What You’ll Be CreatingIn this tutorial you will learn how to create an amazing text effect inspired by the Grand Theft Auto video game. I will explain everything in so much detail that everyone can create it, even those who have just opened Photoshop …
In this tutorial I will show you how to draw a realistic fox step by step, without any reference. You’ll learn how to sketch the pose to avoid proportion mistakes, how to add proper anatomy, and how to make it look real with details. You can also use this workflow to learn how to draw other similar animals.
This is a tutorial for beginners with a single, simple pose. If you want to learn more about foxes, their species and their anatomy, try this tutorial instead:
1. How to Prepare the Basic Sketch
How often have you noticed that your drawing went wrong only when you were finishing it? To avoid such a situation, it’s good to start with a very general sketch first, and add the details to it later. The general sketch is easy to fix and quick to draw, so you don’t waste so much time on it if something goes wrong.
Start with a rectangle for an elongated fox body.
Measure the distance to the ground. Foxes are long-legged, so make it one body width long + some space for the paws.
Sketch a very general rhythm of the legs on both ends of the rectangle.
Add a thick neck. It should be slightly shorter than half of the body.
Attach the head to the neck.
Draw the long, tapered muzzle in front of the head.
Sketch a bushy tail on the back.
2. How to Sketch the Legs of a Fox
Take a good look at your basic body plan now and try to see if anything’s off. Fix it, if necessary.
Add a “6” in the shoulder area. It’s a very easy way to create a form of the shoulder for many animals.
Draw a line across the back side of the rectangle. This is a symbolic femur (the thigh bone).
Add a perpendicular line to it. Its length will create the width of the thigh.
Outline the thigh using these two guide lines. Don’t worry if the thigh looks too fat—it should be fluffy!
Add some details to both the shoulder blade and the hips.
Time for the lower parts of the limbs. Sketch the length of the paws.
Add the wrist and the heel.
Draw the forms of the wrist and the ankle.
Outline the paws.
Connect the paws to the wrist and ankle.
The forearm and the calf both need some muscle masses. Add them in the form of an oval along the “bone” lines.
Add more details to each leg: the elbow, the knee, and the bony landmarks of the ankle.
Gently outline the forms to create the whole form of the limb.
Let’s make the paws complete, too. Add the other visible toe.
Draw the tips of the toes.
Add short, blunt claws.
3. How to Draw the Head of a Fox
The head is a very important step, because we pay more attention to the proportions of the face than to the other parts of the body. Even if you sketched the body nicely, a tiny mistake in the face may destroy the whole impact of the drawing. So be very careful here!
Draw a high forehead for the fox, smoothing the step between the head and the muzzle.
Draw a curve across the face—this will help us find the location of the eyes and define the sides of the face.
Draw an oval in the front of the head. This will be a symbolic eye socket. By drawing the eye socket first, you get a nice reference point to properly place the actual eye (thus solving the biggest problem in drawing a face!).
Draw the round eye in the middle of the eye socket (or somewhere near, if you’ve noticed the eye socket has been placed wrong).
Draw the nose bridge along the muzzle.
Draw the nose at the tip of the muzzle.
Lead a line from the forehead to the chin.
Draw an oval here.
Draw the lips along these guide lines.
Draw a line across the head, halfway up the forehead.
Sketch the height of the ear. Foxes have them very big!
Draw the outline of the ear with gentle curves.
Draw the base of the ear.
Draw the cheek-mane on the side of the head.
4. How to Draw the Body of a Fox
Draw the lower side of the fluffy neck, creating a step between it and the head.
Draw the rest of the “mane” on the neck.
Draw the line of the belly.
Draw the line of the back, curving towards the hips.
Add some furry landmarks.
If you want to make the drawing more interesting, you can add the second pair of legs.
5. How to Finish the Drawing of a Fox
The sketch is finished, and now it’s time to add the final lines. If you have been drawing with a pencil, you can now take a darker tool (like an ink liner) to make the final lines more striking. If your sketch is too dark for this, you can put another sheet of paper over it and draw the final lines on it.
Create the final shape of the eye by adding the eyelids.
Add the pupil and the eye corner.
Outline the nose.
Outline the general shape of the head and the lips.
Add the whisker holes.
Add special features over the eye to make it more expressive.
Add the details to the ear. It should be very fluffy!
Draw the cheek mane and the outline of the bone under the skin (along the nose bridge and on the cheek bone).
Add more details to make the face really fox-like: the marking between the eye and the mouth, the whiskers, dark nose, and dark ear.
Outline the paws.
Outline the legs, paying attention to their anatomy.
Cover the whole body with fur. Whatever method you use to draw it, remember to keep the style consistent over the whole body.
Finally, you can add some basic “coloring” and shading.
That’s a beautiful fox! If you want to try other fox-related tutorials, check out this list:
Drawing TheoryHow to Use an Animal Skull for an Art StudyMonika Zagrobelna
For KidsDrawing for Kids: Draw a Cute Baby FoxMonika Zagrobelna
VectorHow to Create a Retro Fox Illustration in Adobe IllustratorNataliya Dolotko
Paint Tool SaiHow to Create a Cute Animal Character in Paint Tool SAIAnastasia Purtova
You can also try other tutorials about drawing animals in a simple way:
In this tutorial, we’ll be creating a hand-drawn lettering poster that will make our home cozy and add a warmer atmosphere to any interior. We’ll be using various drawing tools and functions of Adobe Photoshop to create fancy letters from scratch and digitize our handwriting, transferring it from paper into Photoshop and editing it to make it fit our poster.
By the end of this tutorial, you’ll have learned some tips and tricks that will inspire you to create more lettering illustrations, such as these lettering posters. And if you wonder how your poster would look when it’s printed and placed in a frame, you can try out some of these poster frame mock-ups to see how it would look in real life!
Let’s get started!
1. How to Create Lettering With the Pen Tool
Everything starts from scratch. First of all, we need to have an idea of what we are going to create. As we’re planning to create a housewarming poster, I’ve decided to choose a nice quote for a cozy atmosphere. I’ve made a couple of rough thumbnail sketches, writing out “Home is where your heart is” and emphasizing the word “home”.
On the first sketch, I’m trying to insert the quote inside a house shape, but in this case, I think the image looks somewhat cramped and busy with the unneeded details, while the main part of the composition—the lettering itself—is too monotonous. Apart from that, it doesn’t interact with the word “heart”, which is another important and meaningful element of the whole phrase, balancing with the word “home”.
Thinking this way, I make another rough sketch (even rougher than the first one, as you may notice), where I clearly emphasize both words. I also add a touch of symbolism, depicting a stylized roof on top of the word “home” and placing the word “heart” into a heart shape. Now everything looks more balanced and meaningful. Let’s make a poster from the second sketch!
If you want to use the same sketch as a reference image, you can right mouse click on the screenshot below and Save it to your computer.
Let’s create a 3000 x 3000 px, 300 ppi New Document and place your sketch there.
Use the Eyedropper Tool (I) to pick the dark-blue color from the sketch and apply it to the Background Layer using the Paint Bucket Tool (G).
Lower the Opacity of the Sketch to 25%, making it semi-transparent if it distracts you too much.
Now let’s take the Pen Tool (P) and start outlining the letters of the word “home”. Use the polyline to draw out the left stem of the letter “H”. Close the path and move on to the right stem, making it thinner.
Feeling shaky and unconfident with the Pen Tool? Don’t worry, you just need a bit more practice! This tool is actually not so scary and difficult to use as it might seem! Check out these easy-to-follow instructions about the Pen Tool and see for yourself!
Pen ToolPhotoshop in 60 Seconds: Getting a Grip on the Pen ToolKirk Nelson
Tools & TipsPhotoshop’s Pen Tool: The Comprehensive GuideIan Yates
Make a rectangular shape for the crossbar and let’s unite all the elements of our letter! Select them all with the Direct Selection Tool (A) and head to the Path Operations menu in the control panel on top. From here, let’s select Combine Shapes and apply it by pressing Merge Shape Components in the bottom of the menu. There we have it! Now all the parts of the letter are merged!
Let’s move on and trace the letter “O”. It will consist of several elements, so let’s start with its main part. Try to make the line smooth and curved by dragging the anchor handles every time you make a point. Make an oval and then another one for the counter of the “O”.
Select both ovals with the Direct Selection Tool (A) and this time let’s Exclude Overlapping Shapes in the Path Operations menu. Click Merge Shape Components to cut out the inner circle.
We can fill our letter with some color to see if the Path Operations work. Let’s open the Paths panel (Window > Path) and click Fill path with foreground color in the bottom of the panel, applying the Foreground Color which is currently set to white in our Color panel.
Let’s Undo (Control-Alt-Z) our previous action to remove the fill and continue designing the letter.
Use the Pen Tool (P) to shape the swash of the letter “O”, using the sketch as a base and tracing above it. Start from the top left part of the letter “O” and gradually move to the right, making a banana-shaped curve.
Remember that you can change the direction of the path without releasing the mouse key (or the pen of your graphic tablet) and without switching between the tools. Simply click and drag to make the handles of the anchor point visible. Then, holding down the mouse key, click Alt, rotate and move the handle up. Close the path, connecting it with the very first anchor point of the swash.
We can always use the Direct Selection Tool (A) to move the anchor points, making the lines look smooth.
Let’s select both elements of the “O” and use the Combine Shapes and Merge Shape Components functions to unite the shapes.
Let’s move on and use the Pen Tool (P) to draw out the letter “M” with the polyline.
Continue to the letter “E”‘; this one will be a bit more complex than the previous letters. Start making an elliptical shape with the Pen Tool (P) similar as we did with the letter “O”. Use straight lines to form the finial of the letter, and then continue forming a curved path for the inner part of the “E”.
Gradually move up. Hold down Alt to change the direction of the anchor handle to make a corner at the crossbar of the letter “E”. Finish off its silhouette, closing the path.
Add a drop-like shape for the inner part (the counter) of the letter. Now we can select both elements and apply Exclude Overlapping Shapes (don’t forget to Merge Shape Components after selecting the desired function in the Path Operations).
We can check our letter in the Paths panel by filling it with white color.
Now let’s add a swash to the opposite side of the crossbar, using the Pen Tool (P) to form a curved shape.
Select both parts and Combine Shapes in the Path Operations, clicking Merge Shape Components to apply the effect.
Great! All the letters of the word “home” are ready. Let’s take a look at them and use the Paths panel to fill the letters with white color.
