From the course: Deke's Techniques (2018-2021)
698 Creating letters with accordion extrusions
From the course: Deke's Techniques (2018-2021)
698 Creating letters with accordion extrusions
- Hey gang, this is Deke McClelland. Welcome to Deke's Techniques. This week I'm going to show you how to create letters with freeform, and kind of interwoven accordion style extrusions using object blends in Illustrator. And just to make things crystal clear, I also include this overwhelming diagram. Here, let me show you exactly how it works. Alright, so here's the final version of the artwork, open inside Illustrator. I also have open this fairly imposing diagram right here. As you'll see, it can come in helpful, but ultimately I created it for myself, and we're going to run through all of these steps. Alright, so I'll go ahead and switch over to my starter file right here, and what we have is a bunch of letters that I've converted to path outlines. You can work with live text if you want to, but this just makes things a little easier. Alright, I'm going to make a copy of this entire layer here inside the Layers panel, by clicking on the flyout menu icon in the top-right corner of the panel, and choosing Duplicate "black letters". Then I'll go ahead and double click on an empty portion of this new layer, in order to bring up the Layer Options dialogue box, and I'll change the name of this layer to blends, and I'll change its color to Gold, should show up well. And then I'll click OK, and now I'll go ahead and move the blends layer behind the black letters layers, and I'll turn off the black letters for now. Alright, now you want to press Control + A, or Command + A on the Mac, to select everything, specifically on this layer, because the other layers are locked or hidden, and then I'm going to press Shift + X, in order to swap the fill and the stroke, so that we have a one point black stroke, and no fill. And then I'll click on that first swatch, which represents the fill, and I'll change it to this default shade of blue, that begins R=41. And we'll end up with a bunch of blue letters, with black fills. Alright, now we're going to start at the bottom of the stack, and move our way upward, which means we're going to start with the E. And so I'll go ahead and click on the E in order to select it, with my black arrow tool, notice it's selected up here at the top of the toolbox. And next you want to press the Enter key, or the Return key on the Mac, to bring up the Move dialogue box. Now normally, I would just drag things around in order to move them, but in this case I've reverse-engineered the project. So I'm going to work by the numbers. And so I'll change the Horizontal value to -446, which is going to move the object to the left as soon as I turn on the Preview checkbox. And then I'll go ahead and select the Vertical value, and I'll change it to -230. And negative Vertical values, by the way, represent in upward movements. Where as positive values move objects down. Alright, now I want to create a copy of the E, so I'll click the Copy button, and I now have a duplicate, as you can see right here. Now I want to fill this guy with a pale yellow, that I've created in advance, which happens to be this swatch right here. And if you don't have access to this exercise file, and you're wondering exactly what's going on with this pale yellow, I'll just go ahead and double-click on it here in the swatches panel, to bring up the Swatch Options dialogue box. And I'll change the Color Mode to HSB, and you can see that we have a hue value of 50 degrees, a saturation value of 33 percent, is what you would enter, and then a brightness value of 100 percent. But I've already done this in advance, so I'll just cancel out. Alright, now I want to make this E much bigger, and I'm going to do that using the scale tool. Which you can get by pressing the S key. Now I want you to notice that my bounding box is turned off. Which is going to be the easier way to work where this project is concerned. And so you want to go to the View menu, and if this command reads Hide Bounding Box, go ahead and choose it, if it reads Show Bounding Box, leave it alone. Alright, now I'll Alt or Option + click on this bottommost anchor point to bring up the Scale dialogue box, and I'll change the Uniform value to 158 percent, in order to make the E much larger on screen. And then I'll click OK. Alright, now I'll press the V key to switch to the black arrow tool, and I'll Shift + click on the blue E to add it to the selection. And then I'll go up to the Object menu, drop down to the Blend command, and choose Make. Which has a shortcut of Control + Alt + B, or Command + Option + B on the Mac, which I will be using in the future. Alright, so I'll go ahead and choose that command, and notice I automatically get this blend. But it's in the wrong direction. The pale E is on top, and the blue E is on the bottom, which is exactly the opposite of what I want. So I'll just go ahead and double-click on the blend, in order to enter the Isolation mode, and I'll select that yellow E, like so, and then I'll right-click anywhere in the document