | 01:57 |
There is a free plugin that you can
download.
| | 02:01 |
It's called the Photoshop Guide, guide,
an it does significantly improve things.
| | 02:06 |
But even so, we wouldn't be able to
approach anything like the precision That
| | 02:11 |
we have achieved here in Illustrator.
I'm also going to employ Illustrator's
| | 02:16 |
color guide here, so that I can paint in
shades and tints of the different colors
| | 02:22 |
in my color group.
Make sure that as you do this, you do
| | 02:26 |
color those segments that extend to the
bleed guide.
| | 02:31 |
Even though they may end up as being
partial segments on the finished page.
| | 02:36 |
Okay, so I've now colored every one of
those segments.
| | 02:40 |
It takes a little time, but it's fun to
do.
| | 02:43 |
And of course, you can make a bigger
color group if you want a greater variety
| | 02:46 |
of colors, but this is worked just fine.
Now, let's deselect that, and that's what
| | 02:51 |
we have.
Now what we need to do is use a clipping
| | 02:54 |
mask to define the shape of this live
paint group.
| | 02:58 |
So let me use my pen tool and I'm going
to draw myself a pen path to define that shape.
| | 03:07 |
And it's fine if you need to extend it
beyond the bounds of the page.
| | 03:11 |
Now let's just take a look at what we
have on our layers.
| | 03:15 |
So we have this as a separarte path and
we have beneath that the light paint group.
| | 03:21 |
I'm going to select everythingn on that
layer, and then come to the object menu
| | 03:26 |
and choose clipping mask, make.
Now, becasue that shape I drew with my
| | 03:32 |
pen is above the life paint group in the
stacking order It functions as a clipping mask.
| | 03:38 |
It also will lose any fill or any stroke
property that it has.
| | 03:42 |
In addition to that, I might also choose
to mask the layer if I don't want to see
| | 03:48 |
any of the other elements that stick out
beyond the bleed guide.
| | 03:52 |
So I'm going to draw myself a rectangle
to the bleed guide, and then I will
| | 03:57 |
choose make release clipping mask.
And that will use that top-most shape to
| | 04:04 |
mask the whole layer.
So I have two clipping masks there.
| | 04:08 |
One that is specific to the shape of the
live paint group, and the other one which
| | 04:12 |
is defining The shape of the whole layer.
And there is our finished illustration,
| | 04:18 |
combining pixel artwork with vector
artwork.
| | 04:21 |
Specifically in this case, this abstract
design, created by using a live paint
| | 04:28 |
group and filling each of the individual
segments with a different color.
| | 04:32 |
| | Collapse this transcript |
|
|
8. Modifying Illustrator Symbols in PhotoshopExporting the edited symbol as a layered Photoshop document| 00:00 |
We're going to look at how we can take an
Illustrator symbol, one of those pieces
| | 00:04 |
of clip art that we have in illustrator.
And then take it apart a bit, and export
| | 00:09 |
it as a Photoshop document.
A layered Photoshop document which we can
| | 00:14 |
then further customize in Photoshop and
use tools that we don't have in illustrator.
| | 00:19 |
Specifically in this case, the liquify
filter.
| | 00:23 |
This starts out in Illustrator.
And I am going to create a web profile document.
| | 00:28 |
This is significant because it is going
to give me a color mode that is RGB.
| | 00:33 |
And when we come to export our
Illustrator document we can only write layers.
| | 00:39 |
In the color mode of the document, so if
it were a CMYK document, we would have to
| | 00:44 |
retain it as a CMYK document, which is
why I'm starting out as an RGB document.
| | 00:50 |
Then I'm going to come to my symbols
pabel, and from one of these symbol sets,
| | 00:56 |
the one I want is retro, I'm going to
choose this symbol, lava lamp.
| | 01:01 |
And then drag this onto my art board,
scale it up, and then break the link to
| | 01:08 |
the symbol.
So, I can now just edit this as a piece
| | 01:11 |
of vector artwork.
So the next step is to take this apart so
| | 01:16 |
that we can rebuild it in the way that we
want to rebuild it.
| | 01:20 |
I'll need my layers panel which has gone
missing.
| | 01:23 |
I'm going to de-select and then drill
down through my layers, and I want to
| | 01:27 |
remove this lava goo that I'm going to
replace with type.
| | 01:32 |
So, using my bulls'-eye on the Layers
panel, I'm going to select those four pieces.
| | 01:39 |
An delete them.
The second change I need to make is to
| | 01:42 |
select the glass area as defined by,
these green shapes, and this, ellipse
| | 01:49 |
which has a blur on it.
So I need to, select these, an I want to
| | 01:54 |
put these on a layer above my existing
artwork.
| | 01:58 |
So that when I create the type, I can put
the type in between those layers.
| | 02:02 |
So if I come and select that, I am now
going to have to do some ungrouping, Cmd+Shift+G.
| | 02:08 |
Deselect and then come back and select.
And I get just those elements and I want
| | 02:13 |
that one too.
I'm going to come to the top of my layer stack.
| | 02:18 |
Create a new layer and then drag my
selected artwork to that new layer.
| | 02:24 |
I'll rename the layer so we can now turn
that on and off, but most importantly we
| | 02:30 |
can creat our type underneath it.
I'll create another layer, and this layer
| | 02:36 |
I will call type, and on this layer, I'm
going to put four pieces of type,
| | 02:41 |
separate letters.
In my original, I used Clarendon and
| | 02:46 |
that's not a font that you are likely to
have, so in this one, I'm going to use
| | 02:50 |
Myriad Pro.
Since that is a font that comes as part
| | 02:54 |
of the creative suite.
Let's increase the size of that, and now
| | 03:00 |
I can just position that where I want it
to go to.
| | 03:03 |
I will come and lock the other two
layers.
| | 03:05 |
And we can see there the interaction of
that gradient on top of the letter, and
| | 03:09 |
that's why we had to put it on a layer
above.
| | 03:13 |
I'm now going to just duplicate that
three times, switch to my type tool, and
| | 03:19 |
swap out the letters.