Now let’s make the letters look more interesting and diverse by applying some effects to the fill.
2. How to Add Shadows and Gradients
Let’s add some volume to our letters using a gradient fill. Take the Gradient Tool (G) (you can find it in the same drop-down menu as the Paint Bucket Tool).
First of all, head to the Layers panel and Lock transparent pixels of our “home” layer so that everything we do is applied only to our letters, without affecting the area around them.
Go to the Color panel and set blue for the foreground color and white for the background color.
Then grab the Gradient Tool (G) and drag from bottom to the top of the word “home”, applying a vertical linear gradient from blue to white. You can check the gradient settings in the control panel on top, selecting the desired type of gradient.
Let’s create a shadow cast on the background by the letters to make the word “home” stand out a bit more. Create a New Layer right under the “home” layer. Now, keeping the new layer selected, hold down the Control key and click the “home” layer. This way we create a “marching ants” selection around the letters.
Set the foreground color to dark blue in the Color panel, take the Paint Bucket Tool (G) and click to fill, creating a dark-blue copy of the word “home” on a new layer. Now we can move the bottom layer a few pixels down and to the right, making the dark-blue shadow visible.
Now let’s see how we can add gentle shadows to the letters, making them more three-dimensional. We’ll be using the Pen Tool (P) or the Freeform Pen Tool to create the shape. Let’s Zoom In (Control-+) on the letter “E” and draw a path connecting its swash with its crossbar, as shown in the screenshot below.
Continue building the path, making a rectangular shape. It doesn’t have to be perfect—just make sure that it is wider than the letter.
Select the “home” layer in the Layers panel, hold down Alt, and click the Create New Layer button. In the pop-up New Layer window, tick the Use Previous Layer to Create Clipping Mask box to create a linked layer. You will see a small arrow next to our new layer, indicating that anything we draw on it will appear only inside the boundaries of the objects on the main layer.
Let’s see how it works. Right mouse click and Make Selection. Use the Gradient Tool to apply a diagonal linear gradient from blue to white.
Switch the Blending Mode of the linked layer to Multiply, making the white part of the gradient transparent. This way we’ve created a gentle shadow, separating the crossbar (and its swash) from the body of the letter “E”.
Add a similar shadow on top of the crossbar, this time changing the direction of the gradient to the opposite.
Use the same technique to add a shadow to the letter “O”, separating its curled swash from the bowl of the letter.
Now the whole word looks three-dimensional and finished! Let’s move on to the next element of the composition!
3. How to Add Custom Shapes and Digitise Your Lettering
What we’re going to do next is to add a heart shape. Luckily, we don’t need to draw it manually, as we can take the Custom Shape Tool, pick a heart from the list of Shapes in the control panel on top, and create a heart of the desired size, using our sketch as a reference.
Take the Direct Selection Tool (A) and move the anchor handles, making the heart more bulging and rounded at the bottom. If you can’t see the handles, use the Convert Point Tool to click and drag the handles out of the anchor point.
We can switch between Fill and Stroke color (or apply both, or set both to none) from the control panel on top, selecting the desired color from the drop-down panel.
I’m setting the Fill color to None for now as I need to see the letters of my sketch inside the heart.
Let’s move on to the word “heart”. For such script-style hand-drawn lettering, I actually prefer to use a real brush pen and paper. If you’ve always wanted to try hand-lettering, this is a good starting point. One of the best brush pens to start with is Tombow Fudenosuke, or it can be any other brush pen of your choice.
You can also do it just with a usual gel pen or even a pencil, creating a so-called “fake calligraphy”, drawing those thicker downstrokes manually and filling them with color. In our case, it doesn’t matter how you reach this hand-lettered effect as long as it looks good, as we’re going to tweak it in Photoshop anyway.
So I just draw out my letters on a piece of paper, positioning the letters in such a way that the composition resembles the shape of a heart. We can tweak the position of each letter later on if it doesn’t fit our heart, so don’t worry about it, but still try to make it look close to those letters we have in our reference sketch.
Scan your lettering (or make a photo) and drag it into Photoshop. Go to Image > Adjustments > Levels (Control-L) and from here we need to increase the overall contrast and brightness of our lettering layer to make the dark letters really black and the background color white, making the paper texture disappear.
To do this, drag the black slider to the right and the opposite (white) slider to the left, placing them closer to the middle slider. You will see the difference while adjusting the position of both sliders, making the image look sharp and clean.
Once you’re satisfied with your contrast lettering, go to Select > Color Range to open the options window. From here, you’ll have the Eyedropper Tool selected by default. Use it to hover over the word “heart” and click any of the black letters. Leave the Fuzziness slider at 40% or adjust the value if you feel that not all the black area is visible in the preview. Click OK once you’re ready and you’ll see a “marching ants” selection around the letters. Copy (Control-C) the letters.
Now we can Paste (Control-V) the “heart” word into our poster and press Control-T for Free Transform to resize and rotate the layer, making it fit the heart shape.
If some of the letters don’t fit the heart shape, use the Lasso Tool (L) to select the letter (just draw around it), and then hit Control-T again and rotate/resize the selected letter individually.
Let’s make our letters visible and bright. Select the “heart” layer and go to Image > Adjustment > Invert, changing the color of the letters from black to white.
Let’s add some smaller details around the letters. Take the Brush Tool (B) and either open the Brush panel (Window > Brush) or press the right mouse button to open the list of brushes and select a Hard Round Brush.
If you don’t see any of these on your list, open a drop-down menu by clicking the small cog icon in the top right corner and find Round Brushes with Size on the list. Click it and either replace or Append it to your brushes list.
You can find the brush settings in the control panel on top. I keep both Opacity and Flow at 100%, making the lines sharp and thick. I’m drawing dots and strokes around the letter “H”, using the graphic tablet.
Go on adding strokes and dots around each letter. Once you’ve finished and are happy with the result, select the heart shape layer, click the Custom Shape Tool to make the Shape menu in the control panel on top active, and set the Fill color to red, filling the inner part of the heart.
Let’s give our “heart” lettering more of a golden or metallic look by applying a simple linear gradient from yellow to white. This way it looks more three-dimensional.
Next, we’re going to draw the word “is”, which is used twice in our quote. So you can actually write it twice to make every element look unique and hand-written, or go on and just duplicate the one you make.
I’m using the same Hard Round Brush and my graphic tablet here to draw the small letter “i”, using the sketch as a reference. As you can see, I draw the top and bottom horizontal lines in the first place, and then I add two vertical lines for the edges of the letter, defining its thickness. And finally, I just fill the inner part of the letter with light-blue, almost white, color.
Then I use exactly the same technique for the letter “s”: I draw out its silhouette and then I fill its inner part with color.
Here we can see how our poster looks so far. I’ve used the copy of the “is” layer (Control-J) to add it right under the heart.
Now we can move on to the next element of our composition and add the “where your” words right above the heart shape.
You can experiment with the Hard Round Brushes or Calligraphic Brushes of Adobe Photoshop to achieve a hand-written effect if you have a firm hand and a graphic tablet. Or you can follow the same technique as we used for the word “heart”.
So let’s write out the phrase “where your” on paper using the brush pen, and then scan it and bring it into Photoshop to make it clean and contrasting using Levels (Control-L). Next, use Select > Color Range to select the black letters, Copy (Control-C) them and Paste (Control-V) right into the poster. Use Free Transform (Control-T) to rotate and resize the words, making them fit the top part of the heart shape.
Don’t forget to Image > Adjustment > Invert the layer to make the letters white.
As you can see from the screenshot below, I’ve also started adding red dots and strokes along the left edge of the heart in the same way as we did for the word “heart”. It gives an intricate and playful look to the overall design of our poster, so let’s stick to it, adding more ornamental details of this kind.
Continue adding those minor decorative details around the heart, using the Hard Round Brush with 100% Opacity and Flow.
As soon as we’ve finished with the heart, let’s move to the top of our poster and draw a stylized roof of our house in the same ornamental style. Make a New Layer, set the foreground color to light blue, and vary the size of the brush, making the triangular base of the roof a bit thicker than those dots and strokes around it.
I’m adding a swirled element by the right side of the roof, depicting a very simplified, almost abstract, smoke from the fireplace chimney.
Next, I’m adding some strokes beneath the word “home”, bending them in the opposite direction to balance the roof.
Let’s move on and create a New Layer for another set of decorative elements. Here I’m making the foreground color much, much darker and adding swirls, strokes, and dots around the letters of the word “home”. You can Image > Adjustment > Invert the layer if the strokes are too dark to work with and then Invert back when you’ve finished with the whole word.
Our dark ornaments here are finished! Let’s continue!
We’ll be adding some more swirls and strokes around the heart. Start by filling the left side of the image and then move to the opposite side, creating similar ornaments to make the composition look balanced.
Finish up by adding light-blue horizontal strokes on both sides of the word “is” at the very bottom of the poster.
Home Sweet Home! Our Housewarming Poster Is Ready!
Great job, folks! I hope this tutorial will inspire you to create more hand-lettered playful posters for your cozy interior or for print. Feel free to use all the tips and tricks described in this article, and don’t forget to share your result.
Drawing freely from imagination is cool, but not everything can be drawn using free, intuitive movement of the hand. Man-made objects, like vehicles and buildings, are created according to certain rules, and these rules bind our freedom. You can’t draw a building by guessing the lines—you must follow the rules, and these rules are defined by perspective.
In this tutorial I will how you how to draw a house step by step in the two-point perspective. I’ll do my best to explain the whole process to you rather than just tell you what to do.
What You Will Need
You can use any photo of a house you want, for example your own. We will not copy the reference, but we need some kind of a base to know what we’re trying to draw. So its perspective doesn’t need to be perfect—we’ll create our own view!
You can draw using any tool, but it’s best to use some drawing software for this—perspective doesn’t require fine manual skills, so you can successfully use a mouse for this. If you prefer to draw traditionally, make sure you use a much bigger sheet of paper than the intended size of the drawing. And don’t forget to use a long ruler!
1. How to Start a Drawing in Perspective
Start with the horizon line. When something’s above it, you look up on it. When something’s below it, you look down on it.
We want two sides of the building visible: the right side and the front. They share a common dimension: their height. In 2-point perspective, height is generally the dimension that stays perfectly vertical, so we don’t need to draw any vanishing points for it.
However, it’s also important where we place that height. The center of the horizon line is also the center of the vision. If you place that edge line there, both sides will be equally visible. If you place it more to the left, the front will be more visible at the cost of the side. And that’s what we want!
