From the course: Deke's Techniques (2018-2021)
701 Making one object blend slice across another
From the course: Deke's Techniques (2018-2021)
701 Making one object blend slice across another
- [Instructor] All right, so in a previous movie I showed you how to make one object blend cut through another. In this movie I'll show you how to make one blend cut across another. So in other words, instead of blasting through the back of the accordion extrusion, we'll be going through its side. And what that means is we need to bust up the blend associated with the U once again. So the first thing I'm going to do is extend this orange Z right here by clicking anywhere on it using the black arrow tool. And then I'll press the a key to switch the the white arrow tool and I'll click on the first point in the spine right here, which is the path of the blend. And then I'll just go ahead and drag this control handle upward like so. And you have to be very careful, by the way, in order to select that control handle. Because it's very easy to select some other portion of the blend instead. All right, so I'll just take it up to about this position here. It should work out nicely. And that'll raise this edge. And then I'll go ahead and select this point at the end of the spine and I'll drag it over to this position inside of the U. And that's going to actually extend the blend as we're seeing here. And then I'll drag this control handle upward, and again I want to be very careful because if I'm not careful, I'll just show you, if you're just slightly off then you'll end up doing one of these. And then you'll have to go back and click on that first anchor point again in order to light it up so that you can see the control handle and then try dragging that control handle again upward to right about here should work out pretty nicely. And I actually came up with some coordinates for this anchor point. So notice up here in the control panel we can see the x and y coordinates. And by the way, if you're not seeing your control panel up there at the top of the screen, you can go to the window menu and choose the control command. But in any event I'm going to set that x value to 276 exactly, and then I'll set the y value to 333 points like so, and that'll give me the coordinates that I'm looking for. Next I'll click out here in a larger portion of this yellow z. So you want to select this z independently of the rest of the blend. Then go ahead and select the rotate tool, which you can get by pressing the r key. And press the enter key, or the return key on a Mac, to bring up the rotate dialog box. Turn on the preview checkbox, and then I'm just going to take that angle value upwards just by nudging it by pressing the up arrow key on the keyboard to 6 degrees. And then I'll click OK. All right, now we need to get to work on the U, and this is going to take a fair amount of labor, and it can be a little bit confusing if you're seeing all these other blends on screen. And so what I'm going to do is press the v key to switch back to my black arrow tool, and then I'll click on the U right there in order to select that entire blend. And I'll go up to the select menu and choose inverse in order to select everything else in the illustration. And then I'll go to the object menu, choose hide and choose selection, or you can take advantage of that extremely old keyboard shortcut, believe it or not, of control 3 here on the PC or command 3 on a Mac. All right, I'm also going to turn off the black letters layer, which was locked, by the way. That's why we didn't end up selecting anything on it. And I'm going to expand this blend by clicking on it, and that's going to select the entire thing. And then you want to go to the object menu, and rather than choosing this command, expand appearance, which will kind of mess things up, you want to drop down to the blend submenu and choose it's expand command. And by the way, just in case you're wondering what the difference is between expand and release, release just gets rid of the blend. So it leaves you with your original Us and the spine as well, but the blend goes away, whereas if you choose expand, all of the steps are converted to individual path outlines. But it just occurs to me we're going to lose the spine, and I don't want to lose the spine. I want to be able to use it, in fact. So I'll go ahead and press the a key to switch to my white arrow tool, and I'll press control y or command y in a Mac in order to switch to the outline mode so I can see that spine. Then I'll click off it so that everything's deselected, and I'll alt or option click on it to select it independently of the blend, and I'll press control c or command c on a Mac in order to copy it. All right now I'll press control y or command y on a Mac to switch back to the preview mode. I'll press the v key in order to switch back to the black arrow tool. I'll click on the blend to select the entire thing. And then I'll return to the object menu, choose blend, and choose expand. In order to expand that blend to a bunch of individual path outlines, that happened to be grouped, by the way, as you can see indicated by the word group over here on the far left side of the control panel. Now having that group is just going to get in the way. So I'll go up to the object menu and choose the ungroup command or you can press control shift g or command shift g on the Mac, and notice if you look at the actual illustration itself, we lose the drop shadow right there, and that's because the drop shadow was assigned to the group. All right now I'm going to need to use the clipboard again. So I'm going to go ahead and paste that spine back into the document by pressing control f or command f on a mac, and that'll paste it in front as we're seeing right here. And then I'm just going to go ahead and give it a pretty big stroke of 2 points, just so I can easily keep track of it. All right now, I just happen to know from experience that I want to count my way 18 Us down the stack. And I could just count each and every U if I wanted to, but it'd be pretty difficult and I'd probably get mixed up at a point. So the easier way to work is to click on the first U with the black arrow tool in order to select it, and then notice up here in the select menu that you've got these commands. Next object above and next object below. We want next object below, which has a keyboard shortcut of control alt left bracket, or command option left bracket on a Mac. Now I'm not necessarily recommending that you memorize that keyboard shortcut for all time, but I do suggest you remember it for right now because it's going to be a heck of a lot easier than choosing this command over and over again. So I'll go ahead and choose it, and that's going to select the next guy on back so we've now selected the second U. We really want the 18th one, so I'm going to press control alt left bracket, or command option left bracket on a Mac, three, four, five, six, seven, eight, nine, 10, 12, 13, 14, 15, 16, 17, 18 times, and then I'm going to shift click on the next one back there, which is the 19th one. And then you just want to go ahead and select the very first one over here on the far right side as well as the first one over here on the far left side, and go ahead and cut them to the clipboard by pressing control x, or command x on a