And then just rotate these as I want them.
| | 03:27 |
I'm going to use the free transform to do
this.
| | 03:29 |
And this is going to be somewhat
different from my original, but using all
| | 03:33 |
the same techniques, and I'm now going to
select that whole layer of type and I
| | 03:37 |
think we'll just make a scaling
adjustment to the whole layer.
| | 03:42 |
Okay now obviously the edges of that type
need masking to the shape of the lava lamp.
| | 03:50 |
And there's a lot we need to do but at
this point I'm ready to export this and
| | 03:55 |
pick up the remaining steps in Photoshop.
Before I do, I will save this as an
| | 04:02 |
illustrative document, which I'll call
Lava Lamp 2.
| | 04:05 |
And then come to my export options, where
I want to export it as a PSD file.
| | 04:16 |
And, critical here, we want to write
layers.
| | 04:22 |
This is absolutely essential.
I'm going to change the resolution to 150
| | 04:26 |
PPI just so that things won't slow down
too much when I start working on the document.
| | 04:32 |
Now, should I worry about this?
It happened before.
| | 04:35 |
I saw this warning message, and it turned
out to be fine, so I'm not going to worry
| | 04:39 |
about it, but obviously, you would
want to check your artwork carefully when
| | 04:44 |
you open it up in Photoshop and see if
anything has changed for the worse.
| | 04:49 |
So I'm now going to switch to Photoshop
And open up my exported PSD file.
| | 04:56 |
And we see that we have the layers that
we created in Illustrator.
| | 04:59 |
We can now go on and customize,
independently, those layers in Photoshop.
| | 05:04 |
And that's where I'll pick it up in the
next movie.
| | 05:07 |
| | Collapse this transcript |
| Masking the type and preparing the Photoshop canvas| 00:00 |
So here we have my PSD file.
My layered PSD file that was exported
| | 00:05 |
from Illustrator with all of the layers
intact.
| | 00:09 |
I need to make a few changes to this.
I need to change the canvas size.
| | 00:13 |
Add a background color.
I want to add a glow around the shape of
| | 00:17 |
the lava lamp and I want to change the
color of the letters.
| | 00:20 |
Then in a seperate movie in the final
movie in this sequence I will liquify the
| | 00:26 |
letters and make them blobby like the
original lava in the original peice of artwork.
| | 00:32 |
So to start with I'm going to come to the
type layer.
| | 00:35 |
Expand that.
Choose a color.
| | 00:38 |
And the fill each of those letters with
that color.
| | 00:43 |
Secondly I need to mask he type shape.
You can see it's edges are poking out
| | 00:49 |
beyond the glass.
Obviously we don't want that.
| | 00:52 |
I strongly suspect that the masking shape
is somewhere already in artwork.
| | 00:57 |
And if I expand the lava lamp layer, we
see we have this layer here, it's called path.
| | 01:02 |
If I Cmd+Click on that to activate it's
selection, there's this shape that we need.
| | 01:09 |
To mask all of those pieces of type in
one go, I can come to the layer group
| | 01:14 |
that contains them, and add the layer
mask to that.
| | 01:17 |
Next I would like to add a background
color.
| | 01:20 |
I'm going to add this as a solid color
adjustment layer I'm going to make it
| | 01:25 |
black and then drag it all the way to the
bottom of my stack of layers.
| | 01:30 |
I will now increase my canvas size and
I'm going to go up in size to 800 by 1200.
| | 01:39 |
I now want to add an outer glow to the
lamp itself.
| | 01:43 |
Layer one contains all of the artwork for
the lamp.
| | 01:46 |
In fact I'm going to rename it, lamp.
And then I'm going to apply the layer
| | 01:50 |
affect to this layered group.
Now to glow I'm going to use the glow
| | 01:55 |
color that is the default color of the
light yellow and increase the size of that.
| | 02:00 |
And then finally, my final step in this
movie, I'm going to add some texture,
| | 02:07 |
some simple film grain to the whole
thing.
| | 02:11 |
I'll add a layer above everything else,
and hold down the optional alt key as I
| | 02:16 |
do so so that I can apply that layer in
the overlay blend mode and fill it with
| | 02:21 |
overlay neutral color.
Then just in case I want to change my
| | 02:25 |
mind about exactly how much grain I'm
adding, I'm going to convert that to a
| | 02:30 |
smart object.
Come to the Filter menu, Artistic.
| | 02:34 |
We'll also find the same filter in the
filter gallery.
| | 02:37 |
Film grain, and I'm going to go with
these values: 2, 6, and 8 for the grain
| | 02:43 |
highlight and intensity, and if we zoom
in, we can see what that grain is doing.
| | 02:51 |
There's the before, and there's the
after.
| | 02:54 |
All that remains to be done is for us to
liquify our letters, and that I will do
| | 02:59 |
in the next movie.
| | 03:00 |
| | Collapse this transcript |
| Liquifying the letters| 00:00 |
So now for the final step of modifying a
Illustrator symbol.
| | 00:04 |
Just to recap, we edited a symbol in
Illustrator.
| | 00:08 |
We changed the layer second order.
We added some artwork in the form of type.
| | 00:13 |
And then we exported it as a layer CSG
file.
| | 00:16 |
Then in Photoshop we have made some
further changes to it.
| | 00:20 |
Now for the punchline.
And the punchline, of course, is that we
| | 00:23 |
are going to liquify these letters.
Liquify is a Photoshop filter as you know.
| | 00:28 |
There is no Liquify filter in
Illustrator.
| | 00:32 |
Although we access to various Photoshop
filters.
| | 00:34 |
Filters.
We do not have a liquify filter in illustrator.
| | 00:38 |
And even those filters that do exist in
illustrator, I prefer to use them in
| | 00:43 |
photoshop because they respond a lot more
promptly.
| | 00:46 |
They can really slow the performance of
your artwork if you apply filters in Illustrator.
| | 00:52 |
So, that said, I now need to come to my
type layer group.
| | 00:58 |
And I'm going to expand.