window, choose Arrange, and choose Send to Back. Or you have that keyboard shortcut of Control + Shift + [, that's Command + Shift + [ on the Mac, which I will also be using in the future. Alright, so notice as soon as I choose the command, that the blend switches directions. So this is before, notice that the ribbing, this accordion effect right here, is moving down and to the right. Whereas now, it's moving up and to the left. Alright, but I have way too many steps, and so I'll go ahead and press the Escape key in order to escape the Isolation mode. And then I'll go to the Object menu, and choose Blend Options, to bring up this dialogue box. I'll turn on the Preview checkbox, I'll change Spacing to Specified Steps, and then I will enter a value of 110 steps, like so, which results in fewer steps, in my accordion style extrusion. Alright, now I'll click OK to accept that change. Now, I do have one issue here. And that's that I don't want this particular E to be blue, and so I'm going to press the A key to switch to my white arrow tool, and I'll click inside the blue E to select it. And then I'll click on the first swatch on the far-left side of the control panel, and I'll change the fill color to the shade of green that begins R=57. Alright now I'm going to select the L by clicking inside of it, and I'm going to change its fill to this shade of hot pink, right here, which begins R=212, in order to produce this effect. Alright, now I want to make a copy of this letter, and I'll do so by pressing the Enter key, or the Return key on the Mac, and I'll dial in a Horizontal value of -608, which is going to move the letter to the opposite side of the art board. And then I'll set the Vertical value to 215, like so, and then I'll click the Copy button, or if you really like keyboard shortcuts, you can press Alt + Enter here on the PC, or Option + Return on the Mac. Alright, now we need to scale this guy as well, so I'll grab my Scale tool, and then I'll drop down to this anchor point, which is very near to the bottom-left corner of the shape, and I'll Alt, or Option + click on it to bring up the Scale dialogue box, and I'll change that Uniform value to 70 percent, and I'll click OK. Now we want to lean the letter back a little bit by rotating it, so I'll select the Rotate tool, which you can get by pressing the R key, and I'll Alt, or Option + click on that point once again, and I'll change the Angle value to 20 degrees, which is going to lean the letter back like so, and then I'll click OK. Alright, now I want to change its fill to that same pale shade of yellow. And then I'll go ahead and press Control + Shift [, or Command + Shift + [ on the Mac. And on an American keyboard, the [ key is the one to the right of the P as in Paul key. Alright, now I'll press the V key to switch to my black arrow tool, and I'll Shift + click on the Paint gel, to add it to the selection, and I'll press that keyboard shortcut of Control + Alt + B, or Command + Option + B for blend, in order to automatically blend between the two shapes. Alright, now I want to change the number of steps once again, and I can do that by going to the Object menu, choosing Blend, and then choosing Blend Options. But in my opinion, that's a lot of work, digging through that menu. And so what I prefer to do, and I know this requires a little rote memorization, but you can switch to the blend tool. Which you get by pressing the W key. Why, I don't know, but anyway that works. And then you just want to press the Enter key, or the Return key on the Mac, to bring up the Blend Options dialogue box, change Spacing to Specified Steps, turn on the Preview checkbox, and then click in this value and press Shift + down arrow a bunch of times until you end up with a value of 170, and then click OK. Now at this point, you might figure that the spacing of the steps, where the L is concerned, is much narrower than that of the E. And that's because we are going to change the path of the blend, which is this orange line right here. That's going at an angle. Currently it's a straight line because both of the anchor points, at either end, are corner points. We need to change them to smooth points, and you can do that by clicking and holding on the pen tool, and selecting the anchor point tool from the flyout menu. And then I'll go ahead and zoom out a little bit, so that I can see that red bleed boundary. And I'll drag from this point, like so, and notice right now I'm bending things in the wrong direction, and so I'll drag upward until the control handle is slightly outside of that red bleed boundary, as well as above the big letter E. Alright, I also want to add some curvature down here, so I'll go ahead and drag this guy, once again, in the wrong direction, I really wanted to go this way. And I keep getting an auto-scroll, so we got a little bit of herky-jerkiness here. But I'm looking for my control handle to be right about there, just outside of the U. And so notice, in both cases, we've converted these corner points to smooth points. Alright, now I'll press the V key to switch back to my black arrow tool. I'll click off the shapes, and