Perspective turns parallel lines into convergent lines. Where do they converge? Well, it depends on you. The more of the side you want to see, the farther the vanishing point should be.
Draw the other edge of the front between both lines. Imagine how long the front would be without perspective, and then make it shorter according to the angle between the left edge and the ground—90 degrees would give the full length, and the smaller the angle, the shorter it must be.
You can now connect both edges to create a full surface of the front wall. Keep in mind these two lines are parallel in reality! Everything parallel to them will go towards that vanishing point.
Time for the other side. The rule is very simple here: the more visible one side, the less visible the other. So we need to place the vanishing point close.
Again, imagine the full length of that side and shorten it according to the angle.
Close the shape of the side with two more lines. Again, these lines are parallel and everything parallel to them will go towards the same direction.
Now that you know how to use the vanishing points, I will show the drawing up close to make the details more visible.
Perspective distorts proportions, so we need to place the guide lines very carefully. It’s best to use special, universal algorithms to divide an area into equal parts. Let’s divide the front in half and in thirds—the porch seems to be about one-third of the length, so this would be useful for us.
First connect the corners of the front.
The diagonals of a rectangle show you the center of it even in perspective. So this is how we divide it into halves. Keep this middle line fully vertical.
Once we have the middle lines, we can use it to create thirds:
Keep these guide lines only that visible to use them later, but without confusing them with the final lines of the drawing.
The other side seems to be about five windows long, so it will be the most useful to us to divide it into fifths. There’s an algorithm for this as well:
Again, keep these guide lines barely visible.
2. How to Add Windows and Doors in Perspective
We need more guide lines to place the elements on the wall properly. Because this is a building, we can expect the elements follow some kind of proportion. Once we discover it, we can use it in our drawing.
Look at the height of the outline above the windows, the windows, and the lower part of the wall. Mark them on the edge.
Draw parallel lines through these points. Do you remember what parallel means here?
It’s the easiest to divide the areas in halves and thirds, so let’s assume the window, with all its outline, is one-ninth of the length of the front. Divide each third into thirds to create guide lines for this.
The door does not have such obvious proportions, so we need to create it ourselves. Connect two clear points…
… and draw a vertical line through a crossing of the guide lines.
We now have enough guide lines to outline the windows and door.
The actual windows start slightly deeper within the outline. How can we guess their width? Well, let’s create it! Symmetrical ‘X’s are easy to draw…
… and they neatly cross that upper guide line.
3. How to Draw a Roof in Perspective
The roof of the house in my reference is not a simple one, but don’t let that discourage you! Every roof follows the same rules, and some just need more work to apply them.
Define the highest point of the roof. You must think in 3D—you can’t just elongate one wall vertically and place that point there. That point must belong to both walls at the same time!
My roof has a “ridge” on top. Its width will be a nice reference point, but we need to define it first. Again, to add any length to our drawing in perspective, we must base it on something that’s already been drawn. For example, draw two diagonals through the thirds on the side of the window (we can be sure they’re symmetrical)…
… and draw a line through the point where they cross with the lowest horizontal guide line.
To draw the height of these lines, we need to place them on the same level as the middle line. Project some lines through guide lines to find the right spot.
We know where this ridge starts, but we still don’t know where it ends. More guide lines are necessary to find that point. Remember to keep the proportions from the base view!
You can now easily outline the ridge.
Before we draw the rest of the roof, we need to understand exactly what we want to draw. From the side, the roof looks like a triangle, and we already have the top of this triangle, so we need to follow that rhythm.
If we elongate the top of the wall towards that line, we’ll find the length of the roof (measuring the distance from the wall to the edge).
Now our job is to create some easily replicable guide lines. It doesn’t matter where they are, as long as they create the proportion we want every time they’re used.
Apply these guide lines to the drawing in perspective.
To find the actual length of the roof, we need to project it to the ground.
We have the length, but we also need the exact placement of the corners. They’re easy to find now!
These points are useless to us as long as they’re on the ground, but it’s not difficult to project them to their right level.
Finally, connect the dots!
4. How to Draw a Complicated Roof in Perspective
Our house has its walls and the roof, so it’s technically done. But it’s
boring, and it doesn’t look like the reference at all! Now we’re going
to make it look more interesting, but keep in mind this may create a
higher level of difficulty. I will also assume you’ve grasped the
techniques we’ve been using so far, so I may not explain every step as
The elements on the roof are placed in a non-random way, and we need to discover it. Let’s create some repeatable guide lines in advance: divide the side of the middle block into eight parts.
The roof of the porch starts in the horizontal center, but not exactly in the center of the roof. Find the exact points you want to use for guide lines, and then project them to your drawing.
The roof of the porch seems to be parallel to the rest of the roof. We can mark it easily on the side view, but how can we find it in perspective?
As always, we need to create replicable guide lines that point to our desired result…
… and project them to the drawing.
We know how long the roof is on the side, but we also need to find its width (which, like the reference suggests, is slightly longer than the middle third of the front wall). These guide lines should do the job.
Now we need to cross the guide lines from both dimensions to find the corners of the roof. The illustration below may look confusing, because we’re so close to the horizon line that the guide lines are almost horizontal.
Now we have all we need to outline the little roof!
The protruding windows on the roof will be quite complicated to draw, so feel free to skip them if you feel lost.
First, let’s add some guide lines on the roof to see its surface better. We don’t have vanishing points for them, so just follow their rhythm.
We need more guide lines in that inner block of the roof. Divide it into quarters.
We should know enough to place the base of the window.
The window has a triangular top, so we need to mark it as well. Quite easy once we stay on the same level of depth, isn’t it?
Now we need to project the window outline to its place on the roof. I told you it was going to be difficult!
The roof of that window is protruding, so we need to project it forward as well. We’re going to use the front wall as a reference to make it easier.
Make the whole window outline protrude in order to make measurements easier.
The roof has a certain thickness and angle, so they’re not easy to project. Use a trick to create them: find guide lines on the window outline that automatically create the outline of that roof. It doesn’t need to be perfect, just close enough.
Create the other window using the same steps, or by drawing guide lines through the already drawn one.
We know exactly where the roofs starts, so we can easily draw their tops.
The sides of these windows go towards the inside of the roof, but they’re also covered by it. The curvature of the roof can be measured, but we don’t need to be as precise—just remember that every line going down must be shifted slightly towards the front (as its back gets gradually concealed by the roof).
5. How to Draw a Porch With Steps in Perspective
The porch has symmetrical sides, but we only have a guide line on one of them. Let’s create a similar one on the left side.
Use these guide lines to create the outline of the short wall.
These walls will be as long as the roof over them, but not as wide. Use an additional guide line to exclude the part of the roof from the width of the porch area.
You can now give these walls all their sides.
Divide the inner side of the wall into thirds—this should be enough to create four steps.
The first step is quite flat, so mark it first before adding the other steps. Its height may be arbitrary.
Divide the two thirds into 16 parts—four heights and four lengths of every step.
Draw the outline of the steps, following the guide lines.
Now you have enough guide lines to draw the steps.
The porch wall has an elevated part, so we need to draw it as well. It should be easy to measure it with what we already have.
There are pillars supporting the roof growing from the lower part of the wall. I’m going to go the easy way and make them as wide as the wall and a step.
When all the guide lines are done, you can finish your drawing. If you’re creating it digitally, you just need to remove the guide lines and add the details following the rhythm of the other elements. If you’re drawing traditionally, it’s better to place a new sheet of paper on the sketch and draw clean lines on the top.
It was a long tutorial, but I hope I managed to clear some things up about perspective and drawing buildings from scratch. Don’t forget to post your result in the comments!
In this tutorial I’ll show you how to create an abstract piece featuring a young Vietnamese woman in a traditional long dress. Long dresses, lotus, and bamboo are known as cultural symbols in Vietnam.
First, we’ll build the background using an old texture and some watercolor images. After that, we’ll add the model and the lotus and bamboo branches. Later, we’ll paint some light and add some splatter and bokeh. We’ll use several adjustment layers to complete the final effect.
The following assets were used during the production of this tutorial:
- Watercolors 1
- Watercolor 2
- Splatter 1
- Splatter 2
- Watercolor brushes
1. How to Make the Watercolor Background
Create a new 2000 x 1500 px document in Photoshop with the given settings:
Open the texture image. Drag the image into the white canvas using the Move Tool (V) and lower the Opacity of this layer to 40%:
Go to Layer > New Adjustment Layer > Hue/Saturation and reduce the Saturation value to -54:
second icon at the bottom of the Layers panel to add a Mask to the
texture layer. On this layer mask, activate the Brush Tool (B) and
choose a Soft Round Brush with black color to paint
on the left section near the middle of the canvas. It’s to reveal the
lightness to fit the light on the model (we’ll see in the next
Create a Color Balance Adjustment Layer and alter the Midtones settings:
watercolor images pack. Choose the image named 1030 or one you like
and place it on the canvas. Use the Free Transform Tool (Control-T) to
make it fit the size of the background. Change this layer Blend Mode to
Add a Mask
to this layer and use a Soft Black Brush with a lowered Opacity (about
30-35%) to reduce the visibility of the watercolor effect.
image numbered 1029 and place it in the right half of the canvas. Mask
it off to show some cyan details only around the middle.
Make a Hue/Saturation Adjustment Layer above this layer and set it as
Clipping Mask. Adjust the Master and Cyans settings to change the color of the
indicated cyan details.
Add the watercolor 2 image to the middle section and set this layer Blend Mode to Multiply 50%. Use a Layer Mask to blend it with the existing background.
2. How to Import the Model
Extract the model and add her to the middle of the background using the Move Tool (V).
Add a Mask to the model layer and activate the watercolor brushes.
Select the one you like and press F5 to change the settings for this
Use this brush to soften the bottom of the model and blend her with the canvas.
Create a Hue/Saturation Adjustment Layer and change the Master, Reds and
Magentas settings. The aim is to change the color of the long dress.
Use a Color Balance Adjustment Layer to give the model some vibrance:
Make a Curves Adjustment Layer to darken the front of the model a
little. Paint on the back and the shadow areas of the model.
3. How to Add the Lotuses
Cut out the lotus and place it above the left shoulder of the model.
Duplicate it four times and add the copies to the back, hair, and face. Use
Control-T to change their size and direction.