As you can see I have each letter on its
| | 01:02 |
own layer.
I want to apply the liquifier filter in a
| | 01:04 |
non-destructive way.
And to do that, I am first going to have
| | 01:09 |
to convert these type layers to smart
objects.
| | 01:12 |
That's going to allow me to apply the
liquifier filter.
| | 01:16 |
And then revisit the amount of liquefy
that's added, and then if necessary alter it.
| | 01:22 |
I could also go back to the original
piece of type and edit it to, if I needed to.
| | 01:28 |
So we'll start out with the E.
And the first time you come to the
| | 01:34 |
liquified dialogue box, it probably looks
like this.
| | 01:39 |
So what I want to do is turn on the
advance mode, and then i want to show the
| | 01:45 |
backdrop so that we can see this letter
in the context of the rest of the artwork.
| | 01:49 |
And I'm going to be using this tool, the
forward warp tool, to liquefy the letter.
| | 01:55 |
And if I go too far, which almost,
inevitably, I will, I may use the
| | 02:00 |
Reconstruct tool to put things back to
how they were.
| | 02:04 |
So I'm just bending it around until it
looks like that.
| | 02:08 |
And let's say I did go a little bit too
far, I can switch to the Reconstruct tool
| | 02:14 |
and do exactly that.
Okay.
| | 02:18 |
So now I need to repeat that process.
Since Liquify was the last filter I used,
| | 02:24 |
Cmd+F will call it up.
I think what my type is lacking, is serifs.
| | 02:34 |
Having some serifs might just make this
look a little bit more interesting.
| | 02:39 |
As I mentioned, I can edit the type,
still.
| | 02:42 |
If I double-click on that smart object
badge, it will open up just this one
| | 02:48 |
letter as a whole separate document.
I can then select that, and I can come
| | 02:53 |
and change the type and I am going to
choose Rockwell, which has some nice slab Serifs.
| | 03:02 |
Now if that causes my letter to go
outside of my canvas I can then come to
| | 03:08 |
the image menu and choose Reveal All and
then save that.
| | 03:15 |
Return to my work in progress, and we see
it updated in place, including that
| | 03:21 |
liquify that was added to it.
So I now need to repeat that process for
| | 03:25 |
the others.
And I think that's working better.
| | 03:36 |
The type just has more presence.
It's just chunkier, and I think big slab
| | 03:41 |
serifs I think really do help.
And here we have our finished piece of art.
| | 03:46 |
Derived from one of those pieces of clip
art that come with Illustrator and
| | 03:51 |
Illustrator symbol.
Taken apart, put back together again, and
| | 03:54 |
hopefully, made a little bit better.
| | 03:57 |
| | Collapse this transcript |
| Creating a psychedelic butterfly using displacement and the Wave filter| 00:00 |
Here's another idea for how you can
enliven a boring Illustrator symbol.
| | 00:05 |
Here, I've taken just a standard symbol
from Illustrator, copied and pasted it
| | 00:10 |
into Photoshop, and applied a
displacement filter and the wave filter
| | 00:15 |
to it, as well as a texture.
Let's see how we can do this.
| | 00:19 |
In Illustrator on a blank art board,
using a basic RGB profile, I'm going to
| | 00:26 |
come to my symbols panel.
And this one is a symbol from the Retro
| | 00:31 |
symbol set.
It's the butterfly.
| | 00:33 |
I'm just going to drag that out, increase
its size, and then copy, move over to Photoshop.
| | 00:41 |
And paste that as a smart object onto my
Photoshop canvas.
| | 00:47 |
Scale it down a bit so we have some room
around the edges.
| | 00:51 |
I'm going to create a solid color layer
to go beneath it.
| | 01:01 |
And then I'm going to come to this file
of crumpled paper.
| | 01:04 |
Copy this and paste it into this
document.
| | 01:09 |
Now, if I need to resize that, that's
okay.
| | 01:13 |
I'm going to distort this paper, so that
it will cover the butterfly.
| | 01:19 |
It's just a texture, so we can get away
with it.
| | 01:22 |
And then come and load the gray values of
that by Cmd+clicking on the RGB channel,
| | 01:27 |
turning that off, coming to the Vector
Smart Object layer, and making that into
| | 01:32 |
a layer mask.
Okay.
| | 01:34 |
So that's the first thing we want to do.
Now, I want to displace it.
| | 01:38 |
And to displace it I'm going to turn that
layer back on again.
| | 01:43 |
And come to the Image menu, and make a
duplicate of this file.
| | 01:47 |
Duplicating the merged layers only.
So that just gives me that one layer.
| | 01:52 |
And then I will convert the mode of this
to grayscale and increase its contrast my
| | 01:58 |
going to my levels.
And bringing the white and black point
| | 02:01 |
sliders closer to the center.
I will then save that, and I will call it displace.
| | 02:10 |
And I'm saving it as a Photoshop file.
And if we come back to our work in
| | 02:14 |
progress, we can now turn that texture
layer off.
| | 02:17 |
In fact, we can throw it away because we
no longer need it.
| | 02:21 |
Click onto the butterfly layer.
I will now come to filter, distort, displace.
| | 02:29 |
I'm going to use a value of 5% for the
horizontal and vertical scale.
| | 02:35 |
And then choose the file that I just
made.
| | 02:37 |
Now we can see that we now displace the
edges according to that texture.
| | 02:43 |
Let me just turn that filter off and then
back on again, and that's the result that
| | 02:48 |
we get.
To introduce some of this texture into
| | 02:52 |
the solid color fill, I'm going to hold
down the Option key and drag that layer
| | 02:57 |
mask onto the layer mask of the color
fill, replacing what's already there.
| | 03:03 |
And then changing the contrast of that
layer mask.
| | 03:06 |
Bringing the white points and black
points (BLANK_AUDIO) closer to the
| | 03:13 |
center, especially the white point.