then I'll center my zoom by pressing Control + 0, or Command + 0 on the Mac. Alright, now we're going to move up to the P. So we're just advancing in stacking order here, notice the E is at the bottom of the stack, the L is next, then comes the P, and now, with my black arrow tool active, I'll press the Enter key, or the Return key on the Mac, to bring up my Move dialogue box. I'll change the Horizontal value to 410 points, and I'll change the Vertical value to 340. That's going to move the P down here, and then I'll click the copy button, in order to create a copy of it. Then I'll change its fill color, on the far left side of the control panel, to that pale shade of yellow, and now we want to rotate the letter. And of course you could go your own way, by the way, but if you want to get the same results as me, this is what you do. I'll go ahead and select the Rotate tool, once again, and then I'll move down to this bottom point right here, and I'll Alt, or Option + click on it to bring up the Rotate dialogue box. And I will change the angle value to -18, happens to work nicely, and I'll click OK. And then I want to select the counter, which is this inside ring, and I'll do that by pressing the A key to switch to my white arrow tool, then I'll click off the shape to deselect it, and I'll Alt, or Option + click on the outline of this counter, like so. And then I'll press the R key to switch back to the rotate tool. I'll press the Enter key, or the Return key on the Mac, to bring up the Rotate dialogue box, and I'll change this Angle value to 34 degrees. And then I'll click OK. And now I want to nudge this guy to the left a little bit, and so I'll press Control + K, or Command + K on the Mac, to make sure my Keyboard Increment is set to one point, as it is by default, then I'll Cancel out. And I'll press the left arrow key, one, two, three, four, five, six, seven times in a row, to move that path outline seven points to the left. Alright now, I'll press the V key to switch to my black arrow tool. I'll click on this guy to select him, and I'll press Control + Shift, or Command + Shift [ in order to send it to the bottom of the stack, and then I'll shift click on the blue P, and I'll press Control + Alt + B, or Command + Option + B on the Mac, in order to create that blend. And now I'll press the W key, to switch to the Blend tool, and I'll press the Enter key, or the Return key on the Mac, to bring up the Blend Options dialogue box. I'll change the Spacing value to Specified Steps, and then I'll once again change the Steps value to 110. At which point, if I turn on the Preview checkbox, you can see that we get much looser spacing. Alright, now click OK, in order to accept that change. Alright now I'm going to switch back to that anchor point tool, and I'm going to drag down and to the right from this left-hand anchor point, until I move the control handle to right about there. And next I'll go ahead and drag upward from this anchor point, but I don't really want to drag upward I want to move the control handle upward. And so I need to drag down, like so. And this by the way is where that diagram can come in handy. Notice the position of my control handles right now, as compared to their positions inside the diagram. So this guy's much higher, and this guy's down a little bit I believe. And so I'll go ahead and switch over here, and I will move this guy down, but I'm going to do so by pressing the A key to switch back to the white arrow tool, because otherwise, I will change this anchor point from a smooth point, to a cuss point, which is not something I want to do, and then I'll just go ahead and drag this guy upward like so, and now it looks to me that we have a better match between the diagram, and our current version of the artwork. And that is at least how you start the process of creating an accordion style extrusion here inside Illustrator. Now if you're a member of lynda.com/LinkedIn Learning, I have a follow up movie in which I show you how to combine object blends with skewed path outlines. And so if you take a look at the diagram, you can plainly see that I scaled the E, I scaled and rotated the L, and I rotated the two pieces of the P independently of each other. You also know that happened because I just did it. But if you take a look at the Z's, you might be able to perceive they're at an angle, so they're slanted, and I've also slanted the U to better match the angle of the accordion extrusion associated with the L. Now, we aren't going to do this using the Skew tool, because there is no Skew tool in Illustrator. Adobe calls it the Shear tool, shear they do. If after all that, you still want to watch next week, I'm going to show you how to violate all known laws of physics, and we're going to burst the U through the L, and the Z through the U, which is technically impossible, by the way. Blends can't go through each other, they're not ghosts. Deke's Techniques, each and every week. Keep watching.
Practice while you learn with exercise files
Download the files the instructor uses to teach the course. Follow along and learn by watching, listening and practicing.