Add a Mask to the lotuses on the shoulder and face. Use a medium Soft Black Brush to blend the lotus with the shoulder and remove the front of
the one on the face to show only two petals near the eye.
Select all the lotus layers and press Control-G to make a Group for
them. Change this group’s Blend Mode to Normal 100% and add a Hue/Saturation Adjustment Layer within the group. Bring the Hue value up to +15:
Use a Color Balance Adjustment Layer to increase the red for the lotuses.
Make a Curves Adjustment Layer to brighten the lotuses. Paint on the
shadow areas so they won’t be affected by this adjustment layer.
4. How to Decorate With the Bamboo Branches
Extract the bamboo branch and place it in anywhere on the canvas. Set this layer under the lotus group.
Go to Filter > Liquify and choose the Forward Warp Tool. Use this tool to make the branch longer and more curved, like mine:
Place this modified branch behind the biggest lotus.
Use a Layer Mask to erase the top of this branch.
Use this method to create more different twisted branches. Arrange them
around the model, above the head, along the hair, and beside the cone. Use
a Layer Mask if needed to blend the branches with the head or make them
appear behind or in front of the model.
Make a Group for the bamboo branches. Add a Color Balance Adjustment Layer to make the branches more yellow to match the existing
Go back to the model layer and add a Mask to it. Use a medium Soft Black Brush with a very small size (2-3 px) to erase the space between the branches on the head.
5. How to Paint Some Light
Make a New Layer on top of the layers and use a large Soft Brush with
#251601 to paint on the model area. Change this layer’s Blend Mode to
Linear Dodge 100%.
Duplicate this layer twice to strengthen the light effect. Use a Layer Mask to erase the light on the model’s face to focus on the cone area
On a New Layer, use a small Soft Brush with the color
#d9ab53 to paint the lotus on the shoulder. Change this layer Blend Mode to Overlay 100%.
6. How to Make the Splatter Effect
Open splatter 1 image. It has a transparent background, so just use
the Move Tool to place it under the lotuses behind the model.
Double-click this layer, choose Color Overlay, and pick a green color similar to the color of the bamboo’s branches (
this layer twice and resize them to be smaller. Move one rightward a bit
and the other to the shoulder, and then use a Layer Mask on each of these layers to soften the
lines of the splatters.
Add more splatter under the big lotus behind the model and change the color to
#df7877 to match the color of the lotus.
Open the watercolor 2 image again and place it over the lotuses on the
model’s back. Scale it down and change this layer Blend Mode to Darken 100%.
Use a Layer Mask to clean up the effect on the bigger lotus.
Make a Hue/Saturation Adjustment Layer to change the effect’s color to green.
Use a Curves Adjustment Layer to decrease the effect’s visibility.
Open the splatter 2 image. Extract the splatter from the white
background using the Magic Wand Tool (W). After that, use the Lasso Tool
(L) to select the right part (or any parts you like—your choice) and
add it to our main working file. Duplicate this layer and move the
splatters to the head and the back of the model.
Take the upper part of the splatter and place it in the cone area.
Add a Mask to each of these layers and clean up the unwanted details.
Make a Group for the splatter 2 layers and change their color to green using a Hue/Saturation Adjustment Layer.
Create a New Layer on top of the layers. Change the Foreground Color to
and use a watercolor brush to paint on top of the head.
Add a Mask to this layer and use a smaller watercolor brush with settings like our previous ones to make a defined effect.
7. How to Add the Bokeh
Place the bokeh image over the lotuses on the model’s back. Change this layer Blend Mode to Overlay 100%
and use a Layer Mask to clean up the hard edges and make some bokeh
visible on the lotuses.
Select different parts of the bokeh image to add to the cone area, the
head, and the back. Apply Masking on each of these layers to show some
light and bokeh.
Make a Group for these
layers and alter the group’s Blend Mode to Overlay 100%. Add a Hue/Saturation Adjustment Layer and bring the Hue value down to -13:
Create a Curves Adjustment Layer to strengthen the effect and light.
8. How to Make the Final Adjustments
Create a Gradient Map Adjustment Layer on top of the layers and pick the
#ae730c. Lower the Opacity of this layer to 20%.
Make a Color Balance Adjustment Layer and alter the Midtones settings:
Use a Curves Adjustment Layer to increase the contrast of the whole image:
Congratulations, You’re Done!
I hope that you’ve enjoyed my tutorial and learned something new. Feel
free to share your ideas or comments in the box below—I’d love to see
them. Enjoy Photoshopping!
You may have noticed that there is a craze for iMessage stickers since they were introduced with iOS 10. Today, you can now create and sell your very own digital stickers, instead of using the pre-installed emojis.
iMessage stickers are a cool and fun way to express your ideas and thoughts because you can peel, place, and stick them into your chats!!
If you’ve ever wondered what goes into making a sticker pack for iOS, in this tutorial, we will work from a sketch to design simple iMessage stickers in Adobe Illustrator using lines, shapes, and colors. Then will briefly shift to iTunes Connect and Xcode to launch our own iMessage sticker pack onto the App Store.
1. Come Up with a Concept and Prepare Your Sticker File in Adobe Illustrator
I’ve been missing home for a while. No matter how much I enjoy the wonders of travel, my belly is
always filled with the scent of “home” food. So I decided to base my theme on “Lebanese food”. There is absolutely nothing
as rich and abundant with variety as Lebanese cuisine.
So let’s start by sketching out our food concept on paper or digitally.
I’ve sketched out 12 food “stickers” from the Lebanese table, and labelled their names in Lebanese, just for reference.
Generally it’s good to have about 24 designs for a sticker pack, but for the sake of this tutorial we are working on just 12.
Start by sketching out 12 items in a 4 x 3 grid form, as below.
After you have finished sketching, move the sketch into Adobe Illustrator.
Launch Adobe Illustrator CC.
Open a New Document: File
> New (Command-N) and set up your Custom file:
- Number of Artboards: 12 (respective to the number of stickers, as each sticker should have its own artboard)
You have three choices of sticker sizes to create.
- Small: 300 x 300 pixels
- Medium: 408 x 408 pixels
- Large: 618 x 618 pixels
I personally prefer working on 618 x 618. So adjust the New Document Settings:
- Columns: 4
- Units: Pixels
- Color Mode:
- Click Create Document
Use the Place shortcut (Command-Shift-P) to place the sketch onto the first Artboard. Drag the image to fill all the artboards, so your sketches fill all the artboards created.
Next, we need to create a layer for our line work.
Open the Layers panel, Window > Layers.
on the sub-menu of the Layers panel:
- Name: Sketch
- Select Lock
- Dim Images to: 20%
After locking the “Sketch” layer, Create New Layer, on top of the ‘Sketch‘, and name it ‘Linework’.
File > Save (Command-S), and save your Illustrator file.
2. How to Draw the Line Work
Let us prepare to draw in our line work.
First, we need to create a “pressure” Calligraphic art brush. Open the Brushes panel: Window > Brushes.
Select the Ellipse Tool (L), with a black Fill, null Stroke, and draw in a small ellipse the size of the brush you want to draw with.
With the ellipse selected, drag and drop it into the Brushes panel.
A New Brush dialog box will pop open. Select
Art Brush, and OK.
The Art Brush Options dialog
box will open.
Note: If you have a digital pen tablet, it’s perfect to create an art brush that reacts to the pen pressure.
To create a brush to move with the pressure of the pen, in the Art Brush Options dialog
- Width: Pressure
- Brush Scale Options: Stretch to Fit
- Colorization Method: Tints; this will enable us to customize the colors of our custom brush strokes later.
- Click OK.
Once the art brush is created, Delete the created ellipse.
Now we have a pressure-oriented art brush ready!
Let’s start tracing the sketch.
- Open the Stroke panel: Windows > Stroke.
- From the Brushes panel, select the art brush we just created.
- Choose the Paintbrush Tool (B), from the Tools panel.
- In the Stroke panel, select a black Stroke of 0.5 pt, and Fill set to none.
Make sure your brush is not very smooth when you trace, so that it looks as if it’s hand drawn. To smooth out the art brush, double click the Paintbrush Tool (B), from the Tools panel, and the Paintbrush Tool Options dialog box will open.
Drop the Fidelity down a notch or two.
Let’s start tracing with the Paintbrush Tool (B).
Follow the sketch and trace in the line work. It does not have to be perfect, as we want to give it a simple hand-drawn doodle effect.
Once all the line work is put in, Lock your “Linework” layer from the Layers panel.
Create New Layer, under ‘Linework“, and name it “Color“, so we can apply color below the line work.
Always Save your file. File > Save (Command-S).
3. How to Quickly Color the Artwork
From the Tools panel, select the Blob Brush Tool (Shift-B). The Blob Brush is similar to a marker, and it’s fun to use.
Just select the Color Stroke swatch of your choice, with null fill,
and color in the food icons.
- A quick tip: To manage the Blob Brush Tool size, hold the left square bracket key ([) to decrease the
brush size and the right square bracket (]) to enlarge.
- Along with the Blob Brush Tool (Shift-B), use the Eraser Tool (Shift-E), to erase any blob shapes you want to clean out.
The coloring doesn’t have to be perfect, as we need it to have an organic feel.
Start with the hummus.
As you see, you can achieve a lot with the Blob Brush Tool just by changing its size and colors. Plus it’s fast to use.
So have fun and color in the rest of the artwork!
You need to arrange the blob shapes as you color along, so to Arrange objects, use these shortcuts to speed up the workflow:
- Arrange > Bring to Front (Command-Shift-])
- Arrange > Bring Forward (Command-])
- Arrange > Send Backward (Command-[)
- Arrange > Send to Back (Command-Shift-[)
Once you have arranged everything, you should have a nice colorful set of icons.
Now let’s clean up our artboards.
- Unlock the “Linework” layer from the Layers panel.
- Delete the “Sketch” layer, by dragging
it from the Layers panel to the
trash icon on that panel.
- Select the Selection Tool (V), and for each food icon, select the respective line work and color.
- Group (Command-G) it together. Automatically, once you group the two layers, the new group moves into the “Linework” layer.
- Center each icon to the center of the artboard by simply eyeing it.
6. Scale the grouped objects to fit within the artboard dimensions, and keeping a small space along the borders. To
maintain the object’s proportions, hold down Shift as you drag the bounding box handle until the object is the desired size.
7. Once all the food icons have been scaled, delete the “Color” layer, as it’s empty.
File > Save (Command-S).
4. How to Export and Create Our App Icons
Export the art files, using the Export for Screens feature (File > Export > Export for Screens).