That needs to come more to the left, so
| | 03:17 |
that we reveal more of the original,
solid color fill.
| | 03:21 |
And we're going to get a result like
that.
| | 03:25 |
And then finally, an optionally, but it's
quite interesting.
| | 03:27 |
I'm also going to apply a wave filter to
it.
| | 03:31 |
And I'm going to bring the wavelength and
the amplitude sliders closer together so
| | 03:39 |
that it doesn't get too out of hand.
Alright.
| | 03:45 |
That's our result, but if I now come and
change the blending mode of that wave
| | 03:51 |
filter from normal to soft light, and
then reduce the opacity of that, we
| | 03:57 |
retain the original shape.
And then, we also get this really
| | 04:00 |
psychedelic, wave driven shape in the
background.
| | 04:05 |
Of course, there are many, many, many
other things that we can do but since
| | 04:09 |
those are some that crossed my mind as a
way to bring new life into what would
| | 04:13 |
otherwise be just a standard piece of
clip art.
| | 04:16 |
| | Collapse this transcript |
|
|
9. Using Vector Shapes as Clipping MasksCreating and using a silhouette shape as a clipping mask| 00:00 |
Let's take a look at how we can use a
shape as a clipping mask.
| | 00:04 |
We're going to take a photograph, and
using Image Trace in Illustrator, we're
| | 00:08 |
going to make it into a silhouette shape.
Then we'll use that silhouette shape as a
| | 00:13 |
clipping mask in Photoshop.
It's a very simple technique and in the
| | 00:17 |
right circumstances can be very
effective.
| | 00:20 |
I need you to use your imagination here.
Imagine that this guy is not just a stock
| | 00:26 |
photo, but rather is a world famous rock
musician.
| | 00:30 |
And imagine that this is his iconic pose.
So if you see this shape and silhouette,
| | 00:35 |
you instantly know this is the guy it's
referring to.
| | 00:38 |
So I'm going to come to Illustrator and
create a new document.
| | 00:41 |
I'm going to use a web profile so that I
get an RGB color mode.
| | 00:47 |
I'm not really concerned with the size
because it's going to be vector and
| | 00:51 |
scaleable but we'll go for a 1024 by 768
tall.
| | 00:58 |
I'll place that image.
(BLANK_AUDIO).
| | 01:05 |
Now I'm going to image trace it.
And we want it to be as solid as possible.
| | 01:09 |
So I'm going to come to my tracing
options, and move my threshold over to
| | 01:14 |
the right.
As far to the right as I can go without
| | 01:18 |
filling in the background.
And also without creating some awkward
| | 01:23 |
shapes down here with the shadow beneath
the foot.
| | 01:27 |
So that is a solid black.
But it actually works better, I think,
| | 01:31 |
when we see some of the silhouette in
white.
| | 01:35 |
I will accept these settings and then I
will expand that so that we now have a
| | 01:40 |
vector shape.
As always, with an image trace, I will
| | 01:45 |
get a border around it.
Which I don't want, so I, I will select
| | 01:48 |
that border with my direct selection tool
and press my Delete key a couple of times
| | 01:53 |
to get rid of it.
I'll then select that vector shape and
| | 01:58 |
copy it.
Now moving back to bridge, I'm going to
| | 02:03 |
open up this picture of fireworks, but of
course, any sort of interesting, fiery
| | 02:08 |
texture would work.
And this just happens to be the one that
| | 02:11 |
I'm using.
And onto this, I will paste the contents
| | 02:14 |
of my clip board as a smart object.
I will then size that up.
| | 02:19 |
I now need to change the layer stacking
order.
| | 02:22 |
I will unlock the background layer and
drag that above my vector smart object,
| | 02:29 |
and now clip my layer 0 to my vector
smart object.
| | 02:35 |
If necessary, I can move that around
within that shape to reveal different
| | 02:41 |
parts of that image.
And I can also add a solid layer of color beneath.
| | 02:50 |
Currently, it appears that my
transparency and gamut is set to none.
| | 02:54 |
Yours is probably not set to none, so you
will likely see checkerboard of
| | 03:03 |
transparency, which, of course, I don't
want to see.
| | 03:05 |
So I'm going to add a layer of solid
color, and that solid color in this case
| | 03:10 |
can be white.
(SOUND) So there are very simple
| | 03:14 |
technique when you have a clearly
identifiable shape, take some interesting
| | 03:20 |
image or texture and put it in that shape
or maybe make a collage and put that
| | 03:26 |
inside that shape.
And all it required was taking the image
| | 03:29 |
into Illustrator, image tracing it,
copying and pasting the vector result
| | 03:35 |
into Photoshop, and then using that
vector smart object as a clipping mask.
| | 03:41 |
| | Collapse this transcript |
| Using a polar grid as a clipping mask| 00:00 |
When you combine Photoshop with
Illustrator, you get the chance to use
| | 00:04 |
some really interesting vector shapes.
That are so much easier to create in
| | 00:08 |
Illustrator, and use them as clipping
masks, or as layer masks in Photoshop.
| | 00:13 |
Let's take a look at what I have here.
I'm using a polargrid.
| | 00:17 |
In Illustrator, we have the polargrid
tool, which is fantastic.
| | 00:21 |
We don't have it anywhere else.
We can use that in combination with live
| | 00:26 |
paint to create a really interesting
shape that looks like this.
| | 00:32 |
And we can use this shape as a clipping
mask for a photograph, like this.
| | 00:37 |
The photograph would start out looking
like that, I'm clipping it to that
| | 00:44 |
polargrid shape.
That's what we get, maybe that's all we
| | 00:48 |
need, maybe we can stop right there.
But then we can duplicate that layer and
| | 00:52 |
we can start spinning around the copy,
and we get that.
| | 00:57 |
And I could carry on further, and we get
some really interesting cut-out effects.
| | 01:02 |
Let's see how we can do this.