- 669_custom_QR.zip
- 670_more_QR.zip
- 671_hidden_circles.zip
- 673_shade_panels.zip
- 672_more_rectangles.zip
- 674_cafe_wall.zip
- 675_skewed_walls.zip
- 676_magic_checkers.zip
- 677_magic_dots.zip
- 678_reverse_illusion.zip
- 679_illusion_decor.zip
- 680_more_gizmos.zip
- 681_connect_gizmos.zip
- 682_wifi_symbol.zip
- 683_bluetooth_logo.zip
- 684_trajan_color.zip
- 685_trajan_AIcc.zip
- 686_stylistic_PsCC.zip
- 687_stylistic_AIcc.zip
- 688_grad_molecules.zip
- 689_sharper_moles.zip
- 690_smart_cules.zip
- 691_explore_cules.zip
- 692_blend_cules.zip
- 693_high_pass_cules.zip
- 694_cell_pattern.zip
- 695_hemoglobin.zip
- 696_edgy_cells.zip
- 697_springy_cells.zip
- 698_accordian_letters.zip
- 699_skew_blends.zip
- 700_cross_blends.zip
- 701_slice_blend.zip
- 702_blend_distort.zip
- 703_dynamic_roughen.zip
- 704_fish_twist.zip
- 705_dynam_bgnd_1.zip
- 706_dynam_bgnd_2.zip
- 707_quieter_art.zip
- 708_disintegration.zip
- 709_more_flakes.zip
- 710_mask_ashes.zip
- 711_flakes_to_ash.zip
- 712_note_tool.zip
- 713_contour_map.zip
- 714_contour_grad.zip
- 715_contour_arb.zip
- 716_contour_riff.zip
- 717_smooth_contour.zip
- 718_contour_cash.zip
- 719_color_of_money.zip
- 720_AI_adjust.zip
- 721_computer_key.zip
- 722_key_type.zip
- 723_faux_hedcut.zip
- 724_hedcut_lines.zip
- 725_color_hedcut.zip
- 726_ET_moon.zip
- 727_ET_trees.zip
- 728_ET_TRex.zip
- 729_global_glow.zip
- 730_content_aware.zip
- 731_space_portal.zip
- 732_enhance_portal.zip
- 733_rushing_stars.zip
- 734_AIcc_puppet.zip
- 735_puppet_tricks.zip
- 736_complex_puppet.zip
- 737_puppet_shortcut.zip
- 738_pentagons.zip
- 739_reinhardt.zip
- 740_kershner.zip
- 741_james_pentagon.zip
- 742_rice_pentagons.zip
- 743_stein_pentagon.zip
- 744_15th_pentagon.zip
- 745_tessellate_15.zip
- 746_pentatiles.zip
- 747_mod_pattern.zip
- 748_complement_tiles.zip
- 749_image_pattern.zip
- 750_pattern_fit.zip
- 751_candy_keeper.zip
- 752_keeper_text.zip
- 753_monster_movie.zip
- 754_mono_halftone.zip
- 755_word_haunted.zip
- 756_cheat_letters.zip
- 757_alt_adjust.zip
- 758_scuba_mono.zip
- 759_backscatter.zip
- 760_sample_outside.zip
- 761_Ps_vector_logo.zip
- 762_trans_shapes.zip
- 763_photo_logo.zip
- 764_high_res_snow.zip
- 765_enhance_snow.zip
- 766_snowflake_bokeh.zip
- 767_mandala_ps.zip
- 768_mandala_pattern.zip
- 769_mandala_dots.zip
- 770_mandala_color.zip
- 771_mandala_final.zip
- 772_AI_trim_view.zip
- 773_AI_presentation.zip
- 774_global_edits.zip
- 775_global_control.zip
- 776_freeform_grads.zip
- 777_freeform_lines.zip
- 778_freeform_gotcha.zip
- 779_great_white.zip
- 780_sharper_shark.zip
- 781_vibrance_sat.zip
- 782_vib_sat_sharp.zip
- 783_hedcut_action.zip
- 784_action_actions.zip
- 785_color_lines.zip
- 786_combine_lines.zip
- 787_clip_to_group.zip
- 788_color_outside.zip
- 789_flip_horizontal.zip
- 790_white_walker.zip
- 791_walker_begins.zip
- 792_digital_shave.zip
- 793_deep_wrinkles.zip
- 794_deep_brows.zip
- 795_pale_lips.zip
- 796_glowing_blue.zip
- 797_lifeless_pupils.zip
- 798_cold_gloomy.zip
- 799_brittle_flakes.zip
- 800_trans_shapes.zip
- 801_range_mask.zip
- 802_flip_photo.zip
- 803_actual_dream.zip
- 804_augment_dream.zip
- 805_smart_distortions.zip
- 806_blend_distortions.zip
- 807_star_negative.zip
- 808_star_pattern.zip
- 809_shaded_stars.zip
- 810_grad_pattern.zip
- 811_pattern_fade.zip
- 813_gobstopper.zip
- 814_gobpattern.zip
- 815_galignment.zip
- 816_etched_lines.zip
- 817_blend_pattern.zip
- 818_cubical_holes.zip
- 819_grad_pattern.zip
- 820_iso_arrows.zip
- 821_position_tips.zip
- 822_fill_gaps.zip
- 823_cartoon_teeth.zip
- 824_triangle_eye.zip
- 825_add_windows.zip
- 826_perfect_tessellate.zip
- 827_triangle_tunnels.zip
- 828_triangles_pattern.zip
- 829_colorful_triangles.zip
- 830_recolor_triangles.zip
- 831_rainbow_blends.zip
- 832_pattern_blends.zip
- 833_imposs_trident.zip
- 834_shade_trident.zip
- 835_opposing_grads.zip
- 836_trident_shadows.zip
- 837_impossible_hex.zip
- 838_impossible_lattice.zip
- 839_Joan_Miro.zip
- 840_watercolor_wash.zip
- 841_Miro_signature.zip
- 842_Photoshop_Miro.zip
- 843_enlarge_Miro.zip
- 844_Miro_Peele.zip
- 845_color_Us.zip
- 846_red_rorschach.zip
- 847_finish_Us.zip
- 848_CAF_fails.zip
- 849_turkey_2019.zip
- 850_trace_hand.zip
- 851_articulated_hand.zip
- 852_colorful_hand.zip
- 853_paint_fingernails.zip
- 854_paint_turkey.zip
- 855_turkey_feathers.zip
- 856_drop_shadow.zip