Mac. And now let's get rid of all the other steps by pressing control a or command a on a Mac to select them. You don't want to get rid of the spine so I'll go ahead and zoom in here so that I can see it, and then I'll shift click on it very carefully in order to deselect it. And I'll go ahead and zoom back out and I'll press backspace, or the delete key on a Mac, to get rid of it. All right, now I want to bring back those paths that I just cut a moment ago. And I'll do so by pressing control b, or command b on a Mac, so that I'm pasting the shapes behind the spine. That'll just make things easier when I need to get rid of the spine in the future. And then I'll go ahead and click off the shapes as deselect 'em. And now I'll select these two guys right here, the very first U and the 18th U, and we're going to blend those together by going to the object menu, choosing blend and choosing make, or you've got that keyboard shortcut of control alt b, or command option b on the Mac. That's going to give us too many steps as we're seeing right here, and so I'm going to change the number of steps by going to the object menu, dropping down to blend once again, and choosing blend options. And because this guy happened to be the 18th step I need 17 between them. So I will change the spacing option to specified steps and enter 17. And now I'll just press the enter key or the return key on the Mac. All right, now you want to select this guy, the 19th step back there, and then shift click on a yellow U, and this time I'll just use that keyboard shortcut of control alt b or command option b on a Mac, which gives us 17 steps once again. So Illustrator's remembering my last setting. That's not what I want, however. So I'll just go back to the object menu, choose blend and choose blend options. And I'll chase the number of steps to the original number I had for the entire blend. Which was 110 minus this first step, which was the 19th one. So I'll go ahead and subtract it like so. That gives me 91 steps, and if I turn on the preview checkbox, that looks pretty good. All right, now click OK. Now when I say pretty good I mean terrible of course because we've got this bad angle right here. We need to match the angle of the original spine, which is why I copied it in the first place. But we're not going to be able to see things very well with our anchor points all red like this. And so I'm going to double click on this layer, the blends layer, inside the layers panel, and I'm going to change the color to this garish green right here, which is going to make things easier to see. All right now I'll press the a key to switch to the white arrow tool, and I'll click on that very first anchor point, the one for the straight spine over here on the right-hand side, and now I'll click and hold on the pen tool in order to bring out the pen tool fly out menu, and I will choose the anchor point tool. And now I'll just go ahead and drag from this guy the opposite way, though, and I'm going to keep that control handle very close to the line, like so, not quite that close, however. Something like this should work out pretty well. And then I'll go ahead and drag from this left-hand anchor point up to about this position here. And what we're trying to do is create a nice, smooth transition so that you can't tell that one blend is split from the other. And so I might just take that guy up ever so slightly, and by the way, this is going to be easier if you have your smart guides turned off. Because otherwise you can end up snapping to your original positions and so forth. All right, now I'll press the v key to switch back to my black arrow tool. And I'll click on this first U down here in the bottom left corner of the document window, and I'll press the a key again to switch to the white arrow tool, and I'll select this first anchor point right there. And I'll go ahead and grab that anchor point tool, and then I will drag up from this first anchor point to right about there. You just want to add a tiny amount of curvature, and as you can see here, everything's backing up now. All the steps are getting crammed into each other and that makes it obvious that we've got two different blends going on. So I'm going to drag from this top anchor point upward this time around in order to move the opposite control handle downward, and in about this position right here, things work out very nicely. Now you might have to play around a little bit with the control handles to get things right. Obviously I've done this before. So I'm making it look pretty easy. In any event, I'm done, so I'm going to press the v key to switch back to my black arrow tool, and I'll select that original spine and press the backspace key or the delete key to get rid of it. So I'll go up to the object menu and choose the show all command. And that will bring back all of this chaos as we're seeing right here. Now unfortunately I've managed to cover up my Us, which is something of a problem. So I'm just going to send all this stuff backward by right clicking in the document window, choosing a range, and then choosing send to back. And that way my U will end up being in front. Now I don't really want it this far in front, so I'll click off the paths to deselect everything, and I'll go ahead and select this big blend right here by clicking on it, once again with the black arrow tool, then I'll press control x or command x on a Mac, in order to cut it, and I'll click on the orange Z in order to select it, and I'll press control b or command b on a Mac in order to paste those Us in back. And now we need to restore the drop shadows. So I'll shift click on the pink U down here in the bottom left corner of the document. And I'll go up to the effect menu, choose stylize, and then choose drop shadow. And I am looking for a color of black, and opacity of 75% is just fine. I'll go ahead and turn on the preview checkbox so that we can see this big shadow that I'm creating. I'm going to mitigate things a little bit by setting the X offset to -3, and then I'll change the y offset value to 5. The default blur value of 5 points is going to work out just fine. At which point I'll click OK to accept that change. And then I'll click off the paths just so I can see how everything's working out. And it looks to me like this final Z is a little bit too high. It should come down to this point right here so that we're not seeing it's drop shadow. In other words the drop shadow's going to be covered up by this blend right here, and so I'll go ahead and select the Z blend, and I'll press the a key in order to switch to the white arrow tool. I'll select this point at the end of its spine and I'll just use my arrow keys to nudge this guy into what I deemed to be a better position, such as this location right here. And then I'll click off the path in order to deselect it. All right, that's it. Now I'll just go ahead and turn on the black letters layer here inside the layers panel, to reveal the completed version of the artwork. And that is how you cut one object blend across another, that is through the side of its accordion extrusion, in order to create a more tightly integrated effect here inside Illustrator.
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
-
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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