So, I have this image of the road, same
| | 01:05 |
image, and I'm now going to come to
Illustrator and create the polargrid.
| | 01:11 |
Doesn't really matter what kind of
document setup we have here.
| | 01:14 |
All we're concerned with the shape
itself.
| | 01:18 |
I'll come to the Polar Grid Tool, hold
down my Alt key, so that I can draw it
| | 01:24 |
from the center.
My Shift key so that I can constrain it
| | 01:27 |
into being a circle, and here's where
your third hands comes in handy.
| | 01:31 |
Because now, you want to while holding
down those two keys, tap the right arrow
| | 01:37 |
to add more dividers and the up arrow to
add more concentric rings.
| | 01:44 |
So I'm not working on a laptop here I'm
working on a desktop machine with a
| | 01:49 |
decent size keyboard.
And I'm holding down the modifier keys on
| | 01:52 |
the right hand side of the keyboard.
Now how many of these you want, that's up
| | 01:56 |
to you.
I'm going to go with that many.
| | 01:57 |
You can also, if you find that just too
much of a handful, you can just come and
| | 02:02 |
click with the Polar Grid Tool.
And determine the number of concentric
| | 02:06 |
dividers and the number of radial
dividers.
| | 02:09 |
At this point, I would like to make sure
that my polar grid has no stroke, and
| | 02:16 |
then I'm going to come to my Live Paint
Bucket.
| | 02:20 |
Which now lives under the Shape Builder
Tool.
| | 02:25 |
Click on that and we've now made it into
a live paint group.
| | 02:28 |
This means that I can choose black, I
can, this can be done in any color but
| | 02:33 |
I'm going to use black and just fill in
different portions of that group.
| | 02:40 |
Now, bear in mind that the black areas
are going to be the portions that the
| | 02:45 |
image adheres to.
So if you want to see more of the image,
| | 02:49 |
add more black.
And I'm going to call that my polar grid.
| | 02:55 |
Okay, I will Select it, Copy it, switch
over to Photoshop, Paste it as a Smart Object.
| | 03:09 |
Size it, and you can notice that I am
using a square image here because I think
| | 03:13 |
that's going to work best.
And it's no accident that the horizon
| | 03:17 |
line of the image is at the center of the
circle.
| | 03:21 |
So obviously this is going to work better
with certain images than with others.
| | 03:24 |
I'll now unlock the background layer,
move that above the Vector Smart Object,
| | 03:29 |
clip it to the vector smart object.
So that we don't see the checkerboard of
| | 03:35 |
the transparency, I will add a solid
color layer.
| | 03:39 |
Put that at the bottom, now if I want to
take this further, I will put these two
| | 03:43 |
layers, the image, and the Vector Smart
Object, into a group.
| | 03:48 |
And then duplicate that group.
Now press Cmd or Ctrl+T, to bring up my
| | 03:54 |
transformation rectangle.
Just going to give myself a bit more room here.
| | 03:58 |
Zoom out, and then I will rotate that
through 90 degrees.
| | 04:06 |
And, I could continue, but I'm going to
quit there.
| | 04:08 |
As you can see, the result I get this
time, quite different from the result I
| | 04:12 |
had the first time around.
So you do need to embrace a certain level
| | 04:17 |
of randomness with this technique.
| | 04:19 |
| | Collapse this transcript |
| Applying texture to a polar grid| 00:00 |
In the previous movie, you saw me use a
polar grid as a clipping mask for a
| | 00:05 |
photograph in Photoshop.
And that got me to thinking, what else
| | 00:10 |
could we do with polar grids?
Create a polar grid in Illustrator, and
| | 00:14 |
then modify it further in Photoshop using
tools that we don't really have in Illustrator.
| | 00:20 |
So I'm not going to go over the creation
of this polar grid since that was done in
| | 00:24 |
the last movie But, if we modify this and
modify it such that we change the fill
| | 00:32 |
color of these segments, and to do that,
I'm first of all going to expand it so
| | 00:37 |
there is no longer a live paint group and
then come to my gradient panel and apply
| | 00:43 |
a gradient to each of those segments.
Now I'm going to copy that over into
| | 00:48 |
Photoshop, create a new document which
I'll make 2,000 pixels square, and paste
| | 00:57 |
that grid in as a smart object.
I will now add a solid fill layer beneath
| | 01:05 |
that, Lets change the blend mode to
mutiple that alone is quite interesting
| | 01:15 |
and maybe we need go no further.
In the example you saw I was messing
| | 01:19 |
around with the extrude filter.
A filter that we do not have in illustrator.
| | 01:24 |
A filter that's a very old filter it
doesn't really have too many uses.
| | 01:28 |
But it gives us an interesting result in
this particular example.
| | 01:31 |
So if I come to the Filter menu and then
down to Stylize.
| | 01:35 |
There it is.
And we can apply this as Blocks or Pyramids.
| | 01:41 |
That's what Blocks looks like and You
know, that might be what you're after.
| | 01:46 |
I actually preferred it with Pyramids.
I've going to revisit that and change
| | 01:50 |
that to Pyramids, and then we get this
interesting look.
| | 01:54 |
Now I'm going to invert the top copy.
And since I only want to invert the top
| | 01:59 |
copy, and not the original, I'm holding
down the optional Alt key, as I choose
| | 02:05 |
Invert, and that will give me the option
of choosing Use Previous Layer to create
| | 02:09 |
Clipping Mask.
And then, I will come and change the
| | 02:12 |
blending mode of that top copy to
exclusion.
| | 02:15 |
And we get that result.
Now, did I know that it was going to look
| | 02:19 |
like that?
No, I did not.
| | 02:20 |
This is just experimenting, having fun,
see where it takes us.
| | 02:25 |
To take it a step further, I'm going to
select all of these elements and put them
| | 02:30 |
into a group.
And once they're in a group I can add a
| | 02:33 |
layer effect to them.