- 857_Ps_iPad_1.zip
- 858_Ps_iPad_2.zip
- 859_Ps_iPad_3.zip
- 860_iPad_Sidecar.zip
- 861_Adobe_Fresco.zip
- 862_Fresco_halftones.zip
- 863_live_brushes.zip
- 864_oil_paint.zip
- 865_Fresco_masks.zip
- 866_repurpose_mask.zip
- 867_vector_brush.zip
- 868_fresco_ps.zip
- 869_auto_color.zip
- 870_ACR_pano.zip
- 871_correct_pano.zip
- 872_diffusion.zip
- 873_simplify_2020.zip
- 874_fill_gaps.zip
- 875_posterize.zip
- 876_paint_bucket.zip
- 877_nonD_poster.zip
- 878_dynamic_poster.zip
- 879_filmstrip.zip
- 880_awful_awesome.zip
- 881_rembrandt.zip
- 882_recolor_freeform.zip
- 883_recolor_group.zip
- 884_over_under.zip
- 885_dev_over_under.zip
- 886_3D_metal_star.zip
- 887_heavy_metal.zip
- 888_wonder_poster.zip
- 889_wonder_displace.zip
- 890_wonder_woman.zip
- 891_metadata_template.zip
- 892_edit_metadata.zip
- 893_quilt_warp.zip
- 894_warp_object.zip
- 895_gopro_images.zip
- 896_content_aware.zip
- 897_gopro_combo.zip
- 898_blend_vignette.zip
- 899_photo_painting.zip
- 900_cue_ball.zip
- 901_pool_ball.zip
- 902_stripe_ball.zip
- 903_transform_each.zip
- 904_recolor_pool.zip
- 905_pool_cues.zip
- 906_rotate_cues.zip
- 907_repeat_face.zip
- 908_rainbow_faces.zip
- 909_mask_lips.zip
- 910_single_many.zip
- 911_symmetrical_mask.zip
- 912_colorize_grads.zip
- 913_mask_grads.zip
- 914_lantern_type1.zip
- 915_lantern_type2.zip
- 916_lantern_type3.zip
- 917_blend_steps.zip
- 918_blended_blends.zip
- 919_reverse_order.zip
- 920_pattern_colors.zip
- 921_blend_pattern.zip
- 922_polygons.zip
- 923_equil_triangle.zip
- 924_mercedes.zip
- 925_star_ring.zip
- 926_perfect_star.zip
- 927_lets_review.zip
- 928_basic_shapes.zip
- 929_triangle_man.zip
- 930_paint_grads.zip
- 931_adv_grads.zip
- 932_trans_vectors.zip
- 933_free_distort.zip
- 934_dynamic_fx.zip
- 935_cats_eye.zip
- 936_cat_iris.zip
- 937_primitives.zip
- 938_zig_zag.zip
- 939_dynamic_hilight.zip
- 940_reptile_scales.zip
- 941_shade_eye.zip
- 942_variable_shade.zip
- 943_dragon_eye.zip
- 945_single_thumbnail.zip
- 946_ai_home.zip
- 947_unlock_object.zip
- 948_unlock_icon.zip
- 949_line_tool.zip
- 950_broken_candy.zip
- 951_candy_rhino.zip
- 952_wrap_pattern.zip
- 953_ice_shadows.zip
- 954_illustrator_ipad.zip
- 955_pencil_points.zip
- 956_ipad_blob.zip
- 957_ipad_pen.zip
- 958_grads_repeats.zip
- 959_color_grading.zip
- 960_grading_tricks.zip
- 961_blend_balance.zip
- 962_font_height.zip
- 963_camera_profile.zip
- 964_JPEG_raw.zip
- 965_match_detail.zip
- 966_Ps_line_tool.zip
- 967_troubleshoot_line.zip
- 968_blend_vectors.zip
- 969_curve_line.zip
- 970_point_glyphs.zip
- 971_area_glyphs.zip
- 972_snap_glyphs.zip
- 973_snap_letterform.zip
- 974_glyph_shape.zip
- 975_glyph_pen.zip
- 976_playing_cards.zip
- 977_scale_shape.zip
- 978_card_suits.zip
- 979_enhance_path.zip
- 980_power_symbol.zip
- 981_huge_artboard.zip
- 982_new_artboard.zip
- 983_triceratops.zip
- 984_pen_tricks.zip
- 985_round_corner.zip
- 986_draw_round.zip
- 987_reshape_round.zip
- 988_AI_brushed.zip
- 989_AI_rivets.zip
- 990_blend_grad.zip
- 991_binoculars.zip
- 992_blue_halo.zip
- 993_bi_aberrations.zip
- 994_hide_shapes.zip
- 995_subwoofer.zip
- 996_deep_cone.zip
- 997_gradient_frame.zip
- 998_hex_screws.zip
- 999_thats_all.zip
Contents
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669 Customizing a QR code in Photoshop11m 22s
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670 Adding more color to your QR code4m 29s
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671 Coffer illusion and the hidden circles18m 10s
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672 Filling out the hidden circles illusion9m 30s
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673 Shading the panels in a Coffer illusion13m 1s
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674 Drawing a classic “café wall” illusion11m 20s
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675 Skewing your crazy café walls in Illustrator9m 25s
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676 Creating a “magical checkers” illusion20m 8s
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677 Swapping magical checkers for dots8m 35s
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678 Reversing the direction of your illusion8m 33s
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679 Decorating your illusion9m 47s
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680 Adding more and more gizmos11m 52s