- Export as PNG.
- Click the Advanced Settings icon, select which location to export your files to, and set Scale to 1x.
- Set Background Color: Transparent.
- Export Artboard.
For this tutorial I will briefly guide you through opening an Apple Developers Account, which costs $100 a year. The application process is quite straightforward, and acceptance is quick. However, then you need to sign in to iTunes Connect and set up the administrative stuff like the Tax and Banking, if you’re planning to sell your stickers (This is not required for free sticker packs).
details, go to the iTunes Connect Developer Guide, and take the time to familiarize yourself with it.
To generate our stickers, we need to use Xcode.
Download the latest version of Xcode 8 direct from the Mac App Store and Install.
Uploading the stickers to Xcode is easy; just follow the steps:
Make sure you are signed in to Xcode with your Apple ID.
Preference > Account > Select + > Sign in.
- Create a New Xcode Project.
- Select Sticker Pack Application.
- Click Next.
- Give the sticker bundle a Product Name to identify it: ‘Lebanese Food‘.
- Then fill out the Team, Organization Name, and Identifier (com.yourcompany.ProductName), according to your details.
- Click Next
- Select Stickers.xcstickers > Sticker Pack folder, and upload the stickers, by dragging and dropping the images.
Next upload the iMessage App Icons.
The folder is above the ‘Sticker Pack’ folder.
Chose one image from the food set that you want to use for the App Icon, and convert it into a JPG in Adobe Photoshop, so it has a white background. Rename the App Icon image: “Lebanese_Food_App_Icon.jpg“.
There are 12
icon images in total that you will need for Xcode, and 1 for iTunes Connect.
To generate the app icons easily, visit MakeAppIcon.
Upload the selected food icon onto the website, enter your Email, and it will generate all the various app icon file sizes for you.
You can Download them direct from your email.
Once you have downloaded the generated images, Upload into Xcode by dragging and dropping.
It should look something like this once you’ve uploaded to Xcode.
5. Configure and Register the Stickers
Once you have uploaded the stickers, you need to ‘Test the Build‘ from Xcode, to see if the stickers in
action are good. You can do this through the
Xcode Simulator, or
you can run it on your own device. All you need to do is:
- Select your mobile device, under Set the Active Scheme.
- Click the Run button.
If a notification error is showing, make the requested changes, export and upload the corrected icons again.
Then test the stickers on the Xcode Simulator by clicking the Run icon. Looks fab!
If you need to adjust the display size of your stickers on iMessage, you can do so in the right panel, as seen below.
The sizes “Medium” or “Small” work well.
Once it’s done, we need to register an App ID for the stickers.
Log in to your Apple Developer Account to register an App ID.
- Enter Account > Identifiers > App ID > Select +
- Fill in the details and Register.
Now we can finally Export & Upload our “build” to iTunes Connect!
Go back to Xcode.
- Select “Generic iOS device” under Set the Active Scheme.
- Then select the ‘Stickers.xcstickers’ folder, and from the top main menu click Product > Archive, to Archive the build.
A new window should appear that will show the archived “Build“. You will see the stickers in the left panel.
Click Validate to see if all stickers are good to go. If there are
issues, Xcode will display a notification in red on the top menu bar.
If everything goes well with the “Build“, then you need to upload it to iTunes Connect for Review.
Click on Upload to App Store. This will upload the stickers to iTunes Connect. After it’s done uploading, it should appear on your iTunes Connect account. Give it a few minutes.
Time to submit the stickers to the App Store!
In iTunes Connect:
- Select My Apps.
- Select + > New App, and select the ‘Build‘ we just uploaded for submission.
- Select iOS platform.
- Name: Lebanese Food.
- Select Language and Bundle ID.
- Create a unique SKU “eg.location.com.bundle_title”.
On the left menu panel, fill out the App information and Pricing & Availability. Here you can write the app description, language, categories, and price of the app. We will not get into all the details, as it’s quite straightforward, but it should look similar to this:
In Adobe Photoshop, create some screenshots, using the Xcode Simulator, and upload them onto iTunes Connect, to create iMessage preview images for the screenshot displays. This might take some time. Create 5 screenshot dimensions: iPhone 5.5 inch display (1242 x 2208 px). The system will generate the rest of the sizes for you.
Once done, click Submit for Review.
Now all you’ve got to do is wait for the review process for a few days, to get approved.
While your stickers are in review, you can send out Test invitations to your fans through TestFlight, to try out the stickers free for 60 days. Or you can use the time to set up your taxes, agreements, certificates, and
bank details with Apple.
It’s a bit time-consuming, and you will face some errors along the way, but with some patience and help, you will get there.
Our “Lebanese Food” iMessage Stickers Are Ready!
Wow, I hope
you’ve enjoyed this tutorial! Designing stickers is fun, especially if you can make some money out of it!
Purchase the ‘Lebanesy Food’ sticker pack from iTunes.
I hope you found this tutorial useful! I would love to see what you create! Share your sticker designs with us.
Looking to create a low-poly house to use for your graphic design or illustration projects? Or perhaps you’d like to learn a little bit of 3D modelling whilst creating something fun and simple? Well, you can do it in this tutorial, where we will go through the step-by-step process of creating a mini house in 3D Studio Max.
In this tutorial, we’ll learn how to create a fun, low-poly, miniature house which you can use in your own illustration or video game projects. Some of the skills you will learn will include creating basic 3D shapes and basic modelling techniques. Let’s begin!
1. How to Create the Basic Shapes
Open 3D Studio Max and create a standard box object. To do this, select the Box button under Standard Primitives in the Create menu. To follow this guide, you can also choose the same parameters, although this is not 100% necessary.
Once you have created your box, it should look similar to the image below. This is your basic shape for the main body of the house.
Next, we will create the basic shape for the roof. To do this, select Extended Primitives from the dropdown menu under Geometry, and select the Prism button.
Now use the Move and Rotate tools to place the newly created prism on top of the box.
2. How to Model the Roof
Now we must make the prism editable. To do this, Right-Click on the prism and select Convert to Editable Poly.
Using the Polygon Selection Tool, select the left, right and bottom faces and then press the Delete button.
With the prism still selected, select Shell from the modifier list.
Now input the values you would like for the roof. The recommended values in the image below are Inner Amount: 1.0 and Outer Amount: 0.0. This will give you the thickness of the roof.
For the chimney we will want to create a new box (parameters shown in the image below if you wish to follow this tutorial exactly) and then place it on top of the roof.
Now Right-Click on the new box and select Convert to Editable Poly as we did with our previous 3D objects.
Using the Polygon Tool, select the bottom and top faces of the chimney. Now use the Bevel Tool to create an inner square (use the values of Bevel Height: 0.0 and Bevel Outline: -1.0 to follow this tutorial exactly).
Now delete the inner squares at the top and the bottom. You can then use the Edge Selection Tool and the Bridge Tool to fill the inside faces of the chimney.
3. How to Model the House
Now select the main body of the house. Create three new width segments and two length segments. Once you have done that, we will want to make the box editable. This is done in exactly the same way as before by Right-Clicking and selecting Convert to Editable Poly.
Using the Edge Tool, select the middle edges. Now, using the Move Tool, move the edges up so that it fills the roof space.
Now use the Cut Tool to create a new edge for the roof space on the left and right side of the house.
Use the Polygon Tool to select the left and right boxes of the front (and back if you want) of the house. Then use the Bevel Tool to create window spaces.
Now, with the windows still selected, use the Scale Tool to make the windows the shape that you want.
Repeat the previous two steps to create windows for the left and right sides of the house.
Select all the windows and hit the Delete key on your keyboard.
Now, under Geometry, select Windows in the dropdown menu and play with the parameters to create a window that will fit into the window spaces of the house.
Repeat the previous steps to create windows for your house.
Now attach all the elements you have created using the Attach Tool.
Using the same steps as above, create a door. You will find the options to create a door under the same dropdown menu where you created the windows.
Now you can use the skills you’ve learnt so far in this tutorial to create further details for the house, such as creating the roof windows and stairs shown below.
4. How to Colour the House
To colour the house, you will need to separate the house objects according to the colours you want to use. One way of doing this is by using the Element Tool. Use the tool to select the object you want to colour (e.g. the roof).
Now, with the element selected, click on the Material Editor button which can be found on the top menu.
Drag and drop a Standard Material into the main view and Double-Click on it to display the options.
Double-Click on the Diffuse Box to bring up the colour menu.
Choose the colour you want your roof to be and then click the Assign to Material button.
Repeat the last steps to colour in the rest of the house!
Awesome Work, You’re Done!
And with that, your 3D mini house is complete! Feel free to share your own creations below! You can also export your image into Adobe Photoshop to enhance it further or to use it as part of a larger image. I hope you’ve enjoyed this tutorial, and I’ll see you next time!
tutorial, we’re going to take a close look at the process of creating a particularly
interesting icon pack, since we’re going to illustrate some Romanian traditional
objects that are the living definition of what “home” was back before the
digital age. As always, we’re going to use and abuse Illustrator’s geometric
shapes, in combination with some basic tools such as the Align panel and
That being said, grab a fresh batch of coffee and let’s dive in!
1. How to Set Up a New Document
Since I’m hoping that you already have
Illustrator up and running in the background, bring it up and let’s set up a New Document (File > New or Control-N)
using the following settings:
of Artboards: 1
And from the Advanced tab:
Effects: Screen (72ppi)
- Preview Mode: Default
2. How to Set Up a Custom Grid
Since we’re going to be creating the icons
using a pixel-perfect workflow, we’ll want to set up a nice little Grid so that we can have full control
over our shapes.
Go to the Edit > Preferences > Guides & Grid submenu, and adjust
the following settings:
every: 1 px
- Subdivisions: 1
tip: you can learn more about grids by reading this
in-depth piece on how Illustrator’s Grid System works.
Once we’ve set up our custom grid, all we
need to do in order to make sure our shapes look crisp is enable the Snap to Grid option found under the View menu, which will transform into Snap to Pixel each time you enter Pixel Preview mode.
Now, if you’re new to
the whole “pixel-perfect workflow”, I strongly recommend you go through my how
to create pixel-perfect artwork tutorial, which will help you widen your
technical skills in no time.
3. How to Set Up the Layers
With the New Document created, it would be
a good idea to structure our project using a couple of layers, since this way
we can maintain a steady workflow by focusing on one icon at a time.