Maybe an outer glow.
| | 02:36 |
Rather than have the outer glow be a
lightning blending mode, like yellow, I'm
| | 02:41 |
going to choose black as my color and
multiply as my screen mode.
| | 02:47 |
And then increase the size of that outer
glow.
| | 02:49 |
Now the sky is the limit here.
You can go in all sorts of different directions.
| | 02:54 |
But something else I tried was, once I
had done this to a single group,
| | 03:00 |
duplicate that group, Cmd+J.
We do need to watch out that our file
| | 03:04 |
size doesn't get out of hand when using
this kind of approach.
| | 03:07 |
And since this a circular design, we can
rotate that copy on top of itself.
| | 03:14 |
We get this warming message saying the
Smart Filters won't show up while you're
| | 03:18 |
making the transformation.
That's okay.
| | 03:20 |
I'm going to hold down my Shift key, and
then rotate that through 90 degrees, and
| | 03:27 |
I can then change the blending mode of
that top copy to determine how that
| | 03:35 |
interacts with the lower group beneath
it.
| | 03:38 |
So just ideas there for things you can do
with interesting shapes that you create
| | 03:43 |
in illustration, in this particular
example working with a polar group.
| | 03:48 |
| | Collapse this transcript |
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|
10. Creating a Display AdPreparing the image in Photoshop and placing it in Illustrator as layers| 00:00 |
In this mini-project, I'm going to
recreate this display ad.
| | 00:04 |
Now, this is at A5 size, so we need to
size that image in Photoshop to the exact size.
| | 00:10 |
And also, we are going to place our
Photoshop image in our Illustrator
| | 00:15 |
document in a very specific way.
We are not going to link it.
| | 00:19 |
And we are not going to link it so that
we get the option of writing Illustrator layers.
| | 00:25 |
Photoshop layers will become equivalent
Illustrator layers, and that's important
| | 00:30 |
because if we take a look at the finished
version, you can see that we have (SOUND)
| | 00:35 |
a whole separate version of the coffee
cup on its own layer.
| | 00:39 |
Now, I am aware that this could be done
exclusively in Illustrator using a
| | 00:43 |
clipping mask.
But since I am going to need to prep my
| | 00:47 |
image in other ways in Photoshop, I am
going to do it there.
| | 00:51 |
The end result will be the same.
But also, I want us to see this
| | 00:56 |
relationship of taking a Photoshop file
and putting it in Illustrator that we
| | 01:00 |
haven't yet seen.
So I'm going to start out in Photoshop
| | 01:04 |
and the image looks like this.
I need to do three things to it.
| | 01:08 |
I want to make a Pen path to cut out the
coffee cup.
| | 01:12 |
I want to extend the bottom of the image,
so that there are enough coffee beans.
| | 01:17 |
That we can put the type on top of and
the third thing is I want to size it to
| | 01:22 |
the exact spec of our ad.
So let's begin by cutting it out.
| | 01:26 |
I'm going to switch to my Pen tool.
Now, the Pen tool in Photoshop is
| | 01:30 |
identical to that in Illustrator,
although some people swear there is a
| | 01:34 |
difference, I've yet to discern it.
So it works exactly the same way.
| | 01:38 |
And I'm going to just create a simple pen
path around the coffee cup.
| | 01:45 |
Now I could do this by making a selection
and then making that into a layer mask
| | 01:50 |
but I specifically want a nice crisp edge
here just because of the qualities of
| | 01:55 |
this illustration.
That's just an aesthetic decision.
| | 02:02 |
Having made the first pass with my pen
path, I'm now going to duplicate my
| | 02:07 |
background layer, Cmd+J.
Come to my Layer menu > Vector Mask >
| | 02:12 |
Current Path.
If I now turn off the background layer,
| | 02:15 |
we can see how that Pen path is working.
And, if necessary, make a few adjustments
| | 02:21 |
to it.
I will tap my A key, to access my Direct
| | 02:27 |
Selection tool.
And I just need to make a modification there.
| | 02:32 |
And a slight one there.
And I think that's going to work fine.
| | 02:40 |
So I'll now turn back on the Background
layer.
| | 02:43 |
Second thing I'd like to do is add some
more coffee beans at the bottom of the image.
| | 02:48 |
If I just pop back here for a moment, you
can see that we need some more room than
| | 02:53 |
we currently have at the bottom of our
image.
| | 02:55 |
So, I'm going to add some canvas.
But, before I do so, I'm will unlock the
| | 02:59 |
background layer.
So that the new canvas is added as
| | 03:03 |
transparency rather than solid color
pixels.
| | 03:07 |
And then come to canvas size.
I want the canvas added at bottom so I'm
| | 03:12 |
choosing the top center square.
And, I'm going to change the height to 12 inches.
| | 03:20 |
Now, I will tap M to access my Marquee
Selection tool and make a selection of
| | 03:26 |
the bottom portion, just below the coffee
cup.
| | 03:31 |
Then switch to my Content Aware Move
tool.
| | 03:34 |
I want to make sure its mode is set to
Extend.
| | 03:38 |
Just going to zoom out, so that I can see
the very bottom of my image.
| | 03:42 |
And then drag that selection down, like
so.
| | 03:44 |
Now if it's not perfect, that's okay
because we are going to put type over it.
| | 03:50 |
But let's just see how it looks.
And that's pretty good.
| | 03:54 |
So I'm going to go with that.
Third and final step is I want to size it
| | 03:59 |
both in terms of its physical dimensions
and its resolution for the spec of the ad.
| | 04:06 |
Now, the ad is at A5 size.
In millimeters, that's 148 by 210.
| | 04:13 |
So I'm going to tap C for my Crop tool,
and I am going to come up here and put in
| | 04:19 |
that spec.
So it needs to be 148 but I'm actually
| | 04:22 |
going to type in 154, and that's because
I need three millimeters of bleed either
| | 04:28 |
side, and 210.