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681 Connecting the gizmos wirelessly4m 59s
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682 Drawing a Wi-Fi symbol in Illustrator9m 48s
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683 Drawing the official Bluetooth logo10m 8s
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684 Introducing Trajan Color Concept13m 10s
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685 Trajan Color Concept in Illustrator CC7m 10s
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686 Using stylistic sets in Photoshop CC9m 37s
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687 Using stylistic sets in Illustrator CC6m 47s
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688 Creating gradient molecules in Photoshop10m 17s
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689 Sharpening your very soft molecules4m 41s
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690 Editing your smart-filtered molecules6m 32s
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691 Exploring regular molecule patterns17m 41s
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692 Blending opposing rows of colorful molecules8m 49s
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693 Sharpening molecules with High Pass6m 3s
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694 Creating shimmering cells in Illustrator12m 25s
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695 Turning regular hexagons into organic cells11m 50s
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696 Enhancing your organic cells in Photoshop8m 58s
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697 Making dead cells spring to life7m 41s
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698 Creating letters with accordion extrusions13m 58s
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699 Combining object blends with skews11m 28s
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700 Making one object blend cut through another9m 44s
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701 Making one object blend slice across another13m 27s
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702 Object blends and dynamic distortions in Illustrator8m 11s
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703 Another random distortion: Roughen7m 57s
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704 Dynamic warp distortions: Fish and Twist8m 52s
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705 Adding a dynamic background, part 110m 14s
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706 Adding a dynamic background, part 27m 44s
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707 “Quieting down” an overly elaborate design9m 25s
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708 The Marvel disintegration effect9m 14s
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709 Building up more flakes and ashes7m 33s
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710 Enhancing and masking your disintegration8m 12s
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711 Turning your flakes into dull, dead ash4m 10s
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712 Jogging your memory with the Note tool9m 59s
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713 Contour mapping with Distort > Displace10m 23s
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714 Contour map + gradient map6m 54s
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715 Contour map + arbitrary map8m 22s
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716 Riffing on a contour map in Photoshop5m 24s
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717 Smoothing out jagged contour lines4m 11s
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718 Contour mapping for cash in Photoshop9m 27s
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719 Infusing an image with the color of money2m 53s
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720 Simulating an adjustment layer in Illustrator9m 25s
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721 Drawing a stylish computer key12m 9s
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722 Spelling a word in computer keys6m 55s
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723 Creating a faux hedcut in Photoshop13m 7s