That being said, bring up the Layers panel, and create a total of four
layers, which we will rename as follows:
1: reference grids
2: pan flute
- layer 3: sewing frame
- layer 4: wooden spoons
4. How to Create the Reference Grids
reference grids (or base grids)
are a set of precisely delimited reference surfaces, which allow us to build
our icons by focusing on size and consistency.
Usually, the size of the grids determines
the size of the actual icons, and they should always be the first decision you
make on you start a new project, since you’ll always want to start from the
smallest possible size and build on that.
Now, in our case, we’re going to be
creating the icon pack using just one size, more exactly 128 x 128 px, which is a fairly large one.
Start by locking all
but the “reference grids” layer, and then grab the Rectangle Tool (M) and create a 128 x 128 px orange (
#F15A24) square, which will help define the
overall size of our icons.
Add a smaller 120 x 120 px one (
#FFFFFF) which will
act as our active drawing area, thus giving us an all-around 4 px padding.
Group the two squares composing the
reference grid using the Control-G keyboard
shortcut, and then create three copies at a distance of 40 px from one another, making sure to align them to the center of
Once you’re done,
lock the current layer and move on to the next one where we’ll start working on
our first icon.
5. How to Create
the Pan Flute
The pan flute,
also known as panpipes, is a simple yet interesting musical instrument dating all
the way back to the ancient Greeks. It takes its name from Pan, the god of
nature and protector of shepherds. The name itself is a derivative of the word “paein”
which means “to pasture”, which is probably the reason why so many cultures,
including mine, have associated the instrument with the act of herding.
To me, this little
object has a special meaning, since it manages to take me back to a time and
place when life was simpler, and home wasn’t all about the place, but the
people that made it home.
Now, without wasting any more time, make sure you’re on the right layer
(that would be the second one) and let’s get kick off the project by recreating
Start working on the pan flute’s upper section, by creating an 8 x 6 px rectangle, which we will color
#899E47 and then align to the top edge of the active drawing area,
positioning it at a distance of 4 px from
its top edge and 20 px from its left
Give the shape an outline using the Stroke method, by creating a copy of it
(Control-C) which we will paste in
front (Control-F) and then adjust by
changing its color to
#2B3249 and then flipping its Fill with its Stroke (Shift-X). Set the Stroke’s Weight to 4 px, selecting and grouping both
shapes together afterwards using the Control-G
Create nine copies of the shape that we’ve just
grouped (Control-C > Control-F nine
times), and then horizontally distribute them onto the original’s right side,
using the Align panel so that their
outlines end up overlapping.
Create the pipes using ten rectangles (
#A8755A—see the dimensions
below) with a 4 px thick outline (
which we will horizontally stack next to one another, grouping (Control-G) and then positioning them
underneath the smaller rectangles.
- first pipe: 8 x 110 px
- second pipe: 8 x 102 px
- third pipe: 8 x 94 px
- fourth pipe: 8 x 82 px
- fifth pipe: 8 x 74 px
- sixth pipe: 8 x 66 px
- seventh pipe: 8 x 54 px
- eighth pipe: 8 x 46 px
- ninth pipe: 8 x 38 px
- tenth pipe: 8
x 30 px
Add an 8
px wide 4 px thick Stroke line (
#2B3249) to the first,
fourth and seventh pipe’s lower section, positioning it at a distance of 2 px from their outlines. Once you’re done, select and group all the shapes that we have so far using the Control-G keyboard shortcut.
Create the horizontal section holding all the
pipes together using a 92 x 16 px rectangle
#CE9D78) with a 4 px thick outline
#2B3249), which we will group (Control-G)
and then center align to the pipes, positioning it at a distance of 12 px from the active drawing area’s
Start adding details to the section from the
previous step, by creating the center flower using eight 2
x 2 px circles (
#2B3249), which we will position around another 2 x 2 px one (
2B3249). Once you have
them in place, don’t forget to select and group (Control-G) them together so that they won’t get separated by
Quick tip: for the current and
following step I recommend you turn on Pixel
Preview mode (Alt-Control-Y)
since it will give you the ability to carefully position each and every circle
as seen in the reference image. Once you’re
done, exit the mode by pressing Alt-Control-Y
Start working on the left decorative wave
pattern using a couple of 2 x 2 px circles
#2B3249), which we will position as seen in the reference image. Once you’re
done, select and group (Control-G)
all the circles together before moving on to the next step.
Finish off the current icon by adding the right
segment of the decorative pattern, using a copy of the one from the previous
step (Control-C > Control-F),
which we will position onto the opposite side of the flower, making sure to
vertically reflect it once we have it in place (right click > Transform > Reflect > Vertical). Once you’re
done, select and group (Control-G)
the decorative pattern to the underlying section, doing the same for all of the
icon’s composing shapes afterwards.
6. How to Create the Sewing Frame
Living in a digital age can really erase some of the older arts from one’s
mind, especially if that person never encountered them in real life. Sewing,
which is thought to have originated way back in the Stone Age, was and in some
places still is a powerful part of the Romanian culture and tradition, since it
has been used as a means of decoration of both the home and the clothes and
tools used back in the day.
To me personally, sewing brings back so many fond
memories from my childhood, when I used to sit next to my grandmother and watch
her spend hours creating beautiful art pieces to decorate her
That being said, let’s get back to our own art, by first making sure we’re on
the right layer (that would be the third one) and then creating our
Start working on the frame’s main body by
creating a 106 x 106 px circle (
with a 4 px thick outline (
which we will group (Control-G) and
then center align to the underlying active drawing area’s top edge.
Create a smaller 90 x 90 px circle (
#A8755A) with a 4 px thick outline (
#2B3249), which we will group (Control-G) and then center align to the
one from the previous step.
Add the canvas using a 78 x 78 px circle (
#EFD4C5) with a 4 px thick outline (
#2B3249), which we will group (Control-G) and then center align to the
previous section. Once you’re done, select and group (Control-G) all three sections together as well.
Start working on the frame’s bottom section by
creating its outline using a 20 x 18 px rectangle
#2B3249), which we will center align to the active drawing area’s bottom edge,
making sure to send it to the back of the larger circles (right click > Transform > Arrange > Send to Back).
Add the fill section using a smaller 12 x 14 px rectangle (
#CE9D78) which we
will center align to the top edge of the previously created shape.
Create an 18
px tall 4 px thick Stroke line (
#2B3249), which we will
center align to the shape from the previous step.
Start working on the little tightening screw, by creating its main body
using a 44 px wide 4 px thick Stroke line (
#2B3249), which we will
position towards the bottom section of the frame, leaving a 2 px gap between it and the larger
Add the screw’s cap using an 8 x
8 px square (
#2B3249), which we will center align to the
body’s right anchor point. Once you’re done, select and group (Control-G) the two shapes together,
sending them to the back of the bottom section afterwards (right click > Transform > Arrange > Send to Back).
Start working on the actual decorative flower by creating the center
section using four 2 x 2 px squares
#2B3249) which we will position so that they end
up forming a plus sign. Group (Control-G)
the shapes and then center align them to the canvas.
Turn on the Pixel
Preview mode (Alt-Control-Y) and
create the upper section of the flower’s top-left petal,
using three sets of four 2 x 2 px squares
#E56F5C) which we will position next to one another, pushing each set 2 px up so that they end up forming a
stair set. Group (Control-G) the
squares and then position them onto the left side of the plus sign, making sure
to leave a 2 px gap between them.
Create a copy of the section from the previous step (Control-C > Control-F), which we
will rotate (right click > Transform
> Rotate > 90º) and then horizontally reflect (right click > Transform > Reflect > Horizontal),
positioning the resulting shape underneath the original.
Give the petal an outline, by adding a couple of 2 x 2 px squares (
#2B3249) around its two composing sections,
making sure to select and group (Control-G)
all of them together once you’re done.
Create the other petals using three copies (Control-C > Control-F three times) of the one that we’ve just
finished working on, which we will position around the center plus sign,
reflecting them as needed.
Continue adding details to the flower by creating four copies (Control-C > Control-F four times) of
its center plus sign, which we will position on the outer edge of space found
between each pair of petals.
Finish off the flower, and with it the icon itself, by adding diagonal lines to each of its petals, using four sets of 2 x 2 px squares (
#2B3249). Once you’re done, select and group (Control-G) all of the flower’s
composing shapes together, doing the same for the entire icon afterwards.
7. How to Create
the Wooden Spoons
We are now down to
our third and last icon, which is composed of a set of traditional handmade
spoons, which are another powerful means of expression of Romanian people’s minds, used not only to decorate but also as a tool within their households.
I’m not even going
to talk all that much about this art form, since I’m really hoping that by
creating this little icon you’ll gain a powerful enough curiosity to search for more information on it.
That being said, make sure you’re on the right layer (that would be the
fourth one) and let’s finish this.
Start working on the first spoon by creating an 8 x 8 px circle (
#D3685E) with a 4 px thick outline (
#2B3249), which we will group (Control-G) and then position at a
distance of 16 px from the active
drawing area’s left edge, making sure to align it to its top edge afterwards.
Create a slightly larger 12
x 12 px circle (
#CE9D78) with a 4 px
thick outline (
#2B3249) on top of which we will add another 4 x 4 px circle (
#2B3249). Group (Control-G) all three shapes together,
and then position them below the previous section.
Create the spoon’s first set of petals using two 10 x 10 px rectangles (
#CE9D78), which we will adjust by setting
the Radius of their lower outer
corners to 8 px and their upper
inner ones to 4 px from within the Transform panel’s Rectangle Properties. Give the resulting shapes a 4 px thick outline (
individually grouping (Control-G)
each petal, and then positioning them below the previous section.
Create the remaining sets of petals using three
copies (Control-C > Control-F three times) of the ones that we already have, vertically
stacking them underneath one another.
Adjust the color of some of the petals by
carefully selecting them using the Direct
Selection Tool (A) and then changing the color to
Create a copy (Control-C > Control-F) of the spoon’s two circular sections, which we will position below its petals,
making sure to horizontally reflect them (right
click > Transform > Reflect > Horizontal) and change the color of
the larger one’s fill shape to
Create the section connecting the small bowl to
the spoon’s handle using an 8 x 16 px rectangle (
which we will adjust by adding a pair of side anchor points at a distance of 4 px from its top edge using the Add Anchor Point Tool (+) (2).
individually select and push the shape’s top anchors to the inside by a
distance of 2 px (right click > Transform > Move >
Horizontal > + / – 4 px depending on which side you start with) (3) giving
the resulting shape a 4 px thick
Add two 8
px wide 2 px thick Stroke lines (
#2B3249) vertically stacked 3
px from one another, grouping (Control-G)
and then positioning the current section below the smaller circle.