That will become 216 not inches but millimeters.
| | 04:34 |
We would get a very different result if
this were in inches like so and I want
| | 04:40 |
the resolution to be 300 pixels per inch.
So that's the aspect ratio of my crop,
| | 04:47 |
and what it's giving me it turns out as
what I want because I need that extra
| | 04:51 |
space at the bottom.
I now press Return (SOUND) and the next
| | 04:56 |
thing I'm going to do is save this, and I
will need to save it in Photoshop file format.
| | 05:01 |
And I'm going to call it coffee2.psd.
Now, I will switch over to Illustrator,
| | 05:07 |
where I will create a new document and
for this I want a Print profile.
| | 05:13 |
And I'm going to specify my size, 148
millimeters, 210 millimeters, and I want
| | 05:21 |
a 3-millimeter Bleed.
Bleeds are very difficult things to
| | 05:26 |
specify in Photoshop.
Not impossible but there is no specific
| | 05:31 |
bleed option, that's why it's so much
easier to do this in Illustrator.
| | 05:36 |
InDesign would work just as well, but
this context we're working with Illustrator.
| | 05:40 |
I will now choose File > Place > coffee2
is what I'm after and I'm specifically
| | 05:47 |
not going to link it.
And by not linking it, I get my Photoshop
| | 05:53 |
import options available to me.
I do want to Convert Layers to Objects.
| | 06:01 |
And there, we see the image exactly sized
to the size of our outboard, including
| | 06:06 |
the bleed.
And if we look on the layers panel and I
| | 06:11 |
expand Layer 1, and then expand that, we
can see that we have two sublayers there.
| | 06:17 |
I'm actually going to separate those,
because we're going to need to place
| | 06:20 |
artwork between them.
So I will create a new layer, Layer 2,
| | 06:25 |
which I'll call Coffee Cup, and then come
and select.
| | 06:30 |
Just that sublayer and drag it to the
coffee cup layer.
| | 06:36 |
So we have that on a layer all by itself.
And then we also have the whole image on
| | 06:43 |
layer one.
So in the next movie, I will add the
| | 06:46 |
spirals and type.
| | 06:49 |
| | Collapse this transcript |
| Adding the spirals| 00:00 |
So, here is our work in progress, and
here is where we're aiming for.
| | 00:05 |
The next step is to add the spirals.
And to do this, I am going to first of
| | 00:09 |
all create a layer.
I want a layer between layer one and the
| | 00:13 |
coffee cup.
And that layer, I will not surprisingly,
| | 00:17 |
call spirals.
Just to be on the safe side, I'm going to
| | 00:20 |
lock the other two layers.
Now I'm going to come and choose my
| | 00:24 |
spiral tool.
Now, the spiral tool can be a bit random.
| | 00:28 |
It very easily gets out of control, and
there is no reset button with it.
| | 00:34 |
You can click and just put in the values
for the spiral, and the default values
| | 00:39 |
are these.
There's no other way Other than quitting
| | 00:43 |
Illustrator and coming back to it, or
doing what we're doing now, typing in
| | 00:47 |
these values of returning to them.
So those are the defaults and when you
| | 00:51 |
say Okay, it's going to give you a
spiral, I don't want that but I now want
| | 00:56 |
to start drawing with those values.
And as I start drawing, I have my mouse
| | 01:00 |
button depressed here.
I can move around to determine the
| | 01:04 |
starting point of that spiral, and I can
also do a couple of other things.
| | 01:09 |
If I want to add more winds to the
spiral, look at the center of the spiral
| | 01:15 |
as I'm drawing it.
I will press the Up arrow.
| | 01:19 |
You can see that's adding in more.
The down arrow will, not surprisingly,
| | 01:22 |
remove them I can also wind my spiral
tighter by holding the Command key and
| | 01:28 |
pulling in towards the center or have it
be looser by moving outwards.
| | 01:35 |
All the while I have my mouse button held
down.
| | 01:37 |
So I'm going to move in a little bit and
then I'm also going to add a few more winds.
| | 01:43 |
Now, if that's the sort of spiral that I
want, and it is, I'll let go of my
| | 01:47 |
Command key, and now I can just drag to
increase the size of that style of spiral.
| | 01:54 |
So that's going to be one of my spirals,
and I'm going to come and apply a color
| | 02:00 |
to that.
Another thing I want to do is a create a
| | 02:03 |
color palette so lets just put the
spirals on hold for a moment while I
| | 02:08 |
create the color palette.
And I'm going to create the color palette
| | 02:13 |
based upon a key color in the image which
I will sample with my eye dropper tool
| | 02:19 |
which then gets applied to the spiral,
but that's another matter.
| | 02:23 |
And then I'm going to come to the color
guide.
| | 02:26 |
Where I want to use one of these color
harmony rolls.
| | 02:30 |
The one I'm going to use is analogous
two.
| | 02:32 |
And I will add those swatches to my
swatches panel, as a color group.
| | 02:38 |
So now that they are there, and I also am
going to add in a red to that color group.
| | 02:45 |
I'm now going to switch to my stroke
property, and apply a stroke color.
| | 02:50 |
And I'm going to apply a paintbrush
stroke to the stroke property, so I'm now
| | 02:55 |
going to click on the brushes panel, and
from the available brushes, I will go to
| | 03:00 |
artistic Paintbrush, and then down here
is the one I want to use.
| | 03:04 |
It's called Quick Brush 3.
And that's how it's going to start out.
| | 03:09 |
Couple of modifications here.
I want to change the weight of that
| | 03:13 |
stroke, and I also want to give it a
variable width profile.
| | 03:20 |
I'm now going to capture those properties
as a graphic style.
| | 03:23 |
I'll come out to my graphic styles panel,
click on Create New.
| | 03:28 |
And I can now switch back to my spiral
tool and create some more spirals.
| | 03:34 |
Making them look slightly different from
the one that we have.
| | 03:37 |
And you've probably found by now, if you
are following along with me that the
| | 03:42 |
spiral tool can very easily get out of
control.
| | 03:46 |
In which case just.