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724 Tracing outlines around your hedcut7m 47s
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725 Creating a full-color hedcut effect7m 32s
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726 Creating an E.T. moon in Photoshop8m 42s
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727 Adding a forest of trees for your E.T. moon10m 41s
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728 Combining the best of E.T. and Jurassic Park10m 59s
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729 Tracing vectors with a universal glow6m 17s
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730 Creative uses for Content-Aware Fill11m 47s
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731 Creating a porthole to a far-away galaxy7m 42s
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732 Enhancing your crazy space porthole7m 3s
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733 Creating a galaxy of rushing stars5m 42s
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734 Using the Puppet Warp tool in Illustrator CC6m 7s
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735 Illustrator Puppet Warp tips and tricks7m 20s
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736 Puppet-Warping very complicated selections6m 18s
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737 Shift-P for Puppet Warp!2m 59s
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738 Introducing the Pentagon Patterns7m 29s
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739 Types 1–5: The Reinhardt pentagons14m 17s
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740 Types 6–8: The Kershner pentagons5m 47s
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741 Type 10: The James pentagon5m 53s
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742 Types 9, 11, 12, and 13: The Rice pentagons7m 58s
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743 Type 14: The Stein pentagon3m 53s
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744 Creating a type 15 pentagon in Illustrator9m 27s
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745 Tessellating your type 15 pentagon14m 22s
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746 Expressing pentagons as proper tile patterns12m 9s
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747 Applying and modifying a tile pattern11m
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748 Combining complementary patterns7m 43s
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749 Combining a tile pattern with a photograph6m 33s
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750 Adjusting a tile pattern to fit its photo5m 36s
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751 Creating a creepy Candy Keeper in Photoshop3m 59s
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752 Enhancing the Candy Keeper text4m 46s
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753 Creating an old monster movie poster7m 3s
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754 Adding a monochrome halftone effect4m 3s
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755 Enhancing a special word, such as “Haunted”4m 27s
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756 Cheating letters into an ancient border2m 25s
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757 Naming an adjustment layer as you create it4m 13s
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758 Under the sea in strict monochrome6m 29s
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759 Backscatter and split toning7m 21s
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760 Sampling any color outside Photoshop3m 17s
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761 Designing a vector-based logo in Photoshop9m 20s
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762 Free-transforming shape layers7m 56s
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763 Adding a photo element to your vector logo6m 34s
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764 High-resolution snowflakes in Photoshop5m 45s
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765 Enhancing your big, juicy snowflakes7m 19s
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766 Adding a snowflake bokeh “on the lens”6m 8s
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