Finish off the spoon by creating its bowl using
a 16 x 16 px circle (
#CE9D78), which we will
adjust by selecting and pushing its lower anchor point to the bottom by a
distance of 6 px (right click > Transform > Move > Vertical > 6 px). Give the resulting shape a 4
px thick outline (
#2B3249), grouping (Control-G)
and then positioning the two shapes onto the previous section. Once you’re
done, select and group (Control-G)
all of the spoon’s composing shapes together, before moving on to the next one.
Start working on the icon’s second spoon by
creating an 8 x 20 px rectangle (
which we will adjust by setting the Radius
of its top corners to 4 px from
within the Transform panel’s Rectangle Properties. Give the
resulting shape a 4 px thick outline
#2B3249) followed by three 2 x 2 px circles (
#2B3249) vertically stacked at 2 px from one another, grouping (Control-G) and then positioning the
shapes onto the right side of the first spoon, at a distance of 24 px.
Add the circular section using a 12 x 12 px circle (
#A8755A) with a 4 px outline (
#2B3249) on top of which we will add a smaller 4 x 4 px circle (
#2B3249), grouping (Control-G) and then positioning the shapes below the previously
created section, so they end up slightly overlapping them.
Create a 12 x 16 px rectangle
#CE9D78) which we will turn into a diamond by adding a new anchor point to the
center of each of its edges using the Add
Anchor Point Tool (+), removing the corner ones afterwards using the Delete Anchor Point Tool (-). Give the
resulting shape a 4 px thick outline
#2B3249), grouping (Control-G) and
then positioning them both at the back of the circular section (right click > Transform > Arrange
> Send to Back).
Create two 8 x 8 px circles
#899E47) with a 4 px thick outline
#2B3249), individually grouping (Control-G)
and then positioning them onto each side of the upper section of the diamond.
Start working on the spoon’s main body by creating an 8 x 10 px rectangle (
by a larger 12 x 34 px one (
which we will unite and then position below the previous sections.
Adjust the shape by setting the Radius
of its top corners to 4 px, adding a
pair of side anchor points at a distance of 14 px from its bottom edge. Then, individually select and push the
bottom anchor points to the inside by a distance of 4 px (right click >
Transform > Move > Horizontal > + / – 4 px depending on which side
you start with).
Create the body’s lighter section using a 12 x 12 px square (
#CE9D78) which we will center align to the
larger shape, positioning it at a distance of 15 px from its top edge.
Give the larger body a 4 px thick
#2B3249), followed by five 12
px wide 2 px thick Stroke lines (
stacked 3 px from one another,
which we will group (Control-G) and
then center align to the section’s lighter rectangle.
Add two pairs of two 2 x 2 px circles
#2B3249) vertically stacked 2 px from
one another, positioning one on the upper section of the body and the other
one on the bottom. Once you’re done, select and group all of the current
section’s composing shapes together using the Control-G keyboard shortcut.
Add an 8
x 8 px circle (
#899E47) with a 4 px thick
#2B3249), which we will group (Control-G) and then position on top of
the previous section, at a distance of 22
px from the active drawing area’s bottom edge.
Finish off the spoon, by adding the bowl using a
16 x 22 px ellipse (
#A8755A) with a 4 px thick outline (
#2B3249), which we will group (Control-G)
and then position below the smaller circle. Once you’re done, select and group
(Control-G) all of its composing
sections together as well, before moving on to the third and last spoon.
Start working on the third spoon, by creating a 12 x 16 px ellipse (
#CE9D78) with a 4 px thick outline (
#2B3249) on top of which we will add a 4 x 4 px circle (
#2B3249), grouping (Control-G) and then positioning all three shapes at a distance of 20 px from the second spoon’s right
Create an 8 x 8 px circle (
with a 4 px thick outline (
which we will group (Control-G) and
then position below the previous section, at a distance of just 3 px.
Create two more 8 x 8 px circles (
#D3685E) with a 4 px thick outline (
#2B3249), which we
will individually group (Control-G)
and then position onto the sides of the two sections that we have so far.
Create a slightly larger 12 x 12 px circle (
#A8755A) with a 4 px thick outline (
#2B3249) on top of
which we will add a 4 x 4 px circle
#2B3249). Group (Control-G) all
three shapes together and then position them below the smaller circular
Start working on the spoon’s flower by creating its petals using four 10 x 10 px squares (
#CE9D78), which we will adjust by setting the Radius of two of its corners to 6 px from within the Transform panel’s Rectangle Properties. Give the resulting shapes a 4 px thick outline (
#2B3249), and then
position them slightly over the previous section, selecting and grouping (Control-G) all four of them together.
Change the color of the bottom-left and
top-right petals to
#A8755A, and then add an 8 x 8 px circle (
#D3685E) with a 4 px thick outline (
#2B3249) in their
center, grouping all of them together afterwards using the Control-G keyboard shortcut.
Create a copy (Control-C >
Control-F) of the circular section found above the spoon’s flower, and
position it below it, making sure to change the color of its fill shape to
Create the spoon’s lower body using a 20 x 32 px rectangle (
#A8755A), from the bottom of which we will remove
two 14 x 24 px ellipses (highlighted
with red) using Pathfinder’s Minus Front Shape Mode. Once you’re
done, position the resulting shape below the previous section.
Set the Radius of the
resulting shape’s top corners to 10 px (2),
adding a lighter 20 x 12 px rectangle
#CE9D78) which we will position at a distance of 6 px from its top edge (3). Then, add five 20 px wide 2 px thick Stroke lines (
stacked 3 px from one another,
which we will group (Control-G) and
then center align to the smaller shape’s center (4).
Add a 4 x 4 px circle (
#2B3249) to the top of the larger shape (5),
followed by a 4 px thick outline (
(6), selecting and grouping (Control-G)
all the shapes together afterwards.
Finish off the spoon, and with it the icon itself, by adding its little
bowl using a 16 x 22 px rectangle (
which we will adjust by setting the Radius
of its top corners to 8 px from
within the Transform panel’s Rectangle Properties. Give the resulting
shape a 4 px thick outline (
grouping (Control-G) and then
positioning the two below the previously created section. Once you’re done,
select and group (Control-G) all of
the icon’s composing sections as well.
It’s a Wrap!
Great work! I hope that you’ve managed to
follow and understand each and every step, and most importantly learned something
new and useful along the way.
This tutorial will show you how to use Adobe Photoshop’s 3D tools and settings, along with a couple of patterns and stock images, to create a lovely stuffed letters text effect. Let’s get started!
The following assets were used during the production of this tutorial:
- HWT Artz font
- Free EPS file Vector set of floral seamless pattern 01
- Free Denim Patterns by webdesignerlab
- Bokeh – Golden Lights 5184 x 3456 Pixels by Moosplauze
- Plant (Epipremnum pinnatum) by Black-B-o-x
- Empty clean white room with branches decor 3D rendering by hemul75
- White sofa isolated on white background (the original image I used is no longer available, but you could use this sofa image or this one as alternatives)
- Bedroom by manbob86
1. How to Modify and Save Pattern Images
Go to File > Open to open the Free EPS file Vector set of floral seamless pattern 01 file. This will bring up the Rasterize EPS Format box, where we’ll change the Mode to RGB Color, and uncheck the Anti-aliased box.
Unchecking the Anti-aliased box will give us crisp results, so that we can easily select the patterns without having to deal with blurry edges.
Once the file opens, zoom in a bit to the top left corner, and you can see that the first pattern has some transparent parts, which will create discontinuity issues if used as it is.
So the next couple of steps will be only to fix this pattern’s issue. For the other patterns, you’ll just need to select and save them as images.
Pick the Rectangular Marquee Tool, and create a selection around the first pattern’s image. The selection doesn’t have to be precise as we’ll fix it in the next step.
Right-click the selection and choose Transform Selection. Zoom in to each edge and drag the selection on top of it, so that you have an exact selection of the pattern image.
Once you’re done, hit the Return key to accept the changes, and go to Edit > Copy.
Create a new file with the Clipboard dimensions, and go to Edit > Paste.
Pick the Move Tool, press-hold the Shift key, and drag the pasted image down to the center of the document.
Duplicate the pattern image’s layer, and drag the copy upwards to the center of the document, so that its bottom edge touches the original image’s top edge.
Use the Rectangular Marquee Tool to create a selection over the empty areas, and use the Paint Bucket Tool to fill it with the pink color around it.
Select both layers and press Command-E to merge them.
Go to File > Save, and save the pattern as an image (jpg) file. It’s better to give each pattern a number to make it easier to use them later on.
For the rest of the patterns, just select, copy and paste, and save them as images.
2. How to Create Text Shape Layers
Create a new 1000 x 626px document with a
Then, create the text in All Caps using the font HWT Artz. Set the Size to 350 pt and the Tracking to 50.
Rename the text layer to Text, right-click it, and choose Convert to Shape.
3. How to Create Stroke Shape Layers
Duplicate the Text layer, and rename the copy to Back Piping.
Pick the Direct Selection Tool (A). In the Options bar, change the Fill to None, the Stroke Color to
#e9e7e2, and its Size to 5.
Click the Set shape stroke type icon to change the Align to Outside.
Duplicate the Back Piping layer twice. Rename the first copy to Sides, and the second to Front Piping. Then, change the Sides‘ Stroke Size to 2.5.
4. How to Create a Simple Curved Shape
Pick the Rectangle Tool, click anywhere in the document, and type in 5 for the Width and 600 for the Height.
Pick the Add Anchor Point Tool, and click somewhere near the middle of each of the rectangle’s vertical sides, to add two anchor points.
Rename the shape layer to Back as we will use it for the back shadows.
Click-drag to select both anchor points, and use the Right Arrow key to nudge them a little bit to the right.
5. How to Create 3D Layers
For each shape layer you have, select it, and go to 3D > New 3D Extrusion from Selected Path.
Select all 3D layers you have, and then go to 3D > Merge 3D Layers.
6. How to Work With the 3D Scene
To access the 3D mesh settings and properties, you’ll need to open two panels: the 3D panel and the Properties panel (both found under the Window menu).