Delete it and have another go.
| | 03:50 |
Believe me, I've gone through a lot of
frustration with the spiral tool.
| | 03:54 |
I feel your pain.
And this last one, I'm just going to copy
| | 03:59 |
that one and, flip it around a bit.
Okay, so let's select all of those.
| | 04:12 |
And we'll apply that graphic style to
them all.
| | 04:17 |
I can now change their position around
whenever I like.
| | 04:23 |
And I'm going to apply different stroke
colors.
| | 04:26 |
I'm not liking that red too much.
Let's make that red darker.
| | 04:46 |
So when you're happy with how that's
looking, and just make sure that you
| | 04:49 |
don't leave any extra spaces that might
creep into the top of the page.
| | 04:54 |
I think we can now just apply the
clipping mask to the spiral layer, just
| | 05:00 |
decrease the width of that Or the weight
of that stroke for that particular one.
| | 05:05 |
So I'll come to my Layers panel.
And I want to clip this layer to my bleed guide.
| | 05:13 |
And to do that I'll use my rectangle
tool.
| | 05:16 |
Draw myself a rectangle to the bleed
guide.
| | 05:20 |
Make sure that,that rectangle is at the
top of that layer and then come and click
| | 05:26 |
on this button here.
Make release clipping mask.
| | 05:30 |
So my spirals took a little bit longer
than I had expected and for that reason
| | 05:34 |
I'll add the type in the next movie.
| | 05:37 |
| | Collapse this transcript |
| Adding and styling the type with Offset Path| 00:00 |
So to finish this off, we are going to dd
the type at the bottom of the composition.
| | 00:04 |
I just want to point out before we do
that, the clipping mask.
| | 00:10 |
Now if you look at the image at a certain
view size, it may look a little bit ragged.
| | 00:15 |
But actually, it's okay.
Look at it at 100%, and it should look
| | 00:20 |
nice and crisp.
And if you do need to edit this, it is
| | 00:27 |
fully editable within Illustrator.
You can come to your Layers panel.
| | 00:31 |
And this is on the coffee cup layer.
You would need to just drill down until
| | 00:37 |
you get to the sub-layer, that is the
Vector Mask.
| | 00:41 |
And then you can use your Direct
Selection tool.
| | 00:44 |
And let's just lock everything else, so
that we can't select other things by mistake.
| | 00:52 |
Your Direct Selection tool, and then you
can just adjust that half as you need to.
| | 00:56 |
And I notice it needs a little bit of
work right there.
| | 01:04 |
Okay, so just in case you were thinking
that looks a bit rubbish, it is just the
| | 01:12 |
view size that when we zoom in nice and
crisp.
| | 01:15 |
I've given us a head start with the type
I've put the basic type layer on there.
| | 01:21 |
And let me just unlock that layer.
And I've applied this color to it.
| | 01:25 |
The type is in Bernard MT condensed and
this is the size, and I've applied some
| | 01:32 |
tracking to it.
25 units of positive tracking.
| | 01:36 |
The reason I'm doing the type here in
Illustrator is that as great as Photoshop
| | 01:41 |
is for some aspects of working with type,
there are certain things that we can do
| | 01:46 |
in Illustrator, so much more easily.
And we want to create this type of
| | 01:51 |
multiple outline effect, which is very
easy and very effective to do in
| | 01:55 |
Illustrator, but would be a lot harder to
do in Photoshop.
| | 01:58 |
So I'm going to come to the Appearance
Panel, where we see the current fill and
| | 02:03 |
the current stroke.
Selecting the fill, I'm going to start
| | 02:06 |
out by offsetting the fill.
I'm going to come to my Effect menu, and
| | 02:10 |
down to Path, and choosing Offset Path.
And I'll then turn on my preview and we
| | 02:18 |
get this type of effect.
Which when we combine it with an
| | 02:22 |
additional field that is not offset and
an additional stroke, will give us the
| | 02:26 |
result that we're after.
So I'm going to go with this value of
| | 02:29 |
offsetting it by ten points.
Now, I'm going to add a new fill on top
| | 02:35 |
of that, and this one I'm going to change
the color to red.
| | 02:40 |
Now, since this does not have any offset
it just sits perfectly on top of the
| | 02:45 |
offset path, and then to complete the
effect I'm going to add a stroke and the
| | 02:50 |
stroke color I'm going to use will be
white.
| | 02:53 |
And I will increase the white of that
stroke to 3 points.
| | 02:58 |
I'll just do one other thing, let's zoom
in, so that we can see what I'm about to do.
| | 03:03 |
I'm going to click on the fill, the
bottom most fill, the one that I offset,
| | 03:07 |
and change its opacity.
Just the opacity of this part of the composition.
| | 03:13 |
And that I'm going to reduce to 90%.
Just so that we can see some of those
| | 03:18 |
coffee beans coming through.
This remains as one item, and I am just
| | 03:22 |
going to move it up ever so slightly.
So here is our finished ad,an image
| | 03:28 |
prepped in Photoshop with its foreground
extended in Photoshop, with an element of
| | 03:33 |
it cut out in Photoshop and then placed
in Illustrator but not linked, so that we
| | 03:38 |
create separate layers from that image.
And then to which we have added some
| | 03:45 |
vector shapes and some type.
| | 03:47 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 |
So that brings us to the end of this
course on combining Photoshop and Illustrator.
| | 00:05 |
I hope these projects have given you a
sense of the enormous scope of what's
| | 00:09 |
possible when you use these two amazing
tools together, and I hope the techniques
| | 00:14 |
I've shown have given you ideas for how
you might effectively integrate
| | 00:18 |
Illustrator into your Photoshop work
flow.
| | 00:21 |
Be sure to check out my other courses
here at lynda.com, especially those in
| | 00:25 |
the Photoshop For Designers series.
I'm Nigel French.
| | 00:28 |
Bye for now, and thanks for watching.
| | 00:31 |
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