The 3D panel has all the components of the 3D scene, and when you click the name of any of those, you’ll be able to access its settings in the Properties panel. So make sure to always select the tab of the element you want to modify in the 3D panel before you change its settings in the Properties panel.
If you select the Move Tool, you’ll find a set of 3D Modes for it to the right of the Options bar.
When you choose one of those, you can then click and drag to perform changes (on the selected element in the 3D panel).
Use those modes to change the Current View into an angle you like.
7. How to Adjust 3D Mesh and Cap Settings
Select the Text and Sides mesh tabs in the 3D panel, and change their Extrusion Depth in the Properties panel to 30.
Select the Back Piping and Front Piping mesh tabs, and change their Extrusion Depth to 3.
Select the Text mesh tab, and click the Cap icon at the top of the Properties panel.
Change the Sides to Front and Back, the Bevel Width to 1, the Contour to Half Round, the Inflate Angle to 90, and the Strength to 7.
Select the Back Piping and Front Piping mesh tabs, and click the Cap icon again.
Change the Sides to Front and Back, the Bevel Width to 15, the Contour to Half Round, and the Inflate Strength to 10.
8. How to Move 3D Meshes and Change Camera Views
Pick the Move Tool, and use the 3D Axis to move the Back Piping mesh to the back of the text.
The arrows at the ends of the axis move the mesh, the part below them is used for rotation, and the cubes are used for scaling. The cube in the center is used to scale the object uniformly. All you need to do is click and drag the part you want.
You can change the Current View to better see what you’re doing, by choosing a preset from the View menu in the Properties panel.
9. How to Create Pattern Materials
Select all the Text Mesh Material tabs.
In the Properties panel, change the Specular Color to (24, 15, 7), and the Shine to 100%.
Select the Text mesh tab, and go to 3D > Split Extrusion. This will separate the letters.
Select and split all the other meshes you have, except for the Back mesh.
Select the first Text Front Inflation Material tab, click its Diffuse texture icon, choose Replace Texture, and open the first pattern image you want to use from the ones you saved at the beginning of this tutorial.
Click the Diffuse texture icon again, and choose Edit UV Properties.
Adjust the Tile and Offset values to get a result you like.
10. How to Add a Bump Texture
Click the Bump folder icon and choose New Texture.
Set the Width and Height values to 512, and the Resolution to 300.
This will open the new texture file. If it does not, click the Bump texture icon and choose Edit Texture.
When the file opens, duplicate the Background layer.
Double-click the copy layer to apply a Pattern Overlay effect with these settings:
- Pattern: denim 7
- Scale: 50%
Save and close the file to go back to the 3D Scene.
Edit the Bump texture’s UV Properties, and zoom in to better see the effect.
Change the Bump value to 5, or any other value you like.
11. How to Save and Reapply a Material
With the Front Inflation Material tab still active, click the Material Picker box, click the pop-up menu icon, and choose New Material.
Type in a name for the material, and then click OK.
Select the rest of the first Text Material tabs except for the Extrusion. Then, open the Material Picker, scroll down to the material icon you’ve just saved, and click it to apply it to the selected materials.
12. How to Replace Material Textures
Apply the saved material to the second Text Front Inflation, Front Bevel, Back Bevel, and Back Inflation Materials.
Select the second Text Front Inflation Material tab, click its Diffuse texture icon, and choose Replace Texture to open another pattern image.
Select the second Text Front Bevel, Back Bevel, and Back Inflation Material tabs, click the Diffuse texture icon, and choose the name of the pattern used from the list you get, instead of replacing it separately for each material.
You might need to change the UV Properties for the new texture, so just keep that in mind after adding each new one.
Repeat the same steps for the rest of the letters you have.
13. How to Create Simple Piping Material
Select the Front Inflation Material tab of the first Front Piping mesh, click the Diffuse texture icon, and choose Remove Texture.
Change the Diffuse Color to (233, 231, 226).
Click the Bump folder icon, and choose the Text Front Inflation Material – Bump texture from the list.
Zoom in to edit the UV Properties, and change the Bump value to 2.
Save the material and apply it to the rest of the Piping Materials.
In order to tile the Extrusion Material, you need to select all the Piping mesh tabs, and set the Texture Mapping to Tile.
Go back to any of the Piping Extrusion Material tabs, edit its UV Properties, save the material, and apply it to the rest of the Piping Extrusion Materials you have.
14. How to Reposition the Letters
Select the Text, Front Piping, Sides, and Back Piping mesh tabs of the first letter.
Use the 3D Axis or the Coordinates values in the Properties panel to rotate and move the letter.
Repeat that for the other letter meshes you have. You can always go back to any letter and adjust it.
Select the first letter’s mesh tabs again, click the 3D panel menu icon, and choose Move Object to Ground Plane.
Repeat that for the rest of the letters.
Select all the mesh group tabs, and nudge them just a little bit downwards along the Y Axis. This will help create the illusion of the letters’ weight on the sofa, by pushing them into the ground plane.
15. How to Create a Background
Go to File > Place Linked, and open the Empty clean white room with branches decor 3D rendering image.
Resize it as needed, and rename its layer to Background Image.
Place the Plant (Epipremnum pinnatum) image on top of the Background Image layer, and rename its layer to Plant.
Hide the 3D layer to focus on the background elements if you like.
Resize, rotate, and move the plant image to place it over the vase’s sticks in the Background Image. You can stamp-clone the sticks, but we are going to blur the background anyway, so you can skip that.
Select the Background Image layer, go to Filter > Blur > Gaussian Blur, and set the Radius to 5.
Repeat that to blur the Plant image.
16. How to Select and Isolate an Image
Open the White sofa isolated on white image, pick the Quick Selection Tool, and you can check the Auto-Enhance box in the Options bar if you like. It might slow down the process a bit, but can create cleaner selections.
Click-drag slightly to select the sofa.
You can press-hold the Option key, and click-drag to deselect any unwanted areas. Just make sure to drag slightly over small areas to get the best result.
Once the sofa is selected, click the Select and Mask button in the Options bar.
Change the View to On Black, and increase the Opacity to 100%.
Play around with the Smooth and Shift Edge values under the Global Refinements tab to get the best selection.
Click OK when you’re done, and go to Edit > Copy.
Go back to the 3D document, go to Edit > Paste, and rename the layer to Sofa.
Right-click the Sofa layer, choose Convert to Smart Object, and resize the sofa to fit within the scene.
Make the 3D layer visible, and adjust the Camera View to place the letters on top of the sofa.
17. How to Adjust a 3D Scene’s Lighting
Select the Infinite Light 1 tab, and change the Intensity to 45% and the Shadow Softness to 30%.
Use the Move Tool or the Coordinates values to move the light to the window in the background image.
Click the Add new Light to Scene icon at the bottom of the 3D panel, and choose New Infinite Light.
Change the Infinite Light 2‘s Intensity to 30%, and uncheck the Shadow box.
Move the light so that it illuminates the upper part of the text.
Click the Environment tab, click the IBL texture icon to choose Replace Texture, and open the Bedroom image.
Change the Intensity to 90%, and move the light around to get a lighting you like.
18. How to Add Invisible Elements and Render a 3D Scene
Show the Back mesh, rotate it -90° around the Y Axis, and scale it until it fills the sofa’s back.
Move and rotate the Back mesh until it touches all the letters.
Make sure to set the Current View to the final angle you want to render.
Select the Back mesh tab, uncheck its Cast Shadows box, and check the Invisible box. This will help create a surface that catches the shadows without being visible in the scene.
Once you’re done modifying the 3D scene, go to 3D > Render to render it. The rendering might take a while, but you can stop it any time by pressing the Esc key.
You can also stop the rendering to adjust the lighting, the meshes, or anything else you think needs tweaking, and render again, until you get a result you like.
When you’re done rendering, convert the 3D layer into a smart object to avoid making any accidental changes.
Right-click the 3D layer, and choose Create Clipping Mask. This will clip the Back mesh shadows to the sofa.
Click the Add layer mask icon at the bottom of the Layers panel.
Set the Foreground Color to
Black, pick the Brush Tool, choose a soft round tip, and paint over any unwanted areas to hide them.
19. How to Add Shadows
Create a new layer below the 3D layer, call it Back Shadow, and change its Blend Mode to Linear Burn.
Set the Foreground Color to
#848285, and start painting shadows where the letters touch the sofa’s back to intensify the effect.
Change the Back Shadow layer’s Opacity to a value you like, and use the Eraser Tool to get rid of any unwanted parts of the shadow.
Create a new layer under the Back Shadow layer, call it Drop Shadow, and change its Blend Mode to Linear Burn.
Add shadows where the letters touch the sofa. Then, press Command-T to enter the Free Transform Mode, scale them down vertically, and place them right below the letters.
Hit the Return key to accept the changes, and repeat if necessary.
20. How to Add Finishing Touches
Place the Bokeh – Golden Lights 5184 x 3456 Pixels image on top of the Plant layer, and rename its layer to Bokeh.
Change the Bokeh layer’s Blend Mode to Screen, and resize it as needed to fit within the scene.
Go to Filter > Blur > Gaussian Blur, and set the Radius to 3.
Click the Create new fill or adjustment layer icon at the bottom of the Layers panel, and choose Gradient Map.
Create the gradient fill using the colors
#44386e to the left,
#716d7c in the middle, and
#d4a987 to the right.
Check the Dither box, and change the layer’s Blend Mode to Soft Light, and its Opacity to 35%.
Select the Plant layer, and go to Image > Adjustments > Vibrance.
Change the Vibrance to -35 and the Saturation to -10.
If the sofa looks very sharp, apply a Gaussian Blur with a Radius value around 0.25.
Congratulations, You’re Done!
In this tutorial, we saved pattern images, created a bunch of shape layers, converted them to 3D meshes, and created their materials.
Then, we started adding background elements and adjusting the 3D scene’s lighting and camera view accordingly, to render the final result.
Finally, we added some more shadows and adjusted the coloring of the final result.
Please feel free to leave your comments, suggestions, and outcomes below.
Need a winning combination for your next open house? Check out this selection of 40 amazing real estate flyers for clean, professional designs.
40 Professional Real Estate Flyers
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This list features exciting resources for the avid designer
familiar with Adobe Illustrator, Photoshop, and InDesign. For additional help with all your flyer needs, enlist the skills of a talented
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And with loads of real estate flyer templates available at your fingertips, chances are we’ve missed a few to add to your personal collection. Be sure to browse GraphicRiver and Envato Elements for more resources, and let us know your favorites in the comments below!